Tag Archives: Trump

Aftermath

21 May

The Long Island Literary Journal May 2018

“We did this to ourselves,” Jonesy said sliding bullets into a tarnished old .38.  Besides an aluminum baseball bat and a barn full of rusted farm implements, it was their primary means of defense, one they had yet to use, but the expectation was that things were to only get worse. It had been eighteen months since the ban went into effect, fourteen since the MOAB was dropped on a so tagged hot-spot in the Middle-east and five weeks since the dirty bombs went off in Boston and New York.

Stan watched Jonesy cautiously in the rearview as he guided the dinged-up Dodge Charger along the roadway marred by frost heaves and years of neglect. He knew little about his passenger other than he was elusive when it came to questions but seemed to know much about the western hills of Massachusetts and Connecticut and how to get the most from the woods. Just five days earlier he had drifted out from the tree line under the weight of a large backpack. Stan was prompt in his effort to dismiss the intruder, and felt he had matters in hand until Echo appeared on the back porch with a bottle of pop in hand.

 “Maybe he can help with the generator?” she interjected casually, “We might need that hunk of junk after all.”

Stan wished to protest but knew his wife was probably right just like his mother was when she had the massive crate delivered to the farmhouse in the tense months following 9/11. “If anything like that ever happens again,” the matriarch chortled while drinking a saucer full of cheap scotch when she could easily afford better, “you kids just jump in the car and head to Weathervane Farm. I’ll have everything there for you.” Stan found the notion of buying a farm in Western Massachusetts when his parents lived in Connecticut a complete waste of money, though Church View did turn out to be a good central place for Worthington holiday gatherings. His sister lived in Chicago and made the dutiful trek east twice a year with her ever growing brood.  It was perfect while it lasted and now, his mother’s paranoid ramblings about the future of mankind boomeranged back from the beyond as shards of prophetic wisdom. Stan’s only regret being that he wished he had set up the generator back then when she had wished it.

The car hit a pothole and a bullet slipped from Jonesy’s hand. “Steady mate,” he said cooly as he retrieved the projectile, “Be a shame if Bulla put a hole in your seat.”

That coy air of amiable aloofness bothered Stan. He knew he was alone in that regard.  The others taking refuge in the place his mother had so affectionately rebranded ‘Manure Manor,’  didn’t share his scrutiny. Little Jade was delighted by the coins pulled from her ears at dinner that first night, and afterwards Jonesy toiled under Echo’s direction in the kitchen, sharing wine and laughs late into the evening. Even crabby old Rosemary appeared susceptible to his charms granting Jonesy great deference before launching in with her bristly opines and demeaning insistences. Each morning, Stan expected the man hidden behind aviator sunglasses and a fine beard, to disappear back into the woods, but at night, when dinner was served, he was there at the table as if he has always been.  The tenor of the manor had shifted. There was less control, more spontaneity and things got done. Jonesy was fit and able, a rising commodity as networks fell and the availability of shrink wrapped sustenance waned.

“How much we got?” Stan asked. Continue reading

Advertisements

Isle of Dogs

30 Mar

 

 

From the wit of Wes Anderson, the man behind “Rushmore” (1998) and “The Royal Tenenbaums” (2001) comes a stop-motion animation gem that shares as much in common with Anderson’s other such project, “Fabulous Mr. Fox” (2009), as it is a total departure. There’s plenty more canines and perfectly orchestrated animation, and it takes place in a Japan some 20 years in the future and is loaded with small political powder kegs.

