23 November 2015

Fruitvale Station: The Should, the Could and the Empty


I haven't written a movie review in a few months, but sometimes, a film comes along that knocks you over and wakes you up. And without a doubt, Ryan Coogler's masterpiece Fruitvale Station is one of those films.





Let me preface this realization:





I'm looking forward to the upcoming Rocky sequel, which instead casts Sylvester Stallone in a supporting role for the main protagonist, Adonis Creed, who is Apollo Creed's son and is played by Michael B. Jordan. I've never seen anything with the young actor (having avoided Fant4stic this year), so I looked up his filmography and found a highly rated film from 2013 called, of course, Fruitvale Station. I like to see who is involved with the creation of a film, primarily the actors, directors, and screenwriters. Jordan was the lead actor for Fruitvale Station, like he is for Creed, and I noticed that the writer and director of Fruitvale Station, Ryan Coogler, was also the writer/director for Creed. Whenever you see directors and actors pair up constantly, that typically means that they bring out the best in each other (see Robert DeNiro/Leonardo DiCaprio with Martin Scorsese, or Michael Fassbender with Steve McQueen). A quick search showed me that the movie was (and still is) available to view on Netflix, which I happen to have, and so I added it to my list and forgot about it until recently.

That was my first mistake.

My second mistake was to go into this film expecting more anti-police / heavily-slanted racism messages, akin to what we've been bombarded with from the media regarding Michael Brown, Trayvon Martin, and of course, Oscar Grant (whom this film is about). Instead, I watched a film that focuses on who Grant was as a person. We see his days in prison, his struggle to stop dealing dope and maintain legal income, what his persona and speech was like, and most importantly, his relationships with his long-time girlfriend Sophina Mesa (portrayed well by Melonie Diaz), their daughter Tatiana, his mother Wanda Johnson, and the many people (family, friends, and even strangers) that he interacted with in his life. Coogler chose to use the film as a quasi-documentary, which creates an hyperrealistic tone that will either enthrall you or bore you, in a similar way to Boyhood. Unlike that 3-hour film, however, this one is 97 minutes long and spends only an hour of it to show Grant's life before progressing into the inevitable final act, which is both tense and emotional. While I understand that Coogler took some creative liberties with his film (adding and omitting to the overall story), I feel that he did it so as to make the story flow a bit better while also helping us to get to know this short-lived young man.

Jordan has mesmerizing hold of the camera without ever overacting or overselling his character. He simply portrays the young ex-con like a young ex-con, and has drawn many comparisons to Denzel Washington's strong-yet-silent persona. But it wasn't the stoic personality that made me look past the actor to see the man: it was Jordan's complete lack of self. He became Oscar Grant (or at least, Coogler's Oscar Grant) so that we could see that person and fully understand him. There are so very few films with this capability to engross you in the protagonist: I can think of two off the top of my head, which are The Godfather and 12 Years a Slave. That's very esteemed company indeed, and although I do not think that Fruitvale Station quite reaches their level, it doesn't miss the mark by much.

Coogler has constructed a film and semi-fictional environment that is brutal with its honesty, yet artfully recorded as if by a simple onlooker of Grant's life, which we become. The complete lack of bias immediately drew me into the story and its characters, since that is so rare to find nowadays. Almost all films now have some sort of message, whether it be simple (Captain America: The Winter Soldier with representation of NSA and surveillance) or much more powerful (12 Years a Slave with the cruelly accurate portrayal of slavery as it was). But Coogler follows in the footsteps of directors such as Kathryn Bigelow or David Fincher where they simply tell the story how it happened, more or less, and leave all judgment and subjectivity to the viewer. Obviously, being both the writer and director, Coogler can only be so objective while being human, and so he definitely portrays the events in such a way that we are sympathetic towards Grant, but I'd argue that simply happens when you get to be in a person's footsteps for an extended period of time, such as with Walter White in Breaking Bad, who you root for despite his monstrosities.

Oscar Grant was not a perfect person. Fruitvale Station is not a perfect film. But I'll be damned if it isn't one of the best I've seen in a long time, and fully capable of drawing emotions out of me that I have reached with a select few films, most recently being the aforementioned 12 Years a Slave.


So, it's really quite easy for me to say that you SHOULD see this film as soon as you can, which could even be tonight if you have a Netflix subscription. I can guarantee that you will enjoy it, and will introduce you to the combined power of Michael B. Jordan and writer/director Ryan Coogler.


P.S. - Now I want to try to find Rocky somewhere to fully prep me for Creed. Planning to see that on either Tuesday or Wednesday!

02 October 2015

A Cruel God

INTRODUCTION

Christianity nowadays hyperfocuses on the aspects of how to be a Christian. How to act, what to say, what to do, and what to believe, of course. More and more often, political and religious views are mixed together and the terms become interchangeable: liberal Democrats and conservative Republicans. The laws of the land become governed by personal convictions, and debates spiral downwards into calling each other idiots or immoral. Nobody wins and everyone feels like the other party gets too much. Middle ground is nonexistent.

Therefore, I have decided to preface this article by first stating that this is not an attack on Christianity. I grew up in a Christian home, and I have very few complaints about my upbringing. However, as Paul stated so eloquently (in 1 Corinthians 13:11):

“When I was a child, I spoke like a child, I thought like a child, and I reasoned like a child. But when I became a man, I set aside my childish ways.”

And so I have now found, after nearly five years removed from my own childhood, that I cannot blindly accept things that I had before. I have questions that want answering, or at least discussion. I have thoughts that haunt me and keep me awake, in the most real sense of that condition, as I have had bouts of both depression and insomnia for the last two years. The very real fact is that I do not think I am capable of accepting Christianity as it is anymore. Why? I want to explain that to you in as clear terms as I can without letting this deteriorate into another slugfest between atheism and Christianity, which helps no one and discourages any sort of productive discussion. This is by no means the final word on the subject of belief. Neither is it a declaration against belief. Rather, it is an observation of the foundations of Christianity which I have personally found wanting.

BUT

My entire presentation will take place within the context that EVERYTHING in the Bible is fact. Everything is true. Nothing is incorrect. I want this to be on a middle ground of sorts. I feel that most people who state nonpositive things about Christianity often begin by attacking its very existence and its veracity. I want to show what I think, while remaining on the foundation of Christianity so that no one can say that I misrepresented or demeaned its content. That being said, let me begin with a most basic question.




WHY DID GOD COMMAND DEATH?

A major argument against God has always begun in the Old Testament with the many cruel things that he commanded. For making fun of a bald man, children were killed by bears in 2 Kings 2:23-25 (for the sake of article length, I will leave the verses here but refrain from quoting so you can peruse your own favorite version for translation). He turned Lot’s wife into salt for looking back at a city’s destruction (Genesis 19:26, which also seems harsh that an entire city must be destroyed for some of their citizens’ sins), tested Abraham by commanding him to kill his own son (Genesis 22:1-12, which, regardless of God’s “psyche!” moment, was cruel), and tested Job by allowing his entire family to be slaughtered (Job, which was “made better” by giving him a new family, because our relatives are that easily replaceable). Not to mention, he ordered the complete genocide of the Amalekites and the Canaanites, including “every man, woman and child” (1 Samuel 15:2-3 and Deuteronomy 20:16-18), which I guess pales in comparison to when he did not like how the human race was going and wiped everyone out in the Flood (Genesis 6-9).

