Greetings again from the darkness. For someone to truly change their core being, they must have a reason. “Because it’s the right thing to do” is usually not enough … it must be something much deeper like self-preservation or love. For Mike Burden, self-preservation was what kept him loyal to the Ku Klux Klan, while love is what drove him to walk away. The film is based on a true story from 1996 in Laurens, South Carolina, and it’s the feature film directorial debut of Andrew Heckler (who also wrote the screenplay).
Garrett Hedlund plays Mike Burden, a war veteran and dedicated Klan soldier who helped open the Redneck KKK Museum. The leader of the local KKK chapter is Tom Griffin, played by Tom Wilkinson. Griffin is a despicable man and a father figure to Mike. The great Forest Whitaker (Oscar winner for THE LAST KING OF SCOTLAND, 2006) plays local Reverend Kennedy, who preaches love and forgiveness while leading his congregation in protest of the new museum.
Poverty permeates the town of Laurens every bit as much as racism. Mike is employed by Griffin in his repo business, and drives around town in a truck advertising ‘Plantation Concrete’, a business name obviously selected for effect. These poor southern whites take out their frustrations on the only group they view as lower than themselves – local black folks.
Mike’s job has him crossing paths with Judy (the always excellent Andrea Riseborough), a single mom just trying to survive and raise her son the right way. Sparks fly between Mike and Judy, and she delivers an ultimatum. His choice to walk away from the Klan for love means his life, and Judy’s, gets immediately much tougher. An extraordinary act of kindness from Reverend Kennedy has its own ramifications, and the complexity of racism begins to show.
Supporting characters are played by Tess Harper (Tom’s wife), musician Usher Raymond (Judy’s friend), Crystal Fox (Reverend Kennedy’s wife), and Dexter Darden (Reverend Kennedy’s teenage son). Each of these characters offers a glimpse at how hatred evolves and perpetuates, especially in a poverty-stricken small southern town. Unfortunately, two hours is simply not enough to dig deep or make sense of systemic racism. However, personalizing the feelings can shine some light on the topic.
Director Heckler met with Reverend Kennedy in the late 1990’s and was able to write the story based on the conversations. As the film ends, we see actual clips of interviews with Reverend Kennedy, Judy, and Mike Burden … leaving us to wonder if a stellar documentary might be buried in the video vault. The film was an audience winner at Sundance in 2018, and it appears 8-10 minutes have been edited out, leaving a better paced film. The hand-held camera work works against the natural drama and tension of most scenes, although the film does provide some insight into how a person might go about rehabilitating their own poisoned thoughts. And that’s certainly worth a look.
Greetings again from the darkness. Adaptations of Superheroes, Comic Books, and Graphic Novels have been driving the movie theatre box office for a few years now. Where the financial success of a film was once measured in tens of millions, it’s now hundreds of millions. Beyond that, these enormous productions are pressured to make political and social statements … providing the hope of which real life leaders seem to fail. This latest from Marvel and director Ryan Coogler (CREED, FRUITVALE STATION), carries all of that plus the expectations of an entire gender and race. It’s a heavy burden for a comic book character, however it seems, regardless of one’s perspective, it’s likely the film delivers, satisfies, and … oh yeah … entertains.
The bar has been set so high for action sequences and special effects, that we take the great for granted and only speak up on those that falter. What allows this film to take its place among the best of the genre is a combination of story depth and the payoff for showing us a world we haven’t previously seen. The cultural aspects of the (mythical) African country of Wakanda are not only interesting, but the setting itself is breath-taking. An explosion of color, texture and technology blended with intriguing and multi-dimensional characters bring the film to life and draw us into this wonderland of tradition, culture and humanity.
It seems ridiculous to speak of a comic book film in these terms, but the number of talking points raised during its runtime are too many and too varied to discuss in this format. What we can make clear is that it’s cool to watch an entire movie where people of color and women are strong, confident, and intelligent. Chadwick Boseman has played Thurgood Marshall (MARSHALL), James Brown (GET ON UP), and Jackie Robinson (42), and here he takes on a fictional icon in King T’Challa/Black Panther. He perfectly captures the pensive nature of a King balancing tradition with the needs of his people to evolve and transition. His chief adversary “Killmonger” is played terrifically by Michael B Jordan (CREED, FRUITVALE STATION) as a man out for revenge and power. For most movies this head to head battle would be enough … but not this time.
