Free Bird

Thelma

by Hope Madden

A surprising, gorgeously filmed prologue creates a mood: a little girl, bundled in a red coat, follows her shotgun-toting father across a frozen pond into the snowy woods. She looks periodically through the ice at the fish moving beneath the ice. In the quiet woods, the two spy a deer. The girl holds her breath, staring silently at the animal while her father prepares to shoot.

The film never again rises to the exquisite, icy tension of its opening scene, but it does work your nerves and keep you guessing. As we follow that little girl, Thelma (Eili Harboe), through the uncomfortable, lonely first weeks of college we gather that her parents are very Christian and very over-protective.

Things could have gone all predictable and preachy from there, but co-writer/director Joachim Trier knows what you’re thinking and he plans to use it against you.

Thelma is a coming-of-age film at its cold, dark heart. The horror here lies in the destructive nature of trying to be something you are not, but here again, nothing in Thelma is as simple or cleanly cut as the beautiful framing and crystal clear camera work suggest.

As familiar as many of the conflicts feel, Trier never lets you forget that something’s not entirely right about Thelma. She seems normal, maybe just sheltered, but that opening scene nags at you.

Like Julia Ducournau’s magnificent coming-of-age horror Raw, Thelma dives into the issues swirling around post-adolescent freedoms and taboos in daring and insightful ways. Trier also fills the screen with metaphorical dangers of indulgence and self-acceptance, although his protagonist’s inner conflicts lead to different results. Where Raw’s horror is corporeal, Thelma’s is psychological.

Thelma takes its time and lets its lead unveil a fully realized, deeply complex character full of contradictions—inconsistencies that make more sense as the mystery unravels. Though the result never terrifies, it offers an unsettling vision of self-discovery that’s simultaneously familiar and unique.

Space Race

by Hope Madden

About three days a week you can find my family glutting ourselves on beans and rice at the Chipotle on the corner of Northwest Boulevard and Fifth Avenue near Grandview, Ohio. Oh, how we love Chipotle. Well, I love it. George indulges me.

Though the food is great, the parking lot is a disaster. It’s like an experiment in Darwinism: kill or be killed. Once we make it through the carnage outside, we eat in—no takeout for us. If we’ve survived the parking lot conquest, we’re not about to turn right around and surrender our prize. And though we know as well as anyone that you take your life in your hands trying to find a space during busier hours, that’s really not an excuse to use one of their two handicap spaces.

Sometimes as we eat we watch out the window and marvel at the number of people who pull into the handicap spot closest to the door and walk in to order. It’s like a revolving door for parking law violators: The minute one pulls out, someone else pulls in.

And then one day we witnessed a magical event, a marvelous comeuppance. A driver with a handicap plate pulled in directly behind the illegally parked car, blocking its exit. Our new hero just shut off the engine and came in to order dinner.

We were hoping for a show. What would the first driver do? Come back in and ask, table by tale, who had illegally parked behind his car that was illegally parked? Or would he just sit and contemplate his actions while he waited for the other driver to leave?

We didn’t get to see the outcome, but the mom in me hoped for the latter.

I do have some empathy for those Chipotle lawbreakers, though. I’ve done it myself. Not intentionally, but, in retrospect, how did I not realize that the space at Metro Fitness was designed for handicap parking? Sure, the paint on the blacktop had faded, but how often is it just a coincidence that the spot closest to the door is always open?

At one point a patron asked me if I realized I was parked in a handicap spot. This was when the illogic of the situation hit me, and I moved my car—and haven’t made the mistake again.

But still, it can be a mistake—unless there’s a big metal sign advertising the handicap space. For instance, not long after the Chipotle incident, we pulled into a BP so George could get air in his tires. Our son Riley and I sat bored in the truck while George went into the convenience store to get the hose turned on.

As he walked past a car parked illegally, he made accusatory eye contact with the passenger.

These handicap-space thieves at BP are particularly objectionable because they can’t possibly be doing it by accident. A metal sign stares right into the windshield. There’s really no missing it. In fact, the sign is so obvious that George—subtle as ever—had no trouble finding it to smack it with his hand as he stared again into the illegally parked car on his way back to the air hose.

At this point, it was on. The passenger jumped out of the car and yelled, “What, because you’re a man you think you’re better than me?”

Yikes. Riley and I rolled the windows down so we wouldn’t miss anything.

“Not at all,” George called over his shoulder as he headed toward our car. “I think I’m better than you because I don’t take up handicapped spaces.”

The scene was awkward, which seemed to bother George and this parking violator not one iota. They traded jabs awhile longer and, eventually, the woman got into the driver’s seat and moved the car to a more appropriate space. Situation resolved, mercifully, until the driver came out.

She looked perplexed at her friend, who got out of the car and explained, “Captain Penis over there made me move the car.”

I swear to God, that’s what she said.

Maybe it was his cape.

They drove off in a peculiar huff, but I was just glad it didn’t come to blows. George would never hit a chick, which means it would have fallen on me to handle the situation. I may have principles, but no traffic issue means enough to me to take a punch.

Bond of Brothers

Last Flag Flying

by George Wolf

“Men make the wars, and wars make the men.”

Last Flag Flying is a loving salute to the enduring nature of honor. Thoughtful and sometimes genuinely moving, it’s also not above getting laughs from three aging veterans trying to buy their very first mobile phones or arguing about the ethnicity of Eminem.

It is 2003, and Larry, aka “Doc,” (Steve Carell) is looking up two old Marine buddies for a very specific purpose. Doc, Sal (Bryan Cranston) and Richard (Laurence Fishburne) all served in Vietnam together, and now Doc needs his friends to help bury his son, who has just been killed in the Iraq War.

Once the men learn that the official story of the boy’s death isn’t exactly the real story, Doc declines a burial at Arlington, deciding to transport the body for a hometown funeral in New Hampshire.

Older gentlemen out for a wacky road trip? Is that what’s going on here?

Those fears are understandable but unwarranted, as director Richard Linklater confidently guides the film with gentle restraint and his usual solid instincts for organic storytelling. Some good-natured humor is framed from the three outstanding main performances, but it never derails the resonance of these characters grappling with the cyclical nature of sacrifice.

Linklater adapts the script with source novelist Darryl Ponicsan, who also wrote the 1970s servicemen-centered flicks Cinderella Liberty and The Last Detail. Last Flag Flying draws many parallels with the latter film, as it is not a stretch to see these characters as the Detail men taking stock of what the years have changed – and what they haven’t.

Though the perfectly-drawn contrasts of the three personalities seem manufactured at times, it matters less thanks to Carell, Cranston and Fishburne, who are never less than a joy to watch. You’ll need tissues handy for the touching final moments, but Last Flag Flying makes the tears, and the trip, worthwhile.