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The Inventor: Out for Blood in Silicon Valley - A Review

****THIS REVIEW REVEALS SOME MINOR INFORMATION FROM THE DOCUMENTARY!! NOTHING MAJOR - BUT YOU’VE BEEN WARNED!!****

My Rating: 3 out of 5 stars

My Recommendation: SEE IT/SKIP IT. This documentary is mildly entertaining but lacks insight and depth. Not awful, but not transcendent either…if the subject matter intrigues you then check it out.

The Inventor: Out for Blood in Silicon Valley, directed and produced by Alex Gibney, is an HBO original documentary film that examines the meteoric rise of “inventor” Elizabeth Holmes and her health technology company Theranos.

There is nothing quite as enjoyable to me as a great documentary. I can watch truly great documentaries over and over as they feel like miniature master degrees in whatever subject they dissect. Film’s like Charles Ferguson’s Inside Job, Errol Morris’ The Fog of War or just about anything by Adam Curtis are films I revisit nearly every year and never regret it.

I was excited to see Academy Award and Emmy Award winning director Alex Gibney’s new documentary The Inventor, as he definitely has a knack for choosing fascinating topics. That said, Gibney, who won his Oscar for the profound Taxi to the Dark Side (2007) and multiple Emmys for the stunning Mea Maxima Culpa: Silence in the House of God, can be an uneven filmmaker who often explores intriguing topics in his movies but at times fails to adequately document his subjects to a deep enough degree to satisfy beyond a passing and surface interest.

The Inventor is one of those type of Gibney films that tackles an interesting topic but fails to do so in an in-depth enough and compelling enough way. The Inventor reminded me a little bit of his highly praised (it won 3 Emmy awards) film about Scientology, Going Clear. I liked Going Clear and found it to be engaging to a certain degree, but ultimately it fell well short of being an earth-shattering revelation. Similar to Gibney’s film on Wikileaks and Julian Assange, We Steal Secrets, a pretty shameless and embarrassing hatchet job on Assange, with The Inventor Gibney seems to be seeing his subject through a biased lens. With We Steal Secrets, Gibney’s was decidedly against Assange, but inThe Inventor he is most definitely biased in favor of Elizabeth Holmes….but more on that in a bit.

With The Inventor, Gibney once again dives into a riveting subject, but only swims in the shallow water of it and fails to give viewers much to sink their teeth into beyond the headlines. Elizabeth Holmes is a character for the ages, but Gibney barely scratch the surface of who she REALLY is in this film. On top of that Gibney never gets deep enough into the weeds of what exactly Holmes was trying to create at Theranos and how she planned to do it, to ever make viewers feel like anything more than just another mark for her con.

The film, while entertaining to a certain degree, is problematic for a variety of other reasons as well. The most glaring of which is the blind spot the filmmaker has in regards to his subject. Yes, Gibney exposes Holmes’ fraud, but he never exposes HER for being a fraud. Instead, what Gibney does is cloak Holmes in a protective blanket which imbues on her with only the best of intentions and the inability to be consciously or maliciously deceptive.

In this way Alex Gibney is recreating the same psychological, mental and emotional gymnastics that Elizabeth Holmes’ targets did when they fell under her spell. Holmes weilded her femininity like a martial art against the patriarchal system within she worked. Holmes’ juijitsu turned the unconscious sexism and paternalism of the men she targeted against them. The paternalism, sexism and soft misogyny of the powerful men she conned, who are a Murderer’s Row of Hall of Fame assholes that include men like Bill Clinton, General Mattis, David Boies, Henry Kissinger and George Shultz (who proves what a ass he is by siding with Holmes over his own grandson) among many others, caused them to fall for Holmes’ lies for two reasons. The first is that they overestimated her intellect and value because, ironically, they wanted to be seen supporting a women in order to quell their fear of being labelled sexist. The secondly, due to their paternalism and sexism, they underestimated Holmes’ ability for villainy, and she exploited the weakness of these men to her benefit.

The irony of Holmes’ epic story is that these powerful men treated Holmes different and held her to a different standard BECAUSE she was a women. The reporters and writers who aided her rise to the status of media darling and science and business genius did the same thing, failing to adequately doubt and question her simply because they never considered she was capable of straight out lying to them. Even the reporters who spoke with her AFTER her scam became public, men like Sanjay Gupta and Jim Cramer, didn’t hold her feet to the fire like they would have with a man. Holmes was able to keep her scam alive for so long because these men treated her with kid gloves.

Interestingly enough, Holmes’s scam almost never got started because of a women, Professor Phyllis Gardner, her advisor at Stanford, who basically told Holmes her idea was scientifically impossible. Instead of trying to change her advisor’s mind, Holmes changed advisors…which is a perfect encapsulation of Elizabeth Holmes approach to life. In my eyes, at best, Holmes’ suffers from a the most acute case of cognitive dissonance on the planet, at worst she is a conniving and manipulative criminal mastermind. For director Gibney, who refuses to consider that Holmes was driven by greed for money, power and fame, Holmes is earnest in intent but misguided in execution. According to Gibney, Holmes’ greatest sin is being too much of a zealot for her noble cause.

The reality is that if Holmes were a man, the idea that she wasn’t anything but a greedy and evil con artist would never even remotely be considered…and rightfully so. Think of all the Wall Street snakes who scammed Americans out of their savings with the housing bubble, nobody thinks, “oh gee…they just wanted everyone to be able to own a home”…no…people think that those pricks were trying to get rich off the backs of working people…because that is exactly what they were doing.

In the case of Alex Gibney’s film, he seems to suffer from an unconscious bias that makes him hold Holmes to a very different standard and lets her off the hook for her nefariousness activities. An example of this is that besides lowering Holmes intent and responsibility regarding fraud, he also lowers the standard for her regarding her sexual relationship at work. Holmes started dating Sunny Balwani, a tech entrepreneur twenty years her senior, when she was 19 and he was married to another woman. Balwani was a key advisor to Holmes in the early development of Theranos and after he got divorced from his wife, Holmes moved in with him. Balwani eventually became second in command to Holmes at Theranos but when the sham was exposed and things went bad for the company, she broke up with him and fired him. If a man had behaved the way Holmes did in her personal life, it would have been a much greater focus of the story of The Inventor, and would have been used to establish the lack of moral and ethical fiber of the person running the company. But in The Inventor, the fact of Holmes questionable conduct with Balwani is reduced to nothing more than a throw away line near the end of the film.

At the end of the day, Holmes captivates our imagination because she is so representative of the surreal age in which we live. Holmes is emblematic of our scam culture where style overwhelms substance, the subjective trumps the objective, where shortcuts are the only way to travel and truth is a punchline.

Holmes is similar to Trump in that her con is so obvious that it is stunning that anybody falls for it. Like Trump with his signature (and ridiculous) hair-do and his never buttoned blue suits with long ties, Holmes literally wore a costume, all black with a black turtleneck, a cheap imitation of her hero Steve Jobs.

Her use of story and language was also absurdly obvious as to her dishonesty as she simply regurgitated and repeated the same origin story over and over again and then used pseudo-scientific/tech marketing talk to cover her lack of any substance. Words like “inflection point” and “paradigm shift” or the use of “chemistry” as a verb were dead giveaways to her deceitful intent.

The most glaring giveaway though was her voice. Good Lord that voice. Her voice is so phony and put on it is remarkable no one did a spit-take in her face upon hearing it. But the voice gives away the game that she is an obvious fraud and walking lie…and those that fell for scam did so BECAUSE THEY WANTED TO FALL FOR IT. These people, and they were mostly men, wanted Holmes’ story to be true so they convinced themselves that it was.

In this way Holmes is also the symbol for today’s neo-feminism, which alleges to want equality but only accepts the diminishing of standards and the lowering of bars for women. Neo-feminism loves to demand equal opportunity but also loves to shirk equal responsibility. That said, it is pretty amusing that Holmes used the patriarchy’s literal and symbolic desire for her and their shameless politically correct yearning to be seen as “allies” to women, to advance her scam and sucker investors and big names to support her fraudulent project.

None of these types of subjects, like Holmes as symbol for modern feminism, or the ingrained sexism of the men who fell for her, or the soft treatment she got because she was a women being integral to her scam flourishing, are ever broached by Gibney in his film. Instead Gibney sticks to a very straightforward and very forgiving narrative that never gets too deep or too insightful and the film suffers because of it.

According to Gibney’s movie, Holmes’ scam is just something that happened that is not indicative of anything else and is not symbolic of the age of fraud in which we live. The reality is very different, as one glance at the news will tell you that Elizabeth Holmes is the poster girl for our times. Our charlatan president, the Russiagate hysteria, the Fyre Festival nonsense, the college admission payola scam, Jussie Smollett’s shenanigans and on and on and on including our fraudulent economy and political system…are all hoaxes, scams and frauds. This is why Elizabeth Holmes is the poster girl for our times and it is a shame that Alex Gibney did not have the insight, self-knowledge and skill to bring that much deeper and more important story to light.

In conclusion, while The Inventor is entertaining on a certain gossipy level, it lacks the insight, depth of subject and profundity to be considered a great documentary. The film is currently airing on HBO, so if you want to spend two hours being mildly amused at the absurdity of it all, then you should check out The Inventor, just don’t expect transendance.

©2019

High Life: A Review

***THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!***

My Rating: 3.8 out of 5 stars

My Recommendation: SEE IT. But be forewarned, even though it is in English, it is a very “French” film and is definitely at home in the arthouse. If you have conventional tastes in movies, this one is not for you, but if you are a cinephile defintely check it out in the theatre.

High Life, written and directed by French auteur Claire Denis, tells the story of Monte, a young man who is caring for a baby on a mysterious voyage into deep space. The film stars Robert Pattinson as Monte with supporting turns from Julliette Binoche, Andre Benjamin and Mia Goth.

Claire Denis, the writer/director of High Life, is the critical darling of French cinema and the American arthouse. Denis has a distinctive film making style that appeals greatly to film critics but that the general public often finds impenetrable. A good example of this is that her last film, Let the Sunshine In (2018), which starred Juliette Binoche and could sort of be described as a French/arthouse romantic comedy, has an 86 % critical score and a 29% audience score at the review aggregate website Rotten Tomatoes.

Part of the problem with Denis work, at least for American audiences, is that if you market a film as a romantic comedy, Americans will expect a rather simple Tom Hanks-Meg Ryan cute fest and not the verbose philosophizing, existential thesis that is Let the Sunshine In. Expectations play a big part in audience perceptions and thus in the ultimate success or failure of a film.

High Life may face the same marketing struggle as Denis’ other films, at least in terms of the general public. High Life is being sold as a sort of action-thriller, science fiction, space movie…in the vein of Ridley Scott’s Alien. High Life is a lot of things, but action-thriller is not one of them, and if audiences are aware of that and understand how to digest the film, they may come away with a greater appreciation for it…because there is a great deal to appreciate.

High Life is not Alien meets 2001, but rather is a beguiling, at times bewildering, dark, moody, existential and philosophical meditation on the meaning of life and what it means to be a human. The film is Claire Denis at her very best, using her signature style to create a deliberately paced, deliriously claustrophobic, non-linear dream/nightmare that is intentionally disorienting.

The film opens with Pattinson’s character Monte caring for baby all by himself on a space craft. The film then unwinds and reveals the who, what, when, where, why and how this strange combination of Monte, a baby, and deep space, came to be.

Being a parent is hard. Being a single parent is a Herculean task. Being a single parent in deep space is a circle of hell that Dante could never have dreamed up. Monte’s struggle to care for this baby is palpable, and as the child’s cries pierce through Monte’s space suit to his core, they also cut viewers to the bone. This scenario of the deep space single parent and the vulnerability of an infant, intensifies the suffocating sense of claustrophobia and heightens the ominous sense of foreboding that permeates the entire film.

Pattinson’s work as Monte is extraordinary. Monte is a psuedo-monk, struggling to control his human desires in order to, ironically enough, stay connected to his humanity. Pattinson gives Monte a very specific internal intentionality that illuminates his every action and drives him through every scene. Pattinson is an actor I never would have given a second thought to after those dreadful Twilight movies, but his fine work in the not so good The Lost City of Z (2017) made me take notice. Here in High Life he commands the screen without ever demanding attention, in fact, it is Pattinson’s use of introversion bordering on camera shyness that make him so intriguing and compelling in this role.

The rest of the cast do solid work as well. Juilette Binoche as the witchy Dr. Dibs chews the scenery like a starving women hurtling through the universe looking for her final meal. Mia Goth also does notable work as Boyse, a destructive and self-destructive anima figure, the polar opposite of Monte.

Claire Denis knows what she is doing when it comes to making movies, and High Life is a testament to that. The film is technically first-rate, as the cinematography, particularly the framing and lighting, as well as the editing, are superb but never overwhelm the tone and theme of the movie.

High Life is deliberately paced, and may be too slow for more conventional tastes, but I found the film to be captivating to the point of hypnotic. Denis’ ability to disorient the viewer’s perception of space and time was a master stroke that simulates for the audience the psychological, emotional and philosophical vertigo that Monte must struggle with and through as he goes along his hero/anti-hero’s journey.

High Life asks a lot of questions but gives no clear answers, which is maybe why I liked it. There were no easy escapes from the void of space or the existential issues raised. Ideas as varied as human value, spirituality, morality, physical purity, incest, humanity, witchcraft v. science, and even cats v. dogs, all come up in the movie and propel the philosophical narrative forward, backward, up, down and all around.

At the end of the day, High Life, like most space movies, is really an homage to, and imitation of, Kubrick’s masterpiece 2001: A Space Odyssey. High Life is no 2001, but to Claire Denis’ credit it is a very distant, but worthy enough, cinematic step-cousin, as it wrestles with the same question of human evolution and being born into, and cast out of, the Garden of Eden with nothing but our humanity to guide and protect us.

Space is cold and forbidding, and the struggle to maintain life amidst that black void is colossal, but not nearly as gargantuan (or heroic) as the struggle to maintain humanity. Monte’s evolution…which may result in being reborn the Starchild from 2001 or left to an eternity in the empty void of nothingness, lies on the other side of a black hole. He isn’t sure he is ready to make the trip…are you?

If you have the courage, and the open mind, I recommend you set aside your expectations and conventions and make that journey with Monte. Yes, there are some bumps along the way, the most noteworthy being a rather odd scene with Juliette Binoche (you’ll know it when you see it - it was the catalyst for two sixty-something women in my screening to make a hasty exit) that serves a certain and minor purpose but which goes on for a distractingly and interminably long time. But if you can simply get into the rhythm of the film, and not try and figure it out as it washes over you but rather experience it and all of the good and bad that comes along with it, I think you may find it as satisfying a cinematic experience as I did.

Again, this movie is not for everyone…even though it is in English, it is a very, very French film, and it reeks of the art house, so if you simply cannot or will not overcome your cinematic conditioning for clear narratives and resolutions, then you should skip this one. But if you are feeling adventurous and in the mood to contemplate the meaning of life and humanity amidst the unrelenting sea of darkness that is space, then gear up, strap in and take the plunge. You may find you enjoy the high life.

©2019

Russiagate: Puzzlements and Lost Causes

Estimated Reading Time: 9 minutes 11 seconds

On Sunday, March 24, 2019, Attorney General William Barr released a brief summary of Special Prosecutor Robert Mueller’s findings regarding the Russiagate matter. According to Barr’s summary, while Mueller makes no determination regarding obstruction of justice, the special prosecutor does declare that there was no collusion or conspiracy between Trump, his campaign, and the Russian government during the 2016 election.

This finding came as a great shock to the mainstream media and many Democrats who had been touting Russiagate as a weapon to bring down Trump’s presidency. It would seem, at least according to Barr’s summary, that these folks were wrong.

The reality appears to be that Russiagate was a ruse, a hoax perpetuated by the establishment media over the last two and half years and swallowed whole by the vast majority of liberals. This Russiagate fraud came about through the perfect combination of mendacity and greed on the part of the media and Democratic elites and confirmation bias, cognitive dissonance, denial and delusion on the part of the #Resistance, liberals and anti-Trumpists.

Not everyone was wrong about Russiagate though, as people like Glenn Greenwald, Aaron Mate, Michael Tracey, Matt Taibbi, Caitlyn Johnstone, Jimmy Dore and others maintained a healthy and accurate skepticism regarding the Russiagate claims being made by the establishment press and Democrats. You know who else didn’t buy into the Russiagate hype? Me.

My first comments on the Russiagate story came in December of 2016 after Donald Trump’s upset win in the presidential election, when I wrote an article about how Democrats, liberals and progressives should proceed in the age of Trump. This article, the contents of which led to me being ex-communicated from the Church of the Woke and expelled from the Society of the Right Thinking, was titled “A Practical Handbook to Survive and Thrive in the Age of Trump”. Here is an excerpt from that piece.

The final point I will make to you is this...I know this story circulating lately about Russia interfering with the election in Trump's favor is tantalizing, but please do not embrace it. I am telling you, the more you want a story to be true the more skeptical you should be of it. This "Russia hacked our election" story…is fools gold. These stories being breathlessly reported by the establishment media are all based on unnamed official sources. Please just wait until there is actual, tangible evidence put forth, and even then be very, very skeptical. This whole Russia hacking episode reeks of the wishful thinking that was going around (especially in establishment media circles) in the build up to the Iraq war. There was no evidence then either, but people wanted those stories to be true so they gave them the benefit of the doubt. This Russia story is even less credible at the moment and even more dangerous…Do not fall for this Russia story trap. Don't do it, one way or another you will live to regret it. I promise you that.

That was published in December of 2016. For nearly two and a half years now I have consistently preached skepticism regarding the Russiagate story, and for nearly two and a half years I and other Russiagate skeptics like Greenwald, Mate, Taibbi et al, have been persistently attacked for that position and have had such slurs as Putin shill, traitor and the worst of all…Trump supporter, thrown at us.

Yul Brenner sums up my feelings toward Russiagate best with a song…and yes…I am aware that Yul Brenner was Russian.

It would seem, at least on the surface, that in regards to Russiagate I was right and my numerous detractors were wrong. Of course the possibility certainly exists that Barr’s summary is directly at odds with Mueller’s findings, and I have no doubt that Mueller’s report contains much more damage to Trump than Barr lets on. But with that said, it seems highly unlikely that Mueller would quietly sit by and let Barr distort his work without speaking up*. Proof of this is that this past January Mueller broke his silence to shoot down a Buzzfeed story claiming that Trump ordered Michael Cohen to lie to Congress, so he is obviously comfortable pushing back against falsehoods being disseminated in the public sphere. (*Please see Addendum at the bottom of this article)

Even though Mueller has found “no collusion or conspiracy” regarding Russiagate, it is also worth noting that from day one I have never trusted Robert Mueller and have repeatedly warned Democrats about embracing him (it should also be noted that I don’t trust Barr either, as both Barr and Mueller are creatures of the deep state who are right at home in the swamp) . I have often reminded liberals of Mueller’s long list of “problematic” behavior, such as his pushing the Iraq/WMD lie, his abuse of civil liberties and rounding up of Muslims after 9-11 and his botching of the post 9-11 Anthrax investigation. But instead of being wary of Mueller, the #Resistance deified and sainted him, putting him on a pedestal like some golden calf they could worship. St. Mueller was, to mix various horror story metaphors, the noble Van Helsing who had the silver bullet that would bring down the Trumpenstein monster. The #Resistance believed in him faithfully and fully…and since he hasn’t given them Trump’s head on a platter as they expected, they are left with egg on their faces.

Obviously, I was not shocked by Mueller’s alleged findings as I have been saying all along that it was clear there has not been any evidence brought forth that would substantiate the “collusion” claim. Sure there have been a lot of news stories and pundits claiming to know for a fact that Trump did “collude” with Russia, but there was never any solid evidence to back up this speculation. I was certainly always open to the possibility of collusion and open to any evidence brought forth, but none ever was.

CONSPIRACY THEORY

One big indicator that the media was more interested in conjuring Russian boogey men in order to knee-cap Trump and less interested in the Truth, was the language they used regarding Russiagate. The term “collusion” is a non-legal word that was continuously bandied about but is so amorphous that it could mean just about anything. The proper term for what was alleged in Russiagate is Conspiracy. Conspiracy is not only an accurate descriptive term but also a clearly defined legal term.

When the media refused to call Russiagate a conspiracy, it was a strong hint that there wasn’t much evidence underlying their conjecture. The reason for this is that you can twist “facts” to fit a nebulous charge like “collusion”, but it is much harder to do the same thing to a specific legal charge like conspiracy.

The other, and maybe more telling, reason that the word conspiracy was never used is that the media has spent the last sixty years or so denigrating the term and turning it into a cudgel to be used against enemies of the establishment. From the JFK assassination to 9-11 and beyond, anyone who deviates from the establishment narrative is labelled a “conspiracy theorist” in order to destroy their credibility without ever engaging their actual arguments. The problem for the media now though, is that Russiagate was an alleged conspiracy, and media speculation on Russiagate is the definition of a CONSPIRACY THEORY…because it theorizes a conspiracy.

As I wrote in September of 2017 in an article titled “The Media Hates Conspiracy Theories…Except When They Don’t”,

If the Russians did collude with Trump and interfere in the election, than that is most definitely a...conspiracy, but interestingly enough, the news media are very careful to not ever call the Russia story a "conspiracy". The establishment has so systematically and thoroughly degraded the word conspiracy that they cannot even use it when they are alleging an honest to goodness conspiracy in which they themselves actually believe. 

The failure of the corporate media to call Russigate what it is/was…a conspiracy theory…was a giant red flag that the story was at best being manipulated and at worst manufactured. The semantics used by the corporate media around certain stories, like Russiagate, is extremely enlightening as the choice of words they use, and don’t use, reveals a great deal about motive and intent. For instance, since Attorney General William Barr’s letter regarding the Mueller report came out declaring “no collusion”, the establishment press has referred to Barr as Trump’s “hand-picked” Attorney General. This indicates an intent to deceive the viewer/reader as anyone who has a rudimentary understanding of civics knows that ALL ATTORNEY GENERALS ARE HAND-PICKED…that is how you get the job. By adding the qualifier that Barr is “hand-picked” you can quickly deduce that the person saying that phrase is not an honest broker and is twisting facts to fit an agenda.

In terms of the “conspiracy theory” idea, another blurb from my September 2017 article,

As a result of the distinction between official and alternative conspiracies, we get Rachel Maddow whole-heartedly embracing the Russian election conspiracy theory to the point that she makes Glenn Beck look like Walter Cronkite and Sean Hannity look like Edward R. Murrow. Maddow sees Russians behind every single thing that happens and furiously reports it as though she's found the Lindberg baby in the arms of Jimmy Hoffa. This should not be surprising though, as when it comes to the "officially" sanctioned Russian conspiracy theory, anything goes. Even the most stodgy of old school media entities have embraced the most batshit conspiracy peddlers in regards to the Russian story, one need look no further than the New York Times op-ed page where the certifiably insane Louise Mensch was allowed to write a pieceas proof of that.

Maddow may end up being totally right about Russia, and everything she is reporting true, but there has not been any solid, tangible evidence put forward to date to corroborate the claims of Russian interference she embraces. None.

What is ironic is that the same media that refused to describe Russiagate as a conspiracy theory, were quick to equate it with two events that attract quite a bit of conspiracy theories. Many in the establishment pundit class described the alleged Russian election interference as the modern day equivalent of “Pearl Harbor” or “9-11” and as an “act of war”. Of course, thousands of Americans died heinous deaths at Pearl Harbor and on 9-11, so the analogy was always painfully hyperbolic as well as very extremely dangerous since if it were an “act of war” that would mean we would be obligated TO GO TO WAR WITH RUSSIA. Once again, these sorts of semantic flourishes such as relating Russiagate to 9-11 or Pearl Harbor and calling the alleged interference an act of war, reveal a stark dishonesty and lack of credibility.

Regarding Russiagate and 9-11 comparisons, it is interesting that in terms of evidence, there is considerably more evidence in the public domain that 9-11 was an “inside job”, which is another amorphous term like “collusion”, than there is that Trump conspired with Russia or even that Russia ever hacked the DNC or interfered in the election at all.

Even though that is the case, the media would never in a million years allow people to come on cable networks and espouse the belief that 9-11 was an “inside job”, and they sure as hell would never make that the official position of their networks and dedicate years of coverage to it like they did with the conspiracy theory of Russiagate. The New York Times would never grant a “conspiracy theorist” like Alex Jones the prestigious position of space on their op-ed page to speculate on Bush being involved with the 9-11 hijackers through his family’s connection with the House of Saud…but they did basically the same thing when they let certifiable conspiracy loon and fantasist Louise Mensch write an op-ed about Russiagate.

RUSSOPHOBIA, MICROWAVE WEAPONS AND CRICKETS

The truth is that the establishment media loathes all “conspiracy theories” except for the ones they love. And when they love a conspiracy theory they don’t call it a conspiracy theory…they simply call it news. Russiagate is obviously one example of that, but there are a plethora of other Russia related stories that fit the bill as well.

Remember the story that broke this past September where both the New York Times and NBC News breathlessly reported that the reason that a group of U.S. “diplomats” in Cuba had fallen ill was because the Russians had attacked them with a mysterious microwave weapon? I wrote an article for CounterPunch in September titled “A Curious Case of Mystery Attacks, Microwaves and Media Manipulation”, shredding those “microwave attack” stories as being obvious nonsense and anti-Russian propaganda.

After meticulously dismantling the outrageous claims made in these news reports about a “Russian mystery microwave attack”, I ended my piece with this,

These incidents may very well be proven to be attacks, and Russia may ultimately be responsible for them, but we should wait for actual evidence and not accept whispered innuendo wrapped in a slavish deference to intelligence agency authority as proof…

Similar to the delirious fever for war in the lead up to Iraq, the media are currently suffering from a virulent hysteria, this time of the anti-Russian variety. Now more than ever it is imperative to maintain a healthy and vigilant skepticism whenever Russia is blamed for misdeeds but there is a dearth or absence of concrete evidence. If we succumb to the corporate media’s Siren’s call of compulsive Russia blaming, our new Cold war may just turn very hot, and that will be a catastrophe for all of us.

Months later it was reported that scientists studying the incidents and illnesses that sparked the
”microwave weapon” speculation, now conclude that they are not the result of a “microwave attack”, but rather a reaction to the noise made by a particular type of cricket during mating season.

The “collusion” claims made by the media seemed to me to be very similar to the “microwave weapon attack” story in that they fell flat on their face upon closer inspection. There is a long list of similarly dubious anti-Russian stories in recent years and they all crumble upon even the most rudimentary examination. There was “Russia hacked the Vermont electrical grid”, “Russia hacked C-Span”, “DNC emails were altered”, “Russian spy-harlot used sex to infiltrate America”, “Russia could turn off the heat in the U.S.”, “Michael Cohen went to Prague”, “Manafort visited Assange” and on and on and on. These stories all garnered lots of attention and lots of headlines and then a few days or weeks later had to be retracted or amended because they were at best misleading and at worst outright fabrications.

