Daily Archives: September 20, 2024

‘1992’ Movie Ending Explained & Summary: Did Mercer Save His Son?

1992, directed by Ariel Vromen, takes us back in time, when protestors took to the street after the court acquitted the police officers who used excessive force on a man named Rodney Glen King. The real-life incident that took place on March 3rd, 1991, was captured on camera, where police officers from the Los Angeles Police Department were seen thrashing the man in the most brutal manner. Still, the jury acquitted the men of all charges, and that caused an uproar in society, and especially in the black community. So, let’s find out what happened in 1992 film and how our protagonist found himself stuck in the middle of a perilous situation. 

Why was Antoine angry with Mercer? 

Mercer had just been released from prison, and he had gotten conditional custody of his son, Antoine. Antoine’s mother and grandmother had passed away after they met with an accident. 1992 did not reveal the details of that accident, but we came to know that Antoine felt extremely lonely after that, and he didn’t like living with his father. Mercer was trying his level best to be there for his son, but the latter somewhat blamed Mercer for whatever he was going through. Antoine had deep-rooted resentment, and in one of the scenes we saw that he lost his temper and told his father how he was never there for the family. Mercer apologized for his actions, and he told his son that though he was not a proud man, he wanted to make things better for his son. Mercer believed that he had gotten a second chance in life, and this time around, he didn’t want to waste it. At times, he saw his son, and he feared that he would turn out to be exactly like him. Mercer wanted Antoine to complete his studies and do a white-collar job.

But it wasn’t easy for a teenager to understand his father’s perspective and not blame him. Also, Antoine didn’t like the kind of restrictions Mercer put on him. Mercer was extra protective of his son, not because he wanted to cage him but because he didn’t want him to fall prey to anything that might ruin his future. Also, after the entire Rodney Glen King police brutality case, the situation was not very peaceful in the hood. There was a trial going on where 4 police officers were going to be tried in the court of law for using excessive force on Rodney King. Mercer knew that if the jury gave a biased judgment and acquitted the suspects of all charges, then the situation would become even worse on the streets. The inevitable happened, and the jury found three police officers not guilty, whereas they couldn’t reach a verdict pertaining to one charge for the fourth police officer. A mob came out onto the streets and vandalized public property. Mercer knew that the situation would be even worse in the area where he lived. Mercer worked at Pluton Metals at that time, and he asked his superior, Joseph Francis, if he could bring his son and spend the night at the factory itself. Joe was a good man, and he made sure that he was always there for the people who needed any sort of help. Joe was going to be there in the factory all night since he was the security person in charge, so he told Mercer that he would love to have some company. Little did Mercer know that a gang of criminals was planning to break into the factory and steal platinum on the same night. 

What was Lowell’s plan? 

Lowell’s son, Riggin, told him about Pluton Metals, where a huge quantity of platinum was stored in a vault  at the center of the factory. It was not easy to break into the factory and open the vault since the factory owner had a high-tech security system installed on the premises. Even if an intruder was able to get inside the factory, it was almost impossible to open the vault. Riggin’s younger brother, Dennis, exclaimed after hearing about the security setup, saying that even the government used a similar kind of setup in the National Archives Museum. There was a cage on the top of the vault, and if someone tried to break it open, the alarm bell rang, and the vault got caged. Lowell asked Riggin to drop the plan, but the latter wanted to do it at any cost. Just around that time, violent protesters erupted on the street, and there was a state of unrest in the entire region. The factory was shut down, and the workers were sent home. That’s when, in 1992, Riggin gave a call to his father, who agreed to go ahead with the plan and make use of the opportunity.

