Rocketman
Directed by Dexter Fletcher
Released May 31, 2019
Music has an immortal power to live on long beyond the moment in which it’s composed and the artist who creates it. Listening to music can conjure up images, emotions, and feelings. Music videos are one medium in which all that is captured by a song is also expressed visually. To honor a true music legend, however, the most fitting tribute is an all-out musical, transforming the most formative events of that figure’s life into show-stopping numbers with glorious costumes and as much color and fanfare as possible to best represent the essence of the musician being portrayed.
Reginald Dwight (Matthew Illesley) grows up in 1950s Britain, with his musical ambitions supported by his cold mother (Bryce Dallas Howard) and warmer grandmother (Gemma Jones) after his father (Steven Mackintosh) refuses to show him any love. As his talent is noticed, Reginald decides to change his name to Elton John (Taron Egerton). Professional collaborations and personal relationships with songwriter Bernie Taupin (Jamie Bell) and music manager John Reid (Richard Madden) lead to an incredible career for Elton, one that finds him constantly battling addiction and identity issues related to his skills and his sexuality.
Musical biopics are big right now thanks to the success of last year’s “Bohemian Rhapsody,” which also features the character of Reid, who worked with Queen in addition to Elton. Unlike that film, which presented some of the band’s most popular songs in concert form, this film reimagines each of Elton’s most memorable tunes as an expression of something he experienced during his childhood or later in life. Characters burst into song on screen repeatedly throughout the film, a device that’s enthralling and exciting, filling in some pieces of the narrative.
Young British actor Egerton has a delightful time stepping into the role of Elton, embracing his signature energy and style to offer a layered take on a well-known celebrity. Bell and Madden provide considerable support as the two most influential people in his life, usually supportive but also ready to challenge Elton’s notions about who he is and who he should be. For lovers of musicals and especially lovers of Elton, this film is likely to be a delight. Its costumes and art direction are indeed formidable, though there’s something that feels very expected about this production. It’s fun, to be sure, but doesn’t quite feel entirely like the all-encompassing celebration of Elton that it should be.
B
Saturday, November 30, 2019
Friday, November 29, 2019
Weekend Movie Recommendations with Abe
I'm excited to present a revamped version of Saturday Night Movie Recommendations with Abe! The Minute with Abe: Weekend Movie Recommendations Edition will premiere on YouTube each Friday and be reposted here during the day as well. Check it out, and subscribe to the movieswithabe channel!
Thursday, November 28, 2019
Movie with Abe: After Parkland
After Parkland
Directed by Emily Taguchi and Jake Lefferman
Released November 29, 2019
We’ve come to an unfortunate moment in time where mass shootings in the United States are a regular occurrence. It’s no longer shocking to hear that some public space previously thought to be safe has now been the site of a horrific and deadly attack that has left people dead or injured and many others in the vicinity scarred for life. Many have become frustrated with the lack of subsequent action to prevent future tragedies from happening, and many who have been personally affected have since dedicated their lives to ensuring that others won’t have to go through what they have.
On February 14, 2018, a gunman walked into Marjory Stoneman Douglas High School in Parkland, Florida and killed seventeen people. In the wake of this unimaginable tragedy in a community previously thought to be completely safe and secure, a number of students and parents were moved to take a stand. Those profiled include a father who campaigns aggressively for school safety on behalf of his slain daughter, two teenagers who connect with the father of their deceased boyfriend and friend, respectively, and students who use the media coverage the shooting is getting to blast their message about gun control out to the world.
Anyone who has paid attention to news over the past two years has likely seen how the Parkland community has been outspoken in their activism, and a number of recognizable spokespeople, including students David Hogg and Emma Gonzalez, are featured in the film. One element that this film picks up on is in spotlighting how not every person affected by a mass shooting considers themselves liberal, evidenced by Andrew Pollack, the father whose advocacy inspired by his daughter’s death seeks to prioritize safety in school without any emphasis on gun control. It may be because he believes the issue is too divisive and no one would argue against schools being safe, but regardless it represents a point of view not often given a platform.
It’s difficult to watch this film without getting emotional as those interviewed share their vulnerabilities in the face of grief and loss. The dedication on display by filmmakers Emily Taguchi and Jake Lefferman in allowing their subjects to speak rather than telling their story for them is commendable, and the bond they have created with those in Parkland is evident from the way they spoke together at an International Documentary Association screening in Los Angeles earlier this month. This film may be too upsetting and triggering for some, but for those open to it, it’s a rewarding and inspiring experience.
B+
Wednesday, November 27, 2019
Movie with Abe: Waves
Waves
Directed by Trey Edward Shults
Released November 15, 2019
Family dynamics have changed as a result of new technology and social conventions. When teenagers are left alone in their rooms, they can browse whatever they want on their computers and use their phones to stay completely connected to their classmates and people they’ve never even met. This can certainly lead to overstimulation, and, more problematically, an inability to disconnect from what is going on, which can also create dangerous obsessions and stir up feelings of jealousy. There’s no way to replace an in-person conversation, which happens all too rarely these days, where emotions can actually be assessed properly.
Tyler (Kelvin Harrison Jr.) and Emily (Taylor Russell) are siblings growing up in South Florida. Tyler is a wrestling star pushed to his limits by his overzealous father (Sterling K. Brown), prompting him to continue training even after he learns of a worsening injury. Tyler’s other focus is on his girlfriend Alexis (Alexa Demie), whose potential pregnancy creates problems in their relationship. Emily is much shier, nervously navigating a romance with the one boy who notices her, Luke (Lucas Hedges). Their dynamics and the way that they interact with the stepmother (Renée Elise Goldsberry) who raised them inform the different ways in which they absorb the media and their surroundings.
This film, which runs two hours and sixteen minutes, might better be described as two films, one about each of these children. There’s a lot to unpack from each of their experiences, which are shaped by the color of their skin and the affluence of the community in which they live, but are easily representative of today’s typical American teenager in many ways. Loud, thumping music pumps through the soundtrack throughout much of the film, blasting all the noise and chaos that can define those young people who are glued to social media and insist on posting every moment in which they’re actually with others on those same platforms. It’s unsettling, compelling, and totally realistic, likely far too relevant for most viewers who couldn’t otherwise go through the events depicted in this film.
Harrison has been making exemplary choices in just a short career of film acting, with “Luce,” “Gully,” “All Rise,” and “Monsters and Men” all tackling complex societal issues in just the last two years. Here, he delivers a powerful performance, though it’s Russell, who impressed on Netflix’s reboot of “Lost in Space,” who truly delivers a breakthrough turn. Brown and Goldsberry are dependable as always, portraying adults who are far from flawless. This film is an intense emotional journey, one that runs a bit long but remains potent and thought-provoking throughout its eye-poppingly colorful and stimulating run.
B+
Tuesday, November 26, 2019
Movie with Abe: Queen and Slim
Queen and Slim
Directed by Melina Matsoukas
Released November 27, 2019
First dates don’t always go well. It might be that one person perceives that it has while the other does not, and a request for a follow-up interaction might be met with trepidation if one party doesn’t see it going anywhere. A first date could lead nowhere at all, resulting in the two people never seeing or thinking about each other ever again. When unexpected circumstances occur at the end or in the aftermath of a poor first date, those members of a would-be couple may not have much say in whether or not their futures will intertwine.
Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) eat at a diner, a local black-owned establishment chosen by Slim after Queen decided she didn’t want to be home alone and finally responded to his online messages. On the drive home, a momentary swerve attracts the attention of a racist police officer who pulls them over and harasses Slim. When Queen emerges from the car to start filming the encounter, the officer shoots her in the leg, prompting Slim to react instinctively, grab the officer’s gun, and fatally shoot him. Calling on her experience as a lawyer fully aware of what happens to black people who come into contact with police, Queen encourages Slim to go on the run, trying to stay one step ahead of the law and keep on driving to some unknown fate.
This is a film that’s constantly transforming, starting out as a lighthearted awkward romance and then turning deadly serious in an instant. Audiences are treated to Queen and Slim being forced into a relationship, one in which they realize just how little they like each other. Through this harrowing journey, there is much humor to be found, particularly in their back-and-forth that memorably features Queen expressing her distaste for the way and volume with which Slim eats. The situation in which they’ve found themselves shouldn’t leave room for entertainment, yet there’s plenty here thanks to a smartly-written dynamic enhanced by strong actors.
Turner-Smith turns in a formidable film performance after some recent television work, imbuing Queen with a remarkable resolve and intelligence. Kaluuya, a newly-known quantity after “Get Out,” “Black Panther,” and “Widows,” continues a streak of impressive role choices with this very human portrayal. Bokeem Woodbine stands out in the supporting cast as Queen’s uncle, an ally for the duo with more than a few words to say about his help. This fictional film from writers Lena Waithe and James Frey and music video director Melina Matsoukas tackles big issues present in American society with a fantastical tale that can’t symbolize every person’s experience but does its best to glean a worthwhile and powerful perspective.
B+
Directed by Melina Matsoukas
Released November 27, 2019
First dates don’t always go well. It might be that one person perceives that it has while the other does not, and a request for a follow-up interaction might be met with trepidation if one party doesn’t see it going anywhere. A first date could lead nowhere at all, resulting in the two people never seeing or thinking about each other ever again. When unexpected circumstances occur at the end or in the aftermath of a poor first date, those members of a would-be couple may not have much say in whether or not their futures will intertwine.
Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) eat at a diner, a local black-owned establishment chosen by Slim after Queen decided she didn’t want to be home alone and finally responded to his online messages. On the drive home, a momentary swerve attracts the attention of a racist police officer who pulls them over and harasses Slim. When Queen emerges from the car to start filming the encounter, the officer shoots her in the leg, prompting Slim to react instinctively, grab the officer’s gun, and fatally shoot him. Calling on her experience as a lawyer fully aware of what happens to black people who come into contact with police, Queen encourages Slim to go on the run, trying to stay one step ahead of the law and keep on driving to some unknown fate.
This is a film that’s constantly transforming, starting out as a lighthearted awkward romance and then turning deadly serious in an instant. Audiences are treated to Queen and Slim being forced into a relationship, one in which they realize just how little they like each other. Through this harrowing journey, there is much humor to be found, particularly in their back-and-forth that memorably features Queen expressing her distaste for the way and volume with which Slim eats. The situation in which they’ve found themselves shouldn’t leave room for entertainment, yet there’s plenty here thanks to a smartly-written dynamic enhanced by strong actors.
Turner-Smith turns in a formidable film performance after some recent television work, imbuing Queen with a remarkable resolve and intelligence. Kaluuya, a newly-known quantity after “Get Out,” “Black Panther,” and “Widows,” continues a streak of impressive role choices with this very human portrayal. Bokeem Woodbine stands out in the supporting cast as Queen’s uncle, an ally for the duo with more than a few words to say about his help. This fictional film from writers Lena Waithe and James Frey and music video director Melina Matsoukas tackles big issues present in American society with a fantastical tale that can’t symbolize every person’s experience but does its best to glean a worthwhile and powerful perspective.
B+
Monday, November 25, 2019
Monday Oscar Odds
I’ll only be seeing one big movie that could have a big awards impact – “Waves” – this week, though I may find time for a few entries available on home video or streaming services in the midst of Thanksgiving travel. For now, I have some changes to make based on what I’ve seen this week.
