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DiscoStu (6 KP) rated Bright (2017) in Movies
Jan 8, 2018 (Updated Jan 8, 2018)
“A competent buddy cop movie that offers solid pacing and character portrayals at the expense of building up the films (admittedly) interesting universe”.
Contains spoilers, click to show
Netflix’s ‘Bright’, directed by David Ayer (Suicide Squad) and starring Will Smith and Joel Edgerton, brings the big budget box office trappings of a fully fledged cinema release to their home streaming subscription service and arguably the end result is a fun and enjoyable, if slightly flawed, buddy-cop-movie-with-a-twist that sets up a universe you’ll likely want to see more of.
Smith plays Daryl Ward, a weary veteran L.A. cop reluctantly partnered with orc partner Nick, the first and only orc to make the force in this alternate earth story. The film opens with Ward taking a round of buckshot from an orc thug whilst Nick looks on waiting for a burrito from a street vendor. The incident leaves a distrust between Ward and Nick, with Ward unsure whether his partner really has his back after Nick not only failed to step up and prevent the shooting but also failed to apprehend the orc perpetrator during the ensuing foot chase. Ward also finds himself at odds with other members of the force who don’t share the police’s ‘progressive’ attitudes of allowing orcs into the force.
The film briefly touches on a two thousand year old conflict between the nine armies and the Dark Lord who was defeated when various races allied to defeat him. In the established lore the orcs allied with the Dark Lord and have been subjugated ever since. The film attempts to portray the orcs through a social commentary that reflects the black community today and how heavy handed the film tackles the subject will probably depend on the viewer. For me it was handled sensitively enough without being too in your face.
The film sees the two protagonists dispatched to a disturbance that quickly escalates to a situation that goes from bad to worse. Finding themselves on the run with a Bright, the film’s titular white haired magic wielders, and a coveted magic wand Ward and Nick have to navigate hostile L.A. gang land environments whilst pursued by Inferni (the magic version of the Illuminati), the police and human and orc gangsters, all who have their own plans for the wand.
The film is shot well, with plenty of scenery that builds up the shared world of humans, orcs, elves , centaurs and the other races that we don’t get to spend any time with. A montage at the start of the film shows various L.A. scenery graffiti tagged with striking imagery depicting the struggle of orcs in an oppressed landscape. Evidently, orc lives matter. The film also doesn’t struggle for pacing. The two hour runtime services the story well enough, even if some of the world building and character exploration suffers as a result. I would have liked to have spent more time exploring the shared history of the various races and understanding the motivations of the stories’ villains but sadly these elements are undersold in favour of a shorter runtime that hurries the narrative along. To the credit of the writers and the director this world bares revisiting and at the time of writing it sounds like Netflix know this too with a sequel already greenlit.
Bright is a fun jaunt in a world I’d like to get to know better. Smith and Edgerton are strong leads who share a strong chemistry and make you care about their characters. The bad guys don’t fare as well here, especially disappointing given that Noomi Rapace is the lead antagonist but hopefully a sequel will correct some of these missteps. Bright feels like a £20 cinema ticket movie and gives enough to the viewer that you’ll want to discuss it with friends afterwards. As a film bundled with your Netflix subscription it’s hard to be too critical.
Smith plays Daryl Ward, a weary veteran L.A. cop reluctantly partnered with orc partner Nick, the first and only orc to make the force in this alternate earth story. The film opens with Ward taking a round of buckshot from an orc thug whilst Nick looks on waiting for a burrito from a street vendor. The incident leaves a distrust between Ward and Nick, with Ward unsure whether his partner really has his back after Nick not only failed to step up and prevent the shooting but also failed to apprehend the orc perpetrator during the ensuing foot chase. Ward also finds himself at odds with other members of the force who don’t share the police’s ‘progressive’ attitudes of allowing orcs into the force.
The film briefly touches on a two thousand year old conflict between the nine armies and the Dark Lord who was defeated when various races allied to defeat him. In the established lore the orcs allied with the Dark Lord and have been subjugated ever since. The film attempts to portray the orcs through a social commentary that reflects the black community today and how heavy handed the film tackles the subject will probably depend on the viewer. For me it was handled sensitively enough without being too in your face.
The film sees the two protagonists dispatched to a disturbance that quickly escalates to a situation that goes from bad to worse. Finding themselves on the run with a Bright, the film’s titular white haired magic wielders, and a coveted magic wand Ward and Nick have to navigate hostile L.A. gang land environments whilst pursued by Inferni (the magic version of the Illuminati), the police and human and orc gangsters, all who have their own plans for the wand.
