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Emily the Criminal (2022)
Nice premise and lead, hollow victory.
I notice a trend to have women become the action protagonist in films and TV shows, which I am fine with, on condition that it is believable. This film protagonist relies more on dumb luck and playing crazy long odds rather than skill, strength and smarts. In all appearance, her opponents are 'storm trooper' level incompetent while she is barely competent, but highly stubborn.
The start of the film the viewer meets 'Emily' played by a winsome Aubrey Plaza who works a food delivery service to (barely) make ends meet. A large student loan hovers over her life with little hope in finding a job that pays well enough to service the massive debt. She is a visual artist/graphic designer who yearns to produce something meaningful. Because of some skirmish she had while a student, she has a criminal record that affects her chances at getting good paying work.
Emily finds a way to earn quick cash at some illegitimate enterprise. A moral dilemma develops, her 'legitimate' work opportunities exploit her low status to try get free or abused labor out of her. Turning to illegitimate means could be the bridge to find more meaningful income to service her debt and find a future. (Criminals tell me that the so called 'legit' world is dodgier than the underworld, maybe this films plays into that) Emily asks herself, does she have the intestinal and psychological fortitude to do whatever it takes to come out ahead? Emily thinks she does.
I do not quibble with the writer and character conclusions, what I have a problem with is the HOW. Fight scenes could have been choreographed a bit better. You have a five foot six, one hundred and twenty pounds of scrawny, untrained woman careening herself at street thugs with little more than stun weapons and everyday objects. One scene that would have done-in a woman of her size, she somehow miraculously got out of. Spend a couple of more days on set to work out escape tactics with stunt coordinators for goodness sake! You want the woman to win? Great! Help make it real and believable. I 'get' it, she is DETERMINED. But determination is not enough. She must have a massive horseshoe or lucky charm tucked away somewhere on her person to get out of her scraps.
I like the premise, the moral dilemmas, the injustices and the challenges this film poses. The solutions come off a bit weak. The point is, the protagonist will not bow to any rules, including the laws of physics.
I was engaged with the film, was on Emily's side and want to see her win. It is not much fun, however, when you have the weakest, dumbest and most spineless opponents with non-existent IQ's as your enemies. This viewer is left craving a real battle of wits and a prize truly earned.
I'm Your Woman (2020)
Anyone notice the Thief (1981) connection?
I laughed when I saw Michael Mann thanked in the end credits. Aspects of the this film reminded me of Thief (1981), Michael Mann's first film starring James Caan and Tuesday Weld. I am guessing that Brosnahan's character continues where Tuesday left off in the film when she was sent off with a guard and a bag of money by Frank, who had a whole syndicate after him. Same situation, Frank met Jessie who could not have children and because the former had a criminal record, they could not adopt either. A child was delivered from a syndicate connection. Thus, a pretty hefty nod to an earlier film classic (and one of my all-time favorites). I think Frank would have been nicer and more competent than Eddie in this film. Same with Jessie and Jean, as in Jessie from Thief would be more competent than Jean, but maybe the former might not have the courage to use a gun, as jean does. Speaking of which, is 'I'm you're Woman' any good? Yeah, it's alright. Not great but not bad either. Sorta dark, not-so-feel-good trying to be a feel-good, but plot sort of T-bones all that. I was chuckling throughout, but I like dark humor. Not bad, it's okay. As for those who complain about the crying kid, eventually he does stop and the story picks up.
Snow in Paradise (2014)
Iceberg in Paradise.
We meet our protagonist, Dave when he starts off as an transporter of wholesale quantity illicit drugs for a firm. The job pays very well and Dave who is far more accustomed to being 'skint' than 'flush' is not sure what to do with his newfound riches. Dave helps himself to liberal samples of the wholesale product he transports while also buying other brands of artificial joy to supplement. We discover that Dave has a moderation problem. But business is booming and Dave brings in his friend, who also happens to be ethnic, to share the wealth. Trouble is, the tight-nit corporate culture Dave is a part of does not really celebrate ethnic diversity. This poses greater problems down the road. As business picks up, so do Dave's responsibilities where he is promoted to also administer penalties to 'delinquent clients'. This promotion leads to an awakening of sorts within Dave as he discovers he has something called a conscience. Not just any conscience it seems, rather one that wreaks havoc on par with the Incredible Hulk on a tantrum. Immediately Dave attempts to bludgeon his conscience through upping his dosages of wholesale product and other substances in a bender that would put frosh week students to shame. But Dave's conscience also has the power, strength, and the resilience of The Incredible Hulk and will not be vanquished. Dave runs to a local mosque that his little ethnic friend frequents in a desperate bid to satiate his conscience. Yet when our protagonist sees and listens to the worshippers, he dismisses the lot as 'brainwashed'. That is, until Dave encounters the dark night of his beleaguered soul and feels he has nowhere left to run. We then have what writer William Faulkner phrases as, 'the heart in conflict with itself', torn between the rending demands of the material world and ravenous desire for inner peace.
