Mercury 13


Even goofing around, these ladies all had the Right Stuff.

(2018) Documentary (Netflix) Wally Funk, Rhea Woltman, Sarah Ratley, Jim Hart, Bob Steadman, Ann Hart, Gene Nora Jessen, Jackie Lovelace Johnson, Eileen Collins, Jerrie Cooper, John Glenn, Jacqueline Cochrane, Gus Grissom, Gordo Cooper, Janey Hart, Bernice Steadman, Valentina Tereshkova, Alan Shepard, Deke Slayton, Bill Clinton, Hillary Clinton. Directed by David Sington and Heather Walsh

 

There are some who think it is America’s most shining hour. Certainly in the annals of human achievement the American space program’s race to put a human on the surface of the moon has to rank right up there near the top and yet even that inspiring story had some less proud moments entwined in it.

Did you know that there were women who underwent the same rigorous testing that the male astronauts undertook and in some cases actually outscored the men? If you didn’t then join the club, one in which I’m a fellow member. It’s all true though; 25 female aviators were invited to take the astronaut tests of which 13 were able to pass. They became known as the Mercury 13 in reference to the original Mercury 7 astronauts who included Alan Shepard, John Glenn, Gus Grissom and Gordo Cooper.

They were invited by Dr. William Randolph Lovelace to take those tests. Lovelace had founded the Lovelace Clinic at the urging of outspoken aviation pioneer Jackie Cochrane who herself was eager to go into space. Lovelace believed that women were just as capable as men to be astronauts and thought that the prevailing attitude that women weren’t mentally or physically strong enough to handle the rigors of space flight was pure hooey.

The testing wasn’t sanctioned by NASA however and when they found out about it the powers-that-be at the space agency blew a figurative gasket. They ordered that the testing be stopped immediately and the women dismissed. The women weren’t about to take this lying down; they took their fight to Congress where they testified – often eloquently – about their right to explore, to do with their lives as they chose. In the end Lyndon Johnson quietly shut their program down without explanation.

The story is enough to hold your interest. Oddly, the filmmakers do some alternate history building by showing footage of the moon landing with a female voice coming from the astronauts, as if Mercury 13 member Janie Cobb had been the first person to set foot on the moon rather than Neil Armstrong; it comes off as a bit self-indulgent. It really doesn’t add anything to the narrative which I thought was better focused on what was rather than what might have been. The aerial sequences early on were well-filmed however.

Although not all of them are still with us, the interviews with the surviving Mercury 13 are a real pleasure. The ladies are still feisty although by now they’re in their 80s. One of their number, Janey Hart, would go on to become one of the co-founders of the National Organization of Women which would go on to lead the fight for women’s rights. As for the space program, it wasn’t until 1985 that Sally Ride would become the first American woman in space (the Russians had sent Valentina Tereshkova into orbit in 1963) and ten years later Eileen Cooper would become the first woman to pilot a space shuttle.

Fittingly, she invited all the surviving Mercury 13 to her launch and the footage of them exulting in the triumph not only of the shuttle but of women’s place in the space program speaks volumes about how necessary this documentary is in the age of #MeToo.

REASONS TO GO: The story is a fascinating one. There’s some nice aerial photography.
REASONS TO STAY: It’s depressing to think that things haven’t changed as much as they should have.
FAMILY VALUES: There is some mild profanity and depictions of sexism.
TRIVIAL PURSUIT: Sington and Walsh cut their Space Race teeth by making the acclaimed documentary In the Shadow of the Moon.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 9/11/18: Rotten Tomatoes: 100% positive reviews. Metacritic: 82/100.
COMPARISON SHOPPING: The Right Stuff
FINAL RATING: 7.5/10
NEXT:
Choosing Signs

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Before I Wake


Kate Bosworth knows why the butterflies fly.

