Mirai
Directed by Mamoru Hosoda
Released November 30, 2018
Films about siblings rarely begin from a positive vantage point highlighting a wonderful relationship. While there are instances of good dynamics between brothers or sisters in real life and even on film, most cinematic representations involve a rivalry that begins either at birth or later on due to a spirit of competition that almost never serves as a productive influence. This presentation can be very dark and lead to unfortunate results, but there are also simpler, more peaceful explorations of what it means to go from being the unchallenged favorite to having to compete with someone else for affection.
Kun is a four-year-old boy who lives with his parents in Japan. When his younger sister, Mirai, is born, he quickly sees that she has garnered the attention from his hard-working mother and less aware father. Desperate to be noticed, Kun lashes out and finds a magical garden that enables him to meet an older version of Mirai, a human version of his dog, his great-grandfather, and others that help to show him that he’s worth more than he thinks he is, and that no one considers him a second choice to the new baby in their lives.
This is the latest Japanese animated film to make an international splash, following in the footsteps and the style of recent successes like “When Marnie Was There” and “The Tale of the Princess Kaguya” in bringing a unique cultural vision to its storytelling. The concept here is rather straightforward, seen through the eyes of a child who shouldn’t understand how big the world is but is able to do so thanks to this wondrous phenomenon he encounters. It also navigates the difficulties of parenting and marriage as overheard by Kun but understood far more deeply by adult audiences.
There is a fantastical nature to this film, one that animates its more standard and present scenes as Kun is treated to a mature preview of how his life will turn out when he can’t possibly fathom or comprehend what awaits him. As it progresses, Kun becomes even more entrenched in this fantasy world that somehow exists for him, which delves deeper into how his perception of the world as a child shapes those around him. It’s a winning concept that ends on a heartwarming and sweet note, a film that deserves a slot at the upcoming Academy Awards as an eligible contender for the Best Animated Feature prize.
B+
Friday, November 30, 2018
Thursday, November 29, 2018
Movie with Abe: Ralph Breaks the Internet
Ralph Breaks the Internet
Directed by Phil Johnston and Rich Moore
Released November 21, 2018
Animation offers tremendous opportunity for visual exploration of ideas that can’t be captured the same way with live action. As technology continues to evolve and more elements of real life are digitized, even more possibilities emerge for how all the “ones and zeroes” work together to send signals from one place to another and to create images on screens. Six years ago, “Wreck-It Ralph” presented a wonderfully inventive and insightful interpretation of how video game characters spend their time, and now, as the Internet has become even more prominent in everyday life, its protagonists are back to explore far beyond the confines of their arcade habitat.
Ralph (John C. Reilly) is content spending each day at “work” while the arcade is open and then enjoying a nice cold root beer with his friend Vanellope (Sarah Silverman) each night. When Vanellope tells him that she wants something different, his gesture of building her a new racetrack goes awry when the steering wheel is pulled off her game and the arcade owner prepares to unplug it. Desperate to find a solution, Ralph and Vanellope head down the forbidden tunnel to the newly connected Wi-Fi to scour the Internet for a way to buy a new steering wheel off eBay to keep her game from going dark for good.
There is so much potential here, and this film delivers fantastically on it. The way the Internet looks when Ralph and Vanellope first arrive is reminiscent of “Logorama,” the Oscar-winning French short from 2009, with recognizable emblems atop towering buildings, and a particular clever help desk counter with an eager auto-populating attendant that acts as a search engine and sends the computerized versions of Internet users straight to their desired link destinations. What could be overt and distracting product placement is instead utilized for positive storytelling, and this being a Disney film may well be its best asset, incorporating all the classic and modern Disney princesses to particularly formidable effect.
This film deals with a lot in very fun fashion, staying true to its video game characters and the way that they see the world. The introduction of Shank (Gal Gadot) and her fellow racers in the dark game offers a great new form of excitement for Vanellope, whose optimistic outlook makes the frightening atmosphere look like something completely different. That energy helps to drive this entire film, which works marvelously for children but is full of smart parody for adults to enjoy and appreciate. This is exactly what a sequel should be, taking its plot to the next logical level, and it’s an even better case for spending more time in the future with all of its characters.
B+
Directed by Phil Johnston and Rich Moore
Released November 21, 2018
Animation offers tremendous opportunity for visual exploration of ideas that can’t be captured the same way with live action. As technology continues to evolve and more elements of real life are digitized, even more possibilities emerge for how all the “ones and zeroes” work together to send signals from one place to another and to create images on screens. Six years ago, “Wreck-It Ralph” presented a wonderfully inventive and insightful interpretation of how video game characters spend their time, and now, as the Internet has become even more prominent in everyday life, its protagonists are back to explore far beyond the confines of their arcade habitat.
Ralph (John C. Reilly) is content spending each day at “work” while the arcade is open and then enjoying a nice cold root beer with his friend Vanellope (Sarah Silverman) each night. When Vanellope tells him that she wants something different, his gesture of building her a new racetrack goes awry when the steering wheel is pulled off her game and the arcade owner prepares to unplug it. Desperate to find a solution, Ralph and Vanellope head down the forbidden tunnel to the newly connected Wi-Fi to scour the Internet for a way to buy a new steering wheel off eBay to keep her game from going dark for good.
There is so much potential here, and this film delivers fantastically on it. The way the Internet looks when Ralph and Vanellope first arrive is reminiscent of “Logorama,” the Oscar-winning French short from 2009, with recognizable emblems atop towering buildings, and a particular clever help desk counter with an eager auto-populating attendant that acts as a search engine and sends the computerized versions of Internet users straight to their desired link destinations. What could be overt and distracting product placement is instead utilized for positive storytelling, and this being a Disney film may well be its best asset, incorporating all the classic and modern Disney princesses to particularly formidable effect.
This film deals with a lot in very fun fashion, staying true to its video game characters and the way that they see the world. The introduction of Shank (Gal Gadot) and her fellow racers in the dark game offers a great new form of excitement for Vanellope, whose optimistic outlook makes the frightening atmosphere look like something completely different. That energy helps to drive this entire film, which works marvelously for children but is full of smart parody for adults to enjoy and appreciate. This is exactly what a sequel should be, taking its plot to the next logical level, and it’s an even better case for spending more time in the future with all of its characters.
B+
Wednesday, November 28, 2018
Movie with Abe: Fantastic Beasts: The Crimes of Grindelwald
Fantastic Beasts: The Crimes of Grindelwald
Directed by David Yates
Released November 16, 2018
Today’s movie market is saturated with so many remakes, reboots, and sequels. Often, the final category involves follow-ups to films that weren’t even the original installments in their series, building on a number of previous movies that tell an extended story with an entire host of characters. These movies sometimes exist simply to build up to the next one, introducing new heroes and villains with distant relations to those from entries years earlier whose roles may not become apparent or prominent until several films down the road. While drawing in new audiences is a perk, the primary function of these installments is to entertain the loyal fans who return simply for the overarching saga.
In 1927, powerful wizard Gellert Grindelwald (Johnny Depp) escapes as he is being transported from New York to London to stand trial. Trying to gain his international travel privileges back, Newt Scamander (Eddie Redmayne) is drawn back into the hunt for Credence Barebone (Ezra Miller), who only wants to know who he really is, something Grindelwald believes he can exploit and use in his quest to unite his followers for his cause of wizard superiority. Newt’s search includes a desire to reunite with Auror Tina Goldstein (Katherine Waterston) and an eternal loyalty to the one man everyone believes capable of defeating Grindelwald: the renowned Professor Albus Dumbledore (Jude Law).
This movie gets off to a furious start as Grindelwald’s dangerous and villainous nature is shown through this violent escape, starting this foray into the wizarding world off on an enchanting and alluring note. The film’s above summary reads as confusing without the context of the first film in this series, in which a number of the characters were first seen, but this reviewer, who didn’t see that film, was able to follow most of the events even if some background details were missing. This film unapologetically ends on an enormous cliffhanger designed solely to invite audiences back for the next chapter, but if the excitement of this one is any indication, another visit to this fantasy world is worthwhile.
This film’s cast is large, something that helps to keep it moving as it pursues its various threads. Redmayne is closest to a lead, and his shy, peculiar nature is a great way to frame this story, equally filled with the wonder of so many creatures and the terror of what Grindelwald’s future world would resemble. Depp knows just what scenery to chew as Grindelwald to make him believable, and Law captures the pure if self-assured nature of the famed Dumbledore. Zoe Kravitz stands out as Leta Lestrange, a Ministry of Magic employee with a conflicted past that make her unsure of what her true purpose in life is. This film is fun and engaging, full of dazzling visuals and, even more potently, the continuation of a mesmerizing vision of a world beyond human imagination accessible enough to the casual viewer.
B
Directed by David Yates
Released November 16, 2018
Today’s movie market is saturated with so many remakes, reboots, and sequels. Often, the final category involves follow-ups to films that weren’t even the original installments in their series, building on a number of previous movies that tell an extended story with an entire host of characters. These movies sometimes exist simply to build up to the next one, introducing new heroes and villains with distant relations to those from entries years earlier whose roles may not become apparent or prominent until several films down the road. While drawing in new audiences is a perk, the primary function of these installments is to entertain the loyal fans who return simply for the overarching saga.
In 1927, powerful wizard Gellert Grindelwald (Johnny Depp) escapes as he is being transported from New York to London to stand trial. Trying to gain his international travel privileges back, Newt Scamander (Eddie Redmayne) is drawn back into the hunt for Credence Barebone (Ezra Miller), who only wants to know who he really is, something Grindelwald believes he can exploit and use in his quest to unite his followers for his cause of wizard superiority. Newt’s search includes a desire to reunite with Auror Tina Goldstein (Katherine Waterston) and an eternal loyalty to the one man everyone believes capable of defeating Grindelwald: the renowned Professor Albus Dumbledore (Jude Law).
This movie gets off to a furious start as Grindelwald’s dangerous and villainous nature is shown through this violent escape, starting this foray into the wizarding world off on an enchanting and alluring note. The film’s above summary reads as confusing without the context of the first film in this series, in which a number of the characters were first seen, but this reviewer, who didn’t see that film, was able to follow most of the events even if some background details were missing. This film unapologetically ends on an enormous cliffhanger designed solely to invite audiences back for the next chapter, but if the excitement of this one is any indication, another visit to this fantasy world is worthwhile.
This film’s cast is large, something that helps to keep it moving as it pursues its various threads. Redmayne is closest to a lead, and his shy, peculiar nature is a great way to frame this story, equally filled with the wonder of so many creatures and the terror of what Grindelwald’s future world would resemble. Depp knows just what scenery to chew as Grindelwald to make him believable, and Law captures the pure if self-assured nature of the famed Dumbledore. Zoe Kravitz stands out as Leta Lestrange, a Ministry of Magic employee with a conflicted past that make her unsure of what her true purpose in life is. This film is fun and engaging, full of dazzling visuals and, even more potently, the continuation of a mesmerizing vision of a world beyond human imagination accessible enough to the casual viewer.