Snow in Paradise is a debut film by Andrew Hulme based on the memoirs of actor/co-writer Martin Askew. Hulme already has a distinct style, the 'claustrophobia-inducing up-close-and-too-personal camera framing' such that the odd wide shot allows the audience to gasp for air and lower her/his pulse. Ernest Hemingway may be an influence because the film intimates that there is not snow, but an iceberg in paradise where the audience gets the tip and the rest of the story is beneath the waters. Symbolic hints point towards a larger, darker story and Hulme is not big on exposition, rather leaving the audience to flail or tread for answers. We even have a boxing scene that would do Papa Hemingway proud. The cinematography is accomplished and clean, clinical almost. Yet most striking is the music score, or rather, the lack of it. Sparse plucks from a bass during intense scenes, but mostly silence so the audience can reflect on what is happening instead of music directing emotion. Hulme is no spring chicken when it comes to the film, having edited for such directors as Anton Corbijn (Control, The American) and Julian Jarrold (Red Riding: The Year of Our Lord 1974). Like Daniel-San from The Karate Kid, Andrew Hulme has 'waxed-on', 'waxed-off' for decades and is now ready to crane-kick his way into film goers hearts, though the fare he offers is a tad bleak.
The Dead Center (2018)
Little rough but enjoyable.
I saw this film because Shane Carruth is in it and it was awesome to see him in a movie again. Carruth plays Daniel Forrester, a psychiatrist who encounters a patient who has a little more than problems-in-living, like the supernatural. Carruth is a good casting choice as psychiatrist, he is both believable and likeable. That's pretty important if you work in a psychiatric ward where patients would already feel apprehensive. But that is not to say Carruth's character always makes good choices, such as brandishing a blunt object at a supernatural force not bound by physical laws. (It would be doubtful if a proton pack would work, even.) There are a few, 'huh?' moments in this film, so you need to suspend belief at times. The musical film score could have been eerier and the director could have slowed-down some scenes to build a deeper sense of dread and creepiness (The Mothman Prophecies by Mark Pellington did a great job at this.) The pace is pretty quick, maybe too quick, so the viewer gets engaged. The actor who played the patient (cannot find his name) was also a good casting choice. I dug the film, the supernatural entity is ambiguous and the film feels unresolved, in a good way. This means there could be a sequel. It's an okay-to-good horror/supernatural thriller and fun to watch. Lots happens and though you may not be 'blown away', you will not be bored either. I will further go out on a limb and say this is teen-friendly, so go out and scare some kids with this.
Twin Peaks: The Return (2017)
Creative License Left To Run Wild
Twin Peaks, the Return is what happens when creative license is let off the leash and allowed to run a little too wild. There are two main reasons to watch (especially the first season of) the series, the love of the characters and the artful way the story is told. The viewers want to know what became of their beloved agent Cooper and the rest of the town of Twin Peaks. Imagine the disappointment when the hero does not return to well past the half-way mark of the series. Lynch toys with the audience the way a big child holds a toy, just out of reach as we struggle for it. When we finally do get the the toy, we find two thirds replaced with...something else. Agent Cooper should have returned much earlier in the series and the story ought to have remained in the town of Twin Peaks or why call the series that at all? Once our Cooper returned, he could become our Virgil as we tour hell, purgatory and perhaps even heaven.
