Cinephile No. 1,193 “Kinds of Kindness”

Recommendation: 3/5 Stars, STREAM

Plot: “A man seeks to break free from his predetermined path, a cop questions his wife's demeanor after her return from a supposed drowning, and a woman searches for an extraordinary individual prophesied to become a renowned spiritual guide.” -IMBD

Review: When I decide to review a film, my trusty little black notebook accompanies me to the cinema. Throughout the film, I do my best to capture notes, impressions, feelings, reactions, and key moments I don’t want to forget in the story. For a standard feature, I can capture anywhere between 9 and 11 notes per film. For a film with a standard three act structure, this usually means 3 to 4 notes per act.  

For the latest film from writer/director, Yorgos Lanthimos, Kinds of Kindness, I captured 25 notes for myself. Given the complexity of his films, which include The Lobster, The Killing of a Sacred Deer, Poor Things, and Dogtooth, this is not the least bit surprising. What I didn’t expect was the uneasy feeling that would linger with me throughout most of his newest film.  

All Lanthimos films feel awkward and hyper-controlled; working within constrained limitations is their charm. Wes Anderson is my favorite director, so this sort of sandbox intrigues me. Now, if you are drawn to a director like this versus someone who does whatever the studio tells them, then read on, because this review gets more complex.  

Another thing all Lanthimos films do is walk a curious line between dark comedy and deep philosophical drama. For much of this film’s runtime, you will find yourself second guessing everything that pulls a dark chuckle out of your soul. What makes this film different from his prior work is the way it is structured. Instead of one cohesive story, Kinds of Kindness is instead structured as three short stories, with the same cast members playing different characters in each story. If you are like me, you will spend the entire film and the days that follow trying to find a through line or shared themes between each story.  

The first short film focuses heavily on Robert (Jesse Plemons) and his boss, Raymond (Willem Defoe). Robert is on a predetermined path set for him by his controlling boss. Every facet of his life is regimented by Raymond down to when he eats, how much he eats, and when he has sex with his life. In many ways, Raymond presents as a god-like character in the life of Robert.  

Following Raymond’s path has been fruitful for Robert, until he is asked to cross a morally compromising line. When he chooses to defy the wishes of Raymond, his life becomes undone and begins to spin out of control. The repercussions begin almost immediately. With it, Robert loses his job, his wife, and any prospects for the future.  

At his lowest point, with all hope lost, Robert meets Rita (Emma Stone), a woman on an eerily similar path of rejection and redemption. Where this story goes from here, I won’t dare spoil. Instead, I will say I believe this story is the strongest of the three.  

The second story focuses its attention on Daniel (Jesse Plemons), a man whose wife, Liz (Emma Stone), is missing at sea. Daniel is a broken-hearted cop who sees his wife’s face in the faces of strangers. Lost and aimless, his friends rally around him, providing the best support they can. Then, miraculously, Liz and her crew are discovered, shipwrecked on an island.  

At first glance, with some time, healing, and patience, it seems that life has all the potential to return to normal after such an ordeal. But Daniel is wary. This version of Liz doesn’t sit right with him. The doubt begins to grow so much that Daniel begins to pose questions to his best friend about the possibility that this version of Liz is not his actual wife. Instead, he suspects she is a body double.  

From these suspicions, this story devolves into a Hitchcockian style film that will leave you questioning the truth. Is Daniel on to something or is he psychologically falling apart? If this was where the story ended, I would have been more than satisfied. Unfortunately, it continues down an even weirder and darker path. It spirals into something odd and almost tortious. Again, I will not spoil the outcome of this story for you. I will just say I think this story is the weakest of the three.  

At this point in the movie, you will wrestle with the connection between the first two stories. As the third story begins to unfold, you will find yourself questioning everything you witnessed so far. You will be frantically searching for themes and driving yourself mad when one doesn’t easily surface.  

The third film begins in a morgue. Emily (Emma Stone) and Andrew (Jesse Plemmons) are with a promising young woman who may possess potential to raise the dead. The morgue serves as a proving ground. It was at this point that my true irritation with this film dawned on me.  

