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TIFF ’22: The Good Nurse

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Netflix’s The Good Nurse is based on the popular book by Charles Graeber, which recalls the true events that happened to Amy Loughren (Jessica Chastain) and Charlie Cullen (Eddie Redmayne). Amy is a working, single mother of 2 in an absolutely horrible situation. In need of a heart transplant and working nights in the ICU to support her family, Amy is in a living hell. Everyday inching closer to death, she tries desperately to manage herself until her work gives her healthcare in 4 months. Despite her horrible circumstance, Amy still operates as a good nurse, one that goes above and beyond for her patients and does so regardless of what the hospital administration enforces. The story takes off when Charlie comes to work as a nurse, quickly becoming friends with Amy. However, at the same time, patients are mysteriously dying in similar and unexplained ways.

The Good Nurse follows Amy as she helps to put away a serial killer, one that was only possible due to flawed system of American Healthcare. The bureaucracy and corruption of profit-driven private hospitals are ever so present. Charlie is an individual who has gotten away with killing potentially over 400+ patients over the course of his career. Even though all the hospitals suspected it was him, they all decided to terminate him unrelated issues (such as “the dates on his application being incorrect”) in order to protect the hospital from liability. Had these hospitals not been so profit-driven and informed the police, Charlie would not have gotten away with his decade-long murder spree. For example, held back by bureaucracy, hospitals employee talking to the police without legal counsel would be terminated due to violation of contract. 

Another flawed aspect of the healthcare system that’s highlighted in Nurse was that frustrating way that hospitals treat their workers. Right now, we’re witnessing a massive number of resignations from healthcare workers, specifically nurses. Work is tough, hours are long, and dangerous situations (COVID for example) for little pay by comparison have helped drive this forward. Even so, the main issue is that, as a healthcare worker, you are not entitled to provide healthcare to yourself. For instance, in Amy’s case, she had to provide for her family although every shift literally drained the life out of her. By showing these moments, The Good Nurse highlights the flaws in what is truly a broken system.

The Good Nurse is currently playing at TIFF ’22. For screening information, click here.

The Adam Project: Finding Hope in Future’s Past

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Sometimes, Ryan Reynolds really gets it right. 

Although he’s one of the most bankable actors in Hollywood, Reynold’s films have been hit and miss. Best known as the wise-cracking Deadpool, his charming smirk may often bring his characters to life but the writing isn’t always there to justify his unique brand of pop culture quips. However, in Netflix’s The Adam Project  Reynolds channels the right energy to make it one of his more entertaining projects in recent years. 

Beginning in the year 2050, most of The Adam Project takes place in the present day where a 12-year-old Adam Reid (Walker Scobell) is still suffering from the loss of his father (Mark Ruffalo). Struggling to survive in school and taking his frustrations out on his mother (Jennifer Garner), Adam’s world is turned upside down when he comes home one day and stumbles across his future self (Ryan Reynolds). Bleeding from a bullet wound, the adult Adam claims to have returned to the past in an effort to save his future by stopping the process of time travel from ever being invented. 

While Reynolds may be the film’s biggest star, the most important ingredient to Project’s success may be director Shawn Levy. With films like the Night at the Museum trilogy, Real Steel and Reynold’s Free Guy on his resume, Levy has become an expert of finding the right balance of adventure, silliness and heart that is reminiscent of the classic 80’s family films of the Amblin era. With The Adam Project, Levy manages to walk that line once again with a fun and furious ride that feels like a creative mix of Flight of the Navigator and Back to the Future. (Though, it’s worth noting that, with some course language and mature themes, parents of younger children should take note that this film is PG-13 for a reason.)

Outside of Reynolds, the cast becomes particularly well rounded as well. Balancing out his trademark snark, Project makes good use of Garners’ warmth and Ruffalo‘s wit. (Side note: I can’t deny that it’s also fun to get a brief 13 Going on 30 reunion as well.) However, the absolute stand out of the cast is young Walker Scobell as Reynold’s younger self. Channeling Reynolds’ energy and sarcasm, Scobell’s ability to banter allows him to hold his own with the star onscreen, providing a unique take on the ‘buddy comedy’ that anchors the film. (Having said this, one does wish that more was given to the wonderful Catherine Keener and Zoe Saldana who are given little to do, despite the importance of their characters.)