The film is shot well, with plenty of scenery that builds up the shared world of humans, orcs, elves , centaurs and the other races that we don’t get to spend any time with. A montage at the start of the film shows various L.A. scenery graffiti tagged with striking imagery depicting the struggle of orcs in an oppressed landscape. Evidently, orc lives matter. The film also doesn’t struggle for pacing. The two hour runtime services the story well enough, even if some of the world building and character exploration suffers as a result. I would have liked to have spent more time exploring the shared history of the various races and understanding the motivations of the stories’ villains but sadly these elements are undersold in favour of a shorter runtime that hurries the narrative along. To the credit of the writers and the director this world bares revisiting and at the time of writing it sounds like Netflix know this too with a sequel already greenlit.
Bright is a fun jaunt in a world I’d like to get to know better. Smith and Edgerton are strong leads who share a strong chemistry and make you care about their characters. The bad guys don’t fare as well here, especially disappointing given that Noomi Rapace is the lead antagonist but hopefully a sequel will correct some of these missteps. Bright feels like a £20 cinema ticket movie and gives enough to the viewer that you’ll want to discuss it with friends afterwards. As a film bundled with your Netflix subscription it’s hard to be too critical.
Hadley (567 KP) rated Handbook of Paranormal Powers in Books
Jun 2, 2019
I have always believed in the paranormal, but I am careful not to take everything at face value. When I picked up this book, I unfortunately took it at its face value, thinking that it was about how people developed these paranormal abilities and the things that they achieved with them.
But this book seems to have been written by a skeptic that disguised it as a book from a believer in the paranormal, which to say is a pretty clever way to sell a book when the belief in the paranormal is at an all time high. The author spends much of the book detailing people who have exhibited paranormal abilities just to quickly tear them down. I will say that Brian Haughton did a wonderful job on researching for this book, bringing up not only the history of paranormal abilities, but also self proclaimed psychics that readers may not have even heard of, such as Florence Cook, who had her abilities tested by none other than William Crookes( the discoverer of the element thallium).
Haughton's 'Handbook of Paranormal Powers' should have been titled something else, mostly because it's a history lesson in ESP and also, obviously, from the point-of-view of a skeptic. Yet, it doesn't lack for reading by believers; one such part I found interesting was a part on dowsing- the supernatural ability to find hidden objects, substances, geographic features, or sometimes even people- which you may have seen someone doing by holding two rods to find underground water. This part was about when dowsing became popular in the seventeenth-century France, and was being considered 'evil': ". . .with the dowser Baroness de Beausoleil and her husband, a mining expert, journeying across Europe and allegedly locating ore deposits of iron, gold, and silver. The couple established a thriving mineral company, but when their methods of locating metal ores became known they were accused of practicing the 'black arts' and imprisoned for the rest of their lives. " Readers learn that it wasn't until the nineteenth century, with the rise of spiritualism, that dowsing was no longer considered 'evil.'
Another one that interested me concerned the comedian Andy Kaufman, and his pursuit to rid himself of a rare lung cancer with psychic healing: "In March 1984, US comedian Andy Kaufman traveled to the Philippines for a six- week course of psychic surgery after being diagnosed with a rare lung cancer. The surgeon, Jun Labo, performed the operation, and claimed that he had removed large cancerous tumors from Kaufman's body. On May 16, 1984, Kaufman died from renal failure as a consequence of a metastatic lung cancer. "
I hate, but also love this book, not because Haughton backs up all of the skeptic claims with scientific research and tests, but because he claimed this to be a handbook or paranormal powers. If you glance at the cover, just below the title is: 'discover the secrets of mind readers, mediums, and more' - this can be taken that it's written by someone who believes in the paranormal, as well as someone who may have had personal experiences with the unknown, but with that said, I did learn a lot about the history of paranormal powers as well as people I had never heard of.
To prove the skepticism in Haughton's writing, we can turn to page 173, where he writes about how to test whether or not a self-proclaimed psychic surgeon is real. But even before this page and throughout this book, Haughton explains someone doing an extraordinary thing only to quickly explain away why it was fake to begin with. The 'Handbook of Paranormal Powers' reads a lot like a college thesis, that I found myself getting bored with the matter-of-fact tone. Some readers may enjoy reading essay-type books, but for me, it becomes repetitive enough that I don't remember much of the information I had just read.
Also, readers may come away with the feeling that Haughton doesn't care about the slight chance that some paranormal powers may be real, but instead he'd rather read about the scientific facts. I would only recommend this book to people who want to do a light reading on paranormal history, meaning mostly what made headlines in the news. For believers, I would suggest you go elsewhere.
But this book seems to have been written by a skeptic that disguised it as a book from a believer in the paranormal, which to say is a pretty clever way to sell a book when the belief in the paranormal is at an all time high. The author spends much of the book detailing people who have exhibited paranormal abilities just to quickly tear them down. I will say that Brian Haughton did a wonderful job on researching for this book, bringing up not only the history of paranormal abilities, but also self proclaimed psychics that readers may not have even heard of, such as Florence Cook, who had her abilities tested by none other than William Crookes( the discoverer of the element thallium).
