MIDWAY GOES ALL THE WAY

SHORT TAKE:

Inspiring reenactment of the days before and of the watershed Battle of Midway during World War II, highlighting the selfless heroism and courageous dedication of men who committed EVERYTHING they had to fighting what  seemed to be a losing struggle with the Japanese Empire.

WHO SHOULD GO:

Mid teens and up as the violence is necessarily graphic and brutal. No sexuality but the language is occasionally rough and appropriate to the men and circumstances.

LONG TAKE:

SPOILERS!

Romans 5:7: “Indeed, only with difficulty does one die for a just man, though perhaps for a good man one might even find courage to die.”

We all love action heroes who put their lives on the line in extreme moments to save family or friends in desperate situations: Bruce Willis’ John McLane in the Die Hard series, Tony Stark in Endgame. Even the disaster “B” movies like Skyscraper and The Poseidon Adventure can be guilty pleasures, admiring (pretend) courage in the face of the (manufactured) crisis.

Now imagine HUNDREDS of these types of everymen, volunteers or drafted, trained certainly but no superheroes. But this was real. These men had real families and lives. The pain, the terror, the disfiguring injuries and sudden young deaths, the gut wrenching grief left behind, HAPPENED to people your grandparents knew – or TO your grandparents. Your own family histories, photos, private letters, and stories told at family gatherings are probably rife with tales of loss and sacrifice of young men who left everything behind, including their youth and many their lives, to protect their country and families.

The story of Midway begins on a warm December in Hawaii, where people planning outdoor church services and picnics with their families, are suddenly faced with split-second life changing and life losing decisions when, without  warning, planes tore out of the sky shooting at  friends and crewmates, ripping them to pieces. Few would have blamed any who froze or ran, but hundreds of these men seized the nearest weapon to shoot back, some hopelessly trying to simply buy time for others to reach safety, while the vessel they were on broke, sank or burned in brutish apocalyptic Hellscapes of screaming and smoke and explosions, with no possibility of escape.

That was Pearl Harbor and the movie Midway examines the fallout from this cataclysmic event and the eponymous Battle for our lives that followed in Pearl’s wake. The Battle of Midway was the determiner whether the war would continue to be fought out in the ocean and around Japan and Europe or whether it would make its way to the shores of continental USA and be prolonged, possibly for decades.

Midway tells the story of the men who, at Pearl and during the Midway Battle, followed Christ’s example, willingly offering up their lives for their fellow countrymen regardless of who they were, knowing only that they were in desperate danger.

All of the acting choices were inspired, the indigenous accents of the people being portrayed understated and realistic.

Woody Harrelson (2012, Zombieland, The Glass Castle) is the perfect Charles W. Nimitz, bringing his familiar wary self confidence to this real life seasoned soldier, agonizingly cognizant he is in the fight of his country’s life.

Dennis Quaid (Frequency, A Dog’s Purpose, The Alamo) is the growly fire hydrant shaped tough guy William “Bull” Halsey who leads from the front.

Patrick Wilson, (The Alamo, Phantom of the Opera) whose talents have been grotesquely underused in the fright flick Conjuring franchise, comes into his own as the intelligence officer Edwin Layton, whose warnings leading up to Pearl had been ignored and who now was determined to put everything on the line to be sure his country was never under-prepared again.

Ed Skrein (Alita: Battle Angel, Deadpool) is the fighter pilot Dick Best, who put his country’s freedom and his fellow patriots before any consideration for his own personal safety.

Aaron Eckhart (Batman: Dark Knight, White House Down) is Jimmy Doolittle who led the potential suicide mission into the never-before attacked Tokyo to strike a morale blow for America.

Nick Jonas (Jumanji: Welcome to the Jungle) is Bruno Gaido, whose calmly philosophical personality and selfless heroism are brought to light on the screen.

Luke Evans (Hobbit trilogy, steam punk Three Musketeers, live action Beauty and the Beast) portrays Wade McClusky, decorated air group commander whose reasoned instincts and willingness to think outside the box became critical elements in the outcome of the Midway Battle.

All these actors brought to life real heroes, instilling their performances with the respect and dignity those historic military fighters deserve.

There are no last-minute saves or inevitable wins, no cliched characters though some cast members portray composites of real people, no politically correct soft pedaling, no feminist agenda. This is historically based on the raw courage of the men who went toe to toe with a ruthless aggressor Empire, with only a handful of planes and the few patched up aircraft carriers which survived the Pearl Harbor sneak attack. These are the men who truly were the Thin Line between the west coast of America and conflagration by the Japanese Empire. The soldiers at Midway were the only thing standing between us and a brutal autocracy for whom the Geneva Convention meant nothing, and which slaughtered a quarter of a million Chinese as retribution for the aid given by a few dozen Chinese to a single American Squadron.

These men, many young and barely out of their teens, stood like the Spartans at Thermopalaye, with their homes almost in sight against an overwhelming Imperial military which would have shown no quarter, no mercy, no diplomacy and no compromise for anything west of the Rocky Mountains. Had the Japanese won at Midway there was a distinct possibility that everything from Seattle to San Diego would have burned, the citizens butchered or enslaved by the merciless occupying Japanese force, as they had done in China. As such, these desperate and disparate courageous men threw themselves against this juggernaut, with photos of their families tucked into the control panel, in planes technologically years behind the Japanese, flying missions which were often tantamount to suicide, with little regard for their own personal safety.

