Kingsman: The Secret Service
Film Review by Kam Williams

Harry Hart (Colin Firth) is such an unassuming, buttoned-downed bloke that no one in his right mind would suspect him to be a highly-skilled secret agent capable of killing at the drop of a derby. But as a Kingsman, he belongs to an exclusive fraternity of nattily-attired spies who abide by the motto “Manners Maketh Man.” Members of this covert organization consider themselves modern-day knights, and they see their suits as body armor.

Despite an otherwise distinguished service record, Harry still regrets the mistake he made during a 1997 operation in the Middle East that cost a colleague his life. Today, Harry hopes to make it up to his dearly departed partner by taking on his orphaned son, Eggsy (Taron Egerton), as a protégé.

This will be easier said than done since, besides completing the requisite Navy SEAL-like training program, the young apprentice has a lot of rough edges that need smoothing, including a grating cockney accent. For, the lad grew up on the wrong side of the tracks, so he could use a few lessons in etiquette, ala My Fair Lady’s Eliza Doolittle.

Meanwhile, a matter of more pressing concern comes to Harry’s attention, namely, a plot being hatched by a proverbial diabolical villain bent on world domination. That would be Richmond Valentine (Samuel L. Jackson), a twisted tech mogul who’s in the midst of giving away billions of free SIM cards ensuring free phone calls and free internet access for everyone, forever. All over the planet, people are standing in long lines for the freebies, oblivious of an apocalyptic app they’re about to simultaneously download into their cells.

Adapted from the comic book series The Secret Service, Kingsman is an adrenaline-fueled satire of the espionage genre which, at every turn, will have you harking back to the early James Bond adventures starring Sean Connery. The picture was directed by Matthew Vaughn who co-wrote the script with Jane Goldman, the same collaborator on the equally-inspired Kick-Ass (2010).

Colin Firth is delightfully debonair, here, whether turning on the charm or dispatching bad guys. Samuel L. Jackson is just as amusing cast against type as his worthy adversary with a flamboyant persona complete with lisp. A nostalgic homage to 007 that’s also the most mesmerizing movie of the year thus far.

Excellent (4 stars)

Rated R for profanity, sexuality and graphic violence

In English and Swedish with subtitles

Running time: 129 minutes

Distributor: 20th Century Fox

To see a trailer for Kingsman: The Secret Service, visit: https://www.youtube.com/watch?v=m4NCribDx4U

1971
Film Review by Kam Williams

On the evening of March 8, 1971, Muhammad Ali and Joe Frazier squared-off in a heavyweight championship bout billed as The Fight of the Century. At that very same moment, while the rest of the world’s attention was riveted on Madison Square Garden, eight antiwar activists used that event as a distraction to stage a daring break-in of an FBI field office in Media, Pennsylvania.

The meticulously-planned operation went off without a hitch, and they managed to cram every file on the premises into suitcases. The audacious octet had no idea until later that they had purloined shocking proof of the Bureau’s wholesale violations of U.S. citizens’ Constitutional rights via an illegal counterintelligence program nicknamed COINTELPRO.

Dubbing themselves, the Citizens’ Commission to Investigate the FBI, the group Xeroxed the evidence and mailed photocopies to numerous news outlets, most of which refused to publish them. But once one magazine finally did print it, a righteous national outrage ensued. And J. Edgar Hoover ended up with egg on his face, given how he had been using taxpayer money to entrap and spy on any liberals whose politics he did not share.

All of the above is recalled in fascinating fashion in 1971, a whistleblower documentary directed by Johanna Hamilton. What’s interesting to hear is how the participants in the theft eluded capture by the authorities for decades. In fact, the only reason their identities are even known now is because they decided to ‘fess up for the sake of this film.

A belated tribute to some fearless patriots with the gumption to expose the FBI’s lawless ways and the wherewithal to evade apprehension by the Bureau to boot!

Excellent (4 stars)

Unrated

Running time: 80 minutes

Studio: Fork Films

Distributor: The Film Collaborative

To see a trailer for 1971, visit: https://www.1971film.com/trailer

Jupiter Ascending
Film Review by Kam Williams

In 1999, Andy and Lana Wachowski wowed the world with a spectacular mind-bender called The Matrix. But that was ages ago, another millennium, in fact, and their diehard fans have been patiently awaiting the launch of another groundbreaking, sci-fi franchise over the intervening years.

Those prayers might have finally been answered by Jupiter Ascending, a futuristic adventure featuring Mila Kunis in the title role of Jupiter Jones. The film is likely to serve as the first installment in a special f/x-driven series revolving around an apocalyptic showdown over the fate of humanity.

The picture’s point of departure is the city of Chicago, which is where we meet Jupiter, a humble housekeeper born without a country, a home, or a father. She hates her life, between cleaning other people’s toilets and a never-ending string of tough luck, despite an astrological chart marked by Jupiter rising at 23 degrees ascendant which supposedly means she’s a woman of great destiny.

Truth be told, she’s not merely a maid, but has royal blood running through her veins, even if it is of the alien variety. As it turns out, Jupiter’s actually entitled to inherit Earth, and is informed of that good fortune by Caine Wise (Channing Tatum), a hunky emissary from a distant galaxy.

