Greetings Loved Ones! Liu Is The Name, And Views Are My Game. Continue reading
Wade Wilson, aka Deadpool, has a problem. His girlfriend is dead, and, thanks to his healing factor, he can’t join her in heaven. Not until his heart is in the right place. But what does that mean? Well, Wade interprets that as a call to protect a young mutant boy, Russell, from the time-traveler Cable, who has journeyed back from the future to assassinate him. And if that sounds like the plot to a Terminator movie, never fear. Deadpool most certainly comments on that fact. So now, the race is on to assemble a new super team, X-Force, and save Russell before it’s too late. Will they do both in time? Well, you’ll just have to watch to find out.
Greetings Loved Ones! Liu Is The Name, And Views Are My Game. Continue reading
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
It’s 1973, and Billie Jean King is the reigning champ of women’s tennis. But she’s not just interested in titles. No, sir. She also wants to change the way the tennis federation treats women. So when she learns that the female winners of a particular tournament will be paid 8 times less than their male counterparts, she decides, “Screw it! I’m making my own all-women’s tennis league.” And that’s exactly what she does. Meanwhile, Bobby Riggs, a washed up former tennis champ, upset at how uppity King has gotten, challenges her to an exclusive, one-on-one match; a “battle of the sexes,” if you will. He even offers her a lot of money if she wins. King is reluctant at first, but, realizing that the league can only survive if it has the funds to do so, she agrees, and begins training for the big, end-all, be-all match. Will she win? Well, you’ll have to watch the movie, or read a history book, to find out.
Battle Of The Sexes is a well-acted, decently directed comedy, with a good message, and that’s it. Nothing more. Nothing less. Which, in a way, is kind of a problem. We’ve seen these kind of social issue movies before. Hell, they crop up every year around Oscar season. Some, like Blood Diamond, Dallas Buyers Club, and 12 Years A Slave, are great, and able to transcend their well-meaning, if predictable, formulas. Others, like Stonewall, Golden Gate, and J Edgar, are bad, precisely because of their refusal to take risks with their storytelling. Battle Of The Sexes isn’t bad by any stretch of the imagination, but, for a movie that’s seeking to tackle the gross sexism that Billie Jean King had to come up against, and that sadly is still present to this day, it all seems kind of safe. Say what you like about GLOW’s dark humor, at least it went places it needed to go to. It wasn’t afraid to offend people when it came to making us understand that women did, and do, face a lot of terrible shit. Yes, sometimes it went over-the-top, but it at least made its point. In Battle Of The Sexes, the misogyny is oddly tame. Yes, it’s still terrible seeing men objectify women, pay them less, and talk down to them. But the language they use isn’t that provocative. And the film even goes out of its way to make the sexist guys, particularly Riggs, kind of likable. We see him playing with his kid, cracking jokes,and generally enjoying life. Yes, it’s better to employ an even-handed approach when it comes to portraying heroes and villains, but, in this case, I believe it would have been better if Riggs had been slightly less lovable. See, very often in fiction, sexism in male characters is shown as an annoying, but forgivable, quirk. If you don’t believe me, just look at the Big Bang Theory, Revenge Of The Nerds, and even Their Finest, a film I really admired. In each of these works, other people scoff and roll their eyes when the male characters say or do sexist things, but they never try to change their minds, or punish them for their behavior. In fact, we’re meant to sympathize with these men. Deep down, they’re not bad guys. They’re just misunderstood. And whatever misogynistic behavior they might display, it’s more than made up for by their positive qualities. This trend in media has seriously normalized misogyny in many people’s minds. And I’m quite convinced that it at least played a part in the election of Donald Trump. Even after the infamous Access Hollywood tape, people voted for him, and they did so because, to them, his sexism is just a harmless part of who he is. If Battle Of The Sexes really wanted to comment on sexism, it should have made Riggs as ugly and disgusting a character as possible. He shouldn’t have had any redeeming qualities, and the reason he shouldn’t have is to show audiences that men who act like this lose, and are pathetic, worthless human beings.
