#The capacity of this actor is so vast that it never stops to amaze me.

[docholligay]

A Silent Voice--Koe no Kitachi

This movie has come up a couple times for Eight Days and various other things I’ve done, which was basically all I knew about it, until it was sponsored as a one-off by @iscahwynn. The first time I watched the movie, I felt a lot of ways about it at once. It was certainly one of the most interesting “anime movies” that had ever been recommended to me, and had a capacity and quality of humanity that I really didn’t expect going into it. 

As always, non-spoilery review leads, spoilers under the cut. 

A Silent Voice, (Which is called The Shape of Voice on my subs) if you read the blurb, is about a boy trying to make restitution for a deaf girl he bullied horrendously in elementary school. That’s a fair assessment, but I also don’t think it’s a complete one. The movie is really about the nature of alienation and friendship, and how a lot of lonely people have at least some culpability for that loneliness. I don’t know if I would go so far as to say I liked it. I had some issues with it that I’ll go into in the longer spoiler review, but being as its on Netflix right now, if you have any interest in seeing it, I don’t think it’s a waste of time at all. 

I”m not going to go through a play by play of the film itself, I figure if you’re reading this you’re familiar with the general narrative of the film and I’m not super interested in padding this out for the mere word count.  

Also, the main character’s names are really similar: Shoko and Shoyo, so I’m going to call Shoyo by his patronymic, Ishida, for clarity. 

You feel, or at least this viewer felt, nothing but sadness and frustration for poor Shoko, who did nothing but have the audacity to show up at school. One thing I think this movie does an excellent job with is showing how resentment creeps in over the most minor of accommodations. We see at first, the kids be taken in by the novelty of writing in Shoko’s notebook in order to accommodate her and talk to her. Then we see it turn annoying, when she wants to be brought into conversations on a regular basis, and they don’t want to do that. It turns to hatred and resentment, as it gets easier and easier to simply ignore her or make fun of her. When a teacher comes in to teach them some sign language at ten minutes a day, for all but one student, this is too much effort for them to make. 

It escalates with Ishida himself repeatedly yanking her hearing aids out of her ears and throwing them out of the window, into the trash, etc, at one point ripping them out with such force that her ear bleeds. His punishment for this cruelty is essentially that his mother has to pay back, or choose to pay back, all the money lost for the hearing aids to Shoko’s mother, but on a more personal level, his classmates, actually faced with consequences, turn on him and implicate him as the sole actor in all of the cruelty aimed toward Shoko. 

And I’m fine with him reaping the whirlwind, let’s not mistake that, but I do have one compelling question: 

There are 106 schools for the D/deaf in Japan, and you couldn’t put your child into one of them? I have no idea if Japan has any equivalent of the ADA whatsoever, and the internet seems to suggest that the rights and education of D/deaf people in Japan is pretty woeful, but this really annoyed the shit out of me. I mean, I’m supposed to feel for Shoko, so I suppose that didn’t detract from what the movie wanted to do in that right, but man did it make me irritated with every single adult involved. 

I think some of the most interesting things that come out of the movie are the ways in which it deals with depersonalization and isolation. 

After we see Ishida’s fall from grace, if you will, when in middle school, people are (rightly) told that he’s a bully. People don’t want to be around him, and while, again, I do not feel particularly sorry for him, there’s definitely something deeply human and deeply disturbing about the way they make him the pariah of it all, even though they were mostly all involved in treating Shoko cruelly, or at the very least, at a distance. It’s easier to believe that it was Ishida’s sin specifically, and that they bear no responsibility for their part in the cruelty toward her. 

When this happens, by the time we meet up with him, we see that he sees the world of people with the letter X across their faces, as a sign that he no longer thinks of them as people, more like objects or happenings that are best to be avoided. He goes so far as to say that he never looks anyone in the face anymore. Its a very visually powerful way of showing how Ishida, when he is hurt, walls himself off in the world, while, even when we see Shoko later, there’s no indication that she has done such (Though admittedly, the vast majority of the movie is through the eyes of Ishida) 

It isn’t until Ishida defends Nagatsuka, a fat kid with curly hair, from getting his bike stolen by giving his up as an option instead, that he begins to see people in any different way. And it isn’t even in the moment that he does something, but when Nagatsuka returns his bike, found in a rice field, that the x falls away from his face and he begins to see someone as a fully realized human. A cynical viewer, who might be me, would see this as an acknowledgement that Ishida’s problem is not seeing people outside of their relationship to and treatment of him. That it is only with returned kindness that he can see Nagatsuka as human, defending him only because he recalls the shame of having been so cruel to Shoko. 

Which I actually don’t have a problem with! I think it would go fairly far to show that he’s learned something from the Shoko situation, for him to expect no inkling of humanity but still be so desirous to remove that shame that he acts anyway. I just don’t know if that’s the intention of the narrative, even having seen it several times now. 

“Friendship lies somewhere beyond things like words and logic” is one of the best lines from the movie, and I think it does a fairly good job of doing that as it calls up a large group from the past. It’s complicated, because I actually thought the group aspect was very interesting, particularly the incident on the bridge where Ishida, every fairly, tells each of them how they failed, what their personal sin is, and he isn’t wrong! The first time I watched it, I found myself screaming at it, the reckoning of this responsibility finally shared. 

