US**** “The horror. The horror”


THE MAYHEM HAVING ensued, there’s a moment when Kitty’s doppelganger (Elisabeth Moss), smeared in blood, looks up to the screen and seems to howl in agony. The howl turns into a riotous laugh. And so it is with this masterful movie. Jordan Peele (Get Out), who wrote, directed and produced, has managed to find a tone (which he has made distinctly his) that balances fear and horror with outrageous black comedy; all as an expression of a cleverly written examination of the US’ divided soul.

The story is that of a typical Black middle class family, the Wilsons (Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph and Evan Alex) on holiday in their well-appointed holiday home in Santa Cruz. It’s a place they’d not visited in years. Mom (Lupita) we know, had suffered a trauma in her childhood. She’d wandered off in a nearby fairground and, seeking shelter from the rain, found herself in a hall of mirrors; a place that promised to help you “find yourself”. What she found there scarred her for life.

This disturbing past would return with a vengeance on this first night of their holiday when a family, eerily like theirs, all dressed in (blood) red boiler suits and brandishing scissors show up outside their front door.

Here the terror begins. These people are of course the family’s darker – evil – selves. And they come not in peace. Director Peele throws all the tropes of terror at us: the usual silly people tip-toeing into dark cellars while their shadowy selves wait to do them harm; bloodied, battered bodies that disappear only to reappear at very inconvenient moments; and large scissors that snip, snip, snip.

Somehow, it’s not nearly as terrifying as it sounds…partly because Peele has such a devilish sense of humor that he always finds a laugh-out-loud moment to lighten the tension. There’s a marvelous moment just as the doppelgängers storm the home of an embattled Kitty (Moss as a bored, entitled, alcoholic lady of leisure). She commands her voice activated Alexa to call the police, but Alexa misunderstands and out booms the NWA’s hip hop Fuck tha Police.

And these evil doppelgängers are everywhere. It’s as though the entire nation has been taken over by their darker selves. Walt Whitman’s famous summation of America: “I am large, I contain multitudes” has been perverted to “I am large, I contain evil”. As the director makes clear, this evil is “from sea to shining sea”

This is a vision of an America divided unto itself…a vision of a nation co-opted by the most dangerous side of its character; by a side long buried under layers of decency and ‘middle class values’, but which have now been unleashed. And once unleashed can never be bottled up again. Welcome to the post Trump, post Brexit, post Bolsonaro world.

It’s the new Us.

Lupita Nyong’o is tremendous; a force-field holding the movie together. She’s compellingly watchable as the image of a person torn between fear, incomprehension and the resolute determination to protect her family (I am reminded of Gabrielle Union in Breaking In). She’s the one you know you can depend on to protect you.

Or can you?

Peele textures his vision with a series of absurdist images and symbols (A room with an infinity of caged rabbits; a preacher offering a Biblical warning; the repetition of the numbers 11-11; a news report from 1986 about Hands Around America) and manages a last frame twist that M. Night Shyamalan would eat his hand off for.

All good fun; and though there certainly are a few heart stopping moments (ably abetted by Mike Abels’ tremendous sound track) this isn’t by any means a horror movie. Rather it’s a deadly serious comedy about where we now find ourselves.

Therein lies the horror.

US. Dir/Writer: Jordan Peele. With: Lupita Nyong’o, Winston Duke, Elisabeth Moss. Composer: Michael Abels (Get Out). Cinematography: Mike Gioulakis (Glass). Production Design: Ruth De Jong

#movies1 #us-movie

 

 

 

CAPTAIN MARVEL*** Marvel-lous


I HAVE TO take my hat off (were I wearing one) to Marvel Studios. In the last twelve months, they’ve broken through glass ceilings of race (with Black Panther) and now gender (with the once male, now rebooted as female, Captain Marvel). OK DC Comics pipped them on the latter with Wonder Woman. But who’s quibbling. The investment in what is already a hugely profitable Black and now female led superhero franchise is some achievement. Corporate America is recognizing Black people and women…in positions of authority…worth looking up to. What will they think of next?

The movie is absolute fun. And this in no small part due to the infectious charm of Brie Larson (heartily forgiven for Kong: Skull Island) as its eponymous hero (heroine?). She’s probably the first superhero who talks, laughs, drinks, and gets pissed off like a real person. Gal Gadot’s Wonder Woman was a magnetic presence…but always larger than life; always Amazonia. Not so Brie aka Captain Carol Danvers of Earth, aka Vers from the planet Hala, aka Captain Marvel. She’s the uber ideal of the girl next door (some neighborhood!), who looks like someone you’d like to chat up. But who just happens to be a goddess.

And that adjective is not applied lightly. Captain Marvel can not only shoot photons of energy from her fists, she can slice through most things with her laser beam eyes, fly at supersonic speeds and disable battalions of soldiers with a twirl of her arms. Eat your heart out Superman.

The story charts her rise from trainee soldier on her planet (under the tutelage of the dodgy Yon-Rogg, otherwise recognized as Jude Law) to goddess on ours via a series of vaguely understood flash-backs. Think of her journey as The Bourne Identity in Space. She crashes on earth in a Blockbuster store…in that time of very slow dial up, brick sized cell phones and a youthful Agent Fury (The, sadly, inescapable Samuel L Jackson). The earth, she is told, is being overrun by the Skrulls – a shape-shifting race (from whom she was escaping when she crashed here) who must be eradicated.

And here’s where co-writers/directors Anna Boden’s and Ryan Flack’s plot differs from the usual (militaristic, quasi fascist) super hero trope where some implacable existential evil has to be defeated at all cost. Danvers/Vers/Marvel finds herself called upon to champion the needs of an endangered group of refugees. They’re desperate people fleeing persecution at home and simply seeking a safe haven. Husbands are being separated from wives and children from parents. They’re beaten up, imprisoned, demonized as terrorists and shot.

Sound familiar?

Vers must figure out how to separate victim from perpetrator, friend from enemy. She must recognize that in a world of shape shifters and shiftier friends, looks can be deceiving.

Only then she can unleash all those photons, laser beam eyes, and energy blasts.

And she does it all with the help of Maria (English actress Lashana Lynch) her BFF, who sadly thought she’d been killed six years ago (And who is remarkedly unphased by her rebirth as a goddess). Said friend is an ace pilot, a single mother AND Black.

So imaginative, these Hollywood writers!

It’s a visually sumptuous movie as well. Production designer Andy Nicholson (Jurassic World: Fallen Kingdom) and costume designer Sanja Milkovic Hays (Star Trek Beyond) fill the screen with wonderfully imaginative space craft and sexy Wakanda-esque body suits.

Now let’s hope Brie Larson doesn’t succumb to the curse of the Marvel universe where once lauded acting talent (Scarlett Johansson, Chris Evans, Elisabeth Olsen, Robert Downey Jr. Jeremy Renner, Mark Ruffalo et al) strut and flex and pose and slowly die.

 

CAPTAIN MARVEL. Writer/Director: Anna Boden and Ryan Flack. Writers: Geneva Robertson-Dworet (Screenplay; Tomb Raider). With: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Annette Bening, Lashana Lynch, Gemma Chan, Djimon Hounsou. Cinematograher: Ben Davis (Three Billboards Outside Ebbing, Missouri). Production designer: Andy Nicholson (Gravity). Costume designer: Sanja Milkovic Hays (The Mummy: Tomb of the Dragon Emperor)