But if, somehow, you don’t care about making a strong enough statement against sexism–though, really, why would you go to see this movie if you didn’t–the film isn’t all that good. It’s not bad, mind you. It’s just not memorably great. THe dialogue is fine. The cinematography is fine, though they do tend to use way too many close ups. And the acting, as I said, is fine. No one really stands out as superb. Everyone is just serviceably good. So when you combine all this together–the serviceable production values, and rather safe tone–what you’re left with is a well-meaning, but honestly kind of forgettable biopic. Should you go see it? Well, that’s up to you. As for me, I have no desire to watch it again.
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
This isn’t a bad movie, but it isn’t a good one either. It’s trying to be progressive–to tell a touching, and socially relevant story–but it ultimately comes off as generic, and even somewhat banal.
For those of you who are wondering what the hell I’m talking about, I just sat down and watched an early screening of Freeheld, a new drama film starring Julianne Moore and Ellen Page. The movie, which comes out in theaters tomorrow, is based on the true story of Laurel Hester, a Lesbian Police Officer from New Jersey, who, when she was diagnosed with terminal lung cancer, was unable to transfer her pension benefits to her partner, Stacie. The film chronicles her friends and loved ones attempts to overdue the court’s ruling, and get Stacie her pension.
Now, I’ll be honest, when I heard this film’s premise, I was hopeful. I love “call to social action” films, like Blood Diamond, Philadelphia, and Dallas Buyers Club. I thought that, maybe, this movie would be another worthy addition to the list of socially conscious motion pictures that have come out in the last 30 years. Unfortunately, when I actually sat down and watched it, I was treated to a fairly generic “fight the power” drama, with no real tension, and nothing particularly new in the way of storytelling. Every cliched character you’d expect to see in a movie about gay rights–the butch lesbian, the flamboyantly gay man, the homophobe who grows a heart and does the right thing–is present here. No one’s really given any backstory, and some of the performances are a bit cartoonish. On top of that, this whole movie feels like White Guilt Oscar Bait. You all know what I’m talking about–movies that are hoping to get critical acclaim by talking about something important, like racism, sexism, homophobia, or historical tragedies. It’s practically a joke among actors that, if you want to win an Oscar these days, you’ve got to either pretend to be gay, pretend to be dying, or pretend to be disabled. Well, this film is about homophobia, and its star, Julianne Moore, is both pretending to die, AND pretending to be gay. At this point, the filmmakers are practically giving their acceptance speeches.
Now, to be fair, I know that the directors and the actors intentions here were good, but, honestly, the whole thing just feels exploitative. I’m a disabled person, and I don’t like it when I see non-disabled actors–like Eddie Redmayne in Theory Of Everything, Al Pacino in Scent Of A Woman, and Cliff Robertson in Charly–using our conditions as easy springboards to critical success. Similarly, I don’t like it when I see heterosexual actors giving flamboyantly over-the-top portrayals of gay people, like Steve Carrell does here, just to win awards.
So, to sum it all up, Freeheld is a well-intentioned movie that doesn’t bring anything new to the “fight the power,” social activism genre of filmmaking, and ultimately suffers because of that. It’s a 6 out of 10. Don’t go see it if you’ve already watched films like Philadelphia or Dallas Buyers Club.
Greetings Loved Ones! Liu Is The Name, And Views Are My Game!
Sex, philosophy, and high octane thrills–these are the first things that come to mind when I think of Sense8, the latest Netflix original series to hit the small screen. Written and directed by the Wachowskis–most famous for their work on The Matrix Trilogy, V For Vendetta, and more recently, Cloud Atlas—Sense8 follows a group of eight strangers from various parts of the world who, one day, become psychically linked, and find themselves able to see, hear, smell, touch and taste what the others do. The eight in question are Will, a Chicago police officer, Riley, an Icelandic DJ, Nomi, a transgender hacker from LA, Lito, a closeted gay Mexican actor, Kala, a Mumbai pharmacist, Capheus, a Kenyan bus-driver, Wolfgang, a German locksmith, and finally, Sun, a South Korean businesswoman. Each of them quickly becomes aware of the others’ existence, acquiring skills and habits that they originally did not possess, and even learning how to communicate with one another, despite all speaking different languages. Things only get worse when a mysterious man named Jonas appears and tells them that they are all being hunted by an unknown organization that wants to kill them. And, well, the story just gets crazier from there on in.
