More potential 2018 Oscar nominees with Mary Poppins Returns, Mamma Mia! Here We Go Again and Peppermint

12/15/18 Peppermint, not yet nominated, 2018

When I saw the previews for Peppermint, I thought it would be good for Netflix, and I was right. It's a good revenge movie starring Jennifer Garner as Riley North, a mom and wife whose husband and daughter are shot by order of a drug lord. After the trial fails to produce any results that resemble justice, Riley takes things into her own hands. There may be something twisted or cathartic (depending on your point of view) about enjoying revenge movies like this where someone just goes batshit crazy on the bad guys. The protagonist learns martial arts, uses explosives, becomes a computer/tech whiz, takes punches, but gives harder ones, and man, do we feel better. I did wonder what the movie would have been like if we could have gotten a glimpse into her training routine, because how did she go from working in banking to being an assassin? There's some intrigue, a little twist, but I didn't think it was a deep thinking movie, and that was fine with me. I didn't watch Alias with Garner, but I recall from clips that there was some martial arts and other similarities with Riley North, so maybe Garner was looking to return to a more action packed role. And that's no judgement for me; if men can do it, why can't women? If you're looking for a movie to watch with some friends over pizza and your beverage of choice, add this one to the mix. As for Oscar nominations, it's a longshot, but action movies like this always carry the possibility of sound editing/mixing nominations. 

12/20/2018 Mary Poppins Returns, not yet nominated, 2018

I was skeptical about Mary Poppins Returns, and I don't think I was alone in that. Julie Andrews will forever be Mary Poppins and "Supercalifragilisticexpialidocious" and "A Spoonful of Sugar" are the songs she sings, so I think it was really brave of Emily Blunt to take on the role, although not in a remake, but a long-delayed sequel. The movie is set in the 1930s, around twenty or twenty-five years after the original, so some characters have moved on, while others have aged. The Banks family is once again Mary's raison d'etre, (certain things will be left out since the movie just came out this week and I do not want to spoilt it), and her accomplice isn't Bert the chimney sweep, but Jack (Lin-Manuel Miranda), a former apprentice of Bert's who is a lamplighter. Michael (Ben Whishaw) and Jane (Emily Mortimer) Banks are trying to take care of Michael's children since his wife died. Even though we never meet her, we get the clear impression that she handled everything, and Michael is struggling mightily, hence Mary Poppins. I think it's a good ten or fifteen minutes (that's what it felt like) until Mary makes her grand entrance, and almost immediately, I was engaged in the story. There are a lot of songs, and lots of possibilities for nominations; there is the combination of live action with animation, just like in the original; instead of the chimney sweeps dancing, the lamplighters have a show stopping number; and there is a financial kerfuffle that could cost the Banks' their family home. Through it all, Mary handles the children and the various adventures with aplomb and calm, never getting flustered, which is what we all want from Mary Poppins. The movie sets and costumes are beautiful and colorful, more opportunities for nominations. I liked the movie, and perhaps over time, I will love the movie, or at least hold it in my memory with the same affection as the original. I'm not sure what is holding me back, because I thought Emily Blunt was tremendous, demonstrating her ability to sing and dance, all with a very posh attitude, with a touch of cheekiness; Lin-Manuel Miranda was very good, but something about the Cockney accent bugged me; the children were good as well (although I had to laugh every time they did something, my friend would say "I hate children"); and there are stars sprinkled throughout the film, in big, little and surprise roles (Meryl Streep, Colin Firth, Julie Walters to name a few). One of the big problems I had was the character of Michael Banks seemed to suck the life and joy out of every scene he was in (perhaps that was the point, but I was noticeably happier when he was offscreen). I am glad I saw this in the theater.

12/22/2018 Mamma Mia! Here We Go Again, not yet nominated, 2018

If I thought too hard about Mamma Mia - Here We Go Again, I probably couldn't watch it with a straight face; there are too many things that defy logic, reality, time travel and singing ability. The only thing I care about is the music, and thanks to this movie, and its precursor (which began life as a theatrical musical), the music of ABBA will pretty much never die. The characters from the original film return (Meryl Streep, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth and Stellan Skarsgard), with a few key additions, including Lily James as a young Donna and Cher as Donna's mother and Sophie's grandmother. The story goes back and forth between young Donna, who having just graduated from Oxford, goes off to have adventures around Europe before she settles on an idyllic Greek island, and current day with Sophie (Amanda Seyfried) getting ready to reopen Donna's hotel. The best thing about the movie is it introduces some of ABBA's lesser known songs (well, I knew them, but I'm guessing a lot of people didn't) like "When I Kissed the Teacher" (which took a strange turn and also had a cameo appearance from Bjorn Ulvaeus), "Why Did It Have to Be Me" and "Andante, Andante"; of course, there were well known gems, like "Waterloo" (featuring Benny Andersson on the piano), "Dancing Queen", "Knowing Me, Knowing You" and perhaps the biggest number is "Fernando" sung by Cher (I hope I didn't ruin that bit, but I thought it was common knowledge she was in the movie). The locale is beautiful, with filming being done in Croatia on the island of Vis, and the songs are terrific; the acting is good, but the story just seemed hit and miss for me. I hope they quit while they're ahead.

12/24/2018 Gosford Park, Best Original Screenplay, 2001

Since Gosford Park has been on cable at least twice this past week and I watched it, I figured I should review it. There is something about this Robert Altman movie that I have always liked, having seen it originally in the theatre and watching it when I find it on television. It is set on an English estate in 1932 and has a full cast of characters, above and below stairs and adds in a good old fashioned mystery. Julian Fellowes, who later created "Downton Abbey", wrote the Oscar-winning screenplay. The main plot involves the lord of the manor, Sir William McCordle (Michael Gambon) and his wife, Lady Sylvia (Kristen Scott Thomas), who are hosting a hunting party on their estate; the guests include gossipy cousin Constance, Countess of Trentham (Maggie Smith); actor, Ivor Novello (Jeremy Northam); American film producer, Morris Weissman (Bob Balaban). The below stairs cast include Helen Mirren as Mrs. Wilson, head housekeeper; Eileen Atkins as Mrs. Croft, cook; Emily Watson as Elsie, head housemaid; Clive Owens as Mr. Parks, valet to one of the guests; and Ryan Phillippe as Mr. Denton, valet to Mr. Weissman. Like most Altman films, there are a variety of subplots involving upstairs, downstairs and many that crossover between the two. All of these are happening even as someone is plotting a murder.  There are so many things going on, that even after watching it more than four times, there are new nuances that I picked up. If you enjoy "Downton Abbey" and have not yet watched this, I think you will enjoy it, Maggie Smith gets ready for her role as Dowager Countess of Grantham. Helen Mirren is wonderful as always, Ryan Phillippe is creepy as valet Denton, Gambon does not at all resemble Dumbledore. It really is a feast of wonderful actors in large and small roles. I feel like I have seen so many movies lately that I can barely get through one time, that I feel really pleased that I can watch a seventeen year old movie and still enjoy it.

