Within two movies, and most likely just with his first in 2017, Jordan Peele catapulted himself as a brand name in the world of horror. At this point, you’ll see a Peele horror movie sight unseen because you know what you’re getting is going to be a unique experience. There are plenty of modern horror directors that have built a rabid fandom, like Ari Aster or James Wan, but nobody seems to be given the same platform as Peele has earned at this juncture. The writer/director has become what M. Night Shyamalan used to exhibit, the director whose creative visions were each highly anticipated event movies. Nope is Peele’s first foray into science fiction territory and the results are messy, disturbing, and, at points, astounding.
The Haywood family ranch has been involved in the motion picture industry since its very beginning. One of the first film images, a black man astride a horse, was the great-great-great grandfather of Emerald (Keke Palmer) and Otis Jr. (Daniel Kaluuya). The brother and sister are trying to save the family ranch after the untimely and strange passing of their father (Keith David) who was felled by debris falling from the sky. Their neighbor, Ricky “Jupe” Park (Steven Yeun), is spinning his notoriety as a child actor into a Western theme park attraction. Ricky’s claim to fame was being one of two survivors of a 1990s sitcom where the trained chimpanzee, who in the context of the show was his adopted sibling, snapped and went on a killing spree. Emerald and Otis Jr. begin to suspect that there is a real unidentified flying object hanging over their land, so they set out to capture living proof and become rich and famous. The alien, hiding in an unmoving cloud over the course of six months, has other plans and intends to assert its claim on the Haywood territory.
Peele is proving himself more and more as a major director of genre spectacle and vision. Each of his three directorial efforts will hit people differently; I think they’ve incrementally gotten a little sloppier in the writing department, but Peele is only growing stronger as a visual stylist and orchestrator of big screen spookery. There is a grandeur to the visual arrangements, owing as much to the expansive language of Westerns and the awe of early Steven Spielberg. I wish I had seen the movie in IMAX as Peele intended, since he went to all the trouble of planning specific sequences for the grand IMAX cameras. There are several moments that are jaw-dropping and stirring in horror and wonder. A literal rain of blood and viscera and expelled non-organic items is a striking image. Even the unnatural way that helpless people are thrown off the ground can be jolting and primal. There’s a claustrophobic interior sequence of desperate people that really conveys the terror of the doomed. A big addition to the eerie atmosphere is the brilliant sound design. The otherworldly-ness of the alien encounters is heightened by a really in-depth sound design that can make the hairs on the back of your neck stand at attention. Even the sound of rain, and its distance, can be an indicator of the proximity of danger. There are also the distant sounds of horrible screams circling through the clouds high above, and it’s a deeply unsettling design trick that works every time. Even when the movie wasn’t quite as engaging from a narrative or thematic standpoint, Nope is always engaging on a simple delivery system of spectacle. The way Peele distributes his visual clues and keys, sometimes literally, always provides something for an audience to anticipate.
I was also starting to grow impatient from Peele’s coy narrative games. The plot moves in frustrating starts and stops, teasing an intriguing development or proffering a question and then skipping backwards, denying the viewer a sense of gathering momentum. There’s a toying sense of teasing out how far he can go before an audience gets too impatient and quits. Much of the first half also takes place during night or sequences of sustained darkness, which can definitely play into the the fear of what could be in those shadows, but it makes for a fitfully frustrating experience when you’re trying to unravel a science fiction mystery. I kept wondering how all these pieces were going to come together, especially the ongoing subplot about this killer chimpanzee, but I had faith in Peele (mostly). That faith was rewarded but I’ll admit for the first hour I was wondering if Peele was too evasive for his own good.
Nope begins as Close Encounters of the Third Kind and then transitions into Jaws and stays there, and it was during the second half that my interest magnified exponentially. It’s around the hour mark that the movie finally puts all its cards on the table and declares what it is and what the remaining movie is going to be about. All the stutter steps and vagaries are cast aside, and the movie finally shifts into its grand entertainment of a group of humans learning about an overwhelming and unusual threat and plotting their unorthodox plan of attack. I’ll still try and play around spoilers without getting too deep into specifics. It’s a great relief when Peele no longer has to tease his threads and mysteries and can at last be open and let the conflicting components come together. The annoyances I felt in the first half melted away, and I was satisfied as the movie picked up a genuine momentum and smartly tied in many prior plot elements for the bigger picture, like the inflatable tube men, old timey picture-taking souvenir machines, and even the very vague almost carwash-esque imagery from the opening credits. The second half of the movie is more fun because it’s a big hunt and it allows our characters to make use of what they have learned to form conclusions and strategic moves and adjustments. It’s characters making smart decisions. It’s a scenario that finally allows Peele to finally play with all the setups he’s spent an hour cheekily hiding around.
While the climax is great, and the movie gets consistently better, I don’t feel like all of its many thematic ties come together. Being a Jordan Peele horror movie, we’re now expecting there to be extra layers of social-political commentary and allegories. The back-story for Ricky as a child actor is given a lot of attention and screen time for a two-hour movie, and I don’t know if what it adds up to is equal to the time it was given. Thematically, you can make some speculative reaching about the exploitation of animals for spectacle, about underestimating and not respecting nature, and even setting up for later tragedy, but it all seems less meaningfully integrated than any other Peele movies’ elevated subplots. With the Ricky back-story, there is even a literal anticipation of a literal shoe to drop, which seems so obvious as a visual metaphor but I cannot link it directly with what follows. I can keep digging and find connections but it requires far more effort than Peele’s other works of horror. The family history of working for Hollywood as horse wranglers feels underdeveloped. There are also rules that it establishes that Peele isn’t fully consistent (just don’t look?) that left me questioning. I figured that colonialism would be an obvious parallel with invading aliens (H.G. Welles even made use of the analogy 120 years ago), but maybe that was too obvious territory for someone like Peele. My friend Ben had a crazy early theory that the aliens themselves would resemble horses and thus they were returning to free their equine brothers and sisters from human exploitation. I guess I’ll go ahead and spoil you, dear reader, that this does not happen in any shape with Nope.
I’d rank Nope the third best Jordan Peele horror venture, and while it clearly makes use of science fiction concepts and its rich iconography, it’s still very firmly a movie rooted in horror, the horror of the unknown, the horror of being small and helpless, the horror of being left behind. Not all of Nope’s many ambitions quite land, and the themes feel a bit more jumbled or underdeveloped, but I want Jordan Peele to continue making the movies he wants on his terms. Not every one is going to hit exactly the same for me, or for any viewer, but we’re all better when unique artists like Peele are given the latitude and support to bring their personal visions to the big screen. As long as he’s still achieving a baseline of quality, something that befell the middle Shyamalan period, then I say swing away and let’s see where you’ll take us all next, Jordan Peele.
Nate’s Grade: B
Requiem for a Dream (2000) [Review Re-View]
Released October 6, 2000:
Rarely does a movie today affect you that when the end credits roll you’re left silent and unable to speak. Requiem for a Dream is an unforgettable and intensely harrowing experience. You can’t take your eyes away from it. Afterwards you’re left in disarray and unable to think straight for most of the day.
Requiem chronicles the lives of four individuals and their spiraling addictions and missed choices. Harry (Jared Leto) is a small time coke dealer along with his friend Tyrone (Marlon Wayans) who can’t help to taste their merchandise and eventually end up broke again. Harry has gotten into the habit of routinely pawning his elderly mother’s TV set for some quick cash to score with. This happens so often that the pawn broker has a special folder for Sarah Goldfarb (Ellen Burstyn) and her televison. Harry is in love with his more positioned girlfriend Marion (Jennifer Connelly). She’s given an annual allowance of money from her wealthy folks to spend in her own fashion, but she’s denied love or attention. It’s between these four main characters that we will go through hell with.
Ellen Burstyn shows her grace with age and utterly blows your mind with her jaw-dropping performance as the lonely and strung out Sarah. Sarah has no husband anymore or a son to look after. She is alone and old, and those are two bad ingredients. She lives in an apartment complex overlooking the decaying ruins of Coney Island. Sarah has a different addiction than her child, she is addicted to food and is overweight. One day she mistakes a random junk phone call as her ticket to appear on television. She daydreams about gliding across the stage in her red dress that she doesn’t be able to properly fill anymore. With her elderly peers aflutter she tries her best to stick to a diet to fit into her slender dress. When the temptation becomes overwhelming she consults a friend’s doctor for some special “pills” to suppress her appetite.
Harry and Tyrone are embarking on their own dealing dreams to eventually move up the ladder and score some pure coke. Marion and Harry experience their love through simultaneous shoot-ups that space them out and turn them into romantic philosophers. Harry speaks of great dreams he has and the yearning to be something. Tyrone is haunted by thoughts of himself as a child and disappointing his sweetly loving mother who was proud of her son no matter what.
The film starts off in the summer and we are in the good times for all four characters. Harry and Tyrone are successful and racking up profits. Sarah has an unusual amount of energy through her prescribed pills and feels good about herself when she sees actual results as the pounds begin to melt away. Marion dances in her love of Harry and is ambitious with plans for her own design store. Things never are as good as they are again. Fall rolls along and Tyrone and Harry lose their money and lose their ability to secure drugs to sell. Sarah is noticing her pills are not having the same effect they were earlier and decides to ignore guidelines and take them like M&Ms. Marion starts to lash out at Harry’s ineptness at scoring and begins to tear at their relationship. She gets pushed to the brink to score that she resorts to the practice of using her body to secure what she needs. This isn’t even the beginning of how dour and horrible events will become for these four.
One of the strengths of Reqiuem is the treatment of these characters. The film shows sympathy for them and their situations but never condone them. Harry and Sarah are a family that have much love between them they just don’t know how to express it. When Harry discovers his mother is on essentially speed when he pays her a visit he’s left a shattered and crying mess. Only an injection into his veins in that cab ride saves him from his emotions. The relationship between Harry and Marion is initially seen as puppy love or people brought together through a love of drugs, but there are moments where you see the true beauty they have. In the end when Harry is out of state and dramatically in the need of hospitalization he calls Marion just as she’s doing her make-up for a “special” get-together. In a hushed tone she asks when he will be coming home, to which he responds in a mix of pain that it will be soon. She then so sincerely and beautifully asks if he can come back today – to which through an array of tears he agrees. Her sincerity and emotion in this sequence is a powerful glimpse at the love that does exist between the two of them. The second time I watched this film I started crying at this moment.
Burstyn is the stand-out star and if she doesn’t at LEAST get an Oscar nomination then that is the most unjust crime of them all. It’s been some time since her roles in The Exorcist and Alice Doesn’t Live Here Anymore but she still shines like a true gem. She magnificently portrays Sarah’s descent into madness and chemical dependency and leaves us with a chilling and haunting figure. Leto and Connelly show that they aren’t merely pretty faces and deliver their best performances of their lives. Both show incredible warmth and emotion.
Requiem was directed and adapted for the screen by Darren Aronofsky who gave us the head trip that was Pi. Here he uses camera trickery like speed up and slowed paces to show Sarah’s journey through her drugs. Other items include cameras mounted on the actors, split screens, and hyper edits to show the process of every drug shoot-up. His camera moves and tricks are never out of place though, as many gimmicky video director’s are. Each effect has a specific purpose. Aronofsky brilliantly uses a scene where Leto and Connelly are lying in bed besides one another but split screen to show the closeness they can strive but the distance that still exists. While each talks we see shots of the other’s hand carefully caress the other’s body. It’s a scene that’s as powerful as it it thematically romantic.
The tragedy of this is this film has been rated NC-17 by the MPAA and of course anyone who sees it knows the exact scene. The film is being released unrated by Artisan because NC-17 is a commercial kiss of death. The shame is this movie needs to be seen. Make it mandatory in schools. DARE isn’t working but this film will. No one with an urge to use drugs will have that same urge after seeing this harrowing film.
Nate’s Grade: A+
WRITER REFLECTIONS 20 YEARS LATER
Requiem for a Dream was a seminal event for me. It floored me when I originally saw it during the fateful fall of 2000. I can still vividly recall wandering out into the daylight after the movie and feeling like a zombie, just left to walk aimlessly and mumble to myself. I remember my friend Kat Lewis and I were unable to even articulate sentences other than, “Wow,” and, “Ooof,” for like an hour as we processed the drug-fueled descent into madness and hell. It was a movie that struck me dumb and left a mark. I became a lifelong fan of writer/director Darren Aronofsky afterwards and haven’t been disappointed with his movies yet (his 2014 biblical epic Noah is criminally underrated). At the end of 2009, I declared it the second-best film of the decade. Requiem for a Dream is the kind of movie you can admire for its craft and crushing emotional impact but also one you may never want to watch a second time. I haven’t gone back to it for at least 15 years for that same reason, the hesitation to get back into the morass and experience the tumultuous tumble all over again. Except when I did sit and re-watch it for my twenty-year review, I was amazed how many moments felt strikingly familiar. I was anticipated specific actor inflections (“I’m lonely. I’m ollllld”), gestures, and even sound cues. It was a strange experience because it was like re-awakening dormant memories I had papered over. I thought I had forgotten the movie but, in reality, I must have watched it enough in those early 2000s days to commit so much to memory. I was afraid to dive back because of the depressing subject matter that I expected to rightfully wreck me. Instead I experienced a different sort of awakening, and that was my question whether the movie’s highs might be over inflated and whether the younger version of myself was dazzled by a movie with more evident problems.
This is not a subtle movie in the slightest, not in subject matter, form, or style, and I’m sure that was part of what 18-year-old me so valued. It’s a movie dripping with style and wild imagination with how best to visualize the elation and instability of drug abuse. The editing by Jay Rabinowitz (8 Mile, The Tree of Life) is abundantly hyperactive, amassing over 2,000 cuts over the course of only 95 minutes (an average “non-Michael Bay” film running the same length has maybe 700 edits). It is all deliberately overwhelming to convey the frenetic energy of the junkie, and the repetition of edits and structures creates visual routines that Aronofsky then escalates or deconstructs brilliantly, using the language of film to immerse the viewer in this world and blend our senses together into a rapturous contact high. It’s not hard to see the inspiration for Edgar Wright’s own hyper-kinetic visual style here. The entire movie becomes a visceral reflection of the characters’ physiological state. The photography by Matthew Libatique (Black Swan, Iron Man) can be alienating, disquieting, but also vibrantly alive and excitedly inventive. This is the first feature film I can recall that used Steadycam cameras and attached them to the actors so that as they moved through their world they remained our stable focal point. It’s such a great and unsettling convergence of perspective. We are attached to the actor close-up. The musical score by Clint Mansell (Black Swan, Moon) is instantly iconic thanks to its sense of foreboding and the central haunting theme from the Kronos Quartet that was used in a thousand trailers afterwards because it’s that gob-smackingly, recognizably brilliant. These talented men were the essential wingmen for Aronofsky to achieve his beautifully horrible vision.
The 90s indie scene and well into the early 2000s was an audacious time that pushed the limits of film style, reshaping our sensibilities of what movies could accomplish, and Aronofsky is a world-caliber stylist. After two low-budget indie films, it’s clear why Hollywood came knocking and offered the man many high-profile titles like rebooting the inactive Batman franchise. There are entire complicated setups devoted to capturing single shots, and there are so many stylish choices that come flying that part of the appeal of the movie is simply lying in wait for what Aronofsky will deliver next, like a magician that keeps you asking for the next trick and the next trick. Some highlights include Sara (Ellen Burstyn) being taunted by her fridge and the hunger pangs she feels, including a delusion where the household appliance comes alive like a monster from an early Peter Jackson horror flick. The use of split-screen is stunning to convey coordination and also disconnect. There’s a lovely scene where Marion (Jennifer Connelly) and Harry (Jared Leto) stare at one another, their fingertips stroking different portions of their bodies, and the editing jumps around from close-up inserts to their slightly disjointed alignment face-to-face. It’s both sensual and romantic. They’re close but also far away. This is the kind of move that attaches a camera to a bungee cord and throws it off the rooftop just for a couple second shot of free fall. It’s the kind of movie that seems to test every visual and audio setting of cinema. I admire the sheer gusto of Aronofsky as a filmmaker and his drive to push himself and his story to the limit.
However, at a super-charged 95 minutes before end credits, Requiem for a Dream is just too much. Its sledgehammer approach to drama had an odd effect on me as a 38-year-old versus than as an 18-year-old. My younger self was dazzled and left profoundly affected and devastated. My current self felt empathy for the suffering of the characters but I wasn’t emotionally connecting with them in the same way I did back in 2000. After some reflection, I think this is because the movie is just trying so hard that it feels like it’s speaking in nothing but exclamation marks, all capital-D drama, that it has its own numbing effect. Things do get considerably worse for our quartet of characters as they go through hell, but because the pacing is so amped, speeding along to get to its next fix, it doesn’t ever let the movie breathe and linger before hitting you again. It’s so fast-paced that the tone becomes more overtly theatrical, and I found myself less able to connect with the characters on a deeper and meaningful level. The limits of characterization were really felt with my recent re-watch, and the love story of Harry and Marion, which felt tragic for me in the early 2000s, now feels empty. Maybe that was the point and it took me decades to see it through, that the two of them are caught under the spell of infatuation but cannot fully grow together from a co-dependent relationship built around self-destruction. Or maybe they’re just underwritten tragic bohemians. The only character that really gets worthy consideration and nuance is Sara. If the movie had slowed down, or even been 20-30 minutes longer, I think it would have more room to make its drama felt in a way that didn’t feel so anxious to the point of bordering on desperation. There are points where Requiem for a Dream feels like an overblown indie version of an after-school special on drugs.
The real heart of the movie is with Burstyn who delivers a career-best performance (she lost the Best Actress Oscar that year to Julia Roberts). Sara Goldfarb is the kind of person everyone might know, an older retiree who feels overlooked, afraid of pushing too hard against a son she can’t control, and someone who wants to feel special one more time in her life. She doesn’t see herself as an addict and the movie portrays her struggle as being analogous to the cocaine and heroin abuse of the other users. Sugar, caffeine, starch, red meat, all common items that can be just as addictive to the brain and body, and Sara’s struggles to lose weight are relatable and take on a horrifying transformation after she starts using prescription drugs as a quick solution. Burstyn is the definition of heartbreaking here and that’s even before she starts popping pills. She delivers one hell of a monologue about her sad state of needing something, anything to cling onto to give her life a glimmer of needed hope. It was the moment that made me instantly recognize the levels of sadness we’re working with. I enjoyed the little burst of happiness she felt when the other neighborhood ladies admired her for her chance of being on television. for her, this was everything. Burstyn goes through a physical transformation, from padded body suits to emaciated and sweat-stained (this is a very very sweaty movie; you can practically taste the grime coating the actors). She’s unrecognizable by the end. Burstyn is so devastatingly good as her character literally loses her mind, becoming one of those crazy people on the street. You feel such a reservoir of grief knowing what drugs have done to demolish this woman’s identity and transmute her into a living phantom.
The social commentary isn’t prevalent, beyond the universality of personal addiction, but it has one major critique and it’s the indifference of the system to those in need. Three of these characters are living through poverty and limited means of self-sufficiency. Marion has a trust fund but has to jump through hoops to maintain it, including at different points selling her body. When Sara visits her doctor to inquire about possible medicine, he never looks at her once and quickly writes her a prescription. When she’s admitted to a psychiatric ward, the orderlies barely even view her as a human being and threaten her with physical harm if she will not swallow her food. The ward doctor can clearly tell she’s not of sound mind but gets her to “sign” her permission for dangerous, experimental electroshock therapy. These are bureaucrats, professionals, and people of means that simply don’t care. The institutions of this country are geared to let people down, to slip between the cracks, and the supports are insufficient. In this regard, Requiem for a Dream is a condemnation for the system and its lack of real compassion.
The closing montage of degradation is so gut-punching, so expertly edited together for maximum symmetry, and so disturbing that I can completely understand if nobody would ever want to watch Requiem for a Dream again. Early on, while re-watching this movie alone, I thought, “My girlfriend would really be intrigued by this and appreciate the style and verve,” and then by the end I reconsidered whether or not it all might be too much to endure. You feel a little dirty by the time it’s all over. I think this time, in 2020 as opposed to 2000, it was too much for me because I was feeling less attachment to the characters and more removed from their drama because everything was so operatic and going by so fast. The movie still has so much technical and artistic ambition to drop my rating too low, but this is not the near-perfect A+ movie I highly regarded in my youth. This is not the second-best films of the 2000s. It’s still a good movie and one that will be felt and remembered long after. It’s hard to shake off its effect which are still felt even if you have difficulty engaging with the people beyond a general level of human empathy. My original review consisted of mostly reciting the plot, an aspect of my reviews I’ve tried to steer away from. I hate reviews that are 80 percent plot synopsis and then only a paragraph or two of critical analysis and deliberation. Requiem for a Dream is still a powerful and immersive movie that masterfully uses the full gamut of film tricks as its disposal. While it might not be a personally-defining movie for me any longer as an adult, it still was for years in my youth, and while it shattered me and left me a shambling mess, it also made me realize just what movies can do.
Re-View Grade: B+
Union Furnace (2015)
As an Ohio-based film critic seeking out Ohio-based indies to provide professional reviews for, I had to be asked whether I knew Nicholas Bushman, and the name was completely foreign to me. Bushman was born in Columbus, dropped out of school at 16 to make movies, and has four features and counting to his name. His IMDB bio even declares, “Bushman has announced himself as one of the most promising voices outside of the Hollywood establishment.” Take that, anybody making movies in New York City. I kid but I was excited to discover a new Ohio filmmaker who has found a level of success on his own terms. I watched his 2015 thriller Union Furnace because it was filmed in southern Ohio, and parts of Columbus, and also because my girlfriend’s mother knew some people linked to the movie and had a DVD copy available. It’s a low-budget, scuzzy little thriller that forces the viewer to ask how far they would go for a buck.
Cody (Mike Dwyer, co-writer with Bushman) is a car thief whose life is spiraling out of control. He comes across a mysterious stranger (Seth Hammond as “Lion Mask”) with a tempting proposition that could solve his money woes. Cody agrees to enter into an underground series of betting games. He’s blindfolded, taken to a woodsy location, and finds himself competing with seven other strangers (this includes Keith Freaking David). They’re trapped, staring down a crowd of creepy mask-wearing gamblers, and the implied threat only one will survive.
There are three clear paths to do a movie like Union Furnace: 1) deliver characters worth rooting for through these trials and tribulations or at least characters with secrets who might not be as they seem, 2) deliver really fiendish and degrading games and tests that a viewer can think alongside and imagine what they would do if given a terrible choice of terrible options, and 3) slowly unravel a mystery of who is responsible for the games and what their motivations are. It’s even further disappointing that Union Furnace doesn’t really do any of these. Let’s go path-by-path and analyze where the film’s storytelling shortcomings hamper its development.