B
Tuesday, November 27, 2018
Golden Globe Musings: Best Motion Picture – Comedy/Musical
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
The Disaster Artist
Get Out
The Greatest Showman
I, Tonya
Lady Bird
There are two very clear frontrunners here - The Favourite and Green Book. Most haven’t seen it, but Vice has strong buzz and is likely to show up. Eighth Grade has won over many, and though it’s not a lock, its chances are good. Crazy Rich Asians and Love, Simon have plenty of fans. Mary Poppins Returns is a possibility too, but it’s hard to know if the film is actually good. Other popular sequels Mamma Mia! Here We Go Again, Paddington 2, and Deadpool 2 should garner votes but probably won’t ultimately make the cut. Another screwball option that’s just up Globe voters’ alley is The Death of Stalin. I wrote in my Monday Oscar Odds post this week that someone already went ahead and put up this year’s nominee list on Wikipedia – obviously it can’t be accurate, and I don’t think it will be all five of those films.
Current predictions:
Eighth Grade
The Favourite
Green Book
Mary Poppins Returns
Vice
Golden Globe Musings: Best Motion Picture – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Call Me By Your Name
Dunkirk
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri
In the increasingly uncertain and numerically fluctuating Oscar Best Picture list, it’s good to have some barometer of the top five drama films each year. Last year, I missed predicting the winner, “Three Billboards Outside Ebbing, Missouri,” though fortunately that one didn’t go the distance and ended up losing the Oscar to “The Shape of Water.” This year, our frontrunner is indisputably A Star is Born, in part because “Roma” isn’t eligible due to its foreign-language status. First Man, BlacKkKlansman, and If Beale Street Could Talk are all likely to show up but not guaranteed. Watch out for Widows to crack the race, and, if independent precursors are any indication, First Reformed could also break through and show up here, or maybe something much more popular like Black Panther. It could also be Can You Ever Forgive Me? or Bohemian Rhapsody.
Current predictions:
BlacKkKlansman
First Man
If Beale Street Could Talk
A Star is Born
Widows
Monday, November 26, 2018
Golden Globe Musings: Best Director – Motion Picture
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Ridley Scott (All the Money in the World)
Christopher Nolan (Dunkirk)
Steven Spielberg (The Post)
Guillermo Del Toro (The Shape of Water)
Martin McDonagh (Three Billboards Outside Ebbing, Missouri)
This is a category that mostly draws from Best Motion Picture - Drama nominees and a well-received Comedy/Musical honoree or too, and, on occasion, a big name whose film likely just missed out on a slot in the drama race. It also sometimes happens that foreign films, ineligible for the two top categories, are honored here, and that’s likely to be the case with Alfonso Cuaron (Roma) this year. It’s hard to imagine Bradley Cooper (A Star is Born) not getting in, and, unless awards season turns out differently than most are expecting, Spike Lee (BlacKkKlansman) and Yorgos Lanthimos (The Favourite) will be nominated too. Even if he doesn’t make it all the way to Oscar, Damien Chazelle (First Man) feels like a solid bet to round out this list. Comedy helmers Peter Farrelly (Green Book) and Adam McKay (Vice) are possible, as are Barry Jenkins (If Beale Street Could Talk) and Steve McQueen (Widows). He isn’t likely to get in for acting, but Clint Eastwood (The Mule) is a Globe favorite in this category and could easily show up.
Current predictions:
Spike Lee (BlacKkKlansman)
Yorgos Lanthimos (The Favourite)
Damien Chazelle (First Man)
Alfonso Cuaron (Roma)
Bradley Cooper (A Star is Born)
Golden Globe Musings: Best Screenplay – Motion Picture
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Lady Bird
Molly’s Game
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri
The Globes don’t have separate categories for original and adapted screenplays, which means that the buzziest films nominated in the top races often place here, along with a few surprising inclusions every couple of years. While A Star is Born and Roma may do very well elsewhere, it’s not guaranteed that they’ll score here. The Favourite, on the other hand, feels like a frontrunner, and BlacKkKlansman will probably show up too. Green Book is likely to place, and Vice and If Beale Street Could Talk might too. If voters like the film, Can You Ever Forgive Me? seems like a worthwhile choice here. Eighth Grade is a solid bet for an Oscar bid but will have a harder time cracking this category. I’d be excited to see Widows, which stands an outside chance if it goes over well in other categories.
Current predictions:
BlacKkKlansman
Can You Ever Forgive Me?
The Favourite
Green Book
If Beale Street Could Talk
Sunday, November 25, 2018
Golden Globe Musings: Best Original Song
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Remember Me (Coco)
Home (Ferdinand)
This Is Me (The Greatest Showman)
Mighty River (Mudbound)
The Star (The Star)
This category is especially hard to predict without the list of eligible songs for the corresponding Oscar race, which won’t be released for a few weeks. The clear frontrunner is The Shallows (A Star is Born), and I have a feeling that Maybe It’s Time (A Star is Born), I’ll Never Love Again (A Star is Born), or Always Remember Us This Way (A Star is Born) might be nominated too, even though the Oscar campaign is only for the one song and only one film – “Burlesque” – has been nominated more than once in this category in the past twenty years (the classic Disney animated films of the 1980s and 1990s did it regularly before that). The Place Where Lost Things Go (Mary Poppins Returns) and Trip A Little Light Fantastic (Mary Poppins Returns) seem to be the leading original tunes from the forthcoming sequel and could show up here. Flower of the Universe (A Wrinkle in Time) is a good popular bet, one that feels right up Globe voters’ alley. Other strong contenders include Revelation (Boy Erased), All the Stars (Black Panther), and I Crumble (Vox Lux). I’ll Fight (RBG) could contend, but from what I can find, documentaries aren’t usually nominated at the Globes. I’d love to see Hearts Beat Loud (Hearts Beat Loud) recognized, but I think that’s a longshot at best.
Current predictions:
Revelation (Boy Erased)
Trip A Little Light Fantastic (Mary Poppins Returns)
Always Remember Us This Way (A Star is Born)
The Shallows (A Star is Born)
Flower of the Universe (A Wrinkle in Time)
Golden Globe Musings: Best Original Score
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Dunkirk
Phantom Thread
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri
Oscar’s official list of eligible scores won’t be announced until mid-December, but that’s not so relevant since those that don’t make the cut there may still be eligible here. The last two winners of this award are likely to return, Justin Hurwitz for First Man and Alexandre Desplat for Isle of Dogs. Another past nominee, Nicholas Britell, may return for If Beale Street Could Talk, and Hans Zimmer could earn his fourteenth overall and third consecutive nomination for Widows. Michael Giacchino only has one nomination – and win – at the Globes for “Up,” and therefore I wouldn’t count on his Incredibles 2 score to show up even if it ends up earning him an Oscar nod. Terrence Blanchard was previously nominated for a Spike Lee film, and I have a feeling he’ll be back for BlacKkKlansman. Black Panther seems like a fun and worthwhile choice here as something different, whereas something more familiar, like Mary Poppins Returns, could easily round out this race.
Current predictions:
BlacKkKlansman
Black Panther
First Man
If Beale Street Could Talk
Isle of Dogs
Golden Globe Musings: Best Animated Film
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
The Boss Baby
The Breadwinner
Coco
Ferdinand
Loving Vincent
Last year was the first time that all five of these nominees went on to be nominated in the corresponding Oscar category. While I’m up in most other races, I’ve actually seen none of these contenders. Sequels do tend to do well here, and in this case, we actually have just one original idea from the mind of Wes Anderson, who has been nominated previously in this category, two follow-ups to previous nominees, and two other films about beloved characters reimagined in these latest iterations. I have a lot of catching up to do, and will wait until the nominees are announced for my watchlist.
Current predictions:
Dr. Seuss’ The Grinch
Incredibles 2
Isle of Dogs
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse
Saturday, November 24, 2018
Saturday Night Movie Recommendations with Abe
Welcome back to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD and Netflix. I invite you to add in your thoughts on any films I haven’t seen in the comments below.
Now Playing in Theatres
One of the best movies of the year, and one of the likely frontrunners for Best Picture, is The Favourite, an excellent example of what going mainstream looks like for a filmmaker like Yorgos Lanthimos, whose past works “Dogtooth” and “The Lobster” have their own distinctive styles that show through in a hilarious period piece featuring tremendous performances from Olivia Colman, Emma Stone, and Rachel Weisz. It’s a great and unique film. Shoplifters is Japan’s Oscar submission for Best Foreign Film and a likely nominee, a heartfelt portrait of an unconventional family unit. Creed II is exactly what you’d expect it to be, another decent entry in a neverending franchise that delivers just what it promises.
New to DVD
I remember its night one premiere screening at Sundance was incredibly crowded, leaving over 200 ticketholders rejected because of capacity, but I haven’t heard as much about Blindspotting since then aside from its Independent Spirit Award nomination for star Daveed Diggs. It’s a terrific and unique film that shouldn’t be missed. I wasn’t as enamored with We the Animals, which was the nominations leader at the Spirit Awards, but there’s something to be said for its artful cinematography and storytelling style. I have yet to see it, but the immensely popular “Crazy Rich Asians” is also now available.
Now on Netflix Instant Streaming
It may not be typical Thanksgiving cuisine, but that doesn’t make Jiro Dreams of Sushi any less appetizing. The story of an eighty-five-year-old master sushi chef is definitely a winner, and even this reviewer who isn’t a fan of the rice-wrapped rolls found this documentary to be wonderful and delectable.
Now Playing in Theatres
One of the best movies of the year, and one of the likely frontrunners for Best Picture, is The Favourite, an excellent example of what going mainstream looks like for a filmmaker like Yorgos Lanthimos, whose past works “Dogtooth” and “The Lobster” have their own distinctive styles that show through in a hilarious period piece featuring tremendous performances from Olivia Colman, Emma Stone, and Rachel Weisz. It’s a great and unique film. Shoplifters is Japan’s Oscar submission for Best Foreign Film and a likely nominee, a heartfelt portrait of an unconventional family unit. Creed II is exactly what you’d expect it to be, another decent entry in a neverending franchise that delivers just what it promises.
New to DVD
I remember its night one premiere screening at Sundance was incredibly crowded, leaving over 200 ticketholders rejected because of capacity, but I haven’t heard as much about Blindspotting since then aside from its Independent Spirit Award nomination for star Daveed Diggs. It’s a terrific and unique film that shouldn’t be missed. I wasn’t as enamored with We the Animals, which was the nominations leader at the Spirit Awards, but there’s something to be said for its artful cinematography and storytelling style. I have yet to see it, but the immensely popular “Crazy Rich Asians” is also now available.
