Monday, October 17, 2016

A Successful Disaster Film

Movie Review: Deepwater horizon
Director: Peter Berg
Screenplay: Matthew Michael Carnahan, Matthew Sand
Stars: Mark Wahlberg, Kurt Russell, Gina Rodriguez
Genre: disaster, action / adventure
Country: USA

Here in San Antonio, gas prices are $2 a gallon. Life is good. The world may be going to hell in a deplorable hand-basket, but if gas is cheap, life is good.

Gasoline is like pork chops. When you buy pork chops at the grocery store, you never fully imagine the horrors the unfortunate Porky Pig went through before ending up in a frying pan.

It's the same with gasoline. Gas just magically appeasers at the gas pump. Pop in the nozzle. Fill it up. Go inside the 7-Eleven, grab a bag of spicy Cheetos, a handful of Slim Jim's, a Big Gulp, swipe your credit card. Presto! You're ready for San Antonio traffic jams and a two hour commute home.

But, of course, the process of drilling for oil is a complicated, enormous undertaking fraught with life-threatening perils. The story of the hard-working people who labor on off-shore oil rigs, so we can fill up our SUV's, is brought to explosive, flaming life in Deepwater Horizon.

On April 20, 2011, the Deepwater Horizon oil rig, located in the Gulf of Mexico, exploded killing eleven workers. The resulting oil spill was the largest in history. The US government estimated that 210 million gallons of oil spewed into the waters of the Gulf of Mexico causing unimaginable, wide-spread devastation to the environment, wetlands, beaches and wildlife. After 87 days of continuous oil discharge, the well was reportedly sealed.

Deepwater Horizon is Hollywood's latest offspring from it's very successful pedigree of “disaster” films. The disaster film formula is simple. Take a disaster, any disaster: earthquake, flood, volcano eruption, fire, the Trump presidential campaign. Toss in an ensemble cast of character actors along with spectacular special effects, stir for a couple of hours and viola; instant summer blockbuster!

As a disaster film, there's much to like about Deepwater Horizon.

You can't argue with the cast headed by veteran action / adventure stars Mark Wahlberg and Kurt Russell. Wahlberg, as Mike Williams, gives another steady, believable performance as a blue-color “everyman” who finds himself becoming a hero in a horrific situation.

Kurt Russell. Well, Kurt Russell is, and will always be in my mind, Snake Plisken. 'nuff said. Russell is one of those rare Hollywood actors who has successfully made the rite-pf-passage from child actor in Disney movies to adult roles in every conceivable genre. Now, Russell is transitioning nicely into more mature roles. The guy can do it all and has proven it over a long career.

As a contributor to Latin Heat Entertainment, I was hoping to write more about Gina Rodriguez' role as Andrea, the oil rig control center operator. The Hollywood Reporter named Rodriguez “the next big thing” and one of the top “35 Latinas under the age of 35.” She's received kudos for her performances in the CW's Jane the Virgin, and her star turn in the indie film, Filly Brown. Rodriguez breathes grit and heart into her supporting role in Deepwater Horizon. Certainly, we'll be seeing a lot more of Gina Rodriguez in larger parts in feature films.

In the opening scene of Deepwater Horizon, director Peter Berg builds the suspense gradually with a warm, loving sequence of domestic interplay between Mike, his wife and daughter. But Berg sets off the ticking time mob when Mike arrives on the job and senses that things are not quite right.

Like many disaster films (The Poseidon Adventure, The Towering Inferno, and Titanic), the plot fuse is lit because of cost-cutting measures or reckless disregard for safety in order to maximize profits; actions that invariable result in tragic consequences.

The fiery destruction scenes in Deepwater Horizon are well-staged, riveting, thrilling, laced with authentic humanity, bravery and grace under fire and yes...explosive!

Deepwater Horizon could have easily worked as a horror film. Who can forget those sickening, nightly underwater images of gigantic, billowing clouds of oil endlessly gushing out into the sea? Who can forget the gut-wrenching newsreel footage of dead dolphins floating in the water and oil-soaked sea birds on the gulf shores? And who can forget British Petroleum (BP), the greedy, corporate, "mad scientists" who created this monster?

Ironically, it's science fiction and monster movies that often serve as cautionary tales of human excess and hubris. Films like Invasion of the Body Snatchers, The Day the Earth Stood Still and Planet of the Apes are fanciful yarns wrapped up inside a morality fable that often left us with uneasy, unanswered questions. Remember how many of those old, great science fiction flicks ended with: THE END?

Deepwater Horizon points an accusatory finger at BP, but chooses not to prosecute the case directly. It was a creative and economic choice. Message films tend to flop at the box office.

But Deepwater Horizon succeeds as a story of personal heroism, courage and the triumph over adversity in the face of a calamity of epic proportions. It's a compelling and contemporary story given the current debate this country is having over “drill, baby drill” and the quest for clean energy.

However, it must be noted that since that catastrophic 2011 event, many new off-shore oil drilling platforms are being planned to operate in the Gulf of Mexico. Despite the Deepwater Horizon oil well being officially listed as dead and sealed, oil continues to leak into the Gulf. THE END?