Writer Wes Tooke and director Roland Emmerich (Independence Day, The Patriot) show the stark savagery with which America was confronted, bringing to unvarnished relief the raw dauntless valor required of these American heroes. Robbie Baumgartner’s (Argo, Hunger Games) cinematography puts you in the flying seats with the pilots as they dive bomb in and out of the sky, challenging the limits of human endurance against incredible G-forces to survive the onslaught of anti-aircraft coming from the Japanese ships. The soundtrack by Harold Kloser and Thomas Wander (Independence Day, 2012)  is inspirationally stirring and evocative not only of the selfless patriotism of the country behind this effort but evocative of the very plane propellers and stuttering guns which flew like under-weaponed knights against this massive Japanese dragon.

So go see this tribute to great American soldiers who stood between us and a sadistic pitiless foe, who risked and gave their lives, not only for the just, or the good, but following Christ’s example, for every man, woman and child in America. Go see it, if for no other reason, than we owe it to their memory.

 

ZOMBIELAND: DOUBLE TAP – GOOFY GORY FUN

SHORT TAKE:

Sequel to the over-the-top zombie movie spoof about four survivors of a zombie apocalypse.

WHO SHOULD GO:

ABSOLUTELY NO CHILDREN! And only for adults who have a taste for gory macabre humor that pushes the envelope – like Shaun of the Dead, Cabin in the Woods, and the Evil Dead franchise. No sexual content of note aside from seeing two unmarried people in bed talking, but there is a lot of profanity.

LONG TAKE:

Let me make this simple: if you liked Zombieland then you will like Zombieland: Double Tap. There is nothing deep or philosophical about either of these movies. They are just plain old gory fun.

The premise of Zombieland: Double Tap answers that most pressing of all questions: Where are our intrepid heroes from the original Zombieland 10 years later?

The original cast returns as four survivors of a zombie apocalypse who form an ersatz family, fighting the undead with as much joie de vivre as possible. Woody Harrelson (Three Billboards Outside Ebbing, Missouri see review HERE, Now You See Me 1 and 2, 2012 AND lest anyone forgot, broke out as the sweet Woody Boyd assistant bartender in Cheers) is Tallahassee again, the leader of the group and the one who attacks zombies with the most creative and gleeful enthusiasm. Jesse Eisenberg (Social Network, Batman v Superman) reprises Columbus, Tallahassee’s sidekick. Columbus’ official romantic interest is Wichita, (Emma Stone – La La Land see review HERE), older sister of Little Rock (Abigail Breslin – Signs, Raising Helen).

To tell more than these bare bones would be to give away too much. Suffice it to say, ZDT is as clever and as campy as its predecessor, playfully turning the zombie genre on its head. Instead of characters cringing in fear and running in fright from the brain hungry mobs, this crew embraces the challenge of zombie killing the way others in a non-zombie world might embrace an extreme sport like skydiving into a shallow pool without a parachute or Safari hunting lions with a crossbow.

I must say zombie killing has been good to these guys. Zombieland was the first thing I ever really liked Woody Harrelson in, Jesse Eisenberg makes a far better Columbus than Lex Luthor, none of the actors, except Abigail Breslin appear to have aged a day and Little Rock couldn’t help it because she went from teen to young adult, and all of them seem to be having the best time of their lives.

Adding to the merry mayhem of people they meet along the way are: Zoey Deutch as Madison, Avan Jogia as Berkley,  Rosario Dawson as Nevada, Luke Wilson (brother of Owen and Andrew) as Alberquerque, and Thomas Middleditch (Godzilla see review HERE, Tag see review HERE) as Flag Staff.

The music is at turns perky folk Americana, upbeat, creepy, and sometimes all of the above at once, incorporating songs from Caddyshack‘s “I’m Alright” to Elvis Presley’s “Hound Dog”. (You’ll understand why each of them are included when you see the movie.)

The characters are self-aware, make fun of themselves, the genre, their characters and do not just break the fourth wall but don’t really seem to care if there is one or not.

Had the actors, writers (David Callaham, Rhett Reese, and Paul Wernick) or director (Ruben Fleischer) stepped back even an inch from the full steam ahead, break through the guard rails approach, Zombieland would not have worked.

As it is, this ultimate camp of the year zombie movie, for the demographic of those who prefer goofy in their gore, camp in their carnage, and do not mind more than a bit of grotesque with their humoresque, Zombieland: Double Tap is, in its own special and unique way, a delight. But please oh please, leave the kids at home unless you want to start the therapy fund early.

SOLO – GAP FILLER AND WELCOME “THROW BACK” TO THE ORIGINAL STAR WARS STYLE OF A NEW HOPE

SHORT TAKE:

FINALLY, a return to the classic style and pacing of the original family friendly clean agenda free (mostly) Star Wars, in the origin story of the one and only Han Solo.

WHO SHOULD GO:

Pretty much anyone. Not as violent as Rogue One and less cleavage than Carrie Fisher's gold metal bikini in Return of the Jedi.