Now on Netflix Instant Streaming
It may not be typical Thanksgiving cuisine, but that doesn’t make Jiro Dreams of Sushi any less appetizing. The story of an eighty-five-year-old master sushi chef is definitely a winner, and even this reviewer who isn’t a fan of the rice-wrapped rolls found this documentary to be wonderful and delectable.
Golden Globe Musings: Best Foreign Film
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
A Fantastic Woman (Chile)
First They Killed My Father (Cambodia)
In the Fade (Germany)
Loveless (Russia)
The Square (Sweden)
I feel like I have a better handle on this race than usual, though there are always surprises here that don’t usually translate to the Oscar list. Of the eighty submissions to this category, the definitive frontrunner is Roma (Mexico), which, per Globe rules, isn’t actually eligible in the top category as an international picture. Next up should be Shoplifters (Japan), Capernaum (Lebanon), and Cold War (Poland), though they might miss out here before rebounding for the Oscar race. Happy as Lazzaro (Italy) isn’t in contention for the Oscar but will probably show up here, fending off competition from the likes of Burning (South Korea), Everybody Knows (Spain), Girl (Belgium), The Guilty (Denmark), and Never Look Away (Germany), as well as any of the other seventy or so possibilities.
Current predictions:
Cold War (Poland)
Capernaum (Lebanon)
Happy as Lazzaro (Italy)
Roma (Mexico)
Shoplifters (Japan)
Friday, November 23, 2018
Golden Globe Musings: Best Actress in a Supporting Role in a Motion Picture
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Mary J. Blige (Mudbound)
Hong Chau (Downsizing)
Allison Janney (I, Tonya)
Laurie Metcalf (Lady Bird)
Octavia Spencer (The Shape of Water)
There are a number of women who might figure into this competition. Claire Foy (First Man) feels like a very safe bet, and, as long as she ends up classified in this category, so does Emma Stone (The Favourite). I’m rooting for Rachel Weisz (The Favourite), but she’s far from a lock here, competing with other films with multiple contenders, like Elizabeth Debicki (Widows) and Cynthia Erivo (Widows). Amy Adams (Vice) is a Globe favorite and should have no trouble getting in even if her film doesn’t find a lot of support, and the same should be true for Regina King (If Beale Street Could Talk). It’s very possible that Margot Robbie (Mary, Queen of Scots) could earn a nomination. Other possibilities include Nicole Kidman (Boy Erased), Michelle Yeoh (Crazy Rich Asians) and Natalie Portman (Vox Lux).
Current predictions:
Amy Adams (Vice)
Elizabeth Debicki (Widows)
Claire Foy (First Man)
Regina King (If Beale Street Could Talk)
Emma Stone (The Favourite)
Golden Globe Musings: Best Actor in a Supporting Role in a Motion Picture
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Willem Dafoe (The Florida Project)
Armie Hammer (Call Me By Your Name)
Richard Jenkins (The Shape of Water)
Sam Rockwell (Three Billboards Outside Ebbing, Missouri)
Christopher Plummer (All the Money in the World)
There are a few names that have emerged as the leading contenders here: Sam Elliott (A Star is Born), Mahershala Ali (Green Book), Richard E. Grant (Can You Ever Forgive Me?), and Timothée Chalamet (Beautiful Boy). This is usually the place where first signs of trouble for an expected frontrunner emerge, so we’ll see if they all make the cut. Last year’s winner Sam Rockwell (Vice) could show up here if voters like the film. It’s hard to know how other men here might fare since their films will either embraced or dismissed. Russell Crowe (Boy Erased), J.K. Simmons (The Front Runner), and Dick Van Dyke (Mary Poppins Returns) all feel like possibilities despite how extraordinarily different their roles are. Adam Driver (BlacKkKlansman) and Daniel Kaluuya (Widows) are probably more likely.
Current predictions:
Mahershala Ali (Green Book)
Timothée Chalamet (Beautiful Boy)
Adam Driver (BlacKkKlansman)
Sam Elliott (A Star is Born)
Richard E. Grant (Can You Ever Forgive Me?)
Thursday, November 22, 2018
Golden Globe Musings: Best Actress in a Motion Picture – Comedy/Musical
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Judi Dench (Victoria and Abdul)
Helen Mirren (The Leisure Seeker)
Margot Robbie (I, Tonya)
Saoirse Ronan (Lady Bird)
Emma Stone (Battle of the Sexes)
With both Lady Gaga and Melissa McCarthy competing in drama, the frontrunner here is Olivia Colman (The Favourite), and it’s always possible that, despite the campaign being put forward by Fox Searchlight, costars Emma Stone (The Favourite) and Rachel Weisz (The Favourite) could show up here too. Regardless of how the film performs, Emily Blunt (Mary Poppins Returns) is expected to earn a nomination. Constance Wu (Crazy Rich Asians) has strong buzz for her film, and Lily James (Mamma Mia! Here We Go Again) should garner some votes as well. Elsie Fisher (Eighth Grade) would be a fun choice to many would support, and I imagine there will be many who vote for Charlize Theron (Tully). That doesn’t seem like a lot of contenders, but it’s hard to think of who else could show up here to surprise, aside from Mary Elizabeth Winstead (All About Nina), who I’m really rooting for but don’t think has much of a shot.
Current predictions:
Emily Blunt (Mary Poppins Returns)
Olivia Colman (The Favourite)
Elsie Fisher (Eighth Grade)
Charlize Theron (Tully)
Constance Wu (Crazy Rich Asians)
Golden Globe Musings: Best Actor in a Motion Picture – Comedy/Musical
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Steve Carell (Battle of the Sexes)
Ansel Elgort (Baby Driver)
James Franco (The Disaster Artist)
Hugh Jackman (The Greatest Showman)
Daniel Kaluuya (Get Out)
After last year saw Kumail Nanjiani and his film entirely shut out, it’s hard to be certain of anything. With Bradley Cooper and Rami Malek entered in drama, the frontrunners here are Viggo Mortensen (Green Book) and Christian Bale (Vice). Robert Redford (The Old Man and the Gun) seems like a good bet too. Beyond that, it’s anyone’s guess, with a number of possibilities out there and surely more like Jonah Hill from “War Dogs” and Ewan McGregor from “Salmon Fishing in the Yemen” in past years waiting to surprise. Steve Coogan (Stan and Ollie) and John C. Reilly (Stan and Ollie) seem to be listed in drama for some reason, but either of them showing up here wouldn’t surprise me. Other possibilities include Lakeith Stanfield (Sorry to Bother You), Ryan Reynolds (Deadpool 2), Nick Robinson (Love, Simon), and Lin-Manuel Miranda (Mary Poppins Returns).
Current predictions:
Christian Bale (Vice)
Lin-Manuel Miranda (Mary Poppins Returns)
Viggo Mortensen (Green Book)
Robert Redford (The Old Man and the Gun)
Ryan Reynolds (Deadpool 2)
Wednesday, November 21, 2018
Golden Globe Musings: Best Actress in a Motion Picture – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Jessica Chastain (Molly’s Game)
Sally Hawkins (The Shape of Water)
Frances McDormand (Three Billboards Outside Ebbing, Missouri)
Meryl Streep (The Post)
Michelle Williams (All the Money in the World)
The frontrunner in this race was supposed to be Glenn Close (The Wife), and then Lady Gaga (A Star is Born) entered it with her film classified as a drama. Melissa McCarthy (Can You Ever Forgive Me?) should be here too, though the argument could be made that her film is a comedy, and she’s also missed out on a few important independent precursors. Viola Davis (Widows) shouldn’t have too much trouble getting nominated also, even if her film doesn’t land in other categories. Yalitza Aparicio (Roma) faces an uphill battle because she’s an unknown making her film debut, but the international nature of the Globes, coupled with the expectedly strong performance by her film, will probably enable her to get in. Other contenders include Saoirse Ronan (Mary, Queen of Scots), Felicity Jones (On the Basis of Sex), Julia Roberts (Ben is Back), Emily Blunt (A Quiet Place), Rosamund Pike (A Private War), Carey Mulligan (Wildlife), Nicole Kidman (Destroyer), and, if voters are feeling creative, Toni Collette (Hereditary). This category tends to offer a surprise or two, so watch out for something wild.
Current predictions:
Yalitza Aparicio (Roma)
Glenn Close (The Wife)
Viola Davis (Widows)
Lady Gaga (A Star is Born)
Melissa McCarthy (Can You Ever Forgive Me?)
Golden Globe Musings: Best Actor in a Motion Picture – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anything important. A reminder that the Globes are wildly unpredictable and that it is still a bit early to gauge the reception or awards potential of a number of the so-called “contenders” at this point.
Last year’s nominees:
Timothée Chalamet (Call Me By Your Name)
Daniel Day-Lewis (Phantom Thread)
Tom Hanks (The Post)
Gary Oldman (Darkest Hour)
Denzel Washington (Roman J. Israel, Esq.)
The two frontrunners in this race were actually expected to compete in the comedy/musical race instead, but their placement here shouldn’t hurt their chances at all. Bradley Cooper (A Star is Born) is sure to have his film, which he directed, nominated in many categories, while Rami Malek (Bohemian Rhapsody) may be representing his all alone. Early buzz for Ethan Hawke (First Reformed) was strong, so he could easily be recognized, and he’s been collecting precursor nominations. Though Clint Eastwood (The Mule) has twice been nominated for an acting Oscar, he’s never received a Globe bid in this category, so don’t expect him to show up even if he makes the cut come Oscar time. Conversely, even if he doesn’t make it all the way to the Oscars, Ryan Gosling (First Man) is a relatively safe bet here. John David Washington (BlacKkKlansman) could figure into this race, as could Lucas Hedges (Boy Erased), Steve Carell (Beautiful Boy), Hugh Jackman (The Front Runner), and Willem Dafoe (At Eternity’s Gate) if their films are enthusiastically received by Globe voters. Chadwick Boseman (Black Panther) has an outside shot if voters really love his film.
Current predictions:
Bradley Cooper (A Star is Born)
Ryan Gosling (First Man)
Lucas Hedges (Boy Erased)
Rami Malek (Bohemian Rhapsody)
John David Washington (BlacKkKlansman)
Tuesday, November 20, 2018
Movie with Abe: Shoplifters
Shoplifters
Directed by Hirokazu Koreeda
Released November 23, 2018
Teaching children the difference between right and wrong isn’t always a simple matter. When parents do something that might be questionably amoral, they may shape their actions as justifiable and interpret them either as a necessary evil or as excusable based on their circumstances. Growing up with the mentality that certain behavior or even criminal activities are allowed can have an effect on a child, with a parent having an unmatched influence on the people whose minds they mold and who they teach about the world.