The epic unfolds like a classic origins tale by introducing a plethora of characters and filling in their back stories. For instance, we learn about a trio of aliens from the same planet as Caine, Balem (Eddie Redmayne), Titus (Douglas Booth) and Kalique Abrasax (Tuppence Middleton), each of whom is vying for control of the family food business in the wake of the death of their mother.

That gruesome business involves the seeding of countless planets with life forms for the purpose of consumption. And they are just about ready to harvest humanity, since the Earth is now overflowing with people.

The only thing standing in the way is Jupiter, whose royal genetic signature has established her to be an Abrasax as well as the rightful heir to Earth. For that reason, there’s a price on her head. And her and humanity’s hope for survival rests on the broad shoulders of her proverbial half-albino/half-wolf knight in shining armor, Caine.

Once this creepy Soylent Green (1973) subplot is revealed, the pace of Jupiter Ascending ramps up substantially. For, at that juncture, the film sweeps up Jupiter for a visually-captivating journey which careens around the universe at breakneck speed, while barely pausing to take a breath until finally depositing a very relieved heroine back home where she’s happy to find herself surrounded by familiar faces.

An over-stimulating, intergalactic odyssey evocative of The Wizard of Oz.

Very Good (3 stars)

Rated PG-13 for violence, sci-fi action, partial nudity and some suggestive content

Running time: 127 minutes

Distributor: Warner Brothers Pictures

To see a trailer for Jupiter Ascending, visit:    https://www.youtube.com/watch?v=TLyk00gFPdQ

3 Nights in the Desert
Film Review by Kam Williams

At 20, Anna (Amber Tamblyn), Barry (Vincent Piazza) and Travis (Wes Bentley) were members of a Rock & Roll trio with high expectations. But that was before the band broke up and each went their separate ways a half-dozen years ago.

In the interim, they’ve become estranged from each other. Anna made her way to Europe where she became something of singing sensation. Meanwhile, drummer Barry abandoned the dream of superstardom for the conventional path of becoming a lawyer, marrying and settling down in the suburbs to start a family. And guitarist Travis, a purist who never sold out, is still a struggling artist living in the desert.

But since they share the same birthday, and they’re all about to turn 30, Travis decides it’s time to bury the hatchet. So, he invites them to spend the weekend at his desolate lair hoping to orchestrate a reunion and maybe even regenerate some of the group’s musical magic.

Unfortunately, Travis forgot about the unresolved romantic tensions which contributed to the breakup, given how Barry had an unrequited crush on Anna who, in turn, had one on him. And the three find out how quickly those unresolved feelings can resurface upon reconvening, especially if isolated in very cramped quarters.

Directed by Gabriel Cowan (Growth), 3 Nights in the Desert is an intriguing, character-driven drama which unfolds in thoroughly compelling fashion. The picture works because each of the protagonists is complicated, having both strengths and flaws that are readily identifiable.

If the aim of the picture is to trigger introspection in an audience about the consequences of the choices one makes in life, then bullseye!

Very Good (3 stars)

Rated R for profanity and sexuality

Running time: 83 minutes

Distributor: Monterey Media

To see a trailer for 3 Nights in the Desert, visit:  https://www.youtube.com/watch?v=Jb1ydKHyuAg

F.B. Eyes

How J. Edgar Hoover’s Ghostreaders Framed African American Literature

by William J. Maxwell

Book Review by Kam Williams

Princeton University Press

Hardcover, $29.95

384 pages, Illustrated

ISBN: 978-0-691-13020-0

“Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of African American poems, plays, essays, and novels. Starting in 1919… secret FBI ghostreaders monitored the latest developments in African American letters…

These ghostreaders knew enough to simulate a sinister black literature of their own. The official aim… was to anticipate political unrest. Yet, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the 20th Century...

Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.”

-- Excerpted from the Bookjacket

Allen Ginsberg’s epic poem “Howl” begins, “I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn…” I couldn’t help but recall that iconic line while reading F.B. Eyes, a damning expose’ by William J. Maxwell illustrating the FBI’s long history of monitoring, policing and infiltrating the ranks of African-American writers.

            For decades, from the Harlem Renaissance of the Twenties clear through to the Black Arts Movement of the Seventies, J. Edgar Hoover not only closely monitored the movements and work of black authors but employed agents to create and promote content as a counterintelligence measure.

            These revelations are rather disturbing to me, as a Black Literature major-turned-aspiring novelist who failed to get either of my books published after getting a masters degree from an Ivy League institution. It never occurred to me way back then that the reason for all the rejections from publishers might have had more to do with interference on the part of government spies than the quality of the work itself.

However, the degree of FBI interference chronicled here is nothing short of shocking, between the abuses of power and infringements of Constitutional rights. This meticulously-researched opus reveals the Bureau to be a diabolical outfit dedicated to the destruction of the African-American intelligentsia by any means necessary.

For example, we learn that after Amiri Baraka founded the Black Arts Repertory Theater (BART) in Harlem in 1965, Hoover planted moles in the group to ensure the organization’s early demise. He even had the temerity to allow a white Assistant Director, William Sullivan, pose as black while ghostwriting everything from best-sellers to letters threatening the life of Dr. Martin Luther King, Jr.

A daunting discussion of the FBI’s chilling effect on the writing careers and private lives of members of the black literati.