(2016) Horror (Netflix) Kate Bosworth, Thomas Jane, Jacob Tremblay, Annabeth Gish, Topher Bousquet, Dash Mihok, Jay Karnes, Lance E. Nichols, Antonio Romero, Kyla Deaver, Hunter Wenzel, Scottie Thompson, Jason Alan Smith, Michael Polish, Brett Luciana Murray, Natalie Roers, Erika Hoveland, Avis-Marie Barnes, Courtney Bell. Directed by Mike Flanagan

 

Dangerous and even deadly children have long been a horror trope. There is something about angelic little moppets who gleefully cause mayhem and murder that is absolutely horrifying, reflecting our own fears of being bad parents or of being vulnerable to our kids.

Jessie (Bosworth) and Mark (Jane) have been through the worst nightmare any parent can conceive; their son Sean (Romero) died tragically in a bathtub drowning incident. Jessie is no longer able to conceive and there is an empty space in their lives that two years after the accident they are ready to fill with Cody (Tremblay) who has a tragic history of his own. The couple adopts him and their case worker Natalie (Gish) thinks that these two will give Cody a loving home. And they do for awhile.

They soon discover that Cody has a mysterious power, one that has caused him to be abandoned by would-be foster parents. His dreams become tangible. At first it is beautiful as colorful butterfly with internal lights flit about their house. Then, however, it becomes clear that Cody’s nightmares are also punching into the real world and his nightmares can kill people.

Flanagan is considered one of the most promising young horror directors at the moment for good reason. He’s had a string of movies that have been at least a cut above most films of the genre. This one, caught in the morass that was Relativity in 2015 (when the movie was originally supposed to be released) and 2016 has finally seen the light of day thanks to Netflix. Was this worth the wait?

Yes and no. The movie has some incredible visuals, from th butterflies of light to the terrifying Canker Man (Bousquet). It also has a strong performance from Jane who is superb and likable as Mark although his hair choice has to be questioned; his Fabio locks aren’t quite right for the character. However, Bosworth is dreadfully miscast as the heroine. She is pretty like a porcelain doll and she just looks out of place in the movie. To make matters worse, Flanagan and co-writer Jeff Howard inexplicably make her exploit the young boy’s powers which really made me feel uncomfortable. To be fair, critics have pretty much universally praised her performance so take my criticism with a grain of salt; sometimes even a good performance doesn’t connect with everyone.

Tremblay, who went on to an Oscar nomination for Room is a bit wooden here but also to be fair he was about seven or eight years old when he filmed this. The concept though is pretty original and for the most part Flanagan gets it right until the ending which is a bit lame. This won’t go down as one of his better films but those who follow his career definitely should see it and those who like films like The Babadook will probably enjoy this one as well.

REASONS TO GO: A terrific premise with some nifty visuals. Thomas Jane is extremely likable.
REASONS TO STAY: Kate Bosworth isn’t convincing enough as a horror heroine. The ending is lame.
FAMILY VALUES: There are some disturbing images of terror and peril.
TRIVIAL PURSUIT: The movie was originally going to be distributed theatrically by Relativity but their financial woes led to a constant shifting of release dates and finally the film was sold to Netflix where it was quietly released more than two years after the original premiere date.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 9/8/18: Rotten Tomatoes: 61% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Dreamscape
FINAL RATING: 6/10
NEXT:
The Big Take

Mudbound


In Mississippi, things are always black and white.

(2017) Drama (Netflix) Carey Mulligan, Garrett Hedlund, Jason Mitchell, Mary J. Blige, Jason Clarke, Jonathan Banks, Lucy Faust, Dylan Arnold, Rob Morgan, Kerry Cahill, Kelvin Harrison Jr., Rebecca Chulew, David Jensen, Geraldine Singer, Floyd Anthony Johns Jr., Henry Frost, Peter Schueller, Roderick Hill, Cynthia LeBlanc, Samantha Hoefer. Directed by Dee Rees

 

The generation that fought the Second World War has been called the Greatest Generation and who am I to argue? The fact remains however that not everyone in that generation was treated greatly. The African-American soldiers who fought for freedom were ironically denied it when they returned home. It would be 20 years before the Civil Rights era would be able to effectively call attention to the plight of African-Americans in a meaningful way.

Jamie McAllan (Hedlund) returns home from fighter pilot duty to his brother Henry (Clarke), their dad Pappy (Bans) and Henry’s wife Laura (Mulligan) trying to make things work on a farm that is literally a muddy bog especially when it rains which it does frequently in Mississippi. Henry sees the land as a symbol of his failures. Constantly denigrated by his racist father Henry isn’t a bad man but he is a weak one living in the shadow of his popular younger brother. Jamie though is partially broken; suffering from PTSD after his war experiences,

Also coming home from war is Ronsel Jackson (Mitchell) but to far different circumstances. His father, preacher Hap Jackson (Morgan) is a sharecropper on Henry’s land – well, kinda Henry’s land – who is exploited terribly by Henry who uses Hap as labor regardless of whether Hap is needed on his own farm. When Hap’s mule dies, Henry lets Hap use his own mule – for a price, a hefty one that benefits Henry who is having financial problems of his own. However, it not only adds a burden to Hap’s debt it makes it harder for him to pay it off. On top of it all Ronsel is back to being treated like a second class citizen after getting a taste of freedom in Europe. It is somewhat ironic that he is treated better in the country he helped conquer than in the country he fought for.

Jamie strikes up a friendship with Ronsel; the two men have shared experiences that bond them together. However, a friendship between a white man and an African-American man is simply not done in that time and place. It threatens the social order, and there are horrific consequences  for that.

After making a big splash at the 2017 Sundance Film Festival, Netflix purchased the film which has been one of the most prestigious in its current library with no less than four Oscar nominations (Netflix gave it a brief theatrical fun to qualify it). Critics fell all over themselves praising the movie as you can see by their scores below and there is certainly much to celebrate in this film but to be honest, it is also flawed.

The movie is badly undercut by narration made by various characters in the movie. The narration is often florid and draws attention away from the movie, the worst kind of narration possible. I’ve always wondered why filmmakers don’t trust their audiences to understand the images and dialogue they see and hear. Narration isn’t necessary; it’s intrusive and redundant.

The flip side is that the movie is beautifully shot. It isn’t so much beautiful images – the poverty and the rain-soaked mud fields aren’t what you’ll see on the average screensaver – but Rachel Morrison, the Oscar-nominated cinematographer, gives the images a dignity that uplifts the movie overall. And then there are the performances – few films are as well-acted as this one. Blige as Florence, the wise and compassionate mother won most of the kudos (and the Oscar nomination) but for my money it was Mitchell who was actually the real deal. Fresh off his triumph in Straight Outta Comption Mitchell is the moral center of the film. He is a man of pride but he’s also a man of compassion and conscience. He is able to respect a white man despite the wrongs done to him by white men; he is able to feel sympathy for his friend and the demons that haunt him. He is haunted by many of them himself.

The narration is a major problem that prevents me from really loving this film. To the good, it is a timely reminder that we live in an era when America was great according to the slogan. It wasn’t terribly great for those who weren’t white though, and that is part of what those sloganeers are attracted to. The attitudes that shape the movie have never gone away completely; they only went underground until 2016 when our President emboldened those who identify with Pappy to express their racism openly.

There is much good here although as I said this is a very flawed film. Any Netflix subscriber, particularly those who like their movies to be thought-provoking, should have this on their short list of must-see films on Netflix. It’s one I think that bears repeated viewings. Rees is certainly an emerging talent who has plenty to say. Now if we can just get her to stop using voiceovers…

REASONS TO GO: The cast is uniformly wonderful. The cinematography is downright amazing.
REASONS TO STAY: The voiceover narration is a bit obnoxious.
FAMILY VALUES: There is violence of the war variety as well as a graphic depiction of racially-motivated violence, profanity including racial epithets as well as some brief nudity and sexuality.
TRIVIAL PURSUIT: Blige became the first person ever nominated for an acting Oscar and best song Oscar for the same film, and Rachel Morrison was the first woman nominated for a Best Cinematography Oscar.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 9/3/18: Rotten Tomatoes: 96% positive reviews. Metacritic: 85/100.
COMPARISON SHOPPING: Giant
FINAL RATING: 7.5/10
NEXT:
Silencer

Mute


Here’s a scene that could have used Harrison Ford.

(2018) Science Fiction (Netflix) Alexander Skarsgård, Paul Rudd, Justin Theroux, Seyneb Saleh, Robert Sheehan, Daniel Fathers, Robert Kazinsky, Jannis Niewöhner, Dominic Monaghan, Melissa Holroyd, Levi Eisenblätter, Caroline Peters, Nikki Lamborn, Noel Clarke, Gilbert Owuor, Andrzej Blumenfeld, Michael Behrens, Mike Davies, Sam Rockwell, Anja Karmanski. Directed by Duncan Jones

 

Duncan Jones is one of the most inventive and admired genre directors out there. When Netflix picked up this film to display, it was considered a coup. A much-admired director at the top of his game in a fairly large-budget production, Netflix was undoubtedly hoping for a franchise.

That’s not necessarily what they got. They got a sci-fi noir story set in a 2050 Berlin very much based on the look of Blade Runner. Alexander Skarsgård plays Leo, an Amish bartender (!) at a seedy dive in the underground of Berlin who has been mute since a childhood boating accident. His girlfriend Naadirah (Saleh) is a cocktail waitress (and as he later discovers, a part-time prostitute) who disappears after a couple of lowlifes make some untoward advances, causing the angry Amish (!) to beat the holy crap out of them.

No longer burdened with having to be a bartender after getting fired (even seedy dive owners get grumpy about employees beating up customers) Leo turns into gritty Amish detective (!) and searches the dodgy side of town in search of his lover who turns out to have a few secrets of her own, secrets that are connected to a couple of AWOL American military surgeons named Cactus Bill (Rudd) and Duck (Theroux) and perhaps Luba (Sheehan), a bisexual waiter and fellow prostitute who has a big time crush on Naadirah and big time contempt for Leo.

The visuals are nothing less than stunning, although you’ll get a sense that you’ve seen it all before; the nod to the Ridley Scott classic at times crosses the line from homage to rip-off. Skarsgård at least delivers a soulful performance as Leo, mainly having to emote using facial expressions and body language. However the conceit of making him Amish fails spectacularly – should any Amish have a Netflix subscription they no doubt will be scratching their beards and wondering to their mates “Does thee believe what thou are seeing?” The banter between Rudd and Theroux is fun, but it gets a bit creepy (Cactus Bill has a volcanic temper and Duck is a pederast) particularly towards the end of the film.

Critics absolutely hated this thing as you can see by their scores below, but they’re being a little harsh, maybe because Jones set his own bar so high. Yeah, the plot is muddled but if you stick with it for the two hours plus that the movie runs it all does come together. The film is genuinely inventive and I think most critics will agree that it’s like nothing you’ve seen before which I admit isn’t always a good thing. However, I was reasonably entertained and parts of the film have remained with me although parts have not – one of the most important plot points is explained at the end but I can’t for the life of me remember what that explanation is. Don’t let the Rotten Tomatoes and Metacritic scores dissuade you for deciding for yourself; I enjoyed it enough to recommend it although do take that with a note of caution; I’m pretty much alone in the critical community in that regard.

REASONS TO GO: The visuals are breathtaking. Skarsgård delivers a soulful performance.
REASONS TO STAY: The plot is more than a little bit muddled. Sheehan gives far too wooden a performance as Luba.
FAMILY VALUES: There is violence, profanity and sexuality herein.
TRIVIAL PURSUIT: David Hasselhoff appears on the currency.
BEYOND THE THEATERS:  Netflix
CRITICAL MASS: As of 8/20/18: Rotten Tomatoes: 16% positive reviews. Metacritic: 35/100.
COMPARISON SHOPPING: Blade Runner 2049
FINAL RATING: 6/10
NEXT:
Deadpool 2

The Bleeding Edge


When rich corporations win, we lose.

