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Rapid Fire Reviews #12 A Christmas Smorgasbord of Random Movies!

Over Christmas Break I went on a random binge of movies. This monstrous marathon of magnanimous movies provided an atmosphere both mystifying and majestic. Or at the very least, this assortment of titles were just a fun way to pass the time with a few friends and family in a decidedly noncommittal viewing over the Holidays. Thus, these films that lay before you aren’t exactly the peak of artistic expression, but they were quite fun! Sometimes that’s all you need, and given the year we all just suffered through, I figured a less academic series of films was warranted in rounding out this terrible, downright awful, hell of a year.

THEM! (1954)

Written by Ted Sherdeman, based on a story by George Worthing Yates, and directed by Gordon Douglas, “Them!” is a cheesy 1950s giant monster movie that’s exactly as complex as you might expect. However, that’s not why you watch these movies anyways. In my experience, giant monster, or Kaiju, movies are for either A) Enthralling spectacle, or B) Practical effects that are admirable but wonderfully, gloriously, bad. These aren’t necessarily films with narratives that leave you in awe, or writing so compelling that it makes you question the morality of man, though the original “Godzilla” still has that effect. “Them!” is one of many similarly styled genre movies that exploded onto the silver screen in the 1950s, partly due to the King of the Monsters influence, but also partly as audiences felt an urge to gorge themselves on escapism after the second world war left many craving sheer entertainment value over other more taxing dramatic themes. Obviously, that’s not a sweeping statement, but it is part of my understanding of the era, there are many, many, examples that fly in the face of that thesis though. “12 Angry Men”, being an excellent example against it (https://spacecortezwrites.com/2019/03/21/old-school-review-sidney-lumets-12-angry-men-1957/). “Them!” begins with two police officers discovering a young girl wandering by herself in the New Mexico desert. After examining several scenes of curiously destroyed structures the officers alert the right officials which kickstarts the rest of the film’s momentum. There are many staples of the genre that find their way into this film, one example being the two scientific experts in Dr. Harold Medford (Edmund Gwenn) and his daughter Pat (Joan Weldon) who go to great lengths to explain the enormity of the problem with giant ants to the Military Brass and Government officials. The short version is simply; unless we destroy this menace, we will face the annihilation of the human race. After diving into the giant ants nest in the desert and mercilessly gunning down the monsters, they discover that two flying queens have escaped! One brood is found on a battleship at sea and essentially bombed to the ocean floor because, well, its the only way to be sure. The scientists, generals, and cops eventually pinpoint the final nest underneath Los Angeles, deep in the sewer systems. They save a few kids and kill every last squirming giant insect in their paths! I also enjoyed this film on the basis that it partly inspired the gameplay and atmosphere of the video game series, “Earth Defense Force” (Which I highly recommend!). You probably know by the poster alone if this is your sort of thing or not. Solid practical effects for it’s time, over-the-top violence, and cheesy black and white monster movie goodness. Recommended!

The Thing from Another World (1951)

Written by Charles Lederer, adapted from the story Who goes there? by John W. Campbell Jr, and directed by Christian Nyby and Howard Hawks, “The Thing from another World” is a fun 1950’s sci-fi thriller that John Carpenter would eventually remake roughly thirty years later. This one has always been on my list because of its relation to Carpenter’s film, which I would classify as a modern masterpiece of sci-fi horror. However, I did not know that Howard Hawks himself had a hand in producing and even directing some scenes of this one. If you’re aware of Hawks’ style of rapid pace dialogue with snappy attitude, you’ll recognize that influence here immediately. The first departure from the Kurt Russell version that I noticed was the flip in polar geography with this film taking place near the North Pole whereas Carpenter’s was set in Antarctica. The actual titular Thing (James Arness) was also wildly different. This monster was humanoid in form, still an alien as in Carpenter’s version, though this one wasn’t a shapeshifter, but instead a figure that was composed of a plantlike matter and obsessed with growing seedlings in the scientist’s onsite green-house. The “breathing” plant babies was also kinda creepy looking and fun. This one’s pretty straightforward in plot and execution, much like “Them!”, but this film had better characterization (the little of it that was present) and is probably a better made film overall even though I may have enjoyed “Them!” a bit more. Mildly recommended if you enjoy old school genre sci-fi!