While there are those that may argue that the time travel logistics of the film don’t always makes sense, The Adam Project cares little about such things. Like the best family adventures, what matters most are its characters and their emotional journeys. In this way, Project cares less about the sci-fi logistics and more about grappling with grief and healing. Fueled by a mixture of regret and anger surrounding the loss of their father, both versions of Adam are dealing with their own grief in different ways. Whereas adult Adam channels his pain into rage against his father, his younger self is taking it out on his mother. To them, the loss of their father is filled by complex feelings, ranging from inadequacy to blame. 

Because of his father’s own failings, adult Adam believes that he was unimportant to him. But is the world always the way that we remember it? As Reynolds revisits his own past, he begins to gain a new perspective on the way that things actually were. Even in his darkest moments, there is love in his home. As a child staring through his hurt, and be easy to forget that reality. 

There is hope when we realize that there is love.

With a spirit of adventure and fun, there is simply an energy and joy about this film that are undeniable. Once again, Levy has created a story that draws the viewer in with action but never loses its heart in the process. As a result, this is definitely one Project worth taking on.

The Adam Project streams on Netflix on Friday, March 11th, 2022.

Space Force: At What Cost?

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Space Force. (L to R) Steve Carell as General Mark Naird, John Malkovich as Dr. Adrian Mallory in episode 202 of Space Force. Cr. Diyah Pera/Netflix © 2021

Though one could argue that it had a difficult launch last year, Space Force feels like it’s on course.

With its release last May, Netflix’s Space Force began its first season with an Office problem. Known best for his work as Michael Scott, Carell and Greg Daniels did their very best to differentiate themselves from the affable boss. As a grumpy authoritarian figure, Carell’s General Naird seemed to be everything that Scott wasn’t… but that arguably also kept him from being likeable. 

While most people think that the success of The Office was due to Carell, it really lay in the relationships between co-workers. Jim and Pam. Dwight and Jim. Stanley and Phyllis. Whether it was romantic interest or the reality of simply being stuck together within the workplace, the connections between characters had a certain charm based on the care and respect between them. As a result, while the series had potential, it still felt as though it was still struggling to find its voice through much of its inaugural mission.

However, as the season unfolded, the icier aspects of Naird’s persona began to melt away and the connections between characters began to be established.

It’s also what makes Season 2 of Space Force so much better than its predecessor. 

Taking place several weeks after General Naird’s departing helicopter in the finale, Season 2 begins with the investigation into the events on the Moon. Left at the mercy of an over-bearing and penny-pinching Secretary of Defense (Tim Meadows), General Naird and his crew are given four months to prove the value of their branch of the military. Faced with financial cutbacks and potential government replacements, the Space Force must work together to keep their jobs and their sanity.

Space Force. Tawny Newsome as Angela Ali in episode 201 of Space Force. Cr. Diyah Pera/Netflix © 2021

With Season 2, Force has really begun to find its footing. United by a common antagonist in the Secretary of Defense, the team must work together in order to survive. As the fight for the program, the relationships between them solidify and the edges of their characters begin to soften. Carell’s Naird remains authoritative and intelligent yet also likeable and relatable. Malkovich’s idiosyncrasies began to balance out the members of his team. There’s even a potential ‘will they/won’t they’ dynamic between two unexpected characters that add a fun romantic element. Most importantly though, there seems to be a comradery developing between characters that makes them a joy to watch.

But are they actually committed to one another?

One of the key themes throughout its second outing asks the question of whether or not Space Force is worth the cost. As the Secretary of Defense weighs the government’s financial commitment to the Force, so too are the staff asking themselves whether or not their service is worth the effort. Struggling with PTSD, Captain Ali is having a hard time readjusting to life back on Earth. Mallory and Chan wonder if they should seek greener pastures. Even Tony begins to ask ‘what he has ever done for himself’. Constantly squeezed by the overbearing US Military, the team at Space Force are… well… forced to ask tough questions about where their future matters most. 

Space Force. (L to R) John Malkovich as Dr. Adrian Mallory, Steve Carell as General Mark Naird in episode 201 of Space Force. Cr. Diyah Pera/Netflix © 2021

Does their mission actually matter? Or are they merely the most useless branch of the military?

In this way, Space Force finally rockets towards being memorable. While the mission may be other-worldly, the sustainability of the series relies on its humanity and relatability. Through its characters and relationships, something is finally coming together in Force that makes it fun and unique. While the average person may not be familiar with the military world, we finally feel like we understand the people within it. As a result, though its setting may have its eyes on the stars, it feels like another day at the Office. 

