"Notorious" RBG, The ORIGINAL Planet of the Apes and Paul Newman as The Hustler

6/7/18 RBG, 2018, not yet nominated

"Notorious RBG", as Supreme Court Justice Ruth Bader Ginsburg is fondly known, as become a celebrity in certain liberal circles, which is not exactly what she had in mind when she embarked on her journey through law school in the 1950s. I'm fairly certain that she didn't think there would be a hugely successfully Kickstarter campaign to create and sell an action figure of her. The documentary goes back and forth between current day and the past, including home movies, interviews with childhood friend and law school classmates, her children and grandchildren, and interviews with Justice Ginsburg. She may remind you of your own grandmother (she reminds me of my mom's 94 year old neighbor; they're about the same height), and she can be grandmotherly, but she can also be sharp with her wit and words when it comes to her interpretation of the Constitution and views on social equality. The documentary provides a primer on the Supreme Court, the politics involved (it's worse now, though), it's history and the evolution of law in the United States. I watched it with my brother, who is much younger than I am, and he didn't know that Joe Biden was a U.S. Senator (there are news clips of RBG's confirmation hearing, and Biden was Chairman of the Senate Judiciary Committee), or some of the other scads of information the movie presents. He liked it (a lot more than he thought he would when I dragged him to it). During the documentary, the producer or director shows her clips of Kate McKinnon's imitation, and she laughed and thought it was pretty good. You certainly get a multi-dimensional look into RBG's personality, which left me with a great appreciation and respect for her service to our country.

6/9/18 The Hustler, Best Art Direction - Set Direction, Black and White, Best Cinematography, Black and White, National Film Registry, 1961

The first time I saw The Hustler I fell asleep; I'm sure I was just exhausted. I did make it through the second time, and I thought it was okay, but not great. I know if my cousin is reading this he saying something like, "Okay? Tracer, what the hell is wrong with you? Newman was great, sublime, and George C. Scott was villainous without raising his voice (or something)". I'm sure this isn't the last time I'll disappoint him. Paul Newman was nominated for Best Actor in his role as "Fast" Eddie Felson (he won the Oscar 25 years later as Eddie in The Color of Money); Newman lost to Maximillian Schell for his role in Judgment at Nuremberg. Eddie Felson is a pool hustler; he and his manager go around to different cities looking to set up some good hustles, and looking for the big score. He eventually goes up against the best, Minnesota Fats (Jackie Gleason), and after over twenty hours of pool, loses it all. Eddie parts ways with his long time manager, Charlie, and picks up with Bert Gordon (George C. Scott), a professional gambler and Eddie's 'sponsor'. It's an antagonistic relationship from the start; Gordon thinks that Felson is a born loser, but he's still willing to front him money for a rematch against Minnesota Fats. Felson also starts seeing Sarah (Piper Laurie), an unhappy alcoholic with no visible means of support, who has an intense dislike and distrust of Gordon. Newman and Scott seem so effortless in their roles; Laurie is a bit much, but I think that's how a lot of female roles were written and acted - just over the top melodrama. Sarah does have one of the pivotal scenes in the film, it reveals Eddie as a person with feelings, because up to that point, he was extremely self-centered; after that, he's a little less so. I guess I did not get the deeper meaning that was apparently intended, I enjoyed Newman's performance, but would I say you have to see this movie? Sorry, but I would not. I'm sure I'm going to movie hell.

6/10/18 Planet of the Apes, Honorary Oscar for Achievement in Makeup, National Film Registry, 1968

A classic, that's what Planet of the Apes is, a classic. We may look back fifty years and think the make up and the special effects were naïve and basic, but back then, the make up was definitely groundbreaking, and the whole concept of this other world, which turns out to be our world, just a few thousand years in the future, was mind blowing. Charlton Heston as George Taylor, lands on an unknown planet with his two surviving fellow time-travelling astronauts. As they explore this new world, they eventually find other human-like beings, and are surprised to find gorillas on horseback. This is their introduction to the Planet of the Apes. Taylor is imprisoned where he is examined by Zira (Kim Hunter), and he tries to communicate, which the apes and gorillas find amusing. Taylor is very combative, and when he is grabbed by one of the gorillas, he utters one of the most famous lines in filmdom, "Take your stinking paws off me, you damn dirty ape."  Taylor convinces Zira and her fiancé, Cornelius (Roddy McDowell), an archeologist, that he is an intelligent being and that he might have information about the past. They run up against the leaders of the community, including Dr. Zaius (Maurice Evans), who want to castrate him and definitely do not want to hear his story. Taylor soon figures out that he may actually be on Earth. In addition to a unique storyline and innovative make up, I always felt (even as a younger person) the undercurrent of social commentary. I would have to say that this is one of my favorite movies from growing up.

A trip through the National Film Registry: Boyz N the Hood, Paris is Burning, Daughters of the Dust, Princess Bride

You could say I went a little crazy with the National Film Registry list over Memorial Day Weekend, and with that many movies, I was bound to come across one I didn't like or possibly even loathed. I suppose, honestly, there was only one that I was so-so about, otherwise, I would recommend any of the following films. 

5/23/18 Boyz N the Hood, 1991

When Boyz N the Hood first came out (I promise, I don't say this for every movie), I wasn't terribly interested in seeing it, it was just not my thing at the time (let's just say I have lived in a series of metaphorical boxes in my life, I'm a little better now). However, after watching Straight Outta Compton (because it was on a list), I realized that just because something may not exactly be in my wheelhouse, doesn't mean it's not good or that I won't end up liking it. I suppose that's what happened with Boyz N the Hood, I decided just to watch it; there's a lot of swearing, and it's not that I'm a prude, I swear A LOT myself, I sometimes think it's just lazy writing, but, that is how some kids/teenagers talk, and writer/director John Singleton does a lot of things, but he does not treat the characters or the audience with kid gloves. The movie follows a three friends as they grow up in South Central Los Angeles, a community that has too many shootings, too many drugs and poor relations with the police. Tre (Cuba Gooding, Jr.) lives with his demanding and strict father, "Furious" (Laurence Fishburne), and has a real job at the mall (he's a teenager). His friends are Doughboy (Ice Cube) and Doughboy's half brother (also their mother's favorite), Rick (Morris Chestnut). Doughboy has spent a lot of his young years in prison, and is struggling to find his feet; Rick is a football scholarship candidate, which makes his mother proud and is a way out of the neighborhood, and can help him make a better life for his young son. The guys and their friends are out one night, just chilling, when members of different gang cause some trouble and Doughboy flashes a gun, which is only a temporary solution, because minutes later, the other gang starts firing off a gun into the air. And this is how things spiral rapidly out of control. You show me yours, I'll show you mine; mine is bigger than yours; I can kill you first. Singleton shows us black young men killing each other, often because it doesn't seem like there are any other options. The death of Rick (I hope I didn't spoil it) highlighted the senselessness of this tit for tat violence. It's not gratuitous at all, there's a point - the point is: nobody wins. Rick's young son certainly didn't win. I felt like someone sucked the air out of the room when it happened. And Doughboy, who has always been protective of Rick, and way more streetsmart, is out for vengeance. Tre doesn't participate in any of the retribution, because he knows he'll never get out if he does. Like Daughters of the Dust, and Paris is Burning, Boyz N the Hood looks at a community that did not have any kind of voice when the film was released. Singleton was nominated for Oscars for Best Director (the youngest at the time) and Best Original Screenplay. After I finished watching, I texted my youngest brother and asked if he had seen it before (he wasn't even born when it came out) and he said of course, and it was a great movie. That is a sign of a movie that 'is culturally, historically or aesthetically significant", if it can be watched and appreciated by newer generations.


5/26/18 Atlantic City, 1980

Louis Malle's film, Atlantic City, was the critics' darling when it came out, I remember the praise that was heaped on Burt Lancaster, Susan Sarandon and the director; of course, I couldn't see it because it's rated R, and I was too young. I love Lancaster in pretty much anything, he always seems so effortless, and I do like him as Lou, the former gangster who takes numbers and keeps company with the widow of his deceased boss. He also has his eyes on Sally (Sarandon), a wannabe black jack dealer. Sally's estranged/former (I wasn't really sure) husband shows up on her doorstep with his pregnant wife/girlfriend with a lot of cocaine to sell. Clearly, you don't need a lot of insight or psychic skills to figure out that nothing good is going to happen. So, the movie is definitely not a mystery, but a look into the relationships of different people: Lou, who is re-energized by his relationship with Sally; Sally, who likes Lou's seeming sophistication, but gets frustrated with his reluctance to contemplate the possibilities in Europe; Lou's subservient attitude towards Grace. It seems like Lou is a dinosaur in the waning days of the Jurassic period. It's not the good old days. Both Lancaster an Sarandon were nominated for Oscars, as well as being nominated for Best Picture, but the movie came away with no Oscars (this was the year that Chariots of Fire won the Best Picture Oscar, and Red, Raiders of the Lost Ark and On Golden Pond were all nominated). I'm not totally sure why it's on the National Film Registry list.

