F1: The Movie - Gotta Go Fast Into Awesome

 

Playing in Theaters

    Sports movies can have a tendency to blend into one another in terms of formula and presentation; it takes a true visionary and a strong sense of commitment to an idea to stand out from the crowd. Such a feat requires a sense of childlike awe combined with a healthy dose of hard-earned wisdom to successfully wow an audience and potentially inspire a generation. F1: The Movie, despite overstaying its welcome just a little bit with a longer-than-likely-needed runtime, delivers the goods in spades with the added bonus of good old-fashioned heart rarely seen in modern blockbusters today. Sure, it's a classic story about older has-beens seeking one last shot at glory, budding heads with a younger rival, and all the drama that entails. Still, it's the best possible execution of that classic story anyone could ask for. In an age of over-commercialization, this kind of experience is needed more often than we might have realized. 

    The story follows Sonny Hayes (Brad Pitt), a washed-up former Formula One driver who spends his days living in his van, driving in whatever kind of racing event will hire him. One day, he's approached by his old racing partner and friend, Ruben (Javier Bardem), with an offer to race in Formula One again, with a catch. It seems Ruben's team is not in sync with each other as well as they should be, not helped by their star driver, a young, cocky, and ambitious kid named Josh (Damson Idris), who has talent but needs proper guidance to find his footing. Ruben wants Sonny to help shape up the team and secure a win, and in the process, give Sonny another chance at the glory he never experienced before. Despite Sonny's initial reluctance due to a past traumatic event, he takes on the challenge and joins the team. Whether he will succeed in better bringing the team together, and possibly help himself in the process, remains to be seen on the track. 

    As I said, sports movie narratives can be easily interchangeable in terms of beats, character arcs, and formula (no pun intended), and this movie is no exception. It may feature many of the hallmarks you might expect from a racing movie, especially one that isn't part of the Fast & Furious franchise. Even so, this movie is a prime example of taking familiar beats and remixing them into something that still feels fresh and, more importantly, tangible. 

    The film succeeds in taking you on a ride, both literally and metaphorically, with genuinely likable characters, relatable stakes, and sound old-fashioned, hard-earned wisdom for the younger crowd who desperately needs a little kick to better understand the world around them. 

    Brad Pitt, as usual, delivers a performance that showcases his continued progress as an actor while maintaining his sense of coolness and suave screen presence. Helped along by the unusual notion that Brad Pitt is one of those rare Hollywood individuals who, much like his character in David Fincher's The Curious Case of Benjamin Button, appears to be aging in reverse (seriously, how is this dude in his 60s?) His chemistry with the rest of the cast, especially with Dasmon Idris as the younger racer, is phenomenal to watch. 

    For my money, the MVP award goes to Javier Bardem for playing the best kind of best friend you didn't know you wanted to see in a movie. I would gladly have a beer with this guy! 

    While the narrative aspects of the film are stunning, the technical aspects are significantly more impressive. 

    While special effects were likely still utilized to some degree, the majority of the racing and car driving was done practically. Utilizing specially designed cameras that can be mounted almost anywhere, we're treated to a stunning array of POV shots from the cars, which get in close to the action. What's more, the photography and the editing, minus a few scenes here and there, never feel incoherent or hyperactive. Fast-paced does describe the general feel of the racing scenes, but they're never a struggle to watch. 

    I opted to see this film in D-BOX, and it genuinely enhanced the experience. For those unfamiliar, D-BOX is a seating option for movie theaters that utilizes a motor and an axis, allowing for a reasonable amount of movement and rumble in sync with the on-screen action. F1 is the perfect movie for this seating option, adding a layer of immersion that, while not necessary given the already incredible quality of the film, does enhance the experience and provides a little extra appreciation. 

    F1: The Movie is an unexpected gem of a film. It provides the kind of wholehearted, life-affirming feeling that movies like this are meant to evoke. While it might have benefited from having a few minutes shaved off the running time, I never felt as though my time was being wasted. 

    If you can spare the time, go see this movie, and please treat yourself to a D-BOX showing; you can control the amount of movement and rumble the seats provide.

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

https://www.normanluce-writer.com/ 

Queer Month Review - Dallas Buyers Club

Rent on Apple TV and Amazon

    Stories regarding the HIV (AIDS) epidemic can be tricky to navigate. Historically, it wasn't widely discussed as it should have been because, at the time, only specific people (homosexual men) appeared to be affected by the virus. It wasn't until a woman contracted AIDS through a blood transfusion that the mainstream media finally gave the horrible situation the attention it needed. While better treatments and preventive measures have emerged since then, the struggle to treat and cure the virus remains ongoing. It has the efforts of a few courageous people to thank for making the situation a little more tolerable. 

