ACC'S LATEST PODCAST - NO COUNTRY FOR OLD DUDES

 His Dudeliness producer and I discuss one of our favorite modern films...and get a bit deep into the discussion.

https://www.youtube.com/watch?v=2NW3z770q1o&t=3s

A PIECE OF HISTORY

I pass this monument daily. 

It's in the general vicinity of my day job, standing there since 2014, becoming so much a part of the landscape that it seems almost innocuous in banality.

Almost.

 

A portion of the Berlin Wall, situated before Wolfson Campus of Miami-Dade College in Downtown Miami, Florida; gifted to it by Germany to commemorate the then-25th anniversary of the fall of the wall. It's most appropriate that it was presented to this institution of learning.

It's a piece of History (capitalization intentional). It's an indictment of modernity.

This relatively small piece of concrete separated East Berlin from West for three decades; the physical embodiment of an ideological divide, and an inorganic symbol of misery.

It's a testament to the suffering of families and loved ones forever separated. It further serves as tombstone for countless lives lost in attempting to scale its walls...seeking escape and freedom; to allow for unfettered expression of the human spirit in the face of oppression.

The graffiti is original, and what is graffiti but history's tattoos? It represents the thoughts, ideas and, most importantly, feelings of that cultural zeitgeist; resistance in the face of persecution. Proof that in the shadow of tyranny, hope and defiance could be etched in proverbial ink.

For those of us who lived up until the time it came crashing down, it's regrettably hard to fathom that it's full significance would be lost to those who were born around the time of, or after, its collapse. Writer/philosopher George Santayana was purportedly the first individual to utter the practically axiomatic quote "[t]hose who cannot remember the past are doomed to repeat it." That sentiment has never been more appropriate than now.

We're still haunted...persecuted...bedeviled by bigotry, hatred and division in a country that should honestly know better. Land of the free and home of the brave, so long as one meets the small, confining racial, socio-economic criteria; especially in the state wherein I reside. 

This is another section of the Berlin Wall. It resides in Orlando, Florida...

...behind a pop-culture-themed restaurant...

...in a theme park complex. 

Note the lack of graffiti. Though uncorroborated, it's rumored that a groundskeeper (whether ignorant of history or simply uninformed) mistook the art for vandalism and had it pressured cleaned; "sanitized" to an almost pristine, modulus finish.***

In other words...whitewashed. 

A blank canvas, saying nothing of the history once embedded in the stone of the pain...the anguish...the unmitigated evil and destructiveness inherent in it. To the point where even our own institutions of learning are undergoing their own whitewashing prevalent not only in our culture but that of the world.

One cannot look upon this without realizing both the irony and the appropriateness of its current condition and the circumstances behind it. There are certain government officials and special interest groups that would rather whitewash history and prevent our fully understanding it...from learning from it, for their ideological and financial benefit. The banning of literature, the obfuscation of scientific fact and theory, the denial of the existence of race theory, the oppression of alternative expressions of affection between human beings...our teachers metaphorically handcuffed to the point of insufficiency and ineffectiveness...it's as if Florida is becoming more of a Red state than it collectively realizes.

I pass by a monument daily, now part of the everyday landscape. It's part of the background. A simple piece of stone that says so much if one only pauses to "hear" it and heed its warning.

History is not something to which we pick and choose. History simply is.  If we are to learn from history and hopefully apply its lessons in the future, it must be acknowledged. That is ultimately why a section was gifted to an institution of learning.

It's a piece of History. It's an indictment of modernity. That indictment being:

...we haven't learned a goddamn thing.

***If I'm incorrect in my facts, a sectional retraction will be published.

THE AMERICAN CULTURE CRITIC PODCAST IS LIVE!!!!!

 The blog's corresponding podcast is now LIVE. Please give a listen to the first episode here:

https://www.youtube.com/watch?v=FZQexCll9rs&t=4658s

A Tale of Two Barrys: "The Flash" Is Dickensian Romp Filled With Emotional Heft

[NOTE: THIS REVIEW PERTAINS TO AN ADVANCED SCREENED WORK-IN-PROGRESS VERSION, AND NOT THE FINAL CUT. AN ADDENDUM MAY OR MAY NOT BE ADDED AFTER THE OFFICIAL CUT RELEASE] [MINOR SPOILERS ABOUND]

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going to direct to Heaven, we were all going direct the other way...."

