Gringo

Posted on March 8, 2018 at 12:39 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language throughout, violence and sexual content
Profanity: Constant very strong and crude language
Alcohol/ Drugs: Drugs and drug dealing, alcohol
Violence/ Scariness: Constant peril and violence with many graphic and disturbing images, characters injured and killed, guns, car chases and crashes, torture, kidnapping
Diversity Issues: Diverse characters
Date Released to Theaters: March 9, 2018
Copyright Amazon 2018

“Gringo” is the story of a hapless dupe named Harold (David Oyelowo, showing deft comic timing) who gets stuck in the middle of a lot of bad people and bad decisions.

Harold is an immigrant from Nigeria, married to Bonnie (Thandie Newton, criminally underused), and in financial trouble. “Are you saying I’m cash poor?” Harold asks his accountant. “No, I’m saying you’re poor poor, ,” he replies.

The accountant also tells Harold that his company may be merging, and he could lose his job. But Harold reassures himself that his boss Rich (Joel Edgerton) is an old friend, who has even hired Bonnie to decorate his apartment, and will not let him down. Rich reassures him as well, reminding him that he promised Harold’s life would look like a rap video if he stayed at the company. It’s obvious to us that Rich is a crook and a liar, but Harold has no clue.

Rich’s co-president of the company is Elaine (Charlize Theron, having a lot of fun as a ruthless executive whose self-pep talk includes “Who’s Daddy’s Blue Ribbon girl?”). They come along on Harold’s business trip to Mexico, where the company’s marijuana-based pills are manufactured. That merger means the end of lucrative off-the-books sales to a powerful drug dealer. And that leads to mayhem involving a fake kidnapping, a real kidnapping, a toe sent by international mail, a murder for failing to give the right answer to a question about which Beatles album is the best, a mercenary, and many betrayals.

Nash Edgerton (Joel’s brother) directs with high energy and clearly relishes very dark humor of the story, with many twists and turns as the various bad guys collide with each other. Paris Jackson (Michael’s daughter) has an impressive cameo as a girl enticing a hapless guitar salesman into helping her steal some of those marijuana pills. If you like your crime stories to be nicely nasty, this one does the trick.

Parents should know that this film includes extensive and graphic violence, chases, shootouts, torture, disturbing images, many characters injured and killed, drugs and drug dealing, alcohol, very explicit sexual references and situations, and very strong and crude language.

Family discussion: Was Harold’s father wrong? Why was it hard for him to see what was happening? What is the point of the banana/carrot story?

If you like this, try: “Big Trouble” and “Midnight Run” and, also from the Edgerton brothers, “The Square” (not the recent Cannes award-winner, the Australian crime drama)

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Jane Eyre: a New Audiobook Narrated by Thandie Newton

Posted on April 17, 2016 at 8:00 am

Copyright Audible 2016
Copyright Audible 2016
To celebrate the week of Charlotte Bronte’s 200th birthday, Audible Studios is releasing a new audiobook version of Jane Eyre. It is beautifully performed by Thandie Newton, who brings just the right intimate quality to Bronte’s classic story of the brave, independent, and honest young governess, which had an innovative examination of the lead character’s emotional and moral life that was enormously influential.

The story has been filmed many times. My favorite stars Joan Fontaine and Orson Welles.

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Books

Run Fatboy Run

Posted on September 23, 2008 at 8:00 am

run%20fat%20boy%20run.jpgDavid Schwimmer, who spent nine years deftly playing Ross on Friends seems to be trying to make a sitcom episode out of this overlong over-conventional under-funny romantic comedy. To put it in its own terms, it might make it as a 100-yard-dash, but does not have the stamina for a marathon.

(more…)

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Not specified

Crash

Posted on April 29, 2005 at 4:32 pm

Everyone is angry. Everyone is scared. They all feel that something that belongs to them has been taken away and they don’t know how to get it back.

And in this movie, they say so.

“Crash,” the winner of the 2006 Best Picture Oscar, is an ensemble film with several intersecting stories, all of them about people who can’t quite seem to understand how things turned out the way they did or how they themselves turned out the way they did. Most of them find out, in the course of the movie, that they are capable of more — or less — than they thought they were.

Paul Haggis, the screenwriter for Million Dollar Baby has co-written and directed a devastating movie about people who are very much like us, with one important difference. It’s as though the drinking water in Los Angeles has been spiked with some mild de-inhibitor that makes people say what they are thinking. In this film, everyone says the most horrifyingly virulent things to everyone else: family members, people in business, employees, and strangers, reflecting a range of prejudice on the basis of class, gender, and, above all, race.

These comments are sometimes made angrily, sometimes carelessly or thoughtlessly, but often, and more unsettlingly, matter-of-factly. As vicious as the insults are, the part that hurts the most is that people don’t care enough, don’t pay attention closely enough, to know the people they are insulting. “When did Persians become Arab?” asks an Iranian, who cannot understand how people can hate him without taking the time to know who he is. A Hispanic woman explains to a man she is sleeping with that she is not Mexican. Her parents are from El Salvador and Puerto Rico. He tells her that it doesn’t matter because they all leave cars on their lawns anyway.

The movie is intricately constructed, going back and forth between the characters and back and forth in time.  There are small moments that create a mosaic in which we see the pattern before the characters do. The movie has big shocks but it also has small glimpses and moments of great subtlety. A black woman looks at her white boss while he talks to his wife on a cell phone and we can tell there is more to their relationship than we have seen. The daughter of immigrants we have only seen in one context shows up in another and we see that her professional life is very different from what we might have imagined, reminding us that racism may be inextricably intertwined with America, but so is opportunity.

Every character is three-dimensional, utterly real and heartbreakingly sympathetic. The characters keep surprising themselves and each other, for better and for worse.

A white upper class couple gets carjacked. He’s a politician (Brendan Fraser) concerned about how it will look. She (Sandra Bullock) is terrified and angry. She doesn’t trust the man who has come to change their locks because he looks like a gang member. A black detective (co-producer Don Cheadle) tells his Latina partner and sometimes girlfriend (Jennifer Esposito) that “in LA, nobody touches you. We miss that so much, we crash into each other just so we can feel something.”

A black actress (Thandie Newton) tells her black television director husband (Terrence Howard) that “The closest you ever came to being black was watching ‘The Cosby Show.'” The white producer of a television sit-com (Tony Danza) tells that same director to re-shoot a scene because “Jamal is talking a little less black.” A character in an overturned car is caught in a safety belt, hanging upside down. A pair of black carjackers believe that what they do is acceptable because they are not robbing black people. One of the tenderest father-daughter scenes in years is the set-up for an explosive emotional pay-off later on.

The brilliance of the movie is the way it makes each character both symbol and individual. As a whole, the cast is neatly aligned along a continuum of prejudice, and yet each character is complete and complex and real. Just when we think we know who they are, they surprise us. We find ourselves sympathetic to those we thought we hated and disturbed by those we thought we understood. Just when we think we know what bigotry is, it, too, surprises us by being more about fear and loss and feeling powerless than about hatred and ignorance. The characters confront their assumptions about each other and they make us confront our own about them and about ourselves.

(more…)

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Crime Drama
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