The Counselor by Ridley Scott

The Counselor by Ridley Scott

To give the simplest summary of the latest film from Ridley Scott and first-time screenwriter Cormac McCarthy, the Counselor (Michael Fassbender), deeply in love with his fiancée Laura (Penelope Cruz), tries to make a quick score in a one-time drug deal with Reiner (Javier Bardem), his girlfriend Malkina (Cameron Diaz) and middleman Westray (Brad Pitt). The deal backfires, and now The Counselor is wrongfully targeted by a Mexican drug cartel.

So Cormac McCarthy, Ridley Scott, Michael Fassbender, Brad Pitt, Javier Bardem, Penelope Cruz and Cameron Diaz in a monumental cinematic failure, what happened?

Let’s be clear. The true author of The Counselor is Cormac McCarthy, not Ridley Scott. The artistic choices that McCarthy is attempting with the script are evident. He seems to have a disdain for exposition, as most of the scenes start and end before the typical story movements in a plot. What remains are these existential conversations that occur after a lot of the action has taken place.

McCarthy thinks that by removing story explanation, the film’s themes and ideas will float to the surface. The dialogue just drones on and on and on non-stop, having the viewer scratching their heads trying to keep up with it. As a result, there is no time to absorb the themes and ideas that McCarthy is trying to communicate. Audiences can tune to a different syntax (i.e. Yoda or Nadsat from A Clockwork Orange) and absorb heavy themes, but it is hard to do both at the same time.

Michael Fassbender carries the film sufficiently on his shoulder by adding as much believability as possible and together with Penelope Cruz make a good solid emotional anchor with their love story. Javier Bardem does his trademark brand of ‘psychotic hair acting’, fashioning a spiky hairstyle that looks like he is forcibly pulling out his hair with hair gel. Brad Pitt’s character just seems like an odd combination of character quirks that comes off more shallow. It is hard to buy Bardem and Pitt’s characters because gangsters would never philosophize and advise their underlings like old wise sages.

Cameron Diaz is the odd one out and it is hard to judge her performance. It took me a while to realize that Malkina character was from Barbados, and apparently she put on an accent for it, but it was undetectable. The role is something we never seen from Diaz before and it is a wild explosive left-field character. I just don’t know what to make of it. Every actor is delivering on what is written, but it’s hard to judge if it’s good or bad acting because the performances do not add up to the sum of its parts. The actors are not to be blamed.

The final conclusion I can draw is that director Ridley Scott and the cast believed that Cormac McCarthy has written something great and have proceeded to honor it by acting it out unedited as if it was Shakespeare. Had they been more critical about the screenplay and its mechanics, something more profound definitely could have been made. From what McCarthy is trying to say with these themes, he would have done better by just writing a philosophy paper about greed and corruption. As a bleak morality tale, it is not at all compelling.

The Counselor is not a film I would recommend people to see for leisure, but anybody with an interest in screenwriting should give it a watch to study the forensics and learn what not to do, even if you are a critically acclaimed novelist.

 

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Prisoners by Denis Villeneuve

Prisoners by Denis Villeneuve

When Keller Dover’s daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads. But just how far will he go to protect his family?

Prisoners has the strongest ensemble cast of 2013 and everybody brings their A game. Keller Dover is Hugh Jackman’s most raw and complex role yet, as Jackman plays Dover’s wavering belief of the justice system and descending morality to a realistic precision. Things get murky as Dover takes matters in his own hands on an unconfirmed suspect Alex Jones (Paul Dano) and traps himself between being desperate, angry and helpless.

Jake Gyllenhaal, sporting a neck tattoo and facial tics, creates the realistically compelling Detective Loki. The character is a fascinating inward look to how police detectives conduct their investigations, interrogate suspects and how the job centers on being emotionally removed from the crime itself. Loki is even darkly funny at times because he is so distanced from the crime and committed to procedures that normal things seem outlandish to him.

Roger Deakins’s cinematography brings layers of shades into the perpetually cloudy and otherwise flat-looking suburbia. The moody atmosphere embodies a sinister undertone; whether the location is a forest, a kitchen or a washroom, it feels like someone is lurking behind the corner. Mirroring its main characters, the cinematography impressively supports the story with a growing sense of insecurity.