Lupita Nyong’o (Oscar winner for 12 YEARS A SLAVE), Danai Gurira (“The Walking Dead”), and relative newcomer Letitia Wright play Nakia, Okoye, and Shuri respectively; a triumvirate of three of the strongest women you’ve likely ever seen on screen. Nakia is the love interest, but also carrying out her own humanitarian missions, while also proving to be beyond adequate as a soldier. Okoye is the ultimate warrior and absolutely loyal to her country, while Nakia (T’Challa’s sister) is a contemporary version of James Bond’s Q – the ultimate technology whiz, and one with the zippiest zingers. Any of these characters could be the basis for a standalone movie, but together they elevate this to something much more than a couple of dudes in sleek suits fighting.
Martin Freeman (THE HOBBIT), Daniel Kaluuya (GET OUT), Sterling K Brown (“This is Us”), Angela Bassett, and Forest Whitaker are all contributors, and Andy Serkis is a frenzied standout in an all-too-brief turn as Klaue. The strong cast delivers even in the few moments when the script lags. In fact, the only piece of this puzzle that didn’t seem to fit was the traditional hand-to-hand combat to determine the next king. Why is it that a nation so advanced still relies on primitive courses of decision-making? Perhaps this is merely commentary on our society, though providing a more intellectual solution would have been in line with the rest of the story.
The world of Wakanda is stunning. The costumes are sleek, colorful and fascinating. The characters are multi-dimensional. The action sequences are top notch (armored rhinos!). The cinematographer is Rachel Morrison, who recently made history by being the first woman to receive an Oscar nomination for cinematography (MUDBOUND). It’s these factors that allow Mr. Coogler’s film to achieve the level of importance that most comic book films wouldn’t dare to strive for. On top of everything, it accomplishes the one thing I demand from these type of movies … it’s quite fun to watch!
Greetings again from the darkness. Our cinematic love affair with aliens goes back decades, and these films typically fall into one of two categories: evil aliens attack earth, or aliens come in peace and humans react poorly. We’ve seen aliens trying to provide us with righteous advice (The Day the Earth Stood Still, 1951). We’ve connected via a few musical notes (Close Encounters of the Third Kind, 1977) and radio frequencies (Contact, 1997). And we have certainly had our share of surprise and unwanted meetings (Alien, 1979; The Thing, 1982). Leave it to cutting edge director Denis Villeneuve (Sicario, Prisoners, Incendies) to find a new, more head-and-soul approach for the genre.
This high concept project is born from Eric Hiesserer’s screenplay of Ted Chiang’s short story “Story of Your Life” … a title that makes sense by the end of the movie, but one a bit too blah for a big time production with Oscar hopes. Five time Oscar nominee Amy Adams plays Dr. Louise Banks, a renowned linguist and interpreter. There is an interesting and well done sequence at the beginning of the film that provides the back story for her character and the foundation for the final reveal.
A dozen oddly shaped spaceships have docked (mid-air) at various points around the globe. The one in the U.S. is hovering over … no, not Area 51 … Montana of all places. Forest Whitaker plays the military officer charged with assembling the team that will try to communicate with the aliens. He chooses Dr. Banks due to her remarkable track record with languages. She is joined with uber-Science and Math guy, Physicist Ian Donnelly played by Jeremy Renner.
We do see the aliens and their artsy style of communicating (a touch of Rorschach), but this is about so much more than learning a new inner-galactic language. It’s about how the military reacts, how the general populace reacts, how the world leaders work together (or not), and even how the military, intelligence agencies and academia coexist. It’s about smart people working out a plan when the problem isn’t even clear … a between-the-ears head-scratcher.
Mr. Villeneuve utilizes what appear to be flashbacks in helping us better understand Dr. Banks, but the element of time may not be what we typically accept in story-telling. The story, characters, cinematography and score (one of the best matches of music and movie all year thanks to composer Johann Johansson) work together to provide an engaging, nearly hypnotic movie going experience. Plus, I’m fairly certain this is the first alien movie to reference Abbott and Costello and crack a Sheila Easton joke. This is beautiful filmmaking that is also thought-provoking and encouraging of some species self-analysis (our species).
Greetings again from the darkness. Is it possible to have a boxing movie without a crusty old trainer? Or a cute kid? Or a stubborn macho lead who makes poor personal choices? It doesn’t seem to matter much as this latest from director Antoine Fuqua (Training Day) checks off most of the expected cliché’s, and still slides easily into the canon of boxing movies that now covers nine decades.