The biggest film I saw was “1917,” which screened for its first audiences on Saturday in New York and on Sunday in Los Angeles. I had been doubting this film for a while, and I now think that it’s almost guaranteed to show up in Best Picture, Best Director, Best Cinematography, and Best Original Score, and likely a handful of other technical categories. I think it could well win Best Picture, since it seems to have impressed a lot of people and is opening much later in the year than, say, “Dunkirk” a few years ago. Screenplay is a possibility too, but for now I’m swapping Sam Mendes, who won this category twenty years ago for his debut feature, “American Beauty,” in for Best Director and taking out Noah Baumbach for “Marriage Story,” even though I still think he might make the cut.
Two other big contenders I saw were “A Beautiful Day in the Neighborhood” and “Bombshell.” The former wasn’t quite as family-friendly as I would have thought but was still charming, and I do think that Tom Hanks will probably be nominated for an Oscar this year for the first time since 2000, despite high-profile snubs for “Saving Mr. Banks,” “Captain Phillips,” “Bridge of Spies,” and “Sully” in the interim. The movie itself should still manage a Best Picture nomination, though that’s far from guaranteed, and a screenplay bid also seems likely. I wouldn’t expect anything else, however. “Bombshell” reminded me a lot of “Vice,” though I liked it more than that film, and I assume that will make it appealing to Oscar voters. I’m definitely keeping Charlize Theron in, not putting Nicole Kidman anywhere, and not so sure about what’s going to happen with Margot Robbie, who I think might end up with twin Golden Globe nominations in the same category. I’m going to put it in on the Best Picture list and also in the Best Original Screenplay race, replacing “Waves,” though I might reverse that after I see that film tonight.
There are a few other films that I think are worth mentioning. I streamed “Dolemite Is My Name” on Netflix and really enjoyed it, and I think that Eddie Murphy stands a good chance of being nominated. I’m putting him in for Best Actor and taking out Antonio Banderas for the moment. I think the film is likely to earn a Golden Globe nomination for Best Motion Picture – Comedy/Musical and a SAG bid for its ensemble cast, but a Best Picture nomination at the Oscars doesn’t feel like it’s going to happen. “Queen and Slim,” which opens this week (review coming very soon), is certainly an experience, though I don’t think it’s one that’s going to translate to Oscar attention. Two contenders for Best International Feature, “The Whistlers” from Romania and “Traitor” from Italy, could well end up on the ten-wide finalist list which will be announced three weeks from today, but I’m not so sure.
The Film Independent Spirit Awards nominations were announced last Thursday. The only film to score bids for Best Feature and Best Director was “Uncut Gems,” a Safdie brothers feature starring Adam Sandler. I didn’t love the film but the audience I saw it with last week loved it, so it’s possible it could impress more mainstream voters. I don’t think that’s the case, with Sandler likelier to end up as the sole nominee from the film. If it does well at the Golden Globes, I may change my tune, but not just yet. Alfre Woodard also got a big boost with a bid for herself and one for “Clemency” in the Best Feature category.
As for monitoring buzz on other films, “Ford v Ferrari” is one that I’ve heard people loved, and I’m thinking that it’s probably smart to anticipate it doing well. I’m putting it in for Best Picture over “The Farewell,” which saddens me, but that’s what I’m thinking right now. I’m keeping Christian Bale off the Best Actor list, but he could easily show up there.
I’m still eager to see “Richard Jewell” and “Little Women,” and plan to see both within the next two weeks. I’ll be screening other films as well, in addition to beginning Golden Globe and SAG predictions later this week. Check back next Monday for more. Two weeks from today, Golden Globe nominations will be announced, and a week later, all of the Oscar finalists in the designated categories. Stay tuned!
Current predictions:
Best Picture
A Beautiful Day in the Neighborhood
Bombshell
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite
Best Director
Martin Scorsese The Irishman)
Taika Waititi (Jojo Rabbit)
Sam Mendes (1917)
Quentin Tarantino (Once Upon a Time in Hollywood)
Bong Joon Ho (Parasite)
Best Actor
Robert De Niro (The Irishman)
Adam Driver (Marriage Story)
Eddie Murphy (Dolemite Is My Name)
Joaquin Phoenix (Joker)
Jonathan Pryce (The Two Popes)
Best Actress
Awkwafina (The Farewell)
Scarlett Johansson (Marriage Story)
Charlize Theron (Bombshell)
Alfre Woodard (Clemency)
Renée Zellweger (Judy)
Best Supporting Actor
Sterling K. Brown (Waves)
Tom Hanks (A Beautiful Day in the Neighborhood)
Al Pacino (The Irishman)
Joe Pesci (The Irishman)
Brad Pitt (Once Upon a Time in Hollywood)
Best Supporting Actress
Laura Dern (Marriage Story)
Scarlett Johansson (Jojo Rabbit)
Jennifer Lopez (Hustlers)
Margot Robbie (Bombshell)
Maggie Smith (Downton Abbey)
Best Original Screenplay
Bombshell
The Farewell
Marriage Story
Once Upon a Time in Hollywood
Parasite
Best Adapted Screenplay
A Beautiful Day in the Neighborhood
The Irishman
Jojo Rabbit
Joker
Little Women
Best Makeup and Hairstyling
Bombshell
The Irishman
Rocketman
Best Animated Feature
Frozen II
How to Train Your Dragon: The Hidden World
Klaus
Toy Story 4
Weathering with You
Best Documentary
American Factory
The Apollo
Apollo 11
The Biggest Little Farm
Honeyland
Best International Feature
Les Miserables (France)
Out Stealing Horses (Norway)
Corpus Christi (Poland)
Parasite (South Korea)
Pain and Glory (Spain)
Sunday, November 24, 2019
Movie with Abe: Dolemite Is My Name
Dolemite Is My Name
Directed by Craig Brewer
Released October 4, 2019
When people go to the movies, they expect a polished, finished product that looks and sounds good. Stories may emerge either during or after casting, filming, or release that more went on behind the scenes than casual viewers may realize, and often that’s to the detriment of the overall experience since it reveals problems that may have hindered and nearly undone the whole process. In rare cases, looking at the ragtag efforts taken on by those who are woefully unfamiliar with how to make a film can be extraordinarily entertaining and, more importantly, offer wondrous insight into who those people are or were.
Rudy Ray Moore (Eddie Murphy) works at a record store during the day and as an enthusiastic MC at a club at night in 1970s Los Angeles. He yearns to get into comedy but is told that he doesn’t have what it takes. When he takes the time to listen to the ramblings of homeless man (Ron Cephas Jones) who comes into the store, he realizes that what he’s staying is all in rhyme and quite hilarious. Moore writes it down and adds his own style to the delivery, creating the personality of Dolemite, which wows on stage. After recording his first comedy album that he sells out of the trunk of his car, Moore is inspired to hire a few professionals and a handful of friends to make a movie that showcases the best of the foul-mouthed, over-the-top, inimitable Dolemite.
This film is fun more than anything else, putting a true story on the screen in the most enjoyable and watchable way possible. From the first moment Moore is introduced, it’s clear that he has a passion that hasn’t yet been realized. When he harnesses the character of Dolemite, he emerges as a marvelous master of ceremonies for this movie, eagerly guiding audiences through the story of his life, full of obstacles and peppered with glorious and unexpected successes. It’s easy to get behind Moore and Dolemite, two people who are distinct from one another but share the same body.
Thirteen years ago, it looked like comedian Murphy was finally making a serious movie that could win him an Oscar and also allowed him to sing, “Dreamgirls.” Now, he’s done it again, with a formidable lead performance that shows commitment and creativity. He’s supported by a fantastic array of talent, including Da’Vine Joy Randolph as a costar, Tituss Burgess as a coworker, and Wesley Snipes as a Hollywood actor not immediately inclined to be associated with this upstart. This film from Craig Brewer, who made “Hustle and Flow,” is another very worthwhile look at an artist who had an uphill climb to achieve fame that was filled with energy and style, decorated and costumed appropriately for an immersive and celebratory portrait.
B+
Directed by Craig Brewer
Released October 4, 2019
When people go to the movies, they expect a polished, finished product that looks and sounds good. Stories may emerge either during or after casting, filming, or release that more went on behind the scenes than casual viewers may realize, and often that’s to the detriment of the overall experience since it reveals problems that may have hindered and nearly undone the whole process. In rare cases, looking at the ragtag efforts taken on by those who are woefully unfamiliar with how to make a film can be extraordinarily entertaining and, more importantly, offer wondrous insight into who those people are or were.
Rudy Ray Moore (Eddie Murphy) works at a record store during the day and as an enthusiastic MC at a club at night in 1970s Los Angeles. He yearns to get into comedy but is told that he doesn’t have what it takes. When he takes the time to listen to the ramblings of homeless man (Ron Cephas Jones) who comes into the store, he realizes that what he’s staying is all in rhyme and quite hilarious. Moore writes it down and adds his own style to the delivery, creating the personality of Dolemite, which wows on stage. After recording his first comedy album that he sells out of the trunk of his car, Moore is inspired to hire a few professionals and a handful of friends to make a movie that showcases the best of the foul-mouthed, over-the-top, inimitable Dolemite.
This film is fun more than anything else, putting a true story on the screen in the most enjoyable and watchable way possible. From the first moment Moore is introduced, it’s clear that he has a passion that hasn’t yet been realized. When he harnesses the character of Dolemite, he emerges as a marvelous master of ceremonies for this movie, eagerly guiding audiences through the story of his life, full of obstacles and peppered with glorious and unexpected successes. It’s easy to get behind Moore and Dolemite, two people who are distinct from one another but share the same body.
Thirteen years ago, it looked like comedian Murphy was finally making a serious movie that could win him an Oscar and also allowed him to sing, “Dreamgirls.” Now, he’s done it again, with a formidable lead performance that shows commitment and creativity. He’s supported by a fantastic array of talent, including Da’Vine Joy Randolph as a costar, Tituss Burgess as a coworker, and Wesley Snipes as a Hollywood actor not immediately inclined to be associated with this upstart. This film from Craig Brewer, who made “Hustle and Flow,” is another very worthwhile look at an artist who had an uphill climb to achieve fame that was filled with energy and style, decorated and costumed appropriately for an immersive and celebratory portrait.
B+
Saturday, November 23, 2019
Movie with Abe: A Beautiful Day in the Neighborhood
A Beautiful Day in the Neighborhood
Directed by Marielle Heller
Released November 22, 2019
There are certain public figures who present a very wholesome image based on the work they do. It may be that their private lives are secretive or unknown, and it’s also possible that there isn’t much distinction between the character portrayed and the person behind the performance. Some may doubt the veracity of a lifestyle or mindset, presuming that there is something hidden behind the mask worn which is darker or more layered, suggesting an inauthenticity or manipulation. When further research is done, the results are likely to surprise the one doing the digging.
Lloyd Vogel (Matthew Rhys) is an award-winning investigative journalist whose work for Esquire Magazine has earned him a reputation as an excellent but extremely harsh writer. After the birth of his baby son and an unpleasant run-in with his absent father (Chris Cooper), Lloyd is assigned to write a profile of children’s television host Mr. Rogers (Tom Hanks). Ready to be unimpressed with his subject, Lloyd travels to Pittsburgh to meet the man in person. When he receives nothing but kindness and almost impossible understanding, Lloyd continues to wonder whether Mr. Rogers is indeed real or if the man he’s pretending to be on television doesn’t actually exist.
Mr. Rogers was featured in a terrific and shockingly Oscar-snubbed documentary last year, “Won’t You Be My Neighbor?” This film isn’t merely a repeat of the same material with actors playing the parts, but instead a more focused portrait that sets itself up as an episode of Mr. Rogers’ show in which Lloyd is featured as a friend in trouble whose story contains valuable life lessons for the viewer. It does feel like an immersive dive into the mindset of Mr. Rogers, who annoys Lloyd constantly by deflecting from his questions with insightful and overwhelmingly positive observations that demonstrate that there’s always a silver lining to be gleaned from any obstacle.