Osamu (Lily Franky) and Shota (Jyo Kairi) are introduced in a store orchestrating a small theft of goods, with Osamu providing the distraction for his son to stuff a number of items into his bag. On their way home, they see a young girl, Yuri (Miyu Sasaki), seemingly alone and freezing, and take her inside to their home. With little money to even support themselves, Osamu’s wife Nobuyo (Sakura Ando) questions whether she is better off with their family than with those who neglect and abuse her. As she spends more time with them, Osamu and Nobuyo must convey the way that they choose to get by to this lost five-year-old.
One of the most interesting elements of this film is when the younger members of this family unit begin to question what the adults are doing, either getting scared in the middle of a theft or thinking about those who will be negatively affected by what they are taking. Shota in particular proves introspective when Osamu excitedly invites him to steal a bag from the backseat of a locked car, differentiating it from taking only from stores where, according to their family code, no one yet owns what’s still on the shelves. That moral complexity drives this drama about the meaning of actions, the strength of relationships, and the weight of consequences.
This film features great performances all around. Franky in particular takes such a delight in what Osamu does, not merely making ends meet but demonstrating skill at what basically counts as his profession. Kairi and Sasaki impress at a young age, making their characters sympathetic, genuine and believable. This film is Japan’s official submission for the Oscar for Best Foreign Film this year, making a distinct contribution to international cinema with its layered yet inviting portrait of an unusual family whose way of living helps to bring them even closer.
B+
Movie with Abe: Creed 2
Creed 2
Directed by Steven Caple Jr.
Released November 21, 2018
It’s fitting that a movie series about boxing should have numerous iterations. In each round, the outcome may be different, but it’s usually possible, at least in movies, to count on the boxer to make a comeback by the series’ end. There may also be no end in sight, since boxers don’t tend to go out after just one big fight and instead make multiple attempts to either reclaim their glory or defend their title, often dredging up old rivalries. That’s a perfect way to define what ranks as the eighth film in a series that’s now more than four decades old.
Adonis Creed (Michael B. Jordan) ascends to the top of his class, earning the title of heavyweight champion without much difficulty. As he prepares to move ahead in his personal life and relationship with Bianca (Tessa Thompson), he faces an unexpected challenge from Russian fighter Viktor Drago (Florian Munteanu), son of Ivan Drago (Dolph Lundgren), the man who killed his father during a match years earlier. Against the advice of his mentor Rocky (Sylvester Stallone), and knowing full well the consequences, Creed prepares for the fight of his life to defend his family name.
This film doesn’t waste much time on exposition, delivering a few helpful hints for those who might not have seen the previous film as well as any who picked up this franchise this decade rather than when it first began in 1976. Creed lives a comfortable life, but, like any fighter, can’t find satisfaction in the impressive accomplishments he has already achieved, yearning for more. Contemplating the idea of starting a family is an expected challenge, but this isn’t a film that exists to cover entirely new ground, merely to revisit it for another decently satisfying trip.
Both Jordan and Thompson have had a very prolific year, each delivering more compelling performances in similar parts as a relentless fighter trying to avenge his father and a free-spirited artist, in “Black Panther” and “Sorry to Bother You,” respectively. They’re suited just fine to their roles here, but it lacks the same spark as their first interaction in the previous film. Stallone is unlikely to repeat his Oscar nomination for this turn, which, like much of this film, is appropriately going through the motions. The portrayal of Russia as an unfeeling enemy feels slightly dated, but ultimately it’s all just part of the formula that works well here, playing to audience expectations and delivering solidly. This could serve as a great ending chapter to the saga, but it’s more than likely that, as always, this franchise will return again.
B
Directed by Steven Caple Jr.
Released November 21, 2018
It’s fitting that a movie series about boxing should have numerous iterations. In each round, the outcome may be different, but it’s usually possible, at least in movies, to count on the boxer to make a comeback by the series’ end. There may also be no end in sight, since boxers don’t tend to go out after just one big fight and instead make multiple attempts to either reclaim their glory or defend their title, often dredging up old rivalries. That’s a perfect way to define what ranks as the eighth film in a series that’s now more than four decades old.
Adonis Creed (Michael B. Jordan) ascends to the top of his class, earning the title of heavyweight champion without much difficulty. As he prepares to move ahead in his personal life and relationship with Bianca (Tessa Thompson), he faces an unexpected challenge from Russian fighter Viktor Drago (Florian Munteanu), son of Ivan Drago (Dolph Lundgren), the man who killed his father during a match years earlier. Against the advice of his mentor Rocky (Sylvester Stallone), and knowing full well the consequences, Creed prepares for the fight of his life to defend his family name.
This film doesn’t waste much time on exposition, delivering a few helpful hints for those who might not have seen the previous film as well as any who picked up this franchise this decade rather than when it first began in 1976. Creed lives a comfortable life, but, like any fighter, can’t find satisfaction in the impressive accomplishments he has already achieved, yearning for more. Contemplating the idea of starting a family is an expected challenge, but this isn’t a film that exists to cover entirely new ground, merely to revisit it for another decently satisfying trip.
Both Jordan and Thompson have had a very prolific year, each delivering more compelling performances in similar parts as a relentless fighter trying to avenge his father and a free-spirited artist, in “Black Panther” and “Sorry to Bother You,” respectively. They’re suited just fine to their roles here, but it lacks the same spark as their first interaction in the previous film. Stallone is unlikely to repeat his Oscar nomination for this turn, which, like much of this film, is appropriately going through the motions. The portrayal of Russia as an unfeeling enemy feels slightly dated, but ultimately it’s all just part of the formula that works well here, playing to audience expectations and delivering solidly. This could serve as a great ending chapter to the saga, but it’s more than likely that, as always, this franchise will return again.
B
Monday, November 19, 2018
Monday Oscar Odds
I had intended for this to be a weekly feature, but film festivals and other things have gotten in the way. Since my last edition on October 29th, I haven’t actually seen most of the films I was missing, aside from “Green Book,” which I reviewed earlier today and which is indeed terrific.
I’ll be offering Golden Globe predictions in all categories this week, and I discovered something very interesting in writing up each race this week. I often reference Wikipedia as a database for the nominees each year since its visual format is really easy to read, and I found something fascinating on the page for Best Motion Picture – Comedy/Musical. There were five nominees listed for 2018, pictured below, with all of the producers named as well. Not only that, but one of them – “The Favourite” – was listed as the winner, and it even suggested that both “The Favourite” and “Green Book” went on to be nominated for the Oscar for Best Picture. This is most mesmerizing since this couldn’t possibly be a leak because the ballots haven’t even been mailed out yet! I don’t know what to make of it other than that it’s a strange occurrence which tells me I’ve only seen two of these movies.
As far as the Oscars go, the most important announcement that’s come in the past few weeks were the nominations for the Film Independent Spirit Awards. I wish that “American Animals,” “Colette,” and “Thoroughbreds” had picked up more than just one nomination apiece in the editing and screenplay races since they’re so good, and I don’t imagine they’ll have any shot at the Oscars. Primarily, the Spirit nominations are bad news for Melissa McCarthy, who missed out both here and with the Gotham Awards despite costar Richard E. Grant getting in, and “BlacKkKlansman,” which only got recognized for supporting actor Adam Driver, who I hadn’t been predicting. “First Reformed” and “Eighth Grade” both performed well, so it’s possible they’ll break out from just the original screenplay category. I think that I’m actually not going to change anything in what I have below, just to add three categories in for now – Best Animated Feature, Best Documentary, and Best Foreign Film. More in the coming weeks, and stick around this week for Golden Globe predictions!
Best Picture
BlacKkKlansman
Black Panther
The Favourite
First Man
Green Book
If Beale Street Could Talk
Roma
A Star is Born
Vice
Widows
Best Director
Spike Lee (BlacKkKlansman)
Yorgos Lanthimos (The Favourite)
Damien Chazelle (First Man)
Alfonso Cuaron (Roma)
Bradley Cooper (A Star is Born)
Best Actor
Christian Bale (Vice)
Bradley Cooper (A Star is Born)
Clint Eastwood (The Mule)
Rami Malek (Bohemian Rhapsody)
Viggo Mortensen (Green Book)
Best Actress
Glenn Close (The Wife)
Olivia Colman (The Favourite)
Viola Davis (Widows)
Lady Gaga (A Star is Born)
Melissa McCarthy (Can You Ever Forgive Me?)
Best Supporting Actor
Mahershala Ali (Green Book)
Timothee Chalamet (Beautiful Boy)
Sam Elliott (A Star Is Born)
Richard E. Grant (Can You Ever Forgive Me?)
Daniel Kaluuya (Widows)
Best Supporting Actress
Claire Foy (First Man)
Elizabeth Debicki (Widows)
Regina King (If Beale Street Could Talk)
Emma Stone (The Favourite)
Rachel Weisz (The Favourite)
Best Original Screenplay
Eighth Grade
The Favourite
Green Book
Roma
Vice
Best Adapted Screenplay
BlacKkKlansman
Can You Ever Forgive Me?
First Man
If Beale Street Could Talk
Widows
Best Animated Feature
Incredibles 2
Isle of Dogs
Mirai
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse
Best Documentary
Of Fathers and Sons
On Her Shoulders
RBG
Three Identical Strangers
Won’t You Be My Neighbor?
Best Foreign Film
Capernaum (Lebanon)
Cold War (Poland)
Girl (Belgium)
Roma (Mexico)
Shoplifters (Japan)
I’ll be offering Golden Globe predictions in all categories this week, and I discovered something very interesting in writing up each race this week. I often reference Wikipedia as a database for the nominees each year since its visual format is really easy to read, and I found something fascinating on the page for Best Motion Picture – Comedy/Musical. There were five nominees listed for 2018, pictured below, with all of the producers named as well. Not only that, but one of them – “The Favourite” – was listed as the winner, and it even suggested that both “The Favourite” and “Green Book” went on to be nominated for the Oscar for Best Picture. This is most mesmerizing since this couldn’t possibly be a leak because the ballots haven’t even been mailed out yet! I don’t know what to make of it other than that it’s a strange occurrence which tells me I’ve only seen two of these movies.
As far as the Oscars go, the most important announcement that’s come in the past few weeks were the nominations for the Film Independent Spirit Awards. I wish that “American Animals,” “Colette,” and “Thoroughbreds” had picked up more than just one nomination apiece in the editing and screenplay races since they’re so good, and I don’t imagine they’ll have any shot at the Oscars. Primarily, the Spirit nominations are bad news for Melissa McCarthy, who missed out both here and with the Gotham Awards despite costar Richard E. Grant getting in, and “BlacKkKlansman,” which only got recognized for supporting actor Adam Driver, who I hadn’t been predicting. “First Reformed” and “Eighth Grade” both performed well, so it’s possible they’ll break out from just the original screenplay category. I think that I’m actually not going to change anything in what I have below, just to add three categories in for now – Best Animated Feature, Best Documentary, and Best Foreign Film. More in the coming weeks, and stick around this week for Golden Globe predictions!