King Kong (1976)

Written by Lorenzo Semple Jr, from an idea conceived by Merian C. Cooper and Edgar Wallace, and directed by John Guillermin, “King Kong” is a reimagining of the 1933 King Kong film with a 1970s twist to the whole affair. Out of all the “King Kong” adaptions that have come and gone over the decades, this one is…. fine. It’s not my favorite Kong flick, but it was solidly entertaining throughout. If you’ve seen any of the other standalone Kong movies, with “Skull Island” being the exception here, the formula is the same with details and characters changing every so slightly. There’s always a Blond, Dwan (Jessica Lange), that Kong grabs and is mesemerized by. Check. There’s always a male lead that has a character defining goal to joining the voyage to Skull Island, Jack Black’s film director character took on that role in Peter Jackson’s rendition of the film in 2005, and here that role belongs to Jeff Bridges’ Jack Prescott. Check. Bridges does a fine job as the moral authority figure who challenges the oil executive spearheading the journey to the island, Fred Wilson (Charles Grodin). Yes, this time they go to Skull Island for oil, or at least, they believe the island holds a bounty of black gold underneath it. The practical effects that bring Kong to life were a lot of fun and it textured the fantasy of the film with a suitably 70’s grit. The monarch ape even fights a giant snake to the death in a surprisingly violent sequence. Once they get to New York it’s only so long before Kong escapes from his shackles, grabs Dwan, and heads for the tallest building he can find, which for this film, is two very famous towers in Manhattan proper. I’m always surprised when seeing the Twin Towers in the New York Skyline in older movies, it seems so long ago now that whenever you see them in Seinfeld re-runs or older films like this it kind of jolts you awake for a second. Anyways, the violence hinted at in the snake fight earlier comes full circle here when helicopters with gattling guns shoot an ungodly number of bullets into Kong once atop the towers. It has to be the famed creature’s most violent death by a mile. All in all, it was a fun alternate universe “King Kong” movie, if you like giant monster movies, this one should suit you just fine. Though I have to be point out that the scenes with Dwan and Kong do seem to take a bit too long for my money. If you’re patient and enjoy the “King Kong” story, I’d recommend this one!

The Great Race (1965)

Written by Arthur A. Ross and directed by Blake Edwards, “The Great Race” is a surprisingly long, and incredibly silly, vehicular race around the world from New York to Paris! A friend of mine wanted to revisit this comedy from his childhood over Christmas so we did just that. This one will not be for everyone, and that’s okay. For one, this movie is almost three hours long, and there’s an absurdist comedic tone running throughout the entire film that’s reminiscent of Looney Tunes, The Three Stooges, and Vaudeville theatrics. So, if you’re not into that, this ain’t the movie for you. The film was inspired by the real life 1908 race from New York to Paris, though I doubt the real one had a massive pie fight in a tiny Eastern European country near the end. The film stars Tony Curtis as Leslie, the charming heroic daredevil. Which kinda blew me away as the only film I knew him from was “Sweet Smell of Success” which is a VERY different kind of movie (https://spacecortezwrites.com/2020/02/06/old-school-review-sweet-smell-of-success-1957/). Then there’s Jack Lemmon as Professor Fate, a literal mustache-twirling-villain whose also a turn of the century daredevil that considers The Great Leslie to be his eternal competitor for fame and glory. Fate’s antics should be familiar as it’s quite similar to any cartoonish villian that’s ever existed. Though there’s more than a few performance notes that made me wonder if Jim Carrey was actively homaging Lemmon’s “Fate” for his role as Dr. Robotnik in the “Sonic the Hedgehog” movie. The third major character is that of Natalie Wood as Maggie Dubois, a suffragette campaigning for the women’s right to vote and representation in the workforce who makes her way into the race and ends up riding with both Leslie and Professor Fate during various points of the race. This movie is simply a cartoon in live-action form, and if that’s your thing, go for it. Somewhat recommended.

