RoboCop (1987)

(L-R) Nancy Allen as as Officer Ann Lewis and Peter Weller as Murphy in MGM/Orion Pictures’ ROBOCOP.

Metro police officer Frank Fredrickson identifies criminal mastermind, Clarence Boddicker (Kurtwood Smith), who orchestrated the killings of three other officers.  In response, the police force in Detroit is being privatized by conglomerate Omni Consumer Products.  The police union reacts, threatening a strike.

OCP wants to commoditize law enforcement purely so they can gentrify urban areas.  Of course, they will assume the commercial real estate development as well.  Sound familiar?

This is the backdrop of Paul Verhoeven’s shrewd satire disguised as action/sci-fi.

“209 is currently programmed for urban pacification, but that is only the beginning,” says OCP President Dick Jones (Ronny Cox).

ED-209, a heavily-armed robot resembling a cross between a minotaur and a helicopter, is a visual gag of comical genius from effects supervisor Rob Bottin, bookended by a cleverly poetic reference to Theseus with a staircase standing in for the labyrinth.  Filmed in stop-motion, the sentry’s hulking mass moves clumsily, like a Harryhausen miniature in CLASH OF THE TITANS.  ED is unveiled in one of those corporate demos that takes place in a sprawling, ornate boardroom larger than you’ll ever see in any Fortune 500 company.  There’s also an entire wall of monitors directly behind a podium, oddly placed perpendicular to the backs of half of the Board.

Granted, neither the podium nor the monitors serve any explicit purpose in the presentation, except as aesthetic embodiments of corporate excess—and a stretch of a setup for the film’s denouement.  This is Verhoeven’s reductive genius at work, part of a weapons demonstration that: a. Should never take place in any office setting, ever.  b. Does a better job of satirizing presentations gone awry than would a Q&A with PowerPoint slides.

“You call this a GLITCH?” barks the Chairman of the Board (Dan O’Herlihy turning a mean streak completely opposite his jolly alien Grigg from THE LAST STARFIGHTER), right before hearing out Vice President Bob Morton’s (Miguel Ferrer) proposal to temper the program with a cybernetic mind—ideally recruited from the best officers Detroit PD has to offer.

Enter Alex Murphy (Peter Weller).  Assigned to Metro PD South precinct, Murphy is paired with Officer Ann Lewis (De Palma favorite Nancy Allen; DRESSED TO KILL, BLOW OUT).  Eventually, Murphy and Lewis are cornered in a steel mill (the ideal location to dispose of bodies, according to Apple’s Siri™).  To Verhoeven’s credit, Lewis never falls for RoboCop.  She’s her own woman and an equal partner aligned with Murphy’s relentless pursuit of justice.

Riddled by bullets from Boddicker’s gang, Murphy is airlifted to a hospital where OCP reconstructs him into a cyborg.  In one draft of the story, Murphy was to retain some of his flesh but Verhoeven instead chose, wisely, to conceal his humanity behind a cowl, like Batman.  Only Peter Weller’s prettyboy lips remain, droning mindlessly in monotone until the climactic return to the gangsters’ steel mill hideout where the reveal of his humanity is so meticulously and deliberately mirrored on Yul Brynner’s striking gaze as the Gunslinger in WESTWORLD.

Weller reportedly studied ballet to inform the way RoboCop moved—unlike C3PO, he emulated the graceful and fluid movements of, rather appropriately, an industrial robot from an automotive plant.  While many sequences in the film are too tightly shot to appreciate Weller’s physicality, you can see these influences in the wider-angle cinematography of Boddicker’s takedown at a cocaine distribution center run by the local drug lord, Sal.  Rather than the conventional narcotics slime-ball, Sal is played by the venerable character actor Lee de Broux, whose credits span television (Mannix, Baretta) and film (CHINATOWN).  He resembles Robert Duvall, as if Tom Hagen had left Staten Island to branch into his own criminal enterprise.

Writer Edward Neumeier and Director of Photogaphy Jost Vacano worked together on Verhoeven’s Riefenstahl-meets-Republicans pastiche, STARSHIP TROOPERS.  The result: A scathing social commentary loaded with layers of metaphor not immediately recognizable to my twelve-year old self, I’ve been digesting thirty years hence.

“Madam, you have suffered an emotional shock.  I will notify a rape crisis center,” says RoboCop to a sexual assault victim he rescued with his “Big Fuckin’ Gun” (A Beretta M93R dressed to look like a coffin).  Aside from the obvious poetry of RoboCop’s shiny metal ass facing the camera under a smug OCP Billboard touting its Delta City project (“The future has a silver lining”), the deeper subtext here is a commentary on privatization.  Displaying no emotion or concern, RoboCop’s utterance carries the blithe tone of a faceless customer service representative’s apology for “inconveniencing” one of Corporation XYZ’s millions of customers.