Best Picture
BlacKkKlansman
Black Panther
The Favourite
First Man
Green Book
If Beale Street Could Talk
Roma
A Star is Born
Vice
Widows
Best Director
Spike Lee (BlacKkKlansman)
Yorgos Lanthimos (The Favourite)
Damien Chazelle (First Man)
Alfonso Cuaron (Roma)
Bradley Cooper (A Star is Born)
Best Actor
Christian Bale (Vice)
Bradley Cooper (A Star is Born)
Clint Eastwood (The Mule)
Rami Malek (Bohemian Rhapsody)
Viggo Mortensen (Green Book)
Best Actress
Glenn Close (The Wife)
Olivia Colman (The Favourite)
Viola Davis (Widows)
Lady Gaga (A Star is Born)
Melissa McCarthy (Can You Ever Forgive Me?)
Best Supporting Actor
Mahershala Ali (Green Book)
Timothee Chalamet (Beautiful Boy)
Sam Elliott (A Star Is Born)
Richard E. Grant (Can You Ever Forgive Me?)
Daniel Kaluuya (Widows)
Best Supporting Actress
Claire Foy (First Man)
Elizabeth Debicki (Widows)
Regina King (If Beale Street Could Talk)
Emma Stone (The Favourite)
Rachel Weisz (The Favourite)
Best Original Screenplay
Eighth Grade
The Favourite
Green Book
Roma
Vice
Best Adapted Screenplay
BlacKkKlansman
Can You Ever Forgive Me?
First Man
If Beale Street Could Talk
Widows
Best Animated Feature
Incredibles 2
Isle of Dogs
Mirai
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse
Best Documentary
Of Fathers and Sons
On Her Shoulders
RBG
Three Identical Strangers
Won’t You Be My Neighbor?
Best Foreign Film
Capernaum (Lebanon)
Cold War (Poland)
Girl (Belgium)
Roma (Mexico)
Shoplifters (Japan)
Movie with Abe: Green Book
Green Book
Directed by Peter Farrelly
Released November 16, 2018
Stereotypes exist in society about nearly every type of person. While some can involve dedication, hard work, or other positive qualities, they are often used to hold people back, striking down achievements by trying to remind those who have accomplished something that, historically, someone who looks or sounds like them should be expected to fulfill another fate. Breaking through stereotypes can be rewarding, but is also usually met with incredulity and anger from those who prefer to have everyone easily defined by generalized characteristics and trends that may be derogatory and diminishing to a committed individual.
In 1962 New York City, Tony Lip (Viggo Mortensen) works as a bouncer to support his family, always getting the job done even if he gets a few punches in on too many occasions. When his club closes for renovations, he applies for a job as a driver for Dr. Don Shirley (Mahershala Ali), a talented concert pianist who is headed into the Deep South for an eight-week tour. The notion of working for a black man doesn’t sit well with Tony, but as the offer appeals and he begins the job, he realizes that he’s exactly the right fit for this work, which involves a considerable amount of eye-opening for the lifelong Italian-American Bronx resident who has never really been able to understand what racism is.
This is ultimately the story of an unlikely friendship, one that builds from incredible differences. Much of Tony’s own growth comes from being looked at the wrong way for the situation in which he’s inserted himself, opening the door for a black man who’s much better dressed than him. His lack of sophistication is also his charm, as his constant eating and less-than-winning grammatical ability gradually endear him to the buttoned-up, high-class Don, who, thanks to Tony, begins to relax and appreciate some of the less fine things in life. They get into deep conversations about what it means to be who they are, and go through experiences that surprise them both. It’s a heartwarming story that has the added benefit of being mostly true.
Mortensen, whose last film role in “Captain Fantastic” cast him as an eccentric father raising his kids in the wilderness, does a superb job of making Tony into a man who leans into the stereotypes about Italian-Americans, rising to anger when they’re lobbed at him negatively and proudly indulging in those he enjoys, like food. Ali, who won an Oscar for his moving turn as a surrogate parent in “Moonlight,” is subdued and straight-laced as someone who defies everything anyone expects about him, which has caused him to become isolated from those who look like him and not entirely accepted by those who don’t. Together, they’re a fine pair, anchoring an entirely successful dramatic departure from director Peter Farrelly’s previous work. This is both a funny and affecting film, one that navigates its subject matter smartly and optimistically.
B+
Directed by Peter Farrelly
Released November 16, 2018
Stereotypes exist in society about nearly every type of person. While some can involve dedication, hard work, or other positive qualities, they are often used to hold people back, striking down achievements by trying to remind those who have accomplished something that, historically, someone who looks or sounds like them should be expected to fulfill another fate. Breaking through stereotypes can be rewarding, but is also usually met with incredulity and anger from those who prefer to have everyone easily defined by generalized characteristics and trends that may be derogatory and diminishing to a committed individual.
In 1962 New York City, Tony Lip (Viggo Mortensen) works as a bouncer to support his family, always getting the job done even if he gets a few punches in on too many occasions. When his club closes for renovations, he applies for a job as a driver for Dr. Don Shirley (Mahershala Ali), a talented concert pianist who is headed into the Deep South for an eight-week tour. The notion of working for a black man doesn’t sit well with Tony, but as the offer appeals and he begins the job, he realizes that he’s exactly the right fit for this work, which involves a considerable amount of eye-opening for the lifelong Italian-American Bronx resident who has never really been able to understand what racism is.
This is ultimately the story of an unlikely friendship, one that builds from incredible differences. Much of Tony’s own growth comes from being looked at the wrong way for the situation in which he’s inserted himself, opening the door for a black man who’s much better dressed than him. His lack of sophistication is also his charm, as his constant eating and less-than-winning grammatical ability gradually endear him to the buttoned-up, high-class Don, who, thanks to Tony, begins to relax and appreciate some of the less fine things in life. They get into deep conversations about what it means to be who they are, and go through experiences that surprise them both. It’s a heartwarming story that has the added benefit of being mostly true.
Mortensen, whose last film role in “Captain Fantastic” cast him as an eccentric father raising his kids in the wilderness, does a superb job of making Tony into a man who leans into the stereotypes about Italian-Americans, rising to anger when they’re lobbed at him negatively and proudly indulging in those he enjoys, like food. Ali, who won an Oscar for his moving turn as a surrogate parent in “Moonlight,” is subdued and straight-laced as someone who defies everything anyone expects about him, which has caused him to become isolated from those who look like him and not entirely accepted by those who don’t. Together, they’re a fine pair, anchoring an entirely successful dramatic departure from director Peter Farrelly’s previous work. This is both a funny and affecting film, one that navigates its subject matter smartly and optimistically.
B+
Sunday, November 18, 2018
DOC NYC Spotlight: The Orange Years
I’m excited to have been able to screen a few selections from DOC NYC, America’s largest documentary festival, which presented its eighth year in New York City from November 8th-15th.
The Orange Years: The Nickelodeon Story
Directed by Scott Barber and Adam Sweeney
Festival Screenings
Everyone has formative experiences from their childhood, many of which involve sitting down in front of the television to watch their favorite programs. While it’s adults who are making the creative decisions behind what kind of shows make it to air, no matter what age group it’s meant for, kids can be highly affected by television that is both educational and enjoyable. The memories of and feelings that come from watching such shows can live on for years in the minds of those for whom it was a daily or weekly refuge from normal life.
Nickelodeon, first known as Pinwheel during its initial launch in 1977, was a network that dared to be different, offering programming for children that spoke to what their interests might be and which parts of their normative experience they might enjoy both seeing reflected and not reflected on the screen. A need to have morals and good values in the characters and settings portrayed is emphasized, but there is also special attention paid to having relatable characters that represent what’s good and forward-thinking about being a kid. Numerous now-classic series including “Clarissa Explains It All” and “Rugrats” are reviewed from their inception to their tremendously successful runs.
This documentary provides a fairly standard, narrative overview of how Nickelodeon came about when participatory television was becoming big, and how it grew at the height of its popularity. The surprisingly high percentage of female leadership within the company is highlighted through interviews with the many people responsible for the network’s wins, both behind the camera and in front of it. It’s especially informative to hear stars like Kenan Thompson and Melissa Joan Hart reflect on how their own childhoods were shaped by the characters they were playing, partially fictionalized but also very much mirrors of themselves.
This film stood out as interesting to this reviewer, who watched only PBS growing up since his family didn’t have cable, as a way of discouraging him from watching too much TV. Having previously seen only snippets of “The Rugrats,” “Doug,” and “Hey Arnold,” this documentary felt like a decent comprehensive look at what shaped Nickelodeon into what it wanted to be, singling out the “Orange Years” as its growth period before it truly exploded with “Spongebob Squarepants,” the series introduced in this film’s closing moments. For those feeling nostalgic about an active part of their childhoods, this should prove fun and heartwarming, and for those less familiar with Nickelodeon, it’s also plenty enjoyable and cool.
B+
The Orange Years: The Nickelodeon Story
Directed by Scott Barber and Adam Sweeney
Festival Screenings
Everyone has formative experiences from their childhood, many of which involve sitting down in front of the television to watch their favorite programs. While it’s adults who are making the creative decisions behind what kind of shows make it to air, no matter what age group it’s meant for, kids can be highly affected by television that is both educational and enjoyable. The memories of and feelings that come from watching such shows can live on for years in the minds of those for whom it was a daily or weekly refuge from normal life.
Nickelodeon, first known as Pinwheel during its initial launch in 1977, was a network that dared to be different, offering programming for children that spoke to what their interests might be and which parts of their normative experience they might enjoy both seeing reflected and not reflected on the screen. A need to have morals and good values in the characters and settings portrayed is emphasized, but there is also special attention paid to having relatable characters that represent what’s good and forward-thinking about being a kid. Numerous now-classic series including “Clarissa Explains It All” and “Rugrats” are reviewed from their inception to their tremendously successful runs.
This documentary provides a fairly standard, narrative overview of how Nickelodeon came about when participatory television was becoming big, and how it grew at the height of its popularity. The surprisingly high percentage of female leadership within the company is highlighted through interviews with the many people responsible for the network’s wins, both behind the camera and in front of it. It’s especially informative to hear stars like Kenan Thompson and Melissa Joan Hart reflect on how their own childhoods were shaped by the characters they were playing, partially fictionalized but also very much mirrors of themselves.
