Movie Review: Blindspotting

Blindspotting (2018) 

Directed by Carlos Lopez Estrada

Written by Daveed Diggs

Starring Daveed Diggs, Rafael Cassal, Janina Gavankar, Ethan Embry

Blindspotting is a stunningly modern, of the moment movie. Directed by first time feature director Carlos Lopez Estrada and written by and starring Daveed Diggs, Blindspotting attacks our moment in time with a powerful story of race, crime. Fear and getting by. Set in Oakland, the film makes the changing city a character as well as Silicon Valley spills outward, gentrification feels like a threat, not exactly the worst threat these characters face. 

In Blindspotting Daveed Diggs stars as Collin, an Oakland twenty-something with just three days left on his probation. Collin spent several months in jail and has spent the past year in a halfway house but in three days he’s free. All he has to do is stay out of trouble. This is harder than it seems as Collin’s best friend, Miles (Rafael Casal) appears determined to locate trouble. One of the first scenes in the movie finds Miles, with Collin unwittingly in tow, buying a gun. 

Miles says it is to protect his family but Collin doesn’t care, he just wants to never see it and hope that he doesn’t get in trouble for being near it. The two men have been friends since childhood and it was Miles who came to see Collin in jail every week and gave him money and generally looked after him. Miles makes this very clear in conversations about Collin’s ex-girlfriend and current boss at a moving company, Val (Janina Gavankar). 

But that isn’t the story. One night after dropping off Miles and returning the moving truck to the company, Collin sees a young black man run past his truck, followed by a white police officer (Ethan Embry). The officer shoots the man in the back as the young man yells ‘Don’t shoot! Don’t shoot!.’ Collin and the cop lock eyes for a moment before other cops arrive and Collin is told to leave the scene. 

You think you know where Blindspotting might be headed after that but you will be surprised. The film is rarely about the shooting. The full breadth of this story is about the shooting but it’s about it in a much wider context of racism in general. The shooting is endemic of the larger problem at the heart of American race relations. It’s about how we see each other, the assumptions we make and how we fail to question those assumptions. 

Blindspotting features one of the best scenes of 2018. I won’t spoil it for you, it’s the ending of the movie. Daveed Diggs is known for his stage performance as Thomas Jefferson in Hamilton and he takes some of that Hamilton stage skill and bring it to this powerful scene in which he raps about all that we’ve seen before in the film and in the life experience of the character. It’s stagy, yes, but I could not rip myself away from it. 

The scene is incredibly powerful and director Carlos Lopez Estrada deserves a lot of credit for the staging of the scene. He creates a suspenseful ticking clock using a security system that keeps the scene incredibly tense throughout on top of Daveed Diggs’ incredible monologue. Rafael Casal’s Miles is only a witness in the scene but even how he’s used plays into the deep emotions of the scene, his face is indelible in the moment. 

The use of close-ups in Blindspotting is also quite powerful. A scene where Collin is walking down an empty street with a gun in his pocket and a cop pulls u-turn is punctuated by a close-up of Diggs’ face in the bright light of a police spotlight and then darkness. It’s a minor scene but it is filled with a remarkable level of emotion and that close-up is stunning. There are other powerful close-ups as well in the shooting scene and in that powerhouse ending that I talked about. 

Blindspotting is a testament to the powerful words of Daveed Diggs who wrote the screenplay and stars and to director Carlos Lopez Estrada who found a terrific way to introduce himself to feature filmmaking. This is an arresting, fascinating, suspenseful and emotional movie. Diggs and Casal use their friendly dynamic to make the movie less oppressive and more watchable than my description, the film does loosen its grip to let you breath and even laugh but, for the most part this is a tightly wound and engrossingly modern drama. 

Movie Review: Vacancy

Vacancy (2007) 

Directed by Nimrod Atol

Written by Mark L. Smith

Starring Luke Wilson, Kate Beckinsale, Frank Whaley, Ethan Embry

Release Date April 20th, 2007

Published April 19th, 2007 

Who doesn't love a good chase movie? Whether it's a car chase or foot chase, there is a natural visceral reaction to watching a chase. It's automatically involving and if really dangerous, invigorating. Film fans reminisce often about the great car chase in The French Connection and, while many would be loath to admit it, the foot chase of Keanu Reeves chasing Patrick Swayze in Point Break is one hell of a stunt sequence.

