film critics

An Ethics Movie Review: “The Mule”

/ Jack Marshall / 24 Comments

I was not eager to see “The Mule,” for many reasons. Stories in which the protagonist is a drug dealer don’t interest me at all; I avoided “Breaking Bad” and “Weeds” for the same reason. The popular culture, especially Hollywood, played a major role in breaking down society’s consensus disapproval of recreational drug use, and I hope they are proud of all the harm they have caused, and the greater harm yet to come.

Then there is the fact that seeing Clint Eastwood looking like the Cryptkeeper (from HBO’s “Tales of the Crypt”) depresses me. I remember Clint from his “Rawhide” days, and seeing his ruined beauty makes me feel like I’m watching the villain rot at the end of “Indiana Jones and the Last Crusade” when he “chooses poorly,” but for real. I admired Cary Grant’s decision to stop making movies when he began to stop looking like Cary Grant, and Marlene Dietrich’s determination not to appear in public so that people would remember her as one of Hollywood’s great beauties, and not as an old lady.

But as often in the case for me, having limited options of films to watch while stuck in in a hotel made Eastwood’s latest directorial and performing effort the best of a bad group of entertainment choices. The film is based on the  true story of a ninety-year-old man (Clint isn’t quite that old, but he looks it) who became a drug mule, transporting  cocaine for a  Mexican drug cartel. The film has an excellent supporting cast including Bradley Cooper, Laurence Fishburne, Dianne Wiest and Andy Garcia. (who also looks like hell), though none of them have much to do except be props for Clint’s star turn.

To do as little spoiling as possible, I’ll just say that the story involves an aging—aged—narcissist who has neglected his family outrageously, falls into a lucrative gig transporting drugs because he loves to drive, has never had a ticket, and is unlikely to attract attention. Then he suddenly decides to make the needs of his family a priority over work for the first time in his life, getting him arrested and almost killed.

Clint still has his screen presence and charm, which is fortunate, because the central character, Earl Stone, is a selfish jerk. His toxic personal habits don’t seem so bad when the victims are  drug smugglers, but when, early in the movie, he skips his daughter’s wedding without warning because he’d rather be at a sales convention partying with his colleagues, it is hard to care what happens to him.

We quickly learn that this betrayal was characteristic of Earl, and that he rationalizes them all, arguing that he was absent from his family to provide for them, and is blameless. It’s clearly a lie: his family bores him, and he does exactly what he wants to do, always. Sometimes Earl helps people and is randomly kind, as when we see him pause in one of his drug runs to help a couple stranded on the road. Other times, he doesn’t give a damn.

When a family argument breaks out as he attempts to attend his grand-daughter’s bridal shower, a guest overhears that Earl has lost his home and business (that’s really why he showed up at his granddaughter’s place—that and the fact that she was the only family member still on speaking terms with him) and gives him a phone number. These people will pay him well just for driving, Earl is told. Continue reading →

Morning Ethics Warm-Up, 6/13/2018: Everybody’s A Critic!

/ Jack Marshall / 36 Comments

Good morning!

(That almost came out “good monging”…not a propitious sign)

1.  Diversity ethics:  The concept that somehow there are sinister motives and undesirable results any time an occupation settles into a demographic mix that isn’t four-square with that of the general population is one more bit of ideological cant. In London, U.K, the mayor has decreed it a crisis that the population using bicycles is disproportionately white, and has  said he is considering setting diversity targets for London’s cycling population to ensure that “progress was achieved.” I liked Amy Alkon’s disgusted reaction to this whole issue, as she asked how  gender equality would be achieved in fields where women show little interest in participating for a variety of reasons, including a greater interest in a work-life balance. How is this artificial PC “diversity goal” going to be achieved, she asks…” Force women at gunpoint to become cardiologists, oil rig workers, and garbagepersons? Force men at gunpoint to become veterinarians and kindergarten teachers?”

Reader (and volunteer Ethics Alarms proof-reading czar) Pennagain just sent me an article about the relative lack of female movie critics (minority movie critics are also under-represented among Hispanics, blacks and Asians. (I would also bet that they are disproportionately gay, but the study discussed didn’t check that, apparently.) Now unlike, say, female  “garbagepersons,” female movie critics predictably have a point of view that would make a substantive difference in film reviews, so I cannot brush aside this particular imbalance with “So what?” Instead I will ask, “What’s stopping them?” Anyone can be a movie critic now: all you need is a website, some dedication, and, one hopes, some understanding of film and culture. Now, being paid as a film critic is a little trickier.

Here is the Wikipedia entry on the New Yorker’s Pauline Kael, still perhaps the most famous U.S. film critic, whose long-lasting prominence, success and influence (I hated her reviews most of the time–overly political and biased, with whole genres she didn’t understand—“guy movies” like Westerns and horror films, that she sniffed at as beneath her) should have inspired more women to enter the field, but didn’t. I presume there is a reason for that, such as that spending your life watching multiple movies a day including many you wouldn’t be caught dead at if it wasn’t mandatory isn’t an attractive career choice, especially if you want a family.

2. From my sexual harassment files...I just rediscovered this, a sexual harassment case I discussed in program for a construction company in the 90’s. An attractive woman who worked in construction (Diversity!) was walking to work with a co-worker when some boor from an apartment window shouted at her, “Hey, show me your tits!” The women misheard the remark, and shouted back, “Sorry, I don’t have any kids!” Her colleague thought th exchange was hilarious, and told her what the guy really said, He also told everyone on the construction site about the incident, and the woman was pestered from then on with men smirking as they made comments like, “Hey, can I see pictures of your kids?” I hear you have two beautiful kids!” “Why don’t you let your kids out more?”  “Boy, I bet you’re proud of those kids of yours.” The women tried to laugh it off, but the joke never died, even though she started telling everyone to knock it off. Finally, she complained to management, and was told that she was being silly and hyper-sensitive. She sued.

Was using the word “kids”  in a coded joke creating a hostile work environment, or did the court find that since the language itself was inoffensive and not sex-related, it couldn’t be sexual harassment? Continue reading →