Native Son (2019)

Native Son’s distribution trajectory from film festival darling to straight-to-HBO oblivion is a curious, but increasingly familiar path. As with other recent A24 acquisitions like Under the Silver Lake and The Hole in the Ground, Native Son earned some immediate critical buzz out of film festivals like Sundance but was ultimately quietly shoveled off to home distribution & little accompanying fanfare. For its initial half hour, I mostly understood that decision. The film starts off as a fairly standard Sundance Drama™ about a listless teen protagonist who’s struggling with solidifying his identity and his place in the modern world. However, the final hour of that drama is a different beast entirely. Once Native Son ratchets up the dramatic tension of its central crisis, it transforms into an incredibly tense nightmare with thunderously discomforting things to say about race and class in America. If you afford it your patience, it gradually reveals itself as a picture that cannot be easily dismissed – if not only for the toll it leaves on your blood pressure – no matter how quietly it was siphoned off to television by its distributor.

Moonlight’s Ashton Sanders stars as a punk rock Chicagoan bike messenger who feels out of step with his local black community because of his D.I.Y. anarchist values and the absence of his deceased father. Rejecting the riskier (and less-than-legal) money-making schemes of his peers but in desperate need of cash to help support his family, he takes a job as a chauffer for a wealthy white family in a drastically different corner of Chicago. As soon as he steps foot in that mansion the film transforms into an incredibly tense thriller with no possible positive outcome for a character we naturally like but can’t prevent from making life-destroying decisions. It’s like watching a version of Get Out with all the tension-deflating humor & genre thrills removed, leaving the audience on the verge of screaming out in warning just so that someone says something to this lost soul before he loses what little he has. His relationships with his mother, his friends, his siblings, and his girlfriend (If Beale Street Could Talk’s KiKi Layne, another Barry Jenkins alum) all register as standard film festival fodder, but the intensity of any scene where he is subject to the whims, power, and boredom of his white employers makes Native Son feel like a white-knuckle thriller that won’t be satisfied until it chokes the life out of America’s most shameful ills.

Native Son is both elevated and hindered by its literary source material, a 1940s novel that has maintained a disturbing level of relevance over the decades. The lofty dialogue that derives from that source both affords the film the operatic heights of a stage play Tragedy and opens it up to some fairly eyeroll-worthy inner-monologue narration that dampers the full potential of its tension & poetry. As vague & empty as that narration can be, Sanders is generally excellent in the role – especially in how he performatively deepens his voice to sound like an authoritative man instead of the vulnerable child that he truly is. His performance and the tension of his employment under a family outside his character’s social boundaries even lead the film to some truly harrowing places. The titular novel, then, mostly becomes just one component of a larger cache of allusions to black art that the film gathers while sketching out the persona of its young punk protagonist: Brad Brains, DEATH, Sweet Sweetback’s Badasssss Song, Ralph Ellison’s Invisible Man, etc. Native Son does eventually work its way up to joining the artistic themes & ambitions of those sources of inspiration; you just have to give it time to break free from its Sundance Drama beginnings to evolve into a full-blown American nightmare. I guess A24 assumes most of its potential audience just won’t have that patience. Honestly, they’re probably right, but it’s still always frustrating to see these solid festival-circuit indies fade so quickly into digital streaming obscurity.

