• Henry Johnson

    Henry Johnson

    First Mamet Character: And what if she brings it (the gun) what will we do then? 

    Second Mamet character: Whatever we want.

    A movie in three parts about three separate yet connected cons.

    David Mamet is an extraordinary and Pulitzer Prize winning playwright who has also directed several of his own works. 

    You know Mamet when you hear it, because nothing else sounds quite like. Even his imitators, of which there are many, struggle to get near it. They being the difference between corn on the cob and corn liquor. Other people attack him and Sorkin and Whedon and the other great writers who elevate their craft with a unique style. 

    Mostly, that’s because they couldn’t do it if they tried and because they have tried and failed and must suffer like the rest of us knowing that they are a mob of Salieri (Salieri being the plural of Salieri) doomed to be rightly jealous of Mozart. 

    Anyway, Henry Johnson is not, I should hasten to add, top shelf Mamet. It is not Johnny Walker Blue. 

    The first section is note perfect. And the old man shows he can still call down the thunder. And in particular, in each section, he shows his gift for slamming shut the door.

    But the first is the best of these. 

    The other two sections, the other two sections … well the other two sections get bogged down. 

    It’s a short movie but they go on too long. 

    Lightning still streaks across the sky from time to time but not as much and not as durable as in that opening. 

    Let me now quote one of my favorite lines of Mamet dialogue from one of my favorite of his flicks, “Baby, you got old.” 

    And yet, I would take old man Mamet, a million times out of a million before some others who in a better world would have spent their lives as bricklayers or ditch diggers or in some other noble profession instead of becoming used car salesman masquerading as writers. 

    I found Henry Johnson mostly remarkable and so I have remarked on it. And now I shall move on. 

    “That’s all.”

  • The Mandalorian and Grogu

    The Mandalorian and Grogu

    I liked the Hard Boiled homage and Akira world. 

    I think the problem, if you concede there is a problem, is that we are 5 decades removed from the source of this thing. So now we’re doing stories about the fate of Jabba the Hutt’s kid, yoda’s second cousin and sections of the lore that exist somewhere between a three different cartoon series’s and six sequels. 

    There is a character in this, a gorilla alien or something, and I know I have seen him in like five seasons of Star Wars Rebels … and I couldn’t tell you his name if I tried. 

    The first two seasons of The Mandalorian are the best Star Wars since Empire. They found the essence of the franchise and asked nothing of you except to enjoy the adventures. 

    And those stories found a new path and a different way to do the thing. 

    And now, well, it’s just too much. Too many hanging characters with 30 years of backstory that keep getting serviced at the expense of just telling a new story. 

    I remember when people were complaining about MCU homework and I thought those people are crazy. But, obviously, I’m a Marvel fanatic who is steeped in every inch of the comic stories cause I’ve been buying them for decades. It’s not homework if you love it.

    But Star Wars is rarely my jam. I find even the really good entries to be too silly and childish most of the time. When everyone kept saying the sequels were bad I kept thinking, ‘nah, it’s the same level of bad it’s always been.’

    There was probably a really good 90 minute feature in here. Or an excellent three part section of the next season. 

    Ah well, so it goes. 

  • The Invite.

    The Invite.

    Years ago, I staggered1 out of Mad Max Fury Road, going, ‘How did they do that?’ 

    I feel the same way now with The Invite. There are no flaming guitars and death-defying wire stunts here, though. Instead, it’s how did they write a script so funny and sharp and then direct the hell out of it so much that a four-person gab fest is one of the best films I’ve seen this year. 

    Not just good, but good in a way that, almost from the start, you can’t look away. You gasp and laugh and wait to see what unforgettable thing will get said next. 

    It’s gobsmacking. 

    Could this be a play? Sure, but it’s cinema all the way down. Music, and editing, and a collusion of actors to make it all move with a wonderful, unbreakable pace. 

    Does Olivia Wilde keep looking at the camera like Jim from The Office? Yes. But it’s still funny. 

    The funny works all the way through. The drama at the end felt a little too tacked on. The morning after a hangover following a wild night. 

    While I may not have loved it, it still felt true. 

    At one point, Seth Rogan shouts, “Can’t you just let me be miserable!” And as a happily married man of nearly 20 years now, I felt that in my bones. 

