My notes on a wildly uneven show, that ultimately found its footing after a literal amateur hour opening …
Let’s hope next year, we see some return to normalcy, whatever that once was. And we won’t have to play whack-a-mole trying to figure out where and how to watch the various movies and shows being honored.
“at least borat won the night! i call that justice! otherwise, i kept forgetting what exactly i was watching or why….and maya rudolph did remind me of past mavens of the entertainment industry whom i would list here but i ain’t gonna! tina and amy got pretty feisty, did they not? in that opener? i guffawed in spite of myself as i feel feisty as well…they captured the essence of this nonsensically bizarro world.”
Joe: You’re Norma Desmond. You used to be in silent pictures. You used to be big.
Norma: I am big. It’s the pictures that got small.
From Sunset Boulevard
“If you dream it, you can achieve it.” – Maxwell Lord (Pedro Pascal) in Wonder Woman 1984
“Nothing good is born from lies.” – Diana (Gal Gadot) in Wonder Woman 1984
Sadly, this seems to be the season of watching big ticket blockbusters crammed onto a home screen. Furthermore, this seems to be the season where all of your Facebook friends march like lemmings to tell you what you’re supposed to think of said offerings before you even have had a chance to view them for yourself. Being the good-natured contrarian that my parents raised, I find myself in direct opposition to much of the feedback I’ve observed. To me, The Prom was kind-hearted escapism-with-attitude, Ma Rainey’s Black Bottom was a stagy self-indulgent slog, Midnight Sky was a resonant Truman Capote-meets-Ray Bradbury short (long) story, and Wonder Woman 1984 was a candy-coated (admittedly overstuffed) confection.
I loved The Prom. I, for one, like unapologetic musicals, and this Ryan Murphy production reads like Hairspray, The Greatest Showman, High School Musical, and Bye Bye Birdie had a socially progressive movie baby. Much needless ado has been made about (formerly?) beloved Carpool Karaokemaven James Corden playing a gay character, claiming his take is offensively stereotypical. Many critics’ descriptions have been as troubling as what they accuse Corden of perpetuating, if you ask me.
To me, it is one of Corden’s better and more thoughtful performances, layering broad comedy in a compelling gauze of pathos, to effectively depict a man struggling to find his path in the margins (in career, physicality, and, yes, sexuality). Corden is part of a free-wheeling quartet of Broadway narcissists (all compensating for respective ghosts of failures past) who descend on a small Indiana town to “rescue” it from its own prejudices after the local PTA shames and embarrasses a young lesbian (luminous newcomer Jo Ellen Pellman) in a way that would make even John Travolta’s character in Carriecringe.
Meryl Streep (channeling a caustic yet charming mix of Patti LuPone and Susan Lucci), Nicole Kidman (at her most winsomely fragile), and Andrew Rannells (all bounding and puppyish joy) are Corden’s partners in well-intentioned, occasionally misplaced crime, and they have fabulous chemistry. Kerry Washington is suitably evangelically vampy as the rigid PTA president, and Keegan-Michael Key is a pleasant surprise (both as a singer and actor) as the high school’s show tune loving principal. Tracey Ullmann pops up as Corden’s regretful Midwestern ma, and their reconciliation scene is a lovely little masterclass in heightened understatement.
Oh, right, I did say the movie is kicky fun, but nothing I’ve written here much indicates why. Working from Matthew Sklar’s buoyant Broadway production, Murphy and team overdo everything in all the right ways, juxtaposing all-too-real intolerance and heartache (basically everyone in the film is guilty of uninformed prejudice of one kind or another) with the metaphysical joys of unhinged singing, dancing, glitter, and sequins. All ends (predictably) happily, almost Shakespearean (if Shakespeare listened to Ariana Grande), and I dare you not to sit through the end credits with a stupid, hopeful grin on your face.
Ma Rainey’s Black Bottom is also adapted from the stage, as legendary director George C. Wolfe brings August Wilson’s play to the screen. I suspect my disappointment is more to do with the source material than Wolfe’s sure-handed if claustrophobic direction. To be honest, I wanted more of Viola Davis’ dynamite Ma Rainey and less of … everyone else. Davis has one scene worthy of the Hollywood time capsule, eviscerating the misogynistic and racist capitalist machine that steals artists’ voices (quite literally as Rainey is committing her vocals to vinyl) and tosses people to the curb when they’ve outlived their usefulness.
The film depicts one day in a Chicago recording studio as Rainey fights with, well, anyone who crosses her path in defense of her vision and to retain her integrity in a world that reduces her to a commodity. THAT is the movie I wanted to see, but Wolfe gives preferred time to Rainey’s studio musicians, a group of men whose primary purpose seems to be representing inter-generational animosity among those with a Y-chromosome. Perhaps I’ve just had my fill for one lifetime of toxic male posturing, but I grew weary of their (endless) scenes.
In total, the film feels like it never really escapes the confines of the stage, and I may be among the few viewers underwhelmed by Chadwick Boseman’s performance. His work seems hammy and like he is in search of another movie altogether. I could be wrong, but the overwhelming praise for Boseman here feels like groupthink rhapsodizing given that he is no longer with us. I’m going to hell. See you there. Boseman remains a singular talent, but I don’t think time will be kind to this particular role, Oscar-winning as it likely will be.
Wonder Woman 1984 follows the loping narrative style of all inexplicably beloved films made in, well, 1984, and thereby is a kind of referendum on the cardboard excess and shallow instant gratification of that hollow era, nostalgia for which continues to plague us in insidious ways to this very day.
