Sunday, October 15, 2017

A Ghost Story

My maternal grandfather -- "Papaw," we called him -- died just before my 24th birthday. I grew up living beside him, so he helped raise me.

We were very close.

Papaw had a quirky sense of humor, and anxious mannerism I notice in my adult self.  He was a bit of a rebel; the sort of guy who bent the rules just up to the point of breaking them and, then, just a little more if he could.

He was the guy who would come back from the afterlife, if coming back from an afterlife was possible.

That he was that-sorta-guy haunted me for months after his death. Although I doubted an afterlife existed, I wasn't certain at that time in my life and couldn't discount it. That he was a rules-bender gave my grandmother hope. Anytime I visited her after his death, the conversation always drifted to:

Mamaw: "I'd give anything for Junior to walk into this room right now and say hello."

Me: "Yeah, but then he'd be a ghost."

Mamaw: "That doesn't matter. When you love someone as much as I love him, that doesn't matter."

Me: "Listen, I loved the man. But I ain't excited to see him as a ghost. That would freak me out! I'd scream, and run outta this house. Nope, no ghost-Papaw for me, thanks."

She'd get really quiet, and then just smile. As if I didn't understand.

Because -- as I realize more than a quarter-century later -- I didn't.

I thought about those exchanges while watching A Ghost Story. Written and directed by David Lowery, this Casey Affleck flick takes its time exploring the emotions of love and grief, and the power of personal connection. Lowery's story suggests love and grief are so powerful that they can allow us to bend the rules.

Even the rules that govern death and the afterlife.

A Ghost Story is a supernatural drama that isn't scary, and it's not an action movie -- in fact, one of the most powerful scenes in the film simply shows a woman sitting on the kitchen floor eating pie. But it's a movie that will move you in the end, if you have the patience to watch.

Saturday, August 15, 2015

Fantastic Four

The latest incarnation isn't perfect -- hell, Ant-Man was better, after all -- but it sure isn't the flop being described by critics.

It's a solid origin story, even if this origin is different than the comic book story first told half a century ago.

Fantastic Four gives us solid character backstory, slightly better than average special effects, and a powerful villain to overcome. It fails  to provide in-depth character development, forces team chemistry, and cheats the audience out of the comic-book style action it came to see.

Monday, April 13, 2015

Daredevil (Netflix Series)

I had a consistent comic book reading routine each summer during the late 70s.

First, I'd roll the titles up into a tight tube, then stick them into the back right pocket of my Lee jeans. After making sure my parents were in another part of the house, I'd scurry up the short ladder that led to the unfinished attic of our house. Two small pieces of plywood were up there, along with a  small lamp and a pillow. I'd lie flat on my stomach, look carefully over each comic cover, and determine in which order each would be read.

I saved what I suspected was the best story for last.

Able to leap tall buildings? Superman titles were always my first read. I liked the character, but his god-like powers made it impossible for me to relate.

The Fastest Man Alive? Loved the art, but Flash stories were formulaic and predictable. His comic was second.

The Dark Knight? Hadn't been created yet. There was still debate about whether Bruce Wayne was "Batman," or "The Batman," and many of us were questioning why the yellow bat-sign on his chest didn't serve as a better bullseye for criminals with guns. His title was third.

The Man Without Fear? Daredevil was read last.

"Daredevil" writers told gritty stories that felt as if they could happen in real life. Organized crime, prostitutes, underdog lawyers and journalists trying to carry out social justice. I savored the stories and waited impatiently for the next issue to hit the newsstand.

I felt the same way binge watching the new Netflix series that opened April 10, 2015. It is, in my opinion, the best comic book adaption to hit a small screen.

I don't want Season 1 to end.

Sunday, March 08, 2015


During high school in the early 1980s, that dark period in human history just prior to the modern Information Age, we kids spent a lot of time sitting around and talking.

Seriously, Millennials. It's true.

My friend Jamie and I dated sisters. We spent a lot of time together at their house and pretended to talk to each other, even though our true motivations were focused elsewhere.  Our conversations were superficial, themed mostly on sports and girls. Jamie was a high school wrestler. I wasn't.

We had little in common other than really liking sisters.

Most days, during lulls in our conversation, Jamie would say: "Let me put you in a banana split." I'd refuse the offer, for several reasons. One of the most important reasons is because the amateur wrestling move known as the "banana split" looks like this:

Despite my "no, thanks," Jamie would laugh, jump on top of me, and contort my body into shapes not intended by intelligent design. After only a few seconds I'd tap out. Jamie and his girlfriend would laugh, and I'd pretend not to me embarrassed.

Wrestlers don't seem to mind physical intimacy. Many, I think, seek it out.

Foxcatcher, directed by Bennett Miller, is really a movie about physical intimacy. Wrestlers in the movie compete with a physical intimacy that's comparable to ballroom dance -- early scenes of the Schultz brothers practicing basic moves on each other demonstrate the grace and elegance of highly trained athletes. John du Pont (the role that will transform Steve Carell's career) longs for physical intimacy with his mother and the wrestlers he recruits, but doesn't understand how to achieve either. And it was an act of physical intimacy -- the moment when du Pont slapped the face of wrestler Mark Schultz -- that dramatically and forever altered the lives of all three main characters.

