Bridget Jones's Baby

Today I saw Bridget Jones's Baby, starring Renee Zellweger and Colin Firth.

For a movie based on a character based on a book that doesn't exist, this film hit it out of the ballpark.

Bridget Jones's Diary was the ultimate rom com, based on the best-selling book of the same name. Its sequel, Bridget Jones Edge of Reason followed with a not-quite-as-good-but-still-entertaining book and film. The third book we won't even go into, since many devotees found it to be a sacrilege. This film falls somewhere between those last two.

Our heroine, Bridget (Zellweger, who originated the role), is in her early 40s working as a television producer. She's still quirky, and lovable and disheveled. Also: she's still alone.

Her ex, Mark Darcy (Firth) has moved on and married, though that marriage is in trouble. She runs into him at a Christening for a mutual friend's baby and they fall accidentally into bed.

Jack (Patrick Dempsey) is an American motivational speaker that attends the same music festival as Bridget and her buddy. When Bridget gets hammered and ends up in the wrong yurt, he is there. And they accidentally fall into bed.

A few months later, Bridget learns that one of these interludes has made her pregnant, but because the encounters happened in the same span of time, she doesn't know which.

And here's our second act: Who's the daddy?

An entertaining romp ensues and we're not quite sure who she wants the father to be (though they make Dempsey just plastic enough to have us rooting for Darcy). Both men, instead of running away, enter into an almost "competition" to prove who would make the best papa, and the results are hilarious.

This movie is no Citizen Kane, but it is a comedy that stays faithful to beloved characters and provides pure enjoyment along the way.

~~~

My 2016 Emmy Picks

Tomorrow's the big night—the 68th Annual Primetime Emmys. Here are my picks for who should win...

Best Drama Series

The Americans (about damn time)

Best Comedy Series

Unbreakable Kimmy Schmidt (I also love Transparent, but I see it more as a drama)

Best Actor in a Drama Series

Live Schreiber - Ray Donovan (consistent and complex)

Best Actress in a Drama Series

Keri Russell - The Americans (like Orphan Black's Tatiana, Russell plays multiple characters each week)

Best Actor in a Comedy Series

Jeffrey Tambor - Transparent (sad and sweet at the same time)

Best Actress in a Comedy Series

Amy Schumer - Inside Amy Schumer (playing different characters each week and making people laugh is not easy)

Supporting Actor in a Drama Series

Ben Mendelsohn - Bloodline (his Danny infuriates and draws immense sympathies)

Best Supporting Actress in a Drama Series

Maura Tierney - The Affair (her pain becomes ours—even if we root for the other woman)

Best Supporting Actor in a Comedy Series

Tituss Burgess - Unbreakable Kimmy Schmidt (he makes me laugh out loud more than any of the other contenders)

Supporting Actress in a Comedy Series

Allison Janney - Mom (I thought I'd never see her as anyone other than CJ... until I saw her in this)

Best Limited Series

The People v. O.J. Simpson (I was glued to every episode, even though I watched the real trial live when it happened)

Best Television Movie

Confirmation (again, I watched the real trial when it was on; this was no less gripping or infuriating)

Best Actor in a Limited Series or TV Movie

Tom Hiddleston - The Night Manager (an underrated show, Hiddleston carried it as the lead)

Best Actress in a Limited Series or a TV Movie

Sarah Paulson - The People V. O.J. Simpson (she basically channeled Marcia Clark)

Best Supporting Actor in a Limited Series or TV Movie

David Schwimmer - The People v. O.J. Simpson (Kardashian without being a cartoon)

Best Supporting Actress in a Limited Series or TV Movie

Kathy Bates - American Horror Story: Hotel (creepy in only a way she knows how to be)

Best Variety Talk Series

Last Week Tonight with John Oliver (genius, brilliant, hilarious—EVERY WEEK)

Best Variety Sketch Series

Portlandia (biased because it's my home town)

Best Reality Competition Program

The Voice (constructive criticism and real talent in the spotlight)

Best Writing for a Drama Series

Robert & Michelle King — The Good Wife (I already miss this show so much)

Best Writing for a Comedy Series

Rob Delaney & Sharon Horgan — Catastrophe (everyone should be watching this; so genuine, so real)

~~~

Sully

This morning I saw Sully, starring Tom Hanks and Aaron Eckhart.

Anyone who was around in January of 2009 will remember the "miracle on the Hudson." The day that a US Airways pilot safely landed a plane on the Hudson River after both engines failed following a bird strike. The pilot, Captain Chesley Sullenberger (Hanks), quickly became a national hero, as there was no loss of life in the incident.

What the public never knew was the extensive investigation after the landing, which came close to implying Sullenberger put lives at risk with his quick reaction to the emergency.