5/27/18 Paris is Burning, 1991

Even though I watched Paris is Burning in May, I'm finally reviewing it in June, which is fitting since it is Pride Month. Paris is Burning is a documentary by Jennie Livingston that takes us into the world of balls in New York City, a highly competitive environment. The balls allow gay and transgender people, mostly of the African-American and Latino communities, members of an already marginalized GLBTQ society, to strut and be proud and embrace who they are, with a fierceness that is fun to watch. "Voguing" which was popularized in mainstream culture by Madonna, originated at the ball events. The documentary was filmed in the mid to late 80s, only twenty years or so after the Stonewall Riots, and in the early years of the AIDS epidemic, but decades away from Laverne Cox and her groundbreaking role on Orange is the New Black, The Transparent series or Daniela Vega in A Fantastic Woman (2017 Oscar winning film). The interviews provide a glimpse into why the performers do what they do, how they support each other, and how they compete. I felt particularly drawn to Dorian Corey, who was like an elder of the group, and had many insights and could be quite sharp in her observations and commentary. The transgender community is one that is misunderstood by the heterosexual and the gay and lesbian communities, but their history must be included and they should be recognized for their contributions and pain. That may sound incredibly pretentious, but I don't really care, and I think watching this documentary is a way to start.

5/27/18 The Atomic Café, 1982

This documentary consists of historical newsreel footage, film and television clips and public service films edited together in a somewhat frightening fashion, but also occasionally awkwardly funny and naïve. Many of the scenes are how to avoid nuclear fallout by hiding under a table or covering your head under a desk; packing a survival kit of canned and powdered foods; or the scary scenes of the nuclear testing done on Bikini Atoll, that had horrible impacts on the native population, which, according to US military personnel on scene, was all for the good of humanity. It might not be a bad idea to dust off this old chestnut and get it out on the airwaves, given the current climate, just to remind us of the risks and dangers of nuclear warfare.

5/28/18 Daughters of the Dust, 1991

The lists giveth, and the lists taketh away. In this case, the list definitely giveth. Julie Dash wrote and directed Daughters of the Dust, the story of the Peazant family, a clan who have lived on the St. Simons Island, off the coast of Georgia (the Gullah islands), for generations. The movie is set in the early part of the 20th century, roughly forty years after the end of the Civil War. The family is led by Nana Peazant, the keeper of the traditions and memories (good and bad) of the family, and determined not to leave her home. The younger generations have already moved to the mainland, two of her granddaughters have already moved there, Viola and Yellow Mary. Normally I have trouble with storylines that are non-linear, I like things told in order, but I was so interested in this family and their history, I went with it. You have to pay attention because there are several storylines and also because the actors speak in the Gullah dialect, which is close to Creole, and sometimes things happened quickly and my ears couldn't keep up. In some ways, at its core, the movie is about family, it could be about any family, an immigrant family deciding to leave their ancestral home for a better life, and possibly leaving the old ways behind. In another way, it is more than that, because this family has already left their ancestral home in Africa, perhaps only seventy five or hundred years earlier, unwillingly, and this departure is their choice. The actors, none of whom I have ever heard of, own their roles, it's like they were made for the parts or vice versa; there were several powerful performances. The cinematography was so beautiful, otherworldly (if that's not too dramatic), for whatever it might mean to you, it reminded me of the original Picnic at Hanging Rock (another movie that I was enthralled by at the time). (I just read some reviews of the film on Netflix, which I generally don't do, and there are definitely extreme feelings about the movie, um, some not so nice, and others lavish in their praise; I suppose that's pretty normal. I hate The Usual Suspects, while others think it's the best movie ever). I still liked Daughters of the Dust.

5/28/18 The Princess Bride, 1987

Believe it or not, I have never seen The Princess Bride in its entirety or even more than a few seconds of clips. So before you can say it, I will: "Inconceivable!" I will also say, I liked it, I enjoyed it, I laughed. The comedy-fantasy-adventure was directed by Rob Reiner, and has what would now be considered an all-star cast: Robin Wright, Mandy Patinkin, Cary Elwes, Christopher Guest, Andre the Giant, Carol Kane, Billy Crystal, Peter Falk and Fred Savage. Peter Falk narrates the movie as he reads to his reluctant grandson played by Fred Savage. Since I may be the only person in the universe to have not seen The Princess Bride, I don't need to recap the plot. I don't know why I was so reluctant to watch it, I think because all of my friends just loved it, and at my core, I'm a contrarian, so I thought, nothing can be that funny or quotable. I'm not so stubborn that I can't say I was wrong. It reminded me of some of Mel Brooks' movies (Brooks is a friend and comedic partner of Reiner's father, Carl Reiner): jokes/lines that appear throughout the movie; ridiculous dialog played absolutely straight, full of puns and word play and silly accents; actors that appear to be having a great time (Andre the Giant was so fabulous and funny); and a story that has a ring of familiarity but is still original. The movie received no Oscar nominations and wasn't even that successful in its box office run, and yet, there are probably more people who have now seen The Princess Bride than have seen Atlantic City which was nominated for five Oscars. Sometimes winning an Oscar is not a guarantee of a long legacy. Having said that, I TOTALLY get why it's on the National Film Registry list.

5/28/18 Hester Street, 1975

Watching Hester Street, starring Carol Kane, Steven Keats and Doris Roberts, was like being there when my great grandparents arrived in New York from Russia. Steven Keats is Yankl, now Jake, and he comes to America before his wife and young son; he also tries to become as American as possible, and begins a relationship with Mamie, a dancer. Jake's wife, Gitl and son, Yossele, arrive in New York City, and Jake doesn't seem very pleased, he is especially unhappy that Gitl doesn't shed her Old World habits as quickly as he would like. Doris Roberts plays Mrs. Kavarsky and befriends Gitl. In case we've forgotten, the immigrant experience can be lonely and hard, regardless of your country of origin. The movie is in English and Yiddish, and while I don't really understand a lot of Yiddish, it made me think of my grandparents and older relatives who would occasionally use it when they didn't want us to understand something. Carol Kane was nominated for a Best Actress Oscar. Joan Micklin Silver wrote the screenplay and directed the film (she directed Crossing Delancey). By way of six degrees of separation, Silver is married to Rabbi Raphael Silver who is the son of the late Rabbi Abba Hillel Silver, and back in the early 1990s, I worked on team processing the Rabbi's historical papers. 

Catching up: Independence Day Master and Commander, Wallace and Gromit, The Incredibles

4/26/18 Independence Day, Best Visual Effects, 1996

I think I may start counting a movie as 'seen' if I fell asleep during it, that would move this list along a little faster; it certainly would have saved me two hours of watching Independence Day. Earth is being invaded by an alien species, blah blah. Bill Pullman is the young president, a former fighter pilot, who is leading an all-star cast in a seemingly hopeless endeavor. But if it was hopeless, it might have been a shorter movie. Will Smith is the lead pilot, and gives us a precursor to the smart alecky, but cool, agent in Men in Black; Judd Hirsch, Randy Quaid, Mary McDonnell, Jeff Goldblum, Robert Loggia and Viveca Fox also co-star. I know for some this was a huge summer blockbuster, but it dragged on, and was painful to watch. 

4/28/18 Master and Commander, Best Cinematography, Best Sound Editing, 2003

Master and Commander was one of the big Oscar-nominated films of 2003, with twelve nominations and two wins (this was the year of The Lord of the Rings: Return of the Rings). I saw it the first time on the big screen and you certainly get the feeling of being swept overboard with the incredible waves and the vast ocean. The movie is set during the Napoleonic Wars of the early 1800s, in the southern hemisphere, with the British ship HMS Surprise, captained by Jack Aubrey (Russell Crowe). Aubrey and his crew have been bested by the French ship Acheron, and Aubrey chases it like Ahab pursued Moby Dick. The story is taken from several of the books from Master and Commander book series, and I think there was talk about doing a sequel, but despite a dozen Oscar nominations, I don't recall the regular public clamoring for it. There is a lot of action and it is helpful to be somewhat familiar with the historical setting. It is certainly a primer for the very harsh life on board a fighting ship in the 1800s. I liked it, I didn't mind watching it a second time, and it's a good adventure/action movie.

4/28/18 Romeo and Juliet, Best Cinematography, Best Costume Design, 1968

I was inspired to re-watch Franco Zeffirelli's Romeo and Juliet after watching my friend's son in his high school production (he was Friar Laurence); it wasn't too bad. In the film, Leonard Whiting plays Romeo and Olivia Hussey is Juliet. Hopefully you are somewhat familiar with the play by William Shakespeare or perhaps some other film adaptation, so I won't recap it. This was Whiting's first film, and Hussey's third, so they were pretty unknown teenagers, and untested actors. The script is not verbatim, there are things that are missing (I noticed Friar Laurence was not as featured as he was in the play I had recently attended), but the spirit and energy are definitely there. The movie was filmed throughout Italy, and I think it's beautiful. I enjoyed Romeo and Juliet, but I wouldn't say it's my favorite play by Shakespeare or even my favorite film of a Shakespeare play (Laurence Olivier, who is the Chorus in this film, played King Lear in 1983 in a television production, which was incredible), but it's a good production of one of the most well-known of Shakespeare's plays.

4/29/18 Wallace and Gromit: The Curse of the Were Rabbit, Best Animated Feature, 2005

I love Wallace and Gromit, and apparently, so do the Oscars, as Wallace and Gromit have been nominated five Oscars and winning three (two short films and one feature). Wallace is an eccentric inventor living in the north of England with his wise-beyond-his-species dog, Gromit, who is often responsible for rescuing Wallace. They both have a fondness for cheese and adventure (trips to space are not uncommon). In this glimpse into their lives, Wallace and Gromit operate a humane pest control business, trying to save their neighbors veg gardens. Wallace (voiced by English actor Peter Sallis) catches the eye of Lady Campanula Tottington (Helena Bonham Carter), but unfortunately he also pokes the ego of Lord Victor Quartermain (Ralph Fiennes who just chews up the scenery with his pomposity, meant in a good way). Ever the inventor, Wallace accidentally creates a Were Rabbit, which almost brings ruin to the town, and himself. Aside from the super fun animation, using the time intensive stop motion method, I always enjoy the smart word play and puns and visual treats provided by the Arman team.