Apart from Lowell, Riggin, and Dennis, three more people came on board to commit the heist. Copeland was one of Riggin’s close friends, and he was somebody the latter trusted with his life. Apart from Copeland, there were Titus and Murphy, who were Lowell’s trusted allies. Riggin didn’t like Murphy at all, and eventually, in 1992, we got to know the reason behind why he felt that way. Murphy was a violent and impulsive man who didn’t hesitate to pull the trigger at the slightest inconvenience. We got evidence of that when the gang broke into the factory. Joe, the security in charge, confronted them, and Murphy shot him before he could do anything. The gang started their operation, and soon, they were able to open the vault. Joe, even after being shot, managed to survive somehow. He crawled to his cabin and activated the security alarm. The LAPD helicopter hovered over the premises, but after finding no commotion in and around the factory, they left. Lowell’s men turned off the alarm, and this time, they made sure that Joe didn’t survive. 

Was Mercer able to save his son? 

During 1992’s ending, Mercer entered the building together with his son. He had no clue that the robbers were inside the premises. Antoine went into the bathroom, and he bumped into Dennis. Dennis, at gunpoint, took Antoine to his father, not knowing what else to do. Meanwhile, Mercer found that Joe had been killed, and he immediately realized that something wasn’t right. Mercer held Riggin captive as he knew that he would be able to use him to get leverage over the robbers. Now, Lowell had almost decided to let Antoine leave when Murphy and Titus came and told him that Riggin was missing. Lowell realized that Antoine’s father had something to do with the issue, so he changed his decision and decided to keep Antoine in his captivity. Riggin was captured by Mercer, but still, he seemed to favor him more than his own father. Riggin told Mercer that Lowell wasn’t going to leave his son alive, no matter what he said.

It was at that moment in 1992 that we realized the kind of hatred both Riggin and Dennis had for their father. They were working with him, but they also knew that if the need arose, Lowell could very well kill them, too. Poor Dennis was worried about his brother, and he went and asked Antoine if he could give him any information about where he was. Antoine and Dennis developed a sort of bond with each other as they both were petrified of Lowell’s temper. Lowell killed Copeland after the latter’s leg got injured by the forklift truck they used to stop the cage from falling over the vault. Copeland was writhing in pain, and Lowell just got irritated by cries. Mercer realized that he would have to go out and negotiate with Lowell. As expected, things got out of hand, and somehow Mercer and Antoine, together with Dennis and Riggin, were able to escape from the factory. Lowell wanted the platinum that was stashed in the same van that Mercer used to escape. Lowell asked Titus to shoot at the van even when he knew that both his sons were sitting in it. Dennis succumbed to his injuries, and even Riggin was gravely hurt. Mercer lost control of the van and rammed into another vehicle. The van turned upside down, and Lowell finally caught hold of Mercer and his son. Riggin was badly injured, and Lowell came and shot him dead, proving the fact that his sons were not wrong to feel that hatred towards him. Lowell wanted the platinum at any cost. He pointed the gun at Mercer, but before he could pull the trigger, Antoine came from behind and shot him dead. 

All his life, Mercer wanted his son to follow the right path and not fall prey to the vices of society. But the inevitable happened. The young boy killed another man to save his father. However, I think that this incident will bring about a change in Antoine’s perceptions, and he will be able to understand why his father behaved in that manner with him. I think sometimes adversity breaks the wall that exists between two people. Maybe this was exactly what was needed to bridge the gap that existed between the father and son. Maybe Mercer and Antoine will be able to start afresh and create the life that they both deserve to live. 

Review: Documentary looks at lives and careers of ‘Room with a View’ filmmakers

L. Kent Wolgamott

With 1990’s “A Room with a View,” 1993’s “Howard’s End” and 1994’s “The Remains of the Day,” the filmmaking team of producer Ismail Merchant and director James Ivory created a series of early 20th-century costume dramas that were of such high quality and definitive that they birthed a new classification for such films — “Merchant Ivory.”That’s also the title of director Stephen Soucy’s documentary about the duo and their film production company, which explores far more than just their ’90s peak, tracing the relationship between the two men, their collaborators and their films from 1962’s “The Householder” through 44 pictures until Merchant’s death in 2005.In the late ’90s, I had a long interview with Ivory, an American who met Indian producer Merchant at a 1959 New York screening of one of Ivory’s documentaries, on the occasion of the publishing of the book “The Films of Merchant Ivory.” Largely because of that, I came into the documentary with some knowledge of the duo, who were domestic as well as production partners.

