Arts & Life


ONLY THE BRAVE (Rated PG-13)

Wildfires have been an unfortunate big news item lately with the raging inferno that has consumed vast areas of Lake, Mendocino, Napa, Solano, Sonoma and a number of other Northern California counties.

Of course, the devastation has been horrific, even though firefighters valiantly battle the furious flames.

“Only the Brave,” based on the true story of a heroic crew of firefighters that became one of the most elite firefighting teams in the nation, arrives in a timely manner to remind us that heroes even sometimes have to fight Mother Nature.

You might be better off going into this movie not knowing the disturbing true story of the infamous Arizona wildfire known as the Yarnell Hill Fire, but even some knowledge of the fateful outcome should not detract from the compelling cinematic narrative.

Chances are you have never heard of the Granite Mountain Hotshots, or even what it means for a firefighting crew to be known as “hotshots,” which by all means is not the usual connotation of a showy or flashy person.

A special and honored designation, hotshots are the country’s top wildland firefighters – the Navy SEALs of firefighting. They don’t carry hoses; they literally fight fire with fire, digging lines, cutting down trees, lighting back burns to battle a wildfire.

In Prescott, Arizona, Eric Marsh (Josh Brolin), mentored by Fire Chief Duane Steinbrink (Jeff Bridges), sets out to lead a group of 20 men to be the first local city fire crew to achieve the exalted status of hotshots.

It’s a dangerous occupation that compels discipline, teamwork and dedication, but Marsh, by virtue of his temperament, commitment and loyalty to his men, is the right guy to inspire the guys to risk their lives to save others.

Though not given to any sentimentality, Marsh is willing to give a chance to Brendan “Donut” McDonough (Miles Teller), a drug user that has run afoul of the law as well as an expectant father, to turn his life around by joining the team as a probationary recruit.

In many ways, the story is told from the perspective of McDonough, a fallible character, who has to earn the trust of crew supervisor Marsh, the 20-year veteran who is very much aware of his own imperfections.

The emotional core of the movie is the relationship between a troubled, very young novice and a more senior man who has already come to term with the weaknesses in his life and aspires to build the kind of man who is more a credit to the team than a hero.

Another key character is Marsh’s wife Amanda (Jennifer Connelly), a strong-willed woman who runs their ranch when he’s off fighting fires while also tending to her own business of caring for horses as a farrier.

Fire also burns in the relationship between Marsh and his wife Amanda, a couple very much in love but under significant strain. They share a love of the outdoors, but the demands of his job certainly impacts their marriage, given that Marsh is away so much fighting fires.

Now it’s obvious that in a disaster film involving fire, the action focus is to be some enormous conflagration. But “Only the Brave” takes its time to put the fire crew through its paces to first achieve the “hotshot” status that does not come easily.

For one thing, not everyone is thrilled that Marsh wants to take a chance with Brendan. Fellow firefighter Chris MacKenzie (Taylor Kitsch) doesn’t give Brendan the benefit of the doubt, aware of his past and thinking he could hold the crew back from its mission.

And yet, Brendan through his actions manages to gain Chris’ trust so that eventually they become roommates and best friends, and there is attention paid to how that relationship develops and changes.

The same can’t quite be said for many of the others on Marsh’s team, but then aside from Marsh’s dependable right-hand man Jesse Steed (James Badge Dale), who’s a force of nature in his own right, it’s hard to flesh out the remaining crew members in a memorable sense.

More than most action films focused on an elite squad, this one is truly an ensemble piece where the collective efforts of the crew figure immeasurably into the whole of the action scenes.

The Granite Mountain Hotshots quickly establish themselves as true wildfire fighters, and even gain heroic status with the locals for saving a treasured ancient tree during another epic blaze raging out of control.

Once having been certified as hotshots, the Granite Mountain team is challenged to fighting several sequences of wildfires that are quite stunning with great visual impact in their combustible intensity.

The rampant flames, however, never really overpower the personal issues that are handled so effectively by Josh Brolin, Jennifer Connelly, Miles Teller and Jeff Bridges, most notably the best fleshed-out characters.

Still, the Yarnell Hill Fire, the climactic fiery showdown, demonstrates how the catastrophe of a devastating wildfire makes “Only the Brave” a respectful tribute to real-life heroes.

Tim Riley writes film and television reviews for Lake County News.


Joseph Hutchison has been writing good poems for more than 40 years, and I have been reading them for just that long.

He lives in Colorado, where he is the state Poet Laureate, and his latest book, “The World As Is: New & Selected Poems,” has just come out from New York Quarterly Books.