I found it nicely character driven with a strong cast and with a warm and (mostly) light touch, but plagued by some script/logic problems in its final act. All in all, it met my comics-loving expectations, and I enjoyed what they were doing. Gal Gadot remains a commanding presence in a way we just don’t see in screen stars these days. She’s not an actor per se, but she is a star.
Director Patty Jenkins has great Rube Goldberg-esque fun with one improbable action sequence after another. All were clearly nods to similar films of the 80s featuring, say, Superman or Indiana Jones but enhanced through modern Fast and the Furious-style tech and suspension of disbelief. I’m not looking for pragmatism in a movie like this. Sometimes I just want to be entertained, and WW84 did that for me
Jenkins makes the smart choice of casting talent who will connect the dots in a wafer-thin script. In the film, Kristen Wiig consistently makes smart acting choices as her character progresses from heartbreakingly nerdy sidekick to sullen and insolent supervillain, never losing the heartache of exclusion underneath it all. I thought she was a refreshing and inspired choice to play Barbara Minerva/Cheetah.
Dreamy/witty Chris Pine doesn’t get much dialogue/plot to work with as newly resurrected love interest Steve Trevor, but he shines nonetheless, wringing laughs from fish-out-of-water nuance without ever belaboring the joke.
Pedro Pascal balances Trumpian satire and Babbitt-esque tragedy as a gilded charlatan who believes 80s greed is the key to self-acceptance. He’s grand until the dodgy final act strands him somewhere on manic Gene Wilder-isle, and the film limps to its inevitable world-saving resolution.
I also think if people had watched WW84 on the big screen, they would have walked away with a different vibe. Some may disagree, but there’s a hidden psychological bump to paying for a ticket and investing time away from home (one WANTS the movie to be good) that is erased by the small screen – which has little to do with what is actually being viewed. IMHO.
The global warming parable Midnight Sky (directed by and starring George Clooney), however, benefits from small screen viewing. That said, the film’s outer space, nail biting, race-against-time elements have all been covered (sometimes better) in The Martian, Interstellar, Ad Astra, and George Clooney’s own Gravity. Hell, throw in Event Horizon, Sunshine, and The Black Hole for good measure.
Rather, I enjoyed the film’s quiet moments with Clooney as the sole (maybe?) survivor on an ice-covered Earth, as he fights the elements, time, and his own failing health to deter a deep-space crew from returning to their certain death on an uninhabitable planet. I didn’t give two hoots about the space mission, which included Felicity Jones, Kyle Chandler, David Oyelowo, and Tiffany Boone, all doing their level best to make us care. However, I was transfixed by an almost unrecognizable Clooney who checked his golden boy charm at the door and exquisitely projected the exhaustion and anxiety and fear of someone nearing the literal end. So, in other words, how most of us feel in 2020.
If it were up to me, I would edit out all of the space-faring scenes and leave the film’s focus on George Clooney alone in a post-apocalyptic arctic, yielding a transcendent hour-long Twilight Zone episode.
Now, let’s see how I fare in the Twitterverse when I finally turn to watching Disney’s/Pixar’s Soul …
Postscript …what follows is an email sent to my mother Susie Sexton this afternoon about 1960’s classic Cimarron. They don’t make movies like this any more, and that’s a shame.
From IMDB’s synopsis: “The epic saga of a frontier family, Cimarron starts with the Oklahoma Land Rush on 22 April 1889. The Cravet family builds their newspaper Oklahoma Wigwam into a business empire and Yancey Cravet is the adventurer-idealist who, to his wife’s anger, spurns the opportunity to become governor since this means helping to defraud the native Americans of their land and resources.”
I just finished Cimarron and liked it very very much. I do think that Edna Ferber captures perhaps somewhat formulaically but absolutely effectively, the passage and snowballing magnitude of time and life, with a lovely progressive sensibility (pun unintended).
Maria Schell is exquisite. I don’t think the film would’ve been half as good without her in it. I really like Anne Baxter too. Their one scene together is quite understated and powerful.
Glenn Ford is of course great too, but Maria Schell really got to me. She acts in a style ahead of its time. It’s a beautiful film, but at least in the first ten minutes I kept expecting them to burst into song. When it really digs into their struggle and unpredictable relationship, it’s very powerful. The supporting cast was of course great since all of those people had been in one million films already.
Thanks for recommending this! Love you!
My family loves movies. We always have. It is our cultural shorthand, and every holiday – until this one – has been spent in communion over what movies we saw, how they made us think and feel, and what these films might say about our culture and its advancement. That is in short why I write this blog. I can’t imagine watching a movie without having the opportunity to share how it speaks to my heart and mind.
Thank you for reading these thoughts of mine for nearly ten years (!), inspired as they are by a lifetime of loving movies.
Teen melodrama often has been an effective cinematic metaphor for the human condition. When it’s done well – with pathos and wit – it can be transcendent: Clueless; Easy A; Booksmart; The Edge of Seventeen; Mean Girls; The Fault In Our Stars; Saved!; Love, Simon. There’s now one more to add to that auspicious collection of films: The Never List.
Deftly directed by Michelle Mower, from Ariadne Shaffer’s sensitive screenplay, The Never List details the challenges facing two tightly bonded childhood friends Liz (Brenna D’Amico) and Eva (Fivel Stewart) while navigating the slings and arrows of high school and what happens when tragedy befalls one of the pair.
