MINARI (2021)

February 11, 2021

 Greetings again from the darkness. “The American Dream” could actually be labeled ‘The Human Dream’. The idea of being part of a loving and supportive family, while achieving a bit of societal success and living comfortably and safely in a home one can call their own, is a dream that bears no boundaries, gender, or skin color. This autobiographical film from writer-director Lee Isaac Chung is centered on his childhood recollections of his family move to rural Arkansas to start a farm.

It’s the 1980s and this Korean immigrant family has packed up to leave their dead-end California life to begin anew on a 50 acre parcel in Arkansas. Father Jacob (Steven Yeun, “The Walking Dead”) has a dream of cultivating Korean vegetables to fill the demand from an increasing Korean populace. Mother Monica (Yeri Han) sees less dream and more nightmare as they drive far from a city and pull up to a tattered mobile home (“it has wheels”). Their young son David (Alan S Kim) has health concerns from a closely monitored heart murmur, and is constantly being ordered to “don’t run, David!” David’s older sister Anne (Noel Cho) is mature and smart for her age, and acts as his life guide.

Monica and Jacob take jobs at a local hatchery to support the family while the farm is developed. The hatchery job is exactly what they escaped from in California, so Monica sees their situation as worse, not better … foreseeing failure on the farm. A heartfelt argument leads to compromise and Monica’s mother Soonja (Yuh-jung Youn) comes to live with them. As David notes, she’s not a “normal grandmother”. Rather than bake cookies, she freely spews profanity and quite enjoys the “water from mountains” (Mountain Dew) amidst her practical jokes at the expense of others. In other words, she’s a hoot!

Jacob accepts the offer of help from Paul (longtime favorite character actor Will Patton), a local evangelical Christian who praises Jesus frequently, and has an unusual Sunday ritual. The two men manage to cultivate the crops, yet run in to many obstacles along the way. But Chung’s film is clever in that the real core is family dynamics. Grandma’s planting of fast-growing minari herb in the creek bed acts as a metaphor for the plight of this family. Each member finds their way, and it’s clearly stronger as a unit than broken.

This is such a beautiful film with a gentle story grounded in realism. These people talk and act like a family, and the pressures they face are real. Racism in the south is never dwelled upon, but the struggles of a changing citizenry is faced by all. Emile Mosseri’s score is unusual, but fits perfectly, while Lachlan Milne’s cinematography at times reminds of Terrence Malick, possibly due to the setting. Filmmaker Chung has created a tender, relatable film and the cast performs superbly. The result will strike an emotional chord for many.

In theaters on February 12, 2021 and VOD on February 26, 2021

WATCH THE TRAILER

 


SORRY TO BOTHER YOU (2018)

July 12, 2018

 Greetings again from the darkness. All movie watchers know that the first rule of Fight Club is ‘Don’t talk about Fight Club’. And now we know that the first rule of Telemarketing is STTS: Stick to the script. The similarities between the two movies may be few, but hip-hop artist (The Coup) turned first time filmmaker Boots Riley comes out swinging in this offbeat, quite clever satire on race, corporate culture, economic factions, social division, and politics. It makes for a nice companion piece to last year’s critical darling, GET OUT.

LaKeith Stanfield (GET OUT, SHORT TERM 12) stars as Cassius “Cash” Green, a low key good dude living with his girlfriend Detroit (Tessa Thompson) in his uncle’s (Terry Crews) garage. Four months behind on rent, Cash wants to do something important with his life, he just doesn’t know how … and his current financial circumstances aren’t helping. You may call him a dreamer, but he’s not the only one (a Lennon reference seems fitting for this film).

Cash’s best buddy Salvador (Jermaine Fowler) gets him an interview at a dingy basement telemarketing firm – an interview that clues us in on the type of humor we are in for. Thanks to advice from one of the veteran telemarketers (Danny Glover), Cash utilizes his “white voice” and immediately has remarkable success … and we get some pretty funny sales call visuals to correspond to the obvious capitalism statement.

Ultimately his sales success gets him promoted to the “power caller” level and his own mentor, accessible only through the gold elevator. This leads to conflict with his friends, his girlfriend and his own moral standards. See, the basement dwellers are being led by Squeeze (Steven Yeun) in an effort to unionize for a living wage and tolerable work environment. As Cash continues to pursue … well, uh … cash … his friends carry out their form of civil disobedience. This leads to police brutality, examples of corporate greed, and the downside to individual ambition.

Armie Hammer plays Steve Lift, the egomaniacal corporate d-bag who takes Cash under his wing – for the purpose of making more money. The sales pitch turns to “Worry Free”, a lifestyle being marketed through brain-washing advertisements for guaranteed food and shelter. One need only commit to a lifetime of corporate servitude. If that sounds like slavery, well, that’s the point Riley is making. It’s not so far off from the life many of us lead today, but of course this is presented in satirical fashion, so we are manipulated into laughing at ourselves and our society. There is even a popular reality TV show titled “I Got the S**T Kicked Out of Me”, and folks can’t get enough!

The story kind of flies off the rails in the second half with some wacko-science fiction genetic engineering. The equisapiens have to be seen, as no written description will do. Even this segment has purpose. It speaks to how individuals and corporations can seize power and head in a questionable direction – all in the name of progress, efficiency and stock price.

Stanfield excels in one of his first lead roles, and Ms. Thompson is her usual shining star. Kate Berlant (as the humorously named Diana DeBauchery) has a couple of excellent scenes, and David Cross and Patton Oswalt are terrific as the (extremely) white voices of Cash and Mr. _________ (played by Omari Hardwick).

Filmmaker Riley offers up not a call to arms, but rather a call to wake up! Many of the decisions here mirror real life. Personal success can cost us friends, and political and professional choices may challenge our inherent morals (here, bordering on Faustian). The film is both provocative and funny, though a bit messy at times. You’ll laugh while you think, or laugh after you think, or think after you laugh … somehow you’ll do both. OFFICE SPACE and Terry Gilliam’s BRAZIL may be the closest comparisons; just be cautious if Boots Riley ever invites you to join in some horse play.

watch the trailer:


I ORIGINS (2014)

July 19, 2014

i origins Greetings again from the darkness. The evening I saw this one, I tweeted “Mike Cahill is one of today’s most intriguing filmmakers“. After a few days to think about it, that belief remains so. A double feature of this and his previous film Another Earth could keep the conversation flowing for days and weeks.

Evolution vs Spirituality is the main theme here. Miohael Pitt plays molecular biologist Ian Gray, who is working diligently to prove that the evolution of the eye is the scientific proof debunking creationism and spirituality. Ian’s petri dish view of life is challenged when he meets free-spirited Sofi (Astrid Berges-Frisbey). This takes “opposites attract” to a whole new level … in fact, opposites actually detract … from the story and tone. While Sofi causes cracks in Ian’s convictions, their ultimate split is actually a turning point for the film. The second half is extremely entertaining and thought-provoking.

Leaping ahead a few years, we find Ian married to his previous lab assistant Karen (a terrific Brit Marling). These two have an intriguing bond, and the birth of their first child sends the two scientists back into research mode … including some globe trotting. Retina scanning technology plays a huge role here, and leads Ian to India where he searches for proof of this new theory.

This existential trip has an inordinate number of coincidences, lucky breaks, and philosophical discussions … not to mention a rainbow range of eye glass styles for Pitt and Marling. If you enjoy films that generate post-viewing discussions, Mr. Cahil is proving himself as the go-to filmmaker. Whether you fall on the side of science or spirituality, or somewhere in-between, this film seeks to prove the eyes have it.

watch the trailer: