Category Archives: Books

Marriage Story wins with poignant realism and tight screenplay

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Marriage Story is a poignant, grounded tale of a marriage in crisis and disintegration. Now streaming on Netflix, the screenplay by director (and producer) Noah Baumbach is tightly written, includes realistic dialogue, and driven by plot points most people who have experienced divorce will recognize. 

Marriage Story Benefits from Realism

The movie is notable for a number of reasons beyond is six nominations in major categories — the most of any film — at the 2020 Golden Globes. For one, Marriage Story is one of the few recent movies produced by Hollywood that aspires to true art while drawing exclusively on from the tension and conflict of everyday life. Baumbach builds the experiences of real world couples and marriage into the plot, and he keeps the story focused. The characters are real, not caricatures. Baumbach has shown enough drama exists in the divorce of two people who still care for each other and still love their child to drive a powerful movie. 

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Thoughts on dealing with post-violence emotional trauma

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A post written in the aftermath of the El Paso and Dayton shootings triggered a significant response from my Facebook friends, including multiple shares, so I thought I would share the post on my blog. A link to the public post and comments can be found here, but the following is the text from the main post:

Like most, I am reeling from two days of carnage in El Paso and Dayton. What many of my FB friends might not know is that I am from Dayton. I know the part of the Oregon District where the shootings took place very well. I grew up the Dayton suburb of Bellbrook, raised my kids there, and was embedded in the community until moving to [Florida State University] 2011. Now, it turns out, the shooter may have lived one street away from the house where I lived for nearly 20 years. Needless to say, my thoughts and prayers go out to all my friends, relatives, and neighbors. (As far as I know, none of my family, friends, or neighbors were directly in harm’s way.)

These events are sad, tragic, and dispiriting to say the least. Everyone will be going through a difficult time processing the human tragedy, the apparent senselessness of the violence, and their implications. Finding ways to move beyond these tragedies is difficult, but essential work, and we all can play a part in the healing.

Unfortunately, I have found myself grappling with these types of traumas much more than I ever anticipated since I moved for Florida State and Tallahassee in 2011. Since coming to FSU, I have learned an astounding amount about emotional trauma from sexual assault survivors, but I’ve also worked (as a teacher, not a professional counselor) with my students to cope with the FSU Strozier library shootings in 2014, the Parkland high school mass shooting in 2018, the Hot Yoga studio shootings in 2019 as well as the aftermath of the devastation from Hurricanes Matthew (2016), Irma (2017), and most recently Michael (2018), which wiped out much of the Panhandle. Sadly, this seems to go with the territory when teaching at a large, urban university in the third most populous state in the nation that is also surrounded by large bodies of water. In each of these cases, I worked with students one-on-one and in group discussion.

I am not a trained professional, but I have learned we all have a role to play in helping others overcome these tragedies. This role includes helping those who may not have been directly effected but have important emotional ties to the people and events.

Here are a few initial thoughts based on what I have learned working with my students:

  • By all means, talk about it. Verbally articulating your fears, anxieties, and emotions is vital to processing these events. It also creates a firm foundation for the next step in healing. Create safe spaces for family, friends, and others to help them process their feelings without judgement. This is critical to moving forward. I have found our discussions in the classroom have helped students and families move forward in a constructive and positive ways. The feelings are real. They need to be named, discussed, and contextualized. Talking in a nonjudgmental space helps… a lot.
  • Don’t be afraid to seek professional help, even if you weren’t directly affected by the event. We are human. We are naturally empathetic. Part of they way many people process these events is by identifying direct connections to the tragedy to provide context for the hurt and pain. Just because I am 900 miles away from Dayton, doesn’t mean I am not struggling with how to connect to friends and family or experiencing other forms of anxiety, including guilt, fear, and anger. Professional counselors, therapists can help you process through this.
  • Remember the human toll from these events is vast. I know my community of Bellbrook is reeling from the knowledge that someone in their own community committed this horrendous evil. Many will be saying “why didn’t we know?” “Should we have known?” “What could we have done?” Hundreds, perhaps thousands, of people will feel the tangible effects of these events and will be grappling with the aftermath.
  • The physical toll on the survivors is just one element of their personal tragedy. The emotional and psychological scars will be long lasting, and for many permanent. This event is an indelible part of their identity from this point forward. Be patient. Be supportive. Remember, everyone is on their own journey. As friends and relatives, our task is to help them get onto that healing path.

