Back at it with Harriet, For Sama and Honeyland

I'd like to say my delay in posting these reviews was due to some wonderful reason, like I was meditating in Tibet with the Dalai Lama or I was on a secret mission or the space bar was stuck on my laptop. Alas, nothing quite so dramatic, just a lot of The Office episodes, afternoon naps and a smattering of ennui. By this time, you may have already seen the films below, and if not, given the current world situation, you may have some extra time on your hands.

1/29/20 Harriet, nominated Best Actress, Best Original Song, 2019 

A friend of mine, who is more of a movie geek than I am, didn't really like Harriet; not because the topic wasn't worthy, she just thought it should paint Harriet Tubman as less of a comic superhero and more of a real person. This was hard for me to wrap my head around, because as far as I'm concerned, the woman was pretty superhuman, I mean I get lost (really) in my own neighborhood, and I have GPS; Harriet Tubman walked hundreds of miles in the wilderness with only the stars to guide her, all the while fighting off headaches and 'spells' from a blow to the head when she was younger. AND, she wasn't traveling alone, as she was bringing slaves out of the South into the free North, and none of her 'passengers' was killed. That is pretty amazing to me. Cynthia Erivo was amazing as Harriet Tubman (who SHOULD be on the $20 by now), bringing a no nonsense and can do attitude to her mission of leading slaves to freedom. Tubman escaped from slavery in Maryland by walking, maybe hitching a ride in a wagon to Philadelphia. In an effort to save her family and be reunited with her husband, she went back to Maryland many times to help family members and others escape. There are some big names in supporting roles including Leslie Odom, Jr. as William Still, an abolitionist affiliated with the Underground Railroad; Jennifer Nettles as Eliza Brodess, the widow of Harriet's owner; and Janelle Monae as Marie Buchanon who owned a boardinghouse where Harriet found respite and friendship. I suppose it was a forgone conclusion that Renee Zellweger was going to win for her role as Judy Garland, but I was pulling for Cynthia Erivo. I also loved the song "Stand Up", especially after the performance at the Oscars. I wouldn't say that a film about slavery is necessarily a family film, except this is more than that; it's about a woman, facing horrible circumstances and incredible odds to do amazing things, never giving up. She wasn't just an inspiring woman, but an inspiring human. If you haven't seen it, I strongly recommend doing so.

2/2/20 Pain and Glory, nominated Best Actor, Best International Feature Film, 2019

Um. Yeah. I was going to write that I'm hot and cold on Pedro Almodovar films, but in all honesty, I have to say I'm mostly cold. I did not care at all about the highs and lows of director Salvador Mallo (Antonio Banderas), his loves, his drug addiction, his childhood. That's basically what the movie is about. There are highbrow critics who thought this was the best movie of 2019 or the best of Banderas's career, but I don't think so. In fact, I would put this in the category of "I stopped caring after 15 minutes". Use that two hours to see something else on this list.

2/5/20 For Sama, nominated Best Documentary Feature, 2019

Sadly, Syria has become an incubator for documentary films over the past five years (or longer?) due to the civil war, oppression and brutal attacks on its civilian population. I have not yet seen The Cave, also from Syria, but I did watch For Sama, and boy, it was tough. Waad al-Kateab is filming her daily life and that of her husband and friends as they valiantly try to tend to the sick, wounded and dying in Aleppo, Syria, while dodging bombs and coping with shortages. During filming, Waad discovers she is pregnant, which raises existential questions for her, like who would knowingly bring a child into this world? It is heartbreaking watching the doctors and nurses try to bail out a sinking ship with a paper cup, trying not to give up and hoping the and waiting for the rest of the world to help. There is a small glimmer of hope, but you have to look hard to see it, but I still think you should watch.

2/7/20 The Edge of Democracy, nominated Best Documentary Feature, 2019

I don't know if it was because I was watching this right before going to bed or what, but it took five nights to watch this documentary about the nascent democracy movement in Brazil. Petra Costa, the director, had some direct connections to former President Lula through her parents' activities in Brazil. It was definitely interesting and gave me a perspective into a country which I have been fascinated with for a long time, and it has implications for the current political situation in Brazil. Stick with it and take a few nights if you need to.

2/15/20 Honeyland, nominated Best Documentary Feature, Best International Feature Film, 2019

Honeyland was one of my favorite movies of all the nominees. It was beautifully filmed and showcased a woman I would love to meet, Hatidze Muratova, a wild beekeeper in North Macedonia, a country in the Balkans, bordering Kossovo, Serbia, Bulgaria, Greece and Albania, a true melting pot of cultures, languages and religions. The film follows Hatidze as she collects honeycomb to 'grow' and nurture her own hives, using just smoke and maybe a face covering to protect herself from the bees. She sells the honey she harvests to buy necessities for her and her elderly mother, maybe treating herself to hair coloring. Her mother is an invalid, blind and hard of hearing, and the exchanges between the two of them are heartwarming and heartbreaking. Hatizde has lived on this land her whole life and it has been in her family for generations. Her life is about to undergo a change when a family of nomads moves in next door; at first, I think she's glad of the company, people to laugh with, share meals with, teach the children the ways of honey bees, but then it turns into one of those nightmarish movies, like Neighbors, and things don't end very well. But Hatizde has a spirit that might dim, but, I felt it still burned, even though it was subdued. I just loved this movie. If you are looking for something different, or maybe you're homeschooling and want to do some World History/Geography/Environmental studies, you would get your money's worth with this movie. Do not be afraid of the subtitles, there is so much that you can infer and feel without understanding the language. Consider all the crap movies you have watched and how you're like, well, that was two hours of my life I'll never get back, and then watch Honeyland and feel redeemed. It will do your soul good, I promise.

Annual trip to see the Shorts - 2020

For the past four or five years my friend and I have gone to one of the theaters in Uptown (Lagoon or Uptown) to watch the Animated and Live Action Shorts. There's usually a lunch involved, some people watching and a few shorts that really stay with us. As soon as the nominations are out, we start planning our day. Here are some of my thoughts.

2/8/2020 Animated Shorts

Oh, where to begin? (slight spoiler alert)  Hair Love (USA) was one of my favorites of the nominated shorts; a little African-American girl is trying to do her hair for a special occasion, but we don't know what it is yet, and she is watching videos online for help. Her father is overwhelmed by the task and almost gives up, until he hears the end of the video and recognizes it as his wife. As he follows his wife's online guidance, the hair is a success. There's more, but you will have to see it for yourself. It's available online or currently in theaters. I liked this for a lot of reasons: it was a sweet story between and father and daughter; the animation had the feel of the cartoons I grew up with (there very well could have been computers involved, but it didn't feel like that); African-American hairstyles have been in the news a lot lately, and not in any good way, but often about punitive actions being taken against people, mostly kids/teenagers, for their hair. This is a positive story on so many levels; and even though it is about an African-American family, the story is universal: fathers and daughters, learning who you are and family. This is my choice to win.

Dcera (Daughter) (Czech Republic) had an interesting, yet creepy, animation style; kind of like papier mache. It's told in a flashback style, and like many of the animated shorts, there is no discernible dialog, so you have to pay attention to the nuances and little moments to figure out what is going on. It's another father-daughter short, and at the heart of it is about not hanging on to anger and resentments because by the time you realize it, it could be too late (full disclosure: I totally know about hanging on to resentments, bitter party of one). It's a sweet story, but really, the animation was a little distracting.
Memorable (France) is about a painter who has trouble remembering what certain objects are or what they do, and seems to be forgetting who is wife is. He begins making little drawings of objects and sticking them on the objects to remind him what they are. Even though he is losing his memory, he shares a very tender moment with his wife (but he doesn't realize it's his wife), telling this woman how much he love his wife. This theme was present in a couple of shorts last year (if I recall correctly), and as dementia and Alzheimer's continues to affect and impact more people, I think we'll see more shorts on the topic. I liked the film and I thought the animation was beautiful.

Sister (USA/China) I didn't really like this short. I didn't care for the animation style, and while I understand the inspiration behind the story (China's One Child Policy), it didn't move me.

Kitbull (USA) was cute and uplifting. It's about a stray kitten who meets a pit bull, they test each other and begin playing (from a distance). The owner of the pit bull is abusive and as the kitten and pit bull become friends, they escape over the fence.

The set also includes shorts that qualified to be nominated. We thought some of these were actually better or as good as the nominated films: Maestro is really short, but clever and fun to watch. The animals of the forest come together to perform (I think it was Bellini???). It was created by Disney animation interns. Henrietta Bulkowski is about a young woman who has a disfigured spine, which makes it impossible for her to stand up straight, and also disqualifies her from going to flight school, her dream. She doesn't take no for an answer and pursues her dream. What happens at the end shows us not to give up our dreams, but also to look inward for our potential and believe in ourselves. The Bird & The Whale used painted glass to create the animation, which creates such a beautiful visual the full length animation Loving Vincent also used this technique). A young whale who can't quite sing the way the adults in the pod can comes upon a caged bird who has survived a shipwreck. They bond and as they fight to stay alive during a horrible storm, the spirit of the bird flies into the whale. Hors piste (which means back country skiing) got the audience to laugh out loud. It was really funny with no deep meaning as far as I could tell. Two rescuers land their helicopter on the top of a mountain, and as they prepare to load their patient, terrible, but funny, things happen. It's ridiculous and impossible and fun. How was this not nominated?

Lunch time at Stella's Fish Cafe. I'm very lucky I did not fall into a food coma. The Bailey's and coffee could have gone horribly wrong.

The Live Action Shorts covered a variety of topics and prompted a variety of feelings. A Sister (Belgium) was probably my favorite; it was suspenseful and intense and had two main characters (both women), the emergency services operator and the female caller. The way the film was edited adds to the tension, with the viewer only seeing and hearing the caller's side, then it switches so we see and hear from the operator's viewpoint, and then it cuts together. I think I held my breath for the last ten minutes. It was so good. Brotherhood (Canada/Tunisia/Qatar/Sweden) provided a different point of view on ISIS and the war in Syria by taking it out of Syria and Iraq and Afghanistan, for that matter, and bringing it to Tunisia in Northern Africa and showing how a family was affected by the war. Mohamed and his family live in the countryside raising sheep and goats. We meet him and two of his sons (who are actually brothers) as they are bringing back the flocks while their mother is at home. When they arrive home, his eldest son, Malek, has returned from fighting with ISIS in Syria and brought a young bride with him. There is clear distance and hurt between Malek and Mohamed because Mohamed does not agree with the strict Islam that ISIS follows and forces on others. The resentment and anger that Mohamed feels manifests itself in a way that once done, cannot be undone. I liked it because of the different story it told with characters I have not encountered yet. I almost felt like I was watching a documentary; I don't know if the actors were actors before or this was their first film, but they were very believable. The Neighbors' Window (USA) (spoiler alert) covered a gamut of emotions, initially making the audience laugh at the protagonists' actions and reactions to what was happening in the apartment across the street. The neighbors have no blinds or curtains on their windows or they choose not to use them which allows Alli and Jacob to watch them having sex. This turns into a preoccupation that neither Alli nor Jacob want to fully admit; they are in part turned on but also regretful that their marriage isn't like that anymore. The voyeurism continues for several months when they notice that the husband from across the way doesn't look very well, and then one night, Alli is looking over and sees the husband being taken away by undertakers. Her curiosity gets the better of her and walks over to the other apartment and meets the wife. As it turns out, they could see into Alli and Jacob's apartment (it wasn't one way glass and yet Alli seemed shocked) and loved how silly the kids were or how one or the other parent would feed the baby. It makes you think about being jealous, but not really having the whole story. I liked it, but I don't think it's the winner. Apparently the film was based true events. Saria (USA) (spoiler alert) made me feel angry and sad and helpless. Saria is also based on a true story about a deadly fire at a home in Guatemala for orphaned and troubled kids in 2017. Saria is the main character, she has dreams of escaping with her sister Ximena to the United States. She has an independent streak which gets her into trouble with one of the 'teachers'. Many of the girls are raped and beaten by guards. Eventually the girls stage a protest as the guards menacingly bang their shields; the boys in the other part of the home jump in and give the girls a chance to escape. Unfortunately this doesn't have a happy ending, in fact, it's quite gruesome. Everyone is eventually caught and forced back to Virgen de la Asuncion Safe Home. The girls were locked up and weren't allowed out for any reason, including to use the bathroom. Some of the girls thought if they started a fire, the guard would have to open the door. That didn't happen and 41 girls died. According to some online reading I did, no legitimate investigations or punishments or changes have been made. The young actors were from another children's home and the lead actress who played Saria, Estefania Tellez, was terrific. I think this will probably win the Oscar. Lastly, Nefta Football Club (France/Tunisia) was a great way to end the collection (unlike last year when it ended with Skin, which won, but was awful and like a punch to the face). There are two story lines happening, one involves two men who are looking for their donkey who seems to have run off; the other involves two brothers, Abdullah and Mohammed, who are trying to get home when they stop along the road and discover a donkey with headphones and some white powder. The eldest realizes what the powder is, but he tells his little brother that it's laundry detergent. It turns out the donkey was trained to stay near its home/owners by listening to Adele, but one of the guys mistakenly puts on Hadele, which was a little rockier than Adele and drove the donkey away. I won't tell you what happens to the white powder, but it was pretty awesome.

Best Picture Nominees: 1917, Parasite, Jojo Rabbit, Once Upon a Time in Hollywood

1/19/20 1917, nominated Best Picture, Best Director, Best Original Screenplay, Best Original Score, Best Cinematography, Best Makeup and Hairstyling, Best Production Design, Best Sound Editing, Best Sound Mixing, Best Visual Effects, 2019

National World War I Museum and Memorial, Kansas City, MO

1917 sure did get a lot of nominations, but nothing for the actors. I've seen that before, of course I can't remember when, but what does that say about the movie? Is it really the best picture? I don't know. Not for me. It was very good, great effects and the cinematography is spectacular. 1917 is set in northern France near the end of World War I. Lance Corporal Thomas Blake (Dean-Charles Chapman) is given an unenviable, and almost impossible, task of crossing through no-man's land and German territory to warn another regiment. Blake is selected because his brother is in the other regiment; his friend Lance Corporal William Schofield (George MacKay) was the victim of dumb luck. Director Sam Mendes and the production designers do a phenomenal job of recreating the horrible trenches that were such a huge factor in World War I. I really don't want to give away too much of the plot (that's pretty much the company line for the other movies below). I think it was a really good decision to not cast well-known actors in the two main roles, it would have been too distracting; there were cameos by Benedict Cumberbatch and Colin Firth, and I kind of think they were a little distracting. Roger Deakins filmed the movie beautifully and with quite a bit of effort to make it look like one continuous shot. If you're still able to catch the film in the theater, I hope you can see it; some movies should be seen on the big screen and this is definitely one of those. I think it will win a lot of awards, but I don't think it's best picture.

Exhibit of Trench Warfare, National World War I Museum and Memorial, Kansas City, MO

1/25/20 Parasite, nominated Best Picture, Best Director, Best Original Screenplay, Best International Feature Film, Best Production Design, Best Film Editing, 2019

South Korean film Parasite wins the award for the most misleading title. Yes, I do know why it's titled that NOW, but I didn't before I watched it, and the name was one of the reasons I didn't want to see it. Stereotypically, a movie called "Parasite" would be a horror movie, something with an invasive species or something. In case you're wondering, that doesn't happen. What does happen is a story unfolds about class wars, envy, deceit mixed with satire. Don't be put off because it's in Korean, or it has a creepy title, it is an original idea with original characters. Co-written and directed by Bong Joon-ho (Snowpiercer), Parasite has social commentary mixed with some biting sarcasm and a little bit of suspense. We first meet the Kim family, a down-on-their-luck clan, living in cramped basement quarters and leaching off the wi-fi signal of their neighbors and trying many different scams to earn money. When son, Kim Ki-woo, gets a job as an English tutor for Park Da-Hye, the daughter of the wealthy Park family, Ki-woo sees possibilities for his family to improve their situation. And that's all you'll get from me. This is another film that has been nominated for Best Picture, but no actor nominations, which I don't understand, maybe because it was really an ensemble piece with eight 'leads' (well, maybe 6), but there could have been at least a supporting nod for Lee Jeung-eun as the housekeeper. I really liked Parasite, it wasn't a remake, a sequel, a reboot or based on real events (as far as I know); I know I keep harping on the originality, but it was so fresh. I would be willing to bet that an American version will be out in the next five years. I think it will win Best International Feature Film; I haven't seen any of the other nominees, so this is going on past awards and a gut feeling. This is out now on DVD or streaming, so check it out.

Seoul, S. Korea

1/25/20 Once Upon a Time in Hollywood, nominated Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Original Screenplay, Best Cinematography, Best Costume Design, Best Production Design, Best Sound Mixing, Best Sound Editing, 2019

Sigh. 161 minutes, everyone I know has commented on how long The Irishman is, but nobody has complained about the length of Once Upon a Time in Hollywood, but they were both too long. I liked half the premise, a visit to old Hollywood and the shows of the 1950s and 1960s, a washed up actor, Rick Dalton, (Leonardo DiCaprio) trying to be relevant again. I also thought it was an interesting twist to include his stuntman/driver/gopher, Cliff Booth, (Brad Pitt) in the mix, creating the buddy movie element. Parallel to Rick and Cliff trying to find work is the introduction of the Manson Family and Sharon Tate (Margot Robbie), Roman Polanski and friends; eventually they all intersect. Eh. DiCaprio and Pitt were both nominated for Oscars, Best Actor and Best Supporting Actor, respectively, but I didn't see anything in DiCaprio's performance (compared to his own past performances and other 2019 nominees) that deserved an Oscar nod. I thought Pitt's performance was worthy of the nomination, I thought he was more fun to watch and had better scenes. I think the Best Actor is probably going to go Joaquin Phoenix, but I'm not sure about Best Supporting Actor.