It’s really hard to find any interesting character to emotionally engage with here. Perhaps they’re meant to be kept at a surface-level to adopt the perspective of our lead, Cody, as he too is trying to figure out who these people/competitors are over the course of one hellish night. If that’s the case, which I think is cop-out reasoning, then we need more careful attention given to Cody as our protagonist. He’s the main character of the film and the only person we follow before the fateful games, and it feels like he has material that could be utilized to make him a better formed character. He’s in debt, he’s stealing cars from church parking lots, he’s been in trouble before, and he might have a drug addiction. That’s a fine beginning for a desperate character, but what does it add to the overall narrative once the games actually begin? Sadly, too little. I was waiting for the games to have an ironic personal connection to the struggles of Cody, like maybe something relating to renewing an addiction that would make him question his limits. I suppose you could be overly generous and say Cody wanting the money for himself and then thinking of others is a character arc, but that’s too broad and unearned because of the lackluster supporting characters. Too many of these characters get whisked away too quickly to make much of an overall impression. Not having any character to really root for, or emotionally connect with, is a miscalculation considering the other miscalculations in narrative construction.
We’ve seen low-budget thrillers and horror films with similar premises, like Would You Rather and Cheap Thrills and even Saw, that present the audience with a garish game to play along. It’s part of the appeal of these kinds of movies, envisioning yourself onscreen and what you’d do. Take the simple games of Would You Rather that involve harming yourself or harming another person, taking an awful punishment as-is or the potential mystery option that could be worse. Those kinds of scenarios allow for characters to open up for an audience, show us who is selfish, who is squeamish, what their personal morals and ethics can be when tested. The games need to be conversation-starters above all else, and that’s where Union Furnace misses. I looked at the running time and an entire HOUR passes before any of the seven games crosses into being something truly intriguing or stomach-churning. For the majority of the running time, the games are obtuse versions of what feel like childhood schoolyard games. The first game is literally playing a board game. There’s also a game of who cannot speak and even musical chairs. It’s not like these simple games have been given a sharper edge, like the chairs in musical chairs each have a knife propping out from the seat, so lunging and fighting for that coveted seat could turn very precarious (actually, maybe I will write that musical chairs horror film after all). There’s a level of obfuscation that also harms the sinister impact of the games. Some of them are unclear exactly what the contestants should even be aiming for. A late one seems to involve forced sexual contact, and it’s played in a restrained manner out of taste, but by leaving it so unclear it actually minimalizes the impact of its degradation. These games are fairly lame.
And lastly we have the revelations pertaining to our mask-wearing organizers and their betters, and I hope you’re also ready to be disappointed. The ringleader in the lion mask lacks a strong personality or menace to be truly memorable or to keep our attention as a nefarious emcee. Besides Cody, we spend the most time with Lion Mask but do we gain anything? The dialogue is obtuse and later conversations between Cody and Lion Mask feel like they’re holding two separate conversations, talking past one another than learning from the other. Take lines like, “You wandered wide the primrose path and found friends in Night Alley and Circus Surprise City” and, “You know, people are critical because they want to get something off their chest, because they want to put something in their heart.” Huh? There’s not exactly anything that forms into a specific point of view for this character that helps to drive his actions. He’s more or less just a performer revving up his crowd of gamblers. I was hoping we might get more of a history behind the organization and its rumors of traveling from economically distressed small-town to the next small-town, like a deranged carnival sideshow. There isn’t enough here to justify being this vague. The sense of discovering as it pertains to identity and mission are unimportant. I suppose there can be power in the idea of your neighbors possibly being behind dime store Halloween masks, ready and waiting to bet on your life if given the opportunity, but the dramatic potential is much higher if you actually do something with that rather than keep the organization vague.
Being a low-budget thriller, Union Furnace does have technical merits worth bragging about. It’s a professional-looking movie and has some of the best sound I’ve heard from an indie production, which is usually a cumbersome handicap to many smaller movies. The filmmakers use their limitations to their advantage in artistic ways. I was expecting a limited location thriller but the grimy basement-esque dwelling adds a really effective discomfort for everything. The cinematography by Roy Rossovich (Evil Takes Root) makes smart use of lighting to make everything feel even more seemly, so exposed lights, high contrasts, and neon colors bathe the actors, making them feel like they’re in a 1990s music video (Fiona Apple’s “Criminal” came to mind) or a snuff film of the same wallpapered era. This is smart artistic collaboration and taking a potential negative, a lower budget, and finding creative ways to make it more a strength. As a director, Bushman is pretty solid all around. He has a fine command of visual compositions and building mood through select bizarre imagery. There’s a moment where a woman in a flesh-colored mask sings a rendition of the national anthem, and it’s so weird and off-putting that I wished Bushman gave us even more bizarre moments like this. Even just watching the trailers for his other films, I can tell Bushman is a natural director. I’d be curious to watch his other movies like his follow-up Stranger in the Dunes, filmed in North Carolina as a gift for his crew who braved the sub-freezing temps for Union Furnace.
The performances are decent but David (Cloud Atlas) is clearly the titan here. Even getting an actor of David’s caliber for something this low-budget in Ohio is an amazing accomplishment. Watching David command the screen is exciting in such a smaller role; I figured either he was going to die very quickly or go a long way, but I didn’t initially know which. He has a few strong angry outbursts where he feels he’s reached his limit and how much nonsense he’s willing to tolerate. He has an instant magnetism that the other actors simply don’t have (to be fair, he is Keith David). Dwyer (Future Lies), in only his second onscreen acting credit, does a serviceable job as the lead actor, especially at conveying the resignation of his character’s doomed thoughts suffocating him. Katie Keene (Clowntown) was another standout as a single-mother who gets some of the worst of the games. Her shell-shocked horror is some of the most quietly affecting moments.
On the DVD extras, Bushman reveals that he and Dwyer only spent two weeks writing the screenplay for Union Furnace, and I honestly can say they needed more time. I kept waiting for something more, a turn, a twist, taking it to their oppressors, revealing some hidden personal depth that had been lying in plain sight, just something more than what felt so remorselessly rote. If the movie was going for straight nihilism, then the games needed to be fiercer and from the start. If we were meant to engage with the characters, then we needed more time seeing how these games are affecting them other than paranoia and bluster. If the movie was going for a mystery, then the wrong things were kept in secret, like understanding the expectations for the games. If you’re a fan of seedy, low-budget thrillers you may find enough enjoyment from Union Furnace and its technical merits, plus the presence of the great Keith David. I’ll be curious to investigate the other movies of Nicholas Bushman. As a director, I think he’s showcasing skill and potential. As a writer, I’m less sure of that. Still, the man is making his own movies on his own terms and he’s cranking them out every couple of years. He’s making this a career, and I hope that he can continue doing so, as well as hopefully re-evaluating what’s best for a story.
Nate’s Grade: C
21 Bridges (2019)
21 Bridges would have been a more interesting movie if it had simply been a conversation between the police detective, Andre David (Chadwick Boseman), and the mayor of New York City as he proposes shuttling all twenty-one bridges leading out of Manhattan to catch a pair of cop killers. My pal Ben Bailey surmised it should go with the mayor flatly refusing and telling them they should use actual police investigative work to catch the criminals, like all casework, instead. It’s not like Manhattan houses millions of people with deep subway networks and somebody could remain unseen for some time, or the fact that there are more ways off an island than bridges. This concept doesn’t even factor into the story in a meaningful way; the police could have just as easily used the bridges as checkpoints for the difference it makes. This eliminates the ticking clock factor. Another miscalculation was splitting so much of the narrative between the two sides, Andre and the cops doing the hunting, and the criminals trying to run away. I’m not emotionally invested in these guys escaping, and it doesn’t ratchet tension as the cops get closer. If anything it alleviates tension as I know we’re closer to them being captured. The shootouts, foot chases, car chases, and machismo barking are all serviceable from director Brian Kirk, a veteran of television. It’s fine if this is a genre you enjoy but there isn’t anything new in 21 Bridges, or anything new that works, to open up that entertainment for anyone else. It’s entirely predictable every step of the way, enough that I was correctly guessing the real villains before the movie even started. The actors all do respectable work. It’s all competent from top to bottom, but it’s in service for a forgettable by-the-numbers cop thriller. I have to believe the original script for this was something more daring, perhaps opening up Andre’s character and his reputation as a “cop killer killer” and what effects that has had on him. He really shouldn’t be the hero. He should be the guy who comes to learn his culpability in being part of a corrupt system of justice, pushing him toward an anti-hero reclamation arc. What we get isn’t even close to that level of character exploration, so I must believe 21 Bridges was noted to death by studio exec mismanagement. Otherwise what did the star of Black Panther and the directors of Avengers: Endgame see in this story that urgently had to be told on the big screen? It feels like some relic from the 90s that would have starred Wesley Snipes and absent any modern commentary on the role of a police state in urban communities. Alas, you get what you get with 21 Bridges, which could have been 18 Bridges, but some exec must have said, “No, that’s not enough bridges. But 30 is too many. Gentlemen, were gonna stay up all night if we have to in order to solve this number-of-bridges conundrum.” If you have a soft spot for this kind of thriller, you might find some fleeting moments of entertainment. Everyone else can look away.