LONG TAKE:

WARNING: CONTAINS A FEW CRUCIAL SPOILERS TO OTHER STAR WARS MOVIES.

When I was a kid I used to do jigsaw puzzles with my Dad. 300 piece, 500. I think the biggest one we ever did together was a 1,500 piece puzzle of the French Quarter at Night. Similar to this one.

No one piece stands out, except as you are fitting it into the bigger picture. Originally made from wood in 1760 and cut into pieces by a jig-saw, most jigsaw puzzles are now made of cardboard, but the fascination remains. Each piece has its own unique "personality" and has only one place where it will go to complete a bigger overall picture. While you are searching for just that right spot, that one piece becomes very important and you know, briefly, every detail of its shape – every tab and blank, edge and curve fitting specifically into one part of the tesselation that is a completed jigsaw puzzle. But then, when you figure out where it goes, its success is defined as how well it blends in with and disappears into the rest of the picture.

Solo reminds me of that – appropriate for such a movie to be named for a single, unpaired, individual – Solo is as unique in shape but as uniform in texture and picture as all the other Star Wars movies, so like a unique puzzle piece stands alone yet fits in beautifully to the overall picture. This is not a bad thing.

The point I’m making is that Solo fills an empty spot in the larger overall painting that is the Star Wars Universe. In the original films, Star Wars – A New Hope, Empire Strikes Back and Return of the Jedi  – there was a LOT of missing back story to Han that worked as a mystery then, but over time became niggling points for which people would enjoy answers. What was this card game from which Solo won the Falcon "fair and square" from Lando? How did Solo and Chewy meet? Where did Han come from? How did he acquire the skills he so effortlessly displayed as a smuggler? There was no mention of a gang or family business. No mentor or sponsor. Were there any women in his life before Leia? Why does Chewy stay with and take orders from this annoying, snarky, only marginally successful representative of a significantly physically weaker race? Were there any defining watershed moments in his past which would help shape this surprisingly complex character, who was part scoundrel with a soft heart and part hero with a large Machiavellian streak? Why are Lando and I the only creatures in the Universe that think Solo’s first name should be pronounced with a short vowel – Han – like hand or fan? And where did he learn to speak —- Wookie? Well – MOST of these questions are artfully answered, at least in part by the new Star Wars installment – Solo: A Star Wars Story.

Personally, I find the timeline for the release of the Star Wars movies very convoluted. We start with Star Wars, originally released as a stand alone movie in 1977 but then renamed Star Wars – A New Hope IV in 1981 when they started making the sequels. The SECOND Star Wars movie made, Empire Strikes Back was numbered V and Return of the Jedi – really the third born, was numbered VI. THEN they made Phantom Menace and the sequels to IT 16 years after the Return of the Jedi but were subsequently numbered I, II and III. THEN THEN Force Awakens and Last Jedi were made in 2015 and 2017 but they REALLY belong after Return of the Jedi which was released in 1983. But THEN THEN THEN Rogue One’s story belongs squeezed between number III – Revenge of the Sith (2005) and IV – A New Hope which was released in 1977, which REALLY should force a renumbering AGAIN if it weren’t for the possibility that the Star Wars fans might storm Lucasfilms and…..wait……that changed too. Disney bought them out.

Well.  *sigh*

Where does that leave Solo’s timeline you might ask? Crammed between Revenge of the Sith (III) and Rogue One, leaving LOTS of time BETWEEN the timelines of Solo and Rogue One to fill in more of Han’s life adventures before he basically…catches up to himself.

Alden Ehrenreich (pronounced ALL-DEN ERIN-RIKE – I know I got THAT correct as I listened for it on an interview with the actor!) is wonderful as the young Han Solo. A terrific actor in general he made quite an impression in the Cohen Brothers homage to 1950's movie genres, Hail Caeser, as an endearing, stalwart, naive Audie Murphy-type character. Ehrenreich has JUST the right twinkle in his eye, spring in his steps, mischief in his manner, unrelieved optimism in his own abilities, confidence in his mannerisms and slightly arrogant attitude that make him SO familiar to the Han Solo we grew up with. Yet this Solo is neither an imitation nor a caricature. Ehrenreich makes Solo his own but is so convincing that, like a reigning dowager at a family reunion you would have known who this young man belonged to just by watching him for 30 seconds.

Donald Glover (the scientist who figures out how to get The Martian home) plays a young brash Lando with the expected pinache and verve.

Peter Mayhew – all 7 foot 3 of him – now retired living in Texas, was the original Chewbacca. This mantle, or should I say "walking carpet," is now worn by Joonas Suotomo, a 6 foot 11 Finnish basketball player.

Emilia Clarke (Game of Throne’s Dragon Lady and the newest incarnation of Sarah Conner from the Terminator series installment Genisys) introduces a new ingredient into Solo’s early life – Qi’ra, a fellow street rat from his home world of Corellia.

Woody Harrelson (Zombieland, Glass Castle (see my blog) and 2012) brings his own unique but familiar style to the character of ringleader Beckett. Charismatic as always, Harrelson’s Beckett runs a troupe of highly specialized thieves who takes Han on in the middle of a job.

