#first it was ser-rei a couple days ago and i was like

[35eddion]

feeling the special interest leaving my body. augh don't go i love you and i need you please stay

[bensonalick]

Drifts of snow cracked under Hodor’s boots.

This sneaker features an Air Max silhouette with obvious features from the Air Jordan XI, plus cement print. Drifts of snow cracked under Hodor’s boots. Had this case been chosen for the theme of a novel, or a tragedy, the world would have cried out upon it as a plot of monstrous improbability. Carey intercepted a clear attempt and skated in to the slot. I work for people because I believe they have something to offer our community. “A wildling. While fire danger continues to hang around because it's dry, it's the heat that has our four legged friends feeling stressed.Many of us might think it's the perfect weather for taking your pet for a run or walk, but that exercise poses one of the biggest problems for your pet in this heat."The dog gets out there and they simply overheat," says veterinarian, Steve Siegert.Dogs and cats don't mind hanging out in the sun, but they can't tell you when enough is enough."Dogs can't take that heat. The Treasure carried cloves and saffron, jet and jade, scarlet samite, green silk … and the grey death. Covering the table was a large map of the north, painted on a ragged piece of hide. When Tribune Star photographer, Bob Poynter, arrived at

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[serjacobdezoet]

A Web of Stories Part 0.5: A Word on Epigraphs

First of all, I apologize for my long absence. School does not leave me much time to write or to read, outside of what I do in class. Now that summer has started I will hopefully have some time to do some reading of Ghostwritten. It’s a hell of a lot better than the drivel that is Maria Doria Russell’s The Sparrow which I am currently halfway through. However, I haven’t dedicated the time quite yet to give that sonufabitch Neil Brose the attention he deserves. So I’m going to talk a little bit about epigraphs, more specifically about Ghostwritten’s epigraph and how it is a dead giveaway of the theme/Central Narrative Thread(CNT)/etc….

I’ve only personally seen epigraphs in books that are attempting to be literary. Maybe that’s literary snobbery, after all some books that claim to be “literary” are little more than the author preaching through flimsily constructed mouthpieces (I’m looking at you Atlas Shrugged). However, despite their various flaws I think literary books do all attempt to engage with a larger set of ideas. Which is, to quote GRRM out of context “is their great glory and their great tragedy.” All literary books, without strong enough characters or plot, run the risk of turning out like Atlas Shrugged.

Epigraphs are a way to begin this discourse by citing and suggesting an expansion or a response to the ideas put forth in previous work. Citing your sources, as you will. Epigraphs suggest that the author has done their due diligence and read widely. Usually the book is better for it (guess which book does not have an epigraph :) ). Oftentimes however, the epigraph kind of gives away the chase: it can make the point of the book VERY apparent, although perhaps I am speaking with reread bias. Let’s take a look at a couple examples and then I’ll dive in to what I think Ghostwritten’s epigraph is all about.

The celestial spheres endlessly resound.

But an instant is invincible in memory.

It comes back in the middle of the night. Who are those holding torches

So that what is long past occurs in full light

-Czesław Miłosz

This is an epigraph from Guy Gavriel Kay’s newest book A Brightness Long Ago. The text of the epigraph itself is from a Czesław Miłosz  poem called “The Master”. The poem is about an old musician/composer remembering some sinful event from his past, and remarking on how clear it seems and how he is glad he remembers in it. In A Brightness Long Ago, the main character Danino is also stuck in the mists of the past. He is old, serving on the council in Seressa (analog of Venice) as an important noble, but it is this event from his youth, the meeting of two mercenary leaders who engage in a struggle that ends up being pointless, is the thing he remembers. This epigraph tells us that it is this act of memory that we should be focusing on: the how he remembers and the why, not the what.

TRIPITAKA: Monkey, how far is it to the Western Heaven, the abode of Buddha?

WU-KONG: You can walk from the time of your youth till the time you grow old, and after that, till you become young again; and even after going through such a cycle a thousand times, you may still find it difficult to reach the place where you want to go. But when you perceive, by the resoluteness of your will, the Buddha-nature in all things, and when every one of your thoughts goes back to that fountain in your memory, that will be the time you arrive at Spirit Mountain.