    It’s early, of course, but I certainly hope Olivia Wilde gets a directing nomination. I think this is probably the easy winner for writing. How could it not be? 

    Seth Rogan works hard, man, or he’s always working, or maybe he just insists upon himself. But whatever you think of him, he is exceptional here.

    This is one of the best movies of the year.

    1. Other movies I staggered out of: Braveheart, Casino, and Fargo. ↩︎
  • The Odyssey

    The Odyssey

    Aye gods what a flick. 

    So much to unpack here and despite the jokes about spoilers for a several thousand year old story — that most of us were taught in school — there will in fact be spoilers in this review. 

    First, I joked with a friend before seeing this movie that if Sir Christopher Nolan told this tale with a timeline that went from the middle out I was going to scream so loud the sirens would cover their ears.

    Well, Nolan gonna Nolan. 

    Still, the master has mixed the spectacle and storytelling chops of Steven Spielberg with the frenetic pace of Martin Scorsese. 

    So, while it’s epic in scope, no one scene or shot or moment is epic in length. This gives Nolan the freedom to make it through a saga in 2 and a half hours. However, like Oppenheimer, once the show starts it ramps up to a frenetic pace and never slows down. 

    To be fair and to do Nolan’s particular skills justice this is not a timeline experiment or a puzzle like several of his other works. Instead, it is a tale told by several storytellers who are weaving in and out of various parts of the yarn. 

    Nolan doesn’t really depict the gods here, you will get no Olympus and the one god who moves through the story is a manifestation of Odysseus’ guilt and not truly noble Athena. 

    This narrative gives Nolan a bit of a cheat as nearly every fantastic thing that happens is not presented as fact but rather as the memories of a veteran suffering from enormous guilt and post traumatic stress disorder. 

    So you can see the magic and monsters as true or you can see them as the symbols of tragedy, loss, and despair of a man who sacrificed most of his life to war. 

    This idea is not new to me but it is correct that Nolan’s Odyssey is somehow a thematic sequel to Oppenheimer.  Both are about men who believed they were doing what they must do to defeat implacable enemies only to find that their ingenious solutions destroyed themselves and their civilizations. 

    Nolan, being Nolan, somehow gives even this tale a central mystery that deepens the narrative and provides structure to the whole enterprise. 

    Why does brave and cunning, Odysseus choose not to return home? What truly keeps him from his wife and son? 

    Ages ago, when I was in high school, Mr. Cramer told us of the Greek Myths and explained Joseph Campbell’s The Hero with a Thousand Faces. 

    Almost every hero will have a mysterious birth, be trained by a mentor, overcome challenges that most men cannot and then die and be reborn. 

    These similarities connect all of our great myths from Odysseus to Hercules, to King Arthur and on to Luke Skywalker. 

    Arrogant Odysseus loses his entire crew and his ship and goes into the water to his death, Mr. Cramer said. When he comes out of the water he is finally humbled and now reborn and can return home. 

    Nolan depicts this slice of the movie as a man who must finally give up control and give himself over to the will of the gods. 

    Which is interesting coming from a guy who turned a whole industry around by resurrecting film, and then branding it in such a way that almost guarantees whatever he makes will be a blockbuster. And, and, and, he is almost alone in shooting movies in a practical way that is exorbitantly costly but somehow incredibly lucrative. 

    So when exactly does Sir Christopher Nolan give up control?

    Perhaps when you let go of the film and give it to theaters? 

    On this it seems that Nolan should have no fears. Screenings of The Odyssey sold out a year in advance. People are literally delaying pregnancies in order to make sure they can travel and see this thing in 70 mm. 

    Of course, I do wonder if that tale is true or if it’s just a myth invented by a canny filmmaker who has mastered both the art and the commerce of Hollywood. 

    Let’s wrap this up Nolan style with some breakneck final thoughts. 

