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Don’t Judge a Politician by Da Cover

We are often reminded that inequality persists in today’s society, yet, it’s humbling to stop for a moment and notice just how far we’ve come. Just look at the bipartisan contenders for the 2016 election. At one point, the candidates included one black man, two women, two men of Latin American descent, a Jew, and, of course, an orange monster masquerading as a billionaire. In a race that is typically composed exclusively of white men, the diversity of this year’s candidates is refreshing and exciting, whether or not you agree with the minutiae of their politics.

JacksonWheelerRGB However, the ambition of the various Presidential hopefuls aside, there is an ominous revelation lurking beneath the surface of today’s American politics, a bias that lies not with the candidates, but with the electorate- the voters.

A recent Gallup poll asked a number of Republicans and Democrats how tolerant they would be of a presidential candidate occupying a certain gender, race, sexuality, religion, or ideology. Responses ranged from the relatively unsurprising to the particularly disconcerting.

For candidates who are Catholic, female, black, Hispanic, or Jewish, over 90% of participants said they would not have a problem voting for them. Mormons and homosexual candidates polled lower with 81% and 74% levels of tolerance. Evangelical Christians, perhaps surprisingly, ranked even lower: only 73% favorably with 25% of voters saying they would not elect someone of that background. The candidates with the lowest degree of tolerance among voters were Muslims, atheists, and, unfortunately for Sanders fans, socialists; the latter being favorable to only 47%.

Now a socialist is certainly unique among the other listed characteristics, a lone wolf in the sense that some may have justifiable qualms about the political and economic implications of such a candidate’s beliefs. There’s nothing wrong with disagreement, provided, of course, that one’s opposition to such a candidate depends on the knowledge of what a socialist affiliation actually entails. For instance, nearly every other Western European nation has a pronounced Socialist Party and has for decades. And here, even in anti-Communist America, we currently enjoy the benefit of several programs that are socialist in nature. Social Security and Medicare are two of such services, fueled by the taxes of wage-earners, which in-turn support elderly pensioners. It’s not right or wrong as an ideology. It’s simply less scary in the presence of sufficient context.

Moreover, a disagreement with socialism can be justified on matter of principle but that still leaves the question of why many voters are hesitant to elect Muslims or atheists, or even evangelical Christians and Mormons, for that matter. Thomas Jefferson coined a phrase during the writing of the U.S. Constitution which appeared later in Supreme Court decisions: it said that there should be a “Separation of church and state”, ensuring that Congress would “make no law respecting an establishment of religion, or prohibiting the free exercise thereof,”. The core idea is that because we live in a multicultural nation, it is unjust for a politician of any religious background to impose their values on a national community that does not universally accept or agree with them.

Jackson-QuoteAs a result, Christian politicians should not be able to enact legislation that explicitly favors Christians or forces non-Christians to adhere to their beliefs in the same way that a Muslim politician would be prohibited from doing the same thing. Likewise, an embittered atheist would be unable to enact legislation prohibiting the exercise of religion. No Muslim President would be able to pull a fast one and impose Sharia law, just as no Mormon would be able to legalize polygamy (not that it would be a legitimate concern) as doing so would violate the separation between church and state, not to mention that either law would be shot down by Congress immediately.

In conclusion, a Presidential candidate’s superficial differences should not be enough to dissuade a voter from supporting them. It shouldn’t matter what a person’s ethnicity, sexual orientation or religious faith is. Politicians ought to be judged by two things: their ideas and their policies- not by where they are on a Sunday morning or by what they have between their legs.

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Reviews Stories In Focus

The Best Film of 2015 (Is Already on Netflix)

All the controversies facing this year’s Oscars, aside, there are, in fact, some excellent and exciting films up for the top prize. Space has never looked better on Matt Damon in The Martian, scandal has never been so uncomfortably diabolical as depicted in Spotlight, and explosions have never in the history of explosions looked so very, very cool as they are, along with everything else, in Mad Max: Fury Road. But I don’t want to talk about these movies.

This actually, isn’t a review for any of the films that have been nominated for Best Picture. The films up for the award have already received enough press, enough critical inspection, and more than enough reviews. The nominee that I believe to be deserving of your attention resides among the contenders for Best Animated Short Film. In a category that is so often dominated by Pixar’s charmingly eclectic shorts, there lies World of Tomorrow, the quirky, foreboding, hilarious, introspective masterwork from veteran avant-garde animator Don Hertzfeldt, and it’s already on Netflix!

