SeriousJest

In the Army Now (1994)

Charismatic Acting but Mediocre Story and Script

This film is what I expected: more silly than funny, but charismatically acted. The early scenes involving boot camp were surprisingly not so bad, but the movie enters eye-rolling territory shortly after that.

I'm surprised it took this many writers to produce such a mediocre story and script. There are so many aspects of real military life that are genuinely funny and could be written into a good comedic script. Instead, audiences way too often get flicks like this one, full of ridiculous situations in whatever reductive version of the military that writers who never actually served just cavalierly made up.

Shang-Chi and the Legend of the Ten Rings (2021)

Great Example that Movies Don't Need to be Whitewashed to be Successful

According to IMDB's trivia page for this film (my source for most factual assertions herein), Liu tweeted in December 2018 about asking Marvel for the role of Shang-Chi. He later retweeted that original tweet on July 20, 2019, thanking them. Cretton said that a lot of contenders were considered for the lead role, but the perfect package was in Liu. "He has the athletic abilities, but he's also a terrific actor, showed fantastic chemistry with Awkwafina, is fluent in English and Mandarin and is comfortable shifting between Western and Eastern cultures." I couldn't agree more. This movie really depended on all of those qualities, as well as his charisma and passion, and Liu has all of that and more. He has a bright future in Hollywood.

Renowned Hong Kong film actor Leung was also a perfect choice to pair opposite Liu. While Leung was Cretton's first instinct when thinking about who to cast as Xu Wenwu, Cretton thought that there was "no way we'll ever get him." Fortunately, Leung was thrilled to join the film, as he is a huge fan of the Marvel Cinematic Universe (MCU). When Marvel Studios contacted Leung, they gave him full authority to invent his own background for this iteration of his character. He sought to give the character more depth and credibility: "I tried to explore the reasons that could have led him to become who he is. He's a man with history, who craves to be loved. He is a sociopath, a narcissist and a bigot, but he is also human and has a family." Leung displayed strength, class, leadership, tenacity, an intimidating presence, intense inner turmoil, and a surprising emotional vulnerability beneath his cold exterior. Cretton stated that he and Leung had discussed whether Wenwu (named after the Chinese dual concept of wen (civil administration) and wu (martial administration)) had the ability to love, and "Tony emphatically said yes." Leung saw his character as a man who genuinely loves his family but doesn't know how to show it.

This movie is visually beautiful, featuring captivating sets, rich colors, and stylish costumes. The final film features over 1,700 visual effects shots. The village in Ta Lo (which is actually a region with cities, despite the featured "monkish" village) was especially stunning, including the fantastic creatures roaming around.

The action sequences are all elite. The bus fight, in particular, is epic.

This movie is also important for cultural reasons. It is Marvel Studios' first superhero film with an Asian leading protagonist. The first English line isn't spoken until about 10 minutes into the movie, and there is a particularly inspiring conversation regarding the importance of given names in Chinese culture.

Cretton, for whom Marvel films were never a goal until he heard that Shang-Chi was entering the MCU, was intent on accurately representing the richness of Asian culture. In an interview with CinemaBlend, Cretton stated that, for him, "one of the biggest parts of this production was having all of these voices on set to say, 'That food is not what he would have on the table, that music is not correct. If Wenwu is really from this area, he wouldn't have that on the wall.'" Shang-Chi's father in the comics was a character named Fu Manchu, "an obviously problematic deeply stereotypical character," according to Cretton. So, the character was rebuilt from the ground up for this film.

Xialing was originally going to have a red streak hair extension, but it was dropped a month into filming, at Meng'er Zhang's request, after she read a Teen Vogue article covering how frequently rebellious Asian women in popular media are given such an accessory.

This movie is a great example that films don't need to be whitewashed to be successful. It made $94.4 million in the US box office, shattering the box office records for the 4-day Labor Day weekend by beating Halloween (2007)'s $30.5 million record.

Death on the Nile (2022)

Visually & Auditorily Beautiful

This is a visually beautiful movie. The cinematography, with its rich color palettes, is not only stunning to the eye, but it's used to compliment the telling of the story, as well. According to the IMDB trivia page for this film, "A large number of the shots are framed with perfect or near-perfect symmetry. Some scenes are shot from more than one angle yet the symmetry remains. This is, no doubt, an allusion to Poirot's obsessive need for balance in all things."

