Tag: Satire

EDDINGTON (2025)

~ jbg ~ Leave a comment

 

Written & Directed By: Ari Aster

Cinematography: Darius Khondji

Editor: Lucian Johnston 

Cast: Joaquin Phoenix, Emma Stone, Austin Butler, Pedro Pascal, Deidre O’Connell, Michael Ward, Cameron Mann, Clifton Collins Jr., Luke Grimes, William Belleau, Amelie Hoeferle 

In May of 2020, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbor is pitted against neighbor in Eddington, New Mexico.

————————————————————————

This film Is A Modern Western Fever Dream America Desperately Needs to Talk About

Eddington is one of those films that walks into the cultural conversation like it owns the place. It’s loud, strange, earnest, paranoid, poetic—and you immediately know you’ll be arguing about it for months. It’s a genuine conversation starter, which is why I will gently advise: go in knowing as little as possible.

That said… one has have to talk about it, and talking about it requires spoilers. So consider this your warning, your permission slip, and your parachute.

This is a film that is hard to describe or even evaluate on one review. There are so Many things going o. Where even the littlest action, decision or even detail means more by the ends 

This is a movie that is, by design, divisive. A cinematic Rorschach test. Some viewers will love it. Some will hate it. Some will think they “get” it. Some will swear others don’t “get” it. And others still will simply sit there wondering why the film dared to poke at politics, identity, and American mythmaking with a stick this sharp and this reckless.

But that’s also the point: Eddington isn’t here to soothe you. As it’s a midwest tapestry stitched with paranoia.

Set in a small Midwestern town, the film plays like a modern western that swaps out the black-hatted outlaw for pandemic panic, online conspiracy, fractured identity politics, and the creeping realization that the “outside world” has already invaded long before anyone notices.

The first half feels deceptively simple. small tensions, personal feuds, social anxietie, but those threads keep tightening, knotting, and snapping until the town erupts, not because of a single villain, but because absolutely everyone is too wrapped up in their own drama to actually talk to each other.

It’s a portrait of America where communication has been replaced with suspicion. Where rivalries escalate past all reason. Where every person is starring in their own private conspiracy thriller. Even as the real threats crawl right through the cracks.

By the end, the film begins to resemble a Donald-Trump-era conspiracy fantasy… but with absolutely none of the idol worship or flattery. It’s the nightmare version: the idea that paranoia itself becomes prophecy. That fear becomes religion. That enemies, real or imagined materialize because characters are too busy reenacting their own ideological theater to notice the world burning around them.

The satire bites hard, aiming squarely at both political sides. The left -idealistic, moralizing, eager to be on “the right side of history” treats the town’s homeless man like an inconvenience. The right – fearful, defensive, easily provoked, treats him like a problem to eliminate. And everyone, absolutely everyone, is a hypocrite.

Young “progressive” locals demand justice yet lecture the Black deputy on what he should feel, while he’s simply trying to do his job and survive in a town that barely allows upward mobility. Romantic tensions reveal that personal motives are often far murkier than the ideologies people hide behind. Friendships fracture. Morals bend depending on who’s watching. It makes you wonder if the characters truly feel this or if it’s just performative social justice because that is the trend and what’s popular. Also giving them a sense of rebellion that youth seems to always desire against the aged or old ways. 

By the end the deputy has his own scars and learns the lessons his ancestors had to deal with and learn. Yet still go on day to day in pain. Never being able to forget the injustices. 

The virus infiltrates. Fear infiltrates. Antifa is said to infiltrate. But really, it’s paranoia doing all the infiltrating.

Yes, this is very much an Ari Aster film, though it’s looser, less mannered, and more sprawling than Midsommar or Beau Is Afraid. It’s a messy beauty, intentionally so. The visuals are gorgeous but less overtly stylized; the tone more erratic, more chaotic, more human. It’s a modern western of moral collapse 

If Beau Is Afraid punished its lead for everything, Eddington punishes its lead for exactly one thing: believing revenge is righteousness.

And his downward spiral, though tragic, is compelling in a mythic, moral-fable way.

