ScreenFish

where faith and film are intertwined

Mark Rylance

Bones and All: What we crave

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Caution: Content reveals some potential spoilers from Bones and All.

Bones and All is an absurd mash up of many familiar genres including the period piece, coming of age, romance, and road trip movies. The result is a film which asks us how we connect as sinful and messed up people. The film begins with Maren (Taylor Russell) a girl who just seems to be a new student adapting to a fresh environment. The film plays with this idea of fighting with normalcy in its opening shots and scenes, showing us an ordinary high school with ordinary girls including Maron planning to sneak out to sleep over. It is during this sleepover that Maron in close proximity with the girls seems to be breaking into the group as an outsider.

As she speaks from underneath a table, we watch Maron nudging towards the girl she’s talking with, hinting that perhaps there’s a greater intimacy happening than we thought. But then Maron bites her, and director Luca Guadagnino reveals what is likely given away from the title, Maren is a cannibal. Interestingly the label of “cannibal” is never spoken out loud through the movie’s runtime, a choice that projects our personal sense of otherness onto the morbid nature of Guadaginino’s characters. The film unveils the humanity underneath the characters need to feed, provoking us to reflect on how people love one another despite their faults.

The story really kicks off when in the light of Maron biting her classmate, her father Francis (Andre Holland) has them move to the next town. Shortly after their arrival Maron turns eighteen and Francis decides she should learn how to deal with who she is on her own. She decides to go to Minnesota to try and find her mom whom she never met.  On her travels she ends up finding out she is not the only one cursed with the affliction to feast on human flesh when she runs into Sully (Mark Rylance) a creepy older eclectically dressed man you wouldn’t approach on the street. Sully teaches Maron that there are others with their niche taste and that they can learn to smell them. This allows Maron to find Lee (Timothee Chalamet) a drifting flesh eater who reveals himself to her by taking down and eating a man we see harassing a woman in a store. He invites Maron to join him as he drives off with the truck which belonged to the man. The rest of the film follows them as they travel, explore the Mid-west and feast together. The problem being their feasting together involves killing, a reality of her appetite Maron never had to deal with before.

The film never takes its subject too seriously as making a cold, serious film about empathizing with cannibals would be a hard pill to swallow but a comedy is completely nonsensical. Its more lighthearted tone does switch all the time as we’re thrown from scenes where it’s easy to empathize with connection Lee and Maron are making back to gruesome scenes at the gore of their compulsion to kill and eat. Still, we can root for them because we’re forced to see there’s no easy solution. As Lee puts in about halfway through the film “You either off yourself, feed or put yourself in one of those places”. One of those places becomes the completely isolating and hostile environment of a mental institution.

To Maron, her journey has always been one to find connection. This is natural after she loses the only one, she could rely on in her father. She interacts with the creepy character of Sully at first because it’s clear she wants to reach out and form a bond with someone. So, when Lee comes along and shares her unique trait it seems natural for them to be together. Then over the course of indulging in their temptations together the film sees them start to crave their shared love more than their need to feed. Part of that is Maron teaching Lee compassion. She knows the damage of losing loved ones. So, when she and Lee end up killing sisters, husbands, and dads she doesn’t know how to deal with it. Through Maron’s love for him he learns how to connect and open up to his own family and eventually desires for them to live as normal people.

The film highlights how turning towards love can help to steer us from our darkness needs. We don’t feel the need to feast on human flesh, but I think we all can connect with having a desire that hurts others. Drug addiction, pornography, gossip, greed, and faults like it are all compulsions we can clearly empathize with because they exist within us. Still there are people who love us despite or even because of our faults. They embrace who we are even as our flaws become achingly clear. The ending of the film highlights the beauty of this love and connection but also traces how those faults come to haunt us.