But the downside of all of these characters is that the focus on Shoko and Ishida, as well as any real development of feelings and forgiveness between them, feels very rushed. We get to the end of the story, with Ishida having saved Shoko’s life and hurting himself in the process. SO much emotional and character development gets laid down in a five minute scene, and while the scene itself does lend a lot of strength to the characters for that, I found myself more frustrated that we couldn’t have seen this sooner, and come out over time. Unfortunately the time with the ancillary characters feels a bit wasted, given what ends up being sacrificed for it. 

Some parts of the movie are tricky for me to fully allow myself to fall into, at best. It’s particularly difficult for me to see Ishida as a huge victim given the exceptional level of his cruelty to Shoko, and if he really only pays until he’s in high school, while that may play as “forever” to a younger audience, I don’t have a lot of sympathy for his plight. This isn’t following him to his damn job. Maybe I’m a jackass, and that’s why I can’t go with it in the way the film seems to want me to, or maybe it’s that I was also horrifically bullied to the point of tears as a child, and I do not feel any particular sadness for the ways in which some of my own bullies were socially punished in high school. I don’t want him to kill himself, I want him to be better, and honestly the movie could have really really worked for me if we just saw the developing of his friendship with Nagatsuka and his turning into a better, softer person. This kind of goes into what I was talking about earlier--in a two hour movie, there just isn’t the time for all the side characters as well as the full development of the mains. We would have been better off just having Ishida, Shoko, and Nagatsuka. I fell you could have told a quite complete story with that. I think if those three characters had been more carefully written, I could have ADORED this movie, instead of the middle place I end up with in it. 

But instead we come to the question of Shoko. I kinda suck my teeth at Shoko’s treatment in the film. Her open hearted kindness was heart-breaking as a child, the way she just wanted to be friends and she still had that belief that it could all work if she just did as adults told her and was NICE, and it’s extremely effective.  But when we get to the high school Shoko and we’re still meant to see her as being this very mild, very apologetic, very sad person with no friends...it stops being a tragedy of the character individually and starts being a way of writing a disabled character as someone for our protagonist to act upon. Shoko is never really given her own moment of anger for herself, her own rich life outside of Ishida and the friends he brings to her. We don’t see her thoughts except as they relate to Ishida. We’re meant to believe she has no one outside of her sister when Ishida decides to reconnect with her, a tragedy of convenience that allows Ishida’s “work” to be valuable to more than just him. Even her own sorrow and suicide attempt seem to have so much more to do with the further of Ishida’s character than the oppressive social forces that have conspired against Shoko. 

And we ALMOST get there. The end conversation between the two of them, where he says he understood her in ways that were convenient for him, and that because of that he failed to see her own pain and isolation, is amazing. Great, and I wish it would have come sooner and that we could have had some real payoff from that conversation that showed their relationship deepening in a way that served both Shoko and Ishida. But it comes at the tail end, and the “solution” we get all has to do with Ishida and his embracing of humanity, which I want, but not at the expense of Shoko’s character, who I liked very much and longed for a richer treatment of. 

The romantic element between them is frustrating. Not only because he was her very very overt bully, I might even go so far as to say abuser, but because it feels so tiresome when the movie clearly has bigger fish to fry, and in many ways, does fry them!  It doesn’t help that it is like quite a few things, painfully rushed, and when she falls for him, it’s left to the viewer to supply your own reasons that don’t quite make sense. It adds a layer to the story that I personally felt it did not need, even as cute as I find Shoko’s little flappy legs on the bed when she has her head buried in a pillow after trying to confess to Ishida, but he can’t understand what she’s saying. 

Basically, I think this movie watches better once. I know that sounds like a strange thing to say about anything, but the first time I saw this, I didn’t notice so keenly some of the things that niggled at me later. I think it’s pretty fucking enjoyable, in the one shot, to be honest! I think it’s an ambitious movie that is, at its best, trying to say something about the nature of bullying and that it not only harms the bullied but the bully themselves. And in some ways, I think it has absolutely brilliant moments with that, and reflections on the nature of friendship and what it takes.  But I think some of that ambition falls through, and feels a bit flat, when taken on the whole. 

Have you seen it? What did you think? 

[weekendwarriorblog]

The Weekend Warrior 5/7/21: WRATH OF MAN, HERE TODAY, THE UNTHINKABLE, MONSTER, THE WATER MAN and More

It’s a new month, and I guess going by previous years pre-COVID, this weekend would normally be the start of summer. This year, we’re instead getting a summer with a lot of movies that would normally be dumped into April or February or some other uneventful month. That doesn’t mean that there aren’t or won’t be any good movies, but really, there’s nothing that feels like a summer movie until A Quiet Place Part II and Disney’s Cruella open on Memorial Day weekend.

There’s been lots of great developments, though, including the Alamo Drafthouse in Brooklyn reopening this Friday and then in a few short weeks, theaters may be allowed to be open with no capacity rules although social distancing and masks will probably still be in place. Believe me, it’s been a confusing week as the city that got used to being on the backburner when it comes to reopenings, especially with movie theaters, is now dealing with arguing politicians competing to see who could throw open the then most doors fastest. It’s actually pretty embarrassing.

That aside, this week’s The Weekend Warrior column is brought to you by the new album “Coral Island” from Liverpool band The Coral, which I’ve decided to listen to on loop until I finish this column, because it’s taking me so long to get through it. (Eventually, I switched to Teenage Fanclub’s “Endless Arcade,” since I hadn’t had a chance to listen to it yet…. And to an old standby, Royal Blood, with their own excellent new album, “Typhoons.” At least the record business seems to know it’s the summer!)

