While doing other people’s homework, angry nerd Light Turner stumbles across a mysterious book with the words “Death Note” written on it. And by “stumbled,” I mean it falls from the sky, and hits him on the head. Anyway, when he opens it, a strange, spiky-faced demon named Ryuk appears before him, and explains that if Light writes a person’s name in the book, and pictures their face while doing so, he’ll be able to kill the unlucky soul. Realizing that this gives him virtually unlimited power, Light uses the book to kill off bullies, murderers and terrorists, eventually creating a god-like persona for himself called Kira. Some people love him, since he’s basically ridding the world of evil. Others hate him, since he’s essentially deciding who is worthy of life and who isn’t. Either way, the police, led by an eccentric detective called L, are brought in, and begin investigating Kira’s identity. This puts the pressure on Light, and his bloodthirsty girlfriend, Mia, who start to realize that, shock of all shocks, maybe killing people off indiscriminately is bad. Continue reading
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
While out picking mushrooms, Amy, a student at an all girl’s school in Virginia, comes across a wounded Union soldier. Deciding she can’t just let him die, she brings him home, where the headmistress, Miss Farnsworth, and all the other students, take an instant shine to him. They bring him inside, clean his wounds, cook him food, and, as soon as they think no one else is looking, begin flirting with him. The Northerner, for his part, laps up their affection, flirting with each of them, and even requesting a permanent place in their midst. Things take a turn for the dark, however, when one of the women he’s been courting breaks his already damaged leg. This leads to Miss Farnsworth amputating the injured appendage, and to the Northerner, a previously kind and gentle man, becoming a violent drunk. Needless to say, tensions only rise from there.
The Beguiled is handsomely photographed, decently acted, and it boasts some absolutely stunning sets. And I don’t think I’ll ever watch it again. It’s not that I can’t recognize how well-made it is. It’s just not my kind of movie. It’s extremely slow, the characters aren’t particularly well-defined, and I’m not quite sure what it’s underlying message is. A remake of a 1971 film, starring Clint Eastwood, the movie never comes out as overtly pro, or anti, feminist. On the one hand, it could be read as an indictment of men, and how their lust, violence and selfishness ruin everything. And on the other hand, the film is also about a group of jealous, deceitful, and even murderous, women, who do nothing but talk about men, and fight over a man. So, yeah.
Granted, all this ambiguity was likely a deliberate choice. In the original film, the women are clearly the villains, and Clint Eastwood is clearly the one we’re meant to sympathize with. My guess is that Sofia Coppola, the director of this remake, wanted to tone down some of the older movie’s more misogynistic content. At the same time, however, there were certain aspects of the original–specifically, a disturbing bit of backstory concerning Miss Farnsworth’s love life–that were cut, and that I think would have added a little more depth, had they been included. As I mentioned earlier, none of the characters in this film really stand out. I couldn’t tell you what their personalities were if you asked. Had Coppola included some backstory from the original, I would have gotten a better sense for these women’s characters, and their motivations would have been a little more clear. As it stands, however, The Beguiled is a pretty, competently-crafted, but ultimately hollow and forgettable remake. I don’t see myself re-visiting it anytime soon. But if you’re a fan of Sofia Coppola, or the original, maybe you’ll get a kick out of it.
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
Sam is 18, and he’s never had a girlfriend. This is due, in part, to the fact that he’s on the Autism spectrum, and has trouble reading social cues. Now, though, with only one year of High School left, and a newfound attraction to his therapist, Julia, he’s determined to get a “practice girlfriend,” so he can learn how to please a woman. This quest brings him into conflict with his mother, Elsa, whose whole life has been consumed by taking care of him, and whose confusion over not being able to micromanage his existence leads her to make some bold new choices of her own.
Atypical is funny, well-acted, and very well-written. Seriously. The dialogue alone should be enough to get you to watch this series. It’s sharp, witty, believable and specific to each individual character. And the characters themselves feel like real people. They have quirks, interests, show a wide range of emotions, and at times are lovable, and at other times, loathsome. From a pure story and dialogue perspective, I have no complaints about Atypical. It’s a well-written, well-acted sitcom, with only eight, half-hour episodes, so there’s no need to worry about it dragging. And if you’re like me, and want to see greater representation of Asian people in media, you’ll be happy to learn that several key supporting characters, such as Sam’s therapist, and unrequited love interest, Julia, and his best friend, Zahid, are Asian, and not at all stereotypical. They’re well-rounded, have personalities, arcs, and even some flaws. They’re some of the best aspects of the show, and its’ refreshing to see Asian characters like this in a mainstream series.