-Brandon Ledet

The Evolution of The Lonely Island Sports Movie

It’s been three years since The Lonely Island (Akiva Schaffer, Jorma Taccone, and Andy Samberg) released their latest commercial-bomb-turned-cult–classic, Popstar: Never Stop Never Stopping, and that 2010s update to Walk Hard pop music biopic parody finally has its follow-up. While Popstar mocked the modern “concert documentaries” (read: feature length infomercials) of acts like Justin Bieber & One Direction as an excuse to stage ZAZ-style gags & The Lonely Island’s classic music video sketches, the group’s latest release adopts an even flimsier format to do the same: the visual album. Self-described as “a visual poem” and surprise-dropped on Netflix in a Beyoncé-evoking distribution strategy, The Unauthorized Bash Brothers Experience is pure Lonely Island goofballery. It’s difficult to tell if its visual album format is meant to be a joke at the expense of hubristic projects like Lemonade & Dirty Computer or more of a self-deprecating joke at the expense of The Lonely Island themselves for even attempting to pull off such a loftily minded project in the first place. Either way, its’ a brilliant move that not only updates their cinematic sensibilities to a more modern version of pop music media, but also removes two barriers that tend to stand in the way of what makes them so enjoyable to watch: the necessity of a plot to justify a feature-length film & the necessity of box office success to pay their producers’ bills. The Unauthorized Bash Brothers Experience isn’t as successful or as substantial of a work as Popstar, but it is one that further suggests that these very silly boys have finally reached a new sense of ambition & efficiency in their craft. It’s also an accomplishment that they’ve been building towards for years, if you consider the earlier, more restrained sports mockumentaries of their past as trial runs.

Appropriately enough, The Lonely Island’s cinematic career started with a feature-length sports narrative. While still producing Digital Shorts for SNL, the trio of pop music parodists delivered their first delightful box office bomb with 2007’s Hot Rod. While not quite as formally daring or riotously funny as Popstar (or even Jorma Taccone’s other SNL-era feature, MacGruber, for that matter), Hot Rod is still pretty damn hilarious from start to finish. It was the first instance when I can recall genuinely enjoying Andy Samberg beyond his usefulness as someone who makes Joanna Newsom laugh. Playing an overgrown man-child who wants to be a daredevil just like his deceased father, Samberg’s general mode in Hot Rod is slapstick comedy and it’s classically funny on a Three Stooges level as a result. Often missing jumps on his dirtbike & puking from the pain, Samberg’s titular Rod is far from the Evel Knievel Jr. he imagines himself to be. There’s a lot of solid humor derived from the disparity between Rod’s confidence & his actual abilities, which allows you to have a good laugh at his expense even when he drowns, catches fire, or explodes. That’s an interesting subversion of the traditional underdog sports story, but it’s still one that plays its comedic beats relatively safely. The premise is mostly grounded in reality yet is careful not to resemble any real-life public figures too closely (not even Knievel). Its structure remains true to the traditional sports movie narrative too, even if its greatest strengths rely on long strings of non-sequitur gags. For instance, most of the film boasts a killer 80s synthpop soundtrack, but towards the climax when Rod’s crew has their inevitable third-act falling-out, the score suddenly switches to melodramatic string arrangements – effectively poking fun at its own necessity to transform into A Real Movie at the last minute. With more filmmaking experience under their belts & more celebrity star power backing up their audacity, their sports movies parodies only strengthened from there.

At this point in The Lonely Island’s career timeline, Hot Rod’s timid SNL Movie comedy template feels more like a one-off anomaly than an early wind-up for what Bash Brothers delivers. If anything, Bash Brothers feel like it’s the final film in a trilogy of sports parodies that Lonely Island initially produced for HBO, mostly as a creative outlet for Samberg. At a half-hour a piece, Samberg’s sports mockumentaries Tour de Pharmacy (2017) & 7 Days in Hell (2015) are the earliest telegraphs of where the Lonely Island crew would eventually go with Bash Brothers. Respectively tackling the real-life sports world controversies of doping in cycling & angry outbursts in tennis, Tour de Pharmacy & 7 Days in Hell fearlessly make fun of some of the biggest scandals in sports history (short of the O.J. Simpson murder trial) in violent jabs of ZAZ-style chaos. What’s most amazing about them is that they invite the real-life sports celebrities involved in those scandals to participate in their own mockery. John McEnroe drops by 7 Days in Hell to poke fun at a fictional “bad boy of tennis” (played by Samberg, naturally) whose antics with sex, drugs, and physical violence result in a deadly Wimbledon match that drags on for a solid week, disrupting & disgracing a once-reputable sport. Serena Williams also pops by as a talking head, even through the media’s policing of her own supposed emotional outbursts is much more unreasonable than McEnroe’s. In Tour de Pharmacy, Lance Armstrong talks at length about how every single cyclist who competes in the Tour de France is aided by illegal substances, directly recalling his own downfall in a very public doping scandal. Wrestler-turned-comedian John Cena also appears as a steroids-enraged monster in the film, tangentially poking fun at the WWE’s own history with performance-enhancing drugs. Of course, both projects are still packed with the juvenile non-sequiturs & physical comedy gags that have been constant to Samberg’s sense of humor, now emboldened to be more sexually explicit than ever before thanks to the freedom of HBO – resulting in bisexual orgies, unconventional prostate stimulation, and characters high-fiving during cunnilingus. It’s the bravery of connecting those very silly gags to very real publicity crises for sports figures who are participating along with the creators that feels new & mildly transgressive.

