Unpredictable Outcomes
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.
(from "Garden Party" by Rick Nelson and the Stone Canyon Band, 1972 album of the same name)
Thirteen Lives (Ron Howard) rated PG-13 155 min.
Opening Chatter (no spoilers): As I continue in my self-imposed-isolation from my local movie theaters due to ongoing concerns about the easy-transmission of the latest COVID-variant (means I had to miss Bullet Train [David Leitch], but maybe that's no big loss), I’ve come as usual in these past couple of months to streaming where I found one option truly worthy of your attention—Thirteen Lives—although you have to go to Amazon Prime Video to see it (no extra fee), and another one you might be more interested in than I was—Prey—which the CCAL was definitely more fascinated with than me (although it does have notable accomplishments in terms of concept, setting, casting, which may have influenced some of the yea-sayers a bit more than they admit); for Prey you’ll need Hulu streaming but no more rental fee than what you pay for a standard month’s subscription. Also, here are links for the schedule of the cable network, Turner Classic Movies, which gives you a fabulous selection of older films to see with no commercial interruptions and then the JustWatch site which also offers a wide selection of options for streaming rental or purchase. If you'll just want to see what reigned at the 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 Thirteen Lives:
(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: On June 23, 2018 a group of 12 pre-to-mid-teens (age range 11 to 16) on a soccer-team (yes, I know the rest of the world calls it “football,” and given that my larger weekly audiences tend to come from France [sometimes Russia {?}] I probably should as well, but for us Yanks reading this blog I’ll stick to a term we understand) in far-north-Thailand, along with their 25-yr.-old assistant coach, Ekkaphon Chanthawong (Teeradon Supapunpinyo), after a practice session went to explore the Tham Luang Nang Non cave complex beneath the Doi Nang Non (“Mountain of the Sleeping Lady”) range when suddenly monsoon rains poured down, flooding the caves, preventing their escape (a sign warning against cave exploration during the July-November rainy season was posted, yet reasonably-ignored as the normal floods were at least a week away, yet the deluge caught everyone off-guard). As relatives and friends began to understand what happened to them, a huge rescue operation was quickly put into place, although access to the caves, narrow and winding in so many places, was restricted to the most-experienced-divers with even Saman Kunan (Sukollawat Kanarot), a 37-year-old former Royal Thai Navy SEAL, dying of asphyxiation on July 6 (Thai Navy SEAL Beirut Pakbara also died, in December 2019, from a blood infection contracted during the rescue process); further, there was no way to make contact with the lost group deep inside the cave complex so at first nothing was even known as to whether they were still alive or not.
As this docudrama's based on well-reported-actual-events, there’s nothing about it you can’t learn on your own—2 useful sources are this interview with crucial-rescuer Rick Stanton (more on him soon) plus this extensive, well-documented report—and, in general, it seems director Howard sticks closely to the ordeal's facts, but I’ll put a bit of this summary just below in Spoiler alert mode to be consistent with my other postings, yet you can probably guess (if you don’t already know) about the rescue team’s results because it’s doubtful MGM and Amazon Studios would have sunk (so to speak) $55 million into a story ending in a mass burial. While the film’s organized by citations of specific days from the situation’s late June start through the final stages of the rescue operation on July 10, I’ll just summarize the main facts of the events here, leave the rest to hope you'll watch it.
