The Marine 5: Battleground (Video 2017)

The Marine 5: Battleground: Directed by James Nunn. With Mike ‘The Miz’ Mizanin, Maryse Mizanin, Heath Miller, Trinity Fatu. While working as an EMT back stateside Jake Carter after responding to a distress call, finds himself caught up protecting a person of interest from a biker gang ruthlessly hunting them down.

“Often, you see a film, write a comment and impressions get frozen. I revisit my comments from time to time and am often sad to see them. I remember films as a dynamic experience. The best ones are not a simple thing but an ecology of concepts and emotions that evolve in the 90 or 120 minutes that I commit to. What matters is how far from home they take me, how effectively they go under and around the blocks I set to attempt to define myself. u003cbr/u003eu003cbr/u003eWhen I write a comment — even an engaging one — I am reducing the river to a photograph. As films are a shared experience, some readers may be able to view that photograph and recall the actual experience. But there is a sort of pain in the pretense that you have reduced a living universe to a few static phrases.u003cbr/u003eu003cbr/u003eIu0026#39;m particularly aware of that penalty in this case. Iu0026#39;ve seen most of Kustaricau0026#39;s other projects. They simply have too much story for me to fall into the flow: too many boats to see the water. This has a story too, about a boy, a people and the concept of justice. It helps that in this case, the filmmaker invested nothing in the story. Oh, it is engaging because the notions are simple and the characters endearing. But it just provides an excuse for a cinematic flow.u003cbr/u003eu003cbr/u003eAnd what a flow! There are so many cinematic ideas here, so many notions of visual narrative, so many concepts of integration that you want to go over and over. The eye can gather so much information, orders of magnitude more than we can handle in the mind. The sense of sight is the only one that has evolved an extra layer or pre-mind before the brain gets things. The optical nerve is part conveyance and part processor. It has an eidetic memory that helps with dynamic composition. It is that perceptive mechanism that I think is exploited, no celebrated here.u003cbr/u003eu003cbr/u003eThe opening scene by itself is an introduction: a disastrous wedding, the establishment of a whole world of caprice and the selling of a soul all happen in one continuous shot. Along the way, you have some set pieces that you just do not want to leave. There is a celebration of Saint Georgeu0026#39;s day on the water that you will remember all your life, and possibly relate to your first love and the creation of your child. Fire, water, languid seduction, flow and constraint. u003cbr/u003eu003cbr/u003eWe cross over into the world of the gypsies, here being a world where morals and laws are as elastic as anything else. From any other perspective, these people are parasites on the main engine of civilization: thieves and beggars. But from the world we comfortably inhabit in the film, they are whole and the world and values are vague. The title is not about A TIME, but the sense of time.u003cbr/u003eu003cbr/u003eSons and mothers, mothers as fathers. Perhaps there is no more common bridge among worlds, but here it is repeatedly dissolved into the background, as ephemeral as the flows of geese that are the clouds in this sky. I really have no idea how the filmmaker wrangled all these animals to behave so precisely. Even with the risky and difficult long pans there are often perfectly timed actions with animals, mostly birds.u003cbr/u003eu003cbr/u003eSee this, my friends. Celebrate Saint Georges day, wade in the water, remember your loves and resist the temptation to freeze it into a memory. Let it flow.u003cbr/u003eu003cbr/u003eTedu0026#39;s Evaluation — 3 of 3: Worth watching.”