Two Traumatic Trips (Teenagers Terrified)
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
“You see, you can’t please everyone, so you got to please yourself.”
(from "Garden Party" by Rick Nelson and the Stone Canyon Band, 1972 album of the same name)
Don’t Make Me Go (Hannah Marks) rated R 109 min.
Opening Chatter (no spoilers): Yep, I’d loved to have made my own trip to a nearby-theater last weekend to see Nope (Jordan Peele), but none of those locations stepped up to offer me a chance to have an auditorium all to myself as I continue to keep cautious about the ongoing impact of the latest COVID variant in my San Francisco area (seems to be getting better, though ... maybe), so I’m still flowing along in streaming land (way down below, Mick LaSalle will tell you that’s to my advantage regarding The Gray Man, although I didn’t take his advice to use the fast forward option). What I found to be marvelous (even as I disagree with the OCCU) is Don’t Make Me Go, about a father who finds he likely has terminal cancer (even an operation gives him only a 1 in 5 chance of successfully leaving the OR), yet doesn’t choose to share that with his spunky teenage daughter, instead taking her along on a cross-continent-road-trip with the secret intention of reuniting her with the mother she hasn’t seen since she was a baby. This one’s on Amazon Prime Video, where you could see it on a 30-day-free-trial-option if you like. Likewise largely dismissed by the OCCU (yet found enjoyable enough by me) is The Gray Man (on Netflix streaming) where a clandestine CIA assassin (Ryan Gosling) finds out damning things about his boss who sends other assassins to kill him, primary a wacko (Chris Evans, light years away from Captain America) determined to succeed no matter what, collateral damage be damned; it’s a catalogue of deaths and spectacular stagings but no more than that. Also, here are links for the schedule of the cable network, Turner Classic Movies, which gives you a wide selection of older films with no commercial interruptions and the JustWatch site which offers you another wide selection of options for streaming rental or purchase. If you'd want to see what reigned at our domestic (U.S.-Canada) box-office last weekend, go here.
(I've also made a few permanent additions to these postings: one's a James Taylor song just after the reviews, the others are in the final cluster of songs at the very end of the Related Links listings.)
Here’s the trailer for Don’t Make Me Go:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $ (as well as recognizing those readers like me who just aren’t that tech-savvy). To help any of you who want to learn more details yet avoid these all-important plot-reveals I’ll identify any give-away sentences/sentence-clusters with colors plus arrows:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: Max Park (John Cho), an insurance salesman (Or an accountant? My notes are somewhat at odds with a respected critic’s comments.) who gets headaches we soon find out aren’t just related to job stress, lives somewhere in southern CA (looks like the L.A. area to me) with his almost-16-year-old-daughter-Wally (Mia Isaac) as his ex-wife Nicole (Jen Van Epps) left him years ago for their college-buddy, Dale Angelo (Jemaine Clement). Max and Wally have a decent-enough-relationship, although there are gaps in the connections: her most-insightful-comment to him (at least for me, the lifelong-nonparent) about something specific but seemingly could be applied to anything is “You wouldn’t get it.” One thing he doesn’t want her to get at this point is becoming much closer to a guy she’s infatuated with, Glenn (Otis Dhanji), even though she claims he’s not her boyfriend but then is constantly waiting for texts from him, yet he’s more dismissive of her than her concerns would suggest (he does, however, get her to sub in for a soccer game, learning to play goalie on the fly, actually winning the game with a solid block). Dad has his own nebulous-relationship with Annie (Kaya Scodelario), whom he’s willing to have sex with (as long as Wally’s otherwise-occupied) although neither of them is pushing to get too close. This all comes to conflict one night as Wally claims to be visiting with her friend, Sandra (Stefania LaVie Owen), but actually goes to one of those teenage-parties-while-the-parents-are-out-of-town; there, Glenn pushes Wally for sex, she refuses, calls Sandra’s mom, Tami (Jade Harlow), for a ride home but Tami calls Max (bringing an abrupt halt to his Annie-time that night); Max gets Wally, then grounds her for 3 weeks.