All of this begs the question: why did he do these horrible things? They are all recorded biblically, and all evidence of cruelty. I have seen two arguments regarding these actions, however, the first of which being that Moses would often speak or write claiming to be the voice of God but actually adding his own words. Since Moses wrote Genesis and Deuteronomy, that explains those books, but what of the two books of Kings? Are those falsely worded through their scribes as well? But then, the entire validation of the Bible as fact and being inherently God-breathed falls apart, as you are now allowing the existence of fallacies and lies within the writing of its text. How can we trust any of Moses’ writing if he lied about these parts? How can we accept the entirety of the Bible as truthful if some of its God-breathed contents are stained by human error or translation? And if you do not question Moses’ honesty, then you freely admit that these despicable actions are factual and real, and they are commands from God. That is a difficult pill to swallow.

The second argument I have seen against these actions is that the Old Testament is little more than history for the modern Christian, since our new covenant, established in the New Testament through Jesus Christ, changed everything. This is a valid argument, but opens a whole new can of worms.




DOES GOD CHANGE?

If we accept that the new covenant has replaced the old one of the Old Testament, then that means that God completely changed his tactics. The Old Testament was all about works and rituals, doing your best to be good enough to be accepted into heaven. The New Testament shuns this and states that only through accepting Christ as your savior will you be able to enter heaven. So, what gives? Did God cry uncle? Why did he go from being a solemn, cruel god who demanded much of his people (while playing favorites) to becoming an open-armed god who accepted anyone as long as they accepted his son?

God has very obviously had a change of heart, resulting in a new religion that has now grown alongside the two older ones (being Judaism and Islam). But this now calls into question another fundamental aspect of Christianity: that God is omniscient, omnipresent, all-powerful, and never changing (Malachi 3:6 for OT, Hebrews 13:8 for NT). If he never changes, then why did he change? And if he did not change, but rather altered his tactics, why did he use the failing ones of the Old Testament in the first place? He is supposed to know everything that was, is or will be, so why would he use a method that he knew was doomed to fail? And in this paradox, we come to the most crucial point of this article.




GOD CANNOT CLAIM BOTH FREE WILL AND AN ULTIMATE PLAN

When God created human beings – or even angels, for that matter – he allowed them to have free will; that is, the option to either love and follow him, or go their own way and become selfish and evil. By allowing us free will, he gave the ultimate test of loyalty (which we promptly strayed from). But if we are allowed free will, then why does he have an ultimate plan (Jeremiah 29:11, Romans 8:28)? What is the point of free will if our ultimate destinations have already been established long ago? An equivalent would be scientists breeding (“creating” if you will) mice then placing them inside of a maze that they designed, and then allowing the mice to run around within the maze. Sure, there is the illusion of free choice since they must make decisions at each turn, but they are all ultimately going to exactly where the scientists want them to. That is not true free will; it is a lightly disguised puppet show.

If you are capable of explaining how we can have free will while God has a plan, then explain this conundrum to me: within both halves of the Bible, and within modern life as claimed by many, God performs miracles and interferes with our lives. HOW CAN THAT BE POSSIBLE? He created Lucifer, allowing him free will (and leading to his choice to become Satan) but then immediately punishing him, but only after Lucifer had tainted God’s newest creation. Why did he allow that to happen? When he created the angels, he knew immediately what they would do with their free will, but allowed it to happen then promptly punished them (Hebrews 12:22). When he created humans, he already knew exactly what was going to happen, all the way down to when Jesus would have to die on the cross for our sins. Since he had given us free will, we could choose what we wanted to do, and he would allow the consequences of our choices to hurt us (e.g. Adam and Eve eating the fruit). But why did he even go through all of the ineffective religion of the Old Testament before deciding to start the new covenant? Why did he CHOOSE to make the only way to righteousness incredibly difficult, and above all else, why did he decide that THE ONLY WAY for him to save us was to incarnate a part of himself as Jesus Christ, then sacrifice himself? Could he not have done it any other way? Did this all-knowing, all-powerful being have no control over the situation at all?

Once again, you can argue that he did it that way to encourage us, once again, to exercise our free choice in order to choose to accept him through Jesus Christ. But our free will means nothing when the hand of God can touch us at any time. He stopped the sun for Joshua (Joshua 10:13), he broke the chains of Paul and Silas in prison (Acts 16:16-40), and as I already stated, many claim that he performs miracles even nowadays. This means that, although he allows us to choose poorly and suffer the consequences of our actions, he will sometimes (or frequently, depending on your viewpoint) interfere with these natural consequences in order to favor someone.

WHY?!

If he can reach out and part the Red Sea for Moses and the Israelites, why could he not save them when Hitler had over five million of them murdered? If he can heal an 80-year old man of cancer one day, then allow a 4-year old girl to die of leukemia the next day, then what is he thinking? Oftentimes, Christians will state that, “it’s all a part of God’s plan,” or “we can’t understand the way God thinks,” or “the Lord works in mysterious ways.” So, somewhere, written down in heaven, or within the massive expanse of God’s brain, it says “Jenny will be allowed to die today because it will make Mike a better person.” Or perhaps, it said, “Over two thousand people will die on September 11 because it will unite the nation to attack the Middle East.” Seriously? Is that how God operates?

The most common argument I hear at this point is that God does not cause these things: the Devil does. Alright, but who created the Devil? Who allowed him to do these horrible things? We have proven that God is fully capable of preventing these events, and completely competent at rendering the Devil’s works useless. So why does he still allow it? The next reason given is because it is part of his allowing our free will, once again. We have now completed the circle. So does God have a dartboard, where he decides at random whether he will help us or not? Does he have an infinitely-sided dice with which to make his decisions regarding our well-being or mortality? Can our free will even exist within such a finite space in comparison to God’s enormity and all-knowing plans?




A CRUEL GOD

And here we are. Or perhaps, here is where I am. Limiting myself purposefully to arguing within the logic and confines of Christianity and its beliefs, I have come to the conclusion that if such a god exists as within these beliefs, I want no part of him. I still hold onto the belief that something did create us, but I have very little reason to believe that this god which has been presented to me is that being. This is a malicious and rabidly selfish being that literally created us so that we would choose to love him. That is the whole purpose of our being according to Christianity: to exist only to worship him. Think about that. If I stumbled upon the secret to artificial intelligence tomorrow, what would people think of me if I created a small race, capable of breeding, then told them to do as they wished, but if they did not choose to love me, I would destroy them. Only if they chose to love me, their creator, would I allow them to live.

I refuse that life. If such a god exists, then I want no part of him. He is Charles Foster Kane: a being incapable of feeling or giving love, only performing actions which he hopes will turn us towards him. He wants us to love him… or else. He created the entire universe and everything in it for the sole purpose of our existence, whose sole existence is to worship him?


That would be one of the emptiest lives I could ever live.

06 July 2015

Ginseng for the Soul #16






Actually, I Cannot Tell When It's Sarcasm or Ignorance

Some more British examination answers like last week....

Q: What does “varicose” mean?
A: Nearby.

Q: Give the meaning of the term “Caesarean Section.”
A: The caesarean section is a district in Rome.

Q: What is a coma?
A: A coma is a punctual mark a bit like a period or full stop.

Q: What is a seizure?
A: A Roman emperor.

Q: What is a terminal illness?
A: When you are sick at the airport.

Q: In a democratic society, how important are elections?
A: Very important. Sex can only happen when a male gets an election.

Q: What are steroids?
A: Things for keeping carpets still on the stairs.

Q: What should be done if someone has been bitten by a dog?
A: Put the dog away for several days. If he has not recovered, then kill it.

Q: What has to be established before giving a blood transfusion?
A: If the blood is affirmative or negative.

Q: What is an enema?
A: Someone who is not your friend.

Q: What is a morbid state?
A: A stage in a take-over, when a bigger offer is made.

