Brian Lafferty

LOCAL AND NATIONAL LEADERS REACT TO GUILTY VERDICTS IN DEREK CHAUVIN TRIAL FOR KILLING OF GEORGE FLOYD

By Miriam Raftery

Updated with reactions from the President and Vice President

Photo, left: Screenshot via CNN, Derek Chauvin is remanded into custody after verdict
 
April 20, 2021 (San Diego’s East County) – Local social justice advocates voiced gratitude for today’s jury verdict in Minneapolis, where a jury found former police officer Derek Chauvin guilty on all three counts (second degree murder, third degree murder, and manslaughter) in the death of George Floyd. But activists also cautioned that more action is needed to bring about reforms in policing to prevent future injustices.
 
After video of Floyd’s death under the knee of officer Chauvin on May 25, 2020 went viral on social media, protests erupted nationwide including La Mesa, Santee and El Cajon in San Diego’s East County.
 
Francine Maxwell, President of the NAACP San Diego branch, called the verdict “a step in the right direction.” In her statement, she adds, “This has taught my son today what hope looks like, that when police don’t obey the law, this is what justice looks like. This police officer, who joined a noble profession, he was not noble. He operated under the color of the law.”

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ON THE SILVER SCREEN: BRISTLING IN THE DARK (LIGHTS OUT)

By Brian Lafferty

July 22, 2016 (San Diego) -- Lights Out (David F. Sandberg, 2016) is for those who haven't seen Insidious (James Wan, 2011), Annabelle (John R. Leonetti, 2014), or any other horror movie James Wan produced or directed this decade. It isn't just a matter of "if you've seen one, you've seen them all." It is far too complacent in an era where the standards for these types of flicks are higher than ever.


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ON THE SILVER SCREEN: FOLLYWOOD (HAIL, CAESAR!)

 

By Brian Lafferty

February 5, 2016 (San Diego) – Hail, Caesar! (Ethan Coen and Joel Coen, 2016) falls under a category I like to call a “Love Letter Movie.” Defining the term is hard. However, I can easily point to a classic example, Ferris Bueller’s Day Off (John Hughes, 1986), which was the beloved director’s love letter to Chicago. It showcased Wrigley Field, the Art Institute of Chicago, the Von Steuben Day parade, and Chicago’s other fine attractions with affection and pride. Hail, Caesar! is the Coens’ love letter to classic Hollywood in much the same way.


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ON THE SILVER SCREEN: AN UNHOLY ALLIANCE (BLACK MASS)

By Brian Lafferty

September 27, 2015 (San Diego) – Black Mass (Scott Cooper, 2015) sounds like a video game title, but it’s definitely not fun and games. I went to bed a few hours after the screening unprepared for a restless night’s sleep. I endured a string of haunting dreams that was mercifully broken up by The Rascals’ A Beautiful Morning, the world’s best morning alarm.


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ON THE SILVER SCREEN: TANKS FOR THE MEMORY (FURY)

 

"The first casualty of war is innocence."

- Tagline, Platoon (Oliver Stone, 1986)

By Brian Lafferty

November 18, 2014 (San Diego) – In the 28 years since Platoon's release, its tagline quoted above has become more and more relevant in light of the world events that followed it. This includes, but is not limited to, the Gulf War, the Iraq War, and Russia's invasion of the Ukraine. With the way things are going, it looks at this point like those are just for starters.


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ON THE SILVER SCREEN: COLD AS ICE (WHITE BIRD IN A BLIZZARD)

 

By Brian Lafferty

October 31, 2014 (San Diego) – For a film directed by Gregg Araki – well-known for anarchic, usually erotically charged films like The Living End (1992), The Doom Generation (1995), and Mysterious Skin (2004) – White Bird in a Blizzard is unusually peaceful. While small traces of his trademarks – teenage angst, sex, and homosexuality – appear, his latest film is his most accessible by far. Whether that's refreshing or disappointing will depend on how much you're willing to readjust your expectations.


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ON THE SILVER SCREEN: ASHES TO ASHES (HIROSHIMA MON AMOUR)

 

By Brian Lafferty

October 27, 2014 (San Diego) -- Only death could stop prolific French director Alain Resnais from making movies. Resnais passed away on March 1 this year, having directed 50 features, shorts, and TV series. Even at 87 years young, when he helmed Wild Grass (released in the United States to deserved critical acclaim in 2010), he was as much a master of cinema as he was at 37, when he directed the film that quickly established him as one of France's preeminent filmmakers: Hiroshima Mon Amour (1959). 


