Netflix’s ‘The Highwaymen’ Film Analysis: A Little Evil Makes The World A Better Place

What do you do when being good and following the law fails to quell an unstoppable evil that has almost zero chance of redemption? Netflix’s ‘The Highwaymen’, which portrays the true tale about a couple of former Texas Rangers tasked to take down the infamous violent crime duo Bonnie and Clyde, wrestles with the inevitably cold-hearted answer to the question above.

To stop a person who’s crossed the ultimate line of morality – taking one’s life – you get another who’s all too familiar with that moral dilemma themselves to stop them. You find someone who’s come within an inch of crossing that line, but never did, which makes them the best at fathoming what needs to be done to prevent the evil at hand without succumbing to it. Celebrated Texas Ranger Frank Hamer (Kevin Costner) embodied this complex spiral of morality.

Accidentally indoctrinated into a world of violence through an act of revenge as a teenager, Frank’s used his burgeoning violent tendencies for the law instead, turning that act of revenge into a calling to exact justice onto other evil doers, no matter the what the costs are. Because when it comes to conquering evil, sometimes you’re going to have to get your conscience a little dirty to make the world a better place – something that’s almost routine for Frank.

I found it fascinating that Frank’s ultimately a character that some might come to hate at the end of the watching ‘The Highwaymen’. If you do feel that way, I can tell you that you won’t be feeling too different how Frank feels himself.

Why Robert Redford’s Charming Sendoff in ‘The Old Man & The Gun’ Is Perfect

‘The Old Man & The Gun’ proves to be the perfect indie swansong for one of cinema’s most enduring legends, the classic rugged charmer himself, Robert Redford.

The film’s narrative about an effortlessly charming bank robber in the twilight of his less-than-reputable career beautifully mirrors Redford’s own storied film escapades throughout the decades – and you can see his treasure trove of talent working in full force here, even if you don’t realise it.

Redford navigates this role like it was a walk in a park – and that’s the real beauty of this entire movie. 

At first glance, the film seems to be almost too easy-going and the performances never too bombastic. However, it’s precisely because of Redford’s cool, natural and measured performance that makes this film such a pleasant viewing experience. For most actors, balancing a suave, charismatic character with multiple layers of emotional reflection and world-weariness is no easy feat. Redford, however, navigates this role like it was a walk in a park – and that’s the real beauty of this entire movie.

Just like how Redford’s character ultimately can’t stop himself from indulging in his enjoyment of committing robberies, maybe Redford himself doesn’t really want to retire after this. He probably knows he can keep going, but that’s the ultimate difference between Redford and the character he plays – Redford knows that his time in the cinematic sun is nearing its end, and he of all people deserves to finally close the chapter of his cinematic adventures and ride into sunset the way he has always wanted to.

‘Glass’ 2019 Review: Shyamalan’s Superhero Origin Story Is Really About Us

In what can be described as a ‘curve ball’ rarely seen in superhero films, M. Night Shyamalan’s introspective superhero-esque action thriller ‘Glass’ shatters cinematic conventions by brilliantly closing off the director’s very own ‘comic book’ trilogy with an origin story.

But the film isn’t about the origin of any one superhuman figure in Shyamalan’s superhero universe; rather it’s an origin tale about the revelation of man’s ultimate truth. The truth that the human race can in fact surpass their own limitations and perceptions of normality that have seeped into their very history and culture in order to indulge in something far greater inside them – a ‘superpower’ if you will.

‘Unbreakable’ and ‘Split’ weren’t really origin stories in Shyamalan’s mind – they were more like seeds, planted in the cinematic ether along with their own separate narratives and themes but both preferring to let the real truth about their super-powered existence linger away from the public spotlight.

By the time the credits roll in ‘Glass’, you realise that the film finally wants to show world that we’re indeed all living in a comic book, which is why the film is truly about the origins of our discovery of the truth about what we’re able to achieve beyond our norms through the examples of ‘superheroes’ and ‘supervillains’ like David Dunn, Elijah Price and Kevin who we see in action in the film.

Shattering the mirror of shadows and deceit that has blinded the rest of the world for so long, ‘Glass’ marks the triumphant beginning of the truth about superheroes finally being able to realistically flourish in the light.

Aquaman Review (No Spoilers): The New King Of The DCEU?