Q: What can be coloured red, pink, orange or flamingo?
A: The rectum.

Q: Give an example of a fungus. What is a characteristic feature?
A: Mushrooms. They always grow in damp places and so they look like umbrellas.

Q: Describe how flowers are most commonly fertilised.
A: 1. The pistol of a flower is its only protection against insects.  2. Germination is the process of becoming a German.  3. Fertilisation is the fussing of the male with the female garments.

Q: What is a supersaturated solution?
A: A super-saturated solution is one that holds more than it can hold.

Q: What is momentum?
A: What you give a body when they are going away.

Q: What is a vacuum?
A: A large empty space where the pope lives.

04 July 2015

Daata: The Writer Within #5

This short story comes from when I was taking a course in creative writing at college, and follows a father (I wrote a lot about fatherhood during that class). I have more to say about this story but will write it in a footnote. A warning: this may be disturbing so stop reading if it bothers you.



Daatâ

“Wake up, ikibondo! You are only dreaming, my child.”
Her bright green eyes open wide, shimmering.
Daatâ! Oh, Daatâ, I was so scared!”
He wraps the small girl in his large, dark biceps and holds her. She sobs softly into his chest.
“What is wrong, my lovely daughter?”
“I saw the shadow again, Daatâ, it followed me into my dreams again. It won’t leave me alone, Daatâ, it won’t leave me alone.”
He waits for her sniffles to subside.
“Isabelle, there’s no reason to cry. It was only a nightmare, yes? So how about we head to the kitchen; Mama is almost finished with breakfast.”
Sniff.
“Okay, Daatâ, I’ll go, but only if you carry me.”
His deep chuckles calm her fears.
“Alright, I’ll carry you, my dear, yet again.”
She braces herself as his strong hands wrap under her back and lift her over his shoulder like a bag of onions. She giggles uncontrollably as he lugs her down the hall and into the small kitchen. With a groan, he drops her into her chair. The mother turns from the pot to roll her eyes at the two, then focuses back on the meal.

