Sunday, May 24, 2020

Fantastic voyage

book review

An award-winning author writes an accessible and entertaining book, chock-full of facts and historical anecdotes, that captures the wondrous nature and failings of the human body

Book: The Body: A Guide for Occupants
Author: Bill Bryson

The most fascinating thing about our seemingly unassuming but wholly remarkable planet is simply our very presence on it. The Earth’s ability to host life makes it the most special rock in our galactic neighbourhood, and life itself is perhaps the biggest wonder our universe has to offer. The fact that a handful of elements come together to form conscious, living, breathing, fully functional — and, occasionally, even intelligent — human beings, is nothing short of a miracle. And it is this incredible human form that is the subject of Bill Bryson’s The Body: A Guide for Occupants.

From the award-winning, bestselling author of A Short History of Nearly Everything and At Home: A Short History of Private Life, this new book is an entertaining and enlightening tour of our inner workings, taking a look at how we function and, more disconcertingly, malfunction.

The book offers an insightful discussion on anatomy, delving into the workings of the different parts and elements that make up a human, including the circulatory, respiratory, digestive, nervous, endocrine, immune, skeletomuscular and reproductive systems. Bryson gives readers a concise explanation of how each facet of the body works and how different organs come together to give us the ability to perform everyday functions and survive in an environment that often proves to be all too hostile.

Despite our resourcefulness, our species remains susceptible to various health problems, so alongside details on how it works, Bryson also sheds light on how the human body falters. A number of ailments, ranging from issues with pathogenic, genetic, evolutionary and even self-inflicted causes, are discussed. Our design flaws are analysed and the impact of our unhealthy lifestyles is often highlighted.

The book also sheds light on how, over the years, we have developed an understanding of both the functioning of the body and the diseases that plague it. We read about how patients in the past were subjected to painful, ineffective and sometimes even counterintuitive remedies, and learn about the work of dedicated researchers whose tireless efforts led to improvements in medical science, from which we benefit today and without whom we might still be suffering from what are now either preventable or treatable maladies.

It is disheartening to see how many of these remarkable researchers have been all but forgotten over time, especially by the general public. It is a peculiarity of our global culture that we shower those who entertain us with disproportionate wealth and attention, while overlooking those who have worked painstakingly to improve our lives. The Body will hopefully inspire readers to find out more about the likes of such people and offer them the gratitude they so rightly deserve.

Bryson provides a starting point to do just that, informing us about pathologist Theobald Smith, who discovered the causes of several infectious and parasitic diseases; geneticist Nettie Stevens, who discovered the X and Y chromosomes and the fact that males determine the gender of offspring; and neurophysiologist Charles Scott Sherrington, who helped shaped an understanding of the body’s nervous system. There is also surgeon William Stewart Halsted, who created the first formal surgical training programme in the United States, and microbiologist Albert Schatz, who discovered the antibiotic streptomycin, which is used to treat bacterial infections such as tuberculosis, pneumonia and influenza.

Bryson also places much emphasis on the point that we are a long way from understanding the many mysteries of the human body; we are repeatedly reminded of how much we still don’t know. Nonetheless, it is amazing to learn how far we have come — only a couple of decades in some cases — and astounding to discover how recent many scientific discoveries have actually been.

It is plain to see that a lot of research has gone into this book. The writer speaks to, and quotes, leading experts in various fields and relays their take on the areas in which they specialise. The historical anecdotes he digs up are downright fascinating and, perhaps, the most interesting part of the volume. However, given the plethora of diseases and microbes mentioned in the book, perhaps this may not be the best reading option for germophobes and hypochondriacs. If, for instance, the fact that we have “about 100,000 microbes per square centimetre” on our skin makes a prospective reader shudder, they might be better off picking up something else to peruse.

On the other hand, readers who are not squeamish will be riveted by all the trivia that The Body has to offer. The pages are chock-full of facts about the human form and filled with tidbits that capture the wondrous nature of the body. My favourite snippet, if anyone is interested, is that according to estimates, every day “between one and five of your cells turn cancerous and your immune system captures and kills them.” How amazing is that!