-The Journey to the West

This is an epigraph from Kim Stanley Robinson’s The Years of Rice and Salt. The Epigraph is from the 16th century Ming Chinese novel The Journey to the West. The former tells the tale of an alternate history in which the black plague wiped out the entire population of Europe. The latter is a Chinese folktale chronicling the seeking of enlightenment by pilgrims traveling the Western regions of China (i.e. India and Central Asia). Robinson’s novel focuses on two things: a world and a group of reincarnating individuals, both of which seek to come to some kind of balance. In the Bardo, a limbo-like state between incarnations, the characters find themselves and the world in a state of anarchy. China is first too powerful and then the Arab states and so on and so forth. The reincarnated characters, each delineated by the starting letter of their name, also swing back and forth on the pendulum. From coward to scientist, from hero to murderer. It is only in the chapter entitled “Window Kang”, in which the title character reflects on the best years of her life being those of “rice and salt”, i.e. the ordinary, hectic child-filled years of her life, in which enlightenment begins to be achieved.

...And I, who claim to know so much more, isn’t it possible that even I have missed the very spring within the spring?

“Some say that we shall never know, and that to the gods we are like the flies that the boys kill on a summer's day, and some say, to the contrary, that the very sparrows do not lose a feather that has not been brushed away by the finger of God.”

-Thorton Wilder, The Bridge of San Luis Rey

And now finally Ghostwritten. I have not read The Bridge of San Luis Rey (it’s on my reading list I swear), but the central event of the novel is a bridge collapsing in Lima, Peru which kills seven people. Brother Juniper, a local monk, takes it upon himself to find out these people are and perhaps see the workings of the hand of God in their deaths. I have not read the book, so I do not know the intricacies of the ending, but the Abbess of the monastery: "There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning."

Ghostwritten also focuses on the question of the existence of the hand of God. In some ways Mitchell comes to the same conclusion as Wilder. So many of the characters make the decisions they make because they love. Yet like all effective authors, Mitchell goes beyond merely affirming the ideas espoused by the epigraph. First of all there are the non-corporeals, an invisible force that influences our decisions in inexplicable ways. Then, more importantly, the CNT is a train hurtling towards the creation of the super intelligent AI Zookeeper and the destruction of the human race by a comet. In Ghostwritten we are shown many gods: some that view human beings as mere distractions to their larger purpose (chance, the noncorporia), others that make it their work to know all the workings of the human soul (Zookeeper and the author). Perhaps it is not one or the other, as brother Juniper suggests, but both.

Why is this helpful? Hopefully you’ve already picked up on some reasons. This epigraph gives a better idea of theme (looking for the hand of god) and gives the seemingly unrelated narrative threads a clear direction (we are hurtling towards the creation of a force that can we can tangibly prove will affect our lives). This realization, combined with the long fiction writing class I took during the spring semester, has convinced me that I need to switch directions slightly on this blog. I need to move away from the discussion of complex vague thematics and towards something more tangible like story structure. I will be replacing my three thematic sections with two core pillars of discussion: 

“Spring Within a Spring” which will focus on the central narrative thread, the narrative arc of each chapter and other storytelling techniques. 

“Hand of God”, which I will focus more on thematics, specifically on love, chance, authorial choice, noncorporia. 

The other sections will remain the same.

See you soon (hopefully) in Hong Kong.

Ser Jacob De Zoet

[obscurelysevere]

5: Introductions

Nerves that were uncharacteristic of her were flitting around in her stomach, as Usagi tugged at her and Mamoru's arms, pulling them toward Crown parlor. "Ooh, I can't wait to introduce you to my friends! Another senshi! This is so exciting!" the tiny blonde bubbled, as the sliding doors parted for the trio. "How many others are there?" Kat asked, betraying her own nerves. "Well, there's..." Usagi stopped to think, counting silently on her fingers. "Ten of us? If you include Chibimoon and myself." "Ten?!" She was not expecting that many. "Oh! But don't worry, not everybody is here all the time. Haruka and Michiru and Setsuna and Hotaru kind of like to... keep to themselves. And Chibimoon is in the future with Neo Queen Serenity and King Endymion," she continued to babble on. "Endymion? Neo Queen...?" Kat stopped walking, and looked up at her brother, who went by the same name in a previous life, with her, and Princess Serenity. Usagi stopped walking and looked back at the siblings. "Eh... uhm... yeah. So... Neo Queen Serenity and King Endymion are me and Mamo-chan in the future. And Chibiusa is their... our daughter." Usagi poked her two pointer fingers together a couple of times, sounding slightly embarrassed.