Max has more serious concerns, though, as a diagnosis at the hospital reveals he has a tumor near his spinal cord and brain, a situation that will become terminal in about a year if untreated yet the operation to remove the tumor carries an 80% risk of death as well (Annie backs off further when she learns about all of this). Max decides against the operation to give himself time to reconnect Wally with Nicole (who hasn’t seen her daughter since she was a baby) yet doesn’t tell Wally any of this, instead uses the excuse of wanting to attend his 20-year-college reunion in New Orleans, where he needs to get info from Dale (who’s clearly going to be there according to a Facebook post) about Nicole’s whereabouts even as she’s also divorced Dale, moved on to someone else. Wally has no interest in the New Orleans trip (hence the film’s title), but agrees when Max offers to finally teach her to drive during the journey. She’s initially excited to get behind the wheel but nearly causes traffic-havoc first by driving too slow, then closing her eyes at a crucial time, almost crashing, so Max takes over more often than he intended, further frustrated his daughter has no interest in college 2 years from now, preferring to travel abroad a bit rather than playing it safe as she finds Dad to be the epitome of all she’s pushing away from, even though ultimately it’s clear they really love each other.
After they check into a New Mexico motel (we don’t see any of Arizona, but then this film’s shot in New Zealand to accommodate Cho’s other commitments which helps explain the presence of low mountains and semi-deserts as they move across east Texas to Louisiana, a geological faux pas), they go to a nearby casino where she loses 4 times at roulette, he wins once ($50). Next we’re at a motel in Texas where Max finally has to admit to Wally about seeing Annie, then as he wanders off to call her (along the way Wally’s been texting Glenn, he finally responds, doesn’t offer much) so Wally slips out, meets up with Rusty (Mitchell Hope)—the young guy who checked them in—who whisks her off to a hard-drinking-party in the countryside but admits he has a girlfriend in college so he makes no moves on her, they watch a lovely meteor shower, both fall asleep. When Max wakes up next morning, he’s frantic Wally’s not in her bed, gets some info about the likely party location, finds Wally and Rusty, but nothing more than initial anger seems to come of it. Then we’re in New Orleans at the reunion where Max locates Dale, admits he cheated on Nicole first, finds out where she is in Florida, but he and Dale fight anyway; Wally caps off this part of the trip by dumping Glenn.
⇒Soon we’re in FL where Max finds Nicole’s home, knocks unannounced (she’s now married to Tom, has a baby, but they don’t factor into this), talks with her but she refuses to meet Wally so Max consults his GPS to go to a nearby beach (this scene begins the film, Wally in voiceover telling us “You’re not going to like how this story ends”) where Wally’s angry it’s for nudes; Max’s embarrassed but didn’t know the particulars. Max finally admits about his cancer to Wally which intensifies her anger because she wants him to have the operation so as to hopefully be able to be with him for as long as possible, to which he agrees. Somewhere on the journey back home they’re at another bar where she pushes him to sing karaoke (apparently he was a decent musician back in college but didn’t pursue it, instead opting for a more stable career and homelife); he’s well-received but then Wally suddenly dies, due to her congenital-enlarged-heart. Nicole comes to CA for Wally’s funeral (we get some further VO from her); Max has the operation; a year later he’s alive and with Annie.⇐
So What? As you’ll see below in the final portion of this review just about half of the overall-reporting-critical community’s barely in favor of this film, although I think the ones dismissing it just aren’t allowing themselves to be open to a viable tale of flawed, confused characters trying their best to find the stability, even joy, life hasn’t fully offered them so far. While I have no direct experience (no kids, just cats) to analyze how the normal dynamics of attraction/repulsion between parents and teenage offspring should be treated in a fictional story (except thinking back on my own teenage years where I was trying to establish my identity separate from the people who so diligently brought me up, often frustrating them in the process even as they enjoyed telling me stories of their own adolescences, where my father in west Texas actually hopped freight trains a time or two, being away for a couple of days before returning to ease my grandmother’s concerns, and my mother laughed about the antics of driving slowly behind a watermelon truck so a couple of boys could climb aboard and steal some fruit), I do have relatives who’ve raised teens so I have a little observational sense to go by, incomplete as it may be. With that in mind, I found this depiction of Max and Wally to be sincere, viable, all too likely as she sees her father as being so rigid and cautious while he’s had to do whatever he could imagine might be the right choices raising Wally on his own, feeling constantly out of step as her natural rebellion increases even though she cares for him more than she actively admits. Even those who are negative about how this film explores its situations find much to praise in the chemistry between Cho and Isaac, a connection they embrace as well (as you can see directly in the pair of videos of interviews with them in the Related Links section of this posting far below), even though they knew little of each other prior to coming together for the filming.