Let’s just say that Aquaman is basically the undersea ‘Lord Of The Rings’! Soaked in swashbuckling adventurism of epic proportions, the latest film from the DC Comics vault presents a somewhat contrasting lighter tone compared to previous darker entries in DC’s cinematic universe like Man Of Steel and even Wonder Woman to some extent. It’s like they turned up the ‘badass fun’ knobs all the way to 11 with this film!

Going by aesthetics alone, Aquaman is definitely one of the more unique superhero film entries to release ever since Christopher Reeve donned the Superman mantle in 1978’s ‘Superman’. Director James Wan had the opportunity (and the pleasure by the looks of it) to craft a visually stunning world filled with diverse underwater locales drenched in beautifully crafted architecture that look both distinct and maybe even plausible in our own undersea reality.

An arguably strong cast of characters led by the super charismatic Jason Momoa successfully buoys the entire film from start to finish (especially Patrick Wilson’s character Orm). Jason believably embodies the role of a man coming to terms with finally uniting his identities as both a surface dweller and an Atlantean to become a shining beacon for both worlds to look up to.

Overall, Aquaman’s a satisfying tale of self-discovery that leaves you breathless with it’s superb action sequences (especially the insane third act of the film) and genuinely heartfelt moments revolving around the hero that will no doubt be a major player in the DCEU film universe moving forward.

Hail to the king of the Seven Seas, baby!

 

Image Credit: IGN.com

What Does The ‘Fast Times’ In ‘Fast Times At Ridgemont High’ Actually Mean?

‘Fast Times at Ridgemont High’ is more than just your usual fare of classic coming-of-age comedy flicks that bombarded the 1980s (the sweet ‘golden age’ of these types of films). Based on the eponymous book by author-turned-director Cameron Crowe, the film follows the lives of a group of high school kids navigating the last 365 days of high school life with admirably big aspirations, but end up in even bigger stumbles along the way.

The term ‘Fast Times’ in this film brilliantly eludes to the notion of time being somewhat of an unimportant factor in the lives of these teenagers – teenagers who are so caught up with the hustle and bustle of their own distractions in pursuit of their ‘grand’ personal desires that their final schooling year all but zips by unnoticed.

Sean Penn’s Jeff Spicoli (right) rockin’ out on stage during Ridgemont High’s graduation dance, to his teacher’s bemusement.

These high school kids with high-flying ambitions are seemingly emboldened by their innocent ignorance of the concept of time and try to seek out their own answers to what it means to reach maturity during the film. It could be pursuing career advancement by moving up the ranks in an afterschool job, delving in less-than-noble entrepreneurial pursuits or understanding the intricacies of what a real relationship entails through the passage of sexual.

However, the one character that doesn’t seem to tread this similar path of discovering maturity is ironically the only character that embodies the film’s narrative concept of time being fleeting, and that’s the happy-go-lucky stoner Jeff Spicoli (pictured above and gleefully portrayed by Sean Penn). Spicoli’s constant drug-induced high as he barrels his way through high school actually punctuates the notion of time in this film being all but a smoky blur.

You could even say that all of the other characters were on a self-inflicted ‘high’ throughout the film – not from any drugs, but due to their insatiable desire to conquer their circumstances and uncover the secret to maturity.

However, by the time the film wraps up, you realise that these wide-eyed teens are essentially back to square one, haven’t yet achieved the desired level of maturity they were hoping for. Yet the mistakes made and lessons learnt in those fast times have hopefully enlightened some of them enough to at least inch them a little closer than before to that goal, because in reality that is how you actually grow into your own person – that is how you attain true maturity.

Netflix’s The Ballad Of Buster Scruggs Brilliantly Shines With Its Dark Satire On Westerns (Film Review)

Netflix’s “The Ballad of Buster Scruggs” is a dark but humourous anthology film that extolls the Western genre for what it is and has always been – a wild, sprawling collage that juxtaposes humanity’s noble intentions to thrive with their cruel but inescapable instincts to survive which inevitably leads to one conclusion: their demise.

The Frontier giveth, and the Frontier taketh away.

Entertaining and memorable performances combined with the Coen brothers’ unique cinematic lens of layering a blanket of twisted satire over a stirring reality like the Wild West makes this film a not-to-be-missed adventure.

And if there ever was a lesson the Coen brothers wanted you take away from this film, it would simply be this: the Frontier giveth, and the Frontier taketh away.