While I encourage seeing this historically-grounded/yet-heart-racing-drama, I’ll note (for those who don’t like to read what's on-screen, ignoring credits too) there are (infrequent) times when dialogue’s in the Thai language so it’s translated in subtitles, but most of what’s said is in English because the 2 primary divers of the rescue operation, Richard Stanton (Viggo Mortensen) and John Volanthen (Colin Farrell), are Brits, who also brought in a few of their other highly-experienced-colleagues to deal with this uniquely-dangerous-situation, which by day 2 has already acquired international media coverage along with more terror as rain continues to fall while efforts are made to pump water from the caves as well as set up gutters on the mountainside to divert the rain onto rice fields (flooding the crops, with willing agreement from the farmers) so it won’t further soak into the caves. After a week of this (along with slow, unsuccessful recon dives by Stanton and Volanthen) there’s concern about the trapped team running out of oxygen (doubtful they have any food either), then the rain finally stops. On July 2 a couple of divers finally find the ledge where the boys and coach have valiantly-endured their ordeal, but while food and flashlight batteries can now be brought to them there’s no clear plan for getting them out because such weak “frogmen” couldn’t be expected to navigate the narrow twists and turns back to the surface without killing themselves in the process (the trapped team is found at 44 min. into the film, giving you an idea how much further running time’s devoted to the crucial question of what to do next, with Stanton angry, also dejected, that rescue is impossible).
Rick has a change of heart, though, making the wild-shot-suggestion to call in Dr. Richard Harris (Joel Edgerton), a skilled diver who’s also an anesthesiologist, with the proposal to knock out each of the rescuees, hook them up to an oxygen tank, allowing an experienced diver to swim for the 7½ necessary hours with his human package back through the narrow structures of the caves, stopping occasionally to administer more anesthetic so the “passenger” doesn’t wake up, flail, interrupt the air supply, and drown. ⇒At first Harris rejects the idea as too risky, as doses must be exact (or they'd be lethal) while the swimming process will be torturous, but finally agrees with Thai government support as long as the plan's initially kept secret should it not prove successful. But, more problems: another monsoon storm’s building up so even after the first group's (only 4 at a time on the trial run) out, the rescue team must move expeditiously to move the others before rising water makes rescue impossible (just after all were saved, the heavy rains came again, completely flooding the caves for the next 8 months). The entire event spread over 18 tension-filled-days for all concerned, providing memorable moments for this slightly-fictionalized-version of a seemingly-unimaginable-drama, as 5,000 people from 17 countries provided help in this almost-unbelievable-experience.⇐
So What? The challenge in any docudrama is finding ways of keeping viewers interested when the outcome of the events being depicted is already known (or can easily be looked up on the Internet). While nothing that occurs in this film can cast doubt on the final result (and fact-checking here seems to verify not much has been overly-fictionalized by screenwriter William Nicholson), it’s still up to Howard working with his cast and crew to keep us enthralled during a longer run on the screen than most cinematic features, even if we're aware of the final result. One tactic used to provide that process here is showing events as specific people in the story experienced them, so in the case of the missing team we don’t see anything of them after they head out to the cave until considerably into the flow of the story so we can experience with the frantic families and the perplexed-but-hopeful-rescuers the mysterious circumstances of the situation, no one knowing whether those who entered the cave on June 23 were still alive or not. Then once that question’s been resolved we see the agonizing lengths the divers must go through in carefully attempting to slowly bring the trapped people back to safety, despite the long, arduous process of trying to do so.
Yet, even when we know (or can likely guess) the outcome of this ordeal, those of us (like me) who aren’t strong swimmers (I don’t even like to venture into deep ends of swimming pools any more, not confident of safely returning to shallow water, exaggerated fear that may be) can still emotionally-react to watching the difficulty of making such an harrowing trip, especially in the early goings when it’s not clear how much farther one has to swim, life-connected to an oxygen tank, before even finding a chamber big enough to surface for a bit, wondering what next lies ahead in the grim task of encountering this lost team, alive or dead. Howard helps us get a fuller sense of what he was trying to accomplish in this long video (19:21 [ads interrupt at about 10:12, 15:30]) about the filmmaking process, which addresses several scenes, not just one as these types of director-narrated-analyses usually do; you can also check out a much shorter video connected to this film in the Related Links section of this posting very far below where Farrell and Mortensen briefly talk of their experiences in this film, ultimately agreeing to do a lot more underwater work than they thought they’d signed up for.
(A poor photo here showing lots of crucial folks in this story; sorry, didn’t have many choices.)
