An Open Letter to the Republican Party Members of the House and Senate

April 30, 2025

Dear Republican members of Congress,

The following comments are my opinion only. I am not a mega-corporate donor, I do not have over a million followers on any social media platform, and I have never voted Republican in my twenty-plus years of being an active registered voter. Nevertheless, your duty requires that you take the time to consider the opinions of all Americans regarding your actions. Yes, even those who did not vote for you. 

As a representative of our usually great nation, you swore an oath of loyalty and service, not to your chosen political party, not to any corporation, and especially not to any specific individual, regardless of that person's status or perceived capabilities. You swore an oath to the Constitution and, by extension, to all of the people affected by it. 

Each of you appears to have forgotten your duty or has chosen to ignore it entirely. Because you have forgotten or ignored your duties, corruption, arrogance, and gross negligence dominate the American government, which should not be the case, certainly not to the gross extent to which it has grown today. While there is no denying that at least part of the problem lies with some American voters (who, either through ignorance or wishful thinking, believe that politicians are their savior or can otherwise solve all of their problems), the bulk of our failings as a nation lie with you! 

Last I checked, your job description was "public service," which means serving the American people to the best of your ability. That means standing up and speaking out for what is right by the people and for the people! 

I am not blind to how the modern world works, nor ignorant of the history that has brought us to this point. While people cannot inherently change who they are, they can at least find the courage to do what is right, even if it goes against what they want. It disheartens me that too many people like yourselves appear incapable or unwilling to accept this simple fact. 

Our greatest strength as a nation has always been our ability to eventually act compassionately in the face of change and challenge. Even now, I refuse to believe that people, even those of your particular status, are incapable of recognizing and adhering to basic ethical behavior. 

I say this to you because I want to remind you that you have the power to make things right for all of us, as you have sworn an oath to do; yet you refuse to take the steps necessary to accomplish this simple goal, either because of your greed or fear. 

Doing what is right by the people may hurt, but it is what you swore an oath to do! If you are unwilling to face the pain, we will replace you with someone who will! You can either accept the task or back down, but you can no longer hide from and dodge the fire you have caused. Part of getting second chances is accepting responsibility for your previous mistakes. If you want our forgiveness, do what is right, accept the responsibility, and learn from your actions. 

There is a line from the movie The Equalizer that aptly summarizes my point about pain:

"There are two kinds of pain in this world: the pain that hurts, and the pain that alters. Today, you get to decide." 

Please. Face your pain. Do what is right for all our sakes, including yours!

Sincerely, 

Norman Luce

Locked - Decent But Has Been Done Better

Rent on Apple TV and Prime Video 

    In 2003, the late filmmaker Joel Schumacher made a little movie called Phone Booth: an engaging thriller about a vigilante who traps an unsuspecting petty crook in a phone booth on a busy city street. Under threat of death by sniper rifle, the petty crook is forced to confess his sins and make the effort to emerge from his situation with the willingness to do better for himself and others. It is one of the best examples of elegance in simplicity. It uses a single location with only a handful of players to convey a compelling story about redemption, justice, and second chances. 

    Since that fantastic work of cinema, many filmmakers and production companies have tried to emulate or recreate that successful formula with mixed results: slasher films like ATM and survival thrillers like All is Lost come to mind. 

    Today's subject, Locked, is a film that attempts to present a "modern" retelling of the same concept while attempting to comment on issues like economic disparity and rigged social structures. The result is a thriller that earns many points for its efforts, but doesn't quite capture the same victorious feeling as its predecessor. Although it did make me feel for the protagonist, I might have preferred if there was a little more creative direction for the antagonist other than what was ultimately presented. 

    The story follows a down-on-his-luck street-smart petty thief named Eddie (Bill Skarsgård) who is trying to get his car back so he can maintain his job and see his little girl again. With no alternatives to speak of, and despite his efforts to go clean, he returns to his old habits of petty theft. While scoping out a local parking lot, he stumbles upon a nice-looking SUV parked right in the middle of the lot that looks like easy pickings. However, once he enters the car, he can't get out! Suddenly, Eddie finds himself in a fight for his life as he tries to escape his unexpected confinement while being taunted and tortured by the mysterious voice controlling the car (Anthony Hopkins) and determining the reasons behind his false imprisonment. What will it take for Eddie to escape with his life? 

    The general concept, performances, and presentation are solid for the most part. Skarsgård shows his range and talent, proving his ability to carry a movie on his shoulders, while Hopkins, though still maintaining his startling screen presence, doesn't do anything we haven't seen from him many times over. Yes, he plays his roles well, but let's face it, the man hasn't been able to escape the shadow of Hannibal Lecter throughout the remainder of his career since Silence of the Lambs. 

    Also, while the script is admirable in commenting on things like class and economic disparity, redemption, and personal responsibility, the film loses many of its talking points by delivering a typical by-the-numbers psychopathic antagonist seen in every kind of movie like this, rather than something with a little more effort behind it. 