(2018) Documentary (Netflix) Stephen Tower, Anna Firmalino, Robert Bridges, Ana Fuentes, Julio Cesar Novoa, Jim Spencer, Rita Redberg, Jeanne Lenzer, Michael Carone, Gaby Avila, Peter Firmalino, William K. Hubbard, David Kessler, Janice Tower, Adriane Fugh Berman, Deborah Cohen, Rodney Evans, Angelia Clark, Bill Vigil, Kemal Malik, Diana Zuckerman, Adam Slater, Tammy Jackson. Directed by Kirby Dick

 

We take for granted that the drugs our doctors prescribe and the devices that they implant in our bodies are meant to make us well. We assume that they have undergone rigorous testing by the government agencies who are supposed to protect the consumer and of course we don’t question that the said devices and drugs won’t make things worse.

But that isn’t the case as this documentary shows. An indictment of the Food and Drug Administration which also grants approval for medical devices, the film concentrates on a loophole that has been exploited by companies that manufacture these devices (companies that included Johnson & Johnson and Proctor & Gamble) that allow them to escape any testing should the devices be based on devices that existed before a more rigorous testing policy went into effect.

The result is that this testing, which is expensive and time-consuming, is these days rarely put into effect as most companies make the case for their product are extensions of existing products. Thus things like vaginal mesh, the Essure permanent contraception device and artificial hips made of cobalt have been put in people’s bodies without any idea of how the products effect the human body long term – or even short term.

Veteran documentary filmmaker Dick illustrates his point with some pretty horrifying stories as we see the absolute worst nightmares of anyone planning to have a medical device implanted. Many of them involve the Essure, which is essentially a tiny coil which implants itself in the Fallopian tube and induces fibrosis and blockage. It was marketed as a less invasive alternative to a tubal ligation. However, many women who had the procedure complained of bleeding, intense pain, and unwanted pregnancies. In some cases, the devices came out of the walls of the Fallopian tube and embedded themselves in the uterus; in others the device splintered, leaving tiny shards shredding the walls of the tubes and uterus.

I won’t go further into the other products mentioned; suffice to say that there were adverse affects for all of them, some gruesome and others startling. In every case no testing was done, leaving those who had the devices implanted as essential test subjects, unknowing human guinea pigs. It is sobering to think that a government agency would allow it but the $200 billion medical device industry is powerful and as they say in Washington, money talks and lots of money legislates.

The film makes the point that the FDA, designed as a consumer watchdog agency, has instead morphed into a corporate advocacy agency. As tempting as it is to blame the Trump administration (and the problems at the FDA have worsened under the “astute” leadership of Scott Gottleib who has industry ties but no medical degree as past administrators have had) this has been going on for more than two decades – the Essure itself was approved in 2002.

The film is an eye-opener. Dick uses the various interviews and stories to alternate the history of the FDA to make a devastating indictment of a government agency that has been hopelessly corrupted from its original purpose. Certainly this should be required viewing for anyone who is preparing to have a medical device put into their bodies (and in the interest of transparency, my own wife is one of these as of this writing). It is also a sobering reminder that the medical industry is often far from benevolent; very often they are more concerned with profits over patients.

REASONS TO GO: The presentation is simple but effective. A movie anyone thinking about getting a medical device implanted should see.
REASONS TO STAY: It feels like a bad attempt to mimic a Disney animated movie from the 70s. The humor is pretty dumb.
FAMILY VALUES: There is some disturbing imagery.
TRIVIAL PURSUIT: A week before the documentary debuted on Netflix, Proctor and Gamble announced their Essure permanent contraceptive device portrayed in the film would be pulled from the market.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 8/8/18: Rotten Tomatoes: 100% positive reviews. Metacritic: 74/100.
COMPARISON SHOPPING: The Big Lie
FINAL RATING: 7.5/10
NEXT:
American Animals

The Cloverfield Paradox


Houston, we have a problem.