Before we get to this week’s new movies, a couple tidbits. First of all, I’m thrilled that my friends Larissa Lam and Baldwin Chiu’s documentary FAR EAST DEEP SOUTH can finally be seen by the entire world, or at least the United States. It debuted on PBS World Channel on Tuesday night as part of the “America ReFramed” series, but for the entire month of May until June 3, you can watch it On Demand HERE, and that is huge! (There will be other ways to see it that you can read about here.)

This is an amazing MUST-SEE doc that looks into the little-known Chinese communities that took root in Mississippi in the early 20th Century and how they became such a huge part of that area with their markets, also bonding with the African-American communities that were similarly dealing with racism from the typically white post-Civil War South. It’s not just a history lesson, and it’s an incredibly moving story about a family trying to find its roots in the most unexpected places. There was a good reason why the couple’s short “Finding Cleveland” won the Oxford Film Festival while I was on the jury that year, and Far East Deep South similarly won an award there last year after its World Premiere at Cinequest was almost scuppered by COVID. It’s amazing how much more relevant and important this film has become since I first saw it last year, since both Asians and African-Americans are dealing with serious racial issues, and this movie shows that more than anything, they should be working to boost each other rather than fighting. Do check it out On Demand this month if you get a chance!

Another musician making movies is Mr. Dave Grohl of the Foo Fighters. I mentioned his documentary WHAT DRIVES US last week, but I actually only got to watch it on Thursday, and like his previous film Studio City and HBO mini-series, Sonic Highways, it’s a fantastic look at the music biz, this time through a variety of artists who began their careers by piling into vans and driving around the country. That is, except Lars Ulrich from Metallica, who mentions that the band was never so small or indie that they didn’t have a bus. But Grohl has used his vast connections to bring in a lot of great musicians including The Edge from U2, Flea from the Red Hot Chili Peppers, and more, making this a very entertaining movie both for fans of the various bands but also live music fans in general. I gotta admit that as much as I loved What Drives Us, it did bring me down a bit since it’s been almost 14 months since I’ve seen any live music, and I really miss it. This is now streaming on The Coda Collection, which you can subscribe to through Amazon Prime Video.

Guy Ritchie is back with his latest movie, WRATH OF MAN (Miramax/MGM), which reunites him with Jason Statham for the first time since 2007’s Revolver, I believe. Statham plays the enigmatic Paul “H” Hill who works at cash truck company Fortico, responsible for moving hundreds of million dollars around Los Angeles each week. Fortico has recently been hit by a lethal robbery, and H’s team soon learn that there’s a lot more to their new coworker, who happens to be looking for revenge against the man who murdered his son.

(Unfortunately, reviews for the movie are embargoed until Thursday at 6pm, so I can’t tell you whether it’s any good or not. Until Thursday night. Sorry!)

But I will talk about the movie’s box office prospects, because why not? Ritchie’s last movie, The Gentlemen, opened in January 2020, during the “before times,” with $10.6 million, but that was more of a classic Ritchie ensemble crime-comedy. Wrath of Man is more of the type of movie Statham has been making over the past few years, a cross between a revenge thriller and a heist flick. In fact, Statham has done a pretty good job creating his own brand through a variety of action-thrillers as well as a number of franchises including “The Transporter” movies, “The Expendables,” and eventually joining the “Fast and the Furious” franchise as Deckard Shaw with Furious 7 in 2017. Statham then went off to make Hobbs and Shaw with Dwayne Johnson, which didn’t do bad with $174 million. Before that, Statham starred in The Meg, a summer shark attack movie that grossed $145 million. Statham going back to help his old mate i.e. the director that gave Statham his start is pretty huge.

But as I said earlier, those were all in the “before times” and with the box office the way it is, it’s hard to imagine that the exciting reunion of Statham and Ritchie can open with more than $10 million but maybe closer to $8 million, because MGM/UA just doesn’t have the marketing clout of a Warner Bros. or Universal. Even so, that should be enough to be #1 this weekend as both Mortal Kombat and Demon Slayer continue to fall away. Unfortunately, if the movie *is* any good -- and I can’t tell you one way or another -- then by the time reviews hit, people will already have other plans for the weekend than to go see the movie. So yeah, that’s pretty dumb on the part of MGM, huh?

UPDATE: MGM is putting the movie into 2,876 theaters and maybe I'm being overly optimistic, because, as you'll read below, the movie IS pretty good and reviews have remained positive with the American reviews rolling in last night, still at 70% Fresh at this writing. Maybe that'll help the movie do a little better, maybe as much as $9 million, although I'll probably owe MGM an apology if it cracks $10 million, and I don't think it will.

Mini-Review: If you’ve seen the trailer for Wrath of Man, you might go into Guy Ritchie’s latest thinking you know what to expect, because it’s sure being sold as another typical Jason Statham revenge thriller. Don’t be fooled by the marketing, the movie really is Ritchie’s chance to make his own version of Heat, an L.A. heist movie that owes as much to Rashomon as another movie being released this week.