Great stories don’t tell you what is happening. They show you. For me, this film does too much showing and not enough telling. I find these types of films frustrating. It is the same thing that bugs me about David Lynch’s Mulholland Drive. I find the overbearing puzzle distracting. When films like this finally do land, it never feels satisfactory. This is also my chief complaint about Kinds of Kindness. The puzzle is exciting for a while, until it isn’t.  

From the eerie morgue, Emily and Andrew return to their gated community led by Omi (Willem Defoe). Here, the film gave me weird sex cult vibes. I still can’t decide if this is a tool meant to distract us or show an unflinching devotion to Omi between Emily and Andrew. My advice here is not to get too distracted by moments spent in the commune. They aren’t the mission. The commune is where people on a mission go.  

So, what is the mission? Emily and Andrew are desperately searching for a woman, one half of a set of twins that must meet certain qualifications. Beyond the challenge of tracking this woman down, we learn Emily has a husband and daughter she walked away from to fulfill this mission. After a chance encounter, she cannot resist the urge to step back into their lives. This puts Emily in a dangerous situation, where the potential for contamination and exile from the community hangs in the balance like a thick fog.  

Predictably, this is what happens. Still, Emily continues her search, hoping it will bring her back into the good graces of her community. One last time, this is another ending I will not spoil. Instead, I will encourage you to hold on tightly, because the landing is a bumpy ride.  

As the credits began to crawl up the screen and the house lights turned on, I found myself dumbfounded. On the long walk back to my car, I kept wrestling with the experience searching for meaning. After several blocks, it dawned on me that the common themes were rejection and rebirth. As I replayed the story one more time, it all began to make sense to me. Satisfied, I then had to ask myself the most important question any film critic can ask themselves. Did I enjoy the journey enough to recommend it to others? My answer? Sure, but not a full-throated endorsement. Instead, I think this is a film you should spend some time with, for no other reason than it deserves to be debated with other lovers of cinema. Beyond that, I didn’t find a lot to enjoy.  

Be good to each other,  

Nathan  

Musical Thesis: The Ten (November 2024)

With a month left to go in 2024, we are drawing closer to cementing my ten most listened to songs of the year in stone. As I listen to the latest version of The Ten, I still feel baffled by the sonic complexities of the year. In fact, if I were to create a word of phrase association for each of the ten songs listed above, it might look like this: Questioning Yourself, Out of Place, Acoustic Reinterpretations, Time, Movie Soundtrack, Questioning Everything Around You, Memories, Simplification, Love, and A Respect for the Past. Each song is unique in its own way, and each draws a different emotion from me. As you make your way through the playlist, I hope the same can be said for you.

Be good to each other,

Nathan

Musical Thesis: Jim James “Tribute To 2”

At the center of every album is a musical thesis. This thesis can be the driving force behind the album, a theme that interweaves songs together, or a feeling you are left with after the last song plays. With some albums, the thesis is easy to find. On others, it is hidden and requires you to be more than a passive listener. These reviews are not about rating an album. Instead, it is about uncovering a musical thesis.  

I keep lookin' for a place to fit in
Where I can speak my mind
And I've been tryin' hard to find the people
That I won't leave behind

It was never a secret. I love a great quality cover song. I am also a devoted fan of My Morning Jacket and their frontman, Jim James. For years, I have followed Jim’s solo work with the same devotion and excitement I get with the announcement of a new project involving the entire band. This has been especially true of his Tribute albums.  

In this collection of eleven songs, you find beautiful interpretations and reimagining of songs you know well. There are also a few cover songs you may discover for the first time. Taken as a whole album, I sense an undercurrent of country flair, or at least a more grounded sound than you might find on a My Morning Jacket album.  

Every song here is stripped bare. Jim’s voice is the overriding instrument in most songs. Any instrumentation that exists serves as a foundation or launching point for the lyrics. I believe this is a choice made to force you to slow down and pay close attention to the words. The choice means little is standing in the way of an interpretation that can be all your own. As someone unfamiliar with most of the songs on this album, I deeply appreciate and respect this choice.  

This stylistic choice made me curious to learn more. This is more than a simple cover album, paying homage to artists and songs I assume Jim holds in high regard. Instead, I think this album exists as an invitation to discover and explore. Dive deeply into the lyrics, spend quality time with the original songs, and explore catalogs with all your might. Since my first few trips through this album, I have taken on this journey. Along the way, I have discovered new songs, albums, and bands to love. As someone constantly searching for new music, I deeply appreciate the opportunity and invitation.

