"Good Hair" Review

I've never been happy with my hair. I have almost-straight, fine hair with a slight wave that always looks uneven and is heinous as soon as humidity is a factor. Curly haired girls always scolded my complaints on account of their untamable locks. Stick-straight haired girls always complimented my ability to hold some curl when I wanted too, a feat that they never could achieve. I assumed that nobody was happy with themselves. However, growing up in a mostly white and hispanic community, I never knew just how discontent some people were. Good Hair taught me with zeal.

Good Hair
Starring: Chris Rock, Maya Angelou, Al Sharpton
Directed by Jeff Stilson
My Opinon: Educational and a bit disturbing,
but lengthy.

In Good Hair, Comedian Chris Rock explores the culture surrounding African American women and their locks. His documentary seems to stem from a decision to educate himself as well as others on the lengths that women go to in order to achieve "good hair" (read: white hair). Rock's two young daughters provoke his own interest in the topic. This is a wonderful thread due to the heartwarming snippet into Chris Rock's life as a father.

 The film begins with the Bronner Brothers annual hair convention: a festivity complete with vendors and a very expensive-looking and flamboyant hairstyle competition. We are soon introduced to a couple contending hairstylists and they're all crazy.

The most fascinating parts of the documentary are not the convention, which is merely a sub-par narrative tool that structures the film. It provides very little insight into the culture, aside from stating financial statistics. The most impressive and entrancing parts of the film come from Rock's navigation through the underbelly of African American hair culture. Rock and the audience learn what hair relaxer actually is and what it does when left on a chicken breast - an image I will never forget. Rock takes us as far as India: the hair exporting capital of the world.

Rock reveals the true price behind straight hair and human hair weaves. The lessons are valuable but the film probably should have ended after his return to the states. Once the film navigates back to the hair competition, it begins to get stale. It's a good frame for a beginner documentarian, however, it takes away from the potency of those cold hard facts. The sacrifices these women make to have "good hair" are shocking and upsetting, but also quite remarkable. The reasons they give for doing it are the most disturbing, as racially charged societal pressures seem to hold the key. It's certainly a wake-up call well worth the watch.

"The Campaign" Review

I thought it would be interesting to watch The Campaign after election season. I was hoping for some satirical commentary on the political game. I guess there may be a little insight, but it is so dumbed down that it merely states the obvious: a lot of politicians are sleazy and a product of money, while some actually care. So, essentially this film is just a comedy based around a campaign. I should have expected as much.

The Campaign
Starring: Will Ferrell, Zach Galifianakis, Jason Sudeikis

The movie starts relatively strong. It introduces Cam Brady (Will Ferrell) as a philandering politician who is pretty much retarded and running for reelection as a congressman. He obviously has no political goals or even views, he's just a playboy in it for the ride and desperately holding on. His opponent's name is Marty Huggins (Zach Galifianakis) and he's running in order to preserve his little North Carolina town called Hammond. He owns two pugs and has a happy fat family. One day his father tells him to run for congress. Really, he's essentially selling his son to some fat cats who are planning on turning Hammond into a Chinese sweatshop for to save money on shipping.

I predicted the ending about five minutes into the film as I'm sure you will too. But of course, the plot is rarely the most vital aspect in a comedy: that would be the funny factor. The beginning of the film presents punchy cracks, but the jokes are soon to burn out. The main characters are also strong and very fun at first, but seem to falter under the weight of the poorly written script.

The end of this movie just falls apart into a puddle of occasional single chuckles. It's like a slinky that gets stuck on the fifth step. Alas, why did I expect more?

Review of "Lincoln"

I've had my share of history-obsessed friends and I've noticed that they all tend to adore Abraham Lincoln, the man most famous for abolishing slavery and pretty much destroying the livelihood for the South. Obviously it was necessary, but it's still true.

The opening scene is beautiful, albeit quite violent. Genuinely grueling combat is shown with a long, intimate sweep of the battlefield: men engaging in bare-knuckle warfare, choking and kicking with everything they have. It's raw. Eventually, however, a soft voice soaking with dignity breaks through and we are introduced to a shadowy seated figure with a tall hat. As Lincoln converses with soldiers, trying to learn from the patriots fighting for him, the sterling compassion in his face engages the viewer, allowing us to empathize with the soldiers and feel the deep admiration. A pair of die-hard fans-turned-soldiers recite the Gettysburg Address before him, pure love shining in their young eyes. Yet Lincoln's humble demeanor remains unbroken.

Lincoln
Starring: Daniel Day-Lewis, Sally Field, Tommy Lee Jones
Directed by Steven Spielberg
My Opinion: Wonderful.

I'll be honest, the entire film moves very slowly, careful not to miss a beat in the story that follows Lincoln's last days and the passing of the 13th amendment. However, the script is delectably elegant and smooth. If you have the attention span, and I'm surprised I did, you will be touched with the flowing language and the alluring wit.

I can't tell if the script aided in making this Lincoln so friendly and dignified, because Daniel Day-Lewis's performance is simply  effortless. I've become accustomed to that overbearing passion he usually displays (There Will Be Blood, Gangs of New York, My Left Foot). Here, however, I was pleasantly surprised with the soft smile and that subtle glimmer in his eye. His performance is delicate but bone-deep. I can't imagine him ever being able to break himself out of the character. It seems so incredibly natural and when he's on the screen, he enforces a Clockwork Orange kind of focus. No one could have replaced him.

Surprisingly, Day-Lewis doesn't quite steal the show. Sally Field's wringing hands and quivering lip articulate Mary Todd to a T. Her performance, like Day-Lewis's, is all in the details, but her aggressiveness grants her a spotlight of her own. Naturally, all the hoopla has surrounded Tommy Lee Jones - as it should. I've always been a fan of his hardened features and dignified droops but the his quiet expressions are captivating in every shot in which he appears.

Like I said, this film moves slowly. You need to be sincerely interested and have a decent understanding of the Civil War and of Congressional law in order to follow it. However, it is really wonderful and I have nothing  ill to say. Spielberg has a real treasure here, and I'm feeling pretty fine about that. It's been a while.