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King Richard

26 Friday Nov 2021

Posted by mlrover in Uncategorized

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Aunjanue Ellis, film, inspiration, movie review, parenting, review, Serena William, Tennis, Venus Williams, Will Smith

As a movie goer, I get burnt out on the anti-hero themes and the constant push for inclusiveness for the sake of inclusiveness spurred by present popularity. Getting those story types crammed down my throat was blissfully absent in this film. It’s about family, hard times and good times, the ups and downs and tragedies of living on the financial edge and the battleground of East LA. The main take-away must be the refrain of not giving up on a dream and how dedicated parenting goes a long way to making a child’s dream become a reality. I know this because I had a mom who thought her kids were phenomenal. (Not all of us are but Mom never let that get in the way.)

Then there’s the acting. I doubt that I will ever forget the bleak misery in Will Smith’s eyes as he watched the TV news clip of Rodney King getting beaten by LA cops, a revisitation of his past, his terror of cowardly gang members threatening his daughter, the scarring of his life embittered by the brutality and viciousness of racisim. (It has been suggested that his own racist behavior was muted in this movie.)

I wish that the irony of how his hard-luck life strengthened his determination to see that his children would never suffer the same was more clearly articulated. It’s there, but I had to wonder if it ever crossed King’s mind that his plans and fathering habits were honed due to his travails at the hands of societal monsters.

Will Smith deserves every award nomination he will get for this film. Emmy award recipient Aunjanue Ellis deserves accolades as well. The young ladies (Demi Singleton and Saniyya Sideny) had not only to act but also play tennis well. The filming of the court action maintained a high level of tension. Most of all, I thoroughly enjoyed the steadfast love and family loyalty throughout. Some of us are starved for more of that, not the candy-coated slop of the fifties and sixties, but how families can overcome through love, faith, and a goal that reaches for the best in us. See the film. There is much to admire.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

https://www.facebook.com/Julia-Donner-697165363688218/timeline

WHEN ECCENTRICS COLLIDE

03 Monday Dec 2018

Posted by mlrover in Uncategorized

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Ali, awards, classical, Dinklage, films, Green Door, inspiration, jazz, Mortensen, movies, Music, review

Now that the end of the year film releases have opened the spigot and flooded theaters, it’s time to hit the cinema. I’m eager to satisfy curiosity and test the offerings—and to make comparisons and observations—so off I trotted to the nearest cinema.

Can You Ever Forgive Me?

I waited a long time for this one. I’ve said it before and will most likely be saying it again, if you can do comedy, you can do anything. Melissa McCarthy is brilliant. Her sympathy for the abrasive, abusive, and broken Lee Israel is utterly absorbing. She made accessible a thoroughly unlikable person and will be a strong award contender and should be a frontrunner for the SAG. Richard Grant is also marvelous. He and McCarthy bring to life the strange and desperate friendship between Israel and Hock.

I’m not sure why this film isn’t doing better at the box office. Perhaps it’s some industry-insider thing, which is shameful. The story is entirely character-driven, which makes some Hollywood exec types crazed, much the same way they used to bash Spielberg when he made “serious” films, which reminds me, HBO and Susan Lacy did a fabulous documentary about Spielberg.

Green Book

Already slated for numerous awards, I mainly went to see Viggo. The man has the ability, as does Olivia Spencer, to communicate reams of information in silence. Those eyes. He killed me with them in History of Violence, and this movie has some comparisons when it comes to violence, understanding and forgiveness. It’s a story about how defensive, and ingrained, prejudice can invert itself, remold to become acceptance and admiration, an outcome unbelievable, except that it did happen. Tony Vallelonga (Viggo Mortensen) and Dr.Don Shirley, (Mahershala Ali) were vastly different men. Tony was raised in a close-knit community that denigrated blacks, and Shirley well-educated and gifted, could barely tolerate Tone’s crassness.

The film title comes from The Negro Motorist Green Book, written by Victor Hugo Green. The screenplay is co-written by Nick Vallelonga, Tony’s son. There has been some backlash from Shirley’s family, who disagree with the eventual relationship between the two men and are of the opinion that Ali does not portray the terror evoked then, and still today, living and traveling in the south for blacks. They have their opinion, but mine is that Shirley, or the storyline, seeks to portray the dignity and courage it took to do that tour. The two men aren’t worlds apart, it’s more like universes. Tony, so violent and gross of manner, is so blessed with love for his family, while Shirley, so gifted and elegant, is estranged from his. Shirley learns to accept and allow himself to see underneath Tony’s persona, a man who accepts who and what he is, adores his family and yet thinks nothing of smashing somebody’s face into a bloody mess. That which horrifies Shirley is just another day on the job for Tony Vallelonga.