Haughton's 'Handbook of Paranormal Powers' should have been titled something else, mostly because it's a history lesson in ESP and also, obviously, from the point-of-view of a skeptic. Yet, it doesn't lack for reading by believers; one such part I found interesting was a part on dowsing- the supernatural ability to find hidden objects, substances, geographic features, or sometimes even people- which you may have seen someone doing by holding two rods to find underground water. This part was about when dowsing became popular in the seventeenth-century France, and was being considered 'evil': ". . .with the dowser Baroness de Beausoleil and her husband, a mining expert, journeying across Europe and allegedly locating ore deposits of iron, gold, and silver. The couple established a thriving mineral company, but when their methods of locating metal ores became known they were accused of practicing the 'black arts' and imprisoned for the rest of their lives. " Readers learn that it wasn't until the nineteenth century, with the rise of spiritualism, that dowsing was no longer considered 'evil.'
Another one that interested me concerned the comedian Andy Kaufman, and his pursuit to rid himself of a rare lung cancer with psychic healing: "In March 1984, US comedian Andy Kaufman traveled to the Philippines for a six- week course of psychic surgery after being diagnosed with a rare lung cancer. The surgeon, Jun Labo, performed the operation, and claimed that he had removed large cancerous tumors from Kaufman's body. On May 16, 1984, Kaufman died from renal failure as a consequence of a metastatic lung cancer. "
I hate, but also love this book, not because Haughton backs up all of the skeptic claims with scientific research and tests, but because he claimed this to be a handbook or paranormal powers. If you glance at the cover, just below the title is: 'discover the secrets of mind readers, mediums, and more' - this can be taken that it's written by someone who believes in the paranormal, as well as someone who may have had personal experiences with the unknown, but with that said, I did learn a lot about the history of paranormal powers as well as people I had never heard of.
To prove the skepticism in Haughton's writing, we can turn to page 173, where he writes about how to test whether or not a self-proclaimed psychic surgeon is real. But even before this page and throughout this book, Haughton explains someone doing an extraordinary thing only to quickly explain away why it was fake to begin with. The 'Handbook of Paranormal Powers' reads a lot like a college thesis, that I found myself getting bored with the matter-of-fact tone. Some readers may enjoy reading essay-type books, but for me, it becomes repetitive enough that I don't remember much of the information I had just read.
Also, readers may come away with the feeling that Haughton doesn't care about the slight chance that some paranormal powers may be real, but instead he'd rather read about the scientific facts. I would only recommend this book to people who want to do a light reading on paranormal history, meaning mostly what made headlines in the news. For believers, I would suggest you go elsewhere.
BankofMarquis (1832 KP) rated The Many Saints of Newark (2021) in Movies
Oct 12, 2021
The "non-Sopranos" part of this film worked much better
The new Sopranos prequel film THE MANY SAINTS OF NEWARK is a review-proof film. Most people fall into 1 of 2 camps.
The first, fans of the 1999-2007 landmark HBO series that some (including myself) call one of the best TV series of all time. The folks that fall into this camp will be checking this film out no matter what.
The second are folks that either never saw the series or have only a passing knowledge of it - these folks are (more than likely) gonna take a pass at this film.
And both camps would be right and wrong for THE MANY SAINTS OF NEWARK is a middle-of-the-road film that will be satisfying for SOPRANOS fans, but the part of this film that really, really works well has nothing to do with the series.
Written by Sopranos creator David Chase, TMSON is set in the late 1960’s-early 1970’s and tells the tale of a young Tony Soprano and his introduction to the North Jersey mafia and the charismatic mob boss who he is drawn to.
The first 15 minutes of this film were written specifically for SOPRANOS fans for it is here that you are introduced to younger versions of many of your favorite characters. From Tony to Uncle Junior to Livia (Tony’s Mom) to Pauly Walnuts, Silvio and “Big Pussy” they are all there - along with a few others you don’t know (and it is not a spoiler to say, there is a reason that they never made it to the TV series). You are also introduced to Tony’s Father Johnny Soprano, Mob Boss “Hollywood” Dick Moltisanti and the center of this film, the son of the Boss “Uncle” Dickie Moltisanti (father of future TV Series character Christopher).
It’s an enjoyable enough introduction, but it is nothing new. The characters sit around, talk, act tough and eat. Something that we’ve seen in countless mob movies before. Chase and Director Alan Taylor (THOR: THE DARK WORLD) appear somewhat bored with this part of the film - almost as if they are saying “here they all are, enjoy this for we have a more interesting story to tell”. This first 15 minutes of the film seem to go on forever.
And then the movie - and Chase’s ideas and Taylor’s Direction - kick in.
And this is where TMSON begins to escalate as the story splits into 2 parts - the first following Dickie (Alessandro Nivola) and the 2nd following one of his “runners” (Leslie Odom, Jr.) who is destined to become a powerful boss of the “Black Mafia”.
