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Olivia Cooke

7.18 Meeting THE FATHER + Oscar Talk!

April 24, 2021 by Steve Norton Leave a Comment

Roll out the [digital] red carpet and strike up the [Zoom] speeches! Believe it or not, It’s Oscar season and time to crown the Best Films of the pandemic year. As efforts such as Nomadland, Judas and the Black Messiah and Sound of Metal all duke it out to claim the top prizes, Seeing and Believing’s Kevin McLenithan drops by to talk about some of the potentially important smaller awards and mistakes that the Academy may reward come this weekend. What’s more, we also take a deep dive into Florian Zeller’s nominated film The Father and discuss the fragile nature of safety and the relationship between humility and perspective.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download 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.

7.18 The Father + Oscar TalkDownload

Filed Under: Featured, Film, Podcast Tagged With: Academy Awards, Florian Zeller, Imogen Poots, Isolation, Nomadland, Olivia Cooke, Oscars, The Father

Sound of Metal – A Place of the Kingdom?

December 3, 2020 by Darrel Manson Leave a Comment

Is healing a return to what came before, or is it finding life anew? In Darius Marder’s Sound of Metal, a man has to decide what he will accept in his life that has been turned upside down. He discovers that what he thinks will make him whole may not be as good as he hopes, but he also discovers that there are gifts that he can tap into that will bring him peace and joy.

Ruben (Riz Ahmed) and Lou (Olivia Cooke) travel the country as the band Blackgammon, a punk metal band. Ruben plays the drums. Their trademark is that they are LOUD. Yet, when in private, they listen to much softer music. One day Ruben suddenly loses his hearing. When he goes to a doctor, the news is not good. It will not be coming back.

When Lou sees that he is beginning to return to an addict’s behavior pattern, she takes him to a farm where there is a community of deaf addicts in recovery. The community is led by Joe (Paul Raci), an alcoholic who lost his hearing in Vietnam.  It is a hard transition for Ruben. When he comes into the community, he is hyper-isolated. He can’t understand them when they sign. They can’t understand him when he speaks. He is more interested in getting his hearing back (through very expensive cochlear implants) than adapting to the world as a deaf person. His goals are different than those around him.

Riz Ahmed as Ruben in SOUND OF METAL Courtesy of Amazon Studios

In time, Ruben begins to learn to sign. He also begins teaching deaf children to play drums. But all the while, he wants more. He is always busy. He fixes things around the farm. But all of that is a way to avoid his feelings. Joe notes that his refusal to accept his situation is very much the behavior of an addict. Joe gives him an assignment: to go into a room with just a pencil and paper and write. He can write anything. It doesn’t have to be a story or even sentences. Just write and write and write.

The addictive behavior that Joe notes is interesting. It is not only the danger of drugs that Ruben must deal with, but the hearing life that he is trying to hold on to. It is hard to move forward when tied to the past. His desire to hear again—at any cost—is a barrier to finding something new.

I need to admit that when I first read the synopsis of the film as I prepared for AFI Fest, it wasn’t high on my list. But when I heard others who had seen it earlier rave about it, I made sure in include it in my schedule. It turned out to be one of my favorites of the festival. It is extremely engaging on an emotional level. Ruben struggles throughout the film, not just with his hearing loss and his addictions, but against a future he cannot see. Even as he begins to have some growth, he continues to be deeply troubled.

We also learn that this is in reality a spiritual struggle. That epiphany comes when Joe tells Ruben that he too needs to spend time writing and writing. When he can write no more, and there are moments of stillness, “that place is the Kingdom of God”.

That idea reminded me of the story of Elijah in 1 Kings 19. When the prophet felt overwhelmed by his struggle with King Ahab, he went to the wilderness to find God. He wanted to whine a bit. As he waited for God a mighty wind that could break rocks came, but God wasn’t in the wind. Neither was God in the great earthquake or the fire that followed. But then there was “a sound of sheer silence. There the voice of God spoke to him.

We often overlook the spiritual aspects of the struggles we have—whether it is addiction, illness, or the emotional struggle of the COVID pandemic. We want things to be “normal”. We want our pain to end. We think if we do something, or try harder, things will get better. But sometimes, what is really needed is to stop and wait for the voice of God that comes in the stillness.

