Tag Archives: MaddWolf

Casualties of War

All Eyez on Me

by George Wolf

After being woven through films such as Notorious and Straight Outta Compton, the life of Tupac Shakur finally gets its own treatment in All Eyez on Me, an earnest biopic ultimately too comprehensive for its own good.

Demetrius Shipp, Jr., boasting an uncanny resemblance in an electric screen debut, captures Tupac’s fire and swagger, while Danai Gurira (The Walking Dead, Mother of George) is ferociously compelling as Tupac’s mother (and former Black Panther) Afeni Shakur. Their scenes together consistently deliver the emotional heft lacking elsewhere.

Director Benny Boom, a veteran of music video and television projects, is committed but becomes waylaid with an unfocused meandering.

After a promising start fleshing out the drive and outrage that sprung from Shakur’s upbringing, Boom and his writing team get bogged down with a scope more dutiful than effective. In an effort to tell as much of Tupac’s story as possible, All Eyez on Me loses the chance to show us the depth that made him an icon.

Verdict-3-0-Stars

https://www.youtube.com/watch?v=6VC0aSPfyQk

Back to the Track

Cars 3

by George Wolf

As great as the Disney/Pixar lineup is -and it’s pretty great- the Cars franchise sits low in the batting order, especially after the debacle that was Cars 2 six years ago. Cars 3 rebounds nicely, but still can’t match the meaningful substance of Pixar’s best.

We catch up with legendary race car Lightning McQueen (voiced by Owen Wilson) in a changing sports world. Suddenly, a new generation of “NextGen” cars, led by rookie sensation Jackson Storm (Armie Hammer), is taking over. New team owner Mr. Sterling (Nathan Fillion) brings in a young trainer named Cruz (Cristela Alonzo) to get McQueen adapted to the new technology, but her “senior project” only fuels the feeling that the legend should stay in the garage for good.

Animation vet Brian Fee helms his first feature as director/co-writer with Cars 3, and while the visual style is characteristically luscious, the story that he’s telling never quite rises above the pleasantries of showing kids some talking cars and introducing a new line of tie-in merchandise.

The gags are amusing but seldom funny and the plot takes some turns that may confuse the young ones, but the bigger concern is what’s missing.

As Cruz reveals her true love is not training but racing, and McQueen reflects on his tutelage under Doc (Paul Newman), the movie has the chance to find the poignancy and resonance that has driven Pixar’s most touching classics.

You’ll find it in Lou, the Pixar short the runs before the feature.

Alas, Cars 3 drives on by, satisfied with “believe in yourself” mantras that are greeting card ready, and a first-place trophy for the cheerfully harmless.

Verdict-3-0-Stars

 

 

Fear Itself

It Comes at Night

by George Wolf

Two years ago, Krisha served as a stunning feature debut for writer/director Trey Edward Shults. Gripping in the intimate nature of its truths, it heralded Shults as a new filmmaker with tremendous potential.

That potential is realized with It Comes at Night.

He may have bigger stars and a larger budget this time out, but Shults shows storytelling instincts that are already well-seasoned. Resisting any pressures to mainstream his scope and “go bigger,” Shults get even more intimate. While Krisha showed a very tangible threat infecting a family, It Comes at Night is more abstract, an intensely personal take on fear and paranoia.

Deep in the woods, Paul (Joel Edgerton, solid as always), Sarah (Carmen Ejogo) and their teenage son Travis (Kelvin Harrison, Jr.) have established a cautious existence in the face of a worldwide plague. They have boarded their windows, secured their doors, and enacted a very strict set of rules for survival.

At the top of that list: do not go out at night.

This rigid domestic order is tested when the desperate Will (Christopher Abbott) breaks in. He has a wife, Kim (Riley Keough) and toddler to protect, and is offering all they have in exchange for refuge.

It Comes at Night has been on horror fans’ radar for some time, but it will test the patience of those satisfied with cheap jump scares or spoon-fed explanations. As with Krisha, Shults builds the film around his own experiences, using Travis to often mirror how Shults himself dealt with a death in the family. Through Travis’s nightmares, we are kept off balance, questioning just what is real and who can be trusted.

Shults explores the confines of the house with a fluid camera and lush cinematography, slyly creating an effective sense of separation between the occupants and the dangers outside.

But what are those dangers, and how much of the soul might one offer up to placate fear itself?

In asking those unsettling questions, It Comes at Night becomes a truly chilling exploration of human frailty.

