Bird

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This is amazing. 

An exceptional team. 

Can score a shit-ton quickly.

Forever feisty. Flexible. Formidable.

Sully

Bring along a hearty appetite and get ready for a film that plummets down to earth, as Clint Eastwood's Sully presents bread and butter filmmaking, toasted with a side of marmalade, that's as straight and narrow as a prairie turnpike and as hard-hitting as a goal line stand.

It humbly elevates the courageous work of brilliant pilot Chesley Sullenberger (Tom Hanks), whose resolute calm under mortal pressure reflexively saved the lives of 155 people by improvisationally landing his plane in the hostile Hudson River below.

But he didn't do it alone, he was eagerly assisted by his capable staff and all the rescue workers who quickly came to their aid.

A real time jazzy impeccable work of practical art, his methods were inevitably questioned then investigated by a legion of computational suspicions.

Bottom lines having been unprofitably effected, Sully has to prove his innocence and thereby revitalize the knowledge of the human factor.

The models his detractors create to analyze his decision lack the input of common sense even though dozens of people likely took part in their creation and execution.

Sully's input wasn't requested, even though he was there, reacting with stoic impeccability.

The film's alright, an accessible well-acted well-written everyperson film that's easy to follow and celebrates a well deserving team.

The reenactment of the plane's descent into the Hudson eats up a lot of screentime though, and, even though Eastwood takes time to briefly introduce some of the passengers, because we know their lives aren't in danger, and the depicted descent is smooth and uneventful, it's more like a textbook display than a mainstream artistic articulation, which, considering the risk factor lying at the heart of Sully's action, doesn't formally give enough credit to the heroic act itself, it's too stale, too abc.

If Sully had began with the passengers entering the airport only to descend into the Hudson shortly thereafter rather than sticking the extended scene in the middle, it would have made more of an impact, according to me, and they could have been seen at other points afterwards throughout as Sully clears his good name.

After the film explains what happened with a brief illustration of Sully's bold decision making and then turns into a cat and mouse insurers and airline reps versus competent workers game, the actual descent into the Hudson seemed unnecessary, and could have been captured instead in chill haunting flashbacks.

Perhaps I'm being too generic.

A competent 21st century David and Goliath tale that picturesquely promotes active rational immediacy, in flight, I sometimes wonder how much money companies lose trying to discredit their employees instead of simply listening to what they actually have to say.

Is there an app for that?

Trusts.

Burdens of proof.

Critical counterstrikes.

Decent filmmaking.

Glad to know pilots like that be surfin' the skies.

One flight at a time.

American Sniper

Clint Eastwood's American Sniper is about soldiers.

It's not about politics or asking questions, it's about the people who risked their lives fighting for a cause they believed in, incendiary polemics aside, they were on the ground, fighting an enemy intent on killing them, living through events that would haunt the survivors for the rest of their lives, experiential extracurricular extents, forging bonds through action, teams, through combat.

It's focused on one sniper in particular, Navy SEAL Chris Kyle (Bradley Cooper), with a gift for precision, an eye for detail.

He becomes a legend.

A part of a team, embracing his role as protector, he saves the lives of his fellow recruits time and time again, through vigilance and dedication, making decisions no one should have to make, accepting the consequences, psychologically covering up the outcomes.

Civilian life becomes difficult.

He leaves unfinished business in Iraq, a nemesis at large, who continues to hunt his compatriots, this unnerves him as he tries to live with his family, überconscious conscience, the fall out of his exceptional track record.

Which leads to an exciting Young Guns sequence.

A compelling cinematic interpretation of levelheaded battlegrounded hysteria.

Direct, straightforward, and to the point, while mixing in enough trauma to unsettlingly exfoliate, American Sniper brings together eclectic teams, unified through bitter shattering circumstances.

What actually took place is fictionalized to the point where it makes a strong war film, however, this aspect of its creation makes what actually took place seem fictional, which takes away from its realistic impacts.

But it still salutes the life of a great Navy SEAL who went beyond the call of duty and risked everything to do what he believed was right, individuality within the collective, cohesively functioning as one.

Made the most of the worst possible situation.

Persevered.

J. Edgar

Clint Eastwood's J. Edgar situates a cunning politico-ethical land mine deep within the socio-American filmic vortex which combusts a manufactured traditional market by highlighting the contribution of gay Americans to the creation of some of their most revered institutions.

According to this film, there is no doubt that J. Edgar Hoover (Leonardo DiCaprio) loved his country (or his conception of his country). His opposition to radical elements and disgust with the ways in which the media glorified gangsters is relentless as he pursues the incarceration of outlaws while demanding nothing but refined conduct from his employees. As director of the FBI, he significantly expands its agency through the acquisition of legal and economic resources while patiently and obsessively focusing on the cultivation of its public reputation. Deeply and resolutely committed to the idea that public figures must comport themselves with the utmost integrity, he sharply manages both the conduct of his agents and the public perceptions of the conduct of his agents while placing himself in the forefront whenever possible. Paranoid and power mad and willing to take down those whose popularity risks rivalling his own, he delicately balances the relationship between democratic efficiency and bureaucratic autocracy throughout the course of his lengthy career, agilely avoiding the sword of Damocles.