It was Kat's turn for her mouth to fall open slightly, at a complete loss for words. So Usagi continued. "Chibiusa - Chibimoon - comes and visits us here, in the past, sometimes. She also comes to see Hotaru - they're best friends, you see." Kat closed her eyes for a moment. She just spent the past few months trying to wrap her head around her past. But there was a future world she had to think about too? She couldn't help but smile, though. The idea that the prince and princess still existed in another time made her happy. "Well, I can't wait to meet her sometime." "I guess that would make her your niece!" Usagi exclaimed, excitedly, now that she knew she didn't freak Kat out. "So, then, if she's from the future... Does she already know about me?" The question tumbled from Kat's lips before she could swallow it. It didn't want to impose on their lives in any way, and that question almost felt too close to the line. Usagi and Mamoru exchanged an unsure glance. "Eh... She hasn't said anything about you, before," Usagi started, carefully. "Yeah, but, I only became aware of your existence after you did. So maybe, your... awakening will start to spark something in all of our memories?" Mamoru was quick to offer. "Yeah, yeah!" Usagi agreed just as quickly. She grabbed Kat's and Mamoru's hands, pulling them along again, as she walked backwards towards a booth full of four other girls and two... cats? "Usagi-chan!" A blonde with a red bow stood up, beaming. All the girls looked up at the sound of Usagi's announcement. They looked like they were going to greet her, but their voices stuck in their throats at the sight of the newcomer. The girl with the blue bob spoke up first. "Who's your new friend, Usagi?" Kat suddenly felt very under the microscope. All she had planned on doing was meeting her brother today. But she'd already met him, his fiancé - the moon princess - heard of their daughter, and she was meeting other senshi, that she had only had a very faint knowledge of just until an hour ago. Her face felt hot - was she blushing? "This is Roun Katrina! She's... well..." Usagi stopped again, looking up at Kat and Mamoru, as if asking them to finish explaining for her. Mamoru cleared his throat and put his free hand on Kat's shoulder. "This is my sister, from the Silver Millennium." "Whaaat!?" All four girls - and the cats - cried at once, in disbelief. "Your sister!?" the raven-haired girl repeated, the words almost sounding funny on her tongue. "Mamoru, honestly, how long have you been keeping this a secret from us?" she demanded. "He didn't know," Kat was quick to jump in. "I just... found him today. I only got my memories back a few months ago." "Right around the time Galaxia... killed me." Mamoru added. "Wait, what!?" Kat's head snapped up. "You died again?" Mamoru quickly put up his hands in defense. "Yeah... When you showed me your memories, I saw more than just our past, I saw your life up until... well, today, really." "Kat is a sailor senshi, just like us!" Usagi added, with much excitement. The girls began throwing a barrage of questions at Mamoru and Katrina. "Here, here, let me just show you," Kat offered. She glanced around, there weren't many people in the Crown parlor, so she felt fairly safe letting the other girls see her past. She wasn't aware that her past also included her transforming for the first time in the present and fighting the phages, which she assumed came from this Galaxia that her brother had mentioned. The girls each put a hand in the middle of the table, fingertips touching, and Kat hovered her hand over theirs. Her signature rosy-golden glow illuminated her fingertips and warmth flooded over the other girls' hands. They were all silent as the memories merged in their minds. Kat also sensed the two cats presences in the peripheral of her mind. They all opened their eyes as Kat pulled her hand back. They blinked slowly, and looked at her with new eyes. Not recognition, but acceptance. The warmth that squeezed at Kat's heart was new and unfamiliar. She'd never had so many people around her before. "Sailor Earth," the brunette said, wonder in her voice. They each began to introduce themselves - Minako, Sailor Venus, Makoto, Sailor Jupiter, Rei, Sailor Mars, Ami, Sailor Mercury, and even the two cats - Artemis and Luna. They all moved to make way for her to sit amongst them. Mamoru excused himself, kissing Usagi atop her head, saying something about really needing to study, and he was so, so sorry, but he promised Usagi and Kat that they