Bottom Line Final Comments: According to cited sources at the end of this Wikipedia article (which, oddly enough for a change, gives no help in summarizing the film’s contents, so it proved useful I cut back on the doses of ingredients in my usual Saturday night Long Island Ice Tea so I stayed fully awake, cognizant of what was happening throughout this lengthy-yet-consistently-engaging-story), Thirteen Lives got the highest-audience-test-scores in MGM history, was intended by United Artists Releasing for a big rollout this coming November, but then Amazon bought MGM last March, put this film in limited theatrical release on July 29, 2022 instead (no info on Box Office Mojo; “limited” must mean “almost none”), then made it available for Amazon Prime Video streaming on August 5, 2020. I highly recommend watching this film (although claustrophobia or water fears may require closing your eyes for long stretches, but when you hear someone talking—they can’t do that underwater with an oxygen tube in their mouth—you’d be safe to look again), which you can do for a 30-day-free-trial (then continue for $8.99 a month if you like; alas, Two Guys in the Dark get no kickbacks if you do decide to invest some cash), an opinion largely verified by the CCAL with Rotten Tomatoes critics giving it 88% positive reviews, even as the Metacritic folks retrench to their usual reserved-position with a 66% average score (connections to these critics’-accumulation-sites about these cinematic offerings, as with anything I'll review, can always be found below in Related Links).
So, what’s up with the unimpressed? One explanation's from Odie Henderson of RoerEbert.com who says: “When not in the caves with the divers, Howard is content to tell this story in such a drab, ho-hum, overly respectful fashion that it starts to drag. We should be emotionally invested in the outcome, yet we barely get to know any of the trapped players or their coach. […] We should have more of an attachment to each of these people, and to the divers who make this possible. Instead, the process just looks like an assembly line spitting out product; it’s mechanical and efficient, but completely devoid of feeling. Just like this film.” However, Henderson admits he’s more taken by a documentary about this event, The Rescue (Elizabeth Chai Vasarhelyi and Jimmy Chin, 2021 [I haven’t seen it; got 96% positive at RT, 85% at MC, so it’s likely quite impressive but probably wasn’t seen as much as Howard’s film will be]), so for him this fictionalized-revision just wasn’t as engaging.
It worked for me, though, as it did for Amy Nicholson of The New York Times: “It’s a race against water, which thunders down into sinkholes that flood the cave and kick up dangerous currents. The cinematographer Sayombhu Mukdeeprom uses rain the way film noir uses shadows, creating a gloom that washes over the cast. A radio broadcast that monsoon season has hit the region ahead of schedule plays like that horror trope where doomed teenagers hear of a serial killer’s escape from prison.” Other reviewers are even more enthusiastic, but, I admit, if you’re already fully immersed in the details of this story from the extensive press coverage of the time, you might get a little antsy watching the lengthy diving and rescue scenes, yet I agree such a presentation is necessary to convey the brutal sense shared by all involved in this event of how long it took to even know if the lost group were still alive, then how much longer it took to find a strategy to attempt to rescue them. I’ll go the rescue route as well with my choices for Musical Metaphors to offer final comments on this film, beginning with the obvious title of “Rescue Me” by Fontella Bass (on her 1966 The New Look album) at https://www.youtube.com/watch?v=5oSjZh2D7CE, although this song’s more upbeat than almost the entire film plus it’s about a woman looking for a solid romantic connection, but, when you get “metaphorical” (as I’m trying to do here), notice how lyrics such as “Rescue me / Or take me in your arms / Rescue me / I want your tender charm / ‘Cause I’m lonely / And I’m blue / I need you / And your love too / Come on and rescue me” could also relate to these lost and lonely boys (and their coach) who rejoiced at the determined love of thousands of rescuers—but especially the divers who could “take [them] in your arms” and carry them to safety—to escape their deadly predicament.
