Deepwater Horizon

First Hit:  Although this could have been an interesting film, the disappointing and needless jerky camera work took away from actually seeing what was happening.

I found myself engaged in this film was when the ideological conflict arose between BP (British Petroleum) and Transocean, (owners of the drilling platform). However, I wasn’t engaged as much when the well blew up and everybody was running around trying to save themselves and others. What made these scenes worse was the shaky camera work and lousy editing. It simply was difficult to be engaged with anything when nothing gets into focus. The conflict between the Transocean and BP was, at times, riveting as each side wanted something. BP led by Vidrine (John Malkovich) wanted to hurry the project along because they were 43 days behind schedule. Transocean led by Mr. Jimmy (Kurt Russell) wanted to execute all the appropriate and timely tests to ensure that drilling hole was secure. The lead role in this film was the view from Mike Williams (Mark Wahlberg) who worked for Mr. Jimmy and was responsible for all the operating systems on Deepwater Horizon. However, as much as we wanted to care about Williams, his wife Felicia (Kate Hudson) and his daughter Sydney (Stella Allen), the real story in this film was about the differences of opinion between BP and Transocean.

Wahlberg was good in this role, however where he was supposed to shine was in the saving of crewmembers from the exploding rig. However, the lousy camera work and poor editing made his segments of the film far less interesting. My favorite part of his role is when he detailed a listing of issues that needed to be fixed on Deepwater Horizon while talking to Vidrine. Malkovich was OK in his role of pushing BP’s agenda. His accent was odd to me, however his intensity was excellent. Russell was wonderful as the know-it-all General Manager of Deepwater. I loved his tenacity and presence to stick to what was important. Hudson was good as Williams’ wife. Gina Rodriguez (as Andrea Fleytas) was engaging and I would have like more from her part. Matthew Michael Carnahan and Matthew Sand wrote a strong script. What failed this film was the direction by Peter Berg who focused on the blowing up of Deepwater Horizon and doing it in a way that didn’t allow the audience to see what was happening. Shame, this could have been good but this shows you how lousy direction and focusing on blowing up stuff doesn’t always make a good picture.

Overall:  Really disappointed how the director got swayed by the possibility of blowing up something and not focusing on the story and reason for the explosion.

Queen of Katwe

First Hit:  Although this is a wonderful story, the film's representation did not do it justice.

Confusion is what I felt through much of the early part of this film because we go through 8 years of time, as noted by the overlays on the screen announcing each new year, without any discernible physical changes in the characters. The subject, Phiona Mutesi (Madina Nawanga), is followed from before her teens to her mid-teens with virtually no change in her looks. We all know that these are years in which a person changes a lot physically, but here there is nothing and therefore confusion in each scene because we really don't know how old she is until context is given. The story is wonderful. It is about Phiona, who comes from the poorest of the poor in Uganda, where her mother is raising 4 children by herself, finds herself in Robert Katende’s (David Oyelowo) church where he’s teaching chess to young children. She sits down and becomes fascinated by the movement of the chess pieces and soon she is spellbound by the game. Quickly she learns that she naturally understands the complexities and challenges of the game, which also allows her to escape her limited and difficult life. From this point of view, the film and story was inspirational. I loved her first plane ride scene when the camera pans to her fingers moving and griping the seat's armrests. Her mother Nakku Harriet’s (Lupita Nyong’o) surprised happiness at seeing her new home for the first time, embraced the amazing joy residing in this film. Besides the lack of clear time references with the main character, the film was too long. There were three times, I came out of being engaged in the story to wondering why it was taking so long to tell the story. It needed to be more crisp.

Nawanga was wonderful as Phiona. Although I wish they would have used a second person for the younger years, Nawanga was perfect for the later character. Oyelowo was amazing as the patient minister and chess teacher. I loved the stories he told his kids to help them with the pressures of being in chess tournaments. Nyong’o was sublime as Phiona’s mother. Her strength and intelligence shined through as she fought to keep her children fed, with a roof over their heads and safe. William Wheeler wrote a script that tried to tell too much. It made the running time of 124 minutes laborious. Mira Nair did an OK job of directing the characters, however as previously noted, the film did a disservice by having Nawanga try to play through so much time, and to not cut aspects of the story to make the film crisper.

Overall:  This is a wonderful story, but the execution, by the director and screenwriter, didn’t live up to the power of the story.