The new thriller Vacancy starring Luke Wilson and Kate Beckinsale is one extended chase scene in a limited area with a great pace that leaves little time to catch your breath. Vacancy is a little shallow, not much beyond the chase scenes, but these are some really fun chases.

They should not have gotten off the highway. David Fox (Luke Wilson) and his wife Amy are driving back to L.A after an uncomfortable visit to her parents home. Uncomfortable because they didn't have the heart to tell mom and dad that their marriage is coming to an end. Once they arrive back in Los Angeles they will officially end things.

Getting back to L.A however won't be as easy as they thought. Wanting to get back quickly, David tried to beat heavy highway traffic with a shortcut on some backwoods road. Unfortunately, he can't read a map and soon they are lost. Worse yet, their car is making funny noises. Soon the car is crapped out on the side of the road. The closest service station is closed till the next morning so the couple takes up for the night at the Pinewood Motel, a skeevy little joint that doesn't look like it's had a guest in weeks.

The rooms are infested with cockroaches, the sheets are dirty and TV is broken. That is; except for the VCR which is stacked with tapes. On the tapes are videos that look as if they were shot in the very motel room the couple is occupying but these are no honeymoon night videos, these are snuff films and with cameras in the walls and creeps banging on the doors; David and Amy quickly realize they may be starring in a sequel if they can't find a way out.

Directed by Nimrod Atol, in his first American directorial effort, Vacancy is a chase movie on foot. David and Amy spend much of the film on the run through these little tunnels built beneath the hotel, running from one room to the next and knowing that no matter where they are, they can be seen by the cameras and the bad guys can come in whenever they want. Director Atol takes great advantage of his limited space milking it for tight, claustrophobic close ups that really amp up the tension.

The structure of Vacancy is smart and solid, a great foundation. Act one establishes the characters, act two, the chase begins and act three is even more chasing. Somehow, despite all the running in circles, the film never begins to chase its own tale. The logic is simple, survive or die, the plot needs no more development beyond that simple rationale.

When directors are looking for an actress who can be vulnerable and invulnerable within minutes they look for Kate Beckinsale. The steely star of the Underworld series is underrated as, arguably, the female action star of this decade. She kicks some serious ass in the Underworld movies and in Vacancy she twists from helpless to heedless in a quick emotional burst.

Luke Wilson is the modern day everyman slacker. The everyman of the past was the type of guy you could share a beer with. The new everyman is the kind of guy you could play videogames with before going for some beer and red bull. Wilson. like his protege Vince Vaughn, typifies the modern day everyman with his slacker charm and tousle haired handsomeness.

In Vacancy, Wilson slips his slacker charm in favor of sweat soaked determination. The key to Wilson's performance is that he never slips into action hero mode. There are no sudden bursts of violence, he is not suddenly imbued with the strengths and skills of a navy seal, Wilson's David is just an average guy in a not so average, dangerous situation. His average guy performance gives Vacancy a real, honest suspense. 

Shallow but with a fast pace and two terrific lead performances, Vacancy tells a typical thriller story just a little better than most similar films. Director Nimrod Atol is a little light on the logic but he makes up for it with his style and his quick pacing. Vacancy is not a movie that holds up to much scrutiny and won't stick in the back of your head long after you see it. While it's onscreen however; Vacancy is an exciting, sometimes edge of your seat thriller.

For fans of Wilson and Beckinsale and fans of a good chase thriller, Vacancy is a must see.

Movie Review Timeline

Timeline (2003)

Directed by Richard Donner 

Written by George Nolfi, Jeff Maguire

Starring Paul Walker, Frances O'Connor, Gerard Butler, Billy Connelly, David Thewlis, Anna Friel, Michael Sheen, Ethan Embry, Martin Csokas

Release Date November 26th, 2003 

Published November 26th, 2003 

It's been five years since director Richard Donner last stepped behind a camera. That was for the deathly Lethal Weapon 4, a creaky cash grab of an action movie that made even the indomitable Mel Gibson look bad. In fact, it has been nearly 10 years since Donner has directed a good movie, 1994's Maverick (also with Gibson.) In his comeback, adapting Michael Crichton's time traveling novel, Timeline, Donner continues the downward slide of his once great career.

Paul Walker stars as Chris, the son of archaeologist Professor Edward Johnston (Billy Connelly). When the professor disappears on a job, his son and his crew of archaeology students including Marek (Gerard Butler), David (Ethan Embry) and Kate (Frances O'Conner) must follow his clues to find him. The Professor's last job was working for a mysterious corporation called ITC. The corporation’s scientists have figured a way to send human beings back in time but only to one specific location: Castleberg, France in the 14th century on the eve of war between the French and British.

