daliahbenari – ARTS IN NYC

Every day, during my extensive ten minute trek to and from Brooklyn College via the MTA bus system, I pass a vibrantly painted mural on Nostrand Avenue and Avenue J. The mural is titled “Junction Hues” and is filled with color-blocked segments and intricate patterns etched inside each image—comprised of a mixture of silhouettes as well as detailed portraits. “Junction Hues” was created by an organization called Groundswell and a collaboration between previous council member Jumaane Williams and Midwood High School. Information such as the description of the mural is omitted, leaving only credit to the lead artist Chris Soria, assistant artist Alexis Mena, and almost two dozen youth artists. Soria is known for his work that he does on murals around the city.

Too often, the mural blends seamlessly into the blur of my mundane schedule and is neglected on my behalf. During my commute, I categorize myself into the heap of millennials who are solely immersed in the world of themselves. I allow my thoughts to wander aimlessly as I plug in my headphones, paying little attention to my surroundings. Art is prevalent in so many aspects of my own life—it is largely exposed to me through technology and a desire to be cultured—that seeing a piece of artwork each day becomes banal. I was always aware of “Junction Hues” existence, yet I didn’t attempt to shift my thoughts towards understanding what was painted on the mural or why it was there. When I decided to scope out the mural on my own terms, I walked around and noticed that most other people did not pay much attention to the artwork either. Looking more closely, I immediately deduced that vines and weeds were growing alongside the top of the mural, some even growing onto the mural itself and overshadowing the painting. The upkeep of the mural is not maintained as well as it should be, causing it to drown in the normalities of everyday life if looked at from afar.

Most of the artwork is painted in colorful wave-like segments to illustrate the notion of the crowd of people that drift in and out of the Junction and is done so through the technique of vague silhouettes and detailed portraits with a skyline in the background. One face has butterflies protruding from the eyes and a different silhouette is a man in a baseball cap walking with a cane. The silhouetted figures all have roots painted at the bottom of their feet, paying homage to one’s identity and symbolizing the growth that each person endures as they ride the waves of life, whereas the portraits always depict someone gazing in a strong-willed manner. The silhouettes enable one to feel as if that figure could be them, ultimately portraying that despite external differences all humans crave related virtuous ideals at their core.

Soria’s purpose was to shed a light on the diverse community in the heart of Flatbush’s area called “The Junction.” A vast amount of people travel through the Junction for various reasons. Each person depicted in the mural has a similar variation of patterns painted, yet no two people have the same set of patterns drawn on them. Similarly, each person has their own unique DNA composition and culture that distinguishes them from others, yet appeals to similar characteristics that they may share with others. This striking artwork allows one to reflect modestly on their identity while trudging through their daily commute.

Game Night: Typical Romcom With a Twist

With an ordinary plotline that plants a peculiar twist at its core, Game Night illustrates a movie about a competitively driven couple, Max (Jason Bateman) and Annie (Rachel McAdams), who host a game night that goes awry, developing into a murder mystery. Witty, somewhat thrilling, and at times obscure, this mystery/romantic comedy exudes moral lessons about familial ties as an established rivalry among two brothers progresses in an almost purely comedic manner.

Deemed a blockbuster, this film produced nearly $117 million in sales, which compensates for the $37 million budget. However, the storyline is more than typical—we’re first introduced to the couple as issues arise when they have difficulty conceiving, blamed in part to the stress of Max feeling inferior to his brother Brooks’ (Kyle Chandler) success, with various subplots along the line. After Brooks pays a visit to Max and Annie’s couples’ game night, Brooks creates his own game night, proposing to “take game night up a notch” as he creates a faux-kidnapping game which only infuriates Max further. Adding extra incentive, Brooks offers the winner his prized possession and Max’s lifelong dream car, a Stingray. As the three couples compete against each other to solve the challenge of the night, they’re faced with the realization that the kidnapping was not an act but a real crime and they rush to neutralize and take control the situation before what was meant to be an innocent game gets out of hand.

Game Night is essentially the epitome of the modern Hollywood romantic comedy, reducing the film quality largely due to its unoriginality—various themes of ambition, struggle, and unwavering jealousy were noticeably present, as well as the exceptional quality of the lighting, props, scenery, and action set in the modern day era. Having said that, the lack thereof would not have necessarily called for a greater, more respected movie. A plot with more depth rather than Hollywood-filled action would have done justice for some, yet also would have taken away from the type of audience that co-directors John Francis Daley and Jonathan Goldstein appealed to—mostly people looking for a hearty laugh. The movie they produced was overall silly and cute, easing the stress and worries of the viewers as they indulged in the adventures and problems of the characters for about an hour and a half, which is a similar crowd that film directors Daley and Goldstein have attracted in their past projects together. In other words, they fulfilled their goals. Daley and Goldstein co-produced other films in the past such as Horrible Bosses and Horrible Bosses 2. These productions—exhibiting a particular style that the film directors have acquired—incorporated a similar sense of humor among characters throughout the film that was also apparent in Game Night, as well as having Bateman as one of the leading actors.

While the plotline was merely mediocre, the elements of the film that were in fact appealing were the superb acting skills of actress Rachel McAdams along with Bateman and Jesse Plemons, who played as Max and Annie’s neighbor Gary, a disturbed and socially inept police officer who maneuvers his way into game night every so often, despite Max and Annie’s constant exclusion post Gary’s divorce. McAdams, who rose to fame in notable films such as Mean Girls and The Notebook, is recognized among most as an actress who exceeds expectations time and time again, acting with great humor, vigor and sensibility.

Just as well, Bateman’s own personality quirks accurately portray Max’s character as he persistently struggles to live up to Brooks’ seemingly successful lifestyle—whether it be Brooks’ wealth or dashing looks. In an interview conducted by GQ, Bateman said, regarding films he’s interested in directing, “…That’s what really gets me going. Not loud stuff. Things that bounce very seamlessly back and forth from comedic moments to dramatic moments”, which appropriately describes the movies he’s performed in under Daley and Goldstein’s directing. With his personality attuned to the effortless gliding between “comedic and dramatic moments” Bateman has the tenacity to grasp Max’s character correctly and well.

This is one of those films that leaves viewers wondering if they actually just spent money and an hour and a half of their valuable time watching, still pondering the ending itself once the movie ends. If you are, however, interested in kicking back, alone or with friends, to watch an easygoing movie with laughable and witty remarks to take the edge off or help pass time, then this is a movie to see. If not, maybe pick up a book or spend your time doing something more useful. Trust me.