The film examines what it was like for both Sully and his co-pilot, Jeff Skiles (Eckhart), to navigate the post traumatic stress disorder from the accident as they were fighting to convince the NTSB they did the best thing possible for everyone on board.

Tom Hanks channels Sully in his portrayal; from the way he furrows his brows to the walk we all got used to seeing as the press fell in love with the real-life captain. He is thoughtful, soft-spoken, concerned and–yes, heroic. As usual, it's hard not to marvel at just how much Hanks can disappear into his characters, being one of the most familiar actors in the world. But he does, and although we know how the flight ends, the scenes where we see what it was like both for the flight crew and the passengers are harrowing.

This suspense is a credit to Director Clint Eastwood, who has a knack for building great tension (see: American Sniper, Play Misty for Me, etc.). Though much of the flight of which the film is focused is shown to us in flashbacks, it's no less frightening.

For over 90 minutes of watching something so forensic in exploration, it's a satisfying, thrilling ride, which will surely serve as a reminder of one of New York's best days for years to come.

~~~

Southside With You

On Sunday I saw Southside with You, starring Tika Sumpter and Parker Sawyers.

The film tells the story of how Barack Obama (Sawyers) and Michelle Robinson (Sumpter) first fell in love ... long before they would become the President and First Lady of the United States.

We see their different lifestyles right off the bat: Barack is a chain smoker, has a habit of being late to things and drives a beat-up car with a hole in the floor. Michelle is the very definition of poised—treats her parents with great respect, dresses elegantly and carries herself in the classiest of ways.

Michelle and Barack met while working together, and Michelle was his superior. Therefore, she felt it would be inappropriate for them to be anything more than friendly colleagues. Barack saw no issues with the two of them dating and pursued her relentlessly. We all know that he prevailed in the end.

The charming thing about this movie is that both of the actors not only sound like their real-life characters, but capture the essence of their greatness that's made a country of citizens fall in love with them. There's a twinkle in Barack's eye and a spirit to Michelle that doesn't go unnoticed (and also reminds us why they make such a lovely couple).

This film is a pleasant walk through their beginnings (yes, most literally a walk) that is reminiscent of the great Before Sunrise.

I'm just so pleased that they got a happy ending, both in the film and in life.


~~~

The Light Between Oceans

Last night I saw The Light Between Oceans, starring Michael Fassbender and Alicia Vikander.

The year is 1923. Tom (Fassbender) and Isabel (Vikander) are a young couple in love, living a peaceful, isolated life in a lighthouse, where Tom is the sole caretaker. Devastated by recent losses, they're snapped out of their own grief when a dinghy washes up on the shore near their home. It contains a dead man and a very alive baby girl.

Though Tom's instinct is to log the discovery and immediately alert the authorities, Isabel thinks the "right" thing to do is to care for the baby as if she were their own and give the man a proper burial. So, that's what they do.

And they become the best parents the baby could ask for—doting on her endlessly; showering her with attention and love at every turn.

Life is undeniably good until they return to town to visit family and Tom discovers the woman who may be their new daughter's biological mother. He's immediately torn on what to do. Should he stay silent and continue his idyllic life, knowing this stranger is in unimaginable pain? Or should he do the "right thing" and confess to their crime, giving the child back to her rightful family, destroying every ounce of happiness that he and his family possess.

What should be a simple decision becomes a dreadful one, not only for the characters in this story, but for the audience having to choose sides. I fully admit: I was 100% on the fence.

Life's decisions aren't easy. And what the handbooks say (whether based on religion, ethics or society's moral code) may seem completely true on paper but totally backwards when coupled with the human experience.

Sometimes there aren't easy answers and sometimes unfavorable actions are truly motivated by purity or grief or love. It is possible.

Here, the pursuit of happiness wasn't even selfish; everyone involved cared most about the young girl. There were no bad people or villains in sight.

I can't share the decision that Tom made, for that would spoil the movie, but I can say that this film was so well-acted and real that everyone was left sobbing in their seats at the end.