Denis Villeneuve directs ambitiously, as Prisoners juggles between being a character study of two families dealing with a kidnapping, a crime mystery plot and the theme of the institution versus the individual. Retrospectively, in total Alfred Hitchcock-coined  “refrigerator logic” terms, the film does not entirely deliver on all three. Maria Bello, Viola Davis and Terrence Howard’s characters do get sidetracked. The story thematically switches between whatever is the most interesting in the given moment, which in the moment is powerfully engaging.

The White Storm by Benny Chan

The White Story by Benny Chan

An undercover narcotics operation against a Thai drug lord pits three childhood friends against each other.

The White Storm, the latest film from Hong Kong director Benny Chan is a undercover drug story, but it’s not interested in crime genre elements or in exploring the social issue of drug production in Thailand, but the onscreen chemistry between its three stars: Sean Lau, Louis Koo and Nick Cheung. The story reminded me most of John Woo’s Bullet in the Head in that it was about the disintegration of a brotherhood. The dramatic conflict between the three actors are the price of admission. It has a very interesting A story that could have made a great film, but The White Storm spends a lot of the 134-minute running time telling instead of showing its story. And also like Bullet in the Head, it executes it in the hammiest way possible under the guise of Hong Kong 80’s action nostalgia.

For example, in the story Koo, Lau and Cheung are lifelong friends. The film chooses to exposit this by having the trio reminisce about singing the theme song “Pledge to Join the War” by Adam Cheng from the classic TV show “Luk Siu Feng”, a classic song about brotherhood. And later on in the movie, Benny Chan plays the goddamn song. This is just about the oldest, hokiest joke in the book; they may as well have tied red headbands around their heads. People in my theater, including myself, laughed, not because it’s a funny clever reference but more in surrender of how shamelessly cheesy the writers were willing to go to highlight their bromance. Yes, they are very good friends, we get it!

Sean Lau is the subtle glue that holds all this cheese together. Something I observed about Lau was that he had all the best lines and was the only one out of the three protagonists who was not given a backstory. The lines of dialogue aren’t good in a cool quotable way, but it was exactly what the character would say in a given moment, no more no less. I suspect Lau rewrote a lot of his own lines. He gives a pronounced performance that’s as low volume and non-showy as this production will allow, but yet he comes out as the most engaging character. It’s really a testament to how underrated an actor Lau is.

Louis Koo and Nick Cheung, as good as they are and as much effort as they put in, overact compared to Lau. They are fine actors but are bogged down delivering a lot of expositional monologues stating how they feel. The romantic subplots Koo and Cheung are given almost dangerously dominate the A story. It’s not their fault though, Benny Chan directs with a heavy hand. It’s as if Chan and the writers constantly worry that the audience won’t be able to follow what’s going on, so they overcompensate.

Speaking of overcompensation, Lo Hoi-Peng shows up with crazy acting hair to chew up scenery, and boy, does he ever chew! It’s entertaining watching an old man act bananas but the hair does most of the acting. It’s hammy as hell. But despite of all the ham and cheese, Louis Koo, Sean Lau and Nick Cheung make very good company and are the price of admission. And at its core The White Storm is a good story about three friends, I just wished it wasn’t screamed at me.

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The Call by Brad Anderson

The Call by Brad Anderson

The Call by Brad Anderson

When a veteran 911 operator takes a life-altering call from a teenage girl who has just been abducted, she realizes that she must confront a killer from her past in order to save the girl’s life.

The Call is a tense thriller that fully explores and delivers on its premise. Everything feels like it’s happening before us. Solving one problem creates another and time always seems to be running out. I watched this with my family and it was so gripping that they became totally responsive to it. They were covering their eyes, flinching and screaming at the television at different points.

Thriller movie elements aside, director Brad Anderson brings the audience inside the world of police procedures and emergency call centers. It is well researched and minute with its real world details. The things that we don’t like to know or look at in real life crimes and murders are drawn as a source of tension. The stress and emotional detachment that is required in being an emergency operator is incorporated dramatically into the story. Together this washes away the genre conventions of a typical cop film and instead feels like we are looking into the lives of real-life police officers handling crime.