5/3/18 The Incredibles, Best Animated Feature, Best Sound Editing, 2004

I suppose it's very timely that I re-watched The Incredibles so close to the release of The Incredibles 2; it's almost like I planned it. This is another movie that I actually saw in the theater when it was originally released. I enjoyed it, didn't love it. This was before the spate of super hero movies started coming out, and it was a new take on the whole idea of super heroes, making it a family affair. Written and directed by Brad Bird, who also voiced the fashion designer in the film, Edna Mode, and starring Craig T. Nelson as Mr. Incredible, Holly Hunter as Mr. Incredible's wife and hero in her own right, Elastigirl. They have three kids who also have powers: Violet (who is similar to Invisible Girl from The Fantastic Four) and Dash who is super fast, and Jack-Jack who has yet unidentified powers. Of course, there is a bad guy, Incredi-Boy/Syndrome (Jason Lee) who was ignored/treated badly by his hero, Mr. Incredible, and he comes back to teach the Supers, especially Mr. Incredible a lesson. I am getting a little ahead of myself: the Supers had to all go underground after the public sentiment turned against them (similar to what happened to Batman and The Avengers); so they had to take regular jobs. It may be safer, but it's boring, so Mr. Incredible and his friend, Frozone (Samuel L. Jackson, before he took on the eye patch of Nick Fury) take on bad guys secretly, their wives don't know and the 'agency' doesn't know. Back to Syndrome, who starts to wreak havoc, requiring the Incredibles, and later Frozone, to come out of retirement. The Incredibles is a fun movie, and at the time it was released, it was a fresh take on super heroes with the family element, and showing them to be all to human. The character of Edna Mode, dahling, is still one of my favorites (she kind of reminds me of Heddy from NICS: Los Angeles). It was pretty cool to have a black super hero (years before Fury, Falcon, Luke Cage or the Black Panther). I was pleased with the animation, and it looks like The Incredibles 2 is a very different style, but that's for another review, because I'm almost sure it will be nominated. 

Beauty and the Beast, Toni Erdmann and The Red Turtle

4/30/17 Beauty and the Beast, not yet nominated 2017

I saw Beauty and the Beast on 4/30, a Sunday as I recall, and it's now Wednesday, May 10. I've been going over in my mind how to write this; I really don't think I need to recap the plot, it's the same one from the animated version of Beauty and the Beast. There are a few new songs, but nothing original or surprising. And, that's where I sit. I liked the movie, I thought it was well done, I'm fairly certain it will be nominated in the technical categories: production design, visual effects, costume and hair, and I really wanted to see it on the big screen. I wanted to see how Emma Watson (Belle) did in a lead role; I'm a fan, I think she's a great role model for young women, and young men, for that matter; she has a great sense of humor about herself; and it's fun to see young actors grow and take on new roles. The Beast, the Beast, oh right, Dan Stevens, late of Downton Abbey fame; to me it was pretty inconsequential, since for 95% of the movie, the Beast was, well, the Beast, and not in human form, and that is true for all the of the household items. Did it matter that Emma Thompson (whom I love) was Mrs. Potts? Not really. Or that Ian McKellen was Cogsworth? Meh. And I could go on through the cast. It's not like they were Ellen DeGeneres as Dory, or Billy Crystal as Mike (Monsters Inc). The 'human' cast was just as meh for me; Kevin Kline played Belle's father; Luke Evans was Gaston (Gaston is a character I thoroughly dislike, I know, he's a bad guy, but he's not even a fun bad guy; he's an ass). Josh Gad was LeFou, Gaston's sycophantic sidekick, who is portrayed, not subtly, as gay or effeminate (take your pick); I'd like to say who cares (I don't), except, it got very annoying during the movie, in your face - and it added NOTHING, if there was a point, I wouldn't care. There are a few new songs, one sung by Celine Dion at the end "How Does a Moment Last Forever" and "Evermore" by Josh Groban, which were fine, I don't recall being overly moved by either (wow, I sound like someone stole my heart and soul). I thought the cast, overall, did well performing the songs. I was disappointed, and a little surprised, that Audra McDonald, who has performed in a huge variety of singing roles, including on Broadway, and she sang only a little bit as a soloist. That seemed like a lost opportunity to me. I know this sounds whiny, and maybe that's why I waited so long, but I really did like and enjoy the movie, and it's good family entertainment, I just didn't love it.

5/7/17 Toni Erdmann, nominated Best Foreign Film, 2016

I don't mean to sound unprofessional, but UGH. This movie was two hours and forty-two minutes long, and it was really not as great as it was hyped up to be. I didn't think it was great at all. It seemed like one of my weaker reviews: full of half thoughts that don't get fully executed, and full thoughts that should have been stopped before they were started. I had really high expectations since it had been nominated for, and won, many international film festival awards. I tried, for 162 minutes I tried, to find something to like. There wasn't enough. Winfried Conradi is a music teacher with an unusual sense of humor (he would get on my nerves quickly, and I like to think I have a good sense of humor), who randomly decides to visit his estranged daughter, Ines, in Bucharest where she is working as a consultant for an oil company. As silly as Winfried (or his alter ego, Toni Erdmann) is, Ines is serious, determined and aloof. Winfried is clearly missing his daughter and just wants to spend time with her, maybe have fun; the problem is, they disagree on what 'fun' is. He uses the Toni Erdmann persona to insinuate himself into Ines' work life; eventually, he wears her down, and they tag team with each other in a meeting with Ines' client. I get that parent/adult child relationships can be difficult and challenging, been there, done that; and I understand that women have to work harder in male-dominated fields, so Ines has to stay focused and wants to be taken seriously. But, this point was beaten into the ground, and any empathy I may have had just shriveled up. As I was watching, I was making comparisons to Isabelle Huppert in Elle (she was nominated for Best Actress), in that both women were driven professionals, neither was very likable, and both had difficult relationships with their fathers, although I think it's fair to say that Ines' was a walk in the park compared to Michele. I'm not really sure where that comparison gets us, except that I liked Elle even though it was hard to watch and Michele was a bitch; and I didn't like Toni Erdmann. The movie was described as a comedy, and it is not that at all; they are a few funny moments, but overall, I would say that it is a drama. I think so much more could have been done with the idea of this father/daughter relationship. Disappointed.

5/9/17 The Red Turtle, nominated Best Animated Feature, 2016

I don't even know what to say. I'm sure there were some beautiful metaphors in this film, but I was so utterly bored out of my mind, I must have missed them. It was made by the Ghibli Studio, which has made other Oscar nominated animated films, like The Wind Rises, The Tale of Princess Kaguya and When Marnie Was There (which did not do much for me). There was no dialogue, which I'm fine with, but I don't know, maybe I would have liked it better if it was a short instead of a feature (it wasn't too long at 80 minutes, but long enough). Anyway, I can't even give you a synopsis. I'm waiting for My Life as a Zucchini, but so far, out of the nominees, you can't go wrong with Kubo and the Two Strings, Moana or the winner, Zootopia.


A friend of mine, who has seen all the other movies in the franchise and loved them, saw Fate of the Furious, last week, in the big IMAX theater, and was very disappointed. I asked him to do a guest review, and all he could do was show me two thumbs down. Since I have been exempt from having to see any of the other movies, and have no plans to see this one, this is the only review you'll see here.

Race, Singin' in the Rain, M.A.S.H. and All the President's Men

7/31/16 Race, not yet nominated 2016

Race is the story of Jesse Owens' (Stephan James) journey to and experience at the 1936 Olympic Games in Berlin, Germany. Some historical background: Owens' family moved from Alabama to Cleveland, and Jesse essentially spent his formative years in Cleveland, Ohio, and then ran at The Ohio State University. The movie spends some time on his college racing career and his coach, Larry Snyder (Jason Sudeikis), and then moves to the Olympics in an increasingly hostile and racist and anti-Semitic Germany. Owens considered not going to the Olympics because of the conditions. German filmmaker Leni Riefenstahl (Carice van Houten), who filmed the Olympics as part of a larger propaganda scheme is in the film and acts as an interpreter/translator between Avery Brundage (Jeremy Irons) and propaganda minister, Joseph Goebbels. I don't know if that really happened, but it helps to connect the different personalities and introduces the character of Hitler even if there is no dialog from him. The movie gives us a very small glimpse into the Nazi world that Hitler was creating, and just a small look at what Jesse Owens had to deal with, overcoming the odds, the pressure to win four gold medals. There was a little bit of the relationship that Owens had with Carl "Luz" Long in the long jump competition, but as with most of the movie, I was left wanting more. I'm a little familiar with Jesse Owens's story, so I was hoping for something more, something visceral to really convey the racism he had to face, trying to balance his love for his sport and his country, but also survive in a country where racism was still quite systemic. I didn't get that. I got a little, but not enough. I wanted some of those moments I got from Selma which left me in tears and with chills. I wanted to come away with the sense of enormity with what he did. Now we think nothing of it that athletes participate in two, three or four Olympics, but back in the days before financial support and training opportunities, that just wasn't feasible for most people, so four gold medals in one Olympics was momentous. It was good, and this is the perfect time to watch it since Track and Field is happening in the Olympics now.