The Monuments Men (2014)

Written by Grant Heslov and George Clooney, based on the book of the same name by Robert M. Edsel and Bret Witter, and directed by George Clooney, “The Monuments Men” is a World War Two film that charts the course of older academics and professors that enlist in the line of duty to recapture Europe’s cherished stolen masterpieces of artwork. This one was a delight, it may not have done anything extremely outstanding with it’s execution in direction, writing, or even in performance, but it was just good enough in all categories to be thoroughly entertaining. I missed this one when it was in theaters and have always meant to give it a watch, but just never got around to it until now. I’ve gotta say, it was solid. The film follows Frank Stokes (George Clooney) as he convinces the military to fund and fuel a small operation to go into active warzones in France, Belgium, and Austria to recover and return culturally famous paintings, sculptures, and fragments of buildings. The unit, nicknamed The Monuments Men, consisted of museum directors and curators, art historians, and an architect. While initially being scoffed at by men in the field who refuse to coordinate bombing patterns and plans of attack that may cost them time and manpower, the team begins to gain success and acclaim after recovering a veritable treasure trove of stolen artwork hidden in abandoned mines that the Nazis left behind in their retreat. Though eventually after the war begins to come to a close the team has to race against the clock as Hitler eventually orders the artwork left behind to be set aflame and destroyed forever. My interest in this one was essentialy driven by the casting, and everyone involved did perfectly fine in their roles, though no one truly stood out from the crowd. Sometimes you just wanna see Bill Murray, John Goodman, and George Clooney together in a World War Two film with lower stakes than your average war film, and that’s okay. Moderately recommended.

Digimon Adventure: Last Evolution Kizuna (2020)

Written by Akatsuki Yamatoya, adapted by Jeff Nimoy, based on a story by Akiyoshi Hongo, and directed by Tomohisa Taguchi, “Digimon Adventure: Last Evolution Kizuna” is a series ending film that takes the characters from the original TV show that aired in the 1990s and caught up with them as adults in their mid to late twenties with a story that was far more compelling than I ever expected. To be fair, I was unaware of Digimon’s apparent resurgence over the last few years. I was told by friends after our viewing that while this film does an excellent job serving as a return to the series after the initial run back in the 1990’s, this was the capper to the new “Digimon Adventure” reboot series that used the same characters, themes, and voice actors from the American release (I’m sure the original Japanese voice actors returned as well in some fashion, but I watched the english dub version, which I only do so in certain situations, otherwise it’s subtitles all the way for me! #Nostalgia). We’re reintroduced to most of the original characters as adults, but with a heavy focus on Tai, Matt, and Izzy. Some of the original Digi-destined have succeeded in their professions of choice, Joe is a Doctor, Izzy runs an advanced tech company, and Sora runs a popular internet startup company. Tai and Matt however have drifted a bit, they’ve stuck closer to their roles as protectors of the worlds both digital and earthly. Early on Tai, Matt, and Izzy are clued into a wider phenomenon affecting other digi-destined kids around the world with their Digimon evaporating out of thin air while each human counterpart is instantaneouly placed in some sort of coma. So they investigate, and eventually discover that everything is tied to another former digi-destined, now an adult. As it just so happens, the bond between Digimon and their human partner is strong because of the potential that children have. As they age and become adults, that potential wanes, and thus they begin to lose that connection until they become permanently separated from each other. There are some damn good themes and imagery as the film goes on. The villain, who also had a Digimon partner and lost them prematurely years ago, is trapping the other Digi-destined in crystalized forms of their most cherished memories, and our heroes must learn how to grieve, accept loss, and adulthood in it’s many shapes and forms. This film has more emotional maturity than the majority of films I’ve seen over the last few years, and that was shockingly satisfying. Oh, and the quality of the animation is 100% slicker and more polished for this film, this one’s a perfect (in my opinion) love letter to the series. If you grew up with this cartoon as I did, this is delightful, sad as hell, and I couldn’t have asked for a better send off to characters that I thought I’d seen the last of more than a decade ago. Highly recommended.