It’s a smart juxtaposition of story, but unfortunately for SOPRANO’s fans, the first story (following Dickie) and including most of the Soprano’s characters is the less interesting of the 2 stories. It is the journey of Leslie Odom, Jr.’s character that makes for a more compelling story. It is as if Chase had an interesting idea for a mob film but knew he would not be able to get it made unless he tied it somewhat to a Sopranos story.
Leslie Odom Jr. is magnetic as Harold McBrayer, the former numbers runner for Dickie that has an awaking through the Black Power movement of the late ‘60’s and becomes a formidable mob boss in his own right. This half of the movie/story is intriguing and interesting for you never know in what direction it is going to land. This “B” story is free to be whatever it wants/needs to be and this freedom elevates it.
The same cannot be said for the “A” story - the journey of Dickie Moltisanti. Alessandro Nivola is charming enough as this sadistic, sociopathic mobster, but he is saddled with too much TV show baggage to become a character on his own. Specifically his mentorship and (ultimate) disassociation with the young Tony Soprano (played by Michael Gandolfini, the son of the late James Gandolfini who played Tony in the TV series). I felt like these characters were burdened with the weight of the TV show and the need to pay homage to what will be coming in their lives via the TV show and to shoehorn in each character along the way.
Consequently some great actors like Vera Farmiga (Tony’s mother Livia), Jon Bernthal (Tony’s father), and Corey Stoll (as Uncle Junior) are all filming extended cameos. They do a good (enough) job bringing the essence of the characters from the TV Series to this film, but they just don’t have enough to do. I would love for these 3 to spin-off on their own.
The same can be said for Billy Magnussen (Pauly), John Magaro (Silvio) and Samson Moeakiola (Big Pussy). They all do a nice job bringing the younger versions of these characters to life (especailly Magaro) but they just don’t have enough to do.
And then there is Ray Liotta’s over-the-top performance as Mob Boss “Hollywood” Dick Moltisanti. Ove-the-top doesn’t even begin to describe the performance he is giving. I will give him credit, though, he does tone it down about 1/2 way through the film, but…geez…the first part…wow.
Ultimately, the failure of the “A” story to captivate dooms this movie to mediocre status. I would have loved for Chase to really sink his teeth into the “B” story - and to let Leslie Odom Jr. really fly as a character and and actor.
But that would have defeated the purpose of making a Sopranos prequel - a prequel that, perhaps, shouldn’t have been made in the first place.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
The first, fans of the 1999-2007 landmark HBO series that some (including myself) call one of the best TV series of all time. The folks that fall into this camp will be checking this film out no matter what.
The second are folks that either never saw the series or have only a passing knowledge of it - these folks are (more than likely) gonna take a pass at this film.
And both camps would be right and wrong for THE MANY SAINTS OF NEWARK is a middle-of-the-road film that will be satisfying for SOPRANOS fans, but the part of this film that really, really works well has nothing to do with the series.
Written by Sopranos creator David Chase, TMSON is set in the late 1960’s-early 1970’s and tells the tale of a young Tony Soprano and his introduction to the North Jersey mafia and the charismatic mob boss who he is drawn to.
The first 15 minutes of this film were written specifically for SOPRANOS fans for it is here that you are introduced to younger versions of many of your favorite characters. From Tony to Uncle Junior to Livia (Tony’s Mom) to Pauly Walnuts, Silvio and “Big Pussy” they are all there - along with a few others you don’t know (and it is not a spoiler to say, there is a reason that they never made it to the TV series). You are also introduced to Tony’s Father Johnny Soprano, Mob Boss “Hollywood” Dick Moltisanti and the center of this film, the son of the Boss “Uncle” Dickie Moltisanti (father of future TV Series character Christopher).
It’s an enjoyable enough introduction, but it is nothing new. The characters sit around, talk, act tough and eat. Something that we’ve seen in countless mob movies before. Chase and Director Alan Taylor (THOR: THE DARK WORLD) appear somewhat bored with this part of the film - almost as if they are saying “here they all are, enjoy this for we have a more interesting story to tell”. This first 15 minutes of the film seem to go on forever.
And then the movie - and Chase’s ideas and Taylor’s Direction - kick in.
And this is where TMSON begins to escalate as the story splits into 2 parts - the first following Dickie (Alessandro Nivola) and the 2nd following one of his “runners” (Leslie Odom, Jr.) who is destined to become a powerful boss of the “Black Mafia”.
It’s a smart juxtaposition of story, but unfortunately for SOPRANO’s fans, the first story (following Dickie) and including most of the Soprano’s characters is the less interesting of the 2 stories. It is the journey of Leslie Odom, Jr.’s character that makes for a more compelling story. It is as if Chase had an interesting idea for a mob film but knew he would not be able to get it made unless he tied it somewhat to a Sopranos story.