Verdict-4-0-Stars

Magic Mushrooms

by Hope Madden

There was a time when, for at least a second or two, my boss thought I might have a severed human appendage in a filthy Kroger bag under my desk.

How did get myself into this mess?

I blame the mushrooms.

Each fall and spring I look into my yard to find that everything’s coming up fungi. During the moist, temperate seasons my lawn becomes home to the most heinous mushrooms you have ever seen. Their white 5 – 6 inch shafts end with a helmet-like, purplish brown tip.

Sound like anything to you?

Picture it, if you will.

Yes, it’s that bad.

And then picture a few dozen standing at attention throughout my lawn.

I never have seen this particular brand of fungus anywhere else on earth but in my yard. Lucky me.

They are upsetting to look at. Their unseemly appearance drives my neighbor kids crazy. One boy – normally sweet and smiley – cannot abide them. The minute he sees a bloom he gives it a swift kick.

Do you know what looks worse than a yard full of erect mushrooms?

A lawn littered with amputees.

I’m surprised the mailman will even deliver to our house.

I’ve tried to find out what type of mushroom they might be, hoping in vain to eliminate the fungus without killing my lawn. But they’re hard to describe if you’re looking for a serious answer.

The internet is no help at all. Type “mushrooms” into Google and you’ll come up with 15.1 million possible links. Narrow the search terms and you’ll likely get descriptions like “sexy science,” which, at first blush, looks like it actually might have the information you seek, until you realize the mushroom they’re talking about is only two inches long.

My mushroom is bigger than your mushroom.

Meanwhile, my husband, George, was doing his own sleuthing. He works for a radio station and, at that time, the station ran a gardening show on Saturday mornings. George emailed a picture of the plant to the show’s host for an explanation.

The host sternly responded, “I do not do that type of counseling. Try Dr. Ruth.”

I once had a colleague who believed, sight unseen, that these were the pre-bloom stage of a spectacular orchid. She advised me to dig them up and keep them in clear glass jars in my basement.

I appreciated the suggestion, but I feared what would happen on the holidays when all our nieces and nephews go downstairs to play ping pong and find a large collection of these severed appendages on my cellar shelves.

Merry Christmas, kids!

I’m creepy enough as it is.

Another colleague had run a landscaping business years ago and offered to take a look. She thought she’d dealt with the same lawn care menace once in a Dublin neighborhood. I bet it went over really well there.

So I dug up a sample and put it in a plastic bag to bring to work. But the stench! I hadn’t known about the odor – this is not the kind of plant you bend down to sniff – until I had one in hand.

It smelled exactly as I would imagine a severed body part left too long in a filthy plastic bag might.

My colleague was late to work and I simply couldn’t tolerate the odor, so I grabbed the bag to take it to the restroom garbage. Unfortunately, I ran into my boss.

“What have you got there?”

I wasn’t sure what would be more jarring and inappropriate, describing it or showing it to him.

I decided the least suspicious thing I could do was dash past him to flee to the ladies’ room, leaving behind a hideous stench. His horrified expression suggested that he got a glimpse of the package.

So that happened.

The Man Upstairs

Wakefield

by George Wolf

“Who hasn’t had the impulse to put their life on hold for a moment…just vanish completely?”

Howard Wakefield (Bryan Cranston) gives in to that impulse, and his moment of resignation becomes months in a self-imposed exile, wallowing in self-pity and watching his family from an attic window.

Sure, Howard has a nice job, beautiful family and sweet home in suburban New York, but he’s been lulled into a stupor by the whole domestic routine. After yet another trying day, Howard ventures up to the attic above his separate garage…and decides to stay there.

Writer/director Robin Swicord adapts E.L. Doctorow’s short story with a workmanlike precision, dutifully providing all the building blocks for this high-concept parable, but never finding the depth or profundity she seeks.

Cranston, here’s a shocker, is fantastic, digging commendably deep in a search for the humanity his character badly needs. Howard has some first-world problems, as he labels suburbia a place people can feel “protected from what’s wild,” but can’t challenge his privilege with anything more dire than dumpster diving or poor hygiene. Howard is far from likable, and though Cranston is all in, finding a reason to root for his quest is tough sledding indeed.

As he spies on his wife (Jennifer Garner) and two daughters, Howard fancies himself the veritable wise old hermit, observing the folly of modern life and dispatching simple truths. It’s well-meaning, but these truths are of the standard greeting card variety, rendered even less impactful from the film’s inherent need to tell (through voiceover narration or talking-to-himself musings) instead of show.

