Sterlin Harjo's Mekko is a fascinating albeit flawed film that combines Native American Mysticism and gritty realism to tell its tale of a man who is seeking redemption from a rough life and ultimately looking for hope. Mekko has just got out of prison after serving 19 years. He has no home or family to speak of, so he moves to Tulsa where he is immediately turned away by is cousin, who wants nothing to do with him either. With nowhere to go, Mekko ends up sleeping on the streets of Tulsa, befriending other homeless men. While the overall nature of the homeless community is jovial, Mekko begins to run into conflict with Bill, an evil man in the homeless community who shows little empathy or remorse, beating anyone who gets inbetween him and what he wants. Harkening back to the stories of his grandmother, Mekko becomes convinced that Bill is an evil spirit, "a witch", which Meeko must elimate from the community. A film that gives a rather intricate portrait into a community of homeless individuals in Tulsa, Oklahoma, Mekko is a film thats best attribute is the intricate and complex portrait of Mekko it provides. While there are man films that capture the gritty realism of life on the streets, Mekko is a film that paints a convincing and effective portrait of a man in Mekko who has nothing left to live for. Nuanced and subtle in approach, nothing is given to the viewer in Mekko, though it becomes apparent as the film progresses that he is haunted by his past and desperate for a reason or purpose. The mysticism aspect of the film feels almost out of place at first, but as the film progresses it becomes clear that Mekko is a man whose been beaten down by a hard life, as Sterlin Harjo uses Native American mysticism as a way of capturing his inner turmoil. Bill is a symbolic representation of Mekko's inner demons, a character who feels somewhat forced into the story, but ultimately becomes an important part in this redemption tale. My favorite aspect of the film is how it is able to capture the inner psyche of an older homeless man in Mekko, who simply views that his life has past him by, with it being far too late to make change, capturing the deep loss of hope he has. Ultimately Mekko is able to salvage his willingness to fight, returning to his childhood home where he is able to find redemption and hope. Despite some pacing issues and unclear intentions early on, Sterlin Harjo's Mekko is a solid indie feature that taps into the psyche of an old broken down man who is seeking some form of redemption while ultimately looking for hope.
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Dennis Hauck's Too Late begins in the Hollywood Hills, where a young woman, Dorothy, is murdered minutes before Private investigator Mel Sampson arrives the scene. A stripper who accidentally stumbled into the shady practices of her boss, Dorthy has recruited Mel Sampson, who attempted but ultimately failed to keep her safe. From the very beginning of Too Late it's apparent that Dennis Hauck isn't going to let the film's low budget affect Too Late's ambitious style and structure. Too Late is a film that feels like a dark love letter to Los Angeles, a neo-noir of sorts, that combines extravagant tracking shots, long takes and a few carefully timed zoom-in and zoom-outs to create an immersive experience, at times feeling very reminiscent of De Palma's thrillers. While the style of the film is impressive, given the budget restraints, Too Late's most fascinating aspect is its structure, which is told completely out of a sequence, jumping across the timeline of this dark tale between a low-life private detective and the woman he failed to save. While feeling a little gimmicky at first, this non-linear structure quickly becomes endearing and essentially, as Hauck's screenplay forces the viewer to pay attention to small details, something that is essentially to effectively piece the story together. John Hawkes, as always, gives a great performance as Mel Sampson, an alcoholic and loner, who clearly doesn't have his life together. This non-linear structure serves his character's arch extremely well, dropping a relatively big surprise towards the end of the film that works extremely well thanks to the shattered narrative. While the structure and style of the film are impressive, I'd be re missed if I didn't mention how hit-and-miss the screenplay of Too Late can be at times, with some fantastic lines and clever quips but also some that feel forced, like the rampant misogyny running throughout the narrative that's trying too hard, in an attempt to give the film a hard-boiled noir sensibility. With a structure just as shattered and complex as Mel Sampson's life, Dennis Hauck's Too Late is a clever and engaging first feature that is a solid calling card for the first-time filmmaker. Rodney Ascher's The Nightmare is a documentary film exploring the phenomenon know as Sleep Paralysis that follows eight different people who share their experiences. These individuals witness dream episodes where they are paralyzed in their beds, haunted by disturbing images and terrifying sounds. Even stranger, even though these eight different people have