Sound of Metal is available on Amazon Prime Video beginning December 4th, 2020

Filed Under: AFIFest, Amazon Prime Video, Film, Reviews Tagged With: addiction, Darius Marder, deafness, heavy metal, musician, Olivia Cooke, Riz Ahmed

Sound of Metal: Deafening Stillness

November 20, 2020 by Steve Norton Leave a Comment

Sound of Metal tells the story of Reuben (Riz Ahmed) a heavy metal drummer who hammers out ferocious sets with his girlfriend and bandmate (Olivia Cooke). Committed to his rock and roll lifestyle, Reuben’s world is turned on its head when, all of a sudden, a persistent ringing in his ears worsens until sound drops out altogether. Feeling lost and overwhelmed, Reuben seeks help from a rural group home that provides a community for the hearing impaired. After temporarily moving into the facility, Reuben is forced to re-examine the very core of what defines him as he seeks to move forward in the next chapter of his life. 

Written and directed by Darius Marder, Metal is an energetic but thoughtful piece that grapples with what happens when the things that we feel define who we are suddenly taken away. As his first directing opportunity, Marder (who wrote Place Beyond the Pines) challenges his audience’s perspectives and understandings about deaf culture and the hearing impaired. By playing with the film’s audio in various ways throughout the film, Marder allows the viewer to get the briefest of glimpses into Reuben’s world, revealing how difficult his journey has become. While the entire cast feels invested in the film, it’s Ahmed’s staggering performance as Reuben that carries the piece. As the discombobulated drummer, Ahmed demonstrates his range and courage as an actor, portraying him with a combination of restrained ferocity and humanity. 

Furthermore, the film is a beautiful exploration of the realities and misconceptions surrounding deaf culture. When he first arrives at the compound, Reuben is determined to find an answer for his hearing loss, viewing it as a problem that requires fixing. However, his interactions with the other residents, especially group leader Joe (Paul Raci), reveal a deeper understanding of the world of the hearing impaired. To them, hearing loss isn’t a problem to be fixed but rather a community and way of life worth celebrating. Despite the fact that Reuben feels he has ‘lost’ something, those around him are determined to show him what he has actually gained.

However, Sound of Metal speaks to more than the misunderstandings surround deaf culture and the hearing impaired. At its heart, the film also points to the healing nature of stillness. As Reuben begins to process his new life situation, he attempts to find solutions and fight his ‘illness’ as best he can. However, his most difficult challenge comes from Joe, who orders him to sit and be ‘still’. Though it sounds simple, this assignment is almost insurmountable for the control-driven Reuben. Nevertheless, Joe demands that he continue to try, insisting that it’s in the stillness that Reuben will truly begin to heal his soul. (“It’s in the stillness that the Kingdom of God shows up and it’s those moments that stay with you,” he argues.) As a result, Joe’s assignment points Reuben towards spiritual clarity as a precursor to true healing, as opposed to forcing a solution to his perceived ‘problem’.

Though it may not be one of the highest profile films to come out in 2020, Sound of Metal is far from a mere noisy gong or clanging symbol. Anchored by a potentially Oscar-worthy performance by Riz Ahmed, Metal provides new insight to the beauty of a community of people that rarely find representation onscreen while pointing to the spiritual realities that give life to our souls.

For audio of our conversation with director Darius Marder, click here.

For audio of our conversation with star Paul Raci, click here.

Sound of Metal is in theatres now and will appear on Amazon Prime on Friday, December 4th, 2020.

Filed Under: Featured, Film, Film Festivals, TIFF Tagged With: Darius Marder, deafness, hearing impaired, Olivia Cooke, Riz Ahmed, Sound of Metal

Katie Says Goodbye – More than a Victim

June 6, 2019 by Darrel Manson Leave a Comment

“Thank you for this day, Daddy. I hope I lived right and if I see you one day that I make you proud.”

I first saw Katie Says Goodbye at the 2017 Newport Beach Film Festival, where I ranked it among my favorites. The film won jury awards for Best Actress (Olivia Cooke) and Best Screenplay (Wayne Roberts, who also directed). Now it has found its way to select theaters and to VOD.