This is not Halle Berry’s most demanding performance but she does effectively transport the audience into her plight. Berry plays a lot of emotions despite being confined at a desk for a majority of the film. It’s a very pronounced performance. Morris Chestnut seems too aware of himself to really convince me of his character. It seems like he’s always detached from his own environment. There’s a bit of a sick pleasure in watching Abigail Breslin being kidnapped because she was so profoundly annoying in Definitely Maybe. That’s probably me being mean. But here, Breslin plays the situation very real. Michael Eklund is convincingly creepy as the scene-stealing villain. The scariest thing about serial killers or murderers in real life is that nobody ever looks like a serial killer. They all appear as normal people and are protected by the benefit of the doubt. Eklund’s character practically shifts the film into horror film territory.

As it moved toward to the finale, even on the very edge of my seat, I was still secretly wishing for something to really wow me at the end. I don’t know if it was because I liked The Machinist and developed an expectation from Brad Anderson. There were about two three ways the story could have finished that would have been fine, but nothing mind-bending. But it did deliver. My secret wish was fulfilled. The finale to The Call is a gutsy, left-turn ending that pulled the rug right under me. As it went to black, my mouth went agape pondering about what the fates of all the characters.

With the current trend of long running two-hour films, any film that has the discipline to wrap up around 90 minutes is praiseworthy. There is no fat to be trimmed here. The Call might be a film that goes unnoticed under the radar with its lower budget and hype. I saw it on DVD myself. It is the tensest movie I’ve seen this year. Hopefully there’s less lag time from now till Brad Anderson’s next project.

Only God Forgives by Nicolas Winding Refn

Only God Forgives by Nicolas Winding
Refn

Julian, a drug-smuggler thriving in Bangkok’s criminal underworld, sees his life get complicated when his mother
compels him to find and kill whoever is responsible for his brother’s recent death. Chang, a Thai police lieutenant, is exacting his own brand of vigilante justice and punishing everybody involved.

Only God Forgives is the classic case of a director doing a continuation of his authorial style. An aesthetic that was recognized in a previously successful film is further explored in a more extreme fashion in a follow-up piece. Very often it’s focused on using the established cinematic style to carry the entire movie. Wong Kar Wai made Fallen Angels after the success of Chungking Express. David Lynch made Inland Empire after the success of Muholland Drive. Terrence Malick made To the Wonder after Tree of Life.

Only God Forgives is Nicolas Winding Refn’s stylistic continuation of Drive. What’s stripped away is the frequent plot turns, traditional character development and character likability. These are probably the most quiet cinematic gangsters I’ve ever seen in my life. Characters are posed like empty vessels. They don’t talk much. Sometimes when they do, the director mutes their dialogue. Ryan Gosling plays a still taciturn character in a similar way he did in Drive. Kristin Scott Thomas is an effective threatening presence as Julian’s stern mother Crystal. There’s very little to draw from Gosling’s Julian, but it is there. Even within it’s morally ambiguous world, there is a clear character arc. Julian is an active character trying to find redemption but also wants to please his mother. Which leads to me to the Chang character…

Nicolas Winding Refn has said the Lieutenant Chang character represents the Old Testament God, exacting judgment and punishment on all the sinners in the story. I am not sure how clear that is in the film unless the audience read the press notes beforehand. Does the God theme really matter? In a way, yes. The film is so stoic with its characters posed like figurines, you cannot help but inject symbolism into the film’s empty canvas to derive meaning out of it. Trying to watch this film as a genre crime thriller, which is what it is on the surface, would be relatively more frustrating. Luckily I caught on to it.

The Chang character, in a perpetual black shirt with a white collar, is dressed like a priest. He is a violent enforcer of poetic justice, and all his actions are ritual-like. In a more traditional movie, Chang would have been the protagonist. Here, he’s the antagonist. From the story’s perspective, where all the characters are varyingly degrees of bad, it’s as if Chang is the Grim Reaper coming to collect souls even though he in fact is a force for good. That’s a really interesting left-field story choice and I dug that. Lieutenant Chang is the most fascinating character and a great antagonist.

There is an indulgent aspect to Only God Forgives, any director taking on big questions will naturally come off that way. Refn could have easily written a theology thesis but he’s chosen to express his thoughts with narrative film. I have no problem with that but it automatically sets up qualifiers for audiences to enjoy the film. While it is not necessary, I think having viewed Drive first will help one familiarize with Refn’s film language before seeing this movie. As for the God themes, it can go either which way. Some may find it pretentious, but I found images from the film stuck with me long after and I am still pondering the film’s themes. I found the Julian and Chang characters compelling. So for that, Only God Forgives is neither the masterpiece nor disaster that all the Cannes hype is suggesting, but more of a hyper-stylized personal statement. It will surely divide audiences, and your enjoyment will depend on how you deal with abstractions.