Thandie Newton (2012, Crash, HBO's Westworld series, Mission Impossible II) plays Val, a member of Beckett’s gang. As a side note I thought it was only me who kept confusing her with Star Trek’s new Uhura and Guardians of the Galaxy’s Gamora –

Zoe Saldana. For half the movie I was thinking: WOW Zoe is in EVERYTHING sci fi! I felt stupid when I discovered my mistake in the credits until I found these pictures and anecdotes about how other fellow actors confused them as well.

I mean, to be fair, they could stunt double for each other.

L3-37 – voice by Phoebe Waller-Bridge – is really the only sour note in the production. Intended, I suspect, to be their female version of C3PO, she is such an over-the-top feminist robot that she would have been better suited to an animated Shrek caricature or a replacement for Joan Rivers’ Dot Matrix in a Spaceballs sequel. So grinding was she that whenever she was on screen I couldn’t wait for her to be off. At least she makes Jar Jar Binks seem more appealing.

Finally, Paul Bettany plays Dryden Vos, a guy as bad as his Avenger’s Vision is Thor-hammer good. Bettany is fun to watch as he chews the scenary with calculated menace and the evil abandon required of any good Bond super-villain or Star Wars Hutt-style baddie.

Overall, I really enjoyed Solo. It’s completely family friendly. There is a bit of violence but no more than in the original Star Wars and less "cleavage" than in Fisher’s gold bikini in Return of the Jedi. The plot fills in a lots of gaps – like spackling over the holes in a well worn, well loved bedroom wall … or like one of the missing pieces of a puzzle, making it a very satisfying experience. Unlike the Last Jedi, which kind of trashed the continuity character of Luke, or the lame way they dispatched Han in Force Awakens, this story feels as Star Wars-ian as the original. It’s exciting, has lots of space races, neat aliens, is often funny and is basically a "throw back" in the BEST possible way, to the very first Star Wars – the foundational New Hope, which, personally gives ME hope that the Star Wars franchise might FINALLY be back on the right track..

OSCAR WINNER 2018 CEREMONY – AN ANALYSIS – WE GOT THEM ALL RIGHT!!!!

Now that the Oscars have come and gone I thought I'd made some observations. First off, if you listened to the Lake Charles' Best Sport Show culture segment on Sunday morning starting at 8:15 am CST, you would have heard Matt, Chad, Corey and my predictions, which were, if I say so myself – pretty good.

WE PICKED ALL THE RIGHT WINNERS! Unfortunately, the Academy didn't always agree with us.

Keeping in mind that we limited our picks to the nominees chosen by the Academy, we hereby present the REEL…I mean REAL…wait maybe I DO mean REEL…winners of the awards given annually by the Academy of Motion Picture Arts and Sciences, more familiarly known as Oscar since the 1930's when the Academy librarian mentioned she thought it looked like her Uncle Oscar.

In no particular order:

BEST ACTOR

Let's start with a nominee on which we all unanimously concurred. Gary Oldman's breathtaking performance as Churchill in Darkest Hour was a well nigh impossible hurdle for any other actor to overcome. In a role that obviously brought a lifetime of skill and experience to bear, Oldman WAS Winston Churchill for 2 hours and 5 minutes. For more details on this stunning performance in this great film click here – Darkest Hour

BEST SUPPORTING ACTOR

Next up, Sam Rockwell handily shone above all the other contenders INCLUDING his co-star Woody Harrelson who, had Rockwell not been so amazing, I think would have won. Rockwell's portrayal of the massively flawed but redeemable deputy Dixon in Three Billboards Outside Ebbing, Missouri earned this golden statue. Click on the name for my review. (As a side note I remember the first time I ever saw Rockwell. His performance in Galaxy Quest – the Star Trek homage/spoof/love letter was quite memorable. In what instantly became one of my all time favorite movies, he was arguably the most adorably goofy character in a tremendous ensemble of gifted actors including Sigourney Weaver, the late Alan Rickman, Tony Shaloub and Tim Allen.)

BEST ACTRESS

 In another example of where the Academy occasionally gets it right, the brilliantly talented Frances McDormand picked up her second best actress Oscar. The first was for the charming, very pregnant and easily underestimateable Sheriff Marge in the weirdly quirky crime comedy-drama Fargo at the 1997 ceremony. This one was for Three Billboards Outside Ebbing, Missouri. This round she is the desperately grieving mother of a murdered daughter who takes her frustration over the lack of progress out on the local constabulary, who are just as anxious to get results as she is. It is a case of two groups separated by a common goal who come to loggerheads because they can not find the real culprit. But interestingly, that is not what the movie is about. For more information on this complex and moving film see my review on Three Billboards subtitled: The Main Character is Not Who You Expect

BEST SUPPORTING ACTRESS

Here is where the Academy started to get it wrong. They picked Alison Janney for I, Tonya. A solid performance, certainly, in a dramedy/documentary about the life and scandal surrounding Tonya Harding and her complicity in the attack on Nancy Kerrigan just before the 1994 Olympics. While meaning no disrespect to Ms. Janney, as often actors are limited, obviously, by the roles they inhabit, Janney's character as Tonya Harding's mother was a monotone. Mrs. Harding was portrayed as a manipulative, abusive, emotionally calloused mother. She was not allowed, due to the nature of the script and person she was playing, to use much off the pallette of colors from those she was given. The result was almost a caricature of a person. Ms. Janney performed Mrs. Harding well, but it was by no means as challenging a part to play as the one tackled by Laurie Metcalf in Ladybird.