This is not to detract from TP the Return. There are powerful, moving moments that only Lynch could elicit. Cases in point are when the One Armed Man exhorts Agent Cooper to not die, when Cooper proclaims, "I am the FBI!" and the moments with the Log Lady. There are also some ridiculous scenes to be sure, but the only ones that provoke frustration are the ones that slow our reunion with Agent Cooper. The other great frustration was how the antagonist, Killer Bob, was handled. With a force this great and powerful, you would expect more story to be involved. However, one of the series' greatest strengths is evil Cooper who indirectly, also turns out to be a force for good in some ways in the way he disposes of other baddies. Lynch does not always have a nuanced view of evil. Evil Cooper is also one of the more entertaining parts of this series and perhaps even saves it.
Lynch's tour of the nether, parallel and alternate worlds is fun and intriguing and part of his signature style. These tours are fine and necessary as long as we get our characters and some real progression of the story. Twin Peaks : The Return is a case of too much Yin and not enough Yang, or the other way around. Lynch has perhaps surrounded himself with "yes men" and not placed parameters which sometimes is necessary for good art. Some real opportunities were missed here. There needs to be a writer or producer that can stand toe-to-toe with Lynch and rein him in so we get the best of him, the actors and production crew in every episode.
Crocodile Shoes (1994)
Newcastle's own Loretta Lynn.
This is a British make-believe version of the Coal Miner's Daughter, broken-down to a two season mini-series where Jimmy Nail plays Jed Sheppard. a would be Loretta Lynn and James Wilby, aptly enough plays, Ade Lynn who is our Doolittle Lynn.
Set in post-Industrial Newcastle Upon Tyne, Jed Sheppard is a lathe operator in the dying twilight of the ship building industry, just around the corner from layoffs and factory shutdown. However, in the wee hours, Sheppard plays and home records catchy country and western songs. Sheppard's sister swipes one of his demo tapes and sends it off to a major label for consideration. A loose canon executive, Lynn gets a hold of the demo tape and right away thinks he has star material.
The humble, Newcastle "Hillbilly" meets the crafty and tenacious Lynn who guides our "Loretta Lynn" through the seedy world of recording studios, record executives, and radio industry nepotism to eventual airplay and fame. Sheppard and Lynn have a stormy relationship for the latter's penchant for substance abuse and angering suicidal drug dealers.
In some ways, Crocodile Shoes is spun like a fairly tale and other ways, it is a rags-to-riches tale. I was delighted to see Spender regulars Berwick Kaler and Sammy Johnson play fellow out-of-work blue collar workers who also have parallel tales of post-Industrial Newcastle woes. The Spender series gave me a taste of Northern England with those accents and the architecture and Crocodile shoes gives me my fix. I was in University when Crocodile shoes came out and also worked in a Tower record store after and remember customers asking for the soundtrack CD.
This show does make it to Nashville, including the Grand 'Ol Opry, so my comparison with Loretta Lynn is apt.
My favorite part of the series is the beginning, where it is more about Sheppard being an undiscovered gem while haunting, country-style guitar chords follow our hero. (I have personally witnessed such a rise with another musician.) The Bravo TV channel played endless bits of the Crocodile Shoes soundtrack including "Cowboy Dreams" so I was already hooked. Is the music any good? I am not a Country Music enthusiast, but I do like the soundtrack. It is catchy and well-crafted and comes from a place of reverence for the music.
I felt the drugs and intrigue plot was a bit over-the-top and did not belong in this story. The Coal Miner's Daugther shows us that a rags-to-riches music industry and stardom story is just that-story enough. Drug-dealers-and-cops-gun fights are unnecessary and does not make this tale any better.
Jimmy Nail's character is likeable, folksy, and without guile, sort of like Lorretta Lynn was in her biopic, portrayed by Sissy Spacek. James Wilby plays an excellent, slime ball record executive who is a necessary evil to facilitate Sheppard's rise to fame. Too bad Wilby was not in Season 2 of CS. On the upside, this series is on DVD!
Crocodile Shoes: The Tape (1994)
Newcastle's own "Loretta Lynn" and London's "Doolittle Lynn" aim for Stardom!
This is a British make-believe version of the Coal Miner's Daughter, broken-down to a two season mini-series where Jimmy Nail plays Jed Sheppard. a would be Loretta Lynn and James Wilby, aptly enough plays, Ade Lynn who is our Doolittle Lynn.