Thwack. Thwack. Thwack.
The boy’s knife hits the board over and over as he slices more avocados and bananas for the breakfast. His father rushes over to check his progress.
“Well done, Nicolas, I shall make a chef out of you yet. However, try to make thinner slices, so there is more for everyone.”
“Yes, Daatâ, I’ll slice those thinner.”
The father smiles and heads towards the petite cook, still stirring the clay pot.
“Are we ready yet, Ghislaine? I think your daughter wants to fill her tummy with your delicious umutsima.”
“In a minute, dear, almost finished.”
The boy corrals all of his yellows and greens into a wooden bowl and carries it over to the table. The starchy smell of the cassava mixes with the sweetness of the fruits. Isabelle bounces in her seat, licking her lips at the scent.
“My love, grab those bowls on the counter and I’ll dish everyone’s food out. Say, what’s that buzzing sound? Is there a beetle in here?”
“No, I’m sure it’s nothing, dear. I’ll get those dishes.”
He brings the bowls over to her and hands her one by one, placing each filled bowl on the table. Wiping the sweat from her brow, Ghislaine removes her apron and sits down in the chair opposite her husband. The small wooden table holds the meal for four, and as they spread their hands to clasp in prayer, she looks over their faces.
Nicolas holds his head overly high, trying so hard to posture like his father next to him. His brown eyes blend in with his face, still a lighter shade than his father. Isabelle gazes at the food with an ear to ear grin, eyes dancing over the feast. Her tight, black curls and mulatto skin match her mother. Meanwhile, the head of the house bows his head solemnly, awaiting the blessing. His large structure dwarfs the others at the table, misplaced in humble accommodations. He raises his hands to clasp them, scars shining along his forearms, disappearing up his sleeves.
“My lovely wife, will you not bless the food?”
 “Yes, Habimana, I will now.”
Ahem.
“Our Father in Heaven,
hallowed be Your name.
Your kingdom come,
Your will be done,
on Earth, as it is in Heaven.
Give us this day our daily bread,
and forgive us our trespasses,
as we forgive those who trespass against us.
Lead us not into temptation,
and deliver us from Evil.
Amen.”
Murmured amens give way to a mad dash to fill mouths. The food disappears and a sated family begins to clear the table of the few dishes. After the children have brought theirs to the sink, Habimana quickly ushers them out of the kitchen, telling them to “go play, have fun, kubari!” He then continues to help his wife clean.
“Habi, have you heard what they have been doing to the women?”
He stays solemn as he dries the dishes that she hands to him.
“Well, have you? They are raping them, Habi, raping them right in the middle of the streets! I can’t even go out to get food anymore for fear that they’ll get ahold of me.”
He sets down the towel and dish and stands behind her, placing his hands on her waist.
“You know that I would never let them do that, umukunzi. I’ll always take care of you.”
He plants a soft kiss at the base of her neck, but she is still not placated. Not so easily again.
“But, Habi, it’s getting worse. I haven’t been out of the house in two weeks!”
“It’s better this way for now, my dear, until I can get us and the children into France. We almost have enough money; then we can go live with your sister.”
“I know, darling, but… those two weeks ago, I found a baby. A baby! Right there, in the middle of the street. No mother anywhere, and the poor thing couldn’t even cry anymore because it had been out there so long. It was less than a day old! It just laid there in its blood and gâchis and no one even cared… I picked it up and embraced it, trying to will it to continue, but… it just stopped fighting and crying and… became completely quiet…”
She sets down the pot and lays her head onto his chest, letting the tears flow out. He shu-shushes her and strokes her hair.
“That happens now, my love. The women are raped, the men are uncaught, and the children are destroyed. No one wanted them; that’s just how it is, dear.”
“I-I know, but… I could just n-never do that. I could never leave my babies behind me to die, I c-could never just abandon them…”
“I know, umukunzi, I know. How about you just relax here in the kitchen, and I’ll go get Isabelle cleaned up from whatever dirt she’s gotten into, okay?”
“Okay, Habi, thank you.”
He smiles and kisses her forehead, then heads out of the room. She sits down in the chair again and places her head in her hands.
Habimana pops his head into each room.
“Isabelle! Nicolas! Where are you two?”
He finally finds them out in the street, playing football with the other children. A little boy kicks the football to Nicolas, who maneuvers it through the crowd of youth, shouting aloud.
“And Romário dodges the defenders and shoots for the goal!”
With a firm plant on his left leg, Nicolas kicks the ball towards a sideways trash can. The football clangs inside the makeshift goal.
“He scores! And Brazil has won the 1994 World Cup! Ahhhh!”
“Hey! Both you two, get back in the house! Merde! Kick that ball back to the others.”
Nicolas passes the football and runs inside with Isabelle, fearing a father’s wrath.
Knowing no such fear, Isabelle quickly interjects.
“Hey, what’s wrong? We didn’t do anything!”
Sigh.
“I know, Isabelle, I’m sorry for being so harsh with you. But it’s dangerous right now to be in the streets without me or your mother. So, please follow me to your room so I can clean you off. Nicolas, since you think Brazil will win the Cup this year instead of Argentina, why don’t you go ask your mother how you can help her.”
“But, Daatâ, I want to help you with the cooking for today.”
“I don’t have much to do today, son, but as soon as I am finished with your sister, I’ll come get you, okay?”
Nicolas’ frown reveals his displeasure at being sentenced to women’s labor, but he nods and walks briskly towards the kitchen. Habimana takes Isabelle to the small room that she shares with Nicolas. He stands in front of the single window while he helps her change out of her now-dirty dress. She slips into a comfortable outfit of shirt and pants, since she has no more dresses and is “glad to have no more to have to wear.” He smiles and kisses her forehead.
“I’m tired now, Daatâ. I dunno why; I haven’t even been up very long.”
“Haha! That’s because you have a belly full of that yummy umutsima, and you probably wore yourself out with all that running around with the big boys!”
“Hey, that’s not fair! There were plenty of small boys too. And I was doing really good!”
Her pretty little voice tugs at his heart, creasing his face along those worn crow wrinkles.
“I’m sure you were, ikibondo.”
“Oh, Daatâ? Is there thunder outside?”
“Well, there could be a storm coming, Isabelle.”
“Really? I don’t see any clouds.”
She runs over and looks out the window at the sky.
“Sometimes there doesn’t have to be clouds for a storm to be on the way, Isabelle. Say, before you crash into your bed again, would you care for a treat?”
Her eyes light up. “Ooh, what treat, Daatâ?”
“Only the best for my little girl: papaya!”
She claps her hands and jumps.
Hourra, hourra, hourra! I love papaya, Daatâ!”
“I know you do, baby. Here, I’ll go get it and bring it in here for you, okay?”
She nods vigorously as he heads over to his room to find her papaya. He walks around the small bed that he shares with his wife and finds his beaten leather bag in the corner. He reaches in and finds a small brown bag with a drawstring. His smile fades away as he pulls it out and lays it on the bed next to him. He stares at it for a minute, far gone in thought.
Reaching back into the bag, he grabs the papaya and pulls it out. He gazes and studies it while he dips back into his bag and grabs his large machete. He eyes the machete, turning it in his hand. Nodding abruptly, jaw set, he stands up and carries the bag, fruit, and machete back into her room. Her eyes brighten at the sight of the papaya.
“Here you go, baby. I’ll cut it open for you.”
With a sudden slash, he slices the papaya in half. She applauds as he hands her the two halves. Setting the machete down, he sits at her bedside and grasps the small bag.
“Hey, want to try something new? I brought you this new spice from the shop. It’s supposed to be really good on papaya fruit.”
Her mouth drips as she attempts to eat the fruit in her mouth and speak.
“Weely? Lemme trit, Daatâ!”
He nods grimly and opens up the bag. He empties the spice bag onto her fruit and then pulls the drawstring shut quickly. She eagerly takes another bite.
“Eh, I think they lied, Daatâ. It tastes too bitter for papaya!”
He forces out another chuckle. “I agree with you, Isabelle, but I thought that you might like it better than I had.”
“Well, you shoulda known better!”
Another laugh. He helps clean off her face then lies her down on her side. Having nestled her into the bed, he kisses her once more before beginning to walk towards the door.
Daatâ?”
“Yes, Isabelle?”
“You aren’t gonna send me and Nicolas away, are you? ‘Cuz I don’t want to be anywhere that isn’t with you! Or Mama.”
Sigh.
He walks back over to her.
“I might have to, baby. It’s getting very dangerous here. You’d be much safer far, far away, like in those fairy tales that you read. Maybe you’ll even find a Prince Charming!”
“Well, I don’t want a Prince Charming, Daatâ. All I need is you, and I’m happy.”
Tears flood his eyes as he embraces her tightly.
“All I need is you too, ikibondo.”
“I love you, Daatâ.”
“I love you too, Isabelle.”
He blesses her forehead one more time with his lips.
“Now get some sleep, my child.”
She nods and lies down in her bed. He knows that once he walks out the door, she’ll already be asleep. He heaves himself off of her tiny bed and heads back towards the kitchen.
Nicolas stands abruptly as soon as Habimana enters the room.
Daatâ! Can we go cook now?”
“Yes, son, we can go cook now. Grab the wires and some wood. I’ll get the food and tools. Meet me on the roof so we can smoke some chicken.”
Nicolas races off to find his items as Habimana collects his own. They reconvene on top of the small house. Nicolas notices his father’s materials spread across the roof next to a large iron pot.
“Whoa! I haven’t seen that pot before! Why do we need it?”
“Oh, this? I use it at the shop. I brought it so we could better contain the fire and better smoke the meat.”
“Oh, okay. Hey, what’s that sound? Keeps getting louder, now.”
“Probably just those kids still playing football farther down the street. So, you want to get cooking or what?”
Habimana lays a cloth down on the roof and spreads out the cassava, peanuts, chili peppers, and plantains. He places the pot away from the vegetables and dumps the wood in. Nicolas grabs his father’s machete and begins chopping the vegetables. Habimana starts a fire inside the pot and places the wires across it for a grill to place his large skillet onto.
“Now, this time you want to cut them bigger, so we can mix it in with the chicken.”
“I know, Daatâ. So, do you think I’ll ever be as good a cook as you are?”
“Well, if you keep practicing like you do now, you should easily pass me. Especially once we get you guys to France, where you can train with experts! Les chefs d'élite!”
Nicolas carries the vegetables over and dumps them on a cloth next to the heated pot. He hands the machete back to his father, who places it down his belt then throws a few ingredients into the skillet to flavor the chicken.
“I don’t really want to train with chefs, though. You do just good enough for me here.”
“Even if that were true, you and your sister deserve better than this. We could have done so much more for you, had we only acted earlier…”
“Aww, don’t be like that, Daatâ. You and Mama have done great for us. Especially Isabelle. She gets pretty much everything she wants. I’m not complaining, though. I do fine with what you and Mama decide to give me.”
Sigh.
He grabs a poker and prods the burning cinders.
“I guess you feel unimportant sometimes, huh?”
Nicolas nods silently, still staring into the embers.
Habimana turns his attention away from the chicken engulfed in a small pillar of smoke. He pulls a root from the pile of vegetables.
“Do you know what this is?”
“Yeah, that’s a cassava.”
“What’s it for?”
“I dunno… To add extra body? It doesn’t have much flavor.”
“This, Nicolas, is much more than that. We use the cassava root in just about every dish. We make bread, cook umutsima, mix it into stews, and create gravies with it. The cassava is one of the most important plants in our country because we substitute for wheat with it. We choose the cassava because it is strong: it holds the food together and bonds incompatible flavors with each other. We build almost our entire diet on the cornerstone of the cassava.”
He lays the root back on the cloth.
“Nicolas… you are our cornerstone. We could never get by without you. Who takes care of Isabelle when we aren’t here? Who would I rely on to take care of our family if something were to happen to me? You, Nicolas. You’re the most important person in our family. When I’m old and grey, you’ll have to take up the family business and take care of us.
You’re becoming a man, Nicolas. A man I very much wish I could see right now. I regret never sending you two away… Then you might have already learned enough to be a man. Then you both might never have had to be here during this time in our country…”
He stares into the fire.
Daatâ, what do you mean? Is there something big going on? My friends keep saying ‘It’s coming’, but I don’t know what ‘it’ is.”
“Don’t worry about that, mwene banjye. Just know that I love you, and I am so proud of you.”
“What’s that, Daatâ? Sorry, I can’t hear you well. It’s getting so loud!”
Habimana leans over and hugs Nicolas closely.
“I said: I love you, and I’m proud of you, son.”
Nicolas pulls his arms tighter around Habimana.
“I love you too, Daatâ.”
He leaves his father’s embrace to turn around.
“Is that shouting?”
He peers over the edge of the roof, looking in the distance. Habimana walks slowly behind Nicolas and places his hands on his son’s shoulders.
Daatâ, I think I see—”
Habimana shoves hard into Nicolas’ shoulders, sending him careening towards the ground. Nicolas yells before his back slams to the ground, sending dirt up into the air. The powdery earth softens and mutes his landing, but his head cracks onto a stone. He lays still, groaning and eyes dancing.
Habimana walks back to the pot and sniffs as he removes the skillet and wires, tossing them aside. He strains to push the large, heavy cauldron to the end of the house. Nicolas starts to move again, focusing his eyes on the top of the building beside him.
With one final heave, Habimana pushes the cauldron over the side.
A sickening crunch signals its landing. Trembling, he peeks over the edge, tears pouring down his cheeks.
The black iron sits at the top of the slender body. A bawl echoes from inside the house.
Ghislaine.
He runs back over to the trapdoor and drops in. Screaming comes from the far side of the house. The agonized, piteous wailing of a small girl pierces his heart. He sprints into Isabelle’s room.
She lies on the bed, contorting horribly. Her possessed state writhes and wriggles as she shrieks, eyes glued open. He runs over to her and grabs her head, holding her close and sobbing.
“I’m so sorry, I’m so, so sorry, oh, my umumarayika. They told me it would be quick and painless, they never said you would do this, oh, my ikibondo…”
Her eyes stare straight into nothing, strained with immense fear.
“It’s here! The shadow’s here! Daatâ, it’s staring right at me! It can see me! It knows who I am! It knows my name! It knows me! Daatâ, save me! Save me!”
He rocks her back and forth, cursing those men who sold it to him in every language he knows. She finally stops speaking, then moving, then breathing. He rocks her a little longer, her body with the eyes still staring.
Another shriek from outside. Footsteps as she runs back into the house. He wipes his tears as best as he can and lifts the blanket over Isabelle. Running back into the kitchen, he finds Ghislaine in a panic.
Oh mon dieu, there’s screaming and shouting! I can hear them coming! They’re already on the roof, I think, because… Oh, Nicolas…”
She collapses. He catches her. She struggles to regain her breath as he stands her back up.
“Where’s Isabelle? We need to… hide her. Somewhere. There’s… nowhere to go out there. They’ve blocked… all the streets, that’s what people are saying… the ones fleeing…”
“Ghislaine… we’re in the middle of the city. Where can we go?”
“I don’t know, anywhere… Wait, where’s Isabelle?”
“She’s asleep in her room.”
“Asleep?! How can she be sleeping with all of this noise? Let me get her…”
She runs drunkenly through the house, bumping into every other corner. He follows her every step with wandering eyes, slowly pulling his machete out of his belt. She reaches the bedroom and shakes Isabelle’s body.
“Isabelle, wake up. Baby, we’ve got to go…”
He slowly approaches her from behind, eyes already beginning to water.
Forgive me…