    1. Odysseus and his crew spend so much time running away from danger and back to their ships that I thought Matt Damon should have been replaced with the king of running in movies: Tom Cruise. 
    2. They flee so much that someone should have hired John Cleese to shout, “Run Away!”
    3. The cast is stacked and Nolan makes excellent use of everyone. Except maybe Zendaya. Anne Hathaway steals the thing from all the boys though. 
    4. This is more a horror movie than an action tale. Was not quite prepared for that. 
    5. Nolan gives you the cyclops, Circe and her magic, Scylla, Charybdis, the sirens, Penelope’s loom, Agemmenon’s fate, Hades, Calypso’s island vacation, the sack of Troy and the most violent homecoming in myth. All this, and he still leaves enough room for you to treat Troy as a prequel. 
    6. Seen in IMAX 70 mm at Indiana State Museum about an hour away from home with a sold out crowd. Had to watch it at 9:30 pm to get a seat. Took a vacation day the next day. Worth it.

    What a picture! 

  • The Sheep Detectives

    The Sheep Detectives

    I can, I think, nail this down for you quickly. 

    If you can suspend disbelief enough that when the bumbling human detective thanks a group of sheep for solving a murder then this is the whimsical, charming flick for you. 

    I loved it. My mystery loving mother will love it. You mileage may vary. 

    There are several lovable characters in this thing. Not all of them sheep but a lot of them are sheep. The sheep can talk to each other but not to the humans. 

    The difficulties of life as a sheep and the philosophy of sheep are discussed in great detail. 

    There is also murder. And the sheep turn into very good detectives. 

    There is a lot going on here both in the text and the subtext. Just listen as the sheep try to decipher God. But it’s also a movie that recognizes and discusses the plot points of mystery novels and then proceeds to follow them point by point. 

    Look, if Julia Louis-Dreyfus, Bryan Cranston, Rhys Darby, Regina Hall, Brett Goldstein and Sir Patrick Stewart all want to voice a flock of CGI sheep I say let the wool fly. 

    A cozy, funny, sad and at times action packed murder mystery.


    I guess now if they ever make a movie about those cats who solve crimes I’ll have to watch it.

    Minus half a star for changing the name of the book into something bland. 

    Three Bags Full was a perfect title for a sunshiney and crackling sheep murder mystery. 

  • The Furious

    The Furious

    HA HA HA YES! 

    Double Dragon undefeated. 

    I’ll take almost any movie where everyone knows Kung Fu but how wonderful it is to get one that is so well made. 

    This flick is not interested in character development because it sticks to its lane of noble good guys verses unique and in a few cases downright hissable bad guys. 

    Sprinkle in winks to Akira, Lone Wolf and Cub and a whole lot of The Raid and what we have here is a spectacular two hours of fights and stunts. 

    Sometimes you just want to know what big guy Turtle Style looks like against Tiger Style you know? 

    Anytime Miao Xie did one of his feints and held someone at bay with his deadly outstretched palm or by a foot that was ready to strike I cheered. 

    Late in the movie five guys (all furious) square off and for a brief moment Director Kenji Tanigaki cut to a split screen of all of their faces. 

    After I was done howling I thought, ‘here is a man who knows his business.’ 

    In summary, cool movie, cool fights, with a plot, story and characters who are only there to give us a cool movie with cool fights. 

    It was exactly what I needed.

  • Nic Cage as a vampire, a spider, and a lord of war

    Nic Cage as a vampire, a spider, and a lord of war

    Vampire’s Kiss

    This actually happened to a buddy of mine. 

    Anyway, this is a one or two star movie with a five star Nic Cage performance in it. 

    Every so often I try to make it through a series of Nic Cage films just because the completionist in me can’t help it and because you never know when the next Pig or Joe could be lurking in the shadows. 

    This viewing of Last Kiss was prompted by the latest wild interview Cage gave to The New York Times. 

    I don’t want to give anything away but there is a reason I think he’s one of our finest actors and perhaps one of the greatest bullshit artists of all time. 

    I don’t think he’s lying to us or the interviewers or the world at large. I think he’s lying to himself because he has to in order to justify himself. He has to convince himself that he’s doing art and not just cashing a check even when he is starring in what most of us would recognize as 0 star dreck. 

    There was an interview with Bill Murray where he said he took the Garfield movie because he thought the Coen Brothers were doing it. Then when he realized that he got the names wrong and what he had signed up for it was too late. 

    But instead of backing out he read the script and said to himself, “I can fix it.”

    Maybe all actors do that or maybe just the guys and girls who need a check. 

    I dunno. 

    But I believe in Nic Cage.