    I did not make the comparisons to Phone Booth lightly!  Part of the reason that film was so memorable was that the antagonist, while likely insane to some degree, did his actions with more or less noble intentions: to get his victims to admit their faults, confess their crimes, make amends, and do better in the future. Also, we never really learn what drives the antagonist to do what he does, thereby maintaining a sense of mystery and otherworldliness to his presence. We understand what he's doing even though we don't understand why. 

    Meanwhile, the antagonist in Locked is a typical troubled-man-brought-to-madness-through-tragic-circumstances routine seen in every attempt to "elevate" a slasher villain. While this does make for a terrifying force, it does not make for a compelling narrative, even though the film wants so badly for that to happen. 

    Locked is an okay film for what it is. While it has a compelling concept with decent performances, it's a little too pretentious and cliché for its own good. If you are the least bit curious, give it a look. Otherwise, go watch Phone Booth instead. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/

The Electric State - As Hollow as a Dead Robot

Streaming on Netflix

    In an interview with one of the Russo brothers (who directed this monstrosity), he said they wanted to take this fascinating concept and make it more "palatable" for mainstream audiences. This was our first indicator that the film they would provide would not only miss the point and feel of the original source material but also be lifeless and (for want of a better term) without a soul. Netflix's The Electric State is a film that does too many things wrong, most of which is showcasing the limited and one-note talent of the cast, writers, and directors involved in its unmitigated and misguided creation. Even with a few decent parts here and there, this film embodies and displays everything wrong with modern cinema, and I rue the day I ever sit through something even worse this year! 

    Loosely based on the graphic novel written and illustrated by Simon Stålenhag, the story is set in an alternative 1990s, when robots have evolved to the point of sentience and lost an uprising, causing robotkind to be banned to exclusion zones (think Terminator meets District 9 but without any of the intelligence from either film). Our "hero" is a young girl named Michelle (Millie Bobby Brown), who is surviving her latest round of foster care after losing her family, including her younger brother, to a car accident some years prior. Michelle's life takes a turn for the weird when she's accosted by a small robot claiming to be her brother (human consciousness can be transplanted into robot bodies in this mythology) and asking her for help finding and freeing his human body from confinement by the mega-corporation that runs the entire technological dystopia. 

    Along the way, they encounter an annoying analog for Han Solo and Chewbacca in the form of Chris Pratt playing yet another slight variation of himself and Anthony Mackie trying his best impression of Rocket the Racoon, but as a robot. Together, they travel to the forbidden lands of exiled robots, where they meet their leader, Mr. Peanut (voiced by a seemingly indifferent Woody Harrelson), who helps them find their way toward the plot twist that makes no sense and only serves as a weak attempt to make you cry for no justifiable reason other than suffering through the painful disrespect and disregard of such a fascinating concept that deserved much better treatment! 

    The graphic novel, lovingly created by Simon Stålenhag, presents a haunting and visceral world destroyed by hyperconsumerism crumbling before the eyes of two observant survivors. Think The Last of Us or Cormac McCarthy's The Road, but with robots. It's a journey through a creepy yet possible world that reflects the dangers of our overreliance upon technology and how, if we allow it, it can make us lose our connection to reality. It's a book loaded with eerie yet fascinating images and ideas that would make for a fascinating cautionary tale of a movie or mini-series, exploring the dark and uncertain aspects of our existence while contemplating what might be done to prevent this possible future from happening. 

    This film adaptation by The Russo Brothers doesn't have any of that! Instead, the film decides to strip away all of the dark and unsettling aspects of the original story in favor of a fast-paced, easily digestible Marvel superhero-style movie that offers nothing substantial to the audience other than weak homages to the graphic novel in an attempt to at least pretend they understood anything from the book, a demonstration of how to waste away three hundred million dollars (yes, that was the budget for this piece of garbage) and the feeling of being robbed of your time! 

    The Russo Brothers seem incapable of making movies that don't conform to the Marvel formula! The script is full of clunky, unnatural-sounding dialogue filled with lazy exposition and poor attempts at character and world-building! Chris Pratt's "charm" only worked for his portrayal of Starlord, and Millie Bobby Brown doesn't have the range or talent to carry an entire movie on her shoulders! The whole "war against the machines" angle has been done to death, so much so that Issac Asimov has rolled over in his grave enough to drill toward the center of the Earth! And again, I must stress they spent over three hundred million dollars on this one braindead and unfeeling visual spectacle pretending to be a movie! 

    They could have spent that money on other potentially more fascinating smaller projects or even donated it to a worthy cause. But that would imply that the Netflix producers have anything resembling a conscience, which, let's face it, no one in the Hollywood system (and yes, Netflix and most of the streaming platforms are part of Hollywood, whether they admit it or not) has enough of a heart to care about anything other than grabbing the next I.P. they can milk to death for the next decade!

    Netflix's The Electric State is an insult! It is a slap in the face to talented storytellers and feels more like a work of arrogant and indifferent propaganda demanding that you give up asking for better works of art. Well, to that, I say, "Never give up! Never surrender!" 