The film excels at communicating these ideas in its filmmaking with Guadagnino showing he knows how to convey a character’s psychology through strong directional choices. The music does a great job balancing the films in many tones. Composers Trent Reznor and Atticus Ross continue to impress by combining the beauty of acoustic guitar and synth to highlight the beauty of the mid-west and the warmth of Lee and Maron’s relationship as well as utilizing haunting piano chords invocative of Thom Yorke’s blood curdling work on Guadagnino’s Susperia. These feelings are also wonderfully captured by cinematographer Arseni Khachaturian, a name I hope to see on more film credits be it Guadagnino’s new movie or otherwise because it is beautiful. He captures the naturalism of his settings so well while allowing the natural darkness of the scene to remain prominent and loom over the haunting actions the character takes in the film.

The “players” (as they are called in the films credits) bolsters one of the strongest ensembles of the year with each actor giving great performances. Taylor Russell is phenomenal as Maron bringing the innocence of a high schooler into this crazy and violent world so well while not forsaking the intimate emotions. I’ve been waiting for her to get another great leading role since her go at leading half a movie in Waves. Here she gets to eat up most of the screentime and her acting ensures we never look away. Timothee Chalamet continues to prove his screen presence is unlike any other fitting this confident young loner to a tee. The supporting characters are great too with Chloe Sevigny and Andre Holland fitting their short-lived characters perfectly. The ones who really get to shine though despite their limited screen time are Mark Rylance and Michael Stuhlbarg. Stuhlbarg gets to play a completely unhinged hick cannibal who only takes one scene to leave an impression of a man you would dread to see in your dreams. Rylance though puts you on edge for the entirety of his screentime playing the old wise master of cannibalism. His every move and motion seems to be the most unsettling and inhuman choice you could think of. His naturally quiet and innocent demeanor and voice end up creeping up on you and drill into your mind in his brief bursts of harrowing violence.

Bones and All is a film that shows how much auteurs like Guadagnino can be trusted as they can take bizarre scripts and shoot them in a way where the viewer will have radical new experience. In doing so, Guadagnino makes some choices that will certainly alienate some including myself but it’s so fascinating to watch interestingly developed characters fall in love when you have their biting character contradictions which constantly carry the story of the film forward even in its slower moments. Creating such a clear character contraction helps to reveal what makes us basically human and reveals how love can overcome our shameful cravings. Accepting these murderous characters should lead us to accept ourselves and each other no matter what may separate us, that is true love.

Bones and All is now playing in theatres.

Ready Player One: Real Life

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I have completely forgotten the title of the story. I have forgotten what magazine I read it in. I have even forgotten most of its plot.

All I remember is the protagonist visiting another character she met online, only to discover her initial thoughts were completely incorrect.  The other person lived in a very small studio apartment and spent nearly his entire waking existence ‘living’ inside virtual worlds via cartridges he inserted into a head mounted device he wore. What was a reality to him was a virtual existence to others.*

Every time I think about virtual reality and the possibilities it can hold for our quickly deteriorating planet, I come back to the story I don’t fully remember. Simply put, life isn’t meant to be lived that way.

As the strains of Van Halen’s hit song ‘Jump’ welcome viewers to the world of Ready Player One, a camera snakes through an apartment complex created out of trailers crudely stacked like Jenga blocks (see picture above).  It focuses on the top trailer before panning down to reveal individuals playing tennis, shadow boxing, and pole dancing while wearing virtual reality goggles. The dystopian nightmare revealed in the last paragraphs of the story I can’t fully remember is on full display.

But is there hope?

Ernest Cline’s book Ready Player One, a massively geeky love letter about the 1980s wrapped in virtuality, sold so well that Steven Spielberg chose to direct a big-budget film based on it.  The end result is a movie that is noticeably different from the book yet somehow works well enough that people will come in droves to watch.

Here’s the basic premise: An eccentric video game programmer named James Halladay (Mark Rylance) created a virtual society called the Oasis, a place where anyone’s dreams could come true with a VR suit. Before he died, he hid three virtual keys that, when acquired, would lead one individual to an Easter egg and control of his company, valued at over a trillion dollars. For over a decade, nobody could find the first key.  But after Wade Watts (known in the Oasis as Parzival and played in the film by Tye Sheridan) is successful, it’s a race to complete the task before a company called IOI succeeds and takes Halladay’s company over for themselves. Along the way, Wade is helped by his online friends Aech (Lena Waithe), Sho (Philip Zhao), and Daito (Win Morisaki).  Then there’s Art3mis (Olivia Cooke), a wild but successful gunter (slang for egg hunter) who steals Wade’s heart. But are they who their unique avatars make them out to be?