Leslie Odom Jr. is magnetic as Harold McBrayer, the former numbers runner for Dickie that has an awaking through the Black Power movement of the late ‘60’s and becomes a formidable mob boss in his own right. This half of the movie/story is intriguing and interesting for you never know in what direction it is going to land. This “B” story is free to be whatever it wants/needs to be and this freedom elevates it.
The same cannot be said for the “A” story - the journey of Dickie Moltisanti. Alessandro Nivola is charming enough as this sadistic, sociopathic mobster, but he is saddled with too much TV show baggage to become a character on his own. Specifically his mentorship and (ultimate) disassociation with the young Tony Soprano (played by Michael Gandolfini, the son of the late James Gandolfini who played Tony in the TV series). I felt like these characters were burdened with the weight of the TV show and the need to pay homage to what will be coming in their lives via the TV show and to shoehorn in each character along the way.
Consequently some great actors like Vera Farmiga (Tony’s mother Livia), Jon Bernthal (Tony’s father), and Corey Stoll (as Uncle Junior) are all filming extended cameos. They do a good (enough) job bringing the essence of the characters from the TV Series to this film, but they just don’t have enough to do. I would love for these 3 to spin-off on their own.
The same can be said for Billy Magnussen (Pauly), John Magaro (Silvio) and Samson Moeakiola (Big Pussy). They all do a nice job bringing the younger versions of these characters to life (especailly Magaro) but they just don’t have enough to do.
And then there is Ray Liotta’s over-the-top performance as Mob Boss “Hollywood” Dick Moltisanti. Ove-the-top doesn’t even begin to describe the performance he is giving. I will give him credit, though, he does tone it down about 1/2 way through the film, but…geez…the first part…wow.
Ultimately, the failure of the “A” story to captivate dooms this movie to mediocre status. I would have loved for Chase to really sink his teeth into the “B” story - and to let Leslie Odom Jr. really fly as a character and and actor.
But that would have defeated the purpose of making a Sopranos prequel - a prequel that, perhaps, shouldn’t have been made in the first place.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Matt Geiger (15 KP) rated Da 5 Bloods (2020) in Movies
Jun 27, 2020
Da 5 Bloods: Spike Lee Asks Us "What's Going On?"
Spike Lee could not have possibly known that current events and major progresses made in the Black Lives Matter movement would more than likely affect the way audiences perceive Da 5 Bloods, but it’s these developments that, for all of the film’s flaws, imbue it with a sense of urgency befitting of Lee’s filmmaking talents and the beliefs that his filmography has been expounding for decades. In the process of expressing such powerful statements, Lee, in turn, provides a long-overdue voice for the African American experience in the Vietnam War, a conflict that has been portrayed in popular film for about as long as it has been over, and yet strangely, has not been properly balanced in its representation of those who made up the largest percentage of those who served in it.
Continuing Lee’s trend of fusing the past and present together to show that things are definitely still yet to change, Da 5 Bloods finds four African American veterans returning to Vietnam to search for the remains of their commanding officer, “Stormin’” Norman (Chadwick Boseman), and the stash of gold that they found and collectively buried, gold that was initially offered to the indigenous Southern Vietnamese by the CIA as payment for their support of US troops, but taken by the “Bloods” as compensation for their needless sacrifices for a country that has never given them the treatment they deserve despite the fact that they played a pivotal role in helping to make it what it is today. The ultimate goal is nothing that hasn’t been depicted before, but the controversy of the Vietnam War and the experience of combat and violence spills over into today; some of the film’s most striking messages are effectively relayed through a handful of very committed performances from the well-casted ensemble, with Delroy Lindo serving as the beating emotional heart of the film. It’s a career-defining showcase for Lindo, who, as the PTSD-stricken Trump supporter Paul, carries the most weight on his shoulders. He wrestles with personal demons and survivor’s guilt for more than half of his life because of the choices he made during his time in the service, time he and the other Bloods couldn’t avoid because, unlike the privileged white men of America, they were not given the same opportunities to dodge the draft. The disenfranchisement and aimlessness that Lindo merely alludes to through his heart-wrenching performance provides the foundation for the complicated relationship Paul shares with his estranged son, David (Jonathan Majors in the film’s other award-worthy performance), who tags along for the ride in an effort to heal old wounds and bury a deeply-lodged hatchet.
The natural chemistry Lindo shares with the other Bloods (Clarke Peters, Norm Lewis, and Isiah Whitlock, Jr.) is palpable in both the past and present, which blend into one as the screen slides from one aspect ratio to another, shifting from flashbacks of one wartorn world to the present day, in which we find ourselves fighting a different, yet altogether similar kind of war. That these changes in aspect ratios never appear as visually perceived cuts is simply another one of the ways in which Spike Lee seamlessly reminds us that then and now are cut from the same cloth, complete with the same heart-wrenching tragedies that give way to the camaraderie that is necessary to ensure that the proper names get written back into history where they belong. How the four vets are visually represented in their recollections of their commander, which are stripped of the psychedelic imagery associated with previous Vietnam War films in order to cut deeper into understanding what the Bloods’ place in Vietnam is supposed to mean (if it means anything at all), further adds to Lee’s ability to find the haunting parallels between the two time periods that comprise the film.
