5 New Poems: “When All Has Been Done to Tend to Dreams”, “To Compose a Thesis on Affection”, “Home”, “Empty Safety Nets” and “Brain Strikes”

By Andrew Buckner

“When All Has Been Done to Tend to Dreams”

When all has been done to tend to dreams
And feet, interests remain stagnant:
One must remember that the most plentiful streams
Often begin with a single willful fragment.

“To Compose a Thesis on Affection”

To compose a thesis on affection
Without knowledge of the subject;
To score a film on rejection
Without awareness of images abject;
To tread in the shoes of a master
Without first grasping the sole of the essentials:
Is to become one with the pace of life, ever-faster-
To divide potential with the consequential.

“Home (Haiku)”

Soft baby fingers
Of home remove the callous
Cracks of the real world.

“Empty Safety Nets (Haiku)”

Empty safety nets
Lead to fearful valleys of
Exhilaration.

“Brain Strikes (Haiku)”

Brain strikes like lightning
Rods in self-serving song storms-
Idle conductor.

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25 Underrated Films of the Past 25 Years

By Andrew Buckner

Whether the film received generally negative reactions from critics and audiences upon its initial release or simply didn’t get the proper attention the feature deserved, the past twenty-five years have been filled with underrated gems. With this in mind, I have prepared a list of twenty-five movies from the aforementioned time frame that deserve a second look. They are included below in alphabetical order. Enjoy!

The BFG (2016)
Director: Steven Spielberg.

Bubble (2006)
Director: Steven Soderbergh.

Cosmopolis (2012)
Director: David Cronenberg.

Film Socialisme (2011)
Director: Jean-Luc Godard.

Fire in the Sky (1993)
Director: Robert Lieberman.

The Fountain (2006)
Director: Darren Aronofsky.

The Fourth Kind (2009)
Director: Olatunde Osunsanmi.

Gummo (1997)
Director: Harmony Korine

The Haunted World of El Superbeasto (2009)
Director: Rob Zombie.

Julien Donkey-Boy (1999)
Director: Harmony Korine.

Kuso (2017)
Director: Flying Lotus.

Love (2015)
Director: Gaspar Noe.

Machete Kills (2013)
Director: Robert Rodriguez.

Matinee (1993)
Director: Joe Dante.

Miracle at St. Anna (2008)
Director: Spike Lee.

mother! (2017)
Director: Darren Aronofsky.

Natural Born Killers (1994)
Director: Oliver Stone.

Prometheus (2012)
Director: Ridley Scott.

Red State (2011)
Director: Kevin Smith.

Silence (2016)
Director: Martin Scorsese.

Storytelling (2002)
Director: Todd Solondz.

The Strange Color of Your Body’s Tears (2014)
Directors: Helene Cattet, Bruno Forzani.

Tideland (2005)
Director: Terry Gilliam.

What Dreams May Come (1998)
Director: Vincent Ward.

The Words (2012)
Directors: Brian Klugman, Lee Sternthal.

A Word of Dreams’ 5 Favorite Books of 2018 (So Far)

By Andrew Buckner

*Please note that every volume included in this list is based on the criteria of a 2018 publication date.

5. Wade in the Water: Poems by Tracy K. Smith

4. The Cabin at the End of the World: A Novel by Paul
Tremblay

3. The Rise and Fall of the Dinosaurs: A New History of a Lost World by Steve Brusatte

2. Ghostbuster’s Daughter: Life with My Dad, Harold Ramis by Violet Ramis Stiel

1. The Outsider: A Novel by Stephen King

Runner-Up:

Warlight: A Novel by Michael Ondaatje

A Word of Dreams’ 21 Favorite Films of 2018 (So Far)

By Andrew Buckner

*Please note that the films included are based on a 2018 U.S. release date.