All of us, crying together, about love.

~~~

Older Than Ireland

Tonight I saw the documentary Older Than Ireland, featuring a group of lively centenarians telling tales of life in the old country.

Some of them still smoke, one credits her longevity to the lack of vegetables in her diet—another claims he died when his wife passed. A colorful cast of characters indeed, and the one thing they all have in common? They were around before Ireland as we know it existed. One of them personally met Michael Collins; another watched the fires of Easter 1916 from a nearby tower; a different man (just a boy at the time) was an eye witness to Bloody Sunday in Croke Park.

They came from all walks of life with a range of careers and economic backgrounds, but all have lived to be at least 100 years old (the eldest of the bunch, who emigrated to America in the '20s, is 113).

The stories range from sweet to heartbreaking, but all are undoubtedly charming. They speak of religion, politics, family life and culture—some wistful for the days gone by; others proud of the social progress their country has made. The main takeaway: they're all continuing to live their lives, whether it be by playing cards, baking cakes or taking a bus to the market to buy their own groceries.

I think about the (much younger) lazy people I know and shake my head. If these folks, who lived through some of the most tumultuous times in modern history, can face the day with a smile and a purpose, what the hell is wrong with the rest of the world?

My only criticism of the film is that I don't feel they spent enough time on the "big" political topics, but perhaps additional footage will show up on a DVD version.

I can only hope so—I'd be glad to spend more time with this lovely bunch.

~~~

Ghostbusters

Today I saw Ghostbusters, starring Melissa McCarthy and Kristen Wiig.

Years ago Erin (Wiig) and Abby (McCarthy) wrote a book together about the paranormal. Abby has continued her passion, working as a scientist alongside the eccentric Jillian (Kate McKinnon) while Erin shifted gears and pursued a career in education.

They're reunited when Erin gets a visit from a fan of the book, claiming a nearby mansion is haunted. She tracks Abby down, angry that she put their book on Amazon without asking, and they end up checking out the site with Jillian. Of course, it's legit haunted.

From there, we're taken on a predictable-yet-delightful ride through New York as the ladies form a real ghostbusting firm and set out to capture some spirits. Along the way they pick up Patty (Leslie Jones, who stole the show), a transit worker recently stirred by a ghost she witnessed on the subway tracks.

I'll admit: it was hard for me to watch this through anything but a defensive lens. Since the new cast was announced, certain types of men have been screaming about the travesty that is women remaking this beloved film. They didn't care that it was a re-make (though that would have been a valid concern because most re-makes suck). They only cared that the main roles were to be played by humans who possessed vaginas.

Well, chauvinistic pigs, you lose. Though it's of course not as magical as the original (how could it be?), this movie succeeds on many levels.

The special effects are far better thanks to technological advances that didn't exist in the '80s when the original was made. Though the story is recycled, it's told in a fresh new way that incorporates the essence of the old film beautifully (even the Stay Puft Marshmallow Man's cameo is clever); it's also really scary in certain sequences. And above all else: the women are hilarious.

I personally loved Leslie Jones the most. Her physical comedy is spot on and some of her expressions alone had me laughing out loud. That's not to say the others weren't great, because they were, but we've seen all of them enough to know their rhythms and strengths.

Also fun was the addition of Chris Hemsworth, who was objectified for his looks much like every woman who's ever played a secretary or assistant or flight attendant or waitress or librarian. I could go on, but I think you know where I'm going with that.

I also liked the winks to feminism via reverse psychology lines (jokes about girls being late, etc.)—it was just enough to stick it to the haters.

Overall, you'll have a good time at this film. Don't let a few vaginas—or dicks—get in the way of that.

~~~

Finding Dory

On July 4, I saw Finding Dory, starring Ellen DeGeneres and Ed O'Neill.

Dory (Degeneres) is a blue tang with a short term memory impairment. As a baby, her parents tried to train her to come home, but when she was young she got separated from them. She made friends along the way, but never got over the loss of her Mom and Dad.

As an adult, she sets out to find them using techniques she's learned and taking some friends with her—like Hank the Octopus (O'Neill)—to keep her focused.

Her voice, Ellen DeGeneres, hits all the right notes to trigger empathy and sympathy. You can't help but root for her as she navigates the wild waters she first explored with her friend Nemo (Hayden Rolence), who makes an appearance here as well. In fact, all of the voices are great from legend Diane Keaton (Dory's mom) to the 7-year-old Sloane Murray, who gives a precious performance as the young version of Dory.

It's frankly hard to find fault with anything that Pixar does and Finding Dory is no exception. Excellent animation? Check. Brilliant casting? Check. Screenplay that ignites tearful waterworks? Check. Charming jokes to keep us laughing as we cry? Check.

The film is thoroughly engaging and enjoyable—my only complaint would be that as a sequel, it took too long to come out after the original.

Let's hope we don't have to wait as long for the third.

~~~

The Lobster

On Tuesday I saw The Lobster, starring Colin Farrell and Rachel Weisz.

The world represented in the film looks much like ours except for one main thing: every adult who lives in the city is part of a couple. There are no exceptions to this rule and those seen wandering alone may be asked to show their "papers" to prove they have a spouse.