2018 potential nominees: Crazy Rich Asians, The Favourite, Bohemian Rhapsody

12/8/18 Crazy Rich Asians not yet nominated, 2018

I realize I may be alone in this, but I really hated this movie. I'm sorry, I thought most of the acting, with the exception of Michelle Yeoh (Crouching Tiger, Hidden Dragon) and Constance Wu (Fresh Off the Boat), was horrible, ridiculously exaggerated. I totally understand and get that it was a big deal for a major motion picture to have a totally Asian cast and be a huge hit; I won't downplay the importance of that, however, I don't think the movie itself was worthy of all the praise heaped on it. It was lavishly designed, and I wouldn't be surprised if it received several nominations for production and art design. The story, of a man and woman in love but from two different worlds, is really not a new one; in fact, you could substitute several different ethnicities, and have a similar story. I enjoyed the soundtrack, and I liked Awkwafina's performance, which was over the top, but it fit the character and the cartoony nature worked. There were several times I wanted to poke my eyes out or at least take a nap, but I thought I should really stick with it. Ugh, just ugh.

12/15/18 The Favourite, not yet nominated 2018

Sadly, I paid full price for this 'gem' in a theater, happy birthday to me. The best thing was I was with a pal and so I didn't suffer alone. I had zero idea what the film was about before we went to see it, just that it was loved by the critics and had a lot of potential for Oscar nominations. That was all I needed to say yes when my friend wanted to see it (yes, totally blaming someone else). What a pretentious piece of shit. Directed (although not written) by Yorgos Lanthimos (writer and director of The Lobster and another awful movie, loved by the critics, Dogtooth). The movie is about the Queen Anne period in English history, and I'm not talking about the furniture. It's a time that isn't often covered in movies, which often feature Queen Elizabeth I or II, Henry VIII, Queen Victoria, and maybe the Georgian period. It's really about the relationship between Queen Anne (Olivia Colman), her 'favourite' the Duchess of Marlborough, Sarah Churchill (Rachel Weisz) and Sarah's rival, Abigail Hill (Emma Stone). The performances are wonderful and strong; the women are portrayed as smart, conniving, survivalist and independent (although in the case of Queen Anne it may not seem that way). It was nice to see a movie star three strong female characters, and while there were a couple of male characters with significant dialog (Nicholas Hoult as Robert Harley and Joe Alwyn as Samuel Masham), they really served the female leads. There are some historical facts in the movie, but I hope people don't use it as a history lesson. Queen Anne is most often shown as being whiny, childish, demanding and a little on the unstable side. We are given to understand one of the reasons for this is because she has had 17 children who have all died. The Duchess of Marlborough and the Queen have been friends for years, and it seems that the Duchess may be taking advantage of that relationship, and when Queen Anne, in a moment of pique/spite/sanity chooses to elevate Abigail Hill to a higher position in her household, creating jealousy between the two women. It's categorized as a comedy-drama, but I didn't think there was that much comedy, at least not the type of comedy I like or find funny. There are some beautiful costumes and sets, so there may be some nominations there, as well as for one or more of the performances. The classical music of the period was lovely, I love a little Bach, but the more modern components made me consider sticking a sharp object in my ear. If you feel you need to see potential Oscar nominees, then you probably need to see this, otherwise, honestly, spare yourself.

12/16/18 Bohemian Rhapsody, not yet nominated 2018

I was so afraid that I missed Bohemian Rhapsody in the theater and someone told me that you really have to hear it with the big screen sound, so I was thrilled to find out it was still playing at my neighborhood theater. Bohemian Rhapsody tells a story of the band Queen and its charismatic front man, Freddie Mercury. I'm not going to go into all of the controversy around the telling of their origin story, Mercury's struggle with his sexuality, his fight with AIDS, or the casting decision to dump Sacha Baron Cohen (or did he dump them) in favor of Rami Malek as Mercury. You never get the full story, even when (or especially when) the subjects are involved in the project, and I don't know if anyone would have been happy with a gritty, dark look at the band. I was so happy with the movie (especially after that horror show from the day before), singing (in my head) along to the songs, and crying (ugh, yes) at the scenes from Live Aid and the end. For younger people, like my brother, this is 'history', for me, it was part of my life: playing "We Are the Champions" in the fourth grade; trying to figure out why I liked "Another One Bites the Dust" even though I tried not to; reading stories or hearing rumors about Mercury's sexuality (especially after some of the leather outfits he was wearing); and watching Queen's electric Live Aid performance as it happened; and listening to Queen's last studio album and learning that Mercury was dying of AIDS. These weren't things my mother told me about, or I watched in some retrospective, it was my era (as my brother said). Anyway, sorry about the diversion into Nostalgia Alley. Rami Malek is spot on as Mercury, and actually most of 'the band' is on target, I only had a real problem with Ben Hardy as Roger Taylor, but I can't quite put my finger on why, I think it was the hair; just bad. Gwilym Lee as guitarist extraordinaire, Brian May and Joe Mazzello as bassist (and resident funk fan) John Deacon also seemed to hit the mark. The band had fifteen albums and it seems the film barely scratches the surface in that regard. The movie portrays the long term romantic relationship turned friendship between Mary Austin and Mercury, how accurate that portrayal is, I don't know, but it was very important to Freddie and the story. The movie traces the origins of the band and very quickly moves through key moments, like creating the song "Bohemian Rhapsody" and different tours (I will say, those moments seemed like the lamest cinematically, the sets for the 'concerts' looked cheap and half assed) to internal conflicts which always seem to get resolved, like a family resolves its quarrels, to Freddie's split from the band and their reunion for Live Aid, and Freddie telling the band he had AIDS. Essentially the film packs in twenty years of history and anthemic songs into a little over two hours, and I think it does it in an amazing and powerful way. Normally, as you may recall, if a movie goes over two hours, I'm usually getting antsy by the 90 minute mark, but in this instance, I could have sat there for another hour. There was a bit of sadness (or there was for me), but also something uplifting about the movie and reconnecting with that music; so much so that I will be seeing Queen with Adam Lambert in St. Paul in August. I don't think the score or soundtrack can be nominated for an Oscar, but hopefully sound mixing/editing, maybe production or hair and makeup and costume, and perhaps even a Best Actor for Malek. 