Wrath of Man begins with the heist of an armored truck that turns deadly with the wanton murder of a couple guards. From there, you might think we know where things are going when Statham’s “H” company whose truck was hit, and on his first day, he stops a similar heist by killing the truck’s attackers. H is immediately the hero of the company, although he still has quite a few suspicious coworkers and the feeling is quite mutual. Ritchie’s film then slips into the second episodic chapter which goes back five months to that initial heist where we learn that Statham’s son was killed by being in the wrong place at the wrong time.

I don’t want to go too much deeper into how the movie and story play out, because like The Gentlemen and some of Ritchie’s more intricate films, there’s a lot that purposefully isn’t made very apparent at the beginning. To many, this movie will be seen as even more macho than most of Ritchie's films, to the point where even the only woman guard, Dana, being just as macho as the men. As the movie begins, there’s a lot of joke-cracking and crotch-grabbing, all while Statham’s character silently observes and only acts when necessary.

The film’s shift to more of a classic Ritchie ensemble does slowly take place, but by the third chapter, it shifts to the group perpetrating the cash truck heists with an “inside person,” taking the movie to yet another place that makes it more obvious that this is Ritchie’s attempt at delving into the L.A. heist genre that other filmmakers have done so well.

Oddly, Statham doesn’t have too many lines, acting almost like a Terminator in his determination to right wrongs, but as always, Ritchie puts together a fantastic ensemble cast including a number of great American character actors who we rarely get to see in such great roles. I was particularly impressed with Jeffrey Donovan, who has appeared in a number of otherwise forgettable crime films this past year. The same can be said for Holt McCallany as H’s truck driver “Bullet,” but Ritchie also cast the likes of Josh Hartnett and Scott Eastwood in smaller yet still significant supporting roles, all of whom become more interesting as you start figuring out who all the players are.

Like I said, the movie is fairly macho and the few women play very small roles, but it’s how things are set-up in the first few acts to then change course and build to an absolutely amazing third act that will undoubtedly bear comparisons to Heat. And yet Wrath of Man (which is actually based on a little-seen French crime-thriller) does branch away from some of Ritchie’s standards, first of all by being far darker and even more violent with any of the wisecracking humor that pervades a lot of Ritchie’s work to counterbalance such violence disappearing once the flashbacks begin. It’s all punctuated by a fantastically tense score by Christopher Benstead, which seems a bit much at first but eventually settles into the perfect pace and tone for the action.

Despite disappearing for a good chunk of the movie, Statham is still great, basically killing everyone as his characters are wont to do, but watching how all of the different ideas come together leads to such a satisfying conclusion that one hopes those who might be put off, thinking they know where it's going due to the somewhat pathetic and obvious marketing will give it a chance to see how Ritchie has changed gears as effortlessly as he did with Aladdin a few years back.

Rating: 7.5/10

After even a longer time since he directed a movie, Billy Crystal once again takes the helm for HERE TODAY (Sony/Stage6), a movie in which he plays comedy writer Charlie Burns, whose chance encounter with Tiffany Haddish’s lounge singer, Emma Payge, leads to an unlikely friendship, as he struggles with early stage dementia.

I’ve known about this movie for over a year now, and I was pretty excited to finally get to see it, since I was such a fan of the other movies Crystal has directed, 1992’s Mr. Saturday Night and 1995’s Forget Paris, and it’s just amazing to me that he hasn’t directed a movie since.

At first, it seems like it’s the type of meet-cute we’ve seen so much in Crystal’s past filmography, but his pairing with Haddish isn’t something that might work on paper, but in fact, their comic styles mesh so perfectly together that it’s amazing that no one thought of putting them together before.

Crystal wrote the film with comic Alan Zweibel, who adapted it from his own short story “The Prize,” which refers to Haddish’s character winning Charlie in an auction for a lunch. Actually, her ex won the lunch, and she decided to use it because… free lunch! It’s a pretty simple set-up but one that allows the filmmakers to explore some of the odder things that happen in life.

Much of the movie’s humor plays upon the differences between the two characters, and how unexpected their friendship is. I can totally relate, because I have a lot of good long-time friends who most people might never expect us to be friends, but Crystal, Zweibel and Haddish pick up on that and create a movie that’s very funny but has enough other characters around the duo toa allow their characters to show how they’re just really nice people. We see that with how Charlie takes a young writer at his late night show under his wing or how Emma livens up the bat mitzvah of Charlie’s granddaughter. Oh yeah, and Haddish sings. She actually has a number of great performances in the movie, and seriously, anyone who watches this movie is gonna wanna see a smart filmmaker put Haddish in a musical immediately.

The film also acts as a truly touching tribute to Crystal’s friend, the late Robin WIlliams, who was diagnosed with the exact same type of dementia after his suicide death, and knowing that fact, makes the film even more poignant. More importantly, it doesn’t use Charlie’s condition for laughs, and for that alone, I feel like this is ten times better than that overrated Oscar winner The Father.

Here Today’s biggest problems come in the third act when it feels like the movie is starting to over-extend its welcome, even going into somewhat expected places, but it recovers from that rough third act to land a really nice ending. Crystal has always proven himself to be a really strong mainstream filmmaker (ala Rob Reiner and others) who makes crowd-pleasing movies, and it’s so nice seeing him going behind the camera for a movie that’s obviously very personal but also highly relatable.