This film stood out as interesting to this reviewer, who watched only PBS growing up since his family didn’t have cable, as a way of discouraging him from watching too much TV. Having previously seen only snippets of “The Rugrats,” “Doug,” and “Hey Arnold,” this documentary felt like a decent comprehensive look at what shaped Nickelodeon into what it wanted to be, singling out the “Orange Years” as its growth period before it truly exploded with “Spongebob Squarepants,” the series introduced in this film’s closing moments. For those feeling nostalgic about an active part of their childhoods, this should prove fun and heartwarming, and for those less familiar with Nickelodeon, it’s also plenty enjoyable and cool.
B+
DOC NYC Spotlight: Three Identical Strangers
I’m excited to have been able to screen a few selections from DOC NYC, America’s largest documentary festival, which presented its eighth year in New York City from November 8th-15th.
Three Identical Strangers
Directed by Tim Wardle
Festival Screenings
Family means different things to different people, based in no small part on their childhood experiences. Being raised by someone other than birth parents can have a dramatic effect on how a person turns out and how they relate to the world. Often, those who have been adopted seek to reconnect with those who were not, for whatever reason, able to provide a home for them when they were young. That reunion, if actualized, can have important implications on how someone comes to understand the factors that have shaped them into who they are.
The story that serves as the catalyst for this documentary is truly incredible: Bobby Shafran started at a community college at age nineteen and, upon being recognized by every person he passed, discovered that he had an identical twin brother, Eddy Galland. Once they went public with having found each other, a third young woman with the same face, David Kellman, confirmed that they were triplets. As they bonded and revelled in their similarities, they learned a much more disturbing truth about their separation that led to them being adopted without any knowledge of each other’s existence.
This film begins as a wondrous celebration of this miraculous coincidental union, with understandable excitement from magazines and news programs at the times. As the brothers move in together and start a restaurant, deeper issues are revealed, including a history of depression experienced by all three. Simultaneous research unveils that the three were deliberately split and monitored to conduct a study on how those who share the same DNA would develop and behave in isolation from each other. This film breaks down the actions and apparent motivations for a practice compared by the brothers to Nazi experiments, trying to understand how anyone could justify this separation.
This film, which covers one fantastical sequence of events and the far more troubling history that helped to create it, changes its tone dramatically as it delves into its story. Both its introductory excitement and its more devastating serious revelations are equally compelling, and featuring interviews with the brothers, through archive footage and in much more recent conversations, is the film’s strongest selling point, since seeing these brothers act in almost the same way despite never having known each other is truly mesmerizing. This documentary is truly terrific, a completely captivating look at this unbelievable situation which still has those involved struggling to find answers.
B+
Three Identical Strangers
Directed by Tim Wardle
Festival Screenings
Family means different things to different people, based in no small part on their childhood experiences. Being raised by someone other than birth parents can have a dramatic effect on how a person turns out and how they relate to the world. Often, those who have been adopted seek to reconnect with those who were not, for whatever reason, able to provide a home for them when they were young. That reunion, if actualized, can have important implications on how someone comes to understand the factors that have shaped them into who they are.
The story that serves as the catalyst for this documentary is truly incredible: Bobby Shafran started at a community college at age nineteen and, upon being recognized by every person he passed, discovered that he had an identical twin brother, Eddy Galland. Once they went public with having found each other, a third young woman with the same face, David Kellman, confirmed that they were triplets. As they bonded and revelled in their similarities, they learned a much more disturbing truth about their separation that led to them being adopted without any knowledge of each other’s existence.
This film begins as a wondrous celebration of this miraculous coincidental union, with understandable excitement from magazines and news programs at the times. As the brothers move in together and start a restaurant, deeper issues are revealed, including a history of depression experienced by all three. Simultaneous research unveils that the three were deliberately split and monitored to conduct a study on how those who share the same DNA would develop and behave in isolation from each other. This film breaks down the actions and apparent motivations for a practice compared by the brothers to Nazi experiments, trying to understand how anyone could justify this separation.
This film, which covers one fantastical sequence of events and the far more troubling history that helped to create it, changes its tone dramatically as it delves into its story. Both its introductory excitement and its more devastating serious revelations are equally compelling, and featuring interviews with the brothers, through archive footage and in much more recent conversations, is the film’s strongest selling point, since seeing these brothers act in almost the same way despite never having known each other is truly mesmerizing. This documentary is truly terrific, a completely captivating look at this unbelievable situation which still has those involved struggling to find answers.
B+
Saturday, November 17, 2018
Saturday Night Movie Recommendations with Abe
Welcome back to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD and Netflix. I invite you to add in your thoughts on any films I haven’t seen in the comments below. I’m continuing with a new format started last week.
Now Playing in Theatres
I saw Widows almost a month ago, and I’ve been excited for it to come out ever since. Director Steve McQueen’s follow-up to the Oscar-winning “12 Years a Slave” is a superb thriller with excellent performances all around, and I’m betting it’s going to be a strong Oscar player too. I’m equally enthusiastic about recommending Jonathan, which I saw at the Tribeca Film Festival back in April. It’s a very creative and worthwhile film featuring a great double performance from Ansel Elgort. Of Fathers and Sons is an intense and eye-opening documentary that gets up close and personal with a radical jihadist in Syria – worth seeing if the subject matter isn’t too upsetting. And for fans of Vincent Van Gogh, At Eternity’s Gate, starring Willem Dafoe as the tortured painter, is also out, though you have to really be in the mood for director Julian Schnabel’s style if you want to enjoy it. I’m hoping to see “Green Book,” which is out in a few theaters this weekend, very soon.
New to DVD
I truly enjoyed Juliet, Naked, a winning comedy starring Rose Byrne and the omnipresent Ethan Hawke, when I saw it at Sundance. It’s very funny and enjoyable. It just arrived theatrically last week, but The New Romantic, another great choice, is already out on DVD. For a decent performance in a mediocre movie, check out Kelly Macdonald in Puzzle.
Now on Netflix Instant Streaming
To me, one of the most entertaining things I’ve seen this year was the opening vignette of The Ballad of Buster Scruggs, the new film from the Coen brothers which screened at the New York Film Festival. Unfortunately, the other segments aren’t nearly as good, and it’s probably for the best that this one is available in a format that allows audiences to skip past some of the less terrific parts.
Now Playing in Theatres
I saw Widows almost a month ago, and I’ve been excited for it to come out ever since. Director Steve McQueen’s follow-up to the Oscar-winning “12 Years a Slave” is a superb thriller with excellent performances all around, and I’m betting it’s going to be a strong Oscar player too. I’m equally enthusiastic about recommending Jonathan, which I saw at the Tribeca Film Festival back in April. It’s a very creative and worthwhile film featuring a great double performance from Ansel Elgort. Of Fathers and Sons is an intense and eye-opening documentary that gets up close and personal with a radical jihadist in Syria – worth seeing if the subject matter isn’t too upsetting. And for fans of Vincent Van Gogh, At Eternity’s Gate, starring Willem Dafoe as the tortured painter, is also out, though you have to really be in the mood for director Julian Schnabel’s style if you want to enjoy it. I’m hoping to see “Green Book,” which is out in a few theaters this weekend, very soon.
New to DVD
I truly enjoyed Juliet, Naked, a winning comedy starring Rose Byrne and the omnipresent Ethan Hawke, when I saw it at Sundance. It’s very funny and enjoyable. It just arrived theatrically last week, but The New Romantic, another great choice, is already out on DVD. For a decent performance in a mediocre movie, check out Kelly Macdonald in Puzzle.
Now on Netflix Instant Streaming
To me, one of the most entertaining things I’ve seen this year was the opening vignette of The Ballad of Buster Scruggs, the new film from the Coen brothers which screened at the New York Film Festival. Unfortunately, the other segments aren’t nearly as good, and it’s probably for the best that this one is available in a format that allows audiences to skip past some of the less terrific parts.
DOC NYC Spotlight: On Her Shoulders
I’m excited to have been able to screen a few selections from DOC NYC, America’s largest documentary festival, which presented its eighth year in New York City from November 8th-15th.
On Her Shoulders
Directed by Alexandria Bombach
Festival Screenings
It is an unfortunate state of the world that there are so many humanitarian crises that some end up being less reported and prominent than others. An increasing number of documentaries deal with both current and past genocides and other horrors, with one express aim above all else: to broadcast the story of those affected, both the dead and the survivors, as widely as possible, with the notion that, the more people who know what has happened, the less likely it is to continue happening or to happen again somewhere else.
Nadia Murad is a twenty-three-year-old Yazidi woman from Iraq who was taken by ISIS when most of her village was killed. After enduring months of sex slavery, Murad was able to make a miraculous escape. Now, representing her entire people as one of the few survivors and one of the only ones willing to talk, Murad is telling her story to anyone who will listen, going on radio shows and making her case to the United Nations, firmly determined that she can make a difference and help wake the world up to the reality of a daily nightmare for those like her.
This film’s title is extremely fitting, ascribing the burden that Murad feels, not only in being the voice for those from her village but also for victims of similar abuse and violence all over the world. Murad speaks some English but usually has her words translated by an interpreter, which gives her testimony an even more potent effect because of the passion she exudes. Though she is brave, she retains an extraordinarily relatable humanity, one that reveals itself through her exhausted demeanor, so tired of having to relive these experiences over and over, and through the genuine tears she sheds both when she sees others moved and when she shares in their grief.
This is a vital film that helps to amplify Murad’s message and share the painful, disturbing details that most people don’t think about when they consider the very broadly-discussed enemy of ISIS. Murad gives a face to a conflict that feels far away, showing that she is here to ensure that what she and the residents of her village went through will not be forgotten and will not be in vain. American-born director Alexandria Bombach, whose previous film looked at Afghanistan’s first free press, demonstrates her awareness of just what exists throughout the world, so far from much of its audience but so crucial to be seen.
B+
On Her Shoulders
Directed by Alexandria Bombach
Festival Screenings
It is an unfortunate state of the world that there are so many humanitarian crises that some end up being less reported and prominent than others. An increasing number of documentaries deal with both current and past genocides and other horrors, with one express aim above all else: to broadcast the story of those affected, both the dead and the survivors, as widely as possible, with the notion that, the more people who know what has happened, the less likely it is to continue happening or to happen again somewhere else.
Nadia Murad is a twenty-three-year-old Yazidi woman from Iraq who was taken by ISIS when most of her village was killed. After enduring months of sex slavery, Murad was able to make a miraculous escape. Now, representing her entire people as one of the few survivors and one of the only ones willing to talk, Murad is telling her story to anyone who will listen, going on radio shows and making her case to the United Nations, firmly determined that she can make a difference and help wake the world up to the reality of a daily nightmare for those like her.