As with Bob Gale and Bob Zemeckis’ BACK TO THE FUTURE, Verhoeven’s sociopolitical introspection is everywhere, especially in the Reagan-era ads for everything from brand-name artificial hearts (“By Jensen! Yamaha! You pick the heart!”) to belligerently large sedans with horrible gas mileage (the 6000 SUX, or, as my wife points out, presciently one letter away from “SUV”), and 30 second soundbite-driven news.  Executives live in high-tech mansions while homeless men wander the streets and there’s seemingly no middle ground.  Incidentally, the heedlessness and hedonism of the upper class would have its comeuppance six months after ROBOCOP’s release, culminating in Black Monday—the largest single-day decline in the stock market since the Crash of 1929.  Nonetheless, the catastrophe trickled down to us all.

Basil Poledouris’ score punctuates this cynical burlesque with clank and bombast reminiscent of his Anvil of Crom from CONAN: THE BARBARIAN.  Like Milius’ and Howard’s titular hero, RoboCop has a code of honor, in the form of three Prime Directives:  1. Serve the public trust.  2. Protect the innocent.  3. Uphold the law.  Murphy becomes the property of OCP brainwashed by a set of rules that serve his corporate masters. Not himself.  In a theme common to Verhoeven’s fictions (TOTAL RECALL, STARSHIP TROOPERS), the protagonist wrests himself away from external ideology in deference to his own innate understanding of right and wrong.

Theseus conquers the minotaur.


ROBOCOP is currently in limited re-release for its thirtieth anniversary.

IT

© 2017 WARNER BROS. ENTERTAINMENT INC. AND RATPAC-DUNE ENTERTAINMENT LLC. ALL RIGHTS RESERVED

(L-R) JAEDEN LIEBERHER as Bill Denbrough, JACK DYLAN GRAZER as Eddie Kaspbrak, FINN WOLFHARD as Richie Tozier, JEREMY RAY TAYLOR as Ben Hanscom, SOPHIA LILLIS as Beverly Marsh, WYATT OLEFF as Stanley Uris and CHOSEN JACOBS as Mike Hanlon in New Line Cinema’s IT, a Warner Bros. Pictures release.

According to the CDC, bullying and child abuse are the leading causes of childhood suicide resulting in roughly 4,400 deaths per year.  While these themes have recurred in the periphery of many coming-of-age films, so rarely has cinema tried to deal with it head on without sensationalizing the matter.

Generally, the horror genre seems to have been a Christian apologetics ministry to warn against the evils of premarital sex—with rare exception.  In Clive Barker’s HELLRAISER, a young girl’s father murders her occult-obsessed uncle but proves himself to be an incestuous lech.  In M. Night Shyamalan’s film, THE SIXTH SENSE, a subplot involves Munchausen-by-Proxy.  A young girl played by Mischa Barton is being poisoned by her mother.  She tapes the incidents and, after her death, reveals the tape to Cole (Haley Joel Osment).  The mother is caught just as she’s beginning to poison the girl’s younger sister.

The first cinematic adaptation of Stephen King’s IT (previously incarnated as a rather incomprehensible mini-series) personifies evil in the form of Pennywise the Dancing Clown (Bill Skarsgård).  Reputedly a centuries-old eldritch demon, Pennywise (a.k.a. “It”) feeds on the fears of children in the mining town of Derry, Maine.  He’s first encountered when Bill Denbrough’s (Jaeden Lieberher; MIDNIGHT SPECIAL) little brother, Georgie (Jackson Robert Scott), floats a paper boat along the neighborhood street curb.  Georgie loses the boat down the sewer drain, where he discovers the peculiarly cherubic Pennywise who utters ominously, “We all float down here.”

A year later, still guilt-ridden (he let Georgie go out alone) and determined to find his missing brother, Bill and several other bullied/abused children discover the demon lives in an abandoned house—some kind of nexus of evil incidents that have left hundreds of children dead or missing over the past two hundred years.  Each of the children has encountered It in one form or another: Overcompensating for his insecurities with mom jokes, the bespectacled, diminutive Ritchie Tozier (Finn Wolfhard) fears being abducted and forgotten about.  Never without his inhaler, Eddie Kaspbarak (Jack Dylan Grazer) fears asphyxiation.  Stanley Uris (Wyatt Oleff) fears being picked on for his Judaism, though he is also deeply skeptical of religion.  Mike Hanlon, the only minority among the group, fears ostracism from the all-white community but also lives with the memory of watching his family burn to death.