As daring as it may be to trivialize real-life sports controversies in such a flippantly silly way, those two HBO productions still feel somewhat formally restricted. It wasn’t until Samberg rejoined with Schaffer & Taccone post-Popstar that his sports cinema mockery really hit is pinnacle, just a few weeks ago. The Unauthorized Bash Brothers Experience makes full use of all The Lonely Island’s best cinematic qualities: the music video sketch comedy of their SNL days, the rise-and-fall (and fall and fall) sports narrative of Hot Rod, the gross-out sex gags of MacGruber, the shameless evisceration of real-life sports scandals from Sandberg’s HBO mockumentaries and, finally, the chaotic disregard for traditional structure of Popstar. The Netflix-hosted half-hour comedy special wastes no time mocking the steroids abuse scandal that plagued the 1989 World Series run of the real-life “Bash Brothers,” Mark McGuire & Jose Conseco. The very first verse Samberg raps in this “visual poem” (read: loose collection of music videos) references steroids abuse, a theme that’s reinforced over & over again in the group’s usual 80s-era Beastie Boys cadence with lines like “I never finish sex because I’m so juiced out” and “Stab the needle in my ass until I am rich.” The genius of adapting this mockery to a visual album medium is that is allows the boys to go full-goof 100% of the time, packing in as many music video sketches as they please, unburdened by the necessity of a coherent plot. As funny as Samberg’s HBO specials were, they’re still fairly grounded mockumentaries that parody the tones & structure of many HBO Films productions of the past. Hot Rod is even more beholden to classic cinematic templates, falling well within the boundaries of a typical SNL movie even if its individual gags are specific to The Lonely Island’s sensibilities. While Bash Brothers can easily be seen as a swipe at the hubris of the visual album format, it ultimately just proves the point that it’s a genius, unrestrained medium that brings out the best #purecinema potential of any popstar who dares to utilize it – even incredibly silly parodists with a fetish for traditional sports narratives.

The Unauthorized Bash Bothers Experience feels like an epiphanic moment within The Lonely Island’s cinematic output, a culminating achievement in the sports movie template that they’ve been trying to crack open for more than a decade now. Of course, I wish that feature-length comedies like Popstar & MacGruber were more successful as theatrical gambles, but I am glad that these very silly boys have finally found a more viable niche for their sports movie parodies. I’m also glad to see these comedy nerds continue to take the piss out of our deeply flawed sports gods of yesteryear – an achievement that’s only make doubly fascinating by those gods’ participatory amusement in their own mockery.

-Brandon Ledet

Going Clear: Scientology and the Prison of Belief (2015)



The only reason the likes of the recent HBO documentary Going Clear have not been released before (or at least not with this large of a budget) is because it’s an endeavor that requires a certain amount of bravery. Its subject, the (secretive, abusive, and dare I say cult-like) “religious” organization The Church of Scientology, is infamous for its bullying tactics when counteracting its vocal critics, almost to the point where I’m nervous to praise a film that attacks it even on this site, the most inconsequential of all blogs. Almost. Going Clear took a lot of guts to make, just like it took a lot of guts to write the book it was based on and it took a lot of guts for former church members to speak out in its interviews. It has the feeling of a long time coming for a subject so flagrantly nefarious in the public eye, but it’s also completely understandable why it took so long for a major outlet to speak out against it in this way.