Moulin Rouge times two and Bette Davis in Dark Victory

11/10/18 Dark Victory, 1939
I've been reading a lot of biographies lately of actors, and recently I finished Ed Sikov's book Dark Victory: The Life of Bette Davis, and became interested in seeing Dark Victory. Davis was nominated Best Actress for her role as Judith Traherne, but lost to Vivien Leigh in a small film called Gone with the Wind. Judith is a spirited socialite who begins to get mysterious headaches. The headaches are diagnosed as something much more serious by Dr. Frederick Steele (George Brent). Despite surgery, Judith is getting worse, but Dr. Steele, who later becomes Judith's husband, and her best friend Ann (Geraldine Fitzgerald) decide to keep the news from Judith. Bette Davis had a big personality and so does Judith Traherne who is determined to live as full a life as she can, until she can't any longer. I read about the movie in the biography, so I wasn't surprised by the ending, but I paid a lot of attention, and was really moved by Davis's performance. Even when Davis is over the top, it's hard not to watch, you want to see what she'll do or say. Dark Victory was very good, Davis was at the top of her game, Humphrey Bogart, as Michael O'Leary, has a terrible Irish accent. I wouldn't recommend this as a holiday film, it's a bit of a downer, but perhaps something for the winter nights ahead. (I can't even say I can cross this off a list :( ).

12/1/18 Moulin Rouge, Best Art Direction, Best Costume Design, 1952

Jose Ferrer stars as Henri de Toulouse-Latrec in this gorgeous film written and directed by John Huston. The opening fifteen minutes of Moulin Rouge are some of the most colorful I've seen. Eye popping. Moulin Rouge is set in 1890s  and early 1900s Paris and centers on Toulouse-Latrec and his melancholy life of one-sided love affairs with prostitutes, a disappointed father and the life long affects of a childhood accident that stunted his growth. Ferrer does double duty as Latrec and his father, and in the days before CGI, Ferrer came up with some unique ways to portray the short painter. Latrec painted scenes of Paris and Parisian life in the cafes and nightclubs and Huston brings them to life. If you're looking for an art history lesson on the Post-Impressionists told through cinema, double this up with Lust for Life about Vincent Van Gogh (Kirk Douglas).


12/1/18 Moulin Rouge!, Best Art Direction, Best Costume Design, 2001

I didn't realize until I just typed it out that both Moulin Rouge films were nominated for many Oscars, but only won two, and they won the same two awards. That might be a coincidence, but it was no coincidence that I watched (re-watched) both movies on the same day; they were actually packaged together from the library. Serendipity. There is no doubt that the Baz Luhrman-directed film is full of bombastic color and extraordinary costumes and sets, or that I did, in spite of myself, enjoy the soundtrack, but other than that, meh. I understand I am probably in the minority, but I really didn't like the film as a whole, in fact, I vaguely recall falling asleep the first time I watched it. Style above substance works for me in short bursts, but two hours was too much (it felt a lot longer). This version of Moulin Rouge does have a place for Toulouse-Latrec (this time played by John Leguizamo), but focuses on struggling writer, Christian (Ewan McGregor) and his love affair with the lovely, but doomed, Satine (Nicole Kidman), and the motley crew that surround them. I am so disinterested, which is probably why it took two weeks to write this crap of a review. I'll do better.

Slogging through The Lists: Black Narcissus, Albert Schweitzer and a paean to Garlic

If this was my regular job, I would have been fired by now. It's not that I haven't been watching movies, clearly, if you look at the list of films below, but I have found myself easily distracted by planning my trip to Iceland (see my companion travel blog) or not all that inspired by the films. It dawned on me that Oscar nominations will be coming out soon and I'm way behind on 2018 movies, so I best get a move on for this backlog. I will ask for your indulgence, yet again, for any skimpiness in the following reviews.

11/7/18 Black Narcissus, Best Art Direction, Best Cinematography, 1947

The best thing about this film is the cinematography because the story is so full of holes you might think you're eating Swiss cheese. The movie is set in a convent in the Himalayas where the Anglican nuns want to start a hospital and school in a former seraglio (for the harem in a past age). There are a couple of different stories going on, none of which are told very completely. Sister Superior Clodagh (Deborah Kerr) is running from a failed romance in Ireland and trying to focus on her new project, but Mr. Dean, who is the British liaison between the convent and the local prince, is an unwanted distraction. Dean has no respect for the church or propriety as he wanders in and out of the Sisters' quarters in skimpy clothing, sometimes drunk. Sister Ruth (Kathleen Byron) has some emotional or mental issues that are alluded to, but never fully explained, which is annoying because they are kind of important to the story. There is another storyline involving the heir to the throne falls in love with a lower caste dancing girl (Jean Simmons). I think I might have enjoyed the film a lot more if the story wasn't so badly told. I did enjoy the photography which brought incredible colors and shadows to the screen. 

11/9/18 Albert Schweitzer, Best Documentary, 1957

I did a report on Doctor Albert Schweitzer back in fifth or sixth grade, and I thought he was a pretty amazing man back then. I've learned a little more over the years, and was looking forward to watching this Oscar winning documentary. The film showed Schweitzer at home in Germany as well as in Gabon, Africa, where he carried out his missionary work. The documentary was made while Schweitzer was still alive, and is more of an homage to the man and his work, than a completely objective documentary. Of course, the way we look at something in the 21st century is different than the lens used in the late 1950s; views on colonialism, paternalistic attitudes, medical treatments have changed, and a modern documentary might portray Schweitzer in a different way. The documentary was informative, and it was interesting to see footage of Schweitzer and his family and his colleagues, but the narrative was less satisfying. I think I would recommend reading a good biography instead of watching this film.

11/9/18 Chan is Missing, 1982, National Film Registry

Chan is Missing is set in San Francisco in Chinatown, and features a nephew and an uncle who are hoping to get their own cab license. Along the way, the man who was helping them, Chan Hung, goes missing, and Jo and Steve start looking for him. The film doesn't seem like a 1982 mystery, more like something from the 1940s or 1950s, which was kind of the goal. There were parts of the movie I really liked; I thought the uncle (Wood Moy) was an engaging narrator, and those were my favorite parts of the movie. I'm not familiar at all with the Charlie Chan movies from the 1930s and 1940s, except that he was a detective, portrayed in most films by a white actor, so I don't know if that would give me a more insight into the film. 