I have known many survivors of tragedy that have emerged as powerful, amazing human beings. These events, however, require us all to do our part in small and big ways to ensure a healing process and journey can begin.

One final thought (for those on spiritual journeys): I was in Orlando last night, but had the crazy idea to try to make it back to Element3 Church for the 11 am service. (I usually attend the 9 am.) These plans were made weeks ago. Today, our lead pastor, Lori Green, opened the service with a heartfelt and impassioned plea to remember why we were attending service today — because our Christian faith puts pre-eminent emphasis on love, community, and connection. This is where God’s love manifests itself in our daily lives. I have to admit that as she was talking about Dayton, I began to process El Paso, Parkland, Hot Yoga, Strozier library, Hurricane Michael — now hundreds of students where I have been privileged to lead discussions about coping with tragedy and trauma. I became overwhelmed.

I don’t know if anyone noticed my tears. But I realized I was in a community of people that understood the path forward is through love and compassion, not anger and violence. This is where the healing begins, continues, and leads to long-term peace. We cannot do it alone. Nor should we.

I am not sure why I was compelled to make it back to E3 today, and Pastor Lori certainly didn’t know what I was going through as I was listening, but I am glad I did. I am grateful this is my home Church and can testify to the power of its message.

For those interested in knowing more about my work on emotional trauma, particularly as it relates to sexual assault, here are a few links:

Tarantino’s Once Upon A Time offers up subtle satire of Hollywood

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The best part of seeing a Quentin Tarantino movie is experiencing the story unfold before you. Every scene is carefully and intentionally placed. Each physical element in view, whether silverware or magazines, is chosen to help the audience interpret the context. Every detail is relevant to the action, dialogue, and characters. Each word of dialogue is scripted for meaning and delivery. Tarantino’s craftsmanship is evident in every frame and scene in his newest film, Once Upon A Time in Hollywood. This helps because audiences will need a little patience as the story is pieced together over its two-hour and forty-minute running time. 

Once Upon A Time is also different. The movie features many of the elements that have made Tarantino an auteur director and filmmaker. Unfortunately, identifying them in a review would likely create too many spoilers. They, however, are used creatively enough: Audiences may find the experience similar to going into an art gallery expecting to see impressionist art but coming out thinking the artist was a realist. It’s a movie that will sit with you (in a good way) well after the closing credits. (The movie, not surprisingly, is rated R.)

The story is set in 1969 Los Angeles in the months leading up to the Manson murders in 1969. (Note: This is not a spoiler). Excellent performances by Leonardo DiCaprio, Brad Pitt, Margot Robbie, and Margaret Qualley in a notable supporting role are included in an ensemble cast that covers players in Los Angeles movie industry. Pop culture references abound, also not surprisingly for a Tarantino film, and artfully woven into the action and dialogue. While the “Manson Family” figures prominently in the story, the film’s ending has a signature climax that challenges and provokes. 

Some have suggested Once Upon a Time is a “love letter” to Hollywood. I think a subtle and nuanced satire with its implicit commentary on the film industry would be more accurate. Overall, Once Upon A Time In Hollywood is well worth watching and will probably show up on lists for major industry awards in 2020.

Read this movie review on my Facebook page @themovieswithSam by clicking here.

Read all my movie reviews on Facebook (@themovieswithsam) by clicking here.

Wild Rose‘s performances tell poignant story of hope and personal responsibility

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A Scottish girl working on the economic margins of Glasgow, Scotland wants to be a country music star. So she sets her sights on Nashville and casts everything aside to get there, including her to young children. A Star is Born rip off? Not quite. Wild Rose,” has a lot of heart, as well as heartfelt performances, that allow this British produced movie to hold its own as a story and film. 