absolutely no connection to each other, they all share the same visions in seeing these "shadow men", creepy figures who stand over them in their visions, who have also been depicted around the world by various cultures, showing up in artwork and other historical texts. The quality of The Nightmare's dream sequences are what elevates the film, amplifying the terror and giving true gravitas to what the horror these individuals are experiencing feels like. Featuring extremely well photographed sequences that use expressive lighting to set the mood, Ascher effectively expresses what these people are going through, giving the viewer some semblance of that sense of dread and terror that these individuals can't escape from. Even more terrifying is simply how little modern science can explain the phenomenon of Sleep Paralysis, with many of these individuals fed up with their doctors or psychologists lack of explanation. In sharing time with these individuals, The Nightmare captures how each one of them attempts to justify what is happening, some looking into the supernatural realm for answers while others turn to religion. Perhaps what makes this documentary/horror film so creepy is the simple concept that there is no scientific answer to what exactly is going on with Sleep Paralysis, a phenomenon that is still torturing many people around the world to this day. Amir Bar-Lev's Happy Valley is an in-depth look at the Jerry Sandusky Sex Scandal that rocked Penn State, being pensive and fair in its assessment of a complicated situation. The film introduces the town of State College, where Penn State University sits, diving into the culture of the school and town where football is basically a religion, and Joe Paterno, Penn State's long-time iconic head coach, is essentially god. Chronicling the firestorm of allegation, sensationalism by the media, and the tragic nature of the sexual abuse that ran rampant under Penn State's leadership, Happy Valley provides a thought-provoking look at the current state of America. While some critics have found Amir Bar-Lev's film apologetic about Joe Paterno's plight, I would wholeheartedly disagree, as Happy Valley's greatest attribute is its ability to maintain neutrality, examining both sides of the issue. Happy Valley isn't so much an indictment of a town or a school, but an indictment of America in general, where media sensationalism and public opinion creates a shaming spectacle almost as a way to process and move on as a culture. It is what we do as a way to feel better about ourselves instead of actually inflicting change, rushing to judgment as a way of feeling better about our own lives. Happy Valley shows how the media pressure inflicts change before enough time has passed to actually give a fair and intricate look into what happened. There is no question that Joe Paterno could and should have done more to push Sandusky's heinous act through to the administration, something he would certainly admit himself, but what is kinda amazing is how the media and public opinion don't even attempt to glean any type of learning from Paterno's plight. Recognizing evil isn't clear-cut as people want to make it out to be, and when good people are confronted with evil they subconsciously want to avoid it or simply not recognize it entirely. Paterno passing it off to the school was his way of doing that, and while there is no question he could have done more, it's asinine to label him responsible for the crimes that were committed. In vilifying individuals we simply make them beyond human, why? To create a narrative that makes us feel better about our own skeletons, a terrifying aspect of what our culture has become in the internet age. Amir Bar-Lev's Happy Valley is an impressive accomplishment that speaks not only to a community attempting to deal with guilt, responsibility, and identity, but to the larger aspect of what American culture and media have become. After the tragic death of their son via car crash, Paul and Anne move from the city to the quiet New England countryside to attempt to start a new life for themselves. Soon after their arrival, the couple begins to notice strange sounds and an unbearable heat coming from the basement. Ted Geoghegan's We Are Still Here is the latest film about an unexpected couple stumbling across an ancient evil which works far more than it doesn't thanks to strong direction from Ted Geoghegan. We Are Still Here has an old-school feel to the film, injecting a ton of atmosphere and tension before any type of actual violence or aggression takes place. Using over-exposed lighting, eerie sound design, and atypical camera angles that have a voyeuristic quality, We Are Still Here creates a threat of menace before it's even seen, creating the presence of an evil force that is tangible. The plotting of the film is almost too aggressive, moving around so fast that it becomes a little convoluted as to what exactly is going on in the house. Between their dead son, the creepy neighbors, and this ominous evil presence, We Are Still is a little hard to follow, though it never becomes beyond comprehension. Larry Fessenden as a hippie and friend of the couple