As far as box office, I certainly have high hopes that Crystal still has an older audience of fans who might want to see him on the big screen again. I’m just not sure if this will be in more than 1,000 theaters, and though I’ve seen quite a bit of marketing, I just haven’t seen Crystal or Haddish do nearly as much in terms of getting out there that would be necessary to reach an audience that might want to venture out into movie theaters to see the movie vs. waiting until it’s on cable/streaming. There’s also Tiffany Haddish’ fanbase, and there could be some benefit for the movie coming out the same week as her new CBS show “Kids Say the Darndest Things.”

I’d love to be optimistic with this making $4 to 5 million but it’s probably more likely to be closer to $3 million especially with capacity limits still in place for most theaters and the audience generally being older.

UPDATE: Maybe I was a little too optimistic, because I enjoyed the movie so much and it will probably be closer to $1 or 1.5 million since other reviews aren't as great.

Next, we have two movies finally being released many years after their festival premieres…

The Swedish apocalyptic thriller THE UNTHINKABLE (Magnet), directed by Victor Danell, is finally being released after playing genre fests in 2018 and 2019. It stars Christoffer Nordenrot as Alex, a young piano virtuoso who ran away from home due to his abusive father Bjorn (Jesper Barkselius). Years later, he returns home for his mother’s funeral after she’s killed in a terrorist attack on Sweden. At the same, there’s a virus that’s erasing people’s memories, but Alex is still in love with Anna (Lisa Henni), the girl he had a crush on when he left, and the three of them will have to help each other face all the horrible things hitting their home at the same time.

As I was watching this movie, a lot of it felt eerily familiar to me, but I couldn’t figure out why. The more I watched it, the more I realized that I actually HAD seen the movie before. Sure enough, I saw this movie over two years ago at the “What the Fest?!” in New York two years ago, and I honestly don’t remember loving it. Still, I decided to give it a fresh look, hoping to get more out of it on second viewing.

Some of the same things bothered me on this second viewing, because it’s really hard to figure out exactly what is going on and whether the horrific events are natural, man-made or a combination of both. For some time, we get so mired into Alex’s lame relationship with Anna, and when he returns home, his conspiracy theory-driven father is busy protecting a bunker that’s being invaded by foreign military troops he thinks are Russians. We cut between these two disparate scenarios while sometimes returning to the capital of Sweden and throwing in a few big set pieces. It’s so disjointed that you feel like you’re watching a lot of random unrelated events, maybe a bit like last week’s About Endlessness -- maybe it’s a Swedish thing?

There are aspects of The Unthinkable that are quite commendable, particularly those action moments and how the mystery about what is happening develops as the film goes along. Eventually, the film does find a more consistent pace, and things start becoming a little clearer, which makes the final act better than much of what we’ve watched earlier. Even so, it’s still quite annoying how long it takes to figure out what’s going on, even on a second viewing, and for most people, that may already be far too frustrating to get through it.

Hitting Netflix on Friday over THREE years after it premiered at Sundance is music video director Anthony Mandler’s directorial debut, MONSTER (Netflix), based on the novel by Walter Dean Myers. It stars Kelvin Harrison Jr. (Waves) as Steve Harmon, a 17-year-old film student put in jail, accused of murder in a bodega robbery. His defense lawyer (Jennifer Ehle) is trying to help him be released, but he’s fighting against the odds of a judicial system that sees him as a “monster” because he was in the wrong place at the wrong time.

I have to be honest that I did go to see this at Sundance the week it premiered, and for whatever reason, I just wasn’t feeling it, so I only really caught about twenty minutes of it. Watching it now with more time and a little less weary than I usually am towards the end of Sundance, I was able to appreciate Monster more for what it is. On the surface, it’s just about Steve’s case and how what really happened unfolds before our eyes and we learn more about those around Steve and how their influence may have pulled a smart and studious young man into the criminal world that now has him in prison with much more violent life-long criminals.

We already knew that Harrison was a great actor, but Monster shows us that he was already on his way to greatness with this movie that for whatever reason got buried even as it dealt with issues that have been in the headlines almost every day since this debuted.

Mandler takes an interesting approach, both non-linear and also with blatant nods to Kurosawa’s Rashomon, which is even cited by Steve’s teacher, played by Tim Blake Nelson. Jeffrey Wright and Jennifer Hudson are decent as Steve’s parents, but they’re generally smaller and non-showy roles compared to the moments between Harrison and Ehle. Much of the film takes place in the courtroom with flashbacks showing what happened through the viewpoint of whomever is on the stand, which eventually includes Steve himself.

The way Mandler handles the material may lean more on the artiness rather than something more mainstream -- Michael B. Jordan’s Just Mercy comes to mind -- but it’s just as powerful in showing how someone like Steve can be othered by society into being a criminal. Sure, there have been other handlings of this sort of material that I thought were better films, but if you know anyone who has ever had dealings with the “justice” system and know how unfair and horrible it can be even to the innocent, then Monster will certainly strike a chord.

Also hitting Netflix this week is the new series based on Mark Millar and Frank Quitely‘s comic books, JUPITER’S LEGACY (Netflix), another kind of twist on the superhero genre ala Amazon Prime Video’s series based on Warren Ellis and Darick Robertson’s The Boys. I love the comics, and I can’t wait to finally get around to seeing Netflix’s first adaptation of a Millarworld property.