8/6/16 All the President's Men, Best Supporting Actor, Best Sound, Best Adapted Screenplay, Best Art Direction, 1976, #77 AFI, National Film Registry

Released a few years after the events it covers (the break in to the Democratic National Committee headquarters, the subsequent cover up and the eventual resignation of President Nixon), most people viewing were probably more than well-versed in what was happening in the country at the time. Watching it forty years later, it may be more 'educational' on investigative reporting or a Clif's notes version of the 1970s, and an interesting look at a young Robert Redford and Dustin Hoffman. It's a fitting predecessor to the winner of the 2016 Best Picture winner Spotlight. I can watch All the President's Men over and over because there is always something I missed or didn't make the connection, or I've learned something new about the time frame and now it makes sense in the context of the movie. I love the story, I really like seeing the process of the research and digging into the sources; Redford as Bob Woodward and Hoffman as Carl Bernstein are good (I don't know enough about the real people to say how accurate they are); Jason Robards (love him) as executive editor Ben Bradlee of the Washington Post won an Oscar for Best Supporting Actor. It occurred to me that some people may think this Watergate stuff is tame compared to the craziness going on this year (heaven help us all), but I think it shows the power of the press and the importance of a free press and the ability to turn over the rocks.

8/9/16 M.A.S.H., Best Adapted Screenplay, 1971, #54 AFI, National Film Registry

 Before I ever knew there was a move M.A.S.H., my father subjected me to the television series (I say 'subjected', but it ultimately became one of my favorite television shows). There are similarities, but the television show gave the characters time to develop and evolve and for the viewers to learn more about their personal lives. The familiar opening tune in the television series is actually a whole song called "Suicide is Painless"; we also get the loudspeaker announcements. M.A.S.H. was directed by Robert Altman, which I did not know, and after I learned that, the flow of the movie makes sense. Based on the other Altman films I've seen (Nashville, Prairie Home Companion, Gosford Park), there may not be an obvious plotline, but if there is, it is connected by little vignettes, mini-movies within the larger movie. Characters like Hawkeye (Donald Sutherand), Trapper John (Elliott Gould), Henry Blake (Roger Bowen), Radar (Gary Burghoff - the only actor to go from the movie to television series), Frank Burns (Robert Duvall) and Hot Lips Houlihan (Sally Kellerman), sorry folks, no Max Klinger. We don't get as much in the operating theater as we did in the television series; it's there, but the action is focused on the hijinks and trouble that Hawkeye, Trapper John and co. can get into, whether that is revealing Hot Lips in the shower, rigging a football game, driving Frank Burns crazy. It's not my favorite Altman movie, I like it, but I still prefer the television series.

8/13/16 Singin' In the Rain, 1952 #5 AFI, National Film Registry, #7 BBC

 I haven't done a detailed study, but this may be the only movie that did NOT win an Oscar, but is on my three lists. That seems really crazy. It didn't win a single Oscar. Jean Hagen as Lina Lamont was nominated for Best Supporting Actress. Betcha didn't see that coming. Singin' In the Rain holds up after almost 65 years. Gene Kelly is Don Lockwood a vaudevillian turned stunt man turned actor; Donald O'Connor is Cosmo Brown, his friend and a huge comedic asset to the film; Debbie Reynolds is Kathy Selden an aspiring actress and singer who becomes romantically involved with Lockwood. The story (basically) is a re-telling of Hollywood's transition from silent pictures to the talkies; many actors and actresses were left behind because their voices did not translate to the silver screen. Lockwood and Lamont are working on a movie together when the new talkie technology and The Jazz Singer appear on the scene. R.F. Simpson (Millard Mitchell) is the head of Monumental Pictures and he wants to make a talking picture. It doesn't take too long before everyone realizes that Lina Lamont may not be made for this new invention. This narrative is built around music and dance breaks which are worth watching alone. Kelly and O'Connor are great together, O'Connor is funny and comedic, but he matches Kelly step for step. "Good Morning", "Make 'em Laugh"and "Singin' in the Rain" and "Broadway Melody Ballet" are just spectacular. Fred Astaire was suave, debonair and elegant and Gene Kelly was suave, but athletic as well. The story is funny, it actually worked and held my interest, contrary to Swingtime which kind of bored me unless Astaire and Rogers were dancing. Jean Hagen really nails the character of Lina Lamont; Reynolds sounds superb and hangs with O'Connor and Kelly (I did read that she wasn't that much of a dancer and that Kelly, who directed the dance scenes, was tough on her); it's beautifully filmed, colorful without being gaudy and nauseating. It's one of the few movies I could watch over and over. It's great for family movie night.

Ben-Hur, Groundhog Day and An Inconvenient Truth - movies for every occasion

7/3/16 Ben-Hur, Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Art Direction - Color, Best Cinematography - Color, Best Costume Design - Color, Best Special Effects, Best Film Editing, Best Music, Scoring of a Drama or Comedy, Best Sound Recording, 1959, #100 AFI, National Film Registry

A remake of Ben-Hur is coming out soon. I don't know why, I would imagine the comparisons to the 1959 Oscar-winning movie (11 wins), and Charlton Heston as Ben-Hur are going to be inevitable. It's possible that the only knowledge that young movie goers have of Ben-Hur is from the famous chariot racing scene which always seems to be included in any montage tribute to classic films. I have classified Ben-Hur as a 'religious' film in my tags, but it's not as religious (to me) as The Greatest Story Ever Told or  Jesus of Nazareth, in fact the religious awakening/awareness don't come until the last 20-30 minutes of the film. Charlton Heston had himself one helluva a career in just two movies with The Ten Commandments and Ben-Hur (I mean, he did more than that, obviously, but if he only made two, I would have picked these two). Heston plays Judah Ben-Hur, a wealthy Jewish merchant in Judea. Judah's childhood friend, Messala (Stephen Boyd), a Roman, returns to Judea as a tribune. Messala wants to use his friendship with Judah, and Judah's influence, to calm the Jews and get them to tow the line. Judah cannot bring himself to do this, and through a series of events, Judah is sent as a slave on a galley ship. Roman Consul Quintus Arrias (English actor Jack Hawkins) takes an interest in this slave who seems determined and focused and unbent by the extreme physical exertion of rowing. Arrias eventually adopts Ben-Hur (this was actually not uncommon in Roman culture) and trains him as a charioteer. The opportunity arises for Ben-Hur to race against Messala, who has since imprisoned Ben-Hur's mother and sister, and is his mortal enemy. This is the scene I referenced above, and I'm not sure how to describe it, or if I even could in a way that would do it justice. After the race, Judah discovers that his mother and sister are no longer imprisoned, but in a leper colony. Around this same time, Jesus is traveling and preaching through Jerusalem, ultimately being put on trial by Pontius Pilate. The scene of Jesus walking through the streets of Jerusalem, carrying the crucifix does not focus on Jesus, but on Judah watching Jesus, even trying to give him a drink of water. Judah's family experiences a miracle after the Crucifixion, and the anger and hate that Judah had been feeling dissipate. As you faithful readers know, I generally dislike long movies on principle, and while I think this movie could have been a little shorter, I didn't mind because it was so well-done. William Wyler directed (Roman Holiday, The Best Years of Our Lives,  Mrs. Miniver, Wuthering Heights to name a few) and he did a spectacular job, combining the action of battle scenes and chariot races with gorgeous sets and magnificent cinematography, plus getting wonderful performances from the actors. The movie won Best Picture and Wyler won Best Director. Heston won Best Actor. It also won several other Oscars and is #100 on the AFI list and on the national film registry. There is an earlier, silent version of Ben-Hur which is also on the national film registry, and that disk was included in the set from the library, but I ran out of time and had to return it. Also, my brother was coming for a visit and love is not making your 22 year old brother watch a two hour silent movie. I don't know if I will see the new version coming out, perhaps if it's nominated.


7/23/16 An Inconvenient Truth, Best Documentary, Best Original Song, 2006

After all these years, I do not understand how anyone with a critical thinking brain cell can deny climate change and the impact that humans have on this planet. After watching An Inconvenient Truth, I feel even more strongly about that. This is really Al Gore's movie, he presents to audiences around the world on global warming, using powerful graphics, his Southern accent and facts that seem to have been burned into his brain. He is as comfortable talking and explaining the science behind global warming as if he was chatting to friends around a picnic table. Around the scenes of his actual presentation, former Vice President Gore talks about certain events in his life that have had a long lasting impact on his life: his sister's death from cancer brought on by a lifetime of smoking, his son's accident that helped him refocus his priorities, and teachers who influenced him. Gore is not a recent convert to environmental issues, he has been an advocate since he was a congressman from Tennessee in the late 1970s. The movie is ten years old, which is hard to believe, but it's probably more relevant and important today than even when it was released. Gore isn't all doom and gloom, he points out that if we all make incremental changes, the affect can still be felt. It's not too late, but we have to act now. The movie was written by Al Gore and directed by Davis Guggenheim (He Named Her Malala); it also won the Oscar for Best Original Song, "I Need to Wake Up" by Melissa Etheridge. I encourage you to watch this movie as well as a few others about our planet: Racing Extinction, Merchants of Doubt, which requires you to wear your critical thinking cap, and Chasing Ice. These are just a few, but they are powerful in the how they portray what is happening to this planet. For crying out loud, if we can bring Earth to the very brink of destruction in less than 200 years, what hope do we have on some future home, whether it's Mars or some undiscovered sphere?

7/30/16 Boy & the World, nominated Best Animated Feature, 2015 

Watching Boy & the World turned into a 'list exercise' meaning I finished watching it because it was on the list of nominated films for 2015 and, in fact, was the last film on the list. It was nominated for Best Animated Feature, Inside Out was the winner. I'm not going to lie, the movie did not hold my interest at all, I can't even give you a synopsis, except to say that it would have made a good short film, but 90 minutes was too long for me. There was virtually no dialogue, and perhaps that added to its appeal, I don't know. I didn't hate it, I just didn't care. Sorry.