Here's a father's poem from that fine collection.

Lifting My Daughter

As I leave for work she holds out her arms, and I
bend to lift her . . . always heavier than I remember,
because in my mind she is still that seedling bough
I used to cradle in one elbow. Her hug is honest,
fierce, forgiving. I think of Oregon's coastal pines,
wind-bent even on quiet days; they've grown in ways
the Pacific breeze has blown them all their lives.
And how will my daughter grow? Last night, I dreamed
of a mid-ocean gale, a howl among writhing waterspouts;
I don't know what it meant, or if it's still distant,
or already here. I know only how I hug my daughter,
my arms grown taut with the thought of that wind.

American Life in Poetry does not accept unsolicited submissions. It is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2016 by Joseph Hutchison, “Lifting My Daughter,” from The World As Is: New & Selected Poems, 1972-2015, (New York Quarterly Press, 2016). Poem reprinted by permission of Joseph Hutchison and the publisher. Introduction copyright © 2017 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.



HAPPY DEATH DAY (Rated PG-13)

For a horror film where the main protagonist finds that her life has turned into one continuous loop until killer issues are settled, the comparison to the Bill Murray film “Groundhog Day” is not only inevitable but central to plot resolution.

But there’s more to it than that since our main character is at the surface a self-centered and on the whole unpleasant sorority girl who blissfully moves through collegiate life as if she were more likely a member of the outcast fraternity in “Animal House.”

A resolute party animal, Jessica Rothe’s Theresa Gelbman, going by the nickname of Tree, wakes up one morning, in the dorm room of nice guy Carter (Israel Broussard), hung over and thinking she’s just experienced another unfortunate one-night stand.

At this moment, Tree shifts into the “Mean Girls” mode akin to the Lindsay Lohan persona, acting rude to sorority sisters, ignoring the plea of a campus activist, blowing off a guy for asking why she’s not answered his texts, and then shamelessly pursuing an affair with a married teacher.

It doesn’t even take Tree a full day of boorish behavior to establish that she’s not likely to be crowned Miss Congeniality at the next homecoming. No wonder some mystery person wearing a clownish baby face mask stalks her in a dark tunnel before committing homicide.

Like clockwork, Tree wakes up the next morning once again in Carter’s room, knowing where he keeps the Tylenol and wondering what level of Dante’s Inferno she’s just fallen into.

To make matters worse, she ponders the dilemma of extricating herself from the embarrassment of having to relive the same day over again, which is complicated by the fact that it’s her actual birthday and her estranged father keeps ringing her cell phone.

Realizing that her life is turning into one truly annoying “reset” scenario, Tree begins to treat each day to slight variations in her daily pattern, beginning with blithe treatment of roommate Lori (Ruby Modine), who resents Tree’s cavalier attitude to life in general.

Fellow sorority sister Lori, irritatingly judgmental, is not the only Greek member with whom her encounters are bad-mannered.

Tree resents house president Danielle (Rachel Matthews) for being critical of her less-than-sisterly attitude to others.

Condemned to relive the same day over and over again until she figures out who wants her dead, Tree is put through the usual paces of a horror film, with all of the standard tropes of false scares and red herrings.

“Happy Death Day,” while tied so closely to “Groundhog Day” that one character even mentions this Bill Murray film, has much in common with the “Scream” franchise in that the comedic element is crucial.

This film is geared to a certain demographic, and it is likely to pay off dividends at the box office. 



‘Loudermilk’ on Audience Network

The new comedy series “Loudermilk” on the Audience Network is sustained, in large measure, by the impertinent persona that Ron Livingston so adeptly created when he was corporate drone Peter Gibbons hating his soul-killing job in “Office Space.”

Livingston’s Sam Loudermilk, a former Seattle rock journalist with several books to his credit, is now a cynical substance abuse counselor who holds group meetings at a local Catholic community center where he constantly runs afoul of Father Michael (Eric Keenleyside).

As a recovering alcoholic, Loudermilk has an extremely bad attitude about, well, everything. He speaks with no filter and manages to upset just about everyone in his life. In a way, he has a lot in common with Louis C.K.’s character in “Louie.”

Threatened by Father Michael to lose his meeting place for the therapy group, Loudermilk reluctantly agrees to help the drug and alcohol-addicted Claire (Anja Savcic), daughter of a wealthy widow who forms an instant dislike for the substance abuse counselor.

Spiraling out of control as a result of recently losing her father, Claire is a hard case whose attitude is even more dour and pessimistic than Loudermilk’s, leading her to butt heads with the counselor as he pushes hard to enforce sobriety rules.

