Today I saw Beware the Slenderman, a documentary about the stabbing of Petyon "Bella" Leutner.
Two years ago this week, Morgan Geyser and Anissa Weier had a sleepover at Morgan's house with the victim. They woke up in the morning, had doughnuts and strawberries for breakfast, and asked Morgan's mother if they could go to the park. Without hesitation, she told them they could. Once there, they initiated a fake game of hide-and-seek (though Bella didn't want to play) and brutally stabbed her 19 times, missing a major artery by just a millimeter. They left her for dead, but she crawled her way to an area where a bicyclist discovered her and called for help. When questioned about why they did it, they both blamed a fictional boogie man named Slenderman.
Bella is alive today—physically recovered from her injuries, but continuing to battle the emotional scars left by the event. Morgan and Anissa are being held in separate locations (Morgan in a state hospital; Anissa in a juvenile jail) as they await word on a decision about their case.
This film explores what led each of the accused to commit such a heinous act, with frank, tragic conversations by both sets of parents. In Anissa's case, it's the classic problem of being bullied; not having a lot of friends; feeling an outcast. She wasn't inherently evil; just a 'follower' prone to frightening easily. In Morgan's case, she is mentally ill and the parents saw signs at a young age. Additionally, mental illness runs in their family, so they knew she had a genetic predisposition for it.
The story is both fascinating and disturbing—how seemingly normal kids with loving families can go so horribly wrong in the blink of an eye. Extensive footage is shown of each girl's interrogation with detectives and there's a shocking lack of remorse in both instances. Anissa asks how far she walked out of the woods because she was "never very athletic" and Morgan questions Bella's condition without so much as a tear. Not what you'd expect from two humans who committed a vicious act of brutality just hours earlier.
My main issue with the film is the lack of information and attention for the victim. Sure, we're all interested in understanding why such a crime happened, but I inadvertently found myself sympathizing with the parents and friends of the accused rather than thinking of Bella. Perhaps her family didn't choose to participate in the documentary (that would be perfectly understandable), but there were still ways the filmmakers could have represent her more prominently, even in the absence of interviews.
I also could have done less with the dramatic music in certain sequences. Really, the true story is awful enough to invoke horror.
~~~
Sunday, May 29, 2016
Saturday, May 28, 2016
Summertime
Today I saw Summertime, starring Izïa Higelin and Cécile de France.
Delphine (Higelin) is a farmer's daughter in rural France who decides to move to Paris for financial and social independence. Once there, she embraces the spirit of the city, joining a feminist group and falling in love with Carole (de France), a straight girl who is transfixed by her new friend.
Everything is blissful until Carole leaves her boyfriend to pursue Delphine just as Delphine has tragedy strike back home. Will family duty get in the way of true love or will the couple find happiness?
This film gets a lot right: the chemistry between the two leads; the authenticity of the era; the sensual nature of erotic attraction—and of course—hate for the unknown.
Unfortunately, the pace of the story is very uneven. It speeds up and slows down almost as the rhythms of their relationship ebb and flow, and that makes the film feel a lot longer than it actually is. Plus, the scenes come dangerously close to being formulaic.
It gets points for its timely women's issues (despite the fact the film is set in the '70s) and superb acting. I just wish it could have condensed it's slower sequences to keep its viewers minds from wandering.
~~~
Delphine (Higelin) is a farmer's daughter in rural France who decides to move to Paris for financial and social independence. Once there, she embraces the spirit of the city, joining a feminist group and falling in love with Carole (de France), a straight girl who is transfixed by her new friend.
Everything is blissful until Carole leaves her boyfriend to pursue Delphine just as Delphine has tragedy strike back home. Will family duty get in the way of true love or will the couple find happiness?
This film gets a lot right: the chemistry between the two leads; the authenticity of the era; the sensual nature of erotic attraction—and of course—hate for the unknown.
Unfortunately, the pace of the story is very uneven. It speeds up and slows down almost as the rhythms of their relationship ebb and flow, and that makes the film feel a lot longer than it actually is. Plus, the scenes come dangerously close to being formulaic.
It gets points for its timely women's issues (despite the fact the film is set in the '70s) and superb acting. I just wish it could have condensed it's slower sequences to keep its viewers minds from wandering.
~~~
Friday, May 06, 2016
Purple Rain
On Tuesday I saw Purple Rain, starring Prince and Appolonia Kotero.
This was my second theater viewing of this film. The first took place when I was 9 years old—it was my first "R" rated film and the only film my older sister ever snuck me into. I'm still grateful.
With Prince's passing, the 'celebration' of seeing it has dimmed, but my friend and I still made quite a night of it, complete with cans (yes, cans) of wine, tears and enthusiastic singing. I can also not confirm or deny that I shouted "Fuck you, Tipper Gore!" during "Darling Nikki." But I digress.
In this 1984 classic, Prince plays The Kid, a young man obsessed with making it big in the music industry. His rival, Morris Day (playing himself), and his band The Time give The Kid a lot of grief, but here it's done in such a comical way that the banter is fun to watch.
There's also a girl, of course. She is supernaturally beautiful as well as talented. Her name is Appolonia (Kotero) and she also has her sights set on performing.
There are motorcycle rides and steamy sex scenes and domestic violence and above all else, epic music performances. Sure, the dialogue is cheesy, but the story—based loosely on Prince's real life—is solid.
In fact, it's hard to find fault with anyone as engaging and magical as Prince was. It's even harder to refer to him in past tense.
~~~
This was my second theater viewing of this film. The first took place when I was 9 years old—it was my first "R" rated film and the only film my older sister ever snuck me into. I'm still grateful.
With Prince's passing, the 'celebration' of seeing it has dimmed, but my friend and I still made quite a night of it, complete with cans (yes, cans) of wine, tears and enthusiastic singing. I can also not confirm or deny that I shouted "Fuck you, Tipper Gore!" during "Darling Nikki." But I digress.
In this 1984 classic, Prince plays The Kid, a young man obsessed with making it big in the music industry. His rival, Morris Day (playing himself), and his band The Time give The Kid a lot of grief, but here it's done in such a comical way that the banter is fun to watch.
There's also a girl, of course. She is supernaturally beautiful as well as talented. Her name is Appolonia (Kotero) and she also has her sights set on performing.
There are motorcycle rides and steamy sex scenes and domestic violence and above all else, epic music performances. Sure, the dialogue is cheesy, but the story—based loosely on Prince's real life—is solid.
In fact, it's hard to find fault with anyone as engaging and magical as Prince was. It's even harder to refer to him in past tense.
~~~
Sunday, April 17, 2016
Midnight Special
On Monday I saw Midnight Special, starring Michael Shannon and Jaeden Lieberher.
Alton (Lieberher) isn't your everyday kid. He doesn't go to school. He lives on a cult ranch and provides accurate prophecies to his pastor. He also has an aversion to daylight.
When we meet him, he's on the run with his father (Shannon) and his father's childhood friend (Joel Edgerton) because the federal government is trying to take him into custody. At one stop he disables a satellite using just his eyes, causing the destruction of a gas station. This is apparently par for the course, as Dad doesn't seem so much surprised as angry. I couldn't help but think of Drew Barrymore's young Firestarter character when it all unfolded. Emotion = consequences. Just like normal life, but to a crazy degree.
As Alton searches for what the other dimension wants for him, the government remains in pursuit. Kirsten Dunst appears along the way to prove her worth as a nurturing mother. Adam Driver shows up as a borderline annoying cocky agent, way in over his head. He somewhat redeems himself eventually, but I could have done with less screen time from him.
In fact, I could have done with less screen time in general.
The main thing wrong with the film is it's pace: It doesn't really have one. There are moments of intense action and then moments of complete boredom. The fugitives encounter some people who have purpose and a few that don't. One incident that happens early in the film could make some dislike the dad. It was unnecessary—we get that he's loyal to the kid.
Also, Alton's eyes light up many times throughout the film, which had me cycling back in my brain to this '80s video by Bonnie Tyler. I couldn't help it. And if I'm that distracted during a movie in an otherwise peaceful theater, something's wrong.
Conceptually, I loved the idea of the film. A child with a gift that cannot be defined—even by those closest to him—is an interesting problem. The supernatural element only intensifies that challenge, which I enjoyed.
Unfortunately, the gratuitously lengthy journey getting there and the anti-climactic ending, which answered few questions, fell short.
~~~
Alton (Lieberher) isn't your everyday kid. He doesn't go to school. He lives on a cult ranch and provides accurate prophecies to his pastor. He also has an aversion to daylight.
When we meet him, he's on the run with his father (Shannon) and his father's childhood friend (Joel Edgerton) because the federal government is trying to take him into custody. At one stop he disables a satellite using just his eyes, causing the destruction of a gas station. This is apparently par for the course, as Dad doesn't seem so much surprised as angry. I couldn't help but think of Drew Barrymore's young Firestarter character when it all unfolded. Emotion = consequences. Just like normal life, but to a crazy degree.
As Alton searches for what the other dimension wants for him, the government remains in pursuit. Kirsten Dunst appears along the way to prove her worth as a nurturing mother. Adam Driver shows up as a borderline annoying cocky agent, way in over his head. He somewhat redeems himself eventually, but I could have done with less screen time from him.
In fact, I could have done with less screen time in general.
The main thing wrong with the film is it's pace: It doesn't really have one. There are moments of intense action and then moments of complete boredom. The fugitives encounter some people who have purpose and a few that don't. One incident that happens early in the film could make some dislike the dad. It was unnecessary—we get that he's loyal to the kid.
Also, Alton's eyes light up many times throughout the film, which had me cycling back in my brain to this '80s video by Bonnie Tyler. I couldn't help it. And if I'm that distracted during a movie in an otherwise peaceful theater, something's wrong.
Conceptually, I loved the idea of the film. A child with a gift that cannot be defined—even by those closest to him—is an interesting problem. The supernatural element only intensifies that challenge, which I enjoyed.