It begins with a young girl skipping into frame to answer a ringing telephone. Her name is Emily and she can’t be more than three years old. The person on the other end is a grown up woman who claims to be Emily’s clone from over 200 years in the future. From the outset of their conversation it becomes clear that something is amiss with this older, monotone, nearly robotic future Emily, contrasted against her young, innocent counterpart, whom the former calls Emily-Prime.

Clone Emily paints a picture for Emily-Prime of what the future holds and to us, at least, it doesn’t look pretty. Due to the rapid pace of technological innovation, human emotional capacity seems to have moved backwards. The result of this imbalance has created a population of people like Clone Emily, efficient and productive but leaders of cold, mechanical life-styles. She speaks very matter-of-factly about this distant future lacking the self-awareness necessary to realize how destitute the whole thing really sounds.

Of course, little Emily-Prime picks up on none of this. She takes everything in stride, with starry-eyed amazement and charming naiveté, occasionally making little, nonsensical observations, as any young child might be expected to. She’s adorable. She is us, in a way, someone being given the foreboding description of a potentially ruinous future, unable to comprehend its negative implications due to a preoccupation with the intoxicatingly bright lights that obscure them. For Emily-Prime, nothing really sinks in. Subtext is lost on her, and we’re left to wonder if that’s because she’s only a child or because she’s only human.

The repercussions of manufactured immortality, the increasing numbness we experience in the way that we deal with death, and the importance of retaining our innocence in a world that seeks to corrupt it, are only a few of the ideas that World of Tomorrow explores. When it comes to presenting its themes in a highly thought-provoking manner, the short manages more in its 15-minute runtime than most modern blockbusters do in excess of two hours. Hertzfeldt’s minimal but surreal visuals are complemented by the film’s simple but deceptively complex narrative. Each of Clone Emily’s memories, stories, and revelations told and shown to the Emily-Prime are so intensely personal that her impersonal method of delivery only highlights their significance.

As stone-faced and robotic as Clone Emily may be, she does retain just enough of her humanity to impart a few choice words of wisdom to her young, past self. “This is your future, Emily-Prime.” she says, “It is sometimes a sad life and it is a long life. You will feel a deep longing for something you cannot quite remember. It will be a beautiful visit.”

Whether or not Emily-Prime actually understands the significance of everything she’s been shown is up for debate but really, it’s not about her. It’s about us. It’s about what we’re able to take away from Clone Emily’s advice that is so important. “What a happy day it is.” she sings upon returning home. You can sing along if you want to.

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Stories In Focus

Film Review: The Good Dinosaur

The Good Dinosaur is built around a “what if?” premise that the film’s trailers have likely already explained to you: what if the meteor responsible for wiping out the dinosaurs 65 million years ago had just zoomed past earth, uninterrupted? Pixar takes this scenario and imagines dinosaurs that have evolved to become an advanced species, while humans still walk around on all fours in a pre-Neanderthal kind of way

The central story being told here, revolves around Arlo, a young dinosaur who becomes separated from his family after being provoked by a human child. The two are forced to overcome their initially perceived differences and gaps in overall mental capacity; having to rely on each other in order for Arlo to conquer his fears of the unknown so that he can find his way home.

the_good_dinosaurThe first thing one is bound to notice is how incredible The Good Dinosaur looks. From the hypnotic flowing water, to the shining brilliance of snowy mountaintops, to the painstaking detail of the lush forests, it is unbelievable how photorealistic the geography is. However, while the quality of the animation is sublime, the overall presentation suffers a bit due to the out-of-place cartoonishness of the dinosaurs themselves–they stick out like a sore thumb against such authentic landscapes. Cartoonish though they may appear, the film still manages to do some incredible things animating the various species of dinosaurs; Arlo, especially, the bruising and physical wear and tear his adventure has on his body is shown with great yet subtle detail.

As great as Arlo looks, overly cartoonish or not, he is, unfortunately, insufferable as a main character. He is frightened of anything and everything, and it ends up becoming the only memorable thing about him. Nearly every step forward in the story is a result of one of Arlo’s irrational fear-induced episodes and it gets old quickly. He becomes little more than a plot-device to keep things moving. In a film dealing implicitly with the effects of evolution, it becomes clear that Arlo might have been better off experiencing the effects of natural selection.