This one packs a satisfactory punch both inside the ring and out. Jake Gyllenhaal stars as Billy Hope (the name courtesy of first time screenwriter Kurt Sutter, known for “Sons of Anarchy”). Mr. Hope follows the expected arc: 1. On top of the World! 2. A nasty crash landing 3. Redemption and comeback. However, just because we are familiar with the trail, doesn’t mean we can’t enjoy the hike.
Gyllenhaal continues his impressive string of performances that include End of Watch, Prisoners, and Nightcrawler. In the latter, he transformed his body by losing 40 pounds. This time, he packs on the muscle to become convincing as a boxer. The recent trend of actors getting fat, skinny, ripped or ugly to attract awards attention is nothing new to Gyllenhaal, who has made a career of melding into his roles.
The supporting cast includes Rachel McAdams as Hope’s wife. The two share a background as orphans in Hell’s Kitchen and have a strong relationship with each other and their young daughter played by Oona Laurence. Curtis “50 Cent” Jackson plays Hope’s long-time manager who telegraphs his true colors much too early (and no, this doesn’t refer to the recent news involving Mr. Jackson). Naomie Harris is a bit underutilized as the social worker, but the film is at its best once Forest Whitaker enters as Hope’s last hope (sorry). Mr. Whitaker always elevates a film with his presence, and his character here would have provided a boost with even more screen time.
A few topics are touched upon, though none very deeply. The father-daughter story line was pretty effective, but the anger management issue could have been explored more effectively since it was so crucial to the story and Hope’s personality.
Eminem provides some new music for the film, and it should be noted that this was the final score composed by the great James Horner, who only recently passed away. Sure the film “borrows” from Rocky and Raging Bulland many other boxing classics, but at least it doesn’t go full “Champ” on us.
Greetings again from the darkness. Director Rachid Bouchareb, a long time festival favorite, has taken the general story of writer/director Jose Giovanni’s 1973 film of the same title and relocated it from France to a New Mexico border town. It touches on many elements such as rehabilitation of criminals, small town justice, human personality traits, freedom and justice, and conversion to Islam.
Opening with the silhouette of a brutal murder against the sunset in a New Mexico desert, the film has a western feel replete with the sense of doom and impending showdown. Forest Whitaker stars as Garnett, a paroled man who has just been released after serving 18 years for killing a deputy. Despite a life of crime that began when he was 11 years old, Garnett was a model prisoner who obtained his GED and mentored others while becoming a converted Muslim. His words make it clear he wants to put his old life behind and start fresh – however, his actions show he still struggles with explosive anger issues.
In a move that seems counterintuitive, Garnett is confined while on parole to the county in which he killed the deputy. The local sheriff (Harvey Keitel … who else would it be?) sets about making things difficult for Garnett, and expresses anger at his release while the “deputy is still dead”. The idealistic parole officer is played by Brenda Blethyn, so the stage is set for the clash of philosophies: trust and rehabilitation vs historical behavior and justice. Adding one more challenge to Garnett’s new world is the presence of his old crime boss played by Luis Guzman, who of course, wants him back in the business.
While many folks all over the globe struggle endlessly to find love; Garnett is 2 days out of prison when he falls for the local banker played by Delores Heredia. Herein lies the problems with the movie. The love connection just happens too quickly. Guzman is never the ominous presence of a truly bad guy. Keitel only gets to offer glimpses of his disgust at Garnett’s freedom. These three characters are all severely underwritten despite the efforts of three fine actors.
If not for the terrific performance of Forest Whitaker, the film would fall totally flat. It’s his screen presence that keeps us watching, hoping against all odds that he will find the peace he so desperately seeks. There is a wonderful scene with Whitaker and Ellen Burstyn, and a couple of the scenes with Whitaker and Blethyn are powerful, but the other pieces just never pack the punch necessary for this one to fully click.
Greetings again from the darkness. Who in the world thought this would be the right time to release this film? Between holiday shopping and the new release schedule chock full of Oscar bait, dropping this hard-edged little film into theatres was box office suicide. And what a shame that is because there is definitely an audience for this exceedingly well acted snapshot of 2008 Rust Belt misery (has quite the holiday ring to it, eh?).