There are other nice surprises in the actions/reactions of both these primary characters throughout this nicely-timed-narrative plus some generally-effective-visual-depictions of the Southwest/Southern realms of the U.S. (except that odd terrain in east Texas) despite filming confined to New Zealand, so I think you’d find plenty to appreciate as this story streams along. If you’d like to get a quick summary of it (3:48) with illustrative visuals, take a look at this video, contaning Spoilers of course.
Bottom Line Final Comments: I’m in a completely different direction from the OOCU regarding Don’t Make Me Go (I’m not close with my response to The Gray Man either as you’ll see in the next review just below, with that gap about as wide as this one; I guess many of these “professionals” just don’t know quality cinema when they see it, but, then again, not everyone has the insightful-understandings of the finer aspects of life that I do) in that the Rotten Tomatoes reviews are only 54% positive while in a rare concurrence the folks at Metacritic have also come up with a 54% average score (although these things do change over time as new reviews are added to these databases so if you want to check back later to see how their responses may have evolved just go to the links for these critics’-accumulation-sites also in the Related Links section of this posting, a feature you’ll always find in our blog, following up on our reviews). In an attempt to get better insight into the minds of the naysayers I turned to Sarah-Tai Black of the Los Angeles Times who says: “There is a line between narrative comfort and lack of imagination and, unfortunately, ‘Don’t Make Me Go’ too frequently occupies the latter space. While every director shouldn’t be tasked with reinventing the cinematic wheel (most every movie has its place and audience), there is something about a movie such as ‘Don’t Make Me Go’ that — even as it pulls on your heartstrings or makes you smile — still leaves you feeling uninspired.” Nevertheless, I’m still comfortable with the minority of critics, such as The New York Times’ Amy Nicholson who counters with “The setup is like a hazard sign reading ‘Caution: Treacle Ahead.’ Yet the director Hannah Marks and the screenwriter Vera Herbert veer from predictability. Life is unpredictable, and the film gambles big to make that point. In one jolting scene, they set an emotional showdown on a nude beach — but neither character finds the gratuitous flaccidity funny. (Thankfully, the film’s editor, Paul Frank, does.)” Nicely stated, I'll say.
I’ll leave it you to decide which of these opinions (including mine) you more fully agree with which you can do after seeing the film now streaming on Amazon Prime Video. (If you’re not already a subscriber they’ve got a 30-day-free-introductory-offer if you don’t care to sign up on a permanent basis, but even then the Video portion's only $8.99 monthly rather than $14.99 monthly for the product-purchasing, but I don’t know if that also includes Video because my marvelous capitalist wife [despite socialist political preferences] generously supports Jeff Bezos’ endeavor with a $139 annual fee which definitely includes Video.) I find this story to be intriguing, touching, funny at times, sorrow-laden at others, but a very effective total presentation. I’ll wrap up the package with my usual tactic of a Musical Metaphor, easily determined this time by using what Max sang toward the end of this journey, Iggy Pop’s “The Passenger” (from his 1977 Lust for Life album) at https://www. youtube.com/watch?v=-fWw7FE9tTo as this tune gets to the heart of what the filmmakers are aiming for in this bumpy-narrative about the difficulties families face, possibly are able to overcome: “Get into the car / We’ll be the passenger / We’ll ride through the city tonight / We’ll see the city’s ripped backsides/ We’ll see the bright and hollow sky / We’ll see the stars that shine so bright / The sky was made for us tonight.” Max and Wally don’t fully overcome the challenges they face (often self-inflicted), but they make a concerted effort in that direction, whether they want to go there or not.
SHORT TAKES (spoilers also appear here)
A convicted killer (Ryan Gosling) is recruited by a clandestine CIA agent to serve as a hidden assassin for the agency which he proves to be very successful at until he learns his handler is corrupt, but the evil guy sends many would-be-terminators including one especially horrid one (Chris Evans) after our hero whose wits, skills, plus help from his few friends miraculously keeps him alive.
Here’s the trailer:
Before reading further, please refer to the plot spoilers warning detailed far above.