Most readers will probably be familiar with much of the basic science discussed here, especially if they studied biology in school, are avid fans of popular science, or have ageing parents, which — as it turns out — is a most unexpectedly effective way of learning about the body and its shortcomings. Even so, this book will serve as a useful refresher, reminding us of things that may have slipped our mind. The science has been made accessible for the layman, thanks to Bryson’s clear, simplified and often wry and congenial writing style. And while this may not be the most comprehensive or deepest book one can find on the subject, it is a rewarding read and terrific starting point for those who want a basic understanding before they dig deeper.

There are parts, however, that may be a little hard to retain for the casual reader, especially when scientific terms are listed. For instance, the cornea in the eye, we are told, has five layers: “epithelium, Bowman’s membrane, stroma, Descemet’s membrane, and endothelium.” Around the eyes are “the glands of Krause, Wolfring, Moll, and Zeis, as well as nearly four dozen Meibomian glands in the eyelids.” One would need either a pretty sharp memory or a bit of conscious effort to retain not just those terms, but a lot of other things mentioned in the tome.

All in all, however, The Body is an informative journey into human biology and Bryson makes this stroll not only entertaining, but also wondrously fascinating. The book is likely to leave readers will a sense of marvel at our design, motivate them to learn more about their physical form, and perhaps even inspire them to live a better, healthier life.

- Sameen Amer

Books & Authors, Dawn - 24th May, 2020 *

Sunday, April 26, 2020

In the picture: Coffee & Kareem

movie review

Netflix’s latest action comedy Coffee & Kareem is a distasteful mess

Coffee & Kareem

Starring: Ed Helms, Terrence Little Gardenhigh, Betty Gilpin, RonReaco Lee, Andrew Bachelor, David Alan Grier, and Taraji P. Henson
Directed by: Michael Dowse

Netflix certainly deserves props for the variety they offer with their original content, but the quality of their feature length projects hasn’t been quite as consistent as their subscribers would have hoped. On one hand, the streaming service has been releasing films that have become major award season contenders, but on the other, we are left with movies that seem more deserving of a Razzie than an Oscar.

Their latest action comedy, Coffee & Kareem, sadly falls at the latter end of the spectrum.

The film puts together worn out buddy comedy shenanigans with crude humour, degenerating into an unexciting, predictable, preposterous mess along the way.

The story centres on James Coffee (portrayed by Ed Helms), an inept but well-meaning police officer. He has started a relationship with Vanessa (Taraji P. Henson), a development that has greatly displeased her unruly, foul-mouthed preteen son, Kareem (Terrence Little Gardenhigh). Kareem wants Coffee out of the picture, but his attempt to have the cop whacked instead lands the two into the crosshairs of a drug cartel that is being supported by dirty cops.

To find a way out of their predicament, the unlikely duo must – as you would expect – work together and defeat the baddies. It’s a tired old setup, delivered here sans the charm that is necessary to make buddy comedies work. Coffee & Kareem had the chance to modernize its genre, use its plot to say something meaningful about the topics at its core, or even embed something smart beneath its crass exterior. Instead, the movie makes no effort to try anything even vaguely interesting.

There is considerable comedic talent in the cast, but a film that features the likes of Helms and Henson, as well as Betty Gilpin and David Alan Grier who also play cops, really should be funnier than Coffee & Kareem is. The performers have been given a woefully unfunny script to work with. Helms is still affable enough as the bumbling Coffee, but he is partnered with an unlikable young character who is more grating than amusing and thereby makes it hard to be invested in the fate of the protagonists. Your level of enjoyment at the interactions of this pairing will depend mostly on how worn out you think the concept is and how funny you find obnoxious, vulgar tweens.

Seeing the rate at which they are releasing films, Netflix clearly has a lot of resources at its disposal, and we have also seen, time and again, that the streamer has the ability to attract significant cinematic talent, both in front of and behind the camera. Movies like Coffee & Kareem just leave you wishing that Netflix would choose to invest in more interesting and inventive projects instead of wasting its assets and its subscribers’ time on such dismal dullness.

Rating: 1 out of 5

- By Sameen Amer

Instep, The News on Sunday - 26th April, 2020 *

Sunday, April 19, 2020

In the picture: Lost Girls

movie reviews

Lost Girls tells an important story

Lost Girls ★★★

Starring: Amy Ryan, Thomasin McKenzie, Lola Kirke, Oona Laurence, Dean Winters, Miriam Shor, Reed Birney, Kevin Corrigan, and Gabriel Byrne
Directed by: Liz Garbus

A mother’s relentless search for the truth about her daughter’s disappearance drives Lost Girls, a drama based on a real-life unsolved mystery that tries to humanize the victims and shed light on the struggles of their families.