Rhys, a recent Emmy winner for “The Americans,” fills his role adequately but unmemorably, leaving space for Hanks to take the spotlight. While it’s still possible to recognize Hanks in the red sweater, the casting is appropriate given that Hanks is also perceived as a truly nice guy in an industry scarcely populated by them. His mimicry of Mr. Rogers’ speaking style and mannerisms is impressive, and it’s a strong performance ably supported by turns from Cooper and Susan Kelechi Watson as Lloyd’s less gruff wife Andrea. This perfectly standard film from director Marielle Heller may not be the most fascinating chapter of Mr. Rogers’ life, but it is an effective snippet that serves as a fitting and heartwarming lesson he would surely teach.
B+
Directed by Marielle Heller
Released November 22, 2019
There are certain public figures who present a very wholesome image based on the work they do. It may be that their private lives are secretive or unknown, and it’s also possible that there isn’t much distinction between the character portrayed and the person behind the performance. Some may doubt the veracity of a lifestyle or mindset, presuming that there is something hidden behind the mask worn which is darker or more layered, suggesting an inauthenticity or manipulation. When further research is done, the results are likely to surprise the one doing the digging.
Lloyd Vogel (Matthew Rhys) is an award-winning investigative journalist whose work for Esquire Magazine has earned him a reputation as an excellent but extremely harsh writer. After the birth of his baby son and an unpleasant run-in with his absent father (Chris Cooper), Lloyd is assigned to write a profile of children’s television host Mr. Rogers (Tom Hanks). Ready to be unimpressed with his subject, Lloyd travels to Pittsburgh to meet the man in person. When he receives nothing but kindness and almost impossible understanding, Lloyd continues to wonder whether Mr. Rogers is indeed real or if the man he’s pretending to be on television doesn’t actually exist.
Mr. Rogers was featured in a terrific and shockingly Oscar-snubbed documentary last year, “Won’t You Be My Neighbor?” This film isn’t merely a repeat of the same material with actors playing the parts, but instead a more focused portrait that sets itself up as an episode of Mr. Rogers’ show in which Lloyd is featured as a friend in trouble whose story contains valuable life lessons for the viewer. It does feel like an immersive dive into the mindset of Mr. Rogers, who annoys Lloyd constantly by deflecting from his questions with insightful and overwhelmingly positive observations that demonstrate that there’s always a silver lining to be gleaned from any obstacle.
Rhys, a recent Emmy winner for “The Americans,” fills his role adequately but unmemorably, leaving space for Hanks to take the spotlight. While it’s still possible to recognize Hanks in the red sweater, the casting is appropriate given that Hanks is also perceived as a truly nice guy in an industry scarcely populated by them. His mimicry of Mr. Rogers’ speaking style and mannerisms is impressive, and it’s a strong performance ably supported by turns from Cooper and Susan Kelechi Watson as Lloyd’s less gruff wife Andrea. This perfectly standard film from director Marielle Heller may not be the most fascinating chapter of Mr. Rogers’ life, but it is an effective snippet that serves as a fitting and heartwarming lesson he would surely teach.
B+
Friday, November 22, 2019
Weekend Movie Recommendations with Abe
I'm excited to present a revamped version of Saturday Night Movie Recommendations with Abe! The Minute with Abe: Weekend Movie Recommendations Edition will premiere on YouTube each Friday and be reposted here during the day as well. Check it out, and subscribe to the movieswithabe channel!
Thursday, November 21, 2019
Film Independent Spirit Awards Nominations Announced
This morning, the nominees for the Film Independent Spirit Awards were announced. I joined Film Independent just over a year ago, and now I’m excited to be able to vote for the winners for the second time. I’ve seen a bunch of the films nominated, but I’m more astounded by a very surprising list. Here are my biggest takeaways.
- First, it’s important to look at recent history. Last year, none of the Best Feature nominees ended up with a Best Picture bid at the Oscars. In the last five years, usually one to four of the nominees go on to be cited for Best Picture by the Oscars.
- The nominees for Best Feature this year are “A Hidden Life,” “Clemency,” “The Farewell,” “Marriage Story,” and “Uncut Gems.” There’s a lot to say about each of these.
- The other independent organization that’s already announced is the Gotham Awards. They match up with the top race 3/5. The two films not mentioned here, “Hustlers” and “Waves,” scored three and one bids, respectively.
- The Best Director list matches up only 1/5 with Best Feature, with the Safdie brothers the only ones to make the cut, for “Uncut Gems.” Every year in the past five years, at least three top-nominated films have also placed in Best Director. This is a cool scenario that shows that it’s really possible to honor a variety of films, something that doesn’t tend to happen across awards season with different groups picking the same films over and over.
- “Uncut Gems” has the distinction of being the only film to earn Best Feature and Best Director bids, and it’s the nominations leader, with five bids (tied with “The Lighthouse”). It’s also the only Best Feature nominee I haven’t seen, but, conveniently, I’m seeing it tonight!
- “A Hidden Life” showed up in Best Feature, but not in any other category! That’s highly unusual, though there aren’t as many technical categories, which could explain it.
- “Clemency” getting a Best Feature nomination is a big boost for star Alfre Woodard, who was also shortlisted for Best Actress. It’s unfortunate that supporting actor Aldis Hodge, who really made the movie for me, didn’t make the cut.
- “The Farewell” was expected to earn a Best Feature nomination, but along with it came just one other bid, for supporting actress Zhao Shuzhen. That’s bad news for star Awkwafina, but not the worst, since Melissa McCarthy didn’t make the cut last year with this group but still managed an Oscar nomination.
- “Marriage Story” may be the strangest story of all. It got nominated for Best Screenplay along with Best Feature, but its only other mention was the Robert Altman Award for ensemble acting. It’s a strong choice for that, but the fact that none of its cast members, particularly Adam Driver and Scarlett Johansson, were individually cited. It’s likely not to influence other groups, but it’s troubling.
- “Honey Boy” is a great film and deservedly earned nominations for Best Director and Best Editing. It is, however, the biggest instance of category fraud, since both Noah Jupe and Shia LaBeouf contend in the Best Supporting Male race. They were excellent, but to argue that neither of them is a lead is illogical. Whatever the category, I hope this enthusiasm translates to Oscar attention for this great movie!
- One of my favorite movies of the year, “The Last Black Man in San Francisco,” scored three nominations, for Best First Feature, the Someone to Watch Award for director Joe Talbot, and, most excitingly, a Best Supporting Male bid for Jonathan Majors. Hooray!
- A film I didn’t like, “Luce,” scored three bids, for Best Director, Best Male Lead Kelvin Harrison Jr., and Best Supporting Female Octavia Spencer. At least it didn’t merit a Best Feature mention. “Burning Cane,” another widely-praised film I didn’t love, is a nominee for the John Cassavetes Award and for Best Supporting Male Wendell Pierce. I’m okay with those.
- I’ve seen four out of five of the Best Documentary nominees. The fifth, “Island of the Hungry Ghosts,” isn’t eligible for the corresponding Oscar. The ones that are: “American Factory,” “Apollo 11,” “For Sama,” and “Honeyland.” My favorite is “American Factory.”
- The Best International Film category includes six nominees. “The Souvenir” is in English but comes from the United Kingdom. Both “Portrait of a Lady on Fire” and “Les Miserables” are from France, and the latter is the country’s official Oscar submission. “Retablo” comes from Peru, “Invisible Life” comes from Brazil, and one of my favorite films of the year, “Parasite,” comes from South Korea. All three are official Oscar submissions for Best International Feature.
- “Give Me Liberty,” which I missed at Sundance, got four nominations. That’s one I’ll have to see, along with “The Lighthouse” and “Her Smell,” two films I’ve been meaning to see for a while now.
- “Sword of Trust,” a comedy featuring a sword that some think proves the South won the Civil War, is up for Best Editing. It’s a bizarre but fun inclusion.
- I liked “Driveways,” which I saw at Tribeca, and I’m happy to see it contending for Best Female Lead Hong Chau and Best First Screenplay.
- I was surprised to hear “To Dust” called out as a nominee for Best Screenplay. This wacky Tribeca entry featuring Geza Rohrig and Matthew Broderick was indeed entertaining.
- I’m excited to make my way through the nominated films I haven’t yet seen. Winners will be announced at the 35th Annual Film Independent Spirit Awards on Saturday, February 9th, the night before the Oscars.
- Next up: Golden Globe nomination predictions in all categories!
Wednesday, November 20, 2019
Movie with Abe: Dark Waters
Dark Waters
Directed by Todd Haynes
Released November 22, 2019
Mark Ruffalo discusses the film
There are many events in history worthy of cinematic treatment. Legal cases are particularly prone to adaptation because there is a certain quality that can be captured on screen as developments unravel and audiences discover facts along with the lawyers, plaintiffs, and defendants. In some instances, what actually happened is embellished and modified to such a degree that a straightforward documentary investigation feels like it might have been more appropriate. When events are portrayed in a more respectful and unflashy manner, a cinematic retelling with actors and a script does in fact work and can, most importantly, bring more attention to a subject that wouldn’t otherwise attract so many eyes.
Tim Robbins discusses the film
Rob Bilott (Mark Ruffalo) is a corporate defense attorney in Columbus, Ohio who receives an unexpected visit from a West Virginia farmer, Wilbur Tennant (Bill Camp), who lives in the same town as his grandmother. While Rob initially turns him away since he is on the other side of the law, he realizes that Tennant’s claims that his animals have been exposed to deadly toxins must be true. Obtaining limited permission from a managing partner (Tim Robbins), Rob begins investigating and learns that there is much more at play, pitting him against DuPont, one of the most powerful chemical companies in the country.
Director Todd Haynes discusses the film
This premise is reminiscent of another case featured in a high-profile movie, “Erin Brockovich.” Here, Rob manages to start exposing wrongdoing in a company represented by his own firm, facing other hurdles, including the objections of his wife (Anne Hathaway) to his full immersion in work at all times, especially after many years of lackluster progress. This case is the definition of an ordeal, one that sought to have a high impact despite diminishing returns and the continued intimidation of any potential threats by wealthy giant DuPont.
The real Rob Bilott discusses the film
Ruffalo, an outspoken online liberal activist, has used the fame he has achieved from his role in “Avengers: Endgame” and other Marvel Cinematic Universe movies to choose projects that matter to him, and he had a large part in getting this film made. His performance is straightforward and unglamorous, serving as the perfect stand-in for the audience, incredulously reacting to the unbelievable information he uncovers. Robbins, another famed liberal, makes the most of his appearance onscreen, proving to be an audience favorite. This doesn’t feel much like a Todd Haynes film, far more normative than past efforts such as “Far From Heaven,” “I’m Not There,” “Carol,” and “Wonderstruck,” but it’s a solid and effective film that does what it’s meant to by shining a bright light on something that those willfully abusing their power want to keep hidden.
B+
Directed by Todd Haynes
Released November 22, 2019
There are many events in history worthy of cinematic treatment. Legal cases are particularly prone to adaptation because there is a certain quality that can be captured on screen as developments unravel and audiences discover facts along with the lawyers, plaintiffs, and defendants. In some instances, what actually happened is embellished and modified to such a degree that a straightforward documentary investigation feels like it might have been more appropriate. When events are portrayed in a more respectful and unflashy manner, a cinematic retelling with actors and a script does in fact work and can, most importantly, bring more attention to a subject that wouldn’t otherwise attract so many eyes.