    So the one thing that I want to draw your attention to is that amazing accent Cage is living with in this film. That accent is from outer space. But it’s clear that it’s what the character things a wealthy successful young New Yorker should sound like.

    So it isn’t Nic Cage acting it’s Cage’s character doing a something with more and less emphasis depending on who he’s with at the time.

    Cage is a big comic book guy so maybe he will enjoy this reference. You know when he reads a blog as he is want to do.

    Issue 14 of Nth Man: Beyond World War III has statement on it’s cover that has never left me since I saw it in 1990. The comic was written by Larry Hama and drawn by Ron Wagner.

    Galactus the giant world eating Jack Kirby and Stan Lee creation is being bullied by a demonic creature that is bigger than him and another person towers over them all.

    And the demon says, “There are worlds within worlds little man!”


    Lord of war

    Two good Nic Cage movies in a row. I feel like I hit … snake eyes 🐍. 

    Anyway deadly funny and a decent amount of tension. It falls apart when it’s about anything (marriage problems, addiction) other than gun running. 

    But it is very very good when it gives you that inside look at the criminal enterprise and personalities involved.

    Predictable in parts — I literally said, “car bomb” before it happens in the flick — but not so predictable that you can call it all.

    Cage’s final speech to his law dog adversary (Hello Ethan Hawke) is not quite up there with the final comments in Casino, Goodfellas, Fight Club and the utterly perfect Killing Them Softly. 

    But it is a sneaky rage filled little diatribe. There is solid work here all around. Precious few explosions but the speechifying mostly makes up for it.


    Spider-Noir

    It’s good. I’m enjoying it. I’m only a couple of episodes in so a full review is not something I want to do.

    Cage doing Bogart with some super hero hijinks thrown in. And Brendan Gleason as the heavy! Just excellent work.

    I should probably watch it in Black and White like Cage wants. But I’m a heathen.

    The color pops though.

  • Manhunter

    Manhunter

    Despite all the effort, dollars spent, words written and time wasted there have only been two good Hannibal Lecter movies. 

    This and Silence of the Lambs. 

    Director Jonathan Demme brought the Thomas Harris book to life in Silence of the Lambs. And Michael Mann took a Harris book and turned it into a Michael Mann movie. 

    Harris and Mann were so early to serial killers and profilers in popular fiction that they are basically inventing the formula here. 

    The next four or five decades of television and film are filled with variations of cops hunting serial killers and serial killers hunting each other and diminishing returns of Hannibal Lecter sequels and prequels. 

    I have never seen the show but the fact that there is a show is a particular kind of failure no matter how good the episodes might be. 

    Anyway, this is visually stunning, cause of course it is, the synth score speaks to me and if the whole enterprise doesn’t quite hit a high note for me it’s just because, once again, Mann is forever more interested in visuals than he is with dialogue. 

    William Peterson really rocks here and if you have seen this and To Live and Die in LA you have to wonder how he never managed to really break through or break out. CSI was a hit, of course, but this guy was magic when you handed him the ball on the big screen. 

    To be fair, no one, except maybe Harris knew what they had in a character as intriguing as Hannibal Lector so you shouldn’t fault Mann for limiting his screen time in a story that doesn’t really have much to do with him. 

    But I’m a catty old man and I do fault him. Mann literally told people he thought he should limit Lector’s presence in the movie. What an incredible mistake. 

    Ah well, you must give credit where it is due and if this is only the second best Lector movie that’s still quite the achievement. They’ve come at it one way or another for four decades and most of them still haven’t topped it. 

    I would not call myself a fan of the genre but in the world of film there’s only like what 4 or five really great serial killer flicks? 

    This, Silence of the Lambs, Seven and Zodiac. 

    Funny thought, but we really should hand Lecter down generation after generation like Hamlet. 

    So I say it’s time for a remake. Get Tom Hardy to play Lecter and Timothy Chalamet to be Will Graham. Jenna Ortega can cameo as Clarice at the end. 

    Hardy would be great even if none of us will understand a damn word he says. 

  • And I don’t much like instant replay either

    And I don’t much like instant replay either

    The moral of the story is, is we’re here on Earth to fart around. And, of course, the computers will do us out of that. And, what the computer people don’t realize, or they don’t care, is we’re dancing animals. You know, we love to move around. And, we’re not supposed to dance at all anymore. – Kurt Vonnegut

    One of the joys of being a fan of a major sport and sports teams is that you can endlessly complain about it. 