But there's one problem.

He has no interest in women and loves Clyde Tolson (Armie Hammer) who has been by his side for the majority of his career. His private life has been defined by the politico-ethical foundations of his public pursuits as undesirable, which encourages a significant degree of anxiety. This extra layer of anxiety adds additional pressure to his institutional position which already demands a heightened degree of caution.

Hence, paranoia.

But he still skillfully utilizes his considerable gifts to survive within a heteronormative domain wherein he succeeds in accomplishing remarkable feats, even though his memory of such feats may be somewhat exaggerated.

It can be argued that his achievements were the results of his repression and that he wouldn't have been able to survive in a cutthroat competitive professional climate without having had the added bonus of developing exceptional survival instincts through the art of concealment in his youth.

But who in their right mind wants to nurture a public sphere which necessitates the dissimulation of strengths when their cultivation could increase the intensity of said sphere's productive tendencies by enabling its representatives to energize their freedoms? There's no telling what else J. Edgar could have been able to accomplish had he been nurtured in an environment where sexual difference was respected and he didn't have to consistently expend psychological resources to distract attention away from the most beautiful parts of his personality.

Invictus

I may of missed the point of Clint Eastwood's Invictus, but I thought the first half was much stronger than the second. In the opening moments, newly elected South African President Nelson Mandela (Morgan Freeman) must deal with his new occupation's complicated demands, many of which have arisen from the historic racial tensions between black and white South Africans. His approach to governing is unexpected: let's try and rebuild post-Apartheid South Africa as one nation, forgetting the gross injustices inflicted upon the black population and focusing instead upon what can be done to positively change the system's current composition. Considering the black population's grievances and the fact that Mandela spent 27 years in a prison cell as a result of his activism, this Ghandiesque position is commendable insofar as it prefers bonding to bloodshed. While dealing with the strains of office, Mandela takes a shining to the Springboks Rugby Team, captained by Francois Pienaar (Matt Damon), due to the fact that South Africa is about to host the Rugby World Championship. Mandela's support for the Springboks is controversial insofar as they have been seen as a symbol of Apartheid by the black population for decades, South Africa's black residents generally cheering for the opposition. But Mandela sees the team as possessing the cultural power to unite South Africa's black and white populations, and believes that if they win the Rugby World Championship it will bring said populations closer together. This is the main point of the film and as it progresses it becomes the dominant focus, going so far as to show 15 to 20 minutes of the final championship match, which the Springboks win. I thought that Invictus would have been a lot stronger had it primarily focused upon the serious political demands of Mandela's first term in office, keeping the rugby match in the background for a longer period of time, and replacing scenes like the one where Mandela greets the entire team with others demonstrating the severity of the South African racial divide. This divide is mentioned, referred to, and recognized throughout Invictus's second half, but the manner in which it is showcased is far to warm and fuzzy for my liking, thereby minimizing the effects of South Africa's World Rugby Championship victory by overlooking the grim social realities that victory was symbolically supposed to overcome.

Gran Torino

Clint Eastwood's back at it again playing and directing the lovably cantankerous and bitter hero of Gran Torino. Walt Kowalski tells it like he sees it, holding back nothing, ever, period. Does he want to confess his sins to an overeducated virgin straight out of the seminary (Christopher Carley): no he does not. Does he want to have a potentially soul searching conversation with his acquisitive granddaughter (Dreama Walker): once again, no. Does he want to do anything that doesn't fit his perfectly prescribed and particular way of doing things: shit no. There's a routine, he knows it well, he follows it, that's it, end of story.

Until he catches pesky Thao Vang Lor (Bee Vang) trying to steal his prized Gran Torino from his garage one night. At first, his response is predictable: stay the hell off my lawn I should have shot you yap yip. But his wife has died and he has nothing to do so he begins to take an interest in his shy sensitive neighbour, especially after a local gang tries to unconditionally recruit him. Walt sticks up for young Thao but the gangland politics prove to be pernicious, leaving him stuck between his rock and their hard place, searching for a strict solution to a grizzly state of affairs. Basically, he's lived his whole life quietly suffering from his war wounds and now has a chance to vindicate himself for his crimes. So he digs in his heels and responds with his gut, eventually providing a shattered family with a sincere degree of holistic satisfaction.

It's Clint Eastwood at his best, delivering another strong performance in a downtrodden caustic tragedy stripped straight from the hood. Can one curmudgeony man's dying attempt to befriend a neighbour make up for a lifetime of familial and communal neglect? Why yes, yes it can, and Gran Torino illustrates how seriously affective one man's commitment to solidarity can be, this is a bar padre, you'll have a drink, she likes you, go with it, yeah.