ASSESSING THE ASSESSMENT

Just like these other fabulist anti-Russia stories, Russiagate was bound to collapse because it was built on an unstable foundation that was devoid of facts and evidence and rife with innuendo and assumption. The founding document of Russiagate is the aptly titled “Assessing Russian Activities and Intentions in Recent U.S. Elections”. This assessment, which was published on January 6, 2016, was such a flimsy, tenuous and superficial document that it was utterly startling, and frankly alarming, to witness it being taken so seriously.

The document contains not a single shred of hard evidence of Russian interference in the election, and only uses outdated and specious claims against the Russian news channel RT as proof of Russia’s nefarious actions and intents during the 2016 election. For example, here is a quote from an article I wrote in January of 2017 titled “Through the Looking Glass” where I describe the case made in the assessment for Russia’s guilt regarding election interference. (FULL DISCLOSURE - While I was not a contributing writer for RT at the time I wrote “Through the Looking Glass”, I am now.)

Another section…will come as quite a shock to liberals and Democrats…in the lead up to the 2012, again, to be clear, this is not the 2016 election but the 2012 election, RT aired a documentary on Occupy Wall Street that the report described like this…"RT framed the movement (Occupy Wall Street) as a fight against the ruling class and described the current US political system as corrupt and dominated by corporations". Is there any rational and uncompromised human being on the planet who would describe the US political system any other way?

…other parts…of the report say that RT "alleges widespread infringements of civil liberties, police brutality and drone use" in America. Another part says that RT is attacking the US by criticizing "alleged Wall street greed." Let that one sink in for a minute. I hope liberals and Democrats are starting to understand how this report, and the intelligence community that prepared it, are not your friends, not by a long shot. Neither are they friends of Truth. 

Every single liberal I spoke with about the assessment agreed with it fully…but not surprisingly none of them had ever laid eyes on it. I encouraged everyone to read it but most never did. I would ask these liberals if they were against fracking and police brutality and supportive of Occupy Wall Street and to a person they all said they were…and when I informed them that the assessment asserted that RT covering those subjects was evidence of a nefarious Russian plot to undermine American democracy, they were left befuddled. To me it was obvious that the intelligence community was using anti-Trump hatred and fervor among the #Resistance as a way to surreptitiously criminalize left wing political beliefs through this assessment. Of course people thought I was crazy and ignored my warnings and instead put their faith in the intel community and eventually in St. Mueller.

Without fail, the media and Democrat talking point regarding the assessment was that it was “all 17 intelligence agencies” that declared that Russia interfered in the election. This establishment media talking point of “all 17 intelligence agencies” quickly became the chorus of the hit song “Intel Assessment”, the first single off of the album Russiagate, and was meant to stifle dissent, debate or questioning of the assessment and its findings. Everybody sang this tune…from establishment court jesters on Late Night TV to the journalists at tony institutions like the New York Times to the blathering buffoons of cable news and cocktail party goers who wanted to sound informed. Of course, the problem was that the talking point was patently false. It wasn’t “all 17 intel agencies”, it was parts of four intel agencies…the Office of the Director of National Intelligence with specifically selected analysts from the NSA, CIA and FBI. This is just one of many false narratives that were implanted into the public consciousness by the media and that became ingrained in individual’s minds and solidified as “fact”.

CONFIRMATION BIAS

Speaking of people’s minds, this might be a good time to examine why it was that so many people, in the media and out, fell for the Russiagate hoax hook, line and sinker. I believe that the main reason for this is our old nemesis confirmation bias.

The reason the #Resistance embraced the assessment (even when they never read it) is because the assessment told them what they wanted to hear, and since the assessment made them feel better they didn’t want to dig deeper into it out of the fear they may find out it wasn’t the truth. This is how confirmation bias works.

The intel assessment in particular, and Russiagate in general, confirmed all of the biases of the #Resistance and the establishment. It allowed these folks to believe that Trump didn’t legitimately win, Hillary didn’t lose and more importantly, that they weren’t so spectacularly wrong.

Russiagate had a convenient scapegoat for all that ailed the #Resistance and the establishment…namely Russia. Russia had put Trump in office and Russia had denied Hillary her rightful place on the throne, because of this belief any and all stories and speculation about Russia (and Trump) were immediately assumed to be true. All Russia related claims weren’t taken as truth because after a reasoned weighing of the evidence conclusions were drawn, but rather because those claims on their face simply made people feel better.

Declaring that Russia hacked the election, the DNC, C-Span, Vermont, American diplomat’s brains and all the rest, made people feel good…or at least gave them a brief reprieve from their Trump induced anxiety, fury or depression from which they suffered. That is what confirmation bias does, it excludes negative information that challenges your bias and heightens positive information that confirms it in order to buttress your belief system.

Confirmation bias is radioactive to the critical thinking function. This is why it is so dangerous for the #Resistance. Immediately after Trump’s victory there was a tsunami of “unfriending” in liberal circles where anyone who disagreed with Clinton supporters was exiled, I know this because it happened to me and some of my compatriots. Instead of self-examination in the wake of Hillary’s loss, Clinton supporters doubled down on their confirmation bias and tightened the lock on their echo chamber…which is part of the reason why they lost in the first place. It was in this echo chamber that Russiagate was born and prospered, like a fungus thriving in the darkness of intentional ignorance.

It is in these hermetically sealed echo chambers where “conspiracy theories” and “conspiracy thinking” flourish because ideas are never challenged and sharpened but rather are coddled and grow flaccid. The echo chamber insidiously replaces critical thinking with a proud and defiant emotionalism.

The lesson of all this is quite clear…allegedly ”serious” people love to denigrate conspiracy theories…except when those conspiracy theories confirm their biases. If a conspiracy theory tells people what they want to hear then it will gain traction in whatever community needs for it to be believed regardless of how tenuous the supporting evidence for it may be. In the case of the Russiagate conspiracy theory, it told millions of Democrats and establishmentarians exactly what they wanted to hear….that Trump was the lowest of the low, a traitor who only won by cheating…which made them feel good and allowed them to ignore their responsibility in his victory.

MEDIA MALPRACTICE

Media con artists and grifters, like the vacuous and repugnant frauds Luke Harding, Malcolm Nance, Jonathon Chait and David Corn or the coterie of professional liars from the intelligence community like John Brennan, James Clapper and Jeremy Bash or the journalistic poseurs at CNN or MSNBC, like the ridiculous Rachel Maddow. Nicolle Wallace, Chris Hayes and Chris Matthews, and at The New York Times and the Washington Post, pushed a plethora of Russiagate bullshit stories and narratives for all they were worth and made millions and billions by doing nothing more than making anti-Trumpists feel good by confirming their biases.

Harding, Nance and Corn all wrote books about the Russiagate story that alleged to show the “truth” but were little more than shallow and shameless attempts to pad their bank account at the expense of their #Resistance marks. The Mueller report has decimated the credibility of these men and their books, but that has only forced them to double down on their extravagant claims. And of course, no one in the media is being held accountable for their journalistic malpractice and malfeasance.

Speaking of malfeasance, former head of the CIA John Brennan was lionized by the corporate press as a paragon of truth and honor when he declared Trump a traitor. When Trump revoked Brennan’s security clearance last year, the media reacted as if Trump had sodomized Brennan on national television and excoriated the president for being so petty to a “true American hero”.

As I wrote in regards to the media and the #Resistance (in this case at a taping of Bill Maher’s HBO show) fawning over Brennan in an article last August titled “In a Fit of Anti-Trump Pique, Liberals Shamelessly Embrace Deep State Criminals”,

The nadir for the #Resistance occurred shortly thereafter as Brennan rumbled on stage and was greeted by the eruption of a raucous standing ovation by the liberal audience, with Little Bill calling it a "well-deserved standing ovation". Only in the bizarre universe where a silver-spooned, multi-bankrupted, reality television star is president does a former CIA director who has committed crimes and war crimes such as implementing and covering up Bush's rendition and torture regime, spying on the U.S. Senate and masterminding Obama's deadly drone program, get a delirious ovation from those on the left.

Brennan was deeply involved in Russiagate, as he was Director of the CIA when the alleged election meddling occurred. Brennan then used his “intel insider status” to get a job at MSNBC as a talking head and then spent his time on air making outrageous claims about Trump and the devious Russians. Now that Mueller has cleared Trump of collusion, Brennan says he must’ve gotten “bad information”…or as I have been warning for years now, maybe he is just a bad guy who is prone to lying…his history seems to back my assertion. Of course, liberals ignored my warnings on Brennan (and Mueller) because what Brennan told them confirmed their bias and made them feel better.

MSNBC’s Rachel Maddow was the ringmaster of the cable news circus that was Russiagate. Maddow peddled any and all Russophobic conspiracy theory she could get her hands on and her audience ate it up. Maddow’s ratings shot to the penthouse as her integrity went to the bottom of the septic tank. Maddow exploited her audience’s desire for denial by going full Glenn Beck…and you never want to go full Glenn Beck. It is obvious that Maddow made the business decision to tell people what they wanted to hear (confirm their bias) as opposed to the journalistic decision to tell people the Truth.

What is so repugnant to me is that Maddow, Nance, Corn, Harding, Brennan and the rest of the corporate media lap dogs all preyed upon the grief of hurt Democrats in the wake of Trump’s election and sold them a bill of goods regarding Russiagate. MSNBC, CNN, NY Times, Washington Post and the rest of the corporate media exploited vulnerable people who were in pain for their own aggrandizement and monetary gain. These media con-artists did what all con-artists do, they told their marks exactly what they wanted to hear in order to bilk them and enrich themselves.

RUSSIAGATE AUTOPSY - HOW AND WHY

The foundation from which this perfect storm of fraud called Russiagate took root, grew and raged among the elite as well as the rank and file Democrats and liberals was the deep, profound and disorienting grief that staunch supporters of Hillary Clinton fell into after Trump’s 2016 election victory.

Some liberals (women in particular), with a large assist from the media, projected a great deal of cultural, political, psychological and personal meaning onto Hillary Clinton and her 2016 candidacy, understandably so considering she was the first woman to be a presidential candidate from a major party. These supporters projected themselves onto Hillary and she became an avatar and an archetypal symbol for their hopes, dreams, struggles and lives.

These projections fostered a deeply personal and powerful emotional attachment to Hillary among some voters (most particularly, but not exclusively, female Democrats). The problem with this type of projection and archetypal emotional connection is that it often breeds an emotionalism that leads to a crippling of the critical thinking function…and so it was with these particular type of Clinton supporters. The simple idea that Hillary could lose to, in their eyes, such a repugnant, sexist pig as Trump, was entirely inconceivable to these type of Hillary supporters (in the media and the public) because their projections and emotional attachment, and its accompanying emotionalism, caused a myopia and historical amnesia that led them to be blinded to reality on the ground.

TRAUMA

Due to this emotionally induced blindness, when Clinton lost the electoral college to Trump it wasn’t just a defeat or disappointment or shock to these Clinton projectors/supporters…it was a trauma….and I do not use that term lightly. Trauma is derived from the Greek word trauma, which means “ a wound, a hurt; a defeat”, and Clinton projectors/supporters suffered a trauma in every sense of the word as they were “wounded”, “hurt” and “defeated”.

In psychological terms, Hillary’s defeat to Trump felt like an actual physical or sexual assault upon these Clinton projectors/supporters. I know that sounds crazy, but it is true, and proof of it is that Clinton projectors/supporters have been suffering from post traumatic stress for the past two and a half years.

If you look at the symptoms of PTSD they read like a perfect descriptor of Clinton projectors/supporters behavior since Trump defeated Hillary.

1. IRRITABLE OR AGGRESSIVE BEHAVIOR - Since Trump’s victory and Hillary’s defeat, Clinton projector/supporters have ranted and raved incessantly, called all Trump voters racist and misogynyst, advocated the punching of alt-right members and cheered when it happened, and also shouted at and banned right wing public figures from restaurants and certain spaces. Russiagate was also a form of this symptom of PTSD as evidenced by the wildly aggressive charges and conspiracies being bandied about by supposedly serious journalists.

2. RECKLESS AND SELF-DESTRUCTIVE BEHAVIOR - This is Russiagate in a nutshell. Instead of being rational and logical, Clinton projectors/supporters in the media and the general public threw ever more wild accusations at Trump thinking that Mueller would be the tool by which to remove him from office. The story was a nothing burger from day one…a total farce…but Clinton projectors/supporters were blind to it…and now they have handed Trump a powerful weapon for his reelection. Russiagate is a wonderful example of reckless and self-destructive behavior and cutting one’s nose off to spite one’s face.

3. HYPERVIGILANCE - This again took the form of Russiagate, as the media and Clinton true believers saw Russian boogey men and women around every corner. Rachel Maddow and her fans are the poster children for this form of nonsensical and hysterical hypervigilance.

4. EXAGGERATED STARTLE RESPONSE - Again…this is Russiagate in a nutshell as it is an entirely exaggerated startle response. See Rachel Maddow and her co-”conspirators” in the establishment press who are so quick to turn everything Trump does into a Russian conspiracy and the apocalypse. Clinton supporters also pretend like everything was fine before Trump and have an exaggerated startle response when he acts just like every other asshole president we’ve had.

ON DEATH AND DYING

Besides suffering from Trump related PTSD, Clinton projectors/supporters are also suffering from grief. All losses are accompanied by grief of one form or another, and political losses are no different. When reality does not conform to your dreams, then there is a grieving that occurs…but in the case of Hillary projectors/supporters, that grief was much, much more intense than usual. A female candidate didn’t just lose, which would be bad enough as it would signal or reinforce feelings of personal unworthiness among Hillary’s projectors/supporters, but she lost to a man deemed to be not just a misogynist but an abhorrent sexual predator and racist monster. Hillary’s loss seen through this lens, which is the lens that the Hillary projectors/supporters used, was a catastrophic political, moral and ethical defeat, a personal repudiation and a trauma.

In the wake of Hillary’s loss, these projectors/supporters dove into the deep end of the grief pool with the added complication of the burden of PTSD, and the result was that they frothed and flailed and raged about desperately looking for something for which to grasp. The Clinton campaign and the media tossed them a lifebuoy with “Russiagate” written on the side of it and these projector/supporters grabbed on to it with a maniacal fervor.

According to the Kubler-Ross model, there are five stages of grief that in chronological order are denial, anger, bargaining, depression and acceptance. These stages of grief never quite go in as linear a fashion as one might expect. Grief is usually a one step forward, two steps back type of process where the stage you are in can change from moment to moment and day to day, sometimes moving forward, sometimes moving back.

In the case of Clinton projectors/supporters, Russiagate short-circuited the grief cycle and created a grief vortex where they repeatedly vacillate between denial and anger. Russiagate allowed these wounded, confused, traumatized and grieving Clinton projectors/supporters to cling to the hope that none of it had happened, that none of it was real and that they had been “right” all along. The problem is that reality and time inevitably transform an open system of hope into the closed system of denial. Some of these Clinton projectors/supporters became such dead-enders that they still defiantly declare that Hillary should be sworn in because she is the rightfully and duly elected president…which is a very clear indication of denial winning the day.

HELLO, COG DIS MY OLD FRIEND

The bottom line was this, that Clinton projectors/supporters were in such pain in the wake of Trump’s victory that they would do anything to alleviate that pain. One way to alleviate that pain was through confirmation bias, another was through outright denial, and yet another was through our old friend cognitive dissonance.

As I wrote in my article “Truth, Justice and the Curious Case of Chris Kyle” back in 2014,

Cognitive Dissonance is "psychological conflict resulting from incongruous beliefs and attitudes held simultaneously". People will contort in all sorts of ways to avoid seeing the uncomfortable truth that is right in front of their eyes and facing that conflict.

In the case of Chris Kyle, his supporters vociferously attacked me for pointing out the incongruity of his tall tales regarding his shooting of two carjackers, his “discovery” of WMD’s in Iraq and a plethora of other lies. These Kyle supporters were struggling with the discomfort of reading information that was at odds with their previously held belief. In order to alleviate that discomfort, they ignored the new information and attacked the source of it…me.

In the case of the 2016 election, Clinton supporters suffered from a similar malady where they simply could not accept that Hillary lost the election, and maybe even more importantly, that Trump actually won it. They were so emotionally attached to Clinton and their dream of a female President that the new information, Trump’s win, caused tremendous psychological discomfort…and in order to alleviate that discomfort they simply denied the new information with the delusion of Russiagate.

Clinton projectors/supporters simply cannot accept the reality of Trump as president and Hillary as defeated because it is so damaging to their identity and their cosmology. So instead they suspend their disbelief by short circuiting their critical thinking, and embrace the delusion of Russiagate.

When news stories appeared that alleged to show Trump’s guilt regarding collusion, liberals would celebrate like it was Christmas morning and pass the stories around like gifts. Days, or even hours later, when those stories were shot down, liberals simply ignored the new information, preferring to live in the delusion upholding grandeur of the original story.

The most glaring example of this is the infamous Steele Dossier, which alleged all sorts of suspicious activity on the part of Trump…the most embarrassing being the supposed “pee tape”. The Steele Dossier has been thoroughly debunked, so much so that even establishment shills like Michael Isikoff, who wrote an entire book with David Corn based upon the presumption that the Steele Dossier was accurate, have now declared it to be totally false. But liberals still cling to the Steele Dossier as if it is the gospel truth, and most believe that Trump is “compromised” (and in attempts to sound sophisticated use terms like “Kompromat”) by the Russians who have “pee tape” or something much worse on him.

The Steele Dossier claimed that Trump lawyer Michael Cohen went to Prague to collude with Russians and the media and liberals clung to this story as damning evidence of collusion. But when Cohen flipped on Trump he testified under oath before Congress he swore he had never been to Prague. Instead of accepting and integrating this new information, liberals and the corporate media instead posited that Cohen was telling the truth in his testimony about everything except the Prague stuff…this is what cognitive dissonance looks like in action.

More from my Chris Kyle article,

What usually occurs when people are presented with new information that clashes with their strongly held belief, is that they "seek to preserve their current understanding of the world by rejecting, explaining away, or avoiding the new information or by convincing themselves that no conflict really exists."

Russiagate was the magic bullet for Clinton projectors/supporters and the #Resistance because it allowed them to alleviate their cognitive dissonance through confirmation bias, which allowed them to live in a state of denial and delusion.

Russiagate may have felt like a lifesaver at the time for these traumatized and hurting Clinton projectors/supporters, but as I pointed out right after the election, it was not a life jacket but an albatross. Denial is normal and natural when grieving, but if you stay in it too long you never evolve and heal from the wound. In the case of Russiagate, the #Resistance and the Clinton projectors/supporters, denial became an addiction that needed to be fed to be maintained in order to keep the pain of reality at bay. This addiction, like all addictions when they are so acute, was accompanied by hysteria, mania and delusion.

NEO-CONNING

The biggest winners in the Russiagate fiasco are not the Trumps, but the neo-cons, who have long wished for a revived war with Russia, be it cold or hot, and now they have not only their conservative cohorts on board but a plethora of supposed liberals who have been duped by Russiagate.

In a fevered attempt to take down Trump through Russiagate, the #Resistance made the calamitous mistake when they whole-heartedly embraced and rehabilitated the neo-cons from the Bush administration who lied us into Iraq and who were aided and abetted in that crime by the same corporate media that has been pushing Russiagate. The Decider himself, George W. Bush, has even been rehabilitated and transformed from being a war criminal and worst president ever to being hailed as a man of great principle and deep character all because he gave a candy to Michelle Obama at a funeral.

Other neo-cons, such as the reprehensible Bill Kristol and David Frum, are now held in the highest esteem by those who should know better just because they oppose Trump on stylistic grounds. Besides reviving the neo-cons and exorcising their Iraq ghosts, the #Resistance also warmly embraced the neo-liberals and their economics which gave us the 2008 housing collapse and the big bailouts among other notable disasters. Russiagate makes for strange bedfellows…but the #Resistance is going to find out that when you sleep with war criminals and banking fraud pigs, you wake up with blood on your hands and smelling like shit.

CONSEQUENCES

The long-term consequences of going all in on Russiagate for the #Resistance, Clinton projectors/supporters and the media are dire.

In their fever and fervor to bring down Trump, the media have handed him a gift of epic proportions by stripping themselves of any last vestiges of credibility they had left. Trump’s favorite claim is that of “fake news”, and when something comes out that makes him look bad, he labels it “fake news” and the media and #Resistance goes crazy. Now with Russiagate, the media have propagated the motherload of “fake news” and have legitimized Trump’s future claims of “fake news”, thus neutering themselves as a functioning and vital part of our Republic.

The Russiagate fiasco is a weapon that Trump will now use to bludgeon his enemies and to protect himself from any further charges of wrong doing (of which, I am sure, there are a lot), and it is entirely the fault of the fourth estate and the #Resistance for having gotten out ahead of themselves and the evidence.

Sadly, just as with their utter failure regarding the Iraq War and WMD’s, the media will face no consequences for their miscarriage of journalism in the case of Russiagate. The loudest media voices that got it wrong…AGAIN…will simply fail upwards and maintain their standing as guardians of the establishment just as they did after the Iraq/WMD mess. The corporate media in America is so tainted and so toxic that it is a cancer on our culture and simply cannot be trusted at all anymore…and that is dangerous for our Republic.

LOOKING IN THE MIRROR

While the media is certainly to blame for this Russia-Gate fiasco, at some point people need to take responsibility for their own thinking, or lack thereof. How many times does the media have to reveal itself to be a mendacious propaganda machine before people wake up and push back? The media malpractice in their coverage of the Iraq War/WMD lies, the housing collapse, the Chris Kyle fabrications, the cavalcade of anti-Russian misreporting, the Jussie Smollett nonsense, the Russiagate fraud, how many more times does the media have to prove itself to be untrustworthy before people start holding them accountable?

And this is not some frivolous question, this is crucial for the survival of the Republic. If the press cannot function with some semblance of impartiality, journalistic quality and professionalism then an authoritarian will simply use the public’s distrust and disgust with them to his advantage and will further erode our already tenuous civil liberties….oh wait…that is already happening!

That is the most frustrating thing about the Russiagate horseshit…it has aided, abetted and emboldened Trump. This shouldn’t be surprising since the corporate media were already complicit in getting Trump elected the first time, but now with their incessant shrieking about the Russiagate “collusion” hoax they have given Trump a great boost for 2020.

At this point in the Russiagate story It isn’t about people having more knowledge in regards to Russia, or Trump or the media, it is about knowledge of oneself. Why do you believe what you believe…and where does your loyalty lie? If it lies anywhere besides the Truth, you are bound to be suckered by something or someone. Remember…if you desperately want something to be true, you should be particularly wary of those who you tell it is.

Regardless of how things go forward from here and whether the report gets released (which I hope it does) or if it gets buried, I ask the #Resistance to listen to me now. I warned you two years ago and you ignored me. Don’t make that same mistake again. My advice to you now is to stop being so God-damn emotional and weak. Get tough. Get rational. Get logical. Get strategic. And most importantly pledge your loyalty not to your party, ideology, country or identity but rather to the Truth. It will serve you and America much better in the long run.

ADDENDUM

As I was writing this piece this week a story titled “Some on Mueller’s Team Say Report Was More Damaging Than Barr Revealed” broke in the New York Times that claimed that people from the Mueller team were frustrated over Attorney General Bill Barr’s summary of their findings, and claimed that Mueller’s report is much more damaging to Trump that Barr makes it seem.

Well…that isn’t really what the New York Times article says…but that is how it is being “reported” in its headline and by cable news outlets like MSNBC. In fact, in an odd confluence of events, I was watching MSNBC when the story broke and got to see in real time how dubious their journalism really is as Chris Matthews “paraphrased” the Times article by saying that Mueller’s team is finally speaking up after two years of silence.

Here is the first paragraph of the Times article which caused such a stir.

Some of Robert S. Mueller III’s investigators have told associates that Attorney general William P. Barr failed to adequately portray the findings of their inquiry and that they were more troubling for President Trump than Mr. Barr indicated, according to government officials and others familiar with their simmering frustrations.

That is one hell of a paragraph…so let’s break it down.

Cable news and other media have declared that this story is really bad news for Trump because Mueller’s team is finally speaking out and is saying the report will be damning of the President. Of course, upon closer inspection, virtually none of the cable news pontification is even remotely backed up by the facts stated in the article.

For instance…even though the media is claiming this is Mueller’s team breaking their monk like silence…they aren’t. This isn’t Mueller’s team speaking out…these claims are allegedly being made by “associates” of Mueller’s investigators, not the investigators themselves. Beyond that, in that opening paragraph the Times also makes it clear that the sources for the story are “government officials and others familiar with their simmering frustrations”.

So let’s be perfectly clear as to what this story claims…that “government officials and others” have heard from “associates” of members of the Mueller team, that said Mueller team members believe that the Attorney General “failed to adequately portray their findings”.

This is like a bad game of telephone where the esteemed New York Times reports on third and fourth hand information that was allegedly told to “associates” of investigators on Mueller’s team, and then those “associates” told associates of theirs who are “government officials and others” who then told the New York Times who are now telling us.

Not surprisingly, MSNBC, CNN and the Washington Post all followed up the Times story with equally explosive claims but with similarly distant and dubious sourcing.

It is absolutely stunning when you break down the story and its sourcing and then consider the shock waves of glee this report sent through cable news and the #Resistance. Bill Maher, who is the id and village idiot of the center left, just last night was touting on his HBO show that treason is back on the table and so is collusion, all based on this extremely vacuous and flimsy report in the Times…which clearly states that the finding of “no collusion” is not in contention.

Maher is the hackneyed comedy version of cognitive dissonance with bad skin as on his show last week, the first since the Mueller Report was submitted and the Barr synopsis came out, he declared that he doesn’t need Mueller’s report because he KNOWS Trump is a traitor! This is textbook Cognitive Dissonance, where people “seek to preserve their current understanding of the world by rejecting, explaining away, or avoiding the new information or by convincing themselves that no conflict really exists."

This story and the media and the #Resistance’s rapturous response to it proves once again the seriousness of the maladies from which they suffer. This report and the liberal response to it highlights the conformation bias, cognitive dissonance, denial and delusion which I wrote about above. It is also emblematic of the media’s blatant dishonesty and unprofessionalism. This story is just one more piece of evidence for the thesis I laid out in the above article.

It is also a damning indictment that the #Resistance and its media cohorts like Bill Maher and MSNBC are irredeemable and a hopeless lost cause.

MY BEST GUESS

When discussing my skepticism regarding this whole issue, I am often asked what it is that I believe regarding Trump, Russia, collusion and the rest of it. Well, what I think is this…and this is entirely and purely speculation…that Trump is certainly “guilty” of obstruction of justice. I mean, Trump is a walking obstruction of justice…but the problem is that if there is no underlying crime, that makes both the legal and political case for obstruction much more difficult.

