Almost from the start of Lana Wilson’s intimate yet sprawling portrait of the life and career of model and actress Brooke Shields, it becomes apparent that the director wants to use her subject to dig deep into the psychology of the culture that produced a figure like Shields. It’s also quickly apparent that Shields – who was used for the purposes of others long before she had the slightest bit of agency in the matter – is a willing and enthusiastic conspirator in the project.
Together the two women have crafted a searing indictment of how our society did, and, more importantly, still does, treat woman solely as sexual objects for the gratification of straight men. Pretty Baby: Brooke Shields also manages to present its subject as a whole person. By the end of the film, we feel we’ve seen Ms. Shields from every angle of her personality. It should be no surprise that this thoughtful and careful examination is infinitely more fulfilling than what those early in Shields’s career coveted her for, namely her beauty and her body.
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Do nothing. Stay and fight. Leave.
These are the options up for debate in Women Talking. The people debating, the titular women doing the talking, are a self-appointed committee representing all of the women in their isolated Mennonite colony that eschews modern conveniences like electricity and observes a strict patriarchal hierarchy.
The reason for their secret meetings is about as horrifying as you could imagine. It’s come to light that certain men in the colony have been using cow tranquilizers on women and girls in the community in order to rape and abuse them. They know this because one of the victims caught them in the act.
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Executive produced by Bryan Fuller, Queer for Fear looks at queer representation in horror movies from the beginnings of cinema through roughly the 1990s. It covers everything from gay director James Whale’s outsized influence on the horror genre, via his seminal work for Universal Studios in the 1930s, to the Wachowski sisters exploring queer desire in 1996’s Bound.
Any person committed to understanding the world with as much complexity and nuance as possible craves ideas and perspectives other than their own. Queer for Fear gave this (mostly) straight guy a new perspective on dozens of cultural artifacts and made them richer and more interesting for it. It also validates and reclaims a vibrant history for people who have experienced intolerance, rejection, hostility, and violence from those in society – sad to say, probably still the majority – who can’t slap their hands over their ears fast enough when new ideas are presented to them. Queer for Fear is a wonderful achievement in queer cinema. Both LGBTQ+ and straight folks should relish the ideas it presents.
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This post is different from anything I’ve ever published on this website. I was compelled to write it due to increasing worries I have about what I believe is an impending authoritarian takeover of our government by rightwing extremists both inside and outside of elected office. I have never hoped more to be wrong. I will return to regular movie reviews with my next post.
TW: Rape
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It’s serendipitous that I came across the film Passing when I did. I happened to screen it as I’m almost half way through a staggering book about race – and so much more – in America by Isabel Wilkerson titled Caste: The Origins of Our Discontents. I’ve been making my way through Caste for about two months now. I’m a notoriously slow reader, and I’ve found myself only able to read so much of this particular book in one sitting. Wilkerson includes gut-wrenching, disturbing examples of the rigid hierarchical system in place in America to keep Black people at the bottom of society, known as a caste system.
The serendipity comes in one text informing and unlocking nuance in the other. It’s easier to recognize, because of what I’ve read in Caste, that everything you see and hear in Passing is a result of white supremacy. The very idea that some members of the subordinated – read: Black – group could gain the privileges and respect of the dominant – read: white – group because their skin is light enough to pass for a white person speaks to the ugly and destructively nonsensical idea of white supremacy and using skin color as a way to asses human worth.
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The one-line synopsis for director Theo Anthony’s new documentary, All Light, Everywhere, says everything and nothing all at once. The movie “explore[s] issues of subjective perception and fallibility in both human and technological modes of surveillance.” That description is slippery because All Light, Everywhere is about that idea, how humans see things, but it’s explored in a hundred different ways. Anthony takes the epistemological method of dialectics – presenting opposing points-of-view of a topic as a way to uncover its truths – to new heights with his film.
Dialectical montage, the editing technique pioneered in early Soviet silent cinema by filmmaker Sergei Eisenstein, in which two contradictory images are juxtaposed in order to create a new, third meaning, is used to soaring effect in All Light. It doesn’t quite all hang together; by the picture’s last passage, I got the feeling that Anthony might have been ultimately overwhelmed by his material. His film is, overall, an exhilarating experience. It implicates the very act of its own creation in its exploration of the flaws of human observation. All Light, Everywhere destroys the conventional wisdom that “seeing is believing.”
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There’s a chilling moment late in the indie movie Test Pattern that acts as its thesis statement. It’s a flashback to before the day-or-so period that makes up the bulk of the movie. In the scene, Renesha and Evan, the couple at the center of the story, are reading in the back yard when Renesha notices Evan looking at her. When she asks what he’s thinking, Evan, a tattoo artist, tells Renesha he’s thinking about what he’s “going to design next and brand on you; because you’re mine.” She smiles and responds, “I’m yours.” The actor playing Evan, Will Brill, plays the scene with a hint of aw-shucks awkwardness. You get the feeling Evan thinks he’s being sweet, but the ominous background score, as well as what we’ve seen Renesha go through in the past hour of the movie, makes him appear in this moment as anything but sweet.
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With her second feature film, director Garrett Bradley has earned an Oscar nomination for Best Documentary for Time, her searing portrait of struggle in the face of injustice. What makes her movie so effective is how personal it feels. Bradley didn’t have a prior connection to her subject, but her picture put me in mind of another Oscar nominated film, the extraordinary documentary from 2018, Minding the Gap. That movie’s director was the subject of his own film, and Bradley imbues Time with a similar sense of personal connection, despite telling someone else’s story.
In 81 brief minutes, we get to know Sibil Fox Richardson, who also goes by Fox Rich, and the hell that was her life for two decades. In 1997, when the small business that she and her husband, Rob, opened together ran into serious financial trouble, the two became desperate and committed the armed robbery of a bank. Fox served three and a half years for the crime. After a series of botched plea deals and his lawyer dropping out of the case when the Richardsons couldn’t pay him – none of which the film covers – Rob faced trial. He was sentenced to 60 years in Angola State Prison, without the possibility of parole.
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Judas and the Black Messiah is like a drink of water after days in the desert. It exists and was made to upend the kind of fascistic patriotism that demagogues like Donald Trump and the recently departed Rush Limbaugh wallow in like so many pigs in shit. While their ilk pushes a cretinous version of history that worships power and the violence that flows from that power, truth-tellers like director Shaka King and screenwriters Will Berson and the Lucas brothers are making art that exposes state-sanctioned terror.
King has also made a riveting morality tale about loyalty and betrayal within a revolutionary movement. His picture is incendiary and features performances from two of the best actors working today, Daniel Kaluuya and Lakeith Stanfield. Kaluuya and Stanfield’s performances couldn’t be more different, but they are both wonders to behold, each in their own way.
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It’s an exciting, confusing, and scary time to be a film lover. Director Steve McQueen has decided to hasten the blurring of the already very fuzzy line between cinema and television with his Small Axe anthology of films. He’s done it with the help of a global pandemic. McQueen began working on the idea for Small Axe as early as 2010, and he had the project in some form of development since 2012. Originally conceived as a more conventional television series for the BBC, McQueen realized that he had enough material to make five distinct, standalone movies.
When the premier of the first picture in the series, Mangrove, was cancelled because of the 2020 Cannes film festival shutdown in the spring, due to COVID, the director decided to try a hybrid approach to distribution. Small Axe would run on BBC One, as originally planned, but it was also featured in the fall at the virtually held 2020 New York Film Festival. The film community got a collective case of the vapors trying to decide how to classify Small Axe. Is it television? Is it cinema? After seeing Mangrove – and being highly anxious to visit the rest of the films in the series – I am coming down firmly in the camp of, “when the movie is this damn compelling and well-made, who the hell cares what you call it?”
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The Julie Taymor who directed the electric films Titus, Frida, and, yes, even Across the Universe – a movie which wasn’t well received by most critics, but which really worked for me – shows up a little over an hour into her latest effort, The Glorias, the biopic about journalist and activist Gloria Steinem.
There are Taymor flourishes in the meandering first 70 minutes of the picture, to be sure. The film opens with a sequence in which an older version of Steinem – four actresses play the iconic feminist throughout The Glorias – looks out the window of a Greyhound bus as it rolls along the highway. Steinem and everything inside the bus are in black and white, everything outside the bus is in full color. It sets an interesting aesthetic that doesn’t pay off until Steinem finds her fiery passion for the Women’s Liberation movement. That’s when the movie really starts to rip.
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The most striking thing about The Assistant is its utter lack of sensationalism. Director Kitty Green’s fiction-film debut – the Aussie filmmaker has focused on documentaries until now – is a #MeToo movement/post-Weinstein reckoning that focuses not on monstrous acts of depravity, but mundane workday events. It also details the insidious protection of power that allows for abuse to happen.
The film can work as a sort of litmus test. This is a movie that is far removed from the sort of sickening specifics of Harvey Weinstein’s predations as detailed in dozens of news stories. For a viewer who isn’t paying close attention, for one who doesn’t understand how a toxic work culture operates, one could think nothing that happens in the movie is all that disturbing. That’s the real horror of Green’s picture and what makes it so effective. It’s the quiet things, the knowing jokes and the looking-the-other-way, that keeps real accountability from happening.
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“Green is more important than black.” So says one of the villains of Da 5 Bloods in an exchange that leads to the movie’s action-spectacle climax. The green that the character is referring to is money – in the form of hundreds of gold bars. Da 5 Bloods is a Spike Lee joint, so it’s easy to guess what the character means when he says black. Black skin, black pride, black power, black anger. Like almost all of his work, Lee’s film is brimming with unique observations and perspectives about the black experience. This time he’s focusing on the Vietnam War, the conflict in which a disproportionate number of black men were sent to fight and die even as the struggle for black civil rights was raging at home.
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Never Rarely Sometimes Always (NRSA) is the kind of stripped down, deeply personal filmmaking that is a worthy successor to the independent cinema of someone like John Cassavetes. That director’s work on films like A Woman Under the Influence, Faces, and Shadows emphasized naturalistic performances and a gritty realism born of their limited budgets. In Never Rarely Sometimes Always, director Eliza Hittman focuses on a young girl with few options and little support while dealing with an unwanted pregnancy. The film is filled with grace and compassion; it’s a luminous example of humanism in art.
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I’ll be the first to admit I’m no expert on the subtleties of film distribution. I just watch the movies and react to them. But it’s telling and more than a little ironic that a documentary about sexism and misogyny in the entertainment business isn’t getting a traditional theatrical roll out. This Changes Everything, directed by Tom Donahue and executive produced by Geena Davis, will be seen in theaters for one night only on July 22nd, 2019 as part of a Fathom Events special screening on 800 screens across the U.S.
Those screenings, in conjunction with the documentary’s availability on streaming platforms, has the potential to create a lot of buzz for a movie with a vitally important message. But it also has the potential to fizzle in a blink-and-you’ll-miss-it scenario. Let’s hope the latter doesn’t happen.
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I was resistant at first to the The Last Black Man in San Francisco. I couldn’t make sense of the movie’s tone. It seemed funny and serious, elegiac and silly; a study in contradictions. It is all those things and more. Once I gave myself over to it, when I fell into sync with its wavelength, it blossomed before me into the most moving, unforgettable experience I’ve had at the movies so far this year. Director Joe Talbot and his childhood friend, creative collaborator, and star Jimmie Fails have made a singular work of art here.
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There’s been plenty of digital ink already spilled about Green Book being a White Savior Film. While I’ll also spill a bit of my own on the topic, there isn’t much I can add. For me – an average white dude who’s seen his fair share of movies – the most glaring fault about the picture, a dramedy dealing with race relations in the Jim Crow era, is the paint-by-numbers feeling of it all. This is a movie that strives to hit every standard beat in the uplifting “inspired by a true story” template. As an exercise in mediocrity that serves up something we’ve all seen dozens of times before, Green Book is an unparalleled success. It’s utterly predicable and is the kind of movie that would have felt fresh had it been made 20 or 30 years ago. Still, for all it’s flaws, Green Book isn’t entirely without its charms. In addition to a superb turn from actor Mahershala Ali, the movie does provide some inspiring moments and a message about race that plenty of people still haven’t absorbed.
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On the Basis of Sex stresses that its subject, Ruth Bader Ginsburg, is uncompromising and unmatched when it comes to the mastery of her chosen profession. The film is right to do so. In 1956, Ginsburg was one of just a few women admitted to Harvard Law School, and she graduated at the top of her class at Columbia after transferring there so her husband could take a job in New York City.
She later used a unique case – the focus of the film – to challenge the constitutionality of legal gender-based discrimination. She would eventually reach the pinnacle of American jurisprudence when she was confirmed to the United States Supreme Court. It’s disappointing, then, that the cinematic tribute to such a historically significant, dynamic figure like Ginsburg should be as middling as it is. On the Basis of Sex tries to cover too much ground in its first half, and the picture only really hits its stride in the last act. It’s a biopic that covers a vital individual in an unsatisfying, if entertaining, way.
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Eric Garner. Tamir Rice. Sandra Bland. Philando Castile. Tanisha Anderson. These are just a few of the black people whom police officers have killed in the last few years. The list goes on and on. The birth of the Black Lives Matter movement and the Say Their Names campaign has focused attention on myriad issues surrounding state oppression in the black community. One aspect of the black experience in particular received intensive media attention a few years ago: The Talk. That’s the lecture many black parents give their children about what to do during an encounter with the police. Keep your hands visible at all times. No sudden movements. Remain polite and respectful. The goal of strategies like these that black parents impart during The Talk is to make sure their children walk away from interactions with the police alive.
The Hate U Give, a powerful film about race, justice, and so much more, starts with The Talk. It sets a serious and sober tone that director George Tillman, Jr. masterfully sustains as he adds wonderful touches of humor and humanity to a story of righteous anger and, ultimately, hope.
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It’s a well-worn cliché that bad times make for good art. We’re at the front end of some undeniably rotten times, with a commander-in-chief who traffics in white supremacist language and policies, and a large segment of the population who feel more comfortable expressing bigotry because of him. Hate and ignorance are ascendant. It’s the coldest of comfort, but the first great piece of art in response to these bad times (at least as far as movies go) is here. It’s called BlacKkKlansman. It’s incendiary, powerful, hilarious, chilling. Master filmmaker Spike Lee called upon every skill he has as an artist to make this movie pulse in defiance of our current political and existential crisis. He also included his trademark sense of humor and his unique visual style and inventiveness. No other director could have made this movie. BlacKkKlansman is, and could only be, a Spike Lee joint.
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