11/10/18 Itzhak, not yet nominated, 2018

If you're feeling a little depressed or bitter this holiday season, please let me suggest Itzhak to you. This documentary is about Itzhak Perlman, the violinist who doubles as a national treasure for the United States and Israel. The film features interviews with Perlman and his wife, Toby, as well as footage from Perlman's plethora of performances over the years. There is something that is endearing and infectious about Perlman's love of life, music, food and family; everything is a possibility. It's an attitude he has probably had his whole life, since he contracted polio when he was four years old, and then came to America to study at Juilliard, and having to learn English. The film shows Perlman playing solo, with other classical artists, as well as Billy Joel. Lately when I watch a movie, the only thing I can think of is, when will this be over? But I didn't want this movie to end. It was on PBS, but may also be on DVD/streaming. Watch this movie; you may cry tears of joy or laugh or just hurt yourself smiling, but whatever you do, I think you will enjoy it (even if you think you don't like classical music). I don't know if this will be nominated for Beset Documentary, but, I don't care, I really liked it.

11/19/18 Garlic is as Good as Ten Mothers, 1980, National Film Registry

Who needs an hour-long documentary on the benefits of garlic? Apparently we did. I think fifteen minutes would have been great, but I guess director Les Blank disagreed. It really seemed like an infomercial more than a documentary. A variety of people are paraded before the camera to extoll the virtues the bulbous plant thought to ward off vampires and diseases. I had to go through a lot of effort to track this down through interlibrary loan, so I guess I wish I would have loved it. I didn't even like it, and I have no idea why or how this got on the National Film Registry. I think salsa lovers should demand equal time.

A night of Genesis Music by Daryl Stuermer and the Manitowoc Symphony Orchestra

A month ago I was attending the Phil Collins concert in Cleveland, and last night was a little extension of that with Daryl Stuermer, his band and the Manitowoc Symphony Orchestra at the Capitol Civic Centre. It was mainly a night of Genesis songs arranged for orchestra with a couple of Daryl's own songs and a Phil Collins song added for good measure. In case you're wondering, Manitowoc is on the eastern end of Wisconsin on Lake Michigan, about 5 plus hours from the Twin Cities. The night started out with a meet and greet with Daryl, and he talked with us for about 15 minutes, telling some stories of starting with Genesis, playing on Phil's latest tour and answering questions.

Genesis's catalog of songs is ripe for orchestral arrangements, and there have been different performances over the years, including from Steve Hackett of Genesis, so when the opportunity to hear some of these songs presented by Daryl Stuermer, I knew I was going to go. Of course, with a dozens and dozens of songs, there are always going to be ones that get omitted, but overall, I was pretty happy with the set list. The show opened with Duke's Intro from the Duke album, and then Daryl introduced Joe Richter, who looked like he was ready for a day at the office, to sing "Throwing It All Away". It could be very intimidating trying to step into a Phil Collins vocal, but Richter seemed pretty confident and didn't try to copy or mimic Collins and added his own flair (not too much), a little R&B sound, which I liked. In addition to Richter on vocals, Stuermer was joined by his long time bandmates: Kostia on keyboards, Eric Hervey on bass and Al Arber on drums, and Michael Kamenski conducting. "No Son of Mine" was next, which was probably the one song I would have changed for something from ...And Then There Were Three, like "Snowbound" or maybe "Many Too Many". "Heavy Heart", one of Stuermer's own compositions, was really terrific. I was thrilled when "Your Own Special Way" from Wind & Wuthering was introduced, it's perfect for a symphony, and you could really hear the strings clearly. The first half of the show ended with another song written by Daryl, "Urbanista". I'm going to have to play the Go album again, because I thoroughly enjoyed both "Urbanista" and "Heavy Heart".

The second half of the show started with an instrumental version of "Just a Job to Do" from the Genesis (Shapes) album; it's an often overlooked song, and I don't know if it was played live by the band, but the addition of the strings and the horns gave it an added kick. I don't know that much was added to "I Can't Dance", and it's another one I could have done without; I like the song, but it's not one of the band's strongest (although it was popular, but that's not the same thing). "In Too Deep", another cut from Invisible Touch, was next. The next song was the oldest of the night, going back to Genesis's Selling England By the Pound - "Firth of Fifth" going into the end of "Squonk". The guitar solo was originally done by Steve Hackett, but Daryl did a tremendous job, and it was so much fun to listen to those soaring chords. In fact, I hope it's not too late to say he took some of the guitar parts that he normally does not play (he usually plays bass on the 'newer' material) and took them to a higher level. In between songs, Daryl bantered with the audience, sharing stories or introducing band members; before "Something Happened on the Way to Heaven", he shared with us that he co-wrote the song with Phil Collins. The MSO shined here as well, the strings and horns coming through (there are no strings on the original version, but there easily could have been). The last song before the encore was "Invisible Touch", which is always a good time, and has been played recently on Phil's tour. The final song of the night was "Turn It On Again", which was the last song on a couple of Genesis tours, but this was done without the Motown medley. This was so fun, with the symphony doing hand claps (maybe you had to see it, but it made me smile). It was a great way to end the night, although I think most of us would have stayed for another hour. Everyone on stage seemed to be enjoying themselves, and I heard nothing but positive things from the people around me. 

Working off the National Film Registry list- Memento, Thelonious Monk and The Return of the Secaucus 7

10/31/18 Memento, 2000  National Film Registry

Shortly after watching Memento, directed by Christopher Nolan (Batman), I discussed it with a friend, and we both agreed that it's been a while since either of us have seen a movie that original. Having said that, I don't want to tell you too much about it, although to be honest, I'm not sure I could if I tried. Guy Pearce is Leonard Shelby, an insurance investigator, who is trying to figure out who killed is wife (Jorja Fox) and gave him anterograde amnesia (he cannot form short term memories) in the process. Leonard uses some interesting ways to write notes to himself. He is befriended or tormented by John Edward Gammell (Joe Pantoliano), and forges a relationship of some kind with Natalie (Carrie-Ann Moss). The use of flashbacks is clever and mildly mind-boggling, you really have to pay attention. Nolan uses color and black and white sequences to separate time lines. He knows how to get a particular mood, which he later did on the Batman series. If you haven't seen it, watch it with a friend or two to help keep track of everything, and if I have time, I may watch it again.