Spike Lee gets at so many unique and timely concepts that seem perfectly applicable to what’s going on in the world, but where he stumbles is how he goes about explicating these ideas. As a storyteller, Lee is at his best when his narratives gradually develop at a reasonably decisive pace until the tension is fully amplified by the story’s climactic boiling point, at which point there’s no turning back. Such was the nature of Do the Right Thing and, more recently, BlacKkKlansman. The same cannot entirely be said for Da 5 Bloods, which struggles to find a consistent pace and tone during its first act, in which it tries to introduce all of the central ideas at once, along with some unnecessary side stories that carry little to no weight in comparison to the central task and are ultimately resolved in schmaltzy, unsatisfying ways. Moreover, while investment in the film can be maintained throughout, too often is this investment reinforced by the unnecessary moments that serve as detriments to the sequences of dramatic consequence and just might take you out of the story, causing you to restart your investment. Every act has at least one of these moments, with the final result unfortunately falling short of the expectations of some of the genres that are molded into the Bloods’ journey through the Vietnamese jungle. The overtly patriotic and quite distracting score from Terence Blanchard (regardless of whether or not its inclusion was intended as irony) does not help the matter, with many of the best scenes occurring either in silence or alongside the soulful tracks of Marvin Gaye’s What’s Going On album.
Even when Spike Lee stumbles in the execution of his argument, what ultimately matters is the argument itself; while the film begins and ends rather heavy-handedly, telling the viewer things they are bound to already know and incorporating footage that doesn’t need to be there for the point to get across, the sacrifices that Lee chooses to detail and their ramifications for the state of our country to today give the film a degree of value at a time like this, and he is the only director who could bring these issues to the forefront in such an entertaining way. It may not be as good or accessible as his best work, but the calls to action that he has long been affiliated with echo through jungles and cities in equal measure.
What did you guys think of Da 5 Bloods? Agree? Disagree?
Continuing Lee’s trend of fusing the past and present together to show that things are definitely still yet to change, Da 5 Bloods finds four African American veterans returning to Vietnam to search for the remains of their commanding officer, “Stormin’” Norman (Chadwick Boseman), and the stash of gold that they found and collectively buried, gold that was initially offered to the indigenous Southern Vietnamese by the CIA as payment for their support of US troops, but taken by the “Bloods” as compensation for their needless sacrifices for a country that has never given them the treatment they deserve despite the fact that they played a pivotal role in helping to make it what it is today. The ultimate goal is nothing that hasn’t been depicted before, but the controversy of the Vietnam War and the experience of combat and violence spills over into today; some of the film’s most striking messages are effectively relayed through a handful of very committed performances from the well-casted ensemble, with Delroy Lindo serving as the beating emotional heart of the film. It’s a career-defining showcase for Lindo, who, as the PTSD-stricken Trump supporter Paul, carries the most weight on his shoulders. He wrestles with personal demons and survivor’s guilt for more than half of his life because of the choices he made during his time in the service, time he and the other Bloods couldn’t avoid because, unlike the privileged white men of America, they were not given the same opportunities to dodge the draft. The disenfranchisement and aimlessness that Lindo merely alludes to through his heart-wrenching performance provides the foundation for the complicated relationship Paul shares with his estranged son, David (Jonathan Majors in the film’s other award-worthy performance), who tags along for the ride in an effort to heal old wounds and bury a deeply-lodged hatchet.
The natural chemistry Lindo shares with the other Bloods (Clarke Peters, Norm Lewis, and Isiah Whitlock, Jr.) is palpable in both the past and present, which blend into one as the screen slides from one aspect ratio to another, shifting from flashbacks of one wartorn world to the present day, in which we find ourselves fighting a different, yet altogether similar kind of war. That these changes in aspect ratios never appear as visually perceived cuts is simply another one of the ways in which Spike Lee seamlessly reminds us that then and now are cut from the same cloth, complete with the same heart-wrenching tragedies that give way to the camaraderie that is necessary to ensure that the proper names get written back into history where they belong. How the four vets are visually represented in their recollections of their commander, which are stripped of the psychedelic imagery associated with previous Vietnam War films in order to cut deeper into understanding what the Bloods’ place in Vietnam is supposed to mean (if it means anything at all), further adds to Lee’s ability to find the haunting parallels between the two time periods that comprise the film.
