Tag Archive: Drama


ManchesterByTheSea1

[Author’s Note: This post contains significant spoilers for Kenneth Lonergan’s 2016 film, Manchester by the Sea. If you don’t want some of the film’s major reveals spoiled, you might want to avoid reading this until you’ve seen the film.]

I don’t  believe in God, but I do believe in Hell. Hell doesn’t have to be Satan inflicting infinite pain for eternity. Hell can be something as simple as you and everyone you love suffering… suffering and not having any answers for why you hurt or any solutions to make the misery go away. Manchester by the Sea‘s Lee Chandler isn’t just trapped in his own private Hell. His self-immolation is burning everyone around him.

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Persona1

Throughout the 1960s, Ingmar Bergman would tackle the question “How are we able to live?”

That’s not a question you ask when you’re happy with the state of the world. It’s a question you ask when you have thought seriously about the history and perpetuation of suffering and oppression. It’s that inescapable, nagging thought that humanity’s power structures, humanity’s base drives, and humanity’s future is fundamentally evil and you’re terrified that these cycles of destruction, violence, and wanton cruelty will never disappear.

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We meet Laurie who wakes in G.R. dorm

On HBO’s The Leftovers, 2% of the world’s population vanished without a trace. It was not the Christian “Rapture.” There was no rhyme or reason to who was taken. Rich, poor, black, white, Christian, atheist, good, evil, gay, straight. They were just gone. The only thing that remained behind of them was the physical and emotional emptiness of those who were spared.

The show uses this “Departure” as a tool to examine depression.

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Whiplash1

I started dating my first real girlfriend in the final weeks of my senior year of high school. Before that, I’d “dated” girls that I called “girlfriend” and they called me “boyfriend,” but that was middle school and considering the fact that we never kissed or went on dates or called each other on the phone or really did much of anything besides hold hands as we walked around the school, I’m pretty sure that doesn’t really count. I digress. This girl and I dated for a couple months. To this day, I’m not sure I ever had a more natural romantic relationship with somebody. We were both too young for the guarded cynicism of adult relationships. We were simply ourselves, and we were happy. Emphasis on “were.”

It was all well and good until this girl came back from a Christian bible summer camp. I’m a “teapot agnostic” now, but I was a devout Christian at the time. I read the Bible. I went to a weekly Bible study. My faith was integral to who I was. But this girl made me look like a militant atheist. She was a hardcore Southern Baptist. She exclusively wore ankle-length denim skirts to school. Her parents wouldn’t let her listen to the Beatles. My spirituality at the time was imbued with a degree of (and I hate to use this word now cause it’s so condescending but that’s how I was at the time) tolerance. I didn’t think gay people were sinners. I respected the rights of other folks to have different religious beliefs than me. This girl did not.

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Leviathan1

Nature is cruel and horrific.Yes, it can be beautiful. It only takes a trip to a major natural landmark to establish that, but the entire premise of “life” is predicated on barbarism: murder to survive, starvation for those that don’t, ultimate extermination of anything that can’t assert its dominance at the top of the food chain. And a fair existential question is: If your chances in life of experiencing consistent suffering are so high — much higher than living a life of ease and pleasure — then why should we keep trying at this experiment in life at all? Most people — myself include — would respond with: family, friendship, romance. Those heights transcend the inherent tragedy of life, but in the bleak Russian drama Leviathan, it’s not easy to keep those escapes in mind when an avalanche of tragedy takes hold.

The story of Job as I imagine Michael Haneke might conceive it, Leviathan equates the oppressive cruelty of nature and life with existence under the post-Soviet Russian state and unlike Job, a benevolent God doesn’t exist at the end of the tunnel of your trials. Kolya (Aleksey Serebryakov), a hot-headed mechanic in a small, coastal town in northern Russia, faces the seizure of his home and garage by his town’s corrupt mayor, Vadim (Roman Madyanov). Although Kolya’s former army buddy and closest friend Dima (Vladimir Vdovichenkov), a handsome lawyer from Moscow, has dirt implicating the mayor in gruesome crimes, Kolya’s temper, the deep unhappiness of his long-suffering wife Lilya (Elena Lyadova), and the oppressive power of the Russian state threaten to grind Kolya away until there’s nothing left but his bones… not unlike the titular skeleton of the “leviathan” whale on the town’s coast.

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Best of Year 4

Now that I’ve gotten my unplanned mini-essay out of the way on what the last four years of this blog have meant, I want to do the thing that I always do on the anniversary of my blog (though I’m almost a week late this year) which is lay out my superlatives for the whole year. This whole spiel was more meaningful when I watched more films each year, but it’s okay. I watched a lot of really great movies in the last 365 days, and I’m looking forward to sharing my favorites with you all. As usual for my most recent superlative lists, I’ll link to a review/podcast if that exists. Otherwise, I’ll include a short spiel about why that piece made my list. Anyways, let’s head to the races.