11/2/18 Thelonious Monk: Straight, No Chaser, 1988 National Film Registry

I was so disappointed trying to watch this documentary on someone I didn't know very much about. Sometimes I watch documentaries to fill out and reinforce things I already, but a lot of times, I watch to learn about an event, art or person I know nothing or very little about. Those are the best. I remember watching What Happened, Miss Simone? and feeling like someone opened a door into music and cultural history. I didn't feel that way at all watching Thelonious Monk: Straight, No Chaser. I felt very frustrated at the lack of strong narration, and clips of Monk playing live (which was apparently lost footage) and interviews with contemporaries and his son strung together in a patchwork sort of way. There were very few scenes where Monk actually spoke, and those were impossible to understand. I definitely picked up on a very strong personality and an immense talent, but I was hoping for more. In my opinion, this isn't on the National Film Registry because it's a great documentary, but more because of the rare footage and the subject. If you're a bebop fan or student, you have probably seen it, and perhaps got a lot more out of it than I did.

11/3/18 The Return of the Secaucus 7, 1980 National Film Registry

In the sources I reviewed, The Return of the Secaucus 7, written and directed by John Sayles, was the precursor to The Big Chill (nope, haven't seen that either, but I had the soundtrack on LP). It's a look at a group of college friends who get together for a weekend in New Hampshire and discuss life and love. You may recognize a couple of actors who got their early start here, even if you don't know the names: David Strathairn and Gordon Clapp, and possibly Adam LeFevre. Long term relationships break up, new ones get started. It was a movie about baby boomers by a baby boomer, and was about the people, no big event happening within the context of the film (no war, no murder, no heist, no natural disaster). It may be hard to believe that was different, but it was. Even though it is set in the 1980s, wondering what you're going to do with your life is a pretty universal feeling: do you head out to LA to pursue your music, have kids, change careers for something less stressful and more fiscally rewarding? I didn't love the movie, but I didn't hate it either.

11/4/18 Suddenly, Last Summer, 1959

With all of the lists I have to work from, you may wonder why I went off script, so to speak, to watch a not great movie that's not on any of the lists. I recently finished a biography of Montgomery Clift and was really interested to watch Suddenly, Last Summer. Sigh. It was taken from the Tennessee Williams play and starred Katherine Hepburn as the deep in mourning and denial Viola, mother of the frequently referenced, but never seen and deceased, Sebastian; Elizabeth Taylor as the tortured Catherine, cousin of Sebastian; Clift as Dr. Cukrowicz, a surgeon who specializes in lobotomies (maybe I should have quite while I was ahead). Joseph Mankiewicz directed (All About Eve, Guys and Dolls, Cleopatra) and Williams and Gore Vidal wrote the screenplay. On the face of it, this should have been a great film, but it was a little creepy. I'm going to skip over the barbaric conditions under which the opening surgery is performed, that's too obvious. The unnaturally intense grief that is displayed by Viola for Sebastian is unnerving. I was really proud of myself for noticing the connection between the names Viola and Sebastian and the play Twelfth Night by Shakespeare; the thing is, they were twins. The description of Sebastian's death at the hands of some local boys in a Spanish beach town is disturbing. If you watch the movie with no understanding of the background, some things may not make sense, but there are veiled hints at Sebastian's homosexuality, which Viola denies, but Catherine confirms in a very emotional speech. Catherine's knowledge of Sebastian's secret is why Viola is trying to get Cukrowicz to perform a lobotomy on Catherine. Yeah, did you just make a face? I will say I had to watch Hepburn, she was so commanding. She and Taylor were both nominated for the Best Actress Oscar, but lost to Simone Signoret. Clift was not at his best, this film came only a few years after a devastating car accident. I don't care if it wasn't on a list, I'm crossing it off.

Finally - The Big Lebowski and Finishing off the AFI list with Intolerance and Three Identical Strangers

10/14/18 Intolerance, 1916 #49 AFI, National Film Registry

I have borrowed this movie from the library twice before and returned it unwatched, then I got it from Netflix and it sat unopened for over a month before I forced myself to watch it...or at least have it playing where my eyes could randomly wander. I understand from a historical perspective why Intolerance is on the National Film Registry and maybe even on the American Film Institute's list of top 100 films, but I seriously considered poking myself in the eye. Written, directed and produced by D.W. Griffith, who also wrote, directed and produced The Birth of a Nation in 1915, it is three hours of epic storytelling and filmmaking. Except I didn't find it to be captivating storytelling at all. There are four separate stories that are from four different time periods in human history, and they are interwoven so the story lines run parallel. I have watched, and enjoyed, silent movies before, but, I didn't care. Perhaps if Griffith would have focused on one story, then maybe I would have paid attention. Supposedly Intolerance was made in response to the negative feedback that Griffith received after The Birth of a Nation which featured black Americans as negative stereotypes and white actors in blackface. I will leave further dissemination to true film critics. I will just say that most of my readers will not willingly subject themselves to this movie. And, it also completed the AFI 100 list.

10/20/18 Three Identical Strangers, not yet nominated, 2018

I think one of the most disgraceful and disgusting things in human history is when people we are supposed to trust to act in the best interest of all of us, betray that trust and act sanctimonious in the process. There are examples of this throughout different fields of medicine; Henrietta Lacks and the HeLa cell line, for one, and the triplet brothers featured in Three Identical Strangers. The brothers, Eddie, David and Robert, were put up for adoption and were separated very early in life, and placed with three different families of three different socio-economic statuses to study them. The adopting families knew nothing about this experiment. The film interviews the brothers, their families and friends and uses archival news footage from when the brothers discovered each other. There are feelings of anger and resentment towards the adoption agency for lying and deceiving the families and separating the brothers, essentially robbing them of a lifetime together. The film producers were able to track down a couple of people involved in the study, led by Peter Neubauer, but Neubauer is dead, and the study was never published. Also discovered were other twins included in the study. One 'assistant' who is interviewed (I cannot remember her name, nor find it in the credits) was rather flippant about it, not bothered at all about the harm that was inflicted or about basically lying to the families, but conveniently, she didn't remember other things when asked. Her smugness made me want to slap her. The papers, notes, and data from the study were left to Yale University with restrictions on the collection until 2065, not even the subjects of the study could get those records, until the pressure from the release of the film made the owners of the records relent, a little. I was totally captivated by the story of the brothers and their families, and outraged that the adoption agency and researchers made decisions that impacted so many people, with very little regard for them. The movie blends the stories of the brothers within the context of the research and left me wanting to know more, in a good way, that is, I felt invested in the brothers and the others impacted.