Unfortunately, the gratuitously lengthy journey getting there and the anti-climactic ending, which answered few questions, fell short.
~~~
Thursday, March 31, 2016
Hello, My Name is Doris
On Sunday I saw Hello My Name is Doris, starring Sally Field and Max Greenfield.
Having a workplace crush is fantastic—you plan your outfits carefully, worry about your makeup and get excited when circumstance forces you into their presence. And you flirt. Shamelessly.
That's the predicament Doris (Field) finds herself in when new hire John (Greenfield) arrives in her office. Though they're both unmarried, there's a slight problem: they're about 30 years apart (Doris is older).
John accepts Doris's awkward advances with grace, as he's somewhat oblivious to her intentions and they soon become genuine friends. No matter how absurd her methods, Doris does succeed in getting close to him and his contemporaries. And it gives her a new lease on life, having just lost her mother and currently battling a serious case of hoarding.
Field is alternately hilarious and heartbreaking as the star character—and "character" is a good term for her. Doris makes unintentional fashion statements with her individuality. Doris does her job and she does it well; but at this point it's just habit. Doris doesn't mind riding the ferry to work every day. It takes her back to the house she grew up in, which is where she still resides. She's someone I could see myself being friends with (or turning into) later in life.
Greenfield is undeniably charming as the aloof object of affection. His kindness and gentle nature make it easy to see why any woman would be smitten. The fact he doesn't realize it makes him all that more appealing.
So, when all of these factors come into play, however unconventional it may seem, you can't help but root for a Doris & John happy ending. Maybe it could work? They could probably have a few good years? There's nothing wrong with an age difference as long as the chemistry is there, right?
I won't spoil the ending for you, but I will say it was both difficult to watch and ultimately satisfying. The attachment you'll have to Doris by the end will make you hurt when she hurts and rejoice when things go her way.
Only a good movie could do that.
~~~
Having a workplace crush is fantastic—you plan your outfits carefully, worry about your makeup and get excited when circumstance forces you into their presence. And you flirt. Shamelessly.
That's the predicament Doris (Field) finds herself in when new hire John (Greenfield) arrives in her office. Though they're both unmarried, there's a slight problem: they're about 30 years apart (Doris is older).
John accepts Doris's awkward advances with grace, as he's somewhat oblivious to her intentions and they soon become genuine friends. No matter how absurd her methods, Doris does succeed in getting close to him and his contemporaries. And it gives her a new lease on life, having just lost her mother and currently battling a serious case of hoarding.
Field is alternately hilarious and heartbreaking as the star character—and "character" is a good term for her. Doris makes unintentional fashion statements with her individuality. Doris does her job and she does it well; but at this point it's just habit. Doris doesn't mind riding the ferry to work every day. It takes her back to the house she grew up in, which is where she still resides. She's someone I could see myself being friends with (or turning into) later in life.
Greenfield is undeniably charming as the aloof object of affection. His kindness and gentle nature make it easy to see why any woman would be smitten. The fact he doesn't realize it makes him all that more appealing.
So, when all of these factors come into play, however unconventional it may seem, you can't help but root for a Doris & John happy ending. Maybe it could work? They could probably have a few good years? There's nothing wrong with an age difference as long as the chemistry is there, right?
I won't spoil the ending for you, but I will say it was both difficult to watch and ultimately satisfying. The attachment you'll have to Doris by the end will make you hurt when she hurts and rejoice when things go her way.
Only a good movie could do that.
~~~
Saturday, March 12, 2016
10 Cloverfield Lane
This morning I saw 10 Cloverfield Lane, starring Mary Elizabeth Winstead and John Goodman.
Michelle (Winstead) has decided to move on and sets out on the road with a bag of stuff that doesn't include her engagement ring. It's not clear where she's headed (except that she most likely won't be going back).
After a heart-stopping surprise event, she ends up in an underground bunker with Howard (Goodman), a doomsday conspiracy theorist who claims to be saving her from chemical warfare outside. But is he telling the truth? Or is he telling her what he believes to be true, but has little basis in reality?
Michelle soon learns she's not the only captive of Howard's, as Emmett (John Gallagher Jr.) emerges from the next room. He's a decent guy, if not a bit simple, and soon becomes a strong ally for her.
What's great about this film is that just when you think it's going to get formulaic, the screenwriter turns everything upside down and changes your mind. Over and over again.
Michelle's quest to learn the truth gets her in trouble, but that doesn't slow her pursuit. She's always one step ahead of her captor, though he's bigger and stronger and perhaps psychotic. Not to get too feminist-y, but I found it incredibly refreshing that the girl was the smartest in the room. And she was the youngest of the bunch, too.
I can't tell you what transpires or who survives, but I can tell you that if you go to this movie, you'll be on the edge of your seat for the full 105 minutes. Enjoying the clever, well-acted, well-scripted thrill ride.
~~~
Michelle (Winstead) has decided to move on and sets out on the road with a bag of stuff that doesn't include her engagement ring. It's not clear where she's headed (except that she most likely won't be going back).
After a heart-stopping surprise event, she ends up in an underground bunker with Howard (Goodman), a doomsday conspiracy theorist who claims to be saving her from chemical warfare outside. But is he telling the truth? Or is he telling her what he believes to be true, but has little basis in reality?
Michelle soon learns she's not the only captive of Howard's, as Emmett (John Gallagher Jr.) emerges from the next room. He's a decent guy, if not a bit simple, and soon becomes a strong ally for her.
What's great about this film is that just when you think it's going to get formulaic, the screenwriter turns everything upside down and changes your mind. Over and over again.
Michelle's quest to learn the truth gets her in trouble, but that doesn't slow her pursuit. She's always one step ahead of her captor, though he's bigger and stronger and perhaps psychotic. Not to get too feminist-y, but I found it incredibly refreshing that the girl was the smartest in the room. And she was the youngest of the bunch, too.
I can't tell you what transpires or who survives, but I can tell you that if you go to this movie, you'll be on the edge of your seat for the full 105 minutes. Enjoying the clever, well-acted, well-scripted thrill ride.
~~~
Sunday, February 28, 2016
Oscar Picks and Predictions: 2016
Here are my final picks for tonight's ceremony:
WRITING: ORIGINAL SCREENPLAY
Who Will Win: Josh Singer & Tom McCarthy for SPOTLIGHT
My Pick: Josh Singer & Tom McCarthy for SPOTLIGHT
WRITING: ADAPTED SCREENPLAY
Who Will Win: Charles Randolph and Adam McCay for THE BIG SHORT
My Pick: Emma Donoghue for ROOM
VISUAL EFFECTS
Who Will Win: Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams for MAD MAX: FURY ROAD
My Pick: Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer for THE REVENANT
SOUND MIXING
Who Will Win: Chris Jenkins, Gregg Rudloff and Ben Osmo for MAD MAX: FURY ROAD
My Pick: Andy Nelson, Gary Rydstrom and Drew Kunin for BRIDGE OF SPIES
SOUND EDITING
Who Will Win: Alan Robert Murray for SICARIO
My Pick: Oliver Tarney for THE MARTIAN
SHORT FILM: LIVE ACTION
Who Will Win: DAY ONE
My Pick: EVERYTHING WILL BE OKAY
SHORT FILM: ANIMATED
Who Will Win: WE CAN'T LIVE WITHOUT COSMOS
My Pick: WORLD OF TOMORROW
PRODUCTION DESIGN
Who Will Win: Eve Stewart & Michael Standish for THE DANISH GIRL
My Pick: Eve Stewart & Michael Standish for THE DANISH GIRL
MUSIC (ORIGINAL SONG)
Who Will Win: "Till it Happens to You" from THE HUNTING GROUND
My Pick: "Till it Happens to You" from THE HUNTING GROUND
MUSIC (ORIGINAL SCORE)
Who Will Win: Ennio Morricone for THE HATEFUL EIGHT
My Pick: Ennio Morricone for THE HATEFUL EIGHT
MAKEUP AND HAIRSTYLING
Who Will Win: Lesley Vanderwalt, Elka Wardega and Damian Martin for MAD MAX: FURY ROAD
My Pick: Siân Grigg, Duncan Jarman and Robert Pandini for THE REVENANT
FOREIGN LANGUAGE FILM
Who Will Win: MUSTANG
My Pick: A WAR
FILM EDITING
Who Will Win: Tom McArdle for SPOTLIGHT
My Pick: Tom McArdle for SPOTLIGHT
DOCUMENTARY (SHORT SUBJECT)
Who Will Win: A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS
My Pick: A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS
DOCUMENTARY (FEATURE)
Who Will Win: AMY
My Pick: AMY
MUSIC (ORIGINAL SCORE)
Who Will Win: Ennio Morricone for THE HATEFUL EIGHT
My Pick: Ennio Morricone for THE HATEFUL EIGHT
DIRECTING
Who Will Win: Alejandro G. Iñarritu
My Pick: Lenny Abrahamson for ROOM
COSTUME DESIGN
Who Will Win: Sandy Powell for CAROL
My Pick: Paco Delgado for THE DANISH GIRL
CINEMATOGRAPHY
Who Will Win: Emmanuel Lubezki for THE REVENANT
My Pick: Emmanuel Lubezki for THE REVENANT
ANIMATED FEATURE FILM
Who Will Win: INSIDE OUT
My Pick: INSIDE OUT
ACTRESS IN A SUPPORTING ROLE
Who Will Win: Kate Winslet for STEVE JOBS
My Pick: Kate Winslet for STEVE JOBS
ACTOR IN A SUPPORTING ROLE
Who Will Win: Sylvester Stallone for CREED
My Pick: Mark Ruffalo for SPOTLIGHT
ACTRESS IN A LEADING ROLE
Who Will Win: Brie Larson for ROOM
My Pick: Brie Larson for ROOM
ACTOR IN A LEADING ROLE
Who Will Win: Leonardo DiCaprio for THE REVENANT