Laurie Metcalf's Marion is the mother of a rebellious, hormonal teenager struggling with her transition from child to woman. Marion actually has some traits in common with the notorious Mrs. Harding. Marion is distant and harsh at times, but despite her personal difficulties and conflicts with her daughter, manages to convey motherly purpose, love and conviction into a character that would have been unpleasant and unsympathetic in other hands. Metcalf's role was a very tricky hand to play. Too much and she would have been off putting, less and she would have seemed incapable as a mother. As it was Metcalf walked that fine ine between a flawed unpleasant character and a character with whom you feel empathy.

I have HAD the conversations Marion had with her daughter, Lady Bird – both as a daughter AND as the mother of a daughter, and I can tell you her portrayal was spot on.

For more on Ladybird see my review at: Lady Bird: To Anyone Who Knows a Teenaged Girl

BEST ADAPTED SCREENPLAY

There is no other way to describe the Academy's pick for best adapted screenplay as anything other than offensive and morally repugnant. Call me by Your Name was nothing but an attempt to lionize and romanticize pedophilia. Frankly, the author and everyone involved in the making of this movie should not have been awarded anything but jail sentences.

To be fair to the other nominees, I have to say I did not see any of them – mostly because I missed opportunities to do so and plan to catch up later. So, in this case, I deferred to my son who had at least seen Logan. He reported that Logan was an extremely good adaptation of the comic book series, exploring multi-dimensional character exposition while following the complex storyline set down by the original authors. If it later turns out one of the remaining three viable candidates did a better job, at least we can say that Logan deserved its place in the list of nominees.

BEST ORIGINAL SCREENPLAY

I saw all five of the nominees and I can safely say that not only is Get Out the best original screenplay – in that it was not based upon any pre-existing source material – but that it was – literally – one of the most original screenplays I have ever seen and certainly the most original of the nominees which included Lady Bird, Three Billboards Outside Ebbing, Missouri and The Big Sick, all of which were excellent. While in good company, Get Out still outshone them all in its innovative and creative story ideas, theme, plot and execution.

BEST ANIMATED FEATURE FILM

The Academy chose, Coco, what I thought was second best. They certainly chose the best CHILD'S animated feature film, but that is not what the category is. The category is for best animated feature film. I do not understand how they could compare Coco, which is what can only be described as a cute Halloween-like movie about a child searching for his grandfather among the dead, to the genuinely unique, classically and masterfully conjured  tour de force that is Loving Vincent.

Loving Vincent follows Armand, an ersatz and initially reluctant detective, who pursues the stories surrounding the death of Vincent Van Gogh. The entire film is animated using paintings made by hundreds of talented artists in the style of Vincent Van Gogh himself. The entire film is animated the way Vincent might have seen the proceedings. As satisfactory as Coco was, choosing it over Loving Vincent would be a bit like picking a cel from a Bugs Bunny cartoon over Starry Night. For more details on this daringly imaginative labor of love and brilliant masterpiece of animation, including links to where to obtain a copy, please see my review at – Loving Vincent – an Animated Biography.

BEST ANIMATED SHORT

At least the Academy got this right. Dear Basketball is a lovely inspirational animated film based on the poem Kobe Bryant wrote about his love of the sport, commemorating his retirement and presented at the ceremony honoring him for his lifetime achievements.

BEST PICTURE

The only positive thing I can say about the Academy's ill-considered choice of The Shape of Water as best picture is that at least they didn't pick the movie about the pedophile. Please read my review of this misbegotten movie at: Shape of Water – Offensive on so Many Levels.

There were many excellent choices to be had but hands down my pick would have been Darkest HourDarkest Hour features one of the best performances anywhere by anyone. Darkest Hour also is a detailed and fascinating account of a moment in time shaped by courageous men, great and small, who changed the course of history almost solely by their foresight, heroism, stalwart determination to stand up to the face of evil and refusal to buckle under the massive pressure of others' cowardice. Simultaneously, the movie openly presents the foibles, and occasionally almost whimsical personality of one of the most powerful men in history – Winston Churchill, humanizing him in ways that make it easy to believe we can all aspire to greatness in our own way, if we are but willing to self-sacrifice for honor and the protection of others.

I just do not see how they could reject such a magnificent film as Darkest Hour in favor of a movie which examines a woman's selfish and disturbing descent into bestiality.

CINEMATOGRAPHY

  I deferred on this category to my husband who is a gifted amateur photographer. After examining the work done in all of the nominated films he thought Dunkirk should have squeaked past Blade Runner 2049, though he admitted that Blade Runner 2049 demonstrated exceptionally good craftsmanship in that art. So I am pretty content with the Academy's choice of Roger Deakins for Blade Runner 2049 here.

COSTUME DESIGN

I know just about nothing concerning fashion and whether or not a particular costume was brilliantly recreated, difficult to construct or pulled off of a rack at Walmart. Therefore, I figure it is safe to assume that Mark Bridges' acquisition of that award for his work in Phantom Thread ABOUT a fashion designer is a pretty good bet. besides, the dresses are really pretty. LOL

BEST DIRECTOR

My objections to The Shape of Water are the same as those given above for Best Picture only more so as the director of a film is the captain of the ship and therefore the court of last resort and where the buck stops for the disaster or masterpiece which is created.