Wonder Woman 1984 (2020) *Slight Spoilers*

Written by Dave Callaham, Geoff Johns, and Patty Jenkins, and directed by Jenkins, “Wonder Woman 1984” is the superhero sequel to one of DC Comics’ most popular and adored characters. Okay, so initially I wasn’t going to toss the Wonder Woman sequel into this Rapid Fire Review piece, but it was the last movie I watched during my “Christmas Smorgasbord”, so here are my thoughts. First and foremost, I will point out that I really enjoyed the first “Wonder Woman” quite a bit. It was a fine Superhero movie and I legitimately enjoyed the characters and the story being told. This movie, however, is far messier and shockingly mediocre. There are some really well done sequences and scenes here and there, I really enjoyed the opening action sequence in the Mall, or when Wonder Woman (Gal Gadot) saves Barbara (Kristen Wiig) early in in the film from a scummy guy in the park, that was shot in really neat way. Unfortunately that’s how the whole film operates, there’s an inordinate amount of questionable story decisions being made at every corner, but some scenes are downright cool and have some neat artistry to them. Like previously stated, it’s shockingly mediocre. The character performances were entertaining enough, but they lacked depth. Maxwell Lord (Pedro Pascal), despite being cheerfully hammy in his villainy, didn’t really seem to have any consequences to almost destroying the world. His motivations seemed flat at best, I mean sure, he’s greedy and ‘wants‘ greatly, but his plan didn’t seem to have any coherance other than, “create as much global chaos as possible“. Steve Trevor’s (Chris Pine) part in all of this was sweet and endearing, the two leads still share a magnetic charisma. So, I do understand wanting to have them together in the sequel, but it was handled so strangely. For example, if he was brought back to life through the power of magic, why did he have to inhabit another man’s body to do so? None of the other wishes in the film come with such strange caveats, other than the general “Needful Things” tit-for-tat repercussions for wishes- which Diana does eventually get as her powers lessen over time. Which by the way, speaking of Maxwell Lord, the performance from Pedro Pascal was quite good, but the way he is used throughout the story, especially his resolution in the third act, felt incomplete and somewhat confusing. The inconsistency of the wishes really threw a wrench in the plot machinations if you think about it for too long. Oh, and we can’t forget Cheetah, the superhero sequel pre-requisite side villain who’s mishandled throughout the film. She… uhhh doesn’t really have much of a purpose in the movie and essentially only exists for Wonder Woman to fight in the third act and I have to be honest, the CGI used to bring Cheetah to life was laughably bad, and I mean, it’s just… plain bad. So, if you’re willing to shut your brain off during superhero movies, this one MAY be for you, but personally, this one was not for me. Not highly recommended.

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Review: Tenet

Written and directed by Christopher Nolan, “Tenet” is a high concept spy thriller that’s technically fascinating and very impressive on the filmmaking side of things- but narratively it’s a bit of a mixed bag. The film is now available for video release, so I finally sat down and gave this highly anticipated one a watch. I have to say, while I’m not really sour on the film, I am merely in a state of confusion about it overall. This is Christopher Nolan’s most jarring film for me to date. The highs are very high, but there are so many questionable story tactics displayed throughout the film that I really do need to see it a second, third, maybe even fourth time to understand it better. Maybe that’s just me, but let’s dive into a discussion about the story at hand first. The first thing that hits you over the head with this film is just how fast the pacing is, it doesn’t stop to let you blink or breath at all before taking off to the next scene. The opening scene takes place in an opera house in Ukraine where the protagonist (John David Washington) is introduced as a CIA agent participating in a raid on the packed music hall, covertly. If you’re wondering why I didn’t name John David Washington’s character, it’s because he has no name, he’s just the protagonist. Things don’t go so well for him as he and his team are captured and our protagonist has his all of his teeth pulled out in a trainyard torture scene before the titlecard arrives. Pretty bad day, even worse as he fights to eat a suicide capsule to avoid giving up his team, and succeeds. At least, he believes he should be dead. It was just a pill that put him in a medically induced coma, a “test” from the agency, and one that he passed. From there he’s given a briefing on his latest mission, to save the world from certain doom. He’s only given two pieces of information, a word, Tenet; and a symbol of interlocking fingers. From there he’s sent on his globe trotting investigation to track down any and all possible leads, starting with a visit with the character who I like to call “the scientist of exposition” (Clémence Poésy).

This curt yet concise scientist then describes the high-concept idea that governs the rest of the film’s logic. She shows the protagonist how to interact with items, in this case bullets, that have been inverted by some future technology sent back in time. She puts it plainly, “you’re not shooting the bullet; you’re catching it”. From there he’s pointed to a powerful arms dealer in India, Priya (Dimple Kapadia). To gain access to her for information on Tenet, the protagonist is aided by an inside man with knowledge on the international crime market, Neil (Robert Pattinson). Together they break into the towering fortress that Priya has holed herself away in and discover that she sold ammunition to a Russian oligarch, Andrei Sator (Kenneth Branagh), who had the cartridges inverted. To get to Sator, they attempt to go through his wife, Kat (Elizabeth Debicki), an art collector and expert. I’ll leave the plot description there, I don’t want to spoil it any further, but I feel that’s enough to get a direction of where the film is headed (well, maybe not quite, but it at least decribes who the major players in the story are). Personally speaking, I could understand the broad strokes of what was happening but from scene to scene the logic of what was happening was not easily digestible. Which is saying something as I rarely ever have a hard time understanding what’s going on in a movie at this point. I’m not trying to humblebrag my way into a justifiably negative outlook on the film or anything like that, I’m just saying that if I had a hard time following the story- I can only imagine what kind of experience the casual moviegoer had with this one. This is different from the rhetoric around Nolan’s other high concept spy film, “Inception”- which I understood the story of the first time around and found it to be a much more enjoyable film experience. That’s not to say this is a bad film by any means, it’s just a bit of a mess at times.