But before rolling your eyes (American movie fans), allow me to provide a little pop culture historical context that might give this film more substance than meets the eye. The Beatles started the so-called British invasion in the 1960s but it may never have happened without country music. The R&B roots of modern rock music is well known. The country music roots are not. (I am writing a book on the Beatles right now, so I am steeped in this pop culture history.) Yet what we now call rock music is started as a country and R&B fusion. This combination  produced progeny such as rockabilly, country rock, and, later, rock and roll. The Beatles drew heavily on early rockabilly artists including Carl Perkins, Buddy Holly, Roy Orbison, and Elvis Presley, all with deep roots in country music. In fact, the Beatles, particular Ringo Star, never lost their affection for Country music. The rockabilly sound was foundational to the home-grown British “skiffle” sound which became an artistic bedrock for the Beatles and other British acts. 

None of this background is essential for enjoying Wild Rose, but the knowledge allowed me to go into the movie with an open mind. I’m glad I did because the movie is entertaining with a poignant message about hope, responsibility, and maturity. The story starts off with Rose Lynn Harlan (Jessie Buckley), an aspiring Scottish country singer living on the wrong side of the tracks in Glasgow getting out a jail after a year-long stint for drug possession. When someone challenges her about why she sings country music, she responds with the familiar adage attributed to the “dean” of country music songwriters Harlan Howard that “Country music isn’t nothing but three chords and the truth.” The screenwriters clearly have an affection for country music, and it shows in the story and on the screen.

Rose is “wild” — a care-free single mother of two, who steadfastly refuses to take responsibility for her decisions as a teenager and young-adult. Now in her mid-twenties, she is estranged from her two young children and pushing her hard working, caretaker mother (Marion, played by Julie Walters) to the limit. We quickly see that the celebrity dream in Nashville is Rose’s attempt at self-validation and escape from the dreary subsistence living of a maid or bakery worker. When a wealthy woman (Susannah played by Sophie Okonedo) hears her singing and decides to help her career out, Rose’s wilding and irresponsibility begin to catch up to her with potentially catastrophic personal consequences. 

The movie is well cast, with excellent acting all the way around. For the most part, the story holds together, although the end seems a bit rushed as the director attempts to tie up a lot of loose ends too quickly to stay in the conventional film format. Notably, Wild Rose is set in Glasgow, Scotland, and the Glaswegian dialect and idiom — the “Glasgow patter” — is thick. At times, as an American, I felt like subtitles might have helped, but the action, tone, and context made the story easy enough to follow. 

The heart of Wild Rose, however, is Buckley. She has a great voice and an interpretive style well suited to the country music and lyrics she sings as well as the story the movie tells. She delivers on strong, heart felt scenes and songs that effectively carry Rose Lynn’s real world travails into the metaphoric songs she sings and listens to as part of the character. 

Overall, Wild Rose is a satisfying film with strong performances, and I enjoyed it much more than I expected. 

Anna‘s stylish action elevates its story

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Anna is the newest action movie by French auteur director Luc Besson and my full review is now live at The Beacon. The creator of Leon: The Professional and La Femme Nikita, among others, has helped him build a reputation for deeper storytelling while also paying attention to style and the craft of film making. This approach is clear in Anna, where Besson makes the risky move of casting real-world Russian super model Sasha Luss in the title role. It works.

Besson doesn’t pull back on the action sequences nor the femininity of the emotionally traumatized titular character. The fight choreography is impressive because of its physicality as well as its calibration to the physique and mental state of the lead character. Anna never transforms into a buff, physically trained fighter. This is critical for the plot and the character.

Film critics have not been kind to Anna in their reviews, but audiences clearly enjoy it — as I did. I find it odd that the critics’ major hit against Anna appears to be that Besson doesn’t seem to add anything new to the genre. But some of these critics haven’t found similar faults with franchise films in such series as Mission Impossible, Jason Bourne, or John Wick. Besson’s character. The story in Anna is more nuanced than these other films. The layers were clear to me in the way Besson builds the arc of the character, the time jumping through the story, and the nuanced choreography of the martial arts sequences. (Sure, the fights are excessive. But that’s a staple of Western action films.)