Arlo’s journey toward self-confidence does eventually begin, kicking off with the friendship he comes to establish with Spot, the film’s token boisterous, silly, apelike, human character. Spot is a lot of fun to have onscreen, although he falls victim to the recent animation cliché of being more of a dog in nature, than an actual portrayal of a prehistoric person. He pants with his tongue out, sniffs the ground, howls at the moon, etc. It’s cute, but he essentially has more in common with the moose from Frozen or the horse from Tangled than something resembling a person.  

Overall, there is a striking lack of originality or creativity in The Good Dinosaur, especially given its distinction as a Pixar movie. It struggles as a film to establish any real narrative identity that goes beyond material that doesn’t feel like it is being lifted directly from films like The Lion King, Ice Age, or Finding Nemo.

Beyond the lack of original ideas, as the film progresses it becomes less and less apparent why this story requires the presence of dinosaurs at all. There is hardly anything novel about the way the movie uses them. There are no jokes about the meteor, no jabs at evolution, no conjecture as to what will become of these silly humans, nothing like that. It is a major missed opportunity for the film to feature anything memorable or particularly noteworthy to supplement a storyline that Pixar is essentially knocking off from previous projects.

The film itself is a marvel of technical achievement and looks better than anything Pixar has ever made, making it all the more disappointing that there is very little to sustain the viewer once the novelty of the aesthetics begins to wear off. In the hands of the Pixar of old, The Good Dinosaur might have been something special, but when compared with the impact left by Woody and Buzz, and other famous duo’s, much like the meteor that misses the earth, Arlo and Spot fail to hit their mark.

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Reviews Stories In Focus

Movie Review: Straight Outta Compton

In an age where we have become so accustomed to celebrity culture it can be easy to forget that there was, in fact, a point in time when aggressively colorful headphones did not bear the name of Dr. Dre or that Ice Cube actually had a career beyond starring in buddy-cop goofball comedies alongside Kevin Hart or Channing Tatum as an ironic parody of his former self. That is the point director F. Gary Gray wishes to make in Straight Outta Compton. Before the two of them were media moguls, Dr. Dre, Ice Cube, and fellow rapper and business partner Eazy-E, had a hand in creating music together that would change the world forever.

straightouttacomptonStraight Outta Compton, to the uninitiated, is about the rise and fall of N.W.A., one of the most controversial musical groups of all time. So infamous were they that their best selling album, “Straight Outta Compton”, was the first to ever include the “Parental Advisory” sticker on the front of it. The film does an excellent job chronicling the earliest exploits of Cube, Dre, and E and how through combining their individual, unique skillsets they were able to secure a record deal with the help of manager, Jerry Heller.

The performances are solid throughout, Jason Mitchell as Eazy-E, O’Shea Jackson Jr. as Ice Cube, Corey Hawkins as Dr. Dre, and one excellent Paul Giamatti as Jerry Heller, the group’s manager. Mitchell, Jackson, and Hawkins even do their own rapping. All four are featured prominently alongside each other without anyone hogging too much of the spotlight and each remaining completely magnetic on their own. There are a couple of dents in the armor when it comes to the screenplay but my overall enjoyment of the movie was hardly affected by the occasional lapse of good writing or awkward method of delivery.

One of the darker aspects of the film is the early theme of police brutality and racism. It is the 1980s, after all. The film’s timeline falls in the middle of the Rodney King era, which is mentioned at several points. By seeing the actions of the LAPD and their unjustified aggression toward our protagonists, it is hard not to sympathize with them and have some sort of muted respect for the brazenness of their retaliation in the form of “F*ck Tha Police”. It is no secret that N.W.A. was widely demonized by the public over the content of their songs upon release, one of Straight Outta Compton’s biggest strengths being how it attempts it humanize its members by providing enough lyrical context to educate as well as entertain.

The second half of the film does more to focus on the careers of Dre, Cube, and E as they begin to drift away toward other projects. Some of the film’s funniest moments are the scenes featuring Dre’s first forays into producing for other rappers who today you and your mother are almost guaranteed to know on a first name basis.