Hold The Dark Review: The Darkness Within Us

Netflix’s latest thriller ‘Hold the Dark’ revolves around this singular, undeniable truth: There is a darkness inside all of us. Whether it is lying dormant in the deepest recesses of our minds or fully manifested in the open through one’s personality and actions is the undying struggle that this film seeks to wrestle with.

This darkness, in the context of the film, manifests itself as the feral-like proclivities that we as humans are always on the brink of succumbing to – even going beyond so-called “evil” motives like revenge – for the no other reason than to survive. Civilisation is thrown out in place of savagery.

All hope is not lost, however, as this film dwells long enough with its characters’ personal desperations that when the final act plays out, a silver lining to this dark, unrelenting madness is revealed.

Legacy. Unique from the rest of nature, we’re endowed with the ability to pass on our knowledge and ideals to the next generation in the hopes of securing them for the future that lies ahead.

By the end of the film – despite the main character witnessing the egregious acts that hail from those who embrace the beast inside them (while straddling that thin line himself no less) – he emerges from the chaos with the clarity of legacy.

The stories and lessons we share with the people we love binds us with a fundamental connection that transcends laws of nature itself.

We shoulder the responsibility to ‘hold the darkness’ inside us all to help others to see the light –maybe that’s how we rescue ourselves from falling into the abyss altogether.

Conan The Barbarian (1982) Mini-Review: Nietzsche With Swords

Infused with Nietzschean zest while being soaked in brutal action, Arnold Schwarzenegger’s ‘Conan The Barbarian’ (1982) rises above its seemingly superficial premise of high fantasy and swordplay to weave a tale riddled with powerful philosophical undertones (e.g. the Übermensch concept and human will) that would make the late Conan creator, Robert E. Howard, proud. On a side note, Basil Poledouris’ thunderous orchestral score for the film has become one of my all-time favourite movie soundtracks.

Isle Of Dogs Movie Review

The juxtaposition of genuine human relationships coated under real animal needs and instinctual motivations might not be a novel framework in animation. Yet Wes Anderson’s distinctive dry wit combined with imaginative stop-motion direction make his animated forays Fantastic Mr Fox and now Isle Of Dogs well-deserved standouts from the crowd of CGI-laden animated films currently populating the entertainment industry.

In short, the world (mostly me) needs you to make more animated films, Wes.

Thanks a bunch.

Mother Nature’s Existential Crisis

The duality of nature and mankind is perceived almost as an “either us or them” dilemma – an all-out war between two factions vying for ultimate control to thrive. A form of extremism that either results in humans completely eroding the environment to advance their own form of civilization or nature fully reclaiming every inch of their once-flourishing domain. Some would say that the former notion is right; others would say the latter is. Yet, the cold hard truth that I came to realise from watching Studio Ghibli’s Pom Poko by the late Isao Takahata is that human beings are the only species to have somehow transcended evolution as we know it – to the detriment of Mother Nature, unfortunately.

Equipped with advanced sciences and technologies developed at a frighteningly rapid rate, we humans have surpassed nature’s capacity to adequately provide for us, and we’ve subsequently tilted the scales of balance to supplement our own needs of survival. In this burgeoning scenario, nature can’t possibly come out as the victor, ever (unless an apocalypse descends upon this earth and wipes out all of human life). We have to come to terms with that sooner or later. Mankind has reached a point where they no longer want to abide by “constricting” natural laws in order to sustain themselves.

Pockets of greenery like parks and reserves embedded in the heart of bustling metropolitan “jungles” are sadly the new norms that nature has to adapt to.

With the slow but wholesome annihilation of the environment on the cards due to this depressing truth, a compromise is inevitably needed – a bigger compromise from nature than from humans it would seem. This was Pom Poko’s incredibly tragic solution to this entire situation, and you can see it unfolding before your very eyes.

Gone are the days where the beauty of nature with its multitude of florae and faunae could roam free in vast terrains. Pockets of greenery like parks and reserves embedded in the heart of bustling metropolitan “jungles” are sadly the new norms that nature has to adapt to. Creatures of the wild are forced to modify and inhibit certain evolutionary traits and adjust to concrete walls and sewers instead of tall trees and burrows, or risk extinction. Nature’s undergoing a reinvention of its core identity for the sake of surviving, and the hope of thriving.

Funny, to think I got a lesson about nature’s existential crisis from a movie about talking racoons with inflatable testicles.