The narrative focuses on Mari Gilbert (Amy Ryan), a single mother who works two jobs to raise her daughters Sherre (Thomasin McKenzie) and Sarra (Oona Laurence). When her eldest daughter, Shannan, disappears after being hired as a call girl off Craigslist, Mari is appalled by the law enforcement’s inaction. Dismissed, hung up on, and ignored, Mari continues her attempts to find out what happened to Shannan. Her search not only reveals police incompetence but also brings attention to other murdered young women who worked as prostitutes and became the victims of a suspected, unidentified serial killer.

Lost Girls tells an important tale about victims whose fate did not generate the action it should have because of their profession, as well as the plight of their families who never got the closure they deserved.

It’s a compelling story. The execution isn’t as even or focused as you may wish, but this is clearly a passionate, well-intentioned look at a tragic tale featuring imperfect characters and a strong lead performance by Amy Ryan. There is no happy, neat ending here, and the lack of answers only serves to highlight the lack of justice for victims whose lifestyles are looked down upon or deemed too high risk.

Its subject may have been better suited for a miniseries that delved deeper into certain aspects and characters, but Lost Girls is still likely to leave you empathetic towards the women at its centre and inspire you to find out more about the heart-breaking mystery that formed the basis of this film.

Rating: 3 out of 5

- By Sameen Amer

Instep, The News on Sunday - 19th April, 2020 *

Sunday, April 12, 2020

In the picture: Onward

movie reviews

Onward is a touching animated outing

Onward ★★★

Starring (voices): Tom Holland, Chris Pratt, Julia Louis-Dreyfus, and Octavia Spencer
Directed by: Dan Scanlon

Pixar may not have been at its creative best for much of the last decade but the animation powerhouse has, nonetheless, consistently released charming adventures that have never failed to entertain. Likewise, its latest offering, Onward, may pale in comparison to the studio’s celebrated classics, but it still takes viewers on a touching journey.

Onward is set in a suburban world inhabited by mythical creatures but now bereft of the enchantment that was once commonplace, the magic having since been superseded by technology. 

At the centre of the yarn are two elf brothers who have to embark on a quest for a chance to meet their late father.

Timid teenager Ian (voiced by Tom Holland) and his boisterous older brother Barley (Chris Pratt) are given an unexpected present by their mother (Julia Louis-Dreyfus) on Ian 16th birthday that was left for the boys by their father before his death. The gift turns out to be a magic spell that will bring back their dad for one day. But things go wrong when Ian casts the resurrection spell, and only the lower half of their father’s body appears.

To try the charm again, the brothers must find another magical stone and reattempt the spell before the day is through. But getting their hands on the gem is easier said than done. Ian and Barley thereby find themselves on a challenging quest that requires them to use the latter’s knowledge of magic which he has gained through a role-playing game. 

Familiar lessons are learned along the way, as the film explores loss, yearning, and brotherhood.

The premise, inspired by the director’s own experiences, is intriguing, especially during the first few moments of the movie, but as things proceed, the storyline devolves into a fairly uninspired, predictable road-trip. The shenanigans are neither as amusing nor as exciting as they could have been, which is what ultimately makes the whole endeavour come off as a bit lacklustre. The voice cast doesn’t provide any exceptional performances either.

But while it may not be the most inventive animated adventure and its emotional impact may not be as powerful as Pixar’s finest projects, Onward is still a poignant tale with several moments of warmth that make the ride engaging. The movie may not qualify as essential viewing, but its heartfelt story is still likely to strike a chord with viewers, even if it ultimately leaves them wishing the journey had been more creative and memorable.

Rating: 3 out of 5

- By Sameen Amer

Instep, The News on Sunday - 12th April, 2020 *

Sunday, March 15, 2020

In the picture: The Invisible Man and Spenser Confidential

movie reviews

A strong performance by Elisabeth Moss powers the uneven The Invisible Man; Spenser Confidential is a bland, formulaic action flick

The Invisible Man ★★★

Starring: Elisabeth Moss, Oliver Jackson-Cohen, Aldis Hodge, Storm Reid, Harriet Dyer, and Michael Dorman
Directed by: Leigh Whannell
Tagline: What you can’t see can hurt you.