Rob Bilott (Mark Ruffalo) is a corporate defense attorney in Columbus, Ohio who receives an unexpected visit from a West Virginia farmer, Wilbur Tennant (Bill Camp), who lives in the same town as his grandmother. While Rob initially turns him away since he is on the other side of the law, he realizes that Tennant’s claims that his animals have been exposed to deadly toxins must be true. Obtaining limited permission from a managing partner (Tim Robbins), Rob begins investigating and learns that there is much more at play, pitting him against DuPont, one of the most powerful chemical companies in the country.
This premise is reminiscent of another case featured in a high-profile movie, “Erin Brockovich.” Here, Rob manages to start exposing wrongdoing in a company represented by his own firm, facing other hurdles, including the objections of his wife (Anne Hathaway) to his full immersion in work at all times, especially after many years of lackluster progress. This case is the definition of an ordeal, one that sought to have a high impact despite diminishing returns and the continued intimidation of any potential threats by wealthy giant DuPont.
Ruffalo, an outspoken online liberal activist, has used the fame he has achieved from his role in “Avengers: Endgame” and other Marvel Cinematic Universe movies to choose projects that matter to him, and he had a large part in getting this film made. His performance is straightforward and unglamorous, serving as the perfect stand-in for the audience, incredulously reacting to the unbelievable information he uncovers. Robbins, another famed liberal, makes the most of his appearance onscreen, proving to be an audience favorite. This doesn’t feel much like a Todd Haynes film, far more normative than past efforts such as “Far From Heaven,” “I’m Not There,” “Carol,” and “Wonderstruck,” but it’s a solid and effective film that does what it’s meant to by shining a bright light on something that those willfully abusing their power want to keep hidden.
B+
Tuesday, November 19, 2019
Israel Film Festival Spotlight: Cause of Death
I’ve had the privilege of screening a few selections from the Israel Film Festival, which serves as a showcase for the best Israeli films each year. The 33rd Israel Film Festival takes place November 12th-26th, 2019.
Cause of Death
Directed by Ramy A. Katz
Festival Information
The loss of a close relative or friend is sure to trigger grief in a person, regardless of the manner in which that loss occurred. Often, the emotions stirred up and subsequent shifts in personality and attitude can be surprising, changing the way someone interacts with the world as a result of this missing piece. When violence is involved in the deceased’s final moments, that can amplify the trauma considerably, and if the circumstances surrounding the details of how that person died are mysterious or unknown, a mourner can be left struggling and searching for answers for years or even their whole lives.
On May 3rd, 2002, Druze policeman Salim Barakat was in the vicinity of a terrorist attack at the Seafood Market restaurant in Tel Aviv. When he saw what was going on, he sprang into action and shot the terrorist, who stabbed him to death before he died. Following his murder, Salim’s brother Jamal felt unresolved, uncertain about what exactly happened. Years later, he remains convinced that there is more to the story, and returns to many of the places and people involved in Salim’s life and death to determine whether Salim actually died the way everyone but him believes he did.
This film, which is also playing at the Other Israel Film Festival in New York this week, shines a light on the Druze community in Israel and how its members coexist with both Israelis and Palestinians, often serving alongside Israelis in arms of law enforcement and the military. Where Jamal’s concern arises is in the news footage that reveals that Salim was initially mistaken for the terrorist rather than the one subduing him, revealing unspoken discrimination that occurs within Israeli society. Some Jamal speaks to are open to the possibility that Salim’s death may be more complicated, while others insist that there’s no reason to open old wounds and that he should simply remember his brother as a hero.
In this documentary, the camera is set up right next to Jamal and sticks with him for the entirety of his search. Audiences watch footage of the attack and the aftermath with Jamal as he re-experiences it yet again, and accompany him as he tries to speak to anyone he possibly can who will help him get closer to the truth. It’s a deeply personal exploration, one that confirms much of Jamal’s suspicions about the nature of some facets of Israeli society and serves as a strong personal tribute to one man’s quest to achieve justice for a brother he shouldn’t have had to lose.
B+
Cause of Death
Directed by Ramy A. Katz
Festival Information
The loss of a close relative or friend is sure to trigger grief in a person, regardless of the manner in which that loss occurred. Often, the emotions stirred up and subsequent shifts in personality and attitude can be surprising, changing the way someone interacts with the world as a result of this missing piece. When violence is involved in the deceased’s final moments, that can amplify the trauma considerably, and if the circumstances surrounding the details of how that person died are mysterious or unknown, a mourner can be left struggling and searching for answers for years or even their whole lives.
On May 3rd, 2002, Druze policeman Salim Barakat was in the vicinity of a terrorist attack at the Seafood Market restaurant in Tel Aviv. When he saw what was going on, he sprang into action and shot the terrorist, who stabbed him to death before he died. Following his murder, Salim’s brother Jamal felt unresolved, uncertain about what exactly happened. Years later, he remains convinced that there is more to the story, and returns to many of the places and people involved in Salim’s life and death to determine whether Salim actually died the way everyone but him believes he did.
This film, which is also playing at the Other Israel Film Festival in New York this week, shines a light on the Druze community in Israel and how its members coexist with both Israelis and Palestinians, often serving alongside Israelis in arms of law enforcement and the military. Where Jamal’s concern arises is in the news footage that reveals that Salim was initially mistaken for the terrorist rather than the one subduing him, revealing unspoken discrimination that occurs within Israeli society. Some Jamal speaks to are open to the possibility that Salim’s death may be more complicated, while others insist that there’s no reason to open old wounds and that he should simply remember his brother as a hero.
In this documentary, the camera is set up right next to Jamal and sticks with him for the entirety of his search. Audiences watch footage of the attack and the aftermath with Jamal as he re-experiences it yet again, and accompany him as he tries to speak to anyone he possibly can who will help him get closer to the truth. It’s a deeply personal exploration, one that confirms much of Jamal’s suspicions about the nature of some facets of Israeli society and serves as a strong personal tribute to one man’s quest to achieve justice for a brother he shouldn’t have had to lose.
B+
Movie with Abe: The Laundromat
The Laundromat
Directed by Steven Soderbergh
Released September 27, 2019
There are many ways to adapt a true story into a movie. When the subject matter is something serious, there can be a humorous angle from which to tackle it. Yet, in those cases, there are often people who got hurt along the way and suffered as a result, and the mixture of exaggerated comedy and somber drama doesn’t always work. The product of such an effort can seem insensitive and be off-putting, and there’s a degree to which that can still manage to be effective. That’s not always true, however, and sometimes a film simply falters too much.
Jürgen Mossack (Gary Oldman) and Ramón Fonseca (Antonio Banderas) are law partners in Panama City running a firm that profits considerably from its many shell companies and its manipulation of the global insurance system, who also serve in this cinematic context as narrators who educate the audience on how to launder money and take advantage of others. When a woman (Meryl Streep) loses her husband in an unfortunate boating accident and later learns that she’ll receive nothing as compensation due to the proliferation of one such scheme, she refuses to stop until she uncovers and exposes how this could possibly have happened.
This film is a wild mess, one that is meant mostly to be tongue-in-cheek in its exploration of an unbelievable process that actually happens in the real world. By presenting Oldman and Banderas as eager instructors of crime, this film assumes a playful position that feels tasteless, and, worse still, isn’t all that entertaining. Streep’s storyline, which was invented as a stand-in for the audience, often feels as if it’s taking place in an entirely different film, one that isn’t nearly as gleeful as all the fun that Mossack and Fonseca, real-life figures whose firm sued Netflix for defamation before this film’s release, are having in explaining just how to exploit at every possible level.
There’s no denying that Oldman and Banderas are strong actors, but this is hardly the place for them to be putting their talents to use. Hopefully Banderas’ work here won’t impact his awards chances for a far better performance this year in “Pain and Glory,” and Streep may well earn accolades for this film given her commitment to the part, which is far more likeable than anyone else portrayed here. An ensemble that also includes Robert Patrick, David Schwimmer, Melissa Rauch, James Cromwell, and Jeffrey Wright egregiously wastes its talent. This story might have been worthy of a cinematic adaptation, but this effort is a severe and irritating disappointment.
C
Directed by Steven Soderbergh
Released September 27, 2019
There are many ways to adapt a true story into a movie. When the subject matter is something serious, there can be a humorous angle from which to tackle it. Yet, in those cases, there are often people who got hurt along the way and suffered as a result, and the mixture of exaggerated comedy and somber drama doesn’t always work. The product of such an effort can seem insensitive and be off-putting, and there’s a degree to which that can still manage to be effective. That’s not always true, however, and sometimes a film simply falters too much.
Jürgen Mossack (Gary Oldman) and Ramón Fonseca (Antonio Banderas) are law partners in Panama City running a firm that profits considerably from its many shell companies and its manipulation of the global insurance system, who also serve in this cinematic context as narrators who educate the audience on how to launder money and take advantage of others. When a woman (Meryl Streep) loses her husband in an unfortunate boating accident and later learns that she’ll receive nothing as compensation due to the proliferation of one such scheme, she refuses to stop until she uncovers and exposes how this could possibly have happened.
This film is a wild mess, one that is meant mostly to be tongue-in-cheek in its exploration of an unbelievable process that actually happens in the real world. By presenting Oldman and Banderas as eager instructors of crime, this film assumes a playful position that feels tasteless, and, worse still, isn’t all that entertaining. Streep’s storyline, which was invented as a stand-in for the audience, often feels as if it’s taking place in an entirely different film, one that isn’t nearly as gleeful as all the fun that Mossack and Fonseca, real-life figures whose firm sued Netflix for defamation before this film’s release, are having in explaining just how to exploit at every possible level.
There’s no denying that Oldman and Banderas are strong actors, but this is hardly the place for them to be putting their talents to use. Hopefully Banderas’ work here won’t impact his awards chances for a far better performance this year in “Pain and Glory,” and Streep may well earn accolades for this film given her commitment to the part, which is far more likeable than anyone else portrayed here. An ensemble that also includes Robert Patrick, David Schwimmer, Melissa Rauch, James Cromwell, and Jeffrey Wright egregiously wastes its talent. This story might have been worthy of a cinematic adaptation, but this effort is a severe and irritating disappointment.
C
Monday, November 18, 2019
Monday Oscar Odds
This week, I saw a number of films, most notably “The Irishman.” While it was undeniably long, it impressed me, and I think that De Niro, Pacino, and Pesci – my favorite – will all be in. I also got to see “Downton Abbey,” and given that there was a number of Academy members in the audience, their laughter at every one of Maggie Smith’s lines gives me confidence that she’ll probably be nominated unless other contenders emerge. “Just Mercy” probably won’t figure into the race, and aside from a Best Original Score bid, I think “A Hidden Life” won’t show up too much.
The film that I saw which will now figure into my predictions is “The Two Popes.” I didn’t think that Jonathan Pryce or Anthony Hopkins would be nominated, but I’m now pretty confident that Pryce will make the cut for Best Actor. I don’t see the film showing up anywhere else, but it’s possible Hopkins could contend or the film’s screenplay could if people really embrace it. I’m officially swapping Pryce in and Leonardo DiCaprio out.
I’m excited to be seeing “Bombshell” this coming week, along with “Queen and Slim,” a potential contender, and a few of the notable Best International Feature submissions. I may be able to catch a few more of the films I’ve noted below, but I’m not sure of my exact schedule just yet. The nominations for the Film Independent Spirit Awards will be announced on Thursday, and so that should give us a better framework of what to expect, likely prompting some big changes in next week’s lineup. Stay tuned!
