(Life Through the Lens - Photo Illustration/MetroCreativeConnection)

“I can see the future. And it’s full of pals helping pals.”

***

Just because you bury something doesn’t mean it is gone. It is simply out of sight. It is aggressively dismissed. It is forcibly relegated to “away.”

But with that being said, it is still there.

I have experienced both types of “burial:” the sadly-natural type and the deviously-shameful type. I have lost things that I held onto with all my strength as they drifted and departed. I have also wished things away, things that indict me and incense me. I have laid to rest that which I longed to keep and that which I yearned to never speak of again.

I have said goodbye to a loving mother and a loyal best friend — I have felt the pain of burying out of inevitability and inability. I have also hid away many things because of humiliation and regret – I have felt the pain of burying out of disgrace and disappointment.

The process of burying something is always synonymous with loss, but it is also always topped with the reality that burial is not full and final. Burial is the process of making something “out of sight,” but out of sight is not out of mind. It never is. I will always have those things that were torn from me, and, consequently, I will always have those things that I attempted to cover and conceal.

Out of sight is never out of mind.

***

It is 1962, and things are changing in the American South… but not fast enough. Elwood Curtis (Ethan Herisse) is young, intelligent, driven… Black… and incarcerated. Although his future was bright, even earning himself a full-ride in an accelerated college program, his whole life was halted when he was pulled over while hitchhiking. The car was stolen, a fact that had nothing to do with Elwood, but, regardless, he was sent to Nickel Academy, a reform school rife with segregation and rumors of extreme violence. It is there in the depths of darkness that Elwood finds Turner (Brandon Wilson), a kindred, kind soul also surviving hell while managing to maintain integrity.

Once in Nickel’s “program,” escape is seemingly impossible. They are given little education and an exceeding amount of physical labor, even loaned out to the community for free work. All of Nickel’s dealings ring false, both in money, reputation and corrections. Any infraction deemed “out of line” or “unacceptable” results in mental abuse, solitary torment, physical torture or even “disappearance.” There are constant whispers of buried and forgotten Nickel boys, but the school continues to thrive in the Jim Crow South.

If you are lucky enough to leave Nickel Academy, you never really escape its grip. Decades pass but the nightmares persist. The shadow lingers. The buried cry out to be unearthed.

I was so excited for this movie because the book by Colson Whitehead is phenomenal — so good that I taught it in class! It is shocking and engrossing. Although the movie was hard to find, it is finally out to stream on Amazon Prime. Do yourself a favor and watch it right now!

The direction of RaMell Ross is game-changing, truly! His inspiration is pure, and his execution is invigorating! I have never seen anything like it! The film is shot in first-person (which is already exciting) but even that has flavor and degrees. Each character — each moment – each period — it all has its own delivery.

The screenplay by Ross and Joslyn Barnes was fluid and fierce. The cinematography by Jomo Fray is absolutely breathtaking; how it didn’t win an Oscar is beyond me. It was immediate; it was inviting; it was innovative; it made you feel IN every moment! The editing by Nicholas Monsour was sharp and consistent, never letting a moment lag or a pause go unfulfilled. The music by Alex Somers and Scott Alario is haunting, emotive and alive.

Ethan Herisse is spectacular as Elwood; his performance is dripping with empathy and passion. Brandon Wilson is a worthy counter as Turner; his love is believable, and his pain is unavoidable. Aunjanue Ellis-Taylor is heartbreaking as Elwood’s grandmother, Hattie.

I have read some negative reviews, but I find them inconsequential. The movie’s ephemeral nature is exactly what makes it work. It moves, floats, exists — it carries us through and out the other side! I think it works perfectly!

REPORT CARD: “Nickel Boys.”

Grade: A+.

Assessment: A work of pure heart and art

***

Craig Waterman (Tim Robinson) is a “normal guy”… on the surface, at least. Job, wife, kid, car, mortgage, goals, desk, wardrobe. Pretty normal, right?

The more we learn about Craig and watch him interact with the world around him, the more we see he is a bit… off. He is a loner at work, distant with his wife, incapable of basic emotion, obsessive about his awkward clothes and has eyes that are deader than a doornail.

When a package mistakenly arrives at his doorstep for a new neighbor up the street, Craig does the neighborly thing: He hoofs it up the hill to hand-deliver the parcel. Enter Austin Carmichael (Paul Rudd), a local weatherman and all-around-likable guy. Austin greets Craig with a warmth that Craig never sees or feels; he is instantly smitten.

Austin later calls Craig and asks him to come over for a beer. It is the most carefree and cared-for that Craig has ever felt. They exchange experiences, advice and laughter. The good vibes take them to unexpected places… like literally: Austin takes Craig into the city’s ancient tunnel system. Heck, they even hunt mushrooms together. Austin has officially changed Craig’s life!

When Craig comes to Austin’s to meet “the boyz,” things get… weird. Once Craig’s imbalance is shown, the friendship is terminated. Craig cannot seem to let go, though — with Austin came a genuine feeling of belonging. If he must fight to keep it, Craig will fight to the death to keep this friendship.

My older sons and I have gotten into the comedy of Tim Robinson lately; he is so uniquely offbeat, so unashamedly bizarre. Since the trailer dropped, my eldest has been abuzz with excitement. Last Sunday night, it was “go time!”

For a comedy touted as “the funniest movie you will ever see,” I was a bit underwhelmed. With that being said, it was immensely funny and incredibly enjoyable. If my expectations weren’t so inflated, it would have been nothing but amazing.

For director/writer Andrew DeYoung’s first film, it is a knockout. It is rich with control, timing and voice. Although it consistently feels like a “skit,” it still has momentum and surprise. I loved his moments of over-stylized, kitschy decisions — they were a punch of comedy each time.

The music by Keegan DeWitt is fantastic; it is so startling and serious! The emptiness and echoes are strangely perfect for the film. The cinematography by Andy Rydzewski is effective and even beautiful. The editing by Sophie Corra is full of tempo and flair. The production design by Rocio Gimenez is subtle yet sublime.

Robinson is Craig. Period. He is brimming with erratic energy, irrational irritation and inhuman interactions. Everyone always says, “I would listen to Morgan Freeman read the phone book.” Well, I would listen (and watch) Tim Robinson read the phone book. I guarantee it would be hilarious! Paul Rudd is great as Austin; he is a skilled straight-man for Robinson. Rudd gives him the room to explore while throwing in his own humor. Kate Mara is amusing as the suppressed Tami.

Now, “funniest movie ever” it is not. But if you keep your expectations in the stratosphere, and you will love every minute!

REPORT CARD: Friendship

Grade: A-

Assessment: Wonderfully offbeat and on-target