Spike Lee gets at so many unique and timely concepts that seem perfectly applicable to what’s going on in the world, but where he stumbles is how he goes about explicating these ideas. As a storyteller, Lee is at his best when his narratives gradually develop at a reasonably decisive pace until the tension is fully amplified by the story’s climactic boiling point, at which point there’s no turning back. Such was the nature of Do the Right Thing and, more recently, BlacKkKlansman. The same cannot entirely be said for Da 5 Bloods, which struggles to find a consistent pace and tone during its first act, in which it tries to introduce all of the central ideas at once, along with some unnecessary side stories that carry little to no weight in comparison to the central task and are ultimately resolved in schmaltzy, unsatisfying ways. Moreover, while investment in the film can be maintained throughout, too often is this investment reinforced by the unnecessary moments that serve as detriments to the sequences of dramatic consequence and just might take you out of the story, causing you to restart your investment. Every act has at least one of these moments, with the final result unfortunately falling short of the expectations of some of the genres that are molded into the Bloods’ journey through the Vietnamese jungle. The overtly patriotic and quite distracting score from Terence Blanchard (regardless of whether or not its inclusion was intended as irony) does not help the matter, with many of the best scenes occurring either in silence or alongside the soulful tracks of Marvin Gaye’s What’s Going On album.
Even when Spike Lee stumbles in the execution of his argument, what ultimately matters is the argument itself; while the film begins and ends rather heavy-handedly, telling the viewer things they are bound to already know and incorporating footage that doesn’t need to be there for the point to get across, the sacrifices that Lee chooses to detail and their ramifications for the state of our country to today give the film a degree of value at a time like this, and he is the only director who could bring these issues to the forefront in such an entertaining way. It may not be as good or accessible as his best work, but the calls to action that he has long been affiliated with echo through jungles and cities in equal measure.
What did you guys think of Da 5 Bloods? Agree? Disagree?
Great writing (1 more)
Unpredictable
Some typos (1 more)
The mom was a waste of a character
In horror books and movies, we often see dolls as the main source of scares( such as Annabelle or Child's Play). In K.R. Alexander's Bury Me we get another scary doll to add to the list with some pretty good spine chilling moments, too.
We start with Kimberly Rice, who is a kid with a vivid imagination that can imagine up anything her heart desires, but because of this, people don't believe her when strange things begin to happen in Copper Hollow. She has two friends named Alicia and James- - -but Kimberly feels like she doesn't fit in with them because they live in houses while she lives in a trailer. "I wait for them to say, Hey, Kimberly, do you want to come over for dinner? They don't. They never have. It hurt my feelings at first, but I got over it fast. They're still my best and only friends, so I can't really complain when they don't have me over to their houses. It's not like I can really invite them over to mine. " Kimberly explains.
Although she states that they are her best friends, there is another part that may suggest otherwise. At first, we read about Kimberly being ashamed of her home although she states she has never tried to invite her friends over - - - as far as we know - - - but during a scene where Kimberly goes over to Alicia's home for help with this doll, Alicia doesn't invite her inside, which Kimberly points out.
But Kimberly's dysfunctional friendships aren't what the story is about. The book is about a doll that suddenly shows up with the words 'bury me' written across its dress in black ink. The perfect setting for a horror story. Kimberly teams up with her friends, Alicia and James, to figure out what this doll wants.
Alicia convinces Kimberly to do what the doll's dress says: 'bury me.' But even after they do this, the doll somehow shows up again, without having disturbed its burial place. They finally begin to question whether or not the doll is possessed by an evil spirit because the doll's mouth moves on its own, making frowns and even seeming to silently scream at one point, and no matter what they do, the doll always comes back completely intact. Yet, the only one the doll seems to be 'haunting' is Kimberly, although James and Alicia participate in trying to get rid of it. Kimberly is also haunted by dreams that aren't exactly her own, but she doesn't reveal these to her friends- - - which doing so may have helped in the long run. As a result, the friends never really figure out how to get rid of the doll, it seems that only Kimberly's dreams can figure this out (it just takes her nearly the entire book to figure it out).
The horror elements in this story are pretty good, but as the book recommended age states, it's for pre-teens. Yet, Alexander did a better job on this than 'The Collector' when it came to those elements. I honestly really enjoyed this book, even as an adult.
We continue with Alicia and James beginning to question Kimberly, thinking that this is just a prank she has come up with because their town is boring: " 'Did you do this?' Alicia asks, looking straight at me. Once more, my heart throbs- - -but this time, with a note of anger.
'Why would I do something like this?' I ask.
'Because Copper Hollow is boring and you're trying to make it fun with another one of your wild stories?' She doesn't sound accusatory; she sounds like she's running out of options that make sense, and she doesn't like that at all. "
Kimberly also has to deal with a history book on Copper Hollow that only shows blank pages to her, even when she shows it to adults, they seem to go into a daze as if the book doesn't even exist to them. Even when she asks the Mayor about this very book, he has no idea what she's speaking of. " I try to change the subject. 'I finished that book. The one about our history.'
'Book? ' Mayor Couch asks. 'What book?'
'The one I showed you.'