7/30/16 Groundhog Day, 1993, National Film Registry, #71 BBC

Since watching the Ghostbusters remake last week, I  have yet to watch the original, but in an effort to make up for that, I did watch Groundhog Day starring Bill Murray and directed by Harold Ramis. That kind of counts for something, doesn't it? Groundhog Day did not win any Oscars, but it did land a place on the National Film Registry as well as on the BBC's list of the top 100 American films. It has also landed a place in our lexicon when people find themselves doing the same thing over and over (or it feels like it), they say something like, "It's like Groundhog Day." I know I have. Bill Murray plays Phil Connors, an snide, arrogant weatherman in Pittsburgh, who goes to Punxsutawney, Pennsylvania, to wait for the groundhog to come up and see his shadow. Along for the fun are his producer Rite (Andie McDowell) and cameraman Larry (Chris Elliott). After watching the groundhog come out and see his shadow, the crew try to head back to Pittsburgh, but are deterred by a snowstorm that Phil failed to predict. They head back to town where Phil finds himself in a time loop, and in a twist worthy of a Greek tragedy, Phil has to relive Groundhog Day over and over and over. He goes through a period of despair and tries to kill himself; normally I would not use 'suicide' and 'funny' in the same review, but his attempts and the results, are pretty funny. Eventually he learns to use it to his advantage since he knows exactly what's going to happen next, like answering Jeopardy questions before Alex Trebek can answer them. There's no question that this is Bill Murray's movie, but he does have a good partner in McDowell, who does the only thing you can do and that's play it straight. I don't think we know how or what created this time loop, but I think that's totally okay and is really irrelevant. I enjoyed the humor and the way the story did progress, so even though it was the same day, we see different aspects of that day. I didn't laugh out loud, but I did like it quite a bit and was laughing on the inside.

The Night of the Hunter with Robert Mitchum, Shelley Winters and Lillian Gish

Koyaanisqatsi, 1982, #69 BBC, National Film Registry

I have 35 minutes left in this movie and since I don't think my opinion is going to change, I am writing as I watch. I can be pretentious; in fact, I'm sure there are moments when I am downright insufferable. That's kind of how I feel about Koyaanisqatsi, a movie directed by Godfrey Reggio with music by Philip Glass. I want to punch myself in the face, that is how much I hate this movie. Visually it is wonderful, great scenes from nature as well as city life; it is a look at man and our relationship with nature. You know, how we have basically ruined everything. Which means it's still relevant today, maybe more so, HOWEVER... It takes some beautiful images, speeds them up or slows them down, adds some repetitive music and feels like torture. In fact, if I was going to torture an enemy, I would just play the soundtrack; I'm pretty sure they would tell me everything I wanted to know. It just goes on and on and on. The movie goes on for 85 minutes, which is 50 minutes too long. This would have been a great candidate for a short film. It's just annoying, the music especially. Somehow this made it on to the BBC's list for the 100 best American films (seriously, NOTHING was better?) and the National Film Registry, which means someone felt it was important enough to be preserved for future generations. So, sorry about that.

The Tree of Life, 2011, #79 BBC

Speaking of pretentious and movies that I had a hard time watching, let me talk briefly about The Tree of Life by Terrence Malick starring Brad Pitt, Sean Penn and Jessica Chastain. I'll be brief even though the movie was not, and if I had been blogging at the time I would have said something like, "Well that's three hours of my life I will never get back." The opening was visually beautiful, kind of like something from the Discovery Channel with scenes of volcanoes erupting and blood coursing through veins; kind of like a look at how life begins. Great, cool. The next 2 1/2 hours are about a family who struggle with the sudden death of a son/brother and the silences that inhabit their lives. There is very little dialog, just pouting, moping, sorrowful looks, and then some bizarre ending. Many people found deep meaning, the complexity of our relationship with our parents, when we are children and then when we grow up. All great stuff, but this movie left me cold and disengaged. I'm sure I am in the minority, but I did not think it was a masterpiece, as some called it. Terrence Malick has another movie that has recently been released, and I'm sure it will get some nomination or other, and I'll have to watch it, but from what I've read, I am not going to like it.


The Night of the Hunter, 1955 #92 BBC, National Film Registry

Um, I liked this better the first time I saw it, which was over ten years ago, way before the blog. Maybe it's not fair to say I liked it less, but I noticed the flaws a little more. Since The Night of the Hunter is a suspense film, I don't want to provide too much information, because the suspense is one thing that is a huge plus for this film. Let me back up a little bit. Reverend Harry Powell (Robert Mitchum) is a man of highly questionable character, and he gets arrested for stealing a car. In prison he meets Ben Harper (Peter Graves), a husband and father who was arrested and sentenced to hang for murder and robbery. The stolen money was never found, and Powell learns that Harper left behind a wife and two young children. Powell woos Willa Harper (Shelley Winters looking stunning) to try and find the money. John Harper (Billy Chapin), the oldest of the two children, takes an immediate dislike to Powell, but Pearl, the young daughter is very fond of him. Let's just say not everything is as it seems. There is a slow speed chase throughout the countryside as Powell is determined to find the money. The children meet up with an older woman, played by Lillian Gish, who is not as weak as she may appear. Seriously, I am afraid to tell you too much because the wrong move could ruin it. The movie is all about the suspense. The acting, on the other hand, is uneven to the point that I was laughing, but Charles Laughton directed and I know people think he was great, but in my opinion, he had some uneven moments as well. The dialog wasn't all the great in parts either. Billy Chapin was surprising as young John Harper, going toe to toe with Mitchum and seasoned actor James Gleason who played Uncle Birdie. Are you wondering if you should see this movie? Yeah, I would say so. Seeing it for the first time, you're more focused on the suspense and not some of the other, quirky things. This may be one of Mitchum's more iconic roles; Winters is good (she really played some different roles in her career); Gish was an American treasure; and it's better than the first two movies in this entry.

John Wayne, Orson Welles, Hitchcock, Tootsie and Frida - something for everyone

3/13/16 Rio Bravo, 1959, #41 BBC, National Film Registry

Rio Bravo was directed by Howard Hawks (His Girl Friday) and stars John Wayne, Dean Martin and Ricky Nelson. It kind of seems like an unusual combination, but it really works. Toss in Walter Brennan, a couple of songs sung by Martin and Nelson, pretty good banter and you have a movie perfect for a Saturday afternoon at the cabin (since it's getting to be that time again). Sheriff John T. Chance (Wayne) is guarding a high value target (as we would say these days) and doesn't have a large pool of deputies, so he scrapes the bottom of the barrel. Chance puts his faith in Dude (Martin), an alcoholic cowboy who used to be a great shot; Stumpy (Brennan) who makes up in heart and spirit with what he lacks in physical mobility; Colorado (Nelson), a young cowboy who works for a friend of Chance and only joins Chance when his boss is gunned down by someone trying to free Joe Burdette. I liked the movie; there was a little bit of suspense, some great shooting, and like I have gotten used to from Hawks' films - quick, rapid fire dialog. John Wayne may have been one of the great unintentional straight men, putting the lines out there for Brennan to hit out of the park. The one thing I really didn't like, and I don't feel that it added to the movie, was Chance's relationship with Feathers (Angie Dickinson). Otherwise, it was fun.  

3/13/16 Touch of Evil, 1958, #51 BBC, National Film Registry

Orson Welles wrote, directed and starred in this dark, moody and tense thriller set on the borders of the United States and Mexico. Welles is Captain Hank Quinlan (he is under a lot of makeup, but he's there) and Charlton Heston is Miguel "Mike" Vargas, a drug enforcement official from Mexico who has just married his American wife, Susie (Janet Leigh). They stumble upon a car bomb that goes off on the American side of the border and kills an American businessman.Vargas and Quinlan engage in a turf war of sorts, with Quinlan predictably against Vargas's presence in the investigation of the bombing, as well as biased against Mexicans in general. Susie is not thrilled about being in Mexico, and while she waits for Mike to finish his official business, she waits in a motel, owned by "Uncle Joe" Grandi, a Mexican mob-type figure who has his fingers in all kinds of things. Susie (Janet Leigh is relegated to panicked looks, hysterical screaming and crying, necessary, but annoying) is cut-off from Mike and his American counterparts and is harassed and tormented by Uncle Joe's minions. This seems like a throwaway part of the story, but it does bring everything together in the end. We are not sure if Quinlan is just a hard-boiled cop, upset at Vargas's presence, or a corrupt and jaded man. There is a hint of sadness in him and we don't get the whole story, but we get hints, through his conversations with his loyal partner, Pete, as well as his reminiscences with Tanya (Marlene Dietrich), a brothel owner. I am not overly familiar with the work of Marlene Dietrich, but I thought she was wonderfully understated, but strong, and I would have liked to see more interactions with Tanya and Quinlan (that could have been a totally separate movie). The last twenty minutes are really intense and very suspenseful. Once I got past Charlton Heston as Mexican (I thought surely there were Mexican or Mexican-American actors, but maybe they went with Heston for star power), and Susie/Janet Leigh's whininess, I was very enthralled. If I didn't know Welles was involved, I would have thought this was a Hitchcock film, except it didn't have any of those comedic touches that Hitchcock used. If you are looking for a film noir for your next movie night, I suggest A Touch of Evil.