My Pick: Leonardo DiCaprio for THE REVENANT
BEST PICTURE
Who Will Win: SPOTLIGHT
My Pick: ROOM
~~~
WRITING: ORIGINAL SCREENPLAY
Who Will Win: Josh Singer & Tom McCarthy for SPOTLIGHT
My Pick: Josh Singer & Tom McCarthy for SPOTLIGHT
WRITING: ADAPTED SCREENPLAY
Who Will Win: Charles Randolph and Adam McCay for THE BIG SHORT
My Pick: Emma Donoghue for ROOM
VISUAL EFFECTS
Who Will Win: Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams for MAD MAX: FURY ROAD
My Pick: Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer for THE REVENANT
SOUND MIXING
Who Will Win: Chris Jenkins, Gregg Rudloff and Ben Osmo for MAD MAX: FURY ROAD
My Pick: Andy Nelson, Gary Rydstrom and Drew Kunin for BRIDGE OF SPIES
SOUND EDITING
Who Will Win: Alan Robert Murray for SICARIO
My Pick: Oliver Tarney for THE MARTIAN
SHORT FILM: LIVE ACTION
Who Will Win: DAY ONE
My Pick: EVERYTHING WILL BE OKAY
SHORT FILM: ANIMATED
Who Will Win: WE CAN'T LIVE WITHOUT COSMOS
My Pick: WORLD OF TOMORROW
PRODUCTION DESIGN
Who Will Win: Eve Stewart & Michael Standish for THE DANISH GIRL
My Pick: Eve Stewart & Michael Standish for THE DANISH GIRL
MUSIC (ORIGINAL SONG)
Who Will Win: "Till it Happens to You" from THE HUNTING GROUND
My Pick: "Till it Happens to You" from THE HUNTING GROUND
MUSIC (ORIGINAL SCORE)
Who Will Win: Ennio Morricone for THE HATEFUL EIGHT
My Pick: Ennio Morricone for THE HATEFUL EIGHT
MAKEUP AND HAIRSTYLING
Who Will Win: Lesley Vanderwalt, Elka Wardega and Damian Martin for MAD MAX: FURY ROAD
My Pick: Siân Grigg, Duncan Jarman and Robert Pandini for THE REVENANT
FOREIGN LANGUAGE FILM
Who Will Win: MUSTANG
My Pick: A WAR
FILM EDITING
Who Will Win: Tom McArdle for SPOTLIGHT
My Pick: Tom McArdle for SPOTLIGHT
DOCUMENTARY (SHORT SUBJECT)
Who Will Win: A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS
My Pick: A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS
DOCUMENTARY (FEATURE)
Who Will Win: AMY
My Pick: AMY
MUSIC (ORIGINAL SCORE)
Who Will Win: Ennio Morricone for THE HATEFUL EIGHT
My Pick: Ennio Morricone for THE HATEFUL EIGHT
DIRECTING
Who Will Win: Alejandro G. Iñarritu
My Pick: Lenny Abrahamson for ROOM
COSTUME DESIGN
Who Will Win: Sandy Powell for CAROL
My Pick: Paco Delgado for THE DANISH GIRL
CINEMATOGRAPHY
Who Will Win: Emmanuel Lubezki for THE REVENANT
My Pick: Emmanuel Lubezki for THE REVENANT
ANIMATED FEATURE FILM
Who Will Win: INSIDE OUT
My Pick: INSIDE OUT
ACTRESS IN A SUPPORTING ROLE
Who Will Win: Kate Winslet for STEVE JOBS
My Pick: Kate Winslet for STEVE JOBS
ACTOR IN A SUPPORTING ROLE
Who Will Win: Sylvester Stallone for CREED
My Pick: Mark Ruffalo for SPOTLIGHT
ACTRESS IN A LEADING ROLE
Who Will Win: Brie Larson for ROOM
My Pick: Brie Larson for ROOM
ACTOR IN A LEADING ROLE
Who Will Win: Leonardo DiCaprio for THE REVENANT
My Pick: Leonardo DiCaprio for THE REVENANT
BEST PICTURE
Who Will Win: SPOTLIGHT
My Pick: ROOM
~~~
Saturday, February 20, 2016
The Witch
This morning I saw The Witch, starring Anya Taylor-Joy and Kate Dickie.
It's the early 1600s in New England and Thomasin (Taylor-Joy) is watching her baby brother while her mother tends to other household chores. As she's playing peek-a-boo with him, he disappears in what seems to be thin air (but what really is the creepy dark woods they live next to). An evil witch has snatched him up for her own purposes.
Predictably, Mom (Dickie) goes into hysterics and the family unit is altered considerably. Dad (Ralph Ineson) tries to keep things as normal as possible, but the baby's absence casts quite a shadow. The young twins are constantly babbling about speaking with "Black Phillip," who tells them their older sister is a witch. To get them to shut up already, Thomasin plays along and pretends she is one. She will later regret this action.
To tell you more would be to spoil... so I'll just say that I was underwhelmed by this film as a whole. It had great potential; a great setting with great actors and rich folklore. But for me, it missed the mark.
Though the abstract shadowy images are indeed a bit spooky, I never really felt scared throughout. We know what happened to the baby (and the others as the story progresses), but with the exception of a few gratuitous bloody scenes, there's nothing very 'horrifying' about the story.
Sure, it's clever that the main character's last name ends in "sin" and the mother longs for happier times in the past, in the place that really felt like home.
But crafty moments don't make for an overall good film. I actually shivered more at the trailer for The Conjuring 2. I'm hoping this spring after I see that one I'll be compelled to write a better review.
~~~
It's the early 1600s in New England and Thomasin (Taylor-Joy) is watching her baby brother while her mother tends to other household chores. As she's playing peek-a-boo with him, he disappears in what seems to be thin air (but what really is the creepy dark woods they live next to). An evil witch has snatched him up for her own purposes.
Predictably, Mom (Dickie) goes into hysterics and the family unit is altered considerably. Dad (Ralph Ineson) tries to keep things as normal as possible, but the baby's absence casts quite a shadow. The young twins are constantly babbling about speaking with "Black Phillip," who tells them their older sister is a witch. To get them to shut up already, Thomasin plays along and pretends she is one. She will later regret this action.
To tell you more would be to spoil... so I'll just say that I was underwhelmed by this film as a whole. It had great potential; a great setting with great actors and rich folklore. But for me, it missed the mark.
Though the abstract shadowy images are indeed a bit spooky, I never really felt scared throughout. We know what happened to the baby (and the others as the story progresses), but with the exception of a few gratuitous bloody scenes, there's nothing very 'horrifying' about the story.
Sure, it's clever that the main character's last name ends in "sin" and the mother longs for happier times in the past, in the place that really felt like home.
But crafty moments don't make for an overall good film. I actually shivered more at the trailer for The Conjuring 2. I'm hoping this spring after I see that one I'll be compelled to write a better review.
~~~
Sunday, February 14, 2016
45 Years
This morning I saw 45 Years, starring Charlotte Rampling and Tom Courtenay.
Kate (Rampling) has loved Geoff (Courtenay) all of her adult life. The pair have been married for nearly 45 years and are in the midst of planning a party to commemorate that. What's normal for many is customary for them too—each have their rituals like reading the paper and walking the dog, though they're often done apart.
When the body of Geoff's first love, Katya, is found on the mountain he long left her on after she fell during a hike, their long-dormant marital tension comes to a head. You see, Geoff didn't tell Kate about Katya. Didn't mention that they were on the verge of marriage before he met her; or that her death had traumatized him ever since.
When Katya's perfectly preserved 27-year-old body surfaces (she's been frozen in the snow until now), Geoff's pent-up sorrow for his lost love does as well. This, of course, raises questions about what else he's been keeping from his wife all of these years. If he can hold a secret that serious for that long, upon what has their entire relationship been based?
This is a film that shows, not tells. This is a film that communicates pain through the faces of its actors; not through dialog. This is a film that moves along at a quiet pace, as life does when something tragic lingers in the air.
It's not an enjoyable movie to endure, but Rampling's performance is certainly worth its Oscar nomination, and watching her work will leave you speechless.
It will also leave you questioning every relationship you've ever had.
~~~
Kate (Rampling) has loved Geoff (Courtenay) all of her adult life. The pair have been married for nearly 45 years and are in the midst of planning a party to commemorate that. What's normal for many is customary for them too—each have their rituals like reading the paper and walking the dog, though they're often done apart.
When the body of Geoff's first love, Katya, is found on the mountain he long left her on after she fell during a hike, their long-dormant marital tension comes to a head. You see, Geoff didn't tell Kate about Katya. Didn't mention that they were on the verge of marriage before he met her; or that her death had traumatized him ever since.
When Katya's perfectly preserved 27-year-old body surfaces (she's been frozen in the snow until now), Geoff's pent-up sorrow for his lost love does as well. This, of course, raises questions about what else he's been keeping from his wife all of these years. If he can hold a secret that serious for that long, upon what has their entire relationship been based?
This is a film that shows, not tells. This is a film that communicates pain through the faces of its actors; not through dialog. This is a film that moves along at a quiet pace, as life does when something tragic lingers in the air.
It's not an enjoyable movie to endure, but Rampling's performance is certainly worth its Oscar nomination, and watching her work will leave you speechless.
It will also leave you questioning every relationship you've ever had.
~~~
Sunday, January 31, 2016
Live Action Short Film Nominees (Oscars® 2016)
Last night I saw all five of the nominated films in the Live Action Short category. I'll present my reviews in the order they were shown.
AVE MARIA (Palestine, France and Germany)
Of all the things Orthodox Jewish settlers could crash into in the West Bank, a convent of Catholic nuns is unlikely. But that's what happens here when a family trip takes a turn (literally) into one. Problem is: the nuns have taken a vow of silence and due to the Sabbath, the family is unable to use the telephone to call for help. Through a series of comedic events, the two groups together find a surprising solution. The one is light and the story is cute; I just don't think I'd consider this Oscar caliber material.