In addition, I have yet to see any clear evidence of the underlying claim that Russia hacked the DNC server and the Clinton campaign emails. In fact there has been no evidence released that even shows that the DNC server was hacked at all. Now that doesn’t mean the server wasn’t hacked, it may have been, it just means I haven’t seen any evidence of it. It also doesn’t mean that if it was hacked, that Russia hacked it, it just means I haven’t seen any evidence of those claims. I am not alone in my skepticism regarding the alleged hack, as the Veteran Intelligence Professionals for Sanity (VIPS), a group which includes Ray McGovern, Colleen Rowley, Mike Gravel, Philip Giraldi, Larry Johnson, John Kiriakou and Lawrence Wilkerson among many others, have stated their skepticism as well regarding this claim of a hack that is now assumed to be true despite the paucity of evidence for it.

And finally, in regards to the charge that Russia “interfered” in our election, I would say that the evidence put forth thus far is woefully inadequate to the point of absurdity. The Facebook and Twitter meme operation allegedly run by Russia is an absolute joke and is not proof of Russian interference in anything at all.

If people are serious about identifying and punishing nations for interference and meddling in our electoral and political process, then there are two criminal states that should be the entire focus of attention…Israel and Saudi Arabia, both of which a nefarious actors in our political process with tentacles into the highest echelons of power in America.

As I stated earlier and as I stated throughout the last two and half years in all of my writing…I am open to evidence of Russian interference in the election and any conspiracy with Trump or anyone else…and will gladly scrutinize that evidence if and when it comes forward, and accept it if it is credible. But until it comes forward I maintain the only logical and rational position there is, and that is of maintaining a pronounced skepticism towards these and all evidence-free claims.

For a glance at my previous writings on Russiagate over the last few years, here are some links.

Joe McCarthy Was Right!! Shocking Revelations From a Manchurian Op-Ed Writer

Deconstructing Criticism of Oliver Stone’s The Putin Interviews

The Media Hates Conspiracy Theories…Except When They Don’t

Stephen Colbert Goes to Russia Looking For Laughs

Has the Fear of Putin Seized Hollywood?

Echoes of Totalitarianism in #MeToo and Russia-Gate

Hollywood’s Malicious Propaganda Dehumanizes All Russians

Captain America v Trump in Battle of the Useful idiots

In a Fit of Anti-Trump Pique, Liberals Shamelessly Embrace Deep-State Criminals

A Curious Case of Mystery Attacks, Microwave Weapons and Media Manipulation

©2019

Us: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

Popcorn Rating: 2.25 out of 5 stars

My Recommendation: SKIP IT. A visually and narratively muddled disappointment of a movie that tries to be everything and ends up being nothing.

Us, written and directed by Jordan Peele, is a horror film that tells the story of the Wilson family who are hunted by their shadow dopplegangers while on vacation in Santa Cruz. The film stars Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph and Evan Alex.

Jordan Peele’s last film, 2017’s Get Out, was a horror/comedy that was also a social commentary on race and white liberal guilt that made a remarkable 255 million dollars off of a 4.5 million dollar budget. The film was a cultural phenomenon and critical darling that besides making gobs of money also garnered Best Picture and Best Director Oscar nominations and actually won the award for Best Original Screenplay.

The context in which Get Out became a “thing” is important to remember though, as the #OscarsSoWhite hysteria was at a fever pitch at the time and Hollywood and the media were desperate for any artist, actor or director of color to succeed. Jordan Peele was at the right place at the right time with the right type of movie to become a symbol for all of those hungry for a cinematic savior of color.

When I saw Get Out my response was, “what is all the fuss about?” I was entirely underwhelmed by the film and thought it was at best a pedestrian work with a clever premise and political perspective with which I actually agreed. I also thought that critics were, ironically considering the film’s spot-on theme of White liberal guilt, over-hyping the film and Peele’s filmmaking skill due to a “woke” agenda where all things related to diversity are wonderful. It seemed obvious to me that the incessant and exuberant critical love for Jordan Peele and Get Out was a function of grading on a diversity curve as opposed to on merit, which as a cinephile I find grating and frankly unethical.

Which brings us to…well..Us… Jordan Peele’s follow up to Get Out. It might come as a surprise to some that despite my misgivings about Get Out, I was actually really excited to see Us. The reason for my anticipation was that the trailer is absolutely fantastic. The trailer makes the film look super creepy, scary and bursting with thematic and symbolic potential and possibilities. Add in the fact that it dealt with dopplegangers, which I equated to the Jungian concept of the shadow (which intrigues me as an amateur Jungian), and I am all in for Us. As proof of my excitement for the film, I actually went and saw it at a 10:30 AM screening on the Friday it opened.

Then the movie started and my excitement dissipated and diminished with every passing second that the film played until I was left completely bored and uninterested for the final hour of the nearly two-hour film. I was not the only one who was bored, as in my screening there were only four people, me and three Black men in their twenties or so, who came in individually and sat by themselves. The “phone check index” with Us was very high, as every single one of those men checked their phones at least ten times times throughout the screening.

The biggest problem with Us is that for a horror movie, it isn’t even remotely scary. There are no legitimate thrills or chills in this movie and there is a startling lack of tension.

Another problem is, much like Get Out, it is poorly shot and not very well-made. There are a lot of shots of darkness in the film, which is to be expected in a “horror” movie, but they are poorly executed and end up being little more than just a murky, dark screen. I know that sounds bizarre to the uninitiated, but there is a difference between darkness and a lack of light. “Darkness” is created by using lighting techniques to create a crisp contrast where you enhance the mood but maintain visual clarity and with it interest. For an example of cinematographic “darkness:, go watch The Favourite from last year and see how well they shoot with just a single candle as the lighting. On the other hand, “lack of light” is simply a lack of a light source and brings with it little to no visual structure and fails to create or enhance mood but only diminishes visual clarity and capacity.

In addition, how is it that the filmmakers couldn’t figure out that you need to light people with darker skin tones differently from lighter toned people when you shoot them in low light? Besides being exquisitely beautiful, Lupita Nyong’o is very dark skinned, so why wasn’t there any subtle light used to reflect off of her in the shots with lower light? Lighting her properly would not only make her visible to viewers but highlight her powerful performance and accentuate her exquisite bone structure and features (like was done in the photo to the left). By not lighting her effectively in the film, Nyong’o gets washed out by the faux darkness/lack of light, and even in the light Peele’s camera often loses the detail of her striking features. Maybe I am simply going blind or maybe the projector at my theatre was sub-par (I saw it at the Arclight, a high end theatre here in Los Angeles) or maybe the cinematographer, like cosmetic companies, doesn’t realize you need to light differently and use a different color palate to accommodate different skin tones. Again…maybe this is an issue with my vision or with the poor condition of America’s projectors, both of which are very distinct possibilities, but then again so is cinematic malpractice.

And finally, another problem with the film is that while the trailer presented an intriguing premise, the film’s narrative ends up expanding too broadly and in doing so dilutes any potential tension. Instead of making a focused and intimate film about just one family and their personal/familial shadow, Peele expands his thesis and by doing so neuters the film of all its power. The trailer had me thinking this film was sort of a crazy combination of The Shining, Straw Dogs and Cape Fear or something like that…all of which show families/couples under extreme pressure from relentless evil foes.

In narrative, thematic, symbolic, mythical and even political terms, Us is ultimately kind of a mess of a movie that feigns both artistic and popular entertainment pretensions whilst spoon-feeding its political/social message with such unsubtle and cringeworthy lines as '“We are Americans.”

Us is everywhere and nowhere all at once, and tries to be everything and ends up being nothing at all. Is the film about capitalism? Racism? Collective guilt? Collective shame? America’s shadow? The film is sort of about all of those things all at once and thus ends up not really being about any of them. The film lacks narrative cohesion, thematic coherence and dramatic compulsion and it never commands your attention.

On the bright side, the cast do the very best they can with the little they are given. Lupita Nyong’o, who plays the Winston family matriarch Adelaide, should be commended for picking the movie up and carrying it on her back. Nyong’o is a magnetic screen presence and it is impossible to take your eyes off of her, which is why it is so frustrating that she is so poorly shot and lit. Nyong’o gives her all but the film fails to live up to her strong work in it.

Winston Duke plays Adelaide’s husband Gabe, and is another top notch actor who is poorly served by the film. Duke is a charming presence but is terribly underused in Us, and his character often feels tonally out of place with the rest of the film.

The two younger actors, Shahadi Wright Joseph and Evan Alex, play the Wilson’s children Zora and Jason, give solid performances that get scuttled by the visual and narrative mess that is the movie.

In the lead up to Us’s release, the media has once again turned on the hype machine regarding Jordan Peele. There are some who are actually calling him the new Hitchcock, which is pretty stunning considering he’s only made two films and both of them are painfully mediocre. Trust me when I tell you that Jordan Peele is not the next Alfred Hitchcock…he isn’t even the next M. Night Shyamalan…at least not yet. Maybe Peele will grow into being a Hitchcock or will have a few more moderate hits then be exposed for being a cinematic fraud like Shyamalan…anything is possible…but the latter seems much more likely, especially after seeing Us.

The critical love for Us is transparently, blatantly and shamefully a result of a “woke” cultural agenda held by film critics which holds diversity and inclusion in much higher regard than it does the art of cinema. I get the excitement around Peele, I genuinely do, but at the end of the day there is simply no there there. Peele, much like his films Get Out and Us, is cinematic fool’s gold, and anyone holding him up as an a formidable auteur is going to be left looking very foolish…the ham-fisted attempts at making on-the-nose social statements in Us are proof of that.

I remember decades ago Nicholas Cage was revered as some sort of acting genius, like the second coming of Brando except funny. Well…I knew back then he was a fraud and no one listened…and history proved me right and exposed Mr. Cage’s artistic vacuity. I think the same will be true of Jordan Peele. And to be clear, I don’t dislike Jordan Peele and I don’t want him to fail, in fact he seems like a good guy and I wish him success because I want SOMEBODY…be it Peele or anybody else, to be the next Hitchcock or Kubrick or Altman or whomever because I love cinema and cinema needs great auteurs. I wish there were more great film makers in the world not less, but wishing doesn’t make it so, and all the film critics in the world wishing Peele’s movies were great doesn’t make them any better and it certainly doesn’t make him a great filmmaker.

The hype machine is doing Peele no favors either, at least not in the long run. Yes, it will drum up business…hell, the hype and the great trailer had me so excited to see Us I trudged out to the theatre on opening day and I was really hoping it was awesome. The problem though is that it wasn’t…and that is sort of a big problem. The critical hype around Peele can only last so long before audiences tune out or get angry. This is what happened to M. Night Shyamalan, whose early films were considerably more financially successful than Peele’s. Once the bloom came off the Shyamalan rose his career plummeted and he has been struggling for years to try and get his filmmaking head above Hollywood waters ever since.

On the review aggregator website Rotten Tomatoes, Us currently has a 95 critical score, which is extremely high. In contrast, the film has a 69 audience score, which in my eyes, and probably the eyes of the other audience members at my screening who would rather look at their phones than at Us, is a much more accurate assessment of the quality of the movie. It is striking that in the crazy world in which we now live, critics adore a supposedly crowd pleasing, populist piece of entertainment like Us much more than the crowd it is supposed to be pleasing. As previously stated, I think the critical love for this film and for Peele is mostly powered by the White liberal guilt of film critics, which means that while the film is not philosophically or politically insightful enough to be worthwhile viewing, the hype surrounding it and Jordan Peele is much more instructive and insightful about the world we live in than anything found in the film.

In conclusion, Us could have been a really fascinating movie, but it ends up being a terribly boring disappointment because it is so poorly written and executed. Us is too visually muddled, narratively incoherent and cinematically flaccid for me to recommend you see it in the theatre, but if you really do want to see it I say wait until it is on Netflix or cable and see it for free.

©2019

Leaving Neverland: A Review

****THIS REVIEW CONTAINS ZERO SPOILERS!! THIS IS A SPOILER FREE REVIEW!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. See it to see and hear the truth regarding one of America’s most famous icons.

Leaving Neverland, produced and directed by Dan Reed, is a documentary that tells the story of Michael Jackson’s child sexual abuse of James Safechuk and Wade Robson from the late 80’s to the mid-90’s. The film is four hours long and is broken down into two, two-hour segments, which originally aired on HBO on March 3rd and 4th and are currently still available on that channel.

Leaving Neverland is one of those documentaries that takes a nebulous perception and turns it into an unavoidable reality. Michael Jackson, who settled a child sexual abuse lawsuit for a rumored $25 million in 1993 and was acquitted of child sex abuse involving another boy in a separate case in 2005, has long been assumed to be a pedophile…Leaving Neverland removes all doubt from that assumption.

The film is basically a collection of very long interviews with Safechuk and Robson where they describe in extremely explicit detail their sexual interactions with Jackson when they were minors, in Robson’s case as young as 7 years old. While the explicitness of their stories is uncomfortable to hear, it is very effective in shattering any illusions that might cloud the cold-hard reality of Jackson’s perverse sexual predilections. The explicitness of the language used is very beneficial, as terms like “molested” or “fondled” sound less damning and less evil than hearing the precise descriptions of what Jackson was doing to these little boys.

Director Reed wisely cuts back and forth between the explicit interviews of the grown men and footage of when they were young boys at the age when they were abused. This approach is highly effective in bringing home the point of Jackson’s disturbing depravity and the scope and scale of his evil.

Safechuk and Robson come across as forthright and believable in the interviews. If they are lying about the nature of their relationship with Jackson then they are two of the greatest actors to have ever walked the earth. Robson is much more camera friendly and articulate than Safechuk, but Safechuk’s pure being, his posture, his energy, the look in his eye, is devastating testimony in and of itself, and is a searing indictment of Michael Jackson.

The film does not have any interviews from members of the Jackson family or any counter arguments to Safechuk and Robson, and some may see that as unfair, I do not agree. For thirty years we have heard the Jackson story while the children he abused have been silenced due to his wealth and power. We’ve heard enough from Jackson and company, and Leaving Neverland gives the side of the story we haven’t heard yet and that is what makes it so valuable.

What is so striking about the documentary is the news footage from the height of Jackson’s fame in the late 80’s and early 90’s. Jackson’s pedophilia was hiding in plain sight for all of us to see…in fact he was even flaunting it. The footage of Jackson gallivanting around the globe hand in hand with little boys is disgusting as he acts like a rock star parading around in public with a super model as arm candy and trophy girlfriend. And just like some rock star would want the status symbol of being seen in public with the latest and hottest Hollywood ingenue, Michael Jackson did the same thing with little boys, going public with his “friendship” with first Emmanuel Lewis (of Webster fame) and then later with Macaulay Culkin.

Jackson is just a despicable and deplorable human being, but his staff, family and enablers are equally repugnant for aiding and abetting his blatantly obvious sexual predation. As the documentary shows, Jackson’s staff members were actively recruiting boys to be Jackson’s companions and were complicit in keeping parents away while the abuse was happening.

Leaving Neverland is not just an indictment of Jackson, but of us all. His fans, the media and the public in general refused to see or believe what was right in front of our eyes because it was easier to ignore it, laugh about it or pretend it wasn’t happening. How Jackson did not get his head caved in by either a raging father of an abused child or by a security staffer with a conscience, is beyond me.

The documentary is very effective in revealing how Jackson didn’t just seduce little boys but also their entire families. The interviews with Safechuk’s and Robson’s mothers are very enlightening and at times infuriating. These women, whose job was to protect their kids, fell for Jackson’s schtick hook, line and sinker and their boys paid the price for it. The mother’s, especially Ms. Robson, inability to take responsibility for their failure is mind-boggling, and the fact that Ms. Robson STILL doesn’t want to hear what happened to her son is astonishing. But this is what the allure of fame does to people, it distorts and compromises their soul, and they end up selling their son’s youth and innocence for a shot at the brass ring.

After the airing of the second part of the documentary, HBO aired a special interview with Oprah Winfrey and James Safechuk and Wade Robson. Considering Oprah herself has talked publicly about being sexually abused as a girl and the intracicies of that, you would think she’d be a good choice to host program…but you would be wrong.

Oprah is a terrible interviewer as she always makes everything about her and her opinion…but she is an even worse human being because she is so devoid of self-awareness yet is delusional enough to think that she is entirely self-aware. During the post-doc interview Oprah has the temerity to tell Safechuk that he hasn’t evolved as much as Robson, which if Oprah were half as “evolved” as she thinks she is she would understand is a really vicious thing to say to a survivor, especially one in such a vulnerable state as Safechuk.

What was stunning to me is that Oprah spent the hour pontificating on how wise she is about abuse and how it is really seduction, but she fails to ever mention that she interviewed Michael Jackson in 1993…and it was a patty cake interview if there ever was one. During that interview Oprah never held Jackson to account or held his feet to the fire for his “bizarre” and curious behavior with boys. Oprah…like the rest of America and like Safechuk and Robson and countless other boys and their families…was seduced by Michael Jackson and the allure of his fame and power, which is saying quite a lot considering Oprah’s fame and power…and it would have been interesting for Oprah to talk about HER experience of that seduction and how she was either wittingly or unwittingly blind to Jackson’s depravity…instead of doing what she did and giving her opinion on other people’s experience of that.

The enormity of Michael Jackson’s fame and celebrity, especially back in the 80’s and early 90’s is difficult to fathom in this day and age of such a fractured and fragmented popular culture. Michael Jackson wasn’t just a superstar, he was a supernova. Jackson was the most famous and identifiable person on the planet back then and more people knew his name than any other person’s in the whole world.

When you look at Jackson’s discography and album sales it is unbelievable. Jackson was considered a performing prodigy and was a superstar with his family band The Jackson Five at the age of 11. After an awkward adolescent transition, Jackson returned to glory as a 21 year old with his 1979 hit album Off the Wall, which is a terrific album that sold 20 million copies.

The follow up to Off the Wall was Thriller, which sold an estimated 66 million copies and is the greatest selling album of all-time. Thriller undeniably made Jackson the biggest pop star in the world. No one has ever or will ever surpass Thriller’s sales numbers.

After Thriller Jackson could have sold 20 million copies of any piece of crap he threw out there, and that is kind of what he did with the awful Bad (1987) and the even more abysmal Dangerous (1991), which sold 35 and 32 million copies respectively.

The success of Off the Wall, Thriller, Bad and Dangerous gave Jackson enormous amounts of wealth and power and with that money and power Jackson could do whatever the hell he wanted…and sadly…what he wanted to do most of all was to have sex with young boys.

After watching Leaving Neverland and the Oprah special I sat contemplating what I had just seen and I had two thoughts. The first thought was how striking it is to me that in the 1980’s, a decade of America’s alleged rebirth and renewal under Ronald Reagan, the biggest and most beloved music star was Michael Jackson and the biggest and most beloved television star was Bill Cosby. These two men were very similar in a lot of ways in that they were two Black men whose success crossed color lines, who cultivated personas that exuded a gentle kindness and moral purity, and who were sexual predators who preyed upon the defenseless, in Jackson’s case young children and in Cosby’s case drugged and unconscious women. I have no idea what that observation means in a broader sense, maybe something about masks and facades and how to succeed in America, I don’t know, I just thought it was very curious that these two men were so successful in their careers at that time period but also so successful at getting away with their sex crimes for so long.

The second thought I had was about Conrad Murray, Michael Jackson’s personal physician, who was found guilty of involuntary manslaughter in Jackson’s 2009 death from an overdose of propofol. Murray served two years in prison and was pilloried by the media for being responsible for “killing” Michael Jackson. After watching Leaving Neverland, I think Conrad Murray deserves a fucking medal.

In conclusion, Leaving Neverland is a difficult documentary to watch, but I highly recommend you do watch it because we must never look away from the truth, no matter how ugly it is or how uncomfortable it makes us.

©2019

Muse - The Forum: A Review

MUSE - THE FORUM - MONDAY, MARCH 11, 2019

Last Monday night I ventured out among the hoi polloi to see the band Muse, whose Simulation Theory tour had rolled into town for a one night stand at the Los Angeles Forum.

Muse is a difficult band to accurately describe. The English power-trio made up of Matt Bellamy (lead vocals, guitar, keyboard), Chris Wolstenholme (bass, backing vocals) and Dominic Howard (drums) are sort of an amalgam of arena rock, prog rock, hard rock and electronica that over their twenty year career have consistently churned out a cavalcade of catchy alt-political anthems. If Roger Waters’ led Pink Floyd (Animals, Final Cut), Bowie’s Ziggy Stardust incarnation, Queen, Rush and The Who in their rock opera phase (in this case especially Tommy), were all thrown into a blender and mixed together, you’d get Muse. That is not to say that Muse is as good as any of those bands but just to give you an indication of their rock and roll DNA.

Muse have released eight studio albums, all of them in one form or another specifically themed “concept albums”, that have examined everything from alienation in space to physics to conspiratorial militarism to propaganda and nearly everywhere in between. The band’s latest, Simulation Theory, is a synth-driven, pop-rock psuedo-opera exploring a manufactured video-game/matrix reality and political dysfunction that taps heavily into science fiction and 80’s pop culture. The album cover is reminiscent of the poster for Spielberg’s 80’s nostalgia film from last year Ready Player One, and the album touches upon similar themes.

Muse can be a polarizing band, some think they are one of the best rock bands in the world while others think they are a derivative, cheesy embarrassment. I understand the conflict even if I don’t agree with it. Muse are undoubtedly full of bombast and artistic ambition…I mean what other modern rock band has the confidence, if not arrogance, to continually make concept albums and rock operas? But with that said, this is rock and roll and a certain level of bombast and artistic arrogance is helpful if not required.

I am not a Muse cultist, but after discovering them when their 2006 radio-friendly album Black Holes and Revelations was in heavy rotation, I certainly became a fan. That album, which featured the hits “Take a Bow”, “Starlight”, “Supermassive Black Hole” and “Knights of Cydonia”, was like a guitar-driven breath of fresh air for rock…or the genre’s last gasp…depending on your perspective.

Black Holes and Revelations then led me to their earlier albums, Absolution (2003) and Origin of Symmetry(2001), both of which energetically lay the groundwork for their later breakthrough success.

The Resistance (2009), and its infectious call to arms “Uprising”, kept the bands momentum going by admirably following up Black Holes and Revelations. 2nd Law (2012) and Drones (2015) came soon after and were solid albums but failed to capture as much of the cultural imagination as their earlier work. Simulation Theory came out last year and even though it is more pop-oriented than the preceding albums, it too failed to get much attention from our rock-allergic culture.

Which leads us to the Simulation Theory tour and Monday night at The Forum. I own the majority, but not all, of Muse’s albums but I have never seen them live. My friend, the music afficianado Fire Thorn, saw them on their last tour and highly recommended them to me, but I still hesitated to buy tickets. Then in a moment of weakness I recently noticed they hadn’t entirely sold out The Forum so I searched and found a good deal on some nice seats and I took the plunge.

The Forum is a terrific venue for music. My first experience there was thanks to a friend who is a big shot in the music industry who got me in to see Van Halen rehearse for their first reunion tour in 2007. Van Halen was one of my favorite bands when I was a kid, so getting to see a private show by the band at The Forum for me and 14 other people was a magical experience that emotionally attached me to the venue for life.

Getting to The Forum is pretty easy, but getting out of there after a show is a total traffic nightmare. My night got off to a good start though when I found a sneaky good place to park across the street from The Forum that only cost $5 more than the arena parking and helped us to escape quickly and unscathed after the show.

The opening act was the band Walk the Moon which I had never heard of, but then when they started to play I realized they had a song that my friends two year old daughter is crazy about titled, “Shut Up and Dance”. My first impressions of Walk the Moon were that I was not particularly impressed. As my date, the inimitable Lady Pumpernickle Dusseldorf noted, they are like if Flock of Seagulls and N’Sync had a baby….or as I added…had an abortion. To be fair, the band has talent, no doubt, but the songs were weak and it just wasn’t my thing. My one observation was that the lead singer has a decent voice but he is a little TOO good a dancer…and the general rule when it comes to lead singers is that they should move well (think Mick Jaggar or Jim Morrison) but not dance too well.

After Walk the Moon walked off the stage, which was followed by an interminably long wait that had John Carpenter music as its soundtrack, Muse hit the stage around 9 pm, and turned The Forum into ground zero in the war for rock and roll’s survival.

The band opened with the first song off of Simulation Theory, the mood setting Algorithm which brought the near capacity crowd to its feet. The audience was jumping and singing along from the get go and the energy ran high as they stayed on their feet for the entire two hour show.

Rock is dead is a refrain I hear often, mostly because I am the one saying it, but I can attest that on Monday, March 11th, at The Forum, rock was alive and well and kicking…hard. Muse put on an astonishing show, one of the very best I have ever seen. That is the thing about Muse, they don’t just play music and play it exceedingly well, they put on a SHOW. The stage set, the costumes, the “dancers”…it was all a fantastic spectacle.

Any band that puts out concept album after concept album like Muse does is an artistically ambitious one, and that ambition was on full display at The Forum. Lead singer and guitarist Matt Bellamy, who at different times wore electronic goggles, an electronic suit, or both, was often accompanied by “dancers” that looked like a Kubrickian marching band of demonic robots. These dancers would sometimes hang from the ceiling in front of giant video screens, or bang large drums, or wear video face masks displaying an upside down American flag (the sign for distress), or would wield glowing light weapons.

In some ways the show that Muse put on could be interpreted as a parody of a rock show, with all the bells and whistles being a sign of decadence, but the one thing that stops that from happening is the impressive and impeccable musicianship of the band.

Bellamy is a powerful singer whose voice maintains its strength and clarity even when he hits his falsetto, which is often. His guitar playing is spectacular as well, both muscular and precise, and rattles you to your bones. Bellamy is not the most charismatic stage presence on the planet, so he is greatly aided by the Greek chorus of techno-dancers from hell that amplify the story of each song.

Bassist Chris Wolstenholme is the hidden gem in the band. His bass playing is superb but it is his backing vocals that are even more impressive. Wolstenholme’s vocals perfectly bolster and mix with Bellamy’s, and give the band a rich vocal texture that elevates the material.

Drummer Dominic Howard is the heavy-handed beast who lays the foundation from which Bellamy’s voice and volcanic guitar blast off. Although the band is a power trio, they do have an added musician on tour, a keyboard/secondary guitar player, who is tucked next to Howard during the show and who adds to the gigantic tsunami of sound the band produces.

The band played for two hours and not once did the energy in the building even remotely dissipate. Even though Simulation Theory has not sold very well, the audience absolutely loved the new material and much to my surprise knew the words to all of the new songs. My date Lady Dusseldorf had never heard Simulation Theory at all and even she got swept away by the tribal love for the new songs. In total, Muse played eight songs off of Simulation Theory and every single one of them was instantaneously met with rapturous cries of approval from the faithful.

The highlights of the show are almost too numerous to count as the whole thing was a supernova of highlights. But if I have to choose the best parts I would say Pressure and Uprising were the best songs in the first quarter of the show, with Mercy and the ferocious rebel anthem Time is Running Out being mid-show highlights. The climax of the show, from “Take a Bow” to the infectious “Starlight” to the ludicrously phenomenal encore medley to the closer, “Knights of Cydonia”, was deliriously and deliciously intoxicating.