3/19/16 Frida, Best Makeup, Best Original Score, 2002 

Frida is a bio-pic about Mexican surrealist Frida Kahlo (Selma Hayek) and her husband and painter, Diego Rivera (Alfred Molina). The movie introduces us to a young Frida Kahlo, playful, philosophical, and in love, when she is involved in a devastating trolley versus bus accident, where she experiences injuries that affect her the rest of her life. She has a lot of time to paint and draw as she recuperates from many surgeries; and upon her recovery, she visits famed Mexican painter, Diego Rivera. They bond over art, but also politics as they are both Communists/Socialists. They swear to remain friends, because Rivera has a terrible reputation as a womanizer, and that promise lasts about 60 seconds. What follows is a tumultuous and passionate love affair that informs Frida's art, although to be fair, the movie features both artists' work as they traveled together as Rivera did his murals in America (Detroit, New York City, Chicago). Frida and Diego both had relationships outside of their marriage and it seemed to work for them, until Diego had an affair with Frida's sister and later after they reconciled, Frida had an affair with Leon Trotsky. This was a world where politics and art collided. I liked the movie, and I liked the way the artwork was shown, and for Frida how much of her inner pain, physical and emotional, came through her work. I was less thrilled with the surrealistic 'vignettes' that director Julie Taymor included. I thought they were annoying; others may disagree. I learned a lot about both artists, and Hayek and Molina were Frida and Rivera; it was truly a tragic love story. I probably would not have watched this movie if it wasn't on my list, but I am glad I did.

3/19/16 Marnie, 1964, #47 BBC

What can I say about Hitchcock? He is the master of suspense, and I always (always) get his movies with a lump in my throat because I am so sure I am going to be scared out of my wits, even before watching them or even knowing what they're about. I'm sure he would be pleased. I made sure to watch Marnie, starring Sean Connery and Tippi Hedren, during the day so I would not have nightmares before bedtime. Seriously. And not that I was disappointed, but I didn't have any nightmares and quite enjoyed the movie. Tippi Hedren is the title character, Marnie, who has a bad habit of stealing from her employers and then disappearing into a new identity. She's quite effective until she meets Mark Rutland (the ever so suave Sean Connery) who owns Rutland Publishing. Through a variety of special effects as well as the powerful score, by Bernard Hermann, gives us some clue that Marnie isn't a hardened criminal, but a damaged young woman (think back to Hitchock's Spellbound or Vertigo) who needs the understanding Rutland to 'fix' her. There were times when I felt things dragged a bit or that the acting from the other characters was pretty bad, but the last thirty minutes are outstanding. Since I watched A Touch of Evil just a few days before Marnie I was making comparisons in my mind about the films, the camera angles, the use of suspense and letting the viewer know only what the director wanted us to know and the use of visual and sound effects to heighten the tension. Marnie may be one of my favorite Hitchcock films now. I have to watch Psycho and perhaps I will get up the courage...or not.

3/19/16 Tootsie, 1982, Best Actress in a Supporting Role, #69 AFI, National Film Registry

A friend and I were talking about how so many movies (it seems) that were made decades ago that had racist or sexist elements still seemed to be relevant today. I saw Tootsie when it came out in the theaters over thirty years ago and I remember my friends and I thought it was hilarious and that Dustin Hoffman was awesome (actually, I don't think 'awesome' was in the lingo as much as it is these days). It went on to be one of the year's best movies and was nominated for ten Oscars, although only winning one. Dustin Hoffman is Michael Dorsey, an out of work and difficult to work with actor in New York City who finally gets a job on a soap opera as Dorothy Michaels. The only other person who knows about this twist is Dorsey's roommate and playwright, Jeff played Bill Murray who is nonplussed by his friend's behavior. Teri Garr is Sandy Lester a friend and fellow actor who also struggles to find employment. Much to his surprise, Michael gets the role on the soap (the audition is hilarious, with the producer and director imploring the cameramen not to get too close); and this new role leads Michael to see how hard it is for actresses who face more discrimination and harassment by their co-stars and employers. Michael, being a sensitive soul, decides to make his character, Emily Kimberly, a voice for these women, and "she" becomes a rallying point for women around the country. I don't often laugh out loud at movies, they're not that funny or I'm just laughing on the inside, but I laughed a lot during Tootsie. Hoffman is surrounded by a great cast (Jessica Lange, Geena Davis, Charles Durning, Dabney Coleman, Sydney Pollack) and they all play off of one another so well; they are so believable in their belief in Dorothy's existence. Teri Garr and Jessica Lange were both nominated for Best Supporting Actress, with Lange winning. I was worried that I would not find Tootsie as funny the second time around, but I was wrong. It was funny, still current in some respects, and nostalgic in others (the Stephen Bishop soundtrack). If you haven't seen this one in a while, you should watch it. 

The BBC 100 list - Goodfellas, His Girl Friday, Meet Me in St. Louis

3/4/16 Goodfellas, Best Supporting Actor, 1980 #92 AFI, #20 BBC, National Film Registry 

 If  you're a fan of Robert DeNiro, Martin Scorcese, The Sopranos or  The Godfather, you have probably seen this movie at least once, but I'm guessing four or five times. I have also seen it a few times, but I wanted to watch it once more before reviewing it. Goodfellas is based on a true story and real life gangsters and is told from the perspective of Henry Hill (Ray Liotta), an Irish-Italian associate of the New York mob. Henry starts hanging out with the wise guys as a young kid and is easily drawn into the lifestyle. He gets as close to the inner circle as he could without being a made man. His two closest friends are James "Jimmy the Gent" Conway (Robert DeNiro) and Tommy DeVito (Joe Pesci in his Oscar-winning role); they are both hot-headed, but Tommy is even more so, losing it on more than one occasion. Tommy is over-the-top, maybe even psychotic. Against a direct order by Paulie Cicero (Paul Sorvino), Henry gets involved in the drug business, and starts using. He brings his wife Karen (Lorraine Bracco) into it as well. Things take an inevitable turn for the worst for the Hills and several of their friends. I like the movie, I like the pacing; Scorcese takes us through four decades, from 1955 through the early 1980s, but it doesn't drag on, or at least it didn't feel that way to me. I do think that if you're going to really follow the different, minor characters, it can be challenging. There are a lot of people moving in and out of the scenes, and most of the time it's not that important, but then when they start getting knocked off, it's handy to know who they are or why they are being whacked. An underlying plot (Hill was not directly involved) was the Lufthansa Airlines robbery at LaGuardia Airport in 1978, which is not gone into in detail, but the repercussions ripple throughout the gang. If you do not know about it, it may be confusing. Of course, maybe not, maybe you pay better attention than I do.

3/5/16 A Woman Under the Influence, 1974, #31 BBC, National Film Registry

I think I should have been under the influence while watching this movie. It may have made the yelling and jumpy story more tolerable. May have, no guarantees. A Woman Under the Influence has been cited as influential, inspiring, groundbreaking, etc., so I finally watched it. I think this may be one of those instances where at the time it was released, 1974, John Cassavetes' film starring his wife, Gena Rowlands and Peter Falk, was all of those things. Forty years later, it seemed like a movie of lost opportunities. Gena Rowlands is Mabel Longhetti and Peter Falk is her husband, Nick. Mabel is a housewife and mother of three young children, who seems to be desperately lonely and depressed as she is home alone during the day, while Nick is out with his friends and co-workers during the day, and sometimes during the night when there is an emergency (he is some kind of public works employee). Nick describes Mabel as different, quirky, but he is tolerant and seems to understand her. If the movie was made today, her idiosyncrasies might have been attributed to post-partum depression or another diagnosable mental illness; but Mabel just seems wacky, close to hurting herself or her children, and she is put in a mental hospital. We never see Mabel getting help or treatment, we see Nick playing with the kids (actually getting them drunk on little sips of beer), and then having a party for Mabel's return. There are too many gaps for me, and a lot of shouting and repetition of lines, almost as if they were being improvised. Usually I will check out Wikipedia, but I didn't want to be swayed, and I still haven't looked. I will say that Rowlands was really good and was nominated for Best Actress, losing out to Ellen Burstyn in Alice Doesn't Live Here Anymore. Peter Falk was in more of the film that Rowlands, and showed a side that was very un-Columbo-like (some of you may not even be familiar with Falk's role as the wrinkled Detective Columbo). For film buffs, you should probably see this, or you have already; but if you're a casual movie fan, looking for a fun Saturday night movie, this is not it. Sorry.

3/6/16 His Girl Friday, 1940, #50 BBC, National Film Registry

Howard Hawks teams up again with Cary Grant for another comedy classic (Bringing Up Baby with Katherine Hepburn), but this time he pairs Grant with Rosalind Russell.  His Girl Friday is set in the world of newspapers, with Grant as Walter Burns, the editor of The Morning Post and Russell is Hildy Burns, his ex-wife, ace reporter, and the person who knows him better than he knows himself. Hildy has returned to town with her fiance, Bruce Baldwin (Ralph Bellamy), insurance salesman. Hildy plans to come to town, say her goodbyes, and head off for her life of domestic bliss in Albany, New York. But with the biggest story in the city going on, the impending execution of a white man for killing a colored policeman, and possible riots, Walter wants his best reporter on the case. After a series of comedic turns, Hildy takes the job, only to find Bruce getting into trouble with a little help from Walter. The verbal exchanges between Grant and Russell are blazing fast and witty, similar to Grant's other movie roles. It is fun to watch. This comedic jousting takes place over the very serious business of race riots, hangings and political corruption. Russell as Grant's sparring partner is well up to the task, as well as the other characters, most of whom are other newspaper reporters or politicians. I am going to say I enjoyed the movie, and then appear to back off of that statement. I did enjoy the movie, I have become a huge Cary Grant fan through this project, but some of the language used to describe the African American population (there are no black actors in the film, unless they are in a subservient role, but I don't think they were) is archaic and offensive, and perhaps it wasn't offensive in the 1940s, but I don't think it was necessary to include in the script. Also, looking at the film seventy years later, in our current political climate, we have not come all that far in race relations. That seems to be my observation after I watch a lot of movies, especially lately. So, having enumerated by concerns and objections, I liked seeing a strong female character and Cary Grant seems to shine when he is paired up with a strong foil.