Stewart and D’Amico are compelling, luminous presences, and their dynamic as lifelong friends is as engaging as it is ultimately heartbreaking. One of the key differentiators in this film versus comparable efforts is how believably teen life is depicted: messy, ugly, tempestuous, deep-feeling, loving, and, yes, kind. There is no shortage of bullying in the film, but it is authentically portrayed, notably in the light it shines on quickly shifting sands of adolescence (re: who doles out vs. who is victimized by bullying) … sometimes in the span of just one afternoon!
The conceit of the film is that Liz and Eva, both straight-A over-achievers, have created impish, ill-behaved alter egos named “Vicky and Veronica” whose “never list” includes all the bad deeds they’d like to perform in real life but just … can’t. After the aforementioned tragedy, Eva, aided and abetted by neighborhood hooligans (with hearts of gold) Joey (Andrew Kai) and Taylor (Anna Grace Barlow), starts checking items off the list, spiraling to a point of no return that is at turns predictable and refreshingly dark.
Mower avoids the satirical light touch of, say, Mean Girls or Clueless, that might bring safe harbor to an audience, instead embracing the avant garde notion😉 that, well, nasty deeds hurt people and have consequences. Crazy that! Stewart turns in a nuanced performance, projecting beautifully the inscrutable and mercurial ways of a grieving teen.
Kai and Barlow offer a fresh take on the “bad influence” trope, revealing the sweetness at the core of the misunderstood and offering a nice redemption for those marginalized unfairly in the brutal gauntlet that is American high school.
Mower has offered some fun “Easter eggs” in her casting as well for those who follow this genre. All of the aforementioned actors have cut their teeth in any number of Disney/CW/Netflix productions (e.g. The Descendants, Atypical, Supernatural), but the real surprises are Jonathan Bennett (AKA Mean Girls’ Aaron Samuels) and Keiko Agena (AKA Gilmore Girls’ Lane Kim) as, respectively, high school teacher Mr. Snyder and Eva’s mother Jennifer.
Bennett is a winsome presence, bringing brightness to his classroom scenes. Agena knocks it out of the park as Eva’s anxious, beleaguered helicopter-parent, bringing the rapid-fire spark she always had as Rory Gilmore’s bestie but with heartbreaking poignancy that only a few decades of real living can bring.
Agena leaves it all on the field in her scenes and gives the film its emotional anchor, particularly in the film’s final act. Matt Corboy (from George Clooney’s – not Disney’s – The Descendants) is a great foil for Agena as her husband and Eva’s father, walking that fine line of sharing parental burdens while finding his own voice in the mix. Corboy and Agena have great chemistry, tracing realistically the trajectory of shared life through only a handful of scenes.
In addition to the exceptional ensemble, Mower has great fun using Eva’s pen and ink illustrations (she aspires to be a graphic novelist) to, literally, animate key moments in the film. Introduced about one-third of the way into The Never List, the cartoon versions of “Vicky and Veronica” offer silent commentary on the proceedings, adding some necessary comic relief without detracting from the film’s gravitas.
And the soundtrack is a pip too – angsty and poppy in all the right ways, consistent with the inner and outer lives of these rich characters.
The film is in limited release and more info can be found here: https://www.neverlistmovie.com/. I do hope this challenging but fun, sweetly affirming film find its audience in these trying times. It’s a keeper and worth seeking out.
Want to join me in supporting a good cause? For my birthday this month (December 28 to be exact!), I’m raising money for Ronald McDonald House Charities Ann Arbor and your contribution will make an impact, whether you donate $5 or $500. Just click donate on this fundraising page: https://lnkd.in/eQ_NVZD
I’m a proud board member and have seen firsthand how every little bit helps. This little fundraiser is nearing the $2500 mark because of wonderful support from kind and generous friends like you!
Thanks to our donors-to-date: Gail Paul, Jan Anne Dubin, Tammy Zonker, Nathan Darling, Lauren Sargent, Zach and Lauren London, Deborah Farone, Kim Perret, Randi Lou Franklin, Megan Hill, Julie Flitz Maeder, Liz Doyle, Jon McHatton. Love you! ❤️
“Your imperfections make you special.” – Joey, student actor in “Spotlight,” the final episode of Marvel’s 616
Today, we brought in our deck furniture (from the summer!) to store in the basement, that is after decorating our house for Christmas. We bought the set what feels like yesterday (April), and we dutifully covered it to protect it from harsh sun and booming thunderstorms, pretty much never sitting on it, once wrapped in a cumbersome, billowing shroud of waxy canvas. So we paid for outdoor couches, negotiated their delivery in pandemic, never used them, and just huffed and puffed maneuvering them through endless doors and hallways into our basement, in another attempt to protect them.
Futility and comedy, thy name is home ownership. Everyone keeps blaming 2020 for everything, as if an arbitrarily determined twelve-month signifier of time’s passage is the cause of our collective woes. Yet, what has actually been laid bare in this dumpster fire period is, in fact, that we are all ourselves to blame with our materialistic, self-absorbed mania day after day, a long-standing debt that finally came due. How much have we taken for granted and what damage have we done to planet, culture, ecology, health, and mental well-being in the process? We’ve likely only seen the tip of that iceberg. Ahoy, me maties!
Take these chances Place them in a box until a quieter time Lights down, you up and die Driving in on this highway All these cars and upon the sidewalk People in every direction No words exchanged No time to exchange
When all the little ants are marching Red and black antennas waving They all do it the same They all do it the same way
My last legit movie review was Birds of Prey. In February. Lord, I hope that’s not the last movie I ever get to see in an actual movie theatre. If I had only known, I’d have chosen … oh, who am I kidding? I still would have seen it. I miss the communal experience of movies, observing audience reaction and assessing the art as well as the commerce of cinema. Wild horses couldn’t get me to go now, if ever again, but I do miss it. Yet, between lone gunmen and rampant plague, performance venues are the new OK Corral.