And that’s a trip worth taking.

Space Force streams on Netflix on Friday, February 18th, 2022.

Disenchantment Part 4: Stirs and Echoes of the Past

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Matt Groening’s animated work sometimes takes time to find its legs.

Although they have continued to connect with audiences, both Futurama and The Simpsons took a couple of seasons to find their voice. The same is true with Netflix’s Disenchantment, the most recent addition to Groening’s growing legacy. Despite the fact that the series took a while to figure out what it was the release of Part 4 proves that Disenchantment has finally found its stride.

Picking up immediately after the events of Part 3, Disenchantment begins with Bean and her friends separated outside the walls of Dreamland. Whereas Bean remains trapped in Hell at the hands of her mother,Luci finds himself with the opposite problem as he lands in Heaven. At the same time, Zog continues to struggle to regain his sanity and Elfo is struggling to free himself from his ogre captors. As the four members of this unlikely family attempt to reunite, they discover multiple secrets that threaten the way that they have always understood their lives.

Although the show looks and feels like his other work, Disenchantment has managed to carve out its own place in the Matt Groening-verse. Whereas its animated cousins earn their laughs by satirizing everyday cultural issues, Disenchantment’s humour usually stems primarily from mocking its more magical elements. As such, the series has more often felt like a loving tribute to the fantasy genre than any particular social commentary. 

Most importantly though, Disenchantment has always set itself apart with an emphasis on longform storytelling over an episodic structure. As such, Disenchantment feels much more like a grand story unfurling before the viewer, giving it more epic sensibilities. (This also would explain why seasons are referred to as ‘parts’, allowing it to lean into the more literary sensibilities.) Of course, with this type of narrative structure, the great challenge is to maintain quality in the writing, especially if there’s no particular ‘end date’ in sight. As such, there are definitely moments this season where the series feels like its story is beginning to meander. Even so, by minimizing the pieces that felt like filler in Part 3, Part 4 feels much more focused and improves the drama as a result. (In fact, there are some surprises within Part 4 that even serve as pay-offs to the previous season’s side quests.) And it’s worth noting that, once again, Part 4 ends on a pretty solid cliff-hanger, reminding us that the story is far from over.

Disenchantment. Abbi Jacobson as Bean in Disenchantment. Cr. COURTESY OF NETFLIX © 2022

After several seasons, it’s also impressive that Disenchantment continues to expand its world with new areas and creatures, ranging from ogres and gnomes of the forest to the terrifying depths of the sea. (Seriously, has anyone mapped out this kingdom yet online?) What’s more, Part 4 even begins to mine the depths of its theology with explorations of heaven and hell. Interestingly, these sorts of conversations are nothing new for Groening’s work. Having delved into the paranormal in both Simpsons and Futurama multiple times, Groening has never shied away from the relationship between life and the afterlife. However, with Disenchantment‘s medieval setting, there seems to be something almost even more appropriate with its inclusion here.

Moving into Part 4, Disenchantment has become increasingly obsessed with the lies of the past. As secrets about Dreamland begin to be uncovered by Bean and her friends, it becomes increasingly clear that the history of the nation may not as noble as what they were led to believe. Without giving any spoilers, Part 4 recognizes that the stories of the past are frequently told by the ‘winners’ in an effort to keep their power. While the show usually steers away from social commentary, this particular theme resonates in a culture that continues to relearn our own history and dynamics of power. In this way, Disenchantment acknowledges the pain caused by those who have come before and the fact that this generation needs to step up in order to enact change.

However, while this theme may prevalent in Part 4, Disenchantment’s primary joy lies in the fact that it feels like venturing out on an epic quest with friends. Anchored by the ever-deepening relationship between Bean, Elfo, and Luci, Disenchantment continues to find its place in Groening’s animated legacy. 

So, bring on Part 5. Let’s see where this story wants to go.

Disenchantment is available on Netflix on Wednesday, February 9th, 2022.

Murderville: Whose Crime is it Anyways?

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Murderville. Will Arnett as Terry Seattle in episode 105 of Murderville. Cr. Darren Michaels/Netflix © 2021

Murder can be a funny thing.