    My fellow artist friends and I will continue making our own works of art that better speak to the human condition and demand the same from Netflix and all the other streamers like it. We will not remain silent while corporate media insists that what they say is the end all be all of artistic expression and expectations. We will speak the truth because you're too afraid to do so. 

    We are creators; hear us roar! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/

Black Bag - A Spy Thiller WIth Brains

 

Playing in Theaters

For Rent on Apple TV and Amazon

    There are some expectations when watching a Spy Thriller: chases, hand-to-hand fights, espionage, etc. These expectations can often be a double-edged sword: they can simultaneously be delightful yet predictable and boring to anticipate. It takes genuine creativity and a willingness to take risks to make a Spy Thriller feel different. 

    Black Bag is precisely that movie! This thoughtful and mind-moving spy thriller does what any movie of this particular caliber should do: ask much of the audience and expect them to be mindful enough to follow along, guaranteeing a satisfying experience for your attention and mindfulness. In other words, a brilliant movie. Sure, it may have a few clichés here and there, and it might take a while for the story to move sometimes, but when it gets the momentum going, it doesn't stop for anything, as it shouldn't! 

    The story follows a married couple working for the same spy organization, Black Bag. The husband learns that a handful of people within his group, including his wife, are suspected of being double agents supplying aid and information to enemies of the state. Thus begins a game of cat and mouse where the spy within the spy world must be found and, in the process, question some friendships and loyalties. 

    Even though my description of the film sounds vague and familiar, it is intentional. The best possible experience hinges on how little you know about the plot right now. Despite a few moments that can feel a little drawn out and maybe a handful of "WTF" moments, the film is an overall delight and a worthy contender for one of the year's best films so far. This is one mission you should accept. 

    Check it out. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

https://www.normanluce-writer.com/

Hit Man - A Killer Movie

 

Streaming on Netflix

    One of the many issues with the modern streaming era is finding stories worth your time.  This has always been an issue with entertainment, but with different obstacles (misleading trailers, lack of media attention, controversial issues with the creators, etc.), many of which are still prevalent today. I guess this is to say that with the entertainment system being savagely taken over by the algorithm and prioritizing brand recognition over human talent, it has become significantly more challenging to find anything wholeheartedly creative or "original." 

    Even so, occasionally, you find yourself searching through the trudges of bland and repetitive content shoved in your face by the AI-driven system only to stumble upon what might very well be a hidden gem. Hit Man is precisely that movie, to a tee! This movie has a sharp script, interesting characters, and thoughtful direction, and it goes into places that are challenging to explore. In short, it does what any good movie should do: make you think while being entertaining. While it may take some time to properly process what the film has to say about its chosen subject matter (as it should), it deserves every ounce of praise for ultimately committing to its mission and sticking to the landing. 

    The story follows a mild-mannered college philosophy/human behavior professor named Gary (Glen Powell), who has a side gig helping the police department with specific sting operations. He helps bring in potential criminal killers by posing as a hitman for hire and recording their marks in their attempts to purchase a murder. Gary finds joy in bringing in potential criminals while using the experience as a means of studying human behavior.  Even so, things take an unusual turn when he encounters one potential mark named Madison (Adria Arjona), who rubs him differently. After subtly redirecting her toward a better decision, they begin a secret relationship that turns Gary's life around in ways he could never have anticipated. How long can he maintain this shaky balance between his desires and duty, and how far is he willing to go for those he cares about? 

    The movie is an overall gem! The cast is engaging, the story is clever, and the exploration of themes like death, human nature, and the greater good (individualism vs. the law) are all handled with grace, maturity, and respect. This movie is well aware of the weight brought on by its thematic elements and narrative explorations and is not afraid to ask much of the audience. It's the kind of storytelling nearly discouraged in any filmmaking circle, especially today. 

    A significant reason for that is likely the film's co-writer and director, Richard Linklater, late of Before Sunrise, School of Rock, and A Scanner Darkly. Richard Linklater has a natural talent for crafting likable and believable characters with nearly every project. He has an unusual talent for bringing any subject and genre down to earth with an extreme sense of humanity that is sorely missed in most modern movies. He is also one of those easily missed directors, as he seems to pump out a new movie almost every few years with insufficient fanfare. I am also guilty of unintentionally overlooking Mr. Linklater, and I can happily say this recent film has encouraged me to pay more attention. 

    Hit Man is the kind of movie that would have been laughed out of any Hollywood studio boardroom. Even though streaming platforms like Netflix are technically still part of the overall Hollywood system, especially with overpriced pieces of crap like The Electric State (which I will cover in due time), they are still more capable of producing smaller gems like this. This is the kind of cinema that makes having a streaming service subscription worth the price of admission. 

    Check it out! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

P.S.

    Please pre-order my upcoming book, The Fox and the Dragons, the much-anticipated sequel to my first book, Come See The Light. From now on, I will post a link to my website with further details and links at the end of every blog entry. 

Thank you all 💜

https://www.normanluce-writer.com/