Don’t get so involved in the story that you miss the connection made between these two fiercely brilliant actors. It’s the sort of interplay that makes for a SAG award.

I Think We’re Alone Now (DVD)

I’ve adored Peter Dinklage since his portrayal of a scary on-the-edge-of-freaking-out children’s book writer in Elf. And what sort of asshat doesn’t love the wickedly droll Tyrion Lannister?

This dystopian story dissects the emotional fallout of a catastrophic planetary event with none of the disaster/violence theme. Its haunting and quiet until it gets ugly. Character motivation is deep and complex with a few surprising twists. What you think is weird at the beginning is given relevance as the story unfolds. Buy it, rent it, whatever. It’s worth your time and money. I have yet to see My Dinner with Hervé, a story Dinklage wanted told.

Next up, I’m itching to see The Favourite.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

https://www.facebook.com/Julia-Donner-697165363688218/timeline

GOING TO THE DOGS

10 Monday Sep 2018

Posted by mlrover in Uncategorized

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attitude, dogs, film, movie, pets, review, robot, snark, stereotype, teen

But with another kind of inference. If you’re a dog lover, one of the following films is for you—the other, avoid.

So, Alpha. It starts off slow and doesn’t take off until the wolves enter. There are a few content issues that make no sense, holes you could drive the proverbial truck through, but the most glaring is how the men trudge off for days and days to hunt bison. History and logic say that people are nomadic or prefer to live near food sources. At any rate, who would want to trudge miles and miles, get the meat and skins, then schlepp them all the way home for days and days. The visuals are lovely, the costuming, strange. The men’s leather coats looked like WWII bomber jackets. I can suspend reality but that was a bit jarring. The best part was the wolf-bonding thing and the interesting bit where the wolf teaches the boy how to hunt as a team. Wolves do have that down to a science. The best part was the surprise ending that made me tear up. If you love dogs, you’ll like this film, especially if you’re overloaded with vacuous digital mayhem.

Then we come to AXL. What a mess. If I hadn’t planned on doing a “dog” blog thingie, I would have gotten up and walked out. Oye, the stereotyping is criminal. The storyline is idiotic, as if written by a ten-year-old. I take that back. Make it younger. The poor dog robot changes size about ten times and every trite and overused idea that can be crammed into a story is there, including making teens look like idiots. I was young and dumb, but these kids are like the ones in the commercial hiding in a shed with the dangling chainsaws. And I resent that the young protagonist thought it was OK to rip off an ATM just because computer wonder dog AXL programmed it to spew money. My grandson would have immediately reported the problem and turned in the cash. I guess that’s what irked me most, the way teens were trashed, the military to look asinine, and the bad guy of Middle Eastern descent. The only positive about movie is that actors got paid (presumably) and kept their SAG membership active.

In Alpha, there is much to be admired in the young man struggling to survive and get home to his parents. There is much to despise in a film like AXL that insults our youth and audience intelligence. I see the fun in B-type movie genres, but AXL is cruel and unusual.

Sorry this was kind of crabby and I miss my dogs and horses. And have been reading Dorothy Parker poems and quotes.

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

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OF SUBSTANCE AND BEAUTY

26 Monday Jun 2017

Posted by mlrover in Uncategorized

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adventure, cinematography, dvd, feminism, hunting, inspiration, Mongolia, movies, review

High in the Mongolian mountains, a girl name Aisholpan breaks a tradition centuries old. With the help of supportive parents, an especially patient and loving father, this thirteen-year-old girl demonstrates courage, diligence, and a character we can only hope our own children will emulate.

The dynamic cover of THE EAGLE HUNTRESS caught my eye at the library. Took it home, watched it, and was utterly entranced throughout. I next bought it and sent it to my sister, whose background is in political science, American government, and Asian studies. This documentary would appeal to her, due to her understanding of the social challenges Asian girls endure, its unique story, and the spectacular cinematography. The entire film is a masterpiece of filmmaking achieved under difficult environmental and financial circumstances.

Yes, it’s a documentary, (swallow that derisive yawn), but it’s more exciting and spellbinding than any action feature film I’ve seen in years. Today’s action/ adventure movies are overburdened by graphics. Audiences are becoming inured to the mayhem. Millions are spent on saturating/ bombarding the viewer, and yet none of them—and I’ve seen almost all of them—evoked the excitement of this story. There was no big money backing this work. No options for a second take. A drone, a crane and a few cameras and almost all of it done in one-shot filming. The landscape, action, storyline, all of it, is breath-catching in its beauty, simplicity, and most especially the bravery of a girl who would not give up on her dream.