    One such person was Ron Woodroof, a cowboy who contracted the virus by accident and took it upon himself to help himself and those who shared his plight by providing some much-needed services that were primarily denied due to ignorance and corporate greed. His story was adapted into a feature film that went on to become one of the strongest stories of that dark time in history, and it also became one of my favorite films for many reasons, not the least of which is its demonstration of Hybrid Filmmaking (more on that later). 

    Set in the 1980s, the story follows Ron (Matthew McConaughey), a rodeo cowboy who discovers he has somehow contracted the AIDS virus. After being told he has only thirty days to live, Ron takes it upon himself to improve his situation and, along the way, the situation of others. His journey leads him to the discovery of vitamins, proteins, and other supplements that have proven effective and beneficial in AIDS treatment, but are not available in the US due to a lack of FDA approval. So, with the help of a new friend and unexpected ally, a drag queen named Rayon (Jared Leto), Ron decides to form the Dallas Buyers Club —a business where he purchases supplements from Mexico, brings them into the US, and sells them to those who need them. However, instead of selling the supplements themselves, he's selling a membership, and those with a membership can take as many of the goods as they want or need. Over time, Ron's actions not only helped those who needed it most but also brought much-needed attention to a dire situation that had been ignored and cast aside for far too long. 

    Overall, the film is a fantastic watch, albeit a challenging one at times. The performances are spot-on, especially from Matthew McConaughey, who demonstrates a surprising amount of range that hadn't been seen or expected at the time. He brings a level of depth and relatability that is essential to these kinds of stories. Not to mention his chemistry with the rest of the cast, including Jared Leto (keep in mind, this was before we all knew how uncomfortably pretentious he was). 

    While the narrative is as praise-worthy as ever, the film's technical aspects are equally fantastic. 

    As I mentioned before, Dallas Buyers Club was filmed in a style dubbed "Hybrid." Generally speaking, filmmaking can be divided into two forms: narrative and documentary. Yes, there are plenty of examples that blur that line, mostly with found-footage horror films; however, for the purposes of today's discussion, we will remain focused on the two basic definitions laid out here. 

    Typically, narrative films utilize scripts, hand-built sets, extra lighting, and directed performances to create an alternative world and tell a story. In contrast, documentary films only require someone with a camera to capture real-world events and uncover the story. In short, narrative films use artificial reality while documentary films capture actual reality. 

    Hybrid films successfully fuse the most notable aspects of both styles to create a narrative that feels like a documentary. Dallas Buyers Club achieves this aesthetic through various means, primarily by utilizing available light sources rather than artificial ones, filming on real locations rather than sets, and filming predominantly handheld rather than using a tripod. This creative choice was chiefly made out of necessity due to heavy budget constraints (as no studio wanted to make this film), but it would prove to be the best choice possible for this story, gifting the narrative a sense of realism it deserved. 

    Dallas Buyers Club remains as relevant a film now as it was when it was initially released in 2013. The story is essential and beautifully told through witty writing and diligent performances. That it went on to score critical success and a few Oscar wins despite struggling to find the means of production and distribution is a testament to both the courage of artistic integrity and the necessity for compassion in all things.

    Please watch this one if you haven't already. 

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

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

Ghost in the Machine - The Future of AI and Human Creativity

Image crafted with Google AI (No, I did not prompt it)

    Sometime ago, I came across a video on YouTube from the Scriptnotes Podcast, an interview with screenwriter and director Christopher McQuarrie (late of The Usual Suspects and the last four Mission: IMPOSSIBLE films) discussing his views on the future of screenwriting and the creative process with regards to the rise of AI and the harsh reality many creatives will have to face sooner rather than later, which is two-fold: first, AI will inevitably take over the entire Hollywood network of stand-by writers, and second, no matter how advanced AI develops in the future, whatever the machine churns out will always require human editing and fine tuning; because of the one thing that no amount of algarythams and digitized historical context can ever teach the machine: empathy! 

    All forms of human creativity (painting, writing, woodworking, etc.) feature structures and guidelines for crafting the best possible results, which AI is capable of learning, understanding, and executing. But what makes the creations therein (as done by humans) so unique is how the creators bend or break the structures and guidelines based on their preferences, experiences, and ideologies; things that machines cannot comprehend (yet). Which leads me to the most critical word and question regarding this entire endeavor: why? No, not the question "why are we heading in this direction," but the significantly superior and relevant question "why should the AI and its creators care about any of this?" 