Produced by Will Arnett, Murderville introduces the world to Terry Seattle (Arnett), a hard-nosed homicide detective who is struggling to get his personal life together. However, even though his marriage is crumbling, he’s still the man you want on the job but he can’t do it alone. In each episode of the series, Seattle finds himself working with a different celebrity as his rookie partner. From Annie Murphy to Kumail Nanjiani to Conan O’Brien and more, Seattle and his accompanying guest dig deep into the world of murder to solve the case and get justice for the victim.

A loose adaptation of the BAFTA award-winning series Murder in Successville, Murderville is an absolute treat for the cold nights of winter. Anchored by Arnett’s commitment to playing the broken detective, the film does its best to feel authentic to the crime genre. Gravelly voiceovers, filtered lighting and bland colour palettes all work together to create a light-hearted, noir-ish atmosphere. 

Murderville. Will Arnett as Terry Seattle in episode 103 of Murderville. Cr. Lara Solanki/Netflix © 2021

However, what makes the show so unique is how it manages to use all those same tropes as backdrops for improvisational comedy. Part Whose Line is it Anyways and part Punk’d, Murderville drops each guest star into the storyline completely unaware of what’s about to happen next. Although the series remains scripted for Arnett’s cast and crew, the special guest is left to react without the benefit of the script. Whether its interviewing suspects or examining evidence, these ‘rookie detectives’ are often thrown into situations and asked for immediate responses. Sometimes they handle themselves well. Other times… not so much. (For instance, watching Conan O’Brien attempt to explain to a young witness what happened at a bloody murder scene is both cringe-inducing but also absolutely hilarious at the same time.) 

It’s this sort of evolving reality that sets Murderville apart from other improv series. On the search for each clue, guests must determine the most determine details amidst the madness unfolding around them. They know they’re playing a game but watching them attempt to decipher clues in a chaotic atmosphere is just plain entertaining. In fact, watching these celebrities bumble their way through the activities set before them almost feels like watching friends endure an escape room. From the outside, it looks relatively easy… but we aren’t the ones faced with the unexpected.

Murderville. (L to R) Lilan Bowden as Amber Kang, Will Arnett as Terry Seattle, Marshawn Lynch as Guest 105 in episode 105 of Murderville. Cr. Darren Michaels/Netflix © 2021

What results is a bizarre experience for the celebrity guest and hilarious content for the viewer. Because the guest has no idea what they’re about to face, there’s a certain authenticity to their performance. When Marshawn Lynch reacts to the discovery of a bizarre murder weapon, we know that his confusion is genuine. When Annie Murphy gets increasingly flustered by Seattle’s bizarre demands in the kitchen, we understand her frustration. As a result, there’s an honesty and mischievousness to the series which simply makes it a joy to behold. 

At its heart, this is a series that’s simply about play. There’s no prize money at stake and no consequences for being wrong. All that’s up for grabs are the potential bragging rights of being able to say that they figured out whodunnit. As Arnett walks his friends through these strange murder scenes, one can see the sheer delight in their eyes. While guests with a background in improv comedy are clearly more prepared for what’s to come, each rookie partner manages to hold their own with Arnett’s antics. Whether its Conan O’Brien’s undercover storytelling or Lynch’s antics as a false mirror, every newcomer to the series is willing to commit to the silliness of the moment. They’re having fun, so we do as well. (In fact, there are multiple moments when both guests and cast members visibly break into laughter, especially Nanjiani and Jeong who constantly struggle to keep a straight face.)

Murderville. (L to R) Kumail Nanjiani, Haneefah Wood as Chief RJ-Seattle, Will Arnett as Terry Seattle in Murderville. Cr. Lara Solanki/Netflix © 2022

There’s little question that Murderville is one of the silliest surprises to drop in recent memory. Loose and light-hearted, Arnett’s hilarious little improv experiment simply has a feel-good vibe about it, making it an easy watch. Though Nanjaini and (shockingly) Sharon Stone may end up being the series’ MVPs, all the guest celebrities are up for the challenges which range from infiltrating a mob hideout to committing surgery.

So, after an intense investigation, the verdict on Murderville is that it absolutely kills it when it comes to comedy.

Murderville streams on Netflix on Wednesday, February 3rd, 2022.