10/20/18 The Big Lebowski, 1998, National Film Registry

As much as I enjoy movies by the Coen Brothers, I have never, ever seen The Big Lebowski. I have no reason. I kind of bumped it to the top of my watch list because apparently there is a Big Lebowski bar in Iceland, and I'll be headed there shortly. Jeffrey Lebowski (Jeff Bridges), who insists on being called "Dude", is a slacker and enjoys bowling and hanging out with his friends, who include Walter (John Goodman), a Vietnam Vet with frequent bursts of oversized outrage and Donny (Steve Buscemi) who always seems to be a step behind. Believe it or not (and with a Coen Brothers movie you usually have to do that a lot) there is another Jeffrey Lebowski in Los Angeles; this one is a little bit wealthier and has a wife with a spending habit, and a daughter, Maude (Julianne Moore), who is an enthusiastic feminist. In a case of mistaken identity, that kind of propels the whole movie, a couple of goons bust into the Dude's house and threaten him over his wife's debt, and then pee on his rug. The Dude is more upset over the defilement of the rug than the assault. The Dude goes on a quest to find the other Lebowski and replace the rug. Of course, it's not that simple, and one thing leads to another, including a kidnapping and ransom gone wrong, a couple of bowling games gone awry (John Turturro is hilarious as Jesus Quintana, a bowling nemesis with a questionable past), an encounter with a stranger (Sam Elliott), and a bizarre dream/dance sequence. All in a day's work for the Coen Brothers. Some movies (like the above-mentioned Intolerance) are on the list, and I dread them, and realize that I was right; other movies, like The Big Lebowski, I kind of wish I hadn't waited so long to watch it, one, because I did like it (not loved it, though) and it really has become embedded into the culture, thus, its inclusion onto the National Film Registry.

10/27/18 To Sleep With Anger, 1990, National Film Registry

To Sleep with Anger has a great cast: Danny Glover (Harry), Richard Brooks (Baby Brother; you'll recognize Brooks from his stint on "Law and Order"), Carl Lumbly (Junior), Sheryl Lee Ralph (Linda), Mary Alice (Suzie; you may not recognize the name, but you'll recognize her voice and face) and Paul Butler (Gideon). The story is as old as Cain and Abel or Jacob and Esau, two brothers competing for their father's approval and pride; there is nothing sinister or evil in this sibling rivalry, however, just resentments carried for years. Gideon and his family live in South Central Los Angeles, but still carry on with some of their rural ways brought with them from the South. Out of nowhere an old friend, Harry, appears on their doorstep. It's been decades since they have seen each other, but Gideon welcomes Harry into the house, and things start to go a little askew within the family. I am not sure that the content is what got the Charles Burnett (Killer of Sheep) written and directed film on the National Film Registry; perhaps it's because it was written and directed by an African-American and the cast is all African-American, admittedly, a rare occurrence these days, but especially in the 1990s. I thought the movie was okay, better than Killer of Sheep, which I didn't like at all, some good performances and potential in the story, but it wasn't great.

Follow You, Follow Me to Target Center for Phil Collins, part deux

I am sure my friends are glad the my brief Phil Collins tour ended Sunday night, and thus ends my reignited obsession with Monsieur Collins; well, not ends the obsession, but my constant talking about him. So, until our paths cross again, here are some more photos and videos from the concert in Minneapolis. The set list was identical to Cleveland (I don't think it's varied much this leg), but it seemed to me the energy level was ramped up, both from the audience and the band. I could do without the banshee-like wailing from the women nearby or maybe they were herding sheep; in any event, I'm grateful I had my earplugs. I will say, however, that there have been a lot of naysayers on some of the Facebook groups I'm on, about seeing Phil in his current condition. I will say that I was a little leery a year and a half ago, but these two shows (and other reviews I've read) show that while he can't dance, he can still sing and put on a helluva show. Listening to the people around me afterwards: nobody was disappointed, in fact, they were so glad they came. I would suggest grabbing a ticket if he's passing through. In case anyone was wondering, I had no luck on my quest for autographs from Phil or the band. Certainly one of those first world problems, nothing but a little disappointment and wind/sun burn. Without further ado, here are some more videos and photos from Sunday night. Movie reviews will return later this week.

Phil Collins Not Dead Yet Tour hits Cleveland

Some of you may recall that last summer I headed over to Paris to see Phil Collins twice. I figured, hey, what the hell, he may not come to the US, and I'm not missing this. Those two amazing and unforgettable nights included a soundcheck and a copy of his autobiography, in French. Then he went to South America - that wasn't going to happen, sadly. THEN he announced his North American tour, and you know, I was all over that. I got tickets for me and my brother to the Cleveland show, and then for me to the Minneapolis concert. There was some variation from the concerts in Paris, songs added, removed, but overall, pretty similar, but I'll get to that in a second. I was really excited to share my love of Phil Collins with my brother, and had been quizzing him and sending him links on YouTube so he could study (this was no surprise to him, I'm odd that way). Cris came with me to a Steve Hackett concert a few years ago (Hackett being a former member of Genesis) and Peter Gabriel and Sting in Chicago (Gabriel also of Genesis), so, this is just a little closer to seeing all of the Genesis members as he may ever get. Our seats were in section 101, directly in line with the stage and a totally unobstructed view. As the walk in music played, photos from throughout Phil's career rotated on the screens. Finally, a little after 8, the lights went down and Phil came onstage, slowly, to a great burst of applause, sat down in front of a curtain, welcomed the crowd, and started off with "Against All Odds"; this is one of those songs that I'm kind of tired of, but it comes to life when it's played live. "Another Day in Paradise" followed, the curtain lifting to reveal the band. One of my favorite songs came next, "I Missed Again" from Face Value, and I never get tired of it; it features such great horn work, elevating it from the album version. "Hang in Long Enough" from ...But Seriously is another one with popping horns and strong backing vocals. Phil gave a nod to his former life in Genesis and also acknowledged that no matter what song he played, he probably wouldn't play everything (or anything) we wanted, but too bad, it was his band (he said with typical Collins humor) and he would play what he wanted. He started with "Throwing It All Away" from Invisible Touch; it has a nice call and response with the crowd, and is probably better known to any Genesis/Collins newbies (no judgement from the old timer), and then went into "Follow You, Follow Me" from And then There were Three, complete with video clips of Genesis going back to the 1970s to the 2007 reunion tour. It is one of my favorite songs (of course, this is where Genesis reactionaries say Genesis went downhill) and the montage gave me goosebumps. So many memories in a 4 minute song. The next song was quieter and probably much less familiar from the Both Sides album, "Can't Turn Back the Years". I was a little surprised that Collins didn't introduce it a little, mentioning the album, or something. I loved that song the more I hear it; it does what Phil's lyrics do so well, and that is convey emotion: hurt, loss, love, sadness. We didn't stay in that somber place for too long before moving to one of the 'hottest' songs from No Jacket Required - "Who Said I Would", with Phil dancing in his chair. There were plenty of occasions for Phil to feature his stellar band, some of them have been with Phil since the mid 1980s, including long time bassist (frequently splitting tour duties with Nathan East) Leland Sklar; Daryl Steurmer, who began playing guitar in Genesis's touring configuration and then started playing with Phil on Face Value, and has been there ever since; Ronnie Caryl who has been friends with Phil since they were teenagers in Flaming Youth ("Guide Me Orion") also on guitar; Brad Cole on keyboards; the Vine Street horns (Harry Kim and Daniel Fornero: trumpets, George Shelby: saxophones an Luis Bonilla: trombone); Richie Garcia on percussion (Luis Conte played on the previous legs of this tour); the backing vocalists: Arnold McCuller, Lamont Van Hook, Bridgette Bryant and Amy Keys add a lot of movement where Phil can't, as well as vibrant vocals, occasionally joining Phil up front, during "Separate Lives", "Easy Lover" and "Take Me Home"; and last, but not least, was Collins' son, Nic, on drums and piano. 