This is a film that’s got so many things going for it, that I can hardly knock it for narrative comprehension- but that did have an effect on my time with the film. There are some seriously great sequences throughout the film. There are intricate heists, some excellent fight scenes, thrilling car chases, there’s a lot of really fantastic stuff that I truly wish I could have seen on the big screen over the summer- but hey, it is what it is. The performances from the actors is top notch, very quick-witted and technical, but nowhere near as much thorough characterization as I would have liked. This is probably the best role I’ve seen from Elizabeth Debicki, and I really enjoyed both John David Washington and Robert Pattinson’s performances- they shared a palpable chemistry that evolved as the film went on. Kenneth Branagh also delivered a very good villian in Sator, I really enjoyed the menace and danger that he brought to the story. I also have to applaud the reliance on practical effects, the film felt as big as it looked with a tangible sense of scale and urgency. Though Nolan’s sound mixing still detract’s from the film’s clarity a bit, it’s just too much in some scenes. Overall, this is a good film, with some flaws that could erode after multiple viewings, but only time will tell on that front. I do recommend giving it a watch, or three.

Final Score: 10 Minutes

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Quarantine 2020 Catch-Up: Rapid Fire Reviews #8 2020 Releases

After digging through boxes of random VHS movies just to find something to review in my last Rapid Fire Reviews, I hadn’t considered reviewing some of the movies that were actually released this year. Originally I didn’t plan on discussing several of these films upon viewing them- most of the bunch weren’t all that interesting to be honest. However, I finally got around to watching “The Invisible Man” and that was the impetus for this round of Rapid Reviews. Hope you find something you’ll enjoy!

The Invisible Man

Written and directed by Leigh Whannell, “The Invisible Man” is the latest modern re-imagining of the H.G. Wells’ classic. In this iteration we’re introduced to our lead, Cecilia (Elisabeth Moss), in a relentlessly soundless opening scene as she attempts an escape in the middle of the night from her abusive partner Adrian Griffin (Oliver Jackson-Cohen), the invisible man himself. The scene is an excellent example of the skill in executing tension that you’ll be subjected to over the next two hours. This film is intense and consistently thrilling, each scene continually ratcheting up the pressure in creative and unexpected ways. The story is sort of a fun “What if Tony Stark was a grudge-holding psychopath with toxic control issues?” scenario. Elisabeth Moss owns this movie, you totally believe her fear and paranoia. Which is crucial, if her performance didn’t sell you on the immersion of threat or atmosphere of danger- the film wouldn’t have worked. There are sequences throughout the film where subtle camera movements imply the invisible man’s presence with chilling ease. Creating the unsettling “presence” of the invisible man must have been a creative joy to figure out, as the filmmakers utilize just about every trick and idea you could get out of the premise. It exceeded my expectations greatly.

Highly Recommended!

Bad Boys for Life

Written by Chris Bremner, Peter Craig, and Joe Carnahan, and directed by Adil El Arbi and Bilall Fallah, “Bad Boys For Life” is the third installment of the buddy cop action series. It’s been seventeen years since we last saw Mike (Will Smith) and Marcus (Martin Lawrence) chasing down degenerates on the streets of Miami, and in some ways you can definitely feel the near twenty year gap between cinematic outings. However, story-wise, the film does use the characters’ age to it’s advantage. Both characters are going through great changes in their lives- but each take wildly different actions in response. Mike is fueled by obsession and his reckless policing tactics are seriously questioned by those around him. Marcus on the other hand takes his potential retirement with ease and looks to support his family in doing so. Both have their expectations turned upside down once a brutal killer with a mysterious connection to their past arrives in Miami and violently shakes things up. “Bad Boys For Life” does some interesting things with Mike and Marcus, but ultimately it’s nothing groundbreaking. Which sums up my feelings on the film as a whole, it’s a fine evolution in the series and both Smith and Lawrence did excelled returning as those characters- but it’s ultimately a movie that’s “Just Fine”. If you really love the “Bad Boys” movies you’ll probably get a kick out of this one. Though, admittedly, the lack of Michael Bay is palpable.