Wade’s devoted most of his life to claiming the Easter egg, living the virtual life I read about in the story I opened this review with.  But when virtual blends with reality, real consequences happen. IOI discovers his real persona and attempts, through the wiles of Sorrento (Ben Mendelsohn), to convince Wade to join their team (known as the Sixers).  When he refuses, Sorrento blows up his real house, killing his aunt—and potentially others—in the process.  It is only then that Wade realizes physical life and virtual life aren’t the same.

As for the main aspects of the film . . . The virtual world was typical Spielberg, that is to say: well-polished, well-designed, and well-executed.  It was chock full of 1980s references that will take multiple viewings (or somebody putting it in a YouTube video) to catch. In the first five minutes, I picked up on Marvin the Martian and Hello Kitty.  Halladay’s library was incredible, as was the race for the first key (although the book is completely different in this aspect).

The real world was a mixed bag. I loved Rylance’s portrayal of the eccentric, quirky, yet charming Halladay. Cook does a great job with Art3mis, blending passion with feistiness and hidden charm.  My one issue comes with Wade.  Sheridan feels wooden and forced playing the real-life version of Parzival, giving him an unrealistic quality. However, his blonde haired-avatar fits in perfectly as a leader to the virtual world, unfettered by size or power.  Give Spielberg credit there. Regardless, this is a film that deserves to be seen regardless of what generation you come from.

There are a number of themes that can be discussed here (Halladay’s attempt at playing God [Genesis 1]; escaping one’s past; games people play; being one’s real self; people will rally to the right cause), but I’ll go with one.  There is a reason we need to be connected with others in real life.  VR isn’t as good as the Oasis (and may never be), but that doesn’t mean we need to spend every minute of every day staring at a phone or other form of technology. It might be fun to chat and mingle with people virtually, but in the end, all that’s left are memories. We were not designed by God to live 24/7 by ourselves (after all; he made Eve because it wasn’t good for Adam to be alone).  We need real people around us to support, encourage, and enjoy life with.  No matter how good VR graphics get, it’s simply not the same experience. Living life can be quite fun and invigorating.

Besides, in online communication, we have the ability to be who we want to be, not what we are in real life.  It’s why I get so frustrated with people on Facebook who always seem to have it perfectly together with constant selfies and successes. Real life is messy and struggles are as common as the sunrise.  A community allows us to be real, be honest, be ourselves.

Real life, with all of its challenges, trumps a virtual life every time.  And you don’t have to read a story to know that.

* If you know what story I’m referring to, let me know in the comments.

The Warner Bros.’ Blu-ray Combo Pack contains special features that take us back to the ’80s (“The ’80’s: You’re the Inspiration”) as well as a series of featurettes going over ninety minutes into details about how Spielberg made the film, like “Game Changer: Cracking the Code,” “Effects for a Brave New World,”  “Level Up: Sound for the Future,” “High Score: Endgame,” and “Ernie & Tye’s Excellent Adventure.”

4.15 Finding your Oasis in READY PLAYER ONE

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Set in the year 2045, the global population seeks solace in the OASIS, a digital haven with limitless possibilities. However, when the creator dies, he challenges the world to unlock an Easter egg hidden somewhere in the game, giving them total control over the system itself.

Filled with pop culture references and stunning visual effects, READY PLAYER ONE heralds a return to the adventure genre for Steven Spielberg. Though one could argue the film is primarily a nostalgia bonanza, Spielberg imbeds his story with his own Easter eggs of truth. This week, Steve welcomes Jeff Baker and Benjamin Porter to discuss about the nature of identity in the digital world and the relationship between Creator and his creation.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

4.15 Ready Player One

Thanks Jeff and Benjamin for joining us!

READY PLAYER ONE Giveaway!

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Are you ready?