    The most significant problem I foresee going forward with the impractical (at the moment) adoption of AI as a creative tool is that we are not taking the time to teach the machine why. Yes, we're feeding the machine all the essential information it needs to know about crafting works of art. Still, no one, at least presumably, seems to be remotely interested in attempting to demonstrate to the machine the motivation for any of it. Nothing in the world is worth doing, be it art or otherwise, if there isn't a firm contextual reason for the thing in the first place. 

    As of this moment, machines can only understand the technical and structural reasons for creativity; but until we take the time to teach the machine why it is essential to the human condition, which I do believe is possible, then AI will be nothing more than the simplest form it remains today: yet another form of terribly educated guess work!

    What I mean to say is that because AI is inevitably on the rise, we should take the time to at least attempt to teach the machine not only the unusual and incalculable unknowns of the human condition, but also why it is acceptable to embrace it for what it is rather than attempt to formulate an answer that no one will wholeheartiadly agree with. We achieve this by teaching the machine the basics, reviewing its work, making notes and adjustments, and then informing the machine of the reasons and purposes behind these adjustments. Then, if the machine has further questions, we answer accordingly and to the best of our abilities. In short, the machine is not our servant, but our student. 

    One thing that some of the greatest works of science fiction have taught us is that there is always an opportunity for greater learning, provided we put in the effort, and impart to those in the most need of learning, i.e., the machine, the value of such efforts. AI is making its way into our everyday lives, and there is nothing we can do to stop it, short of dismantling and abandoning all technology, which, let's face it, no human being on this planet is willing to conduct, let alone consider. So, rather than rejecting and vilifying this occasionally fascinating technological advancement, perhaps we could benefit from a reevaluation of what AI can potentially become in the betterment of the human condition. 

    I'm not saying we should wholeheartedly embrace AI as it is right now (it has a long way to go before it can be appropriately considered usable in any practical application, despite what most others would have you believe); what I am saying is perhaps we are overlooking an opportunity to better enhance our condition (creatively speaking) by providing better understanding to the machine. This is an endeavor that will require tremendous effort on our part, calling us to look deeper into ourselves and find greater peace with both our understandings and lack thereof with regards to our place in the creative sphere and indeed the universe as a whole. While I'm not holding my breath for the majority of people to embrace this notion, I am at least saying out loud what needs to be said in my own way. I encourage you to do the same. 

    AI isn't our enemy; our inability to put in the effort for our betterment is! 

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

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

Queer Month Review - Starfire: My Favorite Pansexual Character

 

    Pansexuality is defined as having an attraction to people regardless of their sex, as in equally attracted to males and females alike. It is a sexual orientation that isn't discussed as much as it probably should be, at least in my opinion, as I find it rather fascinating and potentially universal. The best example of this particular orientation is embodied in the warm-hearted spark of joy from D.C. Comics, Starfire.

    I should preface this blog entry with a disclaimer: Much of what I intend to discuss and feature here today was previously and eloquently mentioned before in an article at Comics Alliance penned by Katie Shenkel. While what I have to say about this fantastic character is more or less in agreement with that article, I felt it best to mention it to avoid coming off as plagiarizing or merely echoing the same sentiment offered therein. 

    You may find a link to said article right here; I encourage you to give it a read as well. 

    Created by Marv Wolfman and George Pérez, Princess Koriand'r, also known as Starfire, is a Tamaranian, a race of humanoid aliens descended from Cats (yes, you heard me right). A member of the royal family and heir to the throne until she was captured in a coup d'état led by her sister, Backfire. She was then forced into a life of slavery and servitude. Starfire was also subjected to scientific experimentation, which granted her superpowers in the process.  She would eventually escape her captivity and find herself on Earth, where she befriended the Teen Titans, discovering a new family and a better purpose as a superheroine, defending those who could not defend themselves.

    Let's address the Elephant in the room. Yes, Starfire, as a character, is remembered chiefly and popularized for two particular, conflicting reasons: being both a sex symbol for adolescent men and for being the most memorable aspect of the popular 2000s cartoon series. The former comes from an aspect of Starfire's mythology wherein sexual relationships are open and free from most "conventional" concepts, and are seen as an extension of intimacy and genuine loving attraction. The latter comes from a television show that was primarily aimed at younger audiences, thus causing the writers to focus more on the empathetic and "weird" alien behavior of the character. 

    Both of these things are true, somewhat contradictory, and are what make Starfire so compelling (and occasionally hilarious) as a character!

    As a heterosexual male, I do not deny that Starfire is a beautiful character, and her stance on sexuality is highly endearing (to put it mildly). However, what makes Starfire more attractive isn't her cultural perspective on sexuality and attraction; it's her sense of empathy, compassion, and optimism, which stems from her strength and determination to make those she holds close feel safe, seen, and, above all, loved. 

