Sunday, November 27, 2016
The beginning of “Swear” echoes the ending of “Go Getters,” in which Jesus and Carl exchanged a long look in the back of the Savior truck they'd separately boarded, in a faceoff between the old and new world order. This time, Cyndie (Sydney Park) is the pragmatic but pacifist adult trying to play by the old rules, while Rachel (Mimi Kirkland) is the child young enough to have adapted without question to brutal post-apocalyptic survivalism. As in the last episode, the child's point of view seems to be in the ascendancy. Cyndie's status as an adult and the granddaughter of one of her group's leaders would have made her an undisputed authority figure in the pre-walker world, but when Cyndie and Rachel find Tara (Alanna Masterson) on the beach, Cyndie's humane impulse to spare Tara's life just barely prevails over Rachel's grim insistence on shooting the stranger on sight, as instructed.
Sunday, November 20, 2016
One of the things that has kept me loyal to The Walking Dead over the years is its matter-of-fact feminism. Some of the best fighters and most strategic thinkers in Rick's (Andrew Lincoln) gender-neutral meritocracy have always been women, and they were usually toughened up by the kinds of trials that all too often turn women into skilled survivors, like the spousal abuse Carol endured or the loss of an adored child that galvanized Michonne (Danai Gurira), a somewhat passive and subordinate housewife, into becoming a latter-day ninja. Even Paula, the Savior who captured and nearly killed Maggie (Lauren Cohan) and Carol in season six, gained our respect—and a soul-sister acknowledgement from Carol—for her focused ferocity after we learned that she had been a mousy, abused secretary in the pre-walker world who seized on the apocalypse as her chance to stop eating so much as one more morsel of paternalistic shit, even from her own men.
Wednesday, November 16, 2016
Like Jonathan Demme's Melvin and Howard, Warren Beatty's Rules Don't Apply pairs an elderly, reclusive Howard Hughes with a much younger person who's far from wealthy. But while Melvin and Howard's umami mix of poignant sweetness and pungent unpredictability accentuate both the complicated, often comic humanity of its main characters and the increasingly desperate unreality of the post-post-war American dream, Rules Don't Apply turns nearly every one of its characters and situations into tropes. Perhaps because Beatty grew up in the mid-century Hollywood the film is set in, his portrayal of Hughes has the overly polished feel of an anecdote that's been told too often.
Tuesday, November 15, 2016
Asperger’s, the MTA, and the Criminal Justice System: Interview with Off The Rails director Adam Irving
Off the Rails, which opens November 18 at the Metrograph, is the story of Darius McCollum, a winningly friendly New Yorker with Asperger’s syndrome. McCollum’s obsessive love of the the subway led him to learn all about how its trains and buses operate. At times, he even managed to get behind the controls of one, happily and conscientiously guiding it through its route until he was caught and arrested for impersonating an MTA employee. At first the documentary appears to be a quirky imposter story, but it turns out to be a bit of an imposter itself. You might think of it as a case study, illuminating our educational and criminal justice systems’ tragic inability to provide properly for people with special needs by tracing one of the lives that has been permanently derailed by their hamfisted mismanagement.
I caught up by phone last month with director Adam Irving, an LA-based filmmaker with a master’s in cinema studies from NYU. Irving talked about what makes New York City a worse place than most to get arrested, why he and his editor decided not to include any discussion of the role Darius’ race likely played in the criminalization of his neurological condition, and the gratifying reaction to his first feature.
Sunday, November 13, 2016
“Service” approaches war and other forms of carnage, which appear more and more to be the true subject of The Walking Dead, from a new direction, focusing on the stockpiling of weapons. Its two parallel themes, exploring who controls those weapons and the shifting allegiances within Alexandria, may explain the extra length of this episode, which actually felt less repetitive than many hour-long episodes from the show's past seasons that have pounded home the same point one or two times too many.
Negan (Jeffrey Dean Morgan) saunters through the gates a graceless winner, still marinating in douchebag brio, bullying and terrorizing his opponents, in part by issuing constant threats of violence—though thankfully his only victim this time around is a walker. Ever the sexual predator, he slavers after Maggie, and he spews casually entitled hate speech like his homophobic aside to Rick: “In case you haven't caught on, I just slipped my dick down your throat and you thanked me for it.” All the more reason to root for Rick's diverse group to win their inevitable war with The Saviors—especially if they have the sense to entrust that inclusive, humanist, and surprisingly chill black guy (I mean Ezekiel, of course) with the day-to-day governing.
Sunday, November 6, 2016
Isabelle Huppert was hours into a series of back-to-back interviews when we met in New York’s Regency Hotel earlier this month, yet there was no hint of exhaustion in her intelligent, lively gaze, or the precise, often detailed answers she offered up between sips of coffee and bites of food. Like most of the characters she plays, she was magnetic in part because she appeared to be so self-possessed, forming opinions about other people without much caring what they may think of her. At the same time, she was kinder and warmer than her characters usually are, and her sly sense of humor hinted at an ironic perspective that may keep her from taking anything—including the hype that’s been heaped on her over the years—all that seriously.
The hype has been piled high for good reason. One of her generation’s greatest female actors, Huppert is also one of the most awarded in her native France, where she has been nominated more than any other for the César, the country’s national film award. In a career that spans well over 100 films, she’s played a wide range of characters, but nearly all share the quiet, near-feral intensity and steely resolve that have led many of the best directors of her time to cast her in their films—and often, as she pointed out on the day we met, to make her character the center around which the entire plot turns.
The latest colony explored on The Walking Dead is Negan's dispiriting dictatorship, a world of gunmetal grays and muted greens and blues whose residents exude an air of beaten-dog obedience. Angela Kang's screenplay efficiently establishes both the riches that are available to the Santuary's elite and the price paid by one and all for their relative safety and comfort.
The stage setting starts with the opening scene, in which Dwight (Austin Amelio) moves through the compound to build a sandwich, taking bread from a group of chefs in a big kitchen, adding mustard so unnaturally yellow it can't be homemade, and passing by a bunch of chickens to get tomatoes and lettuce from a garden. The room where Negan (Jeffrey Dean Morgan) receives people is a time capsule from the pre-walker world, with its comfy armchair, bookshelf, and matching kitchen cabinets. Luxuries like booze and cigarettes appear to be plentiful, at least for Negan and his inner circle.