Muse may not be everybody’s cup of tea, but if you like hard arena rock music wrapped in a captivating rock and roll spectacle, then I urge you to go see Muse live, I promise that you’ll be impressed…I sure as hell was. Rock may be dying, but last Monday night at The Forum Muse proved that they won’t let it go down without a nasty fight.

SET LIST

Algorithm

Pressure

Psycko

Break it to Me

Uprising

Propaganda

Plug In Baby

The Dark Side

Super Massive Black Hole

Thought Contagion

Interlude

Hysteria

The 2nd Law: Unsustainable

Dig Down

Madness

Mercy

Time is Running Out

Houston Jam

Take a Bow

Prelude

Starlight

ENCORE

Algorithm

Stockholm Syndrome/Assassin/Reapers/The Handler/New Born

Knights of Cydonia

©2019

Transit: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.75 out of 5 stars

My Recommendation: SEE IT/SKIP IT - Cinephiles should definitely check out this meditation on fascism, but be forewarned, this is a very “foreign” film so those not accustomed to such unconventional storytelling might want to skip it.

Language: German and French with English subtitles

Transit, written and directed by Christian Petzold and based upon Anna Segher’s 1942 novel of the same name, is set in modern times and follows the journey of Georg, a German trying to escape Fascists as their totalitarian reach stretches out of the Fatherland and across France. The film stars Franz Rogowski as Georg, with supporting turns from Paula Beer, Godehard Giese, Barbara Auer, Maryam Zaree and Ronald Kukulies.

Transit is a fascinating and politically prophetic and potent film that masterfully creates the visceral experience of modern world where fascism reigns supreme. The film is based upon Anna Segher’s novel about the Holocaust, but in its more modern setting it is equally chilling. The suffocating sense of impending and unstoppable doom that permeates this movie makes setting this story in modern times all the more chilling because it seems so effortlessly believable. The archetypal energy currently on the rise across the globe (and whether we want to acknowledge it or not, in our own hearts) is that of the fascist, and in the long shadow of the fascist, fear, isolation and resignation grow like poison mushrooms. Transit tells the story of those under the boot of fascism and the attempt to balance primal instincts to survive against the spiritual need for human connection and love.

Director Christian Petzold’s strength in this film is in making fascism feel tangible and palpable. The ominous sense of danger that Petzold conveys in this film, be it with a simple siren, screeching tires, a women on a street corner pointing or refugees refusing to look each other in the eye, is electric.

Petzold’s minimalism in respect to creating this menace is magnificent. By not physically transforming the world in which we live, but simply distorting our perception of it, Petzold makes the fascist threat feel immediate, intimate and personalized.

On one level, Transit reminded me of Michelangelo Antonioni’s intriguing film The Passenger (1975), in that it deals with a man stealing the identity of a dead man and having to face the repercussions of that act. In Transit, Georg assumes the identity of a dead writer in order to escape Paris as it comes under the perilous grip of the fascists.

Georg’s escape out of Paris leads him on a odyssey that reveals his external desperation to survive and his internal yearning to maintain humanity at all costs. The fascist menace forces Georg to fight this battle between his instinct and his humanity, where he must choose what kind of man he is and what kind of life he will lead.

Transit, which is in French and German with English subtitles, is a decidedly foreign film in that it does not conform to Hollywood conventions. This eschewing of storytelling convention can be somewhat frustrating for the uninitiated or for those not prepared for it, so consider yourself warned. Understand that this film is really about the pressures of living, or trying to live, under the toxic cloud of fascism, and how the existential fear of obliteration at the hands of totalitarians turns people upside down to the point where they behave emotionally and in ways that seem irrational to those on the outside. Seeing the film through this lens will hopefully help make any moments in the film that seem unclear or unrealistic much more palatable.

As for the cast, Franz Rogowski does stellar work as the conflicted Georg. Rogowski is Joaquin Phoenix’s German doppleganger, cleft lip scar included. Rogowski even has the same energy as Phoenix and he carries that burdensome darkness and despair with him through this film like an iron cross on the road to his Golgotha. Rogowski’s intensity is heightened by his silence and stillness, which are filled with a vibrant intentionality that acutely convey his internal struggle.

The ever luminous Paula Beer (last seen in the Oscar nominated Never Look Away) plays Marie, a mysterious beauty who keeps stumbling into Georg on his journey. Beer is a captivating and dynamic screen presence whose Maria is a compelling cauldron of regret, determination and despondency that never falls into caricature or fails to surprise.

The rest of the cast all do solid work, particularly Barbara Auer as a steely architect turned maid, in creating the atmosphere of maddening, dehumanizing and frantic fear that descends upon those under the thumb of a fascist threat.

In conclusion, Transit is not for everyone as its unconventionality can be at times unsatisfying, but for those who make the leap, they have the chance to be rewarded with a film that isn’t perfect but that is rich in psychological drama and political poignancy. My recommendation is for cinephiles who enjoy foreign film to definitely see Transit in the theatres. For those with less sophisticated film tastes, maybe start by watching Antonioni’s The Passenger, it stars Jack Nicholson and can be pretty challenging but is a good place to dip your toe into the water. If you like that then it is worth giving Transit a shot when it becomes available on Netflix/Amazon or Cable because even if you end up thinking the movie fails as entertainment, you may find that it succeeds as prophecy.

©2019

Spider-Man: Into the Spider-Verse : A Review

****THIS IS A SPOILER FREE REVIEW!!THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

Popcorn Rating: 4.5 out of 5 stars

My Recommendation: SEE IT. A well-made and fun exploration of the Spider-Man mythos that is original and unique.

Spider-Man: Into the Spider-Verse, written by Phil Lord and Rodney Rothman and directed by Rothman, Peter Ramsey and Bob Perischetti, is an Academy Award winning animated film that tells the mind-bending story of Brooklyn teenager Miles Morales and his introduction into Spidey-dom. The voice actors starring in the film are Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Bryan Tyree Henry, John Mulaney and Nicolas Cage.

This past Friday, March 8th, was International Women’s Day, so to celebrate this momentous occasion I tried to get as far away from women as I could, so I went to the movies. Much to my chagrin, when I got to the theatre I discovered that the female powered Captain Marvel had 36 showings going on that day and would no doubt draw a multitude of feminist harpies. Not wanting to get caught up in a tidal wave of man-hating and menses I instead chose to make a stand and rebelliously vote with my wallet, so I went and saw… Spider-Man: Into the Spider-Verse! Take that Girl Power brigade!!

Ok…to be completely honest, not everything is the previous paragraph is true. Yes, it was International Women’s Day. No, I did not go to the movies to escape being near women. Yes, there were 36 showings of Captain Marvel on the day at the theatre. No, I didn’t see Spider-Man as a form of protest. The truth is I figured Captain Marvel would be packed since it was opening day and I greatly dislike seeing movies in crowded theatres…so I chose Spider-Man because it had been out a long time already and probably wasn’t going to be crowded or in theatres for much longer. Sure enough, I was the only person at my screening for Spider-Man: Into the Spider-Verse, which I was extremely happy about.

As for the film itself, I don’t have anything against animated movies, it is just rare that I actually see one. For this reason i really had no expectations heading into the theatre, so it was a nice surprise to discover that Spider-Man: Into the Spider-Verse was a really energetic and compelling bit of fun.

Animation is very creatively freeing as it allows audiences to suspend their belief to a much greater degree than with live action which is a very useful tool with a superhero narrative and the directors use it to great effect in this movie. Animation also allows for interesting world-building and the New York City the film is set in is proof of that. The animated city is so vibrant and visceral it becomes a character all its own.

Animation is also useful when it comes to superhero movies in that it enables the action sequences to be much more “believable”. In Spider-Verse the filmmakers play this up by not just focusing on what their animated creations can do, but more importantly on what they can’t do. The world and characters of Spider-Verse have limitations, and that is what makes them so satisfying.

The lead character of the film is Miles Morales, a Latino teenager trying to navigate the perils of adolescence which in his case include a strict police officer father and a new and academically rigorous school. I am not a teenager, although absolutely EVERYONE says I look young enough to be one, but this film does a remarkable job of transporting the audience into the immediacy of Miles’ world. Miles feels like a very real kid trying to juggle all the demands placed upon him while hormones torment his body and the world barely acknowledges him.

As I watched Miles Morales on screen I couldn’t help but think of my neighbor, who is also a Black Latino teenager named Miles. My neighbor Miles is just the nicest kid on the planet and is always very kind, patient and generous with my own toddler son even when he doesn’t have to be, and what I appreciated about this movie was that it gave me an impression of the world through his eyes.

Considering this is an animated movie I was stunned at how thorough and genuine the relationships were. The characters were all multi-dimensional, even the villains, and the world they inhabited felt entirely real. This dramatic foundation in human relationship is what allows the film to expand its narrative into more and more complex areas. The movie’s multi-dimensions and multiple realities colliding would seem like a muddled mess if it weren’t for the film’s grounding in genuine human emotion and its established reality.

To its credit, Spider-Verse does not ignore the oddity of its premise, and is also able to poke fun at the superhero genre and its formulas while also using them to its storytelling advantage. This is a delicate balancing act, but the filmmakers are able to acknowledge the absurdity of the superhero genre while also taking their subject matter entirely seriously.

The film has an undeniable charisma to it, which is a function of both the first rate artistry of the animators, as the film is beautiful to look at, and also the pulsating soundtrack which includes Juice WRLD, Post Malone, Swae Lee and Nicki Minaj among others. The popular music in the film is not my taste but it is undeniably infectious and extremely effective in developing Miles as a character and conveying his perspective.

I hope the success of this film, it has made $366 million with a $90 million budget, will convince studios to create more high-end animated feature films of their superhero properties. The DC canon (Batman, Superman Etc.) has been flailing around in their most recent live action Justice League ventures, and it seems to me that Warner Bros. would be wise to try and package those characters in high end animated features like Spider-Verse. This would give Warner Bros. an opportunity to create dark live action films, like The Dark Knight Trilogy, and offset that darkness with animated features that are sophisticated yet fun and geared towards kids 10 and up.

Another idea would be to do the darker material in animated form and the lighter material in live action. For instance, the film Sin City was a very dark, neo-noir animated drama that made a solid $158 million in 2005. The market for high end animation geared either partially or in full towards adults exists, and the studios, be it Warner Bros. or Disney, would be wise to exploit it.

At the very least, making quality animated superhero features helps to connect younger audiences with the characters and expands the life cycle of fandom. In addition, as Spider-Verse and the upcoming live action Spider-Man movie proves, you can have simultaneous story lines, one in live action and one in animation, that creates a scenario where studios can double dip into the wallets of superhero fans. As long as the movies are well-made, it is a win-win for everyone involved.

In conclusion, Spider-Man: Into the Spider-Verse is well-deserving of its Best Animated Feature Academy Award. While my son is far too young to go see a movie like this, when he gets older this is the type of film I’d want him to watch, not only because it is an example of well-made art, but also because it is a great myth for young adolescents to explore in order to help get them through the trials and tribulations of the teen years.

I don’t know how much longer this movie will be in theatres, but if you have a chance you should check it out, either at the cineplex or on Netflix/cable when it becomes available. Spider-Man: Into the Spider-Verse is a joyous film that is perfect for kids 10 and up (your mileage for your kids may vary) that carries a message that even resonates with kids grown old…like me.

©2019

Birds of Passage: A Review

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****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. A unique and original take on the drug lord narrative that is heightened by its setting among an indigenous tribe in Columbia.

Language: Spanish, Wayuu, Wiwa - With English Subtitles.

Birds of Passage, written by Maria Camilla Arias and Jacque Toulemonde Vidal and directed by Ciro Guerra and Cristina Gallego, is a story that chronicles the rise of an indigenous Wayuu family who are key players in the birth of the illegal drug business in Columbia from the 1960’s to the 1980’s. The film stars Carmina Martinez and Jose Acosta with supporting turns from Natalia Reyes, Jhon Narvaez and Juan Batista.

Having just recently watched all three seasons of the Netflix show Narcos, which tells the story of Columbian drug kingpin Pablo Escobar, I was intrigued to learn more about the origins of the drug business in Columbia. Birds of Passage is a fantastic companion piece to Narcos, as it goes back to the beginning when the drug trade genie was let out of the bottle In Columbia.

Birds of Passage is part biblical fable and part Homeric saga that teaches of the perils of avarice, ambition and the betraying of core familial and tribal traditions. If you mixed the biblical stories of Adam and Eve, Cain and Abel (along with dashes of Noah and Exodus) with The Iliad and The Odyssey, threw in the Prodigal Son and a plague, mixed them all together in a bowl of Jungian and Shamanic dream analysis you’d get the mythic core of Birds of Passage.

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The story is structured in the form of a historical epic poem sung to life by one of the tribal word-keepers/historians and is broken into five cantos (songs) that tracks the trials and tribulations of the protagonist family. At the epicenter of the birth Columbian drug trade were the indigenous peoples known as the Wayuu, who are a collection of various large extended families and clans. The Wayuu are culturally shamanic and it is their ancient traditions that kept the peace between the clans and the tribe functioning.

When a prodigal son of the tribe, Rapayet, returns from time away working with the distrusted alijuana (Spanish Columbians) and wants to marry the daughter of the clan’s steely matriarch Ursula, who is against the union, this story takes its first fateful steps.

Birds of Passage is sort of like a Columbian version of The Godfather, except maybe would be better titled The Godmother due to the matriarchal power on display. Rapayet is a Michael Corleone character, bound by traditions and a conservative temperament but surrounded by those who are less controlled and more reactive than he. Ursula is like Don Corleone, a looming presence whose reputation is the real power behind the throne.

The film is also reminiscent of other famous drug lord/crime saga stories like Narcos and Scarface but what sets Birds of Passage apart is the setting of this character arc within the highly structured Wayuu shamanic tradition. As the tag line of the film eloquently and accurately states, “Generations of tradition. Consumed by greed.”

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Having spent centuries fighting off other tribes and colonialism, the Wayuu are distrustful of outsiders. This sort of nativism is a survival mechanism and as Ursula continually points out, the Wayuu ignore this tradition at their peril. The drug business is the Trojan horse that invites the outside world into the protected enclave of the Wayuu. The tight circle of trust around the Wayuus even excludes Rapayet, but once he is let in the walls become thinner and it is easier for the alijuana to follow and with them the Americans and all the trouble.

As the film points out, the drug trade is a direct result of America’s fight against communism and its evangelizing of capitalism. Without capitalism and American imperialism, the drug trade never metastasizes, and the drug war never becomes a permanent state.

Birds of Passage is a meditation on capitalism and how, for good or for ill, it is an acid that destroys everything it touches. The futility of the drug war is intentional and that becomes glaringly obvious whenever you watch any film about drug lords because what makes illicit drugs so profitable is the fact that they are illicit. Because the drugs are illegal is also why violence surrounding the sale of them is inevitable.

The film is also a contemplates shamanism, traditionalism, tribalism and the loss of cultural memory. The cost to the Wayuu for the easy money made growing and selling marijuana is for their entire culture to be dashed upon the rocks of American capitalism with their history and sense of self lost forever.

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Birds of Passage visually looks terrific and a big part of that is the setting. The region of Columbia where the Wayuu live is part desert and part lush forest so the contrasts of the washed out white of the desert and the lush green of the forests makes for a sumptuous visual feast, as do the wide open expanses. Directors Guerra and Gallego also wisely use a lot of animal symbolism and some cinematically striking dream sequences to further heighten the film’s visual style.

The acting is also solid across the board. Jose Acosta as Rapayet is particularly good going from a brash young man (hunter) to powerful tycoon (hunted) without skipping a beat. Carmina Martinez as Ursula is terrific too, embodying the power of her position with an exacting precision.

Beautifully photographed, well-acted and profoundly insightful, Birds of Passage takes a distinctly original path through the familiar territory of the drug lord narrative. The perilous journey from rags to riches and beyond on display in this film doesn’t just apply to greedy Columbian drug lords, but also to those who created them in the first place…Americans. It seems obvious that, like the Wayuu, America has sold its soul to the highest bidder and will soon enough come to the same end as the Wayuu…victims of their own success and to their own addictive greed.

©2019

5th Annual Slip-Me-A-Mickey™® Awards : 2018 Edition

Estimated Reading Time: 4 minutes 12 seconds

The Slip-Me-A-Mickey™® awards are a tribute to the absolute worst that film and entertainment has to offer for the year. Again, the qualifying rules are simple, I just had to have seen the film for it to be eligible. This means that at one point I had an interest in the film and put the effort in to see it, which may explain why I am so angry about it being awful. So any vitriol I may spew during this awards presentation shouldn't be taken personally by the people mentioned, it is really anger at myself for getting duped into watching.

The prizes are also pretty simple. The winners/losers receive nothing but my temporary scorn. If you are a winner/loser don't fret, because this years Slip-Me-A-Mickey™® loser/winner could always be next years Mickey™® winner!! Remember…you are only as good as your last film!!

Now…onto the awards!

WORST FILM OF THE YEAR

Aquaman - A garbled and muddied mess of a film that both scales the heights of Mount Ridiculous and dives to the bottom of the Sea of Inane, this movie is the equivalent of watching a toddler play with action figures in a puddle.

Mary Queen of Scots - If a corporate human resources department had the budget to make a period piece training film that espoused the virtues of diversity, inclusion, political correctness and woke culture…that movie would be Mary, Queen of Scots. An abysmal butchering of history and cinema, this movie is proof of my maxim “Wokeness kills art”.

Mission Impossible - Just when you think Tom Cruise and the Mission Impossible franchise can’t get any worse, the Scientology Messiah kicks it into high-flying gear and barfs out yet another stupid, unrelenting and unrelentingly stupid piece of action crap. This movie is a two and a half hour cinematic lobotomy.

AND THE LOSER IS…MARY, QUEEN OF SCOTS - Congratulations to Mary, Queen of Scots for completely fucking up what could have and should have been a very good if not great movie. As a Scotsman (and Irishman), this movie was so irritating and abysmal I would rather dive head first into the Worst Toilet in Scotland than sit through this shitshow again.

WORST PERFORMANCE OF THE YEAR

Alec Baldwin - Mission Impossible: Fallout - Alec Baldwin has a death scene in this movie that made me laugh so hard I had root beer flying out of my nose. Baldwin’s acting in this scene is so horrendously awful it felt like he was just doing it to pull a prank…sadly I think the joke was on us.

Mark Ruffalo - Avengers: Infinity War - Mark Ruffalo is a terrific actor who has done outstanding work in films such as Spotlight and Foxcatcher among many others, but in Infinity War it seems as if Ruffalo has stumbled onto set after a decades long nap. Like some thespian Rumpelstiltsken, Ruffalo awakes in this movie and finds himself entirely out of time and place. Ruffalo’s listless stroll through Infinity War is one of the most bizarre performances in recent memory.

Female Featured Extra - The Death Scene in The Wife - The Wife is a truly awful movie, but the cherry on top of its awfulness is the performance from the actress playing a female hotel employee during the climactic death scene. This young actress’s over-acting and mugging for the camera is so epic as to be amazing. Hopefully this actress goes on to great things in her career and can look back and laugh at how horrendous she was in this scene.

Armie Hammer - On the Basis of Sex: The extent of Armie Hammer’s acting in this movie is to perpetually give a soft and insipid smile and to never let you forget his character only has one testicle. Another in a string of truly deplorable performances, hopefully Hammer has either hit the low point of his career or has finally realized this acting thing is not for him.

AND THE LOSER IS…ALEC BALDWIN : Alec Baldwin has been a good actor before, and hopefully will be a good actor again, but I think playing the brain addled Donald Trump has addled his own brain. Hopefully Baldwin returns to form sooner rather than later because the Trump shtick is fun but is most definitely wearing thin, and if his work in Mission Impossible is any indication, it is having a very detrimental effect on his commitment level and deteriorating his skill.

WORST SCENE OF THE YEAR - The Mule Court Room Scene : The Mule is not a good movie…but to its credit it made me laugh out loud…not with it, but at it. The court room scene in question is just atrocious because 1. It is totally unnecessary and shouldn’t have been in the movie in the first place. 2. The acting in it is so over-the-top and ridiculous as to be absurd and it feels like something stolen from a telenovella. 3. The writing in this scene is even worse than the acting…which it quite an accomplishment.

If you want to see film making at its nadir, watch the court room scene of The Mule because it is a master class in superfluous shittyness.


MOST OVERRATED FILM OF THE YEAR

Black Panther - Black Panther is not even a good Marvel movie, nevermind a good actual movie, yet for some strange reason that I can’t quite figure out (hmmmm…what could it be?) it was nominated for Best Picture and some fools (like me) even thought it would win. Regardless of what the politically correct gatekeepers keep telling you, Black Panther is not a good movie, the acting is not good, the directing is not good and the writing is not good. None of this is good…can we please stop pretending that it is? Wakanda For Never!

A Star is Born - I get why Lady Gaga fans went goo goo over this film, but why on earth would anyone else? Lady Gaga can sing her balls off…but acting is not her strongsuit. Another weak point in the film is the trite script and the narcissistic cinematography. There were some who were clamoring for A Star is Born to sweep the Oscars…what the fuck is wrong with people? On this story’s fourth go around, this Star was still-born.

AND THE LOSER IS…BLACK PANTHER: Good Lord, please enough with reducing art to being little more than the diversity Olympics. If you like Black Panther…fine…but let’s not pretend it is some iconic, Best Picture level piece of cinematic history. It is a middling Marvel movie that is much closer in quality to Doctor Strange than it is to Avengers: Infinity War.


SPECIAL ACHIEVEMENT IN CINEMATIC MALPRACTICE

Josie Rourke, director, Mary Queen of Scots: Josie Rourke is a theatre director whose first feature film was Mary, Queen of Scots. I genuinely hope Ms. Rourke is better at directing theatre than she is at directing film because she is abysmal at the latter. Ms. Rourke’s painfully bad decisions when it came to casting and her even worse decision to use colorblind casting, were equally awful when compared to her inability to do the most rudimentary blocking of scenes or to use the camera to tell and enhance her story. This film revealed such a pronounced level of directing malpractice as to be shameful. Ms. Rourke’s amateurish direction should cease her filmmaking career in its tracks…but because of her pronounced political correctness, I doubt we will be so lucky as to never have to see her work again.

POS HALL OF FAME

MICHAEL JACKSON - A once in a generation talent who could sing and dance as well or better than anyone else we have ever seen, Michael Jackson is one of the great musical icons of the 20th century. Jackson was also a raging pedophile who flaunted his pedophilia by strutting around the world with young boys on his arm like a rock star with super model arm candy.

Jackson’s insatiable appetite for young boys seemingly knew no bounds and his depraved crimes were aided and abetted by those who were enthralled with his celebrity and his bank account or those cowed by his entertainment industry power.

My great shame is that Michael Jackson was not inducted into the Piece of Shit Hall of Fame sooner. Oddly enough, the reason it has taken five years for Jackson to achieve this great dishonor is that his crimes were so obvious it seemed passe to point them out. With the Leaving Neverland documentary currently airing on HBO and making headlines, now seems like an appropriate time to pay tribute to Michael Jackson, one of the all-time great pieces of shit.

BRYAN SINGER - Just like his POS Hall of Fame fellow inductee this year, Bryan Singer has been a piece of shit for a long time. Singer’s sexual depravity and sweet tooth for teenage boys has been an open secret in Hollywood for decades. The fact that Singer basically started a pederast ring with fellow Hollywood scumbags that they used to exploit, abuse and pass around teenage boys like trading cards, officially came to light with a damning article in The Atlantic recently, but those of us with half a brain in our heads knew this was the reality regarding Bryan Singer for a long time.

Singer is not alone in Hollywood in his desire for underage and barely of age young boys...in fact he has some very high profile company. Hollywood has a very pervasive pedophilia and pederasty problem among its upper echelons. Some of the most well-known people in this business are involved in this evil. Some big names that are always on the periphery when it comes to these stories…including both Bryan Singer and Michael Jackson…are so powerful that no one dare ever even hint at their nefarious sexual proclivities. Hint: Think of the most successful and iconic film maker of the last 50 years whose films often star or feature young children.

It is for this reason that I have a funny feeling that Bryan Singer is not long for this world. Something odd will happen, an accidental overdose or a suicide or some other banal calamity that will end his horrid life and silence him forever in order to protect those higher up the totem pole that he could implicate for being partners in his degeneracy. But for now, Bryan Singer should bask in the stench of his induction into the Piece of Shit Hall of Fame…he’s earned it.


POS ALL-STARS -

Lena Dunham - Lena Dunham is a perennial piece of shit all-star and her appearance this year is entirely predictable. Ms. Dunham made the POS All-Stars three years ago for lying about having been sexually assaulted, and two years ago for wishing she had an abortion. This year Ms. Dunham made the all-stars for lying to discredit an alleged rape victim and then making a self-serving non-apology apology for having been such a shameless hypocrite.

Ms. Dunham has been a strident and vociferous supporter of the #MeToo movement but even though she says she “believes all women”, when a women accused her friend and co-worker of rape she came to the man’s defense. This mere hypocrisy would not have been enough to get on her back on the POS All Stars though, what put her over the top was when she faced a backlash for her defense of the man she issued a rambling, performance art diatribe of an “apology” that was so self-serving as to be masturbatorial.

I pray to the almighty Thanos that he make Lena Dunham…GO. AWAY. FOREVER.

Jussie Smollet - Prior to faking his own hate crime, I had never in my entire life had heard the name Jussie Smollett. Little did I know how wonderful my world was before my Jussie Smollett bubble was so rudely shattered.

First things first…who the fuck names their kid Jussie? It’s not Jessie, it’s not Justin…it’s Jussie. Fuck you Jussie and your stupid fucking name. Secondly, how awesome is it that Jussie Smollett, of all the fucking useless individuals on the planet, is the one who so expertly exposes the identity politics crowd for the hysterical and emotionalist dipshits that they are.

And finally, not only is Jussie Smollett and awful actor, as proven with his Good Morning America performance which is sublimely absurd, but he is also an atrocious writer and director. This entire hoax was so poorly conceived and executed it felt like an Adam Sandler film or a Trump press conference.

Congrats Jussie, you made the POS All Stars, enjoy it while it lasts because I have a funny feeling this is as good as it will get for you for a long time.

Brie Larson - Brie Larson is a terrible actress…you know how I know that? Because I’ve seen her work. Go watch Kong Skull Island or Trainwreck…she is painfully awful. Brie Larson is also a terrible human being…you know how I know that? Because I’ve had to listen to her talk. Not only is Ms. Larson a moron, she is a racist misandrist too.

Ms. Larson earns her all-star status this year for being a shameless hypocrite who demands inclusion but only judges people by their race and gender. For instance, this year Ms. Larson proclaimed, “I do not need a 40-year-old white dude to tell me what didn’t work for him about A Wrinkle in Time. It wasn’t made for him. I want to know what it meant to women of color, to biracial women, to teen women of color, to teens that are biracial.”

Great…I agree with Ms. Larson because I do not want to hear what a white braud has to say about superhero movies, or Scorsese or PT Anderson or Kubrick or Kurosawa or any other great filmmaker’s work because that work wasn’t made for them. And if Ms. Larson is so interested in diversity and inclusion, why is she playing Captain Marvel, and not a “women of color, or a biracial women”?