Samsara

First Hit:  Powerful images, beautiful cinematography, and elegantly shot, if you want to see the circuitous cycle of life (Samsara) in musical rhythmic technicolor, watch this film.

How does a filmmaker create a film that encompasses “Samsara”, which can be interpreted as the cycle of life; the birth, dying and rebirth of all things?

Shot without descriptive words, and enhanced with elegantly selected music, Ron Fricke gives the audience a physical view of our world that most will never see. The images of life, death, rebirth and life unfolding in its own inimitable way tie this word together like no other film I've ever witnessed.

The ancient  art of dance is bookends this film with three very young Balinese dancers presenting religious and artistic expressions all with frozen facial gazes. The segment where prisoners dance on the exercise yard in the Philippines was oddly engaging. This is all balanced at the end by a Chinese troupe doing the 1,000 hands dance towards the end of the film. Their arm movement is ethereal.

We look at the food that sustains us and how it is processed in various parts of the world. Some of the scenes are very graphic, powerful, and, at times, difficult to watch. The slaughtering of animals and birds and how it is packaged for our consumption. This segues to observing an overweight American family eating processed fast food. This sequence ends with a very large obese man getting marked, with a felt pen, on his chest and stomach by a surgeon for weight loss surgery. It was a very graphic sequence.

The amazing memory I have of watching Tibetan Monks creating a large sand mandala in a monastery in Nepal  was re-engaged when the film presents the audience with a mandala being created. The added joy of seeing young monks, eagerly, carefully and intently, watching the older monks was emotionally stirring. The construction of a sand mandala is grain by grain over a number of days and is stunning to watch. The breathtaking colors of sand carefully laid on a predetermined pattern constructs a picture to represent life. This is followed by the monks destroying  the mandala thereby completing the mandala’s cycle: Birth, Death, and Re-birth exemplifying the meaning of "Samsara".

Part of how we humans view life is through our religions. To bring this to the audience the film shares amazing shots of religious buildings and areas across the globe. Mecca invites curiosity by seeing hundreds of thousands of people bowing and praying in unison while tens of thousands are circling the sacred Black Stone of the Kaaba. Buddhist temples of Bagan in Myanmar and Tibetan Buddhists in Ladakh India along with the amazing cathedrals of Notre Dame , Mont Saint Michel in France, the Basilica Di San Pietro in Italy, and the Church of the Redeemer in Jerusalem. Giving us a view of how humans have a particular reverence for our beliefs.

How do humans spend their time? Much of it at work and this film shares many segments of all types of people at work. The poorest of the poor in Sao Paulo Brazil scraping together a living, the suffering sulfur mine workers in Indonesia, a life size doll factory in Japan shares variety as does a coffin building shop in Ghana and then the sadness of people going through the trash dumps in Quezon City in the Philippines and Accra, Ghana.

Additionally, the physical beauty of the planet is one of the stars of this film including volcanoes, deep canyons, immense forests, and the ever-present water. The film shares the beauty of nature with the amazing creations of man like the Pyramids, man-made islands in the mid-east, shopping centers, and other amazing constructions of grandeur.

To exemplify death and the way humans try to control "Samsara" were the segments on the creation of guns. It was one of the most powerful and sad segments of this film. We witness gun manufacturing along with owners, proud owners, of their weapons that kill. They share this with pride. One warrior in Omo Valley in Ethiopia was especially arresting to see.

"Samsara":  The life, death and life again of everything. Truly a film of beauty creating thought provoking questions that each of us.

Ron Fricke is an amazing director. His vision is sublime. Like in his film Baraka, he selects stunning locations and gives us so much information about humanity that one will leaves the theater slightly stunned, intriguingly awake, and filled with thoughts about our place on this blue marble we call Earth.

Overall:  Amazing and overwhelmingly rich in beauty and thoughtful probes into our inner life.

Don't Breathe

First Hit:  A fairly good horror thriller that had me jumping in my seat a couple of times.

I’m not a big horror fan, but going to this film with my daughter, who loves horror films, was fun. My first jump in my seat happened when a dog jumped up to a window of a car, the second is when a man came through a door. There are a number of car and door type sequences, so I’m not giving anything away here.

The story is about three people; a young mother named Rocky (Jane Levy) who is living a repressed life with her mother and daughter, a nice thoughtful young man named Alex (Dylan Minnette) who cares about Rocky, and a sleazy boyfriend of Rocky’s named Money (Daniel Zovatto). Together they break into houses taking no cash, but gathering and taking as many valuables as they can to fence for cash. Tired of not making much from their efforts and Rocky promising her daughter they’ll move to California; they decide to rob a blind man (Steven Lang) who won a large financial judgement when his daughter was killed by another motorist.