Lovingly Recommended with Nostalgia

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Written by Christina Hodson and directed by Cathy Yan, “Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn” is a spiritual successor (of sorts) to the first “Suicide Squad” movie. So, this is a weird one. Firstly, it’s not really a “Birds of Prey” movie- it’s a “Harley Quinn” movie with a sprinkling of several other characters that have minor parts in the third act. With the exception of Black Canary (Jurnee Smollett-Bell), who is more intimately involved with the plot, most of the characters take a back seat to the ramblings and incoherent nature of one Harley Quinn (Margot Robbie). I mean, she’s even the narrator. Anyways, the basic plot here is that after breaking up with the Joker, Gotham City’s goons and minor villains take the chance to exact their vengeance on her (Now that there are no repercussions from the clown prince of crime). As a longtime Batman fan, I did enjoy that the two chief antagonists of the film were actual rogues from the pages of the Caped Crusader’s comic. Black Mask (Ewan McGregor), who runs a nightclub amongst his other villainous interests, and his assistant, the deranged serial killer Victor Zsasz (Chris Messina). Once they hear of Quinn’s falling out with Joker, they move to strike. The structure of how events unfold in the film are sporadic and nonsensical, some scenes feel like the abstract extrapolation of how Quinn truly experiences life. So, if you’re a die-hard fan of Quinn, there’s plenty of her, and the portrayal is fairly spot on. Margot Robbie IS Harley Quinn at this point, perfect casting for the character. One of the highlights of the movie is the brutality that villain Black Mask employs with a memorable performance from Ewan McGregor. I didn’t expect this to be the second movie I’d watch in two weeks time to feature faces being peeled off of people. But, as all despicable villains eventually do, Black Mask gets an extremely gruesome death. Bright colors, a blistering pace, and tons of violence with middling substance- “Birds of Prey…” is another completely “fine” movie, but nothing out of the ordinary for D.C.

Somewhat Recommended if you really Love Harley Quinn

Sonic The Hedgehog

Written by Pat Casey and Josh Miller and directed by Jeff Fowler, “Sonic The Hedgehog” is an adaption of the famous video game series from SEGA that began in the 1990’s. Truthfully, I did not expect to write about this one at all. This was the last movie I saw with friends in theaters this year, a movie theater with a full bar is a beautiful thing indeed, and while we all mildly enjoyed this children’s movie- I didn’t think there was much anything I could say of value. But alas, here we are! A very quick rundown of the story is that a being from another dimension, Sonic (Ben Schwartz), ends up in our universe and triggers the attention of the military after his super speed sets off all alarms and energy readings in the small town of “Green Hills” Montana. The talkative, and child-like, Sonic teams up with local Sheriff Tom (James Marsden) to avoid the pursuit of the expert brought in by the Department of Defense, Dr. Robotnik (Jim Carrey). While there are incredibly cringey “comedic” scenes and a misunderstanding of aspects of the video game, it’s a generally capable adaption that will likely entertain most children. The film feels more akin to how video game and comic-book adaptions were handled about twenty years ago though, but again, it’s not without it’s joys. And that joy lies completely in Jim Carrey’s outlandish and entertaining performance as Dr. Robotnik. For a moment or two it felt like the 1990’s again- but in a good way. James Marsden did a fine job as the “insert affable everyman to encounter our strange IP” character, it’s hokey at it’s worst, but somewhat charming at its best. If you longed for the Jim Carrey of the 1990’s this will likely sate your appetite for silly- however, other than that, it’s passable at best.

Recommended for Jim Carrey’s Dr. Robotnik

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Quarantine 2020 Catch-Up — Double Feature Special: Spike Lee’s “Do The Right Thing” & “Da 5 Bloods”

Firstly, I have to amend a small fault on my part. On the last post of this blog I noted that my next piece of writing would include two of Spike Lee’s films, one being the latest film he recently released on Netflix in “Da 5 Bloods”, and the other being “Do The Right Thing” which I incorrectly noted as being his first film when in fact it was his third. That post has already been edited for the mistake, but it only made clear for me that I didn’t know all that much about the American filmmaker, and that it was past due for me to dive headlong into his filmography. The result begins with this post and an acknowledgement to watch more of his films in the future. After watching these two films, I have to admit to an admiration for the filmmaker’s tendencies. I quite enjoy provocateurs filmmakers, and Spike Lee is a fascinating creator in that regard.