could all get together for dinner that night. Kat wasn't in the least bit nervous about her brother leaving her behind with these girls she'd only just met. It felt like she'd always known them, Usagi especially. Conversation quickly bubbled up, about school and studies, and eating and sleeping and gaming (courtesy of Usagi, herself). It was clear the girls had a deep bond, one that went far beyond them just being sailor senshi. The girls asked where Kat lived, where she went to school, what she did for a living, etc. Kat tucked some hair behind her ear, looking down at the strawberry parfait sitting in front of her (one that Usagi had insisted that she try). "Well... I live in Hakone right now... but I've been looking at moving here and studying at Keio University. I want to continue studying biology, with an emphasis at animal husbandry and conservation. I'm currently a vet tech at one of the best vets in Hakone, but I want to be able to do much more." "So like, zoology?" Ami asked, smiling gently at her. "Yeah, exactly like zoology, actually. I would love to work at the Tokyo zoo, eventually. But that seems like such a long ways down the road. Especially after discovering who I really am. But it's gotten so quiet since you beat Galaxia, that I feel like I might be able to dedicate more of myself to my studies." Ami nodded sagely. "Being a sailor guardian can be a lot of work, itself. But I've been able to maintain my studies and honor roll, so it's not impossible." Usagi and Minako groaned and rolled their eyes a little bit. Kat laughed. "I take it you two aren't too fond of school?" Rei smorted. "Usagi avoids studying like the plague. And her grades show how vested she is in her 'studies'." "Why should I try to memorize something I'm going to forget immediately? And it's something that's not so important anyway, not like being Sailor Moon is!" Usagi's voice grew louder with determination. "Shhh!" The girls were quick to shush her, and she hung her head slightly. Kat laughed. "You're such good friends." "What about your friends, Kat-chan?" Usagi asked, innocently. Kat wasn't used to the affectionate nickname. It made her feel warm and welcomed. "Well... I don't really have friends outside of my coworkers back home, really," she admitted, quietly. "Don't worry, we'll be your friends, from now on!" Usagi cheered. "Especially if you're going to move here! Oh, you have to move here! Us scouts have to stick together!" Kat smiled at her. "You really think so?" "Of course I do! You can't stay alone! Especially now that Mamo-chan knows he has a sister. Mamo's parents... they died in a car accident when he was younger. So he's never had any blood relatives around. He was an orphan when he was younger. But I'm his family now! I could be... your family too, if you would let me." Usagi offered a soft, small, genuine smile. Kat couldn't help but feel the warmness spread through her. Though there was something that tugged sadly at her heart. How her brother grew up, it didn't sound too much different than her upbringing. Though her parents hadn't died. They had just given her up. She spent most of her life feeling unwanted, and like she didn't belong. But here, now, sitting with the five other girls, and knowing that Mamoru was in her life, it felt like she'd never really been alone at all. That night, Usagi and Katrina went to Mamoru's apartment. When they walked in, the rich smell of home-cooked udon ramen warmed the sparse living-space. "I don't cook often," Mamoru admitted, when he saw Kat eyeing the cooking food. "But this felt like an extra special occasion." He smiled at her and rested his hand atop her head, like he always used to do. It made her smile, fondly. Everything about this day had gone so much better than she had expected it to. In fact, she had been pretty sure that she wasn't even going to find her brother on this short trip at all. At the very least, she would check out Keio and talk to some professors, to see if it would be a good fit for her. But here she was, with her brother, and her new-found friend, whom she felt as if she had known her whole life. Usagi was purity and goodness and sunshine and love. It was no wonder she was Sailor Moon, and Princess Serenity. Even when she wolfed down her double chocolate parfait, leaving whipped cream and chocolate on her face, somehow Kat could still envision her as the princess of the Moon Kingdom. Even when she bickered with Rei in a losing argument, she could see it. Even when she tripped over the lip of