Be good to each other,  

Nathan  

Cinephile No. 1,188 “The Fifth Element”

Recommendation: 3/5 Stars, STREAM

Plot: “In the colorful future, a cab driver unwittingly becomes the central figure in the search for a legendary cosmic weapon to keep Evil and Mr. Zorg at bay.” -IMDB

Review: The Fifth Element was released in 1997. I watched it for the first time last year at home, and again with a crowd at a local movie theater here in Seattle earlier this year. I don’t know why it took me so long to cross paths with this movie. Perhaps, based on the trailer, I had a sneaking suspicion this film would not be for me. Maybe there were other movies to see. There are always movies to see! Whatever took me so long, I finally arrived at the party, and brought a review with me.  

Like marbles scattered across a wooden floor, this movie is all over the place. It spans centuries and reaches across the depths of our galaxy. It has aliens, an arms dealer, and opera. It flirts with multiple genres and tones. It is part science fiction, action film, drama, and an oddball adventure. It doesn't make sense until you realize it is desperately trying to be a comedy above all else. Once you view it through this lens, its story becomes so much clearer and enjoyable.  

The plot of this film is pitch perfect 90s. It has everything you would expect from the decade of abundance. There is a singular tool to protect humanity, strong religious overtones, a savior with the fate of humanity on their shoulders, a maniacal villain hellbent on profit over people, and one bumbling fool with the skills to get the job done. Throw this all in a bowl, mix vigorously, and you get a film that feels like an odd combination of Die Hard and Mars Attacks. Just before serving, sprinkle in the vibrancy of every character on screen, and you get something that can often feel overwhelming.  

Bruce Willis plays Korben Dallas, a taxi driver who is one wreck away from losing it all, but he is also a man with a backstory. His entire trajectory is changed when Leeloo (Milla Jovovich) falls from the sky into the back seat of Dallas’ cab. Leeloo is the missing piece to save humanity from an evil force with eyes fixed on Earth. Together, Korben and Leeloo join forces, but they are in a race against time. Zorg (Gary Oldman) is an eccentric arms dealer who only cares about one thing, money. This begins a violent collision course, with all three fighting over four mysterious stones, unlocking a tool built for Earth’s protection.  

Looking at everything on my plate, there is more than enough here for an enthralling plot. There is plenty to digest, even for the pickiest cinephile, but then we arrive at the last half of the film. My complaints begin with Chris Tucker’s character, Ruby Rhod. I find Tucker’s portrayal excruciating and annoying beyond comprehension. Every word he utters unnerves me. It felt like experiencing Jar Jar Binks all over again. Which is unfortunate, because the last half of the film features a lot of Ruby. For me, this is where the film begins to lose its charm. It begins to devolve into an over-the-top spectacle with a predictable outcome.  

Here, the film becomes an action film filled to the brim with all the expected tropes. Many of the shootouts, gags, and moments where all seems lost, left me rolling my eyes. And then a cherry is added to the sundae when our two main characters, Korben and Leeloo fall in love. Why? Because that is what you as an audience member wanted. Right? Too bad.  

The Fifth Element isn’t a film I can recommend with any passion. I do think it is worth an evening in, but set your expectations low. And prepare yourself for its most annoying moments. They will test your resolve.  

Be good to each other,  

Nathan 

Out/Back: North Beach Trail – Deception Pass State Park

When I began telling people I was moving to Seattle in 2011, friends who had visited Washington State began telling me stories about visits to Deception Pass. They shared stories about driving across its famed bridge, absorbing the expanse of Puget Sound, and the awe they felt experiencing this feat of engineering that connects Whidby Island to the rest of Western Washington.  

Over the past thirteen years, I have driven across the bridge countless times, doing nothing more than stealing glances of the vista outside my window. I always did so with a promise to return when the crowds weren’t so large. I wanted to fully appreciate Deception Pass State Park and the bridge that beckons people from around the world.  

On a sunny Saturday in April, Brandon and I finally answered the call. Before we began the drive, we knew that a weekend trip on a beautiful spring day would not free us from the crowds, but we had a plan to escape them.  