The third act is where Aster lights the fuse and lets the whole film detonate.

Chaos reigns. Consequences catch up. Characters pay the ultimate price. not for their politics, but for their blindness.

Eddington refuses to pick a side because it’s too busy examining how people weaponize sides in the first place. It understands that humans are more complicated than the slogans they carry or the propaganda they share. Ideology becomes performance. Performance becomes identity. Identity becomes a trap.

And through all this, the film insists that sometimes the greatest horror story is simply a group of people refusing to truly see one another.

So that the film is about flawed people, not slogans 

Is the film perfect? No. Is it Ari Aster’s best? No 

But Is it vital? Absolutely. It’s ambitious, jagged, clunky in spots, occasionally too big for its own frame, but it’s also alive—full of ideas, full of danger, full of that rare cinematic bravery that demands viewers think rather than simply consume.

The major supporting actors. Some of the film’s biggest names. Emma Stone, Austin Butler, Pedro Pascal all appear briefly but meaningfully, flashing like caution signs in the town’s slow-motion meltdown. Their presence reinforces how everyone is part of the problem, part of the confusion, part of the noise.

Joaquin Phoenix’s acting here is more internal than external and it’s his show the ringleader to reign in. Even if by the end he is one of the acts rather then being in control. Especially the way he wants or hopes he is. 

I could try to link the various theories and interpretations that this film presents but that is for the viewer to discover for themselves and read into,  no I’m not writing that to say that I don’t

Have any or see any. I think half the interest and entertainment isn’t Always what is happening on the screen but how you or an audience reacts to it. 

I can see why some might dislike the film

Though most admit they don’t like the film but It’s 

Not a bad film as it does make you think. As it tries to be a satire that is less comedic and more political exposing the chaos of the pandemic playing out all the theories, fears and politics in a small town and making it come across as a modern western due to it’s Location and strange mix of morals and anti-hero To show that we are all flawed in some way

As when the lead does what he thinks is right out of revenge but leads to his own and others downfall that ends up with him being heroic and paying the ultimate price 

The films shows flaws I. Both sides as it is more interested in showing characters and how they can be lead astray but also victims of circumstance and survival at times 

Who are we to hate because things don’t

go the way they are supposed to or are expected to. People are people not slogans and propaganda that they might brandish or share and at the heart of all these movements the leaders are open to oversight and more interested in the message and less the followers or even supposed victims 

This is not a pass/fail film. It’s a what did this make you feel? film. A what did you see that I missed?film.

The entertainment isn’t just the plot. it’s the audience reaction, the interpretations, the debates in the parking lot afterward.

Eddington is a human horror story disguised as a political satire disguised as a western disguised as a pandemic drama.

It’s a film about how easily we fracture under pressure, how quickly we fall into narrative traps, and how dangerous it is when no one is listening.

Not my favorite Aster film… but maybe the one most urgently worth discussing.

Grade: B+

AMERICAN FICTION (2023)

~ jbg ~ Leave a comment

Written & Directed By: Cord Jefferson 

Based on The Novel “ERASURE” By: Percival Everett

Cinematography: Cristina Dunlap

Editor: Hilda Rasula

Cast: Jeffrey Wright, Sterling K. Brown, Tracee Ellis-Ross, Issa Rae, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Miriam Shor, Myra Lucretia Taylor, Michael Cyril Creighton, Patrick Fischler

A novelist who’s fed up with the establishment profiting from “Black” entertainment uses a pen name to write a book that propels him to the heart of hypocrisy and the madness he claims to disdain.