SF Radio 8.13 Distracted from Devastation in DON’T LOOK UP

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It’s the end of the world as we know it… and we feel fine. After all, who needs to worry about global destruction when we’ve got celebrity culture, political division and other things to distract us. This is the premise of Adam McKay’s DON’T LOOK UP which introduces us to two scientists (Leonardo DiCaprio and Jennifer Lawrence) who discover that a massive comet is about to plummet towards the Earth… but no one seems to care. This week, the Dream Team of Jolie Featherstone (@TOFilmFiles) and ScreenFish’r Julie Levac reassembles to talk about the things that distract us, misunderstood evil and what we’d do on our last night on Earth.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

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.

8.13-Dont-Look-Up

8.12 Behind the Image in THE POWER OF THE DOG

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In Jane Campion’s THE POWER OF THE DOG, Benedict Cumberbatch plays gruff cowboy, Phil Burbank. After his brother returns with a new wife and son, Phil does his best to put on a show of toxic masculinity and dominance, even as his conflicted soul suffers underneath. This week, Seeing & Believing‘s Kevin McLenithan and author Wade Bearden stop by to talk about hiding behind the image and showing our dark side.

(Note: This episode was recorded as part of our ‘Best Movie Moments of 2021’ and re-edited as a standalone. You can watch our Top Movie Moments episode here.)

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

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.

8.12-The-Power-of-the-DogDownload

tick, tick… BOOM!: Larson’s Love Letter to Life

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Time is always ticking away… but how we make use of it determines our impact on the world.

Set in 1990, tick, tick… BOOM! tells the story of Broadway legend Jonathan Larson (Andrew Garfield). Well before he created Rent, Larson was doing his best to stay afloat financially by waiting tables at the Moondance Diner while he works on his upcoming play, Superbia. Having poured his heart and soul into the piece for over eight years, Larson believes that this is finally going to be his big break. However, when his girlfriend Susan (Alexandra Ship) reveals that she has been offered a job in the Berkshires and wants him to join her, he is faced with a difficult decision. While he could follow the love of his life and get a ‘real job’, doing so would require him to essentially give up his dreams. However, if he continues to follow his passion, he would also lose the woman he cares about so deeply.

Directed by Lin-Manuel Miranda, tick, tick… BOOM! is a love letter to musical theatre and one of its legends in Jonathan Larson. Using Larson’s play of the same name as its base structure, tick, tick… BOOM! feels as much like a live performance as it does a dramatic representation of a young man’s life. While this year has seen many musicals disappoint this year (with possibly Miranda’s In the Heights as the exception to the rule), tick, tick is an absolute joy from start to finish. Featuring Larson’s incredible Broadway sensibilities in its music, it’s rather refreshing to have a musical offered by Miranda where he didn’t write the songs himself. While his style is generally stunning and incredibly unique, let’s not forget that there have already been three (!) films this year alone featuring his work on the soundtrack. With tick, tick, Miranda is allowed to relax and pour his energy into directing the cast and musical numbers. Underrated for his role as a director, Miranda makes almost every musical number pop with love and affection. Whether it’s Garfield dancing in his kitchen to turning their lowly diner into a Broadway stage, there is a joy embedded within this film which keeps it moving, even in its slower moments.

Having said this, particular attention must be given to Garfield himself. The former Spider-Man (but he’s totally in No Way Home, right?) is often forgotten for his incredible talent as an actor and 2021 has once again shown his range. As controversial figure Jim Bakker in The Eyes of Tammy Faye, Garfield fused his charm with a certain unease that never allowed you to fully trust him. Here though, he bursts on the screen with an infectious energy that we haven’t seen from him in ages. Although the musical numbers offer a certain sense of hyper-reality, Garfield still feels present and focused in each scene as Larson. As such, while the music and production design are impressive, it’s Garfield that ultimately sells the film simply out of his own sheer enthusiasm.

On the surface, tick, tick seems to be about the urgency of time. As his 30th birthday approaches, Larson agonizes about all the things in his life that he has yet to accomplish. Holding Sondheim’s career up as the gold standard, he remains frustrated by the fact that he has yet to leave his mark on Broadway. To him, the 30th year is almost too late to be seen as one of the voices who have changed the face of theatre and he wants to make an impact.

However, as the film unfolds, Larson begins to recognize that the most important legacy that he can leave lies in the hearts of those he cares about. Although he remains committed to his work, the lives of those around him matter more. Real-life pain such as cancer, HIV, crushing debt and more are changing the world of his dearest of friends who love him yet he cannot separate himself from the obsession of success. While the film doesn’t fully judge him for this decision (after all, we know how Larson’s story ends), so too does it remind us that the soul of our relationships far outweighs the sum of our creative output. In this way, while the time may be ticking away on our lives, the true legacy we leave stems from the people that we invest in along the way.