While many of the others have run ins with the school bully, Henry Bowers (Nicholas Hamilton), it is the overweight eccentric bibliophile (and secret NKOTB aficionado) Ben (Jeremy Ray Taylor), for whom Nicholas is a personal, external tormentor.  Likewise, Bev’s (Sophia Lillis) father (Stephen Bogaert) abuses her.  To me, it is inevitable that Bev and Ben would be the most hardened of survivors among this so-called Losers Club.

Directed by Andy Muschietti and written by Chase Palmer, Cary Fukunaga, and Gary Dauberman, IT is replete with “jump scares” and visual/body horror.  However, the film shines when focused on the children’s relationships with one another, their mutual distrust of authority (adults act oblivious, almost purposely, to the disappearances; one draws parallels to child abuse scandals within the Church), and their pact to fight back.  Still, the director and editor don’t allow these scenes to breathe for a beat or two, cutting right back into the headlong violence.

The children’s resolve to defeat Pennywise also bears elements of Campbell’s Hero’s Journey, as do many of King’s stories which revolve around childhood traumas, survival through shared struggle and conquering personal demons—figurative and literal.   But like another monomyth, Tolkien’s Lord of the Rings, the protagonist does not emerge unscathed.

Many critics and viewers took to calling out M. Night Shyamalan’s use of the Final Girl trope in his thriller, SPLIT.   In Shyamalan’s film, the Beast tells her would-be hero that he preys only on the unbroken because they are weak.  This drew serious criticism from psychiatric circles that fear such dramatic mischaracterizations underplay the severity of prolonged damage done by abuse.

The difference in both King’s novel, the miniseries, and presumably the planned sequel to this film, is that twenty-seven years later when the demon returns, the children are each deeply, psychologically scarred in their own ways.  For them, as well as for Bilbo Baggins, the “hero” in Tolkien’s mythology, the battle scars are too many.  Those of us who have endured years of bullying and/or abuse are not “heroes” in any sense.  Our memories are often vacated as the only means by which we cope day to day.  Like the evacuees of Dunkirk, all we did was survive… and that was enough.

Logan Lucky

© Fingerprint Releasing | Bleecker Street


Daniel Craig stars as Joe Bang in Steven Soderbergh’s LOGAN LUCKY, a Fingerprint Releasing and Bleecker Street release. Photo: Claudette Barius / Fingerprint Releasing | Bleecker Street

Rising from the earth like some howling, primeval monster, John Goodman remains a defining cinematic memory of my youth.  The bizarre yet hilarious visual was perfectly emblematic of its source: the Coen brothers’ criminally underrated RAISING ARIZONA, a hapless-Southern-couple-as-well-meaning-kidnappers caper film starring Nicholas Cage and Holly Hunter.  Steven Soderbergh’s LOGAN LUCKY gifts us with similarly quirky and empathetic criminals who inhabit a Southern cultural microcosm so well-meaning and authentic, one is hesitant to leave.

Working stiff Jimmy Logan (Channing Tatum) falls prey to bureaucratic red tape and is suddenly left without any means of income with which to support his beloved daughter, Sadie (Farrah Mackenzie).  Sadie is a cheerful and complex little girl, who loves to help her pa fix his car while she isn’t competing in little miss beauty pageants.  Mellie Logan (Riley Keough), Jimmy’s whip-smart kid sister, provides maternal care for Sadie when she isn’t in the custody of her biological mother, a pristine yet detached Katie Holmes.

The Logan clan’s resident pessimist is Clyde (Adam Driver), is a truck stop watering hole bartender and amputee veteran.  He attributes his questionable luck to the Logan Family Curse, which has dogged their lineage through multiple generations.  After an invigorating knock-down fight with a customer who insults his prosthetic, Clyde is convinced by his brother Jimmy to throw caution into the wind and force lady luck to finally acknowledge them.

Their hare-brained, and almost Rube Goldbergian, scheme hinges on the complex, subterranean maze of cash-delivery tubes beneath the NASCAR race track.  From hastily assembled cardboard mockups to a staged prison riot, their plans fall – no, collapse – into place against all odds and reason.  It seems for this one heist they’ve been blessed with the Reverse Logan Curse, perhaps due to the influence of Joe Bang.  A dandy convict played with contagious glee by Daniel Craig, they enlist Bang for—wait for it—his  explosives expertise.

LOGAN LUCKY is a delight, peppered throughout with clever set-ups and pay-offs beset only by an over-abundance of characters.  Some (like Sebastian Stan’s type-A health nut NASCAR driver, or Katherine Waterston’s kind-hearted mobile clinic physician) appear in scarcely more than a single scene.  We are left wanting to know more about them.  There Soderbergh showcases his expertise; he gives us just enough to satiate, plus just a little extra to keep us salivating.