Societies and cultures are crumbling, values such as honesty and integrity negated and ignored. This film soars above all the unpleasantness of our present failings, the vulgarity, apathy and overindulgence, illustrating the substance of honor and the determination to excel in the face of all opposition.

https://www.amazon.com/Eagle-Huntress-Otto-Bell/dp/B01MU34PJC/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1498466724&sr=1-2&keywords=the+eagle+huntress

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML

Check it out: http://www.amazon.com/Cooking-Up-Trouble-Mill-Pond-ebook/dp/B013NI5G68/ref=sr_1_1?s=books&ie=UTF8&qid=1454985355&sr=1-1&keywords=judi+lynn

Wonder Women

12 Monday Jun 2017

Posted by mlrover in Uncategorized

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Amazon, battle, film, legend, movies, myth, review, war

Confession time. I told a friend I would go with her to see Wonder Woman, fixed a time to go five days after its release, then couldn’t wait. That freaky theme music from Batman v Superman kept screaming inside my head. I love that wild electric cello sound, and anyway, when I like a film, I go see it twice. This one was just as fun the second time around—not an easy feat to keep me impressed twice the second time. The glaring problem of what happened to the German ship unloading soldiers to chase Steve in his downed plane continued to perplex, (probably edited out to save time), but everything else was so much fun, I blew it off. Or as some say, gave it the hand wave. For me, I was more interested in what was done differently.

At Cannes, Jessica Chastain made headlines when she censured the film industry for its treatment of women, consistently presenting women as secondary characters. I’ve always viewed it as keeping women in their place to act as the obligatory adjunct requisite for masculine enhancement. Not so in this flick, boys and girls. The men quickly learned how to follow the female leader, and what I loved was how it made them more, well, manly. Nothing turns any intelligent female off faster than male posturing. Men who have ego issues may get off on it, but women yawn. My favorite bit was when Steve (Chris Pine) hollers out in the middle of a skirmish where a desperate act is needed, “Shield, Diana!” Oye, my heart went pitty-pat, and you’ll have to see the movie to find out what that was all about. And perhaps I’m biased or ga-ga, but I’ve had such high hopes for Pine ever since The Finest Hours. I like the new Star Trek stuff, but he was so splendid as the self-effacing, courageous, and resolutely honorable Coast Guard hero.

Next difference—use of women over forty. Hollywood mogul types may need to sprinkle films (or cram them down our throats) with females meant for male menopause relief, but demographics have changed. When I look around in theaters today, there are often more silver-haired heads than younger generation types. When the Amazon warriors come charging on to the beach, the general in the lead is enough to make hardened soldiers think about a new strategy.

Robin Wright is superb. Nuf said.

Next comes the music portion. Many filmmakers think battering-ram music scores will cover up the fact that they’ve invested in a piece of schlock. I avoid films with rap music and not just because I’m not a fan. If a film requires that kind of loud, in-your-face score to help the pacing and lack of storyline, stay home and buy the music from the film. The only one I recall seeing where that enhanced the action was in the first Terminator. Its pulse-pounding, clanking metal score worked. In this version of Wonder Woman, I was surprised by the symphonic style, which enhanced the film and never distracted. Very clever but my favorite is still that electric cello and crazy drums theme introduced in Batman v Superman, which, to be sensible, could not have been used throughout.

The film is getting tons of good reviews and breaking records. You don’t need another content review. It’s the differences that made Wonder Woman more delightful for me. Maybe somebody in the LA portion of the industry will move beyond their tiny ego-centric mindsets to notice what the public already knows.

THE GREAT WALL

26 Sunday Feb 2017

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Asian, China, fantasy, films, Graphics, Matt Damon, movies, review, The Great Wall

The Great Wall

Comments have been made about a Caucasian taking part in a Chinese legend. The gist of the complaint questioned why a white guy is in the story at all. (Hello! Probably because the story is about a white guy, a thief and mercenary, who comes of age a bit late in life.) Matt Damon’s manner of understated acting is an added bonus in the fantasy-slash-action adventure film genre, where characters tend to gnaw every available inch of scenery. (Insert eye roll here.)

Another relief while watching was the judicious use of blood spatter. Typically, buckets of red are splashed everywhere. Injuries and dismemberments happened, but were quick and not gratuitously gruesome. (IMHO that’s a sign of poor screenwriting and direction. Can’t think of something original, so let’s throw some blood and gore at it. Yawn.)

China has the resources, dedication, and centuries of exquisite cultural artistry to create visual beauty. (Who can forget the magical bamboo forest scenes in Crouching Tiger, Hidden Dragon?) Asian films tend to overwhelm with their vast casting and equally massive production budgets. Sometimes it gets a bit much, but this film is a perfect example of controlled excess. American made fantasy and sci-fi films tend to compensate with over the top graphics. Sometimes it’s done well. For me, the best work in US productions are the Star Wars films. (I do not include Rogue One. The facial reconstruction at the end, and you know what I mean, was absolutely creepy!)