At times, Wakefield has the feel of a one-man show. With Cranston, the man makes it worth watching, even when the show can’t quite keep up.

Verdict-3-0-Stars

 

 

 

Fright Club: The Help

From The Omen‘s Mrs. Baylock to Rocky Horror Picture Show‘s domestic and handyman, you’ll find questionable help aplenty in horror (and not quite horror). Chan Wook Park’s The Handmaiden explored the dual sized anxiety of having a stranger living in your house – or being the stranger living in someone else’s house.

Good horror directors know how to pick that scab, because having a stranger inside the household is unnerving, but being that stranger can be even worse.

6. Estranged (2015)

Going home again can be a drag, but it proves especially tough for January (Amy Manson) in director Adam Levins’s Estranged. Recovering from a near-fatal accident, she’s wheelchair-bound and stricken with amnesia. Even so, something feels completely wrong about the stately mansion and doting family she returns to for her recovery.

Estranged pulls you slowly through the twisty mystery of January’s recuperation and the unusual family she’s found herself a part of. So much of what Levins is working with could easily feel stale – amnesia? Wheelchair-bound invalid in a spooky, isolated manor? There’s even a butler in full gear. All you need are Scooby and the Mystery Machine and we’d have some real sleuthing on our hands.

The film offers an appealing blend of familiar and novel, repellent and elegant – forever playing with the idea that there is something foul and festering beneath the surface of this lovely home. His eye for detail and his cast’s natural ability help pull the whole ordeal together into a satisfying, if understandably unpleasant, product.

5. I Am the Pretty Thing that Lives in the House(2016)

Writer/director Osgood Perkins (Blackcoat’s Daughter) spins an effective ghost story with this one.

Lily (Ruth Wilson) has been hired to nurse famous New England author Iris Blum during her final months. Blum made her name writing spooky books Lily’s too afraid to open, and she regularly mistakes Lily for someone named Polly.

Polly is the main character in Blum’s most famous novel, about a beautiful bride who dies in an old New England home – not unlike the home Lily now finds herself rattling around with no company but the bedridden and mainly catatonic old woman.

A feat of atmosphere, very smartly written and quietly observed, the film generates tension early and builds on it masterfully for the full 87 minutes. Old fashioned but never dated, it’s a throw-back spook fest that can’t help but pull you in.

4. The Others (2001)

Co-writer/director Alejandro Amenabar casts a spell that recalls The Innocents in his 2001 ghost story The Others. It’s 1945 on a small isle off Britain, and the brittle mistress of the house (Nicole Kidman) wakes screaming.

She has reason to be weary. Her husband has still not returned from the war, her servants have up and vanished, and her two children, Anna and Nicholas, have a deathly photosensitivity: sunlight or bright light could kill them.

The new servants seem to understand their roles – maybe too well.

With the help of cinematographer Javier Aguirresarobe and supporting actress Fionnula Flanagan, Amenabar introduces seemingly sinister elements bit by bit. It all amounts to a satisfying twist on the old ghost story tale that leaves you feeling as much a cowdy custard as little Nicholas.

https://www.youtube.com/watch?v=0bMEGtUxajY

3. The Shining (1980)

You know who you probably shouldn’t hire to look after your hotel?
Jack Nicholson.

A study in atmospheric tension, Kubrick’s vision of the Torrance family collapse at the Overlook Hotel is both visually and aurally meticulous. It opens with that stunning helicopter shot, following Jack Torrance’s little yellow Beetle up the mountainside, the ominous score announcing a foreboding that the film never shakes.

The hypnotic, innocent sound of Danny Torrance’s Big Wheel against the weirdly phallic patterns of the hotel carpet tells so much – about the size of the place, about the monotony of the existence, about hidden perversity. The sound is so lulling that its abrupt ceasing becomes a signal of spookiness afoot.

Nicholson outdoes himself. His early, veiled contempt blossoms into pure homicidal mania, and there’s something so wonderful about watching Nicholson slowly lose his mind. Between writer’s block, isolation, ghosts, alcohol withdrawal, midlife crisis, and “a momentary loss of muscular coordination,” the playfully sadistic creature lurking inside this husband and father emerges.

He’s not the caretaker management expected, but really, was Grady? Like Grady and Lloyd the bartender, Jack Torrance is a fixture here at the Overlook.

2. The Innocents (1961)

Little Miles and Flora – orphaned nephew and niece of a selfish London bachelor – need a new governess. Uncle hires the clearly brittle Miss Giddens (Deborah Kerr) based on her letter confessing that more than anything, she loves children.