The cast is excellent and the screenplay is excellent Unfortunately the film has what feels like flat direction that sinks the material a bit. as it feels like the film is constantly searching for the right way to present itself, and how to live in the material 

As the writer of the film or Screenwriter of the film is also the Director, though, based on a novel by Everett McGill, entitled Erasure

The film is a satirical comedy as is the book which has some comedic elements and tone, but is definitely much darker than what we see on the screen. The film improves on certain aspects or gives the historian characters more hope, but could have had some of the stronger ones. The changes might be minor, but they are meaningful such as the way his sister passes away and the role of the maid of his mother. That would allow the film to be more acceptable than the book, taking away some of the sharper edges, but replacing those edges with some stronger commentary and dramatic issues

This is what makes the film so strong in dealing with prevalent social issues, especially for African-American artists, art, and a sense of self

Film keeps its world smaller, but makes it more personal, and still stays in vent allowing for the supporting characters to have stronger roles and much more range

The film also offers a bred, Jeffrey Wright, and a rare leading role. With Sterling K Brown as his coming-out-of-the-closet brother, Sterling Brown can never do wrong, even bad films. He is still sometimes one of the more interesting performances so he makes his screen time lively, and memorable. Never feeling out of place

Also, it’s nice to see Erika Alexander on the big screen again in an important role.

Something can be said when movies like this come out in theaters they mostly have a crossover audience as the intended audience rarely seems to go see it, and more discover it at home on streaming or from word of mouth. Which eventually helps its legacy, but does not help its box office at the time when it is needed.

It’s also nice to see the character have an inner life and family problems. This is what sets the plot forward and one of the reasons for the continuance of his situation that only grows the longer the facade goes on. 

The irony here is that what is playing on screen might be satirizing it but it feels like it’s the same situation that is happening when it comes to this film in the marketplace. 

It seems at times we will support others yet, not our own community. Even when it is telling stories meant for us, we will accept others telling us about ourselves rather than someone from our own culture at times. Which is disheartening, but still thankful that these movies, subjects, and material are out there for those who identify with it

GRADE: B

SICK OF MYSELF (2023)

~ jbg ~ Leave a comment

Written, Directed & Edited By Kristoffer Borgli
Cinematography: Benjamin Loeb 

Cast: Kristine Kujath Thorp, Elrik Sabther, Fanny Vaager, Sarah Francesca Braenne, Fredrik Sternberg Ditlev-Simonsen, Andrea Braein Hovig, Steinar Klouman Hallert, Ingrid Vollan 

Increasingly overshadowed by her boyfriend’s recent rise to fame as a contemporary artist creating sculptures from stolen furniture, Signe hatches a vicious plan to reclaim her rightfully deserved attention within the milieu of Oslo’s cultural elite.

This seems to be a film that was built more to disrupt shock and be a bit bad taste. And achieve its goal somewhat, but not as strongly, as it seems to aim. As it feels like at the last minute, he decided to smooth some of those sharp edges.

I’ll be honest, I expected more from this film. More of a satire, or just in general more of having something to say.

Now it works and shocks the audience and stays in a black comedy. By presenting us with characters who are thoroughly unlikable. Exposing their constant need for attention, where it almost becomes an addiction, even if it’s just sympathetic. 

Some of the story elements still feel just a bit hard to believe, especially the fact that her boyfriend, who rarely seems to care, would have stuck with her throughout her supposed ordeal. As even if he was just staying with her to see her face, the filmmakers should have illustrated that a little more strongly.

The film doesn’t feel so far-fetched, especially in today’s social media-obsessed climate. Even surprisingly, the main character seems to keep their celebrity or popularity, more local and amongst physical friends no dreams of bigger prospects in aspects, even though there is no clear plan, necessarily as to where this is going to go, or when it will end.

This film had a chance to either be a character study while exploring a kind of sickness that is happening in some people currently or it could have just done the latter, and this is just one case of that addiction. 

Instead, it spreads itself thin and tries to do both, but it’s on the way failing both ends of the story or only skimming the surface. As it ends up, not being as deep or probing, has one might help.

It’s not even bother some that the lead characters are unlikable, but throughout most of the characters in the film are unlikable, even the ones who are supposedly of a good character or a moral center. Most others just appear throughout. 

The film tries to build scenes into either shock or like it’s building to this great punchline that never quite happens. 

The best moments actually are the fantasy scenes that she has where she more or less reveals herself and her thoughts than anything we have seen or even heard about her. One also wishes there were more body horror scenes as the film can be gross, but not as much as some might think.

It’s definitely a found film checkout as there can be some discussions afterward, but it’s not as strong as you believe it will be.