(2018) Science Fiction (Netflix) Gugu Mbatha-Raw, David Oyelowo, Daniel Brühl, John Ortiz, Chris O’Dowd, Aksel Hennie, Ziyi Zhang, Elizabeth Debicki, Roger Davies, Clover Nee, Jordan Riviera, Michael Stokes III, Celeste Clark, Nathan Oliver, Donal Logue, Susan Cryer, Ken Olin (voice), Simon Pegg (voice), Greg Grunberg (voice),Judy Ho. Directed by Julius Onah

 

Sometimes movies are made with the best of intentions, utilizes a nifty premise and terrific cast. We get excited for the movie but watch as it’s release date suffers delay after delay. We see no trailers, no publicity materials just rumors that the studio is dissatisfied with the final result. When we finally get to see the movie, sometimes we find out the studio was justified in their fears. More often than not the movie’s problems stem from studio interference. I don’t get the sense that’s what happened here.

In 2028 Earth is caught in a massive energy crisis. Sober news anchors intone that the planet will run out of energy within five years. Racing against time, a multinational scientific team on a satellite orbiting the Earth works to solve the crisis with a particle accelerator which will do…something. We’re never quite sure what. Thankfully, The Cloverfield Paradox doesn’t way itself down with unnecessary explanations.

Test after test ends in failure and the crew – the American captain Kiel (Oyelowo), the also American communications officer Hamilton (Mbatha-Raw), the German engineer Schmidt (Brühl), the Chinese physicist  Tam (Zhang), the Russian something or another Volkov (Hennie), the Brazilian doctor Monk (Ortiz) and the Irish technician Mundy (O’Dowd) get into finger-pointing and tensions between the Americans and Russians back home don’t help matters any. Then a power surge during a test causes the experiment to actually work. Everyone is happy – until they look out the window and notice that Earth isn’t there. That’s when the going gets really weird.

The cast here is as first-rate as any for any movie this year let alone a direct-to-Netflix film and quite frankly, they earn their paychecks impressively. The trouble is, most of them are hamstrung by underdeveloped characters. Other than Hamilton who at least gets the semblance of a backstory, most of the characters are essentially defined by their functions to the plot; the red herring, the indecisive one, the suspicious one, the compassionate one and so on. As the comic relief, O’Dowd is the most impressive here although Brühl and Mbatha-Raw both come close. While it is laudable to make the leads persons of color, it would have been far more admirable to give them something to work with.

The other glaring problem here is that while the concept itself – involving parallel universes and alternate realities – is intriguing, the execution is lacking. It’s all exposition with characters constantly advancing the plot by explaining what’s happening. The movie is scene after scene of too much talking and as the movie gets further alone, the plot begins to go off the rails. While the ending is actually quite nice (and ties the film to previous Cloverfield films), it isn’t enough to save a film which while promising turns out to be not only disappointing but that most awful of cinematic sins – boring.

REASONS TO GO: The cast is pretty nifty. The ending is fun but not enough to save the movie.
REASONS TO STAY: The plot gets more ludicrous as the film goes along. A decent premise is wasted with a poor execution.
FAMILY VALUES: There is some profanity, violence and disturbing images.
TRIVIAL PURSUIT: The film was originally titled God Particle and was intended for theatrical release. After several release date delays, Netflix quietly purchased the film from Paramount and ran the trailer during the Super Bowl – the same day it would become available on the streaming service.
BEYOND THE THEATERS:  Netflix
CRITICAL MASS: As of 8/6/18: Rotten Tomatoes: 17% positive reviews. Metacritic: 37/100.
COMPARISON SHOPPING: Life
FINAL RATING: 5/10
NEXT:
The Legend of King Solomon

Okja


A girl and her genetically modified giant pig; such a sweet picture!