The score and soundtrack also significantly added to my enjoyment of this movie. I'm not very into musicals, but this film's music was great, and the musical scenes were actually part of its story, rather than a fourth-wall-breaking cutaway.

The choreography was an excellent fusion of classic dance with modern, more sexually explicit overtones. It had my mouth open, while I wondered if my great grandparents moved like that.

The cast delivered elite performances, bringing out their characters' unique personalities and idiosyncrasies. This is critical for a good whodunit, as the audience needs to feel strongly about different characters in order to be invested in the final reveal.

In that vein, two of the most important roles were that of Linnet Ridgeway and Louise Bourget, played by Gal Gadot and Rose Leslie, respectively. Each had to provide the Girlfriend Experience, be alluring and sexy, exhibit passionate strength, give off a dangerous vibe, and also counter that with vulnerability, making the audience want to help them while distrusting them. Together, their chemistry had to consist of both an intense sisterly love and the catty competitiveness of mortal enemies. Of course, they nailed it.

It was also nice to see Letitia Wright and Russell Brand get the opportunity to show a little range in this production. Wright usually plays the intelligent and cunning little sister or daughter role, like she did as Shuri in the Marvel Cinematic Universe, or as Nish in Black Mirror; in this film, she retained those qualities, but also played up her sexy side as a desperately desired romantic partner. Brand, who usually plays a goofball, is convincing as perhaps the least eccentric character in this movie.

As, Poirot, Branagh toed a fine line between charismatic intelligence and eccentric arrogance. Sometimes he came across as way too aggressive in his interrogations, which detracted from his character's image as a calculated intellectual assassin. While I normally wouldn't blame that choice on the actor, he's also the director, so he probably had some say in it. I guess he must believe that if you keep yelling accusations, the subject of your interrogation will just confess.

The costumes in this film were also exquisite, from the elegant and stylish suits and gowns worn by the actors, to the Tiffany & Co-designed jewelry (including a replica of the Tiffany Yellow Diamond). Even Poirot's moustache was badass; I'll be talking to my barber about whether I might be able to pull something similar off.

Unfortunately, the story itself did not deliver enough substance to keep up with all of this movie's other great qualities. According to IMDB, "Many of the characters are combinations or alterations of characters from the novel, to make for a smaller cast and a less confusing plot." While the plot itself wasn't confusing, there were significant elements of this film in which I felt it tried to do too much.

Inventing Anna (2022)

Dressed-Up Good Trashy Tabloid Gossipy Fun

In some ways, this mini series is a good commentary on class, capitalism, patriarchy, family, journalism, and race. I also enjoyed the spotlight it cast on how difficult it is for families and friends to visit their loved ones in jail (versus prison), when they haven't even been convicted of anything yet.

While the plot summary centers on Chlumsky's journalist as the main character, Garner very decisively steals the show, just the way Delvey would want it. The story of a fashion-obsessed sociopath conning New York aristocrats doesn't exactly appeal to my interests, I often found myself disliking multiple opposing sides (which I believe was intended), the show played with the net a little loose some times (like with legal matters), it felt like it dragged on a little long, and the ending was pretty anticlimactic. However, it's chock-full of memes, outrageous moments, and dark comedy, it's entertaining (until Delvey becomes too much, but then you can just take a break and come back after your annoyed meter has reset), and it's based on true events that are interesting enough for you to want to be aware of (I plan to research them a bit sometime soon, out of curiosity).

In sum, this is dressed-up good trashy tabloid gossipy fun. My wife and I have been talking to each other in Delvey's "creepy accent" all week and calling each other "basic" and "broke-ass." Delvey has broken into pop culture.

Iron Man Three (2013)

Best of the Iron Man Movies So Far

This film is probably the best of the Iron Man movies so far. I love the distinctions between the suits, the continued development of their capabilities in new and exciting ways, the development of certain characters as heroes, and especially the focus on Stark's battle with post-traumatic stress disorder. The acting, special effects, and cinematography are also top-notch, as usual with Marvel Cinematic Universe movies.

Yearly Departed (2020)

Ring In the New Year with Some Laughs

The 2020 special was funny, different, and apparently successful enough to inspire a 2021 special. Generally, the 2021 special is not as funny, although Yvonne Orji managed to carry it to being decent. These specials are a good way to prepare for the new year and catch some laughs.