Drug War by Johnnie To

Drug War by Johnnie To

Police captain Zhang (played by Sun Honglei) partners with a drug lord named Timmy Choi (played by Louis Koo) after he is arrested. To avoid the death penalty, Choi agrees to reveal information about his partners who operate a cocaine ring. Zhang grows suspicious of Choi’s honesty as several police officers began a raid on the drug ring.

Drug War is a crime film made and released in Mainland China by a Hong Kong film company. Naturally there is going to be an element of political compromise. All the policemen are Mainland Chinese and all the drug dealers are from Hong Kong (Take a guess which side wins in the end). Nationalism in movies has never really bothered me unless it’s oozing with disgustingness (i.e. Michael Bay’s Armageddon). That is not the case here and I don’t have a problem with that. My interest is not the politics, but rather what Johnnie To will bring to drug film set in Mainland China. The answer? Not too much.

What’s missing from Drug War are the Johnnie To quirks. The zany off-the-wall characters who have speech impediments and odd ticks are gone. The dramatic noir lighting, minimalistic stage-like blocking or themes of brotherhood are gone. Even the gunplay is less stylized and presented in a realistic fashion. I don’t miss any of these specific quirks or tropes, but without the idiosyncratic Johnnie To stamp, what’s left is a very straightforward police procedural.

The characters are servicing the plot, which is odd for a Johnnie To film because usually it’s the other way round. We don’t get insight into the distinct personalities of the drug dealers or police officers and their relationships (like in Election, an ensemble piece where it manages to characterize the supporting characters). We don’t know if they have family members or girlfriends waiting for them at home or any backstory. The story is simply moving beat-by-beat linearly on the central question of how trustworthy Louis Koo’s drug lord character is. There’s nobody you’re supposed to be rooting for, but things are continually changing and you simply watch awaiting the final outcome.

To, a director and producer with his own production company, has always been best when he has free reign. The limits of To’s free reign authorship is that he is very culturally rooted to Hong Kong and possesses a firm voice regarding to its politics (Election), economic condition (Life Without Principle), daily life in Hong Kong (the office politics in Needing You), or even local nostalgia (Throwdown, Sparrow). As exemplified in 2008’s Vengeance, a project which was co-financed by French financiers and starred French rock singer Johnny Halliday, To’s directorial voice is weaker when he steps outside of his comfort zone. The three Hong Kong actors casted alongside Johnny Halliday to couch the star for two thirds of Vengeance mirrors the Milkyway regulars who show up as the seven Hong Kong drug bosses in Drug War’s denouement. It’s like he is trying to recalibrate the film by filling it with things he’s familiar with. However, there is no sense of To’s personal perspective on the topic of drug running, drug addiction, crime or how the police work in China through the film’s story, themes or characters. That makes a bit tame because To has fared much better in the past.

In context to Johnnie To’s back catalogue, Drug War will be remembered for pushing the boundaries with the Chinese Film Bureau. The Mainland police are shown working undercover and solving crimes, having gun battles with criminals and some even dying in the line of duty; these are all images that were previously not allowed to be shown in a Mainland theatrical release. Yet now we are seeing them onscreen. So that is a proper achievement that’s worth celebrating. The final product is probably more telling of Chinese film censorship than of To’s directorial sensibilities. But I can’t help but think that there is a grittier, nuttier version of Drug War lying in the corner of Johnnie To’s desk that is stamped “rejected”, namely the version of the story that he didn’t get to make.

Jack Reacher by Christopher McQuarrie

Jack Reacher by Christopher McQuarrie

A homicide investigator digs deeper into a case involving a trained military sniper who shot five random victims.

So on the height debate, I have never read the Jack Reacher books, so I do not have an impression of the character in my mind. However, it’s irrelevant that Tom Cruise is not 6″5. Hugh Jackman is technically much taller than Wolverine in the comics. And even though they make everybody taller than him in the movies (imagine the budget of apple boxes on every X-men movie), nobody’s arguing that his height ruins his performance as Wolverine. At the end of the day, it’s a question of medium. Lee Child stated that he wrote Jack Reacher to be 6″5 because he wanted Reacher to feel like an enormous presence in the reader’s mind. As film is a visual medium, one can build a person’s presence by adjusting how you film an actor and the actor can perform a larger-than-life personality in his performance.