21. Incident in a Ghostland
(Director: Pascal Laugier)

20. They Remain
(Director: Philip Gelatt)

19. The Endless
(Directors: Justin Benson, Aaron Moorhead)

18. Upgrade
(Director: Leigh Whannell)

17. Unsane
(Director: Steven Soderbergh)

16. My Hero’s Shadow
(Director: Justin Young)

15. Ready Player One
(Director: Steven Spielberg)

14. Thoroughbreds
(Director: Cory Finley)

13. Revenge
(Director: Coralie Fargeat)

12. The Insult
(Director: Ziad Doueiri)

11. The Death of Stalin
(Director: Armando Iannucci)

10. Annihilation
(Director: Alex Garland)

9. A Quiet Place
(Director: John Krasinski)

8. Isle of Dogs
(Director: Wes Anderson)

7. The Tale
(Director: Jennifer Fox)

6. Tully
(Director: Jason Reitman)

5.You Were Never Really Here
(Director: Lynne Ramsay)

4. Loveless
(Director: Andrey Zvyagintsev)

3. King Cohen
(Director: Steve Mitchell)

2.Hereditary
(Director: Ari Aster)

1.Jurassic World: Fallen Kingdom
(Director:J.A. Bayona)

“Imposter” – (Short Film Review)

By Andrew Buckner

Rating: ***** out of *****.

“Imposter” (2018) is among the most relatable, beautifully made, deeply symbolic and personal compositions yet from the incredibly talented writer-director Chris Esper. The nine-minute and fifty-four second short film is a series of three interconnected vignettes. They focus on the inward struggles of anxiety and the idea of the Imposter Syndrome. The latter concept, which was formulated by clinical psychologists Dr. Pauline R. Clance and Suzanne A. Imes in 1978, concerns the idea that someone who is known for their accomplishments are afraid of being exposed as a con.

This theme is expounded upon early on in the form of an overworked man, Mike (in a powerhouse performance from Tom Mariano). During a meeting, he is plagued by visions of a young jester (in a quietly heartfelt enactment from Brendan Meehan). This figure can be seen as the adolescent side of Mike who simply wants to enjoy life. After his meeting he gets on a bus. From herein, we follow an artist (Sheetal Kelkar) and her counterpart (Jamie Braddy) to an art gallery. Here Esper wordlessly shows that both parties feel like they are embarrassed and on display. Returning to the aforementioned vehicle, Esper goes among the populace of the transport. In so doing, he often utilizes direct imagery to quickly tell many private stories of worry and woe. This ends on a highly effective note of tragedy that involves two military veterans (William DeCoff and Adam Masnyk).

Esper’s latest mechanizes tremendously well as social commentary and as an almost entirely dialogue free character study. His scripting and guidance of the project is masterful and mature at every avenue. The Stories in Motion and On Edge Productions fabrication, potently edited by Esper, is also a triumphant demonstration of Ben Alexander and Bryce Brashears’ sound. The same can be said of the lush cinematography from Rick King. This is also true of the make-up and special effects from Julianne Ross. The gently used music from Steven Lanning-Cafaro is haunting and evocative. It fits the tone of the project exceptionally.

All of these moviemaking ingredients help make “Imposter” a timely and timeless meditation on the insecurities which secretly bind so many individuals. I especially related to the first two segments. They immediately spoke to both the full-time laborer and the part-time writer within me. Yet, what is just as remarkable is how, when viewed as a whole, Esper creates a portrait of our civilization that is as intimate as it is grand. This is cinematic poetry. It is as open to interpretation as it is credible and layered. Esper wants to prove that beneath each person is an entire world of wounded self-doubt that others may never understand. He has done so with intelligence and grace. “Imposter” is a masterpiece. It is also one of the best ventures of its type I’ve seen all year.

(Unrated).