Nate’s Grade: C+
F*** You All: The Uwe Boll Story (2019)
Notorious German director Uwe Boll hasn’t made a movie since 2016 and says he is done, retired, and not turning back to movies. What’s somebody like me, who has spilled thousands upon thousands of words on the man, to do? Why watch a feature documentary on the man and his unorthodox methods. F*** You All: The Uwe Boll Story is potentially the “last” Boll film, so it felt right to review it for my ongoing Boll retrospective and as a sendoff for a man I’ve chronicled for fourteen years.
The documentary also confirmed for me several speculative questions I’ve posed over the long course of my reviewing of his catalogue of hits and misses and misses. There is a reason he gets bigger name actors like Ben Kingsley and Jason Statham, or at least did for a while, and that’s because he doesn’t cast his movies until a few weeks before they are set to shoot. Then he asks for actors that are available his shooting dates and offers a check, and it’s sudden but it can work. Even he admits it’s a crazy process because the actors have no rehearsal time, you might not even get people right for the roles, but it’s only a problem if one cares about that sort of thing, and then he laughs knowingly. I’ve also suspected for some time that the screenplays for Boll movies are incomplete or heavily rewritten on the spot, and this is confirmed as well. Guinevere Turner is a fine writer, having worked on several Mary Harron movies including American Psycho, The Notorious Bettie Page, and the recently released Charlie Says. She is also the sole credited writer to Bloodrayne. To say this movie is below her standards is an understatement. As she details, only twenty percent resembles her original script. But, she notes, Boll paid in full. If you’re going to be relegated to schlock cinema, at least get paid for it. In general, Boll flashes disdain for what he feels are the excesses of filmmaking, wasted time to work on nuance or camera setups for dynamic shooting. The cast say they rarely get more than two takes even if they beg for more. Sometimes Boll won’t even be looking at the monitor as a scene plays out. His producer instincts dominate his writer/director instincts, and it becomes a product to mash out.
Perhaps the most insane example of this was in 2010 when Boll elected to shoot three films simultaneously. He got a budget for the third Bloodrayne movie, which was finally set during the time period of the video game, Nazi Germany. Boll says he secured financing by promising two movies for the price of one, shooting the specific parody Blubberella on the same sets, with the same actors, and following the same plot. Actress Lindsay Hollister was on set and scribbling joke ideas with the Bloodrayne 3 screenplay. When it came time to writing the script for Blubberella, she assumed an actual writer would be utilized. When she sat down for a read through, she was shocked to discover the Blubberrella “shooting script” was merely her copy of the Bloodrayne script with her notes in the margins. The Bloodrayne movie was the priority and had to look the best, so it got the majority of the time, and then according to Hollister they would get a take or two to film the Blubberella version and just go with it. It didn’t matter if the movie didn’t make sense. It only mattered that it was made (“I just have to get it to 77 minutes,” Boll candidly told Hollister). On top of this insane setup, several weeks into production Boll added a third film, live-action recreations for Auschwitz, detailing the horrors of the gas chambers. He had to keep track of three separate film productions simultaneously making use of the same schedules. It’s not a surprise that the films didn’t turn out well, but just imagine juggling tone, going from a cheesy genre movie, to a goofy satire of that cheesy genre movie, to a deadly serious Holocaust recount. That would make my head explode and I only watched all three movies.
As a documentary, F*** You All seems too conflicted with resurrecting Boll’s image. The real ammunition this story has are the crazy, juicy behind-the-scenes anecdotes that should spill from baffled actors. There are a few but this currency is too quickly depleted. Instead writer/director Sean Patrick Shaul (who worked on Boll’s 2013 film, Assault on Wall Street) is trying to break open the contradictions of Boll, the man who seems to love being a director but not actually directing, who seems to love making movies but doesn’t want to put that much effort into making them better. That’s fine territory but too often Shaul seems to mitigate the director’s own bad behavior as simply his interpersonal style. He provokes outrage and has no filter and thrives on making people uncomfortable, but he doesn’t know when to quit. There’s one gross moment where Boll is bullying and belittling actress Natassia Malthe (the replacement Rayne for the sequels) for not going naked in his movie. He presses her that she’s done nudity before and should be volunteering to expose herself again. He says the audience comes to his movies for “blood and boobs,” and Malthe concurs with him, recognizing what kind of movie she is starring in, but that doesn’t give him entitlement over her body. We’re repeatedly reminded by cast that they would work again with Boll in a heartbeat or genuinely enjoy him (Malthe is not interviewed) because he’s direct and gets things done, albeit not always the best of things. It feels a bit like trying to convince your skeptical pals that your drunk, obnoxious friend is really a good guy if you just got to know him. Boll is an interesting subject. I just wish the filmmaker had probed further to better examine those contradictions that make him who he is.
Boll lives for publicity stunts and perhaps none was bigger than when he challenged four of his critics to a public boxing match. It’s hard to think of any other situation where a much-derided filmmaker was literally challenging his critics to a physical fight and they miraculously took him up on it. Apparently, the critics thought it was going to be a silly joust and more a stunt. Oh no. Boll had been practicing for months, taking breaks on sets to get in a 5K run, and he’d been an amateur boxer for most of his life. He pummeled the out-of-shape film critics (Sam Peckinpah would be proud). Was he seeking vengeance against his tormentors or was it all a stunt? It’s hard to say. The legend of Uwe Boll and the actual man get blurry, as Boll would lean into his infamy as the “worst filmmaker ever” to gather further worldwide attention and further funding.
Boll has successfully transitioned into the restaurant industry, forming one of the most acclaimed dining establishments in all of Canada. He’s even stated how if a dish needs three days to be properly prepared, then that’s what it takes, which seems like the opposite of his approach to filmmaking. Perhaps that’s a sign that his passion has transferred from film to food and that his would-be retirement will keep. He talks about how the rise in streaming platforms has mitigated the DVD and home video markets, directly siphoning away the funds that he would take advantage of for his slate of movies. He says filmmaking is no longer a good investment and thus he cannot continue. This might be true specifically for Boll’s avenues for cash flow, but it sure hasn’t stopped the influx of genre and exploitation indies. Take a look at Kickstarter or any other crowdfunding site and they’re inundated with low-budget horror productions (I’ve supported a few myself). I do think Boll could find a market if he desired, even if his Kickstarter for Rampage 3 failed to meet its target. I also don’t think Boll will stick with his retirement. Much like Kevin Smith and Steven Soderbergh, other filmmakers who swore retirement, I think this period will be but a breath, a pause until Boll finds something that inspires him.