Thanksgiving has always been a special movie time for my family. My parents and I, year after year, would see hundreds of films over the long holiday weekends, beguiled by Hollywood’s relentless marketing machine. We’d pronounce a film as “awful!” only to change our minds over breakfast, searching for connective tissue and insights into the human condition from such disparate selections as Life of Piand Daddy’s Home 2. I miss that. I miss my parents.
My husband and I have had no end of entertainment – deck furniture notwithstanding. Showing my age, I do resent that finding new shows to binge is tantamount to a digital Easter egg hunt these days. Netflix? No. AmazonPrime? Maybe. Disney+? Possibly. Do we just have this on DVD somewhere?
We’ve enjoyed a lot of what we’ve seen, at times arguably more forgiving of relative quality for the escape that Chilling Adventures of Sabrina, Ratched, Upload, All-American, Hollywood, The Order, The Boys, Emily in Paris, Mandalorian, The Umbrella Academy provided. I’m 99% certain we would have watched very few of these (let alone looked forward to each installment like Victorians eagerly awaiting the next Dickens chapter) had the world not been ending every five days. For this time with my husband, enjoying our home, staying at home, not chasing frenetically scheduled ACTIVITIES!, I am grateful. Pandemic has been a pleasant reprieve in that regard, and I may have been permanently transformed into Boo Radley as a result. Check our trees for handmade toys left for passers-by.
My dear friend Tyler Chase is a talented documentary filmmaker, and she gave me a sneak peek at her latest A Castle in Brooklyn, King Arthur. To say it was the right movie to see in my present mindset would be textbook understatement. I am haunted days after by her clear-eyed, unsentimental but utterly empathic filmic observations on the clash of creativity, capitalism, obsession, free thought, and community in postmodern America.
From the film’s website: “A Castle in Brooklyn, King Arthur with Golden Globe Award recipient, Brian Cox as the Narrator is an intimate and journalistic documentary by filmmaker, Tyler A. Chase. The intimate and journalistic documentary … filmed over a period of seven years, A Castle in Brooklyn, King Arthur, brings us through the doors of the iconic Broken Angel building and into the world of its creators, the visionary, Arthur Wood and his wife, Cynthia as they cling to their life’s work, the Broken Angel building, the last symbol of the bohemian artist culture that once permeated Brooklyn, NY.
“The Woods created the 108 foot Broken Angel objet trouvé building as a sculpture and landmark for the community located in a section of Clinton Hill bordering on Bed Stuyvesant, Brooklyn. The Broken Angel building is the subject of local and international news specials; photographed by many. The Woods are loved by their neighbors who see the iconic structure as a beacon of freedom and the threat of its destruction as an omen of the disappearance of a way of life and community. To many it is a symbol of freedom – to others an opportunity for profit.
“Filmmaker, Tyler A. Chase renders the Woods’ story as one both magical and heart wrenching; following them through triumphs, judicial blunders, injustice, evictions, and comedic moments all the while inspired by the indomitable spirit of visionary artist and creator of the Broken Angel, Arthur Wood.”
The piece, which recently received the Audience Choice Award from YoFiFest 2020 and the Grand Jury Prize from the CARE Awards International Film Festival, is lyrical and poignant and heartbreaking. Chase captures the visceral nature of what it must have been like to live in that space. And the pain of being deeply misunderstood. Grey Gardens for the 21st century.
As far as narrative techniques, Chase employs interstitial chapter headings with ironic word choices/definitions, building the momentum inexorably. Like a slow-moving car crash, it’s clear things won’t end well for Arthur, Cynthia, or their beloved home. This chapter device – dare I invoke Dickensian tragicomedy again? – accentuates the tale’s inevitability. We all know how the relentless, monochromatic push of “economic development” can destroy the delicate work of sensitive souls creating art in the margins. America, ain’t it something to see? But the viewer mustn’t look away, and Chase’s gaze assures that you won’t.
The overall construction of the film mirrors the Broken Angel itself, layering upon itself in jagged turns, a documentary collage. Exquisite. The film FEELS artisanal – no doubt because of its lengthy gestation – which brings us that much closer to understanding Arthur’s quixotic DIY style. Hello, Oscar? Don’t overlook this essential, bespoke film.
Brian Cox’ regally dulcet tones as the film’s narrator are, yes, Arthurian, yet comforting with a wry edge. The use of music – folk, classical, even what seems like Gregorian chanting – is elegiac. And the moment Chase steps in front of her camera to advocate in real-time for Arthur (at The U.N. no less!), becoming a character in the story, is breathtaking. Just when the viewer is screaming, “Why can’t someone do something for these souls?!” … she does.
(Side note: for the inevitable scripted Hollywood remake, Willem DaFoe is Arthur Wood’s doppelgänger, and he could start preparing his Academy Award acceptance speech now. And then Stephen Schwartz could musicalize it for Broadway, dusting off some of the salvageable ideas from his work on Disney’s Hunchback of Notre Dame. Broken Angel! The Musical! Arthur and Cynthia could live on forever!)
Chase tells the story of Broken Angel with an artist’s appreciation and identification sans any judgment. That’s all Arthur likely ever wanted, in his expression and in his life. Is that why some of us “live out loud,” making bold choices, seemingly incongruous with the workaday world? Semiotic code for the person to be seen and accepted as they are? More devastating than the demolition of Arthur’s life’s work is society’s sniffy rejection of his unique soul made manifest in the Broken Angel.
Surprisingly, this same theme carries through another documentary – or rather documentary series – of a more corporate variety: Marvel’s 616 on Disney+. Across eight episodes, helmed by a bevy of filmmakers, the series wisely eschews a linear recounting of Marvel Comics’ storied history, instead highlighting unsung corners of fandom and creative output.
The incisive episode depicting the rise and proliferation of women comic book writers and artists is as reflective of the fraught times in which we live as it is of Marvel’s fits and starts where inclusion is concerned. The episode about toy creation and collection is as frenetic and joy-filled as you might imagine. And the feature on Marvel’s growing community of international artists is quietly introspective and appropriately moving, if not quite compensating for Marvel’s poor track record with creators of color in the past.
Episodes, respectively, on the cosplay community and school-based theatre are almost tangentially Marvel, shining a much needed light on people left behind who found kinship, purpose, and family through the characters, stories, and mythology of Marvel. I dare you not to shed a few happy tears while viewing.
Much (digital) ink has been spilled on the episode highlighting the legendary “Marvel Method,” whereby an issue is created iteratively and collaboratively between writer and artist. Affable, jocular Dan Slott, the subject of the episode, spurred great ire from fanboys over what they perceived as his seeming disrespect for his fellow creators (and, ultimately, for the end user). Slott’s procrastination is played for comic effect in the episode, and his chronic inability to meet dreaded deadlines is excused under the guise of “Marvel Method.”
The angry binge-watching horde missed the point, however. This isn’t about their inconvenience over receiving the latest issue of Iron Man 2020 a few weeks later than expected. This is about, yet again, the thorny nexus of art and commerce. For Slott, like Arthur Wood, creative expression is a kind of one-sided communion with his fellow human beings. The procrastination prolongs the fun, the invention, the collaboration. Hitting deadline means the party’s over, only to begin again on a schedule set by management, not artists.
The episode ends with Slott prowling his local comic shop – no doubt in avoidance of work awaiting him at home – joyously name-dropping his favorite writers and artists, as he thumbs through their latest issues. In that moment, he is a figure both inspiringly childlike and painfully alone. If anything, I am now more appreciative of Dan Slott as a singular voice than I am annoyed by delays in his output.
I’m just a face in the crowd Nothing to worry about Not even trying to stand out I’m getting smaller and smaller and smaller And I got nothing to say It’s all been taken away I just behave and obey I’m afraid that I’m starting to fade away
Hey, and for what it was worth I really used to believe That maybe there’s some great thing That we could achieve And now I can’t tell the difference Or know what to feel Between what I’ve been trying so hard to see And what appears to be real
We all just want to be seen, to be understood, to matter. While writing this, my mom Susie Duncan Sexton received a glorious email from her friend and fellow Columbia City, Indiana native Bill Schwarz. My mother wrote about Bill nearly a decade ago (here), and they recently reconnected. Both are accomplished talents in their own rights (check out Bill’s singing group “New Tradition Chorus” and upcoming concert), but their appreciation for one another is inspiring. Bill just finished reading one of my mother’s books, and here is an excerpt of what he wrote to her in response:
“After reading your book (on my Nook reader) it prompted me to write my opinion… I perceived a sensitive, creative intellect that deeply cared and loved unconditionally. Your pets have that quality as does your son Roy. I sensed in your writing the wholesome expression of joy, yet I saw you tempering feelings of dismay. You said, how does the song go: ‘looking for love in the most usual places…..’”
And isn’t that all any of us desire? A voice that is heard, appreciated, reciprocated. To all of the artists in this world … thank you.
And then one day A magic day he passed my way And while we spoke of many things Fools and kings This he said to me The greatest thing you’ll ever learn Is just to love and be loved in return
The greatest thing you’ll ever learn Is just to love and be loved in return
Want to join me in supporting a good cause? Beginning this #GivingTuesday and on through my birthday on December 28, I’m raising money for Ronald McDonald House Charities Ann Arbor and your contribution will make an impact, whether you donate $5 or $500. I’m a proud board member and have seen firsthand how every little bit helps.
The mission of the Ann Arbor Ronald McDonald Houses is to provide families of children experiencing a serious illness or injury requiring hospitalization or treatment on an outpatient basis, a “home away from home” that assists in alleviating the families’ emotional and financial stress.
Viewed PARASITE…what do I think? I dunno? At all. But Academy Award winner? WTF? Beyond me how that happened. Gonna take me three days to forget it?
I think I kinda hated it to pieces? I’d like to feel happy now and then? Or at least englightened and hopeful? This was uneven and tricksterish and grim and odd… I see a point to it all, but I already am just bright enough to have known the point without sitting still for three hours reading dialogue stream underneath humans attempting to act out some message or other? Naughty me?
The tried and true theme of class collisions and the very worst of humanity and its general cluelessness and victimization and nuttiness and self-centeredness. Who needs to wallow in it? Bad enough on a daily level. It exists everywhere even in living rooms across the globe if people are lucky enough to have living rooms? JOKER got the message across much more provocatively and, hopefully, meaningfully and artistically? How in the world this incarnation of misery bounced onto the scene and into consciousness and got multiple film awards is totally puzzling.
Some of the stuff I have loved over a half century does not always hold up I admit…but hey, slop is slop…manipulation I resent from young film makers, and I felt manipulated? And I would have if this thing debuted years ago…and it could have…sorta? How about THE GREAT GATSBY which I do NOT adore…but it serves the purpose fine?
Hallelujah… I do not feel so nuts now that I think I hated this thing? I am usually not this critical. A movie is a movie until they go to odd extremes?
P.S. James Corden said the week after the Oscars he was enjoying listening to all the people who pretended to watch it. I thought that was cute. I forgot to share that. I damn near gave up on it early on…and later on as well? Ha!
Parasite. Saw it. Liked it fine. Not sure how those who found Joker “dark and disturbing” don’t see that both films are two sides of one coin. Both movies offer a sobering continuation of ONE timely theme: deep-seated disparity between the “haves” and the “REALLY-have-nots” yields countless flippantly delivered daily cruelties which, left unchecked, will escalate into full-on class warfare. Both movies are bruise black satires seething with heartbreak. Both films even feature a character who laughs uncontrollably at discomfort and sadness. Art as a funhouse mirror, reflecting a society increasingly fragmented.
Writer/Director Bong Joon Ho is a South Korean Hitchcock with progressive sensibilities. Previous films Snowpiercer and Okja used sci-fi and thriller tropes to address, respectively, the horrors of global warming and factory farming/animal experimentation.
Parasite leaves open the question of who and what is actually “parasitic” in today’s go-go, digitally interconnected, utterly self-absorbed world. Is it the down-on-their luck family earning pennies to fold pizza boxes, stealing WiFi for their precious cell phones from their upstairs neighbors? Is it the fact that this clan cleverly insinuates itself into the superficial, postmodern lives of a wealthy family that can’t get through a day without being swallowed by their own neuroses? Or are the true parasites the wealthy elite themselves, viewing lives of others as disposable/consumable in servitude to their “higher end” desires, whims, and needs? (And don’t even get me started on the fired housekeeper, deathly allergic to peaches, who has a few secrets of her own.)
Parasite is a clever puzzle box of a movie – plot lines never quite resolving as expected, coiling one into another, crafting a clammy sense of escalating dread (and dark comedy). In other words, an accurate portrait of life in the 21st century. As one character observes toward the film’s conclusion, “With no plan, nothing can go wrong.”
It’s a worthwhile film, and one that hasn’t left my mind in the week since I viewed it. Parasite’s cast is exquisite, the consummate ensemble with fabulous timing (comic horror this good requires it) and an empathetic approach that is beautifully immersive. The staging is divine as well, with tight, confining quarters – some elegant, some grotesque – contributing to the haunting and claustrophobic nature of the enterprise.
Parasite and Joker are companion pieces: entertaining, horrific, and essential in the cold light they shine onto man’s inhumanity to man. In fact, both are positively Dickensian. In each film, the grit and grime of hardscrabble living is visceral, palpable, convulsive. The scars such life leaves on one’s soul, particularly in the face of the shallow and callous indifference of the wealthy, is a tragic parable all of us would be wise to heed.
Thank you to The Post & Mail Newspaper – in my hometown of Columbia City, Indiana – for this lovely coverage of my Legal Marketing Association – LMA International appointment. #lmamkt
Roy Sexton, director of marketing for Clark Hill Law, has been named treasurer-elect for the International Board of the Legal Marketing Association. He assumed his new duties January 1 and will be working to support the continued growth of LMA.
Founded in 1985, LMA is the universal voice of the legal marketing profession, a forum that brings together CMOs and entry-level specialists from firms of all sizes, consultants and vendors, lawyers, marketers from other professions and marketing students to share their collective knowledge. More than 90 percent of the largest 200 U.S. law firms employ an LMA member. Members at every stage in their career development benefit from LMA participation because the association’s broad array of programs and services can be tailored to their specific needs. Visit http://www.legalmarketing.org to read more about LMA.
Sexton joined Clark Hill in October 2018. In his role there, he oversees the firm’s communication professionals, guides its communication efforts, and works to enhance brand awareness. Clark Hill has 25 offices, including one in Dublin and one in Mexico City.
“I’ve been a member of LMA since 2011 when I made the transition from healthcare to legal. It may sound clichéd, but this organization has become a professional family to me. I have benefited exponentially from my involvement and the opportunities to write, present, lead that LMA has afforded me. I’m beyond thrilled at this opportunity to contribute to the future of this great association, and I look forward to serving our members well,” Sexton noted. Sexton has served as a board member, presenter, and content expert for the Legal Marketing Association. Most recently, he served as treasurer for the association’s LMA Midwest Region Board of Directors.
Before joining Clark Hill, Sexton served as marketing director at Kerr Russell, another Detroit-based law firm. He has more than 20 years of experience in marketing, communications, business development, and strategic planning, previously holding leadership positions at Deloitte Consulting, Oakwood Healthcare (now Beaumont Health), Trott Law, and Saint Joseph Mercy Health System.
Sexton holds a bachelor’s degree from Wabash College in Indiana, a master’s degree in theater from The Ohio State University, and a Master of Business Administration from the University of Michigan. He is a graduate of Leadership Detroit and Leadership A2Y, was a governor-appointed member of the Michigan Council of Labor and Economic Growth, and was appointed to the Michigan Mortgage Lenders Association Board of Governors in 2012. He chairs the marketing committee as a board member of Ronald McDonald House Charities Ann Arbor and chairs the governance committee as a board member of Mosaic Youth Theatre of Detroit. He is a published author with two books to his credit, culled from his blog of the same name ReelRoyReviews.com. He is an active speaker, emcee, and regional actor. Most recently, he appeared as “Buddy” in Theatre Nova’s acclaimed production of Stephen Sondheim’s musical Follies, directed by Diane Hill. He received a BroadwayWorld “best actor” award for his turn as John Jasper in Ann Arbor Civic Theatre’s production of The Mystery of Edwin Drood.