But, if that seems too frivolous for the subject at hand (apologies if it does), I’ll give you another one more focused on that horrid situation in Thailand, the Bee Gees’ first international hit, “New York Mining Disaster 1941” (on their 1967 Bee Gees’ 1st album) at https://www.youtube.com/watch?v=S43YhQ_eGTw (inspired by actual events in Aberfan, Wales, UK in 1966, New York in 1939) where the singer sadly admits “I keep straining my ears to hear a sound / Maybe someone is digging underground / Or have they given up and all gone home to bed / Thinking those who once existed must be dead.” For far too many agonized days back in 2018 the families of those who’d disappeared into the caves didn’t know if their loved ones were alive or not, nor how they could be brought out in such treacherous conditions. To see how this all comes together is an inspiring page in the history book of celebrated human accomplishments, well worth all the extended time to watch.
SHORT TAKES (spoilers also appear here)
Prey (Dan Trachtenberg) rated R 100 min.
In the early-18th-century North American Great Plains a young Comanche woman works to be taken seriously as a hunter by her tribe’s males (with little success), but her situation gets immeasurably more difficult when a fierce alien Predator is dropped off on Earth, intent on killing anything it cares to from snakes to wolves to bears to every Comanche it might encounter.
Here’s the trailer:
Before reading further, please refer to the plot spoilers warning detailed far above.
I’m clearly no devotee of the Predator franchise, beginning with that simple one-word-title (John McTeirnan, 1987), adding 4 more (including Prey) over the years (or 6 if you count the somewhat-heretical Alien vs. Predator [Paul W.S. Anderson, 2004]—the only one of any of these I’d previously seen; that was plenty—and Alien vs. Predator: Requiem [The Brothers Strause, 2007]), most of which deal with powerful, deadly, extraterrestrial hunters coming to Earth either to conquer anything they feel might be a worthy match or do battle with those (imported) outer-space-beasts from Ridley Scott’s franchise in order to further hone their killing skills (the sole exception seems to be Predators [Nimród Antal, 2010] where some humans are transported to another planet, then forced to save themselves from being victims of these marauders). I initially had no interest in watching this one until I saw how well it’s embraced by the CCAL (RT 92% positive reviews, MC 71% average score [which for them means “Generally favorable reviews”]) so I decided to give it a chance, given that it’s free with my Hulu streaming subscription (in place so I can watch Steve Martin, Martin Short, Selena Gomez in the Emmy-nominated-comedy/mystery-series, Only Murders in the Building, a weekly pleasure, despite annoying commercial interruptions) as well as being praised by my local critics along with the national ones. Like most installments in the Predator cluster, this one takes place on Earth; however, it goes considerably back in time from the settings of the others to 1719 where one of these killer beasts (very tall Dane DiLiegro, under a costume), who not only is a formidable physical specimen but also has weapons and an invisibility function that doesn’t even allow its prey to know they’re about to be terminated, is dropped off from one of this species’ spaceships onto a realm of the Great Northern Plains of what will much later become the U.S.A. but is now the domain of the Comanche Nation (along with some French fur-trappers who will notably figure into this story).
In this particular tribe we find a young woman, Naru (Amber Midthunder), who yearns to be taken seriously as a hunter by the young men already recognized as such, but they dismiss her, all except her brother, Taabe (Dakota Beavers). She spends a good amount of time sharpening and throwing an ax (strong sense of control), then joins the group out to avenge a wounded comrade, attacked by a mountain lion. Naru ends up on tree branches with the big cat, injures it but falls, knocking herself unconscious. Taabe carries her home, returns to kill the lion, is then ”lionized” by the tribe. Frustrated by these unresolved circumstances, Naru goes out again to hunt, comes across some dead, skinned buffalo before encountering a grizzly bear about to overpower her until the invisible Predator intervenes, kills the bear, whose blood reveals a bit of the shape of the monster, who ignores Naru but obliterates the braves sent to bring her home. She escapes but is captured by the Frenchmen (who are the bison skinners); they also have Taabe, using them as bait for the Predator.