The Best Horror and Horror/Comedy Films of 2018 (So Far)

By Andrew Buckner

 

The 10 Best Horror Films:

10. Winchester
Directors: Michael and Peter Spierig.

9. Tonight She Comes
Director: Matt Stuertz.

8. Unsane
Director: Steven Soderbergh.

7. Terrifier
Director: Damien Leone.

6. The Strangers: Prey at Night
Director: Johannes Roberts.

5. They Remain
Director: Philip Gelatt.

4. Revenge
Director: Coralie Fargeat.

3. Annihilation
Director: Alex Garland.

2. A Quiet Place
Director: John Krasinski.

1. Hereditary
Director: Ari Aster.

 

Runners-Up:

Cargo
Directors: Ben Howling and Yolanda Ramke.

Insidious: The Last Key
Director: Adam Robitel.

Island Zero
Director: Josh Gerritsen.

The Manor
Director: Jonathan Schermerhorn.

 

The 5 Best Horror/Comedies

5. 4/20 Massacre
Director: Dylan Reynolds.

4. Mom and Dad
Director: Brian Taylor.

3. Soft Matter
Director: Jim Hickcox.

2. Bus Party to Hell
Director: Rolfe Kanefsky.

1. Hell’s Kitty
Director: Nicholas Tana.

“The Continuation of the Dance” By Andrew Buckner (Poem)

The Continuation of the Dance
By Andrew Buckner

Often the path to literary creation
Is paved with backsteps, hesitations!
Often golden cities of subplots must be destroyed
For true worth, audience immersion, to be employed.
Often the time spent
Hardly equates a new stone turned; a character’s breath lent.

Yet, there are the rare occasions
Where every word and beat has the right spin.
You are the orchestrator of the world’s most beautiful melody
And the harmony flows freely, melodically
With the perfect pitch and tone
And nothing needs to endure discarded, alone.

But, what matters in either circumstance
Is the continuation of the dance.

The patient writer, as all great artists, will find his or her way.

And, in so doing, history’s eternal remembrance
Will be the award admiring droves will gladly pay.

“King Cohen” – (Movie Review)

By Andrew Buckner

Rating: ***** out of *****.

King Cohen (2017), from writer-director Steve Mitchell, is a lively, charming and effortlessly entertaining tribute to the life and work of cinematic giant Larry Cohen. Yet, one of the most successful attributes of the 107-minute feature is that is filled with the ambition, charm and optimistic spirit of its focal point. This characteristic is made evermore intimate and invigorating by Cohen’s own nostalgic recollections. Early in the production they arrive as Cohen recalls his being a young cinephile and literary prodigy. More specifically, one who sold his first story to the dramatic anthology series Kraft Television Theater (1947-1958) in 1958. This was at the age of 17. As the endeavor goes on, these vividly narrated memories extend to the behind-the-scenes events and the often-impromptu creative sparks which helped fashion his early television and later movie work.

Cohen’s various relationships with his cast and crew members further flesh out the project. The sequences where Cohen and actor Fred Williamson, who appeared in a variety of Cohen’s efforts, disagree on the details of certain related situations they were both involved in are when the jovial charm of the documentary is most evident. But there is another layer of appeal to the arrangement. It is just as infectious. This is when modern moving picture masterminds such as J.J. Abrams, Joe Dante, John Landis and Martin Scorsese discuss their thoughts and personal connections to Cohen’s material. Such a sensation of motivation is further expounded upon in arrangements such as a delightful one found in the second half of the exercise. This is where fans of Cohen’s brilliant dark comedy, The Stuff (1985), speak of why the science-fiction/horror tour de force remains memorable and relevant to the culture of today. These bits add to the underlying perspective of awe, inspiration, love and endearing respect for Cohen and his contributions to the photographic art form which help make King Cohen such a resonant and deeply personal masterpiece. This is true from the engrossing commencement to its uniquely uplifting conclusion.