The steel mill town of Braddock, Pennsylvania was once thriving, but is now on life support … just like the father of Rodney and Russell Baze. Casey Affleck plays Rodney, the brother who viewed enlisting in the Army as his way out of Braddock. When we meet him, he is about to leave for his 4th tour in the Iraq war. Russell (Christian Bale) is the more grounded, trying to do right brother. Russell dutifully works in the mill while trying to make a life with his girlfriend (Zoe Saldana).
Since life never hands folks in these towns a break, Russell ends up in prison, Rodney’s fourth tour leaves him scarred physically and emotionally, the dad dies, the girlfriend bolts, and the sleazy drug and crime world congregate right on top of the brothers’ heads. Rodney goes deeper into the ugly world of bare-knuckle fighting in an attempt to pay off his gambling debt to a local crime head played by Willem Dafoe (in yet another reptilian role). If you think cockfighting is merciless, the bare-knuckle fights held in backwoods Appalachian Mountains make that look like child’s play … and no tamales! The film is at its best when the nastiest of all these characters is on screen. Woody Harrelson plays Harlan DeGroat (great character name!), the soulless crime and drug lord of the area, who also runs (and fixes) these brutal fights. Harrelson is at his most menacing here, and even has Dafoe’s character a bit jumpy. Harlan DeGroat has no redeeming values, and admits to having “a problem with everybody”.
The story itself is quite predictable, but Bale, Affleck and Harrelson keep us glued to the screen. Zoe Saldana, Forest Whitaker and Dafoe have moments, but mostly their characters are underwritten here. Sam Shepard adds blue collar royalty as the uncle of the Baze boys. Director Scott Cooper (Crazy Heart) re-wrote Brad Ingelsby’s script, and it suffers from leaving us wanting more in regards to background and makeup of these characters. Still, the strong performances and the excellent score from Dickon Hinchliffe, keep us engaged and make this grimy, hopeless world something we can’t turn away from.
**NOTE: for a prime example of why so many of us consider Christian Bale one of the finest actors working today, check out the way he reacts to his release from prison … breathing fresh air for the first time, nervous energy that goes with freedom, pure joy in seeing his brother.
SEE THIS MOVIE: if you are looking for a movie that absolutely should not be viewed over the holidays, but you get a kick out of hillbilly evil
SKIP THIS MOVIE IF: the family is looking for a light-hearted, feel good flick for group viewing after a day of feasting on the Christmas beast and opening presents.
Greetings again from the darkness. This is not a film about multiple personalities. Rather it is a film WITH multiple personalities! Yes, there are a staggering number of characters played by a who’s who of actors, but it’s the movie itself that flashes the most personalities. It is quite a mixture of historical events, the Civil Rights movement, family drama, generational differences, Presidential evolution, emotional wrangling, and Oscar posturing.
Forest Whitaker portrays Cecil Gaines, the man who worked his way up from being a child slave on a Georgia plantation to the highest level of butler within The White House … a gig that spanned 34 years and eight Presidents. The story is based on the real life story of Eugene Allen, who had a front row seat to dramatic historical events and major social changes … all while wearing white gloves and tuxedo. The movie bears a resemblance to the popular movie The Help, but while that one focused on individual racism, this one is more concerned with systematic or institutional racism.
While the movie has plenty of emotional moments, in my opinion it could have been even stronger had it committed more time to either Cecil’s long run in The White House or the father-son generational struggles between Cecil and his desperate-for-change son played with fire by David Oyelowo (from Freedom Rider to Black Panther). Instead there is much wasted time on superficial Presidential interactions and a needless side story of adultery involving Cecil’s wife (Oprah Winfrey) and his friend (Terrence Howard).
Director Lee Daniels obviously has many friends who wanted to be part of this one. The incredible cast includes Mariah Carey (still seeking redemption for Glitter), Alex Pettyfer (as a brutal slave owner), Vanessa Redgrave (Cecil’s first serving trainer), Clarence Williams III (Cecil’s ultra cool mentor), Nelson Ellis as Martin Luther King, and Cuba Gooding Jr and Lenny Kravitz (as fellow White House butlers). The most blatant slap in the face of Conservatives comes from the casting of extreme Democrat John Cusack playing Richard Nixon and Jane Fonda as Nancy Reagan. Other Presidents are played by Robin Williams (Dwight Eisenhauer), James Marsden (John F Kennedy), Liev Schreiber (LBJ), and Alan Rickman (Ronald Reagan). The constant game of “spot the star” is a bit distracting at times, but not as much as one might guess. It’s just a shame that most get very little story or screen time.