How about this Brie Larson…why don’t you judge people on the content of their work instead of the color of their skin or their gender? And if you cannot do that, if you cannot help yourself from labeling everyone by the identity that you deem to give them, then why don’t you just shut the fuck up and go away because you are a shameless hypocrite and an intellectual dwarf.

And thus concludes another Slip-Me-A-Mickey™® awards. If you are one of the people who “won” this year I ask you to please not to take it personally and also to try and do better next year….because remember…this years Slip-Me-A-Mickey™® award winner could be next year’s Mickey™® Award winner!!

©2019

5th Annual Mickey™® Awards: 2018 Edition

Estimated Reading Time: The Mickey™® Awards are much more presitigious than the Oscars, and unlike our lesser crosstown rival, we here at The Mickeys™® do not limit acceptance speech times. There will be no classless playing off by the orchestra here…mostly because we don’t have an orchestra. Regardless… expect this awards show article to last at a minimum approximately 5 hours and 48 minutes.

The ultimate awards show is upon us…are you ready? The Mickeys™® are far superior to every other award imaginable…be it the Oscar, the Emmy, the Tony, the Grammy, the Pulitzer or even the Nobel. The Mickey™® is the mountaintop of not just artistic but human achievement, which is why they always take place AFTER the Oscars!

This year has been an erratic one for cinema, but with that said there are still a multitude of outstanding films eligible for a Mickey™® award. Actors, actresses, writers, cinematographers and directors are all sweating and squirming right now in anticipation of the Mickey™® nominations and winners. Remember, even a coveted Mickey™® nomination is a career and life changing event.

Before we get to what everyone is here for…a quick rundown of the rules and regulations of The Mickeys™®. The Mickeys™® are selected by me. I am judge, jury and executioner. The only films eligible are films I have actually seen, be it in the theatre, via screener, cable, Netflix or VOD. I do not see every film because as we all know, the overwhelming majority of films are God-awful, and I am a working man so I must be pretty selective. So that means that just getting me to actually watch your movie is a tremendous accomplishment in and of itself…never mind being nominated or winning!

The Prizes!! The winners of The Mickey™® award will receive one acting coaching session with me FOR FREE!!! Yes…you read that right…FOR FREE!! Non-acting category winners receive a free lunch* with me at Fatburger (*lunch is considered one "sandwich" item, one order of small fries, you aren't actors so I know you can eat carbs, and one beverage….yes, your beverage can be a shake, you fat bastards). Actors who win and don't want an acting coaching session but would prefer the lunch…can still go straight to hell…but I am legally obligated to inform you that, yes, there WILL BE SUBSTITUTIONS allowed with The Mickey™® Awards prizes. If you want to go to lunch I will gladly pay for your meal…and the sterling conversation will be entirely free of charge.

Enough with the formalities…let's start the festivities!!

Is everybody in? Is everybody in? The ceremony is about to begin...

Ladies and gentlemen…welcome to the fifth annual Mickey™® Awards!!!

BEST CINEMATOGRAPHY

Cold War - Lukasz Zal: Zal’s masterful use of a black and white with sharp contrast and his at times eye-popping framing make for exquisite visuals in Cold War that help to propel the narrative and tell the story in theri own right.

Roma - Alfonso Cuaron: Cuaron’s virtuoso camera work in Roma, which includes dazzling camera movements and remarkable framing, is a master class in the art. Any single frame from this movie could hang in a photography exhibit in any of the great museums of the world.

The Favourite - Robbie Ryan: Ryan deftly uses light and darkness, especially with candles, to illuminate the dramatic sub-text in The Favourite.

If Beale Street Could Talk - James Laxton: Laxton paints this film with a striking and lush palette in this film that is gorgeous to behold.

Widows - Sean Bobbitt : Bobbitt’s framing, particularly his use of mirrors, is simply stunning and elevates this rather sub-par material.

First Man - Linus Sandgren: Sandgren’s ability to contrast the claustrophobia of space travel to the vast expanse of the moon is breathtaking and aids in giving this film a visceral element.

You Were Never Really Here - Thomas Townend: Townend’s wondrous cinematography amplifies the fever dream feeling that envelops this entire film.

And The Mickey Goes To….ROMA - ALFONSO CUARON - This was an absolutely stacked category this year but Cuaron’s masterful work on Roma takes the award. Cuaron's cinematography on this film is stunning as he pulls off numerous, extremely difficult maneuvers with an ease and subtlety that is staggering to behold. Is Cuaron winning a Cinematography Oscar this year a big deal? Yes it is. Is Cuaron winning The Mickey™® Award for best Cinematography a bigger deal? You bet your ass it is.


BEST ADAPTED SCREENPLAY

First Man : A film more about grief than space travel, this script is able to take an expansive and historical subject and reduce it into a viscerally intimate and personal film.

The Sisters Brothers : An extremely well-written narrative filled with deep symbolism and genuine humanity that turns the western genre on its head.

Leave No Trace : This script perfectly captures the powerful relationship of a young girl coming of age with a damaged father, and never falls into the trap of sentimentality or caricature.

You Were Never Really Here: Intense and disturbing, this script grabs you and pulls you into its protagonist’s tortured mind and soul and never lets you go, even when you want it to.

The Death of Stalin: An uproariously funny script that is masterfully paced and wondrously smart.

AND THE MICKEY GOES TO…YOU WERE NEVER REALLY HERE - Lynne Ramsay’s script drags us kicking and screaming into the mind of her kicking and screaming main character, Joe, and never lets us leave. A wonderfully woven nightmare of a movie that is both grotesque and gripping. Lynne Ramsay is now among the best of the best having won a Mickey™® Award.

BEST ORIGINAL SCREENPLAY

Cold War: A narrative that stretches over decades and vast swaths of Europe but with an immediate pace that never loses its sense of intimacy.

Roma: A story of a simple woman that is anything but simple. Riddled with rich symbolism and moments of magical realism, Roma is a magnificent script.

The Favourite: Darkly funny and deeply insightful, The Favourite never fails to shock, compel or intrigue.

The Quiet Place: A fascinating story that transcends genre and speaks to the larger issues of our time without ever losing its horrifyingly entertaining value.

First Reformed: An extraordinary script that seriously grapples with matters of faith, theology, philosophy and eco-politics while also being a poignant and exacting character study.

AND THE MICKEY GOES TO…ROMA - Alfonso Cuaron masterfully weaves a precise and detailed story of harsh realism with mysticism in this slice of life/family drama that never fails to compel. Cuaron has already won more Mickeys™® in this ceremony than other mere mortals could dream of winning in their entire lives.

BEST SUPPORTING ACTRESS

Amy Adams - Vice: Amy Adams is stunning as Lynne Cheney, the Lady MacBeth who is the straw that stirs the drink of Darth Cheney’s nefarious political career. This is the very best work of Ms. Adam’s stellar career.

Sakuro Ando - Shoplifters: Ando gives a mesmerizing performance as the de facto mother of this rag tag family trying to make ends meet under the oppressive boot of capitalism. A powerful yet delicate performance that is simply wondrous.

Emma Stone - The Favourite: Stone gives a delicious performance as the ambitious social climber who will do whatever it takes to survive and thrive in Queen Anne’s court. A sexy, funny and compelling piece of work.

Emily Blunt - A Quiet Place: Best Actress Mickey Award winner (for Sicario) Emily Blunt proves once again that she is not just a movie star/pretty face, but one of the very best actresses working in film today. A kinetic, immediate and stunning performance.

Claire Foy - First Man: Foy imbues her character with a frenetic and unrelenting power that bubbles just beneath her calm facade. When that power boils to the surface it brings with it a magnetic intentionality that is palpable and mesmerizing.

Rachel Weisz - The Favourite: Weisz’s use of physicality to convey her character’s intellectual and political prowess is a master class in posture and stance and is something actors should study and steal from.

AND THE MICKEY GOES TO…AMY ADAMS - VICE : Adams’ very first scene in Vice is the best acting I have seen by an actress on film this year. Adams’ Lynne Cheney is a force of nature and when unleashed is a sight to behold. Adams’ Lynne has an insatiable hunger for power and an arrogant streak that drives the film even if it is from the backseat. Amy Adams is a hugely rich and famous movie star, but it wasn’t until now, when she won her first Mickey™® Award, that she finally “made it”. Congratulations m’lady!

BEST SUPPORTING ACTOR

Ben Foster - Leave No Trace: Foster is one of the great under rated talents of his generation and in Leave No Trace he gives yet another magnetic performance by imbuing his character with a palpable wound that torments and propels him to seek solace from it.

Sam Rockwell - Vice: Rockwell gives a delicious performance as Dubya, never falling into imitation or caricature, Rockwell turns Bush into a genuine yet damaged human being that is always compelling to watch and often times hysterically funny.

Thomas Hoult - The Favourite: In lesser hands, Hoult’s character in The Favourite, a sharp tongued and sharp elbowed dandy who plays to win the game of palace intrigue, would have been reduced to a punch line, but Hoult turns him into a dynamic presence that elevates the film considerably.

Joaquin Phoenix - The Sisters Brothers: Phoenix’s tortured character is a combustible mess who never fails to make the wrong decisions for the wrong reasons but also never fails to be a compelling, unsettling and dynamic screen presence.

Jonah Hill - Don’t Worry He Won’t Get Far on Foot: Hill creates an intriguing character in this film who is both a self-help bullshitter and a complicated and real human being. A subtle and finely crafted piece of acting that is a testament to Jonah Hill’s skill and commitment.

AND THE MICKEY GOES TO…BEN FOSTER - LEAVE NO TRACE: This is Ben Foster’s second Mickey nomination (Best Supporting Actor Hell or High Water) and first win. Foster has been known to be a rather explosive actor in the past and often thrives in roles where he is combustible, but in Leave No Trace he eschews his usual pyrotechnics for a more subdued, more nuanced and more subtle approach. Foster’s Will is an explosive character, but Foster takes all of that combustibility and stuffs it into a little furnace inside him. The furnace gets hot and even feels like it could explode, but Will fights to keep it contained and it is this struggle which makes for such a compelling and satisfying performance from Ben Foster…who rightly takes his place among the best actors of his generation with this Mickey™® award win.

BREAKOUT PERFORMANCE OF THE YEAR

Thomasin McKenzie - Thomasin McKenzie is so great in Leave No Trace it is miraculous. She masterfully brings to life a teenage girl struggling to make sense of her ever changing world and also her damaged father. A deft and subtle performance, highlighted by her ability to have the impulse to cry but the skill to not let herself, McKenzie proves her worth as a vibrant and compelling actress in Leave No Trace. Much like Jennifer Lawrence, who starred in director Debra Granik’s previous film Winter’s Bone, which launched her career, McKenzie has an undeniable screen presence and a surprising level and command of craft for such a young actress. I look forward to seeing what her very bright future holds.

BEST ACTOR

Christian Bale - VIce: Bale proves he is one of the very best actors working in film with his remarkable transformation into Dick Cheney. A master of physicality, Bale also is able to fill Cheney’s silences with a palpable intentionality that gives even the quietest scenes an unsettling air of menace.

John C. Reilly - The Sisters Brothers: Reilly gives the very best performance of his versatile and stellar career as the older and more sensitive of the Sisters brothers. Reilly’s well-crafted and nuanced work never falls into the trap of sentimentality and is a testament to his great talent.

Joaquin Phoenix - You Were Never Really Here: Joaquin Phoenix is may be the best actor on the planet right now and his volatile, magnetic and dynamic performance in You Were Never Really here stands as a monument to his towering talent and his mastery of craft. Phoenix creates an unsettling character suffering a Sisyphean wound that eats at his soul but never contaminates his pure heart.

Tomasz Kot - Cold War: Kot masterfully portrays a man who seems above the fray of life and then adeptly shows his unraveling and descent at the hands of love. A compelling and finely crafted piece of work that highlights Kot as both a movie star and a sublime actor.

AND THE MICKEY GOES TO…JOAQUIN PHOENIX - YOU WERE NEVER REALLY HERE: This is Joaquin Phoenix’s second nomination (Best Actor Inherent Vice) and first win. Joaquin Phoenix may be the very best actor working in film today. Phoenix is blessed with an undeniable talent and an interesting look, but what makes him so potent as an actor is his mastery of craft and exquisite skill. Phoenix never half-asses his way through a role, always committing fully to whatever is demanded. Phoenix’s work in You Were Never Really Here is as unnerving as it is glorious, as it reveals the tormented soul of a man on the edge and falling off of it. For this hypnotic and mesmerizing piece of work Joaquin Phoenix rightly takes his place atop the acting world with his much deserved Mickey™® Award.

BEST ACTRESS

Joanna Kulig - Cold War: Kulig gives an electrifying and explosive performance as an alluring Polish songstress. Kulig is like a Polish Jennifer Lawrence, charming, sexy and beguiling with a dash of danger sprinkled in. A truly mesmerizing performance.

Yalitza Aparicio - Vice: Aparicio makes her debut in Roma and could not have been better. Entirely genuine, present and grounded, Aparicio makes us feel as if she isn’t acting at all, but those of us in the know realize she is doing incredible and complicated work.

Olivia Colman - The Favourite: A deliriously delicious performance that is both funny and poignant. Colman won an Oscar for her dazzling work in the film, but being nominated for a Mickey trumps winning an Oscar…this is a fact.

Thomasin McKenzie - Leave No Trace: The winner of the presitgious Breakthrough award, McKenzie is one to watch as her work in Leave No Trace proves. A finely crafted and intricate performance that shows an actress with a refined skill set and in command of her craft.

AND THE MICKEY GOES TO…JOANNA KULIG - COLD WAR: This is Joanna Kulig’s first nomination and first win. Joanna Kulig is an intoxicating screen presence in Cold War and she expertly makes the audience fall in love with her even while keeping them at an arm’s length. This performance is so dynamic as to be glorious and is a pure joy to watch even when things take a darker turn. Masterfully crafted and palpably brought to life, Joanna Kulig’s work in Cold War gives her the highest honor an actress can ever receive…The Mickey™® Award.

BEST ENSEMBLE

Vice: Christian Bale and Amy Adams give career best performances in this uneven film and are joined in their sublime acting by Sam Rockwell and even Steve Carrell. Across the board this film is blessed with top-notch talent doing high level work.

The Favourite: A cornucopia of delectable performances make The Favorite a delicious joy to behold. Boasting four Mickey™® acting nominees, The Favourite is an actor’s delight.

The Death of Stalin: A cavalcade of talent lends their skill to this phenomenal dark comedy. Steve Buscemi, Simon Russell Beale, Jason Isaacs, Andrea Riseborough and Jeffery Tambor are among the multitude of actors who shine in this movie. A very skilled and very deep cast.

The Sister Brothers: The four actors in this film, John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal and Riz Ahmed all give nuanced, layered and standout performances in this alt-western gem. Reilly and Phoenix in particular have a crackling chemistry that is a pure pleasure to watch.

Shoplifters: A wonderful cast which includes Mickey™® nominee Sanduro Ando, Lily Franky, Mayu Matsuoka and the late Kirin Kiki. All of the actors in this film, including the child actors, do tremendous and very complex work.

AND THE MICKEY GOES TO…THE FAVOURITE - Olivia Colman, Emma Stone, Rachel Weisz and Nicholas Hoult give stellar performances in The Favourite that are intoxicatingly funny and layered. When you put a collection of talent this strong with a director of such vision, great things happen…like winning a Best Ensemble Mickey™® Award!! I am truly looking forward to this cast claiming their award and joining me for a feast fit for a Queen at Fatburger!

BEST DIRECTOR

Pawel Pawlikowski - Cold War: A stunning piece of film making that is concise, precise and beautiful. An achingly beautiful yet complicated love story set in the shadow of European history that never takes a misstep.

Alfonso Cuaron - Roma: Cuaron’s masterpiece is a piece of virtuoso film making that is undeniably compelling and viscerally heartbreaking. At once a beautifully shot piece of magical realism as well as an earnestly told and acted slice of life. A simply stunning and unforgettable piece of work.

Hirokazu Koreada - Shoplifters: A finely crafted film that never lets you go and haunts you for weeks after seeing. An exceedingly well directed film that boasts top notch performances from a big cast of actors.

Lynne Ramsay - You Were never Really Here: This film is a disturbing and unrelenting fever dream and character study that draws you in and refuses to let you go. Both visually and dramatically dynamic, this movie is a testament to Lynne Ramsay’s talent and vision.

Yorgos Lanthimos - The Favourite: Lanthimos has been nominated twice before for a Mickey™® and is proving himself as one of the great and original filmmakers of our time. The Favourite is proof of Lanthimos’ great ability and intriguing style.

Debra Granik - Leave No Trace: Granik is one of those understated directors that often gets overlooked. She has the increasingly rare skill of coaxing terrific performances from actors without surrounding them with cinematic pyrotechnics. A highly skilled, old school director who puts character and drama before spectacle.

AND THE MICKEY GOES TO…ALFONSO CUARON - ROMA: This is a loaded category but Cuaron has made a personal film that is universal in its beauty and insight. A gorgeous movie to look at and a heart breakingly human story make for a glorious piece of cinema. Cuaron has established himself as the auteur of our times with this masterpiece and with his unprecedented 3 Mickey™® Awards tonight!

ACTOR/ACTRESS OF THE YEAR - JOAQUIN PHOENIX

Joaquin Phoenix gives three stellar performances this year in the films You Were Never Really Here, He Won’t Get Far on Foot and The Sisters Brothers. All of these performances were intricate, delicate, dynamic and magnetic and show him to be a master craftsman as well as a transcendent artist. Few actors have ever churned out three performances of this caliber in their career, never mind in one year…and it is for this reason that Mr. Joaquin Phoenix wins the prestigious, and first ever, Actor/Actress of the year Mickey™® Award.

BEST COMEDY OF THE YEAR - TIE BETWEEN THE FAVOURITE & THE DEATH OF STALIN

Two dark and exceedingly hilarious films, that boast rapturously glorious and deep casts, and speak volumes about the corrupting influence of power in history and today. In dark times, these two films bless us with their morbid but enlightening humor mixed with drama that make for spectacular cinema.

BEST BLOCKBUSTER OF THE YEAR - A QUIET PLACE

A Quiet Place came out of nowhere to dominate the box office and to open my eyes. Who knew that Jim from The Office, otherwise known as John Krasinski, could be such a great writer, director and leading man? A Quiet Place isn’t just a fantastically well-made, finely-crafted, heart pounding and stomach churning horror/thriller, it is also an insightful commentary on our current culture. A remarkable and entertaining film that is both scary and smart and that beat out other blockbusters like Avengers: Infinity War, Deadpool 2 and Ready Player One, who all won the box office battle but lost the prestige war to A Quiet Place, the first ever Mickey™® Blockbuster of the Year award winner.

BEST PICTURE

10. HAPPY AS LAZZARRO - A magical movie that uses the mystical to peal back the scab of capitalism and exposes the gangrenous wound festering underneath.

9. LEAVE NO TRACE - This film poignantly reveals that genuine masculinity is dying in America. Subtly directed and marvelously acted, Leave No Trace is an understated gem.

8. A QUIET PLACE - A shockingly good movie that is extremely well-crafted. This movie was so well-made I exhaled a breath of relief when it was over…and I wasn’t even consciously aware I had been partially holding my breath the whole time.

7. THE DEATH OF STALIN - A masterful comedy with an exquisite cast that is perfectly paced and precisely acted.

6. THE SISTERS BROTHERS - A film that challenges conventions and overturns genres, The Sisters Brothers was an overlooked piece of gold.

5. SHOPLIFTERS - This movie is haunting as it stayed with me for weeks after seeing it. An insightful that challenges us to question what we think we know about our world and ourselves.

4. THE FAVOURITE - A top notch cast and a daring director combine to make a rabidly funny mediation on the intoxicating and corrupting sway of power.

3. COLD WAR - A gloriously shot, extremely well-acted and well-directed film that is so mesmerizing as to be hypnotic.

2. YOU WERE NEVER REALLY HERE - This film is an electrifying and pulsating fever dream of a movie that transports us into its lead character twisted mind and never lets us go. A masterfully directed and acted film that shows the moral decay on the soul of America.

1. ROMA - A true masterpiece, impeccably shot and directed. Alfonso Cuaron brings his artistic vision to life with such originality and technical skill that it is a marvel to behold. Cuaron has a lot of Fatburger meals waiting for him after winning an unprecedented FOUR Mickey™® Awards tonight!

MOST IMPORTANT FILM OF THE YEAR - THE FAVOURITE, VICE, THE DEATH OF STALIN AND YOU WERE NEVER REALLY HERE

What could these four seemingly disparate films have in common that could make them the most important films of the year? The answer is that they are all meditations or contemplations on corruption.

In The Favourite and The Death of Stalin we see those who get closer to power losing their minds and distorting or ignoring reality just to stay in close proximity to power. If this doesn’t reflect the current state of Washington and the establishment media, nothing does.

In Vice we see the full arc of corruption when the same type of sycophants on display in The Favourite and The Death of Stalin finally finagle their way into the top spot and unleash their power on to innocents across the globe.

And in You Were Never Really Here we see the how the moral and ethical cancer that infects those in the power structure, compels the ruling elite to seek out the innocent in order to satiate their depraved desires and pass on their sickness by devouring the purity of the next generation.

All fo these films high mirror back to us the sickened world in which we live. As far fetched as the narrative in You Were Never Really Here may seem, a cursory glance at the news will reveal that it is not as fictional as we would like to believe. Whether it be the Catholic church and its never ending sex abuse scandals or Bryan Singer and the pervasive pedophilia in Hollywood or Jeffrey Epstein and his Lolita Express that exposes Washington’s elite sexual abuse of young people, this issue is very very real.

These stories are not the whole ugly truth, they are but the tip of a repulsive iceberg. If you think the Catholic church is the only institution to sexually prey upon young people, you are a fool. If you think Bryan Singer is the only Hollywood power player to systematically sexually exploit young people, you’re an even bigger fool. And if you think the Lolita Express is the last word on Washington depravity, you are the biggest fool of all.

The moral and ethical corruption on display in these films and in these scandals are epidemic in American culture. Corruption doesn’t just infect institutions but also individuals. When the powerfully depraved and the depraved powerful control the levers of power then truth gets perverted and reality itself comes under assault….this is America in 2019.

The Favourite, The Death of Stalin, Vice and You Were Never Really Here shows us that the corrupting influence of power has made the world mad (crazy), which in turn has made the world mad (angry). This anger and this madness combine to create an unstoppable force, a vortex of spiritual, mental, emotional and political insanity, that will eventually gather more and more momentum until it destroys absolutely everything in its path.

We aren’t at this tipping point just yet…the despicable Dick Cheney is still allowed to live free and walk the streets of America without fear of someone bludgeoning his brains out with a hammer. Donald Trump, the Queen Anne of our times, still skates through life without a care. Mitch McConnell, Nancy Pelosi and Chuck Schumer, act like a modern-day version of Beria, Khrushchev and Melenkov as scramble to hold up the illusion of democracy in the wake of America’s death, all while feeding at the corporate trough like the insatiable pigs that they are.

That said, it does become clearer and clearer as every moment passes that this shit house is a tinder box that is going to go up flames. So the time is fast approaching when we will have to grab our ball peen hammers and get to work...the ruling elite are a target rich environment…we will have a lot of smashing to do.

On that upbeat note…WHO’S READY FOR SOME FATBURGER!!

And thus we conclude our 5th annual Mickey Awards™®!!! Thank you for reading. I appreciate all my readers, their support and openness to debate and discussion!! We’ll see you next year at The Mickeys™®!!

And tune in later this week for the shadow of The Mickey™®, the Slip-Me-A-Mickey™® awards!!

©2019

The Ballad of Buster Scruggs: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. One of the Coen’s very best films that is both disturbing and funny and distrubingly funny.

The Ballad of Buster Scruggs, written and directed by the Coen Brothers, is a six-part western anthology available on Netflix that stars Liam Neeson, Tim Blake Nelson, James Franco, Zoe Kazan and Tom Waits.

Much like Steven Soderbergh, the Coen brothers are held up by some to be cinematic gods and geniuses who can do no wrong. Once again, I disagree with my cinephile brethren on this point but not to the same degree as I do regarding Soderbergh. That said, I am more agnostic on the Coen cult than I am an atheist.

I find the Coens to be at times brilliant and at times terrible, and rarely in between. For instance, No Country For Old Men is a phenomenal film, where as Burn After Reading is an abomination. For every Fargo there is a Hudsucker Proxy, for every A Serious Man there is a The Ladykillers.

The Coens are famous for their subversive dark comedy, but for me I much prefer them when they lean more towards the dark and less towards the comedy. Because of this, my moments of Coen appreciation and distaste are often at odds with popular opinion. Unlike most people, I am not a fan of The Big Lebowski or O Brother, Where Art Thou, but love The Man Who Wasn’t There and Hail, Caesar!

Which brings us to The Ballad of Buster Scruggs. The Ballad of Buster Scruggs is structured as six chapters that are not connected to each other in anyway except that they are set in the old west. This anthology approach behooves the Coens because it allows them to touch upon both the dark and the comedy without ever having to fully commit to either. It is also a benefit when watching it on Netflix because you can watch it smaller increments and not miss anything, which will benefit those with shorter attention spans (which seems to be all of us).

The first chapter in the film is titled “The Ballad of Buster Scruggs” and is easily my least favorite. I almost didn’t make it through this chapter because it is so forcibly “Coen” with its comedic sensibilities. It also didn’t help that Tim Blake Nelson is the lead actor in this chapter, as I find him to be a less than appealing screen presence.

This first chapter is an over the top send up of westerns and and for me bordered on the unbearable. This is just a matter of taste so others may appreciate it, but I almost turned the movie off and never returned. Thankfully I didn’t.

The second chapter, titled “Near Algodones”, is where the film starts to take flight. In this chapter James Franco plays a bank robber who gets taken on a twisting and turning journey. This chapter shows the Coens trodding their well-worn but well-played ironic existentialist playground.

Chapter three, titled “Meal Ticket”, which stars Liam Neeson and Harry Melling is simply fantastic as it follows a pair of showmen traveling the old west. Melling dazzles as the showman and Neeson does his best Irish brooding in years. This chapter is almost peak Coens and it is a cinematic delight.

Chapter four, titled “All Gold Canyon”, which stars Tom Waits, is the slowest paced of all the chapters, but it still delivers a powerful cinematic punch. Waits is fantastic as a gold miner who stumbles across Eden and lives out a biblical fable. The Coen’s use of animal symbolism in this section adds one more layer onto the usual mountain of old testament morality which they so frequently and effectively mine (pun intended).

Just when you think the film has peaked along comes Chapter Five, titled “The Gal Who got Rattled”, which stars Zoe Kazan as a young woman making the long journey west with a wagon train. Kazan dazzles as Alice Longabaugh, a delicate young woman who is forced to face a cruel world and an uncertain future. This chapter may be the very best thing the Coen’s have ever made.