If you need proof that a terrific actor can massively elevate the material they’ve been given, then look no further than The Invisible Man, a horror thriller that is driven by a riveting performance by actress Elisabeth Moss.

The film begins with Moss’s character, Cecilia, fleeing the house of her controlling, abusive partner, Adrian (Oliver Jackson-Cohen), who is a tech entrepreneur celebrated for his ground-breaking work in optics. With the help of her sister Emily (Harriet Dyer), Cee takes refuge at the house of her childhood friend, James (Aldis Hodge). She is petrified that her ex will come after her until two weeks later when Adrian seemingly commits suicide.

Adrian’s will, handled by his brother, Tom (Michael Dorman), leaves $5 million to Cecilia and gives her the hope that she can now move on with her life. But creepy things soon start happening around her, leaving her to wonder if Adrian is somehow tormenting her. The people around her are certain that he is dead, whereas Cecilia is convinced that he is alive and is using his optics expertise to become invisible in order to harass her.

It’s the psychological tension in the first half of the film that works rather well as the terror of the situation becomes more and more palpable. As things progress though, the movie takes a few wrong turns and ends up in fairly formulaic territory. A predictable twist then leads us to a somewhat underwhelming ending.

Not all of it feels entirely convincing, but Moss makes sure that the project remains fascinating with her intense performance. 

The Invisible Man does leave you wishing, though, that Leigh Whannell had managed to maintain the film’s anxiety-inducing tension till the end, since the psychological horror elements are so much more interesting than the eventual revenge thriller turn. Still, the film earns points for providing a new spin on the ideas of its source material, and an impressive lead performance ensures that the otherwise uneven movie remains worth a watch.

Rating: 3 out of 5

*****

Spenser Confidential ★★1/2

Starring: Mark Wahlberg, Winston Duke, Alan Arkin, Iliza Shlesinger, Bokeem Woodbine, Donald Cerrone, Marc Maron, and Austin Post
Directed by: Peter Berg
Tagline: The law has limits. They don’t.

Director Peter Berg and actor Mark Wahlberg have teamed up once again. Their fifth collaboration sees them resurrect Robert B. Parker’s Spenser by way of a very loose adaptation of Ace Atkins’s novel Wonderland.

Portrayed by Wahlberg, Spenser here is a police officer who gets into an altercation with his captain, John Boylan (Michael Gaston), after discovering that the latter has been involved in domestic violence. A five-year prison sentence later, Spenser is released from captivity, but on the very day of his release, two cops are murdered, including the aforementioned Boylan.

In a bid to find out what actually happened, Spenser teams up with his new roommate, Hawk (Winston Duke), and, with a little help from his mentor Henry (Alan Arkin), investigates the crime, hoping to clear an innocent man’s name and take down the actual guilty parties.

Things unfold pretty much as you’d expect. Despite the random insertion of a conspiracy in the second half, the overall outcome remains predictable. There isn’t anything particularly original about the project, nor is it terribly exciting. There are a few jokes that work but for an action comedy, the humour is often lacking and the overall film never settles on a consistent tone.

Wahlberg’s acting is serviceable if unexceptional. Duke, however, isn’t particularly memorable; Iliza Shlesinger (who plays Spenser’s ex) overacts and is distracting; and an unconvincing Austin Post (a.k.a. Post Malone, portraying an adversarial inmate) doesn’t exactly leave you looking forward to his next acting gig.

There’s nothing really special about Spenser Confidential, and those familiar with the character the movie is based on may be even more critical of this incarnation, but if you’re looking for a generic action flick to while away an evening, then this otherwise bland episode just might fit the bill.

Rating: 2.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 15th March, 2020 *

Sunday, March 08, 2020

In the picture: Sonic the Hedgehog and All the Bright Places

movie reviews

Sonic the Hedgehog is a whole lot of fun; All the Bright Places is a derivative young adult melodrama

Sonic the Hedgehog ★★★☆☆

Starring: Ben Schwartz (voice), Jim Carrey, James Marsden, and Tika Sumpter
Directed by: Jeff Fowler
Tagline: Try to keep up.