Set in post-Industrial Newcastle Upon Tyne, Jed Sheppard is a lathe operator in the dying twilight of the ship building industry, just around the corner from layoffs and factory shutdown. However, in the wee hours, Sheppard plays and home records catchy country and western songs. Sheppard's sister swipes one of his demo tapes and sends it off to a major label for consideration. A loose canon executive, Lynn gets a hold of the demo tape and right away thinks he has star material.
The humble, Newcastle "Hillbilly" meets the crafty and tenacious Lynn who guides our "Loretta Lynn" through the seedy world of recording studios, record executives, and radio industry nepotism to eventual airplay and fame. Sheppard and Lynn have a stormy relationship for the latter's penchant for substance abuse and angering suicidal drug dealers.
In some ways, Crocodile Shoes is spun like a fairly tale and other ways, it is a rags-to-riches tale. I was delighted to see Spender regulars Berwick Kaler and Sammy Johnson play fellow out-of-work blue collar workers who also have parallel tales of post-Industrial Newcastle woes. The Spender series gave me a taste of Northern England with those accents and the architecture and Crocodile shoes gives me my fix. I was in University when Crocodile shoes came out and also worked in a Tower record store after and remember customers asking for the soundtrack CD.
This show does make it to Nashville, including the Grand 'Ol Opry, so my comparison with Loretta Lynn is apt.
My favorite part of the series is the beginning, where it is more about Sheppard being an undiscovered gem while haunting, country-style guitar chords follow our hero. (I have personally witnessed such a rise with another musician.) The Bravo TV channel played endless bits of the Crocodile Shoes soundtrack including "Cowboy Dreams" so I was already hooked. Is the music any good? I am not a Country Music enthusiast, but I do like the soundtrack. It is catchy and well-crafted and comes from a place of reverence for the music.
I felt the drugs and intrigue plot was a bit over-the-top and did not belong in this story. The Coal Miner's Daugther shows us that a rags-to-riches music industry and stardom story is just that-story enough. Drug-dealers-and-cops-gun fights are unnecessary and does not make this tale any better.
Jimmy Nail's character is likeable, folksy, and without guile, sort of like Lorretta Lynn was in her biopic, portrayed by Sissy Spacek. James Wilby plays an excellent, slime ball record executive who is a necessary evil to facilitate Sheppard's rise to fame. Too bad Wilby was not in Season 2 of CS. On the upside, this series is on DVD!
Spender (1991)
A slice of New Castle and a re-made Jimmy Nail who is as 'tough as nails'.
I am a Canadian who caught the Spender series on Showcase TV during the early 90's, while I attended University. At the time I considered Spender a quirky but fun, slick cop drama set in the UK. Now, older, I have a deeper appreciation and love of the show.
I really enjoy the comedic interplay between the lead, Detective Sargeant Freddie Spender (played by Jimmy Nail) and his small-time, n'er-do-well, grifter sidekick, "Stick" portrayed by the late Sammy Johnson (RIP). An unlikely friendship between a career criminal and a stoic law enforcement agent is part of the show's fun dynamics. The show intro graphics caught my eye and the soundtrack caught my ears and was soon won over by the stories, characters and location. Overall a well-put-together show that chronicles the life of Detective Spender, an undercover police agent who was raised in New Castle Upon Tyne, then operated in London for several years and now (to his chagrin) returns to Newcastle to resume police work. Spender reconnects with his friends and sidekick, but also his estranged wife and daughters who lost relations with their husband/father due to his work and location. The artistic filming style captures Newcastle (where the show is set) in a slick and edgy way, lots of creative shots of the local architecture and industrial settings and is gorgeously filmed.
The weakest part of the show are the criminals/villains, whom I wish were more nuanced rather than just boiler-plate baddies. Same goes for the fellow law enforcement who tend to be the 'goodies' when we know this is not always the case. Spenders' superior in Season one was a bit wooden, but by Season two, a more interesting boss surfaces. But the ongoing dynamics between Spender and Stick (more than) make up for any shortcomings.