Family is what you make it. Two holiday film offerings – seemingly disparate as can be – explore that notion with nuance, surprising gravitas, and humor to spare.
[Image Source: Wikipedia]
The Green Bookis pretty darn magnificent. Just when you think you’re getting another magical Hollywood-cures-racism retro-tear-jerking fantasy, the film subtly indicts the prejudices that plague us all, without avoiding the fact that we have some grade-A hateful jackholes in our country who need to be taken down a notch … or eight. Viggo Mortensen runs just shy of coming off like a Hanna-Barbera character, but he is nonetheless lovably/adorably brilliant in one of his broadest roles to date.Moonlight‘s Mahershala Ali is brittle, haunted, wry, and superb, and they make a heckuva duo. Oh, and the film still manages some retro-tear-jerking holiday magic too.
[Image Source: Wikipedia]
[Image Source: Wikipedia]
There is a strange sub-genre in well-meaning, liberal Hollywood: the crowd-pleasingly simple-minded, amber-hued “let’s overcome racism together in two hours” flick (The Help,Hidden Figures,The Blind Side, Driving Miss Daisy,on and on). There can be a tone-deaf, self-satisfied entitlement to the “white savior” trope in these films, and that is just as off-putting as the nasty institutional racism these movies overtly critique. I’m not sureGreen Book,directed byDumb and Dumber‘s Peter Farrelly of all people,entirelyavoids this trap, but the performances of Mortensen and Mahershala (not to mention perpetually underrated Linda Cardellini as Mortensen’s stoic-but-free-thinking wife) raise the film’s profile significantly fromHallmark Hall of Famepap to something more vibrant and compelling.
Depicting real-life jazz and classical pianist Don Shirley and his chauffeur/hired muscle Frank Vallelonga as they tour the Deep South in 1962 and encounter one well-heeled bigot after another,The Green Bookdraws its name from a guide that helped African-American motorists of the era tour the country with as little aggravation as the era would allow. Reportedly, Shirley and Vallelonga would eventually become lifelong friends, but that is the kind of factoid that becomes increasingly debated as a biographical film like this grows in popularity and collects more end-of-year trophies. So, who knows?
[Image Source: Wikipedia]
As for the film’s central thesis, it is summarized in this comment by a member of The Don Shirley Trio when asked why Shirley would take them all below the Mason-Dixon Line in the first place: “Because genius is not enough. It takes courage to change people’s hearts.” It’s the kind of line that sounds like it was penned expressly for the daily horoscopes, but in the context of Mortensen and Mahershala’s exceptional dynamic (not to mention today’s strange days), it takes on a heart-wrenching profundity.
[Image Source: Wikipedia]
Spider-Man: Into the Spider-Verseis unlike any superhero film nor any animated film I’ve seen: inventive, whimsical, poignant, heartfelt, transporting, kinetic, inclusive, unashamedly odd, surreal, and funny as hell … a true comic book brought to life in the best possible ways. And, perhaps surprisingly, it is the superior film to the awards-baitingGreen Bookwhere issues of race, gender, identity, and inclusion are concerned.
[Image Source: Wikipedia]
Rife with the delightfully irreverent influence of producers/screenwriters Phil Lord and Christopher Miller (The LEGO Movie,21 Jump Street),Spider-Verseintroduces its audience to a new Spider-Man in the form of African-American/Latino Miles Morales whose ethnicity isn’t a gimmick or a plot point but just part and parcel to his character, that is, in addition to him being a teenager, a science prodigy, an artist, and a music lover. How about that?
[Image Source: Wikipedia]
After a multiversal quantum physics experiment gone awry, Miles finds himself surrounded by a Benetton ad’s worth of fellow Spider-people: proto-feminist Gwen Stacy/Spider-Woman (notably not “girl”), silver-haired ass-kicking Aunt May (cheekily voiced by Lily Tomlin),Untouchables-throwback Spider-Noir (another fun voice cameo, this time by Nicholas Cage), paunchy and midlife-crisis’d Peter B. Parker/Spider-Man, Japanese robotics expert Peni Parker and her sidekick SP//dr, and (for us animal nuts) an anthropomorphic pig Peter Porker / Spider-Ham. Miles’ mission – in addition to navigating his newfound super powersandhis loving-but-demanding parents who want him to focus on nothing but his science academy studies – is to help these Spider Buddies save the world and return to their respective parallel Earths. A bit likeThe Wizard of Oz, in reverse, but with super villains and web shooters.
The movie has a visual language unlike anything seen in computer animation before, photo realistic yet simultaneously comic book flat: a bit Andy Warhol, a touch Roy Lichtenstein, a smidge Warren Beatty’sDick Tracy, yet wholly original, breathtaking, and dreamlike. The film’s comic timing borrows liberally from Looney Tunes, Tom & Jerry, Pink Panther, and Tex Avery, while the narrative grounds itself in the polyglot humanity of modern day NYC. It’s an exceptional piece of pop art, and effortlessly leverages the best of superhero egalitarian metaphor to give the middle finger to MAGA nationalism. I can’t wait to see it again.
Well, that’s nifty! Honored to be one of AMAfeed’s featured #authorsAMA. My #askmeanything starts Thursday 3/15 at 9 am! #geeksunite – here.
I love movies, musicals, superheroes, cartoons, action figures, & miscellaneous geekery. I love talking about them even more. Ask me anything!