The segments which discuss the making of and audience reaction to the action film Black Caeser (1973) are also particularly intriguing. This interest continued during the discussion of how Cohen’s approach to the medium changed during the fabrication of Hell Up in Harlem (1973). When the eventual, though slow-going, success of Cohen’s classic monstrous baby on the loose opus, It’s Alive (1974), and terrifying tackle of theological issues, God Told Me To (1976), filled the screen I was equally riveted. The musings on the invention of Cohen’s timeless take on the Aztec god, Quetzalcoatl, Q: The Winged Serpent (1982) and involvement with Bette Davis during the recording of Wicked Stepmother (1989) were equally captivating.

Mitchell’s composition earns even more acclaim for meticulously covering nearly every one of his ventures. Moreover, the affair contains terrific music from composer Joe Kraemer. It also conveys same said cinematography by David C.P. Chan. Such elements heighten the striking quality of the piece. Correspondingly, Mitchell’s pacing and style is perfectly fitting for the tone and theme of the undertaking. The sound and editing are sharp. Also, the incorporation of stills and clips from Cohen’s constructions make Mitchell’s latest more well-rounded and complete.

In turn, Mitchell offers audiences one of the best big screen entries of its type you will see all year. King Cohen is pure celluloid joy. Those of us who grew up both admiring and obsessed with Cohen’s tales owe it to themselves to see this as soon as possible. You can do so when Mitchell’s marvelous labor is released in select theaters on July 27th, 2018 through Dark Star Pictures.

(Unrated).

“The Love Children: A Tale in Seven Pantoum Poems” By Andrew Buckner

THE LOVE CHILDREN:
A TALE IN SEVEN PANTOUM POEMS

By Andrew Buckner

I.

In the back alleys of Dave Sivo’s clinic
The illegal human reassignment surgery was performed.
It was advertised as a cure for the sick
That had become for mankind the norm.

The illegal human reassignment surgery was performed-
It transformed men into pythons, women into gill-fish goddesses.
That had become for mankind the norm-
It started in hopes to relieve their stress.

It transformed men into pythons, women into gill-fish goddesses.
It was advertised as a cure for the sick.
It started in hopes to relieve their stress.
In the back alleys of Dave Sivo’s Clinic…

II.

As the years passed, the alteration succeeded
Thousands of times, the masses
Saw it as an escape, a second chance, from the disease which bled
All goodness, kindness from the human classes.

Thousands of times, the masses
Which were rehabilitated became harder to ignore.
All goodness, kindness from the human classes
Remained in the DNA of the different, while all else declared war.

Which were rehabilitated became harder to ignore-
Saw it as an escape, a second chance, from the disease which bled-
Remained in the DNA of the different, while all else declared war-
As the years passed, the alteration succeeded…

III.

…It expanded and new sexes, species were born.
All of them were from the patron’s imagination.
Some wanted to be beautiful, others purposefully torn;
Deformed in face, with exposed body pimples, indignations.

All of them were from the patron’s imagination
For they soon knew that such sights
Deformed in face, with exposed body pimples, indignations
Were part of Earth’s betterment; a way to embrace surface imperfections, fright.

For they soon knew that such sights-
Some wanted to be beautiful, others purposefully torn-
Were part of Earth’s betterment; a way to embrace surface imperfections, fright…
…It expanded and new sexes, species were born.

IV.

They called themselves “The Love Children”.
They knew that their mere existence
Was enough to mirror the potential of the most backwards of men.
They embraced all that was said to be ugly (True luster, in a sense).

And they knew that their mere existence
Was more impactful than the fateful bullet; hate’s repugnant song-
They embraced all that was said to be ugly (True luster, in a sense).
And by never firing a gun, flailing a knife or speaking ill they echoed that throng.

Was more impactful than the fateful bullet; hate’s repugnant song-
Was enough to mirror the potential of the most backwards of men-
And by never firing a gun, flailing a knife or speaking ill they echoed that throng-
They called themselves “The Love Children”.

V.

In so doing, those that held onto their anger gradually diminished-
No one can possibly live healthily in such a continuously deflated state-
And quickly the number of those that came to Dave Sivo’s Clinic with the same wish
Did exponentially inflate.