Co-written by Anderson, Roman Coppola, Jason Schwartzman and Kunichi Nomura, the action takes place in the aptly if generically named fictional city of Megasaki, where an outbreak of snout fever (dog flu) strikes and the metro’s Mayor Kobayashi (voiced by Nomura with abrupt, macho intonations suggestive of indelible Japanese cinematic icon Toshiro Mifune), banishes all dogs to a “trash island” where waste is carted by unmanned trams across the watery expanse and processed through a series of “Wall-E”-esque automation facilities. The result is an ever-rising mass of neatly stacked cubes of rubbish that take on the effect of tiered stadium seating. No humans, unless in hazmat suits, visit. Continue reading

Logan

8 Mar
Hugh Jackman grunts and grimaces through his (possibly) final outing as the Wolverine

Courtesy of Twentieth Century Fox

Hugh Jackman grunts and grimaces through his (possibly) final outing as the Wolverine

Logan, the third Wolverine spin-off from the X-Men movie empire, which has grown terribly long in the tooth (or is that claw?), does a nice job of righting the ship with this elegiac closing chapter. Part of the reason for the franchise’s demise has been its lack of innovation, but also, and more to the point, the superhero market oversaturation with the Avengers and Justice League entries out there chasing fanboy dollars as well. Besides Professor Charles Xavier (Patrick Stewart) the best thing about the X-Men series has always been the tortured soul of Logan. Brought so palpably to the screen by Hugh Jackman, his badger-like sneer, tang of feral sexuality, and discernible sense of conflicted rage has always raced around inside the character’s metal-reinforced body.

The good news for fans, and even more so those losing faith, is that Xavier and Logan find themselves back together and without a cavalcade of other mutants and two-dimensional bad guys to weigh them down. It essentially allows the two classically trained thespians to dig in deep and get at the core of their characters’ beaten-down and mercurial personas. As far as acting goes, Logan may just be the grand dame of slumming it. It takes place in the not-too-distant future (2029) and finds our two uber-beings on tough times. Mutants and mutations have been culled way down, and we’re fed the factoid that there hasn’t been a mutant born in a decade or so, making Logan and Xavier perhaps the last of their line.  Continue reading

The Trump supporter profile on film

21 Nov

Angry white men on film: Seven times cinema got to the Trump vote before us

Most of us in the proudly liberal-leaning Hub are still in shock from Donald Trump’s historic and controversial “win” last week, making the demagogue the 45th president-elect. Throughout the presidential campaign there were near-riotous breakouts at Trump rallies and the candidate famously offended minorities, immigrants and, most resoundingly, women. “The Art of the Deal” Don looked primed to go up in flames at any turn and got away with language and behavior that would get any wage-earning wonk fired without a second consideration, but come Nov. 8 there was pushback from a certain populace in mid- and and Southern states who had been suffering quietly through the long, slow manufacturing ebb and were left out of the high-tech, life sciences and servicing surges – the non-college-educated white male, known as hard-working union members in more prosperous times, who had previously delivered swing states such as Pennsylvania and Michigan blue. We on the coasts scratch our head why, slow to realize the cold sting of disenfranchisement as a powerful motivator. Below are seven films that delve into the psyche of the dislocated white male, usually outcast, antisocial and operating outside the law:

 

“Hell or High Water” (2016)
Boston-born Ben Foster and Chris Pine (the new Captain Kirk) play brothers desperate to keep the family farm by heisting banks. Foster’s Tanner, just out of the slammer, has been there before, but Pine’s Toby is divorced and struggling to stay afloat financially and maintain a relationship with his progeny. The bureaucratic bank holding the homestead’s deed plays the heavy, and Jeff Bridges checks in as the sympathetic, but dutiful sheriff caught in the mix on the eve of his retirement. Pine and Foster make the frustration of hopeless conclusions, and the flight against them, deeply palpable. David Mackenzie, the British-born director who turned in the saucy “Young Adam” (2003), renders the Texas setting like a sequel to “No Country for Old Men” and registers one of the best films of the year so far. See also: “Out of the Furnace” (2013).

 

“All the Right Moves” (1983)
A young Tom Cruise plays a high school football star in dying steel-mill Pennsylvania who values his gridiron prowess as a way out of the economic dead-end, but his strict coach (Craig T. Nelson) may have other ideas. The death of the working-class American Dream and the despair as big biz going overseas for cheaper labor remains pointedly relevant. See also: “Hoosiers” (1986)  Continue reading