Current predictions:
Best Picture
A Beautiful Day in the Neighborhood
The Farewell
The Irishman
Jojo Rabbit
Joker
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite
Best Director
Martin Scorsese The Irishman)
Taika Waititi (Jojo Rabbit)
Noah Baumbach (Marriage Story)
Quentin Tarantino (Once Upon a Time in Hollywood)
Bong Joon Ho (Parasite)
Best Actor
Antonio Banderas (Pain and Glory)
Robert De Niro (The Irishman)
Adam Driver (Marriage Story)
Joaquin Phoenix (Joker)
Jonathan Pryce (The Two Popes)
Best Actress
Awkwafina (The Farewell)
Scarlett Johansson (Marriage Story)
Charlize Theron (Bombshell)
Alfre Woodard (Clemency)
Renée Zellweger (Judy)
Best Supporting Actor
Sterling K. Brown (Waves)
Tom Hanks (A Beautiful Day in the Neighborhood)
Al Pacino (The Irishman)
Joe Pesci (The Irishman)
Brad Pitt (Once Upon a Time in Hollywood)
Best Supporting Actress
Laura Dern (Marriage Story)
Scarlett Johansson (Jojo Rabbit)
Jennifer Lopez (Hustlers)
Margot Robbie (Bombshell)
Maggie Smith (Downton Abbey)
Best Original Screenplay
The Farewell
Marriage Story
Once Upon a Time in Hollywood
Parasite
Waves
Best Adapted Screenplay
A Beautiful Day in the Neighborhood
The Irishman
Jojo Rabbit
Joker
Little Women
Best Makeup and Hairstyling
Bombshell
The Irishman
Rocketman
Best Animated Feature
Frozen II
How to Train Your Dragon: The Hidden World
Klaus
Toy Story 4
Weathering with You
Best Documentary
American Factory
The Apollo
Apollo 11
The Biggest Little Farm
Honeyland
Best International Feature
Les Miserables (France)
Out Stealing Horses (Norway)
Corpus Christi (Poland)
Parasite (South Korea)
Pain and Glory (Spain)
Sunday, November 17, 2019
Movie with Abe: The Irishman
The Irishman
Directed by Martin Scorsese
Released November 1, 2019
There are many ways to make a movie about the mob. There are typically many players involved at all different levels, and introducing every single one can be cumbersome and confusing to audiences. A decision must be made about how much violence to include onscreen since intimidation and killing are frequent occurrences, along with just how deep a dive to take into the mentality of those who may end up executing their closest friends. If anyone knows how best to portray the mob on screen, it’s the man who made some of the most influential movies about the subject: Martin Scorsese.
Truck driver and World War II veteran Frank Sheeran (Robert De Niro) meets mob boss Russell Bufalino (Joe Pesci) on his route one day in the 1950s in Pennsylvania, and is officially introduced after he stays quiet following an accusation of theft. Frank becomes increasingly loyal to Russell, doing anything he needs, including hits, and is eventually reassigned to help out a more public figure, Teamsters president Jimmy Hoffa (Al Pacino), and ensure all of his goals are accomplished. As time goes on, Frank becomes further embedded in Jimmy and Russell’s operations, something that becomes problematic when he realizes that his two bosses don’t always see eye to eye.
This film does not come without serious expectations. Its three-and-a-half-hour runtime is undeniably excessive, but Scorsese manages to stuff it full of as much content as he possibly can, suggesting that it’s all worth including. Scorsese’s last film, “Silence,” was just as immersive but considerably less inviting, and this resembles something closer to his classic works like “Mean Streets,” “Taxi Driver,” and “Goodfellas.” There is plentiful humor to be found in this story full of brutality and betrayal, integrated in an effective and entertaining way that also makes all three protagonists endearing. Though they’re all unapologetic criminals, they’re incredibly likeable as presented in this light. The chosen device of identifying background characters by the ways in which they eventually met their deaths is a strong instance of black comedy put to good use.
What’s most worth celebrating here is the reunion of Scorsese with his frequent collaborators De Niro and Pesci, in addition to what’s shockingly his first time directing Pacino. Much has been made of the de-aging technology used to make all three actors, who are in their late seventies, look younger and transform gradually over the course of the film. While De Niro never quite seems like he’s thirty, it’s evident that Scorsese was certain that these performers were the right fits for their roles, and they certainly are. De Niro plays his role straight, while Pacino goes all out to make Jimmy an unforgettable eccentric and Pesci presents a more reserved take that works tremendously. The ensemble also includes Ray Romano, Bobby Cannavale, Stephen Graham, Jesse Plemons, and a handful of others who contribute superbly in just the way that they should. This film is an experience, one that shows a tremendous amount of work and an involving, seemingly inescapable product. Its streaming release on Netflix later this month will allow those wary of diving in for such an intensive commitment able to do so at their own pace, but this reviewer would recommend trying to digest it all at once, even at such a length.
B+
Directed by Martin Scorsese
Released November 1, 2019
There are many ways to make a movie about the mob. There are typically many players involved at all different levels, and introducing every single one can be cumbersome and confusing to audiences. A decision must be made about how much violence to include onscreen since intimidation and killing are frequent occurrences, along with just how deep a dive to take into the mentality of those who may end up executing their closest friends. If anyone knows how best to portray the mob on screen, it’s the man who made some of the most influential movies about the subject: Martin Scorsese.
Truck driver and World War II veteran Frank Sheeran (Robert De Niro) meets mob boss Russell Bufalino (Joe Pesci) on his route one day in the 1950s in Pennsylvania, and is officially introduced after he stays quiet following an accusation of theft. Frank becomes increasingly loyal to Russell, doing anything he needs, including hits, and is eventually reassigned to help out a more public figure, Teamsters president Jimmy Hoffa (Al Pacino), and ensure all of his goals are accomplished. As time goes on, Frank becomes further embedded in Jimmy and Russell’s operations, something that becomes problematic when he realizes that his two bosses don’t always see eye to eye.
This film does not come without serious expectations. Its three-and-a-half-hour runtime is undeniably excessive, but Scorsese manages to stuff it full of as much content as he possibly can, suggesting that it’s all worth including. Scorsese’s last film, “Silence,” was just as immersive but considerably less inviting, and this resembles something closer to his classic works like “Mean Streets,” “Taxi Driver,” and “Goodfellas.” There is plentiful humor to be found in this story full of brutality and betrayal, integrated in an effective and entertaining way that also makes all three protagonists endearing. Though they’re all unapologetic criminals, they’re incredibly likeable as presented in this light. The chosen device of identifying background characters by the ways in which they eventually met their deaths is a strong instance of black comedy put to good use.
What’s most worth celebrating here is the reunion of Scorsese with his frequent collaborators De Niro and Pesci, in addition to what’s shockingly his first time directing Pacino. Much has been made of the de-aging technology used to make all three actors, who are in their late seventies, look younger and transform gradually over the course of the film. While De Niro never quite seems like he’s thirty, it’s evident that Scorsese was certain that these performers were the right fits for their roles, and they certainly are. De Niro plays his role straight, while Pacino goes all out to make Jimmy an unforgettable eccentric and Pesci presents a more reserved take that works tremendously. The ensemble also includes Ray Romano, Bobby Cannavale, Stephen Graham, Jesse Plemons, and a handful of others who contribute superbly in just the way that they should. This film is an experience, one that shows a tremendous amount of work and an involving, seemingly inescapable product. Its streaming release on Netflix later this month will allow those wary of diving in for such an intensive commitment able to do so at their own pace, but this reviewer would recommend trying to digest it all at once, even at such a length.
B+
Movie with Abe: Downton Abbey
Downton Abbey
Directed by Michael Engler
Released September 20, 2019
Such a high percentage of films being released at the moment are remakes, reboots, and franchise entries that it can become tiresome to not see anything original in theaters. When a successful TV series is brought back on the big screen, there’s always a question of just how necessary it is and whether it’s merely a way to try to make more money from fan service and the knowledge that tickets will sell. Whether there’s a value beyond that may be subjective, and the merits of a film should be judged independently from its source material, particularly on its ability to stand on its own as a single experience.
The residents and staff at Downton Abbey are startled by the announcement that the king (Simon Jones) and queen (Geraldine James) will be visiting. Mrs. Patmore (Lesley Nicol) and Daisy (Sophie McShera) prepare the kitchen, while Mary (Michelle Dockery) doubts the ability of butler Barrow (Robert James-Collier) to handle the visit, prompting her to bring Mr. Carson (Jim Carter) back on board. As the visit approaches, Mrs. Hughes (Phyllis Logan) and the staff are disappointed to learn that they’re supposed to play no role in serving the regals, inspiring Anna (Joanne Froggatt) and Mr. Bates (Brendan Coyle) to hatch a plan. Violet (Maggie Smith) prepares for a confrontation with her cousin Maud (Imelda Staunton) over who should be her rightful heir, while Tom (Allen Leech) is approached by someone he believes is monitoring his behavior to ensure he will not cause a scene based on his politics.
It may be difficult to read that summary without feeling lost if this is a viewer’s first trip to Downton, but the plot and action are appropriately super-sized for the big screen. There are no questions of whether servants deserve more in life when those they wait upon have so much more than they need, but rather that the servants should be entitled to demonstrate their skills and pride in their work to the most important guests the estate has ever hosted. It’s a fun upgrade that feels fitting for this major event that takes this story and elevates it to a wider audience than might choose to tune in to PBS at home.
The cast is exceptional as always, with Kevin Doyle standing out particularly as the overager Mr. Molesley. The new additions are all great, including Tuppence Middleton from “Sense8” as Maud’s maid. There’s definitely a positive dimension that comes with watching this film on a larger screen with the reactions of others audible, which also suggests that Smith may be a popular choice for awards groups for nailing every one of her scene-stealing lines. Though this film, like the show that came before it, will likely be marketed as a drama, this film is a pure comedy delight, presenting fully-drawn characters committed to their parts in this highly enjoyable and completely engaging film that demonstrates that this world is more than worth revisiting.
B+
Directed by Michael Engler
Released September 20, 2019
Such a high percentage of films being released at the moment are remakes, reboots, and franchise entries that it can become tiresome to not see anything original in theaters. When a successful TV series is brought back on the big screen, there’s always a question of just how necessary it is and whether it’s merely a way to try to make more money from fan service and the knowledge that tickets will sell. Whether there’s a value beyond that may be subjective, and the merits of a film should be judged independently from its source material, particularly on its ability to stand on its own as a single experience.
The residents and staff at Downton Abbey are startled by the announcement that the king (Simon Jones) and queen (Geraldine James) will be visiting. Mrs. Patmore (Lesley Nicol) and Daisy (Sophie McShera) prepare the kitchen, while Mary (Michelle Dockery) doubts the ability of butler Barrow (Robert James-Collier) to handle the visit, prompting her to bring Mr. Carson (Jim Carter) back on board. As the visit approaches, Mrs. Hughes (Phyllis Logan) and the staff are disappointed to learn that they’re supposed to play no role in serving the regals, inspiring Anna (Joanne Froggatt) and Mr. Bates (Brendan Coyle) to hatch a plan. Violet (Maggie Smith) prepares for a confrontation with her cousin Maud (Imelda Staunton) over who should be her rightful heir, while Tom (Allen Leech) is approached by someone he believes is monitoring his behavior to ensure he will not cause a scene based on his politics.
It may be difficult to read that summary without feeling lost if this is a viewer’s first trip to Downton, but the plot and action are appropriately super-sized for the big screen. There are no questions of whether servants deserve more in life when those they wait upon have so much more than they need, but rather that the servants should be entitled to demonstrate their skills and pride in their work to the most important guests the estate has ever hosted. It’s a fun upgrade that feels fitting for this major event that takes this story and elevates it to a wider audience than might choose to tune in to PBS at home.