I’ll admit from the start this movie—despite a $200 million production budget, directors with solid (and earnings-heavy) success from their notable Avengers movies, some big names in its cast—is largely dismissed by the OCCU: RT gives it 47% positive reviews, MC’s (again surprisingly) a bit ahead with a 49% average score; yet, I enjoyed it a lot, although the body-count of assassins vs. assassins mounts up quickly, continuing throughout the running-time (some killed within the first 15 min., more meet their end unseen even in the final scene) so if you’re not interested in well-staged hand-to-hand combat or the spectacular situation of one handcuffed man fighting off a small army of would-be-killers in a public plaza followed by an overwhelming chase scene through the streets of Vienna, then you might not want to bother because that’s about all you get, along with corruption in the CIA and rabid-bounty-hunters constantly launching themselves at our imperiled-every-minute-hero. Speaking of heroes, one of the Russos’ greatest saviors from their Avengers tales, Captain America, as played in so many of those Marvel Cinematic Universe movies by Chris Evans, is a bit difficult to forget as this talented actor becomes one of the screen’s most terrifying villains here, but he does it so effectively (aided by a menacing-mustache) all you can see of him is a man crazed with pulling off an almost-impossible-assignment, no matter how many die in the process. (If you’d prefer to remember Evans in more positive terms, listen to him as the voice of the title character in the still-playing-theatrical-animated-movie, Lightyear [Angus MacLane; review in our June 30, 2022 posting.)
To put this all in perspective, our story’s about Court Gentry (Ryan Gosling), in prison for murdering his father (who abused both his boys, with the water torture of Gosling’s brother as the last straw), visited by CIA official Donald Fitzroy (Billy Bob Thornton) offering freedom if he becomes a “gray man” assassin, taking out targets not traced back to the CIA. He accepts, becomes known as Sierra Six, works effectively for 18 years, then’s on assignment in Bangkok under the directive of Denny Carmichael (Regé-Jean Page), aided by agent Dani Miranda (Ana de Aramas). After our homicidal pair kills several bodyguards, Six terminally-wounding his target, he learns this guy is Sierra Four, aware of terrible scandals about Carmichael—thus, being falsely set up for death—then giving Six a mini-drive with damning info about their boss. Six sends the drive to CIA honcho Margaret Cahill (Alfie Woodard) in Prague while Carmichael recruits ex-CIA sociopath Lloyd Hansen (Evans) to terminate Six, retrieve the drive. With all of that set in motion efficiently most of the rest of this movie involves Six fighting a seemingly-never-ending-series of men out to kill him, eventually getting help from Miranda as a cargo plane crashes; death comes quickly to all of the underprepared killers; Six when handcuffed by police in Vienna manages to hold off all the goons attempting to shoot him, then he and Miranda go on a wild chase through the city involving cars, motorcycles, and a light-rail-train, even as Hanson takes Fitzroy and teenage daughter Claire (Julia Butters) captive in his Croatia HQ.
Ultimately our heroes wind up in Prague where Cahill sacrifices herself as more assassins arrive, leading to the drive being taken by Lone Wolf (Dhanush) who eventually gives it back to Miranda, disgusted with internal-CIA-corruption. Six manages to rescue Claire although Fitzroy sacrificingly-dies in the process. ⇒All of this comes to an end as Six and Hansen fight one-to-one, but Hansen’s shot by Suzanne Brewer (Jessica Henwick), Carmichael’s right-hand-woman who wants to take him down with his connections to Hansen, but she arrests Six and Miranda in the process. Later, Hansen’s crimes are revealed, yet no action’s taken against Miranda or Carmichael. At this point, Six escapes his confinement (more body count), kills those guarding Claire with the 2 of them long gone, possibly leaving us with the set-up for a sequel (Greaney has several books about various ones of these characters)⇐; more on such background for this narrative can be found at this site (9:16 [ad interrupts at 6:18]). As noted above, many critics aren’t excited about this story (the San Francisco Chronicle’s Mick LaSalle says: “[The Russos’] movies are huge on spectacle, and spectacle on that scale deserves the big screen! All that is true. [¶] But in this case, the Netflix experience has one advantage that can’t be topped: Fast forward. Watching ‘The Gray Man,’ you will want to use that button to skip through all the stupid parts. And how will you know which parts are stupid if you’re not actually watching them? Simple. In ‘The Gray Man,’ if people’s lips are moving, that’s a stupid part.” Nasty notes, Mick, as you’re often able to conjure when disinterested.