All that said, I do have some thoughts on Atypical. They’re not complaints, per se, just thoughts. First of all, I’m not sure how accurate the series is in it’s representation of Autism. As I’ve mentioned before, many films and TV shows exaggerate certain disabilities so as to make disabled characters more pitiful or sympathetic. As such, I’m always somewhat wary whenever a film or TV series comes out where the whole concept is that a character is mentally or physically challenged. And I’m sure that, to some people, Sam will come off as a stereotypical representation of Autism. Yes, he’s a likable, compelling character. And when you watch the show, you can tell that the writers did do research on the symptoms of Autism. But his condition is still somewhat exaggerated, and should not be seen as a be-all-end-all portrayal of the spectrum. In the show, Sam is extremely sensitive to bright light, and loud noises, and is virtually incapable of speaking about any topic other than Antarctica; his obsession. I’ll tell you right now, not all Autistic people are like that. My best friend has Aspergers, a high-functioning form of Autism, and he isn’t sensitive to light, or loud noises, and he can talk for hours about virtually everything. Autism, as I’ve mentioned before, is a spectrum, with varying degrees of severity specific to each individual person. There probably are people like Sam out there. And they might be very happy to see themselves represented on the small screen. But for people who don’t have as severe a condition as he does, or who want to know what Autism is really like, this might not be the perfect portrayal to watch.
The second thought I have on Atypical is really more of a nitpick, but one that I think is worth bringing up. And that is the character of Paige. She joins the show about two episodes in, and ends up becoming Sam’s “practice girlfriend.” She’s sweet, understanding, sympathetic, and I don’t buy her character for a second. I don’t buy that, A, she would ever be attracted to Sam, and, B, that she would be able to put up with him when they start going out. For starters, she’s way too attractive. She’s the classic Hollywood beauty; tall, blonde, and thin. She legitimately looks like a model, and yet she’s chasing after a guy who looks like the love child of Michael Cera and Dobby the House Elf. And if that’s not ridiculous enough, her character is supposedly the smartest girl in school. Between her brains and her looks, she could have literally anyone she wanted. So why is she so determine to get with this kid who, initially, doesn’t even recognize that she likes him, and then, later on, acts like a total dick to her? And not in a “he doesn’t know any better” way, but in a legitimately mean-spirited, jerky kind of way. I would have believed her character more if she were also disabled, less attractive, or just less perfect in general. As it stands, though, she’s too nice and too pretty, and she just doesn’t feel like a real person. Maybe I’m being unfair here, and I do want to mention that the actress playing Paige does a great job, but I would like it if, for once, Hollywood cast, and forgive the pun here, atypical leading ladies. Older Women. Large Women. Disabled Women. Women Of Color. They’re all just as interesting, and capable of love, as blonde super models, and they exist in higher numbers than the latter group. I would like it if, in the future, female characters would be allowed to exist in all the shapes, sizes and colors that their real-life counterparts do.
But, in the end, those are both small nitpicks, and not any real harm to the show. Atypical is funny, well-acted, well-written, and the perfect length for a sitcom. If you’re looking for something fun and charming to watch, give this Netflix original a look. You will not regret it.
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
Chiron has a hard life. His dad is dead, his mom is a drug addict, the kids at school don’t like him, and he realizes when he’s young that he just might be gay. Which, in his neighborhood, is the equivalent of painting a bright red target on your back. His only friends are a drug dealer named Juan, Juan’s girlfriend, Teresa, and a boy named Kevin, whom Chiron is attracted to, and who just might have feelings for him as well. Will they wind up together? Will Chiron find some peace in life? Well, you’ll just have to watch the movie to find out.
Moonlight is a very unusual film; not simply for being one of the few movies to openly address the Black gay experience, but also in terms of how its structured. It’s broken up into three distinct acts, each of which tackles a different stage in Chiron’s life. The first act discusses his time as a little boy. The second act explores his teenage years. And the third act chronicles his life as an adult. There’s not really an overarching plot. There isn’t really a climax. Most of the key events in his life happen off screen, in the years between scenes. In many respects, Moonlight mirrors the works of Wong Kar-Wai, in that its a colorful, atmospheric mood piece, with not much plot, and a huge emphasis on sorrow, longing, and love. And, indeed, Moonlight’s director, Barry Jenkins, has openly admitted that Wong was a huge influence on him. So that right there should give you a good idea of what to expect with this movie. You might not like it, but you’ll at least know what to expect.