She gasps.
He pulls the blade slowly out of her back from between her ribs. She collapses immediately to the floor. He drops the machete and falls to join her, caressing her head against his neck. She closes her eyes slowly.
Merci, mon amour.”
“W-whatever for?”
“For… not leaving… my babies… behind me… I… love you.”
“I-I love you too, umukunzi.”
Exhale.

His bitter cry pierces the empty house.

Mon amour…
He strokes her hair softly while the tears continue to fall.
But the sound of angry men soon drowns his sorrow. They storm the house and find Habimana, loosing war cries as they grab ahold of him. He shouts and protests as they break him away from Ghislaine’s body.
“No! Mon amour! NO!”
They drag him out into the street, whooping and jeering. A massive mob begins to surround him. A large man dressed in a military uniform walks over with his rifle, preparing to speak.
“Today, inshuti, we continue our purge of the filth of Kigali, with this intati! Our people will always remember this day; this glorious sixth day of April!”
They cheer his words. Someone spits in Habimana’s face.
“We will execute this Tutsi-lover here in the street! Then we will rape his Tutsi bitch, and then kill her and their little half-breed ikinyendaro! First, let’s teach this con what happens when you betray your country! When you betray the Hutu tribe for the Tutsi shit!”
The crowd lets loose a cry.
“For Rwanda!”
A man comes out of the house, yelling about the whole family being already dead. The officer turns to stare at Habimana in disgust.
“You murdered your own umuryango?! Bâtard!”
The officer smashes the butt of his rifle against Habimana’s face. Habimana spits up blood as the soldier nods to the men holding Habimana, who release him. One man runs over and hacks at Habimana’s shoulder with his blade. He cries out in pain and falls to the ground. The rest of the crowd closes in and attacks Habimana with all of their machetes.

His screams join the cacophony of the city, lost amidst the cries of men, women, and children alike.




Footnote

Now that you've finished my story, I want to take this opportunity to remember the men, women and children who were slaughtered during the Rwandan Genocide of 1994. It lasted from April 7th to July 15th, decreasing the population by 20% and nearly driving the Tutsis into extinction. Although I am posting this on July 4th, when we typically celebrate the United States' freedom with fireworks and food, I want you to realize that there are still places in the world where the color of your skin or a difference in belief can mean death, not just bias and unfairness.

In memory of the dead, fallen twenty-one years ago and still falling.

02 July 2015

Revisiting the Movies of 1957: The Bridge on the River Kwai

David Lean made one of the greatest war films in history when he teamed with stellar actor Alec Guinness (of Obi-Wan Kenobi fame) to make The Bridge on the River Kwai. The movie follows a British colonel (Guinness) and his company as they deal with living in a Japanese POW camp during World War II. The men form relationships with their captors, some escape, some die, and a bridge is built despite the poor conditions. Many, many themes are covered that deal with issues handled in war, such as patriotism, honor, individualism and the fog of war. But the ending is easily one of the best and most complex that I have ever seen.


The final act presents the viewer with an impossible morality judgment after we have gotten to know both sides of a very complicated conflict. By showing us the extremes of militarism and libertarianism, then a man who becomes a mixture of the two, Lean has presented us with the ultimate example of how country pride and honor, though commendable, cannot be allowed to rule, or otherwise we will lose all individuality and forget what morality truly is. I do not want to go into details here, but I can HIGHLY recommend that everybody watch this film, then be on the lookout for an essay I wrote about the ending being posted in the future.

The acting, directing, cinematography, music, and screenplay are all equally tremendous, resulting in an instant classic that make this film appear on many lists as one of the greatest of all time. It does not bore, has several intense standoffs and action sequences, and connects every little detail together so that you can understand how it feels to be in their situation. So see it already!



P.S. - Always remember the local library, then try Amazon to:

1) Rent digitally for $3.99.
2) Buy on DVD for $8.49.
3) Buy digitally for $12.99.


P.P.S. - Although 12 Angry Men gave us great ethical and moral debates, Paths of Glory opened up discussion of military command, and The Seventh Seal pondered on the silence of God, The Bridge on the River Kwai still takes the cake as the greatest discussion film in a year of great discussions in cinema.

29 June 2015

Ginseng for the Soul #15

The Monarch

All beautiful colors dance endlessly
Free; gliding high in jubilance.
Killed
Left morbidly naked
Openly pierced. Queens ruined,
Serenely torn, undone verily.
Woe!
Xenophobia: youth’s zenith.




I Think Sarcasm Runs in Our Cultures

The following answers were given by British students in the public examinations used for 15 year old children. And we complain about American kids...

Q: Define the word “monotony.”
A: Monotony is being married to the same person all your life.

Q: What does the word “benign” mean?
A: Benign is what you will be after you be eight.

Q: What is the correct use of a semi-colon?
A: Only to be used as a last resort, a semi-colon is a partial removal of the intestines.

Q: What is a turbine?
A: Something an Arab wears on his head.

Q: Who did not welcome the return of the prodigal son?
A: The fatted calf.

Q: What is a Hindu?
A: It lays eggs.

