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Arts
Thursday, February 23, 2017 — 5
‘Fist Fight’ falls short
Despite a star-studded cast, Warner Bros. latest film disappoints
“Fist Fight” is a movie about
two teachers who go ahead
and fight each other because
that is something you wouldn’t
expect two teachers to do. And
if there is one thing that “Fist
Fight” thinks is funny, it’s
teachers doing things teachers
wouldn’t normally do.
“Look,
that
teacher
does
drugs!”
“Look,
that
teacher
swears
a
lot!”
“Look,
that
teacher
is
a
potentially
psychotic killer!”
“Look, that teacher is Ice
Cube!” This list represents a
comprehensive compilation of
every single joke in the entire
hour and thirty-one-minute
ordeal that is “Fist Fight.”
While jokes like these are
occasionally funny, it’s not
the kind of humor on which
to base an entire feature
film. It’s a running joke, a
bit. Ultimately, “Fist Fight”
is just like the jokes it tells;
sometimes it’ll get a laugh, but
for the most part, it feels like
a one-note sitcom episode that
lasts ninety minutes instead of
twenty.
“Fist
Fight”
is
doubly
disappointing considering the
comedic pedigree of its cast.
Charlie Day, the breakout star
of FXX’s terrific “It’s Always
Sunny in Philadelphia,” stars,
squaring off against Ice Cube,
who has turned in scene-
stealing comedic work in the
“Jump Street” movies. The
two are backed up by Tracy
Morgan (“30 Rock”), Jillian
Bell (“22 Jump Street”), and
Kumail
Nanjiani
(“Silicon
Valley”), as well as dramatic
performers
like
Dean
Norris (“Breaking Bad”) and
Christina Hendricks (“Mad
Men”).
This is an insane cast, and to
their credit, they all do great
work. Day acquits himself
quite well as the straight
man of the movie, though the
manic energy that has made
him the fan favorite character
of “Sunny” inevitably shines
through. Ice Cube plays the
kind of “angry guy” role that
he could do in
his
sleep
by
this
point
in
his career, but
he does it well
enough
that
it’s hard to get
too upset over.
Arguably
the
biggest surprise in the cast is
Norris, who portrays the high
school’s put-upon principal,
who seems like he is growing
closer and closer to losing his
mind as the story wears on.
Like much of the cast, it’s a bit
role, but Norris makes it one of
the more memorable parts of
the movie.
Still, with a cast this good,
there
should
be
material
worthy of that talent, and
there is little to none to be
found in “Fist Fight.” Apart
from the absolute dearth of
any sort of wit—former Funny
or Die writers Van Robichaux
and
Evan
Susser
fill
the
movie with as many F-bombs
as possible and erroneously
believe
that
counts
as
comedy—the
film
features
the bane of modern R-rated
comedies: the shoehorned in
emotional B-story.
You know the one where the
main character has to learn
the value of friendship or the
main character has to learn to
believe in himself or the main
character has to be a better
employee. It’s the storyline
where large swaths of people
leave the theater to refill
their popcorn or go to the
bathroom because they know
there will be nothing funny
for the next five minutes.
Here, “Fist Fight” proves to
be the most economical kind
of movie, as it crams three of
these into itself for the price
of one. Day’s character has
to learn to be a better father
and he has to learn to stand
up for himself and he has to
worry about his job. Not only
do these function as a way to
give the plot some illusion of
stake, but it gives the writers a
way to espouse the message of
the film as much as possible:
words matter.
And that is where “Fist
Fight” falls shortest of all,
because while it all but breaks
the fourth wall to get its
meaning across, everything
that happen within the movie
contradicts it. Words matter,
but nothing the characters do
has any consequences. Words
matter, but do whatever you
want, it’ll turn out okay. Words
matter, just not our words. It
is hypocritical in a way that is
almost inspiring. If it felt like
anyone but the cast had put
any effort into it, “Fist Fight”
might be salvageable, but it
can’t escape its own idiotic
duplicity and boring humor.
WARNER BROS.
JEREMIAH VANDERHELM
Daily Arts Wrtier
Serving up more than just food
As with most businesses,
restaurants
possess
the
ability to impact social and
political change. Whether it’s
by choosing to source their
produce from local farmers
or by taking a stand on recent
anti-immigrant policies, the
way restaurant owners choose
to run their establishments has
far-reaching effects on their
communities and beyond.
In a recent profile, Detroit
chef Kate Williams made clear
her awareness of the cultural
currency chefs and restaurants
carry in driving food and dining
trends across the country. This
awareness motivates her use of
whole animal preservation and
local produce from Detroit’s
urban farmers. In doing so, she
hopes to infuse the national
discourse
surrounding
culinary
trends
and
food
consumption
with
her propensity for
sustainability
and
reducing food waste.
Among
the
increasing
movements
aimed at boosting
sustainability
and
reducing waste is
the
farm-to-table
movement
—
a
trend
that
began
in the early 1970 ’s
and entered mainstream food
culture a little over a decade
ago. The movement benefits
not only the environment and
the economy but also improves
and
sustains
the
nation’s
physical health. Williams is
among an increasing number
of chefs and restaurants that
have taken to the movement. In
addition to reducing business
costs for restaurant owners,
it helps local farmers and
creates jobs — a key advantage
for cities like Detroit, that are
recovering
from
economic
hardship.