However, if this is his final stamp on the world of filmmaking, I feel like some summation is in order. I’ve been watching and reviewing this man’s movies for over fourteen years, specifically seeking out each new release to add to what amounts to a would-be Master’s thesis of criticism about one of the most reviled directors to ever work in Hollywood. Is Uwe Boll the worst filmmaker of all time? I can answer decisively…. no, he is not. For all the vitriol he provokes, some of his own doing, he has a competency that others cannot even hope to achieve, like Neil Breen or Mark Region (After Last Season might be the most painful movie I’ve seen). Boll definitely has his shortcomings as a writer and director, which his own cast and crew will agree, but I would love to have the man as a producer. He’s a born hustler and his ability to gather necessary resources and money is what kept him in business for decades. He could be a modern-day Roger Corman. If this is the end of Uwe Boll, Director, then it’s been a long, strange journey, and one that has given me reflection on my own relationship to filmmaking and film criticism. To quote, of all people, the band Fall Out Boy, thanks for the memories, Uwe, even if they weren’t so good.
See you again?
Nate’s Grade: C
The Nice Guys (2016)
Ever since I heard about its production, and especially after watching the first trailer, I have been intensely anticipating The Nice Guys, mostly because of my fervent and undying love for 2005’s Kiss Kiss Bang Bang. That gem was writer/director Shane Black’s manic and deliriously entertaining comedy noir that reinvigorated star Robert Downey Jr.’s career. The Nice Guys looked very much like a spiritual successor or predecessor given its swanky 1970s setting. While an enjoyable and funny caper, there is a significant gap between KKBB’s genius and the altogether amusing though lesser escapades of The Nice Guys. Perhaps it’s unfair of me to have had my expectations too high, to be hoping for another magical onscreen alchemy like KKBB. Whatever the case, I was slightly let down by The Nice Guys around the time I realized that the best jokes were in the trailer. They are admittedly great jokes but what was left too often hit lower registers of funny. Ryan Gosling and Russell Crowe have great chemistry together and Gosling especially showcases a talent for physical comedy that has been underutilized. When the movie finds ways to undercut detective movie tropes, like Gosling cutting his hand badly after a failed attempt to break into a locked window, that is when it feels most alive and fun. The action elements don’t feel as significantly connected, like a bunch of washout villains like a hitman named John Boy who has no memorable personality. The shaggy dog mystery has some entertaining detours but once again the real draw is the comic interplay of the two male leads and Black’s razor-sharp dialogue. The man perfected the buddy cop interplay at some point, and often the casual conversations and one-liners are more highlights than the set pieces. The Nice Guys is a funny, smart, and diverting detective action-comedy that is a solid effort from everyone involved. It’s just that I was hoping for a touch of the divine again and had to come back to Earth.
Nate’s Grade: B
Assault on Wall Street (2013)
When it comes to notorious German director Uwe Boll, many are still waiting for what could be the man’s first genuinely good movie. The man has been prolific over the past ten years but sure-fire candidates for First Good Film, like Max Schmeling or Attack on Darfur, inevitably have some tragic flaw or approach that places them back in mediocrity, the company of many of Boll’s other movies. After reviewing more Boll films than a human should be allowed to willingly, I feel like I’ve been beaten down enough that when I find something that genuinely works, be it an actor or a sequence or plot turn, that I should be just as vocal as with the contingent of failure. So allow me to refreshingly applaud Boll for Assault on Wall Street, on coming up with a topic and a story structure that… actually… works. It not just works, it succeeds, and if a more polished professional screenwriter got a hold of this, I think it could actually impress the masses. If it weren’t for the surprisingly effective war drama, Tunnel Rats, I’d say without a doubt that Assault on Wall Street is the best work of Boll’s much-maligned career. And yet… it has just enough minor faults that hold it back.
Jim (Dominic Purcell) is a regular guy working as an armored security transport. His wife Rosie (Erin Karpluk) suffers from a rare tumor that requires an expensive series of injections to keep it at bay. Their insurance company won’t pay, and so they have to rely on Jim’s savings. Except those are gone as well. Jeremy Stancroft (John Heard) has ordered all his brokers to dump toxic assets, eliminating most investor savings but profiting the shareholders. Jim and Rosie are broke. Vowing vengeance, especially after some drastic decision-making by Rosie, Jim sets off to make the high-priced traders and corporate raiders on Wall Street feel the pain of what they have wrought.
The setup is concise and Boll does a nifty job of compounding Jim’s problems and showing how all the industries are interconnected to put the squeeze on. Because of unscrupulous health insurers, his wife’s medical treatment, deemed experimental, is quite expensive and they’ve reached a cap. With the brokers pushing their clients assets into junk stocks, at the behest of the betters and for commissions, Jim loses his entire financial cushion. He hires a lawyer (Eric Roberts) but has to pay $10,000 just to retain him to fight the $60,000 penalty his broker says is owed. He goes into debt and refinances his skyrocketing mortgage (variable rate) to pay for his wife’s treatments. His employer takes notice of his perilous situation and is uncomfortable with enlisting someone in deep financial woes with guarding money. He loses his job. The bank is poised to foreclose on the house. His wife won’t get her treatments to save her life. All of this leads to a drastic and completely understood decision of desperation and sacrifice. Admittedly, Boll does a compelling job of connecting all the dots, making each new pitfall a result of the previous, each compounding the misery of Jim. It takes a little long to go through all these points, and I think Boll could have trimmed it down so that a key event happens at the Act One break point, but I was flabbergasted that the man found a story structure that succeeds.
The second half of the film is Jim planning his vengeance, and after all of the callous movers and shakers have bled him dry, you’re onboard for some sort of righteous payback. Boll takes on Wall Street and the healthcare industry (double the populist outrage). Jim as a character could be made much more compelling, but he’s really serving as a symbol for how the forces are ganged up against the little guy, how the fix is in. When confronted, the big CEO of the brokerage firm barks that it’s always the same old story, that the titans of industry were all crooks and manipulated the system to their advantage, and he’s no different. In short, the little guy always loses.
What holds back Assault on Wall Street, beside the fact that the titular assault is reserved for the last fifteen minutes of the film, is its too slick ending and Boll’s obvious transparency when it comes to his political message. After Jim suffers loss after loss, he puts together a plan pretty quickly, utilizing that Army training we’ve heard about. It’s actually too easy with little complications that can’t be solved in a David Fincher-style montage of death. It’s a full 70 minutes before he takes out his first Wall Street fat cat, and that’s just way too much dawdling. And then from there the climax involves Jim just going on a rampage in an office building, shooting several faceless employees who could very well be innocent for all we know. I think Boll is satisfied with a guilt-by-association catch-all for Jim’s fury, but it would be more satisfying just from a payoff standpoint if we saw these people in villainous lights prior, kind of like what Saw 6 did with its insurance characters before turning the tables on them. The last thing we need in our populist screed is to worry that the wrong people were dispatched. And what kind of office building fails to evacuate after a confirmed shooter has attacked?
This storyline could have also worked in a Falling Down turn, where a man consumed with evening the scales of a system broken loses his moral bearing and lumps all guilty parties together and condemns them all. Perhaps it was meant to examine the slippery slope of vigilante justice and how this too can decay one’s sense of self, sort of like what Jodie Foster went through in 2007’s The Brave One. However, I don’t think Boll was intending this direction because he’s not very subtle about anything in the movie. Oftentimes the characters just become mouthpieces for ideological talking points: “We’re busy busting some homeless guy when the real criminals are on Wall Street.” The bad guys actually say, with no hint of self-awareness, “We all took a loss. When I told my wife we couldn’t vacation in Barbados any longer…” It’s all just a little too on-the-nose to remind you of the overall intent rather than the story. Therefore, I think Boll is just going for a sense of (misplaced?) justice in the end, in a ludicrous plan that somehow invalidates witnesses, forensic evidence, and security footage to pin the blame on someone else. It’s too clever by half that it undercuts the final payoff. It gets even worse with the Batman-esque voice over to close out the film with a promise to all evildoers.
