Tis the season to be jolly and gay. At least, that’s what Happiness Season would like a lot of us to believe. Marketed as a holiday movie for the gays (and straights) – yay! – it’s hard to believe how much nuance is packed into the first major studio backed lesbian holiday flick – another yay! – and yet makes a total ba-humbug mess of this coming out tale.
Friday, November 27, 2020
Happiest Season (2020) Misses the Point of Queer Holiday Joy
Tis the season to be jolly and gay. At least, that’s what Happiness Season would like a lot of us to believe. Marketed as a holiday movie for the gays (and straights) – yay! – it’s hard to believe how much nuance is packed into the first major studio backed lesbian holiday flick – another yay! – and yet makes a total ba-humbug mess of this coming out tale.
Tuesday, November 17, 2020
The Nest (2020) Proves The Family Makes A House into Home-Sweet-Home
Friday, November 6, 2020
Quick Reviews: Shows I Watched In Lockdown (Part 2)
Since the Coronavirus lockdown started earlier this year, there's been more time to watch new television shows and revisit some of my older faves. I didn't think there would be so much time to watch as many series as I have so far, or that we'd be eight months later since March still trying to get control of the Coronavirus fall-out.
Below are my quick (mostly disappointed) reviews of shows I watched over the summer. Spoilers are included for The Office, Ratched, The Boys, Lovecraft Country, and Watchmen.
Friday, October 23, 2020
Once Upon A River (2020) Unleashes A Promising Debut
As Once Upon A River is told from Crane’s perspective, the film primarily belongs to Kenadi DelaCerna. She occupies almost every frame from beginning to end, which is a tall order for an actress making her screen debut. Crane is a quiet and thoughtful heroine who internalizes her experiences, leading most of DelaCerna’s performance to rest in subtle expressions, and to do so without losing your attention of what she is thinking and feeling. DelaCerna possesses a mature presence that brings Crane to life. A solid round of supporting actors also strengthens DelaCerna’s presence on-screen from a gentle teacher who takes her in as a hitch-hiker (William) Ajuawak Kapashesit to a trailer park dweller Smoke (John Ashton) who becomes one of Crane’s greatest allies and glimpses of hope.
Thursday, October 1, 2020
A Call To Spy (2019) Celebrates Women-Led Resistance
History has a way of repeating itself in Hollywood. When the same old stories are told, we’re stuck believing that the same people save or revolutionize the world over and over again. As female filmmakers look more between the lines of the past and its forgotten trailblazers, we begin to see just how much entertainment has scratched the surface. In a recent bout of solid female-driven World War II films, A Call To Spy continues to turn the tide of how cinema defines the “the greatest generation.”
Sunday, August 30, 2020
Salute to a King - Chadwick Boseman (1976 - 2020)
photo by Neil Krug |
Very few stars in Hollywood shine so brightly. After a handful of roles under his belt, Chadwick Boseman accomplished more in his massive skyrocket to fame than many are ever able to. It's only fitting that Esquire once declared, "Chadwick is telling America's greatest stories." But how these stories were told is just as illuminating and important as Chadwick being the chosen one to tell them.
Thursday, August 27, 2020
Tesla (2020) struggles to bring the inventor's life to light
Outside of his own inventions, the Serbian-American scientist Tesla (Ethan Hawke) is perhaps most recognized for his feud against his former boss and American inventor Thomas Edison (Kyle MacLachlan). Here, the film loosely explores Tesla's life from the 1893 World’s Fair and onwards, marking the differences in their career and their war on electrical currents - Tesla's alternating current sytem vs Edison's direct current electric power.
Director Michael Almereyda doesn't generate the most conventional films - if you've seen his work before, you'll go in knowing how off-beat his perspective can be from the plot to the production choices. If you haven't, it's a challenge to piece together his myriad of choices to tell this singular story - one that admirably steps out of the box from traditional biopics but fails to know when to air restraint.
Though the story itself should be expectantly straight-forward, Almereyda's approach will be the most divisive aspect. Its plot is unlike even the most surreal dramas, practically starting in the middle of Tesla's life and his immediate rivalry with Edison, and then expanding all over the map. While films in a non-linear fashion aren't always challenging to watch, Tesla doesn't hold back with directing its focus between Tesla, his acquaintances, partners, romantic interests, etc. Primarily, the plot is intermittently interrupted by daughter of JP Morgan Anne Morgan (Eve Hewson) who acts as a tour guide of who's who in Tesla's world. Once you get a hold on your bearings on the main story, the film switches the direction or Morgan drops by to clarify which scenes are fact or of Almereyda's artistic license. Her inclusion feels less like the film is making room for an observer giving you the scoop of Tesla's work and more as a diversion from adhering to a A to B to C, etc. biopic.
It's difficult to call this film quirky, or unique, in comparison to other films and leave it at that. Almereyda offers enough curiosity to pique your interest and see what he has up his sleeve next. He regularly interjects the film with little details that step out of the traditional mold, and even the time period it's set in - a scene with Sarah Bernhardt entering a club comes more like a scene out of John Wick than a late 1900s period piece; Morgan using a laptop to show pictures of Tesla, Edison, and other supporting characters on Google; Tesla crooning to a Tear for Fears song at karaoke. It's little nods like these that give the film its edge, but blurs the line between an extraordinary vision and throwing everything at the wall.
Where the film gets its bearings the most is Hawke's performance. Not much is known about Tesla - that's perhaps that the internet is for - and Hawke manages to encompass an emotional insulation about him that you want to follow. Kyle MacLachlan is steady as Thomas Edison, but in regards to both characters, the film struggles to dive deep beyond the loose personalities you may have heard of online or in social studies class. Though their frenemyship is the central thread of the story, and each have their own artistic and capitalist demons to face, the stakes don't feel high as they could, making them both as much of a mystery before you see the film as much as you do afterwards.
Similar to the real Tesla and the mystique his legacy has endured over the years, the film can be given its due by how it blazes its own trail. The latter aspires to be a visionary, becoming one of the few that tackles the microscopic 'anti-biopic' biopic genre. As its plot makes daring detours, it's free-wheeling approach hinders more than amplifies. Hawke's performance ties the film together on his own, but it's a flickering portrait that struggles to fully illuminate Almereyda's subject.