David Oyelowo makes his directorial debut with THE WATER MAN (RLJEfilms), a movie about a young boy named Gunner Boon (Lonnie Chavis), whose mother (Rosario Dawson) is battling leukemia. In an effort to cure her, Guner goes off on a journey along with a teenage girl named Jo (Amiah Miller) to find the mythical Water Man, who can provide them with a magic token that might save Gunner’s mother’s life.

I’ve interviewed Oyelowo a few times before, and I really like him a lot, so I had really high hopes for him as a director since I feel he’s just a terrific actor. Unfortunately, the material here is just not strong enough that I think even a far more experienced filmmaker could make something out of it.

Set in PIne Hills, we meet Gunner, a bright kid who loves drawing comic books, but he has trouble connecting with his father (Oyelowo), so when he has an idea that might help his sick mother, he goes off with a head-strong teen named Jo, in search of the Water Man, a summertime adventure permeated by a lot of very bad low-budget visual effects.

Honestly, I’m not even sure where to begin with where The Water Man falters, because Oyelowo has such a great cast, including Alfred Molina and Maria Bello in tiny parts. The story is a problem, as is the writing, which is just so bland and dull, that there’s really nothing in Oyelowo’s direction or any of the performances that really can salvage it. Neither of the child actors have much charisma or personality, and even Dawson’s performance, which would normally be a showstopper is repeatedly lessened by the constant cutting back to the kids. (And as someone who beat leukemia myself, I’m never a fan when cancer is depicted in movies as a death sentence rather than just another hurdle in life that needs to be overcome.)

Oyelowo himself may be one of his generation’s best actors, but he brings so little to the role of Gunner’s father, maybe to not take away from his younger star, but it hurts that he doesn’t do more to create a stronger conflict by making the character more horrible to drive Gunner away. The actual Water Man doesn’t improve things when he finally shows up, essentially talking like a pirate but not even remotely paying off.

Honestly, The Water Man seems like such a misguided venture -- Exec. Produced by Oprah, no less -- and it might have been totally forgettable if the characters didn’t keep saying the title of the movie every five minutes.

Hitting theaters Friday after a festival run is Tran Quoc Bao’s action-comedy THE PAPER TIGERS (WELL GO USA), starring ALain Uy, Ron Yuan and Mikel Shannon Jenkins as martial artists once known as “the three tigers but now middle-aged men must set aside old grudges and dad duties to avenge the murder of their teacher. I’ve had a screener of this since last summer when it played at Fantasia Festival in Montreal, and I just never got around to watching it, but if I’m able to squeeze it in before the weekend, check back here for my review.

Streaming on Shudder this Friday is Ryan Kruger's South African comedy-thriller FRIED BARRY (Shudder), starring Gary Green as Barry, a violent street junkie who is abducted by aliens who take over his body in order to… well, actually… they do a lot of drugs, have a lot of sex and other craziness. It’s a pretty strange and bizarre movie that reminds me a little of movies like a lower-fi Under the Skin or Beyond the Black Rainbow, and much of it is driven by the insane and unique performance by Green and the odd characters he encounters that I think will find its fans for sure, but it will definitely be for a very select audience of genre festival fans, as this is by no means a mainstream genre film.

Speaking of which, another movie out this week which I wasn’t allowed to see in advance is Gia Coppola’s MAINSTREAM (IFC Films), starring Maya Hawke as a young woman seeking internet stardom by making YouTube videos with a charismatic stranger, played by Andrew Garfield, until “the dark side of viral celebrity threatens to ruin them both.” Yup, it’s one of THOSE movies. It also stars Nat Wolff, Jason Schwartzman and Johnny Knoxville, but I haven’t heard anything good about it, and I’m not sure my curiosity is piqued enough to spend any of my own personal money to check it out.

Hitting Amazon on Friday is the doc THE BOY FROM MEDELLIN (Amazon) from Matthew Heineman (City of Ghosts, Cartel Land), a portrait of musical superstar J. Balvin, as he prepares for a massive sold-out stadium show in his hometown of Medellin, Colombia, which is hindered by the growing civil unrest in the area.

Lots of other movies this week, but a few that i just wasn’t able to get to this week, including:

ABOVE SUSPICION (Lionsgate) INITIATION (Saban Films) ENFANT TERRIBLE (Dark Star Pictures) QUEEN MARIE (Samuel Goldwyn Films) SILO (Oscilloscope) CITIZEN PENN (Discovery+)

That’s it for this week. Next week, Chris Rock and Samuel L. Jackson star in SPIRAL: FROM THE BOOK OF SAW (Lionsgate) and Angelina Jolie returns for the thriller THOSE WHO WISH ME DEAD (New Line) and Timur Bekmambetov’s thriller, PROFILE (Focus Features). That’s right. This will be the first weekend in over a year where we’ll have three or maybe even four new wide releases.

[yessoupy]

2016 fic retrospective

no one’s tagged me for this, but i need to do it because i got shit to write this year and i need a kick in the ass.

1. List of works published this year:

a man, a planet, a house, and a tree (technically december 2015); making space; mutant; on babies; memoria

2. Work you are most proud of (and why):

a man, a planet, a house, and a tree. the first fan fiction i ever read was star wars. i’d been kinda sad that after seeing the force awakens i didn’t jive with the main ship (finn/poe aka stormpilot) so couldn’t really get into the sudden explosion of fic. the second time i saw the movie i saw the guy who took poe’s helmet from him and i decided that would be my ship -- after scouring the imdb page and posting a comment on the actor’s instagram page for confirmation, thus was born poe dameron/resistance soldier. i gave him a name, and a backstory, and gave them a story. what i’ve always loved about the star wars universe is how VAST it is, and how many stories can exist in it without even touching on what we see in the movies or even read in the books. i could write about these two forever!! ALSO i wrote the whole thing without defining a gender for BB-8, and none of the references were tortured. :)

3. Work you are least proud of (and why):

on babies. i had this concept of harry as a pediatrician but the research involved would be wayyyyyyy too much, so i made him a nurse instead and rushed right through the entire thing to get it out. i’m least proud of it because it deserved more time than it got.