Keeping that in mind, some things can be overlooked and others can’t, such as blatantly sloppy production work. There is none of that silliness in The Great Wall. The costuming is gorgeous, lavish colors for the different military divisions in contrast to the utilitarian and coarse armor of the round-eyed mercenaries, which in subtext, illustrates the honorable character of the Chinese and the utter lack of elevated values in the white mercenaries. A nice touch, that.

In current fantasy filming, it often boils down to the graphics. The scenic design in this film was laid out on the sort of grand scale only Asian films are able to financially create. Large scale graphics require discipline and a monumental effort in teamwork, and this film did it well. Compare it to the childish and cheesy backgrounds in Gods of Egypt and the absolutely horrible mess of the chariot horse somehow landing up in the stadium seating and trampling the audience in the flimsy remake of Ben Hur.

There was only one weak point in the story and to explain it involves a major spoiler. It’s not worth the fuss since it comes near the end and doesn’t ruin the whole. Artistically, I came away satisfied and impressed, even encouraged. The protagonist followed through on the classic story arc of personal change. A nation’s resolve to protect itself, to sacrifice to save others, to stand with courage and determination in the face of impossible odds is a familiar theme in fantasy. This film brought it to life—showed the meaning of honor and integrity to oneself and others—attributes sadly absent in our present political climate and culture of films exemplifying antiheroes smashing up the scenery and crashing cars. The Great Wall gives us real heroes, men and women, Asian and Caucasian, who give all they have to protect others and do their duty, as our military does today—our last vestige of national honor. This film is a reminder that it still exists in some of us. I left refreshed.

JANE GOT A GUN

09 Tuesday Feb 2016

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film, horses, New Mexico, review, western, WIP

JANE GOT A GUN

If you’re not into westerns, you might want to stop right here. But if you LUV the genre as I do, this might trip your trigger. The film did for me because of its authenticity. There wasn’t much to find wrong about its level of production. It’s a story of human behavior at its best and worst, and how the life choices we make are the best ones we can make at the time.

The story is about Jane Hammond (Natalie Portman), whose husband, Ham (Noah Emmerich), barely makes it home, shot in the back many times by the Bishop Gang, the baddies. After patching up hubby, Jane hides their daughter with a friend and heads out to find help, knowing that Bishop (Ewan McGregor), eerily evil and ruthless, is determined to kill her and her husband. The only man she trusts is Dan Frost (Joel Edgerton), former fiancé prior to the Civil War. The overt theme is survival. The subplots are Dan’s ongoing love/hate thing for Jane, and why Jane married a criminal and gives him relentless, unbending devotion. To paraphrase Jane’s explanation to Dan, not everything in life is all about Dan. Nor is it what appears on the surface. Everybody has a sunshine tale to tell but hers doesn’t/didn’t have much sunshine. For women in the West, there was very little “sunshine” to be had. And that’s one of the two nitpicks I have with the film.

Look at the photos of women of that time period. This film takes place in 1871 New Mexico Territory, hardscrabble indeed. Natalie looks too dang good in the face. She’s lived through every kind of hell and yet looks young. Women in their twenties looked thirty years older. But there were some nice touches, like the blue canning jars and sturdy looking clothes.

My other gripe, and it’s a tiny one, is the condition of the horses after being loped for miles. Their coats would have been wet, perhaps not lathered, but definitely some sign of distance carrying weight. I can’t nag about this much, because it shows that the film had a caring wrangler. The horses were beautifully trained, and like animals used in film, knowledgeable of the terminology from action to cut, unflinching if a clapper is used. When I lived in LA, many of my neighbors were stunt riders. Their horses were in a different class from riding mounts with a calm yet alert demeanor. I digressed.

So I got a little oyfgehaytert when I saw the trailers for this flick. Had to see it before it left the theaters and it didn’t disappoint. It’s made me yearn to haul out the western romance I started to convert to digital length. But I’ve got four WIPs to finish. Mind you, I’m not griping. This film reminded me that I don’t have to start a fire every morning, pump water for the house, livestock and garden, clean clothes with Fels Naptha on a scrub board, wring the neck, pluck and singe the chicken before roasting it in a range that needs the right amount and kind of wood to create the proper temperature. Yeah, I’ve got nothing to whine about. Certainly not this movie. I’ll be buying it when it’s released.

Writing bud, Judi Lynn has a new release, Cooking Up Trouble, now available on Amazon for presale:

M.L Rigdon (aka Julia Donner)

Follow on Twitter @RigdonML