I enjoyed Foxcatcher for the brilliant acting of the main cast. The tragic real-life story, however, made me feel so uncomfortable and ill-at-ease I wanted to tap out.


Sunday, February 22, 2015

The Oscars: 2015 Predictions

2014 was a stellar year for cinema. There was artistry (Birdman, The Grand Budapest Hotel), thrilling action (American Sniper), and emotion (Selma, The Theory of Everything).  Movie fare was so good, in fact, it inspired The Film Geek to talk about flicks again on his blog.

A blog in 2015? You mean, it's possible to comment on topics with more than 140 letter characters?

The 87th Academy Awards will be held tonight, and I'll be watching. Hell, we'll all be watching, because it was that good of a year in film. Here are Predictions From The Film Geek:

Best Picture:  Boyhood. The phenomenal success of the movie makes me wanna predict American Sniper as the winner in this category. But I'm going with Boyhood. Richard Linklater's film is an historical achievement: a compelling story told with beautiful simplicity.

Best Director:  Richard Linklater. For Boyhood, Linklater was forced to direct actors during various times of their lives, a task more complicated that it might sound.  During the 12-years of filming, each actor underwent physical, emotional, and psychological changes --Ellar Coletrain at six years of age needs  different direction than Ellar Coletrain at eighteen. These changes undoubtedly required direction to be constantly re-invented.

Best Male Actor: Eddie Redmayne. Bradley Cooper shocked me with his uncanny performance in American Sniper. He could play spoiler in this category. But Redmayne's performance in The Theory of Everything was spirited, subtle, and complex. That's the exact formula for an Academy Award win.

Best Female Actor: Julianne Moore. I haven't yet seen Still Alice, but I would never bet against Moore any time she's on the list. She is a force.

Best Male Actor in a Supporting Role: Edward Norton. Norton's work was the best part of Birdman, in my opinion. At least it was the only part of the film I enjoyed.

Best Female Actor in a Supporting Role: Patricia Arquette. She's head and shoulders above everyone else listed in this category.

Saturday, February 21, 2015

The Theory Of Everything

I don't recall when I first became aware of Dr. Stephen Hawking. Maybe it was in the late 1980s, when he first published A Brief History of Time. It was likely a bit later, however, as I tend to discover grand works of science and art later than most.

I'm too busy reading comic books, you know.

It feels as though Hawking has always been around. Always been a part of the popular culture. Always been a part of my life. But aside from knowing he's brilliant, that he lives with ALS, and that he digs black holes, I've known little about the man.

Until now.

The Theory Of Everything, directed by James Marsh and starring Eddie Redmayne, gives some insight into the brilliant mind of Hawking. The beauty of the flick, however, is that it allows the audience an intimate look into Hawking's resilient soul.  Sure, we know the dude is smart; what we didn't know was how he defied odds with dignity and grace, and that he lived his life with a hopeful determination.

Redmayne is brilliant in the lead role. He gives a blue-collar feel to Hawking as an intellectual youth, and an obvious humanity to the older Hawking as his body becomes fixed and rigid, and as he re-learns to communicate.

I predict an Oscar for Redmayne. His is the performance of a lifetime.

Tuesday, February 17, 2015


Hoping to catch most of the Oscar nominated flicks prior to the February 22 red carpet, I purchased a digital copy of Birdman on the first evening it became available.

I'm now forever stuck with one of the most pretentious, esoteric, self-indulgent movies I've ever seen.

To be fair, the actors in Birdman deliver outstanding work, especially Edward Norton. His Mike Shiner -- a dick of a human being who hides his boorish behavior behind a "method acting" label -- is complicated and multi-layered. And  Michael Keaton gives a solid performance as Riggan Thomson, the lead. But the choice to shoot the film as one long, stand alone shot without scene transition and editing was, to me, a fatal flaw.

It was distracting, and felt gimmicky.

The ending of Birdman, during which Thomson crawls out onto an open ledge and jumps, has been much talked about for its existential theme. It caused me to yawn. I half-hoped the camera would pan downward to show us a broken and bloodied Riggan Thomson on the street below.

That's an honest ending for a movie I wouldn't mind owning.

Saturday, February 07, 2015


Way back in 2007, when things called "blogs" were a daily read for many, I posted:  My Top 5: Movies That Give Me The Danny Gut.

(I'll let you read the definition of "The Danny Gut" for yourself at this link.)

Anywhoo, The Danny Gut strikes when I love a movie, but it causes me emotional pain or discomfort. I got it watching Glengarry Glen Ross. I got it trying to watch Requiem For A Dream. I nearly died from the disorder watching Death Of A Salesman.

And I got hit with the bug big time while watching Nightcrawler.

Dan Gilroy hit a home run with his directorial debut. Nightcrawler is a masterpiece. Jake Gyllenhaal channels  a little Travis Bickel in his creation of Lou Bloom, a character the audience can empathize with but can't allow themselves to like.

I liked Lou during sporadic moments -- a few seconds here and a few seconds there -- during the flick. And I hated myself for allowing that to happen.

It's that combination that causes The Danny Gut.

Monday, January 19, 2015


Despite the burdens
That result from leading change
He remained focused.

Living a life that's
Challenging and uncertain,
He remained steadfast.

Faced with doubt and fear
He looked upward and inward
To inspire others