After much-needed revamping following the furore about the character’s uncanny appearance, Sonic the Hedgehog has overcome his initial design hurdles and made his way to cinemas in a surprisingly enjoyable adventure.

Now looking suitably adorable, Sonic (voiced by Ben Schwartz) finds himself evading baddies in this live-action adaptation of the Sega video game franchise.

When his extraordinary powers of supersonic speed make him a target of power hungry bad guys, Sonic is sent to Earth where he must stay hidden and never stop running. If he is discovered, he can use one of his magical rings to create a portal to another planet where he must then continue to live in isolation.

But the loneliness is starting to take a toll on the friendless hedgehog. He has grown fond of the local sheriff, Tom (James Marsden), and his kind veterinarian wife, Maddie (Tika Sumpter), from afar, but can’t risk making contact with humans.

His frustration over his predicament leads him to inadvertently cause an energy surge that knocks out the region’s power. Evil scientific genius Doctor Robotnik (Jim Carrey) is brought in to figure out what happened; he promptly discovers Sonic’s existence and makes it his mission to capture the space creature.

Sonic then ends up joining forces with an initially reluctant Tom to reclaim the rings that he has lost in the ruckus and escape the mad scientist who is on his trail.

The adventure that ensues may not be a cinematic masterpiece but it is still a whole lot of fun. The humour generally works. Young viewers, in particular, are likely be delighted by Sonic’s antics, and there’s enough charm here to keep grownups invested too (even if they may otherwise find the tale simplistic and predictable).

The titular character is lovable, his human sidekick (portrayed by a very charismatic Marsden) is affable. The exuberant Carrey is entertaining in the comedic style he is so well-known for.

Jeff Fowler and his team have done a fairly solid job revamping a project that initially seemed to be going awry. Ultimately, Sonic the Hedgehog may not break any new ground and clearly won’t redefine cinema, but this family-friendly adventure will ensure that viewers have a good time and exit the screening with a smile of their faces.

Rating: 3 out of 5

*****

All the Bright Places ★★☆☆☆

Starring: Elle Fanning, Justice Smith, Alexandra Shipp, Kelli O'Hara, Lamar Johnson, Keegan-Michael Key, and Luke Wilson
Directed by: Brett Haley
Tagline: Live life at full brightness.

YA clichés converge in All the Bright Places, a tragic teen romance that tries very hard to tug at your heartstrings but fails to make much of an impact.

The story revolves around two high school students, Violet (Elle Fanning) and Finch (Justice Smith). Violet is struggling with the death of her sister. Finch is struggling with mental health issues. The two are brought together when Finch finds Violet standing on the ledge of a bridge. The pair bond with each other after deciding to collaborate on a class project that requires them to explore their home state of Indiana.

The project comes off as derivative from the get-go as the screenplay does little more than put together hackneyed beats. (You can easily tell from the staid storyline and how things unfold that this film found its beginning as a young adult novel.) 

The movie’s handling of some of its developments is also a tad problematic; instead of the deep take the difficult topics need, we are given shallow melodrama. The ending in particular is very weak, leaving us with rushed, unconvincing closure instead of the more raw, dark, complex outcome that would have been more realistic.

The acting isn’t exactly stellar either, especially from the stilted Fanning who seems miscast as the lead; her performance is too unnatural, and she does not feel like a good fit for the role. Smith delivers the better performance and keeps the film afloat even though the movie fails to give his story the depth it needs.

There are moments that work, but things do not come together as a touching, convincing whole. Brett Haley makes some good use of cinematography and sound, but, all in all, this predictable drama struggles because of a derivative screenplay drenched in teen drama tropes.

Rating: 2 out of 5

- By Sameen Amer

Instep, The News on Sunday - 8th March, 2020 *

Sunday, March 01, 2020

In the picture: Fantasy Island and The Last Thing He Wanted

movie reviews

Fantasy Island is nonsensical; The Last Thing He Wanted is an incoherent mess

Fantasy Island

Starring: Michael Peña, Maggie Q, Lucy Hale, Austin Stowell, Jimmy O. Yang, Portia Doubleday, Ryan Hansen, and Michael Rooker
Directed by: Jeff Wadlow
Tagline: The island knows your secrets.

Blumhouse’s Fantasy Island is testament to the fact that not all old franchises warrant revivals. This horror reimagining of the 1970s’ television series of the same name lacks not just scares and thrills but even basic logic.