   - Charles Dickens; "A Tale of Two Cities".

"Two roads diverged in a wood, and I - I took the one less traveled by - And that has made all the difference."

   - Robert Frost; "The Road Not Taken".

Comparing a super hero film to the literary likes of Dickens and Frost seems pretentious, but The Flash, directed by Andy Muschietti, is a weighty film disguised as a popcorn flashy fun film that plays to the conceits and themes of the quoted from works above: duality, alternate paths, and the consequences of decisions, measured or rash, are replete in the story of one man's inability to accept his grief and, in doing so, try to change the immutable. The quotes above succinctly encapsulate the story's premise and stakes.

It's no secret that this film as had a troubled production from its announcement five years ago: Production delays, actor availability, the COVID pandemic, the diminishing quality and box office returns from each DC film released in between, and the public relations nightmare that is its lead. It's a film with a delicate balancing act of measuring tragedy against fun and, surprisingly enough, The Flash equally manages to do both.

A few years after the events of Justice League (2017), Barry Allen (Ezra Miller) is a forensic scientist with the Central City Police Department; a position which allows him to continue his search for elusive evidence that would exonerate his father Henry Allen (Ron Livingston, taking over for Billy Cidrup) of the murder of his mother, Nora (Maribel Verdu). When the latest attempt fails, a frustrated Barry returns to the past to alter the events leading to her death, causing a chain reaction that can result in the destruction of the multiverse.

It's appropriate that this film tackles this subject. In the comics, it was the Barry Allen version of The Flash who ushered in not only the Silver Age of comics, but the concept of multiverse and alternate timelines in the DC universe. Further, the plot (fleshed out by screenwriters Christina Hodson and Joby Harold) is loosely based on the DC Comics story line "Flashpoint" by writer Geoff Johns and Andy Kubert. While this isn't the only adaptation of the story (having been covered in animation in the DC Animated Universe "The Flashpoint Paradox" and in the second season of the CW series The Flash starring Grant Gustin), it is the one that's most ambitious in its scope. It's a tight story that doesn't slow down and doesn't chintz on the drama. The ramifications of Barry's actions are disastrously epic, and Muschietti's horror background is in full evidence here as a dystopian feeling of foreboding hangs in the air. Barry finds himself in a new timeline wherein not only is mother alive, but he finds a happier-go-lucky version of himself and a world without heroes...save one.

As aforesaid, the problematic nature of the film's lead ran the risk of tarnishing the production as a whole. No matter how fast the plot goes, it cannot outrun the shadow of Miller's real-life malfeasance. However, if one can divorce the art from the artist, it can be said that Ezra Miller pulls impressive double duty as two different iterations of Barry both visually and in characterization. The Barry we first see in this film is not the ADHD sprite we met in Justice League. Though still somewhat spastic and unsure, this is a Barry who's matured and embittered by a system he's sworn to uphold. The contrast between "our" Barry and the Barry who is unmarred by tragedy and unencumbered of responsibility is immense, allowing for the opportunity for character development that Miller sinks their teeth into. For purists, Miller's interpretation of Allen has struck a sour note. Yet one cannot deny the fact that when playing their version of each version, they bring their A-game. Miller engenders sympathy for Barry as the character comes face-to-face with the consequences of his actions, even as he believes that they can be circumvented. [Personal note: Perhaps I'm a bit more receptive to the performance than most. I myself have recently suffered a personal tragedy, which makes Barry's quest much more tragically relatable to me. But for me to feel that resonance shows how effective their performance is]. There's only perhaps one moment of unintentional humor from an overdramatized scene, but one cannot argue that the performance is a solid one. Ben Affleck returns as Batman one last time to provide Barry sage wisdom, and it's the most relaxed performance he's given as the character; offering a glimpse at what could have been.

It's no secret that the tale involves a world without a Superman. Instead, it has Supergirl, originally teased by an open pod in Man of Steel (2013) and finally paid off in the form of newcomer Sasha Calle. Sasha is...fierce; imbuing Kara Zor-El with loads of Latinx fire. Her fish-out-of-water character exudes confidence to the extent that one can't help but accept her almost immediately as Kal-El's cousin. Michael Shannon and Antje Traue reprise their roles of "General Zod" and "Faora-Ul" from the aforementioned film, imbued with a villainous precision brought to fruition; even more deadly than in 2013, if that can be believed.