SHOK (Kosovo and UK)
Amidst the Yugoslav wars two young boys form a deep friendship that is tested repeatedly by the pressures of the time. Instead of making choices about what games to play each night, they're faced with much more grim decisions—some even a matter of life and death. The film is about war, but above all else, about love. Though hard to watch because of the subject matter (these horrors took place not long ago, after all), it's expertly done with two lead actors that deliver on every note.
EVERYTHING WILL BE OKAY (Germany and Austria)
A divorced couple shares custody of their young daughter. The father comes to pick the girl up for a routine weekend and the tension between the parents is evident. The father quickly takes his daughter shopping to spoil her with new toys, then makes a trip to the nearby bumper cars for additional fun. Things only go sideways when he tricks her into taking passport pictures at a nearby photo booth. The girl soon realizes they're not having a normal weekend and calls him out on it. Just how far (and how fast) this weekend goes off the rails is what makes this my pick for the Oscar. I don't think I breathed for the last 10 minutes. It was that good.
STUTTERER (UK and Ireland)
There have been six months of flirtatious Facebook bliss for a couple and now there's a chance for them to meet. The man has reservations because he suffers from a severe stuttering problem—so much that he's learned sign language to imply to strangers that he's simply deaf. As the day approaches, he at first hides, then practices his speech, hoping not to disappoint this love of his life. It's a sweet, sometimes funny story with a lot of heart.
DAY ONE (USA)
An Afghan-American interpreter is assigned to an Afghanistan tour of duty with the U.S. military, and on her first day the team is sent to investigate a report of bombs in a nearby residence. As the weapons are found and the man of the house is being arrested, his wife goes into labor—with complications. As the only woman present, the interpreter has to begin acting as a doctor to save the mother and baby.
This was the only of the five films where people actually got up and left the theater. It was incredibly intense and touched on several sensitive subject matters (religion, birth, war, death, etc.). But I stuck it out and was glad I did, if not only for the life-affirming ending, but the photo of the real interpreter, for which the film was based, that appears at the end.
~~~
AVE MARIA (Palestine, France and Germany)
Of all the things Orthodox Jewish settlers could crash into in the West Bank, a convent of Catholic nuns is unlikely. But that's what happens here when a family trip takes a turn (literally) into one. Problem is: the nuns have taken a vow of silence and due to the Sabbath, the family is unable to use the telephone to call for help. Through a series of comedic events, the two groups together find a surprising solution. The one is light and the story is cute; I just don't think I'd consider this Oscar caliber material.
SHOK (Kosovo and UK)
Amidst the Yugoslav wars two young boys form a deep friendship that is tested repeatedly by the pressures of the time. Instead of making choices about what games to play each night, they're faced with much more grim decisions—some even a matter of life and death. The film is about war, but above all else, about love. Though hard to watch because of the subject matter (these horrors took place not long ago, after all), it's expertly done with two lead actors that deliver on every note.
EVERYTHING WILL BE OKAY (Germany and Austria)
A divorced couple shares custody of their young daughter. The father comes to pick the girl up for a routine weekend and the tension between the parents is evident. The father quickly takes his daughter shopping to spoil her with new toys, then makes a trip to the nearby bumper cars for additional fun. Things only go sideways when he tricks her into taking passport pictures at a nearby photo booth. The girl soon realizes they're not having a normal weekend and calls him out on it. Just how far (and how fast) this weekend goes off the rails is what makes this my pick for the Oscar. I don't think I breathed for the last 10 minutes. It was that good.
STUTTERER (UK and Ireland)
There have been six months of flirtatious Facebook bliss for a couple and now there's a chance for them to meet. The man has reservations because he suffers from a severe stuttering problem—so much that he's learned sign language to imply to strangers that he's simply deaf. As the day approaches, he at first hides, then practices his speech, hoping not to disappoint this love of his life. It's a sweet, sometimes funny story with a lot of heart.
DAY ONE (USA)
An Afghan-American interpreter is assigned to an Afghanistan tour of duty with the U.S. military, and on her first day the team is sent to investigate a report of bombs in a nearby residence. As the weapons are found and the man of the house is being arrested, his wife goes into labor—with complications. As the only woman present, the interpreter has to begin acting as a doctor to save the mother and baby.
This was the only of the five films where people actually got up and left the theater. It was incredibly intense and touched on several sensitive subject matters (religion, birth, war, death, etc.). But I stuck it out and was glad I did, if not only for the life-affirming ending, but the photo of the real interpreter, for which the film was based, that appears at the end.
~~~
Saturday, January 30, 2016
Documentary Short Film Nominees (Oscars® 2016)
Tonight I saw all five of the nominated films in the Documentary Short category. I'll present my reviews in the order they were shown.
BODY TEAM 12 (Liberia)
The 2014 Ebola outbreak in Liberia devastated the country, leaving nearly 5000 dead and over 10,000 infected. In the midst of the chaos, 29-year-old Garmai Sumo is the only female on a team tasked with safely removing bodies from infected locations. In this film, as we watch the horror unfold, she describes what it's like—the fears, the sadness and even the hope. Her commitment and compassion for her fellow people make this otherwise gloomy subject bearable.
A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS (Pakistan)
In Pakistan, men sometimes beat or kill female relatives who they perceive to have 'disrespected' them. They call these 'honor killings,' as they are meant to restore honor to the family. One such attempted murder happened to 18-year-old Saba when she fell in love and her family told her the boy she wanted to marry wasn't rich enough. She defied them by gaining support from her future in-laws, who helped the couple elope. Her father and uncle then shot her in the face and threw her in the river to die. But ... she didn't die. She lived to tell the tale and tells it here, as she's in the midst of a legal struggle in her community. Her path toward forgiveness under pressure is hard to watch, especially considering that her attackers show no remorse, but it's so well done, I conclude that this is the strongest of the five films.
LAST DAY OF FREEDOM (USA)
A man has a younger brother. The younger brother gets hit by a car during adolescence and is never the same. With a middle school education, said brother enters the service. He goes to Vietnam. Bad things happen. He comes home, again a changed man. His PTSD gets really bad. He does a bad thing. His brother turns him in. He gets the death penalty. The brother is sick with guilt and tells his story here, but we only hear him as the entire short is animated. Though the animation is artistically brilliant, I didn't feel it was the right way to tell this story and it distracted me from the core of the emotion. Meh.
CHAU, BEYOND THE LINES (USA and Vietnam)
The effects of Agent Orange are still prevalent today, as evidenced in this documentary focusing on Chau, a disabled Vietnamese boy with a triumphant spirit. We're first introduced to him in the orphanage-like home he's living in, though he's still in touch with his family (and will go back to them briefly before setting out in the world on his own). The staff at the home, which primarily serves children affected by Agent Orange, don't recognize that Chau's a gifted artist with real potential; they discourage him from pursuing what they see as a futile dream. Thankfully, he ignores them and forges on, despite the fact he doesn't have a knee on one leg and his arms and hands are disproportionate to his body. If you're able to stop crying, this is a life-affirming gem of a film.
CLAUDE LANSMANN: SPECTRES OF THE SHOAH (USA)
In 1985, Director Claude Lansmann released a documentary that had consumed him for 12 years: Shoah. Remembered now as perhaps the most important Holocaust film ever made, the creation of it still haunts him this many years on. In this talking-head short—the most traditional documentary of the bunch—we hear from Lansmann directly as he shares stories of the horrors he drew out of various survivors. It's riveting and depressing and makes you respect the classic work all the more, even if his methods for making it weren't always noble.
~~~
BODY TEAM 12 (Liberia)
The 2014 Ebola outbreak in Liberia devastated the country, leaving nearly 5000 dead and over 10,000 infected. In the midst of the chaos, 29-year-old Garmai Sumo is the only female on a team tasked with safely removing bodies from infected locations. In this film, as we watch the horror unfold, she describes what it's like—the fears, the sadness and even the hope. Her commitment and compassion for her fellow people make this otherwise gloomy subject bearable.
A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS (Pakistan)
In Pakistan, men sometimes beat or kill female relatives who they perceive to have 'disrespected' them. They call these 'honor killings,' as they are meant to restore honor to the family. One such attempted murder happened to 18-year-old Saba when she fell in love and her family told her the boy she wanted to marry wasn't rich enough. She defied them by gaining support from her future in-laws, who helped the couple elope. Her father and uncle then shot her in the face and threw her in the river to die. But ... she didn't die. She lived to tell the tale and tells it here, as she's in the midst of a legal struggle in her community. Her path toward forgiveness under pressure is hard to watch, especially considering that her attackers show no remorse, but it's so well done, I conclude that this is the strongest of the five films.
LAST DAY OF FREEDOM (USA)
A man has a younger brother. The younger brother gets hit by a car during adolescence and is never the same. With a middle school education, said brother enters the service. He goes to Vietnam. Bad things happen. He comes home, again a changed man. His PTSD gets really bad. He does a bad thing. His brother turns him in. He gets the death penalty. The brother is sick with guilt and tells his story here, but we only hear him as the entire short is animated. Though the animation is artistically brilliant, I didn't feel it was the right way to tell this story and it distracted me from the core of the emotion. Meh.
CHAU, BEYOND THE LINES (USA and Vietnam)
The effects of Agent Orange are still prevalent today, as evidenced in this documentary focusing on Chau, a disabled Vietnamese boy with a triumphant spirit. We're first introduced to him in the orphanage-like home he's living in, though he's still in touch with his family (and will go back to them briefly before setting out in the world on his own). The staff at the home, which primarily serves children affected by Agent Orange, don't recognize that Chau's a gifted artist with real potential; they discourage him from pursuing what they see as a futile dream. Thankfully, he ignores them and forges on, despite the fact he doesn't have a knee on one leg and his arms and hands are disproportionate to his body. If you're able to stop crying, this is a life-affirming gem of a film.