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But, even with that understanding of their “storyline,” the documentary delivers some small revelations: * That Booker Prize- and Oscar-winning screenwriter Ruth Prawer Jhabvala, who wrote most of the scripts for Merchant-Ivory pictures, was not Indian, but a German Jew who married an Indian architect and met the duo when they made a film of her 1960 novel “The Householder.”* That Prawer Jhabvala, Merchant and Ivory, who were a couple, and composer Richard Robbins, lived together during much of their 40-plus years of filmmaking together. That Robbins and Merchant had a relationship, and that both Merchant and Ivory had affairs with other men.* That Merchant Ivory productions survived on razor-thin margins, with Merchant often raising funds to keep the filming going and, until their ’90s Hollywood productions “Jefferson in Paris” and “Surviving Picasso,” operated on very low budgets, often working nearly as guerrilla filmmakers.The latter was true from “The Householder” onward as Merchant and Ivory first created a number of films set in India, including the well-received “Shakespeare Wallah” before finding their voice with the 1979 adaptation of Henry James’ “The Europeans.”It is, as the film emphasizes, also notable that Merchant and Ivory, a pair of gay men, made some of the first widely seen films that explored gay romance and issues, most notably the 1987 E.M. Forster adaptation, “Maurice.” Ivory won his only Academy Award — for best adapted screenplay — for the 2017 coming-of-age gay romantic drama “Call Me by Your Name.”Soucy put together the documentary in standard movie-about-the-movies form, showing clips from many of the films, interviewing at length Ivory, gathering clips from old interviews with Merchant and Prawer Jhabvala and adding the views of a plethora of actors who worked on their films.They include Helena Bonham Carter, Hugh Grant, Emma Thompson, Rupert Graves and Vanessa Redgrave, all who provide insight into the duo’s working technique and the chaos that seemingly was part of all their productions.But notably missing is Sir Anthony Hopkins, who starred in many of their biggest movies. He, after all, sued Merchant Ivory Productions for failure to pay him for 2009’s “The City of Your Final Destination.”The contributions of the actors, other longtime members of the filmmaking team and some friends and acquaintances provide some depth that, combined with Ivory’s recollections and the views of the partnership’s movies, makes “Merchant Ivory” a very good movie about the movies that’s a must-see for the duo’s fans.
Sioux City Journal entertainment editor Bruce Miller says that when Beetlejuice, Michael Keaton’s crazy-haired bio-exorcist, appears all is right in the crazy world of this sequel to 1988’s “Beetlejuice.” But be forewarned – if you’re not familiar with the original movie, you may have some catching up to do.
BRUCE R. MILLER

The 33 most anticipated movies of the fall

‘My Old Ass’

A psychedelic trip makes for an unusual meeting in the latest from director Megan Park (“The Fallout”). After sipping some mushroom-infused tea, 18-year-old Elliott (Maisy Stella) finds herself joined by her future self, played by Aubrey Plaza, on a camping trip on the lakes of Muskoka, outside Toronto. (Sept. 13, in theaters)

Amazon MGM Studios/TNS

‘Will & Harper’

When former “Saturday Night Live” writer Harper Steele came out as trans, she sent an email to friends and family. An old friend and “SNL” colleague, Will Ferrell, responded with the suggestion that they travel the country together. The result is this tender and contemplative documentary, by “Barb and Star Go to Del Mar” director Josh Greenbaum, about their 16-day road trip. (Sept. 13; on Netflix Sept. 27)

Netflix via AP

‘Speak No Evil’

