Life Through the Lens: Life favors the boldly unprepared
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"Nothing is secure. Everything is wrong. No one is above suspicion."
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You simply cannot always be prepared for what comes next!
While this is one of life's most fundamental lessons...it is a tough lesson to learn because we, as humans, tend to preoccupy ourselves with preparedness. We get caught up in control. We want our planners to coordinate with our calendars. We want our decisions to lead to decisive and distinct ends. We want to believe our pained-over preparations will reap pleasant prizes if we can just be vigilant in our planning.
To those conclusions, life replies, "I see what you've done there. I like the aspiration, the trajectory, the meticulous masterminding...hey, you even have the curtains picked out for your seaside chateau! Man, you sure are ready for what comes next...unless..." and then life does one of those noises where you stick your tongue out and blow a raspberry. "Pbbbbbbbbbbt," life utters as your seaside chateau slips into the ocean of your imagined intentions.
Life doesn't play by our rules. By our plans. By our timed-out-appointments. Instead, life is compelled to weed-out and refine its search. It doesn't want the individual with rigidity in their resolutions. It isn't looking for the person unable to adapt or unwilling to accept. It IS, however, looking for the ones ready to admit they aren't ready. For the ones prepared to confess they aren't adequately prepared.
Life is looking for the person who takes a step forward when their planning ran out a step ago. Life favors the boldly unprepared.
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In a sleepy English town, chaos erupts one morning unannounced. The Miller family's home is raided, and 13-year-old Jamie (Owen Cooper) is taken into police custody for the murder of classmate Katie Leonard. Unable to stop the relentless process that has stormed his castle, Jamie's father Eddie (Stephen Graham) chases the storm all the way to the police precinct where he sits confidently by his son, being strong for his scared little boy. Once the surveillance footage is shown of the stabbing, though, Eddie cannot unsee what he has seen.
And that's only episode one! Episode two follows Detective Inspector Luke Bascombe (Ashley Walters) as he questions Jamie's and Katie's classmates and friends at school, navigating what is told and what is withheld. Episode three is a meeting between Jamie and forensic psychologist Briony Ariston (Erin Doherty) who is tasked with analyzing Jamie's capacities and understanding, often getting much more than she can handle. Finally, episode four details the life of Jamie's family a year after the murder, the shadow cutting off much of the sun that used to rest on this seemingly well-intentioned family.
I hadn't thought much about Netflix's Adolescence until the Emmys a few weeks ago. When it brought home eight Emmys, beating out other shows that I had seen and truly respected, I knew it was time to watch. Knowing very little about it going in, I was utterly amazed! The show establishes its tone and style within minutes, and it never wavers after.
Creators/writers Jack Thorne and Stephen Graham conceived an ambitious miracle. Four episodes, about an hour a piece, ONE SINGLE TAKE! It is not a trick, either; no movie-magic happening here with hidden cuts and creative editing. That is nothing short of sheer effort and willpower! The writing is painful yet authentic, as well, never shying away from raw and real.
The direction of Philip Barantini is flawless. His masterful choreography is to be applauded! The cinematography by Matthew Lewis is wistful and fluid, not a beat is missed. For a crew of a few hundred artists, everyone moves in-step beautifully.
The show took home many Emmys for acting. Stephen Graham is phenomenal as Eddie, inhabiting a very complicated set of emotions. Owen Cooper is a triumph as Jamie, becoming the youngest ever to win Best Supporting Actor (in his first role ever!). Erin Doherty is wonderful and deserving as Ms. Ariston. Ashley Walters is a powerhouse as DI Bascombe. Also great were Christine Tremarco as Manda Miller (Jamie's mother), Amelie Pease as Lisa Miller (Jamie's older sister), and Amari Bacchus as Adam Bascombe. Each line and movement from all are purposeful and poignant.
I can safely say I have never seen anything like Adolescence. It can be streamed right now on Netflix.
REPORT CARD: "Adolescence."
Grade: A+.
Assessment: A one-of-a-kind gem!
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If change won't happen on its own, change must be forced...or so thinks "Ghetto" Pat Calhoun (Leonardo DiCaprio) and his lover/partner Perfidia Beverly Hills (Teyana Taylor). As leaders in the political terrorist group "the French 75," they are front-line to the danger, to the injustice, to the heat.
In their attempt to free caged immigrants at the nation's border, Pat handles the explosives while Perfidia leads the ground attack. Perfidia purposefully seeks out the area's military commanding officer, the rigid and racist Steven Lockjaw (Sean Penn), to make her presence known. She wants the movement to be felt by the powers-that-be and for it to sting. Her power is apparent...and Lockjaw is smitten. As Perfidia disappears and the job is complete, Lockjaw has a new hunger that must be fed.
Instead of stopping the French 75, Lockjaw simply allows them to run amuck, awaiting his time to meet Perfidia again. When Lockjaw finds her, vulnerable and desperate, he makes his presence known this time.
Flash-forward, Pat and Perfidia welcome a child into the world. Pat considers the news cause for joy, but Perfidia feels only the effect of repression. It ain't easy to be a terrorist with a baby-in-tow. Kinda cramps your style. Lockjaw captures Perfidia once more. This time, it is jail for her or jail for her crew. Psh, her style is officially forever-cramped.
I can't tell you what happens next, but I will give some vague ideas: time passes, relationships change, skills lay dormant, preparation rusts...then everything e.x.p.l.o.d.e.s.
I am a huge Paul Thomas Anderson fan; the guy has single-handedly changed Hollywood and moviemaking for the better. His art is effortlessly sharp and consistently breathtaking. Needless to say, I was excited for this, his latest...and it did not disappoint! It was a thrill, a hoot, and a revelation all at once!
PTA, who also wrote the film, chose a very timely and touchy subject but handled it with such care and comedy; it is truly a feat that only he could accomplish! The pacing, the composition, the unpredictability, the absurdity, the nuance...only PTA delivers like this. He is a true, living creative genius.
His work with composer Jonny Greenwood is unfailingly interesting; each score is so expertly crafted and executed. The cinematography by Michael Bauman is alive with energy and intensity. The production design by Florencia Martin is motivated and moving. Overall, the film is a technical wonder!
Leonardo DiCaprio is awesome as Pat; his ability to take a line captive, to make an emotion his playground, is awe-inspiring. Chase Infiniti is interesting as Willa, delivering in many crucial moments. Benicio Del Toro is subtly sensational as Sensei Sergio St. Carlos; he doesn't waste a second. The real star, though, is Sean Penn as Lockjaw; it is a role unlike any I've seen in years. It is devious yet devout, volatile yet vulnerable. Penn creates a character so real, so revolting, so riotous...you can't look away!
Although he has already made multiple masterpieces, PTA delivers another one! See it in theaters now!
REPORT CARD: One Battle After Another
Grade: A+
Assessment: A movie with so much to offer