Beyond checking “Explore Deception Pass” off my Washington State bucket list, I was thrilled to have Brandon by my side on a hike. In the nearly 10 years that we have been together, we have only hiked together three times. Brandon is athletic, but hitting the trail is rarely at the top of his list. With a promise of a quick and moderately challenging trail away from the mass of people waiting for us, I convinced him to tag along.  

As we drove across the bridge, my suspicions were correct. A cloudless weekend brought out the crowds. As people jockeyed for sparking spots near the bridge, we continued to a parking lot closer to the beginning of the North Beach Trail. Entering the lot, we were exhilarated to find it nearly empty. Unsure if the current state of open spots would last, we quickly parked, changed shoes, threw on backpacks, and began hiking along the water’s edge. For twenty minutes or so, we dipped in and out of the tree line. We would come face to face with gentle crashing waves, and then retreat to the trees. Finally, we rounded a corner and saw what draws most people to this spot in the world.  

Standing on the beach, we stared up at the bridge. Instinctively, I snapped as many photos as possible (bridges are one of my favorite things in this world to photograph). From my vantage point, I could see the persistent flow of cars moving across the bridge. I could also see pedestrians pulling cellphones from their pockets in a feeble attempt to capture an original moment. As I watched them, I began to pity those who will only ever know the bridge. From the beach and the trail around the peninsula, there are countless breathtaking angels to be discovered that force you to fully appreciate the specialness of this place. I wished they would leave the safety of their cars for a while and explore beyond the expected.  

Thankful for the space I was occupying, I stowed my camera away. We returned to the trail. For the next ninety minutes, we inched closer to the bridge with each step. We repeated the process of photos and deep appreciation, before returning to the trail several times. As we hiked underneath the bridge and around the far side of the peninsula, I felt thankful for the moment.  

Winters in the northwest are not easy. Beginning in late October and running through April, the weather is almost consistently gloomy, overcast, and wet. For months, we walk from one indoor space to another, trying to dodge raindrops and avoid getting soaked. The weather keeps me from enjoying the outdoors as fully as I would like. This is why the first clear spring day always feels like relief. It is a savior and freeing simultaneously. As we completed our hike, I found myself thankful for the turning of the seasons and overjoyed to be back on a dusty trail.  

Be good to each other,  

Nathan 

Cinephile No. 1,141 “Bigger Than Life”

Recommendation: 3/5 Stars, STREAM

Plot: “A seriously ill schoolteacher becomes dependent on a "miracle" drug that begins to affect his sanity.” -IMDB

Review: The 1956 film, Bigger Than Life, opens with a scene that has become all too familiar in present-day America. Ed Avery (James Mason) is an overworked and underpaid schoolteacher. To make ends meet, he is keeping a secret from his wife and son. He is working a second job for a taxicab company. To keep his wife from worrying, he invents a myriad of lies; school board members, needy students, and overbearing school administrators are all keeping him late. Innocent enough, this isn’t the only lie Ed is keeping.  

For weeks, he has been battling intense pain throughout his body. Episodically, the pain is so bad, he can barely tolerate it. Once again, fearful of worrying his family, he hides his illness the best he can. Like lots of men, he refuses to see a doctor. Instead, he hopes the pain will one day mysteriously disappear.  

When he finally passes out in front of his family, both of his tightly held secrets come to light. Afraid, he is rushed to a hospital. After an extended stay and a battery of tests, it is discovered that he suffers from a mysterious illness that causes fatal inflammation of his arteries. Without medical intervention, his doctors give him less than a year to live.  

Luckily for Ed, a new drug has hit the market called Cortisone. If he can manage the required four pills every six hours for the rest of his life, it is believed he can live a long and happy one. Weighing life and death, Ed chooses the medication.  

At first, everything seems to be returning to normal for the Avery family. Ed has a new lease on life. His wife, Lou (Barbara Rush), finds some much-needed relief and calm. Ed is even finding more time to connect with his son, Richie (Christopher Olsen). But then Ed becomes forgetful of his routine. He forgets to take his pills or doubles the required amount. This leads Ed down an angry and irrational path toward a mental breakdown and complete change in personality. Long gone is the sweet, caring man enraptured by love for his family. Standing in his place is a pompous man, threating to leave his wife and pushing his son way too hard.  