For my part, I found Moonlight to be beautiful. Everything about it, from its performances, to its blue-tinted cinematography, to its actors, are gorgeous. And I found the ending, wherein Chiron and Kevin are reunited, to be deeply touching. I wholeheartedly believe that people should watch this movie, if not for the performances and the camerawork, than for the simple fact that it tells a story that is not often told; the story of a gay Black man in America.
And yet, even as I say this, I know that not everyone will share my opinions on this movie. There will be people who’ll watch this film and be frustrated, some for reasons that are understandable, and some for reasons that aren’t. For starters, the movie is very slow, there are whole sequences without dialogue, and, as I said before, there isn’t really an overarching plot. I can totally understand why some people might be bored by this movie. Mood pieces that break the rules of dramatic structure are all well and good, but most people grew up with plot-driven films with lots of dialogue, and, for the most part, they prefer those. Unfortunately, though, that won’t be the only reason why some people won’t like this movie. The other, and perhaps bigger, reason is the fact that it is about a gay Black man. In an ideal world, his story, and the stories of people like him, would be universally embraced. But we don’t live in an ideal world. We live in a world where a racist, misogynist internet troll with no political or military experience can get elected President, where Blacks and Latinos are disproportionately the victims of police brutality, and where homophobia and transphobia can lead to people being thrown in jail, or even killed, just for being who they are. So if you are one of those narrow-minded idiots who can’t stand to see a person of a different race or sexuality onscreen, avoid this film like the plague. If, on the other hand, you are someone with a soul, and you don’t mind slower, more atmospheric films, give Moonlight a look. It will definitely pull on your heartstrings.
Greetings Loved Ones! Liu Is The Name, And Views AreMyGame.
Max is a cab driver, saving up to start his own company. He knows LA like the back of his hand, and even though his job is fairly thankless, he takes pride in his work. One night, he picks up a gray-haired man named Vincent, who tells him, “I’ve got five stops to make. You get me to all of them on time, I’ll pay you $600.” Max agrees, and brings Vincent to his first stop. Everything seems fine, until a dead body falls on the cab, smashing the windshield to bits. Things get worse when Vincent returns, and reveals that not only did he kill the man, but he’s an assassin who’s been hired to take out 4 more targets. Now, if Max wants to survive, he’ll have to help Vincent evade capture, and finish his jobs, which means contributing to the deaths of four more people. Can he do it? Will he make it through the night? Well, you’ll just have to watch the movie to find out
Collateral is the definition of a well-made thriller. It’s suspenseful, superbly -acted (seriously, Jamie Foxx earned an Oscar nomination for his performance as Max) and very well-written. I’d actually like to take a minute to talk about the writing, because it is really, really good. Not only does every character have a distinct voice and backstory, the dialogue is really witty, and oddly thought-provoking. There are so many exchanges in this film that are funny, frightening and philosophical all at the same time that I’m honestly kind of surprised that Stuart Beattie, whom penned the script, didn’t get an Oscar nod. Like, in the scene right after Max learns that Vincent is a hit man, he’s freaking out, and Vincent starts talking about Rwanda. He tells Max how more people were killed at once there than in the past 50 years, and yet, he, Max, didn’t get upset when he heard about the genocide. He didn’t join the peace corps. He didn’t contribute to any charities. But now, when one fat guy dies in front of him, he turns into a bleeding heart? How hypocritical. That’s a brilliant exchange right there. It not only shows us how Vincent views morality, but it also gets us, the spectators, to think. It calls us out on our own hypocrisies, like how we care about some lives, but not about others. And the movie is full of awesome moments like that, where characters are talking about their pasts, or their morals, and it’s super engaging and funny. In one scene, Max asks Vincent, “You killed him?” to which Vincent responds, “No. I shot him. The bullets and the fall killed him.” And in another scene, Vincent has a gun pressed up against Max’s head, and forces him to tell his boss to “shove this yellow cab up your fat ass.” It’s wonderful.
