Historical

Stanley Kubrick’s “Paths of Glory”, the Politically Powerful, and the Absurdity of War

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The boast of heraldry, the pomp of pow’r,And all that beauty, all that wealth e’er gave,Awaits alike th’ inevitable hour.The paths of glory lead but to the grave. -Thomas Grey, Elegy Written in a Country Churchyard,1751 Stanley Kubrick’s Paths of Glory is often celebrated as the director’s first true masterwork.  Adapting a novel of the … Read more

“The Founder” Allows the Spectator To Interpret the Life and Success of Ray Kroc

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It is practically impossible to create a biopic without passing judgment on some axis, but director John Lee Hancock comes pretty close to presenting an unbiased view of McDonald’s “founder” Ray Kroc in The Founder.  The film details the story of Kroc discovering the original McDonald’s restaurant, the brainchild of brothers Mac and Dick, and expanding the McDonald’s empire through an aggressive franchise model.  As McDonald’s restaurants pop up everywhere, Mac and Dick lose control of the endeavor, and Kroc eventually muscles the two away from the business.

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“Silence” and the Personal Perdurability of Faith

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Silence is vintage Martin Scorsese.  The master’s techniques are evident in practically every frame, and his return to a religious subject matter is both fascinating and complex.  Nearly three decades ago, The Last Temptation of Christ showed that Scorsese was capable of delivering a nuanced treatise on spirituality, and he has done the same with Silence.  These topics are seldom tackled by Scorsese, so we should count ourselves lucky when the director is inspired by a story such as Silence, which has been in pre-production in some form for the last 25 years or so.

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“Hidden Figures” Chips Away at Bigotry with Intelligence

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There are specific and powerful images throughout Hidden Figures, but none exemplify the central theme of Theodore Melfi’s film more than two shots of a piece of chalk held by the main character.  This pregnant extension of Katherine Goble’s (Taraji P. Henson) brilliant mind is both an invitation for her to prove herself as a black woman in a world of white men, but an implicit challenge by those same men that she could never be their equal.  Though they are not connected dramatically, her struggles and successes are thematically connected with the successes of her peers, so that each separate woman’s respective strides become reverberations of the others, until the resulting din screams a single poignant truth:  the quality and content of a person’s mind is not determined by race, gender, or anything else so superficial.

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Though a Product of the Stage, “Fences” Excels on the Strength of Davis and Washington

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In Fences, the titanic talents of Denzel Washington and Viola Davis are once again on full display.  The two reprise their roles from the 2010 revival of August Wilson’s play of the same name, for which each earned a Tony Award.  The film certainly feels like a play, as the performances are very stylized towards the stage.  Washington directs the film as well, making it his third feature, and first in nearly ten years.  Though peppered with discussions of race relations in the 1950s, the core of the story focuses on the relationships between members of the Maxson family.  Within this context, Fences explores the importance of responsibility, the strength and danger of a domineering personality, and the conflict between settling for something and seeking out your own desires in life.  It is a small film, but packs quite a punch throughout.

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“Loving” is a Restrained and Triumphant Challenge of True Institutional Racism

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In Loving, Writer-director Jeff Nichols expertly relays the real-life story of Mildred and Richard Loving, the couple who were prosecuted under Virginia’s interracial marriage laws which and led to the watershed case in the Supreme Court Loving v. Virginia in 1967.  In a story fraught with such racial tensions and the potential for ugly subject matter, the major triumph of Nichols’s film is in how it remains reserved and above any kind of melodrama.  There is a patient, quiet quality to this story, and Nichols and his actors positively revel in it.  From the tone and themes of the film, to the pacing and muted performances, Loving takes its cue from the seriousness and maturity of its eponymous main characters.  The result is a grown-up historical drama revealing the more subtle horrors of institutional racism and the power that love and freedom have to combat it.

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Nate Parker’s “The Birth of a Nation” Seeks a Spiritual Deliverance from Racial Injustice

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Nate Parker’s The Birth of a Nation is a remarkable piece of cinema, especially from a first-timer.  Parker controls this entire endeavor as writer, director, producer, and also stars as the slave Nat Turner.  This is a powerful but sad film, though there is a kernel of hope at its center that Parker tries to work from.  Based on a the real-life slave revolt led by Nat Turner in the early 1830s, the film offers incredible acting, but suffers slightly from narrative issues and some muddled thematic material.  Of course, Parker takes some poetic license with the actual history, and while some of these help the story, others are more egregious and unnecessary.  The most definitive aspect of the film is its profound spirituality, which Parker leans heavily on for dramatic justification of Turner’s rebellion, and also as the source of his leadership.  Indeed, this is a film about not only racial injustice, but spiritual deliverance.  Parker is sometimes lost with exactly where to focus the rebellious spirit, but these small mistakes cannot mar the overall poignancy of his message.

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“Trumbo” Showcases the Talents of Cranston and Fanning, but Feels Beyond Its Length

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Trumbo, from veteran comedy director Jay Roach (Meet the Parents and Austin Powers series), is based on the true story of the blacklisted screenwriter during an era of anti-Communism.  In an academy-award nominated performance, Bryan Cranston portrays the eponymous writer throughout the late 1940s and 1950s during a time when the “Red Scare” permeated Hollywood.   Though the film feels overlong due to some meandering subplots, and a few of the characters distract from the overall story, this is a solid historical drama.  Cranston is undoubtedly the major attraction, but the overall themes of the story remain poignant to this day.

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“The Revenant” is both Style and Substance

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The Revenant is a gorgeous slog. From the opening panorama to the final close-up, Alejandro G. Iñárritu’s frontier survivalist epic confronts the viewer with this discord. This tension colors the film completely, elbowing out more nuanced analyses of character arcs or thematic material upon first glance. But to claim, as some critics have, that The Revenant is a pretty film devoid of meaning is an absurdity. The harrowing cinematic experience certainly offers visual splendor up front and is heavily fettered in a masochistic cloak, but underneath it all, the insights into the human condition are many and varied. Besides marveling at the strength of the human spirit or the futility of revenge, themes of spiritual rebirth, everlasting love, betrayal, racism, and even the importance of friendship and connection with another human being in this vast, cold world.

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Saoirse Ronan Discovers Capacity for Joy in “Brooklyn”

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Opportunity is pregnant with possibility, but that does not dissolve the hardship associated with exploring it. John Crowley’s period piece Brooklyn explores this conflict through the eyes of Eilis (Saoirse Ronan; pronounced Seer-sha) as she leaves her small Irish town to start a new life in 1950s Brooklyn. There, she deals with homesickness, depression, and the struggle of starting anew. And though her path towards flourishing in the New World is beset with obstacles, along the way she discovers a joy which is all her own.

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