Dunkirk

Copyright: © 2017 WARNER BROS. ENTERTAINMENT INC. ALL RIGHTS RESERVED

TOM HARDY as Farrier in the Warner Bros. Pictures action thriller “DUNKIRK,” a Warner Bros. Pictures release. Photo Credit: Melinda Sue Gordon

There’s a scene in Christopher Nolan’s INTERSTELLAR where a distant wave on an exoplanet crests hundreds of feet above sea level.  The tension of this moment builds and builds until the crewed shuttle makes their narrow escape.   DUNKIRK begins at that crest, followed by another, and another, and another, each more terrifying than the last.  It plays like a visual translation of Holst’s “Mars: The Bringer of War”.

Brusque in my dismissals of Nolan’s past work, I see a director evolving.  With MEMENTO (2000) I had yet to be convinced that the backward chronology was more than a gimmick to conceal an otherwise mundane narrative.  In THE DARK KNIGHT (2008) and INCEPTION (2010), Nolan’s successes gave way to excesses of action and incoherent editing to further conceal an apparent distaste for cogent narratives.  Credit where credit is due, the man knew how to shoot a scene.  He just didn’t know how to connect them together properly.

Two films, THE PRESTIGE (2006) and INTERSTELLAR (2014), are exceptions in his oeuvre.  In the former, Nolan created a compelling, Dickensian noir about two rival illusionists, each grasping at immortality–metaphorical and literal.  In the latter, Nolan scored a massive international success with a drama of familial bonds disguised as science fiction paradox.

The same man who spun his grandiose ideas out of control just four years earlier told a relatable yet philosophical father-daughter story about the cosmic permanence of love.  I could even forgive the soppy dialogues, irrational female scientist, and Matt Damon, as my own beloved Ophelia¹ sat, rapt, for the last twenty-five minutes as Cooper (Matthew McConaughey) conquered space and time to return to his daughter, Murph (Mackenzie Foy).

Enter Nolan’s tenth feature.  In 1940 at the Battle of Dunkirk, 68,000 British and 48,000 French lives were lost.  Another 330,000 survived because of a plan enabled by the Wehrmacht’s so-called Halt Order, giving Allied forces three days to stage Operation Dynamo—a massive evacuation.

Reportedly, Nolan and his wife, producer Emma Thomas, started writing the story after traversing the English channel by boat, learning about the historic defeat on the shores of France.  He spent the last twenty-five years polishing and paring down that script to just seventy-five pages of slug lines and sparse, almost nonexistent dialogue.

DUNKIRK, shot in a combination of IMAX and Panavision 65mm, dramatizes the battle in a triptych on land, sea, and in the air.  The film opens on five soldiers, including Tommy (Fionn Whitehead), barely surviving a shelling in the city.  Their commanding officer dead, they scramble aimlessly across the Maginot line until one reaches the shore where thousands of troops are being evacuated on destroyers and medical frigates, many carried out on stretchers.

From here, the three perspectives are intercut:  1. Tommy attempts to board a doomed frigate.  2. Mr. Dawson (Mark Rylance) and his son join other affluent civilians on yachts, enroute to aid in the massive evacuation.  3. RAF Pilot Farrier³ (Tom Hardy) and his wingmen give air cover to the evacuees.

If Hoyte van Hoytema’s visual story interprets Holst, apropos that Hans Zimmer’s score steers clear of the kind of cacophonous bombast that Spielberg might commission from John Williams.  Instead, his amorphous swell rises sparingly, precisely when it must.  The effect is like the atonal, orchestral crescendos in The Beatles “A Day in the Life”.  Then, he rests us gently back down, like Farrier’s plane coming ashore, in the arms of a new derivative of Elgar’s “Nimrod” from the Enigma Variations.

And it’s just like that.  Amidst the crests and troughs of the battle sequences, the images tell us of the Dawson’s war-hardened shrewdness and personal tragedies; of Farrier’s unflinching trust in his wingmen as he takes down five², perhaps six, Messerschmitt Me-109’s in his Supermarine Spitfire with its roaring, Rolls Royce Merlin engine; and Tommy’s epiphany as an elderly man hands him a blanket.  His shipmate, Alex (Harry Styles) remarks snidely, “All we did was survive.”

The man, a veteran likely blinded during the Great War, replies, “That’s enough.”

There’ll be endless editorials about the 70mm film shoots, in-camera/practical fx, the live extras, the real planes and ships, but DUNKIRK’s triumph owes to the simplicity of the finished product, not the complexity of the technical inputs.  That masterful distillation is the piece that Nolan has finally brought under his command.

Footnote: The AMC IMAX where they screened the film made an absolute mess of the sound, which I expected.  I suspect that the 70mm presentation I’m seeing this weekend at LOOK Cinemas Prestonwood will be much more tightly managed.