Kazan, the granddaughter of the iconic filmmaker Elia Kazan, gives a beguiling and compelling performance that never falls into caricature. Her ability to fill her character with a vivid inner life and intentionality allows her to be vibrant on screen even as she keeps herself tightly contained. I am not very familiar with Kazan’s earlier work, but I look forward to seeing how bright her future gets, I have a feeling it could be as bright as a supernova.

The final chapter, titled “ The Mortal Remains”, is interesting but not compelling enough and ends the film on a slight misstep. This chapter, which stars Tyne Daly, Brendan Gleeson and Saul Rubinek, is similar in some ways to the prologue in A Serious Man. The existential and mystical blend in this section, not always to great effect. While I thought this was one of the weaker chapters, I also thought it was the one that held the most potential. Sadly it never lives up to its intriguing premise.

On the whole the film, shot by Bruno Delbonnel, looks great with a simple yet precise visual style. What I appreciated was that, unlike say Soderbergh’s recent Netflix film High Flying Bird, The Ballad of Buster Scruggs looks lush and crisp even on the smaller screen.

In terms of the acting, it is very good across the board. Neeson, Melling, Waits and Kazan give truly impressive performances that elevate the film to great dramatic heights.

In conclusion, The Ballad of Buster Scruggs is among the very best of the Coen Brothers filmography and I can’t recommend it to you highly enough. If you are a Coen brothers afficianado, you’ll love this movie, and even if you are lukewarm on them, you will find something to like in it. The film is dark, funny and darkly funny, but it also has a philosophy driving through it that gives it a narrative and mythic coherence.

The western genre is the most American of all film genres, and The Ballad of Buster Scruggs is a collection of epic fables that insightfully and accurately diagnose the American affliction. The American affliction that the Coens examine in this film is gaining in power and potency, and if we don’t understand its origins we will never survive this pandemic. A good place to begin to understand our affliction is by watching The Ballad of Buster Scruggs.

©2019

High Flying Bird: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. A rather empty cinematic venture that ultimately means nothing.

High Flying Bird, written by Tarell Alvin McRaney and directed by Steven Soderbergh, is the story of sports agent Ray Burke as he tries to navigate the perilous waters of an NBA lockout. The film is available on Netflix and stars Andre Holland as Ray Burke, with supporting turns from Zazie Beetz, Sonja Sohn, Zachary Quinto and Kyle MacLachlan.

There are people in the world who love director Steven Soderbergh and claim he is a master auteur and cinematic visionary. I am not one of those people. I find Steven Soderbergh to be a middling talent at best and to be terribly overrated. To re-watch his filmography is to discover a rather shocking lack of any greatness whatsoever and an even more alarming lack of artistic instinct and sensibility.

Soderbergh skyrocketed to fame and acclaim with his first film Sex, Lies and Videotape, a daring and unique film that showed the director to be an edgy auteur. But then something funny happened on the way to cinema immortality…Soderbergh kept making worse and worse films with less and less artistic value showing himself over time to be remarkably artistically toothless for such an alleged avant-garde auteur.

Oddly enough, Soderbergh, the poster boy for “independent film making”, has perhaps become best known for the highly successful, mindless popcorn chomping, Hollywood star-fueled, Oceans 11 trilogy that boasted George Clooney, Brad Pitt and Matt Damon among many others in its cast. Those films are a perfect representation of Soderbergh’s abilities, as he elevates the below average material with a certain level of cinematic and visual professionalism but never pushes beyond formula and convention to find meaning under the veneer of Hollywood glamour. The truth is that the Oceans movies only succeed because of the stars that power it. But even with all of that star power and Soderbergh at the helm, the Oceans films at their very best are slightly above average Hollywood fair and never even sniff greatness.

Soderbergh’s Oscar winning film, Traffic, is another example where Soderbergh fails to soar. Upon a first watch the film is compelling and Soderbergh’s visual choices, such as using three different base color gels for each different narrative, keep you interested. But upon further viewings Traffic is exposed as being a shockingly mediocre and thin film with little meat on its Hollywood bones.

All of Soderbergh’s other films suffer from a similar lack of both narrative and cinematic substance. Erin Brockovich, Magic Mike and Logan Lucky are more mainstream Hollywood junk from this supposed master of independent cinema.

Which brings us to High Flying Bird. In recent years Soderbergh has experimented by shooting his films on an IPhone and High Flying Bird is one of those films. By shooting on an IPhone 8 (with a specially adapted lens) Soderbergh saves money, obviously, on camera equipment, but he also saves on production costs by not having to get a permit to shoot in New York City (a clever way to skirt the city’s production laws). It is in some ways an ingenious move, but the problem with shooting the film on an IPhone 8 though, is that the film looks like it was shot on an IPhone 8. To be fair to our Apple overlords, it doesn’t look awful…but it certainly doesn’t look good, nevermind great.

The visuals of the film aside, what struck me about High Flying Bird is one of the same things that strikes me about most of Soderbergh’s films…it means nothing and has nothing to say except maybe deference to the status quo. There is no cinematic or philosophical depth to Soderbergh’s movies. In High Flying Bird there is a plot about an NBA lockout and the relationship between labor and management, but at the end of the day, Soderbergh scuttles any serious debate and resorts to the same tired formula he uses in the Oceans 11 films where he withholds information from the audience in a linear time frame but then does a time jump to explain the mystery of why things turned out the way they did.

So High Flying Bird is at its core a heist movie, where we see everything happen and it looks impossible but then the heist succeeds and we don’t know why until Soderbergh jumps back in time to show us a conversation that he chose to withhold from viewers in real time explaining it all.

I find this narrative style to be deeply unsatisfying because it strikes me as inherently dishonest. Deceiving audiences into buying into your story only to have a surprise “twist” that is purposefully kept from them isn’t clever, it is lazy, contrived and manipulative. This style isn’t a sign of film making genius, it is a parlor trick, ham-handed hackery and a cheap ploy.

In this way Soderbergh is in the same category of filmmaker as David Mamet…and that is most definitely not a compliment. Mamet likes to make “con” movies (that are awful) that con his viewers while showing them a con on screen whereas Soderbergh makes “heist” movies that steal from his viewers just as the characters pull off a heist in the story.

High Flying Bird is not on its surface a heist movie, but it really is, for it has the same structure, theme and intent as all of the Oceans films and the god-awful Logan Lucky. High Flying Bird is about deception…deception between the characters on-screen and the deception of the audience by the director.

The biggest problem I have with High Flying Bird and most of Soderbergh’s films is that it doesn’t mean anything. It has no cinematic higher purpose at all. Why make this particular film in this particular way? Why tell this story and why tell it now? At the end of the day there is no compelling answer to that question and that is damning.

As for the cast, Andre Holland struggles to carry the weight of the film on his shoulders. Holland, and most of the other actors in the film, all feel very mannered in their performances and I can’t help but wonder if Soderbergh directed them toward this style, which I found off-putting and disingenuous.

The two bright spots for me were Zazie Beetz, who has a natural screen presence and an appealing magnetism to her, and Bill Duke who perfectly embodies the grizzled old coach archetype he portrays. Both Duke and Beetz felt like real people whereas the rest of the cast felt like actors and came across as very stilted and stylized and not grounded in a reality I recognize. Their dialogue felt like speeches and everything felt manufactured.

In conclusion, High Flying Bird is an absolutely forgettable piece of film making from Steven Soderbergh. The film serves little to no purpose and offers even less insight or genuine drama. Even though High Flying Bird is “free” on Netflix, I simply cannot, in good conscience, recommend you watch it because it will be a waste of your valuable time…I certainly felt it was a waste of mine.

©2019

Post Oscar Musings

Estimated Reading Time: 5 minutes 47 seconds

The Oscars are over and it was a bit of a surprising night. Yes, Green Book won in an upset and Olivia Colman shocked the world by beating out Glenn Close for Best Actress, but the biggest shock of the night was that my Oscar picks were so dreadful (15 out of 24). But in a striking sign that this years award’s were so incoherent was that even with my awful picks I still won my Oscar pool…again…which in the big picture is really all that matters.

In terms of the Oscar show, I have to say the lack of a host was perfectly fine with me. Not having to suffer through some hackneyed bit or contrived comedy made the evening much more bearable. Some of the presenters were mildly amusing, some were not. Some of the winners had decent speeches, some of them not. Melissa McCarthy was funny, Awkwafina was not. Mahershala Ali’s speech was good, Spike Lee’s was not.

The trio who won Best Hair and Makeup and tried to choreograph their shared speech were an embarrassment to humanity. This speech made me want to have a new rule at Oscars going forward…whoever gives the worst speech of the night is executed live on stage at the end of the show. This would accomplish two things, first it would make people really prepare a speech and practice it so they don’t mess it up, and secondly the ratings for the show would go through the roof because America likes nothing more than competition and violence.

I dvr’d the show and watched it later sans commercials and it still felt oppressively long. My solution to the Oscar show problem is to declare that there is no problem. The show is once a year and if it runs long who cares? Also, the Academy is concerned about dropping ratings, well, tough luck, ratings across the board are down. People simply don’t watch anything for more than 30 minute intervals at the most anymore.

That said, if you want to cut time off the show you could drop the short film categories and put them at the technical Oscar awards that are held at another time. I think the show should focus more on the craft of filmmaking and less on celebrity, which puts me in a very miniscule minority, so I don’t want the show to jettison the technical and behind the camera awards like editing or cinematography or even hair and makeup. But not televising the short film awards seems alright even to a cinephile like me.

Another thing would be to cut the musical numbers…or at least some of them. I know some dopes loved the Lady Gaga/Bradley Cooper song last night, but good lord I thought it was just awful. And I did not need to see Jennifer Hudson and Bette Midler of all people sing totally forgettable songs. If you cut the song performances down to two you cut approximately 15 minutes off the show. Non-problem problem solved.

As for the actual awards, the thing that sticks out to me is that Green Book winning Best Picture is a perfect encapsulation of the shit show that is our culture. Green Book is a good movie, it isn’t a great movie, but that said there was only one great movie nominated this year and that was Roma. Green Book is better than Bohemian Rhapsody, Vice and Black Panther but it definitely wasn’t better than Roma (or The Favourite). Green Book is a finely crafted, well acted and well-made film, it just isn’t an artistically made film. Roma is both an exceedingly well made film and an artistic vision made manifest.

Roma is a complicated potential Best Picture winner though because it is a Foreign Film, which have never won Best Picture, it is a black and white film, and it is a Netflix film, which makes it controversial in the movie industry that hasn’t quite come to grips with Netflix. For these reasons, Roma losing is at least understandable according to industry logic. I loved Roma with a passion, but I don’t think that the voters who chose Green Book over Roma did so because they hate Mexicans…I think they have their reasons that makes sense even if I disagree with them.

Unlike me, the elite pundit class is less nuanced in their feelings about Green Book’s win. The LA Times declared in its headline this morning that Green Book is the worst Best Picture winner of the last decade…and equal in its awfulness to Crash, which is the meanest thing you can say to a Best Picture winner.

The other and more insidious talking point making the rounds is that Green Book won because older White male voters in the Academy are racist. The reasoning behind this is that Green Book, because it is a story about racism told from a White man’s perspective and allegedly propagates the “White savior complex”, is “regressive” on race issues and anyone who likes it is racist. Therefore, Green Book winning Best Picture means that the Academy is racist.

Of course, what this talking point fails to take into account is that the same allegedly racist Academy nominated BlacKkKlansman and Black Panther for Best Picture (and gave Best Picture to Moonlight 3 years ago), gave awards to people of color in 3 of the 4 acting awards, and gave awards to minorities in Adapted Screenplay, Director and Cinematography. The “Oscars Are Racist” people seem to think that these “good” outcomes only happened because of the non-old White Male voters and that the “bad” outcome of Green Book winning happened only because of the old White male voters.

This sort of twisted illogic, which is simply a short cut to thinking, is similar to the politics of declaring America a racist cesspool after electing a Black man as president in two straight elections. After Obama’s eight years in office, the cries of racism following Trump’s win were still deafening, with many saying bluntly that anyone who voted for Trump was a deplorable racist, even those who had voted for Obama in the previous two elections. This goalpost moving by the super woke in our culture does little more than lead people to throw up their hands and tune out any discussion related to race in America.

The New York Times ran an op-ed by philosopher Crispin Sartwell on Monday titled, “The Oscars and the Illusion of Perfect Representation” that made similar arguments to what I have been writing for the last few years, and that is using awards shows as a referendum on racial equality is a fool’s errand that actually undermines the genuine struggle for racial equality in America.

Mr. Sartwell makes the case that the issue of “representation” in films is a band-aid on a bullet wound that is little more than a distraction.

“Whatever the Grammys or Oscars looks like in the long run will have little actual impact on social justice. Perhaps, over all, the emphasis on what sort of person is on television has been a distraction from much more urgent matters. Imagine an America that gets the awards shows exactly right but in which, for example, mass incarceration or the internment of asylum seekers just ticks right along, or in which income inequality grows or residential segregation remains unchanged. It’s easy if you try: That’s liable to be the reality of 2020. And 2030, and beyond.”

As I have written in the past, my addition to Mr. Sartwell’s criticism is that not only are the award show representation battles a distraction but they actively undermine legitimate issues because award show “under-representation” is a myth that is provably false. When liberals decide to die on the hill of awards show representation they are not only striking a blow against their cause elsewhere but also fighting for an observable lie, thus decimating their credibility on other more important issues.

I find these race based awards arguments to be so frivolous as to be absurd but I readily admit this sort of nonsense is going to get much much worse before it ever gets better, if it ever gets better. Major awards shows like the Grammys and Oscars have already been reduced to mostly affirmative action/quota competitions that have very little at all to do with merit and everything to do with virtue signaling.

As for as Green Book being a racist film, this carries with it a very uncomfortable side effect, namely that those calling Green Book racist are in essence calling the Black people associated with the film, like its star, Mahershela Ali (who won his second Supporting Actor Oscar last night), its producer, Octavia Spencer, and Congressman and Civil Rights icon John Lewis, who passionately introduced and advocated for the film, Uncle Toms.

This is the problem that arises in woke culture, no one is ever pure enough, and the White people who are calling Green Book racist are actually calling the Black people associated with the film self-loathing racists as well.

Green Book is considered racist mostly because it is a story about racism told from the perspective of a White man. I also find this argument specious at best, for as Hall of Fame basketball player and extremely insightful cultural critic Kareem Abdul-Jabbar so astutely noted in his defense of the film in the Hollywood Reporter,

“The film is much more effective from Tony’s point of view because the audience that might be most changed by watching it is the White audience.”

To Green Book’s credit, it at the very least attempts to try and grapple with racism, and yet just by taking on that issue from a White perspective is declared “not woke enough” by the woke gatekeepers who then quickly label anyone who likes it irredeemably racist. What woke culture tends to forget is the obvious, that America is a majority White country, and if you want to reach as large an audience as possible, connecting to that White majority through perspective is a rational maneuver for a film maker.

There is some talk that Green Book’s win is a result of a backlash against the backlash to the film. This makes total sense to me. Green Book was singled out as this “unwoke” abomination and I think voters who liked it simply kept their feelings to themselves and may have ended up voting for it out of spite just as a way to tell the politically correct brigade to fuck off. I understand the sentiments.

As I am fond of saying, “wokeness kills art”, and eventually it will kill commerce too, which is when Hollywood will really see a backlash to the backlash. In our current “woke” moment no one is ever woke enough, and so minorities winning 3 of the 4 acting awards and a plethora of the other prestigious awards is not enough, and Green Book winning is an apostasy because it doesn’t fit entirely into current rigid racial orthodoxy and sensitivities.

In my review for Green Book I said that if it came out twenty years ago it was a shoe in for Best Picture, but that it stood no chance nowadays. Obviously I was wrong, and in my defense the reason I was wrong is that I constantly under estimate my fellow man and woman. In the case of Green Book winning over Roma, I was wrong in thinking that Green Book had no chance, but right in underestimating the people in the Academy, who failed to give Roma Best Picture, not because they are racists, but because they have simple tastes.

©2019

91st Academy Awards: The 2019 Oscars Prediction Post

Estimated Reading Time: Just Like the Oscar Ceremony this article will last 4 hours and 38 minutes

As every sentient being on the earth, in the solar system, in the galaxy and in the universe knows, this Sunday night is the biggest night in the history of history. Yes, Oscar night is upon us. Ever since a loathsome but determined little creature crawled out of the primordial ooze, that creature has been making its way to this Sunday night, which will be, after billions of years of evolution, symbolic of the apex in human development. When most impossibly beautiful people gather to congratulate one another for their superiority, be it artistic, moral or both, mankind will officially have made the Kubrickian leap from fighting monkeys to star children.

The Academy of Motion Pictures Arts and Sciences is my church, movies are my religion and the Oscars my high holy days. I have been fasting and meditating for months to prepare for this most sacred of nights…and to hopefully fit into my gown by Karl Lagerfeld (RIP)!!

This has been an awful year for Hollywood movies and I have to admit that this years Oscars are particularly difficult to predict. Since the “New Academy”, formed in the wake of the ridiculous #OscarsSoWhite controversy three years ago, I have yet to figure out with any confidence or certainty how these new members and the old guard come together to form some sort of consensus. Obviously identity politics, diversity and inclusion are important issues to the new members…but how important? And how much has the old guard either embraced these issues out of solidarity or rejected them out of resistance? The answer of course is…I have no idea.

But will my ignorance stop me from making not just humble predictions but bold and assertive declarations of my Oscar picks? No. No it won’t. As long time readers can attest, not having a clue on a subject has never, ever stopped me from loudly pontificating my less than useful opinion…and that is most definitely true when it comes to the Oscars.

So with that in mind…light some incense, spike the holy water and buckle up because the most holy and most sacred Oscars are here. Like the Israelites in Moses’ absence, we must worship the golden calf of the Oscar statuette, for it may bring us salvation!! But please keep in mind that since the Oscars are a religious holiday…please no wagering.

So here are my picks for the 91st Academy Awards…

BEST SUPPORTING ACTRESS

Amy Adams - Vice : Amy Adams has had a great career garnering 6 Oscar nominations. Adams’ portrayal of Lynne Cheney is the best performance of her stellar career, which is saying a lot.

Marina de Tavira - Roma : I loved Roma…but I have no idea why Marina de Tavira is nominated. Her role is so small and unremarkable that I am entirely baffled as to why she is here.

Regina King - If Beale Street Could Talk : Regina King is a fine actress but If Beale Street Could Talk is not a fine film and her work in it is just as underwhelming as the movie.

Emma Stone - The Favourite : The Favourite is proof that Emma Stone keeps getting better and better with each year. Stone’s manipulative social climber is a finely-tuned, sexy and charismatic performance that is a testament to her skill and talent.

Rachel Weisz - The Favourite : Weisz’s immovable object meeting Stone’s irressistable force makes The Favourite one of my favorites. Weisz’s masterful use of physicality in this role is something that actors should study closely.

Who Should Win - Amy Adams : Amy Adams first scene in Vice is so good as to be delicious and sets the stage for her powerhouse performance. Adams deftly turns Lynne Cheney into a formidable Lady MacBeth that is the straw that stirs the drink of Darth Cheney’s career. A truly great performance from one of the best actresses working in film today.

HANDICAPPING THE NEW ACADEMY : The Academy’s push for diversity clearly gives the edge here to Regina King over Marina de Tavira because for some reason diversity, at least in the eyes of the New Academy, only relates to Black people.

WHO WILL WIN - Regina King : King’s work is strikingly inferior when compared to Adams, Stone and Weisz, but she will walk away with the Oscar due to the Academy’s yearning to be “inclusive” and to quell any charges similar to the #OscarsSoWhite nonsense from a few years back.

BEST SUPPORTING ACTOR

Mahershala Ali - Green Book : Ali does strong work as Dr. Don Shirley, the Black, gay, effete (and upper class) pianist struggling to survive in a decidedly hostile 1960’s world. Ali makes Shirley a genuine human being and uses his formidable skill to masterfully avoid falling into the easy trap of caricature.

Adam Driver - BlackKklansman : Adam Driver is…fine…in Spike Lee’s racial drama set in 1970’s Colorado. I didn’t think the performance was Oscar worthy…but what the hell do I know. It isn’t awful…but it isn’t great either. To be fair, I am entirely baffled as to why Adam Driver is a thing…I just don’t get it.

Sam Elliott - A Star is Born : I think you have to love Sam Elliot to love A Star is Born or love A Star is Born to love Sam Elliot. I love neither.

Richard E. Grant - Can You Ever Forgive Me: This is not a great movie…but Richard E. Grant is great in it. Grant turns what could have been a stereotype into a fascinating, frustrating and engaging character that captivates every second of his screen time.

Sam Rockwell - Vice : Rockwell gives his dim bulb character George W. Bush a desperate yearning for acceptance and respect that is genuine and compelling and shows an exquisite command of craft in avoiding the pitfall of imitation.

WHO SHOULD WIN - Mahershala Ali/Richard E. Grant - Both men give stand out performances that highlight their mastery of craft and undeniable talent. A win for either will not garner complaints from me.

HANDICAPPING THE NEW ACADEMY - The New Academy will want to reward Ali, who won the award just two years ago for his work in Moonlight, for no other reason than he is African-American in order to satiate the knee-jerk #OscarsSoWhite criticisms. That said, Ali’s award for Moonlight could actually hurt him this year as the Academy may feel they don’t NEED to award him since he already has one.

WHO WILL WIN - Richard E. Grant : Mahershala Ali has won all the preceding awards and is the favorite, but I am sensing that this will be the first upset/surprise of the evening. Grant has been on a charm offensive recently and with my ear to the ground I am picking up a great deal of support for him. Another factor helping Grant is that Mahershala Ali won the award two years ago and the actor’s actor, Grant, has never won it.

ORIGINAL SCREENPLAY

The Favourite - Deborah Davis and Tony McNamara : A tight and smart script that plumbs the depths of palace intrigue to create a darkly funny and insightful story. The dialogue is exceedingly smart, funny and crisp.

First Reformed - Paul Schrader : Paul Schrader is one of the great screenwriters in Hollywood history, having written both Taxi Driver and Raging Bull. First Reformed is a better script than it is a movie, which is both an indictment of Schrader’s directing and an endorsement of his writing.

Green Book - Nick Vallelonga and Peter Farrelly: This average script was elevated by Farrelly’s skilled direction, and with the addition of the controversy surrounding the writers, I don’t think it will win. If it does…this is going to be a very interesting Oscars indeed…and a very controversial one too.

Roma - Alfonso Cuaron : A phenomenal script in terms of the themes it tackles and the scope of its narrative. Cuaron’s singular vision starts with his script and this one is chock full of magical realism mixed with working class reality. A truly terrific piece of screenwriting.

Vice - Adam McKay : I felt this script bit off more than it could chew, lacked focus and was structurally flawed. Definitely could have used a few more re-writes and edits to fine tune the whole thing.

WHO SHOULD WIN: Roma/The Favourite - Two high quality scripts that were exceedingly well written. An Oscar for either and you’ll hear no complaints from me. If Alfonso Cuaron wins this award…expect Roma to have a very, very, very big night.

HANDICAPPING THE NEW ACADEMY: With no “diverse/inclusive” candidates to choose from (the New Academy doesn’t count Mexican men as diverse/inclusive for some reason), the New Academy will only work in the negative here by cutting Green Book off at the knees. Vallelonga and Farrelly have made enemies among the New Academy for their less than politically correct behavior and will be punished accordingly.

WHO WILL WIN: The Favourite : While I’d like to see Roma sweep the entire awards ceremony, I think voters hold a grudge against the film because it is a Netflix movie and it is foreign, the former of which will particularly hurt it in this category since the dialogue is in Spanish and Mextec. The Favourite is certainly deserving of an Oscar though as it is a beautifully written movie.

ADAPTED SCREENPLAY

The Ballad of Buster Scruggs - The Coen Brothers - I have seen Buster Scruggs but have not reviewed it. I enjoyed it. I don’t think this script deserves a nomination though.

BlacKkKlansman - Spike Lee and friends - This was a good movie, but I do not think it deserves a nomination for its script. Spike Lee has written some masterworks in the past, Do the Right Thing, Malcolm X, Jungle Fever, but this is not his strongest work.

Can You Ever Forgive Me - Nicole Holofcener - I thought this script and this film was pretty shitty as it never figured out what it wanted to be and ended up being not much.

If Beale Street Could Talk - Barry Jenkins - Again…a bad script and an at-best average movie. The story and characters did not translate well at all from James Baldwin’s book.

A Star is Born - Bradley Cooper and friends - This script was a piece of junk too. God what an awful category. How is modernizing a movie that has been made three times before considered Oscar worthy?

WHO SHOULD WIN: BlackKklansman : As I said, I don’t think this is an Oscar worthy script…but this category is pretty terrible so this movie wins the tallest dwarf award.

HANDICAPPING THE NEW ACADEMY: Well, obviously the New Academy want to reward either Spike Lee or Barry Jenkins due to their race. Nicole Holfcener is another sleeper pick because she is a woman. The fact that Jenkins won this award two years ago, and Lee has never won and has never been properly awarded in his entire career, and his film was so politically charged for this moment in time, I think the New Academy goes with Lee.

WHO WILL WIN: BlackKklansman : Spike Lee finally gets the Oscar he deserves but only for a script that is undeserving.

BEST CINEMATOGRAPHY

Cold War - Lukasz Zal: Zal’s use of black and white and his framing in Cold War is impeccable and stunning. A beautifully photographed film whose cinematography was integral to the storytelling.

The Favourite - Robbie Ryan: Ryan’s use of candles, shadow and light is exquisite in The Favourite and is a wonderful cinematic device that reveals much of the sub-text.

Never Look Away - Caleb Deschanel: I found Deschanel’s work on this film to be less than Oscar worthy. Not terrible at all, but just not noteworthy.

Roma - Alfonso Cuaron : Cuaron puts on a virtuoso performance with Roma, and his cinematography is the icing on this cinematic cake. A stunning film to behold, Cuaron’s use of black and white and his extremely effective and complex camera movements and beautifully rendered framing is simply magnificent.

A Star is Born - Matthew Libatique : I found Libatique’s cinematography, with its excessive use of flares and close-ups, to be as underwhelming as the film.

WHO SHOULD WIN: Roma - Roma is a cinematic masterpiece and Cuaron’s cinematography is absolute artistic and technical perfection.

HANDICAPPING THE NEW ACADEMY: Since the New Academy doesn’t recognize Mexican men as qualifying for their diversity/inclusion games, then this category offers no chance to virtue signal.

WHO WINS: Roma - Alfonso Cuaron: This is a tough category where virtually anyone can win. The knock against Cuaron is that the Academy, for a variety of reasons, do not want him to win all the awards. In this category cinematographers and other behind the camera technical people will resent Cuaron a bit for being a director AND a cinematographer…this stuff can be very territorial. A sign of that was when Lukasz Zal won this award at the American Society of Cinematographers Awards. Anyone can win this thing…and as much as I think the Academy has a bug up its ass over Cuaron and Netflix…I still think he sneaks out of here with this win. But if he loses it will be to Zal…who to be fair is a very deserving candidate as well.