Grade: C+

I CARE A LOT (2020)

~ jbg ~ Leave a comment

Written & Directed By: J. Blakeson 
Cinematography: Doug Emmett 
Editor: Mark Eckersley 

Cast: Rosamund Pike, Peter Dinklage, Eiza Gonzalez, Dianne Wiest, Alicia Witt, Chris Messina, Isiah Whitlock Jr., Macon Blair, Damian Young, Nicholas Logan 

A crooked legal guardian who drains the savings of her elderly wards meets her match when a woman she tries to swindle turns out to be more than she first appears.

This can easily be a polarizing film. On the one hand you have a savvy businesswoman who makes her career conning people out of their livelihood. So no one was ever going to find her likable or an adequate anti-hero.

Though we have seen films before where we have male protagonists who do the same thing and are more remembered and celebrated by audiences. Even if they are more disposable and waste the money on frivolous luxuries and vices.

What is more upsetting for an audience here is that not only is the protagonist doing this female. Where usually films treat female characters like her as damaged or coming around at the last minute or femme Fatales who get a comeuppance. More or less she keeps striving no matter the challenge or difficulty and ultimately what she traps comes back to her in worse ways. The same is never made of the antiheroes who are male in other films; they get a snack down but never so severe.

Though truth be told those movies are usually more based on specific people and cases. Here this is a made-up story of a very real cool. Games that are happening more and more. Only for intents and purposes here do we get a face with this type of crime. As well as more of a story.

What also might be upsetting is that in real-life cases there are faces and representatives of the victims. Usually late in the films when they are winding down. For us to realize the destruction and evils of the character even if not planned what the end results of their con games are for some. Here they are picking on the already defenseless the elderly. Which is the equivalent of kicking or torturing an animal on screen these days. Instantly turning the audience against your protagonist. Especially if they were being attacked by them.

So this film already gives you an unlikeable protagonist but also the film is filled with unlikeable characters. Even when you might start to feel for some of them. They show their true colors and you go right back to hating them.

I applaud throwing the audience off but when there is no one to root for. As the characters seem to compete for who is the worst and trying to make excuses for their behavior. It’s not really enjoyable even for a dark comedy.

The film is trying to tackle a subject and knows the best way to inform the audience is from an insider. As the film might be cynical but doesn’t offer false notes. As everyone is flawed and there is no heart of gold that comes through. This film presents a more scrubbed clean dog eat dog world. That is all about survival above all else.

It’s not necessarily an enjoyable film but like the characters it tries to make you as comfortable as you can be while watching these events unfold and tries to add some humor to the proceedings 

Rosamund Pike is excellent in the starring role. Even though it seems every few years she plays this type of role. A character who at first seems like a pushover but then reveals herself to be a shark. So it’s refreshing to see her play such strong female characters every so often. Making you wonder why she isn’t offered more roles. It might be as in these roles she comes off as threatening usually to male protagonists. Some might feel uncomfortable casting her in easier or less challenging roles?

Though at least the film is thought-provoking and wouldn’t expect anything else from writer Director J. Blakeson, Especially after his film THE DISAPPEARANCE OF ALICE CREED 

The film is upsetting for anyone looking for good to conquer evil. It is a dark and cynical comedy with heavy overtones. Though it isn’t bad or disappointing, just unlikeable.

Grade: B-

THE COLUMNIST (2019)

~ jbg ~ Leave a comment

Directed By: Ivo Van Aart 
Written By: Daan Windhorst
Cinematography: Martijn Cousijn 
Editor: Irme Reutelingsperger & Yamal Stitiou 

Cast: Katja Herbers, Achraf Koutet, Genio De Groot, Rein Hoffman, Claire Porro, Bram Van Der Kelen, Medina Schuurman, Harry Van Ritjthourn 

A columnist must continuously deal with threats and negative comments on her social media pages. One day, she has had enough and decides to hunt down her trolls.

The film wastes no time in getting right to the point and its actions. The film ends up going down like candy-sweet and quickly with very few complaints. 

The film comes off very dry and seems to have no real sensations at all throughout the film. Especially when it comes to presentation.