To my thinking, even had The Shape of Water not contained such offensive elements, Jordan Peele deserved the best director Oscar far more for Get Out. Jordan Peele both wrote and directed this fable exposing the truth behind the smug and smarmy smiles of wealthy elitist white liberals towards minorities whose lives they carelessly use like so much marketplace clutter.

Mr. Peele's use of sound and cinematography, fantasy elements and music, editing choices and plot twists all managed to deftly balance across a tightrope between horror and humor, creating a movie the likes of which I have not ever seen. Although there were many creative people involved and he did not singlehandedly make this film Mr Peele was the one who chose amongst an infinite choice of elements available to him to scupt this mesmerizing tale. Again, as the captain of this shiop he deserves the kudos, just as del Toro deserves the disapprobation. Hitchcock, I would be so bold as to guess, would have enjoyed Get Out, so suspenseful and woven throughout with intrigue, misdirection and cleverly laid clues it is. I can not help but wonder if the shoe Mr. Peele constructed of liberal hypocricies fit just a bit too tight for them to be comfortable in conferring the award Mr. Peele so clearly deserved.

FILM EDITING

Another choice where the Academy got it right. Dunkirk was chosen. The filmmakers had the interesting challenge of how to present one story wherein a certain aspect took place over a period of weeks, another essential element took days and a third was only a matter of hours. And I think the editor, Lee Smith, cracked this nut quite effectively and cleverly.

MAKEUP AND HAIR STYLING

One of the few others that the Academy chose wisely. Although Wonder was brilliant the makeup for Darkest Hour was transformative. Not only Gary Oldman's face but his entire body structure was altered to reproduce the distinctive Churchill physique.

ORIGINAL SCORE

All of the music in all five of the nominees was beautiful and I will not begrudge the fact that The Shape of Water won for what is rightfully a lovely score by Alexandre Desplat, but you think they would have at least thrown a bone to Star Wars: The Last Jedi. I mean it IS John Williams!!

BEST ORIGINAL SONG

While "Remember Me" from Coco , the song chosen by the Academy, was kind of cute in a harmless, innocuous, forgettably Disney-ish sort of way, I can't remember how it goes off the top of my head. But "This is Me" by Benj Pasek and Justin Paul from The Greatest Showman should have won.

"This is Me" is the kind of song that will stick with you – not only because it is very catchy and fun to hear and sing, but it is inspirational and uplifting and is something you will want to recall in moments of frustration or challenge or even despair. "This is Me" is an anthem for those who are determined to pick themselves up and start over, who desire nothing more than to be left alone to strive for greatness without the burden of artificial obstacles placed in their way by interfering hypocritical cliquish elitists who think they are better than others because of the privilege to which they were born – oh wait, now I see why the liberal elite in the voting Hollywood establishment didn't want to pick it. Silly me.

PRODUCTION DESIGN

OK I'll give The Shape of Water this one as one it might actually have legitimately won. Although all the nominees created amazing worlds, there is an argument for the dream and water worlds created in Shape of Water. It is just a shame they didn't put these beautiful sets to better purpose than this egregiously misanthropic excuse for extreme selfishness and sexual depravity.

SOUND EDITING and SOUND MIXING

To me these awards were a toss up between Baby Driver and Dunkirk, and Dunkirk won. The challenge of combining dialogue, sound effects and music into a cohesive whole must have posed an especially creative challenge given the surroundings ran the gamut from inside a metal ship run aground to the open sea to being able to reasonably hear over World War II aircraft during a dog fight, sounds one might hear underwater, explosions and the clacking of boots on empty streets. I can applaud and respect this choice.

VISUAL EFFECTS

Lastly, Blade Runner 2049 earned its award for visual effects handily in the world of red lighted dust, dark rain swept vistas and holograph enhanced interactive environments. It's beautiful but stark and intimidating world deserved its win.

DOCUMENTARY FEATURE

DOCUMENTARY SHORT

FOREIGN LANGUAGE FILM

LIVE ACTION SHORT

Sadly I saw none of the nominees for these last four categories.

Let me know in the comments what your favorites were in any or all of the categories. If you like, present a convincing argument and I might post it as all or part of a guest rebuttal.

Thanks for reading!

 

 

 

MY FAVORITE 2017 MOVIES

I thought I would start the new year with a review of the previous. It's always a good idea to know where you have been before you set forward into new territory.

To that end I have chosen what I thought were the top dozen movies of 2017. Do keep in mind this is not an exhaustive list and there are some movies I suspect would have made the list had I had the opportunity to see them. Among those I happily expect to be wonderful but I have not yet seen include: Darkest Hour and Loving Vincent. They will just have to be evaluated in subsequent blogs.

NUMBER ONE BEST MOVIE OF THE YEAR BAR NONE:

MURDER ON THE ORIENT EXPRESS

Kenneth Branagh's absolutely brilliant and stunningly beautiful rendition of Agatha Christie's most famous and popular book – about a group of strangers stranded on a snowbound train with an unsolved murder. Not only is this the best example of its genre, I think it is the perfect movie.