Christian Tafdrup’s 2022 Danish horror film was potent enough that it led to this Blumhouse remake just two years later. James McAvoy, Mackenzie Davis and Aisling Franciosi star in a thriller about how much can go wrong on a idyllic countryside vacation. (Sept. 13, in theaters)

Universal Pictures

‘A Different Man’

Sebastian Stan stars as Edward, an actor with neurofibromatosis who, after experimental surgery, is cured of his facial disfigurement. But the changes for Edward, who lives next to a friendly playwright (Renate Reinsve of “The Worst Person in the World”), turn out to be a mixed blessing. With a compelling co-starring turn by actor Adam Pearson, who has neurofibromatosis. (Sept. 20, in theaters)

Matt Infante/A24 via AP

‘The Substance’

“The Substance” stars Demi Moore as a TV star who’s deemed too old by male producers. 

Mubi

‘Super/Man: The Christopher Reeve Story’

Ian Bonhôte and Peter Ettedgui’s documentary seeks to capture the full arc of Reeve’s life, from the massive stardom that followed 1978’s “Superman” to his resiliency following an accident that left him paralyzed from the neck down in 1995. (Sept. 21, in theaters)

Warner Bros. / Everett Collection

‘The Wild Robot’

This DreamWorks Animation release, adapted from Peter Brown’s popular book series, follows a robot (voiced by Lupita Nyong’o) who crash lands in a forested wildness where it, seeking a task, raises a runt goose (Kit Connor) until it’s able to fly. (Sept. 27, in theaters)

DreamWorks Animation

‘Megalopolis’

Francis Ford Coppola’s first film in 13 years stars Adam Driver as Caesar, a visionary with dreams of a utopian New York. Giancarlo Esposito, Aubrey Plaza, Laurence Fishburne and Shia LeBeouf co-star in this wildly ambitious epic that has already earned a wide spectrum of reaction. (Sept. 27, in theaters)

Phil Caruso/Lionsgate via AP

‘The Outrun’

Saoirse Ronan stars in Nora Fingscheidt’s adaptation of Amy Liptrot’s memoir of addiction. Ronan plays a young woman just out of rehab and returning home to the Orkney Islands in Scotland. (Oct. 4, in theaters)

Protagonist Pictures

‘The Apprentice’

Opening just weeks before the U.S. election is Ali Abbasi’s portrait of a young Donald Trump (Sebastian Stan) under the tutelage of Roy Cohn (Jeremy Strong). The film, which the Trump reelection campaign has called “pure malicious defamation,” is made with some of the ’80s aesthetics of its setting. (Oct. 11, in theaters)

Pief Weyman/Briarcliff Entertainment via AP

‘Piece by Piece’

What’s cooler than a documentary about your life? What about a documentary made with Lego? In this film, directed by Morgan Neville (“Won’t You Be My Neighbor?”), Pharrell Williams tells his life story brick by brick. (Oct. 11, in theaters)

Focus Features via AP

‘Saturday Night’

While all eyes will be on “Saturday Night Live” on the small screen this fall, the sketch comedy show will also have an origin story in theaters. Director Jason Reitman (“Juno,” “Up in the Air”) directs this mid-’70s dramatization of the chaotic infancy of the NBC institution, with Gabriel LaBelle as creator Lorne Michaels. (Oct. 11, in theaters)

Hopper Stone/Sony Pictures/TNS

‘We Live in Time’

Florence Pugh and Andrew Garfield star in this human-scaled drama, directed by John Crowley (“Brooklyn,” “The Goldfinch”) about a relationship charted not always chronologically, through romance, sickness and parenthood. Tissues are recommended. (Oct. 11, in theaters)

A24 via AP

‘Anora’

Sean Baker (“The Florida Project,” “Red Rocket”) has long been one of most vital American independent directors. But he takes a step further with “Anora,” the Palme d’Or winner at this year’s Cannes Film Festival. It stars Mikey Madison as a Brooklyn sex worker whose Vegas marriage to the son of a Russian oligarch prompts a farcical effort by his family’s henchmen to have it annulled. (Oct. 18, in theaters)