who arrives to help perform a seance pretty much steals the film, bringing an off-kilter energy to the film that balances its overwhelming sense of dread. Heavy on atmosphere, We Are Still Here is sure to appease most old-school horror fans, though when the violence does come it's quite excessive in a way that should appease gore-hounds as well, using practical blood effects instead of the fake looking CGI effects that seem to run rampant today. While far from perfect, We Are Still Here is well photographed and creative, subverting the basic tropes of the genre enough to make it compelling from start to finish. Malcolm, a geek with a minor obsession for 90s hip-hop, lives in The Bottoms, a tough neighborhood in Inglewood, CA filled with gang-bangers, drug-dealers, and lots of hopelessness. Malcolm is a good student who doesn't seem to quite fit in among his peers, many of which have already accepted their place in the tough neighborhood. Juggling his college applications, academic interviews, and the SATs, Malcolm finds his world flipped upside down when he accidentally comes into possession of a large quantity of drugs, sending him and his two best friends on an epic adventure. Rick Famuyiwa's Dope is a fast-paced, highly energized film that uses humor to create a satirical portrait of the difficulties of those individuals from poverty-stricken urban areas who simply want to make something for themselves. Dope is a wild ride full of twists and turns that is highly unpredictable, being a film that reminded me of Doug Liman's highly underrated Go, besides the lack of multiple perspectives and Dope's social commentary aspirations. Dope certainly captures the trouble facing inner city youths, the difficulties and barriers they face in escaping from their impoverished reality, but what I personally found the most compelling and interesting about Dope is its message of being independent and never settling for what is expected of you. Malcolm is a character who essentially shatters racial and class stereotypes, being a geek who gets good grades, loves hip hop, and comes from one of the roughest neighborhoods in Los Angeles. He defies these stereotypes by the end of the film, being proud of his individuality and self worth, and in doing so captures Dope's most interesting aspect- the power and dangerous nature of stereotypes and how it breeds prejudices. Part teenage comedy, part coming of age story, part social commentary, Dope doesn't always succeed at its wide array of intentions, but the film's breakneck speed and important message make it a film worth praising. Jill Bauer & Ronna Gradus' Hot Girls Wanted attempts to offer an in-depth look at the amateur porn industry, but unfortunately the film's expose is rather vapid and one-sided in approach. This is a documentary that attempts to capture how the internet has created a massive boom in Amateur porn, where young woman are drawn to the sex trade to make a quick buck. Hot Girls Wanted seems to want to present an even, and fair portrait of the industry but it never manages to pull it off, instead almost solely focusing on the exploitation of these woman. While there is no doubt that some of these woman are exploited, the film seems to almost ignore the fact that these young woman have made a choice to enter the sex trade, being seduced by the money it offers. For better or worse, we live in a capitalist society, and one of my main problems with this film is it acts like these women have no choice but to stay. They absolutely have a choice, and many of them choose to stay, unwilling to part with the promise of the quick payday. At one point one of the young girls even quips "I don't want to go to college" and yet the film simply glosses over this concept, intent on only focusing on the exploitation of woman while ignoring the fact that many of the woman get into this industry in the first place because they want to make quick and easy money. Another thing that rubbed me the wrong way about this documentary is how it feels almost like a presidential speech, aiming to be profound but not being nearly as intuitive and eye-opening as it thinks it is, bringing nothing new or interesting to the conversation in its expose of the adult industry. Where does the film work best? A cautionary tale, as Hot Girls Wanted should be seen by anyone who is considering going into the sex industry, as it does provide a behind the scenes look as to what would be expected. Jill Bauer & Ronna Gradus' Hot Girls Wanted is a film that is somewhat interesting and insightful thanks to the subject matter alone, but unfortunately the film never seems willing to offer a truly robust portrait of amateur pornography. After walking in on his wife in bed with another man, Robbie leaves their home immediately, taking refuge in the countryside at his Aunt's home. His Aunt runs a home for pregnant teenagers, many of which don't have the resources or support system to get through this tough time in their life. Helping out around the house, Robbie inadvertently becomes the object of a few of the girls affection, being the only man in the house. Nate Silver's Uncertain Terms is a rich and layered film