The cast is exceptional as always, with Kevin Doyle standing out particularly as the overager Mr. Molesley. The new additions are all great, including Tuppence Middleton from “Sense8” as Maud’s maid. There’s definitely a positive dimension that comes with watching this film on a larger screen with the reactions of others audible, which also suggests that Smith may be a popular choice for awards groups for nailing every one of her scene-stealing lines. Though this film, like the show that came before it, will likely be marketed as a drama, this film is a pure comedy delight, presenting fully-drawn characters committed to their parts in this highly enjoyable and completely engaging film that demonstrates that this world is more than worth revisiting.
B+
Saturday, November 16, 2019
Other Israel Film Festival Spotlight: Samaritan
I’m delighted to be returning for the seventh time to cover the Other Israel Film Festival, which features a diverse crop of Israeli and Palestinian cinema and is hosted by the JCC Manhattan. The 13th Annual Other Israel Film Festival takes place November 14th-21st, 2019.
Samaritan
Directed by Julien Menanteau
Festival Information
There are many religions in the world, and a good number of them intersect closely with others, differing slightly based on readings of texts and particular practices and observances that define them. It’s also the case that the holiest places for multiple religions that share similar roots are the same, interpreted by each as holding meaning for a specific purpose. When people from different faiths live in such close proximity to each other, it can lead to plenty of conflict, but there’s also the possibility that it can create an enriching space for coexistence, providing everyone is committed to living with their neighbors with more understanding than judgment.
The Samaritans once numbered more than one million; now they are fewer than eight hundred. They live in the West Bank in an area that permits them to be holders of both Palestinian and Israeli citizenship, frequently communicating with those around them even if many they meet know little about their culture and how they identify. While Israelis mistake them for Palestinians and Palestinians mistake them for Israelis, they face their own internal struggles about how to keep their religion alive, holding firm to practices passed down from generation to generation through oral tradition and kept sustainable by those who bring new members into the faith through marriage.
This film focuses on Abdallah Cohen, the grandson of the high priest, who learns from the leader of the community and tries to have his own life at the same time. His activities are normal for a young man, eager to meet women and enjoy simple pleasures. He delights at confusing people by speaking Hebrew, Arabic, and English fluently and getting puzzled questions about where he comes from and who he is. He’s a relatable subject, emblematic of a transition from past to present that ensures the preservation of tradition.
This documentary runs just fifty-two minutes, which allows time to get to know Abdallah and learn a bit about his faith, but not much more. As a full exploration of what it means to be a devoted Samaritan and the origins of the religion, this film doesn’t do much more than offer a basic introduction requiring further independent research by anyone whose curiosity is piqued by it. As a selection of the Other Israel Film Festival, it offers an eye-opening and thought-provoking look at a culture not often profiled among the diversity that exists in the Middle East.
B
Samaritan
Directed by Julien Menanteau
Festival Information
There are many religions in the world, and a good number of them intersect closely with others, differing slightly based on readings of texts and particular practices and observances that define them. It’s also the case that the holiest places for multiple religions that share similar roots are the same, interpreted by each as holding meaning for a specific purpose. When people from different faiths live in such close proximity to each other, it can lead to plenty of conflict, but there’s also the possibility that it can create an enriching space for coexistence, providing everyone is committed to living with their neighbors with more understanding than judgment.
The Samaritans once numbered more than one million; now they are fewer than eight hundred. They live in the West Bank in an area that permits them to be holders of both Palestinian and Israeli citizenship, frequently communicating with those around them even if many they meet know little about their culture and how they identify. While Israelis mistake them for Palestinians and Palestinians mistake them for Israelis, they face their own internal struggles about how to keep their religion alive, holding firm to practices passed down from generation to generation through oral tradition and kept sustainable by those who bring new members into the faith through marriage.
This film focuses on Abdallah Cohen, the grandson of the high priest, who learns from the leader of the community and tries to have his own life at the same time. His activities are normal for a young man, eager to meet women and enjoy simple pleasures. He delights at confusing people by speaking Hebrew, Arabic, and English fluently and getting puzzled questions about where he comes from and who he is. He’s a relatable subject, emblematic of a transition from past to present that ensures the preservation of tradition.
This documentary runs just fifty-two minutes, which allows time to get to know Abdallah and learn a bit about his faith, but not much more. As a full exploration of what it means to be a devoted Samaritan and the origins of the religion, this film doesn’t do much more than offer a basic introduction requiring further independent research by anyone whose curiosity is piqued by it. As a selection of the Other Israel Film Festival, it offers an eye-opening and thought-provoking look at a culture not often profiled among the diversity that exists in the Middle East.
B
Other Israel Film Festival Spotlight: Breaking Bread
I’m delighted to be returning for the seventh time to cover the Other Israel Film Festival, which features a diverse crop of Israeli and Palestinian cinema and is hosted by the JCC Manhattan. The 13th Annual Other Israel Film Festival takes place November 14th-21st, 2019.
Breaking Bread
Directed by Beth Elise Hawk
Festival Information
“Breaking bread” is a term used to signify the literal ripping of bread that starts a meal in many cultures, but it also has a metaphorical meaning that references coming together, usually done over food. People need to eat, and that can often be a common ground. The dinner table is also known as a place where those who don’t agree sometimes gather for family or holiday meals, and where politics can be aired in a way that can truly disrupt the mood. Yet expressing a shared love for cuisine and good eating can be an entirely positive experience if approached in the right way.
After Dr. Nof Atamna-Ismaeel became the first Muslim Arab to win Israel’s MasterChef, she decided to start an Arab food festival in Haifa. Among the goals are to pair Jewish and Arab chefs, as well as to place Jewish chefs at Arab restaurant and Arab chefs at Jewish restaurants. Through her work, she helps people from different cultures realize that they have more in common than they think. This joyful exploration of food captures the collaborative energy that cuisine can help create while exploring the conversations, both positive and negative, that emerge as a result of people from different backgrounds talking to each other.
This film joins fellow Other Israel Film Festival entry “Abe” as an optimistic presentation of coexistence centered on food. This documentary features many appetizing shots of food and explanations of what goes into the recipe, both in terms of actual ingredients and historical context. Hearing from each of the chefs and other participants in this festival is inspirational and enticing, presenting a variety of stories about their upbringing, traditions, and how they came to be so enthusiastic about food.
The people showcased in this film aren’t shy about sharing their opinions and talking openly to the camera. A married Jew and Arab express how they don’t discuss politics and how they celebrate whatever holidays come along regardless of religion. It’s not a film, however, that pretends conflict doesn’t exact at all, as evidenced by an examination of the Israeli salad by chefs who believe it is actually a traditional Arabic salad, and liken changing its name to presuming that an egg roll served in a non-Chinese restaurant isn’t Chinese. This film isn’t as light as it could be, providing a hearty serving of appealing food and worthwhile strides towards peace and communication in a place where that’s not always the goal of every person.
B+
Breaking Bread
Directed by Beth Elise Hawk
Festival Information
“Breaking bread” is a term used to signify the literal ripping of bread that starts a meal in many cultures, but it also has a metaphorical meaning that references coming together, usually done over food. People need to eat, and that can often be a common ground. The dinner table is also known as a place where those who don’t agree sometimes gather for family or holiday meals, and where politics can be aired in a way that can truly disrupt the mood. Yet expressing a shared love for cuisine and good eating can be an entirely positive experience if approached in the right way.
After Dr. Nof Atamna-Ismaeel became the first Muslim Arab to win Israel’s MasterChef, she decided to start an Arab food festival in Haifa. Among the goals are to pair Jewish and Arab chefs, as well as to place Jewish chefs at Arab restaurant and Arab chefs at Jewish restaurants. Through her work, she helps people from different cultures realize that they have more in common than they think. This joyful exploration of food captures the collaborative energy that cuisine can help create while exploring the conversations, both positive and negative, that emerge as a result of people from different backgrounds talking to each other.
This film joins fellow Other Israel Film Festival entry “Abe” as an optimistic presentation of coexistence centered on food. This documentary features many appetizing shots of food and explanations of what goes into the recipe, both in terms of actual ingredients and historical context. Hearing from each of the chefs and other participants in this festival is inspirational and enticing, presenting a variety of stories about their upbringing, traditions, and how they came to be so enthusiastic about food.
The people showcased in this film aren’t shy about sharing their opinions and talking openly to the camera. A married Jew and Arab express how they don’t discuss politics and how they celebrate whatever holidays come along regardless of religion. It’s not a film, however, that pretends conflict doesn’t exact at all, as evidenced by an examination of the Israeli salad by chefs who believe it is actually a traditional Arabic salad, and liken changing its name to presuming that an egg roll served in a non-Chinese restaurant isn’t Chinese. This film isn’t as light as it could be, providing a hearty serving of appealing food and worthwhile strides towards peace and communication in a place where that’s not always the goal of every person.
B+
Friday, November 15, 2019
Weekend Movie Recommendations with Abe
I'm excited to present a revamped version of Saturday Night Movie Recommendations with Abe! The Minute with Abe: Weekend Movie Recommendations Edition will premiere on YouTube each Friday and be reposted here during the day as well. Check it out, and subscribe to the movieswithabe channel!
Other Israel Film Festival Spotlight: Comrade Dov
I’m delighted to be returning for the seventh time to cover the Other Israel Film Festival, which features a diverse crop of Israeli and Palestinian cinema and is hosted by the JCC Manhattan. The 13th Annual Other Israel Film Festival takes place November 14th-21st, 2019.
Comrade Dov
Directed by Barak Heymann
Festival Information
In politics, those who get noticed most either adhere strictly to conventional positions or deviate considerably from them. It’s not always a badge of honor, especially for those who don’t agree with what someone advocates, and may lead to a difficult career that can include many obstacles on the path to substantial achievement. For those who continue to persevere and fight against a status quo, the journey can be rewarding, filled with impactful milestones that represent important work in support of their passions on behalf of those they most believe require a voice in government.
Dov Khenin was elected to Israel’s Parliament, the Knesset, in 2006 as a member of the national communist party. During his time in office, Dov worked tirelessly for communities he felt were underserved and lacked representation, including Arabs and Palestinians that he saw being treated unfairly by the country. His expression of support for peace is met with skepticism by many, including those who see him either as too left-leaning or too accepting of an Israeli occupation, yet he remains an ally of many groups, determined to help all those he sees in need and speak his voice at every possible opportunity.
Dov is a figure who doesn’t try to hide what he believes, seen in one piece of archive footage sitting next to Israeli President Reuven Rivlin and remaining silent while everyone else in the room sings the national anthem. He is more than eager to explain his position on any issue, including that one, noting that he feels that it’s not right for him to sing about the Jewish heart when it can’t be similarly sung by Arab residents of the country. There are certainly those that don’t like him, yet he is warmly received by some surprising parties who respect his commitment to what he believes in above all else.
This film, which offers a short seventy-five-minute profile of this politician, zeroes in on several meetings and events to best illustrate Dov’s uphill battle and his resilience. It also explores the difficulty he faces even from those more closely aligned with him, like a Palestinian interviewee who believes that he is too Israeli and too white to properly represent her, and that his mere holding of a position within the Israeli government is too passive for him to truly be promoting peace. This film offers an uncompromising portrait of a politician who is willing to speak with anyone, no matter how they feel, a welcome rarity in today’s world.