Neon Entertainment

‘Nickel Boys’

RaMell Ross’ feature directorial debut, selected as the opening night film at the New York Film Festival, adapts Colson Whitehead’s 2019 Pulitzer Prize-winning novel about two Black teens (Ethan Harisse, Brandon Wilson) who become wards of juvenile reform school in 1960s Florida. Ross previously directed the Oscar-nominated documentary “Hale County This Morning, This Evening.” (Oct. 25, in theaters)

Amazon MGM Studios

‘Venom: The Last Dance’

Tom Hardy is back as the most volatile split-personality superhuman: Eddie Brock and his symbiote Venom — arguably the most captivating double act in comic book movies. In this, the third in the series following 2018’s “Venom” and 2021’s “Venom: Let There Be Carnage,” both are on the run. (Oct. 25, in theaters)

Sony Pictures/TNS

‘Dahomey’

Writer-director Mati Diop (“Atlantics”) creates testimonials for a few dozen African artworks taken from the West African kingdom of Dahomey during France’s colonial rule in this, the winner of the Golden Bear at the Berlin Film Festival. Diop dramatizes the artworks’ stories through what she’s called “magical documentary.” (Oct. 25, theaters)

Les Films du Losange

‘Blitz’

Director Steve McQueen (“12 Years a Slave”) returns to World War II for this drama set in a London under siege from Nazi bombs. Saoirse Ronan plays a single mother trying to protect her young son (Elliott Heffernan). (Nov. 1, theaters)

Apple TV+

‘Conclave’

A new Pope is needed. Enter Ralph Fiennes. In director Edward Berger’s follow-up to “All Quiet on the Western Front,” Fiennes stars as Cardinal Lawrence, one of the Vatican figures who gather for a conclave to choose a new pontiff. When Lawrence uncovers a secret that others would rather stay hidden, the conclave teeters toward going up in smoke. (Nov. 1, theaters)

Philippe Antonello, Focus Features

‘Emilia Pérez’

It’s not every day we get a musical about a Mexican drug lord who transitions into a woman. Even more surprising is that French director Jacques Audiard pulls it off. Zoe Saldaña, Karla Sofía Gascón and Selena Gomez star in one of the more audacious movies of the year. (Nov. 1 in theaters; on Netflix Nov. 13th)

Pathé

‘Here’

Robert Zemeckis and Tom Hanks have a long and fruitful history together dating back to “Forrest Gump” and “Cast Away.” Less good was 2022’s “Pinocchio,” so hopefully the pair are back on track in “Here.” Appearing to be filmed in one take, Zemeckis’ latest chronicles a single spot of land through history. After a home is built on it, Hanks and Robin Wright move in and raise a family. (Nov. 1, in theaters)

Sony Pictures via AP

‘A Real Pain’

Jesse Eisenberg wrote, directed and stars in this buddy dramedy about two cousins (the other is played by Kieran Culkin) who travel to Poland to honor their grandmother. The two are near opposites played to type: Eisenberg is a sensitive neurotic, Culkin a charismatic idler. Together, they create a funny, poignant two-hander. (Nov. 1, in theaters)

Searchlight Pictures

‘Heretic’

The distance Hugh Grant has traveled from rom-com protagonist seems likely to reach a new peak in this A24 horror thriller from “A Quiet Place” co-writers Scott Beck and Bryan Woods. Sophie Thatcher and Chloe East play a pair of proselytizing Mormon missionaries who knock on the wrong door. (Nov. 15, in theaters)

A24

‘All We Imagine as Light’

Payal Kapadia’s ode to female friendship, a prize-winner at Cannes, is about two Mumbai nurses (Kani Kusruti, Divya Prabha) striving for love and happiness while working and commuting long hours in the Indian metropolis. (Nov. 15, in theaters)

Condor Distribution

‘Gladiator II’

