(Life Through the Lens - Photo Illustration/MetroCreativeConnection)

“It is not death that a man should fear, but he should fear never beginning to live.” — Marcus Aurelius

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Dear personal bark-book / After months of slaving in the new Mayan city of ­­­Tikal, working my poor hands to the bone for fear of my pretty head being used as a soccer ball, I am finally back to the fields. Back where I belong. The peace – the freedom – the earth below my feet reminding me of my place in this world … but my “lot in life” is this stinking lot delegated to me and my offspring. This new field labeled “unknown.”

Sure, I am the king’s most established farmer. I get it. I revolutionized the corn industry earning me the title “Shuck-lord” or “Maize-meister” (to those in the industry). What do I get as my prize? A field full of weeds and … pointy nonsense! Pshh, that’s the last time I break my back breaking my back for that back-breaker!

* Dear personal bark-book / Ugh! This new field is a mess! I think I’d rather work at the temple as “assistant blood wrangler” on sacrifice day! Heck, I may even sign-up to have MY heart removed if this field keeps it up!

Instead of beautiful cornstalks or sturdy papaya trees, I have … WHAT IS THIS?! Spikey, overgrown, pine-coney, lumps! How am I supposed to satisfy the king with nature’s nonsense?

* Dear personal bark-book / I feel the screws tightening … metaphorically, that is. Not like my old friend Lyle, whose crops disappointed the elders. That was less metaphorical.

The mess grows messier each day. Now I have a field full of hideous flower-like knobs. They are hard to the touch and ugly to behold. Great … I am as good as altar fuel.

* Dear personal bark-book / As the king was approaching today, I was in a Mesoamerican-tizzy. Although lauded for his calendar maintenance, he isn’t what you would call “forgiving.” He actually has a jaguar skin embroidered to say, “Devourer of Hearts.” I mean, come-on!

I practiced my speech, “Well, sir, as you can see, here is a field of scrubs. They are good for scraping your boots off after a busy day of stomping on brains?” I knew it wouldn’t fly. In a fit of maddening desperation, I began to kick my field full of stupid plants. My foot struck one of the dumpy orbs which exploded. What waited inside of my useless produce was amazing: juicy, yellow and sweet! I wouldn’t believe it if I hadn’t seen it and tasted it for myself. An entire countryside full of disaster has now transformed into godlike provision. Unusable trash to unbelievable flavor!

I shall call it “turd-fruit!” Either that or “pineapple.” I’ll workshop it with the king when he gets here! Who would have thought that such an ugly exterior could yield such a delicious center? I wonder if there is a universal truth in there about deceptive appearances … nah. Let’s head to the temple to see an orphan’s heart removed while dabbling in peyote!

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Marcus Aurelius sure was a swell guy, revitalizing and redefining Rome like he did. Then the plague took him. Rome will never forget your teachi….

Then they forgot! Sixteen years later, Rome is ruled by corrupt and corrosive twins Geta (Joseph Quinn) and Caracalla (Fred Hechinger). They are savage in their dealings and oblivious to the tides.

In their most recent conquest, General Acacius (Pedro Pascal) has captured the North African kingdom of Numidia for Rome, thus expanding their diseased domain. Along with many spoils of war, slavery is a bustling trade; this new “take” from Numidia has many promising prospects. The most eye-catching is Hanno (Paul Mescal), former leader of the Numidian army – he is strong, experienced and basically boiling with rage. It is that rage that catches the eye of Macrinus (Denzel Washington), the nation’s leading gladiator merchant.

War provides – rage provokes – Macrinus prospers. Like clockwork.

There is something different about this gladiator, though; each fight reveals a louder whisper of Rome’s past. Something all but forgotten. Let me suggest: There is pineapple under that cone-like exterior.

I am not a huge “Gladiator” fan; to be honest, I haven’t seen it in over a decade. I am, however, a huge Denzel Washington fan. If he starred in a remake of “Free Willy” on the Moon … underwater, I’d be first in line!

Although the “age of epics” may be over, I thought this was a worthy sequel. It was consistent in tone and effect. I haven’t enjoyed a Ridley Scott film since 2015’s “The Martian,” but he seems comfortable here, comfortable with the grand scale and the intimate purpose. The screenplay by David Scarpa was enough to drive the action. The cinematography by John Mathieson was beautiful and natural. The art direction of Claudio Campana and Anthony Caron-Delion was surprisingly textured and tangible.

Mescal is compelling as Hanno; he embodies the rage and drive with ease. Washington is magnetic as Macrinus, the snake in a toga. He speaks with such authority, glares with such power. There has never been an actor like Denzel! Pedro Pascal is empathetic as General Acacius; he uses his screentime well. Connie Nielsen is good enough as Lucilla, the character that spans and connects both movies; she doesn’t captivate … but she doesn’t capsize.

The ending may fizzle a bit, but the build is adequately absorbing. Go Team Denzel!

REPORT CARD: “Gladiator II”

Assessment: A commendable companion piece

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Rita Moro Castro (Zoe Saldana) works hard and works well … but still works for others. She has pursued law in Mexico City and developed a reputation but is underappreciated and often unmoved. After assisting in yet another win (for yet another reprehensible, powerful man), she receives a mysterious call. The caller offers riches as a reward for one job instead of a life filled with relegation and resignation. As the caller says, “What do you have to lose?”

Rita is hooded and placed in a van – there she meets the notoriously brutal cartel kingpin Manitas Del Monte (Karla Sofía Gascon). His reputation (and body count) has preceded him. Rita expects violence and aggression but is met with something entirely different: complete vulnerability. Manitas needs assistance finding and scheduling a gender-affirming surgery to become his true and real self. Let me suggest: There is pineapple under that cone-like exterior.

A transition requires new everything … which means nothing “old” can remain. No more wife and kids – no more cartel – the new life as Emilia Perez must not overlap.

…but how can someone leave a life behind?

I kept hearing about the movie “Emilia Perez” – how absurd, how different, how unexpected. There was only one thing to do: force my movie club to watch it with me! After our viewing, we were speechless for a second….

Director Jacques Audiard shows a strange but skillful hand in this not-your-average musical. He embraces the tone and lets the music run free. Speaking of, the music by Camille Clement Ducol is surprising and satisfying. It is plot-driven and plot-driving, bold yet organic. The cinematography by Paul Guilhaume is colorful and alive. The production design by Emmanuelle Duplay is fluid and full of detail.

Saldana is a showstopper as Rita; I am beyond impressed by her subtlety and grace. I didn’t know she had it in her! If she doesn’t win an Oscar, there is no justice in the world. Gascon is a revelation as Manitas/Emilia; she captures the role like no one else could. Those two females carry this bizarre fever-dream into heights unforeseen.

“Emilia Perez” can be streamed on Netflix.

REPORT CARD: “Emilia Perez”

Assessment: A musical to expand the genre!