the step up into Mamoru's apartment, Kat couldn't shake the vision of who Usagi once was; who she was destined to be. "It looks so delicious, En- Mamoru," Kat said, whilst Usagi peered over her shoulder. Usagi giggled. "Mamo-chan, it looks soooo yummy! Much better than the instant noodles that Mama buys me!" Mamoru laughed, and turned his affections to his fiancé. He slipped an arm around her waist, kissing her tenderly. Kat turned away. She wasn't used to this level of love, or any sort of stable relationship. Because of the way she'd grown up, and the deep-seeded feeling that there was something so very different inside of her, none of her relationships had lasted past the one year mark. And that was only a one time thing. All of her other relationships lasted far less, it seemed. Not that she minded - it had given her time to focus on her studies, and her job. But seeing her brother and Usagi together, Katrina felt a pang in her chest. Quietly, she pulled herself away from the small, but open kitchen, and padded around Mamoru's living space. It was very minimalistic, and she got the feeling that he didn't spend a whole lot of time here, save for sleeping. It was very clear that Usagi didn't spend more than a bit of a time here, either, as there wasn't a woman's touch to be seen. Not even a trace of clothing. "Oh, Mamo-chan! Katrina-chan is looking at enrolling at Keio!" Kat perked up at the sound of her name, and looked at the couple in the kitchenette, mainly her brother. He had one raised brow. "Oh really? What for?" He sounded genuinely interested. "Biology. Zoology to be more specific." "Yeah! Yeah! She wants to work at the zoo. Wouldn't that be so cool, Mamo-chan? She could spend all her days working with cute little animals!" Usagi was so animated. Mamoru smiled at Kat. "That doesn't surprise me. From what I can remember, you were very much an animal-whisperer, even when you were a little girl." It sounded weird having someone refer to her at such a young age. She was used to people knowing that part of her. No one had ever stuck around long enough to even try and learn. She laughed, a little self conscious now. "I guess I did spend a lot of time in the gardens, and the woods, getting to know the animals in the area." "Ooh. Like a real-life Snow White?" Usagi sounded fascinated. "Well... I never sang to them." Kat's face was a little flushed. She wasn't used to all of the attention, and positive feedback she was receiving from both of them. Kat was absolutely flabbergasted when she saw the way Usagi wolfed down three full bowls of ramen, not even waiting for them to cool down, and gasping and whining every time she took an especially hot bite. "Where does it all go?" Kat asked, half joking. Usagi shrugged. "That's what I wonder, all the time," Mamoru said with a chuckle. Once they were all finished, Usagi and Kat stood in the kitchen, cleaning the dishes. "You and Mamoru are really close, huh?" Kat asked. Usagi was happily wiping the dishes dry, and putting them away, as she went. "Of course!" she answered, without missing a beat. "I mean... he's my soul mate. And if time has proven anything to us, it's that we'll always find our way back to each other, every time." Usagi grew quiet for a moment, as if she were deep in thought. "I mean, Queen Beryl killed and brainwashed him, but he came back. Then, he was receiving warning dreams from King Endymion in the future, warning him that he might be my downfall. So we broke up. But he came back. And the Dark Moon Circus was draining his crystal with their powers, while they were here. But he never went anywhere, at least not completely. And then Galaxia... killed him. I thought he was just overseas, studying in America, and he didn't have time for me. But he came back, once I defeated the Chaos in Galaxia." "You know what I'm hearing?" "What's that?" "That you, and your love, have saved him time and time again. Without you battling to protect this planet, and everyone on it, none of us might be here right now. I really wish I had gotten to know you sooner, Usagi." Kat's voice had grown a little softer, a little more quiet. Usagi stopped wiping, and peered up at the other woman. "But... you're here now, and that's all that matters, right?" She smiled so brightly, the room seemed to glow with her energy. "Right." Kat smiled warmly back at her. "Usako!" Mamoru burst from his bathroom, in dark grey sweatpants, his hair still dripping wet from his shower. His voice was urgent. "People are being attacked downtown!"