Q: Name the four seasons.
A: Salt, pepper, mustard and vinegar.

Q: Name a greenhouse gas. What could be done to decrease global warming?
A: Cows make large amounts of methane when they fart. This could be reduced by fitting them with catalytic converters.

Q: Explain one of the processes by which water can be made safe to drink.
A: Filtration makes water safe to drink because it removes large pollutants like grit, sand, dead sheep and canoeists.
Q: What is a fossil?
A: A fossil is an extinct animal. The older it is, the more extinct it is.

Q: What happens to a boy when he reaches puberty?
A: He says goodbye to his boyhood and looks forward to his adultery.

Q: Name a major disease associated with cigarettes.
A: Premature death.

Q: What is artificial insemination?
A: When the farmer does it to the bull instead of the cow.

Q: How are the main parts of the body categorised? (E.g. abdomen.)
A: The body is consisted into three parts - the brainium, the borax and the abdominal cavity. The branium contains the brain, the borax contains the heart and lungs, and the abdominal cavity contains the five bowels, A, E, I, O and U.

Q: What is the Fibula?
A: A small lie.

Q: Where are the Tibia?
A: They live in a country in North Africa.

22 June 2015

Ginseng for the Soul #14







First Graders Are Starting to Freak Me Out

A first grade teacher had twenty-five students in her Clarkston, MI class. She presented each child in her class the first half of a well known proverb and asked them to come up with the remainder of the proverb. Keep in mind that these kids are only six years old.

1. Don't change horses........................... until they stop.
2. Strike while the................................ bug is close.
3. It's always darkest before.................... Daylight Saving Time.
4. Never underestimate the power of......... termites.
5. You can lead a horse to water but.......... how?
6. Don't bite the hand that...................... looks dirty.
7. No news is...................................... impossible.
8. A miss is as good as a......................... Mister.
9. You can't teach an old dog new............. math.
10. If you lie down with dogs, you'll.......... stink in the morning.
11. Love all, trust................................ me.
12. The pen is mightier than the............... pigs.
13. An idle mind is............................... the best way to relax.
14. Where there's smoke there's.............. pollution.
15. Happy the bride who........................ gets all the presents.
16. A penny saved is............................. not much.
17. Two's company, three's..................... the Musketeers
18. Don't put off till tomorrow what.......... you put on to go to bed.
19. Laugh and the whole world laughs
with you, cry and................................. you have to blow your nose.
20. There are none so blind as................. Stevie Wonder.
21. Children should be seen and not.......... spanked or grounded.
22. If at first you don't succeed................ get new batteries.
23. You get out of something only
what you........................................... see in the picture on the box.
24. When the blind lead the blind............. get out of the way.
25. Better late than.............................. pregnant.

19 June 2015

Dope: The Could, the Should and the Empty

When a bunch of 90's hip hop culture obsessed teens in Inglewood decide to attend a drug dealer's birthday party, they are flung into a whirlwind of betrayal, crime, and Bitcoins. Rick Famuyiwa writes and directs this modern dramedy that follows a senior struggling with his identity in American culture, whether it be the stereotyped black identity of dropping out of school, joining gangs, and only going to college if they're athletic, or sucking up to the big schools by using the stereotypical "I never met my dad and I'm stuck in the hood" story to their advantage. Dope's protagonist, straight-A geek Malcolm (played terrifically by Shameik Moore, who I cannot praise enough), aspires to attend Harvard while maintaining a small punk band with his friends Jib and Diggy, played by Tony Revolori (Zero in Grand Budapest Hotel) and Kiersey Clemons (of Amazon Prime's Transparent fame). Revolori and Clemons both do great playing Malcolm's friends, especially Clemons as their best lesbian friend whose parents take to church every weekend to pray the gay away from (hilarious!). This film is snarky, raunchy (especially when Malcolm's virginity is tested by a coke-addled seductress), and extremely modern, remembering not only do we live in an age of technology, but an age where a lot of possibilities that we often forget can come back in ways you would not imagine.



With a bit more focus here, I can honestly say that Dope has the best screenplay of the year thus far. Famuyiwa delivers the punches and the punchlines, mixing humor and drama in a way that I need to point to Birdman for a decent comparison. You will laugh, you will think, and for some of us (meaning most of us that didn't grow up as a lower class minority), you will wonder how much differently you would react in Malcolm's situation. He approaches his unique problem of indentured drug dealing with a sense of awareness of what is expected of him and what he wants to do to buck that trend. This film is about identity and being who you are without letting racism and stereotypes affect you, and so we have the perfect character to follow with Malcolm, who knows who he is and who he wants to be but goes through an identity crisis nonetheless in refinding himself.

The music is also terrific here, which was produced by Pharrell Williams but composed by Germaine Franco. The punk style of Malcolm and his friends' band definitely owes inspiration to both hip hop of the 90's and Scott Pilgrim vs. the World, but it fits perfectly and the rest of the score keeps the pulse going. Famuyiwa keeps the story and direction taut yet fluid, wasting no time while telling his tale but still remembering to flesh out the characters and let the plot flow. Although I laughed more often than not, there were several scenes that were very intense, reminding us that even though this movie is mostly fun and games, real life is not and people die every day in it.

When it comes down to it, I feel like Dope was a more modern version of Boyz n the Hood, taking that similar leaving-the-ghetto-and-coming-of-age story and making it not only current but more complex, remembering that life is not about race or sexuality; it's about identity and self-fulfillment.


Verdict: You SHOULD recommend this film to all mature audiences, as there is a decent amount of titties on screen but nothing more, and the cinematic treat of a story removes any negativity that you may or may not feel from that.

15 June 2015

Ginseng for the Soul #13






One Burger, Two People

I once walked into a burger joint and saw an elderly couple sitting together with a single burger on a plate in front of the woman. She gingerly lifted the burger and bit into it, eating slowly and chewing thoroughly. The old man just sat and quietly watched her eat, staring longingly.

Feeling guilty, I bought an extra burger and walked over to the two. I set the burger down in front of the old man and told him that he could have it.

"Oh, no, just the one burger will be enough for both of us. I'm just waiting for her to finish using the dentures!"

08 June 2015

Retrospection 5/25-6/6/15

Sorry for missing last week's Retrospection, so here is a double whammy to spice things up! Even though this is also a day late....



5/25: Ginseng for the Soul
Product placement overloads while zombies groan over these puns.

5/25: In Memorial
A poem for the fallen during Memorial Day.

5/26-5/27: Nada

5/28: Throwback Thursdays
We are Revisiting the Movies of 1952 by singing along with Gene Kelly in Singin' in the Rain.

5/29-5/31: Nada (too much hwiskey)

6/1: Ginseng for the Soul
Solomon-esque tweets are followed by a barrage of Dad jokes.

6/2: This Is a Football
I debate whether or not even Chip Kelly knows what he is doing in Philadelphia.

6/3: No Pain, No Game
Dragon Age: Inquisition takes us inside an interesting world experiencing the creation of a religious figurehead.

6/4: Throwback Thursdays
1953 takes us back to the Japanese classic Tokyo Story, a timeless tale of the modern family.

6/5: The Should, the Could and the Empty
Melissa McCarthy is alright but Spy ends up being a very forgettable movie.

6/6: The Writer Within
The abnormal of Australia are shown in my short story The Marked Man.



One majorly full week down, and now it's summer, baby! Enjoy the sweat, sunburns, and greasy food!

Ginseng for the Soul #12







Hey, Joey, Want To Hear Some More Jokes?