Because he lives in an deserted neighborhood, they believe that robbing blind man will be easy pickings. However, they discover differently. Much of the film is shot in darkened rooms, but there’s enough light to ensure the audience sees all they need to see. The blind man is very adept at creating fear and seems to have multiple lives because just when you think he's out of the picture, he shows up again. The script is clean, simple and not overly complicated. The director got everyone to buy into the script and each played their part well. It had suspense and moments of tension which was the purpose of this story.

Levy was strong as the woman who had lived a hard life and wanted something better for her daughter. She expressed the right amount of fear and courage. Minnette was sufficiently kind and driven to participate in robberies to be close to and help Rocky. Zovatto was OK as an uneducated thief who was brutish towards Rocky and domineering towards Alex. Lang was very good as the blind old man. His unshaven face and blind eyes were intimidating. Fede Alvarez and Rodo Sayagues wrote a strong script which director Alvarez did a great job of getting tense suspense from the actors and scenes.

Overall:  This was one of the better horror films made in the last few years.

The Magnificent Seven

First Hit:  The original 1960’s film had heart, this one doesn’t.

As much as I like Denzel Washington (playing Chisolm) and Chris Pratt (playing Josh Faraday) in films, this one felt dead. No character was really given a story to care about until the end when Chisolm shares why he really took the job to kill and defeat Bartholomew Bogue’s (Peter Sarsgaard) group of men who controlled the small western town. But until this moment, there was only some “telling” as to why this small band of men decided to protect this small town versus engaging the audience in a story having heart.

It is a shame, because there's a slew of wonderful actors in this film but they cannot make up for a mediocre script by Richard Wenk and Nic Pizzolatto and direction without vision. Yes, director Antoine Fuqua got the action of movement and shooting to kill reasonably well. He even got the small western town set well, but the heart of the film, the townsfolk’s fear as shared by Emma Cullen (Haley Bennett), lacked depth as did most of the Seven hired men.

The strong points of the film were initial discovery of each of the characters. But after this, it fell flat. Besides Chisolm, the main characters were:  Faraday as a self-professed great lover and fast drawing gunslinger. Goodnight Robicheaux (Ethan Hawke) and Billy Rocks (Byung-hun Lee) as a team of two who bet on their skills of speed to take people's money. Goodnight, who was formerly a confederate sniper with legendary rifle abilities haunted him. The overall story about his connection with Chisolm is that Chisolm saved Goodnight from self-destruction.

As in kind, Rocks, a foreigner, was being help to interpret the West by Goodnight. Vasquez (Manuel Garcia-Rulfo) was the least defined character. Still not sure how or why he joined the group. Red Harvest (Martin Sensmier) was a Comanche Indian that was ousted from his tribe and seemed like he needed something to do.

The most amusing and fun character was Jack Horne (Vincent D’Onofrio) who was a bear mountain man sort of a guy. He was fond of pontificating religious beliefs and sayings all the while being part of the team of seven. The basic story is that these seven men help a small town from a siege by Bogue and his army of killers that have taken over their gold mines.

Washington did what he could do to make this film work, but the lack of a good screenplay and an action only focused director, let him down. Pratt made the most of his character and, although he didn’t seem to care about the lack of story, he made it fun for himself and the audience. Sarsgaard’s role didn’t work for me. He didn’t seem to embody the role from the inside although his actions were rather ruthless. Bennett did what she could to create caring about the town and its hapless citizens. She was one of the stronger characters. Lee was OK and seemed to relish his role as fast with a knife. Garcia-Rulfo did what he could but I didn’t get his particular “role”. Hawke was OK but his fear of killing more people wasn’t developed very well. Sensmier had a strange role in that I never got why he would bother helping this band of white men in their quest. I did like his handling of the Indian character on Bogue’s team as it was inevitable that these two would tangle. D’Onofrio was very engaged in his role. He embraced the nuttiness of this man bear. Richard Wenk and Nic Pizzolatto’s screen play from the famous Akira Kurosawa Seven Samurai screenplay was poorly conceived. It lacked heart and a way for the audience to care. Antoine Fuqua did the action part OK, but everything else was empty – no soul.

Overall:  Don’t bother seeing this version go back to the 1960 version – much better.