  1. Ophelia is a dog.  She loves watching science fiction with daddy.
  2. This is perhaps based on the feat of 605th RAF Squadron Leader Archibald “Archie” McKellar, who shot down five Bf-109’s in a day during the Battle of Britain.
  3. The British surname Farrier is of French origin vis-à-vis the Norman conquest of 1066.  While it means “blacksmith”, its root is the French word for iron.  Either an “iron-haired” (silver-haired) ancestor or, more likely in this case, iron will.

War For The Planet Of The Apes

© 2017 Twentieth Century Fox Film Corporation

WAR FOR THE PLANET OF THE APES.  Twentieth Century Fox-TM & © 2017 Twentieth Century Fox Film Corporation. All Rights Reserved.

“With gorilla gone, will there be hope for man?”

In Ishmael, a novel by Daniel Quinn, a dialogue takes place between an ape and human who hash out the self-destructive history of intensive agriculture.  The gorilla, named Ishmael, questions the uniquely human, mythological conceit that we are the apex of evolutionary biology.

This is the bookend that seems to drive Matt Reeves’ final chapter in the current PLANET OF THE APES trilogy.  In the rebooted 2011 and 2014 installments of the franchise,  humans are infected by a virus engineered originally as a drug treatment to combat Alzheimer’s.  The primate test subjects of the program, however, flourished physically and mentally.  With most of humanity eradicated by the Simian Flu, the third film opens in the heat of a territorial battle between Caesar (Andy Serkis), the de facto leader of the apes, and troops under the command of his unhinged opposite, the Colonel (Woody Harrelson).

Caesar and his closest advisers conclude that they must relocate to the desert on the other side of the Sierra Nevada mountain range.  Harrelson’s Kurtz/Ahab archetype is obsessed with avenging the inevitable extinction of his species.  In parallel, Caesar harbors anger at humans though not to the degree his rival, Koba, did in the two films prior.  A large orangutan, Maurice (named likely for Maurice Evans, a.k.a. Dr. Zaius, in the 1968 original) reflects that they failed to understand just how much darkness Koba still carried within him.  The third chapter reminds me of the triumph of Spike Lee’s DO THE RIGHT THING, of which Roger Ebert observed, “a movie about race in America that empathized with all the participants.”  Replace “race” with “species” and there you have it.

Occasionally the imagery and the score rise above the limits of cinematographer Michael Seresin’s and composer Michael Giacchino’s repertoire, e.g. when Caesar leads a small group across a beach to a military fortification as the sun glistens off the water–the music, the imagery and the story forming a contrapuntal scene composition.  However, the real feat of Reeves’ APES is in its character arcs.  We’ve been trained to think Caesar is noble, Koba is flawed, and the Colonel is evil.  The truth is that Caesar is flawed, Koba is a victim, and the Colonel is weak.

Reeves’ film muses over a self-evident truth about protagonists and antagonists: we all begin with intentions we believe to be right.  If you know where PLANET OF THE APES (1968) begins, then you know where the Simian Flu takes the story.  If you don’t: A mute child, whom the apes later name Nova (Amiah Miller), bridges the gap of understanding between the Colonel and Caesar.  How she does so, I will not reveal.

In the middle chapter, Caesar’s prejudices blinded him to the betrayals by his own kind.  We see both men haunted by their mistakes:  Caesar has nightmares of Koba, darker than I would have imagined.  We probably overlook the Colonel’s anguish, both because of the way he caricaturizes himself to create a fearsome image, and because of how recreational and self-medicating use of alcohol permeates our own culture.  There all the time, we may not immediately recognize that the Colonel is, in fact, an alcoholic drowning in the sorrow of his own personal tragedy.

WAR FOR THE PLANET OF THE APES closes metaphorically where Quinn’s Ishmael begins, “With man gone, will there be hope for gorilla?”

Wonder Woman

© 2017 WARNER BROS. ENTERTAINMENT INC. AND RATPAC ENTERTAINMENT, LLC

GAL GADOT as Diana in WONDER WOMAN, a Warner Bros. Pictures release. Photo: Clay Enos/ TM & © DC Comics

The best thing about WONDER WOMAN will be all the little girls emulating their heroine the way I and my friends emulated Indiana Jones when we were kids.  The worst thing about WONDER WOMAN is that it’s a D.C. film.  The in-between isn’t great but it isn’t entirely bad, either.

Director Patty Jenkins enters into a beleaguered franchise, opposite industry giant Marvel and rather late to the game.  The hope, perhaps, was that they might rush a product out ahead of CAPTAIN MARVEL and have bragging rights to being magnanimous toward women.