Iron Man (2008)

An Iconic Film, and a Must-See if you're into Superhero Flicks

The first of the Marvel Cinematic Universe films, this is an iconic flick and a must-see if you're into superhero movies. Great special effects, solid origin story along with an entertaining first adventure, played by a top-notch cast (Gwyneth Paltrow almost stole the show as Pepper Potts). They actually managed the Herculean task of making the suits come alive from the comic books onto the silver screen. My only complaint was that the final battle was a bit hokey.

Army of Thieves (2021)

Everything I Thought Army of the Dead Would Be

I watched Army of the Dead with very low expectations, expecting it to be extremely corny and cheesy. While it definitely had its corny and cheesy moments, I was pleasantly surprised by how fun, entertaining, and unique it was.

Unfortunately, this prequel is everything I expected Army of the Dead to be. The dialogue is eye-rolling bad ("Did you just say 'gulp'?"). Where Dieter's strange genius complimented other strong and entertaining characters in a comedic and interesting way, he becomes just annoying and uncharismatic as the lead. Not even Emmanuel's and Fee's strong performances could carry this script. If you're an Army of the Dead fan like me (I even attended the Viva Las Vengeance VR Experience and loved it), you won't hate this flick, but you could stand to miss it all the same.

Ojing-eo geim (2021)

Joins Saw and The Hunger Games as an Instant Classic

This series has many of the elements that made Saw and The Hunger Games great, with enough unique iconic elements to earn its place as an instant classic in its own right. It makes you care about its rich, developing characters, played by charismatic and convincing actors. It masterfully balances extreme suspense with gruesome outcomes, but it also sneaks in endearing and comedic scenes when you least expect it. It makes insightful social commentary about subjects such as extreme financial disparities. It addresses depression and post-traumatic stress disorder. It features creative set design, props, costumes, and music that have already become the inspiration for countless memes. It will spur various conversations with your friends about all of these subjects and more.

Spenser Confidential (2020)

Entertaining, but Not Very Special

This movie is entertaining in that the acting is great, the dialogue is funny, and the action is constant. The actors appear to be genuinely having fun, and that tone rubbed off on me as a viewer. Iliza Shlesinger was brilliant as an aggressive Southie girlfriend, and Bokeem Woodbine is as charismatic as ever; both almost stole the show. Black Betty was a good example of film personification, as well. Still, the plot was very simplistic, and there wasn't much that was special enough about this story to give it a higher recommendation beyond being a decent way to pass some time.

Fleabag (2016)

A Wonderful Trip Through a Wide Range of Emotions, Beautifully Acted

I really didn't expect to like this show as much as I did, based on its description. However, it takes you through a wide range of human emotions, including disappointment, despair, depression, hope, unexpected happiness, laughter, love, contempt, skepticism, faith, and many more, in creative and entertaining ways. Not only are the plot points and dialogue well written, but they are beautifully played by actors who are just as skilled in using physical gestures and expressions as they are with speaking lines. I was a little disappointed that this series only lasted two short seasons, but Fleabag's story is so perfectly told and wrapped up in those seasons that I'm also kind of glad it didn't jump the shark. Waller-Bridge is extremely talented as both a writer and an actress, and I hope to see more wonderful projects from her soon.

Green Card (1990)

Watered Down to a Terrible Taste

The concept of two people forced to live out their sham marriage to avoid the repercussions of their fraud being exposed and then developing a real relationship could have been the basis of a great movie. It could have provided an insight into the plight of the undocumented immigrant in the United States through the eyes of the person who initially helped them for the wrong reasons. I have seen this story actually play out in real life to some extent. It seems ripe for someone like Ava DuVernay to really do it justice by skillfully weaving together themes of suffering, social injustice, and love in a way that forces you to take it home and ponder it for a week or more. But this film stripped that concept of all that was interesting, first by making sure that the immigrant wasn't from a " country," as Donald Trump would put it. Even worse, the character was dismissive of the supposedly rough neighborhood that he came from, saying that people should just forget about trying to improve those neighborhoods, because they would never change (and he's never seriously challenged on that statement or his attitude). The irony of the fierce liberal who still runs in enough wealthy social circles to feel pressure to enter a sham marriage so that she could get the perfect apartment is acknowledged, but more in a light-hearted comedic way than anything meaningful. Also, the relationship between the 2 main characters wasn't developed well; it wasn't very convincing. And the ending was pretty unrealistic.