Twenty-four years after “Gladiator,” Ridley Scott is back with more swords, sandals and … a rhino. Yes, that horned mammal makes its way into the Colosseum this time, but it’s far from the only new addition. Paul Mescal, Denzel Washington and Pedro Pascal star in this sequel, set several decades following the events of the original movie. (Nov. 22, in theaters)

Aidan Monaghan/Paramount Pictures via AP

‘Wicked’

Before “Wicked” was a Broadway smash, it was a 1995 book and nearly a movie. The big-screen was, perhaps, always the most fitting medium for a “Wizard of the Oz” riff. In this Jon M. Chu-directed film, Cynthia Erivo plays the woman who’ll become the Wicked Witch of the West, while Ariana Grande plays Glinda. This “Wicked” will be split in two, with part two arriving in late 2025. (Nov. 22, in theaters)

Universal Pictures via AP

‘The Piano Lesson’

Washington has set himself the task of bringing August Wilson’s plays to the big screen. In this adaptation of Wilson’s Pulitzer Prize-winner, he produces while son Malcolm Washington directs, and son John David Washington stars. Led by a powerhouse performance by Danielle Deadwyler, “The Piano Lesson” depicts a Pittsburgh family in 1936 reckoning with a family heirloom, a piano, which doubles as a metaphor for the legacy of slavery. (Nov. 22, on Netflix)

Netflix

‘Moana 2’

A little “Moana” confusion would be understandable. There’s a separate live-action “Moana” in development and this film was originally planned as a series. But “Moana 2” ultimately, came together as a big-screen sequel to the 2016 original. Lin-Manuel Miranda isn’t returning on the music front, but most everyone else is, including voice actors Auliʻi Cravalho and Dwayne Johnson. The film, set about three years after the original, finds Moana heading back on an ocean adventure, this time with her sister (voiced by Khaleesi Lambert-Tsuda) aboard, as well as several others. (Nov. 27, in theaters)

Walt Disney Animation Studios via AP

‘His Three Daughters’

Writer-director Azazel Jacobs’ latest stars Carrie Coon, Natasha Lyonne and Elizabeth Olsen as sisters who gather in the New York apartment of their dying father. A highlight of the season, “His Three Daughters” is one of the most memorable tales of siblinghood, and of a death in the family, in recent memory. (Sept. 20 on Netflix)

Sam Levy; Netflix via AP

‘Wolfs’

Brad Pitt and George Clooney play rival fixers who discover they’ve been hired for the same job in Jon Watts’ comic caper. Presumably more charming actors weren’t available, so Watts had to suffice with Clooney and Pitt. (Sept. 20, in theaters; Apple TV+ on Sept. 27)

Scott Garfield/Apple TV+ via AP

‘Joker: Folie à Deux’

Five years after their rabble-rousing Oscar nominated DC Comics blockbuster, director Todd Phillips and Joaquin Phoenix are back for more antihero fun. This time, it’s a musical, and Lady Gaga is playing Harley Quinn. (Oct. 4, in theaters)

Niko Tavernise/Warner Bros. Pictures via AP

‘Memoir of a Snail’

Adam Elliot’s stop-motion drama, some 10 years in the making, follows the life of Grace Puddle (voiced by Sarah Snook), who begins collecting snails after her mother’s death. After her father dies, too, she and her twin brother (Kodi Smit-McPhee) are separated. (Oct. 25, theaters)

Madman Entertainment

‘Bird’

British filmmaker Andrea Arnold has dabbled in TV and documentary in recent years, which makes “Bird” her first film since 2016’s “American Honey.” Here, she returns to a working-class English backdrop for a gritty story laced with fable. A 12-year-old girl (Nykia Adams) who lives with her father (Barry Keoghan) is visited by a peculiar stranger (Franz Rogowski). (Nov. 8, in theaters)

Atsushi Nishijima, Ad Vitam Distribution

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Reach the writer at 402-473-7244 or [email protected]. On Twitter @KentWolgamott  

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