On the isle of Themiscira (based on the region, Themiscyra, of Greek myth) the Amazon women live, learn and train in armed combat like men of Sparta under the tutelage of Antiope (an under-utilized Robin Wright).  The world of men, they believe, is corrupted by the god, Ares.  Queen Hippolyta’s (Connie Nielsen) daughter, Princess Diana (Gal Gadot, also played by Lilly Aspell and Emily Carey), is born and bred for war, but raised with the Amazonian values of maintaining peace.  This cannot last, as World War I falls on their doorstep, literally, when Steve Trevor’s (Chris Pine) plane crashes at their shores, followed by German battleships.

WONDER WOMAN has the temperament of Joe Johnston’s CAPTAIN AMERICA: THE FIRST AVENGER.  Aside from shifting the Trevor timeline to World War I, there are benefactors (David Thewlis) and there are rogues (Saeed Taghmaoui, Ewen Bremner, Eugene Brave Rock) in a race to stop the destructive Danny Huston—err, Ludendorff, who feels too much like a Nazi caricature (Weimar Republic be damned).  Destined to play villains, Huston and his congenital scowl just can’t catch a break.

Written by Allan Heinberg, Jason Fuchs, and Zack Snyder, the anemic story exsanguinates after the facile introduction to Diana’s home, the Great War, and the vaguely evil plot—to deploy a kind of mustard gas which, as far you see on screen, makes people sleepy—facilitated by a scientist, Dr. Maru (Elena Anaya), grotesquely twisted inside and out.

In spite of these challenges, uneven pacing and the weak third act (typical of Snyder), Patty Jenkins and Gal Gadot prove that Wonder Woman herself, contrary to studio excuses, is not and never was the problem.  And while Chris Pine’s levity establishes a usefulness beyond what his phallic gags imply, Gadot shines in a light entirely of her own making.

She cinches Wonder Woman with the same combination of awkwardness and sincerity that made Christopher Reeve the golden standard of superheroes in Richard Donner’s SUPERMAN (1978)—note the alleyway stickup nod to to the latter.

Central to D.C.’s failures with Batman and Superman reboots is this notion that the protagonist must be miserable in equal proportion to the world around him.  Marvel, then, did the obverse with Chris Evans and Captain America, first in Johnston’s love letter to American optimism, and again with a darker poignancy in the Russo brothers’ WINTER SOLDIER, testing a hero’s resolve in the darkest hour with deliberate callbacks to 3 DAYS OF THE CONDOR and THE PARALLAX VIEW.  The key, as the School of Donner taught us, is that the world is a mad, cynical place, and what defines a superhero is how they never lose their nerve.

Somewhere betwixt profligate abuse of slow-motion shots of cartwheeling daredevilry, Diana Prince scolds a roomful of stodgy Brits of the War Council.  As if to point a finger back at the studio executives who rationalized why audiences won’t buy into a female lead, Diana looks these men square in the eye and declares that leaders don’t make excuses and hide behind desks while sending poor, young men to die in war.  Leaders, she argues, charge into battle with their troops.

To wit, it only took two women to right a ship that dozens of male D.C. executives, writers and directors, have tried their damnedest to sink.

Through every generation of the human race there has been a constant war, a war with fear. Those who have the courage to conquer it are made free and those who are conquered by it are made to suffer until they have the courage to defeat it, or death takes them.

–  Alexander III of Macedon

Alien: Covenant

M & © 2016 Twentieth Century Fox Film Corporation.

Katherine Waterston as Daniels in Ridley Scott’s ALIEN: COVENANT.  Photo Credit: Mark Rogers. TM & © 2016 Twentieth Century Fox Film Corporation. All Rights Reserved.

Fifteen years after archaeologist Elizabeth Shaw (Noomi Rapace) encountered a parasitic species while attempting to chase down the alien origins of humanity, a colonization mission to Origae-6 goes awry when a radiation burst cripples the ship.

Like the previous expedition, funded by the eccentric Peter Weyland (Guy Pearce), the human crew is accompanied by an android, Walter (Michael Fassbender). Unlike his predecessor, David (so named for Weyland’s fondness for wearisome metaphor vis-a-vis Michelangelo), Walter’s intelligence is curbed. This seems peculiar, as it was Weyland’s intent to crew an android as a sort of HAL-9000 with an ulterior motive.

ALIEN: COVENANT is the second part of Ridley Scott’s prequel series to the 1979 horror film starring Sigourney Weaver as the protagonist, Ripley. While science fiction cinema has had elements of horror in its mid-century roots, ALIEN emphasized claustrophobia and terror as the primary elements, pushing the science fiction to the backdrop. Ridley Scott, however, hasn’t seemed to successfully move away from the tropes he helped popularize–namely, the Final Girl. Instead, he works backwards from them stuck in a kind of causal loop of intense mediocrity.