This film’s title is extremely fitting, ascribing the burden that Murad feels, not only in being the voice for those from her village but also for victims of similar abuse and violence all over the world. Murad speaks some English but usually has her words translated by an interpreter, which gives her testimony an even more potent effect because of the passion she exudes. Though she is brave, she retains an extraordinarily relatable humanity, one that reveals itself through her exhausted demeanor, so tired of having to relive these experiences over and over, and through the genuine tears she sheds both when she sees others moved and when she shares in their grief.
This is a vital film that helps to amplify Murad’s message and share the painful, disturbing details that most people don’t think about when they consider the very broadly-discussed enemy of ISIS. Murad gives a face to a conflict that feels far away, showing that she is here to ensure that what she and the residents of her village went through will not be forgotten and will not be in vain. American-born director Alexandria Bombach, whose previous film looked at Afghanistan’s first free press, demonstrates her awareness of just what exists throughout the world, so far from much of its audience but so crucial to be seen.
B+
Friday, November 16, 2018
Movie with Abe: Of Fathers and Sons
Of Fathers and Sons
Directed by Talal Derki
Released November 16, 2018
It’s astonishing to see people who essentially confess to their complicity in criminal activities on camera. This can be a moment of true surprise where someone maintaining their innocence accidentally acknowledges a damning fact or revelation, unaware in the moment of just what it is that they have admitted. It can also be a free and unapologetic description of behavior or actions that may be against the laws of their land or another, one that they do not see as problematic because something much stronger is driving their words: a firm and uncompromising belief that what they are doing is right.
Director Talal Derki, whose previous film, “Return to Homs,” won a number of film festival awards several years ago, returns to his home country of Syria, where he befriends General Abu Osama, a militant jihadist who raises his sons to become fighters in the war on the West in the name of his religion. Keeping his camera trained on Osama, Derki follows his family for two years as they reflect on what they’ve endured and prepare for the next phase of their jihad, with the ultimate goal that all of Osama’s offspring should one day carry out missions of their own to achieve victory.
Osama is a remarkable subject, one who expresses his hatred for those who believe something different than him in an almost friendly, simply analytic manner. He celebrates the birth of one of his sons on September 11th as a fateful date, and proudly names his children after those who have died carrying out terrorist attacks, proclaiming his admiration for the Taliban. He believes so strongly in what he is doing, and it’s possible that his willingness to talk as much as Derki prompts him, and even beyond that, can be attributed to his desire to get his message out to the world, assuring them that he and those like him will never cave or stop fighting.
This is the latest of a number of documentaries to come out of Syria, though this may be the most intimate and disturbing of them all, since it showcases someone who continues to advocate for violence under the guise of doing God’s work rather than working tirelessly either to survive or proactively end the conflict. This unsettling film, which screened at DOC NYC and received a Film Independent Spirit Award nomination today, captures something that isn’t easy to convey and is even more difficult to understand: the perspective of someone perceived by most of the world as a terrorist who sees himself as a far nobler messenger of God.
B+
Movie with Abe: At Eternity’s Gate
At Eternity’s Gate
Directed by Julian Schnabel
Released November 16, 2018
Vincent Van Gogh was an exceptional painter, revered as many are only long after his life. His style was one that broke the mold of the times, and it’s fair to expect therefore that a story about the creation of his art would be told in a creative and inventive manner. Last year, the Oscar-nominated animated feature “Loving Vincent” captured his essence with a series of oil paintings, visually portraying his story in a way resembling his art. Now, Julian Schnabel, a filmmaker known for his own unique artistic approach, is giving the famed painter his own individualized showcase.
Van Gogh (Willem Dafoe) sees the world through a very particular lens. He can’t look at a landscape without picturing it as a painting, and he spends most of his time sitting in front of his canvas. Unable to convince the world of his talent, Van Gogh is financially supported by his brother Theo (Rupert Friend), and latches on to a fellow artist, Paul Gauguin (Oscar Isaac), who is far more comfortable than he is in social situations. Abandoned by everything but his art, Van Gogh immerses himself in it, isolating himself further from the world around him.
Schnabel is a renowned filmmaker whose career highlight was “The Diving Bell and the Butterfly,” which mesmerizingly told the story of a man paralyzed everywhere but his left eye. For what marks only the sixth film of his twenty-plus year career, Schnabel emphasizes the same visual style, lensing the film through Van Gogh’s eyes, including the bottom portion of his field of vision being blurred. The result is a series of intimate close-ups that invite audiences into Van Gogh’s head, often positioned directly in his line of sight or right in front of his face. It’s certainly one way to get to know the artist, but it feels jarring and unnecessary at times as well.
Schnabel’s fingerprints are all over this film, and he really makes the most significant mark on it. Dafoe, fresh off an Oscar nomination for his heartfelt role as a motel manager in “The Florida Project,” delivers another muted but evocative performance here as the tortured artist, conveying his passion for what he believes he must create in his every exchange. His performance, however, is overshadowed by the technical elements of the film, which are more distracting than anything else. There are a few moments of wonder but far more that feel too pensive and deliberate, trying to shape Van Gogh’s story in a way that doesn’t allow its main character to steer it.
B-
Thursday, November 15, 2018
Movie with Abe: Widows
Widows
Directed by Steve McQueen
Released November 16, 2018
There are certain things audiences have come to expect when they go to see a movie. The notion of “playing against type” involves an actor or actress taking on a role that doesn’t fit with their previous work, and it’s a gamble that often pays off. A film turning everything on its head, however, isn’t as common, reframing traditional ideas of strength and survival. Men might typically be at the center of movies about robbers, but this is far from an ordinary film in so many ways.
When her husband Harry (Liam Neeson) is killed in a botched robbery, Veronica (Viola Davis) learns that she is now responsible for paying back the man he stole from, Jamal Manning (Brian Tyree Henry), who is exploring his political ambitions with the help of his enforcer brother Jatemme (Daniel Kaluuya). Mourning but resolved, Veronica finds two of her husband’s partners’ widows, Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki), who, along with Linda’s babysitter Belle (Cynthia Erivo), will execute the job that Harry planned out before he died, settling their debts and leaving them each some moderate degree of financial support.
There are many elements of this film that turn what could be an ordinary heist and revenge tale into something much more complicated and sophisticated. Director Steve McQueen, whose last feature film, “12 Years a Slave,” won the Oscar for Best Picture, adapts a 2002 miniseries of the same name into this project, which confronts issues of race, class, and gender in present-day Chicago. McQueen and Davis described at a discussion after a screening how even Veronica’s interracial pairing with Harry seems jarring to many, and is not something often seen on screen. This confrontation of modern issues is smartly wrapped up and intriguingly embedded in a furiously interesting story full of drama and action.
Davis, who took home an Oscar in 2016 for “Fences,” delivers a powerful lead performance as Veronica, whose stern, unfaltering energy fuels the film. Debicki, who was also terrific in this year’s “The Tale” and “Breath,” is exceptional as Alice, whose appearance and demeanor doesn’t even come close to conveying her strength and ability. Erivo impresses in a comparatively minor role, and Henry of “Atlanta” and Kaluuya of “Get Out” trade their typically reserved personalities to play enormously compelling and terrifying villains. McQueen crafts a mesmerizing film that combines startling thriller moments with strong drama, tied together by its superb cast. This film delivers way beyond its potential, involving and exciting on all fronts.
A-
Directed by Steve McQueen
Released November 16, 2018
There are certain things audiences have come to expect when they go to see a movie. The notion of “playing against type” involves an actor or actress taking on a role that doesn’t fit with their previous work, and it’s a gamble that often pays off. A film turning everything on its head, however, isn’t as common, reframing traditional ideas of strength and survival. Men might typically be at the center of movies about robbers, but this is far from an ordinary film in so many ways.
When her husband Harry (Liam Neeson) is killed in a botched robbery, Veronica (Viola Davis) learns that she is now responsible for paying back the man he stole from, Jamal Manning (Brian Tyree Henry), who is exploring his political ambitions with the help of his enforcer brother Jatemme (Daniel Kaluuya). Mourning but resolved, Veronica finds two of her husband’s partners’ widows, Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki), who, along with Linda’s babysitter Belle (Cynthia Erivo), will execute the job that Harry planned out before he died, settling their debts and leaving them each some moderate degree of financial support.
There are many elements of this film that turn what could be an ordinary heist and revenge tale into something much more complicated and sophisticated. Director Steve McQueen, whose last feature film, “12 Years a Slave,” won the Oscar for Best Picture, adapts a 2002 miniseries of the same name into this project, which confronts issues of race, class, and gender in present-day Chicago. McQueen and Davis described at a discussion after a screening how even Veronica’s interracial pairing with Harry seems jarring to many, and is not something often seen on screen. This confrontation of modern issues is smartly wrapped up and intriguingly embedded in a furiously interesting story full of drama and action.
Davis, who took home an Oscar in 2016 for “Fences,” delivers a powerful lead performance as Veronica, whose stern, unfaltering energy fuels the film. Debicki, who was also terrific in this year’s “The Tale” and “Breath,” is exceptional as Alice, whose appearance and demeanor doesn’t even come close to conveying her strength and ability. Erivo impresses in a comparatively minor role, and Henry of “Atlanta” and Kaluuya of “Get Out” trade their typically reserved personalities to play enormously compelling and terrifying villains. McQueen crafts a mesmerizing film that combines startling thriller moments with strong drama, tied together by its superb cast. This film delivers way beyond its potential, involving and exciting on all fronts.
A-
DOC NYC Spotlight: The Smartest Kids in the World
I’m excited to have been able to screen a few selections from DOC NYC, America’s largest documentary festival, which presents its eighth year in New York City from November 8th-15th.
The Smartest Kids in the World
Directed by Tracy Droz Tragos
Festival Screenings
It’s an unfortunate statistic that, despite being a world leader in so many areas, the education system in the United States ranks far behind so many other nations. There are strong debates between conservatives and liberals about the validity of different forms of schooling, and no shortage of controversy over the appointment of Besty DeVos as the Secretary of Education since her past deals extensively with private and charter schools rather than public schools. There are many theories about what can and should change in American education, and it is so true that those most affected by policy are least consulted: the students.
Journalist and author Amanda Ripley, who spent the beginning of her career writing about topics like crime and terrorist attacks before finally settling on education, explains that the conversation about education in the United States has been extremely stagnant over the years. Through her book that shares the name of this film, Ripley follows four teenagers who travel to Finland, the Netherlands, South Korea, and Switzerland to study there and experience the way that education works in those places, and to understand why other countries are doing so well when America is not.
It’s always refreshing to see kids who are actually interested in learning, recognizing that their situations aren’t designed to their advantage. Those featured in this film can see that students are the ones who should most be asked about how to change a system that’s not working for them. The culture of sports in particular is addressed as something that is visually prioritized in schools and is often used as an excuse for students to miss class but doesn’t practically serve as a driving force in most people’s lives following college. Focusing on actual learning with an equal blend of both learning and creativity is the surest way to success, something that the countries featured in this film illustrate with their results.