Well, wouldn't you these students just happen to be experts in that exact era? In fact they are excavating that very battlefield. What an amazing coincidence. ITC has sent the Professor back to the 14th century and now want to send Chris and company back there to find him and bring him back. Oh but if it were that easy, we wouldn't have a movie. Accompanied by a shady military guy played by Neal McDonough and his two soon-to-be-dead lackeys, the gang has six hours to find the professor and get back to the future.

For Donner, working entirely on autopilot, the time travel plot is merely a clothesline on which to hang one lame action sequence after another. The action has the period authenticity of a high school production of Shakespeare. When we aren't being annoyed with the lame action scene, we are treated to plot points that screenwriters Jeff Maguire and George Nolfi obviously thought were clever. The script ham-handedly sets up things in the present that will payoff in the past. When the supposed payoffs come, the actors practically scream, "see how this paid off, wow aren't we clever.”

Some of the plot points pay off so obviously you can't help but giggle at the goofiness of it all. The actors react like children who just discovered a light switch and want to explain to the audience how it works.

For his part, Walker turns in yet another young Keanu Reeves impression. All that is missing is the signature "Whoa." Walker looks about as comfortable in period garb as Dom Deluise would in a thong. The rest of the cast isn't much better, especially a slumming Frances O'Connor as Walker's love interest. O'Connor was so good in Spielberg's A.I that scripts like this should be easy to pass on but somehow, here she is.

Donner's best days are clearly behind him. The man who made Lethal Weapon and Lethal Weapon II, arguably the best buddy movie franchise ever, and the man who made arguably the best superhero movie of all time--Superman with Christopher Reeve--has now settled into a depressing groove of just simply picking up his check and turning out below-average action movies that make for great posters but not much else.

Movie Review: They

They (2002) 

Directed by Robert Harmon

Written by Brendan Hood 

Starring Ethan Embry, Laura Regan, Marc Blucas, Dagmara Dominicyzk

Release Date November 27th, 2002

Published November 28th, 2002 

Wes Craven is one of the masters of the horror genre, having created a character that is likely the most enduring villain in horror history—Freddy Krueger. Recently though, the successful Scream franchise notwithstanding, Craven has taken a relaxed role in the filmmaking process; that of Executive Producer. It seems that the horror master will attach his name to anything: the horrendous Wishmaster series, Mind Ripper, and most recently Wes Craven Presents Dracula 2000. I can't be the only horror fan who sees Craven's name attached to a film and assumes he is directing it. However, more often than not, when you see the title Wes Craven Presents, it's actually someone else's film.

Still, when I saw Craven's name attached to the horror film They, I was fooled into thinking it could be another great horror film. Then, as I watch the credits, I find the film was actually directed by Robert Harmon whose previous work includes the TV movie Gotti and the Jean Claude Van Damme opus Nowhere To Run. Needless to say, I was disappointed.

Unknown actress Laura Regan is Julia who, with a friend played by Scary Movie's Jon Abrahams, shared what they called "night terrors' ' (not nightmares, "night terrors"). After her friend kills himself in front of her, Julia meets two friends he made in college who also had "night terrors." Ethan Embry (slumming since his funny turn in 1995's Empire Records) and Dagmara Dominicyk (the freaky publicist from Rock Star) are Sam and Terry. Also part of the story is Julia's boyfriend Paul, played by Mark Blucas who should know better about good horror content having spent a season on Buffy the Vampire Slayer.

Once the characters are introduced, it doesn't take much to predict who die next. Julia is the lead character so obviously she will survive (at least until the end.) This leaves Terry and Sam to wander off by themselves and die, leaving Julia to fend for herself and for her boyfriend to just think she is crazy until it is time for him to be a maybe be a hero. Whether he actually does play the hero I will not say. I wouldn't want to spoil what remarkably little suspense there is in They.

So what are "They"? From what I could ascertain "They" were giant black grasshoppers that only came out at night and hated any kind of light except the ambient light necessary to light a scene. Wes Craven should be ashamed of himself for slapping his name on any dog of a movie that Miramax/Dimension wants to call horror. Let the movie, They,  be a warning to future filmgoers that just because a film has a quality name on it, it doesn't guarantee a quality film.