With pop and fervor, tick, tick… BOOM! may highlight the life of a man who rocked Broadway like few others had before him. However, the story stems far more personally. This is a film which connects Larson’s incredible creative output to his ability to find his soul in the love of others. While time may be marching forward, tick, tick shows that the greatest threat to our lives is not whether we see our name in lights. Instead, the greatest losses are the missed opportunities with those we care about.

tick, tick… BOOM! is now playing on Netflix.

Colin in Black and White: Proving them Wrong the Right Way

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Colin in Black & White. Colin Kaepernick as Colin in episode 104 of Colin in Black & White. Ser Baffo/Netflix © 2021

“Why am I the one who always has to prove them wrong?” 

This question hovers ominously over Colin Kaepernick’s bold and beautiful biographical Netflix limited series, Colin in Black and White. Touching on Kaepernick’s journey as an adopted child, Black and White is ultimately about much more than the story of a young athlete. With Kaepernick himself as storyteller, the series uses his journey to wrestle with issues of race, class and culture. With every leap forward towards his career as NFL quarterback, so too does the young man find himself battling a system stacked against him. Even so, Kaepernick believed that his dreams were much larger than what others believed he could do and he chose to lean into his calling.

Colin in Black & White. (L to R) Mary-Louise Parker as Teresa, Nick Offerman as Rick Kaepernick, Jaden Michael as Young Colin in episode 103 of Colin in Black & White. Cr. Ser Baffo/Netflix © 2021

Directed by Ava DuVernay, Black and White is a fascinating blend of memory and truth that seeks to challenge our assumptions and allow Kaepernick to finally be heard. Part The Wonder Years and part African-American history class, DuVernay and Kaepernick have created something truly unique. With pop flair and energy, Black and White is a stunning mixture that draws the viewer in with its style but challenges them with its substance. Focusing the narrative primarily on Kaepernick’s high school football years, this is not a series that looks to simply explore a certain period and place in time. Instead, it wants to get to the heart of questions and issues that are taking place right now. By re-examining key moments in his youth through the eyes of adulthood, the series allows Kaepernick to grapple with larger conversations about the racial divides, biases and stereotypes that remain rooted in the heart of American culture. 

There is a courage that Kaepernick shows that sets him apart from other voices right now. Having taken on the role of activist after being released from the 49ers for his stance against racial injustice, he has become a key voice to challenge the systems that continue to remain oppressive. With each episode, Kaepernick shows that he has always had to struggle to be seen for his abilities. (“From the day I was born, I’ve never been anybody’s first choice,” he explains.) However, despite what he has seen and experienced, Kaepernick has continued to show strength in his ability to speak on behalf of others.

Colin in Black & White. Colin Kaepernick as Colin in episode 101 of Colin in Black & White. Cr. Courtesy of Netflix © 2021

Appearing as the show’s host and narrator, Kaepernick’s presence is felt throughout the entire series. Dressed in all black and holding a playbook in his hands, he calmly and passionately speaks with honesty and forthrightness, all the while challenging assumptions about himself and his culture. As a young man, he experienced prejudice simply due to his hairstyle. As a promising young quarterback, he was often held back due to his skin colour. 

Time after time, he was placed in a position where he had to prove them wrong.

But this is not a series which looks to air grievances against those who have stood against him. Instead, this is an opportunity for him to challenge ideological systems and help alter perspectives. Smartly written and stylistically presented, Kaepernick speaks boldly about issues that he has experienced but, more importantly, affect millions more on a daily basis. Conversations around white privilege, beauty standards and what it means to play the game ‘the right way’ force the viewer to explore the unconscious (and conscious) biases that they may either face (or hold) themselves. 

Colin in Black & White. (L to R) Jaden Michael as Young Colin, Nick Offerman as Rick Kaepernick, Mary-Louise Parker as Teresa in episode 104 of Colin in Black & White. Cr. Ser Baffo/Netflix © 2021

In the end, Colin in Black and White is a phenomenal piece. From DuVernay’s skills behind the camera to Kaepernick’s forthright conversations about issues of change, Black and White is essential viewing for anyone willing to engage in topics that are never easy to discuss. While Kaepernick’s story is tragic on many levels, it is only one of many who have felt the cold sting of injustice. So, why does Kaepernick have be the one to prove them wrong? 