Honestly, the real hook of this film is neither its star nor its premise. It's a return 31 years in the making:  Michael Keaton, donning the batsuit as his version of Batman. Just as there's a notable contrast between the two Barrys, it's also a contrast between two Bruce Waynes. While Affleck's bat is still a broken, weary warrior whose mission hangs upon his shoulders like a shroud, Keaton's version is age-tempered and centered, if no less eccentric. His Batman is more efficient and effective than he was in Batman and Batman Returns. It's a performance that's imbued with history and filled with poignancy. Keaton is having a blast in the role, and it shows.

The screening I went to was unfinished, therefore no observation concerning the CGI can be fully assessed until the actual film release other than the those concerning the two Barrys, which was where the majority of the focus was for this version but, given what was shown, the visuals will be nothing short of spectacular. Benjamin Wallfisch score is more than serviceable, even if the only themes that are recognizable are not of his orchestration. Nevertheless, it hits the emotional beats where it needs to.

The ending was cut short and no end credit scenes were shown, but even in this version there were surprises galore (and if you've seen any of the behind-the-scenes production footage, you can guess at least what one aspect of the "surprise ending" will entail). It closes the book on one chapter of DC cinematic history while it celebrates all that came before, implying that every interpretation is valid, and every representation is respected. It's a surprising love letter to DC live-action output.

Though this version was still a work-in-progress and despite its controversial lead, The Flash promises to be a satisfying conclusion to the Snyder-verse of DC films (the trouble-plagued forthcoming Aquaman and The Lost Kingdom notwithstanding); one that is epic in scope and intimate in emotion.

Run, reader, run...to see The Flash.

AMERICAN CULTURE CRITIC GOES AUDIO

 The American Culture Critic blog is getting its own podcast.

Watch this space for the first episode, coming soon. 

NO RIDDLE FOR THIS, NO RIDDLE FOR THAT, GO AND SEE THE BIG BLACK BAT: "The Batman" Is A Retro Yet Modern Triumph.

 

Matt Reeves' "The Batman" is a dense film. At three hours, it is overlong, filled with enough twists and turns to require Dramamine, and it has the most controversial lead casting since 1988. It is also perhaps the closest we've ever seen the comic book Batman translated to the screen. 

Gotham City is a municipality under siege. An individual known only as "The Riddler" (Paul Dano) is grisly targeting the city's elite. Lieutenant James Gordon (Jeffrey Wright) is assigned to the case but his competence is called into question for his partnership with The Batman (an extremely effective Robert Pattinson). The duo's investigation is further complicated by the presence of Selina Kyle (Zoe Kravitz) and Oswald Cobblepot (Colin Farrell), whose involvement leads them further down a rabbit hole that leads to what could be the destruction of Gotham and its citizenry. 

Director and co-screenwriter Matt Reeves reportedly told  Christopher Nolan that it was his intention to unseat "The Dark Knight" (2008) as the ultimate "Batman" film. While that will be a matter of debate for years to come, this film is a major contender for the title. It's reminiscent of Nolan's first effort, "Batman Begins" (2005) in that Gotham is itself a realized character with it's own identity; one without the matte genius of Anton Furst's Gotham for "Batman" (1989). Gotham City is nihilistically and darkly oppressive, where the light is subsumed and overwhelmed by the shadows even in the daytime. It could easily fit into the 90's aesthetic and intensity of David Fincher's "Se7en" (1995) and the noirish sensibilities of Michael Mann's "Heat" (1995); aesthetics that are bolstered by the stunning cinematography by Greig Fraser who, under Reeves' eye, turns each scene as a painting. And for the purists, Easter eggs abound that honor the past while bringing The Bat to the present. 