3/6/2016 Meet Me in St. Louis, 1944, #80 BBC, National Film Registry 

I find that when I watch most musicals, I'm really not interested in the story, since the stories are generally flimsy and just a framework for the songs, and most of the time, I would rather listen to the songs. That's kind of how I felt watching Meet Me in St. Louis starring Judy Garland, Margaret O'Brien and Mary Astor (The Maltese Falcon). The Smith family lives in St. Louis, Missouri in the early 1900s, leading up to the World's Fair in 1904. The Smith family has four daughters (including Garland and O'Brien) and one son and the story mostly revolves around their different romantic lives. The musical is full of songs, my favorite is "The Trolley Song", hands down. The movie was nominated for four Oscars, for Best Song, Best Writing - Adapted Screenplay, Cinematography, Best Score, but surprising to me, not Best Costume. The costumes were beautiful, and perhaps it was the cinematography that made them stand out so much. Judy Garland holds a special place in my heart going back to my first encounter with The Wizard of Oz, but my father loved her, and would often play "Judy Garland - Live at Carnegie Hall". She was a special talent. Margaret O'Brien won a special Juvenile Oscar for her work that year, but I found her character of Tootie to be so incredibly annoying, that if she was my sister, I would have pushed her in the river. Oh the drama. I know some people love the big MGM musicals, and if you do, you should watch this. It wasn't my favorite overall, but the music is good.

 

Busch Stadium, St. Louis, with The Arch in the background

3/9/16 The Man Who Shot Liberty Valance, 1962, #45 BBC, National Film Registry 

The last time John Wayne, John Ford and I spent any time together, I was severely disappointed and confused. I watched The Searchers and was only too glad when it was over. But I knew the Duke and I had seen better days, and I really love James Stewart, so I was quite optimistic as I watched The Man Who Shot Liberty Valance. Stewart as Senator Ransom Stoddard returns to Shinbone (state unknown) for the funeral of an old friend. Stoddard and his wife, Hallie (Vera Miles) come back after years as Governor, Ambassador and US Senator. Stoddard gives an interview to a young reporter and the editor of the local paper, and the movie takes us back in time to a young, idealistic Stoddard, heading westward to begin a law practice. Unfortunately, his stagecoach is held up by Liberty Valance (Lee Marvin) and his cronies (Lee Van Cleef and Strother Martin as creepy and violent villains). Stoddard is brought into town by Tom Doniphon (Wayne) and left in the care of Hallie and her friends, the Ericsons. As Stoddard heals, he decides to make his home in Shinbone, working for the local paper as well as holding classes for all in town who are interested, and begin his law practice. Valance and his pals often come into town, and nothing good ever happens when they do; Valance hounds Stoddard, trying to provoke a response; he doesn't get one from Stoddard, but Doniphon doesn't back down from Valance. Doniphon tries to convince Stoddard, whom he addresses as "pilgrim", to get a gun and be prepared to use it. Stoddard resists, but eventually realizes he cannot reason with Valance. As this conflict is going on, the territory is applying for statehood, and like many western states, there was intense disagreement on statehood: cattlemen often did not want the rules of statehood (see Shane) and could be very violent and aggressive against the farmers, or sodbusters, as they called them. That was the case here, with Valance on the side of the cattlemen and Doniphon and Stoddard and the others of Shinbone, for statehood. Things get even worse after Stoddard and Dutton Peabody, the newspaper publisher are elected by the town to be Shinbone's delegates to the convention on statehood. I definitely felt more engaged and interested in The Man Who Shot Liberty Valance than I did with The Searchers. John Wayne's Doniphon is a bit of a complex character, obviously attracted to Hallie, but for some reason, he moves very slowly when it comes to her, eventually losing her to Stoddard; he's clearly a capable gunman, but bides his time with Valance. I did get a little tired of hearing "pilgrim", it got a bit overused, but that's a small complaint. Doniphon and Stoddard were often on the same side of the argument, but they differed in how to resolve it. The supporting characters like Peabody, the doctor, the sheriff and others, added variety and flavor and humor to the violence of Valance. The movie was filmed in black and white, which worked, even though color was available. Wikipedia lists contrasting reasons for this: money or Wayne and Stewart were older in real life than their characters and color film would have highlighted that.

In a galaxy far, far away there is someone who has not seen Star Wars, but it's not me

12/26/15 Star Wars, Best Art Direction, Best Costume Design, Best Film Editing, Best Original Score, Best Sound, Best Visual Effects, 1978 #13 AFI, National Film Registry, #36 BBC

1/9/16 Empire Strikes Back, Best Sound Mixing, Best Visual Effects, 1980 National Film Registry, BBC

1/11/16 Return of the Jedi, Special Achievement in Visual Effects, 1983

What can I say that thousands of nerds and geeks haven't said already? I have been thinking about how I would write this entry since I finished re-watching the original trilogy, which is one of the lame reasons it has taken so long to write. That, and the fact, I wanted to see the new Star Wars: The Force Awakens which I just did this past weekend. All of my contemplation brought me to a few conclusions: The Star Wars story is practically mythological, even if you can't recite all of the characters and their family trees, you know about Darth Vader, Luke Skywalker, Obi-Wan Kenobi, et al, just like you know about Zeus, Hercules, Apollo, and their stories. It's crazy. Another observation: the films get better with age; I know I saw the movies during their original release dates, but my memories are dim at best, which is why I wanted to watch them with fresh eyes. I enjoyed them so much more this time around; I found a new appreciation for the humor between C3P0 and R2D2, Chewbacca and Han Solo. And the effects - all three movies were recognized in some fashion for their visual and special effects. They may be 30 - 40 years old, but I thought they held up better than special effects you might see in a movie from the 1950s. I wasn't distracted by them, but enjoyed them, and realize now how truly groundbreaking they were at the time. The movies have a good versus evil theme, brothers in arms, a young man's quest for his place in the universe, etc., but without putting too much thought into it - they are just great movies. I found it odd that I enjoyed the movies more, years later, rather than at the time, but there you go. Proof I was just a contrary child.


2/6/16 Star Wars: The Force Awakens, nominated for Best Original Score, Best Sound Editing, Best Sound Mixing, Best Film Editing, Best Visual Effects, 2015

I'm a little late to the party since Star Wars: The Force Awakens was released in mid-December and here we are in almost mid-February and I have just seen it for the first time. I really was waiting for the crowds to go away, and see the other movies on my list. The Force Awakens introduces us to some new characters like Kylo Ren, Finn, Rey, BB-8, but also brings back familiar faces like Han Solo, Princess Leia, Chewbacca and Luke Skywalker. The story seemed to be a modified telling of the original trilogy and didn't really give us any surprises (except one, but I'm not telling), and I say that having not read any spoilers or plot lines. There was still the familiar banter/growling between Chewbacca and Han Solo, it's like they've been traveling the galaxy for decades. Newcomer John Boyega as Finn had some very serious scenes, but that was balanced with humorous lines. Daisy Ridley joins as Rey, a scrapper, who is also a pilot and mechanic, who seems to have a bit of the Force in her. Kylo Ren (Adam Driver) is reminiscent of Darth Vader (with good reason as it turns out). You have already probably seen the movie, so I'm not going into any more plot points. I saw this with a friend of mine, who doesn't normally strike me as a sci-fi person, but she went with me and liked it. As did I. It carries on the tradition of good fun, with great effects, characters that you want to see again and again and a rousing score by the legendary John Williams. Nothing deep or complicated, or if there was, I chose to not find it. It entertained. It is nominated for a few Oscars, but I would be surprised if it won because the competition is so much more fierce than thirty years ago, like from Mad Max, Ex Machina and The Martian. I'm looking forward to the next installment as is everyone else on the planet.


I want to dedicate this particular review to a friend who recently passed on to the next galaxy. She loved Star Wars and especially Darth Vader; we went to the Star Wars exhibit years ago at the Minneapolis Institute of Arts; she even got her hands on a lifesized cutout of Darth Vader for her cube at work. As fate would have it, she saw the most recent movie before she got sick. Somehow that makes me feel better. I'll miss you Brenda Kay of the Milky Way. May the Force be with you my friend.

Going back - In the Heat of the Night, A Streetcar Named Desire, Dances with Wolves and Rocky

I requested several classic movies from the library before the Oscar nominations were announced because I thought I was in really good shape. Ah, overconfidence. I thought since I had them, I should watch them, cross them off the list and move on. It feels like a strategy one might use in a hot dog eating contest, eat and move on to the next one. I will try to give good and reliable reviews despite my cinematic overload.