The surviving members of the crew are systematically picked off by the “neomorph”—like “xenomorph” but, you know, new… except this is a sequel, so shouldn’t they be protomorphs? Never mind. Scott’s modern Ripley, Daniels (Katherine Waterston), a terraforming engineer aboard the Covenant, happens upon another android who leads them (unsurprisingly) to a trap.

THE SPOILER: Yes, the villain is David… In spite of escaping a completely unrelated star system, in all the vast universe, somehow the cosmic radiation accident led the Covenant to the exact place where David and Elizabeth landed. And yes, David is going to double-cross them. And yes, he uses a trick that would make Hayley Mills proud (or nauseated). To his credit, Fassbender invokes the same creepy ethical vacancy of Ash in the original ALIEN.  And maybe there’s something to reintroducing that 1970’s-era distrust of technology into cinema at a time when our own fears about the surveillance state are coming to fruition.  In a back room, H.R. Giger’s early concept designs strewn across a table, we discover that David is a eugenics hobbyist, synthesizing and curating the “perfect” being in an attempt to recast himself from servant of one species to god of another.

Sidenote: Fassbender also supplies a hint of homoeroticism or, perhaps, auto-eroticism… but it’s merely titillation, eclipsing that hint of Sgt. Lope’s (Demián Bichir) marriage to Sgt. Hallett (Nathaniel Dean).

A prequel could conceivably take any number of routes to get you to where you’ve been, but Scott seems to be repeating the same storyline again and again only peppering us with bits of mythology like the interesting clues that lead nowhere in the television series, LOST. In the end, they’re all dead anyway.

GET OUT of my Country

Daniel Kaluuya as Chris in Jordan Peele's GET OUT.

Daniel Kaluuya as Chris in Jordan Peele’s GET OUT.

Racism is so deeply embedded in this country not because of the racist right-wing radicals who practice it openly, it exists because of the silence and hurt feelings of liberal America.

In 2016, writer John Metta published a sobering op-ed, originally given as a sermon, about the insidious nature of systemic racism titled I, Racist.  In it, he examines the difficulty, the fruitlessness, of having dialogues about racism with white people.   He wasn’t calling whites evil.  On the contrary, Metta’s piece examines the challenge of trying to get even the most progressive of whites to acknowledge the deeply embedded systemic privilege of which they are the primary beneficiaries.

In the era of Trumpism, the likelihood of liberal whites reconciling their own role in racism is even dimmer.  Headlines pepper the news cycle weekly, like the Olathe, KS, man who killed an Indian American and injured another, shouting, “Get out of my country.”

EDIT: Since starting this piece, a Sikh was shot in Kent, WA, by another white gunman.

We can’t examine where we are as a society if one half thinks the other half is the problem while the other half is idiotically preoccupied not so much with figuring out what to do with absolute power now that they have it, but perversely obsessed with figuratively and literally spitting in the face of immigrants, minorities, and anyone else that dares to challenge the privilege that both halves of white America enjoy.

Srinivas Kuchibhotla wasn’t challenging anyone.  He was having a beer with his coworker from Garmin, a GPS device manufacturer, at a bar in suburban Olathe, KS, when Adam Purinton shot and killed him.  As a Dallas resident, a United States citizen who immigrated from India and grew up in North Dakota, I’m no stranger to racial confrontation.  But this comes after an authoritarian President, who pandered openly to bigotry on the campaign trail, passed Executive Order 13769 which was used to deny re-entry to immigrant visa holders, lawful Permanent Residents, and even U.S. Citizens such as my fellow Indian American, NASA/JPL employee Sidd Bikkanavar, on no other basis than being from predominately Muslim countries.

The administration, having the lowest recorded approval ratings for an incoming U.S. President, lacked the courage of its convictions to admit the true purpose of what many have called the Muslim Ban (including Trump himself).  Instead, they hemmed and hawed until the Solicitors General of Washington and Minnesota appealed to the Ninth U.S. Circuit Court.

That’s what I want to say, but really, I can’t. I can’t say that because I’ve spent my life not talking about race to White people. In a big way, it’s my fault. Racism exists because I, as a Black person, don’t challenge you to look at it.

Racism exists because I, not you, am silent.

But I’m caught in the perfect Catch 22, because when I start pointing out racism, I become the Angry Black Person, and the discussion shuts down again. So I’m stuck.

Enter comedian and social commentator Jordan Peele.  Any time we have, as a society, found it difficult to break through and confront one another with inconvenient truths, comedians and satirists have taken pen to paper to show us how its done.

Peele’s debut film, GET OUT, opened two weeks ago, just as White House advisor Stephen Bannon was being decimated in the media for his blithely ignorant masturbation to Jean Raspail’s The Camp of the Saints, which Kirkus Reviews described upon its publication in 1975, “as a major event, and it probably is, in much the same sense that Mein Kampf was a major event.”