NUMBER TWO:

THE GREATEST SHOWMAN

Musical based on the spirit if not the specific details of the life of PT Barnum – hailed as the father of the modern circus. Con man, philanthropist, businessman, devoted family man, flawed human – the movie uses this amazing historical figure to explore the question of what is it that makes life worthwhile.

NUMBER THREE:

WONDER WOMAN

DC FINALLY hits a major home run with the most unlikely of B list comic book supers. Gal Gadot  IS Wonder Woman. Exciting, moving, funny, inspiring, spectacular special effects – set during World War I this movie exemplifies the virtues of courage, self-sacrifice, and altruism all tied up like a Christmas present with the beautiful wrappings of a superhero adventure. This is what a superhero movie should look like.

NUMBER FOUR:

MARSHALL

 Chadwick Boseman plays a young Thurgood Marshall. While this significant historical figure will grow up to be the first black Supreme Court Justice, we meet Marshall early in his career – defending a black man against charges of raping his white female employer. Marshall is saddled with an unlikely partner – a Jewish attorney, Josh Gad, who wants nothing to do with the notoriety this case will bring. Both discover that nothing and no one is as simple as it seems. Boseman and Gad have such good chemistry I'd look forward to watching them together again in anything. And the case plays out like the best of anything Perry Mason ever tried.

NUMBER FIVE:

WONDER

  You can't tell a book by its cover. Wonder is a story inspired by the troubling encounter the author had between her child and a severely facially disfigured child. Wonder explores the world from the point of view of a similarly genetically challenged child – Auggie – played by Jacob Trembley, his sister Via, his best friend Will and Via's best friend Miranda. The brilliance of this movie is that we discover that everyone is guilty of misjudgement – including the title character and ourselves, the audience. Featuring the performances of Julia Roberts, Owen Wilson and Mandy Patinkin as warm and caring parents and school principal, Wonder is a delightful movie for all ages.

The rest of the movies I can not faithfully place in any one order. It would depend on what mood you are in and in which genre it fits.

GLASS CASTLE

Jeannette Walls (Brie Larson) reminisces about growing up in her dysfunctional family headed by her brilliant, creative, and devoted but tragically alcoholic father (Woody Harrelson). Glass Castle is a coming to understanding that even a parent with egregious flaws can bequeath the irreplaceable parental blessings that come with unconditional love and support.

THOR: RAGNAROK

Chris Hemworth and Tom Hiddleston return as the conflicted brothers Thor and Loki in this installment of the Thor franchise. Cate Blanchett appears as Hela, the goddess of death who has escaped exile to take over Asgard. The title reveals the conflict as Ragnarok is the name of the Viking Armaggedon – the end of the world. Sounds like heavy going, but the writers chose to include a comic element which lifted the mood considerably. While admittedly a point of debate, personally I loved the new injection of a lighter tone and Guardians of the Galaxy-style humor in the previously Shakespearean melodrama that used to define the Thor stories.

PIXAR CARS 3

  Hands down the best of the trilogy. Cars 3 retains its child-like animated heart but stepped up its game considerably to give Lightning McQueen (Owen Wilson) a character arc and plot worthy of a live action movie with humans. Well done Pixar!

DUNKIRK

An intense, moving and inspirational account of the "little ships" captained by everyday sailors, ordinary fishermen and weekend boaters, who, facing great peril, came across the English Channel to rescue British and French soldiers surrounded by Germans, straffed by the Luftwaffe and stranded on Dunkirk beach. Starring an ensemble including Mark Rylance, Kenneth Branagh, Tom Hardy, and Cillian Murphy this is as important, and at times as difficult, to watch as Saving Private Ryan.

THE LEGO BATMAN MOVIE

 Oddball sequel to the original Lego movie, this is at once a homage and parody to every Batman movie and TV show ever made. Not without, frankly, dumb moments and slightly incomprehensible plot holes and cameos, you must remember this is all really just supposed to be in the mind of a child playing with his toys. Featuring vocal talents including: Ralph Fiennes, Channing Tatum and Hector Elizondo, it's a hoot. Just turn your brain off and enjoy The Lego Batman Movie with popcorn, Raisonettes and a sense of humor.

SPIDERMAN: HOMECOMING

Toby McGuire was too angst-y. Andrew Garfield, while a terrific actor in his own right, was simply miscast as the webswinger – much like Eric Stoltz, a fine performer, just wasn't right as Back to the Future's Marty McFly and had to be replaced. Tom Holland, however embodies Spiderman more, I think, than the original comic book creation – bringing a refreshing wide-eyed child-like naivete to the character expressing an adorably delightful hero worship for his fellow Avengers. And Holland, the actor, still manages to hold his own against the absolutely brilliant veteran Michael Keaton who portrays the mysterious multi faceted villain.