However, when the creature comes to their camp it mostly kills the Frenchmen as Naru and Taabe escape again, then separate. Naru comes across wounded, dying trapper Raphael Adolini (Bennett Taylor) who gives her a flintlock pistol, useful when she and Taabe reunite to attack the Predator, which now clearly manifests itself to them. ⇒They put up a good fight using only primitive weapons until Taabe’s killed; Naru uses the pistol, knocking the mask off the Predator’s face, then lures it into a quicksand-like mud pit (which she barely escaped from earlier). Soon he’s in it up to his neck but zaps a projectile-weapon at her which she deflects with the mask right back at him, the knockout-blow for his death. (This reminds me of how our beloved young wizard was able to craftily divert Voldemort’s Killing Curse back at him for the finale of Harry Potter and the Deathly Hallows – Part 2 [David Yates, 2011]). Naru returns as a hero to her village carrying the severed head of the Predator, customary for a hunter to announce his—now her—victory over the hunted (dead) prey.⇐
There’s a lot to commend in terms of focusing on Native Americans, casting such actors in primary roles, shooting on location under natural light on Stoney Nakoda Nation land near Calgary, Alberta, Canada, plus the triumph of a woman warrior over a beast she’d seem to have no chance against (just as she was about to be killed by the bear earlier), but despite all these positive aspects, causing some commentators to declare this the best of the franchise (guess I didn't miss much), for me it’s just another (albeit well-produced) familiar story of a would-be-victim finding the slim opportunity to defeat a seemingly-superior-foe. An oddity, though, is language use: at first Natives speak in Comanche which isn’t translated for us, then they mostly use English, I assumed for the benefit of honkies like me (saving the rejecter-crowd from subtitles), but later when she first meets multi-lingual-Raphael (him speaking French [un-translated] with the trappers, English with her, it makes plot-sense to bridge these language barriers, yet when we’re back to Naru and Taabe they’re oddly fully in English again seeming just for primary-audience-ease in following the dialogue [nice for me, although some Native viewers might prefer to hear much more of it in Comanche]). All hail for Naru’s physical triumph, but it’s still quite generic in many ways except for its unique setting (yet it does remind me somewhat of the considerably-sillier-Cowboys & Aliens [Jon Favreau, 2011] despite its all-star cast including Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell, Adam Beach, Paul Dano, Keith Carradine). In honor of Naru’s unflinching-determination (leading to an improbable result) for the Musical Metaphor here I’ll go with Tom Petty and the Heartbreakers’ “I Won’t Back Down” (1989 Full Moon Fever album) at https://www.youtube.com/watch?v=Qgi684v2lj4 (a 1994 live performance from my San Francisco Bay area [no, I wasn’t there]) because, just like the singer here, Naru can say “You can stand me up at the gates of Hell [which feels like the home planet for the Predators] / But I won’t back down […] In a world that keeps pushin’ me around / But I’ll stand my ground.” Just goes to show: never underestimate a woman, especially one with an ax in her hand.
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: In quick fashion, here is an extra item that you might like: Theater owners brace for slowdown as no new blockbusters on the end-of-summer-horizon.
Related Links Which You Might Find Interesting:
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Here’s more information about Thirteen Lives:
https://www.unitedartistsreleasing.com/thirteen-lives/
https://www.youtube.com/watch?v=60MzA4n11dw (9:21 interview with British divers John Volanthen and Rick Stanton who actually led the rescue of those trapped in the cave) and https://www.youtube.com/watch?v=QGbpu2RWgVE (2:39 interview with actors
Colin Farrell, VIggo Mortensen)
https://www.rottentomatoes.com/m/thirteen_lives
https://www.metacritic.com/movie/thirteen-lives
Here’s more information about Prey:
https://www.20thcenturystudios.com/movies/prey
https://www.youtube.com/watch?v=YL1XlfdS20o (12:29 interview with director Dan Trachtenberg, producer Jhane Myers, and actors Amber Midthunder, Dakota Beavers, Dane DiLiegro)
https://www.rottentomatoes.com/m/prey_2022
https://www.metacritic.com/movie/prey-2022?ref=hp
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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 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 tune of all, The Beatles again, "In My Life," because whatever I may encounter in my time on Earth, “I love you more.”
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