1/15/16 In the Heat of the Night, Best Picture, Best Actor, Best Film Editing, Best Sound, Best Writing Adapted Screenplay, 1967 #75 AFI, National Film Registry

So, the movie was made 48 years ago, in the midst of the American Civil Rights movement, with two of the greatest actors at that time, and perhaps ever. One was nominated for Best Actor and won, and the other was not even nominated, not for this movie or the other big movie he was in, Guess Who's Coming to Dinner. Rod Steiger won Best Actor and Sidney Poitier was not even nominated. Seriously.  If I was a cynic, I would say things haven't changed all that much in Hollywood. 1967 was a great year for films, nominated films included Guess Who's Coming to Dinner, Cool Hand Luke (a favorite of mine; Newman lost out to Steiger), The Graduate, Bonnie and Clyde (ack), and Camelot among others. Virgil Tibbs (Poitier) finds himself as the prime suspect in the murder of a wealthy man in Sparta, Mississippi. The problem is Virgil is black and the victim is white (although from Chicago) and Mississippi is in the South. Virgil shortly proves that he is actually a police detective from Philadelphia, and is ordered by his superior officer to stay and help Chief Gillespie (Steiger) solve the murder.  Tibbs and Gillespie have a strained relationship at best, with Tibbs upsetting, well actually smacking, a wealthy scion of the community, who also happens to be a remnant from the antebellum South. Tibbs finds himself surrounded by violent racist members of the community on more than one occasion. The movie as a movie is a murder mystery that needs to be solved by the stranger; the stranger happens to be a Northerner and black, which adds to the tension. Norman Jewison directed In The Heat of the Night and a little over 15 years later he directed another murder mystery that includes race relations and another great black actor, Denzel Washington. Steiger digs into the gum-chewing, drawling chief Gillespie who may not be a card carrying member of the NAACP, but he's also pragmatic and realizes that Tibbs may bring some detection skills to the case. Steiger is as explosive as Poitier is cool and restrained, we only see Tibbs really lose his temper once; he handles the indignities of being called 'boy' with a controlled anger, he tells Gillespie that "They call me Mister Tibbs" back in Philadelphia. Poitier and Steiger are a study in contrasts and I really enjoyed the scenes they did together, watching two geniuses at work. You cannot go wrong watching this movie, ever.

Philadelphia Art Museum

1/16/16 Rocky, Best Picture, Best Director, Best Film Editing, 1976, #57 AFI, National Film Registry
 You cannot even think about Rocky Balboa and not hear that theme music. Rocky has become part of the American pantheon, the man who makes his dream come true and gets the girl. I saw the original years ago, and honestly, was, like, meh, and I think I have maybe seen one of the sequels, so I wanted to see if I had changed or at least I could have some appreciation for the king of underdog movies. And, I guess I was motivated because Creed is a continuation of the Rocky saga and Sylvester Stallone has been nominated for Best Supporting Actor (however, Michael B. Jordan, playing Apollo Creed's son, was not nominated). Anyway, back to the movie at hand, Rocky. Rocky Balboa (Sylvester Stallone) is a boxer in Philadelphia who is sort of successful, but never really got that big break. He still fights, but he also acts as the muscle for a local loan shark. Rocky likes Adrian (Talia Shire), who works at a pet store and is really shy. Adrian is Paulie's sister, and Paulie (Burt Young) wants to get in with Rocky's boss. Rocky gets his shot at the big time when Apollo Creed (Carl Weathers) needs a quick replacement for an injured opponent. Creed is smooth and rich, and if you think too hard, you would probably not believe that he would ever ask Rocky to fight, but Rocky is a local boy, a Southpaw and he has a cool nickname, Italian Stallion. Rocky starts to train for the big fight, reconnecting with Mickey (Burgess Meredith in an Oscar-nominated supporting role). Mickey sounds like he gargled with glass shards and he's just as gruff. Don't look to him for comfort. There are great shots of Rocky running through the streets of Philadelphia and up steps of the Philadelphia Art Museum. The fight sequence is very well done, with both fighters landing blows as well as taking them. What was interesting to me, and it's funny looking back forty years, is that Rocky was made with a 1.1 million dollar budget, but made over $225 million. But because of the tight budget, there were things that couldn't be re-shot, or that were shot differently, like the ice skating scene - they couldn't afford to have as many actors as they wanted, so, they filmed it with just Rocky and Adrian. Who would have thought that a franchise was born. I was also impressed with Stallone as Rocky, before he knew he was going to be a huge multi-million dollar star. Rocky in this first film was very sensitive and tender but with a huge heart and a some naivete as well. He's a huge animal lover and a kid from the neighborhood. Perhaps you knew this, but I had no idea. I really liked it and it finally dawned on me why he's such a popular character. You've probably seen it already, but if you haven't, get some Philly cheese steaks and some hoagies and watch a homegrown American hero.


1/16/16 A Streetcar Named Desire, Best Actress, Best Supporting Actor, Best Supporting Actress, Best Art Direction  - Set Direction B&W, 1951, #47 AFI, National Film Registry

I planned to watch A Streetcar Named Desire when I watched On the Waterfront, it made perfect sense. Although, if you recall, I requested the play and not the film. Grr. I did finally get the correct item and re-watched the film; I say 're-watched' because I watched it about ten years ago. The film version stars Marlon Brando as Stanley Kowalski, Kim Hunter as Stella Kowalski, Stanley's wife (winning an Oscar as Best Supporting Actress), Vivien Leigh as Blanch DuBois, Stella's sister (winning an Oscar for Best Actress) and Karl Malden as Mitch, Stanley's friend and Blanche's suitor (Best Supporting Actor). The story is set in New Orleans, and New Orleans is as much a character as the actors. Stanley and Stella live in the upstairs of a two family home and have their own version of wedded bliss until Blanche comes for a visit. It took me about half of the film to not be annoyed by Blanche (Leigh), she seems so over the top. It occurred to me that perhaps that intention and not overacting (I really don't know) because that is Blanche's character Leigh is acting as Blanch and Blanche is acting. Blanche has left the family estate/plantation, Belle Reve under unclear circumstances and has nowhere else to go. Stanley is not very sympathetic to Blanche, but he bends to Stella's loyalty to her older sister. Blanche's behavior is erratic, somehow not of this world and as a viewer, we don't know exactly what is going on or why she is acting this way. She certainly seems delusional at times. Mitch, a bachelor living with his elderly and ailing mother, is taken by Blanche's charm and ladylike disposition and they begin seeing each other, but we find out that they're meetings are usually in darkly lit places. Stanley wants Blanche out of his home and sets out to find what really happened in her home of Auriol, and why Blanche left. Throughout the film we see how explosive Stanley's temper can be, especially when he's been drinking or Blanche and Stella harangue him for being 'a dirty Pollack' or a pig. He gets physical with Stella, pushing and shoving, smacking her, and her reaction is to be angry and run to her neighbor's house, but it does not take much for her to come back to Stanley, in fact, she seems to be turned on by his aggressive animalistic behavior. Brando as Stanley can be violent and brutal but then seems to be so tender with Stella. It's an intense performance. Stanley uses his contacts to learn more about Blanche and it seems that Blanche may have had a mental breakdown and did things that a proper lady would never do, so much that she was run out of town. There is a lot that unfolds and with any great movie, the drama comes from the unraveling. What I will tell you is that if you have only seen Vivien Leigh as Scarlet O'Hara in Gone with the Wind, her portrayal of Blanche will surprise you; as strong as Scarlet was, Blanche is fragile and not as resilient. Kim Hunter was in the original Broadway production of A Streetcar Named Desire (as were Brando and Malden, only Leigh was not, her role played by Jessica Tandy, although Leigh was in the play in London) and she seems to have the chemistry with Brando, and she can go nose to nose with him during their arguments. There are some differences between the play and the movie, some changes were made due to the morality of movies at the time and what you could show and say and what you couldn't; allusions to homosexuality are strongly muted, and the ending is also different than the play.  Brando is powerful and was nominated for the Best Actor Oscar, but lost out to Humphrey Bogart in African Queen.

1/16/16 Dances with Wolves, Best Picture, Best Director, Best Adapted Screenplay, Best Cinematography, Best Sound, Best Film Editing, Best Original Score, 1990, National Film Registry

 If I said I was avoiding this movie, for once I would not be exaggerating. As a rule, I am not a Kevin Costner fan and a movie that goes for three hours is a big turn off. BUT, for some reason it seemed like a good idea. And, much to my surprise, I liked it, not loved, but not hated either. The movie is set in the 1860s as the US is expanding westward.  Kevin Costner is Lieutenant John Dunbar a soldier in the Union Army who is wounded and then sent to a post out west at his request. The post is deserted, but he is spotted by the Pawnee and the Sioux. Through a series of events, he befriends the Sioux, especially Stands with a Fist (Mary McDonnell) a white woman who was adopted by the Sioux, and her adopted father, Kicking Bird. The movie is three hours long so I'm not going to give you a detailed synopsis. There are trials and tribulations, a battle with the Pawnee and fight with Army soldiers. Dunbar lives with the Sioux and takes on the name "Dances with Wolves". A lot of the movie is in Lakota with either subtitles or Stands with a Fist translating. There are a lot of great things about the movie, in particular the scenery is really beautifully filmed, the plains of South Dakota and Wyoming, the wildlife, including the bison (although they were part of private herds). The score by John Barry is very powerful as well. The acting was well done, with Mary McDonnell and Graham Greene both outstanding. Costner was okay, too. The movie gives an unkind and somewhat barbaric portrayal of the Army soldiers, and much is based on fact. Looking back a hundred years can be tough, especially when you know the things that were done were wrong. Maybe the expansion was inevitable, but it was brutal. Ways of life were lost and people killed. Dances with Wolves sheds a little light on that; it may not be textbook, and perhaps the Lakota dialect was not perfect, but I will admit I was wrong about hating it and that maybe watching it will encourage people to learn more about Native American history.

The next entry you see should include more of the 2015 nominees, including: The Danish Girl, Star Wars, Ex Machina, Cinderella and (I'm so creeped out by this) Fifty Shades of Grey.