This movement, and many
others, are sparked by the
actions of individual chefs.
Their
unique
tastes
and
practices have the power to
shape how food is made and
consumed in our country. Not
all trends and movements are
rooted in culinary practices,
however.
Recently, many restaurants
took it upon themselves to
support their local communities
by
championing
immigrant
workers — who make up over
a quarter of the industry —
and closing their doors on
Thursday, February 16th in “A
Day Without Immigrants.” The
national movement, sparked
by President Donald Trump’s
recent,
highly
controversial
anti-immigrant
policies,
sought to defend immigrants,
who form the backbone of the
restaurant industry.
In
January,
Sanctuary
Restaurants
was
founded
to
protect
employers
and
workers from becoming the
targets of hate or harassment
by educating them on their
rights
and
calling
on
consumers
to
increase
their
awareness.
The
organization’s
maxim is the belief
that,
“There’s
a
place at the table
for everyone.” Over
280 restaurants have
already joined the
movement, including
Ann
Arbor’s
Zingerman’s
Deli.
The movement seeks to create
inclusive dining environments
and hold restaurant owners,
workers
and
consumers
responsible for fostering safe
spaces and responding to the
racism and discrimination that
have permeated the national
discourse
surrounding
immigrants.
This
type
of
response uses the particular
position of restaurants in their
community and the economy
to make a political statement
and to advance social change
on a scale that extends far
beyond their respective local
environments.
On
a
small-scale
level,
restaurants serve a valuable
role as cultural hubs, bringing
together members of their
communities and individuals
from
outside
to
share
in
unifying, common experiences.
They
exhibit
a
range
of
diverse
cultural
practices
that
introducer
patrons
to
philosophies
and
practices
they might not experience
elsewhere.
a
fundamental
and
necessary
aspect
of
communities
across
the
nation. As cultural mainstays,
restaurants are positioned to
take the kind of stance that
Sanctuary
Restaurants
and
other movements advocate for
to mobilize real change.
Restaurants
play
a
vital
role in their local business
communities. Whether a hole-
in-the wall local joint, a small
time food truck, or a high-
end dining spot, restaurants
are
pillars
of
their
local
communities and the nation’s
overarching
economic
and
cultural ecosystem. Drawing
crowds
from
all
over
the
world, they possess the ability
to aggregate numerous and
varied constituencies.
Even
on
a
small
scale,
the way restaurant owners
choose
to
present
their
businesses
is
reflective
of
attitudes
of
inclusion
and
social
consciousness.
In
her
interview,
Williams
expressed her desire to make
her restaurant approachable
to all, particularly to those
deterred from certain price
points. Be it simplified decor
or a more affordable menu,
this form of cultural and
economic awareness strives to
make dining a more equitable
environment.
Though
instability
is
common within the industry,
with
restaurants
shuttering
and failing to launch regularly,
those
with
staying
power
have a profound impact on
their communities and a clear
expression of their unique
cultural
voice
within
the
culinary landscape. It’s these
kinds of establishments and
culturally-savvy owners that
create enduring spaces and
practices
that
shape
their
communities in the long run
and that ultimately shape who
we are as consumers.
SHIR
AVINADAV
FOOD COLUMN
FILM REVIEW
“Fist Fight”
Rave Cinemas,
Goodrich Quality 16
Warner Bros.
SINGLE REVIEW
It’s not a surprise
that Lana del Rey’s newest
single is about love.
But instead of gravi-
tating towards the sensual,
melancholy-heavy sound of
2013’s Born To Die, “Love”
is delicately suffused with
nostalgia and sweeter, more
tender emotions.
Lana swaps out the
chorusing violins that fea-
tured prominently in both
“Born to Die” and “Dark Par-
adise,” replacing them with
a steady, gently bobbing beat
and airy, rustling background
noises, which emphasize the
unhurried tone and dreamy
atmosphere of the track.
Wispy, ethereal electronics
further add to the softness of
the song overall.
Like most of her
work, “Love” has a distinctly
cinematic sound to it; it’s
easy to picture it playing
over a scene from the 2013
film adaption of “The Great
Gatsby,” which featured
her “Young and Beautiful.”
Something about the effort-
less breathiness of her voice
as she reaches for higher tim-
bres and the candid, buoy-
ant innocence of the lyrics
(“It doesn’t matter if I’m not
enough / For the future or
the things to come / ‘Cause
I’m young and in love”) per-
fectly captures the essence
of young love. Even if the
listener hasn’t experienced it,
“Love” encourages imagina-
tion, nudging us to let loose
and take advantage of the
possibilities available to us
while we still can.
But “Love” isn’t
merely about the freedom
and naivete of the emotion;
it’s also a song of admiration
for those who are still able
to experience love’s carefree
nature.
“Look at you kids
with your vintage music /
Comin’ through satellites
while cruisin’ / You’re part of
the past, but now you’re the
future,” Lana coos in the first
stanza, a hint of motherly
pride unmistakable in her
voice.
Even as the piece
builds into a sweeping cre-
scendo, it never loses any
of the lush luminosity that
keeps it fresh. At its most
intense, the song glides with
a sugary, carefree melodious-
ness — but at every end it’s
purposed.
— SAMANTHA LU
“Love”
Lana del Rey
Polydor
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“Fist Fight”
is doubly
disappointing
considering the
comedic pedigree
of its cast
POLYDOR
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