What’s most interesting about this film is that it empowers its four teenage subjects to tell their own stories, explaining the conclusions they’ve reached about what is important in education. Comparing the different approaches taken by each of the countries they visit is enormously enlightening, especially because it doesn’t pretend that any of them are perfect, each with their own flaws and shortcomings that need to be analyzed. Watching the students return home and reflect on what being in school in America means to them is powerful, and this documentary makes a strong case for just a few ways to rethink what education should be.
B+
The Smartest Kids in the World
Directed by Tracy Droz Tragos
Festival Screenings
It’s an unfortunate statistic that, despite being a world leader in so many areas, the education system in the United States ranks far behind so many other nations. There are strong debates between conservatives and liberals about the validity of different forms of schooling, and no shortage of controversy over the appointment of Besty DeVos as the Secretary of Education since her past deals extensively with private and charter schools rather than public schools. There are many theories about what can and should change in American education, and it is so true that those most affected by policy are least consulted: the students.
Journalist and author Amanda Ripley, who spent the beginning of her career writing about topics like crime and terrorist attacks before finally settling on education, explains that the conversation about education in the United States has been extremely stagnant over the years. Through her book that shares the name of this film, Ripley follows four teenagers who travel to Finland, the Netherlands, South Korea, and Switzerland to study there and experience the way that education works in those places, and to understand why other countries are doing so well when America is not.
It’s always refreshing to see kids who are actually interested in learning, recognizing that their situations aren’t designed to their advantage. Those featured in this film can see that students are the ones who should most be asked about how to change a system that’s not working for them. The culture of sports in particular is addressed as something that is visually prioritized in schools and is often used as an excuse for students to miss class but doesn’t practically serve as a driving force in most people’s lives following college. Focusing on actual learning with an equal blend of both learning and creativity is the surest way to success, something that the countries featured in this film illustrate with their results.
What’s most interesting about this film is that it empowers its four teenage subjects to tell their own stories, explaining the conclusions they’ve reached about what is important in education. Comparing the different approaches taken by each of the countries they visit is enormously enlightening, especially because it doesn’t pretend that any of them are perfect, each with their own flaws and shortcomings that need to be analyzed. Watching the students return home and reflect on what being in school in America means to them is powerful, and this documentary makes a strong case for just a few ways to rethink what education should be.
B+
Wednesday, November 14, 2018
DOC NYC Spotlight: False Confessions
I’m excited to have been able to screen a few selections from DOC NYC, America’s largest documentary festival, which presents its eighth year in New York City from November 8th-15th.
False Confessions
Directed by Katrine Philp
Festival Screenings
There are many issues with the legal system in America, one of which is spotlighted in another DOC NYC selection, “Crime + Punishment.” There are, unfortunately, far too many people who have gone to jail and served or continue to serve years for crimes that they did not commit. There may be a number of reasons for that, and one of the most prominent is the failure of suspects to be adequately equipped with their right to remain silent, incriminating themselves with the most damning evidence of all – their own signed confession, regardless of whether or not its contents are true.
False confessions being attained during interrogations is much more common than most would expect, and accounts for a staggering percentage of convictions. Several prominent cases are highlighted that illustrate how those currently incarcerated were pressured into giving and signing confessions that did not reflect what actually happened. After that, getting a conviction becomes easy, and this filmmaker and featured defense attorney want to expose the prevalence of this practice and help to exonerate those who have suffered most as a result of something they were forced to do under duress.
This documentary is a mesmerizing examination of how people are bullied into giving false confessions. The universal assumption that audience members insist that this couldn’t happen to them is dispelled through video footage of interrogations that led to false confessions and a very precise breakdown of exactly what happens during that process. Looking at exactly how the questions are phrased and how they provide no way out for an innocent person sheds enormous light on just how confusing and manipulative withstanding an interrogation designed to get a confession can be. This is a very scientific analysis, one that is equally watchable and informative.
While there are indeed many injustices within the American legal system, this is one that discriminates in a far subtler way than most. Preying on people in their weakest moments and forcibly reframing the way they see their options can affect anyone accused of a crime, and it often affects those most vulnerable in society. The best summary of this film is that interrogating with the goal of getting a confession only works if the guilty party is arrested one hundred percent of the team, which can’t possibly occur. This overview is extremely educational and worthwhile, looking at this widespread problem and helping to shed light on a few people who have been penalized worst by it.
B+
False Confessions
Directed by Katrine Philp
Festival Screenings
There are many issues with the legal system in America, one of which is spotlighted in another DOC NYC selection, “Crime + Punishment.” There are, unfortunately, far too many people who have gone to jail and served or continue to serve years for crimes that they did not commit. There may be a number of reasons for that, and one of the most prominent is the failure of suspects to be adequately equipped with their right to remain silent, incriminating themselves with the most damning evidence of all – their own signed confession, regardless of whether or not its contents are true.
False confessions being attained during interrogations is much more common than most would expect, and accounts for a staggering percentage of convictions. Several prominent cases are highlighted that illustrate how those currently incarcerated were pressured into giving and signing confessions that did not reflect what actually happened. After that, getting a conviction becomes easy, and this filmmaker and featured defense attorney want to expose the prevalence of this practice and help to exonerate those who have suffered most as a result of something they were forced to do under duress.
This documentary is a mesmerizing examination of how people are bullied into giving false confessions. The universal assumption that audience members insist that this couldn’t happen to them is dispelled through video footage of interrogations that led to false confessions and a very precise breakdown of exactly what happens during that process. Looking at exactly how the questions are phrased and how they provide no way out for an innocent person sheds enormous light on just how confusing and manipulative withstanding an interrogation designed to get a confession can be. This is a very scientific analysis, one that is equally watchable and informative.
While there are indeed many injustices within the American legal system, this is one that discriminates in a far subtler way than most. Preying on people in their weakest moments and forcibly reframing the way they see their options can affect anyone accused of a crime, and it often affects those most vulnerable in society. The best summary of this film is that interrogating with the goal of getting a confession only works if the guilty party is arrested one hundred percent of the team, which can’t possibly occur. This overview is extremely educational and worthwhile, looking at this widespread problem and helping to shed light on a few people who have been penalized worst by it.
B+
DOC NYC Spotlight: Crime + Punishment
I’m excited to have been able to screen a few selections from DOC NYC, America’s largest documentary festival, which presents its eighth year in New York City from November 8th-15th.
Crime + Punishment
Directed by Stephen Maing
Festival Screenings
It is widely acknowledged that every person in the United States does not face the same treatment from law enforcement. The color of a person’s skin or the neighborhood that they’re from regularly impacts communities, often through legal means that have since been deemed discriminatory and prejudicial. Especially in recent years as minority populations, particularly African-Americans, have been needlessly killed by police officers when they were mistaken for someone committing a crime, this is an extraordinarily important and current issue. When police officers are themselves from such backgrounds, their experiences can be infinitely more complicated and problematic.
This documentary begins by covering the history of false arrests and illegal quotas in New York City, and how these practices have been officially outlawed after being standard practice for many years. A group of NYPD officers, who become known as the NYPD 12, come forward as whistleblowers to recount how their performance reviews were skewed negatively because they refused to make arrests based on arbitrary or deliberate orders that targeted minority populations and demanded results that led to harassment and unnecessary hardship for those stopped or arrested just to fulfill a quota. As the officers try to ensure that justice is served and their careers are not in jeopardy, a private investigator works to exonerate someone falsely arrested and serving time for no reason.
The NYPD 12 have a number of obstacles placed in their way, including threats of punitive actions and public assertions that they can’t be objective in their police work and are far too lenient on potential suspects who look like them. That makes this uphill battle all the more inspiring, since they truly want to change a system that most agree is broken. Though highly-publicized incidents like the death of Eric Garner are mentioned, this is not a film that deals with the oppositional stances of the Black Lives Matter movement and the Blue Lives Matter police response, but instead one that universally decrees that pre-judging anyone and requiring the attainment of statistics is a self-fulfilling prophecy that does no one any good.
This topic has been addressed recently in narrative films such as “Monsters and Men” and “Monster,” and in a different way in Spike Lee’s period piece “BlacKkKlansman.” Seeing how it works in the real world without any theatrics, when the police officers must stick to their convictions no matter how much pressure they endure and the private investigator has to simply press on and try to keep his client’s spirits up. This is a vital, disturbing account of what is happening in one of the most liberal areas of the United States, and hopefully showcasing it in film festivals and to audiences via Hulu will make this conversation even more prominent and start to end this epidemic.
B+
Crime + Punishment
Directed by Stephen Maing
Festival Screenings
It is widely acknowledged that every person in the United States does not face the same treatment from law enforcement. The color of a person’s skin or the neighborhood that they’re from regularly impacts communities, often through legal means that have since been deemed discriminatory and prejudicial. Especially in recent years as minority populations, particularly African-Americans, have been needlessly killed by police officers when they were mistaken for someone committing a crime, this is an extraordinarily important and current issue. When police officers are themselves from such backgrounds, their experiences can be infinitely more complicated and problematic.
This documentary begins by covering the history of false arrests and illegal quotas in New York City, and how these practices have been officially outlawed after being standard practice for many years. A group of NYPD officers, who become known as the NYPD 12, come forward as whistleblowers to recount how their performance reviews were skewed negatively because they refused to make arrests based on arbitrary or deliberate orders that targeted minority populations and demanded results that led to harassment and unnecessary hardship for those stopped or arrested just to fulfill a quota. As the officers try to ensure that justice is served and their careers are not in jeopardy, a private investigator works to exonerate someone falsely arrested and serving time for no reason.
The NYPD 12 have a number of obstacles placed in their way, including threats of punitive actions and public assertions that they can’t be objective in their police work and are far too lenient on potential suspects who look like them. That makes this uphill battle all the more inspiring, since they truly want to change a system that most agree is broken. Though highly-publicized incidents like the death of Eric Garner are mentioned, this is not a film that deals with the oppositional stances of the Black Lives Matter movement and the Blue Lives Matter police response, but instead one that universally decrees that pre-judging anyone and requiring the attainment of statistics is a self-fulfilling prophecy that does no one any good.
This topic has been addressed recently in narrative films such as “Monsters and Men” and “Monster,” and in a different way in Spike Lee’s period piece “BlacKkKlansman.” Seeing how it works in the real world without any theatrics, when the police officers must stick to their convictions no matter how much pressure they endure and the private investigator has to simply press on and try to keep his client’s spirits up. This is a vital, disturbing account of what is happening in one of the most liberal areas of the United States, and hopefully showcasing it in film festivals and to audiences via Hulu will make this conversation even more prominent and start to end this epidemic.
B+