B
Comrade Dov
Directed by Barak Heymann
Festival Information
In politics, those who get noticed most either adhere strictly to conventional positions or deviate considerably from them. It’s not always a badge of honor, especially for those who don’t agree with what someone advocates, and may lead to a difficult career that can include many obstacles on the path to substantial achievement. For those who continue to persevere and fight against a status quo, the journey can be rewarding, filled with impactful milestones that represent important work in support of their passions on behalf of those they most believe require a voice in government.
Dov Khenin was elected to Israel’s Parliament, the Knesset, in 2006 as a member of the national communist party. During his time in office, Dov worked tirelessly for communities he felt were underserved and lacked representation, including Arabs and Palestinians that he saw being treated unfairly by the country. His expression of support for peace is met with skepticism by many, including those who see him either as too left-leaning or too accepting of an Israeli occupation, yet he remains an ally of many groups, determined to help all those he sees in need and speak his voice at every possible opportunity.
Dov is a figure who doesn’t try to hide what he believes, seen in one piece of archive footage sitting next to Israeli President Reuven Rivlin and remaining silent while everyone else in the room sings the national anthem. He is more than eager to explain his position on any issue, including that one, noting that he feels that it’s not right for him to sing about the Jewish heart when it can’t be similarly sung by Arab residents of the country. There are certainly those that don’t like him, yet he is warmly received by some surprising parties who respect his commitment to what he believes in above all else.
This film, which offers a short seventy-five-minute profile of this politician, zeroes in on several meetings and events to best illustrate Dov’s uphill battle and his resilience. It also explores the difficulty he faces even from those more closely aligned with him, like a Palestinian interviewee who believes that he is too Israeli and too white to properly represent her, and that his mere holding of a position within the Israeli government is too passive for him to truly be promoting peace. This film offers an uncompromising portrait of a politician who is willing to speak with anyone, no matter how they feel, a welcome rarity in today’s world.
B
Thursday, November 14, 2019
Movie with Abe: Ford v Ferrari
Ford v Ferrari
Directed by James Mangold
Released November 15, 2019
Cars are a way for people to get from place to place, and they have greatly opened up many geographical areas to accessibility and, as a result, habitability. For some, however, cars represent something much greater. Going as fast as possible is a remarkable allure, and racing presents enthusiasts with a chance to realize that potential – and beat it – by pressing the gas and pushing a vehicle to the maximum. It’s one addiction that can prove truly debilitating, with safety and caution thrown to the wind in favor of an incredible thrill.
Carroll Shelby (Matt Damon) retires from racing early in his career due to a heart condition, moving into car sales. When a deal with Ferrari goes sour, the top marketing guru at Ford, Lee Iacocca (Jon Bernthal), approaches Shelby for his help in designing a car to beat Ferrari at the world’s premiere race on behalf of frustrated president Henry Ford II (Tracy Letts). Shelby immediately selects the volatile but brilliant Ken Miles (Christian Bale) as his top choice to help build and eventually drive the car, putting his weight behind his choice despite strong objections from Ford’s top lieutenant, Leo Beebe (Josh Lucas), about how Miles doesn’t represent the Ford brand.
This film’s title is a bit of a misnomer, as Ferrari figures minimally into the plot, and it’s much more about Shelby and Miles, two men who mostly see eye-to-eye, standing up to the unimaginative and narrow-minded leadership at Ford in their quest to build something they know can win. Miles doesn’t do well with authority, and Shelby, better at suppressing his urges to speak his mind at each moment, also finds frequent ways to toy with those who seek to tell him what he can and can’t do. Together, they make a formidable team, hard to contain but capable of remarkable innovations when they’re permitted to put their minds and hands to productive use.
This is a role that’s seemingly tailor-made for Bale, whose infamous real-life aggression is positively channeled into an unexpectedly endearing fearless character. This is neither his nor Damon’s finest work, though they both have fun while strongly portraying these two people who are major figures in sports history. Letts is particularly entertaining as Ford’s head honcho, with Noah Jupe and Caitriona Balfe helping to humanize Miles as his son and wife, respectively. This film isn’t always as vital or mesmerizing as something like “Rush,” but it does have its moments, and manages to make its lengthy 152-minute runtime mostly engaging. Like its protagonists, when this film hits high speed, it really delivers.
B+
Directed by James Mangold
Released November 15, 2019
Cars are a way for people to get from place to place, and they have greatly opened up many geographical areas to accessibility and, as a result, habitability. For some, however, cars represent something much greater. Going as fast as possible is a remarkable allure, and racing presents enthusiasts with a chance to realize that potential – and beat it – by pressing the gas and pushing a vehicle to the maximum. It’s one addiction that can prove truly debilitating, with safety and caution thrown to the wind in favor of an incredible thrill.
Carroll Shelby (Matt Damon) retires from racing early in his career due to a heart condition, moving into car sales. When a deal with Ferrari goes sour, the top marketing guru at Ford, Lee Iacocca (Jon Bernthal), approaches Shelby for his help in designing a car to beat Ferrari at the world’s premiere race on behalf of frustrated president Henry Ford II (Tracy Letts). Shelby immediately selects the volatile but brilliant Ken Miles (Christian Bale) as his top choice to help build and eventually drive the car, putting his weight behind his choice despite strong objections from Ford’s top lieutenant, Leo Beebe (Josh Lucas), about how Miles doesn’t represent the Ford brand.
This film’s title is a bit of a misnomer, as Ferrari figures minimally into the plot, and it’s much more about Shelby and Miles, two men who mostly see eye-to-eye, standing up to the unimaginative and narrow-minded leadership at Ford in their quest to build something they know can win. Miles doesn’t do well with authority, and Shelby, better at suppressing his urges to speak his mind at each moment, also finds frequent ways to toy with those who seek to tell him what he can and can’t do. Together, they make a formidable team, hard to contain but capable of remarkable innovations when they’re permitted to put their minds and hands to productive use.
This is a role that’s seemingly tailor-made for Bale, whose infamous real-life aggression is positively channeled into an unexpectedly endearing fearless character. This is neither his nor Damon’s finest work, though they both have fun while strongly portraying these two people who are major figures in sports history. Letts is particularly entertaining as Ford’s head honcho, with Noah Jupe and Caitriona Balfe helping to humanize Miles as his son and wife, respectively. This film isn’t always as vital or mesmerizing as something like “Rush,” but it does have its moments, and manages to make its lengthy 152-minute runtime mostly engaging. Like its protagonists, when this film hits high speed, it really delivers.
B+
Other Israel Film Festival Spotlight: Advocate
I’m delighted to be returning for the seventh time to cover the Other Israel Film Festival, which features a diverse crop of Israeli and Palestinian cinema and is hosted by the JCC Manhattan. The 13th Annual Other Israel Film Festival takes place November 14th-21st, 2019.
Advocate
Directed by Philippe Bellaiche and Rachel Leah Jones
Festival Information
It’s rare to find a film that’s truly honest, one that treats its subject completely objectively and allows it to stand on its own. In narrative filmmaking, there’s a tendency to play up the reputation and stature of a protagonist, and documentaries often become so intertwined with the people and cause they’re following that they can’t be separated from them. If it’s not clear how the filmmakers feel about the people, organizations, or events they’re profiling, it’s the mark of a presentation that truly seeks to showcase life as it is, passing no judgment on what it is that’s because spotlighted, no matter how controversial.
Israeli lawyer Lea Tsemel has earned plenty of notoriety for herself over the years, defending Palestinians in court when few of her peers do so. While a law student at Hebrew University in the 1960s, Tsemel became involved in Matzpen, an anti-occupation organization, and met her future husband Michel, who also works in human rights. Tsemel proudly represents Palestinians accused of any crime, including violent acts deemed terrorism, fighting to give those she sees as prejudiced against by the legal system in Israel a chance since she believes that everyone is entitled to a defense.
At multiple points throughout this film, Tsemel is asked whether there’s a “red line” that she uses to gauge whether or not to take someone on as a client, to which she responds that there is not. The primary case featured here is that of a thirteen-year-old Palestinian boy whose brother was killed while carrying out a stabbing attack, and Tsemel does her best to argue that his intent wasn’t to kill and that he didn’t actually stab anyone. There’s something to be said for her eagerness to give anyone who needs representation, especially in an environment where that is not at all common and public opinion is decidedly against those who carry out attacks on Israelis.
This film, like its subject matter, doesn’t apologize at all for the work it’s showcasing. It’s certainly a hot-button topic, especially since Tsemel makes no acknowledgment of the severity of crimes committed, equating the term “terrorist” to “freedom fighter” under a different dictionary’s definition. This is a straightforward portrait of a woman who isn’t typically awarded that privilege, and who is more than happy to share her opinion whenever asked as well as when she isn’t. It will surely be unsettling to some audiences, but it’s the perfect film to open the Other Israel Film Festival, shining a light on part of society that, as Tsemel would argue, deserves some representation.
B
Advocate
Directed by Philippe Bellaiche and Rachel Leah Jones
Festival Information
It’s rare to find a film that’s truly honest, one that treats its subject completely objectively and allows it to stand on its own. In narrative filmmaking, there’s a tendency to play up the reputation and stature of a protagonist, and documentaries often become so intertwined with the people and cause they’re following that they can’t be separated from them. If it’s not clear how the filmmakers feel about the people, organizations, or events they’re profiling, it’s the mark of a presentation that truly seeks to showcase life as it is, passing no judgment on what it is that’s because spotlighted, no matter how controversial.
Israeli lawyer Lea Tsemel has earned plenty of notoriety for herself over the years, defending Palestinians in court when few of her peers do so. While a law student at Hebrew University in the 1960s, Tsemel became involved in Matzpen, an anti-occupation organization, and met her future husband Michel, who also works in human rights. Tsemel proudly represents Palestinians accused of any crime, including violent acts deemed terrorism, fighting to give those she sees as prejudiced against by the legal system in Israel a chance since she believes that everyone is entitled to a defense.
At multiple points throughout this film, Tsemel is asked whether there’s a “red line” that she uses to gauge whether or not to take someone on as a client, to which she responds that there is not. The primary case featured here is that of a thirteen-year-old Palestinian boy whose brother was killed while carrying out a stabbing attack, and Tsemel does her best to argue that his intent wasn’t to kill and that he didn’t actually stab anyone. There’s something to be said for her eagerness to give anyone who needs representation, especially in an environment where that is not at all common and public opinion is decidedly against those who carry out attacks on Israelis.
This film, like its subject matter, doesn’t apologize at all for the work it’s showcasing. It’s certainly a hot-button topic, especially since Tsemel makes no acknowledgment of the severity of crimes committed, equating the term “terrorist” to “freedom fighter” under a different dictionary’s definition. This is a straightforward portrait of a woman who isn’t typically awarded that privilege, and who is more than happy to share her opinion whenever asked as well as when she isn’t. It will surely be unsettling to some audiences, but it’s the perfect film to open the Other Israel Film Festival, shining a light on part of society that, as Tsemel would argue, deserves some representation.
B
Wednesday, November 13, 2019
DOC NYC Spotlight: On Broadway
I’m excited to have been able to screen a few selections from DOC NYC, America’s largest documentary festival, which presents its tenth year in New York City from November 6th-15th.
On Broadway
Directed by Oren Jacoby
DOC NYC Screenings
In the early days of cinema, there was an incomparable excitement that came with getting the chance to see it. People flocked to moviehouses to be able to experience it firsthand, in a way that’s just no longer the case with the advent of home video and the prevalence of streaming services where it’s not necessary to even have a copy of what you want to watch since it’s so readily available. One industry that has aged but hasn’t evolved technologically in the same way is live theater, which requires performers to offer a fresh turn each time the show begins. And for theater, there’s one place that encapsulates it above all: Broadway.