That’s exactly what Tom Cruise brings to the table. Not since Collateral has Tom Cruise created such a powerful onscreen character. The Jack Reacher character embodies a lot of qualities that we enjoy seeing Tom Cruise play: a savvy maverick (pun intended) who can handle any situation and deliver funny zingers as he’s doing them. The biggest thing going against Cruise is his own stardom. With the amount of information we know about his personal life and his star power, some people may not buy Tom Cruise playing a “Man with No Name” archetype who is shrouded in mystery. It’s a legitimate argument, however, Cruise plays against his stardom as much as he can. I understand that Jack Reacher in the novel is a womanizer and they downplay that here, probably as a way to help shape Tom Cruise into more of a normal person for the movie. He does not grin his way through this role, and in the sum of it all it made a huge difference for me.

The film has an all round great cast. I’m a Werner Herzog fan and he was actually the initial reason why I wanted to see this movie. Herzog brings a chilling presence to his villain role that pushed me into nervous hysterical laughter every scene he was in. Knowing the funny stories behind Herzog, I would say it was 40% scared by his character, 60% laughing giddy because it’s Werner Herzog. Technically that means I’m taken out of the movie by having this pre-existing knowledge, but for me personally it engaged me even more.

Cinematographer Caleb Deschanel is a story conscious cinematographer. He is aware that he’s making a crime thriller and uses cinematography to punctuate thriller conventions. He frames the shots in a way that maximizes the tension for each scene, keeping the viewer unnerved and agitated throughout the film. Deschanel understands that visual spectacle is most effectively earned when people believe what they are seeing. A noteworthy example is a car chase sequence in the film that is covered in a series of long shots designed to ensure the audience that Tom Cruise is indeed driving the car performing all the stunts. It was one of the best car chases I’ve seen in a long time.

Christopher McQuarrie is a competent director and I look forward to his work as a director. It’s nice to see a screenwriter make his way into a director and earn their visions. It shows in the film. The best part I enjoyed about Jack Reacher was that it reigns itself in. It understands set-up and payoff and plays like an old fashioned suspenseful thriller where the mystery patiently unfolds itself before the audience. Much of the fun factor comes from the fact that Jack Reacher is ahead of the film’s characters and the audience in figuring out what’s going on. It engaged me and I found myself shifting forward on my seat anticipating what was going to happen next.

I wish there was more I can say about how much I enjoyed it, but that’s about it. Tom Cruise, forget your beloved Mission:Impossible franchise

Miss Bala by Gerardo Naranjo

Miss Bala by Gerardo Naranjo

Miss Bala tells the story of Laura Guerrero (played by Stephanie Sigman), who dreams of becoming a beauty contest queen in a Mexico dominated by organized crime.

I am not familiar with what life is like in Mexico, so it was very interesting to follow Laura as she is taken through the inner world of the Mexican drug cartels. There are some very cruel moments of violence and I found myself scared for this girl the whole time. Not to sound distasteful, but I was really scared that she was going to be raped. Any time a gangster with a machine gun comes up to Laura, I was thinking, “He can totally do it right now. There’s nothing stopping him!” When she’s not being threatened sexually, it was the possibility of her being shot to death. There are a few long take sequences in the film where Laura dodging crossfire in gun battle that puts you in the moment. We see how the violence and the corruption eventually weighs down on this girl, eventually corrupts her dream and sucks the living soul out of her.

However, Miss Bala commits the sin of choosing its message over its protagonist in its third act. Laura becomes progressively passive and ends up being an inactive character who simply observes and obeys the orders she’s given by the gangsters. Stephanie Sigman is a competent lead actress and carries the film but her character has no motivation from that point onwards. It builds to an open ending that I thought was too “open” for its own good. The film wants to present Laura as an innocent victim caught in the middle of all this turmoil, but I still think the victim angle can still be clear with her actively trying to accomplish a goal. It’s as if director Gerardo Naranjo thought it would be too much and settled on his presenting his message but the audience definitely was hungry for that extra mile. I’m sure that wasn’t Naranjo’s goal. That said, Miss Bala still gripped me for the first two thirds.

