SPACE CADET

July 4, 2024

Greetings again from the darkness. We have accepted that a bartender can get elected as a United States Senator, and writer-director Liz W Garcia would have us believe a bartender may also become an astronaut … but only after submitting a fraudulent application with details, accomplishments, and references that NASA wouldn’t bother verifying until after admission into the program.

Of course, we know going in that Garcia’s film is a comedy, and in no way should be compared to the fine film, A MILLION MILES AWAY (2023), a biopic on Jose Hernandez, a farm worker who actually accomplished the things required to become an astronaut. “Rex” (played by Emma Roberts, daughter of Eric and niece to Julia) is a party girl bartender attending her 10-year high school reunion with her BFF Nadine (Poppy Liu, “Hacks”). We learn Rex had a childhood dream of going to space – a dream fully supported by her mother, who has since passed. Rex’s strong academic record gained her admission to college, but mom’s death seemed to knock her off the space track and into a life of parties and pouring drinks and dressing like a 13-year-old girl.

With a newfound inspiration, Rex fires off a heartfelt letter to NASA asking for admission into the program. The letter is intercepted and, well, enhanced, by a well-meaning Nadine. Soon, Rex is packing up her bedazzled clothes and heading to NASA. Program directors Logan O’Leary (a heavily lipsticked Tom Hopper, I FEEL PRETTY, 2018) and Pam Proctor (Gabrielle Union, BRING IT ON, 2000) aren’t sure what to make of Rex, though remain impressed with her application, even as she excels in leadership and flounders in technical aspects.

The ASCANS (Astronaut Candidate) program is not realistically depicted here, and it’s not surprising that Rex survives each round of cuts. And yes, we all know where this is headed, as surprise is not a factor in any aspect of this film. The film’s title is obviously a play on words, and if you somehow believe more cringe is needed, a budding romance (also obvious) is tossed in to make sure no one takes this NASA seriously.  The ending takes us right where we know we’re headed, and we find ourselves wondering why any filmmaker, much less a female filmmaker, would purposefully portray an intelligent woman in this flighty manner. Comedies are no doubt tough to execute, but the best are grounded in some form of reality. Perhaps there’s a bartender out there somewhere that will cure cancer or solve world hunger. Let’s just hope fraudulent applications aren’t the new norm.

Releases on Prime Video on July 4, 2024

WATCH THE TRAILER

2 Comments | Comedy | Tagged: , , , , | Permalink
Posted by David Ferguson

THE BIRTH OF A NATION (2016)

October 6, 2016

birth-of-a-nation Greetings again from the darkness. Rarely is a director’s feature film debut one that has historical and societal relevance … and certainly few first-timers would dare “borrow” the title of one of the most iconic films in cinematic history (regardless of the irony). But it seems Nate Parker may be no ordinary filmmaker. His 7 year passion project is well made, well acted and worthy of discussion.

Though the films share the title card (right down to the font), there are almost no similarities between Mr. Parker’s film and the 1915 D.W. Griffith movie. Griffith’s movie (set 30-40 years later) is known as the first blockbuster and historical epic, was the first film screened at The White House (by Woodrow Wilson), and has been studied for its advanced filmmaking techniques. It’s also notorious for the despicable portrayal of racism, and has even been credited/blamed for re-energizing the activities of the Ku Klux Klan. Parker’s film is neither a remake nor a historical epic – it’s more of a biographical portrait of the most famous figure in the 1931 Southampton, Virginia uprising … Nat Turner.

This is the story of Nat Turner, but it’s clearly Nate Parker’s film. He is producer, co-writer (with Jean Celestin), director and lead actor (as Turner). Previously recognized for his acting (The Great Debaters, 2007), Parker’s passion for the story is evident. He takes creative license in some key elements (Turner’s marriage, the interracial baptism, the armory battle), but the fundamental truth that Turner was driven by his religious beliefs and visions to fight in order to free slaves is profound and ingrained in each scene.

Supporting work is solid and comes from Armie Hammer as Nat’s plantation owner and master, Penelope Ann Miller (The Shadow, 1994) as the plantation matriarch who teaches young Nat to read the bible (not the white man books), Jackie Earle Haley (The Bad News Bears, 1976) as the villainous slave hunting ranch hand, Mark Boone Junior as the scheming Reverend, Gabrielle Union as a rape victim, and Aja Naomi King (“How to Get Away with Murder”) as Cherry (Turner’s wife).

Nat Turner’s uprising lasted a mere 48 hours, and resulted in the slaughtering of dozens of slave owners and their families. Of course, many slaves were also killed and the fallout was that slave owners became more wary of the possible actions of slaves … while it also provided a glimmer of hope, and generational stories, for those who remained enslaved.

Religion was a driving force in Turner’s actions, and it’s fascinating to see a movie acknowledge conflicting bible verses, and how support can be found for most any action … in this case, slavery AND the battle against it. Turner’s sermons to slaves evolve over time from a message of “obey your master” to the point where he is inspiring the uprising – all with words directly from the scripture.

The end for Nat Turner provides the end of the movie, but of course, it’s not the end of the story. One need only check today’s headlines to know that racial tensions are prevalent and that society still has a ways to go for equality and humanity for all. Nina Simone’s “Strange Fruit” is one of the more haunting songs one will ever hear in a movie (originally recorded in 1939 by Billie Holliday), but it’s spot-on in its inclusion. A detailed song about lynching grabs our attention amongst the whippings, force-feedings, rape and other torturous mistreatments.

Slavery has been portrayed on screen in such films as 12 Years a Slave, “Roots”, Django Unchained, and Amistad. Nate Parker’s film deserves to be mentioned among these projects, and there is little doubt we will hear and see even more from Parker as a filmmaker (and actor). As a final benefit, the film reminds us to never bring a hatchet to a canon fight.

**NOTE: for those who follow the NBA, you’ll notice Michael Finley and Tony Parker are Executive Producers for the film.

**NOTE TO AMC NorthPark: my movie buddy was not pleased with his $7.03 small popcorn. Being one of the few who pays with cash, he questions why you can’t make 3 cents less per bag rather than load down your customers with 97 cents change … to say nothing of the inefficiencies in having your concession workers count out the 3 quarters, 2 dimes, 2 pennies

Leave a Comment » | Drama | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson