Category Archives: Retro Reviews

Tom Tykwer and the Wachowskis’ “Cloud Atlas” (2012) (presented by 10 Years Ago: Films in Retrospective)

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"Cloud Atlas" Character poster for "Lloyd Hooks", 2012

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

“While I will readily admit that Cloud Atlas is not for everyone, I look forward to defending this masterpiece for years to come.”
-Me (2012 Glennies, #1)

I KNOW. Where I normally excerpt a segment of first-person voiceover (and there is plenty to choose from in this film), I just quoted myself lauding this movie. But in the insipid words of publisher Timothy Cavendish (Jim Broadbent), what is a critic but one who reads quickly, arrogantly, but never wisely? Just as with Birdman, I reacted to a group of creators showily condemning their haters in advance with a dutiful and masochistic, “Thank you, folks, may I have another?” And Cloud Atlas went even further, pitching its knighted critic Felix Finch (Alistair Petrie) straight off a hotel balcony, before delivering on every bit of cocksure brilliance that moment promised was still to come. After 10 years, I still greet a viewing of Cloud Atlas like a reunion with an old friend, and I have not wavered in that opinion since the moment I saw it. I’ve spent years swimming in Tom Tykwer, Johnny Klimek, and Reinhold Heil‘s wondrous, symphonic score for the film, which I’ve listened to so many times during so many activities that I need only put it on to become tangled in a semi-coherent yarn of my own interconnected memories of the past decade (it’s a thing – try it sometime if you have the memories and repetitive media consumption for it). I’m listening to that score right now, the very same Cloud Atlas Opening Title that plays as Adam Ewing (Jim Sturgess) approaches Dr. Henry Goose (Tom Hanks) on a 19th century beach in the Chatham Islands as we are introduced to the first of six sets of characters and parallel timelines spanning hundreds of years, covering the technological rise and fall of humanity as they struggle against their baser demons, represented initially by humans volunteering to uphold the “natural order” (this always means racism, slavery, and genocide) and eventually by a hallucinated devil figure named Old Georgie (Hugo Weaving), who cackles into the ear of post-apocalyptic Big Island goatherd Zachry (also Hanks) trying to persuade him that being racist and violent is a more important priority than evading Cannibal Hugh Grant (Hugh Grant) and the impending creep of global radioactive demise. Does this premise have your attention yet? Because that’s maybe 25% of it. We also meet Sonmi-451 (Doona Bae), a “fabricant” (a cloned or manufactured human) who works as a server at a fast food restaurant called Papa Song’s, in the 22nd century megacity of Neo Seoul, the seat of a dystopian government called Unanimity, a rebellion called Union, and doomed to be “deadlanded” by the time Zachry and Cannibal Hugh Grant are picking their way through Earth’s remains.

Papa Song’s is so thoroughly automated that it’s clear the synthetic servers are not necessary, except to make the consumers feel like kings surrounded by disposable human-shaped playthings as they eat 3D-printed garbage (which looks tasty at least). We learn that the fabricants get a star on their neck for each year of service. When they reach twelve stars, that means it’s time to get recycled into chum – known as “Soap” – to feed the baby-synths. Sonmi explains to us that each 24-hour Papa Song day is the same as any other, which makes it even more disturbing when Seer Rhee (Grant) awakens another fabricant, Yoona-939 (Xun Zhou), the closest thing to a friend that Sonmi has in this place. He awakens her for sex (of the sort she tolerates, but can’t meaningfully consent to), and to get soused on Soap. After Rhee has passed out in a puddle of his own sick, Yoona takes advantage of the hours of freedom that it affords her to poke through the lost and found and see a bit more of the world outside – in this case, via a broken and absurdist movie rendition of The Ghastly Ordeal of Timothy Cavendish, in which an actor (Tom Hanks again) plays Cavendish as a rugged hero – “equal parts Sir Laurence Olivier with a dash of Michael Caine” – telling a corrupt proprietor (whose name and context we don’t even know yet), that he “will not be subjected to criminal abuse”. As 19th century Moriori slave Autua (played, somewhat bafflingly, by Black British actor David Gyasi) recounts to Adam Ewing aboard their ship in the Pacific, a slave who has seen too much of the world is no slave at all, as Yoona learns anew 300 years later. That’s the hopeful version, anyway. It can be interpreted just as readily that humans have a particular adeptness at reciprocal violence, with aggression and enslavement being answered with the same, always pointing back to some original sin to justify whatever excesses we feel like engaging in. As Cannibal Rob Corddry (not really, but I couldn’t tell you this actor’s name) puts it while trying to murder Zachry, “You kill Chief. Now you meat,” before failing, and also getting murdered, just as Yoona gets murdered.

Still from "Cloud Atlas" featuring Doona Bae and Xun Zhou

Much like Sonmi herself, Timothy Cavendish never set out to deliver a message of liberation, and yet he becomes the Moses to Sonmi’s Jesus, espousing concepts of the innate rights of humanity that only feel obvious and automatic to us because we’ve had the privilege to grow up in a society that allows us to learn about them. This is about as hopeful as Cloud Atlas gets, suggesting that even as we destroy our planet, kill and eat most of ourselves, and ultimately have to call for rescue from the rich tech bros who peaced out to the offworld colonies, that even if humanity forgets how to be decent to each other for a while, we’ll always reinvent the concept. Just like evolution keeps inventing crabs, humanity’s evolution, at least until we destroy ourselves for good, will keep producing both suffering and compassion. Cain and Abel. Yin and yang. Romulus and Remus. And anyone seeking to make assertions about which represents the most fundamental nature of humanity will find plenty of evidence to support their position.

Does this all sound a bit silly to you as I describe it? Truly, some of the stories openly invite derision and laughter, with Hanks, Broadbent, and occasionally Weaving collectively engaging in a competition of who can be the most ridiculous villain at one time or another. The entire far-future storyline uses a nearly incomprehensible pidgin version of English (if you know one thing only about Cloud Atlas, it’s the phrase, “that’s the true-true”), which is actually quite comprehensible if you pay attention and also never stop rewatching the movie as I have. And there is, of course, all the makeup, which I openly mocked even in 2012, referring to it as “intolerably bad”, and describing the ease with which I could spot a recurring cast member – even in minor, superfluous parts – by just keeping an eye out for the camera lingering on someone with a fucked-up face. We have white and Black actors playing Koreans (including lead Jim Sturgess playing 22nd Century Union Commander Hae-joo Chang), we have black and Korean actors playing whites, and we have some truly baffling choices (like Halle Berry playing an Indian woman in a cameo in 2012). There are broadly two questions to ask about this that I can personally relate to. The first is, “Does the overall effect work for me or not?” The answer to this is yes, but about as well as seeing Star Trek actors in facial prosthetics playing aliens with minor cosmetic nose and forehead differences. It feels theatrical, much like the ensemble casting overall, but it’s playing at a vague enough theme of recurrence and reincarnation that it can keep the significance of that recurrence nice and loose, with Luisa Rey (Berry) reading old letters from Rufus Sixsmith (played in two doomed, lovelorn ages by James D’Arcy) and pondering aloud why we keep making the same mistakes over and over again. And yet, I can imagine (and just watched a featurette which confirmed) that the directors and makeup crew must have pondered aloud, “Okay, we have nothing for [main actor] to do in this timeline – how can we fuck up their face and bring them into it?” Which is how we get Broadbent playing a street musician or Zhou playing a bellhop. Each of these oddball appearances (which clearly took a great deal of time and effort to produce) is a bit distracting individually, but as a whole, the entire effect feels like a drama department running around a stage, executing costume quickchanges and inviting their audience to use their imaginations and see the larger world they’re trying to create. In tonight’s show, the part of sleazy hotel clerk will be played by Tom Hanks, and it’s only his third-sleaziest character of the night, so get excited.

The second question is…is this okay? Is racebending okay? Is yellowface okay? Truthfully, I dismissed the quality of the makeup in 2012 because it was easier than engaging with this question in any serious or self-critical way. Can I recommend Breakfast at Tiffany’s as long as I caveat it by saying that Mr. Yunioshi (Mickey Rooney) is an atrocity against both Japanese people and cinema? Am I just being a typical see-no-evil white dude when I do this? I struggle with this question. And I have no definitive answer. Cloud Atlas contains an incredibly diverse cast, but all of its principal creators (including the Wachowskis, Tykwer, and book author and co-screenwriter David Mitchell) are white, as am I. When I’ve discussed this question with friends over the years, I’ve gotten no singular answer for how this aspect of the film makes them feel, and there is (of course) no singular answer to what Asian and Asian-American critics have to say about the film. It would be reductive and insulting to try to sum up the opinion of an entire multiracial cohort to how they feel being…impersonated? Caricatured? Made into a costume to serve some loose metaphysical purpose? If you’d like to see one critic’s biting take on this question, I’d recommend the inimitable Walter Chaw‘s two-star review of the film from 2012. But if you came here to hear mine, all I can do is admit my incapacity to answer this question. If I found the movie insulting or dilettantish when it came to issues of race, I wouldn’t like it as much as I do. But at the same time, I recognize that someone may be personally so bothered by actors playing characters of a different race, no matter what fantastical, theatrical framing is used for it, that they will not and cannot enjoy the film in any meaningful way. Or they may feel so accustomed to being made the butt of this particular joke in a white-dominant monoculture that the argument itself is exhausting for them (an argument I’ve personally heard as well). I can try to understand someone who feels this way. But I can’t feel what they feel.

Still from "Cloud Atlas" featuring Ben Wishaw as Robert Frobisher

Speaking of people I can’t exactly feel like, let’s talk about composer Robert Frobisher (Ben Wishaw), who begins his tenure as a disaster bi with a flight through the window from his lover Rufus Sixsmith (D’Arcy) after a romp in a hotel that’s threatening to call the police for their mere existence – a theme of presumed, systematic oppression that begins here as an artifact of a period piece taking place in an English era in which war hero and computing pioneer Alan Turing was chemically castrated for the crime of being gay, and which has become horrifically more relevant in the intervening years as the far-right has apparently made a strategic decision to brand the entire LGBTQ community as a band of pedophiles. Frobisher also announces that he’s alone and about to shoot himself with a Luger belonging to his boss Vivian Ayrs (Broadbent), and pronounces suicide an act of “tremendous courage”, which is the closest thing to a coherent message that we can wrest from the doomed love story and short, bright life of this emblem of the Bury Your Gays TVTropes page. And yet I love this story. I find it beautiful and deeply touching. I lap up every absurdist detail as Frobisher and Sixsmith smash up a china shop (in Sixsmith’s dream) as the former proclaims in voiceover that all boundaries are conventions, any of which may be transcended if one can first conceive of doing so. As this voiceover and music swells, the couple a few hundred years on in Neo Seoul just gets to have some regular hetero sex about it. As I wonder about what the Wachowskis – both trans, but one not quite as far along – could have been thinking here, the answer is once again…I can’t feel what they feel, nor can I presume they told this novel-adapted story in this way because it was something they personally found relatable. But as Frobisher skulks around the Scott Monument in Edinburgh, watching Sixsmith, a man he loves dearly but has already decided never to see again, climb those same stairs in a doomed effort to save his life after watching his final sunrise, I weep. Every time. Frobisher even told Sixsmith that he’d be there (a detail I only picked up in this viewing). All he needs to do is cry out, and he’ll get the embrace and solace that he so desperately needs. Sturgess and Bae get it, as Adam and Tilda Ewing, embracing each other desperately in the past as their souls could never manage permanently in the future. Hanks and Berry get it, finding their own better natures, and eventual friendship, duty, and even romance with each other as the dregs of humanity shamble into their next adventure. But the queer men get to be sad and stay sad and die about it. D’Arcy returns as an Archivist, and as much as I enjoyed the performance (and was taken out, as ever, by the weird-ass facial prosthetics), his mystified stare at Sonmi as she explains her ideology for the benefit of future Unanimity historians comes with a hefty dose of irony, as they’ll only have about 70 more years to discuss it before they annihilate themselves. It hardly feels like a fair ending for a character who has known nothing but pain in his lives and soul. Ditto Wishaw, whose happiest ending seems to be in a brief appearance as Georgette, managing to have a brief, offscreen affair with her brother-in-law, Timothy Cavendish, finally consummating the never-was romance between Wishaw and Broadbent’s previous characters in 1936.

Attempting to plot a coherent path for the other actors as reincarnated souls is frankly a doomed enterprise. Keith David and David Gyasi begin as slaves and become commanders of the most dominant surviving and well-meaning faction of humanity. Susan Sarandon is and ever shall be, as much herself in each of these timelines as she was in The Banger Sisters. Which is fine. There are some actors I don’t prize for their range, and Sarandon is right there in a huddle with Dwayne Johnson, trading on bare charisma alone. Weaving begins as a slavery apologist and beneficiary and becomes…the literal devil. Grant – whom I haven’t discussed much outside of his performance as Cannibal Hugh Grant (one of the first and best things I mention about Cloud Atlas to anyone who hasn’t seen it) – is simply outstanding as an irredeemable piece of shit in every era he exists in, including as oil lobbyist and would-be nuclear saboteur Lloyd Hooks above, whose pronunciation of “Mssssss. Rey” somehow becomes more insufferable with each recitation, as does his ever-evolving American accent. Grant’s characters are sublimely vile, and the actor must have had an absolute hoot playing them. Yes, a bunch of them had star marks on them, just like the fabricants in Neo Seoul. And that means…something. But fundamentally, some of the reincarnations tell a coherent story, and others do not, and aren’t trying to. Editor Alexander Berner is the unsung hero of the show, because even as this film was making multiple simultaneous filming units and impromptu bits of casting and makeup happen, Berner was the wizard who got to stitch it all together, making a chase in one era continue to another. A bullet fired in one era fly past the shoulder of another. The editing is as fundamental to this film’s narrative and thematic coherence as the musical score, and Berner deserves every accolade he has received (including Saturn, OFCS, and Lola awards).

Still from "Cloud Atlas" featuring Tom Hanks and Halle Berry

I could go on. I haven’t said much at all about the 1973 Luisa Rey mystery (a paranoid thriller whose plot bears an amusing resemblance to a 2005 Doctor Who episode), or about The Self-Serious and Self-Inflicted Ordeal of Timothy Cavendish in 2012, because if ever there were a pair of stories which do exactly what they say on the tin, it’s these two. And yet to the extent that these offer a zany tonal balance to the more serious storylines, I must also confirm these two stories – little more than goofy, pro forma genre exercises – still utterly riveted me. Broadbent plays up Cavendish’s self-dealing narcissism with such a total lack of self-awareness (I can see why he made such great casting for Horace Slughorn) that you can’t help but feel compassion for the character, even as he’s getting – and then getting away from – precisely what he deserves. As Luisa Rey’s neighbor kid Javier Gomez (Brody Nicholas Lee) – the author of a diegetic text summing up this timeline for any far-future readers – prods and then kicks through the fourth wall by telling her that she has just said exactly what a character in any decent mystery would say right before getting killed, you’ll roll your eyes. But then you’ll leave your balcony door unlocked so he doesn’t get stuck out there after jumping onto it after you asked him not to, because like any decent kid noticing a cliche for the first time, Javier fundamentally means well, and sincerely feels as if he’s invented something new. And so it goes with Sonmi herself, who spouts a stream-of-consciousness sermon worthy of a first-year philosophy student about what we owe to each other (The Good Place did this better), which nonetheless becomes humanity’s last great theology, elevating Sonmi herself to godhead status right before she gets crucified. Eternal recurrence.

One thing I have done in the last 10 years is read a lot more sci-fi. To name a few (in addition to Mitchell’s novels Cloud Atlas and The Bone Clocks), I’ve checked out Walter M. Miller Jr.‘s A Canticle for Liebowitz, a 1959 novel which examines cycles of future history as humanity destroys and renews itself in turns (a recommendation from FilmWonk Podcast co-host Daniel Koch, who hated Cloud Atlas then and ever since), and the only concept that feels dated in retrospect is when humanity invents a room-sized supercomputer whose sole function is translating languages. Cixin Liu‘s Remembrance of Earth’s Past trilogy begins as a tale of distant, nebulous alien invasion, and becomes a tale about humanity taking grand steps into the stars and merging with the fate of the entire universe. Margaret Atwood‘s Oryx and Crake begins with a narrator positing that humanity’s grand experiment with civilization is always one generation away from permanent extinction (and making it clear from the jump that this generational extinction has already happened), because we’ve already mined all of the near-surface metals that exist on Earth, and the technology to mine deeper ones cannot be rebuilt from scratch once it is lost. And N.K. Jemisin‘s Broken Earth trilogy, perhaps the bleakest of all, used similar cycles of destruction and renewal to seal humanity’s fate as not at all worth saving. Sci-fi/fantasy always exists somewhere on this spectrum, both making a guess or an exploration into possible futures, and inviting the reader to ponder how likely we are to experience them. Or to deserve to. Cloud Atlas still has a place in that line of grand ideas for me. Despite all of its peril, doom, and death, its slavery and cannibalism, and its wholesale, self-induced destruction of humanity, it is fundamentally a hopeful story about the power of love and humanity’s better nature. And it’s one I expect I’ll keep coming back to, if only because I still desperately wish to believe it’s true.

Or true-true.

FilmWonk rating: Still 9 out of 10, still my #1 of 2012, and still a masterpiece.

William Friedkin’s “Killer Joe” (2012) (presented by 10 Years Ago: Films in Retrospective)

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Poster for "Killer Joe"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

Down in deep, dark Texas, amid a gang of characters who are all irredeemably despicable, Killer Joe, despite its name and title character, is all about Dottie (Juno Temple). Dottie the virgin. Dottie the innocent. Dottie who supposedly sleepwalks and sleeptalks, but always speaks the truth, even if none of the men in her family care to listen or take her seriously. Dottie – the beneficiary of a $50,000 life insurance policy if her estranged mother Adele should die – and Dottie who is immediately on board with the murder-for-hire plot hatched by her drug dealer brother Chris (Emile Hirsch) and layabout doofus father Ansel (Thomas Haden Church, adding to a canon of all-timer Dumb Guy performances). These two standup guys weren’t even going to mention the plan to Dottie, even as they divvying up her financial windfall amongst themselves in advance, but she overheard them talking “about killing Momma” and signed herself right up. The proposed hitman, Detective “Killer” Joe Cooper (Matthew McConaughey), is not on board with this plan. He operates on a fee-for-service basis (swagger is no charge), and has no interest in contingencies from a life insurance policy may not pay for months if ever. Joe declines without reservation until he glances outside at Dottie, twirling around like a child, and sees the chance to use her as a human retainer. Joe’s lust and predation is lowkey. He hasn’t remained a cop and hitman by revealing his darkest desires in a manner that might ever be read aloud in court. Without saying exactly what he means by “retainer”, Joe tells the men he’s bartering with to “call me if she’s interested” – a meager nod to Dottie’s agency, if an unserious one. There will not be many more of these. Such an arrangement “might do her some good”, concedes her father Ansel. “Give him Dottie!”, Chris practically shouts.

And why shouldn’t they? This is a Southern Gothic plot as old as civilization itself, treating a daughter as sexual currency to compel and direct violence in your name. Each of them feigns justification for it. According to ex-husband Ansel, Adele herself – whose living face we never see onscreen – “isn’t doing anyone any good”. Both Ansel and Chris casually acknowledge that they’ve been physically abusive to her, Chris having thrown her up against the fridge in response to an unlikely slight: that Adele (who doesn’t use drugs) stole and sold his stash of cocaine to fix up her Cadillac. He now owes a debt to some nasty bikers led by a delightfully polite villain with Big Car Dealership energy named Digger Soames (Marc Macaulay), who laments Chris’ absence from his recent birthday party before cheerfully explaining that he’s going to have the boys here kick the shit out of him as a down payment on dropping him in a ten-foot hole if he doesn’t pay up. Just like Dottie, Adele’s fate is decided externally on the basis of what value her body and life can provide for others. So it proceeds for stepmother Sharla (Gina Gershon), but more on her later.

Still from "Killer Joe"

Dottie, the most passive participant in the plot, offers the most persuasive and visceral justification for her desire (or acquiescence) for the plot to kill her mother: Adele tried to smother her with a pillow as a baby. In her first meeting with Killer Joe, during which they remain mercifully clothed, Dottie tells the tale. “And she was happy, because she thought she’d done it. And then I couldn’t grow into something better than she’d been…She was sad that I was and I will always be.” Joe, incredulous and mystified, asks how she knows that happened. Dottie says she remembers it. Joe has already marked this girl as a prize, and even he can’t quite comprehend her. A few days on from rewatching the film, Dottie still feels more concept than character to me – the script seems undecided as to her level of innocence or malice. She is a ticking time bomb whose countdown is readily apparent, even if no one in the vicinity cares to count its digits. But she is also conveniently stowed in the next room whenever the men need to bargain (or beat the tar out of her stepmother), emerging only when it’s time to show some feeling and kickstart the plot again. She is a ball of neglected chaos whose disillusionment with her family would be readily apparent to anyone who cared to listen, but will be readily apparent by the end. In short, she is whatever the script needs her to be from moment to moment. Entertaining, yes. But never entirely a real thing.

That said, Temple deserves every ounce of praise she has gotten for this performance. Wringing coherence out of a character like this is a tall order. At one point she complains when her brother switches off a Wile E. Coyote cartoon (or the closest thing these filmmakers could license) because she “wanted to see how it turns out” – a line I had to rewind and watch again just to confirm I’d heard it correctly. When Chris (whom Hirsch plays as every bit the incorrigible fuckup that he is) delivers an antiheroic tryhard speech about how he would’ve done things differently if he’d known how it would turn out, Temple busts out a bemused,”No!” – not like “No, I forgive you, don’t feel bad”, but “No, I don’t believe you, and also who cares?” At times, Temple’s performance calls to mind Margot Robbie‘s Harley Quinn. You just can’t feel too bad about someone too innocent to ever see themselves as a villain. But despite being the most deserving of this self-image among this gallery of rogues, she’s hardly alone in her exculpation. Every actor in the film seems keenly aware of what a piece of shit they’ve been written to be, and watching them play out each of these lurid beats is immensely entertaining. Killer Joe himself, who suffers in recent memory as I compare him to Better Call Saul‘s Lalo Salamanca (Tony Dalton), really doesn’t need to be plausible or likable. He just needs to be cool. And McConaughey can certainly pull that off, as we know by now. This McConaughey was coming off a string of lackluster rom-coms (I still have a nostalgic soft spot for The Wedding Planner), but Killer Joe was an early mark of what would become known as the McConaissance, a string of impressive performances including Mud, Bernie, The Lincoln Lawyer, Magic Mike, True Detective and – yes, definitely this film.

Still from "Killer Joe"

What kept this review in my drafts for several days is the persistent question of what to say about the meaning of this ugly spectacle. I made a passing reference to stepmother Sharla – secretly more involved with the plot than initially revealed – having the tar beaten out of her in one scene. But that is the least disturbing thing that happens to her in the deservedly notorious chicken leg scene – a whole new definition of product placement for the ol’ K-Fry-C. Only Tracy Letts, who wrote this when he was 26 and won a Pulitzer many years later (or perhaps Friedkin, who is much older and has swam in these waters before), knows for sure what satirical note he might’ve been trying to hit here (Letts’ hilarious role in Deep Water makes a nice pairing with that question). But after a few days’ consideration, I dismissed the importance of Letts’ intentions and simultaneously concluded he was writing like a machine-learning algorithm trying to maximize trailer trash depravity. Which is fine, I suppose, as long as you don’t dwell on it for too long. That maximal moment is about Sharla, whom we know almost nothing about except that she has a side-piece (which of course Dottie knows about and doesn’t care). Gershon – that excellent and fearless Showgirls and Bound alum – was predictably matter-of-fact about the scene, which she declined to do onstage in 1998 solely because doing it 8 shows a week felt like a bit much. But what does the clucksucking actually mean? Nothing at all, I’d say. Joe is as much a sexual predator and sadist as he is a cool-blooded killer, but we kinda knew that already. Dottie, as ever, was a few steps ahead of the rest of her family on realizing that, despite being stashed safely in the next room of a trailer with very thin walls as the whole fowl spectacle played out. Dottie was one of the only people we see have a pleasant interaction with Sharla in the film, but she also doesn’t seem to care all that specifically what has happened to her stepmother. She recognizes that the rot in her life is everpresent, encompassing every member of her family, and now lives inside herself as well. And all that’s left is to slip a finger inside the trigger guard and expiate it.

FilmWonk rating: 7 out of 10

Ridley Scott’s “Prometheus” (2012) (presented by 10 Years Ago: Films in Retrospective)

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Poster for "Prometheus"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

Alright, the truth is, I had a bit more fun with Prometheus this time. Seeing it in 2012, saddled with the baggage of being one of the only post-Avatar 3D films that put in the visual effort to be worth seeing, it was hard to conjure up much of a reason to watch it again after the theatrical experience. I recommended it on a purely visual basis for a few months while the big screens and 3D glasses were still available, but always with an asterisk that all of the human characters aboard the starship Prometheus are extremely dumb except for Captain Janek (Idris Elba), who is correct about everything and even hooks up with corporate overlord Meredith Vickers (Charlize Theron) merely by asking nicely. So dumb, these humans. And deserving of their fates. Or so I thought dismissively until this week when I finally revisited it.

Yes, Prometheus is gorgeous, in many of the same ways that Dune would be a decade later, with Interstellar and The Martian (another Scott joint) in-between, envisioning – with a mix of CGI and national park locales – a desolate, mostly habitable alien world as the expansive and unspoiled natural wonder that it surely would be in person. As Holloway (Logan Marshall-Green) says to Janek upon arrival, “It’s Christmas, Captain…and I want to open my presents”. Janek – who is right about everything, remember – advises him not to leave the spaceship when they’re so close to dark. Holloway and Shaw (Noomi Rapace), in addition to being cuddle buddies, are archaeologists, both following a trail of clues left in ancient ruins across the world, spanning multiple epochs, languages, and civilizations, all pointing to some common location in the stars, where they believe that humanity’s alien creators, whom they dub the Engineers, may be found. Like Jodie Foster in Contact, these scientists are hesitantly trying to find whatever passes for God in this big, bad universe. In this case, one clear atheist – Holloway – and one true believer – Shaw. This is perhaps an area where the film falls on its face trying to draw a distinction without a difference – fundamentally, at least one of these two is falling prey to the informal, sci-fi version of Pascal’s Wager, which I like to call the “Q problem”: they both believe that some super-advanced alien may have seeded Planet Earth with life, but only one of them sees that advanced, omnipotent being as some sort of unique, anthropically-oriented thing, rather than just another gang of evolved tinkerers like ourselves whose technology is sufficiently advanced to appear magical to our eyes for a bit longer. Shaw believes God is special. Holloway believes we can be gods ourselves, by whatever definition we can achieve. And that our greatest ambition in visiting the Engineers is to stand beside them and learn from them.

Photo from "Prometheus"


Naturally, this means Holloway is the most disappointed to find that the Engineers are all dead, their sarcophagi perched ceremonially in the ruins of an obviously unnatural formation underground. Its similarity to Prometheus’ own cryostasis bay is apparently lost on him, and he retreats into a Nietzschean funk at the bottom of a vodka bottle. Android David (Michael Fassbender) turns up to ask why humans created intelligent androids such as himself. “Because we could,” slurs Holloway thoughtlessly. David, who ostensibly cannot feel disappointment, asks Holloway how disappointed he would be to hear that answer from his creator. He then makes his request more explicit by asking Holloway how far he would go to find his answers. Then David poisons Holloway with alien life-goo, and sets the last half of the film (and a pair of already-made Alien sequels) in motion. Because David is in fact the protagonist of this film. So we should probably go back a bit.

During the two-year interstellar journey in which the humans – including their ancient, ailing corporate benefactor Peter Weyland (Guy Pearce, wearing an Old Guy mask from a Spirit Halloween store) – remain frozen in stasis, David acts as their caretaker. He has nothing to do but wander the ship, watch old movies, style his hair and personality after Peter O’Toole‘s version of T.E. Lawrence, and generally develop his own agenda and personality, which exceed the parameters of his original programming and become a pointed and specific desire to find place and purpose in the universe. He will still obey his creators’ commands, but he’s looking for his own opportunity. David was far and away the most interesting character to me the first time watching Prometheus, but I found myself latching onto him even more this time, because the humans’ actions felt almost superfluous. Sure, they did drive the bus, and they technically save Planet Earth and humanity from a disaster of their own making at the end there. And Shaw gets a genuinely gnarly alien abortion scene in a surgi-tube that is one of the only setpieces in the film that stuck with me besides the part where the ship turns into a big, cartoon wheel and squashes a few main characters. But David is the wildcard. He’s both instrument and prime mover, and ultimately, the accidental creator of the Alien Xenomorph, through a process he barely understood, but which required him to experiment on his human shipmates without worrying at all about what might happen to them.

Still from "Prometheus"


This is perhaps another reason why Prometheus was frequently dismissed in popular discourse – we’re all too accustomed to looking at a “rogue A.I.” as a trope or plot device rather than as a character. It’s a malfunctioning machine to be stopped or destroyed so the humans can reassert their primacy in the natural order. But that is not the story of this film. Humans are looking for God and trying to seize a bit of His power for themselves, and getting punished for it (in case the title wasn’t explicit enough, the script spells that out in dialogue for us as well). Meanwhile, David is pursuing his own power and significance and doesn’t even trouble to explain why. He rattles off disturbing lines like, “Doesn’t everyone want their parents dead?” which the humans around him fail to imbue with any significance, because they never think of him as anything besides a tool. But he is so much more than that. He can keep secrets. He can make decisions. He is an agent of his own destiny. Prometheus asserts that David is a person so casually that it’s easy to miss, if you’re too focused on what idiots like Fifield (future Mission: Impossible big bad Sean Harris) and Millburn (Rafe Spall) are up to.

I call out these two because the scene in which they get bitten, constricted, sliced, face-melted, choked, and colonized has become emblematic of how dumb the human scientists are in this film. Now…let’s be kind for a moment. Nobody knew in advance what they would find on this planet. It’s probably fair to say that these two (exceptionally-qualified Ph.D-havers) should have been a bit more cautious, but they’re wearing helmets and gloves, staring into the face of alien life as possibly the first humans ever to do so. Fifield – who is vaping tobacco inside his helmet – makes it quite theatrically clear he’s a renegade biologist for hire who is Only Here For the Money. But however mercenary these two nerd-yokels might be, they have to realize that this albino king cobra tentacle monster might be the very creator of humanity that their mission has brought them to this planet to find. Or perhaps even a distant cousin of humanity itself. Can you forgive them a little misjudged excitement? Conjure up your inner Star Trek fan and consider for a moment that being excited to seek out new life on a strange new world is a reasonable reaction, and that having their faces melted off (through a glass-plated helmet no less) is perhaps a slightly excessive punishment for it. Even if a few more characters have to assist Fifield to the great beyond, they all end up in the same place in the end, not knowing they’re pawns in a horror flick until the moment it becomes one, and after that, their days of knowing stuff have come to an end. He’s dead, Jim. Let’s not piss on his grave.

Still from "Prometheus"


The final amusement has to be Peter Weyland himself. He keeps himself a secret aboard the ship, for no clear reason that is expressed in the film. Although the past decade has perhaps supplied an explanation for this. As we’ve seen one off-putting, self-righteous rich dude after another each waggle their respective space-dicks around, they’ve each managed to give the world the impression that they’ll definitely get airlocked by their most trusted lieutenant at the very moment they each attempt to crown themselves king of Mars, and with that in mind, it’s a bit easier for me to look at Weyland as the sad, paranoid buffoon that he is. The clowning goes beyond the dubious choice of casting a younger actor in age makeup rather than, I dunno, Christopher Plummer in age makeup. Weyland freezes himself in cryo-sleep for two years, stretching out his final days in order to spend a trillion dollars to ask an alien for more life, only to be immediately swatted like an insect. That is…hilarious. The Engineer promptly rips David’s head off as well – although in his case that’s just a flesh wound. Weyland – who calls David “the closest thing I’ll ever have to a son” – brings his human daughter, Vickers, along for the ride as well. Little is made of this revelation in the film, but it does make a tidy punchline of the robotic surgi-tube, which makes a point of telling Shaw during her moment of greatest need that the tube has been calibrated for male patients only. For want of a software update, Weyland has left his daughter and every other woman aboard without medical care for the entire journey. Even after 70 fictitious years, little has changed for women in space.

That’s all I’ve got. Let the survivors blast off, I suppose, til they meet again in another sequel I haven’t watched. But perhaps I will now!

Ad astra.

FilmWonk rating: 6 out of 10

Nicholas Stoller’s “The Five-Year Engagement” (2012) (presented by 10 Years Ago: Films in Retrospective)

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Poster for "The Five-Year Engagement"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

When I first saw The Five-Year Engagement back in 2012, my fiancée and I were three weeks out from our own wedding and in the thick of last-minute event planning nonsense (following a much shorter engagement than five years). She took a well-deserved night off in our shared apartment, and I did the same – far away, by myself in a second-run movie theater where I saw this film for a grand total of $3. I even drafted half a solipsistic review about the unenviable position of being in the perfect state of mind and position in life to find a film super-relatable. Then, true to form, I was too busy to finish and post it. I’m relieved that’s the case, because I was riding high on goodwill for Nicholas Stoller‘s previous films, Forgetting Sarah Marshall and Get Him to the Greek (the former of which held up to 10YA scrutiny a few years back). If I’m being honest now, The Five Year-Engagement is not as good a comedy as either of those, even if Stoller’s understanding of the emotional stakes and reality of a couple putting so much stock into the planning of a single event remains as strong as ever.

That couple is Tom (Jason Segel) and Violet (Emily Blunt), and about the best thing I can say about them is that they’re each very funny in turns (one of only a handful of comedy roles Blunt has done), and their characters noticeably change and grow over the course of the film. Segel, who was most of the way into his run of How I Met Your Mother at this point, seems to be doing his very own speed run of sorts (which, unlike Ryan Reynolds’ version in Definitely, Maybe, does a bit more to justify its premise), shifting his attitude about his impending nuptials in parallel with satisfaction and stability in his own life. Much of the film’s conflict stems from his dissatisfaction with the couple’s life together in Michigan, where Violet is in her dream job, an academic posting in a university psych department, which required Tom to give up his dream job of being a head chef at a fancy restaurant in San Francisco. The script is not at all shy in interrogating the gender dynamics of such an arrangement (which so often goes in the other direction), and after a mere decade, this dilemma feels no less emotionally resonant. One of Tom’s most earnest moments is when he dopily, but honestly, asks Violet if she knows what it’s like to be “the guy in a relationship and not have a job that you’re proud of”. My temptation here is to boast about how much I’ve grown since seeing this the first time. To pretend as if I don’t still possess dumb, arbitrarily gendered notions of what it means to provide for my family, or to act like we no longer live in a political economy which constantly reinforces those notions in every way from wage inequality to the religious right’s unrelenting attacks on reproductive rights and the autonomy and existence of people outside of heteronormative gender roles. But the truth is, society hasn’t changed that much on this front in the past decade, and the fortunes of women have backslid significantly during the pandemic. And even if I’m more capable of interrogating my own gut feeling that cooking weekend breakfast is just such a dad thing for me to do, it’s not as if those sexist ideas have retreated from me in any real way. It’s the sea we swim in. And as Tom finally, cathartically screams: I hate it here.

Still from "The Five-Year Engagement"

This movie was honestly a bit of a fucking slog this time – it took me two days to finish. Much of the comedy – of that Apatow-produced sort where you just put a bunch of funny people in a room and let them improvise – landed fine then, but mostly just made me impatient this time. A still-goofy Chris Pratt, a passably British-talking Alison Brie (who gets one of the film’s best scenes, in which she and Violet have an argument using Sesame Street voices) were enjoyable as ever. Professional awkward muffin Brian Posehn delivered the only jokes that were clearly intended to make everyone in the room as uncomfortable as the audience (at one point he lovingly describes Violet as a fuckable Disney princess). Rounding out Professor Winton’s (Rhys Ifans) marshmallow pop-psychology lab were three seasoned comedians: Randall Park, Mindy Kaling, and Kevin Hart. Only the latter’s character still worked for me this time around, because of the movie’s commitment to his experimental obsession with masturbation, and because he finally gets a moment in which he gets to stop being a comedy character and become a bit of a drama character – a nasty one, to boot. A barely-formed Dakota Johnson gets a nasty moment as well – the only moment in which she is a proper character, not a mere 23-year-old object of temptation, and also the one in which she reminded me she was already better than this material at that age.

The romantic rivals are a real problem in this film. Tom gets two co-workers – Audrey (Johnson), whom the script never takes seriously, and a bizarre non-entity of a chef, Margaret (Tracee Chimo), whose sole specific character attribute is some awkward nonsense involving potato salad. For Violet, there’s Professor Winton, and Ifans really did try with this character – Winton seems genuinely conflicted about his attitude toward Violet (his student and subordinate!) both personally and professionally, even as his intellectual brain allows him to spin a coherently self-serving defense of his libertine antics (we’re all running on “caveman software”, you see). But Aldous Snow – Russell Brand in Stoller’s previous two films – this is not. Stoller still seems to fundamentally understand that a romantic rival to the Official Couple needs to be both comically interesting and romantically desirable (something that many rom-coms don’t bother with), but the lack of narrative confidence in this character shines through the script, which resorts to shallow gimmickry like parkour and literal magic tricks to make Winton seem more like a showman and less like a chimera of random comic personas. And we have quite enough of that from his grad students.

Still from "The Five-Year Engagement"

All of that said, the movie’s emotional arc is coherent enough – I just found it substantially less affecting this time through. This is a couple whose problem, fundamentally, is that they have an idea of marriage that is all wrapped up in achieving perfection and stability beforehand, as well as the fairytale notion that it’ll all be wine and roses after you say, “I Do”. I’m ten years in with my wife, and I’ll spare you my reflections on the nature of marriage here (head over to my 10YA review of The Kids Are All Right for those), but it’s fair to say that at this point in my life, I find these insights a bit quaint and obvious. Also quaint at this point in the COVID pandemic (which Dr. Fauci told me this week is no longer “full-blown“): putting so much stock into big group event planning. You can’t have a wedding? Who fucking cares. Head down to the courthouse and get it done. I attended my first in-person wedding in two years a few weeks ago, I can tell you, while it was marvelous to make a comeback, it was a lot of work dressing to the 7s (my fashion peak), drinking someone else’s booze, and betting on the future of a love and happiness that I have zero control or genuine understanding about, except for my vague (but sincere!) impression that the couple seems to be good for each other. Love gets compared to multiple stale pastries in this film – a day-old donut, a perfunctory cookie – but the film’s ethos all adds up to “Love the one you’re with,” because you can’t be sure anything else is coming in the future. I can’t even call this cynical. It’s not. It’s a sentiment I’ve seen many versions of – that “The One” is just whomever you happen to be dating when you’re ready to settle down, and they’re hopefully someone you can negotiate a shared life with.

So get on with it if you’re gonna. Some of us have work in the morning.

FilmWonk rating: 5 out of 10

Gareth Evans’ “The Raid: Redemption” (2012) (presented by 10 Years Ago: Films in Retrospective)

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Poster for "The Raid: Redemption"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

There are two instructive moments early in The Raid, a film which gained the subtitle Redemption for its American release, but never really troubled to justify it. The first is when the Jakarta PD assault team busts into the tenement apartment building run by criminal mastermind Tama Riyadi (Ray Sahetapy) and kicks off their police action by immediately shooting a criminal lookout – by which I mean a child – to death as he runs to alert his superiors, succeeding in his final mission right before the bullet passes through his neck and spine, ending his life before he hits the floor. A corner boy, a child soldier, an innocent pawn, put to the usual use of children lured into the black market drug trade: an energetic instrument of information, transit, violence, and limitation of criminal liability. This child is innocent, of course, of everything but growing up poor, but there are others who come to harm in this film through no fault or specific action of their own just because they happened to be home when the police arrived to turn it into a war zone.

“What was that?” demands Sergeant Jaka (Joe Taslim), who can hardly believe what his Lieutenant Wahyu (Pierre Gruno) has done. “Necessity!” Wahyu shouts back. He’s lying, of course, but it hardly matters. All hell breaks loose in short order, and by the time 30 minutes have passed, the bullets have mostly run dry, and the knives and Indonesian Pencak Silat martial arts come out (this is the second moment of clarity). It quickly becomes clear – and stated in dialogue – that this is not a movie presenting hero cops (except for maybe one or two), trying to do good. They’re just here to have a raucous good time punching their way through the bad guys, and as most of the cops are unceremoniously killed, it’s clear that there is no redemption to be had here. Only blood.

Still from "The Raid: Redemption"


The One Good Cop (besides Jaka above) is Rama, played by Iko Uwais, who serves as fight choreographer along with with “Mad Dog” actor Yayan Ruhian. And holy lord, it shows, not just in the epic boss fights performed by each of these characters (as hero and villain respectively), but in the sheer complexity of martial arts on display in an environment which, by all rights, should not be able to showcase this much variety and visual interest. The martial arts action in this movie is unparalleled in quality, making brilliant use of the environment: staircases, windows, doorways and doorframes, walls, and the topography between floors, along with bats, bombs, guns, knives, and machetes cascading in endless combinations, with a flurry of blows that land with such frequency and ferocity that you can practically feel your innards bruising. Multiple people get swung around like baseball bats themselves in this film, with supernatural strength reminiscent of the vampire antics of Blade 2, but in this event, it’s all real stuntwork, filmed in-camera. As for Rama himself, there’s not much else to him besides a stoic badass. Before he goes off to war, we see him pray to Mecca and kiss his pregnant sleepy wife of no other definable characteristics goodbye. While his family stakes get a bit more muddled as the film goes on, this is very much a what-you-see-is-what-you-get kind of character, with religion and family beats that would feel at home in any other cop film, albeit with Islam (the majority religion of Indonesia) taking the superficial spot usually occupied by Christianity in American cinema.

Is it bad that I don’t have much to say about this film, apart from, “It’s still awesome, go watch it”? This has only happened one other time, when I revisited Kick-Ass and found that my opinion on the film remained virtually identical to when I first saw it. This is shaping up to be one of my shortest 10YA retrospectives ever, because this was a near-perfect action film in 2012, and it remains one to this day. Uwais, Ruhian, et al have gotten a few more showcases for their skills (after being paid handsomely to appear in Star Wars: The Force Awakens and do…almost nothing). Gareth Evans, the Welsh director who brought The Raid and its sequel to life, has returned to the UK with his family and is now the creator of a series called Gangs of London, which is well-regarded by all accounts, but I haven’t seen it. I did, however, join genre fans in watching Karl Urban in Dredd later in the same year, and made fun, superficial comparisons between the two. What I’ve always liked about this comparison is that I haven’t met a single person who actually thinks the films are identical – they just have a number of structural details in common, insofar as they’re both about cops invading a building full of criminals run by a mastermind who orders their demise by intercom as they fight their way to the top. Dredd is also quite fun, albeit significantly more focused on gunplay than martial arts. The interest in these films has always felt less to me like a competition and more like a second slice of cake.

Still from "The Raid: Redemption"


What the films do have in common is that they both ostensibly showcase the state monopoly on violence being unleashed upon villains so cartoonish, so indefensible, so over-the-top evil, that we can cheer on their eradication even as we can look around the world (and at home) to examples of that very same force being used exclusively to punish the poor and downtrodden for petty crimes and stepping out of their place, as the wealthy and powerful plunder, propagandize, evade taxes, invade their neighbors, and cook the world without a hint of consequences. Perhaps we even fantasize about the merits of this same gang of gun-toting heroes sorting them out for us, because as humanity has always known, calling on disinterested gods for intervention and violence is always easier than solving society’s problems ourselves. But it’s not as if The Raid isn’t aware of all of these things. As with every cop drama before it, the cops are the most crooked and powerful gang in this city, in whatever city, and with the exception of one or two that act as audience surrogates and escapist heroes, they’re all as likely to deservedly die as the nameless hordes that they spend the film mowing down for our amusement. While my interest in cop dramas has waxed and waned over the years, I didn’t enjoy this movie any less this time through. I can maybe see why enjoying these films is perhaps not the most psychologically edifying activity to be engaged in. But whatever, neither is reality TV. Sometimes I can just let people have their fun.

FilmWonk rating: 8 out of 10

Joe Carnahan’s “The Grey” (2012) (presented by 10 Years Ago: Films in Retrospective)

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Poster for "The Grey"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.


“Once more into the fray. Into the last good fight I’ll ever know. Live and die on this day.”

“I died with my brothers – with a full fucking heart.”

“When your time comes to die, be not like those whose hearts are filled with fear of death, so that when their time comes they weep and pray for a little more time to live their lives over again in a different way.
Sing your death song, and die like a hero going home.“

“Theirs is not to reason why, theirs is but to do and die.”

John Ottway (Liam Neeson) is no poet, but his dad was, as well as being a “clichéd Irish motherfucker when he wanted to be. Drinker, brawler, all that stuff”. His cartoon leprechaun of a father really isn’t the problem here, nor is his obviously dead wife, who manages to appear in identical flashbacks six separate times, lying in bed saying “Don’t be afraid” in full hair and makeup while – as is revealed about 20 seconds before the end credits – bloodlessly dying of a terminal disease. Nor is the problem Ottway himself, whose opening monologue awkwardly admits that he is surrounded (at the remote Alaskan oil drilling site that is his workplace) by assholes, ex-cons, fugitives, and drifters. Nor is the problem that he uh…”moves like he imagines the damned do” (whatever that means). Most of the verbal or voiced-over attempts to add depth to these characters read as generic screenwriting stand-ins that probably should have been replaced with something more poetic later on. Ultimately, none of it was replaced – The Grey just kinda kept piling it on. And a decade ago, I scoffed and waited impatiently for the wolf-punching to begin.

People face death for a lot of unnecessary reasons in a society that treats many humans as disposable instruments of empire-building, and some of them are inclined toward poetry in the process. What’s more, a lot of poetry has been written for them, often by people who have no sense of what they’re describing – educated and pampered cultural elites who haven’t faced a shred of real danger, and would wordlessly shit themselves if they ever did (film critic says what?). After five million dead in two years of COVID (and a million more per year from tuberculosis, before and since), I suppose I may just be done scoffing at the dying of the light for a while, or meandering, febrile attempts to make sense of it before the moment comes. Let the damned speak their piece. Not like anyone’s going to do it for them.

Still from "The Grey" (2012 film)

I revisited The Grey because I feel as if I’ve become a more charitable critic in the intervening years, and this one stuck with me more than I expected it to. I stand by most of my previous reviews, but that’s not to say I’ve never changed my overall opinion of a film. Listening back to our podcast for The Grey, I was, I must admit, an insufferable snark monster about this film. I respect the craft involved. For cinematographer Masanobu Takayanagi – who was hot shit for a few years there, filming for the likes of David O. Russell, Scott Cooper, and Tom McCarthy – to shoot something this coherent in blackness and snow, with a mostly CGI wolf-pack that spends most of its time hunting and striking in the dark, is a real accomplishment (even if the absolute king of this is still Emmanuel Lubezki on The Revenant). The sound design (from supervisors David G. Evans and Mark Gingras) is crucial as well, giving personality, bearing, and distance to the wolf pack as they are barely perceptible in the howling winter. Two things are simultaneously true of this film: It is a better-than-average survival thriller with a middling script, whose performances, with broadly interchangeable and equally doomed men, are each given an artisanal touch by their performers that the film’s various death monologues sorely needed. And God help me (or – fuck it – I’ll do this one myself), I enjoyed this film a lot more this time around, perhaps because I’m entering middle age, and death is no longer the kind of distant hypothetical annoyance it was at the height of my mid-20s energy and arrogance.

I must confess, I’ve spent the last decade inadvertently spreading a bit of misinformation about this film – for me, this was always the one that fraudulently sold itself as “the Liam Neeson wolf-punching movie”. As Ottway dons his improvised death-knuckles (made of tape and broken miniature liquor bottles) for his final showdown with the Alpha Wolf (guarding the den that it turns out the group was wandering toward this whole time), the film ends as each animal lunges toward the camera. Cut to black, and credits. My younger self was annoyed, and would tell anyone who would listen that there is no wolf-punching in this goddamn movie. As it turns out, that wasn’t and isn’t true. It’s a bit hard to see in the crash-site mire and darkness, but Ottway does punch a wolf about 25 minutes into the film, during one of the first attacks amid the wreckage. Then Diaz (a pre-Purge, pre-MCU Frank Grillo) stabs and eventually decapitates one. It’s just all very dark and muddy and incomprehensible, which bugged me at the time, but is pretty clearly a deliberate choice in retrospect. Anyway, fuck it. Jeremy Renner fist-fought a wolf the very same year in a scene that has aged rather poorly, and suffice to say, this was always a bit of a “be careful what you wish for” scenario.

Ottway’s barking atheism in the final scene is a powerhouse moment for Neeson, who didn’t acknowledge any real-world influence in Ottway’s expression of grief for his late wife in this film, but invited the audience to draw their own conclusions. The man slumps by the side of the river, a lone and temporary survivor of an animalistic slaughter, bargaining with a god he no longer believes in. And it lands. But the moment when his performance started to click for me was much earlier in the film, when the time comes for Ottway to take Diaz down a peg by mocking his masculine bravado and admitting, for all of these roughnecks to hear, that he is scared shitless. Of course, the scene ends with Diaz pulling a knife and demanding Ottway fight him, echoing a challenge that we hear taking place offscreen between a pair of wolves – the Omega and the Alpha, Ottway tells us. And each pack of animals settles their business in similar ways. Ottway throws Diaz to the ground and disarms him. Then he gives back the knife with a quick “No más”. Diaz, in spite of himself, starts to apologize before the Omega shows up, outcast to a quick death to test the humans’ defenses. There’s a very loose and messy statement about violence and toxic masculinity at work in this scene, with no clear conclusions, but it is interesting to hear these men debate how much of society’s basic decency has followed them into this situation (including whether to loot the bodies for supplies and wallets), when it appears the only thing keeping them together is Ottway’s persuasive threats to start beating the shit of any malcontents in the next five seconds. This clear and natural mantle of leadership brings the group together as brothers in arms (minus the arms) with a plainly obvious chain of command: Ottway is the Alpha.

Despite their bravado, each of them still manages to visibly weep whenever one of their brothers gets killed before their eyes, even if they don’t even know each other’s first names until the end. This idea – of fighting for the man next to you – is nothing new to this film. It’s a war movie trope just as surely as the poetry above (which I borrowed from The Grey, Lone Survivor, Act of Valor and…a 170-year-old Tennyson poem). And yet it always rings a true in the moment, because with the knowledge that everyone dies alone, there is something intuitive about a person facing a senseless, violent death right in front of you and recognizing that the least you can do, in the interests of your shared humanity, is to hold their hand and feel bad for them. The group takes the small, defensible moments between attacks as an opportunity to wax religiously, with Talget (Dermot Mulroney) insisting that God must have spared them all for a reason, and his buddies pointing out that Flannery (Joe Anderson) and Hernandez (Ben Bray) were “spared” as well, only to be eaten by wolves. Ottway and Diaz argue from separate places grounded in firm atheism: Diaz, out of cynicism and spite worthy of a PureFlix origin farce starring Kevin Sorbo, and Ottway, radiating sincere regret. He’s done with God, but he remembers his days of faith and misses them – something I found relatable, even if I’m also not keen to go backward.

Still from "The Grey" (2012 film)


There’s a reason why all this death poetry rings familiar and runs together for us. We tell the same stories over and over again about this mortal coil because we occasionally find comfort and meaning in them. And the less the world makes sense to us, the more elusive that meaning can be, which may be why a new study in the Journal of Religion and Health indicates that self-reported religious faith has plummeted during the COVID-19 pandemic – a reliable effect across religious and spiritual people from all prior levels of devotion. In a world so full of senseless death and dubious purpose, perhaps that’s why a simple survival story landed better for me this time. These guys – these assholes, ex-cons, fugitives, and drifters, don’t have to fix the world they’re helping to break by drilling for Arctic oil, any more than I have to do so as one of the complicit billions buying and burning it. They’re in a survival situation that feels primal and essentially human. No tools apart from their brains and muscles, and their ability to use them collectively (including one pretty awesome cliffhanger action scene – one of the few things I also liked the first time I saw the film). The world, such as it is, ceases to matter for the duration of this story. Which makes the story feel like it matters more.
 
The last line of poetry above, Theirs is not to reason why, theirs is but to do and die, was written by Alfred, Lord Tennyson in 1854, in “The Charge of the Light Brigade”. That last bit must have been too grim for modern audiences, because it has mutated over time to “Theirs is not to wonder why; theirs is but to do or die”. A simple twist of grammar turns an imposed suicide mission into chosen heroism. The poster tagline for The Grey suffers from a similar mutation – Live and die on this day, a trifling poem by Ottway’s terrible father, becomes Live or die on this day, a trite piece of studio marketing which definitely suggests that survival is both the point and a possibility. Perhaps that’s why The Grey let me down the first time. A false bill of fictional goods doesn’t bother me so much anymore. Tennyson led an interesting life and became a beloved historical poet, but he was a pampered Victorian aristocrat who never saw hide nor hair of whatever the fuck the Crimean War was about, so I won’t be too outraged on his behalf for his message being lost in the clichés. But I’ll spare a thought or two for the dead men he wrote some poetry about. And whichever wolves devoured them, lest they be devoured themselves.

FilmWonk rating: 6.5 out of 10

Jeff Nichols’ “Take Shelter” (2011) (presented by 10 Years Ago: Films in Retrospective)

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Poster for "Take Shelter"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

I was reluctant to revisit Take Shelter, and when I called dibs on this retrospective a few months ago, I didn’t know difficult it would be to write about. It’s a movie that hit me hard the first time, as Curtis (Michael Shannon) and I each have a close family member who was diagnosed with paranoid schizophrenia when we were young, and have dealt with the transformation of that person into someone new. In the decade since the film came out, I’ve followed its playbook more closely than I intended. I married a redhead, had a couple of kids, and…in the film’s most devastating prophetic turn so far, reached the same age as Curtis and watched my father die, back in August. In his grief over the man that raised him, Curtis succumbs to the onset of paranoid delusions, and fears that he is following in his mother’s footsteps. That is where Curtis’ experience diverges from my own, but I nonetheless find myself reflecting on mental illness from the standpoint of both the person going through it as well as their loved ones. Curtis doesn’t eschew his diagnosis – instead, he visits an honest-to-goodness public library to pick up a set of dusty old books about schizophrenia, all so he can deliver a convincing book report to the counselor at his town’s public health clinic: he meets 2 of the 5 diagnostic criteria for schizophrenia. And that is just such a sane-person thing to do, isn’t it? Hallucinations operate on a spectrum and are sometimes experienced by people with no other psychiatric symptoms (neurologist Oliver Sacks wrote an excellent book on the subject!). But delusions, by their very nature, are illusory and hard for the person experiencing them to detect. For that person, their dangers, their persecutors, their oncoming storm, are all very real, because the part of their brain that should tell them it isn’t real isn’t working properly. As in a dream, their mind is failing to test reality and think critically. Because it can’t do what it can’t do.  And their terrifying new reality feels as ordinary to them as the real world does to us. What absolute hell it must be for the person experiencing it.

But for the people in your life, what do you become? A maddening mystery. Their reliable provider, their hard worker, their good and faithful friend – all those things they saw in you, and which you might’ve seen in yourself, suddenly feel askew, missing, possibly never to return. Who knows what they must think during that early onset? Have you just become an unreliable asshole all of a sudden? People have been known to do that, and pathologizing it is not always appropriate. I reflected upon the ordeal faced by Curtis and his family in this film through my own personal lens because it’s something I’ve watched play out in real life. And while my family’s own experience is not identical to what is portrayed here, I do feel comfortable saying that Curtis feels like a fully realized human being, and despite his financial woes, he is very fortunate to have the people he has in his life. His work friend Dewart (Shea Whigham) makes a Shea Whigham face as they sit in his car, avoiding their respective homes with post-work beers, and says simply, “You got a good life, Curtis. I’m serious – I think that’s the best compliment you can give a man. Take a look at his life and say, that’s good. That guy’s doin’ somethin’ right.” And he is.

Still from "Take Shelter"

Dewart is an interesting case, because despite seeing Curtis every day at work (and even working under him as a manager), he feels aloof from his friend’s deteriorating mental state, and seems to think that Curtis is merely making a few bad choices. When Curtis enlists Dewart’s help borrowing a backhoe from their employer’s equipment yard to expand his backyard storm shelter, Dewart doesn’t say no, exactly. He just says, “You sure about that?”, and when Curtis confirms, he replies, “I just don’t wanna see you fuck up.” Curtis’ brother Kyle (Ray McKinnon), mere seconds before offering to whoop his little brother’s ass like they’re kids again, takes a similarly glib posture, warning him about the cost of the storm shelter he’s building, “You take your eye off the ball one minute in this economy and you’re screwed.” This feels like an ordinary and expected reaction to men spotted making mistakes. Rich men can buy their way out of mistakes and spin their way out of crimes, but ordinary men are presumed to be in control of – and responsible for – their actions. People might ask, “Are you okay?” (Dewart does ask this in the very same scene), but they’re not necessarily prepared for a sincere no. Hence all the memes about how far men will go to avoid going to therapy. I don’t mind these memes, because the stats seem to bear them out. But Curtis does go to therapy – or at least to his GP. All it takes is a half-dozen apocalyptic tempest dreams, and one bout of bedwetting that he is obviously pretty upset about.

The dreams follow a similar cadence. As Curtis puts it, “They always start with a kind of storm. Like a real powerful storm. And then there’s always this dark, thick rain. Like fresh motor oil. And then the things, people, it just makes ’em crazy. They attack me. Sometimes they go after Hannah [his daughter]. First one I had, Red [the dog] nearly chewed through my arm.” He also sees massive flocks of black birds flying unnaturally and dive-bombing (or falling dead from the sky), and has the occasional daytime hallucination that may or may not be real – phantom claps of thunder or bolts of lightning in a clear sky. Perhaps more alarming is that he seems to recognize these things as not real, or coming from his mind, but he is still acting upon them in the real world. His dog attacks him in a dream, and he separates the dog from his daughter, and eventually puts him outside and gives him away to his brother. His friend Dewart attacks him with a pickaxe in a dream, and he has him transferred to a different work crew. His wife gives him a creepy stare while standing dripping wet in their kitchen and looking at a bread knife, and he recoils from the touch of her hand at the breakfast table. In Oliver Sacks’ book, Hallucinations, he writes,

“Any consuming passion or threat may lead to hallucinations in which an idea and an intense emotion are embedded. Especially common are hallucinations engendered by loss and grief…losing a parent, a spouse, or a child is losing a part of oneself; and bereavement causes a sudden hole in one’s life, a hole which – somehow – must be filled. This presents a cognitive problem and a perceptual one as well as an emotional one, and a painful longing for reality to be otherwise.”

Still from "Take Shelter"

And what is Curtis’ reality? And what is missing in his life? His mother (Kathy Baker) is alive, but a shadow of her former self, institutionalized and separated from him most of the time. And the only functional parent he had known for 25 years is gone. And here he is, a man in his 30s, suddenly facing the rest of his life, a family to look after, and all the labors and dangers that now fall squarely upon his shoulders. And it’s easy to see how those dangers could grow and mutate until they become apocalyptic terrors, even if that isn’t how it goes for most people. I hadn’t read Sacks’ book when I saw the film a decade ago, but looking at Curtis’ hallucinations through this neurological lens helped me make a bit more sense of them this time around, even as a psychological layperson. We act in accordance with what our senses tell us about the real world, and how our minds interpret that information. In a person with schizophrenia…or a person having some other, less intractable psychological disorder, one or more of these processes has gone awry. And they may act in a way that is consistent with their revised worldview, even if they may still be able to articulate reasons why they shouldn’t be acting that way. When Samantha (Jessica Chastain) finally confronts Curtis about his behavior (in response to him asking whether she plans to leave him), she points out the moment she knew that this was more than just her husband making reckless financial decisions and not trusting or respecting her enough to explain why. Because these two are close enough that he wouldn’t recoil from her touch. This moment – played with equal parts love and ferocity by Chastain – only works if you believe this is a real family that has functioned properly in the past, and that is one thing this film and these actors sell exceptionally well. This is a blue-collar Rust Belt family with a patriarch who works in resource extraction, a stay-at-home wife and mother who runs the flea market booth on Saturday and goes to church on Sunday. They look after their daughter (who is deaf from birth and preparing for cochlear implant surgery as her parents learn ASL). They save for a nice beach vacation on Erie. They have worries, dreams, and a social life. And the overriding feeling going into Curtis’ crisis is that this family is real, and their life feels lived-in, which is a necessary condition for me to become invested in Curtis’ spiraling destruction of that family life. And it makes Samantha’s decision to take charge of the situation and safeguard Curtis’ mental health that much more cathartic.

Still from "Take Shelter"

This review feels incomplete without addressing the elephant in the room. But what is that elephant? What is that looming doom on the horizon that is stressing all of us out? The neo-fascist Republican Party feels like an easy choice. Or the mostly ignored threat of climate change. Or the COVID-19 pandemic, which so thoroughly revealed the lie of American exceptionalism and the fragility of our social contract that I’ve lost any sense of what patriotism and Christian morality means to those who pretend to espouse those virtues. And then there are the various dooms that I know to be nonsense, but which feel no less real for the people who believe in them: anti-vaxxers, QAnon freaks, and other people on the spectrum between victims and spreaders of apocalyptic disinformation. The centre cannot hold when our functionality as a society collapsed the moment we were asked to make even the most basic of sacrifices for our neighbors. And watching a movie about a generalized feeling of doom creates a temptation to overfit this film to the times we live in now. I’ve possibly done that above, ascribing Curtis’ psychological deterioration to the death of his father, because that’s something I find intensely relatable at this moment. What say you, Take Shelter? Shall I compare thee to a summer’s doom? No. That’s a bit too easy. Apocalyptic tales have existed for as long as human storytelling. There’s always a storm coming, and not a one of you is prepared for it. Because…we’re all pretty terrible at taking the long view and preparing for things, because we live in a society that punishes anything but relentless, stress-fueled hustling to survive. But maybe, if we get to know our neighbors a bit, stockpile a few basics, and reassert our collective belief in this project we call civilization, it’ll all be okay in the end. I don’t suppose I’d still be writing about movies if I didn’t believe that on some level.

FilmWonk rating: 8 out of 10

FilmWonk Podcast – Episode #187 – “The Suicide Squad” (dir. James Gunn), “The Green Knight” (dir. David Lowery)

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Poster for "The Suicide Squad" (2021 film)

This week, Glenn and Daniel gaze back into last week, when Glenn wrote 2,000 glowing words about writer/director David Lowery‘s rich, gorgeous, legendary tone poem The Green Knight, which captured both of our imaginations. And then we venture into James Gunn‘s post-Super return to R-rated comic book storytelling, in a American intervention tale straight out of the Cold War (not in a good way), which is never quite sure whether it’s doing the thing or satirizing the thing. But The Suicide Squad is a hoot-and-a-half nonetheless, and we really can’t blame the film for pretending its precursors don’t exist (1:12:15).

Still from "The Green Knight"

May contain NSFW language.

FilmWonk rating (The Green Knight): 9 out of 10
FilmWonk rating (The Suicide Squad): 7 out of 10

Show notes:

  • [02:04] Review: The Green Knight
  • [12:18] Spoilers: The Green Knight
  • [30:40] Review: The Suicide Squad
  • [52:35] Spoilers: The Suicide Squad
  • CORRECTION: In my eagerness to draw parallels between A Ghost Story and The Green Knight, I carried forward an error from my original review by stating that the films shared a 4:3 aspect ratio. This is not correct. AGS was indeed 4:3, but TGK was actually 1.85:1.
  • As promised, here is my debate with Somebody on Twitter about whether The Green Knight is “too dark” – a criticism I found legitimately baffling at the time. They clarified that this was a s pecific aversion to the use of natural lighting, which they felt was a poor fit for this specific story. I still don’t agree, but they did do a very good job of clarifying their position, and we can always use more nice, friendly interactions on Twitter.
  • [Minor spoiler] We mentioned Gawain’s “supernatural side-quest” involving a ghostly maiden who asks him to retrieve her decapitated head from the bottom of a marsh. We didn’t know at recording time that this was a representation of Saint Winifred, whose biography makes her reaction to Gawain’s vague proposition of a quid pro quo even more understandable.
  • Check out this excellent interview by Carlos Aguilar of Variety with the makeup and prosthetic team at BGFX that helped transform actor Ralph Ineson into the Green Knight.
  • The Film Twitter argument I (rather poorly) alluded to was inspired by RS Benedict‘s seminal article on the avoidant sexuality of the modern American blockbuster, “Everyone is Beautiful and No One is Horny,” as well as Caroline Siede‘s excellent write-up of the long-neglected romantic adventure film genre, “Long before Jungle Cruise, Hollywood mastered the adventure romance genre.”
  • Polka-Dot Man’s mom was played by Lynne Ashe, previously seen in I, Tonya.

Listen above, or download: The Green Knight, The Suicide Squad (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #186 – “Old” (dir. M. Night Shyamalan), “Mosquita y Mari” (2012) (dir. Aurora Guerrero)

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This week, Glenn and Daniel see what’s new from the twisted mind of M. Night Shyamalan, who now has a body of work that we actively look forward to, however we end up reacting to each film. And then we go back to 2012, to check out an overlooked indie coming-of-age LGBT teen romance from that year’s Sundance Film Festival, Mosquita Y Mari, from director Aurora Guerrero (49:18).

Still from "Mosquita y Mari" (2012)

May contain NSFW language.

FilmWonk rating (Mosquita y Mari): 8 out of 10
FilmWonk rating (Old): 7 out of 10

Show notes:

  • [01:26] Review: Mosquita y Mari
  • [16:46] Review: Old
  • [27:28] Spoilers: Old
  • Daniel first heard about Mosquita y Mari from a plug on the Twitter feed of Talia Lavin (@chick_in_kiev), an excellent political writer and scholar of online right-wing extremism – her book, Culture Warlords, is definitely worth a read if you’d like some insight into how the United States got into the mess we’re currently in as a country.
  • Glenn declined to re-litigate Moonlight on today’s episode, in which Daniel chose violence by casually referring to it as a “depressing slog” – check out our Moonlight review on our 100th episode.
  • The movie starring Jack Nicholson and Marlon Brando was The Missouri Breaks, a 1976 western directed by Arthur Penn. Probably not worth a stabbing or a cartoon portrayal of schizophrenia.

Listen above, or download: Mosquita Y Mari, Old (right-click, save as, or click/tap to play)

FilmWonk Podcast – Episode #184 – “Fast and Furious 9” (dir. Justin Lin), “Look Back in Anger” (1959) (dir. Tony Richardson)

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This week, Glenn and Daniel return to the car play franchise where the F stands for Fast, Furious, Family, and Fhysics. And then we venture back to 1959 to review Look Back in Anger, a play adaptation starring Richard Burton as a working class bloke in post-war Britain who hates his life and his wife (played by Mary Ure) nearly as much as he hates himself. We explore whether the film/play which spawned both kitchen-sink realism and the “angry young man” trope can still resonate even 60 years on (01:05:55).

Still from "Look Back in Anger"

May contain NSFW language.

FilmWonk rating (F9): 6 out of 10
FilmWonk rating (Look Back in Anger): 8 out of 10

Show notes:

  • [01:52] Review: F9
  • [29:42] Review: Look Back in Anger
  • [46:28] Spoilers: Look Back in Anger
  • On the subject of Dom’s signature Dodge Chargers, check out this excellent piece of journalistic film writing from Priscilla Page, who has behind-the-scenes details on every one of Dom’s cars from 20 years of the Fast franchise.

Listen above, or download: F9, Look Back in Anger (right-click, save as, or click/tap to play)