However, things don’t move at nearly as brisk a clip here as the first half. Some scenes drag on a bit longer than they should, others grind past not feeling vital enough to have made it into the final cut. The foremost criticism by many regarding Straight Outta Compton is that certain incriminating details surrounding the morality of N.W.A.’s members are never brought up. This isn’t to say that the movie portrays them as spotless, only able to be properly seen through rose-colored glasses but it is true that some particularly unflattering scenarios managed to stay away from the narrative we see on the screen.

If you enjoy the conventions of good filmmaking, music from the golden era of hip-hop, movies with hard-R subject matter, or have even a passing curiosity for social justice, any one of those reasons is good enough to give Straight Outta Compton a watch. The characters are rough around the edges but wholly endearing, showing multiple generations the merits of overcoming great lengths to express yourself, “Express Yourself” incidentally being a great N.W.A. song that you should definitely go listen to.

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Reviews Stories In Focus

The Expected Virtue of Birdman

Winner of the Oscar for Best Picture Lives Up to the Hype

BirdmanThe newest inductee to the lucrative Best Picture club is Alejandro G. Iñárritu’s Birdman: Or (The Unexpected Virtue of Ignorance). With such a high honor being bestowed on a film there is often ample skepticism as to its actual quality. Is Birdman truly better than American Sniper or Boyhood? The plot summary is this: Riggan Thomson, played by Michael Keaton, is a former blockbuster star, made famous and beloved for his roles as Birdman, a superhero in the 80s and 90s. Having fallen from stardom and faded into relative obscurity in the public eye, Riggan attempts to jumpstart his stagnant career with a self-directed, self-written, and self-acted Broadway production in hopes to once again find relevance in the entertainment industry.

While the story may seem simplistic at face value, what makes Birdman truly great is its execution. This is one of the most artistically invigorating and emotionally stimulating films that I have ever seen. Every convention of good filmmaking is present here and done to the highest level of quality.

The casting of Michael Keaton as Riggan is no coincidence. Many probably remember his role as the brooding caped crusader himself in Tim Burton’s Batman in 1989, Keaton reprising the role in 1992 in Batman Returns. Given his history in the industry, Keaton’s casting in Birdman makes his struggle a deeply personal one as an actor fighting to stay relevant and be taken seriously.

Riggan’s character is effortlessly relatable. He is nervous, unsure of himself, erratic, and emotionally unstable, making him an easy target to be written as the token underdog character. Thankfully, the movie transcends that trope by refusing to make him spotlessly perfect, Riggan is human after all. He is divorced, has an estranged teenage daughter, has issues maintaining relationships, and can at times be a little bit of a jerk. As a character who receives the viewer’s sympathy, reprehension, and respect all in one movie, Keaton absolutely shines playing Riggan, making his Oscar nomination for the Best Actor especially justified.

While Keaton is the one most in need of an encore, by no means is the rest of the cast undeserving. Most notably are Emma Stone as his cynical, sarcastic, just-out-of-drug-rehab daughter, Edward Norton as a last minute cast-replacement playing a hysterical parody of himself as a brilliant actor who is difficult to work with on and off the stage, and Zach Galifianakis, of all people, who takes a surprisingly nuanced turn as Riggan’s best friend and production manager.

Birdman’s tone fluctuates between reality and the surreal, garnered by Riggan’s unique perspective of the world around him and grounded by his more “level-headed” cast members. Whether the camera traverses the stage during rehearsals, follows Riggan through his daydreams or certain cast members through the tight corridors of the theatre and down the streets and alleys of New York, the shot composition is hypnotizing. The camera is always rolling, never cutting, making Birdman resemble one enormous tracking shot that would make even Wes Anderson blush. The more ethereal scenes are accompanied by full orchestras playing muted symphonies, lulling the viewer into its dreamlike atmosphere and for the majority of the film, Birdman marches along anxiously and excitedly to the pulsating beat of drums, pounding in cacophonous syncopated rhythms, able to carve out the tension of the scene unaccompanied.

Seeing Murphy’s Law take effect as more and more things continue to go wrong for Riggan takes its toll as it becomes apparent that this play is his everything. Through all of the melancholy, the personal drama, the selfish desire to sell out and be thrown right back into the blockbuster formula, Riggan’s stress is shared with the viewer. If the play bombs, the rest of the cast might emerge embarrassed but relatively unscathed, but for Riggan this is his last chance. “We should have done that reality show they offered us,” says the voice in his head, forcing him to turn back, but there is no going back. For Riggan, this is all or not