Casting directors Lucy Bevan and Cindy Tolan should get bonuses for the talent they amassed on the screen. Jeffrey Wright is the most proactive not-yet-Commissioner Gordon ever put to film. Zoe Kravitz' Selina Kyle conveys the felinis catus traits without devolving to caricature; a fully realized individual in her own right with understandable motivations. Further, her chemistry with the lead is downright and naturally electrifying. John Turturro channels his inner Don Corleone to bring mobster Carmine Falcone to life, yet bringing a restraint to his performance that reminds one of why he was the darling of indie film. Perhaps the most entertaining performance of all comes by Colin Farrell, practically unrecognizable under the prosthetics to bring Oswald Cobblepot/The Penguin to life. He is clearly having the time of his life in the role and brings much needed levity this heavy film needs. Paul Dano's "Riddler" is no comic character. He is terrifying in ways that are almost banal and way too close to reality. He evinces moments of Frank Gorshin (look him up, young'ins) without the glee. His character is disturbed in a way that shakes one to the core. He could be Keyzer Soze, Jeffrey Dahmer; an animal in human form. However, his Riddler is also imbued in tragedy, one that calls out a major issue with the Batman mythos in these modern times. 

The biggest question is, does the transition from one creature of the night to another work here? Back in the late 80s, I personally gave "Mr. Mom" (Michael Keaton) a chance and was pleasantly surprised (as was the rest of the world, given the high anticipation for the forthcoming "The Flash" attests to). Robert Patterson is more than just "Cedric Diggory" or "Edward". Just seeing "The Lighthouse" (2019) could convince naysayers in my opinion. As the titular character, Pattinson delivers the honest goods. His Batman is cold, focused, intimidating, and intelligent. He effectively uses his body language to convey menace in an outfit that could invite ridicule in lesser hands, and the rage he evinces is shockingly palatable. Some would take issue with his interpretation of alter ego Bruce Wayne as he seems to play it like an emo goth (an analogy that ties in with the role Pattinson is most famous [until now] for). But if one pays close attention, it befits this character interpretation. It's a performance that merits the fact that this is the first Batman film since "Batman Begins" where the focus is primarily ON Batman/Bruce Wayne. He's the main character, not a guest star in his own film; which makes the question of which is the mask and which is the reality all the more potent. (The film does provide its own answer to that question). If there's any actor that gets the short shrift in screen time, it's Andy Serkis as faithful butler Alfred Pennyworth. However, Reeves ensures that the character, and his dynamic with Bruce, isn't wasted; leading to a powerfully poignant development. 

In this writer's estimation, Michael Giacchino can do no bloody wrong. Though repetitive, his score is a character in its own right, giving auditory heft to the unfolding events, capturing each moment's mood and ambiance. It in turn thrums and rhapsodizes, engendering anxiety, tension, fear, and romance. 

This film will be a divisive one, as it is fully reflective of a post-2000 zeitgeist. It is, as all good art is, timely as there are hints of climate change and political commentary. It's definitely a younger generation's Batman. But that's how it should be. Every generation deserves its own iteration. The fact that Matt Reeves is able to deliver timelessly recognizable characters and myths into modern sensibilities, is nothing short of a revelation. 

The bat signal shines again. Batteries to power, turbines to speed. Roger and move out to your local theater and watch the experience that is "The Batman". 

Some Kind of Wonderful: Wonder Woman 84 (a/k/a WW84) Is A Noble Effort With Mixed Results (Minor Spoilers)

Following on the heels of Batman v. Superman: Dawn of Justice (2016) (and released just before the controversial Justice League (2017)), the Patty Jenkins-directed Wonder Woman (2017) took what (or rather, who) was the best part of BvS and built a foundation that was more than just a film; it became a cultural touchstone that transcended its comic book and cinematic milieus. In short, Wonder Woman is a tough act to follow. "Is", not "was". The colors are brighter, the bombast is greater, the stakes seem higher, but despite attempting to tackle some pretty hefty and current culturally relevant themes, WW84 attempts to do too much with mixed results.

The year is 1984. Diana Prince (Gal Gadot) is an antiquities researcher at the Smithsonian Institute who still finds the time to don the red, blue, and gold; rescuing civilians yet somehow remaining an urban legend, all the while still PINEing  for the decades-deceased Steve Trevor (as in, Chris Pine; Star Trek; Unstoppable). She crosses paths with wallflower/co-worker Barbara Minerva (Kristin Wiig;  Bridesmaids, Ghostbusters), who is in possession of a magical stone that can grant wishes to whomsoever possesses it, at significant cost. This puts her and Diana in the crosshairs of the television personality with the mega-watt smile and chutzpah to match, Maxwell Lord (Pedro Pascal, The Mandalorian; Game of Thrones). This leads to a domino effect of events that will not only test Diana’s mettle, but may cause her to sacrifice all she holds dear, including herself.