about love and longing that takes a pensive look at a group of characters who are in search of something, whether it be support, affection, or simply the feeling of being loved. So many films these days feel so inorganic when it comes to emotion, with characters whose emotions are dictated by the narrative, but with Uncertain Terms, everything feels genuinely honest and 100% organic. With Uncertain Terms, Nate Silver has created a film that beautifully captures the unstructured, uncertain quality of emotion, with all these characters who are simply looking for something that is quite frankly hard to quantify. The major crux of the story is centered around the relationship that unfolds between 30-year-old Robbie, and 18-year-old Nina, a young woman who is struggling with relationship problems of her own. The more they get to know each other, the more these character's emotions become "complicated", with friendship slowly evolving into possibly something more. Uncertain Terms captures the attachment and longing these characters feel when dealing with their own personal relationship issues, with the younger Nina attaching herself to Robbie. Uncertainty and fear breeds these feelings of attraction, which Robbie himself soon begins to share for Nina. Uncertain Terms captures how these feelings of inadequacy and need to feel attachment affect people of all ages almost as if Nate Silver is commenting on the inherent selfishness of attraction. Nate Silver's ability to take such a simple story and create such a layered and intricate film is truly impressive, with his latest film Uncertain Terms being another reminder of simply how great of a filmmaker Nate Silver has become. Based on the World War I memoir by Vera Brittain, James Kents' Testament of Youth is a powerful tale of love, war, loss, and remembrance. The film begins before the war, with Vera desperate to attend Oxford, unwilling to succumb to the standard expectations of her father that she find a husband. Her dreams of attending Oxford and becoming a writer are encouraged by her loving brother and his friends, particularly Roland, an aspiring writer himself. The two share an instant connection but soon enough Vera's dreams of Oxford with Roland become a distant memory when widespread war breaks out over Europe. Being told entirely from the perspective of a woman, Testament of Youth is a unique and powerful film about conflict, capturing the inherent sense of patriotism, duty, and honor that sends so many men to their deaths. Through the story of Vera, Michael, and Roland, the film brilliantly captures how war destroys or at least halts much of societies progress, with these bright and talented young men and woman effectively putting their lives and aspirations on hold to become a soldier or nurse for the sake of the greater good. Being based on an memoir, the film feels incredibly authentic and intimate, capturing the psychological effect of those both serving on the front lines and those at home. We see how Roland begins to become hardened by the violence and death he has experienced, a deterioration of empathy that comes under such circumstances. For those not directly in the fight, Testament of Youth captures the helplessness of those who simply must wait, hoping their loved ones make it out alive. With Vera suffering tremendous loss, Testament of Youth's most important aspect might be it's ability to speak to the importance of remembrance and the need to find the strength to persevere. Featuring a fantastic lead performance by Alicia Vikhander, Testament of Youth is a powerful film about war that attempts to make sense of this dark time in history, speaking to the incredible loss and overall futility of conflict. Doug Ellin's Entourage picks up weeks after the events of the series, which finds Vincent attempting to get back to work with a major studio adaptation of Jekyll & Hyde. With Ari Gold being the new studio head, it's essentially a done-deal, but when Vincent tells Ari he wants to make his directorial debut with the film, it makes both Ari and the studio investors more than a bit nervous. The film version of the popular television series is exactly what you'd expect, a fun, slight, adventure of bros, Eric, Turtle, Johnny, and Vincent that feels an awful lot like a long episode of the series. From the on-again-off-again romance between Sloan and Eric, Ari's typical explosive and crude rants, typical womanizing, and bro-ing out, this film version of Entourage certainly feels a bit unnecessary, but I'd be lying if I didn't say I had a good time. Overloaded with cameos, Entourage falls victim to doing a little too much of the same thing at times, but fortunately thanks to a rather entertaining supporting performance by Haley Joel Osment, and Piven's typical fiery Ari Gold, Entourage is entertaining though certainly slight, much like the show itself. In the end, if you liked the show there is no reason you shouldn't like the film version, giving fans another opportunity to spend a few hours with this brotastic group of friends. |
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June 2023
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