David (Farrell) is recently divorced and devastated by the breakup. He is immediately transported to an inn where he is expected to find a partner in 45 days. If he does not complete this task, he will be turned into the animal of his choice. He has decided on a lobster.

As he earnestly attempts to find a new mate, he witnesses the horrors of those who try to game the system. Punishments are delivered. People become animals. It's not pretty.

I can't go any further than that without spoiling the ending in major ways, so I'll start by saying Colin Farrell is fantastic. It's a very odd role for an Irish heartthrob to play, but one he owns beautifully. His tension (both social and sexual) is palpable and the longing you see in his eyes once he zeroes in on a possible object of affection is painful.

Rachel Weisz, who has significantly less screen time but just as important of a role is also solid as a "loner," who has left the inn and rebelled against the establishment. Her energy mixed with her restraint produces an impressive result that not every actor could achieve.

The movie is weird, and there are a lot of winks in the dialog that could be cheesy to some, but I actually enjoyed them.

If you've ever felt persecuted for being alone (or just simply being different), you may take great comfort in the satire of The Lobster. I know I did.

~~~

The Conjuring 2

Tonight I saw The Conjuring 2, starring Vera Farmiga and Patrick Wilson.

After experiencing the evil energy of the famous Amityville haunted house, paranormal investigators Ed and Lorraine Warren needed a break—the demonic presence that Lorraine sensed was just too disturbing. So they took one, until another high-profile case demanded their attention.

Reprising their roles from 2013's The Conjuring, Wilson and Farmiga feel so familiar as the real-life Warrens it's easy to buy the story they're selling.

From their cozy home in Connecticut, they travel to London to investigate the haunting of a house on Green Street in Enfield, occupied by a single mother and her four children. The second-oldest daughter, on the cusp of puberty, is the target of most of the paranormal activity.

After the police visit and watch a chair levitate and move across the room on its own, determining they can do nothing to help the family, the home becomes the focus of a media circus. Tabloid journalists descend upon the street to try to capture the happenings on film. Some they do; some they don't. And the debate rages on (to this day) as to whether or not this was a hoax.

In the midst of the chaos, the Warrens stopped by and spent time at the house, witnessing and documenting the alleged possession of young Janet (Madison Wolfe). Wolfe does a tremendous job of appearing both terrified and terrifying depending on who her body was representing, making this less a "gotcha" horror film and more of the psychologically troubling kind.

Speaking of psychologically troubling: the demon that Lorraine sees in her visions throughout the film looks like Marilyn Manson dressed as a nun for Halloween. More disturbing than cheesy, I still have to mention the reference, as I can't be alone in seeing this.

If you're looking for a movie that will scare you, this sequel will not disappoint you. I sat in the very back of the theater and watched folks (both male and female) jump out of their seats throughout. There's something much creepier about a story that could actually be true vs. something admittedly fictional.

So if you go—and I recommend strongly that you do—stay through the credits for a "real" surprise.

~~~

I Am Belfast

Tonight I saw I Am Belfast, a documentary about the Irish city.

Conceptually, I was on board. An elderly woman narrates a historical travelogue about Belfast, personifying herself as the city as we see the visual representation of what she's referencing.

Cool, huh?

Well, yes and no.

Visually, I have zero complaints. Cinematographer Christopher Doyle of In the Mood fame does a marvelous job capturing the beauty and the horrors of this famous location. Whether it's a bombed-out street corner or a landscape of breathtaking proportions, Doyle puts us there, not as viewers, but as visitors.

The issues come with the scripting. Though I love the idea of the star of the film—Belfast itself—having a voice in human form, the commentary had a few too many winks to avoid being cheesy. The pace in the beginning was brutal too. With landscapes that calming, I was nearly tempted to doze off.

Because the film was more like poetry than prose, I expected more of a definite rhythm but instead got lengthy flashbacks and abbreviated stories. All of the humor sat near the end, when really the beginning needed it most.

I applaud the inventive approach, but feel the sentiment suffered as a result.

~~~

Big Sonia

Last week I saw Big Sonia, a work-in-progress documentary about a spirited Holocaust survivor.

Since it's not an officially "complete" cut of the film, my review will be preliminary bullet points:

• Sonia is definitely a worthy subject of her own documentary.
• The pieces about the Holocaust, though strong, feel discombobulated in places.
• It feels as though many sections of Sonia's life are under-represented, while too much time is devoted to her career.
• It would have been great to see her interacting more with her kids/grandkids instead of the majority of the interviews being separate.
• The brief animations are great.
• I want a sequel to see what happens next in Ms. Sonia's colorful life.

~~~

Beware the Slenderman

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.

~~~

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.

~~~

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.

~~~

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.

~~~

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.

~~~

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.

~~~

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

~~~

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.

~~~