[streaming-pelicula-completa-03]

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Año 1998. Isabel es una estudiante de periodismo que se ve obligada a realizar sus prácticas en el diario de un pequeño pueblo costero gallego. Al llegar, quiere ponerse manos a la obra lo antes posible y comenzar a investigar para así demostrar todo lo que ha aprendido y convertirse en una auténtica periodista. Desafortunadamente, la labor de Isabel consiste en escribir las esquelas que llegan a la redacción. A pesar de lo tediosa que parece ser la tarea, la joven descubre unas esquelas que, más que el anuncio de una muerte, parecen un mensaje de amor. Siempre enviadas en la misma fecha y siempre dedicadas a una tal Lucía.

Isabel decide entonces embarcarse en un viaje por descubrir qué hay detrás de esta curiosa historia. Así, la protagonista viajará, a través de su investigación, al verano de 1958 en Jerez de la Frontera. Allí, entre los viñedos, se fraguó un triángulo amoroso formado por Lucía, su prometido Hernán y Gonzalo, un arquitecto amigo del futuro esposo de la protagonista que tiene la tarea de construir una bodega para la pareja.

4 de diciembre de 2020 / Drama Dirigida por Carlos Sedes Reparto Blanca Suárez, Javier Rey, Guiomar Puerta Nacionalidad España