No one can possibly live healthily in such a continuously deflated state-
And when unrealized ambitions, images became reality;
Did exponentially inflate-
Violence, aggression lost its primitive appeal to some; peace was Earth’s gravity.

And when unrealized ambitions, images became reality
And quickly the number of those that came to Dave Sivo’s Clinic with the same wish-
Violence, aggression lost its primitive appeal to some; peace was Earth’s gravity-
In so doing, those that held onto their anger gradually diminished.

VI.

As the faces, overall appearance of everyone, became wildly different
Conformity became the target of criticism.
Though civilization once pondered a new name for humanity, the intent
Remained to remember our flaws, but never return to such a shallow prism.

Conformity became the target of criticism.
Thus, once proudly erected walls of materialism were left standing.
Remained to remember our flaws, but never return to such a shallow prism-
The currency was kindness. The retired lifting of backbreaking jobs was outstanding.

Thus, once proudly erected walls of materialism were left standing.
Though civilization once pondered a new name for humanity, the intent-
The currency was kindness. The retired lifting of backbreaking jobs was outstanding.
As the faces, overall appearance of everyone, became wildly different…

VII.

…Everyone reverted to calling themselves “Human”
For the initial factor of our genus, hope, had been restored.
The lessons learned became a new brand of evolution.
In so doing, we grew gills and guts instead of spilling gore.

For the initial factor of our genus, hope, had been restored-
It was the goal that every child from therein would not loose stride.
In so doing, they grew gills and guts instead of spilling gore
And, in turn, flesh and country again became a thing of pride.

It was the goal that every child from therein would not loose stride-
For the initial factor of our genus, hope, had been restored.
And, in turn, flesh and country again became a thing of pride
…Everyone reverted to calling themselves “Human”.

“My Hero’s Shadow” – (Movie Review)

By Andrew Buckner

Rating: ***** out of *****.

My Hero’s Shadow (2018), the debut feature from writer-director Justin Young, is a fascinating, intimate and in-depth documentary. It explores the themes of family, forgiveness, judgment and perspective to masterful effect. Utilizing one-on-one discussions and a quietly poignant style that works wonderfully for the endeavor, Young crafts an arrangement that is as thoughtful as it is absorbing. There is also a distinct message of unyielding love, and that no one is purely noble or nefarious, at the heart of the piece. Such welcome notions make the exercise evermore timely and resonant.

Young’s configuration is a meditation on the man who struck Nancy Kerrigan with a baton in 1994, Shane Stant. His private accounts, especially when addressing what led him to engage in such an action, are certainly eye-opening. Yet, the brilliance of the film emerges from the story being reflected through the compassionate viewpoint of Shane’s sister, Maile. She was only three years old when the incident took place. In so doing, her memory of her brother is shaped from who Shane became after the previously stated occurrence. The foundation of the undertaking is erected when Maile meets with Shane 20 years after the attack. This is to openly converse on what transpired that day at Cobo Arena.

Such is an undoubtedly gripping topic. It is one which Young handles in a manner that finds poetry in simple sights and communions. For instance, there is a memorable sequence where Maile speaks of an individual who found growth and tranquility in watching a sun rise for 142 days in a row. The glimpses into Shane and Maile’s childhoods that course throughout the project are just as harrowing. Such insights allow audiences to leave the 78-minute venture with a well-rounded sense of who these two people are personally. The bits that go into Shane’s public perception are just as well-done.

With its economical length, efficient pace and technically skillful construction, Young’s exertion is a surefire triumph. Its alternately melancholy and inspiring tones deepen the picture of Maile and Shane that Young thoroughly paints. This is also true of those who have impacted the lives of the duo. In turn, Young formulates an incredibly illuminating composition; a tour de force that compels viewers to see the humanity in others. My Hero’s Shadow, which is currently seeking distribution, is a must-see!

(Unrated).