The proceedings commence as a group of contest winners arrive at a supposedly magical resort where “anything and everything is possible”. The island, run by mysterious host Mr. Roarke (Michael Peña), will apparently fulfil each guest’s deepest fantasy. 

The troubled Melanie (Lucy Hale) wants revenge on a childhood bully (Portia Doubleday); businesswoman Gwen (Maggie Q) wants a do-over so that she can accept a marriage proposal she rejected many years ago; policeman Patrick (Austin Stowell) wants to enlist in the army in honour of his late father; while step-brothers J. D. (Ryan Hansen) and Brax (Jimmy O. Yang) want to “have it all”.

The guests are led to their respective scenarios; the experience of each is tailored specifically to their desires. But their dream vacation soon turns into a nightmare. Stuck in an increasingly dangerous situation and obligated to see their fantasies through to their conclusion, the group must figure out what is going on and find a way to escape.

For a project that’s meant to offer a horror adventure, Fantasy Island is neither spooky, scary, or even remotely thrilling. The film might manage to generate mild curiosity but holds no actual tension or suspense. 

Fantasy Island mostly just finds itself struggling with preposterous and convoluted set-ups before ultimately arriving at its nonsensical conclusion. There is an unexpected albeit lazy plot twist (made up of elements that horror movie buffs will find familiar) in the third act; if you don’t see it coming, it won’t be because the twist is shocking or brilliant but because it’s just plain ridiculous.

The characters are grating, the acting is poor. This is the kind of project that would make sense if it landed on a streaming service or had a straight-to-DVD release, not something that deserves a big screen outing.

Its basic premise is mildly interesting, and the concept does hold some potential, but to actually make the most of that potential, the film would have had to either embrace its inherent darkness or have some fun with its preposterousness. Fantasy Island does neither, and is, as a result, neither an entertaining nor a satisfying horror experience.

Rating: 1 out of 5

*****

The Last Thing He Wanted

Starring: Anne Hathaway, Ben Affleck, Rosie Perez, Edi Gathegi, Mel Rodriguez, Toby Jones, and Willem Dafoe
Directed by: Dee Rees

It isn’t often that not even a single aspect of a film merits praise. Even cinematic projects that go awry usually have some positive elements that deserve a mention. Yet Dee Rees has somehow managed to make a movie so abysmal that it’s hard to find anything good to say about it.

The Last Thing He Wanted is a political thriller so incoherent, disjointed, convoluted, and boring that its very existence proves to be perplexing.

At the centre of its tale is dedicated, heroic journalist, Elena (Anne Hathaway, not at her finest), who wants to uncover the truth about U.S. government-sponsored violence in Nicaragua and the smuggling of weapons to a troubled region. But she is instead assigned the more insipid task of covering the 1984 election. When her estranged, sick father (Willem Dafoe) asks for her help in one of his ill-conceived moneymaking schemes, Elena finds herself in the middle of the very story she hoped to break.

Things go from bad to worse. A shady government official played by (a visibly bored) Ben Affleck enters the story, then just disappears from it for long stretches before entering it again.

Meanwhile, Elena, tries to find the truth with the help of fellow journalist Alma (Rosie Perez) … while either being aided or pursued by her contact Jones (Edi Gathegi) … while trying to placate her daughter who is unhappily stuck at a boarding school … while working as a maid at a resort owned by an expat portrayed by Toby Jones.

There are too many arcs, but not much convincing drama. Any of its many threads – brave journalism, weapons smuggling, a frayed father-daughter or mother-daughter relationship – could have made a compelling narrative. But here, none of them do.

The film seems to want to offer something deep, moving, and meaningful but instead ends up being shallow and dull. None of the puzzle pieces fall together with any elegance. Its choppy editing makes the narrative go randomly from scene to scene without bothering with things like flow and relevance. The atrocious screenplay includes lines like “You wanna see a monkey drive? Buckle up. Follow the bananas” and is over-reliant on grating voiceovers.

What you are ultimately left with is a subpar movie that takes itself too seriously, gives you no reason to care about its events or characters, has no redeeming qualities, and just wastes two hours of the viewers’ time.

Rating: 0 out of 5

- By Sameen Amer

Instep, The News on Sunday - 1 March, 2020 *