That being said, while I highly recommend giving these two films a watch, you should note going in that these films can be uncomfortable at times. “Do The Right Thing” in particular has moments that seem to be ripped straight out of today’s headlines and while it may be upsetting for some, Lee is very adept at showing the ugliness of humanity alongside it’s beauty. Love and Hate are key themes in both films, and as such, he will not avert your eyes away from the ugliness. Absorb it. Learn from it. Be warned though, both films have heavy ideas and themes, but again, I think everyone should give them a watch. I always challenge anyone that reads this blog to seek out new films and different filmmakers, and that is especially true for the provocateur filmmakers like Spike Lee.

Written and directed by Spike Lee, “Do The Right Thing” (1989) follows a day in the life of Mookie (Spike Lee) a local pizza delivery boy in the Bedford–Stuyvesant neighborhood of Brooklyn New York. Though to limit the scope of the film solely to Mookie and his interactions would be a disservice to the film and it’s story. It’s more of an ensemble cast in truth. The film is layered with terrific and memorable performances from John Turturro, Richard Edson, Samuel L. Jackson, Ruby Dee, Ossie Davis, Giancarlo Esposito, Danny Aiello, Bill Nunn, Joie Lee, and Martin Lawrence in his first feature presence. While we may follow Mookie’s path through the neighborhood, the camera often leaves Mookie to linger on the many faces and personalities of the neighborhood.

Mookie works at Sal’s (Danny Aiello) famous pizzeria with his two sons, Pino (Turturro) the eldest and most overtly racist of the family, and Vito (Edson) the quieter and friendlier brother. As Mookie makes his rounds delivering pizzas we’re introduced to many people from the block. From Da Mayor (Davis), a friendly drunk with a heart of gold, to the stoic Radio Raheem (Nunn) a powerful presence who wields a boombox constantly blaring Public Enemy’s “Fight The Power”, but there’s also Mother Sister (Dee) eternally watching the neighborhood from her brownstone windowsill, and a trio of entertaining middle-aged men that sit across from both the pizzeria and the Korean grocery store who crack wise throughout the film. However there are two important individuals left to discuss, one is Mister Señor Love Daddy (Samuel L. Jackson), a local radio DJ host who is a benevolent voice of reason piercing the veil of narrative function several times in the story, and then there’s “Buggin Out” (Giancarlo Esposito), as he is called. “Buggin Out” sits down to eat a slice of pizza at Sal’s for lunch when he notices that the “wall of fame” in the restaurant only has Italian Americans (Sinatra, DiMaggio, DeNiro, Pacino), so he asks, “Why aren’t there any brothers up on the wall?”. To which Sal replies that it’s his restaurant, he can put anyone up on the wall that he wants. “Buggin Out” points out that the place is only ever full of black customers, and that they should have someone up there too. Sal rejects the idea and “Buggin Out” is kicked out while Mookie has to clean up the mess.

For the rest of the film while the other plotlines and characters are given attention “Buggin Out” is pounding the concrete looking for supporters to boycott Sal’s pizzeria. He doesn’t have much luck as everyone legitimately likes Sal’s, but by the day’s end he returns with Radio Raheem and Smiley, the mentally challenged man that sells colored pictures of Martin Luther King jr and Malcolm X on the streets. I won’t ruin the culmination of the film here, but as a whole I found the film to be funny, charming, eclectic, and one that truly understood race relations in America as they were, and as they are today. There’s a scene, one of the most memorable of the film for me because I didn’t expect it, where Mookie and Pino begin an argument about race where Mookie asks Pino why his favorite athletes and musicians are black, but he still chooses to use words and language that are racist? It’s a notion that explodes into slow zoom mid-shots on several characters in the movie that openly and blatantly expel the most racist, stereotypical, and vicious insults from multiple races and backgrounds. It’s a startling dive into hatred that is broken only, mercifully, by Mister Señor Love Daddy. There’s a link below to an interview where Spike Lee discusses the scene at length.