With such a tight focus on the plot, the acting is a marked step up from previous Boll outings. Purcell (TV’s Prison Break, Killer Elite) doesn’t exactly come across as a regular Joe but he has enough onscreen presence to pull off his character’s anguish as well as the requisite badass stuff. And apparently Boll has become fond of him because Purcell is scheduled to appear in future Boll films. Karpluk, a Canadian actress best known for the TV show Being Erica, has a natural grace to her, forgoing big moments to concentrate on the gnawing guilt and concern her character feels. While she’s a bit too willfully ignorant early on, Karpluk makes you care and provides whatever depth can be applied to Jim. I’m actually curious to see her comic skills since she has a face tailor-made for romantic comedies. Heard (Sharknado, Home Alone) doesn’t seem to embrace his duplicitous CEO role with enough gusto, appearing to be annoyed when he should be menacing. This is not the kind of movie to hold back.
There are plenty of other Boll Players, including Edward Furlong (3 appearances), Lochlyn Munro (2 appearances), Tyron Leitso (5 appearances, also stars in Being Erica), Michael Eklund (8 appearances), Natassia Malthe (4 appearances), and the stalwarts of Clint Howard (6 appearances) and Michael Pare (13 appearances). It’s been 13 years since Eric Roberts (The Dark Knight) last appearance in a Boll film. Most of these are blink-and-you’ll-miss-them, but then there’s Keith David (The Thing, Cloud Atlas) in a thankless role that didn’t need to exist. But hey, I’ll take Keith David in anything.
A welcome surprise, for the most part, Assault on Wall Street is a finely structured revenge tale with clear and precise plot points and a natural buildup. It’s Boll on a soapbox and the naked transparency of his ire and populist messages limits the effectiveness of his storytelling, but you might not mind, especially if you are a person who has slogged through far less competent Boll ventures. There is a marked improvement in just about every facet of filming. It genuinely works, that is, until the pacing becomes lopsided and the end just reverts to celebratory action mode. A more professional writer could take this film and whip it into a crowd-pleasing populist thriller. It’s got so much that works, and genuinely works well, that I feel like a buzzkill to keep harping on the elements that do not succeed. But if Boll wants to earn an undisputed victory, he’s got to earn it without lowered standards. Assault on Wall Street is so tantalizingly close to being Boll’s First Good Film but it doesn’t capitalize enough.
Nate’s Grade: C+
Cloud Atlas (2012)
Most people regarded David Mitchell’s 2004 sprawling novel Cloud Atlas was unfilmable. It has six different stories each set in a different time period, slotted into a different genre, and each a variation on storytelling. Mitchell’s tome was structured like a series of nesting dolls, each narrative pulling back to reveal a character reading the previous manuscript, and eventually the direction was reversed. We go from the mid-nineteenth century to post-apocalyptic and back again. I read the book over the summer and found it to be enthralling, especially because each storyline was written so distinctively in a different writing style. The post-apocalyptic linguistics definitely took some getting used to. How could you turn this unwieldy book into a workable movie?
The Wachowski siblings, Andy and Lana, teamed up with German director Tom Tyker (Run Lola Run) to try and find a way. They decided to split up the stories into a musical syncopation, with stories blending into one another. As a result, Cloud Atlas is six different movies for the price of one but it’s far more than the sum of its parts. Cloud Atlas coalesces, bleeds, and bends, becoming a Mobius strip of causality and courage and love. The trio of directors, who shot simultaneously with two separate film crews, has done the impossible and translated Mitchell’s brilliant novel into a soaring, compelling, and multifaceted epic on hope and humanism.
Where to begin with this one? Well, in 1849, Adam Ewing (Jim Sturgess) is traveling across the Pacific back to his home in San Francisco. He’s fallen ill on the ship and keeping the secret of a stowaway in his chamber, a Moriori slave named Autua (David Gyasi). In 1931, Robert Frobisher (Ben Whishaw) is a penniless gay musician looking for refuge. He offers his services to the aged but still famed composer, Vyvian Ayers (Jim Broadbent). Ayers will dictate and Frobisher will assist in writing. In 1971, Luisa Rey (Halle Berry) is a reporter investigating a series of murders tied to a nuclear facility and a report the head honcho (Hugh Grant) doesn’t want exposed. In 2012, Timothy Cavendish (Broadbent) is a small-time publisher who mistakenly checks himself into a nursing home that won’t allow him to leave. In 2140, a new working class is grown from the lab. Somni 451 (Doona Bae) is one of these fabricants. With the help of a revolutionary (Sturgess), she escapes her confines and learns the horrors of the totalitarian world and becomes part of the rebellion. And 100 winters after “The Fall,” mankind has descended into agrarian tribes. Zachry (Hanks) is a goat herder who reluctantly agrees to take Meronym (Berry) to a hallowed mountain. Meronym belongs to the last group of technology-abled civilization, the Prescients, and Zachry mistrusts her and is tempted to kill her to protect his people. Just describing this stuff is tiring and could take up two reviews.
This is going to be a very divisive movie, this much I can tell. It’s so powerfully earnest that you either embrace its mushiness and ambitions or you smirk and mock its New Age philosophy and optimism. There will be no middle ground with this film. We’re talking about transmigrating souls over the course of 500 years, Tom Hanks as a post-apocalyptic goat herder, and an evil presence known as Old Georgie, who looks like the forgotten cousin to the Wicked Witch of the West. There is some stuff in this movie that is plenty goofy, especially when seen on the surface. It takes a while to ease into the film, adjust to its tempo and accept the context of those goofy elements. But once that’s established then it feels like you can handle anything. There’s such an overflowing of feeling in this movie that it’s easy to make fun of it, to dismiss it under the safety of ironic detachment. It would be easy to decry the Cloud Atlas team for being self-indulgent or pretentious. What they are doing is far from normal, but the achievement of Cloud Atlas is the graceful way it finds to connect the rhythms of a deeply felt humanity. It has its stirring moments and memorable scenes, but when compacted and collected into a beautiful whole, that’s where the movie transcends. When an authoritative character barks, “You are but a drop in an ocean,” and our hero responds, “What is an ocean but a series of drops?” you either roll your eyes or you cheer. This is an earnest movie that wears its humanism on its sleeve. You either roll with that or you don’t, and I decided to embrace the big, messy, mushiness of the whole project and was swept away.
For a three-hour movie, the time flew by, and by the end I knew I had to see Cloud Atlas again. The first viewing requires much in the way of processing. You’re stringing together the disparate strands of the narrative, you’re listening hard to decipher the post-apocalyptic tongue of Zachry and company, and then you’re also keeping track of what actors are playing what characters, crossing lines of race and gender. The disguised actor factor is something of a fun ”who’s who” party game throughout the movie; initially distracting and somewhat questionable (especially the cross-racial makeup). I think seeing Cloud Atlas a second time will allow me to immerse myself further, finding new depths and connections. The pacing is surprisingly swift for a three-hour movie. You barely notice the time is gone, and honestly I could have done with even more movie, especially during the Neo Seoul segment. Given the six segments, some stories are going to be more compelling than others. I don’t think too many people are going to be as compelled with Frobisher’s creative sessions as they are Somni’s escape from enslavement. Initially, you’ll be scratching your head what they all have in common, and the lighthearted segments seem to clash with the more severe segments of systemic abuses. But then the big picture starts to eventually emerge and you see the parallel themes of oppression, bondage, rebellion, sacrifice, abolition and the yearning for freedom at all costs. The filmmakers find clever ways to thematically link their different tales. The movie starts to become a musical experience, much like Frobisher’s central melody, the overlapping notes of repetition and the swelling movements of human life in minor and major.