Now, before I go any further, I just want to make a few things clear. First, I actually really like this show–it’s one of the few series that I couldn’t stop watching. And second, I would seriously recommend that most people give it a look–if forced to assign a fractional score, I’d probably give Sense8 a 7.5 out of 10. That said, I do have problems with the series, and would like to bring them up in this review, but only with the hopes that, if the filmmakers do get the chance to produce a second season, they can learn from their mistakes and make an even more awesome show. But, I digress. Back to the review!
I did some research, and found that Sense8 actually started off as a desire the Wachowski’s had to use sci-fi to comment on current events. With hindsight, this seems kind of obvious, seeing as the show touches upon a number of prominent social issues, such as gender, sexuality, identity, and even AIDS. And while I admire the series for that, and for its international setting and cast, I do still have some problems with it.
First of all, when you watch the show, it becomes very clear that certain story lines–specifically, the ones that address the issues I just listed–were given a lot more thought and care than others. You spend a whole lot more time with Nomi and Lito than anyone else. Hell, there are whole episodes where you don’t even see Capheus, Kala, or Sun. Now, on the one hand, I can understand why the Wachowskis would choose to do this. One of them, Lana, is a transgender woman, and I can totally see why she would want to talk about her own experiences and hardships through art. That’s all well and good, but if your primary goal was to discuss gender and sexuality, why include all these other characters? Why not have the show just be about Nomi and Lito? It would give you more time to develop them, and wouldn’t distract the audience from the series’ main objective.
The second issue I have with the show is the fact that, just as certain story lines are given more thought and care than others, so too are some narratives given little to no thought at all. Riley, for instance, is featured in every episode, and yet she does absolutely nothing. I’m serious! 90% of the time she’s on screen, she just sits there, listens to music, and looks sad. She barely talks, and she never initiates anything. I don’t know about you, but I don’t find that interesting at all. So why are we spending so much time with her? This just goes to show you how poorly thought-out certain narratives in this series are.
The third problem I have with Sense8 is a problem I have with a lot of American films and TV shows set in other countries–that being that the depiction of those countries and their people is pretty stereotypical. Nairobi, for instance, is shown as a never-ending slum, overflowing with drugs, hookers, and warlords. Similarly, Berlin is portrayed as a grey, dreary, over-cast puddle where no one smiles. And as if the environments in which you see these characters interacting isn’t cliche enough, the characters themselves are more or less archetypes. Kala, for instance, is a “modern Indian woman” who doesn’t want to marry a man she doesn’t love. Sun, likewise, is an amalgamation of every stereotype Westerners have about East Asian Females–she stoic, knows martial arts, and is regularly abused by men. All I’m saying is, if you want to have your story be set in all different parts of the world, do your best to represent those parts accurately.
But, if you ask me, the biggest error that the creators of Sense8 made was having their characters be kind of stupid. What I mean by that is there are numerous points in the series where the characters wind up in unpleasant circumstances, and these circumstances are ones that the protagonists could easily have avoided. Kala, for instance, doesn’t want to marry a man named Rajan, but goes along with the wedding anyway. Why? It’s not like this is an arranged marriage. The series goes out of its way to explain how this is a consensual union, and how both her and Rajan’s families are super modern and progressive-minded. So, if Kala really didn’t want to marry him, she could just have easily said no, and then there’d be no problem. Similarly, Sun’s predicament is one that she could easily have gotten out of. See, she and her brother are executives in their father’s company, and after a while, you find out that her brother’s been embezzling money. So, Sun, being the gracious and loving older sister, takes the blame for all his crimes, and goes to prison. Just one small problem with this–in absolutely no way does she have to! The series shows numerous instances of her father and brother treating her like shit, and of her hating their guts in equal measure, so why would she go to prison for them? It just doesn’t seem logical. All I can think is that the creators were trying to ride the coat-tails of Orange Is The New Black’s success, which, as most of you probably know, is all about women in the prison system. But, either way, the choices that the characters in this series make are ridiculous, and when they get into trouble for making them, I don’t really feel much sympathy. Let’s just hope the writers come up with some better ideas next season.
But, all these criticisms aside, I do still think there’s a lot to admire with this show. It’s well acted, the premise is interesting, and there are a lot of touching and profound moments in it. All I can say is that, if the creators learn from their mistakes next season, they just might have themselves a perfect show. Don’t hesitate to give it a look.