The Great White Hype (1996)

Severely underrated for its time!

IMO, this movie was severely underrated for its time. It was purposefully cheesy, but precisely insightful (even prescient) about a wide array of problems within boxing, as well as about the use of racist rhetoric and promotion to fuel sales. Today, we have seen the explosion of the internet and social media take these concepts to a new, terrifying level.

The entire cast was excellent, leaning into the cheesiness of their roles and script, but doing so in a very funny way. Three standouts for me: Jackson's performance as the devious yet charismatic master promoter was delightful; Peter Berg is great as an idealist whose good heart but dim wits get used as the center-piece for one of the very things he hates most; and Salli Richardson-Whitfield is absolutely stunning both in her beauty and in her commanding presence despite her male-dominated environment.

When They See Us (2019)

A Scathing but Undeniable Indictment of the U.S. Criminal Justice System

I grew up in New Jersey, so I was generally aware that five black and Latino boys only slightly older than me had been convicted of raping a white woman in Central Park, and that a lot of people felt that the boys had gotten a raw deal because of the color of their skin. I was also generally aware of the developments in the case many years later. I went into this limited series (four episodes) thinking that my general knowledge of what happened, along with my past experience as a criminal defense attorney, was going to serve as emotional armor, but this project pierced my soul. Learning the details of what happened to those boys broke my heart, in the way that it is broken every time I see video of an unarmed person of color (POC) gunned down in the street or treated like a vile beast by people with badges who are taught that it is okay to channel their irrational fears and prejudices into anger, disrespect, and violence toward their fellow Americans. Not only did series creator Ava DuVernay genuinely touch POCs who have felt the sting of oppression by bringing to life on screen our fear and frustration in a way that even the most articulate of us cannot convey with just our words, but she also opened the eyes of a significant number of people who were not as aware of injustices like this, as evidenced by the overwhelming responses to this project, including tangible consequences for the case's prosecutors. As Joshua Jackson, who played defense attorney Mickey Joseph, keenly stated during Oprah Winfrey Presents: When They See Us Now, "What did I learn about the justice system is that it's the wrong name for it." This series is a scathing but undeniable indictment of the U.S. criminal justice system. It exposes police brutality and abuse of authority that are so pervasive they strike fear and emotional paralysis across family generations. It depicts the coercive nature present in too many interrogations. It highlights the win-at-all-costs attitude of too many prosecutors, despite the "minister of justice" role that they are supposed to embody. It reveals some of the unfair tricks allowed in trials, such as parading the gruesome details of crimes in front of juries in an effort to shock them to convict based on the emotional desire to make someone pay for the crime, rather than the logical conclusion that the accused actually committed the crime. It lays bare the savagery taking place in our prison system, which facilitates the destruction of the humanity of inmates, rather than their rehabilitation. It sheds light on the crushing burden shouldered by prisoners' families, who are often made up of good, law-abiding people. It touches on the exploitation of those incarcerated by the system, and thereby warns of the many dangers inherent in the privatization of prisons. And it displays the impossible Odyssey of trying to piece together a life after serving one's sentence. This production also emphasizes the great difference that individual people within the system can make, for better or for worse. On one hand, prosecutors like Linda Fairstein and Elizabeth Lederer used their discretion to send five innocent boys to jail while furthering their own careers; NYPD officers used their power to coerce confessions from those boys; and some corrections officers used their authority to abuse and dehumanize Korey Wise in prison. On the other hand, the boys' lawyers used their abilities to aggressively defend them and get enough of the evidence on the record to contribute to the case's reexamination years later; Correctional Officer Roberts (I still don't know if he's based on a real person) used his authority to help Wise and treat him like a human being, helping to keep him alive; and Nancy Ryan used her discretion as a prosecutor to play a large part in the reexamination of the case later. As the real Kevin Richardson so aptly articulated in When They See Us Now, Fairstein was "one of many" that caused