 

One thing I wished Phil had done in the earlier shows was to play some percussion or piano, and perhaps the time was not right. On this leg of the tour, that has changed; he seems a lot more active in his chair dancing and after Nic and Richie engaged in a fierce drum/percussion duet, it moved into a drum trio (hopefully the video is above), and it was so fun to watch. Not quite like the drum duets of old, but I'll take it, especially since Phil seemed to be enjoying it so much. "You Know What I Mean" is a beautiful ballad from Face Value, and I don't know if Phil ever did it live (I don't remember it), but apparently, this is a song that Nic really liked, taught himself to play, and it so cool to see them perform it together. Of course, he did "In the Air Tonight", also from Face Value, and Nic nailed the solo, and the crowd went nuts. "Dance into the Light" from the album of the same name was energetic and got everyone dancing, the horns, the singers, the crowd. Being a bit of a snob, I wondered how many people knew which album this was from. The last Genesis song of the night was "Invisible Touch", and when you listen to this arrangement: horns and backing vocals, you might not recognize it (it reminds me of how Phil took "Behind the Lines" from Duke and rearranged, added horns and backing vocals (his own in this case) and made it leap off the album, Face Value). I knew we were getting towards the end of the night, but the crowd was pretty revved up. Another thing that a lot of people forget, or don't know, is that "Easy Lover" was originally done on Philip Bailey's solo album, Chinese Wall, that was produced by Phil. It's another song that has been updated to include multi vocalists, instead of just the give and take between Phil and Philip. It's always a crowd pleaser, because it's clear everyone's having a blast, especially teasing Phil. 

Two songs from No Jacket Required end the night; first, "Sussudio" completed the main set, and then "Take Me Home" as the encore, with the crowd joining in. I don't think anyone left disappointed, I know we didn't. I loved that my brother had a fabulous time, and got into the music. We're already planning our next night out.

I'll be going to the concert on Sunday, and I'm hoping against all odds that I'll be able to get my Genesis book signed (Armando Gallo, the author, Mike Rutherford and Steve Hackett have signed it). It's a long shot, but, maybe with my Phil Collins tie and vest, and maybe the concert t-shirt my brother bought me. Is there anyone out there that can help?

Australian Pink Floyd at the State Theatre, Minneapolis

10/12/18: I was not sure I was going to make it to the 8:00 start time of The Australian Pink Floyd Show (TAPFS), much less to 10:30 or so when it ended; in fact, I was trying to figure out how early I could leave. Luckily for me, there was no easy way out of my seat, nicely tucked into the first row of the balcony, so I stayed. I like Pink Floyd, but I'm not an uber fan, however, I greatly enjoyed seeing Brit Floyd a few years ago, and was looking forward to seeing the Aussie version. Please don't ask me who was better, I honestly enjoyed them both. The night started with the band behind a gauze-like curtain and images of clouds swirling, and the lighting used to play with the shadows and proportions of the musicians behind it. Coincidentally, the song (which I didn't recognize) was "Obscured by Clouds". Like a lot of Prog Rock bands, there is as much emphasis on long instrumental pieces, with sometimes only brief snippets of vocals or just vocalizing. I enjoyed the songs I didn't recognize almost as much as the ones I did, but I'd be lying if I didn't say I was thrilled with the band's performance of fan favorites like "Another Brick in the Wall, pt. 2", "Us and Them", "Comfortably Numb", "Wish You Were Here", "One of these Days" and Run Like Hell", most of which were saved for the second half of the show. The musicians and vocalists were incredible, giving the audience what it wanted, not being overly showy, even though after a couple of those guitar solos you couldn't blame them if they were. There was a screen behind the band showing videos that keep within the idea of Pink Floyd, but seemed original to TAPFS, especially when a kangaroo made an appearance. You have to be careful with tribute bands, I think, because some fans are so dedicated to the original one, they want exact replication, whether it's feasible or not. It wasn't an issue for me, or the rest of the crowd, I think. The light show was huge; I've been to a lot of concerts, and even at some 'bigger' shows, the lights aren't as good. It was a fabulous night, and I'm so glad I didn't crap out. If you're a Floyd fan, and you haven't caught TAPFS, I would recommend checking them out the next time they're in your neighborhood. You will not be disappointed.