THE STAR

Last but most assuredly not least is the wonderful animated version of the Biblical retelling of the Annunciation and Nativity – only told from the animals' points of view. Primary is miniature mill donkey Bo who longs to be part of the Royal procession but is "stuck" with the family of this poor carpenter…..an irony everyone over 8 will understand. This delightful story is told with Biblical accuracy, appropriate deference towards the gentle heart who is the Blessed Virgin Mary, and a lighthearted but respectful appreciation for the beleaguered Joseph who fears he is in over his head but who stalwartly steps up to the plate to protect his wife and the Son of God she carries.  Alone, the tale of a donkey who aspires to a position for which he is obviously unfit  would be cute. Woven about around the Biblically accurate betrothal, marriage and journey to Bethlehem of Mary, Joseph and the unborn Christ child it becomes an unusual and welcome new look at the story of the Holy Family from a fresh point of view. Religious meditation often advises we contemplate a Biblical event from a new perspective. I would venture to say that, although a child's animated movie, The Star rises, because of the material and the respect with which it is treated, to a kind of meditation on this most important event in the history of mankind. The Star, itself, shines as a beautiful example of what childrens' stories can be – appealing to children but substance for the adults who bring them as well.

MAY YOU HAVE A BLESSED 2018! SEE YOU AT THE MOVIES!

THE GLASS CASTLE: A TRAGIC LOVE STORY BETWEEN A FATHER AND DAUGHTER

Every daughter, some day, has to face the fact that her father – her hero, her protector, her guide through life, her knight in shining armor, her story teller and provider – is human. The Glass Castle is an incredibly beautiful parable of a child’s arc from hero worship through reality check to genuine appreciation of the good man and father he has been their whole life. Jeanette Walls lived this parable – albeit an extreme version – and tells about it in her autobiographical novel turned film.

Her father, Rex Walls is very intelligent, fiercely loyal and protective, devoted husband and father. Doting, creative, skilled, anxious to spend and share every moment of his life with his children. Unfortunately he is also an irresponsible alcoholic whose drinking loses him job after job, forcing his family to live a nomadic life in a series of decreasingly appropriate homes. Rex is a class tragic hero – a noble man with one serious flaw which brings down himself and everyone around him. His wife has either personality or mental issues as she blithely spends all her free time and attention painting while her children go without food for days. The four children, as a result, essentially raise each other.

The movie is seen through the eyes of the second oldest daughter, Jeannette. When we first meet her, she is a successful and wealthy journalist who finds that circumstances, and her parents decision to follow her to New York, forces reminiscences of her childhood and teenaged years to the surface. Her and her siblings’ life experiences growing up ranged from magical to tragical as Rex spun yarns of plans we know he will never fulfill but which his children believe in wholeheartedly — for a while. The tragedy emerges with the slow realization by Jeannette, his favorite child, that Rex lives his entire life as a could’ve-been. The title Glass Castle comes from the enduring myth Rex creates of building a home made of glass through which they can always see the outdoors and, most importantly, the stars at night. He talks of and draws working blueprints on and off for decades but never actually completes any significant steps towards accomplishing this goal. Sadly, Rex was gifted, trained, creative and intelligent enough to probably really build it had he been able to stop drinking. But, despite one several month period of abstinence, drinks himself towards death – the death of himself as well as his dreams.

The Glass Castle has brilliant visual as well as interpersonal metaphors. For example, the site of their planned "castle" home is, piece by piece, eventually neglected, forgotten and finally made into the family garbage dump. The image of a glass castle itself is a brilliant analogy for the preposterousness of Rex’ lifetime plans, the transparency with which Jeanette bares her honest and self aware soul and family warts and all to her audience, the concept – unspoken – of the emperor’s new clothes which are nothing more than fabrications made of spun words which a trusted child will eventually expose, and finally the fantastic dream which Rex had for his children of a magical childhood which he would never provide.

Harrelson is positively amazing in this role which could have gone wrong so many ways: too much and he would have been a jester to be ridiculed. Too little and he would have just been pathetic and contemptuous. But Harrelson at once conjures a character who is adorable, somewhat frightening, occasionally cruel, the ideal father, and a parental nightmare – all together and sometimes all in the same moment. Harrelson’s performance would have deserved an Oscar – if the Oscars were the legitimate award they once were and not the politically correct token they have become.

Brie Larson does a heartbreaking job of portraying the grown Jeanette Walls – forced to put up emotional walls (Jeanette’s last name a GIFT of verbal analogy with which she was born) and Naomi Watts is solid as the selfish self-indulgent facilitator mother who has mental and emotional issues of her own.

But serious kudos also belong to Ella Anderson who plays the young Jeanette who travels from adoring believer in all of Rex’ plans and the last to lose faith in him to the disillusioned angry young woman who unites her siblings in a contract to escape from the deteriorating reality of their parents’ lives. While there’s nothing more zealous than a convert, as MY father used to say, there’s nothing more vengeful than a betrayed devotee. And the young Ella lays the groundwork for the character of Jeannette with which Brie Larson follows through and the baton passing from Ella to Brie is a masterful and convincing accomplishment.

But for all of the depressing moments in this sometimes difficult to watch film, there is an underlying foundation of optimism and a deep abiding love between Jeanette and Rex which can not help but break through like sunlight dappling through fall colored leaves. Rex’ betrayals of her trust is the source of Jeannette’s biggest disappointments but his unconditional uncompromising love and belief in her is the wellspring of her strength. Go see The Glass Castle – a tragic love story between a father and daughter ………….. then go hug your Dad.