It is an ambitious film in attempt and scope with resonant themes that, given the time period wherein these events take place, show that not much has changed. Yet like the mythical Icarus, its reach exceeds its grasp. At 2 hours and 30-plus minutes, the film’s pacing is one of its major faults. By the same token, it’s pacing is understandable. Jenkins takes the time to allow the characters to breathe in development. However, there are times when those scenes continue long after their point is made. Further, there are a few plot holes and leaps of logic that undermine the film’s narrative flow. Another issue is that of the special effects. The film is sumptuous to look at. Definitely brighter in visuals and in tone (at least, on the surface), but at times a few effects, including some involving the Lasso of Truth, look like they needed one more polish before release. But underneath all the 80’s glitz and glamour, Jenkins and fellow screenwriters Geoff Johns and David Callaham, can’t help but bring our current concerns to the fore. Political commentary aside, we are living in a year where we’ve faced despair and loss daily. Who now wouldn’t want to wish away our troubles, or wish our loved ones back into our lives? The film’s conceit is the old adage of being careful what one wishes for...which is both necessary yet hard to take given that we’re still in the midst of a global pandemic. Yet it’s one that gives Godot’s Diana an extra dose of humanity that grants an almost-all-powerful demi-goddess some relatability.

Speaking of the narrative, it is peppered with echoes and beats from DC films from the past, namely Superman II, Batmans Returns, Forever, and Robin. The homages are there if one looks for them, but executed in such a way that it’s not distracting for those not in the know. The action set pieces, when they finally do take place, are engagingly well executed, even if it does take some time, and the aforementioned leaps in logic, to get there. Hans Zimmer’s score is surprisingly diverse and helps carry the story along, even if at times he left the temp track to Marvel’s Ant-Man’s acoustics on repeat (not to mention a key BvS underscore).

Fault cannot be found with the actors, whose performances are the best part of the entire affair. Gal Gadot’s Diana is a woman in transition between Wonder Woman and the warrior we meet in BvS. While still beguiling, there’s an added pain behind her eyes and aloofness in her carriage. But, as with the first film, the heart of the proceedings is the relationship between Diana and the newly resurrected Steve Trevor. They bring in the necessary humor and poignancy that bolster the movie. Their chemistry together is as electric as in the first film, and as genuine as one can get. Theirs is a team of equals, each leaning on the others’ strength even at the time of their greatest weakness. In Wonder Woman, it served as that film’s spine. Here, it serves the same function while almost beubg enough to forgive the film's faults. It follows a mythological hero's journey trope for Diana, and anyone who is not affected by their journey has citrine stone for a heart.

Kristin Wiig borrows heavily from Michelle Pfeiffer in her portrayal of the (unnamed) Cheetah, yet surprisingly makes Barbara a formidable, menacing character in her own right, with understandable motivations. Perhaps the most challenging of roles, Pedro Pascal’s con-man-entrepreneur-turned-world-dominator Max Lord is the epitome of the 80s “greed is good” Gordon Gekko/Tom Vu/Tim Robbins mentality. Again, without getting political, Pascal manages to turn in a performance which is at times over-the-top camp, yet totally in keeping with the time period…yet, even with that, he turns in moments of dramatic gravitas that belie the bluster. He serves as cautionary tale of ego unchained; one which is made all the more terrifying when taken metatextually. As a whole, their combined performances lead to a rounding climax that doesn’t end in the way a standard super hero film would…and is all the better for it.

For all its issues, WW84 should be lauded for being something different, something new. Think of it as a James Bond film pre-2006, when the films were only tangentially connected by character alone. It tries to do too much to varying degrees of success. Yet despite its logistical and pacing issues, WW84 is, at its heart, a fun movie that tries to show that despite our hardships and personal turmoil in a world seemingly gone mad, hope does exist if one has the fortitude to grasp it…even if that message does seem heavy handed at times. Despite the hiccups, it embraces the, dare I say, wonder.

 Oh, by the way…STAY! THROUGH! THE! END! CREDITS!