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Films Reviewed: 501-550

And with my review of Blue, I’ve completed another 50 film circuit for this blog. This time, it took me way longer than it ever has before but that’s cause I got my first steady, paid professional writing gig, and there have been multiple weeks where I’ve essentially worked two full-time jobs at once. It can be exhausting but I’m also so happy to be getting paid a decent wage for my work. It feels really great. I’ve missed my goal (again) of reviewing all of the “A” and “A+” films that I watched for this 50 film block but before I put up my 50 film superlatives tonight, I wanted to give everybody a low down on the scores that I gave to each film that I watched. And, then, of course, stay tuned for my best of lists. (As always, links will be provided for the films I actually reviewed or a link to the podcast where we discussed said film if there’s a podcast conversation but no review)

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Blue1

Life is as much defined by loss as it is by growth and experience. We lose relationships, our youth, our hair, and, if we get old enough, our memories which are the very nature of our existence begin to fade. Learning to deal with these losses is a defining element of the life experience, and the most successful lives are charted by facing these troubles and persevering. But there are the losses that we can move past: losing a girlfriend, the death of an elderly parent, getting fired from a job; and then there are the losses that create black holes at the center of our very being. The emptiness consumes our entirety and we are broken possibly for the rest of our lives. No film has explored that type of loss with such raw precision as 1993’s Blue from Polish director Krzysztof Kieslowski as part of his French “Three Colors” trilogy.

There are few fears more intense than the death of a child. Even for the childless, the safety and well-being of children is paramount, and when children die of cancer or in school shootings or at the hands of a serial predator, it sparks our deepest existential fears. If children, particularly those too young to yet be corrupted by the world, can suffer the pains and cruelties of this world, then the idea of a benign and caring creator seems laughably unlikely. And if you lose both your child and your husband at once, what reason could you have for continuing in a world intent on taking those things which matter above all else? By the end of Blue, it’s impossible to avoid that question ever again.

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Her1

One of the great myths of life is that love is something magical, that it exists beyond our electrochemical human functions, that it is pre-ordained and written in the stars. It isn’t. We love because of chemical reactions in our body, socialization, and the pool of people we have the geographic (or, in our modern time, digital) capability to love. But, just because something is natural doesn’t mean it can’t be beautiful and just because you can love others doesn’t mean that your love for a specific individual is lesser. Love would be less messy and less painful if we could recognize that we will never truly be one with another human being and simply celebrated the moments we can share with others who value our presence and affection. Perhaps more efficiently than any film since Manhattan, Spike Jonze‘s Her cuts straight to the core of romantic love, wrapping it all in a sci-fi world that seems all too real now.

It’s easy to talk about love in a logical way. It’s easy to recognize the evolutionary functions it no longer needs to serve. But living life in a way that maximizes your romantic pleasure and minimizes yours and (just as importantly) others romantic pain isn’t as easy as philosophical discussions. To err is human and we want to possess our partners. We want to be the missing piece of our partner’s existence and for them to be the same for us, but no one can meet those expectations and fantasies. And romance wanes and dissolves when the person we love isn’t the person we fell in love with and the cycle of loneliness and misery begins anew. So, it’s no wonder it takes a machine to solve this most human of dilemmas.

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Nightcrawler1

(A quick aside before I begin my review. It’s been a while since I’ve done one of these. My Funny Games review from August to be exact. It’s been a busy Fall for me. I finally have a final draft version of my long gestating film noir screenplay that’s consumed me for much of this semester. I also got hired to be the interim managing editor for a month for the music journalism site that I write for on occasion, and I also more recently got hired to do freelance reviews by GameSpot, one of the internet’s biggest video game journalism websites. That said, it’s my goal to do these reviews for my “A” and “A+” films with more consistency cause I like to keep this particular writing muscle fresh.)

Civil libertarians (that are not the same thing as the Rand-ian variety) will tell you that if there’s a societal demand and there isn’t a net negative utility to the supply of this demand, then there should be no governmental impediment to its delivery. Generally, I’m inclined to agree with that world view. But, as with all axiomatic principles, that involves accepting some rather ugly consequences of that philosophy. We want to get high, but addiction flourishes. We want freedom of artistic expression, but crude and vapid reality television rules the airways. We want unfiltered access to “news” and the stunning Nightcrawler examines how low we’ll sink to get it.

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