Steve McQueen’s searing cinematic treatise on slavery will never be accused of holding back. Classically the film opens in medias res showing small moments in the life of a man enslaved that lead him to flashing back to an idyllic moment with his wife when he had been a free man. McQueen’s confident direction and John Ridley’s assured screenplay move cleanly back and forth in time to tell the harrowing story of Solomon Northup (an amazing Chiwetel Ejiofor), an accomplished violinist from Saratoga, NY with a loving wife and children who is lured to the nation’s capital on the promise of work only to get kidnapped into slavery. The horrors, violence and depravity slowly escalate during the film’s runtime, with McQueen transmitting the details through clever points-of-view and camera angles, focusing on the screams and faces of the victims until by the end of the film all blood and flesh are left pooling on the dusty ground of the plantation hellscape run with diabolical vigor by Master Epps (a blisteringly despicable Michael Fassbender, stretching his acting muscle yet again to its darkest reaches under McQueen’s insightful and uncompromising eye).
12 Years a Slave is simultaneously a harrowing one-man-survival-tale and a bitter pill of a history lesson that reminds us it wasn’t so long ago that an entire culture in the Southern United States believed with all their rotten hearts that it was their right to hold other human beings as property. Continue reading →
In 1858, somewhere in the Texas wilderness, a German immigrant dentist (Christoph Waltz) comes across some fellas transporting slaves and begins to curiously inquire about a certain one named Django (Jamie Foxx). Turns out that dentist is a bounty hunter, and he needs Django to identify some targets. Turns out that Django, once unshackled, is more than happy to oblige. Thus begins the start of a beautiful friendship in Quentin Tarantino’s latest bit of exploitative hipster shock-schlock historical revisionist revenge fantasy. In his own signature absurdist self-referencing way, Tarantino combines many of the good elements that made Inglourious Basterds his masterpiece with many of the bad elements of every other overrated film he’s ever made.
See that dentist ain’t such a bad guy, wielding his own brand of justice, and Django has his own personal mission to track down his wife (Kerry Washington, allowed only to cry and get pushed around) who was sold down river in Mississippi to a one Calvin Candie (Leonardo DiCaprio) of the infamous plantation called…you guessed it…Candie Land. Thus an episodic journey begins culminating in an overly elaborate scheme to free Django’ wife, and for the first well-paced two hours it’s a pretty damn entertaining ride. Continue reading →
Steven Spielberg is a director/producer clothed in immense power. He has carte blanche to do whatever his heart desires in Hollywood after years of pleasing audiences. Sometimes his whims and faults get the better of him – as lame attempts to resurrect past haunts (Indiana Jones and the Kingdom of the Crystal Skull) or return to childhood wonder (The Adventures of Tin Tin) often are rendered mute in artifice and strained sentiment. Yet, when left to his own devices in pursuit of his most sincere ambitions, once in a blue moon, Spielberg is able to pull a rabbit out of his magician’s hat. He did it with Schindler’s List. And he has done it again here with Lincoln – perhaps the crowning achievement of his career and the greatest American film since Paul Thomas Anderson’s There Will Be Blood.
Not surprisingly, like There Will Be Blood, Lincoln is anchored by an impossibly great performance by Daniel Day Lewis. If Lincoln’s political successes (among them the passing of the 13th amendment abolishing slavery, a process brought to painstaking and lively light here in the film) teach us anything, it’s that no matter how much power one is clothed in…nobody can do it alone. There must be compromise, teamwork, and appeals to individual sentiments to achieve the greater good. Continue reading →
In Toni Morrison’s A Mercy we see life through the eyes of people physically and emotionally abandoned, orphans with names like Lina, Florens, Jacob, Rebekkah and Sorrow. The storm is the clashing of cultures in pre-Revolutionary War America where the laws are not yet defined, everyone and everything is for sale, and all are threatened with annihilation by God, the environment or each other. Europeans looking for a promised land of unending wealth or escape, Natives living through an apocalypse, indentured servants and slaves from Europe and Africa bound to barbaric institutions are all brought to a slow, simmering boil in the torrid fog rolling in over Mary-Land and Virginia…colonies ironically named for women but that are unmerciful and cruel to those females who come to their shores. Continue reading →