Out of Step: A Monument to a Great Music Critic. Snowpiercer: Dystopia Revisited. Transformers: Age of Extinction: Whatever.

Nat Hentoff gets his due, Chris Evans hops a train, and Michael Bay does what he does all over again.

First Run FeaturesFirst Run FeaturesFor well over 60 years, Nat Hentoff has been a one-of-a-kind public intellectual, an unrelentingly outspoken champion of both modern jazz and all of the liberties that flow from the First Amendment. In The Pleasures of Being Out of Step, a new documentary by David L. Lewis, we hear him explaining these twinned inspirations: "The reason we have jazz," he says, "the reason we have almost anything worthwhile, is the fact that we're a free people. And that came about because of James Madison, and those improvisers." 

Lewis does a superb job of illustrating Hentoff's long career with firsthand interviews of the man himself, and many of his colleagues; with classic musical performances and vintage TV footage. (At one point we see the long-departed Lenny Bruce, sucking on a cigarette and addressing the camera directly, saluting Hentoff as a fellow hipster (he was one of the rare critics who was valued by trailblazing musicians). 

The son of Boston Jews, Hentoff started out as a teenage radio host in his hometown ("the most anti-Semitic city in the country," he recalls unfondly). He moved on to the jazz magazine Down Beat in the early 1950s, where he became one of the country's most perceptive critics, championing the work of such now-celebrated players as Thelonious Monk, Miles Davis, and Sonny Rollins. He turned the writing of album-cover liner notes into an art, perfecting this craft for records by Ornette Coleman, Miles Davis, John Coltrane, even—in a side trip—Bob Dylan. ("He told me stuff that wasn't true," Hentoff recalls with a chuckle, "but I got the essence of him, I think.") He also became a record producer, going into the studio with Cecil Taylor, Coleman Hawkins, and Max Roach and Abbey Lincoln. Wherever there was jazz, it seemed, Hentoff was there. And his coproduction of The Sound of Jazz—a 1957 CBS TV special that brought together Lester Young, Count Basie, Billie Holiday, and the inimitable Monk, among many others—was a landmark of televised jazz that has never been surpassed. (You can still marvel at it on YouTube.)

In tandem with all this activity, Hentoff was also a fearless First Amendment absolutist. When American Nazis announced plans to stage a march through the heavily Jewish city of Skokie, Illinois, Hentoff loudly condemned efforts to stop them from doing so. As he wrote, "James Madison insisted that the greatest danger to liberty is an infuriated majority smothering a minority. Therefore, freedom of speech must be protected against the community itself ... ."

Although he started out on the political left, Hentoff developed points of view over the years—especially during his long tenure at New York's Village Voice—that alienated many leftists. He was antiwar, but still supported the U.S. invasion of Iraq as a humanitarian enterprise. And his unflagging opposition to capital punishment ultimately led him to oppose abortion as well (respect for the sanctity of life, he felt, had to be "a seamless garment").

Hentoff turned 89 years old on June 10. He's white-haired and somewhat stooped now, but he's still sharp, recalling even the most long-ago moments of his extraordinary life with clarity and great good humor. We can hope that it's too early to be talking about monuments to the man, but when that time comes, this film will be a perfect one.


Radius TWCRadius TWCKorean director Bong Joon-ho's new dystopian fantasy gets underway with a mordant joke. It seems that in the recent past, when the Earth was being suffocated by global warming, a scientific consensus decreed that a new globe-cooling chemical should be sprayed into the air to reverse the effects of the climate change about which we'd long been warned. Unfortunately, this turned the world into a giant ice ball, which has been a matter of truly settled science for the last 17 years.

With almost all of humanity wiped out, a small group of survivors endlessly circumnavigates the frozen planet in a high-speed train, within which all of the old world's social castes remain in place. The rear cars of the train are inhabited by a desperate underclass, living in dark, squalid misery and kept in line by armed guards under the direction of a Thatcher-like martinet named Mason (Tilda Swinton). Moving forward, there's a middle class comfortably ensconced in cars with windows, and basking in sunlight. Proceeding farther, there are supply cars, in which the "protein bars" that feed the peasants are fabricated. (You don't want to know what they're made from.) Then come the first-class cars, filled with flowers and fountains and a wrap-around aquarium. Sushi, anyone?

At the very front of the train, just behind the "sacred engine," are the quarters of the godlike overlord Wilford (Ed Harris), whom no one of the lower orders has ever seen.