As anyone who endured the Matrix sequels will attest, the Wachoswkis are film theologians and Cloud Atlas is unabashedly spiritual. The filmmakers openly favor examining the spiritual side of Mitchell’s novel rather than the political. I found the results to be intriguing but short of profound. From a philosophical/theological standpoint, Cloud Atlas is not breaking new ground or even going into great depth. We’ve got some basic Eastern notions like reincarnation and trying to improve upon one’s soul through various lifetimes. There’s also the notion that death is just a transitional phase and not the end. The film is also very interested in the transcendentalist interconnections of human history. “With each crime and each act of kindness, we give way to our future,” says Somni at one point. I like this; it’s essentially karma in its purest form but it also denotes that every choice gives ways to multitudes of possible futures (perhaps pedestrian but I still like it). I feel that human kindness is long-reaching and casts out many ripples, and Cloud Atlas is a film all about the ripples, seeing the long-reaching effects to causes, and discovering that individuals can become movements and movements can become inspiration. I also like the relatable debate over religious belief in the far-flung future; the Valley people worship Somni as their gracious Goddess, but the more advanced Prescients view her as a person, noble and with strong and important ideas but flesh and blood. And yet the film doesn’t look down on Zachry and his people for their beliefs; Somni inspires them to do good. Do the details matter when the results are positive? Cloud Atlas has plenty of intriguing questions roiling around, moments of pause worthy of post-screening debate. It’s not too deep but it’s far from shallow (the Wachoswkis love their Christ-like imagery, don’t they?).
From a filmmaking craft standpoint, Cloud Atlas is often breathtaking. In some respects it feels like something radically new, a $100 million dollar art film. The visuals are wonderful and the different time periods all come across handsomely mounted, perfectly realized, the details vivid and period appropriate. The future worlds are easily the most engrossing just because of how different they are. You’re never spoon-fed the answers in this movie, so we’re left to put together what lead to each future. I would have loved to have gotten even more details about Somni’s world, a time where democracy has been replaced by “corpocracy,” a world run by corporations. The ambitious story structure of Cloud Atlas could have easily become confusing, but the filmmakers smartly give each segment its own little undivided period to set up that world and its unique tone. They even provide date stamps. Then things get more spliced together, the different storylines cascading and braided together. Some of the storylines have to wrap up early and others are saved for heartbreaking finales of tragic resonance. The elliptical romances spanning centuries provide nice counterpoints and satisfying out-of-time conclusions for storylines that don’t always end cheerful. The movie is often thrilling, intellectually stimulating, disturbing, and poignant, though to be fair it comes up short when it comes to emotional involvement. Like the stunted depth of its philosophy, the movie has a way of drawing you in but never fully; it’s all about a wealth of human feelings and the nature of humanity yet it quixotically comes up short emotionally.
With up to six roles to play, the actors are given plenty to work with. It would be redundant to say you’ve never seen many of these actors like they are in Cloud Atlas (has anyone ever seen Berry in whiteface?). Every actor gets to play heroes and villains, saints and sinners. Only Weaving (The Matrix) and Grant (The Pirates! Band of Misfits) play antagonists in just about every story, and when you have Weaving at your disposal you have to give the man a role with menace. Grant gets to play a post-apocalyptic marauding cannibal. You won’t see him eat anybody’s face in one of those Bridget Jones movies. Like the filmmakers, the actors display full commitment to their varied roles no matter how silly some of the future diction may sound (“for true-true”). Hanks instantly anchors your empathy as Zachry and grounds a storyline that has the biggest danger of slipping into silliness. Readers will know I’m not the biggest Berry fan, and that is probably being charitable. However, I was truly impressed with her work in Cloud Atlas and would easily classify this as her best work since her Oscar-winning turn in Monster’s Ball. Her portrayal of Luisa Rey has such fire and her Meronym has such melancholy. Broadbent (The Iron Lady) is still highly enjoyable as a pompous sort, I’m always happy to see Keith David, and Weaving is delightful in his venomous villains, as a devil, a hit man, and most vividly as the Nurse Ratchet-style sadistic head nurse antagonizing Cavendish. The real breakaway star is Bae (The Host), who also benefits by having the most involving storyline. Her gradual awakening is just about note-perfect, alternating between curiosity, horror, amazement, and finally anger. All of those emotions need to be free of histrionics but if too underplayed then Somni seems like a walking zombie. Bae finds the right somber middle ground and her journey is the most emotionally rewarding.
In the end, there’s so much to unpack, dissect, discuss, debate, and contemplate with this movie, and every hour I think of some new connection that dovetails the plots. Cloud Atlas is a thrillingly artistic mosaic, a giant puzzle that begs for closer examination. Unlike the films of Terrence Malick, this is a dense, challenging work that is also accessible and, here’s the heretical part film snobs, entertaining. We get a kaleidoscope of the human experience told in beautiful flourishes. There are a lot of demands with Cloud Atlas, and ultimately it may demand multiple viewings to completely sort out one’s opinion on this gigantic picture of gigantic feeling. I’m still uncertain whether I really enjoyed it or loved it, nagging doubts concerning the limited emotional attachment to consider. I’m curious what a second viewing, stripped of analyzing which actor is in what body, will allow me to further appreciate the scale and scope of the film’s achievement.
The individual stories of Cloud Atlas may not be terribly profound but collectively this movie is something special. I anticipate it will be trendy to mock its sincerity and ambition and New Agey spirituality (not that a negative opinion is automatically invalid). We live in a cynical world. It’s rare to find a movie that has so many things to say with such intense earnestness. It’s even more rare for that movie to be good. Due to the sci-fi elements and time hopping, The Fountain and 2001 will be natural film comparisons, but In some ways Cloud Atlas reminds me more of another divisive film, 2001’s Moulin Rouge!. Both were sincere movies about the genuine power of love and human connection, told with such artistic flair, drive, and ambition, and both attempt to transform the traditional tropes of storytelling and drama into a brave new 21st century collage of sight and sound and sprawling spirits. Simply put, you’ll never see a movie like Cloud Atlas again. So do yourself a favor and see it already, then find someone to talk about it and compare how fast the time goes. Then, if you’re like me, see it again.
Nate’s Grade: A
The Princess and the Frog (2009)
It’s taken this long to get an African-American leading lady/princess in a Disney animated film, and she gets to spend the majority of the flick as a slimy frog? This return to traditional 2-D animation for Disney is less than a triumph due to a pretty dull storyline. All the familiar elements are there, but the characters just fill voids rather than tell a story. There’s the downtrodden heroine with her dream, the arrogant prince who learns to value others, the comical talking animal sidekicks, and get ready for a slew of songs you will instantly forget despite the added gumbo flavor. Set in 1920s New Orleans, the film has plenty of ravishing visuals to get you through the formulaic plot. It’s a nice return to Disney’s bread and butter before the 3-D animation craze took off, and I pray that there will be plenty more traditional 2-D animation on the horizon from the Mouse House, but this isn’t the best film to reestablish the glory of traditional animation, racial politics aside.
Nate’s Grade: B-
The beauty of stop-motion animation is that everything is painstakingly handcrafted so that it’s like watching a whole other world. Coraline is a wonder for the eyes and I loved just watching the movement of characters, their facial expressions, which were all done in great fluid motions. I loved that I could see Coraline thinking just through how her eyes were animated. The story, based upon the Neil Gaiman book, is about an alternative world where people have buttons for eyes provides enough eerie intrigue and some creepy imagery to spook younger kids. This is a fantasy film that doesn’t shy away from childhood scares. Coraline has an altogether pleasant feel with its spunky heroine and fine vocal cast (Dakota Fanning did not get on my nerves at all), but what’s most special is just watching the movie come alive; it’s enchanting to watch this world simply exist. There are some terrific displays of imagination in the alternative world, and it all looks even snazzier in 3-D where the world takes on further depth. Director Henry Selick (Nightmare Before Christmas) is the master of this peculiar art and thankfully Coraline follows its own visual style, never stooping to imitating Nightmare (like Corpse Bride). This is a visually stunning movie that may not leave much of an impression once it’s over (predictable story, thin plot, kind of slow ending). Coraline is a feast of artistic talent with something to discover in every awesome second.
Nate’s Grade: A-
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