(2017) Fantasy (Netflix) Tilda Swinton, Paul Dano, Seohyun An, Giancarlo Esposito, Jake Gyllenhaal, Jungeun Lee, Byun Heebong, Yoon Je Moon, Shirley Henderson, Steven Yeun, Daniel Henshaw, Lily Collins, Devon Bostick, José Carias, Colm Hill, Kathryn Kirkpatrick, Nancy Bell, Jaein Kim, Bongryun Lee, Woo Shik Choi, Moon Choi. Directed by Joon-ho Bong

 

Asian culture can be incomprehensible at times for the Western mind. There is an almost cultish worship of things that are ridiculously cute and a sense of humor that is wacky and broad, yet their comic books and animated features can be crazy violent and chock full of deviant sexual behavior. Some things are best left un-analyzed.

In the near future, food shortages have led the multinational Morando Corporation to develop a genetically enhanced pig. The CEO (Swinton), seeking to undo the damage to the corporate image her amoral sister (also Swinton) did, proclaims the pig to be a miracle; it eats and poops less, provides more meat on the hoof (it resembles a hippopotamus with dog eyes) and tastes delicious. She initiates a contest in which piglets are sent to a variety of farms around the world to see which one is most successful at raising one.

The South Korean entry is sent to the farm of Hee Bong (Heebong) whose granddaughter Mija (An) has developed a bond with her pig whom she has named Okja. When television personality Johnny Wilcox (Gyllenhaal) – a sort of Steve Irwin-like character if Steve Irwin had been a corporate shill – visits the remote mountain farm and proclaims Okja the winner. What nobody has told Mija however is that Okja is to be taken away from the farm, sent to New York for a promotional appearance and then butchered for snacks. When she finds this out, she is not at all pleased.

But she gets a break; the quirky Animal Liberation Front, led by the quirky Jay (Dano) – has kidnapped Okja (maybe pig-napped would be a better term) and hopes to use the creature for his own agenda. However operatives for Morando find Okja and bring her back to New York. Can Okja be saved? And even if she is, will she ever be able to live on the farm again once she’s seen New York?

Director Joon-ho Bong, who gave us the wonderful The Host and the not as wonderful but still interesting Snowpiercer, delivers a great-looking film which is infused with a good deal of unexpected satire on the nature of corporate politics, mass media, obsession, animal cruelty and a little bit of American imperialism (at least one line spoke in Korean is deliberately mistranslated in the subtitles, which is about as subversive as you’d think Netflix would ever get). The satire can be a bit broad but it at least has its heart in the right place.

Just as broad is the humor which can take some getting used to by Western and particularly American audiences. There’s an awful lot of jokes about pig shit and if you find that dopey or distasteful, well, you’re not alone. Fortunately nothing is overtly mean or tremendously gross, so most youngsters will be delighted by the mainly CGI Okja who looks startlingly realistic.

This isn’t bad at all, although again there is a bit of a curve of how much you’ll enjoy it depending on how open to different cultures you might be. While much of this is fairly universal, I found some of it to be bewildering. Still, the cinematography is incredible (particularly in the Korean scenes) and even if the usually reliable Gyllenhaal and Swinton overact shamelessly (Esposito as a debonair corporate flunky is an exception) the movie is a solid choice for a night at home with Netflix.

REASONS TO GO: It’s bizarre and weird but in a good way. There is a surprising amount of social satire in the mix.
REASONS TO STAY: The humor is a little broad for my Western tastes and the movie a bit too long for what it is.
FAMILY VALUES: There is some profanity, some violence and plenty of rude humor.
TRIVIAL PURSUIT: The Animal Liberation Front is an actual organization that is dedicated to freeing animals in captivity and causing economic chaos for corporations profiting from their captivity.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 8/1/18: Rotten Tomatoes: 86% positive reviews. Metacritic: 75/100.
COMPARISON SHOPPING: Babe: A Giant Pig in the City
FINAL RATING: 7/10
NEXT:
40 Years in the Making: The Magic Music Movie