And now to the strengths, and that is the show depicts the locality of Newcastle in an immersive way; the local color, the nightlife, and social circles and the ailing economy (transitioning from industrial to "service based"). There are some complaints about the accents, it does take some getting used to but I love it and makes me feel more immersed in the location. As mentioned, Spender's stoic personality contrasts, in a fun way, that of the carefree, free-wheeling 'Stick'. Then there is Spender's circle of fellow officer DS Dan Boyd, a bit of goofy and loveable but clueless officer (played by Berwick Kaler). Further, is Spender's musician friend, the cerebral-palsy afflicted Keith Moreland (played by Tony McAnaney--who also helps soundtrack the show) and reflects the lead's side hobby of playing harmonica alongside his blues band.
I recently watched 'Auf Wiedersehen, Pet' and was impressed with the contrasted performances by Jimmy Nail: from the slightly pudgy slovenly, wisecracking carefree bricklayer, Oz, to the lean, wiry, trim and stoic detective. (Cameo appearances from Auf Wiedersehen, Pet people too!) Some describe Nail's performance of Spender as 'wooden', but I feel he does an excellent job of depicting the sullen and conflicted (from also being independent minded) cop who adheres to 'the spirit of the law' and has a decent supply of wisecracks in him. Spender has a lot to worry about; from his family, to his job jailing 'baddies', to ailing Newcastle to pulling Stick's arse out of one sling after another. It is a wonder he wisecrack's at all!
Spender never made it to DVD, a shame. But I did find some episodes on Youtube and other *Cough Cough* places (ie VHS dubs), though not at the quality where I can truly appreciate the show. Seek the series out where you can. I would love to see a reboot of the series, but with Sammy's passing, it may be too difficult.
Upstream Color (2013)
Ambitious and rewarding storytelling in an industry ruled by the conventional.
Shane Carruth's Upstream Color is a masterwork narrative about victims to an enterprising thief who somehow taps into an obscure process in nature that secretes a drug that in turn makes its users over-suggestive. The thief forces the drug on to the victims who then proceed to willingly sign over their personal property and assets. Once the assets are gone, so is the thief. To further compound the injustice, the influence of this drug does not merely wear-off, rather it lingers and alters the mind and personality of the victims who now spend the balance of their lives trying to recover from it or adjust. This film focuses on two particular victims who were previously unconnected, yet now bond over two things; they both recognise the influence of the drug in each other and both are driven to bring their mutual trauma to some kind of resolution. Whether the resolution is the correct one or not is incidental, the point is closure and then the real healing can start. One detail that seems curiously absent are the victims' families. Where are they in this trauma and healing? If a relative or close friend proceeds to act strangely and then sign all personal effects to a complete stranger, would this not evoke questions and maybe even interventions? Further, would the victims' family or even financial institutions not trace and act on the random signing-over of assets? There seems to be no satisfying way to address this inconsistency. What we do focus instead is on the victims and how they struggle in the aftermath of this mind-altering drug who are now also locked into this obscure process of nature.
I saw this film at the TIFF Lightbox in Toronto back in 2013 and was left staggering out of the theater, overwhelmed by the cinematography, acting, music score and story. I am a fan of Carruth's work since Primer, which I proudly own. Though I am dismayed at some of the comments on IMDb, I also realize that some need stories spoon fed to her/him. I know Carruth puts a lot of thought into every facet of his films and that he leverages his technical and financial limitations, more than most other film directors, to get the most story out of them. After all, Carruth is financier, director, composer, and actor of this film so he literally 'gives his all'. One can view Upstream Color the way one views a fireworks display; sit back and gape at the beauty, the colors and symmetries. I would consider Upstream Color to be eco-Sci-fi best appreciated through intuition and trust. Shane Carruth is one of the rare directors who tells a story in an unconventional and rewarding way. More than just a movie, Upstream Color is a proud work of art that dares in an industry that is trained to be 'safe'.
Kikô sôseiki Mospeada (1983)
Genesis Climber Mospeada stands on its own.
This anime series was used by Harmony Gold as the third generational saga in a larger space opera which also consisted of Macross and Super Dimensional Calvalry Southern Cross. All three mentioned series are roughly 25 episodes, give or take a couple. When Harmony Gold wanted to import these titles to North America, 25 episodes were not sufficient for syndication so they glued three unrelated series together into Robotech. I grew up on Robotech and dearly love the show, however, the original, uncut anime series stand much better than the censored patchwork Harmony Gold put together. Harmony Gold even tried to do their own anime series called The Sentinels, which is part of the Robotech universe, and failed miserably. Don't get me wrong, I appreciate what Harmony Gold did to bring this anime series, and love them for it--but each of the three series stand perfectly alone.
