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Tiger King (2020)
Death threats, handlebar mustaches, murder-for-hire-plots, bad tattoos...
Five minutes into the first episode of Netflix's new seven-episode documentary series "Tiger King," I'm all in. The initial episode, titled "Not Your Average Joe" introduces the doc's main focus, Joe Exotic, the eccentric owner of GW Zoo in Oklahoma, where he breeds and showcases tigers to the outrage of animal rights activists like Carole Baskin, owner of Big Cat Rescue in Florida, who is aligned with PETA to put Joe, and big cat owners like him, out of business.
The first episode sets up the rivalry between Joe, who describes himself as "a gay, gun-caring redneck with a mullet" and Carol, who limits her wardrobe to only paw-printed clothing. Both have devoted their lives to big cats. Both profit from them. Both are extreme. But one does it for demonstrative fame, histrionic glory, and political aspirations; the other, conversely, is fueled by an unwavering, yet short-sighted desire to save the cats themselves.
The Joe Exotic vs. Carol Baskin enmity launches the primary narrative of the series, but there are so many other indelible characters that shine a wavering light on this questionable big cat world, no one more memorable than the South Carolina Zoo Owner Bhagavan "Doc" Antle, a pretentious ego-maniac with a God-complex.
Death threats, handle bar mustaches, murder-for-hire plots, bad tattoos, missing persons, missing teeth, automatic assault rifles, tiger print underwear, backstabbing and inflated egos... what more do can we ask for?
"Tiger King" is like watching an unflagging chicken cross the road. You don't like him, you don't sympathize, and you know he won't make it to the other side, yet strangely you root for him because you understand his flawed desire, despite knowing he'll be hubris induced road kill.
The Punishment (2020)
A Twist both Uncomfortable and Satisfying
From the opening shots to Prison Guard Johnson's long walk through the inmate blocks to a death row cell, director Seth Fuller pulls you in cinematically. The prison itself is an unforgettable character; it's concrete walls and iron bars remain hostile and inhospitable.
Beyond the dominating presence of the prison itself, the strongest elements of this indelible short are the acting and the surprise twist ending. As a writer myself, I was surprised not to see the twist coming, but I must refrain from delivering any spoilers. I will simply state that the twist is both uncomfortable and satisfying.
The performances from the two leads (Andres Michael as death row inmate Randle Kohler and Alex Knight as Johnson) are subtle, understated, and emotionally constrained. Andres's Southern drawl is intoxicating and Johnson's calm demeanor is unnerving.
If there is a weakness, it is in the pacing of the narrative. Overall, however, it's a solid story with an unexpected twist, complimented by excellent performances.
Tony (2018)
A vivid, indelible, emotive performance
"Senseless violence is a prerogative of youth, which has much energy but little talent for the constructive." - Anthony Burgess
Burgess' quote seems fittingly applied by filmmaker Hugo Diego Garcia in his film "Tony," which follows a young Spaniard immigrant who joins a gang of thuggish racially persecuted immigrants in 1980's France.
There are times where the narrative of this period gangster film meanders, yet the acting, specifically Hugo Diego Garcia, who also plays the lead character Tony, makes up for any story flaws. Garcia's understated performance lingers, seeping through your veins like a slow intravenous drip. Through the smallest, most subtle reactions, Garcia plays a likable, empathetic rogue, delivering a complex character, struggling with layers of internal conflict, whose emotional frailty manifests in a paralytic moral split.
As a director, Hugo Diego Garcia has a visually arresting sensibility. Stylistically, "Tony" reminded me of Scorsese's "Mean Streets" and Kubrick's "A Clockwork Orange." Garcia's directorial debut is far from perfect, but there is no doubt that he delivers a vivid, indelible, emotive performance.
Clarity (2020)
Implacable Beauty Amidst Emotional Malady
Roy Arwas' award winning short is a superbly crafted, heartfelt film. Beautifully shot, the cinematography echos the isolation and abandonment former marine Tom (Brett Zimmerman) feels upon returning home to his estranged abusive father, Richard (Chris Browning), who has no memory of his son due to late stages of Alzheimer's. The external plot is poignant, yet it's the unspoken narrative that is so profound. The emotional baggage Tom carries inside is the eminent artistry of the film.
Zimmerman delivers a tour de force performance, portraying Tom's moral split. Emotions go from outrage to bewilderment to guilt to sorrow and then back again to outrage. Tom's affliction is contradictory. His emotional truth embodies bitterness, rage, and longing, yet conversely, despite all his pain, his truth is also acceptance, forgiveness, and love. There is a powerful, implacable beauty amidst emotional malady.
The Neighbors' Window (2019)
The Film Lingers, Heartening Reflection
Marshall Curry's Oscar winning short is a well crafted film. Beautifully shot, we experience the neighbors' eventful narrative along with Alli (Maria Dizzia), an angry, frustrated voyeur who evolves to experience empathy and compassion. Understated sound design compliments Dizzia's heart felt performance.
Although there is nothing particularly original within the story - the trajectory of the dual narratives is easily perceptible, so no big surprises - the film lingers, heartening you to reflect upon and appreciate those you love.
1917 (2019)
An amazing piece of filmmaking
Sam Mendes' Oscar nominated WWI drama "1917" is an amazing piece of filmmaking. This narrative following two British privates sent on an impossible mission behind enemy lines is an unforgettable cinematic experience. The production design is prodigious. The cinematography is absolutely mind-blowing. Sam Mendes is a rare talent.
Star Wars: Episode IX - The Rise of Skywalker (2019)
A fun, fan tribute, but NOT a good movie.
Star Wars: The Rise of Skywalker is a fun, fan tribute, but NOT a good movie. Fault lies not in the filmmaking, but in the script itself: a contrived narrative, laden with forced, perceptible artifice.
As a lifelong Star Wars fan, I willed myself to enjoy the ride. One thing I can't deny, though, is that Lando is still the coolest cat in the galaxy!
Togo (2019)
An Exhilarating, Uplifting Adventure
Togo, the true story of a sled dog who led the 1925 serum run across treacherous Alaskan tundra is an exhilarating, uplifting adventure, capturing the powerful bond between man and dog.
Dog lovers and cinephiles alike will love it! Willem Dafoe delivers a hauntingly beautiful performance. Dog, or in this case Togo, truly is man's best friend.
Warning! You might cry.
Don't F**k with Cats: Hunting an Internet Killer (2019)
Riveting...Horrifying...Haunting.
To glimpse inside the mind of a serial killer is truly terrifying. An unimaginable narrative, each episode shook me to my core. Truth is definitely stranger than fiction. Disturbing content, yet highly recommend.
Kelly's Hollywood (2015)
Memorable, Layered, Empathetic
I was touched to see Brian's devotion to his sister Kelly. Love is a double edged sword, and "Kelly's Hollywood" illustrates both edges: smooth, yet sharp. Although Brian took on the role of superhero brother to Kelly, his savior complex also enabled her, stunting some of her emotional growth, and I commend Brian's willingness to acknowledge his own flaws within their relationship. It takes courage to be vulnerable, and both Kelly and Brian pull back the curtain and show us their complex, layered relationship, worts and all. I appreciated the honesty depicted in their love for each other. It is beautiful because of its imperfections.