If I have one complaint about Collateral, it’s the camerawork. It’s almost all hand-held, so the images are very shaky, and the shots are super noisy. If you don’t know what that last part means, “noise” is a film term for elements in cinematography that ruin an image, like lens flares, blurry lines, or pixels. Collateral’s director, Michael Mann, is infamous for not minding “noise” in his films. As such, a lot of his movies, even if they’re big-budget period pieces, like Public Enemies, feel like they’re shot on home video. Now, as annoying as I find shaky cam and lens flares, both actually kind of work for this movie. You’re telling a story that’s very gritty and real, and the sloppy-looking camerawork does kind of contribute to a sense of realism. Kind of. But in case you can’t get over the cinematography, the film’s gorgeous color palette more than makes up for it. Every image is black, contrasted with neon blues, greens or pinks; i.e. the color of LA at night. If, like me, you love films with saturated color schemes, which help create mood and atmosphere, you’re gonna love this movie. It is a feast for the eyes.
Guys, what can I say that hasn’t already been said? Collateral is a fast-paced, superbly acted, brilliantly-written thriller. I love it, and I’m sure you would to if you saw it. Don’t hesitate to give it a look.
Ellen has an eating disorder. She doesn’t want to chew, let alone swallow, anything with calories. As a result, she’s lost a truly frightening amount of weight, and there is a very real chance she might die. So, as a last ditch effort to save her life, Ellen’s stepmom signs her up for a special,eating disorder treatment program. She’ll have to live in a house, with other anorexic kids, and partake in therapy sessions with Dr. Beckham, played by Keanu Reeves. If all goes well, she’ll be cured, and allowed to go home. If it doesn’t, she’ll die. Those are the only options, and with the way the film starts out, either outcome is entirely plausible. Continue reading
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
In 1950s Los Angeles, Ed Exley, Bud White and Jack Vincennes are three police officers with drastically different lives. Exley, the son of a famous detective, is a no-nonsense, by-the-book politician, hoping to climb the LAPD’s ranks. White, a heavy drinker, is a violent, plainclothes officer with a pension for punishing wife beaters. And Vincennes; oh Vincennes. Vincennes is a celebrity cop, who acts as a consultant on a popular TV Show, and who makes extra cash by feeding tips to a gossip mag. These men have nothing in common, and would never even dream of working together. But when White’s partner, whom Exley had a hand in firing, winds up dead, and an item that Vincennes found on one of his raids is discovered at the crime scene, they wind up doing just that. And the more they dig, the more they realize how deep the conspiracy goes.
On paper, LA Confidential is the perfect movie for me. It’s a fast-paced thriller, with high production values, and a strong cast. It’s even a period piece. All my interest boxes are ticked. So why am I not crazy about it? Well, the simple answer is that every single aspect feels extremely familiar. All the main characters and plot points have been used before, in other, older noir films. In fact, if you took out the more explicit violence and language, and made it black and white, LA Confidential would be indistinguishable from those earlier movies. Now, as I’ve always said, there is nothing inherently wrong with a story being unoriginal. Every narrative in existence takes ideas from works that have proceeded it. But the best stories are the ones that are able to take those ideas, and make them their own. They change the setting, alter the tone, or break the rules by not giving you the ending you expect. Or, as in the case of movies like Deadpool and Their Finest, they openly acknowledge how cliched their narratives are, and so make fun of them. LA Confidential does none of those things. It is not parodying, drawing from, or even deconstructing the noir genre. It is just a noir film. It is a mystery, set in the 50s, in LA, involving corruption, murder, a flawed protagonist, or protagonists, in this case, and a femme fatale. That’s it. It doesn’t shock you with its ending, like Seven or Mother. It doesn’t have witty dialogue, like The Big Lebowski or The Nice Guys. It’s story, its cinematography, its score and its costumes are all very standard for the noir genre. And because everything about it is so familiar, you find yourself not caring as much.
Now before you get the wrong idea, I don’t think this is a bad film. The acting is superb, the costumes and sets are period accurate, and the tight pacing never allows for a dull moment. I whole-heartedly acknowledge that this is a competently crafted movie. But I’m also quite convinced that the reason it was so acclaimed when it first came out back in 97 was nostalgia. Critics who grew up with classic noir were most likely just happy to see something that reminded them of when they were young, and so declared the film to be better than it was. But, like I said, it’s not terrible. Just unoriginal. So if that doesn’t bother you, give it a look. You’ll probably like it.