It’s a nice piece of “issue-tainment” nonetheless.

Into the Abyss by Werner Herzog

Into the Abyss by Werner Herzog

On October, 24 2001, Michael Perry and his friend, Jason Burkett, decided steal a Camaro from the the Montgomery home of Sandra Stotler. Perry entered the house through the garage. Perry shot Sandra Stotler with a shotgun and the two men dumped her body in Montgomery County’s Crater Lake.

The duo then returned to the gated community where Sandra Stotler lived and waited outside the locked gate until the dead woman’s son, Adam Stotler, and his friend, 18-year-old Jeremy Richardson arrived. Perry and Burkett lured the teens to a wooded area and killed Adam Stotler and Richardson. Perry and Burkett, driving the Isuzu Rodeo Adam Stotler had been using, went back to Sandra Stotler’s home and finally stole her Camaro. They kept the Camaro for no longer than 72 hours and were finally apprehended after a gun fight with the police. Perry received a death sentence and Burkett received a life sentence.

Into the Abyss is the new documentary film from Werner Herzog, it focuses on the two convicts and various people affected by the crime. In his documentaries, Herzog always seeks what he calls the “ecstatic truth”, his theory that storytellers should never look away from the truth. It’s not enough that we know that murder exists. You have to look at it face-to-face. Once you do this, you will find a whole well of deeper truth.

That was my experience watching Into the Abyss, on the surface it covers a very depressing subject. At the helm of any  lesser director it would probably be depressing. Instead, it cuts right through and takes you to different places emotionally beyond “hey dude, murder is depressing, so be depressed while you watch this”. It’s emotionally raw, the parts about the victim’s families dealing with the victim’s deaths are powerful stories. We see that it so much more harder to grieve when one’s death was over something so meaningless. Mostly we can say that these deaths are all made from wrong choices. Did these people have a choice? Some seemingly did and some claimed they did not. It would be so much easier to judge and encapsulate how we feel about a person’s actions if we did not look at the whole truth of his predicament.

There is humor at times, but it’s not there to break tension. It comes as part of the ecstatic truth. Herzog greets the father of Jason Burkett, Delbert Burkett, who is also in prison, “How are you?” The sits down and casually snaps a “I’m fine.” Herzog half-scoffs, “How fine (are you really)?” Delbert recounts how he testified for his son in court and pleaded to the judge not to execute Jason. He blames himself for not being there as a father and never gave his son a chance for a good life.

It’s even romantic at times, the wife of Jason Burkett speaks about how she fell in love with her husband and desires to bear his child, despite that they will not be together for 40 years until he makes parole. She holds a sonogram picture of the baby and that was an unnerving moment. As she held up the picture, I wondered if the child is another seed of criminality. That’s what I saw. I think other people will have different interpretations. The film is dense enough for it.

One of the most chilling moments for me was the interview with Fred Allen, the Captain of the Death House Team in Texas, where the prisoners are brought to be executed. He describes the procedure of taking the patient to be lethally injected and his struggle with keeping the job after lethally injecting 125 convicts. A notepad is shown noting the times of the procedure of Michael Perry’s execution: when he arrived, when he was strapped to the bed, when he was injected and when he passed. That struck me still. I did not have an emotion for that.

Herzog does not narrate as he usually does and I think that was a good aesthetic choice. He only conducts the interviews. Herzog’s own views are implied in the film (he is against the idea of capital punishment), but it’s not as loud of a statement as one would experience in a Michael Moore film. It is unlike Cave of Forgotten Dreams where he needed to answer, “Why the hell are we looking at these caves for 2 hours?”  There is no question of why we need to watch this and Werner Herzog takes a step back from telling us his personal views. The viewer is left to decide how they want to judge the actions Michael Perry and Jason Burkett. Herzog provides no answers, but asks all the right questions.

Why did these three people die for a car? Why did these two kids kill for a joyride? How does death affect a family? How do you live your life knowing that you will be executed next week? Is there any real purpose to executing Michael Perry? After all, it won’t bring them back. Does anyone, including the state, have any right to take a life? Just because the law says so, does that make it right?

At the end, It left me raised the hairs on the back of my neck. I thought about the absurdity and ironies of life. Into the Abyss reflected the human predicament and how as human beings we think we know everything, but we are not even close to understanding ourselves.