The history of the artistic capital of New York City is told through interviews with a number of famous personalities well-known for their theater work, including Helen Mirren, Ian McKellen, Hugh Jackman, Christine Baranski, and Alec Baldwin. The dangerous neighborhood that Times Square used to be is explored as a potential roadblock on the way to a continued thriving industry, as well as the ownership stakes of several high-profile individuals in theaters and shows. Along the journey to the present, there are many innovative stops, including bold productions such as “Cats” and “The Lion King,” boundary-pushing plays like “Angels in America” and “Rent,” and more recent explorations of transgender identity where transgender people actually have the opportunity to represent themselves.
Any theater lover is sure to enjoy this film, which can’t possibly capture the entire scope of Broadway over the course of many years of well-known musicals and plays but manages to highlight a whole lot of fun standouts. Hearing from the stars who are still well-known today, not just for their theater work, isn’t quite as enticing as seeing footage of these daring shows that defied conventions and sought to bring an entirely new audience in while changing the art form with new additions and mesmerizing perspectives. This documentary doesn’t come to any conclusions that should shock casual theatergoers or the most avid fans, but its exploration is one tinged with curiosity and humor, making for a fully engaging and enthralling trip back in time to some of the most formative and influential moments in Broadway history. One memorable quote addressing the rising prices of theater tickets – “It’s not called show charity, it’s called show business” – perfectly sums up this film’s tone and message: this is a changing game, and one that, for many, is always worth watching, no matter how expensive it may get.
B+
On Broadway
Directed by Oren Jacoby
DOC NYC Screenings
In the early days of cinema, there was an incomparable excitement that came with getting the chance to see it. People flocked to moviehouses to be able to experience it firsthand, in a way that’s just no longer the case with the advent of home video and the prevalence of streaming services where it’s not necessary to even have a copy of what you want to watch since it’s so readily available. One industry that has aged but hasn’t evolved technologically in the same way is live theater, which requires performers to offer a fresh turn each time the show begins. And for theater, there’s one place that encapsulates it above all: Broadway.
The history of the artistic capital of New York City is told through interviews with a number of famous personalities well-known for their theater work, including Helen Mirren, Ian McKellen, Hugh Jackman, Christine Baranski, and Alec Baldwin. The dangerous neighborhood that Times Square used to be is explored as a potential roadblock on the way to a continued thriving industry, as well as the ownership stakes of several high-profile individuals in theaters and shows. Along the journey to the present, there are many innovative stops, including bold productions such as “Cats” and “The Lion King,” boundary-pushing plays like “Angels in America” and “Rent,” and more recent explorations of transgender identity where transgender people actually have the opportunity to represent themselves.
Any theater lover is sure to enjoy this film, which can’t possibly capture the entire scope of Broadway over the course of many years of well-known musicals and plays but manages to highlight a whole lot of fun standouts. Hearing from the stars who are still well-known today, not just for their theater work, isn’t quite as enticing as seeing footage of these daring shows that defied conventions and sought to bring an entirely new audience in while changing the art form with new additions and mesmerizing perspectives. This documentary doesn’t come to any conclusions that should shock casual theatergoers or the most avid fans, but its exploration is one tinged with curiosity and humor, making for a fully engaging and enthralling trip back in time to some of the most formative and influential moments in Broadway history. One memorable quote addressing the rising prices of theater tickets – “It’s not called show charity, it’s called show business” – perfectly sums up this film’s tone and message: this is a changing game, and one that, for many, is always worth watching, no matter how expensive it may get.
B+
Tuesday, November 12, 2019
Interviews with Abe: Incitement
This year’s recipient of the Best Picture prize at the Ophir Awards, Israel’s equivalent of the Oscars, is “Incitement,” which tells the story of the year leading up to Prime Minister Yitzhak Rabin’s assassination, focusing on the assassin himself, Yigal Amir. After a successful North American premiere at the Toronto International Film Festival this past September, the film serves as the opening night film for the 33rd Israel Film Festival in Los Angeles tonight. I had the chance to sit down with director Yaron Zilberman to talk about the experience of making this film.
What drew you to this subject and to make this particular movie?
It’s a national trauma. It’s a traumatic event on a personal level because I was part of the pro-peace movement in Israel. That assassination changed the course of history in the country. I always wanted to address it and talk about it. There were many questions about what really happened. There was much more to be interpreted that I was curious about before I started working on it. Once I began, it was fascinating – there were so many layers to it.
What were you most surprised to learn?
To really see that the assassin wasn’t a monster outside of the realm of the mainstream, as we were always told. This guy was almost a normative guy. Yes, he had extreme opinions, but he was part of society, talking with everyone about this murder. He was openly debating whether one should kill Rabin and announced his plans to do so. He went from protest to protest where people spoke in violent language of “blood and fire” and taking out Rabin. That was just the tip of the iceberg. In research, I realized there was a huge push towards that direction – it’s not that he was crazy.
Did you speak to Yigal Amir?
I did not speak to him personally. My researcher did since he’s Orthodox and so is Yigal. It’s a different kind of conversation where they immediately feel comfortable discussing nuances within the religious world. They had the same background, both having been active in Bnei Akiva, our national religious scout program. They were, in a way, speaking the same language. He spoke to him over the phone for hundreds of hours with questions my co-writer and I had prepared. He asked and came back with many stories, then went back with new questions to learn the whole world that helped us craft this story.
Do you think he would be pleased with his representation in this film?
He doesn’t think of himself as a villain, and, for so long, he was such a monster that now he can speak and express his opinions, which made him eager to talk. Whether he’s happy or not, we’ll see once he sees the movie. So far, he’s said that it’s a must-see movie because it’s important for democracy, even if he doesn’t agree with many things in the movie. It’s ironic because what he did by shooting Rabin was to fatally wound democracy.
You chose to end the film when Rabin died rather than continuing to follow Yigal in prison, where he has since gotten married and had a child. Was that purposeful?
My concept was that, until the first shot comes out of his gun, he’s still not a killer. Imagine that he goes there and decides not to shoot Rabin and just comes home. He’s not a murderer – there’s no issue with him, just another guy who turned out to want to do something extreme and then not go through with it. The moment he shoots him, he becomes a villain. That’s when I stop being interested in him. That’s the moment that I depart from him. The entire story is told through his journey, but once he shoots Rabin, I’m no longer on that journey with him. I don’t really care, I just want him to be in jail forever.
It’s hard to watch this film and not think a lot about HBO’s “Our Boys.” They’re both stories that get to the heart of how a deep devotion to religion drives people to think that murder is acceptable and even encouraged. There is certainly some concern that it doesn’t do a lot for Israel and Judaism and their worldwide standing. What do you think?
I haven’t had a chance to watch “Our Boys,” but I will definitely do so soon. I don’t think that it’s bad for Israel, but good to see that the country and filmmakers can self-criticize and criticize the government. That people can watch it and say whatever they want to say shows the strength of Israel and of its people as a nation. There are countries where you can’t do that. In Israel, you can. The fact that we criticize certain governments and view certain rabbis as inciting in the same way, pushing to violence, doesn’t mean that the entire Israel is a bad place. It means that these people are a part of Israel that needs to change.
There are some, such as Prime Minister Benjamin Netanyahu, who are unhappy with the film.
Yes. Miri Regev, especially, the culture minister. When Bibi doesn’t like something, she announces it, and in our case, she called for a boycott of the movie without having seen it. In Israel, the moment she says that, people start to watch. We’ve been waiting for her to say that, so it’s all good.
What has the response to the film been like, and what do you expect from tonight at the Israel Film Festival?
In Israel, the movie became a phenomenon. We crossed 150,000 people, which is big for Israel, especially for something that’s not a romantic comedy or fun. It’s a drama with an ending that is devastating. They invited me to speak last week at a peace rally where I spoke in front of 50,000 people, the first time in 24 years since the murder that they’ve had someone from outside the political world. High school students and teachers have gone to see it, which is great, and every institution – policemen, soldiers – wants to have their people go see it and discuss it and how it relates to the future of Israel. How do we move forward, and how can we stop the next one? As for the United States, the public will likely see parallels to what’s happening here with Donald Trump and Bibi, the same kind of inciting language and groups supporting them.
Have members of Rabin’s family seen it, and what do they think?
They have, and yes. His daughter, who is in a way responsible for his legacy, running his museum, is a major supporter of the movie. She’ll be here next week for several of our screenings. The first time she saw the movie, she cried from the first frame to the last frame. She hugged me and said great things about it. She believes this is the history of what happened in Israel and has totally embraced it.
Can you talk about your decision to use a lot of archive footage rather than casting anyone as Rabin?
Using footage supports the idea that it’s true. The first time that Yigal is seen watching Rabin on television with Clinton and Arafat in Washington, you already see a relationship with reality. Every time we get into a question about whether it’s real or not, I’ll show you more archive footage to show you that it’s true. I won’t tell you that a rabbi said something; I’ll show you a clip of them saying it on camera. It gives the power of truth to the story.
Was anything created or embellished for the film?
I didn’t really add anything. It was important for me not to, because once you do that, there’s a credibility issue which can put everything in doubt. What I had to do was to imagine what conversation occurred between people, using things that I knew happened whether the words were exactly what they said to each other, between Yigal and his girlfriend or his father. Based on interviews and what I read about them, I invented dialogue.
I know that the film won the Ophir Israeli Oscar for Best Picture and also an award for casting. Can you talk about finding some of your main players?
Early on, we decided on two main concepts for casting. The first is that it must be a Yemenite family so that they can bring their world and to discuss this major issue that the assassin came out of this community. They are the only people that can really know the behavior, way of talking, and religious elements. The second was that we wouldn’t take famous actors, just an ensemble of amazing actors. When you have a famous actor, it’s harder to imagine that person in the role. You can overcome it, but we’re not accustomed to it in Israeli society like you are here. Daniel Day-Lewis plays Lincoln and you can accept it, but it doesn’t work that way in Israel. So we wanted someone relatively unknown to keep it humble and mundane, so that you don’t have a person that’s bigger than the situation.
I’ve seen the film marketed as a thriller, but to me it plays a lot more like a standard drama. Even the climactic scene feels relatively relaxed, not embellished or dramatized to heighten the energy or speed up events.
The approach was very naturalistic. It’s almost like a documentary. I always wanted this to be a narrative, but I wanted it to be as close to a documentary in how we selected shots. It’s as if Yigal had called us and said “Listen, don’t tell anyone, but in a year and a half I’m going to shoot Rabin, and I am allowing you to follow me.” That was the feeling I wanted to create. The realism was very important because there’s a doubt in Israel that this actually happened like this. In other films, you know they exaggerate, and you don’t really buy it. You’re enjoying a movie. I didn’t want this to be a movie since it’s such a trauma for Israel. My number one goal with this film was for it to shake Israelis to their core. Israel has been talking about this movie for six weeks. The movie is questioning everything that we think about the assassination. We’re no longer willing to accept that there was no incitement. The realism, the naturalism, the actors, the archival footage – everything was there to artistically support the message we were trying to send. We’re also hoping people will be able to see it as a universal film where people really question the motives of assassins and whether they were pushed by anyone to do it, and what can be learned from that.
As a winner of the Israeli Oscar for Best Picture, this film is now eligible for the Oscar for Best International Feature. What do you think about that?
We’re going to do our best. We’re going to show it and talk about it, and the Academy members will decide. It’s their decision, not mine.
You can see “Incitement” at the Israel Film Festival in Los Angeles. It is scheduled for a theatrical release in the United States in early 2020.