The ease with which he charms her into taking the position, and the first of the film’s regular mentions of imagination as a gateway to the truth, predict quite a lot.

Quietly desperate and delicately high strung, Kerr’s performance is the perfect central image in The Innocents, the best of many screen adaptations of Henry James’s The Turn of the Screw. Is Kerr’s hypersensitive governess turning delusional as she spirals toward spinsterhood, or are her angelic charges in danger of becoming possessed by the spectral lovers who seem to haunt the property?

Thanks to Kerr, the wickedly cherubic turn by Martin Stephens (the most popular child actor in England’s Fifties and Sixties) as young Miles, and Freddie Francis’s gorgeous black and white photography, this eerie ghost story is a glorious study in the shadowy line between reality and imagination.

1. Get Out (2017)

When white Rose (Alison Williams) takes her black boyfriend Chris (Daniel Kaluuya) home to meet the fam, she assures him race will not be a problem. How can she be sure? Because her Dad (Bradley Whitford) would have voted for Obama’s third term “if he could.” It’s the first of many B.S. alerts for writer/director Jordan Peele, and they only get more satisfying.

Rose’s family is overly polite at first, but then mom Missy (Catherine Keener) starts acting evasive and brother Jeremy (Caleb Landry Jones) gets a bit threatening, while the gardener and the maid (Marcus Henderson and Betty Gabriel, both black – whaaat?) appear straight outta Stepford.

Peele is clearly a horror fan, and he gives knowing winks to many genre cliches (the jump scare, the dream) while anchoring his entire film in the upending of the “final girl.” This isn’t a young white coed trying to solve a mystery and save herself, it’s a young man of color, challenging the audience to enjoy the ride but understand why switching these roles in a horror film is a social critique in itself.

Get Out is an audacious first feature for Jordan Peele, a film that never stops entertaining as it consistently pays off the bets it is unafraid to make.

https://www.youtube.com/watch?v=A2JbO9lnVLE

Isn’t It Romantic?

The Lovers

by George Wolf

Just who are The Lovers?

Michael and his mistress Lucy? Mary and her boyfriend Robert? Or, could it be Michael and Mary, even after all those years of marriage?

Credit writer/director Azazel Jacobs for turning the romantic dramedy inside out, weaving sly writing and touching performances into a thoroughly charming take on the resilience of love and the frustrating struggle to pin it down.

Tracy Letts and Debra Winger are both wonderful as Michael and Mary, a dispassionate husband and wife who have grown to give each other only slightly more regard than the pieces of furniture in their suburban home.

Lucy (Melora Walters) is impatiently waiting for Michael to ask for a divorce, while Robert (Aiden Gillen) is expecting the same from Mary. Both are assured the time will finally come after the upcoming visit from Michael and Mary’s son Joel (Tyler Ross).

But when an old spark is reignited, suddenly it’s the Mr. and Mrs. who are sneaking away from their side pieces for some passionate alone time.

Such a premise could easily crumble into sitcom-ready zaniness, but Jacobs isn’t mining for cheap laughs. His script does have moments of effectively dry humor, but The Lovers is just as likely to uncover truths through a heavy silence.

Both Letts and Winger effortlessly wear the weariness of their characters. We may not know exactly why they’ve drifted apart, but the actors convey such a reliable authenticity we are rooting for Michael and Mary almost immediately.

The Lovers is sneaky in its casual nature. Through subtle storytelling and stellar performances, it finds meaning in places rarely explored this effectively, and a gentle confidence that frayed emotions can still bond.

Verdict-4-0-Stars

https://www.youtube.com/watch?v=r1o-XSHgypE

Yo, Chucky!

Chuck

by George Wolf

I remember the sweaty, battered face staring at me from the cover of Sports Illustrated in 1975, a face that had taken plenty of punches, and was lining up to take more at the hands of The Greatest.

It was face of Chuck “The Bayonne Bleeder” Wepner, who was about to fight Muhammed Ali in the old Richfield Coliseum near Cleveland – then a sparkling new jewel – for the heavyweight championship and inspire a young Sly Stallone to write a screenplay about “The Italian Stallion.”

Chuck finally gets the story of the real-life Rocky on the screen, utilizing painful honesty, subtle humor and a compelling performance from Liev Schreiber to craft a touching look at hard lessons learned.

Director Philippe Falardeau (Monsieur Lazhar, The Good Lie) gets the 70s period details just right, and surrounds Wepner’s shot at the title with cinematic versions of the cliched boxer looking for his chance to be a contender, sharply illustrating how much Wepner defined all that is celebrated about life in the ring.

