After a brief battle with pancreatic cancer, Houston art legend Bert Long, Jr. died Friday at the age of 72.
"Bert was this quintessential burst of energy and creativity," Houston Museum of African American Culture (HMAAC) CEO John Guess, Jr. tells CultureMap. "The man was unstoppable and never missed a beat. He was always a wonderful, supportive friend."
"Bert was this quintessential burst of energy and creativity. He was always a wonderful, supportive friend."
A celebrated painter and sculptor — with both an NEA fellowship and Rome Prize to his name — Long was an iconic figure not only in Texas, but throughout the national and international art worlds. His work is found in public collections across the country, from the Museum of Fine Arts, Houston and the Dallas Museum of Art to New York's Metropolitan Museum.
After breaking his arm this past fall, Long was forced to postpone Everything Bert, HMAAC show of new work that was set to feature his trademark ice sculptures as well as a film about his life and career.
The artist has created a number of public installations in Houston through the years, including his iconic Field of Vision projects in the Third and Fifth Wards.
Bert — a documentary directed by John Guess on Long's life and career — will be screened at the Menil Collection at 7 p.m. on Feb. 14. Further memorial plans will be announced in the days and weeks to come.
Bert Long with his Gates to Opportunity (2002), a permanent installation at E.O. Smith Education Center located in Fifth Ward
BertLong.com
Bert Long with his Gates to Opportunity (2002), a permanent installation at E.O. Smith Education Center located in Fifth Ward
The most important thing for any movie to establish early on is its tone. No matter the genre, a film needs to make its audience understand how they should feel as the story unfolds so that they’re willing to go along with whatever transpires on screen. A film that doesn't do that, such as the new Onslaught, runs the risk of failing to connect with viewers even if it has some interesting or fun elements to offer.
One of the biggest issues for the movie is that it fails to fully invest in its main character, Celeste (Adriana Arjona). She’s a military veteran who now lives in and manages a desert trailer park, which is filled with a motley crew of offbeat people. She also has a contentious relationship with her ex, who unexpectedly drops off their daughter, Daisy (Blake Kennedy), soon after the film begins.
Celeste has a stash of high-powered weapons, showing she hasn’t left her former career fully behind. Her expertise comes in handy when something goes wrong at a nearby military contractor facility run by Hans Kemmler (Dan Stevens), and a trio of super soldiers escapes into the wild. Trained to kill everyone in their path, it’s not long before they set their glowing eyes on the trailer park.
Directed by Adam Wingard and written by Simon Barrett, the film has elements of horror, action, and comedy, but the filmmakers struggle in finding the right combination of the three. Wingard and Barrett divide the film’s focus between the trailer park and the military facility for a long time at the beginning of the film, and the quirkiness of people at the former mixed with the bold weirdness of the people at the latter keep viewers off balance in a bad way.
Once they finally settle into the main part of the story where the super soldiers go on a rampage, the filmmakers overpromise and underdeliver. The showdown between a seemingly unstoppable group and an angry woman and her band of misfits seems destined to be highly entertaining, but comes off as underwhelming. The sequence is filled with brutality with no meaning and heroics that feel more accidental than purposeful.
The ham-fisted way in which the story plays out is disappointing since the film has a bunch of characters who could have been great if used properly. The trauma of Celeste’s military career and personal life are hinted at, but don’t come into play as much as expected. Hans and his wife Hanna (Rebecca Hall) are completely off-the-wall, but their eccentricities seem to be apropos of nothing. The super soldiers are initially intimidating, but the climactic sequence undercuts them significantly.
Arjona has yet to fully break out despite some good roles in Hit Man and the Disney+ show Andor. She makes for a good lead here, embodying the toughness of a military veteran while still being relatable. Stevens and Hall go all in with their bonkers characters, but the story doesn’t serve them well. Comic relief comes in the form of Reginald VelJohnson and Eric Wareheim, and they do a great job in smaller roles.
A movie like Onslaught is typically one where the audience just turns off their brains and enjoys the carnage. But Wingard and Barrett try a little too hard by throwing in oddball characters that don’t add much to the story, forgetting to pay enough attention to the mechanics of the plot in the process.