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THE STORY After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes the standard opportunities of seeking employment from big and lucrative law firms; deciding to head to Alabama to defend those wrongfully commended, with the support of local advocate, Eva Ansley (Brie Larson). One of his first, and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in 62, was sentenced to die for the notorious murder of an 2-year-old girl in the community, despite a preponderance of evidence proving his innocence and one singular testimony against him by an individual that doesn’t quite seem to add up. Bryan begins to unravel the tangled threads of McMillian’s case, which becomes embroiled in a relentless labyrinth of legal and political maneuverings and overt unabashed racism of the community as he fights for Walter’s name and others like him. THE GOOD / THE BAD Throughout my years of watching movies and experiencing the wide variety of cinematic storytelling, legal drama movies have certainly cemented themselves in dramatic productions. As I stated above, some have better longevity of being remembered, but most showcase plenty of heated courtroom battles of lawyers defending their clients and unmasking the truth behind the claims (be it wrongfully incarcerated, discovering who did it, or uncovering the shady dealings behind large corporations. Perhaps my first one legal drama was 624’s The Client (I was little young to get all the legality in the movie, but was still managed to get the gist of it all). My second one, which I loved, was probably Primal Fear, with Norton delivering my favorite character role. Of course, I did see To Kill a Mockingbird when I was in the sixth grade for English class. Definitely quite a powerful film. And, of course, let’s not forget Philadelphia and want it meant / stand for. Plus, Hanks and Washington were great in the film. All in all, while not the most popular genre out there, legal drama films still provide a plethora of dramatic storytelling to capture the attention of moviegoers of truth and lies within a dubious justice. Just Mercy is the latest legal crime drama feature and the whole purpose of this movie review. To be honest, I really didn’t much “buzz” about this movie when it was first announced (circa 206) when Broad Green Productions hired the film’s director (Cretton) and actor Michael B. Jordan in the lead role. It was then eventually bought by Warner Bros (the films rights) when Broad Green Productions went Bankrupt. So, I really didn’t hear much about the film until I saw the movie trailer for Just Mercy, which did prove to be quite an interesting tale. Sure, it sort of looked like the generic “legal drama” yarn (judging from the trailer alone), but I was intrigued by it, especially with the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep on seeing the trailer for the film every time I went to my local movie theater (usually attached to any movie I was seeing with a PG rating and above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me invested and waiting me to see it. Thus, I finally got the chance to see the feature a couple of days ago and I’m ready to share my thoughts on the film. And what are they? Well, good ones….to say the least. While the movie does struggle within the standard framework of similar projects, Just Mercy is a solid legal drama that has plenty of fine cinematic nuances and great performances from its leads. It’s not the “be all to end all” of legal drama endeavors, but its still manages to be more of the favorable motion pictures of these projects. Just Mercy is directed by Destin Daniel Cretton, whose previous directorial works includes such movies like Short Term 6, I Am Not a Hipster, and Glass Castle. Given his past projects (consisting of shorts, documentaries, and a few theatrical motion pictures), Cretton makes Just Mercy is most ambitious endeavor, with the director getting the chance to flex his directorial muscles on a legal drama film, which (like I said above) can manage to evoke plenty of human emotions within its undertaking. Thankfully, Cretton is up to the task and never feels overwhelmed with the movie; approaching (and shaping) the film with respect and a touch of sincerity by speaking to the humanity within its characters, especially within lead characters of Stevenson and McMillian. Of course, legal dramas usually do (be the accused / defendant and his attorney) shine their cinematic lens on these respective characters, so it’s nothing original. However, Cretton does make for a compelling drama within the feature; speaking to some great character drama within its two main lead characters; staging plenty of moments of these twos individuals that ultimately work, including some of the heated courtroom sequences. Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton makes Just Mercy have an underlining thematical message of racism and corruption that continues to play a part in the US….to this day (incredibly sad, but true). So, of course, the correlation and overall relatively between the movie’s narrative and today’s world is quite crystal-clear right from the get-go, but Cretton never gets overzealous / preachy within its context; allowing the feature to present the subject matter in a timely manner and doesn’t feel like unnecessary or intentionally a “sign of the times” motif. Additionally, the movie also highlights the frustration (almost harsh) injustice of the underprivileged face on a regular basis (most notable those looking to overturn their cases on death row due to negligence and wrongfully accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is a movie about seeking the truth and uncovering corruption in the face of a broken system and ignorant prejudice, with Cretton never shying away from some of the ugly truths that Stevenson faced during the film’s story. Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the real-life individual) did for his career, with him as well as others that have supported him (and the Equal Justice Initiative) over the years and how he fought for and freed many wrongfully incarcerated individuals that our justice system has failed (again, the poignancy behind the film’s themes / message). It’s great to see humanity being shined and showcased to seek the rights of the wronged and to dispel a flawed system. Thus, whether you like the movie or not, you simply can not deny that truly meaningful job that Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From the bottom of my heart…. thank you, Mr. Stevenson. In terms of presentation, Just Mercy is a solidly made feature film. Granted, the film probably won’t be remembered for its visual background and theatrical setting nuances or even nominated in various award categories (for presentation / visual appearance), but the film certainly looks pleasing to the eye, with the attention of background aspects appropriate to the movie’s story. Thus, all the usual areas that I mention in this section (i.e. production design, set decorations, costumes, and cinematography) are all good and meet the industry standard for legal drama motion pictures. That being said, the film’s score, which was done by Joel P. West, is quite good and deliver some