I’ve been posting my movie musings at www.reelroyreviews.com for five years now … much to the chagrin of true arbiters of taste. And at one point a publisher (Open Books) decided to turn my online shenanigans into a couple of books. I tend to go see whatever film has been most obnoxiously hyped, marketed, and oversold in any given week. Art films? Bah! Won’t find too many of those discussed by yours truly. And every once in awhile, I may review a TV show, theatrical production, record album, concert, or book (yeah, probably not too many of those either). So ask me anything … I act, sing, write, laugh, cry, collect, and obsess in my downtime … and I market lawyers to pay the bills.
This political season is arguably the most distressingly fascinating one I can ever recall. Whether #ImWithHer or #FeelingTheBern or #MakingAmericaGreatAgain or #DumpingTrump, the vitriol and shenanigans, the dramatic tension and circus-world comedy, and the reality-television-fueled debasement of what it even means to be “presidential” are as titillating and train-wreck exhilarating as they are shocking and horrifyingly confounding.
Into this topsy-turvy world, where GOP elephants compare “hand”-sizes and Dem donkeys trade an endless stream of cocktail napkin memes, comes a funny little kids’ movie from Disney, an animated fable with mobster rodents and badge-wearing rabbits, hustling foxes and pencil-pushing sheep (who may or may not be political wolves). Disney’s latest effort Zootopia may very well be the allegory for our times, a medicinally incisive piece of camp that pierces the heart of our political juvenilia, not as a heavy-handed polemic but as a frothy noir merringue that still manages to offer timely (and timeless) critique of our national propensity toward ugliness, be it in the form of sexism, racial profiling, class distinctions, ageism, xenophobia, anti-intellectualism, crass marketing, leveraging abject fear to erode any and all civil liberties, or, yes, speciesism.
If George Orwell’s Animal Farm had been reimagined by Bugs Bunny‘s Chuck Jones, you’d have Zootopia, as close to classic Looney Tunes‘ satirical irreverence as middle-class-family-friendly Disney may ever get.
“Zootopia” (the place) is an urbane promised land where anthropomorphic animals of all species coexist amicably – think Richard Scarry’s Busytown on steroids or Watership Down, Jr., with predator and prey working and playing side-by-side and setting a far better example than humans can ever seem to manage. Zootopia is a Manhattan-esque place, brimming with hustle and bustle, composed of boroughs distinguished by their unique climates (e.g. polar, rainforest, desert, etc.)
Judy Hopps (effervescently voiced by Once Upon a Time‘s Ginnifer Goodwin) is a brave bunny who defies her expected station (as a carrot farmer) to become a cop (a role typically taken by larger, more aggressive male creatures, like cheetahs and buffalo). As in human life, Hopps is quickly marginalized (for her gender and her size) by her co-workers, assigned the menial task of traffic duty.
Yet, something dire is afoot in this magical land, and the balance of animalia power is challenged as traditional “predator” animals revert to more violent ways of the past. (This is still a Disney movie, so that basically means angry eyes and lots and lots of snarling.) Lt. Hopps seizes the moment, and, with the aid of a con man fox named Nick Wilde (Bad Words‘ Jason Bateman, finding his animated doppelganger), cracks the case.
Or do they? That‘s really where the cheeky fun begins as the third act of the film inverts all of our notions of Zootopia, landing a stinging indictment of how society offers a phony face of inclusion and acceptance as long as things run smoothly with safety, security, and prosperity ostensibly guaranteed for all. The minute the “natural order” (which we mindlessly take for granted) is revealed as the wobbly house of cards it actually can be, all bets are off, and life starts to resemble a Trump rally or a Promise Keepers meeting or Hitler’s Nuremberg, with fiery, fearful rhetoric of us-versus-them, boundary walls, torture, and police states. Zootopia – accidentally or intentionally or both – holds a mirror to this truth and presents its audience, young and old, a cautionary hopefulness that we can still pull ourselves from the mire.
Yet, the magic of this film (not unlike similarly smart animated fare like The Lego Movie, Inside Out, or Wall*E) is that the message never comes at the expense of entertainment (maximizing impact and influence). This picture is just so. much. fun. In addition to Goodwin and Bates, there is sparkling voice work from Thor‘s Idris Elba (Police Chief Bogo, a blustering water buffalo), Whiplash‘s J.K. Simmons (Mayor Lionheart, a scheming king of the jungle), Jenny Slate (Bellwether, the mayor’s browbeaten lamb assistant … lion and the lamb, get it?), Nate Torrence (Officer Clawhauser, a dispatch policeman cheetah for whom food is quite literally love), and Alan Tudyk (Duke Weaselton, a shifty little informant weasel). Uni-named pop star Shakira rounds out the cast playing uni-named pop star Gazelle, nailing some witty moments as a well-intentioned if misguided celebrity trying to bring cross-cultural unity through superficial lip-service. (Sounds like some recent Oscar speeches, eh?)
Zootopia is a visually stunning film throughout, and one viewing will unlikely do justice to the rich detail (and hidden references) of this animal planet. Directors Byron Howard and Rich Moore (Wreck-It Ralph) have realized a sumptuously immersive world here that is simultaneously transporting and sobering. Mayor Lionheart exclaims, “We may be evolved, but deep down we’re still animals.” These words (other than the disparaging implication of “animal”) are as true (if not truer) of we humans, struggling through as fractious an historical moment as many of us may see in our lifetimes. Zootopia may just be the tonic we all have needed. Lt. Hopps notes repeatedly through the film – as much warning as mantra: “Zootopia … where anyone can be anything!” Maybe we Americans should give that idea a shot again? What do you think?
Enjoy this recent radio show, featuring The Penny Seats (and yours truly!) … “Jacques Brel is Alive and Well and Living in Paris: Feelings that Connect Us All” – https://t.co/E9YMfoZN0C