Monday, October 3, 2016

Wanted: Latino Movie Heroes


Hollywood, I know your middle name. Who inspires your fabled fools?---Steely Dan

I recently saw 300 again for the 300th time. Never get tired watching a handful of Spartan warriors hold off Xerxes million man army's march on Greece. But, have you noticed all the actors in Hollywood movies about the ancient Romans, Greeks, or Egyptians, have pale skin, bad teeth and sound like Richard Burton or James Mason?

The actress who plays the Greek Spartan queen in 300 didn't sound a bit like Ariana Huffington.

Hollywood has an ethnic authenticity problem when casting movies and deciding which ethnic groups are marketable as heroes. Consider the original 1960 western, The Magnificent Seven and the 2016 remake now screening everywhere.

Now to be cinematically accurate, The Magnificent Seven is a retelling of legendary Japanese filmmaker, Akira Kurosawa's Seven Samurai. So when it was proposed to produce Kurosawa's classic into an American western, Hollywood studio moguls scratched their heads quizzically:

Is the American public going to buy a bunch of Japanese actors playing American cowboys?”

Why not?”, asked Ricardo Montalbán, “I was a Japanese kabuki performer in Sayonara.”

Predictably, the 1960 version of The Magnificent Seven (which I love) centers around a village of poor, hapless Mexican farmers constantly being raided and robbed by local bandidos. They raise enough money to hire seven Anglo gunslingers to defend them. All well and good. Besides, who doesn't love Elmer Bernstein's stirring musical score? Director John Sturges uses William Roberts' screenplay to paint complex portraits of the seven gunslingers as morally conflicted anti-heroes.

However, from a Latino perspective, the question is why did these Mexican villagers require the services of gringo gunfighters? Another White Man's Burden subtext?

The Mexican army that kicked French Army ass at The Battle of Puebla and formed the revolutionary guerreros of Zapata and Villa came from that very same Mexican, peasant, village stock. In films like Dances with Wolves, Apocalypse Now!, and The Last Samurai, it's always an Anglo-American teaching an established warrior class of people how to do it better; the right way...the white way.

Even the jefe of the Mexican bandits is played by venerable, non-Hispanic character actor, Eli Wallach. Nothing against Wallach. He's convincingly menacing as Calvera, the cruel, ruthless bandit chief. Wallach also portrays another memorable Mexican baddie in The Good, The Bad and The Ugly. Wallach delivers a bravura, campy, tour de force performance as the Mexican “ugly” Tuco. Question: Why is the Mexican “the ugly”? Was Gilbert Roland busy? With Roland as Tuco, the movie would become "The Good, The Bad, y El Guapo.

So, I had an ethnic-miscasting chip (frito?) on my shoulder watching the new, 2016 version of The Magnificent Seven. Denzel Washington's appearance in the film was another issue. Washington starred in the totally unrecognizable, awful 2004 remake of The Manchurian Candidate. Denzel, regrettably, goes 0 for 2 with another cinematic whiff.

Similar plot; Poor farmers in small town are terrorized by a murderous, greedy, robber baron. But this time, the farmers are white folks. One brave woman employs the seven gunfighters. Immediately, I thought to myself, “She could have saved a lot of money by hiring seven undocumented Mexican pistoleros to do the same job.”

I mentally visualized the epic gun battles musically scored with Latino rockers, Del Castillo, under the direction of Robert Rodriguez.

Another disappointing feature of this latest incarnation is that its less an homage to the vision, spirit and heart of Kurosawa and Sturges, but instead a wink and nod to Stan Lee and Marvel Comics. Unlike the psychically damaged swordsmen / gunmen in the Kurosawa / Sturges masterpieces, these Seven are essentially one-dimensional, cardboard cut+out superheros. This movie could easily have been titled: The Fantastic Four Plus Three = Seven.

The climatic shoot-out set piece is a chaotic, drawn out sequence replete with pistols, rifles and even a Gatling gun blazing away, mowing down everybody and everything in sight. The town is reduced to a pile of splintered wood, shattered glass and dead people littering the street. The Marvelous Fantastic Seven save the town, but destroy it in the process. No worries. In the upcoming sequel, Los siete magnificos, the women folk recruit seven hunky Chicano janitors to clean up the mess.

Excuse me, Tomas. Can I call you Tommy? Excuse me Tommy, when you finish sweeping up the street, can you come to my house and clean my pool? It's so hot and I want to wear my bikini.”

¡Oh claro que si señorita!”

How come Hollywood doesn't use an all Latino cast to remake traditionally all-white stories? The Wizard of Oz was successfully redone with an all African-American cast (The Wiz). Why not an all Hispanic re imagining of Nicholas and Alexandra, and the epic sage of the Russian Revolution?

Let's see. How 'bout...

NICO Y LEXIE

George Lopez as Czar Nico

Sofia Vargara as Czarina Lexie

Act I

Czar Nico

Apurate vieja. We'll be late for the Grand Ball. I hired Fito Olivares to play cumbia music. Vamos a bailar toda la noche.

Czarina Lexie

Oh no, mis pies me están matando.”
 

I'll have the script to Robert Rodriguez ASAP.