this injustice. There were many others within the system who followed her lead in steamrolling these boys. Had more of those people used their position to stand up for what was right, they might have been able to prevent this tragedy. Similarly, people outside of the criminal justice system can make a huge difference, as well. Antron McCray was crushed by his father's abandonment, and Wise suffered from the long lapses between his mother's visits due to the hardships of those visits. Conversely, the support of the families of Richardson, Raymond Santana, and Yusef Salaam made a significant difference in their ability to cope with what happened to them. The support of the boys' Harlem community in protesting this injustice also played a huge part in keeping this case visible to the rest of the world, maintaining attention on the case and fueling its development, rather than allowing it to be buried and forgotten. It also needs to be highlighted that, while Matias Reyes played an instrumental part in creating this tragedy (among other tragedies), his desire to "do the right thing" as an older man also played an instrumental part in its eventual outcome, as well. The series' soundtrack was perfect, from the nostalgic hip-hop anthems that opened Episode 1, to the somber score that accentuated key moments in which dialogue was not necessary appropriate. Moreover, the cinematography masterfully captured everything from the ominous criminal courtroom, to the dual beauty and secluded creepiness of Central Park, to the bustling and culturally rich community of Harlem, to the oasis-like Coney Island. The one shaky area of this production was its depiction of the trial, due to some of the liberties it took in dramatizing the proceedings. I don't doubt that prosecutorial misconduct occured, but I highly doubt that the first time the boys' defense attorneys saw the confession tapes were during the trial. Discovery rules usually do not allow surprises like that in real life. Furthermore, prosecutors must turn over any exculpatory evidence to defense counsel upon learning of it, so a mistrial or some other heavy consequence probably would have occurred upon the discovery mid-trial by defense counsel that DNA tests had been conducted on a semen-filled sock that reflected negative matches for the boys' DNA. The real Santana implied during When They See Us Now that those DNA tests were actually discovered during depositions, in advance of the trial. Finally, the key to the successful telling of this story was its cast. Veteran stars like John Leguizamo, Niecy Nash, Michael Kenneth Williams, Blair Underwood, and Famke Janssen provided solid supporting performances, but the production was carried by the extremely talented actors who played the accused as boys, as well as those who played them as men. In this regard, one actor stood out as the MVP: Jharrel Jerome. As the only actor to play both the child and adult version of his character, he irresistibly drew in our sympathy by masterfully emoting a wide range of feelings like innocence, vulnerability, fear, strength, frustration, love, humor, duty, loyalty, disappointment, confusion, desperation, trust, and doubt, just to name a few. According to IMDB's trivia page for the series, Jerome lobbied for an audition while he was busy filming Mr. Mercedes...for which he had grown a beard. With the beard, he was afraid he would be considered too old to play the younger Korey, and he fully expected that the project would cast two different actors to play the part at different ages. After finishing Mr. Mercedes, he shaved his beard and auditioned again. DuVernay was so impressed by both his audition, and how much his facial hair aged him, that she cast him as Korey at both ages. Jerome's performance is exponentially more impressive, however, when you witness the real Wise on When They See Us Now, and you realize that Jerome's affectations in his role were not improvised or artificially created; instead, he has captured Wise's mannerisms and speech patterns with a startling degree of accuracy. In When They See Us Now, Jerome declared, "I could never be Korey Wise. No one could ever be Korey Wise and fill those shoes. I just did my best to embody him." Maybe so, but Jerome's performance was as good as it gets. In closing, DuVernay and her colleagues have added something of great substance to our ongoing national conversation about our criminal justice system. As DuVernay so precisely stated in When They See Us Now, the U.S. criminal justice system is "not broken; it was built to be this way....It was built to oppress. It was built to control. It was built to shape our culture in a specific way that kept some people here and some people here. It was built for profit. It was built for political gain and power....It lives off of us, our taxpayer dollars, our votes, the goods that we buy that are made...inside of prisons. It lives off of our ignorance, and we can no longer be ignorant."