However, I say that if you want some “marvel”ously-choreographed-slam-bang-action (beginning with those Bangkok assassination scenes set against New Year’s Eve fireworks) I think you’d encounter a lot to enjoy here, where you can probably find it on a big screen in larger urban areas (opened on July 15, 2022) or stream it on Netflix (where even the price of a 1-month-signup is about what you’d pay for a theater ticket, plus you get a lot more to watch during that month before cancelling if you choose to do so [as with Amazon Prime Video, no kickbacks to me if you do]). For my Musical Metaphor I debated on choosing Johnny River’s “Secret Agent Man” (on his 1966 … And I Know You Wanna Dance album) at https://www.youtube.com/watch?v=zT5aDFHKaac because I’d just used it in conjunction with The Man from Toronto (Patrick Hughes; review in our July 7, 2022 posting), but the lyrics concerning sudden death, untrustworthiness in the world of secret operations, and the reality for Six about “They’ve given you a number / And taken away your name,” are just too spot-on to ignore in this context. FYI, a final bit of trivia here is this video just above uses River’s song but illustrates it to some degree with footage seemingly from the 1964-’66 CBS TV show Secret Agent which used a bit of the song under its opening credits before Rivers made it a full-fledged-hit.
That’s all for my critical commentary this week, but whether you agree or not I’ll offer you one more opportunity to be in unity with an attitude that would benefit all of us, James Taylor’s "Shower the People" (on his 1976 In the Pocket album), because we should “Shower the people you love with love / Show them the way that you feel / Things are gonna be much better/ If you only will.” We’re now sailing through divisive times; it could be a smoother ride if we’d only help each other a bit more.
Other Cinema-Related Stuff: Some extra items that you might like: (1) The Gray Man sequel and a spinoff are in process (screw you, OCCU); (2) Disney adds a few R-rated options to Disney+; (3) Top Gun: Maverick becomes #9 All-Time Top-Grosser for domestic releases.
Related Links Which You Might Find Interesting:
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Here’s more information about Don’t Make Me Go:
https://www.imdb.com/title/tt2597804/fullcredits/?ref_=tt_cl_sm
https://www.youtube.com/watch?v=oKR00fkOI3Y (2:21 interview with actor John Cho and director Hannah Marks) and https://www.youtube.com/watch?v=ARyCZEPKlXI (4:58
interview with actors John Cho and Mia Isaac)
https://www.rottentomatoes.com/m/dont_make_me_go
https://www.metacritic.com/movie/dont-make-me-go
Here’s more information about The Gray Man:
https://www.netflix.com/title/81160697
https://www.youtube.com/watch?v=3z0QjsQgvPY (3:54 interview with directors Anthony and
Joe Russo, actors Chris Evans, Ryan Gosling, Ana de Armas, Regé-Jean Page, Jessica Henwick,
Billy Bob Thornton, and Julia Butters)
https://www.rottentomatoes.com/m/the_gray_man_2022
https://www.metacritic.com/movie/the-gray-man
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Here's more information about your "Concise? What's that?" Two Guys critic, Ken Burke:
If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact, but maybe while there you’ll get a chance to meet Eagles co-founder Glenn Frey, RIP). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker (although, as you know, with bar songs there are plenty about people broken down by various tragic circumstances, with maybe the best of the bunch—calls itself “perfect”—being "You Never Even Called Me By My Name" written by Steve Goodman, sung by David Allen Coe). But wherever the rest of my body may be my heart’s always with my longtime-companion/lover/
wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the venue) because “I’m still in love with you,” my dearest, a never-changing-reality even as the moon waxes/wanes over the months/years to come. But, just as we can be raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand" (19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this well). But, while I’m at it, I’ll also include another of my top favorites, from the night before at Desert Trip, the Rolling Stones’ "Gimme Shelter" (Wow!), a song “just a shot away” in my memory (along with my memory of their great drummer, Charlie Watts, RIP). To finish this cluster of all-time-great-songs I’d like to have played at my wake (as far away from now as possible) here’s one Dylan didn’t play at Desert Trip but it’s great, much beloved by me and Nina: "Visions of Johanna." However, if the day does come when Nina has to recall these above thoughts (beginning with “If we did talk”) and this music after my demise I might as well make this into an arbitrary Top 10 of songs that mattered to me by adding The Beatles’ "A Day in the Life,"
because that chaotic-orchestral-finale sounds like what the death experience may be like, and the Beach Boys’ "Fun Fun Fun," because these memories may have gotten morbid so I’d like to sign off with something more upbeat to remember me, the old Galveston non-surfer-boy.
However, before I go (whether it’s just until next week or more permanently), let’s round these songs out to an even dozen with 2 more dedicated to Nina, the most wonderful woman ever for me. I’ll start with Dylan’s "Lay, Lady, Lay" (maybe a bit personal, but we had a strong connection right from the start) and finish with the most appropriate of all, The Beatles again, "In My Life," because whatever I encountered in my time on Earth, “I love you more.”
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