On to the review. Sometime in the future, Earth is colonized by an alien race who need our planet for her environmental conditions. The alien race, known as the Inbit, are a hive collective of shapeless beings who serve the Refless, their Queen. The species merge advanced biology and machine (mecha) ability to create a formidable force. The Inbit wipe out our military and about 90% of the human population while leaving nature, animal and plant life mostly untouched. The Inbit want to inherit our planet and are figuring out the best form to do so (as they can assume whatever shape the Refless chooses for them). The Inbit are not fond of humans as they studied human legacy and were not impressed. Ironically, the Inbit conclude that the human form is perhaps the best to inherit the planet. The Inbit are not evil, simply an intelligent race concerned with survival and finding the proper homeworld.
The numerically reduced pesky humans are scattered and mostly left alone by the Inbit. I suspect the Inbit allowed a few cities and towns to survive just in case humans turned out to be somehow vital to Earth's ecosystems. However, it just so happens that we are far enough into the future that humans have successfully colonized other planets like Mars and and have large enough populations and factories to hurtle massive, powerful, mechanized fleets to retake our planet. Wave one of the reclamation effort failed. Some years later, a second reclamation force was sent. Enter Stig Bernard, an officer with the second reclamation force that also gets wiped-out while he is one of the few survivors. Stig's ship crashed somewhere in South America where he encounters locals, motley survivors who dodge the Inbit while trying to eke out a living. Stig recruits a small ragtag group of military survivors and rogues and molds a formidable guerrilla team out of them. Their destination is North America where Refless Point is located, the Inbit HQ. Once there, they are to wait for and assist the third and final reclamation force.
Genesis Climber Mospeada tells of the perilous journey to Refless Point where the team tries to evade but sometimes confront and occasionally sabotage the Inbit. Over the course of the series, you learn more about the backgrounds of those who comprise this force, like Houquet (a former biker gang girl betrayed by her gang and off on her own), Mint (a child war orphan), Rei (a young forager), Jim (a mechanic and army deserter who seeks redemption), and Yellow (another army deserter whose own battalion betrayed him). The core group sometimes struggle to surmount personality conflicts while under pressure of their core mission, but grow close over time. The Inbit eventually notice this team who become a bigger thorn in their side, so the Refless dispatches special Inbit to track and eliminate them. In doing so, the Inbit learn about their enemy and it changes them. Our ragtag fighters also learn about and are changed by their 'enemy'.
What I love about this series is its maturity, depth and beauty. There is no evil and good, just survival. There are troubled beings on both sides of the human/inbit divide, but there are also noble, redeeming characters as well. This series asks deep questions, are humans really worthy of the Earth, despite our wars and pollution? Why do we fight wars?
Genesis Climber Mospeada is perhaps the least edited of the three Robotech series, and it still stands. Apart from brief bits of anime nudity and dialog excised for Robotech, it is almost the same. I think the animation very good for the 80's, the mecha's are fantastic and the story is powerful, heavy, harrowing. I both love and am saddened by the end of the series, because I have grown so attached to the characters in this wondrous anime. As a child of the 80's, I liked the fact that anime like this did not gloss over death in war, unlike the Transformers and GI Joe. The characters also form meaningful relationships and go through bouts of depression, which happens in real life. In not talking down to kids, kids like me respected the series. A lovely anime and a deep series for deep thinkers.
Running Boy (2010)
Lovely yet heart-rending piece
A short, beautifully filmed piece about emotional shock and family loss. You get a sense of directorial artistry evocative of Soderbergh. Lovely lighting, cinematography and symbolic moments. The overcast skies in the outdoor scenes are fitting. The only unfortunate part of the short is the usage of subtitles as the acting, music and facial expressions already tell the story. If anything the subtitles detract from the dramatic impact and the font used belongs in a lighter themed film. However, the subtitles are only used in a small portion of the film. Performance wise, I cannot help but think of Robert DeNiro the way Mukaddam purses his lips during emotionally intense moments. The indie-opera band, Olive Grain soundtracked this gem and a better choice for music could not be made. Mukaddam ought to bring us more gems like these.