As Wepner claws his way to the New Jersey heavyweight championship, he watches 1962’s Requiem for a Heavyweight and longs for respect, even as he continually takes his wife (a terrific Elizabeth Moss) and daughter for granted while following his love for “wine, women and song.”

Besting all expectations, Wepner’s plan to “wear (Ali) down with my face” lasted into the 15h and final round, and he became one of the few opponents to actually knock Ali to the canvas. His increased celebrity status, and the news that the Oscar-winning Rocky was based on his life, only fueled Wepner’s primal urges and accelerated a downward spiral that included drugs, divorce, and fighting live bears.

Schreiber is transformational, adopting the voice, gait and body control of a lumbering man with a good heart and great survival instincts, but a child-like self control that often betrayed him. Schreiber commands the screen without ever being showy, blending easily with an outstanding supporting cast that includes Naomi Watts, Ron Perlman, Jim Gaffigan, Michael Rappaport and Morgan Spector (as Stallone).

Familiar in theme but illuminating with its intimacy, Chuck is a fascinating glimpse at life imitating art imitating life.

Verdict-3-5-Stars

Sexy Meddling Kids

Baywatch

by George Wolf

Did you hear about the lifeguards that fight crime?

“Wow, that sounds like a really entertaining but far-fetched TV show!”

So says Brody (Zac Efron), one of the new recruits on the super lifeguard team at Emerald Bay, and this very self-aware attitude is the main reason the big screen Baywatch works as well as it does.

Yes, the entire premise has always been a ridiculous excuse to ogle beautiful bodies, so director Seth Gordon (Horrible Bosses) wisely chooses to have some fun with that and not be stingy with the slo-mo!

Dwayne Johnson is Mitch, head of the Baywatch team and all-around King of the Beach. He’s got Stephanie (Ilfenesh Hadera) and C.J. (Kelly Rohrbach) as his veterans on the squad, while Summer (Alexandra Daddario) and Ronnie (Jon Bass) are rookies who just won their spots during open tryouts.

Then there’s Matt Brody (pinching his character name from two of the lead roles in Jaws is another clue this film’s tongue is in the right cheek), an Olympic swimmer nicknamed the “Vomit Comet” for the way his career flamed out thanks to gold medal partying.

Brody arrives thinking he’s God’s gift to Baywatch, quickly learns some humility, and joins the team just as they’ve stumbled onto another case. Could local business tycoon Victoria Leeds (Priyanka Chopra from TV’s Quantico) really be the biggest drug dealer on the beach?

And she might get away with it, too, if not for these lifeguards and their sexy meddling!

Writers Damian Shannon and Mark Swift come from the land of bad horror (Freddy vs. Jason, Friday the 13th reboot) but they’re able to tap into a witty and breezy R-rated vibe that tests some crude waters without ever diving in.

As often as the ladies flaunt buns and cleavage, Johnson and Efron’s suns out/guns out show gets even more attention, which seems only fair as their roles also have the most substance. It helps that the actors share an easy, likable chemistry and neither is above poking fun at their own image. Self-deprecation is usually endearing, and running gags involving Brody’s nicknames and a “mini-Mitch” aquarium decoration are consistent winners.

Hey, it’s summer, the perfect time for a trashy little novel to read by the pool. Baywatch fits that same bill, and ends up all the more fun for not trying to be anything else.

Verdict-3-0-Stars

 

https://www.youtube.com/watch?v=TDteZ0YrhSU

Murder on the Menu

by Christie Robb

I’ve been friends with a few vegetarians over the years who have made passionate, rational pleas for me to halt or at least cut back on my ravenous devouring of the animal kingdom.

I’ve read books and watched documentaries that explain in detail the often cruel practices that go into raising and processing my protein. And yet, to quote Pulp Fiction, “Bacon tastes good. Pork chops taste good.”

And I can’t help it, I loves me a good steak.

In the 30+ years that I’ve been a carnivore, I’ve never been directly responsible for what I’ve eaten. Delicious meats seem to appear magically.

At the grocery store, animal parts are wrapped up in pristine white paper or in glossy plastic like little delicious presents.

Despite my intellectual knowledge about where my food comes from, I still find myself fundamentally ignorant because I lack a concrete experience of when the animal becomes the meal.

So, I set myself a goal: to kill and then prepare my own dinner.

