“SKumm’s Thoughts” - THE POST

“SKumm’s Thoughts”

THE POST (2017, PG-13, 116 minutes, AMBLIN ENTERTAINMENT/DREAMWORKS)

I find it hard to believe that I grew up on Steven Spielberg films, mostly due to the fact that I’m freaking old now, and he is STILL making movies.

The first film I recall seeing in theatres was CLOSE ENCOUNTERS OF THE THIRD KIND.  Yeah, I’m that stinkin’ old.  And despite a couple of questionable choices along the way (I’m talking about the aliens in the fourth INDIANA JONES movie and, of all things, freaking TINTIN), the iconic director always manages to define the times in every film he makes, even if he is telling a story from long ago.  Case in point: THE POST.  In a landscape now littered with “fake news” and a press beleaguered with complaints of leaning too far to one side or not being fair in their reporting, Mr. Spielberg serves up the story of the Washington Post’s reporting of decades of lies from our own government concerning the Vietnam Conflict.  The correlations between the struggles of the “free” press then and now are hauntingly similar in their need for vindication and the struggle to retain and maintain the fundamentals of reporting.

Meryl Streep stars as Post owner Kay Graham, who is faced with the harsh reality of publishing secret government documents and possibly losing investors at a time when the paper was attempting to go public, or bury the true function of what the paper itself stood for: reporting the facts.  Tom Hanks is Ben Bradlee, the editor looking for a fight.  Watch him closely, and you will see how he uses that fight to define his profession, if not his ideology.

The cast here is nothing short of remarkable; Sarah Paulson (“American Horror Story”), Bob Odenkirk (“Better Call Saul”), Tracy Letts (“Homeland”), and Bradley Whitford (GET OUT) round out the recognizable talent, but the true scene stealer (besides Hanks, and there’s probably a good reason why you don’t see them together onscreen here) is Bruce Greenwood as Robert McNamara.  His Secretary of Defense is a man conflicted; he has a role as a politician, and a role as an American, and his struggle within the blurred lines is visible in every wrinkle etched upon his face and the vulnerability within his eyes.

As current political commentary, the film works in not so subtle ways.  But as a story about a vital piece of American history, Mr. Spielberg hits on several levels that you have to marvel at.  This was the golden age of newspapers, before everyone got their news from Yahoo! headlines and social media.  So, seeing the lack of female reporters in the newsrooms shouldn’t be a surprise.  What is surprising is how alone Streep’s Kay Graham looks in a crowd of men.  She is aware of their doubt and speculation about a woman being in charge, and you can see the difference when she walks through a crowd of women who clearly appreciate and adore her, even though not a one says a single word.  It is her victories that the viewer should appreciate, and we do—thanks to the cast and the well-honed storytelling techniques of a certain iconic director.

Thankfully, Mr. Spielberg never gets heavy-handed with his need for you to question what you know, or how you know it.  It is clear from his appreciative eye that the printing press is an actual awesome thing to behold; seeing the machinations behind the page is a wondrous thing, a veritable climax of the fight to get the words there to begin with.

And while I appreciate all his ‘mirror of the times’ takes on history (who else could capture the fear of terrorism in a film called MUNICH at a time when modern terrorism had us all in a state of horror?), I also can’t wait for his return to science fiction in March with READY PLAYER ONE.  Which is about a vast online gaming world… okay, yeah.  Mirror of the times.  Just take my money already. 

                       

Grade: A

-- T.S. Kummelman

‘Blu-ray or Bust’ - BLADE RUNNER 2049

‘Blu-ray or Bust’

BLADE RUNNER 2049 (2016, R, 163 minutes, 16:14 ENTERTAINMENT/COLUMBIA PICTURES)

I find it difficult to not judge sequels by their source material—granted, you kind of have to.  Typically, the first film has to have been of a certain caliber to warrant a follow up.  Even in instances where we are given closure at the end of the first film.

Then there are the money grabs—sequels that exist solely for the purpose of making a buck.  Franchises like Michael Bay’s metal-strewn and thoroughly visually confusing TRANSFORMERS flicks are money grabs; there is little or no artistic merit there, just a studio banking on the Teenage Holy Dollar.  Let’s not leave out the FAST AND THE FURIOUS turds, either—even though recent attempts have tried to up the “it factor” by trying to make JASON BOURNE-type, globetrotting “thrillers”.  But sometimes, follow-ups are done the right way; the best example for me was always ALIENS.  James Cameron took a classic film and created a wholly new take on the tale.  Instead of one alien, Ellen Ripley suddenly found herself battling an entire hive with the assistance of some well-armed space marines.

Now we have director Denis Villeneuve (SICARIO, ARRIVAL) taking on a film made decades ago—another classic, and my second favorite film from Sir Ridley Scott (…ALIEN, of course).  And while the best science fiction tales are the ones that explore the human element, and the place of humans within that possible tomorrow, original screenwriter Hampton Fancher is back to show you that story from the perspective of a machine and its dream of human mortality. 

The story centers on “K”, played with a seeming emotionless and muted thoughtfulness by Ryan Gosling, a Blade Runner who starts off hunting another “skin-job”, and winds up neck deep in an investigation which has him questioning his own place in things.  And that’s as much of a description of the story as you are getting out of me; you all know I don’t do spoilers, and I won’t ruin any aspect of the tale by giving you any hints of things to watch for or story arcs to pay closer attention to.  This is a tale best witnessed by yourself, and it might take more than one viewing for you to get everything.  Seriously.