CLAUDE LANSMANN: SPECTRES OF THE SHOAH (USA)
In 1985, Director Claude Lansmann released a documentary that had consumed him for 12 years: Shoah. Remembered now as perhaps the most important Holocaust film ever made, the creation of it still haunts him this many years on. In this talking-head short—the most traditional documentary of the bunch—we hear from Lansmann directly as he shares stories of the horrors he drew out of various survivors. It's riveting and depressing and makes you respect the classic work all the more, even if his methods for making it weren't always noble.
~~~
Friday, January 08, 2016
My 2016 Golden Globe Picks
Here are my selection and predictions, in order of how they're listed on the official site:
Best Motion Picture Drama
What I want to win: I give this to ROOM. No film has stayed with me more than this can't-look-away nail biter about a kidnapped woman and her son held in captivity.
What will probably win: I think THE REVENANT, which is also deserving, but didn't hit me as emotionally hard as the other.
Best Performance by an Actress in a Motion Picture Drama
Who I want to win: Brie Larson from ROOM. Earth-shatteringly good.
Who will probably win: Brie Larson from ROOM. She is getting universal praise, for good reason.
Best Performance by an Actor in a Motion Picture Drama
Who I want to win: Without question, Leonardo DiCaprio for THE REVENANT. He's good in everything he's in, but in this role he got attacked by a bear and had very few lines.
Who will probably win: Leo has terrible luck during awards season, so I think Eddie Redmayne of THE DANISH GIRL will take this one. I liked him in the role, but still think Leo had a more difficult job.
Best Motion Picture - Musical or Comedy
What I want to win: TRAINWRECK. Amy Schumer. Need I say more?
What will probably win: I have a good feeling about TRAINWRECK and Amy's string of success this year.
Best Performance by an Actress - Musical or Comedy
Who I want to win: Amy Schumer, of course.
Who will probably win: Amy Schumer, of course.
Best Performance by an Actor - Musical or Comedy
Who I want to win: Christian Bale was creepy good in THE BIG SHORT, right down to actually wearing the guy's clothes. He gets my vote.
Who will probably win: I think more people saw THE MARTIAN, and Matt Damon will walk away with the Globe.
Best Motion Picture - Animated
What I want to win: No film had more heart this year than INSIDE OUT. I hope it takes the honor.
What will probably win: Pixar rules. INSIDE OUT it is!
Best Motion Picture - Foreign Language
Shamefully, I have seen none of the nominees, so I will remove myself from weighing in on this race.
Best Performance by an Actress in a Supporting Role in Any Motion Picture
Who I want to win: STEVE JOBS was held together by Kate Winslet. She deserves the trophy.
Who will probably win: Alicia Vikander of EX MACHINA has gotten a lot of press. I'm guessing if Kate loses, it will be to her.
Best Performance by an Actor in a Supporting Role in Any Motion Picture
Who I want to win: Mark Rylance was absolutely charming in BRIDGE OF SPIES. I'd like to see his acceptance speech.
Who will probably win: Paul Dano, though probably should have been considered a lead, made an excellent Brian Wilson in LOVE & MERCY. He could be the night's showstopper.
Best Director - Motion Picture
Who I want to win: I go with Alejandro G. Iñarritu for THE REVENANT. Shooting in the wilderness, in natural light, using very little CGI and not a lot of dialogue. The film is a cinematic treasure.
Who will probably win: Ridley Scott and his crowd-pleaser THE MARTIAN will most likely walk away with the prize.
Best Motion Picture Drama
What I want to win: I give this to ROOM. No film has stayed with me more than this can't-look-away nail biter about a kidnapped woman and her son held in captivity.
What will probably win: I think THE REVENANT, which is also deserving, but didn't hit me as emotionally hard as the other.
Best Performance by an Actress in a Motion Picture Drama
Who I want to win: Brie Larson from ROOM. Earth-shatteringly good.
Who will probably win: Brie Larson from ROOM. She is getting universal praise, for good reason.
Best Performance by an Actor in a Motion Picture Drama
Who I want to win: Without question, Leonardo DiCaprio for THE REVENANT. He's good in everything he's in, but in this role he got attacked by a bear and had very few lines.
Who will probably win: Leo has terrible luck during awards season, so I think Eddie Redmayne of THE DANISH GIRL will take this one. I liked him in the role, but still think Leo had a more difficult job.
Best Motion Picture - Musical or Comedy
What I want to win: TRAINWRECK. Amy Schumer. Need I say more?
What will probably win: I have a good feeling about TRAINWRECK and Amy's string of success this year.
Best Performance by an Actress - Musical or Comedy
Who I want to win: Amy Schumer, of course.
Who will probably win: Amy Schumer, of course.
Best Performance by an Actor - Musical or Comedy
Who I want to win: Christian Bale was creepy good in THE BIG SHORT, right down to actually wearing the guy's clothes. He gets my vote.
Who will probably win: I think more people saw THE MARTIAN, and Matt Damon will walk away with the Globe.
Best Motion Picture - Animated
What I want to win: No film had more heart this year than INSIDE OUT. I hope it takes the honor.
What will probably win: Pixar rules. INSIDE OUT it is!
Best Motion Picture - Foreign Language
Shamefully, I have seen none of the nominees, so I will remove myself from weighing in on this race.
Best Performance by an Actress in a Supporting Role in Any Motion Picture
Who I want to win: STEVE JOBS was held together by Kate Winslet. She deserves the trophy.
Who will probably win: Alicia Vikander of EX MACHINA has gotten a lot of press. I'm guessing if Kate loses, it will be to her.
Best Performance by an Actor in a Supporting Role in Any Motion Picture
Who I want to win: Mark Rylance was absolutely charming in BRIDGE OF SPIES. I'd like to see his acceptance speech.
Who will probably win: Paul Dano, though probably should have been considered a lead, made an excellent Brian Wilson in LOVE & MERCY. He could be the night's showstopper.
Best Director - Motion Picture
Who I want to win: I go with Alejandro G. Iñarritu for THE REVENANT. Shooting in the wilderness, in natural light, using very little CGI and not a lot of dialogue. The film is a cinematic treasure.
Who will probably win: Ridley Scott and his crowd-pleaser THE MARTIAN will most likely walk away with the prize.
Best Screenplay - Motion Picture
Who I want to win: Tom McCarthy and Josh Singer for SPOTLIGHT deserve the honor for their fast-paced, perfectly crafted script.
Who will probably win: Charles Randolph and Adam McKay had a lot of crackle in THE BIG SHORT. Audiences will remember the dialogue; especially because a lot of it was spoken directly to them in the "how this happened" vignettes featuring famous cameos.
Best Original Score - Motion Picture
Who I want to win: Alexandre Desplat painted a beautiful picture of both the era and the landscapes of the two major European cities featured in THE DANISH GIRL, while managing to convey the emotion of the leads. I loved it.
Who will probably win: Ennio Morricone is the rock star of the bunch, so I'm guessing his work for THE HATEFUL EIGHT will yield the Globe.
Best Original Song - Motion Picture
Who I want to win: When the subject of the movie is also the composer of the song in the movie, it's hard to argue with it. My vote goes to Brian Wilson for LOVE & MERCY.
Who will probably win: Everyone wants to see a Beach Boy on stage. I think Brian Wilson will indeed win for LOVE & MERCY.
Best Television Series - Drama
What I want to win: Funny story: I only started watching MR. ROBOT because when I lived in NY for a brief time last year for work, they filmed it on my Upper West Side apartment's street. It became a fast favorite and it gets my vote here.
What will probably win: I wasn't the only one who loved this show. I'm guessing MR. ROBOT will prove victorious.
Best Performance by an Actress in a Television Series - Drama
Who I want to win: The intensity she exudes (in the contexts of both sex and violence) qualify Catriona Balfe of OUTLANDER to win, in my book.
Who will probably win: I think Viola Davis, who is the most buzzed-about leading lady, will take it for HOW TO GET AWAY WITH MURDER.
Best Performance by an Actor in a Television Series - Drama
Who I want to win: Don Draper forever! John Hamm of MAD MEN, please.
Who will probably win: Since MAD MEN has ended and it's Hamm's last chance to win, I think my wish will come true.
Best Television Series - Music or Comedy
Who I want to win: An admittedly recent convert, I'm all about TRANSPARENT.
Who will probably win: I feel like I'm not the only one who loves TRANSPARENT.
Best Performance by an Actress in a Television Series - Music or Comedy
Who I want to win: Jamie Lee Curtis kept SCREAM QUEENS alive on my DVR. She gets my vote.
Who will probably win: Julia Louis-Dreyfus in VEEP seems to have quite the winning streak (though I hate that show).
Best Performance by an Actor in a Television Series - Music or Comedy
Who I want to win: Is it any surprise? I go for Jeffrey Tambor in TRANSPARENT.
Who will probably win: I think the HFP will agree with me and go with Jeffrey Tambor for his role as a trans parent in TRANSPARENT.
Best Television Limited Series or Motion Picture Made for Television
What I want to win: My vote would go to the always-interesting AMERICAN CRIME.
What will probably win: The critics can't seem to get enough of FARGO, so I'll bet it beats out the rest.
Best Performance by an Actress in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Lady Gaga has been fantastic in AMERICAN HORROR STORY: HOTEL, so she gets my vote.
Who will probably win: Though I didn't see it, I hear Queen Latifah was transcendent in BESSIE. My guess is she'll be the one walking away with the win.
Best Performance by an Actor in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Idris Elba has made LUTHER iconic in his own right, so he's my pick.
Who will probably win: I think voters will award Patrick Wilson of FARGO with the Globe.
Best Performance by an Actress in a Supporting Role in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Maura Tierney was nothing short of brilliant this season on THE AFFAIR. She deserves the honor.