My initial plan is to bag a fish. But after a day out on the creek, I left with nothing more than a wicked sunburn. Sure, I saw some fish, but only around the marina docks…where you aren’t actually allowed to fish.

Don’t tell me that fish aren’t possessed with some sort of intelligence. These guys know how to hide.

Now, my options are limited. The bunnies in my backyard are too clever and adorable to seriously consider. So I decide to become the Grim Reaper to one of the only live animals sold regularly at the grocery store…a lobster.

The decision is both convenient and light on the guilt meter. Lobsters are tough and pointy and I figure their claws give them a fighting chance.

So I drive myself to the Clintonville Giant Eagle and nervously wheel my cart over to the fish counter.

The helpful fish guy is pretty chatty. “This one,” he said, “I named it Lefty because he was missing his right claw.”

Great, I thought. They have names.

I select two 1 ½ pounders that the guy wrangles out of the tank. To schlep them home I receive a lobster box—the same sort of box my childhood gerbils came in, except without air holes and with a recipe printed on the side.

At home I open the box, experimentally stare into the eyes of the lobster on the top, and poke it gently on the back. Its eyes retreat into its head. I shriek and shut the box.

I’ve read online that you can put lobsters in the freezer to lull them into a dormant state before killing them. Supposedly this helps dull their pain. So, I pop the box in the freezer, pour myself a glass of Sauvignon Blanc and hop on my laptop to research how to kill these beasties humanely.

I watch a few videos demonstrating the technique of splitting their heads in half before boiling. (This severs their nervous system and is apparently a much quicker path out of life than the hot tub version.)

I steel myself for the kill.

I extract the lobster box from the freezer and open it on the counter. The lobsters have shifted position. Now they seem to be hugging each other with their rubber-banded claws. The scene is full of pathos.

Placing a cutting board and a chef’s knife on the counter, I check that the water is boiling in my big stock pot. I remove lobster #1 and place it on the cutting board.

Tapping the tip of the knife at the center of its head, the lobster’s eyes again retreat, but this time less far. I hope that this indicates less sensitivity. I drag in a deep breath. This is the moment when I discover if I have what it takes.

I look into the beady little eyes of the crustacean and thank it for its service. Then, I angle the knife up and plunge it down.

My aim is bad.

Either I winced or the knife was too dull. But instead of a nice, neat slice right between the eyes, the cut is too far too the left. A third of the thing’s head is now flopping to the side, still kind of connected to the body.

I scream.

There is diluted bloody water streaming off the cutting board and onto the countertop.

“Is anything wrong?” my husband calls from the living room.

I jump up and down quietly in socked feet, flapping my arms around, the knife flinging droplets of lobster blood across the kitchen. I swallow a squeal.

“Everything is fine,” I choke out.

The lobster is starting to wiggle on the counter. Clearly it’s starting to thaw out and is probably at the very least inconvenienced by the massive head wound. My hand clenches on the knife and I approach the counter, taking careful mincing steps to avoid the lobster blood now pooling on the linoleum of the floor.

I reposition the knife. The lobster squirms in a seeming attempt to flee.

“There is no escape,” I mutter as I swing the knife down.

My next cut is cleaner and I sever its head lengthwise and throw all the lobster bits in the boiling water.

I turn to lobster #2.

“Sorry you had to see that,” I say.

“Are you talking to me?” my husband hollers.

I ignore him, trying to think my way through my next kill.

All the experts say that the clean slice through the head is the best way to go. But probably not if you botch it. I look back over my shoulder at the pot. Any more delay and I’m going to have to deal with two separate cooking times. I’m already feeling stress about having to clean up so much lobster blood.

So, I pick up lobster #2 and dump it, still wriggling, into the pot on top of the body of its mangled companion. Its legs wiggle. Its tail flexes and curls around the edge of the pot. Is it attempting to climb out? I wonder. I stab at the tail with my knife and poke it down into the pot.

Slamming the pot lid on and slumping against a section of unbefouled countertop, I realize my heart is thumping against my ribs and my hands are trembling with an excess of adrenaline.

Twelve minutes later dinner is served, bright red and steaming. As we crack open the lobsters with kitchen shears and a garlic press (not owning the correct tools) my husband turns to me and tells me I did a very good job with dinner. Then he screams when he discovers a greenish bit inside his lobster.

“Is this his guts? Is this his guts?” he asks.

I have no idea.

This dinner is tasty and somehow more real than any other dinner I’ve ever had.

I don’t think I have it in me to become a vegetarian. But I might have it in me to become a murderer.