Katie (Cooke) is a waitress in a small Arizona town that is little more than a trailer park and diner. She is constantly happy even though her circumstances are less than ideal. Her mother Tracey (Mireille Enos) is unemployed, and does nothing but watch TV all day. Her mother squanders the rent money, constantly leaving Katie to deal with it. Katie’s dream is to go to San Francisco and become a beautician. She is saving money that she makes by prostituting herself with some regulars, including Bear (Jim Belushi), a truck driver who stops on his way through. Bear is kind and fairly paternal towards Katie. Katie is also mentored in life by the owner of the diner, Maybelle (Mary Steenburgen), who is far more of a mother to Katie than Tracey is.

When Bruno (Christopher Abbott), a new mechanic with a shady past comes to town, Katie is smitten. Bruno never smiles, but Katie is willing to smile enough for both of them. As they spend time together, Katie blossoms. But when Bruno discovers her prostitution, he is upset and demands she stop, which she does. However, there are others who demand more from her.

For all Katie’s rose-colored view of the world, things soon become darker as Tracey continues to take advantage of her, Bruno’s coworkers treat her badly, and another waitress at the diner frames Katie for theft. As her world begins to crash around her, Katie faces losing everything. Her smile disappears.

One criticism that some (but not me) might raise is that Katie is too much a victim. Her innocent (some might say naïve) approach to the world sets her up to be used and abused by those around her. And she never fights for herself. And when others do wrong, she is willing to silently assume the guilt. In a “Me Too” world, Katie could seem to be the poster-child for women accepting exploitation.

The reason I do not bring such a charge is that I see in Katie a similarity to the Servant of Isaiah 42-53. I think the film invites us to open ourselves to see more than just Katie’s victimhood. Each night as Katie goes to bed, she speaks to the father she has never met, with the quote I opened this review with. It is only a small leap to think of this as a prayer. How then does this filter our understanding of Katie?

Consider some of these descriptions of the Servant (all scriptures quoted from NRSV): “A bruised reed he will not break, and a dimly burning wick he will not quench (Isaiah 42:3); “I gave my back to those who struck me, and my cheeks to those who pulled out my beard. I did not hide my face from insult and spitting.” (50:6), and “He was despised and rejected by others; a man of suffering and acquainted with infirmity; and as one from whom others hide their faces he was despised, and we held him of no account…. But he was wounded for our transgression, crushed for our iniquities; upon him was the punishment that made us whole, and by his bruises we are healed…. He was oppressed, and he was afflicted, yet he did not open his mouth; like a lamb that is led to slaughter and like a sheep that before the shearer is dumb, so he did not open his mouth.” (53:3-7 passim).

Of course, this picture is familiar to Christians because the early church quickly came to see Jesus’ sacrifice in its light. But there is more to the Servant than just the suffering he underwent. It is important to note that the Servant Song found in Isaiah 50, even as the Servant recounts the suffering he has undergone, is not a song of lament, but rather a psalm of confidence. He says, “The Lord God helps me; therefore I have not been disgraced; therefore I have set my face like flint, and I know that I shall not be put to shame; he who vindicates me is near” (50:7). Such is the realization that Katie finally comes to at her darkest moments. That allows her to move on to a new life with hope that others might find Pollyannaish, but that certainly resonates with the Servant of Isaiah, and by extension, with Christ.

Photos courtesy of Vertical Entertainment

Filed Under: Film, Newport Beach FF, Reviews, VOD Tagged With: Christ Figure, Christopher Abbott, Isaiah, Jim Belushi, Mary Steenburgen, Mireille Enos, Olivia Cooke, prostitution, Wayne Roberts

Ready Player One: Real Life

July 19, 2018 by J. Alan Sharrer 1 Comment

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.”

Filed Under: Current Events, DVD, Reviews Tagged With: Aech, Art3mis, Ben Mendelsohn, Daito, Ernest Cline, Eve, Genesis, James Halladay, Lena Waithe, Mark Rylance, Olivia Cooke, Parzival, Philip Zhao, Ready Player One, Real Life, Sho, Stephen Spielberg, tye sheridan, Virtual Life, Wade Watts, Win Morisaki

4.15 Finding your Oasis in READY PLAYER ONE

April 8, 2018 by Steve Norton 1 Comment

http://screenfish.net/wp-content/uploads/2018/04/4.15-Ready-Player-One.mp3

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!

Filed Under: Film, Podcast Tagged With: Ben Mendelsohn, Delorean, King Kong, Mark Rylance, nostalgia, Olivia Cooke, Parzival, Ready Player One, Steven Spielberg, TJ Miller, tye sheridan, Zemekis

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