    If you will indulge me, I want to take a moment to tell you that the new Automated Ball-Strike challenge system in Major League Baseball is an affront to all that is good and holy in the world, should be immediately dismantled, and we as fans should storm the parks, take the equipment down, set it on fire, and dance around the ashes. 

    Why? Because the last thing we should ever have in a sport as wonderful as baseball is a definitive answer. Especially an answer derived from a soulless computer program that is using a collection of ones and zeroes to determine if the ball passed inside or outside of the strike zone. 

    The strike zone was handed down to us by our forefathers, and there are only a few people ordained by the baseball gods who are allowed to determine whether a pitch is a ball or a strike. 

    They are, in no particular order, a Major League umpire with astigmatism, a very drunk uncle at the family barbecue, a mom making weekend money while also keeping an eye on the kiddos dontchaknow, and your dad who keeps making you cry because he won’t let you go inside and watch tv until you, for the love of pete, get that curveball right.  

    In this instance, let me just grant those of you who are supporters of this system that the technology is perfect. That ABS always gives the correct answer, and the system never fails. Sure, my Internet occasionally just blips out for no reason, and AI tells people that paste is an important part of a tasty crab rangoon, and Siri has never wronged a single soul, but this technological marvel always works. 

    But even if it is perfect, even if, like the Almighty, it is never wrong, we still shouldn’t use it. 

    Why? Because, like Vonnegut says, we are dancing animals, and baseball is about much more than balls and strikes, and we shouldn’t hand over any part of that dancing to the machines. 

    You take your kid to a ballgame. And the crowd is passionate and loud and into the game. And in baseball, sometimes these things can come down to one play, one moment, one second in time. They play nine innings, and there’s no time limit, and still, the whole thing can be decided on that one moment. 

    Bucky (expletive) Dent. Bill Buckner misses a routine ground ball. Benny ‘The Jet’ Rodriguez steals home. 

    So you and your kid watch a game, and it’s decided on a bad call on the last strike in the ninth inning. The crowd sees the replay, realizes the Ump got it wrong, and the game ends. 

    And after that, it’s still over, cause we don’t overturn bad calls on balls and strikes, and you go home. And the kid is upset, in his kid way, and he wonders how the game could have turned out this way. He’s upset because he’s never really experienced this kind of disappointment before. He’s upset because it’s just so unfair. 

    And you turn to him, and you hug him, and you explain one of the biggest, most important lessons he’s ever going to learn. 

    “Life is unfair,” you say. 

    “Sometimes the ump screws up. Sometimes your boss is mean for no reason. Sometimes the teacher just doesn’t like you. Sometimes people we love get cancer. Sometimes our children are born with problems they will carry their whole lives.”

    And what we do here, when these things happen, determines who we are as individuals or who we are as a community or even this whole human experiment. 

    Sometimes whole countries take a wrong turn because they never learned to lose the right way. Sometimes generations of people suffer and struggle and overcome because the game is rigged against them.

    You can’t be a winner until you have learned how to be a loser. 

    But when you navigate through life, when you dance with other people, sometimes you step on some toes. 

    So you tell the kid that people make mistakes. Sometimes, the teacher is wrong. Sometimes your friend betrays you. Sometimes a guy catches a foul ball and doesn’t realize he prevented his own team from making an out. 

    When these things happen, when the winds of fate blow hard in the wrong direction, there are only a few things you can do about it. 

    Your coach can go belly to belly with the ump, and kick dirt on his shoes and get thrown out of the game. This is an acceptable response to a bad call. More than acceptable, I would say, because it might fire the whole team up and get them back in the game and get your guys over the top. 

    But what if it’s not just one bad call? What if the team has a new owner, and she wants to move your team out of town, and so she gets a bunch of losers, and has-beens, and never-was kind of guys to play one year, sink the attendance records, and move the beloved Cleveland franchise to Miami?

    What do you do then? 

    Well, in the words of baseball great Jake Taylor, the only thing you can do is go out and “win the whole (expletive) thing.”  