As for Oprah Winfrey, she is getting much love for her performance, including some Oscar chatter. What I saw was a performance that was solid, yet distracting due to the lack of aging in comparison to her husband (Whitaker). She changes very little (except for costumes) from the beginning until the very end when she definitely goes into heavy make-up for the Obama election. On a personal note, watching 1970’s era Oprah shaking her booty to “Soul Train” was an image I neither needed nor enjoyed.
Again, my favorite scenes were the ones between father and son … Whitaker and Oyelowo. Seeing these two generations struggle so much to understand each other and interpret the world in such different ways proved quite powerful. It’s always painful and embarrassing to re-live the horrible manner in which African-Americans were treated, but even moreso when it’s tied to a father-son relationship.
**NOTE: the ridiculous movie title is the resulting settlement brought on by Warner Bros who was concerned that a title of “The Butler” would cause confusion and conflict with their own 1916 short film of that title. Yes, 1916.
SEE THIS MOVIE IF: you are looking for an entertaining movie loaded with stars and a story that delivers some emotional tugs.
SKIP THIS MOVIE IF: you are expecting insight into the inner-workings of The White House OR watching Oprah get her groove on could possibly burn your eyeballs as it did mine.
Greetings again from the darkness. It’s been almost 10 years since Arnold Schwarzenegger was last top billed in a movie. He’s remained in the headlines most of that time … some good, some not so much. If you are an Arnold fan, it’s nice to see him back on screen. And what do you expect from a Schwarzenegger movie? Big guns, big muscles and big laughs from the one-liners. The first U.S. film from noted Korean director Jee-woon Kim delivers all three … and, unfortunately, little else.
Arnold plays Sheriff Ray who has semi-retired to a quiet life in an Arizona border town after a career on an ill-fated Los Angeles police drug team. His deputies are played by screen vet and comic relief Luis Guzman, Zach Gilford, and JaimieAlexander. An FBI Agent played by Forest Whitaker contacts the Sheriff and lets him know an escaped drug lord played by Eduardo Noriega is headed through the town on his way to cross the border. Peter Stormare‘s group is in town to clear the path. Things get messy from there.
The tongue-in-cheek parts work best, but the plot and overall script are pretty lacking in substance. This could almost be viewed as a Schwarzenegger tribute film. The self-deprecating humor keeps the film rolling, but some of it just tries too hard … especially the segments with Johnny Knoxville. Some of the action is so over-the-top it draws the desired laughs from the audience, but be prepared for lots of gun play and plenty of Chevy commercial time.
We also get a quick scene from Harry Dean Stanton and Rodrigo Santoro has a small role as a former war hero – turned town drunk who gets his shot at redemption. But make no mistake, this is Arnold’s movie and his chance to show that he still has it. The screen presence is still there, but his skills might play better in a more limited support role. That said, I triple dog dare you to not crack a smile when he is firing guns, in a frantic car chase through the corn fields, and engaged in hand to hand combat on the border bridge. After all … he did say he would be back!
*** NOTE to Directors: when you cast Forest Whitaker, don’t film him running … it’s not a pretty sight
SEE THIS MOVIE IF: you are a fan of Arnold the movie star and look forward to seeing him back on screen
SKIP THIS MOVIE IF: you are expecting a serious movie about a small town sheriff – this one is closer to trashy B cinema than Oscar.
Greetings again from the darkness. A sci-fi action thriller set in the near future, the film is based on the novel by Eric Garcia. It stars Jude Law and Forest Whitaker as organ repo men. No, not Wurlitzer pipe organs … artificial body organs. The idea is that any vital body organ can be replaced for a price. Just make sure to read the fine print in the repo clause before signing anything!
Liev Schreiber is the supervisor of Repo Men at The Union. Judging from the size of the building and the mass of the lab, business is booming in the artificial organ transplant business. And who could be surprised? The Union sales team has a perfect sales pitch – sign here or die. And actually, they don’t expect you to stay current on your payments, hence the Repo crew.
I never did figure out if this was supposed to be a comedy/satire or dramatic thriller. The actors seem to play it straight, but that actually adds to the humorous moments. Despite some fine and interesting songs on the soundtrack, the film is a bit of a mess at times … though there are also some fun action scenes. The warning must go out that gore abounds and the actual repo scenes are a bit squirm-inducing.