The Bloody Carnage of ‘The Hunt’ Works Best When You Can Actually Recognize the Human Beings in the Game

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CREDIT: Universal

Starring: Betty Gilpin, Hilary Swank, Ike Barinholtz, Emma Roberts, Justin Hartley, Glenn Howerton, Amy Madigan, Ethan Suplee, Macon Blair, J.C. Mackenzie, Wayne Duvall,  Reed Birney, Teri Wyble, Sturgill Simpson, Jim Klock, Usman Ally, Steve Coulter, Dean J. West, Steve Mokate

Director: Craig Zobel

Running Time: 90 Minutes

Rating: R for Pretty Much Every Suddenly Explosive Way to Die That You Can Think Of and A Bunch of Sarcastic Profanity

Release Date: March 13, 2020

At first glance, The Hunt looks like it could be a terrible case of bothsidesism. But in fact, it is actually operating in too much of a valley of extremes to really be about the miscalculation of the scale of political differences. Instead, this is a story of conspiracy theories and misunderstanding blown out of proportion to terrifying, blackly comic heights. In a spin on the ever-popular 1924 short story “The Most Dangerous Game,” a group of self-castigating liberals have captured some so-called “deplorables” and set them some loose to be hunted as sport. (Trump’s name is never mentioned, but the use of “our ratf—er-in-chief” makes clear the context we’re operating in.) These marks have been chosen because they’re exactly the sort of people who like to propagate the conspiracy theory that elites who run the world have been secretly capturing and hunting people for years.

The script, credited to Nick Cuse and Damon Lindelof, operates on the premise of “What if the worst things that political opponents accuse each other in this current climate turned out to be true?” The results, as lavishly staged by director Craig Zobel, would include a baroque series of impalings, short-range shotgun blasts, limbs ripped apart by explosions, and car tires rolling over heads. The mayhem is admirably relentless, but it’s a bit too cartoonish for a movie that wants to be about real characters with genuine pain. The hunted do say some pretty awful things, but hardly enough to justify getting a round of bullets blasted into their brains. And it’s certainly worth noting that since we focus on them and they’re the ones in a state of vulnerability, they serve as our point of identification. Anyone threatened with immediate death suddenly starts to look very, very human, especially in relation to the hunters, who mostly come off like a bunch of caricatures who are prone to tout superficial accomplishments like how Ava DuVernay liked one of their social media posts. For the most part, they do not register as actual people so much as agents of self-parodic vengeful chaos. (At least It’s Always Sunny in Philadelphia‘s Glenn Howerton, for one, can make a meal out of that task.)

Easily the most human of anyone in this melee is the deplorable played by Betty Gilpin. She’s shifty and resourceful enough to make you wonder if she really deserves punishment of any sort for whatever she’s guilty of, or even if she’s actually guilty of whatever she’s been accused of. The frustration that’s all over her face says, “I don’t care who you are at this point. I’m just going to do whatever I have to do to survive.” That’s kind of the fundamental, elemental appeal of a piece of exploitation like this: just who are we when faced with an outrageous, deadly situation? Too often, The Hunt‘s answer is, “A ridiculous gathering of stereotypes,” but often enough, its alternative answer is “It’s complicated. We don’t really know.”

The Hunt is Recommended If You Like: Bloody mayhem, satirical exploitation of stereotypes, mixed social messages

Grade: 3 out of 5 Deplorables

‘Queen & Slim’ is an All-Too-Conceivable Vision of 21st Century Outlaws

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CREDIT: Andre D. Wagner/Universal Pictures

Starring: Danielle Kaluuya, Jodie Turner-Smith, Bokeem Woodbine, Flea, Chloë Sevigny, Indya Moore, Sturgill Simpson

Director: Melina Matsoukas

Running Time: 132 Minutes

Rating: R for The Violence, Profanity, and Sexuality of Highly Stressful Situations

Release Date: November 27, 2019

Viral moments of people of color being fatally wounded by police officers are a depressingly common occurrence in America, and they have become fodder for similarly discomfiting moments in fiction. So when Slim (Daniel Kaluuya) is able to fire back at Officer Reed (Sturgill Simpson) during a simple traffic stop, it feels like a moment a triumph as a sort of wake-up call to the audience that things can be done differently. But that sense of triumph quickly gives way to a feeling of queasiness, both because no loss of life is preferable to some loss of life (even when it’s in self-defense), and because that moment feels much more like the prelude to a greater tragedy rather than the end of one.

Queen (Jodie Turner-Smith) and Slim are bound by circumstance moreso than passion or really any sort of mutual attraction. Their encounter with Officer Reed occurs on the way home from their initial meeting with each other, and while it may not be the absolute worst first date of all time, it is pretty damn tense. Slim is generally go-with-the-flow, while Queen is all coiled, hardened intensity. That fire and ice combination is not often ideal for romance, and it is even worse when two black people are pulled over by a trigger-happy officer of the law. Slim is so casual nearly to the point of carelessness, while Queen cites legal rights as she aggressively demands to know why the situation is being escalated. But no matter how they react to the officer, you get the sense that they were in a trap the moment he pulled them over.

After they leave Reed on the side of the road, they ditch their phones and attempt to flee to some semblance of safety. Meanwhile, their story becomes headline news and they begin to be embraced by a not-insignificant portion of the population as a modern-day Bonnie and Clyde. Accordingly, you then get the sense that most of Queen & Slim is just a series of delays until an inevitable tragic end. In that sense, it plays like a fit of existentialism, sort of a more viscerally terrifying riff on No Exit. I cannot argue for the possibility of a happier ending, because that would have been something more fantastical than director Melina Matsoukas and screenwriter Lena Waithe are aiming for. As it is, this is not the most cohesive sort of cinema, but it has a fractured feel of intimate moments contrasting with wide-open spaces that captures a broken, but occasionally beautiful slice of Americana.

Queen & Slim is Recommended If You Like: Melina Matsoukas’ music videography

Grade: 3 out of 5 Escapes

SNL Review January 14, 2017: Felicity Jones/Sturgill Simpson

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SATURDAY NIGHT LIVE -- "Felicity Jones" Episode 1715 -- Pictured: (l-r) Felicity Jones, Beck Bennett, and Kyle Mooney during the Movie Interview sketch on January 14th, 2017 -- (Photo by: Will Heath/NBC)

My letter grades for each sketch and segment is below. My in-depth review is on NewsCult: http://newscult.com/snl-love-itkeep-itleave-it-felicity-jonessturgill-simpson/

Trump Press Conference – B-

Felicity Jones’ Monologue – C

Beard Hunk – C-

Shondra & Malik – B

Albee Durberry Theater – C

The Princess & the Curse – B-

Susan B. Anthony House – C

Sturgill Simpson performs “Keep It Between the Lines” – B+

Weekend Update
The Jokes – B-
Pete Davidson: First Impressions – C+
Beck Bennett, Pop Sensation – B+

Fandango All Access (BEST OF THE NIGHT) – B+

Sturgill Simpson performs “Call to Arms” – B+

Jokeoke – B-