4. A favorite excerpt of your writing:

i’ll do one from each, since i finished so little, lol.

a man, a planet, a house, and a tree (in 2 short paragraphs i was able to build in huge pieces of marek’s backstory, if you’re more than a casual star wars fan):

“You understand why I do this, right?” Poe asks quietly, fingering the yellow piping on Marek’s pants. He’d tried once to pry out of Marek how he’d earned his Bloodstripe to no avail. He’d registered the mix of pain and pride in the soldier’s eyes and hadn’t tried again.

“I do,” Marek answers. “I just want you to come home to me every time you leave. And crashing squints into desert planets isn’t going to result in that outcome more than once.” Marek’s gaze flicks down to Poe’s chest. He traces the letters of his own surname beneath the crest of the Resistance. A N T I L L E S, with the second L halfway gone from wear. Poe closes his eyes at the soft touch and feels his deep exhaustion pulling at his consciousness.

making space 

“Okay. Fine.” He takes a deep breath. “When I was holding them, they were so warm and squirmy and ... god, it’s been years since I held a child that young. They’re so close to the womb, you know? They’ve spent longer inside of her than outside of her and ... I just wonder. What that would be like.”

“To be in the womb?” Bryan hopes this isn’t Jared’s surprise hidden kink, he’s not sure how he’s going to meet expectations on that one. Shower sex with the bathroom lights off and hot water? God, if he wants, like, a birth experience ... that could get messy. Also, the thought of that ... kind of gross. He could probably, like, tolerate it, but just barely. He won’t get hard, that’s for sure.

“No, to ... to have one. To have that capacity.” Jared locks eyes with him in the mirror. “Women are amazing.”

Bryan smiles down at him. “A touch jealous you lack the parts to bring life into the world with just a little assist?”

He bites his lip. “Maybe ... maybe a little.”

mutant

“Who’s a mutant?” Ryan asks, dragging his eyes away from Jason Lezak.

Michael waves at the dark-haired boy pulling himself out of the pool. “Cseh.”

Ryan scoffs and reaches for his hotel towel and briefs. “That’s not Cseh. Cseh is bald.”

Michael hasn’t known Ryan long, just through the training trip, and so he is still being surprised by Ryan’s idiosyncrasies. Or idiocy, he’s not sure yet. “Cseh shaves his head.”

Halfway through his deckchange, Ryan stops and cocks his head to the side. “Oh, well that makes more sense.”

on babies

Harry is just easing the crying newborn onto her mother’s chest when the paramedics board the bus. One of them accidentally kicks his phone, Louis still on the line, and the teen picks it up, takes over handling the call while Harry updates the paramedics on Sarah’s status. Sarah cries and refuses to let go of his hand as they load her onto a stretcher and they busy themselves with checking the vitals of the new baby.

The elderly woman -- Mary, she’d told Sarah to call her, Mary -- reaches up and dabs at his cheeks with her handkerchief. He hadn’t realized he was crying.

memoria

First things first, he’s debriefed. He’s clinical in his description because he has to be. When he recounts his interrogation, he describes what happened and that’s it.

“He raised his hand and I felt a pressure inside of my skull.”

He was pushing around in there, rooting through my memories.

“I knew he wanted the location of the map, so I thought about everything else. It was hard to hold onto the mundane ideas -- I started with a TIE fighter’s schematics -- so I moved to more personal thoughts.”

Marek Marek Marek my love your hands steady oil-stained Marek my soldier

“That worked for awhile, I think he was getting frustrated, but eventually ... I’m sorry. I ran out of energy.”

General Organa shushes him and squeezes his arm. “It’s alright. You did as well as you could.” He can see the pain in her eyes. “Commander, is there anything else about his interrogation technique that might be helpful in understanding his capabilities?”

General Organa never says his name. Either of them. Poe sighs. “I don’t know. I think ... I think he took something from me. But I don’t know what it is.” He blinks, a sick feeling settling into his stomach. “I guess I never will.”

General Organa nods at her assistant, who stops recording.

5. Share or describe a favorite review you received:

I know you probably think this is so old by now, but I love this concept so much and I've read this at least 6 times now! Just like.... please write more

This review encouraged me to write another poe/marek piece i had kicking around, so that piece (memoria) was dedicated to this person i don’t know!

6. A time when writing was really, really hard:

felt like ALL the time it was ... one time i sat down to write and cleaned the entire kitchen!

7. A scene or character you wrote that surprised you:

i really love marek. he’s essentially an omc so it’s probably no surprise that he is my favorite, but outside of my novel i haven’t attempted a fully-developed OC. i’m pissed at myself for making his bloodstripe a mystery to poe -- it’s fucking up some other stuff i’m trying to write. i might go in and change that actually ....