emotionally drama pieces in a subtle way that harmonizes with many of the feature’s scenes. There are a few problems that I noticed with Just Mercy that, while not completely derailing, just seem to hold the feature back from reaching its full creative cinematic potential. Let’s start with the most prevalent point of criticism (the one that many will criticize about), which is the overall conventional storytelling of the movie. What do I mean? Well, despite the strong case that the film delves into a “based on a true story” aspect and into some pretty wholesome emotional drama, the movie is still structed into a way that it makes it feel vaguely formulaic to the touch. That’s not to say that Just Mercy is a generic tale to be told as the film’s narrative is still quite engaging (with some great acting), but the story being told follows quite a predictable path from start to finish. Granted, I never really read Stevenson’s memoir nor read anything about McMillian’s case, but then I still could easily figure out how the movie was presumably gonna end…. even if the there were narrative problems / setbacks along the way. Basically, if you’ve seeing any legal drama endeavor out there, you’ll get that same formulaic touch with this movie. I kind of wanted see something a little bit different from the film’s structure, but the movie just ends up following the standard narrative beats (and progressions) of the genre. That being said, I still think that this movie is definitely probably one of the better legal dramas out there. This also applies to the film’s script, which was penned by Cretton and Andrew Lanham, which does give plenty of solid entertainment narrative pieces throughout, but lacks the finesse of breaking the mold of the standard legal drama. There are also a couple parts of the movie’s script handling where you can tell that what was true and what fictional. Of course, this is somewhat a customary point of criticism with cinematic tales taking a certain “poetic license” when adapting a “based on a true story” narrative, so it’s not super heavily critical point with me as I expect this to happen. However, there were a few times I could certainly tell what actually happen and what was a tad bit fabricated for the movie. Plus, they were certain parts of the narrative that could’ve easily fleshed out, including what Morrison’s parents felt (and actually show them) during this whole process. Again, not a big deal-breaker, but it did take me out of the movie a few times. Lastly, the film’s script also focuses its light on a supporting character in the movie and, while this made with well-intention to flesh out the character, the camera spotlight on this character sort of goes off on a slight tangent during the feature’s second act. Basically, this storyline could’ve been removed from Just Mercy and still achieve the same palpability in the emotional department. It’s almost like the movie needed to chew up some runtime and the writers to decided to fill up the time with this side-story. Again, it’s good, but a bit slightly unnecessary. What does help overlook (and elevate) some of these criticisms is the film’s cast, which are really good and definitely helps bring these various characters to life in a theatrical /dramatic way. Leading the charge in Just Mercy is actor Michael B. Jordan, who plays the film’s central protagonist role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years. This is most apparent in this movie, with Jordan making a strong characteristically portrayal as Bryan; showcasing plenty of underlining determination and compelling humanity in his character as he (as Bryan Stevenson) fights for the injustice of those who’s voices have been silenced or dismissed because of the circumstances. It’s definitely a strong character built and Jordan seems quite capable to task in creating a well-acted on-screen performance of Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django Unchained, and Ray, has certainly been recognized as a talented actor, with plenty of credible roles under his belt. His participation in Just Mercy is another well-acted performance that deserve much praise as its getting (even receiving an Oscar nod for it), with Foxx portraying Walter with enough remorseful grit and humility that makes the character quite compelling to watch. Plus, seeing him and Jordan together in a scene is quite palpable and a joy to watch. The last of the three marquee main leads of the movie is the character of Eva Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed employee / business partner), who is played by actress Brie Larson. Up against the characters of Stevenson and McMillian, Ansley is the weaker of the three main lead; presented as supporting player in the movie, which is perfectly fine as the characters gets the job done (sort of speak) throughout the film’s narrative. However, Larson, known for her roles in Room, 6 Jump Street, and Captain Marvel, makes less of an impact in the role. Her acting is fine and everything works in her portrayal of Eva, but nothing really stands in her performance (again, considering Jordan and Foxx’s performances) and really could’ve been played by another actress and achieved the same goal. The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family) as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray” Hinton, actor Michael Harding (Triple 2 and The Young and the Restless) as Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a prison guard named Jeremy, are in the small supporting cast variety. Of course, some have bigger roles than others, but all of these players, which are all acted well, bolster the film’s story within the performances and involvement in Just Mercy’s narrative. FINAL THOUGHTS It’s never too late to fight for justice as Bryan Stevenson fights for the injustice of Walter McMillian’s cast against a legal system that is flawed in the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a stance on a poignant case; demonstrating the injustice of one (and by extension those wrongfully incarcerated) and wrapping it up in a compelling cinematic story. While the movie does struggle within its standard structure framework (a sort of usual problem with “based on a true story” narrations) as well as some formulaic beats, the movie still manages to rise above those challenges (for the most part), especially thanks to Cretton’s direction (shaping and storytelling) and some great performances all around (most notable in Jordan and Foxx). Personally, I liked this movie. Sure, it definitely had its problem, but those didn’t distract me much from thoroughly enjoying this legal drama feature. Thus, my recommendation for the film is a solid “recommended”, especially those who liked the cast and poignant narratives of legality struggles and the injustice of a failed system / racism. In the end, while the movie isn’t the quintessential legal drama motion picture and doesn’t push the envelope in cinematic innovation, Just Mercy still is able to manage to be a compelling drama that’s powerful in its story, meaningful in its journey, and strong within its statement. Just like Bryan Stevenson says in the movie….” If we could look at ourselves closely…. we can change this world for the better”. Amen to that!