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ON THE SILVER SCREEN: HELL-O DOLLY! (ANNABELLE)

 

By Brian Lafferty

October 10, 2014 (San Diego) – When I wasn't covering my eyes, holding my breath, and jumping in my seat, I laughed inside and thought sarcastically, "I know Uncle John would just love Annabelle." My Uncle John lives with my 99 year-old grandmother, who has collected many things over the years, including a doll that gives him and most of my family the creeps. It's an old-school baby doll that looks, feels, and weighs the same as a real baby. When you walk past it, you get the feeling it's watching you. And my grandmother insists on having it in her living room.


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ON THE SILVER SCREEN: BLOOD MONEY IN, BLOOD MONEY OUT (THE DROP)

 

By Brian Lafferty

September 24, 2014 (San Diego) -- I don't know if Michaël Roskam is a man of few words, but his films certainly are. He burst onto the international film scene with the Oscar-nominated Bullhead (2012), which took its sweet time (about halfway in) to fully reveal the tortured past of its protagonist (Matthias Schoenaerts). The Drop, only his second feature film and his first in the English language, further cements his reputation as a cagey storyteller.


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ON THE SILVER SCREEN: SPACE ODDITIES (GUARDIANS OF THE GALAXY)

 

By Brian Lafferty

August 3, 2014 (San Diego) – Guardians of the Galaxy leaves no time to rest and little time to breathe.  I didn’t know what was happening half the time, but I didn’t care.  Guardians of the Galaxy sacrifices much of its plot development for relentless cacophonic action.  However, unlike most films directed by Michael Bay, it respects its audience.   


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ON THE SILVER SCREEN: GREED - FOR LACK OF A BETTER WORD - IS CRUDE (THE WOLF OF WALL STREET)

 

By Brian Lafferty

December 25, 2013 (San Diego) – Marin Scorsese’s few forays into comedy thus far have been The King of Comedy (1983) and After Hours (1985).  Both are delightful dark comedies.  The former starred Robert De Niro as a delusional fan and stalker of a TV talk show host (Jerry Lewis).  The latter was written by then-Columbia University student Joseph Minion for his thesis.  It was a simple, yet uncommonly clever, a word processor’s (Griffin Dunne) crazy night.

Neither film, however, is as pitch black as The Wolf of Wall Street, not only the funniest film of the year, but the best period.


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ON THE SILVER SCREEN: A SPOONFUL OF TREACLE (SAVING MR. BANKS)

 

By Brian Lafferty

December 20, 2013 (San Diego) – What in the world were screenwriters Kelly Marcel and Sue Smith thinking as they wrote Saving Mr. Banks, a colossal misfire in tone?  And director John Lee Hanchock (The Blind Side), who thought the script was good enough to film?  The upbeat, sunshiny trailers constitute fraud as far as I’m concerned.


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ON THE SILVER SCREEN: THE LONG AND WINDING ROAD TO NOWHERE (INSIDE LLEWYN DAVIS)

 

By Brian Lafferty

December 20, 2013 (San Diego) – The year is 1961, and the setting is Greenwich Village in New York City.  Llewyn Davis (Oscar Isaac) is an aspiring folk singer – and a darn good one – just trying to earn a living.  As gifted as he is, it’s too bad nobody wants to hire him.  The film takes place during one week in which he finds his career – and himself – going nowhere at every turn.


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ON THE SILVER SCREEN: DUELING AVENGERS (OLDBOY)

 

November 27, 2013 (San Diego) – Justice is relative in Oldboy.  The latest film from director Spike Lee is complex in many areas.  Joe Doucett (Josh Brolin) and Adrian Pryce (Sharlto Copley) would feel right at home in an Anthony Mann western; Joe is a good guy who is hard to root for while Adrian is a villain who is hard to root against.  Writer Mark Protosevich (I Am Legend, Thor), adapting from both the manga and the 2003 Park Chan-wook film starring Choi Min-sik (I Saw the Devil), puts together a maddeningly tantalizing script that protects its secrets to the last few minutes the same way Cerberus guards the gates of Hades.


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ON THE SILVER SCREEN: THE LYING GAME (THE HUNGER GAMES: CATCHING FIRE)

 

By Brian Lafferty

November 22, 2013 (San Diego) – A few months ago I watched for the first time the infamous episode of the 1950s quiz show Twenty-One in which contestant Charles Van Doren “defeated” Herb Stempel.  A few years later it was revealed that many of the prime time network quiz shows were rigged at the behest of the sponsors.  What millions of viewers thought was actual suspenseful game playing was really a series of scripted performances for the sake of “good television” and high ratings.  (If you watch that episode of Twenty-One, it’s so obvious Van Doren is acting, and doing a bad job of it.)