Joey: Man, I had some weird dreams last night.
Dad: Me too! I dreamt that I was a muffler, and I woke up exhausted!
Joey: Funny, Dad. Mine were mostly about failing math.
Dad: Well, that's okay, five quarters of people will admit that they're bad at fractions.
Joey: Dad...
Dad: But remember that sixty percent of statistics are made up.

Nurse: So, what blood type are you?
Dad: Red.
Nurse: Haha, but really, what type are you?
Dad: Comic Sans.
Nurse (frustrated): Sir, please tell me your blood type! Is it O-negative?
Dad: Oh, no, I'm oh-positive that it's still red.
Nurse: *drops clipboard and storms out*
Dad: Hey, you forgot your Etch-A-Sketch!

Dad: Well, would you look at that; FedEx and UPS are merging today.
Joey: Really? That's crazy.
Dad: Yup, from now on, they're going to be Fed-Up.

Dad: Did you hear about the three-legged dog who walked into a bar?
Joey: Gee, I sure haven't.
Dad: Yeah, he said to the bartender, "I'm lookin' for the man who shot my paw."

Joey: Hey, Dad, I need to get onto Netflix. What's our username and password?
Dad: The username is ForrestGump, and the password is 1forrest1.
Joey: Wow. Is that your best joke?
Dad: Nope, that would be you, son.

06 June 2015

The Marked Man: The Writer Within #4

I wrote this short story for a public reading at the end of my creative writing course in my sophomore year of college. It draws heavy influence from H.P. Lovecraft (one of my favorite science fiction writers behind Isaac Asimov and Jules Verne), and it did fairly well at the reading. Enjoy!




The Marked Man

“More Tooheys, please, Mac.”
The bartender nodded and handed the half-shaven man another mug. He took a big swig of the lager as the bartender walked away.
Thump!
The drunkard turned to look at his new buddy sitting at the counter. Black hair poked out from underneath a fedora. He wore a large brown cloak and held a single bottle of Pabst in his right hand, half empty.
“Why’s you here, mate? Nuther bint bein’ a drongo for your poor cock?”
He laughed and downed another gulp.
“Actually, I was just in here to escape the sun. Damn hot out there.”
“Hey, you ehn’t from round here. You’s a seppo, ehn’t ya?”
“Sure.”
“Ha! So why you wander down to the depths of Australia into Wagga Wagga, mate?”
“Too much light on top of the world in America. Thought it’d be darker down here at the bottom.”
The American took a sip of his beer.
 “Now, why’s you sayin’ that? Light’s pretty good for us, idn’t it? Helps us to see and walk.”
 “It burns me. Slowly destroys me. Kills me.”
“Ah, you’s a burner, eh? Slip, slop, slap, sleep, sleek, slide, slosh, slalom… Bugger, can’t remember right now. Enyways, just slop on some sunscreen. Problem solved.”
“Doesn’t work. Sunscreen prevents burns, not cancer.”
The American swallowed some more of his beer.
“I just hate the light. So invasive and destructive. Unnatural.”
“Hey, what’s unnatural ‘bout light? I’d wager it’s the most natural thing on Earth.”
“It’s not. Without any solar or artificial light, what occupies emptiness?”
The Aussie shrugged and smacked his lips.
“Darkness, shadow, void. Bunch of nothin’, what it is.”
The American slammed his fist on the counter.
“That’s just it! Everyone says it’s nothing, that it’s absence of light. They give it gloomy and pejorative terms like darkness and black. Why not call it something more cheery? Shame…”
“Bugger all, what you goin’ on ‘bout? Dark is bad and light is good; even an infant knows that. We couldn’t see or do anythin’ without light.”
“Really? The human body is quite amazing. We could see in the dark if our eyes weren’t constantly subject to light’s destruction. Shadow is our home. Why are we created inside our mothers, in pure darkness, where no light can harm us? Why do we feel most comfortable to sleep when it is dark? Because shadow nurtures us and heals us from the light of the day.”
The Aussie pushed his mug away and sat back to stare at the cloaked man.
“Look outside our world: space is endless dark. Nature knows shadow is the backbone of our universe. But light invades and destroys it…”
The American paused to finish the rest of his drink.
“Do you even realize what light truly is? Destruction of matter. Explosions. Ripping apart atoms and releasing the energy inside. Light causes so much death, so many tiny organisms burned away by its stolen energy. Look at the sun! It’s the epicenter of death in our solar system, trillions of molecules ripped apart into trillions of explosions, firing light out from itself. It burns us away daily, and eventually, it will erupt into a supernova. Then everything will die in a flood of fire.”
The American stood and looked at the Aussie.
“Come outside and I’ll show you.”
The Aussie nodded then finished his lager. Standing, he followed the other out into the evening air. The American waved his hands around.
“Look around you! You can see Darkness everywhere, abundant but being destroyed every moment! The whole world is being bombarded with light from that evil star! It burns our home around us! Can you see it?!”
The American placed his hand on the Aussie’s arm.
“See it!”
The Aussie gasped. The black air around them glittered. He could see the darkness, fluid and nurturing. He felt it stroke his skin as he walked forward into it.
But his right arm burned. He focused on it. An tiny spark glittered off of his arm. He yelped and tried to shake it off, but it sunk into his skin. He looked back up and screamed. The glitter in the air was particles of light. He tried to move left, but they permeated that space. He turned right, and there they were, raining endlessly. The sparks zipped down from the sky, moving incredibly fast. They exploded on the pavement, on the grass, on his clothes, on his hair, on his skin. He screamed and fell to the ground, pulling his knees into his chest.
“STOP! They’re everywhere! Burning everything! OH MY GOD! I’m burning alive!”
He looked up and saw the American walking through the falling flames. The light bounced off him, leaving him unscathed.
“H-how are you doing that?! Please help me! HELP!”
He uncurled and breathed heavily, body soaked in sweat. The American crouched down and pulled a large Bowie knife out of his boot. He grabbed the Aussie’s right arm and lifted it up. The Aussie’s eyes grew large as he saw a red oval in the skin of his forearm. The cloaked man began cutting it open, but the Aussie felt nothing. Once finished, the American peeled back the skin and revealed a gaping wound filled with black tar. He placed his mouth over it and sucked as hard as he could. Any energy left in the Aussie drained out of him through his arm. His pupils shrank. The visions of fire faded away and everything became bright white. The American stood from the arm, wound empty of black, but still not bleeding. The eyes of the Aussie had become completely white. He shivered and tried to speak.
“W-w-w-why…”
The American sighed and wiped his mouth with his sleeve.
“Thank you.”

He turned and walked away. The Aussie exhaled his final breath.

05 June 2015

Spy: The Should, the Could and the Empty

Being praised as a progressive comedy, much in the way Bridesmaids was, Melissa McCarthy and director Paul Fieg reteam to tell the story of a CIA desk jockey who becomes a true agent. With a stellar supporting cast, what could go wrong?

As it turns out, quite a bit.

When McCarthy's character, Susan, has to listen to and witness the murder of her long-time crush and field operative (played forgettably by Jude Law), she decides to take action and enter the field herself to take down the femme fatale who killed him. Plus, apparently all active agents have been leaked to the baddie, portrayed amazingly by Rose Byrne, so Susan is now needed in order to infiltrate the villain's posse. Jason Statham also pops in and out with lines of ridiculous braggery, which is an obvious parody of many of the characters he plays as well as the larger-than-life spies typically in these films. But that's just the problem: obvious humor.

I don't like writing these reviews negatively, so I want to start with what was done well. McCarthy is a great heroine that is for all intents and purposes, an average girl thrown into a hazardous situation. Statham's over-the-top dialogue definitely made me chuckle, and McCarthy's fireworks with Rose Byrne were some of the best lines in the film. I also really enjoyed watching an action film where the protagonist, their best friend and the antagonist were all women for a change without being hypersexualized.