In the year 2045, much of Earth’s population centers have become slum-like cities due to overpopulation, pollution, corruption, and climate change. To escape their desolation, people engage in the virtual reality world of the OASIS (Ontologically Anthropocentric Sensory Immersive Simulation), where they can engage in numerous activities for work, education, and entertainment.

Wade Watts (Sheridan) is a teenage Gunter (short for “egg hunter”) from Columbus, Ohio who frequents the OASIS and attempts to win “Anorak’s Quest”, a game created by the deceased creator of the OASIS, James Halliday (Rylance), by finding the Easter Eggs. The winner is to be granted full ownership of the OASIS, among other things.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: Tell us your favourite Steven Spielberg film and why!

The winner will receive a copy of the original book for Ready, Player One, written by Ernest Cline.

For a bonus entry, like or retweet this post on Twitter.

All entries must be completed by 11:59pm on Thursday, March 29th, 2018.

 

Ready, Player One will be unleashed in theatres on March 29th, 2018

The BFG – For the Child in Us All

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“Dreams are so quick.”
“Yeah, on the outside. They’re long on the inside.”

I find it interesting that the same year Steven Spielberg brought us E.T. The Extra-Terrestrial, children’s book author Roald Dahl published The BFG, a kind of bedtime fairy tale. Now Spielberg brings Dahl’s story to the big screen with all the visual magic it deserves.

The story focuses on a ten-year-old orphan, Sophie (Ruby Barnhill). She has insomnia and surreptitiously roams the orphanage at “the witching hour” of 3 a.m. But when she hears something outside, she breaks all the rules (Never get out of bed. Never pull back the curtains. Never look outside.) There she sees an enormous 26’ tall giant (Mark Rylance) moving about. But he sees her as well. To make sure she can’t tell anyone, he grabs her and takes her back to Giant Country. There he plans to keep her prisoner. But he is a gentle giant, a Big Friendly Giant (BFG). The other giants are twice his size (they refer to BFG as “Runt”) and would be happy to eat Sophie if they could find her. The BFG is a vegetarian, eating only Snozzcumbers, a vile, disgusting gourd of some sort.

As Sophie and the BFG get to know one another, they form a bond. He takes her to his work—catching dreams and delivering them to children. It is a magical world that he takes her to as they hunt for different kinds of dreams. There Sophie finds her dream. But back in Giant Country, the boisterous and malevolent giants are on the hunt for Sophie. Sophie and BFG hatch a plan to enlist the Queen’s (Penelope Wilton) help in getting rid of the giants.

It should be noted that this really is a children’s story. Its humor is often scatological and slapstick (two words: corgis, whizzpoppers) or based in BFG’s language that is a combination of gibberish and malapropisms. Many recent children’s stories have added some more sophisticated humor and double-entendres to satisfy adult audiences. I find it refreshing for a film to rely on its appeal to children (and the child within each of us) as being enough to make the film enjoyable.

What is offered for adults are the amazing visual effects accomplished in part by combining live action and motion capture technology. Ryland’s BFG is a case in point. As ungainly as BFG is, the humanity in his face makes him as lovable to us as he is to Sophie. And the entire production design—from the streets of London to the clutter of BFG’s home to the paradise of Dream Country—all make this a film to enjoy for the artistry of the film.

Of course at the heart of the story is the relationship between Sophie and BFG. These are two people who have no one else in their lives that they can connect to. Yet they are so utterly different. Sophie learns to appreciate that BFG is not to be judged because he is in the same category as the other giants. As crude and belligerent as the other giants are, BFG is kind and vulnerable. I was reminded of a line from the biblical story of David. When Samuel went to Bethlehem to find the new king among Jesse’s sons, they paraded in front of him starting with the biggest. (Remember, David was a “runt” as well.) When Samuel saw the strapping Eliab he thought he would surely be God’s choice for king. But God told Samuel, “Do not look at his appearance or on the height of his stature. . .; for the Lord does not see as mortals see; they look on the outward appearance, but the Lord looks on the heart.” (1 Samuel 16:7, NRSV) It is when Sophie and BFG see the hearts of one another that the outward appearances and differences melt away.

Photos courtesy of Walt Disney Studios