My full review is now live at The Beacon, the blog of the Independent Institute.

Authentic India’s Most Wanted falters as action movie

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The decision on whether to formally review India’s Most Wanted, a Bollywood produced “action” movie, was difficult. Reviewers struggle to determine what elements of foreign produced films are culturally specific, and which ones are generally applicable. Bollywood movies typically fall into this conundrum for a variety of reasons (e.g., the inclusion of musical numbers in dramatic film).

On the upside, Western audiences will be treated to cinematography that captures sweeping vistas of India and Nepal. Their sense of place and custom will be jarred as they are transported into the crowded streets of Delhi, Kathmandu, and mountain side towns. They will also be forced to adjust to urbanity where four-wheeled vehicles are scarce, reserved for the wealthiest and most well connected. Most people will be riding on hot, crowded buses, or various forms of two-wheelers. They will see an authentic setting for the story. No attempt is made to project high-powered technology with fancy driving or stunts. The conditions remain grounded in the real-world technology faced by the men on the ground, including cell phones with little more capability than texting and talking.

India’s Most Wanted is inspired by the real events surrounding a secret attempt by Indian special police to infiltrate Nepal and nab a notorious terrorist — without firing a shot. The themes of bureaucratic incompetence and the heroic actions of the lead characters will not present a problem for most Western viewers; these are familiar plot lines and a staple of this genre. Western audiences will also probably find the low-tech nature of the search and capture mission refreshing. The film is low-budget by Western standards, meaning no CGI and limited practical effects. In the right hands, this can be play well. Unfortunately, “India’s Most Wanted” fumbles.

While audiences can certainly believe that the team in under imminent threat of discovery, and this will likely trigger significant negative consequences — national shame, ruined careers, an international incident that could trigger military intervention — few in an American audience will really believe the team is facing dire physical threats or death (even though they were). As narrative, the stakes are substantially lower. No amount of slow-motion video capture, dream sequences, deeply pensive camera shots with stunning sunset backdrops, or roughing up prisoners, is likely to overcome these lower stakes.

Thus, the hurdle for Western audiences will be their expectations. Action movies produced out of China, Hong Kong, Japan, and the West are fast-paced and physical. The heroes in India’s Most Wanted appear by Western eyes to be out-of-shape, middle-aged misfits. None, except perhaps the team leader, looks like they have stepped into a gym or physically worked out since their days of police training. This would be fine if “India’s Most Wanted” were a comedy, or even a “dramedy.” But movie is billed as an action-thriller. We are expected to believe the team is a serious threat capable of taking down a violent and dogmatic terrorist — which they did in real life — but on camera it doesn’t look they could job 100 yards.

The result is slow paced movie that never really rises to its action billing. On-line reviews suggest the film is doing better in India than in the US. American viewers, however, would be best to approach India’s Most Wanted as a cultural immersion more than an engaging, fast-paced ride. The movie is in Hindi with English subtitles.

Set It Up‘s light touch is a worthy diversion into romantic comedy

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Set It Up‘s (2018) light touch uses a surprisingly snappy comic script and on-screen chemistry among the movie’s leads to offer up an entertaining diversion when viewers need a break from the rat race. The movie never takes itself too seriously, and dabbles just long enough in its characters for viewers to buy into their stories and care about what happens to them as they romp through New York City and discover what really matters.

The movie’s plot is about as transparent as it gets in romantic comedies: Two executive assistants—Harper (Zoey Deutch) and Charlie (Glen Powell)—are run into the ground by their narcissistic bosses. Charlie’s boss is Rick (Taye Diggs), a venture capitalist while Harper is forced to content with marquee sports reporter Kirsten (Lucy Liu). Harper is an aspiring sports writer who hopes Kirsten will recognize her talent and give her a shot at an article. Charlie is a buttoned up aspiring investment analyst who Charlie hopes will promote him to a better paying job in his VC firm.