Loudermilk shares his apartment with his addiction sponsor Ben Barnes (Will Sasso), who’s got demons of his own that he’s finding harder and harder to hide, leading to some bad decisions that more often than not cause a few problems for Loudermilk.

Meanwhile, Allison Montgomery (Laura Mennell), a recent transplant to Seattle moves in next door to Loudermilk, and there are some romantic sparks between the two of them, but somehow Loudermilk manages to upset her almost daily, either accidentally or seemingly on purpose.

“Loudermilk,” fittingly belongs on cable television, where uncensored words and deeds never have to be held in check because of broadcast standards. A script that is partly the handiwork of one of the Farrelly brothers sees to it.

“Loudermilk” focuses on characters as the driving element of comedy, and the payoff is quite good in nicely realized dialogue, particularly for Ron Livingston.

Tim Riley writes television and film reviews for Lake County News.

MIDDLETOWN, Calif. – “Witnessing,” the current exhibit at Middletown Art Center, is a visual tale of devastation, resilience and ongoing recovery.

With anniversaries of the fires of 2015 and 2016 just behind us, devastation from the Sulphur fire and pervasive regional fires and a week of evacuation alert in south county make the show all the more poignant.

Witnessing on view through Oct. 22 at MAC, is highly relevant and recommended.

The exhibition speaks to the trauma of those impacted by wildfires in Lake County and to the journey of overcoming personal struggle and healing.

There is power in both making and in viewing art. Art gives form and voice to feelings and insights. We identify with and are moved by expressions of the human experience through image, line, shape, color, texture, and materials.

Local artist and founder of EcoArts of Lake County, Karen Turcotte, reminds us that “Destruction takes no thought at all. Creation however, is from the heart, the mind, the hand and the soul.” Words to live by. This is exactly what the artists have done.

Sage Abella, creator of “Fire Godd and the Phoenix,” a 3-foot by 3-foot acrylic on canvas painting done two years post-fire, draws us into the chaos and colors of the fire.

Rendered in a primitive, “magical realism” style, the artist utilizes complementary warm and cool colors to speak of the two opposite yet somehow reciprocal presences of the “Fire Godd and the Phoenix,” fire and water, dry and wet.

Abella takes us through her personal journey with the Valley fire, from emergence on Cobb Mountain, to witnessing wild turkeys, rattlesnakes, deer, and other creatures’ flight from fire and ascent to the heavens.

She evacuated four times in 2015 and 2016 as her home is located between Jerusalem Grade and Lower Lake. While unscathed by fire, the landscape that surrounds her home certainly has changed.

“Fire Angel #2” is a moving piece by Ben vanSteenburgh III, and one of two acrylic and ink Fire Angels on view. It offers us a benign and winged young angel alone in her reverie, sitting with her knees gathered up to her chest as an unchecked blaze consumes a faraway landscape across a lake calm as glass. It is only the lake, however, that reflects the emotionless furor of the unchecked blaze.

The composition, primarily rendered in tints and shades of orange and yellow, seems to emit light and heat. Somehow, it is oddly comforting, perhaps a nod to ‘impermanence’.

Marcus Maria Jung’s “Dance of Creation, Destruction and Rebirth” is actually made from the devastation of the wildfires, rather than about them.

Using fire-ravaged manzanita, the artist has created a veritable dance between three charred trunk sections, swaying in gentle relationship to one another. Jung has lovingly smoothed the bark in such a way as to invite touch, and he has brought about a rebirth of the fire-forged Manzanita by transforming it into sculpture.

There are many other poignant pieces in this exhibit. Ceramicist Melanie Liotta’s impressive mosaic “Survivor” depicts a rooster crowing the break of a new day. It is comprised of shards of pottery retrieved from the Valley fire.

Also not to be missed is Alana Clearlake’s “Dreaming of Hope” – a masterful and stunningly colorful handmade felt painting of a landscape on fire with elements of regrowth and water.

Several works made by artists during Resilience classes are also featured in the show.

Come experience the Witnessing exhibition, on view at Middletown Art Center until Oct. 22.

MAC is located at 21456 State Highway 175 at the junction of Highway 29 and open Thursday from 11 a.m. to 4 p.m., Friday from 11 a.m. to 6 p.m., Saturday from 10 a.m. to 6 p.m., and Sunday from 11 a.m. to 4 p.m.

Visit MAC online at www.middletownartcenter.org or call 707-809-8118 for more information.










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