Historical Roasts (2019)

An Ingenious & Difficult Concept with Mediocre Execution

I am a fan of both Ross and the Comedy Central Roasts. With this project, Ross attempted to do for the Roasts what Lin-Manuel Miranda did for Broadway with Hamilton: teach audiences history through witty and entertaining art. As a concept, this show is both ingenious and extremely difficult. It could be great...or really bad. Unfortunately, the series fell somewhere in the mediocre. There were some great jokes, as well as some great performances (i.e., White as Muhammad Ali, Ryan Phillippe as Julius Caesar), but too many of the jokes and performances were flat, including White's impression of Nelson Mandela (his South African accent sounded more like a Mexican accent by a few minutes in). For this series to reach its full potential, Ross will have to recruit better roasters who will rise to the very difficult challenge. However, unless I see such names in the credits for Season 2 (if it gets renewed), I may skip it.

The Purge (2013)

A pop culture icon, despite its shortcomings

From a strictly artistic standpoint, this is not a great movie. Some of the scenes are hokey, and the character development lacks enough depth to inspire your investment in the protagonists. However, its plot is pretty unique, the socioeconomic conversations it inspires could go on for days, and, frankly, it's a pop culture icon (as we discussed in Episode 19 of the podcast, and as further detailed in IMDb's The Purge trivia page, this film has inspired a few major horror maze/experience productions). Hawke manages to transcend the script with his usual intensity, and it's pretty different to see Headey in such a morally upright and vulnerable role.

For more reviews and a kickass podcast, check out: www.livemancave.com

Carlos (2010)

Édgar Ramírez is remarkable in this role

The life of Ilich Ramírez Sánchez is extremely interesting in its own right, but the success of this project really depended upon Édgar Ramírez, who rose to the occasion in a remarkable way. Through him, the viewer can see the charismatic, ambitious, inspiring, fiery, driven, obsessed, aggressive, narcissistic, lecherous, hot-tempered, morally and ethically flexible person behind the notorious and fearsome reputation of Carlos the Jackal. One also gains pretty good insight into some of what drives, and the development of, revolutionaries, insurgents, terrorists, etc., and this series begs the question of where the line between those different classifications lies. The project also calls out how instrumental governments have been in the success of these non-state combatants, and the ensuing hypocrisy of such governments in denouncing these individuals once their services lose enough value. Additionally, viewers can appreciate a fascinating account of the development of the Cold War from the perspective of its "front-lines" fighters and in constantly shifting international settings. In sum, this is a brilliant series about fascinating people and subjects, brought to life by excellent actors.

For more reviews and a kickass podcast, check out: www.livemancave.com

The Middle (2009)

Actually kind of depressing

Every once in a while, you'll get a chuckle out of this show, and there are some insightful commentaries about life in general. However, watching Frankie & Mike Heck schlep through life in their crappy jobs, in their crappy house, and with their ungrateful kids is way too often depressing. After Season 1, I will only be watching further episodes of this show if it happens to come on TV while I'm doing something else. That being said, Heaton and Flynn are charismatic in their roles; Frankie is a much better character than Debra Barone. Also, Atticus Shaffer is an excellent little weirdo.

For more reviews and a kickass podcast, check out: www.livemancave.com

The Amazing Spider-Man (2012)

Acting is great, storyline is okay, film is too often hokey.

As we discussed in Episode 23, Part 1, of the podcast (www.livemancave.com), we love the Spiderman character, and Garfield not only does him justice, but he also presents a unique and charismatic version of Peter Parker that is even more interesting than when he dons the mask. Emma Stone brings The Girlfriend Experience, making Gwen Stacy endearing in her own right, not just because of how much the hero cares for her. Martin Sheen and Sally Field not only make you care about Uncle Ben and Aunt May, but they show you aspects of Spiderman that Garfield can't by himself. Denis Leary really manages to walk that fine line between pompous jerk and loyal protector right into the viewer's heart. In short, the acting is phenomenal.

Unfortunately, the storyline is nothing special, and the movie is too often unnecessarily hokey (Really? Is it that easy to break into a high-security lab with genetically unstable spiders?), which conflicts with the film's more gritty tone. This film feels more like a background setup for sequel, which I have yet to see, but which I'm hoping will take the franchise to the next level, like Captain America: The Winter Soldier did for its franchise.

Changeling (2008)

Filmmaking Crosses Over Into Activism

The film is set mostly in the 1920s, but the hokiness of some of its scenes (although, according to IMDb, "Virtually every event depicted in the film appears as cited in legal documents, with dialog often taken verbatim from court transcripts") and its sappy score are straight out of the 1990s. However, all of that is overcome by tremendous acting performances, especially from Jolie (but not Eddie Alderson, who was not convincing as Sanford Clark), as well as by the incredible story, which is mostly true.

I can't believe that this could happen to somebody. This is yet another frightening example of the dangers inherent in handing over unchecked power to any law enforcement organization. If we do not pay attention to history, we are doomed to repeat it.

Additionally, this story reminds me of the value of today's technology and social media. While many complain about how much easier it is to invade someone's privacy, it is also a lot easier to expose corruption. Eric Garner, Sandra Bland, Oscar Grant...these cases are not a new trend developing amongst police departments. This kind of rampant corruption and abuse of authority has existed for long before anyone can remember. But now we finally have the tools to expose them.