When Harper and Charlie happen to run into each other while trying to fulfill their boss’s mercurial and piqayune tastes for last-minute, take out dinner, they hatch a desperate gambit to create some personal space.
Harper and Charlie figure if they can connect their bosses romantically, they will spend more time with each other than harassing and assistants. Harper convinces Charlie to concoct and implement a plot to hook the power brokers up.

Set It Up‘s plot is incredibly transparent, but Deutch gives the character of Harper just enough quirkiness to keep the banter moving. Charlies is largely along for the ride, but he grows with Harper even as he is challenged to his ethical core as their plans begin to unravel. The two never quite become full partners, but Charlie does serve as just a convenient foil and plot device. He comes into his own, restoring some important balance to Harper’s cleverness, energy, and eagerness to drive a solution home.

Of course, Harper and Charlie’s issue are not just their repressive work environments. Their own insecurities are holding them back as well, and the evolution of these assistants into more mature workers with a purpose allows Set It Up to rise a tier or two above less memorable movies. For writers, Harper’s realization that she needs to simply write, even if her writing is bad, will resonate as an all too true epiphany that that separates the wannabes from the actual writers. (Yes, most writers have their first manuscript burrowed away in a desk drawer, never to see the light of day for good reason.)

While not the best movie of 2018, Set It Up is an entertaining diversion worth streaming when you a comfort movie with a few laughs is just what you need to get through a tough day or period at work.

The story behind the cover of Calusa Spirits

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The cover for Calusa Spirits is great, and I think thing it’s the best one in the Pirate of Panther Bay series. But what is the story behind the cover of Calusa Spirits?

A picture really does paint a thousand works, and Babski Creative really helped pull major themes together as well as capture the mood and tone for Calusa Spirits, the third book in a six-part series from SYP Publishing.

Let’s break it down.

First, you really get the sense that Isabella and Juan Carlos (on the cover) are searching. They are treading into completely new territory, emotionally and physically in Calusa Spirits. In the image, Isabella retains her trademark focus, ready for battle. Juan Carlos is behind her, but he is not passive. He’s searching too. I think readers will really get the sense they are a true couple, partners. In fact, while their journeys are rocky and full of traps–some really exciting escapes are necessary in this installment just to survive–an important sub-theme is how they come together as a couple, more than romantic partners. The last scene in fact has a pretty dramatic twist that hinges on which direction their relationship goes. We see this unfold in the story, but the cover art really conveys elements of this, too. Continue reading →

Hotel Artemis Struggles at Check In

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Hotel Artemis seems to have everything it needs to be a successful film but manages to fall flat anyway. Why is a bit of a mystery. The movie has a strong cast, and the characters should have enough back story to create compelling arcs that drive the movie’s momentum.

The slapdash backstory doesn’t help. The movie is set in riot-torn Los Angeles in 2018. Water has been shut off by the private contractor in charge of the water supply, although the reason is never explained. Gangs seem to run unchecked. Riot police patrol the streets keeping the mobs at bay. The city has imposed a curfew to quell the violence.  The city utility cuts off electricity at seeming random points. This dystopian activity is supposed to provide a setting that creates tension and conflict. It doesn’t in part because the story’s internal logic is never quite explained. Continue reading →

What sailing ships tell us about storytelling

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As a kid, I was fascinated by sailboats and sailing ships. I loved reading adventure novels such as C.S. Forester‘s classic Horatio Hornblower series. I also enjoyed building models. So, one birthday (or Christmas), my parents gave me a model sailing ship. The model was never built. I could never muster the enthusiasm to spend the hours working on the rigging, sails, masts, etc. to complete it. In retrospect, my reaction may have been my first practical lesson in visual storytelling.

One of the first lessons novelists (and screenwriters) learn is that conflict drives story. Conflict forces characters to act; they are forced to resolve the conflict by making a decision. A story where characters do not have to make choices isn’t very engaging. Readers (and audiences) invest in characters based on the choices they make and how they react to these choices. The various pivot points in those decisions determine the plot.

So, how does this apply to my model sailing ship? Continue reading →