Who will probably win: I have a hunch about the always-wonderful Regina King of AMERICAN CRIME.
Best Performance by an Actor in a Supporting Role in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Alan Cumming for THE GOOD WIFE. Anything else is a conspiracy.
Who will probably win: I can't see anyone in their right mind disagreeing with me on this one. Alan Cumming, Sir Eli Gold, THE GOOD WIFE.
We'll find out on Sunday if I was right!
-Tassoula
Who I want to win: Tom McCarthy and Josh Singer for SPOTLIGHT deserve the honor for their fast-paced, perfectly crafted script.
Who will probably win: Charles Randolph and Adam McKay had a lot of crackle in THE BIG SHORT. Audiences will remember the dialogue; especially because a lot of it was spoken directly to them in the "how this happened" vignettes featuring famous cameos.
Best Original Score - Motion Picture
Who I want to win: Alexandre Desplat painted a beautiful picture of both the era and the landscapes of the two major European cities featured in THE DANISH GIRL, while managing to convey the emotion of the leads. I loved it.
Who will probably win: Ennio Morricone is the rock star of the bunch, so I'm guessing his work for THE HATEFUL EIGHT will yield the Globe.
Best Original Song - Motion Picture
Who I want to win: When the subject of the movie is also the composer of the song in the movie, it's hard to argue with it. My vote goes to Brian Wilson for LOVE & MERCY.
Who will probably win: Everyone wants to see a Beach Boy on stage. I think Brian Wilson will indeed win for LOVE & MERCY.
Best Television Series - Drama
What I want to win: Funny story: I only started watching MR. ROBOT because when I lived in NY for a brief time last year for work, they filmed it on my Upper West Side apartment's street. It became a fast favorite and it gets my vote here.
What will probably win: I wasn't the only one who loved this show. I'm guessing MR. ROBOT will prove victorious.
Best Performance by an Actress in a Television Series - Drama
Who I want to win: The intensity she exudes (in the contexts of both sex and violence) qualify Catriona Balfe of OUTLANDER to win, in my book.
Who will probably win: I think Viola Davis, who is the most buzzed-about leading lady, will take it for HOW TO GET AWAY WITH MURDER.
Best Performance by an Actor in a Television Series - Drama
Who I want to win: Don Draper forever! John Hamm of MAD MEN, please.
Who will probably win: Since MAD MEN has ended and it's Hamm's last chance to win, I think my wish will come true.
Best Television Series - Music or Comedy
Who I want to win: An admittedly recent convert, I'm all about TRANSPARENT.
Who will probably win: I feel like I'm not the only one who loves TRANSPARENT.
Best Performance by an Actress in a Television Series - Music or Comedy
Who I want to win: Jamie Lee Curtis kept SCREAM QUEENS alive on my DVR. She gets my vote.
Who will probably win: Julia Louis-Dreyfus in VEEP seems to have quite the winning streak (though I hate that show).
Best Performance by an Actor in a Television Series - Music or Comedy
Who I want to win: Is it any surprise? I go for Jeffrey Tambor in TRANSPARENT.
Who will probably win: I think the HFP will agree with me and go with Jeffrey Tambor for his role as a trans parent in TRANSPARENT.
Best Television Limited Series or Motion Picture Made for Television
What I want to win: My vote would go to the always-interesting AMERICAN CRIME.
What will probably win: The critics can't seem to get enough of FARGO, so I'll bet it beats out the rest.
Best Performance by an Actress in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Lady Gaga has been fantastic in AMERICAN HORROR STORY: HOTEL, so she gets my vote.
Who will probably win: Though I didn't see it, I hear Queen Latifah was transcendent in BESSIE. My guess is she'll be the one walking away with the win.
Best Performance by an Actor in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Idris Elba has made LUTHER iconic in his own right, so he's my pick.
Who will probably win: I think voters will award Patrick Wilson of FARGO with the Globe.
Best Performance by an Actress in a Supporting Role in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Maura Tierney was nothing short of brilliant this season on THE AFFAIR. She deserves the honor.
Who will probably win: I have a hunch about the always-wonderful Regina King of AMERICAN CRIME.
Best Performance by an Actor in a Supporting Role in a Television Limited Series or Motion Picture Made for Television
Who I want to win: Alan Cumming for THE GOOD WIFE. Anything else is a conspiracy.
Who will probably win: I can't see anyone in their right mind disagreeing with me on this one. Alan Cumming, Sir Eli Gold, THE GOOD WIFE.
We'll find out on Sunday if I was right!
-Tassoula
Thursday, January 07, 2016
The Revenant
Tonight I saw The Revenant, starring Leonardo DiCaprio and Tom Hardy.
Hugh Glass (DiCaprio) is a fur trapper in the early 1800s (and yes, this character is based on a real person and a real incident, though many of the characters are fictional). He's on an expedition along the Missouri River when he's mauled by a grizzly bear. He survives the violent attack, but can barely move. And winter is coming—so instead of the entire group putting themselves in further danger, they offer cash rewards to those willing to stay behind and either nurse him back to health or give him a proper burial when the day comes. Two men, plus the man's son, volunteer for the duty and the rest leave.
After days of no improvement, one of the men, John Fitzgerald (Hardy) gets anxious and wants to put Glass out of his misery. He's not ready to go and his son attempts to save him. Fitzgerald kills the son and convinces the other man to leave Glass for dead. He even takes his gun.
But Hugh doesn't die. His resolve for revenge against Fitzgerald fuels his will to live and the next 2+ hours are spent battling tribes, nature and his own rotting flesh. Just watching him shiver in the snow is enough to put an extra layer on in the theater. In fact, with the exception of the tender moments Hugh shares with his son, the ghost of his son's mother, the ghost of his son and a friend he makes along the way, there's not much about this film that's pleasant.
It's brilliant, though.
From the stunning cinematography to the horrific, so-real-it-makes-you-squirm bear scene to DiCaprio's almost mute performance that somehow exhibits more emotion than anything we've seen on film this year, it's a triumph.
Visceral, painful, frightening, satisfying, terrifying—all of those things. And if Leo doesn't win the Oscar this year, I will lose all faith in the Academy.
~~~
Hugh Glass (DiCaprio) is a fur trapper in the early 1800s (and yes, this character is based on a real person and a real incident, though many of the characters are fictional). He's on an expedition along the Missouri River when he's mauled by a grizzly bear. He survives the violent attack, but can barely move. And winter is coming—so instead of the entire group putting themselves in further danger, they offer cash rewards to those willing to stay behind and either nurse him back to health or give him a proper burial when the day comes. Two men, plus the man's son, volunteer for the duty and the rest leave.
After days of no improvement, one of the men, John Fitzgerald (Hardy) gets anxious and wants to put Glass out of his misery. He's not ready to go and his son attempts to save him. Fitzgerald kills the son and convinces the other man to leave Glass for dead. He even takes his gun.
But Hugh doesn't die. His resolve for revenge against Fitzgerald fuels his will to live and the next 2+ hours are spent battling tribes, nature and his own rotting flesh. Just watching him shiver in the snow is enough to put an extra layer on in the theater. In fact, with the exception of the tender moments Hugh shares with his son, the ghost of his son's mother, the ghost of his son and a friend he makes along the way, there's not much about this film that's pleasant.
It's brilliant, though.
From the stunning cinematography to the horrific, so-real-it-makes-you-squirm bear scene to DiCaprio's almost mute performance that somehow exhibits more emotion than anything we've seen on film this year, it's a triumph.
Visceral, painful, frightening, satisfying, terrifying—all of those things. And if Leo doesn't win the Oscar this year, I will lose all faith in the Academy.
~~~
Sunday, January 03, 2016
Carol
This morning I saw Carol, starring Cate Blanchett and Rooney Mara.
There's a chronic ache one endures when love is unrequited. A pain detected by others only when looking deep into the afflicted's eyes. Carol (Blanchett), the subject of this film, feels this pain. She is on the verge of divorcing her husband Harge (Kyle Chandler) and is smitten with a young shop girl she met while searching for her daughter's Christmas gift.
As fate would have it, Carol accidentally left her gloves behind at the department store when purchasing said gift, so the shop girl, Therese (Mara) has them sent back to her. To show her gratitude for the gesture, she treats Therese to a fancy lunch and a new friendship is formed.
Meanwhile, Therese is somewhat confused about where she wants life to take her. She has a solid job at the store, but her passion is photography. She has a devoted boyfriend, but another friend likes her and also wants to be with her. Therese has little interest in either of them.
As Carol progresses with her separation, an ex-girlfriend, Abby (Sarah Paulson), helps her deal. But her association with Abby makes Harge believe she's going back to her—though she's not—so he begins proceedings to keep Carol from seeing their daughter. This drives Carol to quickly seek comfort in Therese's friendship and explore where it will go.
Did I mention it's the early 50s? And it's not okay to be an 'out' lesbian in the early 50s?
The whole film centers around this repression, despite the fact Carol seems very comfortable in who she is and makes no apologies for her feelings. It's one of those films where very little happens, yet everything does change.
If you're looking for a fast-paced love story, this is not the film for you, but if you have the cinema patience for quiet scenes, sexual frustration and longing looks, you may find yourself satisfied by its undercurrent.
Cate Blanchett is fantastic as always, as the cold, yet compassionate Carol. Mara didn't impress me as much with her deer-in-headlights glances and wooden dialog delivery, but Kyle Chandler playing against type as a jackass was fun to see.
I'm glad I checked this one off my list, even if it's not as flashy as competing films in this year's Oscar race.
~~~
There's a chronic ache one endures when love is unrequited. A pain detected by others only when looking deep into the afflicted's eyes. Carol (Blanchett), the subject of this film, feels this pain. She is on the verge of divorcing her husband Harge (Kyle Chandler) and is smitten with a young shop girl she met while searching for her daughter's Christmas gift.