    You go through chemo and you yell (expletive) cancer. You stare him down in court and you testify about what happened. You tell the universe, “You think I lost? I only lost for a little while. Tomorrow I’m going to win.” 

    You can fight back. And then you can live life with grace and humility and an eye towards the next game, the next series and the next season.

    Or you can be a guy or a girl who is constantly nursing old wounds, old grudges, and old defeats. 

    Or you can hang up your dancing shoes. 

    But what you must never do is point to a mindless collection of ones and zeroes and say, “See, I was right. I was right, I tells ya.” 

    Because then you would be a louse, a fink, a no-goodnik. You would be the guy who goes up to strangers and loudly tells them who you voted for and why. Or the one who announces to everyone in the restaurant that the service is bad and the food is worse. You’d be the person with a bumper sticker that says, “My kid beat up your honor student.” 

    Here, try this instead. 

    You beat us? Ahh, it could be worse, I could have to live in your craphole town. I’ve got (I’m going with Chicago for this one but feel free to pick your own MLB town) Wrigley Field and walkable neighborhoods, and deep dish pizza. What do you got over there in nowheresville?

    Because baseball is not just about balls and strikes, it’s also about character and hometowns and whether our way of life is better than their way of life. And that can’t be determined by stats, or instant replay, or win percentage. 

    You just feel it in your bones and know it in your heart. These are my people, and this is my team.  

    And what do you do when your team loses? What do you do when you lose? 

    You can remember that there is still good in the world, Mr. Frodo, and that on the night the Red Sox finally beat the Yankees to go on to the World Series, everyone in Boston suddenly and simultaneously walked out into the street. Suddenly, magically, The Curse of the Bambino was broken. 

    They were stunned, and then they were overjoyed, and then they were all together dancing the night away.

  • Project Hail Mary

    Project Hail Mary

    It’s the last day of middle school and she broke up with you again. 

    You don’t know why because you don’t understand these things at all. Summer is almost here though and it promises an endless series of sunny days in a quiet neighborhood. There will be movies and pool parties and other girls that you also can’t quite talk to or understand. 

    As you move from class to class you hear snippets of conversations about other lives and vacations to far away places and people who are doing better than you or worse or the same depending on how you judge these things. 

    After lunch, when everyone’s really given up on teaching and learning your favorite teacher puts in a movie. 

    It’s really good, but he is the coolest teacher in the school. There’s something about the sun dying, and Ryan Gosling plays the smartest scientist on earth and he solves all the science problems and then he’s in space. 

    If those problems he’s solving are complicated you don’t notice cause everything flies by really fast and then, boom, a funny alien shows up. 

    His name is Rocky and he’s great. You like that he takes everything literally. It will be years before you notice how often aliens have that problem and how its used for laughs. 

    The movie ends, other kids almost clap, the girl who didn’t say anything to you all year writes, “stay cool” in your yearbook. 

    You walk out into the sun. It’s warm and you smile and you feel free. 

    ———

    Anyway, Project Hail Mary is by the same novelist who gave us The Martian. And it has that Goodfellas to Casino thing going on where it is not a sequel but it very much feels like a sequel. A spiritual sequel. 

    Maybe the most spiritual sequel of all time given that a man names Grace rides a spaceship called the Hail Mary so that he can die for everyone on the planet. 

    Well he has to play some hero ball first, and crack wise with his new alien pal. But yeah, death is coming for our man Grace even if he completes his mission and saves every one of us. 

    It’s a bum wrap. Or a calling. Or a fine chance for Ryan Gosling to show us why he’s the man. 

    Visually stunning, strong character work from Gosling and Sandra Huller and all that pesky science, which truly drove me nuts when I was listening to the audiobook, is kept to the barest of minimums. 

    When I was listening to the book, knowing the movie was coming I kept wondering how they would handle the deep dives into archane science and explanations. 

    Silly me, they just ignored nearly every bit of that. The book did move me though, when it spent time with either Rocky or Huller’s character. And screenwriter Drew Goddard knows where his bread is buttered. 

    This movie was the longest of long shots and they sailed it through the uprights. Thumbs up. I Watched it on 70 millimeter.

    If you haven’t seen it yet and you enjoy movie stars, big science fiction things and visually interesting films then you should go forth and watch this on the biggest screen you can find.