8. How did you grow as a writer this year:

I think I’ve done a better job taking an idea from inception to fruition? and also, writing the shit i wanted to read. 

9. How do you hope to grow next year:

I’d like to write and post more. In 2015 I posted a lot of stuff I really liked but knew I’d never finish (basically same thing as with Mutant). I need to finish some shit.

10. Who was your greatest positive influence this year as a writer (could be another writer or beta or cheerleader or muse etc etc):

Oh, I chatted with @missboomissquick about just about everything I wrote this year. She’s always encouraging!

11. Anything from your real life show up in your writing this year:

last semester i had to teach psychology. i finished memoria after i taught the unit on memory!!

12. Any new wisdom you can share with other writers:

Even if you think it’s absolute shit, write it. If you finish it, publish it. You won’t get any better if you don’t practice. that’s not new wisdom, but eh.

13. Any projects you’re looking forward to starting (or finishing) in the new year:

I have a Poe/Marek I was plotting that would take place after TFA, going to Corellia to pick up some more ships (because the Resistance is woefully under-shipped????). It’s so much fucking research to write in the new canon, so I decided that I could write Poe/Marek as an AU in the old EU, since I’ve read all that shit and wouldn’t have to research as much. But idk what the plot would be in that one. :/ For most of 2016 I set aside my original novel (it’s political in nature and shit with the Trump nomination and election just fucked with my head so I had to let those guys take a seat for awhile). I need to pick it back up and make some decisions about it -- i have 4 different routes for it. At least. I also have a Larry faux mpreg I really want to write, but I have to change the premise again. 

14. Tag three (or as many) writers whose answers you’d love to read:

meh, do it if you want! i’m not gonna pressure anyone.

[oscarisacc]

What You Should Know About Oscar Isacc and Why

C-3PO's character is changed from a typical protocol droid much like thousands of others produced by the identical corporation to some distinctive one-of-a-kind droid made by an essential player in galactic events. The figures are all strong, intelligent ladies, capable to manage high pressure scenarios. 1 character in the movie even says that failure might be the best teacher any people ever get.

There's a good deal of good actors here, that is excellent due to the fantastic bit, yet only a little bit less great when I realized I had no idea who the principal character was. Every one of these films was marketed to a overall audiencenot a white one. If people begin supporting those movies increasingly more, then financiers on the market will follow. Normally, it's part of the movie. The movie also suffers from an excessive amount of reliance on the backstory. It is probably my favourite film. There is a great movie somewhere within each one the constituent elements, but something has been missing in route.

As the film progresses, you aren't quite sure whether it's the love story that's intended to drive the movie working together with the war narrative for a background or if it's the war narrative that it meant to induce the film working with the love story for a backdrop. A lot of people will despise this picture. In reality, the entire movie appears beautiful. It is one of the greatest films of all time.

In the long run, the familiarity and predictability of the major plot resulted in the film's third act to shed lots of momentum for me. Subverting the viewer's expectations isn't the defect but the objective of the movie. Mikael's vision comes off as callous, however that doesn't have anything related to Isaac's performance that is sweet when it must be, angry when it ought to be, etc. The achievement of a movie such as this depends entirely on the actor at the middle, and in this instance, that just happens to be a really good one. The concentrate on the narrative isn't exclusively on Rey. The Hispanic filming effect doesn't stop on screen.

His plays continue to be done the world over, regardless of the capacity to market, particularly when they're star-studded, like the latest Othello that played Off-Broadway last season with David Oyelowo and Daniel Craig. The third act would be the same. The 2nd crucial example of amazing tension and spectacle that's rapidly undermined involves Apocalypse and Xavier. The actual problem here is the abundance of racism and discrimination in the business enterprise. The issue with this theory is that it is based on a book that isn't at all similar to that. The answers never truly accumulate. The next article includes spoilers for ANNIHILATION.

The all-white' masterpiece in the Oscars is among the many good evidence. As mentioned earlier, Jean Grey isn't in full charge of her abilities and other pupils are terrified of her and she's afraid of herself. The entire palette of the film is extremely dark.

Jordan's not been offered the opportunity to make the same effect. Miller created the most best action movie of the previous 20 decades. Williams has openly stated he wishes to get involved in the new sequels, but hasn't been contacted. Despite being active in the company for longer than Lawrence, 2015 could be the very first time he's published more than 1 movie within a year. Lena realizes that she should destroy a part of herself in an identical manner that Kane kills part of himself.

Because the vast majority of Hollywood have the same mindset. Now, smart folks do not enslave stupid folks. A couple of these note the regular denominator at the beginning, but at a matter-of-fact manner. It's so difficult to not. To make things worse, Parker was under a really tight deadline. Things generally appear to be looking up. A true cure, even in case you have got no idea what is happening.

The most remarkable quality of Ava, when you consider it, is the robot's face. Past the bounds of social media and Hollywood publicity, fans start to think of a feeling of connection with the online boyfriend which transitions to a feeling of ownership. In truth, it could have been sacrilegious to call me a real fan whatsoever. If you're a Star Wars fan you might be let down at some portions of the movie, but it's a ton better than the prequel movies and a fantastic deal of Star Wars fans actually love them. The online boyfriend makes it feasible for us to obsess over a romantic prospect from a secure distance. There are numerous incredible women and people of colour in media you could invitation, and a minumum of one of them would certainly take. Jane the Virgin is additionally a bad-ass.

[schneeblute-blog]

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