As fate would have it, Carol accidentally left her gloves behind at the department store when purchasing said gift, so the shop girl, Therese (Mara) has them sent back to her. To show her gratitude for the gesture, she treats Therese to a fancy lunch and a new friendship is formed.
Meanwhile, Therese is somewhat confused about where she wants life to take her. She has a solid job at the store, but her passion is photography. She has a devoted boyfriend, but another friend likes her and also wants to be with her. Therese has little interest in either of them.
As Carol progresses with her separation, an ex-girlfriend, Abby (Sarah Paulson), helps her deal. But her association with Abby makes Harge believe she's going back to her—though she's not—so he begins proceedings to keep Carol from seeing their daughter. This drives Carol to quickly seek comfort in Therese's friendship and explore where it will go.
Did I mention it's the early 50s? And it's not okay to be an 'out' lesbian in the early 50s?
The whole film centers around this repression, despite the fact Carol seems very comfortable in who she is and makes no apologies for her feelings. It's one of those films where very little happens, yet everything does change.
If you're looking for a fast-paced love story, this is not the film for you, but if you have the cinema patience for quiet scenes, sexual frustration and longing looks, you may find yourself satisfied by its undercurrent.
Cate Blanchett is fantastic as always, as the cold, yet compassionate Carol. Mara didn't impress me as much with her deer-in-headlights glances and wooden dialog delivery, but Kyle Chandler playing against type as a jackass was fun to see.
I'm glad I checked this one off my list, even if it's not as flashy as competing films in this year's Oscar race.
~~~
Saturday, January 02, 2016
Joy
Last night I saw Joy, starring Jennifer Lawrence and Robert De Niro.
Joy Mangano (Lawrence) is an inventor, entrepreneur and multimillionaire—but it took a lot of work for her to get there.
As a single mom in the late 80s, Mangano was always thinking up ways to make life a little easier. One of those ideas led to her invention of the Miracle Mop; at the time, a revolutionary cleaning device that was self-wringing and machine washable. This film tells the story (loosely) of how she was able to sell her idea to the right entity despite a difficult dysfunctional family and no prior business experience.
Jennifer Lawrence (though a bit young to be playing Joy) dazzles as the headstrong woman who seems to solve all of her family's problems. She has a depressed mother living downstairs and a friendly ex-husband in the basement as she raises her two kids, juggles a crazy sister and works full time. But she manages to do it all as she invents what will become her breakthrough product.
De Niro plays her father Rudy just as you'd expect him to; forcefully, lovingly, borderline annoyingly. Of course, he's perfect. But unfortunately, the film isn't.
Each step taken, each word spoken, each concentrated look delivered is far too exaggerated. The camera whizzes around each scene like a drunk cocktail party guest while us audience members spend more time looking at Lawrence's hair than thinking about the developing plot.
Sure, there are brief "miracle" moments, like every time Bradley Cooper shows up as Joy's business contact. And the story itself (especially for women) is inspiring because the real-life woman went on to be an even greater success (and yes, the Miracle Mop is being re-released with a new spin TOMORROW, so she's obviously still entrepreneurial-minded).
But unlike the sincerity of director David O'Russell's other hits like Silver Linings Playbook, the heart was missing from Joy, leaving us bleached of emotion.
~~~
Joy Mangano (Lawrence) is an inventor, entrepreneur and multimillionaire—but it took a lot of work for her to get there.
As a single mom in the late 80s, Mangano was always thinking up ways to make life a little easier. One of those ideas led to her invention of the Miracle Mop; at the time, a revolutionary cleaning device that was self-wringing and machine washable. This film tells the story (loosely) of how she was able to sell her idea to the right entity despite a difficult dysfunctional family and no prior business experience.
Jennifer Lawrence (though a bit young to be playing Joy) dazzles as the headstrong woman who seems to solve all of her family's problems. She has a depressed mother living downstairs and a friendly ex-husband in the basement as she raises her two kids, juggles a crazy sister and works full time. But she manages to do it all as she invents what will become her breakthrough product.
De Niro plays her father Rudy just as you'd expect him to; forcefully, lovingly, borderline annoyingly. Of course, he's perfect. But unfortunately, the film isn't.
Each step taken, each word spoken, each concentrated look delivered is far too exaggerated. The camera whizzes around each scene like a drunk cocktail party guest while us audience members spend more time looking at Lawrence's hair than thinking about the developing plot.
Sure, there are brief "miracle" moments, like every time Bradley Cooper shows up as Joy's business contact. And the story itself (especially for women) is inspiring because the real-life woman went on to be an even greater success (and yes, the Miracle Mop is being re-released with a new spin TOMORROW, so she's obviously still entrepreneurial-minded).
But unlike the sincerity of director David O'Russell's other hits like Silver Linings Playbook, the heart was missing from Joy, leaving us bleached of emotion.
~~~
Monday, December 28, 2015
The Big Short
Tonight I saw The Big Short, starring Christian Bale and Steve Carell.
The housing bubble was building for years, but no one saw it coming. No one, that is, except for a few industry outliers who found a way to bet on it.
Michael Burry (Bale) was a hedge fund manager who simply did the math. He was someone who looked for cracks in the system and understood numbers on a primal level. He called it years before it happened and he was right.
Mark Baum (Carell) is a money manager furious with the world. He's just lost his brother to suicide and as he works through that tragedy in therapy, he discovers that his job in the financial industry has a lot to do with who he has become. Baum listens to the right person and also believes the bubble will burst. He invests wisely as a result.
Financial stories are not typically compelling, but told here in talking-to-the-camera fashion (which shouldn't work, but for some reason does) it becomes riveting. It's flashy and fast and full of f-bombs, but I promise if you see it, you won't get bored.
Bale is so faithful to the actual man he's portraying, he actually borrowed his clothes for the film. And Carell, a comic genius with the skill to bring heavy drama at a moment's notice, also does not disappoint.
The Oscars may come calling for these actors—perhaps even the movie itself. I wouldn't be surprised or sad if they did.
~~~
The housing bubble was building for years, but no one saw it coming. No one, that is, except for a few industry outliers who found a way to bet on it.
Michael Burry (Bale) was a hedge fund manager who simply did the math. He was someone who looked for cracks in the system and understood numbers on a primal level. He called it years before it happened and he was right.
Mark Baum (Carell) is a money manager furious with the world. He's just lost his brother to suicide and as he works through that tragedy in therapy, he discovers that his job in the financial industry has a lot to do with who he has become. Baum listens to the right person and also believes the bubble will burst. He invests wisely as a result.
Financial stories are not typically compelling, but told here in talking-to-the-camera fashion (which shouldn't work, but for some reason does) it becomes riveting. It's flashy and fast and full of f-bombs, but I promise if you see it, you won't get bored.
Bale is so faithful to the actual man he's portraying, he actually borrowed his clothes for the film. And Carell, a comic genius with the skill to bring heavy drama at a moment's notice, also does not disappoint.
The Oscars may come calling for these actors—perhaps even the movie itself. I wouldn't be surprised or sad if they did.
~~~
Friday, December 25, 2015
Concussion
Today I saw Concussion, starring Will Smith and Albert Brooks.
The NFL is a huge, successful organization based on America's Favorite sport. The more interested the public becomes about football, the more money the institution makes, so it's in their best interest to deliver high-intensity, exciting games.
Years ago, Dr. Bennet Omalu (Smith), a leading neuropathologist in Pittsburgh recognized a brain pattern in former NFL players who had passed. He pursued and personally funded the study of this pattern, as he'd never seen it before, and determined that it was caused by repeated blows to the head. Concussions.
The condition, Chronic Traumatic Encephalopathy (CTE), causes its victims devastating symptoms such as dementia, depression, paranoia and memory loss. Many of those who were labeled with the affliction after death had committed suicide.
This film tells the story of how Dr. Omalu discovered CTE, and the resistance he met from the NFL once he went public with his findings. Though he had nothing against the sport, he did hope they would acknowledge the dangers their players are put in each time they take to the field. They refused to—and to say any more would spoil the film.
So, for non-sports folks like myself: Why should you see this?
Smith's performance, for one, is nothing short of impressive. He disappears into the accent and you forget you're watching The Fresh Prince.
The visceral way in which the filmmakers tell the story is (although gory) very powerful, as you truly grasp the science behind what's going on because they show it to you.
And, well, if you are a football fan... you should see this too. And then think about all of the money you're pouring into an institution that would rather profit from the talent they hire than preserve the health and sanity of those very individuals.
~~~
The NFL is a huge, successful organization based on America's Favorite sport. The more interested the public becomes about football, the more money the institution makes, so it's in their best interest to deliver high-intensity, exciting games.
Years ago, Dr. Bennet Omalu (Smith), a leading neuropathologist in Pittsburgh recognized a brain pattern in former NFL players who had passed. He pursued and personally funded the study of this pattern, as he'd never seen it before, and determined that it was caused by repeated blows to the head. Concussions.
The condition, Chronic Traumatic Encephalopathy (CTE), causes its victims devastating symptoms such as dementia, depression, paranoia and memory loss. Many of those who were labeled with the affliction after death had committed suicide.
This film tells the story of how Dr. Omalu discovered CTE, and the resistance he met from the NFL once he went public with his findings. Though he had nothing against the sport, he did hope they would acknowledge the dangers their players are put in each time they take to the field. They refused to—and to say any more would spoil the film.
So, for non-sports folks like myself: Why should you see this?
Smith's performance, for one, is nothing short of impressive. He disappears into the accent and you forget you're watching The Fresh Prince.
The visceral way in which the filmmakers tell the story is (although gory) very powerful, as you truly grasp the science behind what's going on because they show it to you.
And, well, if you are a football fan... you should see this too. And then think about all of the money you're pouring into an institution that would rather profit from the talent they hire than preserve the health and sanity of those very individuals.
~~~
Sunday, December 20, 2015
The Danish Girl
This morning I saw The Danish Girl, starring Eddie Redmayne and Alicia Vikander.