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ON THE SILVER SCREEN: THUNDERSTRUCK (THOR: THE DARK WORLD)

 

By Brian Lafferty

November 8, 2013 (San Diego) – For all the gripes I hear about Hollywood’s glut of sequels – particularly about its apparent unwilling to try something new – there exists an upside that frequently gets lost in all the grousing: whereas the first film acts the set-up, the second can just get right down to business.  Such is the case with Thor: The Dark World.


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ON THE SILVER SCREEN: SOUTHERN INHOSPITALITY (12 YEARS A SLAVE)

 

By Brian Lafferty

November 1, 2013 (San Diego) -- If there are any contemporary filmmakers more daring than Steve McQueen, I'm hard pressed to name one.  His first film, Hunger (2008), starred Michael Fassbender as Bobby Sands, the Irish Republican Army Volunteer who led a hunger strike in a British prison and died in 1981.  He followed it up with Shame (2011), which also starred Fassbender, this time as a yuppie with a grossly unhealthy sex addiction.  The MPAA gave it an NC-17 rating for its frank and explicit depiction of sexual acts, and rightfully so, but Fox Searchlight left it as is.


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EAST COUNTY MAGAZINE WINS 11 AWARDS FROM SAN DIEGO PRESS CLUB

 

By Miriam Raftery

October 31, 2013 (San Diego’s East County) –Nine East County Magazine team members combined to win 11 awards in the 40th annual “Excellence in Journalism Awards” presented by San Diego Press Club on October 29.  ECM has won a total of 58 journalism awards since our launch in September 2008.

Our winning news entries dealt primarily with compelling public health and safety issues(wildfires and industrial-scale energy projects), though we also picked up awards for photography, feature-writing and commentary.

Congratulations to our winners!  In alphabetical order, they are:  Nadin Abbott, Parke Ewing, Paul Kruze, Brian Lafferty, Ron Logan, Jim Pelley, Miriam Raftery, Sierra Robinson, and Darin Sefcik.


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ON THE SILVER SCREEN: AFTER COMMAND SCHOOL SPECIAL (ENDER'S GAME)

 

By Brian Lafferty

November 1, 2013 (San Diego) – Ender’s Game views warfare, military training, and combat from a unique perspective: a child’s.  The air is filled with an aura of childhood innocence.  The very real threat of humanity’s annihilation is hard for these young recruits to completely comprehend because they haven’t experienced life and the world as much as grown-ups have.


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ON THE SILVER SCREEN: DRUNKS VS. ROBOTS (THE WORLD'S END)

 

 

By Brian Lafferty

August 23, 2013 (San Diego) – Up until The World’s End, Edgar Wright had only three feature films to his directorial credit:  Shaun of the Dead (2004), Hot Fuzz (2007), and Scott Pilgrim vs. the World (2010).  However small his output, those films – Shaun of the Dead in particular – have spawned a huge cult following like few I’ve encountered in recent years.  To those outside this circle, he’s an acquired taste.  Shaun of the Dead, for example, was a dry take on the zombie apocalypse in fine British fashion.  It’s laugh out loud funny if you get the sophisticated humor.


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ON THE SILVER SCREEN: SERVE AND REFLECT (LEE DANIELS' THE BUTLER)

 

By Brian Lafferty

August 15, 2013 (San Diego) – Like Forrest Gump, Cecil Gaines (Forest Whitaker) views American history from a distance, a bystander swept up in a relentless flurry of major historical events that came to dominate and define the latter 20th century.  Like Forrest Gump, Danny Strong's screenplay - based on the Washington Post article by Wil Haywood - mystifies the civil rights movement, the Kennedy assassination, and the Vietnam War.  As major political figures appear, and landmark events transpire or are referenced, the joy of discovery and realization kicks in at full stop.  And like Forrest Gump, it's full of "easter eggs" masterfully hidden that become uncovered with repeat viewings. 


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ON THE SILVER SCREEN: TECHNOBABBLE (JOBS)

 

By Brian Lafferty

August 16, 2013 (San Diego) – After Steve Jobs passed away in October 2011, Steve Breen - whose political cartoons are always as funny as they are spot-on - paid a more respectful and touching tribute to him.  It showed him, presumably having arrived in Heaven, being welcomed by Thomas Edison and Benjamin Franklin.