And it's not just the police. As an attorney, I have personally stopped a mental health professional from wrongfully committing a person to a mental health institution over what basically amounted to a petty verbal argument between the doctor and the patient.

Respect to Straczynski for getting this movie made. This is where filmmaking crosses over into activism. If someone just told you the facts of this case, you might struggle to fathom how this would play out in actuality...how many people would have to screw up, be complicit, or just flat out do nothing to perpetuate this evil...and just how many people would have to decide to do the right thing, even at risk to their own career, financial interests, or even personal safety, in order to unf*ck this mess. This movie very effectively portrays how this unfortunate situation could very plausibly go down...and while there are many more checks and balances today to help prevent some of the previous injustices from happening again, perhaps some who would previously dismiss all police corruption and mental health abuse as wild conspiracy theories might have their minds changed just a little bit by this film.

For more reviews and a kickass podcast, check out: www.livemancave.com

Big Love (2006)

Starts Out Masterfully, Ends More Soap Opera

I began watching Big Love for the novelty of peering into the life of a man with multiple wives, a trepidatious fantasy that I dare say all straight men imagine at some point (although further daydreaming about it often gives way to nightmares about being outnumbered and overnagged). However, I did not think that I would find a show about Mormons in Utah so interesting after that initial novelty wore off.

Well, it wasn't long before this series showed me how ridiculous my biases were. The show grabs you with its universally human themes, and it also educates you by shedding light on both sides of explosively controversial issues that are very specific to a relatively small group of people, but nonetheless extremely important enough that we should all be aware of such issues. The storytelling is gripping, featuring: a man who built a small empire out of nothing after being cast out of a polygamist compound and onto the streets; his first wife, who bought into this way of life out of love for her husband but still struggles with her choice; his second wife, whose father is the leader of the compound and is responsible for her husband being cast out; and his third wife, who was not very religious before meeting her new family, but has found the path through her love and devotion to this family. More than anything, the themes revolve around people who are attempting to live what they believe is a righteous life, but having to hide it from the rest of society, lest they be persecuted, or even jailed.

It is hard to believe that the legal controversy over the ability of the State of Utah to not just deny polygamist marriage licenses, but to prosecute polygamists for cohabitation, did not come to a head until 2013 (see Brown v. Buhman). As mentioned above, the show presents both sides of the coin, showing how the cohabitation laws were a useful tool for law enforcement seeking to prevent the wrongful exploitation of young women within polygamist compounds and societies, but also recognizing that a significant portion of people who were just trying to freely and honestly practice their religion were arbitrarily caught in the crossfire. Ultimately, my hatred for pretext laws puts me on the side in favor of abolishing anti-cohabitation laws. We should fight the war against exploitation of young women by changing the laws concerning exploitation of young women to better facilitate prosecution of the traffickers, not by casting a wider net that also ensnares innocent people.

The execution of the above-mentioned superior storytelling was masterfully executed by a strong cast. This is role in which I saw Paxton go from charismatic supporting actor to natural leading man. All of the actresses playing the wives bring out their character's individual strengths and beauty, but Ginnifer Goodwin in particular delivers The Girlfriend Experience; she only gets more beautiful the more you watch her. And before she became a fantasy woman, Amanda Seyfried was soft-spoken teenage girl Sarah Henrickson, who expressed the turmoil shouldered by the children of polygamists through her big, blue-grey, brooding eyes.

Unfortunately, the brilliance of the show was overshadowed in its later seasons by over-the-top plot twists. It devolved into a hard-to-believe soap opera, and it lost a significant amount of the real-people-problems appeal that made it so relatable early on. Thus, while the first two seasons easily deserve 8 stars out of 10, the bad aftertaste in my mouth left by the latter seasons downgrades the series to 6.

For more reviews, a kick-ass podcast, and an explanation of The Girlfriend Experience, check out: www.livemancave.com

Underworld: Evolution (2006)

Once the Special Effects Lost Their Luster...

Now that the special effects that were cutting-edge for this movie's time have become not-so-impressive as the industry advances, the story itself is not creative or interesting enough to make it worth your time to direct your attention to the screen for almost two hours…unless you REALLY LOVE vampire or werewolf movies. If that's the case, let your freak flag fly! It's okay; I'm like that with football movies. Besides, there are worse things to have on your TV in the background than leather-clad Beckinsale doing acrobatics, shooting weapons, and kicking ass.