When you watch this film, there are two scenes I would love you to pay attention to as examples of Ed’s breakdown. One scene takes place between Ed and his wife in their bedroom. Ed is determined to leave, travel the world, and escape the shackles of a relationship he finds intellectually stagnating. The other scene takes place between Ed and his son in the backyard. What begins as an innocent game of tossing the football around, soon morphs into an overbearing father attempting to break the soul of his child to make him the best athlete possible.  

Where this film ventures from here, you will never guess (one of its great strengths). Honestly, it left me stunned and gave me strong Psycho vibes. What I found more interesting was attempting to absorb this film through the lens of 2024. We have learned powerful lessons about the toxic and harmful nature of patriarchy. Personally, I have no desire to live in a world where women are expected to be caretakers of the home and children, and aspire to nothing else. I do not want to live in a world where children are not afforded autonomy and choice regarding the direction of their lives. I certainly do not want to return to a world where a man’s word is final, because he is the sole leader of the household.  

It is this bygone view of the world that holds this film together. It is a product of the world in which it was created. While we have evolved (I hope), this film and countless others like it exist as a time capsule of our not-so-distant past. For that and so many more reasons, I recommend you give this film a chance.

Be good to each other,  

Nathan  

Cinephile No. 1,139 “Problemista”

Recommendation: 3/5 Stars, STREAM

Plot: “Alejandro is an aspiring toy designer from El Salvador struggling to bring his unusual ideas to life in NY. As time runs out on his work visa, a job assisting an erratic art-world outcast becomes his only hope to stay in the country.” -IMDB

Review: As a parent, you create a world of safety and security for your child. In your protection, you push them to chase their wildest dreams. You do this fully cognizant of what waits beyond your door. Far removed from the bubble of your love, they will face heartache, ridicule, impossible odds, countless obstacles, and unfathomable challenges beyond your consideration. As painful as it can be to let them go, you do so with a quiet hope that you have left a positive mark that will guide them forward.  

Problemista takes this framework and adds another layer of intrigue. Alejandro (Julio Torres) isn’t just chasing his dream of becoming a toy designer in the rough and tumble world of New York City. He is the embodiment of his mother’s aspirations, who lives in his homeland of El Salvador. As an immigrant in the United States on a work visa, Alejandro must continue to work to maintain his status. For now, that work is an entry level position at a cryogenic company, while he chases his dream of designing toys.  

A simple mistake jeopardizes everything and puts him on a collision course with Elizabeth (Tilda Swinton). For her part, Elizabeth, whose husband is frozen at the cryogenic center, can be summed up as a challenging grinch who uses power and privilege to get her way. This often means bullying others.  

They cross paths when Alejandro is fired from his job for accidentally unplugging Elizabeth’s husband. After a brief exchange leaving the center, Alejandro recognizes an opportunity to stay in the U.S. If he can assist Elizabeth launch an art show of her late husband’s work, she promises to sign the necessary paperwork that will keep our lead character in the country and pursuing his dream.  

In so many ways, this is a complex film. At its core, it is an immigrant story. It is about passionately chasing your dreams. It is about love, loyalty, and seeing the best in your partner (even if the rest of the world doesn’t see it the same way). This is also a peculiar dark comedy that reminded me of another A24 film, Everything, Everywhere, All at Once. Without a doubt, Tilda Swinton, known for her dramatic work, gets the biggest laughs in the film. Hailed as a Hydra, who can always find something to be disappointed about in others, she is confrontational and downright unbearable.  

Alejandro functions as the “Elizabeth whisperer.” He often needs to calm her down and translate her outbursts to those in her crosshairs. Together, they make a comedic duo as they chase down missing art pieces, build a database, and work toward a gallery show.  

This isn’t a passive film experience. It demands some engagement, because we don’t honestly reach the showing. If Elizabeth is unable to sell her partner’s paintings, what does this mean for Alejandro? Will he be forced to leave the country and say goodbye to his Hasbro dream? I applaud the filmmakers for keeping the intrigue high.  

But this is also a movie with some challenges. For Alegandro and his mother, I would have preferred a deeper and more nuanced backstory. We get plenty of flashbacks between Elizabeth and her partner, but beyond the opening scene, we don't get anything that grounds our lead character. There is also a moment when Elizabeth’s tormenting of others will begin to wear on your nerves. For me, it was at about the 60-minute mark. Based on your level of patience, your results may vary. Finally, this movie functions best as a comedy, but I think it misses some opportunities to round out the characters in some of the film’s more serious moments.  

Still, this is a film I would recommend. In a cinematic world struggling to produce adult-oriented comedies, this one satisfies.    

Cinephile No. 1,131 “Perfect Days”

Recommendation: 4/5 Stars, SHOWTIME  

Plot: “Hirayama cleans public toilets in Tokyo, lives his life in simplicity and daily tranquility. Some encounters also lead him to reflect on himself.” -IMDB

Review: My idea of perfection has evolved significantly over the last twenty years. Straight out of college, I assume happiness would be found in a big modern house, a new car every five years, a career defined by notoriety, a bank account bursting at the seams, a loving partner, and perhaps a few kids to call my own.  

As I kick and scream my way into the midway point of my years (I hope), perfection is now a roof overhead, things that give me joy, experiences that add value to my life, a career that gives me purpose and ample space to make a difference, enough money to feel comfortable, opportunities to travel, and a loving and supportive partner.  

My idea of perfection has morphed to meet the realities of my life. This sort of perfection now feels attainable. Knowing this, I am not sure I would have appreciated co-writer and director Wim Wenders’ “Perfect Days” as a younger man. But now, as a forty-year-old man searching for a new form of perfection, it makes perfect sense.  

This film centers itself on Hirayama (Kôji Yakusho). Every day, Hirayama rises with the sun and to the sound of a neighbor sweeping the street and sidewalk. He methodically folds his bed, waters his treasured plants, and brushes his teeth. Before leaving, he shoves a few personal items, including a camera, into his pockets. He greets each new day with a smile, grabs a coffee to go, and as the sun crests over Tokyo, he carefully selects a cassette tape, and then heads for work.  

Much of this film is about finding joy in modest and simple living. This is evident in the smile Hirayama greets each day before heading to work. This is also a film about finding pride in your job. Some might assume this is an impossible task when your work is cleaning public restrooms in busy Tokyo. In these moments, Hirayama defies our expectations. His work is a reflection of himself. It represents an amalgamation of all he is. I found a lot to appreciate in these moments, and much to think about when considering the more mundane aspects of my work.  

While watching the quiet beauty of this film unfold for the first 45 minutes, you might ask yourself the same question I did. “Where will the conflict in this story come from?” We’ve been conditioned to believe that all stories require some form of conflict. Our characters must rise to meet some moment, or this may be nothing more than a story about a solitary man who finds joy in a job done well.  

 When the conflict finally presents itself, it meets the emotional core of what we have experienced thus far. It first comes in the form of an employee who doesn’t show the same level of care for his work as Hirayama. Then conflict comes from an unexpected break in routine. Next, this is followed by an unexpected visitor, Niko (Arisa Nakano), Hirayama’s niece. When pulled together, we finally begin to question why Hirayama spends so much time alone. Up to this point, we have grown to respect and honor the meditative solitude of his life, but it is at these moments that we begin to wrestle with the trauma that may have forced this condition.  

This film could have made a tonal shift in these moments, but it stays true to itself and the path we have traveled. Things are left unsaid. Moments between Hirayama, Niko, and her mother are allowed to linger. We never get a clear picture (this includes the purpose of the photos Hirayama takes). To make this choice as a filmmaker is a hard one. Audiences so often demand closure. They like stories tied up in neat little packages. Wim Wender refuses that urge and pressure. Instead, he allows the camera to focus on the main character as tears stream down his face. Then he asks us to question perfection.

Be good to each other,  

Nathan  

Musical Thesis: Manchester Orchestra “A Black Mile to the Surface”

At the center of every album is a musical thesis. This thesis can be the driving force behind the album, a theme that interweaves songs together, or a feeling you are left with after the last song plays. With some albums, the thesis is easy to find. On others, it is hidden and requires you to be more than a passive listener. These reviews are not about rating an album. Instead, it is about uncovering a musical thesis.  