Directed by prolific documentarian Alex Gibney, Going Clear does an excellent job of gradually introducing the audience to the insane world of Scientology’s beliefs & practices the same way the organization is known to gradually accustom its own members. The film mimics the form of an “audit” (a combination of a therapy session & a taped confession), a practice that plays a major role in Scientology’s recruitment process. At first the ideas of discharging hurtful memories and basic meditation through audits sound like reasonable forms of therapy and personal improvement. Also, the organization’s basic goals of freeing the Earth from insanity & criminality seem fairly admirable on the surface. As the film digs deeper, however, it starts to reveal a much stranger set of promises: superpowers that allow members to “transcend all perameters” & “achieve godspeed”, scientific instruments that can weigh the mass of your thoughts, billion year contracts to “save the world” (through indentured servitude, of course), and the quest to “unhypnotize” man. That’s not even getting into the more out-there concepts of prison planets & galactic overlords. If Gibney had introduced these details in the opening minutes (much like if Scientology introduced them in their initial recruitment efforts) they’d feel somewhat unbelievable, but by the time you get to them in the film they feel both very real and very much terrifying.

One of the tactics Going Clear employs very well is allowing the founder of it subject, deceased sci-fi writer L. Ron Hubbard, to speak for himself. Hubbard spent a large part of his adult life avoiding charges of tax fraud, so it is rare that you actually get to hear him talk about the monster he created. Footage from at least two separate interviews are assembled here to allow him to speak directly on Scientology’s core beliefs (as well as less savory topics like “the primitive races, including the white race”). As portrayed here, Hubbard was an abusive husband, a former Satanic occultist, a paranoid dissenter of traditional modes of mental health, and a prolific writer of pulp fiction. Initially, he conceived Scientology as a means of making money, quoted here telling his wife “The only way to make any real money is to have a religion”. A religion, of course, would afford Hubbard a tax exempt status that would allow him to hoard his earnings. As his personal health deteriorated, however, he began to believe his own teachings (concepts mostly cobbled together from the plots of pulp sci-fi novels he had written before his religious pursuit). To Hubbard’s credit, the modern monster that Scientology has become does not seem exactly like a devious, well-thought-out exploitation scheme, but rather the musings of a very sick man that were twisted even further after his death by power-hungry members of the church, especially the current leader David Miscavige.

This history lesson in this first half of Going Clear was much more interesting than what I would describe as the celebrity gossip second half. While explaining the basic teachings of the church, the film employs a fascinating type of visual collage that feels transcendent of its basic documentary format. Once the film delves into the modern era, which is mostly contingent on the involvement of Hollywood celebrities Tom Cruise & John Travolta, it loses a little steam as an unique work, depending mostly upon the church’s Dianetics recruitment videos for much of its visual charms. That’s not to say Tavolta & Cruise’s involvement are not inherently fascinating. When they first appear on the screen Travolta is dressed in soldier’s fatigues (on a movie set) and Cruise is wearing an oversized medallion (the “Freedom Medal of Valor”, as it were), two costume choices with enough bizarre energy on their own to make the millionaire weirdos’ presence interesting. It’s just that the back half of the film feels less special than the first, like it is something that anyone curious enough to watch a Scientology profile on YouTube could’ve encountered before.

As a whole, however, Going Clear is a fascinating look into the lives of people who have left the church as they look back upon the thetans, e-meters, out of body experiences, and Xenus that populated their troubled pasts. It may lose a little visual flair as it narrows its focus on Travolta & Cruise, but their inclusion is necessary as it calls into question the idea that as long as you give the church all of your money they can make anything possible. Is there an element of blackmail that maintains their involvement in Scientology or is does that “Next stop: infinity” slogan hold more weight than you would expect? Given the abusive, conniving practices of the church laid out here (not to mention basic laws of science & physics), it feels a lot more likely that it’s the former rather than the latter, but Scientology is such a strange, insular, shrouded entity that anything feels possible . . . as long as you give them all of your money.

-Brandon Ledet