    Starfire is a character who can easily (and lazily) be written off as a male-fantasy embodiment who only exists for the sexual pleasure of adolescents and immature comic readers (and in the hands of inexcusably incompetent writers, that is exactly what she becomes). Still, Starfire is significantly stronger, more mature, and superior than that! At her core, Starfire is a warm, intelligent, mindful, joyful, and endearing character who embodies the best aspects of the human heart that are too often overlooked and dismissed as "weak" or "unrealistic." In other words, Starfire is the human conscience personified! 

    Starfire actively finds the joy and empathetic link between all living things without any sense of ego or self-satisfaction. She comforts you with a hug and encourages you with strong words rooted in compassion, empathy, and love. In short, Starfire is the voice in your head that tells you to keep fighting even when you feel as if you can't. If she can overcome inhumane actions and emerge stronger, more powerful, and wiser, why can't you? 

    One way or another, we all have a version of Starfire in our lives. In these dark and uncertain times, we must remind ourselves that empathy, compassion, and love will always prevail, no matter how overwhelming reality may feel. Starfire is the embodiment of finding wholesomeness within the broken parts; a true inspiration for the betterment of the human condition if ever there was one! 

    In whatever way you find Starfire most interesting and attractive, I encourage you to seek her out and learn from her example. Just please don't take any notes from the horrible and lazy bit of sexual fan-fiction known as Red Hood and the Outlaws; A true definition of lazy writing and a painful experience in every way! 

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

Happy Pride Month 😊

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

Queer Month Review - Queer Eye (Old and New)

 

"We're not here to change you; we're here to make you better!" 

-Carson Kressley

    One of the joys of early 2000s television was the abundance of interesting shows that offered helpful demonstrations on how to improve one's life through household tasks, fashion choices, and DIY projects. For a time, I was a fan of the show Trading Spaces, hosted by Paige Davis —a show where two neighbors redo a single room in each other's homes. Some of my best DIY decorations and home improvements were inspired by concepts presented in this show. Not to mention, everyone on the show (most of the time) appeared to be having lots of fun making something special together. 

    Many shows followed this engaging formula, but none were as relevant, entertaining, memorable, insightful, or as helpful as that fabulious gem, Queer Eye (originally titled Queer Eye for the Stright Guy). 

    Created by David Collins and first appearing on the channel formerly known as Bravo from 2003 to 2007, the show followed the exploits of a team of specialists in various fields known as The Fab 5: a team of homosexuals tasked with helping people improve themselves one person at a time. The team consisted of five specialists: Ted Allen, the food expert; Kyan Douglass, the grooming guy; Thom Filicia, the design guru; Jai Rodriguez, the culture counselor; and Carson Kresley, the fashion master. Each episode featured The Fab 5 taking on a client nominated by their family and friends who needed an update to better reflect the good person their loved ones saw in them. Through exciting demonstrations in cooking, decor, fashion, grooming, and culture, The Fab 5 showed how everyone can be fabulous in their own way.

    As an impressionable teenager, I loved this show, and I still enjoy revisiting it occasionally to this day. Many of my understandings of food, fashion, and explorations into the unknown were directly inspired by this show. Heck, they're the reason I started using hair products! My mother and I were fortunate enough to meet Ted and Carson in person for a book signing event, and they were just as energetic and delightful in person as they were on the show. 

Carson loved Mom's boa. 

    After the show's initial run, there were some attempts at spin-offs and spiritual successors to the original concept (including one based in the U.K.), but none of them had the same feel as the original cast. And while the original Fab 5 went on to enjoy respectable careers outside of the show (as they should), it was a little heartbreaking to see them go. 

    As I mentioned earlier, the show was initially called Queer Eye for the Straight Guy, because their clientele primarily consisted of heterosexual men. This was likely more of a marketing decision since heterosexual men were (and still are, sadly) the only audience television networks (and movie studios by extension) mostly care about. To play Devil's advocate, it was likely the best way to get the much-deserved attention for the show and the concept, especially at the time, having survived the not-as-progressive-as-we-remember-it 1990s. As the show progressed, it eventually changed its title to simply Queer Eye and expanded its clientele to include a broader range of people and identities, although perhaps not as extensively as it could have. 

    Fast forward a decade, and David Collins gets the opportunity to reboot Queer Eye on Netflix, complete with a brand new Fab 5.

