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There's a gag about sitting in the back of the bus, the realities of segregation dismissed with a giggle; references to university sit-ins and firebombings come via the eyes of a cartoonishly earnest character. Meanwhile the White characters are either the object of contrived sympathy, or too thinly drawn to invoke genuine menace. Accusations of 'cultural appropriation' might be uncharitable, but the short shrift given to the real, continuing hardships of Black experience raises questions about objectives and authenticity.
Technicalities seldom withstand moral grievance. So it is with Philippine president Rodrigo Duterte's justification for allowing the remains of a reviled dictator to be buried at Libingan ng mga Bayani - the Heroes' Cemetery. Young Filipinos, observing recent political disorder, had begun wondering whether Marcos was really that bad. But the disgusted response of millenials and others to the sneaky burial suggests that the pushback against historical revisionism is paying off.
On 15 January 2009, US Airways pilot Chesley 'Sully' Sullenberger successfully executed an emergency water landing on the Hudson River in New York, after both engines on the passenger jet he was flying were disabled following a collision with a flock of geese shortly after takeoff. Miraculously, and thanks largely to the veteran pilot's razor instincts and resourcefulness, all 155 passengers and crew on board escaped the ordeal all but unscathed. In Sully the incident itself is portrayed in near forensic detail (aviophobics might best stay away). But it is the human touches that really make it soar.
There are hints of darkness behind the laughs. We learn Brent spent time in an institution some time after the original 'documentary' aired. He is shunned by his band members, who see themselves as reluctant employees rather than friends. What emerges is a rather affecting portrait of a man whose self-identity is at total odds with reality, and threatening to come crashing disastrously down.
Perhaps what will ultimately convince media and entertainment companies that it is in their interest to be sincere about diversity is that there's money in it. A UCLA study found that in 2014, eight films that had diverse casts (out of 163) also had the highest median global revenues and returns on investment. In addition, TV shows with majority non-white casts rated extremely well, even among white households. This challenges conventions around what media consumers find appealing.
That McGuire, eventually, and presumably under pressure from the club's board and a major sponsor, offered what seemed to be a sincere apology, barely diminishes the fact that the comments were made in the first place, compensates for the lack of real repercussions, or excuses the time and effort that was required to get the incident on the agenda at all. Like a good parable, Mustang illuminates the ethical deficit of such a scenario, where women can so readily be bulldozed by powerful male voices.
In one scene, as Taylor and Davis argue, the dialogue comes down and the score comes up; her voice is literally taken from her. When Davis then physically assaults her, the message is clear: his music and his violence are notches on the same spectrum. This conflation of creativity with destructiveness is a typical error of mainstream biopics about great artists who were not nice people. Yet applied in the context of spousal abuse it is not only specious but ethically dubious, even dangerous.
Vice-principal Rickard claims the credit for having lifting the status of the once struggling public school, and sees in the smart but troubled new student Mark both the potential to do well and a danger to his own legacy. For his own part Mark, who was previously kicked out of the private school to which he had earned a scholarship, sees in Rickard a misguided do-gooder and, later, something a little more dangerous: an ambitious man whose ego is the flipside of insecurity.
As is the time-honoured tradition of Hollywood PIs, Holland has long bound the wounds of some unresolved grief in alcohol and cynicism. Notwithstanding individual tastes that are by no means aligned with gender, this is the kind of movie that can tend to appeal to puerile male interests while diminishing respect for women. In this regard Shane Black, a mainstream filmmaker who is more self-aware than most, tries to have his cake and eat it too, by both drawing and subverting the objectifying male gaze.
Thinking my jadedness of the nine-to-five was vindicated, I crossed the road at lunchtime where this tow-truck was waiting its turn at the lights. The trucker had 'Born on the Bayou' by Credence blasting through open windows. Thought he had an amazing sound system. Then realised he had a drum-kit set up on his dash and was going for it with his sticks in time to the tune. He made his day job look easy — and all of a sudden I felt like a small little angry man. He made my week.
Feminist writer Audre Lorde wrote that 'Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.' In medical professions, the term 'self-care' originated in reference to the self-management of illness. Self-care, however, also exists in the context of social justice, extending beyond physical wellness to cater for a holistic approach that includes emotional, mental and spiritual fulfilment. The need for this is rooted in the burden of oppression.
'The people who were most impacted were people in developing countries who I've cared about my whole life. And then I started having grandchildren too, so that passion to do something about climate change was turbo charged. The thought of little kids being swept out to sea because of a typhoon, or killed in a cyclone - they haunt me.' Thea Ormerod, President of Australian Religious Response to Climate Change, was arrested last year while protesting the Maules Creek mine site in NSW.
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