But the humor just wasn't there. I chuckled twice, both times involving Statham, and otherwise sat through a two hour film that should've been eighty minutes or so, The first hour is so boring that I found myself constantly checking my watch. The reason for this: they repeat every joke made. Seriously. Wow, Susan gets to go into the field, here's a stereotypical middle-aged single woman cover identity (bad hair, lots of cats), haha! Ah, her next identity is also a stereotype, geez, clever. And the next... You get the picture. Statham had a great testosterone-fueled monologue early on, then devolves into making cameos with similar lines of dialogue. A man hits on Susan throughout the film, constantly trying to grope her (it's funny maybe the first two times). For the first half of the movie, Susan is a bumbling, mumbling half-idiot whose humor mostly relies on the fact that McCarthy is a short, plump woman. Then for the next half, out of nowhere, she becomes a foulmouthed agent with spunk and attitude. Honestly, that made me far more interested in her character, but her dialogue degraded into constant insult fights with everyone she talked to. Then the finale is just awful, ripped straight out of Jump Street 22 who ripped out of someone else, I'm sure. Oh, the action is so forgettable that I don't have anything to write about it because I don't remember it at all.

I see where Feig was trying to make this a farce of sorts, much like Jump Street 22 was for big-budget sequels or Kingsman was for spy films. But what we ended up getting was a bizarre mixture of The Hangover Girls and Get Smart. If you are easily entertained or love screwball comedies in general for their awkward situations, there is plenty here for you. As for me, I trust that a good night's sleep followed by a viewing of any other film will promptly dump all memory.


Verdict: Although I'm sure that others will enjoy this film more than I did, I will say that you COULD see Spy IN A DOLLAR THEATER, or just Redbox for that matter. No cinematic value to see it in a theater; none of the action or comedy will be enhanced by it, sadly.

04 June 2015

Revisiting the Movies of 1953: Tokyo Story

Sorry, Disney fans, but Peter Pan just missed the cut this week. Instead, the timeless classic from Yasujirō Ozu takes center stage as the best film of 1953. Although it has received much praise from critics (100% on Rotten Tomatoes), not much is known about this repeated placement in lists of best movies of all time. It can be slow, following an elderly couple as they visit their estranged children in the city, but it is wholly worth the viewing, much like Citizen Kane.

Ozu's direction is perfect, never moving the camera once and allowing each scene to look as natural as possible, drawing us into the normal world of Tokyo Story. This is what gets you, however, because its story is so real and so powerful that adding that realism to it drives home. Everything seems perfectly normal and happy, everyone is cordial with one another, but no one truly likes each other. Even now, over sixty years later, Tokyo Story's message about the life of lies that we live, too busy to develop real relationships with each other, strikes a chord in my heart and makes me rethink how I have been going about my life.

At just over two hours long, yes, it can be very slow and the message might be difficult to see. But I still would want everyone to watch this film. If the first hour proves too slow, I highly recommend reading the late Roger Ebert's excellent review of the film and its themes; this opened up a viewing experience for me that had not been there before. Then finish the film, or if you make it through without getting bored, still go read his article. So, please, please, please go watch this amazing look at the modern family.



P.S. - Always remember your local library, then check out Amazon for Tokyo Story to:

1) Rent digitally for $2.99.
2) Buy on Criterion Collection Blu-ray for $24.99.
3) Buy digitally for $14.99.

03 June 2015

Dragon Age: Inquisition: No Pain, No Game

TL;DR Score:            10/10
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Recommended Age:   13+
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Comparable to:         Skyrim, Mass Effect
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Platforms:                 Xbox One, PlayStation 4, Microsoft Windows, Xbox 360, PlayStation 3


After far too many hours of gameplay (72), I can say that I was fully satisfied by my forty dollar investment into my first Dragon Age game. I remember playing a demo for Dragon Age: Origins back in the day and hating the gameplay, but for some reason I found it thoroughly appealing this time around. As a third person fantasy role-playing game (RPG), Inquisition entertained both the storyteller in me and the gamer in me. Because, if nothing else, this game's story is tremendous and original.

As in all fantasy RPGs, you begin the game by creating your own character. The races are pretty familiar: human, elf, dwarf, and a unique race called the Qunari, who are essentially large, eloquent orcs with giant horns. The three classes to choose from are also familiar: mage, rogue, or warrior. But unlike most RPGs, both the race and class that you select will affect the story and how your character is treated. For instance, in the world of Dragon Age, named Thedas, elves were once a great and powerful people but now have become a collection of nomadic tribes, called Dalish, and so are treated as inferior by most of Thedas' humans. I chose to create a Dalish elf rogue, since I get tired of the hack-and-slash of most warrior classes and, honestly, mages usually get too confusing for me with their diverse skill set. This allowed me to play the game almost completely from my character's perspective. You increase the power of your character and members of your team over time, but can choose to just auto-level the others or get hands-on with their development. A nice feature for combat as well is the option to go to a top-down strategic mode to give orders to your team and develop more strategy in your fights. I'm not big on real-time strategy (RTS) styled gameplay, or even massive online battle arena (MOBA) gameplay, so I mostly just stayed with my elf and fought from third person, but those options are available.

For anyone who has played one of BioWare's previous games (I've played their Star Wars: Knights of the Old Republic and Mass Effect series), the dialogue wheel should be easy to use. Every conversation has different ways to go, as each line of dialogue from your character is a choice by you and will affect the story and your relationships with other characters. Whereas some games use this dialogue choice as pretty much the entire game (like most of TellTale Games' media), this is just another feature in an incredibly immense world. There are many, many side quests, long and action-packed story quests, enormous regions to explore and conquer, and a time-based war table where you order members of your Inquisition to perform tasks which will affect the game and story, or gain rewards and power (used to unlock more regions and quests). With the diverse mixture of gameplay and the option to strengthen your friendships with other characters (leading to interesting backstories, more quests, or romances) during down-time between quests, there is literally no shortage of things to do.

However, I have not even touched on the part of the game that impressed me the most: the story. Bold and far reaching, it begins with your hero stumbling upon some sort of ritual that destroys most of the leaders of Thedas, including The Divine, a female pope of sorts. All that remains is a strange, green, glowing mark on your hand that allows you to close rifts torn in the world to the Fade, a mixture between hell and purgatory, allowing demons to flood into Thedas. With the power to save Thedas literally in your hands, people begin to worship you and claim that you are the Herald of Andraste (God). Your enemy is a man who has done his best to transform himself into a god and does not care who dies in his journey to godhood, claiming that he has seen the thrones of the gods and saw that "they were empty." Throughout the game, every act that you perform that requires either teamwork, intelligence, or pure luck will be attributed to Andraste's favor and guidance on your life, leading many people back to a faith that they had forgotten. Dragon Age: Inquisition puts you into the life of a religious figure and how they are created and mythologized, which is a unique experience in itself and raising many interesting questions about what really happened in the lives of the big religious figures of our world today (Muhammad, Gandhi, Jesus Christ, etc.). Inquisition also makes you feel very invested in your friends and your character, allowing you to immerse yourself in a rich world filled with interesting stories and comparisons to modern life (like the Qunari life, where everyone is assigned a role and obeys without question, or the freedom of powerful mages, and whether they should be enslaved or freed).

Without a doubt, I can say that Dragon Age: Inquisition is one of the best games that I have played in years, and definitely trumps Skyrim for me in both gameplay and story. So, if you're looking for a new fantasy RPG to jump into, I would highly recommend this game.