What is most surprising here, though, is the sweet and desperate underlying love story, the human and non-human battles for symmetry and the grace of life, and the struggles with identity and death.  Experiencing these slices of humanity through K’s eyes is what helps make this a worthy and beautiful sequel to what Sir Ridley gave to us three and a half decades ago.  And at almost two hours and forty-five minutes, you would think it could all get overbearing and really freaking heavy at times.  But under the genius eye of cinematographer Roger Deakins (THE SHAWSHANK REDEMPTION, SICARIO), every aspect of the landscape, not to mention the perspective of every character, is captured in such a way that you never feel alienated.  You are necessary to the viewing of this modern masterpiece; after all, it is your emotions which complete the experience.

There are numerous special features, including the two “prequels” released online prior to the theatrical release.  Do not mistake these for padding—they are each thoughtful little mini-stories, rare gifts from a filmmaker that cares about what you are seeing and experiencing.  There are also docs on the special effects, including one on how they pulled off a particularly captivating love scene.

Take your time with this one, kids; great science fiction deserves your attention.  Just be sure to turn the base down on your surround sound, or you could wind up getting the attention of your downstairs 80-year old landlord.  Try explaining an android love story to an 80-year-old…

           

Grade: A

Special Features: B+

Blu-ray Necessary: Abso-freaking-lutely

-- T.S. Kummelman

The 'Not-So-Critical' Critic: DEN OF THIEVES

The 'Not-So-Critical' Critic: 

on DEN OF THIEVES (2018, 140 minutes, R)

The Quick of It -

Ladies and gentlemen, let me introduce you to a special bullet-riddle treasure from the winter releases, when it comes to quenching the ‘common man’s needs’. 

Yes, surrounded with the Academy-driven films, DEN is a welcome diversion.  I tell you, they swamp these winter seasons with heart stomping dramas and whacked-out directorial showings pushing for the little, gold guy, you almost forget the year’s joyous films.  The ‘suicide watch’ wards must fill up.  DEN helps us little people of the critic world enjoy an action flick with spent shell casings and brotherhood.  This gritty crime story should join the other ‘must sees’ of the genre – HEAT, THE DEPARTED, THE USUAL SUSPECTS.  I could be reaching a little, but this is a second cousin at least.  Don’t judge me and my bloated opinion until you make the time to watch this one. 

The plot is about a crew of well-organized and highly skilled thieves who are working on a huge score, by hitting the Federal Reserve Bank in Los Angeles.  A lofty goal since they state at the beginning that no one has every successfully got past the lobby.  At the helm is Ray Merriman, played by Pablo Schreiber (of 13 HOURS and as George 'Pornstache' Mendez of ‘Orange is the New Black’).  He is a recently released con who has fully lived, and continues to practice, the military experience.  He has surrounded himself by close friends from his military and childhood past to be among the crew.  Among them is Enson (50 Cent), Bosco (Evan Jones of 8 MILE and THE BOOK OF ELI), and Donnie (O'Shea Jackson Jr. who played Ice Cube in STRAIGHT OUTTA COMPTON).  Each held their own and provided needed personalities to build this hardcore crew and make you feel a part of this brotherhood or would want something like this in your life.  Merrirman and his team of thieves are the ‘absolute order’ element of the story.

To oppose them, ‘undeniable chaos’, but we will call them the ‘good guys’, is led by ‘Big Nick’ O’Brien (Gerard Butler).  He leads a team of crack Special Crimes Unit.  At the outset of painting their picture, they seem as crooked as the criminals… and it doesn’t let up.  Almost another TRAINING DAY on the streets of LA.  One of my main gripes is unfortunately with O’Brien.  The screenplay drives his sympathetic link with the typical cop husband and father who neglects his family, thus you get to see the split and his spiraling downward in just this small window into his life.  Reaching much?  Or just plain lazy.  There was not enough time to flesh it, or any other cop’s story, out.  Believe that.  Not enough time.  This should have been a TV series to do any justice to the storybuilding going on here.  And it would still work.

Director and writer Christian Gudegast pulls everything together for his vision and makes it work splendidly.  The previous films on his resume demonstrate his writing talent; mainly including A MAN APART and LONDON HAS FALLEN.  DEN shows his escalation in his skill level and the ability to get what he needs from the actors for each scene.  As visual proof, this film was built on the idea of escalation.  You remember the bank heist at the start of THE DARK KNIGHT, the job the Joker orchestrated?  This was that - 2 hours and 20 minutes of controlled tension-building.  And remember the firefights in HEAT?  Add a couple of those here, as well.  This is a true treatment of how a spectacular Sound Department achieves brilliance when paired with the music direction under Cliff Martinez (of ONLY GOD FORGIVES, DRIVE, and TRAFFIC).  With all the working pieces moving in conjunction, you are on one heckuva thrill ride.

Unfortunately, this is a far as I go.  Spoilers would only follow… and you need to experience it for yourself to understand my excitement.  This may not be among the elite crime films for most people, but it is as damn close someone has gotten in years.

Grade: A-