BEST FOREIGN FILM

Capernaum - Due to time constraints, this is one of the few noteworthy films I haven’t seen this year…which bums me out. I hope to see it soon though.

Cold War - One of the best films of the year that boasts two outstanding performances and luscious black and white cinematography.

Never Look Away : An enigmatic movie that never quite lives up to its grandiose ambitions although it does raise something interesting thematic questions.

Roma - An absolute masterpiece that is as heartbreaking as it is gripping.

Shoplifters - An absolutely mesmerizing film that stayed with me for weeks on end after seeing it. Deftly directed and wonderfully acted, Shoplifters is an understated yet exquisite gem.

WHO SHOULD WIN: Roma - It is easily the best film of the year and should easily win this award.

HANDICAPPING THE NEW ACADEMY: Roma hits all the right notes for New Academy voters but because it is a Netflix movie there is resistance to it.

WHO WILL WIN: Roma - There is an outside chance that the Netflix/Cuaron related backlash against Roma elevates Cold War to the victory. If that is the case, then this Oscar night will be turned upside down. I adored Cold War and it is one of the very best films of the year, but Roma is the best film, foreign or domestic, of the year, and if it doesn’t win here it will be a major upset.

BEST DIRECTOR

Alfonso Cuaron - Roma : Cuaron’s directing on Roma is a auteur’s virtuoso performance, a stunning tour-de-force that masterfully brings to life his vision with singular cinematic genius and reminds us of the power and artistry of cinema.

Yorgos Lanthimos - The Favourite : Lanthimos is one of the best directors in cinema and his masterful work on The Favourite has catapulted him to the heights he deserves.

Spike Lee - BlackKklansman : Spike Lee was once one of the most important figures in cinema, but that was over 25 years ago. Lee’s direction on BlackKklansman is not perfect and is at times jarringly shoddy, but in a down year for movies this one is a good enough comeback vehicle for him.

Adam McKay - Vice : I wanted to love Vice…I didn’t love Vice. McKay’s direction is scattered and uneven…a lot like this movie.

Pawel Pawlikowski - Cold War : Pawlikowski direction on Cold War is superb as he crafts a compelling and beautifully profound film that is packaged in a tight 88 minute running time.

WHO SHOULD WIN : Alfonso Cuaron - Not to sound like a broken record, but damn Cuaron showed himself to be at the very top of his game and at the top of his profession with his work on Roma.

HANDICAPPING THE NEW ACADEMY: The New Academy want to reward Spike Lee for his career and his making an overtly political film this year that is a favorite of social justice warriors, and because he is Black which would feed their need to virtue signal. Once again, Alfonso Cuaron, a Mexican man, doesn’t qualify for the diversity vote…a fact which helps those arguing that the Oscars aren’t “inclusive” since Mexican men have won this award 5 of the last 6 years.

WHO WILL WIN: Alfonso Cuaron - Roma : There is a chance…and it is actually a pretty good chance…that the New Academy and its “diversity” initiatives rear their ugly head and Spike Lee wins this award. If Roma and Cuaron are getting beat in other categories like screenplay and cinematography, then watch out for Spike Lee sneaking in for the upset which would be a travesty. That said, I think Cuaron’s work, regardless of the fact that it was for Netflix, is so overwhelmingly spectacular that voters will find it nearly impossible to deny him this Oscar…but stranger things have happened.

BEST ACTRESS

Glenn Close -The Wife: The Wife is a truly dreadful film, just awful, and to be frank, Glenn Close is pretty terrible in it. That said, she has been nominated a bunch over her long career and never won. The consensus seems to be that it is her time.

Yalitza Aparicio - Roma : A first time actress nominated for an Oscar is a pretty great story. Aparicio is terrific in Roma, totally present, genuine, grounded and alive on screen. A pleasantly surprising but very well deserved nomination.

Olivia Colman - The Favourite: Olivia Colman’s scenery chewing performance as the emotionally incontinent Queen Anne, who has the attention-span and temperament of a toddler, is a joy to behold. Colman is deliriously and deliciously delightful in The Favourite and is most-deserving of her nomination and if it happens, the award.

Lady Gaga - A Star is Born: I don;t get it. I don’t get Gaga being nominated, I don’t get all the love this film gets. This movie is kind of a hot mess, and Gaga’s performance is most definitely not Oscar worthy.

Melissa McCarthy - Can You Ever Forgive Me : This movie stinks but Melissa McCarthy is a revelation as the curmudgeonly Lee Israel. McCarthy uses he natural comedic ability to great effect in this role but never allows it to overwhelm the dramatic honesty of her character.

WHO SHOULD WIN: Olivia Colman : Colman is so good in The Favourite it made me giddy. Just a ridiculously great performance that is compelling, energetic and devastatingly honest. I can’t wait to see Colman as Queen Elizabeth II on The Crown.

HANDICAPPING THE NEW ACADEMY: Glenn Close made a smart move at the Golden Globes by giving a speech that spoke to the Girl Power/Pussy Hat contingent in the media and the New Academy. This speech positioned Close to be the recipient of the New Academy’s diversity/inclusivity vote even though she is a White woman. Well played Ms. Close.

WHO WILL WIN: Glenn Close - The Wife: As much as I want Olivia Colman to win this award, and as much as I think she deserves it, I think Glenn Close wins it because she is a symbol of the #ImWithHer/Hillary brigade due to her always being the bridesmaid and never the bride come Oscar night. The Academy will reward Close despite the shitty work she does in that shitty movie. Such is life. That said, I put the chances of Colman sneaking in and winning this thing pretty high…so don’t be too shocked if Close is left holding the bag once again…and try not to laugh too hard at her expense.

BEST ACTOR

Christian Bale - Vice: Bale’s work in Vice is absolutely stunning. His physical transformation into Dick Cheney never falls into the trap of imitation and that is a testament to Bale’s remarkable talent and skill.

Bradley Cooper - A Star is Born: Cooper’s work is the best thing about A Star is Born and I think he is deserving of an Oscar nomination even though i think the movie is not. Cooper is establishing himself as one of the top movie star/actors in the business. The next few years of his work will be interesting to see.

Willem Dafoe - At Eternity’s Gate : Dafoe’s acting in At Eternity’s Gate is very impressive, but the film never lives up to the stellar work he does in it.

Rami Malek - Bohemian Rhapsody : I like Rami Malek. Everybody likes Rami Malek…he’s a good guy. That said, I was not as impressed by his performance as everybody else was. To me the script was so thin that Malek was never really able to get much depth to his performance. That said, he does the very best he can with the little he is given.

Viggo Mortenson - Green Book : Green Book has gotten a lot of heat for its racial politics, but Mortenson’s solid performance is beyond reproach. Mortenson uses skill and craft to give great depth and nuance to a character that easily could have fallen into caricature.

WHO SHOULD WIN: Christian Bale - Bale is head and shoulders above everyone else in this category. A remarkable performance that elevates Bale into the stratosphere of best working actors on the planet.

HANDICAPPING THE NEW ACADEMY: This category has no Black actors in it so it is open to moronic charges of #OscarsSoWhite. But rest assured, Rami Malek is of Egyptian descent so the New Academy will rally behind him and be able to virtue signal their moral superiority due to their embrace of “diversity”.

WHO WILL WIN: Rami Malek - Everybody loves Rami Malek. While his performance isn’t Oscar worthy to me, my vote doesn’t matter. Malek is winning and there is nothing we can do about it. Since he is such a good guy, I won’t get mad about it. I do hope he wears the Freddie teeth to the ceremony though…or at least thanks them in his speech.

BEST PICTURE

Green Book - Green Book is a well crafted and fine film. Is it Oscar worthy? No. If this were 1985 then Green Book would win this award with ease…but this isn’t 1985. This sort of simple film is a lightning rod for those who hate it AND for those that hate the people who hate it. To be frank, I find all this shit exhausting.

Black Panther - It is a total joke that Black Panther, an at best middling super hero movie that isn’t even the best super hero movie of the year (which is easily Infinity War), is nominated for an Oscar. Black Panther is the recipient of the “leg up” program, and its nomination is a blatant piece of pandering and paternalism and is frankly a disgrace.

BlackKklansman - I liked this movie but it is deeply flawed and because of that do not think it is Oscar worthy. That said, due to Spike Lee directing, it is a sentimental and political choice for some.

Roma - The greatest film of the year. A masterpiece.

Bohemian Rhapsody - This movie is an absolute mess, a total shitshow. Yes, it is entertaining and fun to get see Queen rocking Wembley once again…but Oscar worthy? Good Lord no!

A Star is Born - I don’t get it…I just don’t get it. Thought this movie was not great…not great at all. Why people are so invested in it is beyond me.

Vice - An ambitious (and noble) misfire that boasts fantastic performances but never coalesces into a coherent piece of cinema enough to be considered an Oscar worthy movie.

WHO SHOULD WIN: Roma - This is as clear as day. Roma is easily the greatest film of the year and it isn’t even close.

HANDICAPPING THE NEW ACADEMY: I think Black Panther is going to get an awful lot of love for its diversity and inclusivity.

WHO WILL WIN: Buckle up. Roma should win…but in the shock of the night…BLACK PANTHER is going to steal this award. Roma has a lot of hurdles in the voting, the most obvious is that it is a black and white, foreign language film, and a foreign language film has never won Best Picture…and on top of that it is a Netflix film and the movie industry is very uncomfortable with Netflix. The Academy doesn’t want Roma to win Best Picture (or sweep all the awards) and is actively trying to find a substitute…and what I have picked up out here in Hollywood is that Black Panther is that choice. Listening to and talking with Oscar voters over the last month and Black Panther is the film that keeps getting mentioned…and never because people think it is great but because to a person they say they will vote for it because of the message it will send about “representation”, “diversity” and “inclusion”. Sadly, this is the world in which we now live, and Black Panther, that ridiculously shitty super hero movie, is going to beat out one one of the greatest films in recent history, Roma, because of a wave of self-righteous, identity politics driven virtue signalling.

Hopefully I am wrong (Please God let me be wrong!!). Hopefully Roma is justly rewarded, not just in the Best Picture category but in Screenplay, Cinematography, Directing and Foreign Picture…but I don’t have my hopes up.

As for the rest of the categories…I have even less of an idea about these than I do about the previous picks…so take them with a grain of salt as they are my best guesses.

VISUAL EFFECTS - FIRST MAN : If Infinity War wins this award it could signal the Academy’s acceptance of Marvel films and point to a big night for Black Panther.

MAKEUP AND HAIRSTYLING - VICE

ANIMATED SHORT - BAO

LIVE ACTION SHORT - SKIN

DOCUMENTARY SHORT - PERIOD. END OF SENTENCE.

SOUND MIXING - FIRST MAN - Bohemian Rhapsody has a shot here, but the one to watch is Black Panther, which if it wins this award could point to a big night for the Marvel film.

SOUND EDITING - FIRST MAN - Same comment as the Sound Mixing award.

COSTUME DESIGN - BLACK PANTHER - If BP loses these next two awards to The Favourite…then it is done and won’t win Best Picture. (I have my fingers crossed this is what happens!!)

PRODUCTION DESGIN - BLACK PANTHER

FILM EDITING - VICE - Bohemian Rhapsody has a shot here.

ORIGINAL SCORE - BLACKKKLANSMAN - Black Panther is the favorite…but I think the Academy rewards Terence Blanchard…which will make me happy. But if BP wins this…and the Design awards and Sound Awards…look out…Best Picture is coming.

ORIGINAL SONG - “SHALLOW”, A STAR IS BORN - Outside chance BP and Kendrick Lamar wins this award.

BEST DOCUMENTARY FEATURE - RBG - This is neck and neck with Free Solo, but I went with RBG because of the politics.

ANIMATED FEATURE - SPIDER-MAN : INTO THE SPIDER-VERSE

Ok gang…I think I covered all the categories. A few other things to touch upon before I go. Keep an eye out for certain narratives taking shape in the early awards.

The narratives that are in play…

  1. Roma dominates - Roma has a chance to absolutely destroy these Oscars as the film has a legitimate chance to win Best Picture, Best Foreign Film, Best Director and Best Cinematography and has an outside chance to win Best Screenplay and Best Editing as well…and if the longest of longshots happens and Yalitza Aparicio wins Best Actress…that will signal Roma has had a totally and gloriously dominant night…and I will be the happiest man on earth….except for Alfonso Cuaron.

  2. Roma destroyed - There is also a chance that Roma, due to its affiliation with Netflix and its artistic pedigree, could get snubbed across the board. There is a scenario where voters don’t vote for it for Best Picture because they assume it will win Best Foreign Film, and then other voters don’t vote for it for best Foreign Film because they assume it will win Best Picture…and it ends up winning neither. This scenario is much much more likely than I would like to imagine…and that along with all of the cocaine I’ve been doing is keeping me awake nights. In addition, it is very possible that Spike Lee is chosen over Alfonso Cuaron for Best Director out of a sense of wanting to finally reward Lee for his career’s work. Then throw in a Best Cinematography win for Cold War (which won the Guild award) and there is a chance that Roma leaves empty handed. YIKES.

  3. Black Panther goes on a run. As noted above, I have Black Panther winning Costume and Production Design…and if that happens it will look very good for my prediction of a Best Picture win. If the movie wins Sound Mixing, Sound Editing and either Original Score or best Song in addition to the production awards…it will definitely win Best Picture. There is a shot that we are looking at an Oscars where Black Panther wins 7 awards…let that sink in for a minute.

  4. Black Panther gets shut out. Things could go this way if Black Panther loses to The Favourite in costume and production design. If Black Panther loses those awards it is done in the Best Picture race and we Roma fans can breath a sigh of relief. If BP loses in the production awards it will not win Song, Score or either Sound award and will leave empty handed. The fact that this is a Marvel/Disney film could be a hurdle that even its identity politics cannot overcome. We will see.

  5. Bohemian Rhapsody goes on a run. Bohemian Rhapsody is an awful movie but it did win the Editing Guild award and has a legit chance to win Best Sound Editing and Sound Mixing awards as well as the Best Editing award which would be a terrific night for the film. Add in Rami Malek’s guaranteed win for Best Actor and we are looking at 4 Oscars for this fun piece of crap.

  6. Chaos - A totally incoherent Oscars. In this scenario a non-Roma film wins Best Picture, Olivia Colman wins Best Actress, there are upsets in both Supporting actor categories as well as in Best Director and the Screenplay awards. Green Book ends up being a big winner.

  7. Non-chaos. All of the favorites win. Roma does well and everything goes according to plan with the other categories.

If you pay attention to the early awards you might be able to discern how the rest of the night is going to go…or not…who knows. This Oscars has me baffled and it shouldn’t because Roma is so clearly the best of this sad bunch in a very down year for Hollywood Cinema (foreign films excluded).

And thus ends my rambling and ragged Oscar predictions post. I have zero confidence in my picks and am genuinely concerned I will lose for Oscar pool for the first time in my life this year. That said, i do reserve the right to change my mind between now and the awards show. In a fit of cinema idealism I may discard my Oscar cynicism (Black Panther) and embrace my optimism and pick Roma to win because my heart tells me to…I’m just not sure my head will let me.

©2019

Jussie Smollett's Hate Crime Hoax Exposes America's Shocking Skepticism Shortage

Estimated Reading Time: 4 minutes 38 seconds

The Jussie Smollett story is a microcosm of what is wrong with America and the mainstream media.

 “It’s not a lie if you believe it” – George Costanza, Seinfeld

On Thursday, US actor Jussie Smollett was arrested in Chicago after being charged with filing a false police report.

Jussie Smollett, a gay, African-American actor who stars on the hit tv show Empire, claimed that on January 29th he was the victim of a hate crime when two White men hurled racist and homophobic slurs at him, punched, kicked and poured bleach over him, and then put a noose around his neck while taunting him by proclaiming “this is MAGA (Make America Great Again) country”.

Smollett’s story was dubious to some because the idea of two Trumpites out at 2 a.m. in Chicago hunting gay Black men with a noose and bleach in minus 20 degrees weather seems far-fetched…as does the idea that they would be pop-culturally aware enough to have watched Empire and recognize a marginal celebrity like Smollett in the first place.

“A lie gets halfway around the world before the truth has a chance to get its pants on.” – Winston Churchill

In the wake of Smollett’s unusual claims the media uncritically accepted his story and numerous celebrities such as Emma Watson, Katy Perry, Olivia Munn and Ariana Grande tweeted vociferous support. Actress Ellen Page gave a heart felt speech on The Late Show with Colbert laying the blame for Smollett’s attack at the feet of homophobic Vice President Mike Pence.

VIDEO LINK

Democratic presidential hopefuls chimed as well with Kamala Harris and Cory Booker both calling the attack a “modern-day lynching”, and a cavalcade of other politicians who tweeted their unquestioning support for Jussie and devout belief in his story.

 The problem with all of the belief in Smollett is that, like Ms. Page’s impassioned Late Show rant, it was entirely based on emotion and not reason.

As is usually the case when decisions are made on emotion and not reason, many now regret their embrace of Smollett because his story has come into question. The two alleged assailants are not MAGA hat wearing White men, but Black men who claim that Smollett paid them to stage the whole incident. According to reports, as of this writing the Chicago police believe this entire hate crime is a hoax orchestrated by Smollett.

VIDEO LINK

The media, celebrities and politicians who supported Smollett did so for the simple reason…it was easy. Smollett’s story confirmed all of their biases regarding Trump supporters who they believe are racist homophobes, and gave them the opportunity to signal their virtue and espouse their moral superiority.

This sort of indulging in one’s biases and signaling one’s virtue is epidemic in America and a big reason for that is social media.  Social media is built to be a personalized echo chamber that triggers emotion and shortcuts reason, and encourages a solidifying of instantaneous emotional reaction into permanent and intractable belief.

Another reason for this scourge of confirmation bias and virtue signaling is that the corporate press is not in the truth-telling business, they are in the tell people what they want to hear business. Just watch this MSNBC breaking news segment on the alleged attack on Smollett.

None of the professionals in this clip ever practice anything resembling journalism by actually questioning the voracity of the allegation. The anchorwoman Stephanie Ruhle is signaling her virtue so hard over this story, repeatedly declaring it’s a “horrible story” and “horrible to report” and then admitting she is “so shaken by the story”, that she can’t remember details of it.

This vapid emotional hyperventilation is a case study in cultural conditioning overpowering professional training. Ms. Ruhle, and the rest of the media who were so gullible regarding Smollett’s story, has been indoctrinated to quell skepticism regarding a “victim’s” story because doubt is now deemed the equivalent of assault. GLAAD president Sarah Kate Ellis made this clear when she commented on the Smollett story, “Jussie Smollett was victimized first in a hate-motivated and violent attack…and has since been doubly victimized as the subject of speculation by the media…” If reporters question Jussie Smollett’s story that doesn’t make them bigots, it makes them journalists.

“A lie told often enough becomes the truth.” – Vladimir Lenin

The confirmation bias and virtue signaling in American culture is not confined to the Smollett case. The establishment media’s handling of all Russia stories is equally rife with a pandering to biases and a self-righteous signaling of patriotic virtue.

For example, last fall both NBC News and the New York Times hyped a bizarre James Bond-level spy story claiming the Russians had developed a nefarious super secret sonic weapon and used it to attack U.S. personnel in Cuba. This story was riddled with logical inconsistencies but the press reported it as if Putin were pointing his sonic weapon at every American’s head. Of course, upon closer inspection, these “sonic attacks” weren’t attacks at all but horny crickets trying to attract a mate. 

The media’s reporting of similar stories detailing alleged Russian villainy is hysterical, literally. Whether it is Russia hacking the Vermont power grid or into C-Span, it seems there is no skepticism allowed when it comes to Russia. And similar to the Smollett case, if you dare question the voracity of these Russia stories your virtue/patriotism is questioned.

This suffocating of skepticism has led all Russia related stories to become sacrosanct and be considered gospel truth. Yet, just like in the Smollett story, if you look at the majority of Russia related reporting you will notice it is often based on reporters treating assumptions as facts.

“The bigger the lie, the more it will be believed.” - Joseph Goebbels

The Smollett fiasco is small potatoes compared to the greatest example of media malpractice in recent memory, which was the Iraq war farce. The establishment media weren’t only entirely uncritical in regards to the Bush administration’s outlandish claims regarding WMD’s and an Iraqi connection with Al Qaeda, but were complicit in emotionally triggering the American people to sell them that insidious snake oil.

Back in 2003 during the build up to the war, dissent was verboten. The media were entirely in lockstep with the Bush administration and acted as stenographers to power as opposed to a check on it, with MSNBC even firing its highest rated host, Phil Donohue, because of his anti-war stance.

Just like the Smollett story and the reporting on Russia, in the Iraq war scam the media discarded skepticism in favor of confirmation bias and virtue/patriotism signaling. The disinformation the media disseminated during this period didn’t just lead to egg on their face, but blood on their hands, as thousands of U.S. service members and over a million Iraqis were killed or wounded.

“Cursed is the one who trusts in man” – Book of Jeremiah 17:5

It would be nice to think that those who fell under the spell of confirmation bias in the Smollett case would have learned their lesson, but if the response of filmmaker Ava DuVernay and author Roxanne Gay is any indication, nothing will change. As Ms. DuVernay told the Hollywood Reporter, “…this won’t stop me from believing others. It can’t.”

Ms. Gay echoed the sentiment, “I’m not going to stop believing people who say they have suffered”.

The media is also proving their inability to learn from their mistakes by once again singing in harmony with the Washington establishment chorus who hunger for a coup in Venezuela. The continuing media sycophancy towards American imperialism and militarism across the globe shows a shameful myopia and a stunning historical illiteracy.

As the Smollett story teaches us, confirmation bias is a very addictive drug, and as the corporate media’s Iraq, Iran, Syria, Libya, Russia and Venezuela coverage shows, it is a dangerous and deadly one too…and the only remedy for this epidemic of idiocy is an ardent and unrelenting commitment to skepticism.

A version of this article was originally published at RT.com.

©2019

Never Look Away: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.25 out of 5 stars

My Recommendation: SKIP IT/SEE IT. A flawed and uneven film that explores some fascinating themes and boasts solid yet understated acting. Due to its long running time (3 hours and 8 minutes) it isn’t good enough to see in the theatre but is worth checking out on Netflix/cable for free.

Run Time: 3 hours 8 minutes

German with English subtitles

Never Look Away, written and directed by Florian Henckel von Donnersmarck, is “inspired” by the life story of famed German painter Gerhard Richter, and follows his life from childhood under the Nazi regime to his adulthood under communism and recounts both his personal and artistic travails. The film stars Tom Schilling as Kurt Barnert - the character loosely based on Richter, and boasts supporting turns from Paula Beer, Saskia Rosendahl and Sebastian Koch.

Never Look Away, nominated for Best Foreign Picture at the upcoming 91st Academy Awards, is director Florian Henckel von Donnersmarck’s third feature film. Von Donnmersmarck’s first feature, The Lives of Others (2006), won the Best Foreign Picture Oscar in 2006. Never Look Away is a more vast and ambitious artistic undertaking than The Lives of Others, but it is nowhere near as good as that sublime study of Orwellian life and love under communist rule.

Never Look Away attempts to cover an expansive period of time, from the late 1930’s to the 1960’s, in a deeply personal and intimate way, this is no sweeping historical epic, but more an Artist’s Guide to Historical Totalitarianism.

The best part of the film is the opening act, that gives us a glimpse of the cold-hearted collective madness of Nazi Germany, where only the insane would tell the truth and where the truth was truly insane. In this section, the lead character Kurt, who at this point is a small child, finds his muse in his painfully beautiful and beautifully pained aunt Elisabeth May, played with exquisite aplomb by the beguiling Saskia Rosenthal.

Elisabeth, like Kurt, is an artist at heart, and for her, life under the Nazis is a lie her spirit won’t allow her to tell. Her one split second interlude with Hitler causes such a psychological tsunami of archetypal energy that her psyche (and skull) is literally unable to contain it and she is obliterated by it. The physical, mental and emotional destruction left in the wake of the Nazi archetype and accompanying armageddon leaves Kurt with a unique view of the world and a distinct eye through which to observe it.

In Kurt’s art school years he finds another muse, Ellie, played by the luminous Paula Beer. While this section of the film is compelling, it is also where the film begins to occasionally fall into standard Hollywood plot territory, which is disappointing since it’s a German film.

As the film wears on it loses a great deal of momentum as the dramatic potential from the film’s beginning dissipates and never fully blossoms. Watching Kurt struggle with his artistic demons is in theory interesting but in practice less than enthralling and the film’s various sub-plots never gather enough steam to be dramatically worthwhile.

It is either a sign of von Donnersmarck’s great success or great failure that after watching the film for its staggering 188 minute run time (which for those not mathematically inclined translates into 3 hours and 8 minutes) I was left wanting…either more of the film or more from it.

While I found the plot and its surface twists and turns to be unsatisfying and at times frustratingly so, what kept me engaged were the compelling themes upon which von Donnersmarck meditates. Totalitarianism in all its gruesome faces plays a feature role in this film, and that beast’s corrosive effect on humanity in general, and artistry in particular, is front and center.

In a weird bit of synchronicity, as I sat in the theatre waiting for Never Look Away to begin I got an email from a reader who was commenting on an article I had written last year. The article was titled “Echoes of Totalitarianism in #MeToo and Russia-Gate”. I had no idea what Never Look Away was about when I read that email and subsequently re-read my piece…but after viewing the film the synchronicity became clear.

The thing that was so striking to me about that theme, in both the film, the email and my article, is that totalitarianism is now the ascendant, if not dominant, energy of our time, especially in art, or what passes for art in our hyper-capitalist society.

As I have said previously, “wokeness kills art”, and the suffocating and stultifying conformity of our current culture and its ever present demand for political correctness, is remarkably similar in its totalitarian instincts to the insistence for Romantic Realism in Nazi Germany or Socialist Realism under Soviet communism and avant-gardism in the post-modern art world.

As Elisabeth tells young Kurt, “never look away because everything that is true holds beauty in it”. Truth is an enemy of totalitarianism and the totalitarian will gauge their eyes out in order to avoid looking directly at it. In totalitarian cultures, artistic quality is eclipsed by adherence to political orthodoxy. The artist’s political ideology must be impeccable and if it isn’t impeccable and deviates in any way from political orthodoxy, that artist and his/her work will be disappeared regardless of its quality and worth.

The current wave of political correctness with its accompanying cries for “diversity and inclusion” is just another form of the totalitarian impulse, no different in its intent to banish the idea of an artistic meritocracy or to stifle dissent than Nazism or Soviet communism, although it is hopefully much less blood thirsty.

True artists, not the corporate whores in Hollywood, have a fundamental, if not biological, need to see, know and tell the truth. Totalitarians, whether they be in Berlin, Moscow, Washington or Hollywood, in turn love lies and loathe the truth. Thus the true artist in a totalitarian system is a most dangerous person. This is why the frantic need to silence artistic dissenters or disappear heretics who have sinned against the prevailing orthodoxy of political correctness/diversity/inclusion has spread like a wildfire and is now an inferno engulfing our popular culture. Look no further than Liam Neeson’s recent demise at the hands of the mob or the painfully middling Black Panther’s ascension to an Oscar nomination for proof that truth has no place in our current culture.