Because, as his mother says, ‘[he’s] the one who’s strong enough to do it.’

Colin in Black and White is available on Netflix on Friday, October 29th, 2021.

The Guilty: Blurring the Lines of Justice

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Everyone wants to catch the guilty but not everyone recognizes that same guilt within themselves.

Directed by Antoine Fuqua (Training Day), The Guilty takes place during the raging wildfires of Los Angeles. As his nightshift at the 911 desk winds down, frustrated and exhausted police officer Joe Bayler (Jake Gyllenhaal) gets a perilous phone call from a young woman (Riley Keough) who appears to be calling her child. Though he must get up early in the morning for a trial of his own misconduct, Joe ascertains that the young woman has been abducted and attempts to piece together her whereabouts from her cryptic clues. With few officers available due to the fires (not to mention the time of night), Joe feverishly works towards rescuing her. However, as the crime begins to unravel, Joe’s own inner demons begin to surface, blurring the lines between justice and vengeance.

In The Guilty, Antoine Fuqua delivers his signature intensity in a film the demands attention. Reteaming with his Southpaw star Gyllenhaal, Fuqua has never taken the easy approach with his filmmaking and Guilty is yet another example of his ability to tell stories that others simply cannot. Taking place entirely in the office of 911 dispatch, it is very difficult to maintain interest over the course of a full runtime in one location (and especially when the protagonist is spending the entire length of the film on the phone). From Phone Booth to Netflix’s Oxygen, many other films have attempted to make this format engaging but most of these examples begin to falter as the film drags on. (Ryan Reynold’s Buried may be one of the few exceptions.) Quite simply, the viewer expects (and usually requires) some sort of visual change in order to keep them focused for an extended runtime. Nevertheless, The Guilty somehow makes it work. 

Much of this can be credited to the commitment of its star. Jake Gyllenhaal has always done intensity very, very well. With few exceptions, Gyllenhaal has always sought characters that he could sink his teeth into and, as a police officer about to stand trial, he fully dives into his performance. Let off the leash by Fuqua, this becomes yet another example of his incredible talent. As a result, anchored by a solid script and the strength of its lead, The Guilty may be one of the best examples of the genre. It simply grabs you from the opening scene and never truly let’s go. 

However, what makes gives The Guilty its power is it subtext. The Guilty tells a story of a police officer who is about to face trial for an undisclosed crime and he does not want to be held accountable. At the same time though, so too does he also refuse to acknowledge his own mental instability. As he fights to save the life of a young woman, he also exposes his own flaws and brokenness. Joe is a man who is determined to save those who he feels deserve it yet is also willing to unleash hell on those that don’t. The pressures of the job have clearly broken his spirit and his judgement is compromised. (“Broken people save broken people,“ he is told by a coworker.) Although we never fully fully discover what his crimes may be, we certainly understand that he made the wrong decision when he caused them. His desire to do right has been overcome by his pension to do wrong.

As such, there’s a complexity to Joe that keeps the viewer at a distance. We believe that he is someone who wants to defend the innocent. He is passionate about bringing down ‘the bad guys’ and wants to be one of the ‘good guys’. His love for his estranged family is genuine.

However, Joe also proves that he’s not currently suited to wear the badge. Bored and frustrated by the average person, he has little interest in the everyday problems of everyday people. Then, when really difficult situations arise, he is far too willing to take matters into his own hands. While this sort of rogue cop has been celebrated on film for decades (ie. 24‘s Jack Bauer), The Guilty understands that this sort of rage-filled avenger simply has no place in real life. There’s an inner rage and hatred against ‘scumbags’ that fuels Joe’s actions, making him a toxic presence in the community. In other words, his ‘justice’ can just as easily become an outlet for his own mental health issues. In this way, The Guilty acknowledges the importance of the police yet also calls for accountability and health of those who don the uniform.

Bold and gripping, The Guilty is a film that needs to be experienced. With skill and substance, Fuqua takes a genre that rarely works and delivers an entertaining and thrilling film that keeps the viewer on the edge of their seat. Even so, the real value of the film is its question of valor which resonates deeply with the questions of police accountability today. While Joe may be a man who wants to not be Guilty, it’s also clear that he’s far from innocent.

The Guilty is available on Netflix on October 1st, 2021