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ON THE SILVER SCREEN: THE LEAGUE OF ORDINARY SUPERMEN (KICK-ASS 2)

 

By Brian Lafferty

August 16, 2013 (San Diego) – Scattered throughout Kick-Ass 2 are the same high-caliber flashes of genius of its predecessor.  Only thing is Kick-Ass had a rich, fully developed screenplay by Jane Goldman and Matthew Vaughn from which to hang them.  Jeff Wadlow's screenplay is otherwise a messy concoction of underdeveloped subplots and gratuitous nasty violence. 


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ON THE SILVER SCREEN: NO TIME LIKE THE PRESENT (THE SPECTACULAR NOW)

 

By Brian Lafferty

August 15, 2013 (San Diego) – Sutter (Miles Teller) is like that friend who has certain annoying tendencies, but you nonetheless love hanging out with.  He's a boisterous young man with an extreme fondness for beer...even though he hasn't yet graduated high school.  He knows how to have a good time, too.  A really good time.  One night he'll be at a party, and then the next morning he'll find himself passed out on a random neighbor's lawn.


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ON THE SILVER SCREEN: PLANET OF THE 99% (ELYSIUM)

 

By Brian Lafferty

August 9, 2013 (San Diego) – Last August, I declared on Facebook that you will never see me post about politics and religion on social media.  That’s an easy rule for me to follow on Facebook and Twitter.  Not so much when reviewing movies (Gerrymandering, Client 9).  Writer and director Neill Blomkamp packs so many socio-political issues into his latest film, Elysium, that it demands discussion.  


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ON THE SILVER SCREEN: I THINK IT'S GOING TO BE A LONG, LONG TIME (EUROPA REPORT)

 

By Brian Lafferty

August 8, 2013 (San Diego) – Every time I think about Europa Report, I can’t help but think of Elton John’s hit song, Rocket Man.  It tells about an astronaut who leaves his family for a lengthy and lonely trip to Mars.  The lyrics beautifully describe the feelings of isolation ("It's lonely out in space"), longing ("I miss the Earth so much, I miss my wife"), and career crossroads ("All this science, I don't understand, it's just my job five days a week.") 


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ON THE SILVER SCREEN: ROCK THE BOAT (A HIJACKING)

 

By Brian Lafferty

July 12, 2013 (San Diego) – A Hijacking is a straightforward hostage movie that is as simply constructed and acted as its title.  Somali pirates take over a Danish cargo ship.  The captors demand millions of dollars in exchange.  No one-liners, no fancy style, no John McClane heroics or Hans Gruber villainy.  Not even a note of music to underscore the tension.


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ON THE SILVER SCREEN: MONSTERS BRAWL (PACIFIC RIM)

 

 

By Brian Lafferty

July 12, 2013 (San Diego) – The scariest story I’ve ever read was Stephen King’s The Mist.  Made into a 2007 Frank Darabont film I’m too frightened to see, it told of a band of New England survivors trapped in a grocery story by a dense fog and a horde of horrific creatures from another dimension.  At the end, the remaining survivors encounter a monster so humongous, that it would make a blue whale – the largest animal in Earth’s existence – look like a trout.


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ON THE SILVER SCREEN: HIGH FIVE, SILVER! AWAY! (THE LONE RANGER)

 

By Brian Lafferty

July 3, 2013 (San Diego) – When I first learned of The Lone Ranger’s budget, I asked myself, “What studio in their right mind would spend a quarter of a billion dollars on a movie based on a property that originated as a long-running radio show, and later a low-budget 1950s kids TV show?”  In the 1930s and 1940s, Monogram Pictures and Republic Pictures rolled out hundreds of low-budget B-movies, a significant chunk of them westerns.  A cursory glance through the Internet Movie Database and a little arithmetic tells me The Lone Ranger cost a ton more than all these companies’ movies put together.


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ON THE SILVER SCREEN: BLOODLUST (BYZANTIUM)

 

By Brian Lafferty

June 28, 2013 (San Diego) – Neil Jordan’s Byzantium is cinema’s best answer to the Twilight series since Tomas Alfredson’s Swedish vampire masterpiece Let the Right One In (not counting Matt Reeves’ equally crafted American remake Let Me In).  It takes the now all-too-familiar forbidden vampire-mortal love story and breathes into it an intoxicating mix of realism, atmosphere, and wicked sexiness.


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