In Never Look Away, Ellie’s professor father Carl, played with German precision by Sebastian Koch, is symbolic of the totalitarian instinct, in that no matter what ideology under which he lives, he thrives through a combination of aggressively unthinking and unfeeling conformity and a startling level of righteousness. Carl is the totalitarian leopard who may change trees but never changes his spots. Like Nazi rocket scientist Werner von Braun, Carl is interested in getting to the moon, or at least his own version of it, and will shut off whatever part of his brain or heart is needed, and will play whatever role is demanded, in whatever totalitarian political play going on around him, in order to make that happen.

As Never Look Away shows us, the lies of the totalitarian will collapse under the enormity of their own blatantly obvious and clearly observable falsity. One can only hope that the Trumpian totalitarians and their equally totalitarian counterparts on the “social justice left” and in corporate America, will suffer the same fate as the Nazis and Soviets and be left on the ash heap of history. At the moment I must admit…my confidence is at an all-time low.

Another theme in the film that was intriguing although never fully fleshed out, was the pseudo-mystical idea of all things being connected. Kurt’s aunt Elisabeth cracks the code of the world playing a single piano note and finds connection in the in-between place of blaring bus horns. Kurt experiences the same feeling high atop a tree as the German countryside reveals itself to him in all its glory. Those fleeting moments of transcendence are the fuel that propel Kurt to his ultimate destiny and ultimately reveal not just his truth, but THE Truth.

It is this odd concoction of both mystical yearning and political warning that I found so compelling in Never Look Away. Von Donnersmarck shows an artistic daring rarely seen in American films when he explores these themes so unabashedly, in the process even touching upon explosive issues like abortion in less than flattering ways. In this sense, Never Look Away is a form of artistic courage and truth-telling in and of itself and the movie and its themes have stayed with me since I left theater.

That said, the film also is cinematically flawed. As stated, it loses momentum about halfway through its very long run time, and also loses dramatic intensity as well. The film also has some perspective issues that it never fully resolves. The movie is also burdened by a distractingly cloying soundtrack that was much too conventional for my tastes and to me revealed a lack of confidence on the part of the writer/director.

Never Look Away’s cinematographer Caleb Deschanel, a long time veteran of the industry, is nominated for an Oscar for his work on the film. I actually felt the cinematography was, a few nicely framed shots aside, rather mundane and not worthy of a nomination. Deschanel’s work isn’t bad, it just isn’t noteworthy, and I can think of numerous other films that were more deserving of a nomination (like You Were Never Really Here, Widows, If Beale Street Could Talk or First Man among others).

The performances were strong across the board. Tom Schilling, who plays Kurt, has a lot of heavy lifting to do in this film and none of it is flashy. Schilling is able to carry the weight of this movie without ever making it all about him, and that is a pretty rare skill for an actor. While Schilling has no explosive scenes upon which to hang his hat, his deft and subtle work is entirely in the service of the script and the character.

Sebastian Koch also gives a very focused and refined performance as Professor Seeband. Koch has one scene that I won’t give away, that is so critical for the film and he absolutely nails it. While Koch’s work in that scene is extremely detailed and specific, it is all of the precise work he did leading up to that made it all worthwhile.

Paula Beer does impressive work as Ellie, never failing to be magnetic on screen. Beer and Schilling’s chemistry makes this long movie very compelling to watch even when it dramatically falters.

Saskia Rosendahl is absolutely fantastic as Kurt’s aunt Elisabeth, as she never falls into the trap of caricature. Rosendahl imbues Elisabeth with a palpable energy and intentionality that jump off the screen. Elisabeth goes through a series of twists and turns and Rosendahl imbues her with a combustibility and fragility that never fails to be genuine and vibrant.

In conclusion, Never Look Away is a good, but not great film. The more I think of the film the more I think the story would be better served as a miniseries on Netflix rather than as a three hour feature film. Even the long run time does not allow the entirety of the story to be told with adequate depth and nuance. That said, the film is propelled by interesting themes that have kept me thinking since I left the theatre and solid performances that kept me engaged. As the movie teaches us, totalitarianism is on the rise and it is more imperative than ever that we never look away from that truth.

It is for this reason that I think Never Look Away is ultimately worth seeing for the truths it reveals about its world and our current one too. Due to the long run time I recommend you watch it at your leisure at home on Netflix or cable when the opportunity arises…that way you can “look away” by having some bathroom breaks and intermissions when you like and not actually miss anything, or you can stretch the film out over multiple nights, a sort of do-it-yourself mini-series. Never looking away is vitally important nowadays and is a hard discipline to master, and a good place to start your training in that practice would be with Never Look Away.

©2019

Blackberry Smoke - Fonda Theatre : A Review

BLACKBERRY SMOKE - FONDA THEATER - THURSDAY, FEBRUARY 6, 2019

There is nothing quite so exhilarating as seeing great music performed live, so this year I made a resolution to venture out and see more music. And since I am going to be seeing more music I thought I would expand my writing to encompass not just cultural criticism and film criticism but occasionally music criticism too. So sit back, relax and enjoy my first foray into that genre.

I stumbled upon the first concert on my 2019 agenda in a round about way. Nearly four years ago I saw The Waterboys at the Fonda Theater here in Los Angeles. Mike Scott and the gang put on a terrific show that was accentuated by the exquisite surroundings of the Fonda. With quality acoustics, general admission and terrific sight lines, the Fonda is a fantastic music venue. So in searching for music to go see, instead of searching for bands I like, I went and searched the Fonda’s schedule to see if anything intrigued me. Two shows did, the first of which was last Thursday February 6, when the southern/country rock band Blackberry Smoke came to town to promote their album Find a Light.

I am not a Blackberry Smoke “fan”, I own none of their music and really didn’t know much about them prior to seeing them. But my good friend and walking music encyclopedia, the inimitable Fire Thorn, highly recommended them to me. So, since the tickets were $40, the venue is great and Fire Thorn rarely misses the mark musically, I pulled the trigger and got tickets.

I listened to some Blackberry Smoke’s albums in the weeks leading up to the show and found the Atlanta natives to be a solid, throwback band with a surprisingly deep catalogue of well crafted and accessible songs. The Whippoorwill (2012) is a particularly strong record, and its follow ups, Holding All the Roses(2015) and Like an Arrow(2016) revealed a palpable musical and creative momentum.

Find a Light, which came out April 6, 2018 is their newest release and while I didn’t enjoy it quite as much as their earlier work, I still found enough gems on it to be a worthwhile listen, and have found that it grows on you, for I have grown to like it more and more the more I listen to it.

After my two-week crash course in the Blackberry Smoke’s discography, I braved Los Angeles rush hour traffic and an hour and a half later was outside the Fonda ready to rock and roll. With a growling belly and a little time to kill, I made my way across the street to the Shake Shack restaurant, my virgin voyage into the much discussed Shake Shack universe. After devouring a double SmokeShack burger (double cheeseburger with bacon), I was officially baptized into the religion of Shake Shack and am now a devout true believer.

Joyful and bloated from my feast I stumbled back across the street to the Fonda, thinking my sumptuous all-American meal had precluded me from catching the opening act, of whom I had never heard. As I walked into the Fonda I realized I was wrong…and boy am I ever glad I was.

Country rocker Nikki Lane was early into her set when I arrived and she instantly mesmerized me. If Taylor Swift and a rattlesnake had a baby, and weened it exclusively on whiskey, it would be the raven-haired Lane. Lane has a beguiling and confident stage presence and an effortlessly powerful and gloriously weathered voice that drips of character that heightens and accentuates her storytelling songs.

My date, the irrepressible Dr. Lady Pumpernickle Dusseldorf III, a trained singer and music afficionado in her own right, was even more enamored of Ms. Lane than I, as we both fell deeply under her hypnotic spell. While I did not know any of Nikki Lane’s songs, it didn’t matter, she sold them to us with an undeniable verve that was impossible to refuse. It also helped that her band, made up of guitar, keyboard, bass, drums and steel guitar, were impeccable.

After my delectable Shake Shack experience and Nikki Lane’s intoxicating set, this night was already a stirring success chock full of newfound favorites…and then Blackberry Smoke hit the stage. The band, made up of the Turner brothers Richard and Brit on bass and drums respectively, Brandon Still on keyboards, Paul Jackson on rhythm guitar and backing vocals, and Charlie Starr on lead vocals and lead guitar, hit the ground running with the song “Nobody Gives a Damn” and never looked back.

I was positioned in the second row right in front of rhythm guitarist Paul Jackson, and what I noticed right away was that Jackson was beaming. I have never seen a musician, or anyone else for that matter have so much fun in my entire life. This guy’s exuberance and sheer pleasure at playing was infectious and impossible to deny. The band are road warriors and true professionals and what was most apparent was not only how proficient and cohesive they are musically, but how much they love what they do, which is contagious and makes them a joy to behold.

While Jackson’s bliss was charming, it is lead singer and guitarist Charlie Starr that is the straw that stirs the drink of this band. Starr carries the show and his, at times, blistering guitar work is very impressive. Starr’s vocals are strong and seamless amidst the tight band even though his range is a bit limited. Starr is not a wannabe rock star, as there is no posing or preening, just good old fashioned, grind it out, blue collar musicianship.

The train of the Turner brothers rhythm section was never late to the station and always left on time, and lay a reliably healthy foundation upon which Starr and Jackson’s guitars and Still’s keyboard juked and jived with sweet Georgia abandon.

The band played a plethora of songs off of their new album, Find a Liight, and mixed in with it a healthy dose of their strongest material from earlier records, along with some covers that were aided by special guests. One of the joys of seeing a show in Los Angeles is that because it is such a Mecca of the music industry, the streets are flowing with talent who are always there to lend a helping hand to whatever tour comes to town. On this night, guitarist and founder of Buckcherry, Keith Nelson (who also co-wrote some of the songs on Find a Light) hopped on stage for a song. Second generation legend Duane Betts (Dickie Betts’ son and the namesake of Duane Allman) also jumped on stage to cover his birthright material from The Allman Brothers, a scintillating version of “In Memory of Elizabeth Reed”. And finally, in the encore Butch Walker joined the band for a rousing cover of Tom Petty’s “American Girl”.

The highlights of the show for me were The Cult/Billy Duffy inspired raw guitar power of “Waiting for the Thunder”, the crisp perfection of “Crimson Moon”, the soulful melancholy of “Whippoorwill”, Bett’s virtuosity on “In Memory of Elizabeth Reed”, the Springsteen-esque desperate country soul of “One Horse Town” and the radio-friendly infectiousness of “Ain’t Much Left of Me” which morphed into a bluesy cover of Led Zeppelin’s “When the Levee Breaks”, which itself was a cover of a song by Kansas Joe McCoy and Memphis Minnie.

The audience at the Fonda were an older crowd, mostly made up of middle aged music connoisseurs well read in classic rock and country who definitely admired the craftsmanship of Blackberry Smoke. The show was not sold out and was probably 75% capacity but the audience was exuberant without being unruly or dangerous. (Blackberry Smoke is a most definitely a “safe” show to attend…no worries about fights or anything like that.

Blackberry Smoke are road warriors, playing over 200 shows a year, because they have to be, this is how they make their living. Radio has devolved to the point where a band like Blackberry Smoke, which isn’t pure enough country for country radio and isn’t old enough to be classic rock, can’t find an outlet for audiences to discover them.

Blackberry Smoke is one of those bands stuck in the wrong time. If this band came along 40 years ago they’d be staples of classic rock right now and we’d all have heard of them. They are sort of like Lynyrd Skynyrd and sort of like The Black Crowes, but really not exactly like either one of those bands. I would classify Blackberry Smoke as a southern rock band with a country sensibility. The difficulty in defining their concise genre and to clearly label them may also contribute to their relative obscurity with the wider public.

The music business conundrum that Blackberry Smoke finds themselves in where they are limited in ways of finding an audience, is bad for them as it puts a ceiling on their success, but good for people like me who are lucky enough to catch them at a great, small venue like the Fonda for $40, as opposed to paying $150 for shitty seats to see them at the Staples Center if they were a bigger, more successful band.

In conclusion, Blackberry Smoke is a cohesive and solid southern/country rock band with visceral chemistry that shine in live performance. While the band are not a transcendent act, they most certainly are an entertaining one. If you like live music and you have the opportunity, you should definitely go check them out as they give a great show and will be the best and most professional bar band you’ve ever witnessed in your life. And if Nikki Lane comes to your town, go out and grab some Shake Shack before hand and see her too, you will most definitely be glad that you did.

SETLIST

Nobody Gives a Damn

Fire in the Hole

Feel a Good One Coming On

Waiting for the Thunder

Crimson Moon

Let it Burn

Medicate My Mind

Sleeping Dogs

Holy Ghost

Whippoorwhill

Payback’s a Bitch

Ain’t Got the Blues

Run Away

Flesh and Bone

In Memory of Elizabeth Reed

One Horse Town

I’ll Keep Ramblin

ENCORE

American Girl

Ain’t Much Left of Me

©2019

Beating the Dead Horse of Grammy Award's Racism

Estimated reading Time: 4 minutes 48 seconds

It is that time of year again, awards season! And with the Grammy Awards tonight (quickly followed in two weeks by the Oscars) comes with them the oh-so-predictable and tired charges of racism.

Every year at this time, both pre and post the awards, there are a cavalcade of articles in the media bemoaning the blatant racist snubs of the Recording Academy and blaming every Black artist’s loss on the vicious racism of Academy members. These articles, like the New York Times piece post-2017 awards that declared the Grammy had a “pernicious” race problem, are grounded in baseless assumptions and often play fast and loose with the facts in order to bolster their case.

What frustrates me the most about these “Grammys are Racist” stories is that they actually undermine and distract from genuine racial issues in America. Like American’s overuse of antibiotics leads to a dangerous diminishing of their power, crying racism at every turn, such as with perceived awards show snubs, makes that charge much less powerful when applied to life and death issues like criminal justice, health care and voting rights.

The underlying assumption fueling these articles is the idea that Black artists are under-represented at the Grammys. As I wrote in 2017 and 2018, this assumption is not based on fact. The elite media who bemoan racism at the Grammys never mention one very important statistic, namely the demographic reality of African-Americans in the United States, or the Black population in the Anglosphere (English speaking world - U.S., Canada, U.K., Ireland, Australia).

The Black population in the U.S. is 12.6% which comes as a surprise to many people who only have a passing knowledge of demographics. The Black population in the Anglosphere is even smaller, coming in at 9%. When contrasting the 12.6% or 9% population figure against the percentage of Grammy nominees and winners who are Black, it becomes very obvious that Black performers aren’t under represented at all, but rather are over-represented.

For example, from 1987 to 2017, in the Best Album category 37% of the nominees and 13% of the winners were Black artists. In the Record of the Year category 36% of the nominees and 20% of the winners were Black artists. In the Song of the Year category 28% of the nominees and 23% of the winners were Black artists. In the Best New Artist category 32.6% of the nominees and 40% of the winners were Black artists. If you look closely at those numbers you will realize that all of them are larger than 12.6%, some more than twice as large.

The media never mentions Black over-representation when discussing Grammy racism, it is just accepted as fact that Black artists are being cheated out of awards because of race. A great example of this vacuous narrative in the media is found in the writing of John Vilanova, whose work has appeared in The Atlantic and The Los Angeles Times among other places. To further Vilanova’s establishment bona fides, he is also in the process of getting his PhD from the prestigious Annenberg School of Communication at the University of Pennsylvania.

In a recent article for The AtlanticWhat it Takes for Black Artists to Win Big at the Grammys”, Vilanova makes the same case he made a year ago in the LA Times (“Beyonce’s Grammy Snub and the Glass Ceiling on Black Art”), namely that Black “musicians” run into a glass ceiling when it comes to the Grammy awards. Vilanova’s assertions are standard, mainstream thought among the media and academic class in America…namely that racism is such a “pernicious” problem that it is baked into the cake even in the allegedly liberal bastions of the music and film industries.

Not surprisingly, Vilanova never mentions the demographics and statistics which I lay out in my articles on the subject and which decimate his thesis. In fact, in order to fit the facts around his virtue signaling story line, he blatantly distorts and contorts statistical reality to such a degree as to be duplicitous. For example he ignores the Best new Artist category entirely and only looks back as far as 1999 in regards to the other major categories.

Another example is when Vilanova compares Beyonce, the most nominated women in Grammy history with 62, to White country artist Alison Krauss, who has 40 nominations. Vilanova claims that Beyonce’s Grammy win percentage (22 awards out of 62 nominations - 37%) in relation to Alison Krauss’s 27 wins in 42 nominations, is “markedly low”, but never mentions the uncomfortable fact that obliterates his thesis of racism at the Grammys, namely that of the top four popular music Grammy awards winners in history, only one, Krauss, is White (the other three are Beyonce, Quincy Jones and Stevie Wonder are Black). Vilanova also fails to mention another glaring difference between Krauss and Beyonce besides their race and Grammy win percentage, and that is that unlike Beyonce, Krauss, in addition to singing, plays an instrument (violin/piano).

Besides laying out a statistical argument in my previous articles, i also lay out a stylistic one, making the case that the Recording Academy is made up of musicians, engineers and producers, and that they appreciate musicianship above all else. This seems a rather self-evident claim to make, that musicians, who have dedicated their life to mastering their craft, would admire other musicians who have done the same. This is a major reason why rap gets short shrift at the Grammys, it isn’t because the Academy hates Blacks, it is because they love musicians, and rappers are not musicians.

Vilanova unintentionally makes my point for me in his Atlantic piece when he bemoans the only Black artists to have won major Grammy awards (Album of the Year, Song of the year and Record of the Year) this century are artists whose “auterist bonafides…carry them to the podium”. The list includes Alicia Keys, Lauryn Hill, Ray Charles, Luther Vandross, Outkast, Herbie Hancock and Beyonce. You know what else these artists have in common besides being auteurs, Black and Grammy winners? They are all remarkable musicians. Beyonce, Luther Vandross and Lauryn Hill are master vocalists, Herbie Hancock, Alicia Keys and Ray Charles master pianists, and Outkast are masters of all trades including playing instruments.

If you look at non-Black winners of major Grammys you find the same type of artists as the group above. Bruno Mars, Adele, Taylor Swift, Mumford and Sons, Arcade Fire, Robert Plant and Alison Krauss, they all have mastered an instrument (voice is an instrument) and/or play an instrument and write their own songs.

Vilanova’s self-righteous obtuseness doesn’t stop there as he makes an even more vapid and flaccid argument that these Black artists (Beyonce, Herbie Hancock, Alicia Keys, Outkast etc.) have broken the glass ceiling only because they aren’t making “Black” music, which apparently according to Vilanova must only be rap. Vilanova even goes so far as to claim that the Grammy for Best Urban Contemporary Album is in itself a racist award. Vilanova is basically saying that if a Black artist wins a major Grammy then by definition the music they are making is not “Black music”. This is madness.

The reality is that Black artists are over-represented at the Grammys. And on top of that, the statistical reality is that Rock music, which is still the most popular music in America in terms of consumption, album sales and concert ticket sales, is horrendously under-represented. In fact, only one rock band, Greta Van Fleet, is nominated in any of the major Grammy categories this year, and that is in Best new Artist. But you won’t read that story in any major media outlets and certainly not from the desk of John Vilanova.

The question then becomes why do people like John Vilanova believe the things they do when it is very clear that they are factually incorrect? I cannot read minds, but maybe Vilanova is simply playing the game and telling his superiors and his audience what they want to hear. Or maybe he really does believe the things he writes and is simply an intellectual midget. Or maybe Vilanova is so ensconced in the elite media and academic universe that he inhabits that he is totally blind to his own establishment orthodoxy indoctrination and is inoculated against critical thinking. Who knows? But the truth is this, that it is obvious and provable through demographics, statistics and history, that John Vilanova’s thesis of a “ceiling for Black artists” is entirely fallacious. And yet, despite being so obtuse, intentionally or otherwise, Vilanova gets paid to write for the hallowed Atlantic magazine and the LA Times, and I write for RT, and he is getting a PhD from Penn and I have a sixth grade education. Maybe I should blame racism for my failings…it would be just as credible an excuse as it as for Black artists’ failures at the Grammys.

Besides watering down the power of the charge of racism, the Grammy awards have watered themselves down due to these scurrilous charges of racism. To combat this non-existent problem, the Grammys have made dramatic moves to alter their voting population in an effort to “diversify” their nominees and winners. The Grammys have also expanded their nominee numbers from 5 to 8, in order to appease calls for diversity and inclusivity. What these changes have really done though, is diminish the prestige and cache of being nominated for, or winning, a Grammy. In a sense, these Grammy elections are now rigged in order to give a “leg up” to Black artists who are already well outperforming their demographic reality.

In conclusion, as proven by Mr. Vilanova and the rest of the media’s relentlessly vacuous articles on the subject, no matter who wins at the Grammy Awards tonight, racism will be the excuse for why someone lost…which means Truth, as always, will be big loser once again.

©2019

On the Basis of Sex: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. This piece of HERstory is a Hallmark movie sold as Oscar bait and is so cinematically underwhelming it should be stripped of the right to vote and forever kept in the kitchen, barefoot and pregnant, where it belongs.

On the Basis of Sex, written by Daniel Stiepleman and directed by Mimi Leder, is the story of Ruth Bader Ginsburg’s fight for women’s legal equality as she ascends from Harvard Law School all the way to the Supreme Court. The film stars Felicity Jones as Ginsburg with supporting turns from Armie Hammer, Justin Theroux, Sam Waterson and Kathy Bates.

I knew nothing about On the Basis of Sex before I saw it, but as a red-blooded American male anytime I see the word “sex” in a sentence everything else goes out of focus, so when I saw the title it read as “__ ___ _____ __ SEX”. With a title like that how could I not be interested? But then the movie started…and I have bad news for you…there is no sex at all in On the Basis of Sex…there isn’t any nudity either. This revelation was most disconcerting to me and left me feeling as if On the Basis of Sex was the most misleading film title since The Never-Ending Story. What a rip-off!

The truth is I actually had no interest in seeing On the Basis of Sex as I had seen the trailer and it looked pretty abysmal, but thanks to MoviePass, it was my only film option the other day so I took the plunge. MoviePass has altered its service and now only offers very few films in my area, which has made the service rather useless to me. In its current form MoviePass is like fishing off of the Venice pier, the odds of catching something are very slim but then if you do catch something in those sewage infested waters, you get one look at it and wish you hadn’t….which perfectly sums up my experience with On the Basis of Sex.

On the Basis of Sex is a trite, saccharine, paint-by-numbers, made-for-tv bio-pic that is just dreadful to behold. From the uneven performances to the lackluster cinematography to the cliche-ridden script to the cloying music, everything in this movie is so predictable and dull as to be insipid.

On the Basis of Sex thinks of itself as Oscar bait, and I can see why, it is about an iconic female figure during our current “women’s moment/movement”, and is also directed by a woman, Mimi Leder. No doubt the studio and producers thought they were striking at the right time with the right story to cash in and gather some awards. But then a funny thing happened on the way to the Oscar podium…a few people saw this movie and realized it was atrocious.

One of the big problems with the movie is that Mimi Leder is a hack of a director. Leder has had great success directing in television but television and film are two very different animals. Add to that the fact that the script, written by Ginsburg’s nephew Daniel Stiepleman, is painfully pedestrian and you have one giant piece of Oscar bait that never even gets a nibble.

Regardless of your political perspective, there is no denying that On the Basis of Sex is a piece of propaganda, and there is nothing wrong with that, but there is something wrong with it being such rudimentary and ill-executed propaganda. Leder’s direction is stale and uninspiring and the script is painfully vacuous and remarkably paper-thin. There are some scenes where I audibly laughed, much to the irritation of the middle-aged ladies sitting in front of me. The scene where Ginsburg and her teenage daughter are caught in a rain storm in New York City and her daughter fends off catcalls from construction workers and hails a cab at the same time, was so contrived, absurd and artistically obtuse it made me spit up my root beer.

Felicity Jones is a fine actress, but she brings little to the table as Ginsburg besides steely-eyed righteousness and occasionally pronouncing the word lawyer as “lawyuh”. Ms. Jones’ struggle to give genuine life to the suffocatingly dull script is a quixotic undertaking and never amounts to much of anything.

The rest of the cast do not fair well either. Justin Theroux is a dead-eyed caricature as a hotshot ACLU lawyer and Kathy Bates misfires as a curmudgeonly attorney and…well…we also need to talk about Armie Hammer.

Armie Hammer is so awful in this movie he made my teeth hurt. Granted, Hammer is given nothing to work with in the abomination that is the script, but still…he somehow uses his terrible acting super powers to make the movie even worse. Hammer plays Ruth’s husband Martin, and from what I can tell Hammer’s Martin is a perfect cross between his character in Call Me By Your Name and a perpetually gently smiling saint. Hammer is so fake and so phony in the role it feels like your watching a two hour long toothpaste commercial sans the gravitas and character development.

Hollywood tried for years to make Armie Hammer into a movie star, and once they realized that wasn’t happening they shifted gears and have tried to make him a viable “actor”, and I have news for Hollywood…that isn’t working either. Maybe Armie should do us all, himself included, a favor and just go enjoy life and forget about acting for a while…or forever.

There is one scene in On the Basis of Sex that does unintentionally hit upon something mildly interesting, and that is where the villain, James Bozarth (portrayed by Jack Reynor), a dastardly lawyer for the government, talks to his collegues about how gender equality will change American culture. Bozarth is made out to be a one dimensional, misogynistic bad guy, but in the scene he says something fascinating. The two other government lawyers basically lay out gender equality to be as absurd as cats and dogs living together, but then Bozarth says that if equality happens then “wages go down and the divorce rate goes up”. I found it intriguing that this statement was mixed together with the other ludicrous statement because what Bozarth said isn’t ludicrous…it is true. Since women joined the work force en masse in the 70’s, divorce has gone up and wages have gone down. Which is not to say that women should not be treated equally, just that the law of unintended consequences is an unstoppable force regardless of how noble your cause may be…which might have been a more interesting theme to create a movie around.

In conclusion, On the Basis of Sex is a suffocatingly conventional, rather poorly made film that looks and feels more like a Hallmark or Lifetime movie than a major cinematic venture. I know Ruth Bader Ginsburg is a beloved figure and has been turned into a cultural celebrity, but the cinematic story of her life falls decidedly flat and needed a much more skilled and deft directing hand to make it worthwhile. Do not waste your time and energy seeing the chaste On the Basis of Sex, even if you can see it for “free” on Netflix or cable or using MoviePass. Speaking of MoviePass…since the pickings are so slim and I wanted to throw the stinky, rotting catch of On the Basis of Sex back into the water, I am going to cancel my subscription. I’d rather eat bait than the garbage MoviePass is currently sending my way.

©2019