 I imply to mitigate the guilt, we could align
A perfectly constructed alibi
To hush the violent guilt that eats and never dies
In actual blame, they call me once the dark divides

I do not mean to disrespect or belittle the music that dominates the charts. I am often too quick to dismiss many of these songs as overly simplistic and afraid of breaking new boundaries. I say this, but I know there is a form of escapism in them. For me, comfort over conflict will always be the aim, but I don’t consider myself the average listener.  

Digging through my collection, you might find me hypocritical. You would see that I too am guilty of loving songs that require much of me. But then you would land on a band such as Manchester Orchestra.  

Manchester Orchestra requires some work on behalf of their listeners, and their album, A Black Mile to the Surface, is a perfect example. This album is a solid collection of songs containing multitudes. Looking at a sample of lyrics from the song, “The Math,” above, you see a song that is wonderfully composed, beautifully written, reflective, and heartbreaking. This is an album filled with stories masquerading as songs where heroes and villains slowly reveal themselves. In each verse, you can find through lines to your own life. As you do, you will discover new challenges to wrestle in the deepest recesses of your mind.  

For me, this is the purpose of art. Good art entertains. Great art challenges. As I grow older, I find myself drawn to music, invoking a strong emotional reaction. I want to be surprised. I want to be shocked. I want to be challenged. I want to look at my own life through songs and realize I am not alone. At this point in the adventure, I need to know that my experiences are not unique, and there is someone out there who can relate. I need these things so much more than I need to escape.  

As they do with almost every album, Manchester Orchestra challenges me. They give me art that takes some time. The mysteries here do not reveal themselves quickly. I adore the invitation to stick around for a while.  

Be good to each other,  

Nathan  

Cinephile No. 1,122 “All of Us Strangers”

Recommendation: 5/5 Stars, SHOWTIME  

Plot: “A screenwriter drawn back to his childhood home enters into a fledgling relationship with a mysterious neighbor as he then discovers his parents appear to be living just as they were on the day they died, 30 years before.” -IMDB 

Review: “All of Us Strangers” is a challenging film to discuss without spoiling vital moments in the story. Instead of analyzing the plot, I want to spend some time in this review examining what this film did to me. At the end of that reckoning, I hope to impress upon you the necessity of seeing this film as fast as humanly possible.  

Imagine for a moment that you could have a conversation with someone from your past. That person could still be living, or their time on Earth could have already ended. If you had the chance, what would you say in such a conversation? What would you confess? How would you seek clarity? How would you uncover truth? How would you express all the moments in your life they have missed? It is this thought exercise that serves as the foundation for this film.  

As I watched this story unfold, and in the days that followed, three people consumed my attention. Thinking of my grandmother, my father, and my youngest brother, I cannot help but apply this thought experiment to my life. If given the chance, I would love to show my grandmother what has become of my life. Talking with my dad, I would hope to squeeze out any remaining wisdom he deemed important. Speaking with Lucas, I am consumed by the dizzying number of questions encircling someone stolen so violently from my family.  

In this film, Adam (Andrew Scott), plays a struggling screenwriter whose parents died in a car crash thirty years ago. Mysteriously, he gets the opportunity to share space with his parents. He is given the opportunity to reveal the arc of his life. He gets to come out to his parents and reveal his authentic self. He wrestles with the violent ending of his parents’ life and its devastating impact. And he gets to do this in a budding and supportive relationship with his confident and flirtatious neighbor, Harry (Paul Mescal).  

As he does, we question whether he is mentally breaking down or if something else is happening here. The answer to that question is not necessarily important, not as important as the revelations uncovered and the mirrors shining on our own lives.  

The people who love us most in this world can never truly and completely know us. Our parents, siblings, romantic partners, and best friends are strangers at the end of the day. We are strangers to them as well, at least some portion of us remain so. No matter how we try, we can never fully know someone, and we can never fully be known. Even if, through some mystical opportunity, we were given the opportunity to converse with those absent from our lives, we would discover we are all just strangers.  

For me, this is a powerful epiphany, but so is the revelation that time is a precious and rare commodity. We do not have long to tell those we love how we feel. One day, grief will be all that we have. I have heard it said, “that grief is nothing more than all our unexpressed love.” This movie cements this idea within me. When you decide to spend time with this story, I am confident it will make you feel the same way. That is powerful. There is opportunity in such a realization. For this gift, I cannot recommend this film enough.  

Be good to each other,

Nathan