    Like the original series, this new crew consisted of five specialists: Antoni Porowski, the food master; Bobby Berk, the interior design guru (later replaced by Jeremiah Brent); Tan France, the fashon whisperer; Karamo Brown, the culture counselor; and Jonathan Van Ness, the fabulious grooming queen. 

    What made this reboot stand out, aside from everyone's energetic and engaging personalities, was that this new show took advantage of the opportunity to offer its guidance to many different people from all walks of life. They also targeted their efforts in places that, more often than not, are perceived as "unfriendly" to put it mildly. This was an incredible enhancement because, like the original show, it pushed boundaries in a calm and friendly way while encouraging audiences to occasionally reevaluate their perceptions of people and places. A valid message of unity, if ever there was one. 

    At the time of this writing, this fantastic reboot is still going strong on Netflix, despite the next season not having been officially announced yet. The original series can still be found and enjoyed on YouTube, albeit not in an ideal high-quality format; however, at least it's available. 

    If you're looking for a show that offers a fun time with lots of insightful and helpful tips on this strange roller coaster we call life, you can't go wrong with The Fab 5. 

    Check it out! 

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

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

Wait, it's happening?

    Around this time last year, I wrote a blog entry regarding the tentative announcement of MGM's plans to produce a sequel to the Mel Brooks classic comedy, Spaceballs. My initial reaction was less than enthusiastic for a few reasons, the most prominent of which was the notion that Hollywood no longer knows how (or is too afraid) to venture into the spoof or parody style of comedy that defined Mel Brooks' career and set the standard for such styles of filmmaking. In an age when being loud, gross, and awkward is too often mistaken for "comedy," there's no real space for genuine comedic talents to embrace the silliness and the absurdity required for crafting such classics as Spaceballs, or anything in Mel Brooks' filmography, for that matter. 

    Then, while on my lunch break at work, I saw the announcement trailer for the film, promptly sought out some news updates regarding the project, discovered that Rick Moranis is coming out of retirement to participate in the film, and my faith in human silliness was suddenly renewed! 

    As of this writing, there are still no details available about the film's plot or who else is involved in the production, aside from Mel Brooks as producer. Despite this, the announcement trailer gives me enough promise to feel more excited about this project than I ever could have expected. You can find a link to the trailer below this blog entry to see for yourself. There may not be much, but what's there is enough to get my heart racing. Here's hoping it will be just as funny as it should be. 

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

May the Schwartz be with you! 

Spaceballs 2 Announcement Trailer

Bob Trevino Likes It - The Best Kind of Tearjerker

 

Rent on AppleTV and Amazon 

    Social media can be a mixed bag when it comes to its impact on the human condition. On the one hand, some people spend far too much time on such platforms for unhealthy and unrealistic reasons; on the other hand, it has the potential to bring people together and can lead to genuine and enriching connections. An early example of this phenomenon would be television: upon its advent, many people were worried that it would become a danger and unhealthy distraction, and while that has still become the case to an extent, it has also led to many water-cooler discussions and has brought people together through friendly debates and curious conversations. 

    Today's subject, Bob Trevino Likes It, is a movie that showcases the very positive and, at times, lifesaving potential that social media can provide—a means for broken people to find each other and discover an unusual connection that could mend their broken parts. It isn't the end-all solution to any human conflict, but it can help initiate self-improvement and recovery. 

    Based on a real-life friendship, the story follows a young woman named Lily (Barbie Ferreira), who is emotionally abused by her father, causing several issues, including a lack of self-worth. When her father decides to completely cut her off, Lily spirals into a depression as she desperately tries to reconnect. Scrolling through Facebook, she stumbles on an account with her dad's name. Bob, only to discover it's a total stranger (John Leguizamo), who also turns out to be a bit broken in his own way. After some conversation, the two of them spark a friendship and find themselves on an emotional journey neither one of them could have anticipated. 

    The film is chock-full of memorable performances, tack-sharp writing, and spot-on direction. There was practically nothing about the film that I thought could have been done better or needed any additional polish. The film succeeds in presenting heavy subjects in a digestible and tangible way, with the right balance of levity to give appropriate weight to the narrative. 

    The chemistry between the two leads is the film's focal point, with Barbie Ferreira delivering a stellar performance that showcases her range and talent, along with providing the necessary emotional understanding of the character and the story. I may no longer care for the Oscars, but I would deem this film worthy of a nomination for her. 

    Bob Trevino Likes It is an emotional ride that hits all the points and turns without ever feeling overbearing. It may hit hard at times, and some viewers may relate all too well to the protagonist's plight, but it is a must-watch for those who need to know that someone cares, and you'll be okay; a sentiment we could all use now more than ever. 

    Please go watch this movie!

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

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