He chuckles. 'You and your imagination. I don't remember you showing me a book. ' "
Readers and Kimberly still have no idea what is going half way through the book. "Something weird is going on with him. It makes me wonder. . . is it linked to the doll? Or maybe he just has some sort of memory loss? "
While Kimberly is going through all of this, her mother seems like a wasted character to introduce. She, who is rarely home and works double shifts throughout the entire book, is never there for Kimberly, but also,Kimberly never goes to her mother for help.
The story starts quickly, getting right into the doll appearing, and by the end, we learn something that was not predictable - - -this is good writing. Bury Me is what YA horror books should be: suspense, unpredictable moments and likable characters. And compared to Alexander's first book, The Collector, his story telling is getting better to the point that I am looking forward to reading his other recent books, but hopefully he sticks to telling stories with children and not adults.
I highly recommend this book to fans of R.L. Stine's 'Goosebumps,' because I truly believe we have our next R.L. Stine. Great story, great writing.
We start with Kimberly Rice, who is a kid with a vivid imagination that can imagine up anything her heart desires, but because of this, people don't believe her when strange things begin to happen in Copper Hollow. She has two friends named Alicia and James- - -but Kimberly feels like she doesn't fit in with them because they live in houses while she lives in a trailer. "I wait for them to say, Hey, Kimberly, do you want to come over for dinner? They don't. They never have. It hurt my feelings at first, but I got over it fast. They're still my best and only friends, so I can't really complain when they don't have me over to their houses. It's not like I can really invite them over to mine. " Kimberly explains.
Although she states that they are her best friends, there is another part that may suggest otherwise. At first, we read about Kimberly being ashamed of her home although she states she has never tried to invite her friends over - - - as far as we know - - - but during a scene where Kimberly goes over to Alicia's home for help with this doll, Alicia doesn't invite her inside, which Kimberly points out.
But Kimberly's dysfunctional friendships aren't what the story is about. The book is about a doll that suddenly shows up with the words 'bury me' written across its dress in black ink. The perfect setting for a horror story. Kimberly teams up with her friends, Alicia and James, to figure out what this doll wants.
Alicia convinces Kimberly to do what the doll's dress says: 'bury me.' But even after they do this, the doll somehow shows up again, without having disturbed its burial place. They finally begin to question whether or not the doll is possessed by an evil spirit because the doll's mouth moves on its own, making frowns and even seeming to silently scream at one point, and no matter what they do, the doll always comes back completely intact. Yet, the only one the doll seems to be 'haunting' is Kimberly, although James and Alicia participate in trying to get rid of it. Kimberly is also haunted by dreams that aren't exactly her own, but she doesn't reveal these to her friends- - - which doing so may have helped in the long run. As a result, the friends never really figure out how to get rid of the doll, it seems that only Kimberly's dreams can figure this out (it just takes her nearly the entire book to figure it out).
The horror elements in this story are pretty good, but as the book recommended age states, it's for pre-teens. Yet, Alexander did a better job on this than 'The Collector' when it came to those elements. I honestly really enjoyed this book, even as an adult.
We continue with Alicia and James beginning to question Kimberly, thinking that this is just a prank she has come up with because their town is boring: " 'Did you do this?' Alicia asks, looking straight at me. Once more, my heart throbs- - -but this time, with a note of anger.
'Why would I do something like this?' I ask.
'Because Copper Hollow is boring and you're trying to make it fun with another one of your wild stories?' She doesn't sound accusatory; she sounds like she's running out of options that make sense, and she doesn't like that at all. "
Kimberly also has to deal with a history book on Copper Hollow that only shows blank pages to her, even when she shows it to adults, they seem to go into a daze as if the book doesn't even exist to them. Even when she asks the Mayor about this very book, he has no idea what she's speaking of. " I try to change the subject. 'I finished that book. The one about our history.'
'Book? ' Mayor Couch asks. 'What book?'
'The one I showed you.'
He chuckles. 'You and your imagination. I don't remember you showing me a book. ' "
Readers and Kimberly still have no idea what is going half way through the book. "Something weird is going on with him. It makes me wonder. . . is it linked to the doll? Or maybe he just has some sort of memory loss? "
While Kimberly is going through all of this, her mother seems like a wasted character to introduce. She, who is rarely home and works double shifts throughout the entire book, is never there for Kimberly, but also,Kimberly never goes to her mother for help.
The story starts quickly, getting right into the doll appearing, and by the end, we learn something that was not predictable - - -this is good writing. Bury Me is what YA horror books should be: suspense, unpredictable moments and likable characters. And compared to Alexander's first book, The Collector, his story telling is getting better to the point that I am looking forward to reading his other recent books, but hopefully he sticks to telling stories with children and not adults.
I highly recommend this book to fans of R.L. Stine's 'Goosebumps,' because I truly believe we have our next R.L. Stine. Great story, great writing.