Einar Wegener (Redmayne) and his wife Gerda (Vikander) were a happy couple living a Bohemian life in Denmark in the 1920s. Both gifted painters, they shared a deep bond of not only love, but art.
One day, Gerda was in need of a live, female model for one of her paintings and her husband stood in for the absent woman. This act changed both of their lives significantly.
Einar discovered a special feeling when he put on the woman's stockings, and volunteered to continue acting as a female model whenever his wife was in need. This soon became a game for both of them—him developing an alter ego, Lili, and making appearances at events and parties around town.
Gerda was surprisingly supportive of this ruse and even encouraged it. Her paintings of Lili were very successful in the industry and Einar was happier when he was behaving like a girl.
Of course, over time, Einar decided he could no longer be Einar. He truly felt inside that he was a woman and the only moments where he felt comfortable were those he had acting as Lili. Gerda accepted this eventuality and they moved to Paris, preserving their unconventional marriage throughout his quest to fully transition to female.
A few years later they met a doctor that said he could perform a series of operations to make Lili fully female and Eniar was enthusiastic about having them. Gerda stood by his/her side for the duration.
This film does an incredible job, through the genius of Eddie Redmayne, of exposing how it may feel for transgender persons discovering their true selves. There are many long looks in the mirror; several examinations of one's own human body; countless instances of touching the sensual fabric of women's apparel. Though none of us who aren't transgender could ever truly 'know how it feels' to be trapped in the wrong body, this film gives us at least a compass that directs us toward the feelings of those who do. Redmayne shows total discomfort in his own skin, and the discovery of his new self is frankly ... inspiring.
As the first person to have gender reassignment surgery, Elbe remains a hero to the transgender community to this day. Gerda did eventually divorce Einar and remarry, but stayed by Lili's side to the end.
The pair's story is told beautifully here, with award-bait performances and classy writing, capturing the right notes for today's progressive world.
~~~
Einar Wegener (Redmayne) and his wife Gerda (Vikander) were a happy couple living a Bohemian life in Denmark in the 1920s. Both gifted painters, they shared a deep bond of not only love, but art.
One day, Gerda was in need of a live, female model for one of her paintings and her husband stood in for the absent woman. This act changed both of their lives significantly.
Einar discovered a special feeling when he put on the woman's stockings, and volunteered to continue acting as a female model whenever his wife was in need. This soon became a game for both of them—him developing an alter ego, Lili, and making appearances at events and parties around town.
Gerda was surprisingly supportive of this ruse and even encouraged it. Her paintings of Lili were very successful in the industry and Einar was happier when he was behaving like a girl.
Of course, over time, Einar decided he could no longer be Einar. He truly felt inside that he was a woman and the only moments where he felt comfortable were those he had acting as Lili. Gerda accepted this eventuality and they moved to Paris, preserving their unconventional marriage throughout his quest to fully transition to female.
A few years later they met a doctor that said he could perform a series of operations to make Lili fully female and Eniar was enthusiastic about having them. Gerda stood by his/her side for the duration.
This film does an incredible job, through the genius of Eddie Redmayne, of exposing how it may feel for transgender persons discovering their true selves. There are many long looks in the mirror; several examinations of one's own human body; countless instances of touching the sensual fabric of women's apparel. Though none of us who aren't transgender could ever truly 'know how it feels' to be trapped in the wrong body, this film gives us at least a compass that directs us toward the feelings of those who do. Redmayne shows total discomfort in his own skin, and the discovery of his new self is frankly ... inspiring.
As the first person to have gender reassignment surgery, Elbe remains a hero to the transgender community to this day. Gerda did eventually divorce Einar and remarry, but stayed by Lili's side to the end.
The pair's story is told beautifully here, with award-bait performances and classy writing, capturing the right notes for today's progressive world.
~~~
Saturday, December 19, 2015
The Hunger Games: Mockingjay – Part 2
This morning I saw The Hunger Games: Mockingjay – Part 2, starring Jennifer Lawrence and Josh Hutcherson.
I'm a big fan of The Hunger Games book series, and I loved the first two film adaptations, but the Mockingjay installments unfortunately leave a lot to be desired.
In this final curtain call, the boy who stole the heart of Katniss (Lawrence), Peeta (Hutcherson), has been brainwashed by the Big Bad Government and instead of wanting to live out his days with her, he wants to kill her. Of course, she still wants him and realizes that he doesn't have control of his mind.
He eventually comes back to the correct side of the war ... kinda. He has spontaneous, violent outbursts aimed at her from time to time, but for the most part behaves himself. They, along with their team of allies, set out to take back the world (and kill President Snow).
Donald Sutherland, as the hated leader, seems to be having a grand time in this one; less evil and more 'mad scientist' in spirit. It would be hard for anyone to think of him claiming victory when he's so jovial and Katniss is so serious.
So—what's wrong with the film?
#1 The pace. It's painfully slow for the first hour. I actually went and got a cup of coffee and when I came back they were still on the same scene.
#2 Wasted talent. Jennifer Lawrence is a gifted, sparkling superstar. She doesn't have much to do here except look sad. Look mad. Look tired.
#3 Anticlimactic action. Of course we know what's coming, but that's not what ruins it. The battle scenes just don't have the magic of the first two films. They're silly.
So—is there any reason to see it?
If you're a completist like me, it's your civic duty to sit through it. Also, it's Philip Seymour Hoffman's last film and just his mere presence—alive and breathing brilliance—is a gift.
~~~
I'm a big fan of The Hunger Games book series, and I loved the first two film adaptations, but the Mockingjay installments unfortunately leave a lot to be desired.
In this final curtain call, the boy who stole the heart of Katniss (Lawrence), Peeta (Hutcherson), has been brainwashed by the Big Bad Government and instead of wanting to live out his days with her, he wants to kill her. Of course, she still wants him and realizes that he doesn't have control of his mind.
He eventually comes back to the correct side of the war ... kinda. He has spontaneous, violent outbursts aimed at her from time to time, but for the most part behaves himself. They, along with their team of allies, set out to take back the world (and kill President Snow).
Donald Sutherland, as the hated leader, seems to be having a grand time in this one; less evil and more 'mad scientist' in spirit. It would be hard for anyone to think of him claiming victory when he's so jovial and Katniss is so serious.
So—what's wrong with the film?
#1 The pace. It's painfully slow for the first hour. I actually went and got a cup of coffee and when I came back they were still on the same scene.
#2 Wasted talent. Jennifer Lawrence is a gifted, sparkling superstar. She doesn't have much to do here except look sad. Look mad. Look tired.
#3 Anticlimactic action. Of course we know what's coming, but that's not what ruins it. The battle scenes just don't have the magic of the first two films. They're silly.
So—is there any reason to see it?
If you're a completist like me, it's your civic duty to sit through it. Also, it's Philip Seymour Hoffman's last film and just his mere presence—alive and breathing brilliance—is a gift.
~~~
Sunday, December 13, 2015
Spotlight
This morning I saw Spotlight, starring Mark Ruffalo and Michael Keaton.
When Marty Baron (Liev Schreiber) arrived at The Boston Globe, he thought it could do better. He urged his "Spotlight" team of investigative reporters to pursue a story about a priest accused of multiple counts of sexual abuse. They were hesitant because of their relationship with the church and the fact that the majority of their readership was Catholic. He told them to do it anyway.
Reporter Mike Rezendes (Ruffalo) enthusiastically accepted the challenge. He visits the lawyer that represents several of the church's victims and quickly realizes that they're only scratching the surface. His boss, Robby (Keaton), is supportive, but cautious.
As the investigation continues, they are met with several roadblocks: the interference of the church; the lack of cooperation from a key lawyer; records that are sealed. They work day in and day out to overcome these obstacles, getting to a place where they're almost ready to reveal their findings and then 9/11 happens. The exposé has to be put on hold.
Of course, those who remember the headlines in early 2002 know that they did in fact get to tell their story, and it did instigate a shake-up in the Catholic church.
Though I remember the articles and knew the ending before going in, I was glued to my seat for the duration of the film, riveted by every scene. Like the legendary All the President's Men, following the footsteps of the reporters in what feels like real time really gets the blood pumping. With each new fact they reveal, you wonder what will come next and who or what will stand in their way from sharing it.
The acting is superb—especially Ruffalo, who is so believable as a quirky East Boston journalist, it's hard to remember he was ever The Hulk.
I'll be stunned if this isn't an Oscar favorite come awards season.
~~~
When Marty Baron (Liev Schreiber) arrived at The Boston Globe, he thought it could do better. He urged his "Spotlight" team of investigative reporters to pursue a story about a priest accused of multiple counts of sexual abuse. They were hesitant because of their relationship with the church and the fact that the majority of their readership was Catholic. He told them to do it anyway.
Reporter Mike Rezendes (Ruffalo) enthusiastically accepted the challenge. He visits the lawyer that represents several of the church's victims and quickly realizes that they're only scratching the surface. His boss, Robby (Keaton), is supportive, but cautious.
As the investigation continues, they are met with several roadblocks: the interference of the church; the lack of cooperation from a key lawyer; records that are sealed. They work day in and day out to overcome these obstacles, getting to a place where they're almost ready to reveal their findings and then 9/11 happens. The exposé has to be put on hold.
Of course, those who remember the headlines in early 2002 know that they did in fact get to tell their story, and it did instigate a shake-up in the Catholic church.
Though I remember the articles and knew the ending before going in, I was glued to my seat for the duration of the film, riveted by every scene. Like the legendary All the President's Men, following the footsteps of the reporters in what feels like real time really gets the blood pumping. With each new fact they reveal, you wonder what will come next and who or what will stand in their way from sharing it.
The acting is superb—especially Ruffalo, who is so believable as a quirky East Boston journalist, it's hard to remember he was ever The Hulk.
I'll be stunned if this isn't an Oscar favorite come awards season.
~~~
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