The plot consists of a proletarian revolt, led by the bearded Everett (Chris Evans) in league with the hot-headed Edgar (Jamie Bell), the wizened Gilliam (John Hurt), the drug-addicted Nam (Bong regular Kang-ho Song), and a grieving mother named Tanya (Octavia Spencer), whose child has been taken from her and led off to the forward cars. The rebels' progress from the back to the front of the train is unsparingly violent, filled with bloody hatchet battles, startling dietary horrors, and gruesome amputations. It ends, of course, in a confrontation with Wilford, who has an enlightening observation to make ("We are all prisoners on this train") and a surprising proposal to offer.

While the story is baldly schematic, Bong has given the movie a distinctive look—oppressively grim and grubby, for the most part. He brightens the tone with scenes set in the train's first class section (where there's even a disco) and spectacular outside shots, looking down from high above as the train barrels past glacial mountains and over snow-packed valleys. (The film's exteriors were shot in the Austrian Alps.) There's also some comic relief provided by Tilda Swinton, in a performance bizarre even by her own long-established standards. Outfitted with prosthetic teeth and big goggly glasses, her Mason is a classic bureaucrat, adept at small cruelties and malleable in her loyalties.

Snowpiercer, based on a French graphic novel published in 1982, is Bong's first English-language film (he wrote the script with the American screenwriter Kelly Masterson). He's a director of distinctive pictorial gifts, and he structures the action—of which there are large helpings—with admirable clarity. But the picture is often oppressively bleak, and it wears you down. It seems intended to be a small sci-fi classic, but whether that will turn out to be the case is very unclear.

Transformers: Age of Extinction

Paramount PicturesParamount PicturesThe good news about the new Transformers movie, I suppose, is that Shia LaBeouf is nowhere to be seen in it. The bad news … well, non-fans of this world-devouring franchise would probably look upon any fourth installment of it as bad news.

Find this and hundreds of other interesting books at the Reason Shop, powered by Amazon.

Editor's Note: We invite comments and request that they be civil and on-topic. We do not moderate or assume any responsibility for comments, which are owned by the readers who post them. Comments do not represent the views of Reason.com or Reason Foundation. We reserve the right to delete any comment for any reason at any time. Report abuses.

  • JWatts||

    SnowPiercer - So the world is frozen and they ride around in a train? Ummm, yeah.

  • Jensen||

    There's far better train related post-apocalypses out there, why hasn't anyone made Metro 2033 into a movie?

  • ||

    They made a video game.

    Close enough.

  • OldMexican||

    Snowpiercer sounds like a bad rip-off of Heinlein's Orphans Of The Sky.

  • Jensen||

    It's based off of a French graphic novel apparently.

  • R C Dean||

    That was a bad rip-off, etc.?

  • Robert||

    That was my thought too, based on Loder's description.

  • ||

    I watched Snowpiercer last night. It looked cool, like KL says, but otherwise it was pretty stupid. Who maintains the tracks that the train has been riding on for 17 years?

  • Vulgar Madman||

    I don't think the director was going to let logic derail his lame marxist allegory.

  • ||

    Obviously it is made from Rearden Steel.

  • ||

    I didn't think of that. The train did have a sort of mysterious John Galt engine that ran without fuel.

  • ||

    It seems that in the recent past, when the Earth was being suffocated by global warming, a scientific consensus decreed that a new globe-cooling chemical should be sprayed into the air to reverse the effects of the climate change about which we'd long been warned. Unfortunately, this turned the world into a giant ice ball


  • Robert||

    OK, the rest may have been from Heinlein, but that detail is obviously from Robert Ringer. Or the movie A.I..

  • R C Dean||

    I can generally suspend disbelief pretty readily.

    But Snowpiercer sounds so stupid, in so many ways . . . .

  • roe3221||

    Its awesome.. Start working at home with Google. It’s a great work at home opportunity. Just work for few hours. I earn up to $100 a day. I can’t believe how easy it was once I tried it out www.Fox81.com

  • GreenLantern||

    The brutally honest trailer for Transformers - http://tinyurl.com/ovpurtc


Get Reason's print or digital edition before it’s posted online

  • Video Game Nation: How gaming is making America freer – and more fun.
  • Matt Welch: How the left turned against free speech.
  • Nothing Left to Cut? Congress can’t live within their means.
  • And much more.