Feels very lightweight for such a dark comedy. Almost like a TV movie level. Only with plenty of language and violence.

It might have been stronger if at any point she really has faced a true challenge or more of one in her killings or the immediate aftermath. 

The only other being she seems to face is the older gentleman who at first seems like he could be the easiest.

As she became too common too fast and with very little investigation into these Crimes. So there feels like an absence of any real depth. Especially when the film offers opportunities for it to be more interesting. Like having the daughter act impulsively when thinking her mother’s boyfriend is the killer or having her kill him when believing him to be the killer. Then found out she was wrong when the kills keep happening and then finding out it was her mother or ending the film with the daughter’s Mistake.

In the middle of the movie is the only town where the police really have any questions and she gives them motive and a bit of evidence to build a case if they bothered to really investigate her. 

The killings soon become an obsession. So much so that it takes over her regular responsibilities. Truly shows her character’s transformation. The more she kills the more it relieves her mind as it clears her head and gets more writing done. In essence, becoming more successful.

As it seems she is all for freedom of speech until it is used against her then she becomes the ultimate censor. At first, she is bullied into being a killer. 

Though without controversy there is less of an audience. The end is a little outlandish as it seems meant to be a message. As the film does have one in a worst-case scenario version. That could be reworked but makes itself loud and clear. 

At first, it seems Like it will be open-ended but proceeds especially as there are plenty of witnesses though goes for shock and sensationalism with a warning. 

Her speech might help her and the film to realize what she says about herself goes to the victims also. 

Just her boyfriend who dresses freaky to get attention as fashion is the more normal put-together individual. Whereas she comes off as the more so-called normal one is the crazed killer.

In the end, the film feels disposable and hassle-free.

Grade: C+

TERRORVISION (1986)

~ jbg ~ Leave a comment

terrorv2

Written & Directed By: Ted Nicolau
Cinematography: Romano Albani
Editor: Thomas Meshelski
Production Design & Art Direction By: Giovanni Natalucci 

Cast: Chad Allen, Diane Franklin, Mary Woronov, Gerrit Graham, Jon Gries, Bert Remsen, Alejandro Rey, Randi Brooks, Jennifer Richards 


Stan installs satellite TV for his family, but, soon, he picks up a signal from another planet and his television system becomes the gateway between the 2. A creature comes to his apartment and only their son Sherman sees it, but his parents don’t believe the boy.

Continue reading “TERRORVISION (1986)” →

VELVET BUZZSAW (2019)

~ jbg ~ Leave a comment

velvetbuzz

Written & Directed By: Dan Gilroy
Cinematography: Robert Elswit
Editor: John Gilroy 

Cast: Jake Gyllenhaal, Zawe Ashton, Rene Russo, John Malkovich, Tom Sturridge, Toni Colette, Natalia Dyer, Daveed Digs, Billy Magnussen 

A satire set in the contemporary art world scene of Los Angeles, where big money artists and mega-collectors pay a high price when art collides with commerce.

Continue reading “VELVET BUZZSAW (2019)” →

CHI-RAQ (2015)

~ jbg ~ Leave a comment

chiraq

Directed By: Spike Lee
Written By: Spike Lee & Kevin Wilmott
Based On The Play “Lysistrata” by Aristophanes
Cinematography By: Matthew Libatique
Editor: Ryan Denmark & Hye Mee Na
Musical Score: Terence Blanchard 


Cast: Teyonah Parris, Samuel L. Jackson, Wesley Snipes, Nick Cannon, Angela Bassett, John Cusack, D.B. Sweeney, Jennifer Hudson, Harry Lennix, Steve Harris, Anthony Chisolm, Irma P. Hall, Lala Anthony, Felicia Pearson, Isiah Witlock Jr., Dave Chappelle, Roger Guenveur Smith, David Patrick Kelly , Anya Engel-Adams

After the murder of a child by a stray bullet, a group of women led by Lysistrata organize against the on-going violence in Chicago’s Southside creating a movement that challenges the nature of race, sex and violence in America and around the world. This is the first original film is released by Amazon Studios.

Continue reading “CHI-RAQ (2015)” →