In GET OUT, Chris Washington (Daniel Kaluuya) is invited to his girlfriend’s family estate, a liberal enclave.  The Armitages, Missy and Dean’s (Catherine Keener and Bradley Whitford cast in roles fitted neatly to each’s trope-ridden C.V.) facile embrace of multiculturalism immediately recalls the perverse, paternalistic slavery apologetics of Rudyard Kipling and Henry Morris.

GET OUT plays like a stylized, exaggerated tale in the vein of occult horror, yet its root is the horror that people of color live in reality: Viewed as objects of hatred or perverse obsession, rather than human beings with agency.  Here, Peele explores the concept of loss of agency literally, with callbacks to pre-Trump, coded allegory in INVASION OF THE BODY SNATCHERS, ROBOCOP and the upcoming, tone-deaf remake of GHOST IN THE SHELL in which the reverse happens: an Asian is trapped in a white android for the sake of Hollywood grosses.

Kaluuya’s perfection of dissociation in the face of clear and present danger plays as well here as it did in his breakout television appearance in BLACK MIRROR (“Fifteen Million Merits”).  As minorities, we’re mostly inured by the larger shared illusion of freedom within the surveillance state.  But when our individual liberties are so directly attacked, and worse, by the current Presidential administration, it serves as a reminder that in the eyes of white America, we are not human.  We are a statistic, a talking point, for both white liberals and conservatives to volley back and forth as they fight over privileges we don’t even imagine are within reach.

Logan

© 2017 Marvel. TM and © 2017 Twentieth Century Fox Film Corporation. All rights reserved.

Hugh Jackman and Dafne Keen in Marvel/Twentieth Century Fox’s LOGAN.

Immediately evident in LOGAN’s dense backdrop of social commentary is the influence of Alfonso Cuarón’s CHILDREN OF MEN, a bleak future in which the fate of the species rests in the hand of one girl—in this case, a mutant of Marvel Comics lore.  Set a little over thirty years into the future, the titular superhero (Hugh Jackman) finds himself in the Clive Owen role, reluctantly guaranteeing a refugee child safe passage to Eden—a fabled sanctuary established for the the victims of multinational biomedical corporation Transigen’s eugenics experiments.

For the first two acts, LOGAN entrenches our emotions on three fronts:  1. The plight of Transigen’s child test subjects, each of whom the peculiar mutant Laura (Dafne Keen) recalls by name.  2. Logan, a.k.a. Wolverine’s struggle with extreme age… The deceleration of his inhuman healing; he ages far slower than the average person—given his involvement in the Civil War, he’s approaching 200 years, at least.  3. Professor Charles Xavier’s (Patrick Stewart) neurological degeneration; now entering his 90’s, the loss of control over his Omega-class psychic powers causes what can politely be described as mindquakes with devastating consequence.

In each case, director James Mangold’s treatment grounds us in familiar terrors: U.S. exploitation of third world child labor; coping with the ravages of age; watching our loved ones disappear before our eyes as their minds break down, layer by layer, and their loneliness, their misplaced guilt of feeling burdensome on their families in their last stages of consciousness.

Hiding out at an abandoned industrial site in Mexico, Logan brings medications from America to help Charles control his destructive seizures, but cannot quell his loneliness.

Their exile is disrupted by Laura, whose rescuer leaves video of the inner workings of Transigen in the hopes that the last adult mutants will protect the children. Resembling a tiny Lukas Haas, Keen’s furrowed brow steals every scene from Stewart and Jackman. She doesn’t trust humans, and for good reason. Under the guise of a cancer cure, Transigen’s chief scientist, Dr. Rice (Richard E. Grant), attempts to create mutants from scratch. It is exactly the allegory you think it is.

Amidst the action-heavy plot, Logan, Xavier and Laura hide out on a farm. While the scene infuses some relatable humanity into the franchise, we meet the farmer Will Munson (Eriq La Salle, long removed from his Soul Glo days) roadside on a freeway dominated by self-driving rigs. Here Mangold and screenwriter Scott Frank (MINORITY REPORT, THE INTERPRETER) pepper the dialogue with commentary on industrial farming and high fructose corn syrup which, in a nod to Monsanto and Cargill, turns out to be a delivery system for Transigen’s experimental, rage-inducing, mutant soldier serum.

Weakened somewhat by the dependency on third-act violence, LOGAN overall is a timely vision of what superheroes might be in a world as unsteady as the one we presently inhabit.  Mikhail Gorbachev, the architect of Perestroika, recently said in a TIME Magazine editorial, “It all looks as if the world is preparing for war.”

LOGAN show us the aftermath: the Earth we will depart, and the children who inherit the tragedy we are steadfastly determined to leave them.