A timely documentary: A Time for Burning; family films: Spirited Away, The Golden Compass

9/2/18 A Time for Burning, 1966, National Film Registry

This probably won't surprise any regular readers, but I have been telling everyone who asks me what movies I've seen recently or what would I recommend, that they have got to find A Time for Burning, an Oscar-nominated documentary from 1966. I wish I could say it's a great bit of nostalgia, and a look back at the efforts to remove segregation, but sadly, you could change the movie to color (it's filmed in black and white) and it could be shown today. But, I'm getting ahead of myself. I think when most people think about the Civil Rights movement, they think about Alabama, Mississippi and the marches that took place, or maybe, the riots that happened in Detroit, Chicago or Cleveland, but they rarely think about the Upper Midwest, states like Minnesota, Iowa or Nebraska. This documentary was filmed in Omaha, Nebraska, and followed the efforts of Reverend L. William Youngdahl (a son of a former Minnesota governor, Luther Youngdahl) to introduce his white parishioners to black parishioners from the same community, but who belonged to different churches. To me, that seemed like a common sense, practical thing to do, a matter of fellowship. However, in 1966, in Omaha, it was considered crazy by other white Lutheran ministers and member of church leadership (I wasn't clear if they were called board members or elders, but they were men who seemed to have some authority). Some of the arguments against this temporary, informal comingling of the races (I understood it to be perhaps having a family over for supper, or into the church for services) were so offensive and patriarchal and baseless, but one of the things that I really appreciated about this documentary was that the participants argued, debated and questioned in a mostly respectful way, sometimes trying to understand why Reverend Youngdahl was so insistent that this was the right thing to do, and what Jesus would have done. It was interesting to watch one of the men go from being against this, saying it wasn't the right time to realizing that the time had come to make these efforts. The film also features a group of black students discussing why they think the white community doesn't want to include them, and calmly debating amongst themselves if this would be a good idea (not shouting or name-calling or threatening like we do these days). There is an exchange (uncomfortable fifty years later) between Rev. Youngdahl and Ernie Chambers, a young black man, in a black barbershop, and Chambers, who is very well spoken, but also skeptical of Youngdahl's high-minded attempt. Chambers goes off on why blacks might be angry at current circumstances and why he doesn't believe in Youngdahl's Jesus. Youngdahl quietly listens, and takes Chambers' anger in before turning to leave. Ultimately, Youngdahl risks his position in the church because the white community is 'not ready' for this huge step, and his conscious will not allow him to stop fighting. I had so many feelings and thoughts after watching this (available through MNLink, on DVD from Netflix and the abridged version I found on YouTube): why I hadn't I heard of Reverend Youngdahl or Ernie Chambers (who went on to become a lawyer and a long serving member in the Nebraska legislature, and who has an interview included on the DVD that is well worth your time) and have we really gone back to a 1966 (or 1866) mentality? I prefer to think like Youngdahl, that we can move forward together, by learning about each other and coming together, instead of pushing one another away.

9/8/18 Life of the Party, 2018 (not yet nominated, and probably no risk of it)

Sigh. I really like Melissa McCarthy. I think with the right material she is one of the funniest actresses out there; a great physical comedian, but she also has impeccable timing and a way of inflecting a line that makes it perfect and she's fearless. Life of the Party is an example of material that is mostly mediocre, only occasionally laugh out loud, and not a single pee in your pants moment. McCarthy wrote and produced the movie with her husband Ben Falcone, who also directed. McCarthy is Deanna, a woman who is surprised by her husband, Dan (Matt Walsh from "Veep") with a request for a divorce, right after they drop off their daughter, Maddie, at college. Deanna decides to return to that same college to complete her degree. Maddie is less than thrilled that her mom is hanging out with her and her friends, but most of her friends love having Deanna around, and Deanna embraces campus life. Maya Rudolph plays Christine, Deanna's friend, who provides some of the funnier moments, in my opinion. I suppose if you stretch, the movie is about not sacrificing your dreams for someone else and/or pursuing your dreams, which is a great concept, but I just thought there would be more laughs. You know, a comedy.

9/9/18 Golden Compass, Best Visual Effects, 2007

Another movie based of a book series that I have never read. I don't think that adds to or diminishes to watching the movie, and I didn't understand all the foofaraw surrounding the film based on the series by Philip Pullman. The movie was fine; set on Earth, but an alternate reality, starring Daniel Craig, Nicole Kidman and a young Dakota Blue (who shows up years later in the "Endeavor" series), Sam Elliott and a variety of other actors in voice roles. I did actually watch this years ago, and thought it was okay, the effects were good, but the story and the 'world' I needed to follow just made my eyes glaze over. This came out in the years of the "Harry Potter" series and "The Lion, the Witch and the Wardrobe" and "The Lord of the Rings", and maybe that's why it didn't do what people (what people?) expected it to do. Honestly, I didn't care. It won the Oscar for Best Visual Effects, beating out Pirates of the Caribbean: Dead Man's Chest and Transformers, and maybe it deserved it, maybe it didn't. I think you can skip this and just grab a couple of the Harry Potter movies or even take a trip into the wardrobe.

9/15/18 Spirited Away, Best Animated Feature, 2002

Spirited Away kind of snuck up on me. It started off slow, for me, and my mind was wandering, but then, the story took a turn and I really enjoyed it. Hayao Miyazaki wrote and directed this story about a young girl (10-12) who comes off spoiled and demanding (well, I guess like a lot of 10-12 year olds), who finds herself in a mystical land filled with witches and other magical creatures, trying to find and save her parents, who have been turned into pigs. Chihiro is the young girl, and she must navigate this new world she is living in, not sure who she can trust, although she seems to be befriended by Haku and Lin, and eventually earns the reluctant acceptance and respect of the boiler grandad and dueling twin sisters, Yubaba and Zeniba. Chihiro goes from being spoiled and whiny to a determined and brave girl, fighting her fears and spirits along the way. The length (two hours) is what is holding me back from saying kids might really love this: it's got action, kids are the main 'heroes', it's got magic, and while the animation is far from the Disney/Pixar style that most people are used to, this is more anime, with its angularity, like Pokémon, so kids will probably still enjoy it, and it's got humor as well. I watched this first, and then Isle of Dogs, and this was far better, in my opinion.


9/15/18 Isle of Dogs, not yet animated, 2018

I want my dollar back from the library. My first thought when I saw the trailers for Isle of Dogs, was nah, because I really didn't like The Fantastic Mr. Fox, but then maybe, because I like director, Wes Anderson's, live action movies. I should have gone with my first instinct, but I have a sneaking feeling that it's going to be nominated, so I might as well get it out of the way. It seemed to me that the movie is an excuse to get a lot of great actors together (Frances McDormand, Tilda Swinton, Edward Norton, Jeff Goldblum, Bill Murray, and more), but I just didn't care, and about twenty minutes into it, I gave serious consideration to turn it off. It might have been a lot better and more palatable to me as a short.