For more reviews and a kick-ass podcast, check out: www.livemancave.com

Lilyhammer (2012)

Torgeir is the man!

I went into the first season hoping for The Sopranos-meets-Norway. I don't know much about Norway, and it's nice to get a glimpse into other countries through productions that feature them as almost a character in themselves (for example, The American). This series did a great job in featuring Norway. However, it was also pretty hokey and featured a protagonist that I did not like.

Frank Tagliano is a narcissistic, hypocritical bully, who pushes his culture and ideas of how the world should be onto everyone in his newly adopted country, stepping on hapless and sometimes innocent Norwegians for selfish gain in stereotypical American imperialist fashion. However, unlike The Sopranos, in which Tony Soprano constantly struggled with his conscience, this show glorifies Frank. I feel like I'm supposed to chuckle as he "outsmarts" (more like strong-arms) people into satisfying his every whim.

Fortunately, in the second and third seasons, Frank became a little more judicious and tolerable, while other characters, such as Fausa's Torgeir, flourish. In my opinion, Fausa carries the show. He is charismatic, funny, humble, and tough when he needs to be. He idolizes Frank, even though he is often unrewarded for his unconditional love. Most importantly, he is the conscience of the show, and through him, we are reminded of the price one pays for being or following Frankie the Fixer.

By the way, world, look out for Maria Joana and Ida Elise Broch. You might fall in love.

Band of Brothers (2001)

One of the Best Visual Depictions of the Sacrifice that Troops Make and the Horrors of War

As a former Marine who deployed to Iraq, this ten-episode mini-series is a must for my personal collection. In fact, I think it's safe to say all military personnel should have it in their collections. Even if you have little to no interest in military affairs, however, you should take the time at some point in your life to watch this series all the way through.

Beautifully scripted, masterfully acted, and filmed amongst breathtaking (in many different ways) cinematography, this production, which significantly contributed to HBO's fast rise as the gold standard in series quality, is an amazing portrayal of the sacrifices made by troops and of the horrors of war. A healthy dose of clips from this series was played by my instructors during training ops to drive home points about all kinds of important subjects germane to war.

A few random thoughts I had while watching the project: - Everyone did such a great job acting, and the character development was top-notch. Even amongst this wonderful cast, Damian Lewis stood out, followed closely by Neal McDonough.

• It was pretty awesome to see David Schwimmer play such a different role.

• There are countless useful lessons to be learned from this series, especially by those who hope to lead troops someday.

• Why is there so much hip firing throughout the series? Isn't it a bit unrealistic to make some of these shots without looking down your sights? - I watched one of the most squared-away officers in the 101st return a salute sitting on his ass. This would not happen in the Marines. Is it different in the Army? - I understand very well the transition that one may go through in terms of how he/she thinks of the enemy during war. When you first get out there, you dehumanize them in your head in order to justify some of the things that you may have to do. After a while, however, there comes a point when you realize that your enemies are human beings, much like you, fighting out of a sense of duty, and just trying to make it out of this thing alive like you are. At least, I went through a transition like that, and this series did a good job of illustrating such a transition. Still, despite the respect that our soldiers may have gained for the Germans as a formidable fighting force made up of dedicated human soldiers, they were still Nazis. They were supporting some pretty foul principles. I'm not saying that our troops were wrong for regarding Nazi troops with the respect that they did during the conflict, but I wonder if my attitude toward Nazi soldiers would have softened even after we defeated them.

• It would be great to have a beer with one of the living members of the 101st who fought in WWII.

• After you finish watching this production, watch The Pacific. It's even better! Then again, I'm biased. :)

Death Race (2008)

One of my Favorite Hokey Car Films

In the bonus feature "Start Your Engines – Making a Death Race," Anderson declares that he meant for this movie to be a darker, more serious, believable version of Death Race 2000. I've never seen the original, so he may have succeeded, but I found this film to be hokey in a few parts, including the ending. All of that being said, it is one of my favorite hokey car films. There is actually a compelling plot behind the race, plenty of great action, and a solid cast, including newcomer beauty Natalie Martinez, whom I'd like to see more of. While I wouldn't go so far as to say that you need to see this flick, I will say that you probably wouldn't mind watching it more than once, either.

For more reviews and a kickass podcast, check out: www.livemancave.com