“Do The Right Thing” is a powerful film that challenges its viewers to consider America’s race relations at more than face value. After introducing us to a community of good people, a hot summer day sends all the unsaid and il-considered notions to the forefront, and Spike Lee shows us how such terrible and awful things that exist within our society can hurt all of us, if only we care to look these truths in the eye.

Written by Danny Bilson, Paul De Meo, Kevin Willmott, and Spike Lee, and directed by Lee, “Da 5 Bloods” (2020) is the story of four Black Vietnam War veterans returning to the country to find the remains of their fallen brother and give him a proper burial. However, they are also looking for the gold bars they left buried there as well. This film was an absolute surprise, I expected the film to confront unpleasant truths about the Vietnam War and the Black soldiers that participated in it, but I didn’t expect it’s timeless nature. I didn’t expect the film to eloquently showcase how hate and brain programming can crush a man’s soul, and I didn’t expect to be wowed so thoroughly by the technical aspects of the film. There are also creative choices throughout the film that were equally astounding. I also didn’t expect an enormous and effective amount of violence both real and fictional. Lee filled the film with real war footage, some of it is disturbingly violent, while some is purely historical archives of real black men-in-arms of that time. It gives the fictional characters a sense of immersion into our past that is seldom possible for other characters within period pieces. There are scenes in the present day and flashbacks to the Bloods’ time back in Vietnam, and the way each are depicted within the film changes how we view the story as a whole. The Vietnam scenes were shot on 16mm with grain, and curiously, the younger versions of the Bloods aren’t depicted with lookalike younger actors or de-aged with rubbery tenacity- instead they’re performed by the older actors. It’s a unique choice, but one that effectively underpins the point that this war didn’t leave them. Granted, all of the Bloods have varying issues with the past and how they chose to deal with it. There’s also the ever-changing aspect ratios, there’s four different ones paired with varying filmmaking techniques spread throughout the film. I’ve got a link below for an article from Slate discussing the details behind these. In lesser hands, these techniques might have failed or been a detriment to the story being told, but here they add a layer of magic to the film that only enhances the story being told.

That being said, the characters in this story are what make it so compelling. The technical wizardry and cool cinematic tricks are very good and I love them- but it’s the character work that truly makes this film shine. The four living Bloods reunite at a Hotel in Ho Chi Minh City (formally known as Saigon). Paul (Delroy Lindo), the most complex and misunderstood of the group, Otis (Clarke Peters) the medic and peacemaker among them, Eddie (Norm Lewis) the eccentric high roller that funded the whole trip, and Melvin (Isiah Whitlock Jr.) the jokester and artillery specialist. I’m not quite as assured in my description of Melvin, Whitlock’s performance was a fine addition to the cast, but his characterization was the only one I found to be somewhat lacking. Then again, I may just need to give the film a rewatch to better dig into that character, it’s a bit of a long movie running at two and a half hours. In both time periods there is a fifth Blood member. In the war, the squad leader of the Bloods was Stormin’ Norman (Chadwick Boseman), and in the present day, it’s Paul’s son David (Jonathan Majors) who joins the four unexpectedly before they depart into the jungle. With regards to Melvin, the rest of the Bloods feel fully realized and complex. They all have deeper issues that need addressing, but the absolute standout is Delroy Lindo as Paul. He is his own Colonel Kurtz who unravels more as they journey deeper into their pasts looking for treasure, for salvation, for forgiveness. If the film industry continues to take the shape that it has for most of this year, then Lindo has already won “Best Actor”, his performance was mesmerizing. Spike Lee, also, should get the Director’s gold- the year may hold out more gems and high quality surprises, but I’d be hard pressed to see anyone else deserve a hard earned win more than Spike Lee.

Lee touches on a lot of modern day issues, from the Opioid Epidemic to MAGA hats, the director has not and does not shy away from ‘hot topics’ as you by now well know. With this film, Spike Lee has refuted any naysayers to his skill and standing in the film community. Lee’s latest film is fierce, passionate, and ambitious. Hopefully we get more films with this kind of energy from Lee, I know I’ll be looking forward to them.

LINKS FOR MORE INFO ON SPIKE LEE:

https://ew.com/movies/spike-lee-breaks-on-do-the-right-thing-scene-mookie-and-pino/

https://slate.com/culture/2020/06/da-5-bloods-aspect-ratios-explained-spike-lee-movie.html

https://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-spike-lee