1/26/20 Jojo Rabbit, nominated Best Picture, Best Supporting Actress, Best Adapted Screenplay, Best Production Design, Best Costume Design, Best Film Editing, 2019

Jojo Rabbit is one of my favorite movies of this year because of its originality (with a nod to Mel Brooks), humor, satire, tenderness and the three young actors. Jojo Rabbit is set in the later years of World War II, and ten year-old Jojo (Roman Griffin Davis) has regular conversations with his imaginary friend Adolf Hitler (Taika Waititi, who also wrote and directed) and is eager to join the Hitler Youth with his pal, Yorki (Archie Yates). His patient mother, Rosie (Scarlett Johansson) gently chides Jojo about his dedication to the Fuhrer, while protecting him from a dangerous secret involving a young girl, Elsa (Thomasin McKenzie) hidden in the house. I'm not really sure I can describe more of the story without giving away some of the surprises I had while watching it. I enjoyed watching looking at the world through Jojo's eyes, even as horrible as it could be during a war, as he endured heartbreak, love and small victories, and learned to shed his devotion to Hitler. Also in another terrific supporting role is Sam Rockwell as Captain Klenzendorf; seemingly devoted to the cause because he has to be, not necessarily because he is a rabid believer. He shows Jojo kindness and protection that Adolf can't give. As far as the nominations go, I don't understand thinking a movie is Best Picture, but you don't nominate the director of the movie? I'm not sure how it's going to do against the other nominees, but I know who I'll be rooting for. And I can't wait to see Davis and Yates in more films. I would say if you have not seen Jojo Rabbit, do yourself a favor and watch it. I may watch it again after the awards.

2019 Documentary Shorts

Regular readers know that I love documentaries, and I have special place in my heart for the documentary shorts. I usually go to the Riverview Theater in Minneapolis and make an afternoon of it. However, time constraints this year have forced me to Plan B. Almost all of them were available online, except for St. Louis Superman.

1/26/20 Life Overtakes Me - As refugees flee their home countries and the familiar surroundings and resettle (or try to) in new countries, there is all kinds of adjustments that have to be made, new languages to learn, and the fight to stay in the desired country after seeking asylum. This short film was made in Sweden and followed families seeking asylum, but also coping with their children who are suffering from is being called "Resignation Syndrome". It's almost as if the children quit wanting to live; they stop eating, stop responding to their parents or any stimulation. Some of the children have been in this condition for 6-12 months. It's heartbreaking watching the parents massage the children, talk to them and try to include them in family activities and hope for them to wake up. It is possible, and one of the doctors suggests (and the example in the film seems to bear her out) that once the family's situation becomes stable, like asylum is granted, and the parents become more calm and less stressed the children start to come out of the suspended animation state. Cases of Resignation Syndrome have increased in Sweden in the last ten years, and new cases are appearing in Australia among refugees. It made me wonder if children being held or coming to the United States under uncertain conditions are experiencing this syndrome and it's not being reported. Life Overtakes Me is available on Netflix.

1/26/20 Learning to Skateboard in a Warzone (if you're a girl) - So far this is my favorite of the four shorts I have watched. The title says it all, girls in Kabul, Afghanistan are learning to skateboard and they are definitely still in a warzone. This could have been a depressing story, focusing on the war and the poor treatment of women and girls, but I found myself crying tears of happiness and joy at the spirit of the schoolgirls, but also their mothers and their teachers (I often cry watching documentaries). Muslim extremists frown on girls going to school or having any kind of education or freedom, which makes going to school a very dangerous proposition. The girls go to school and then learn to skateboard; skateboarding outdoors is also dangerous, so there is an indoor 'skate park' where they learn all the basics. The teachers are women as are the skateboarding instructors. Listening to all of the women talk about the importance of the school and the skateboarding is so uplifting; mothers talking about how they were prohibited from going to school and were forced to marry when they were very young and they want something better for their daughters. There is a school administrator who inspired me to a few fist pumps as she seemed fearless in the face of men who opposed the school. The skateboard instructor who was once a student who aspired to participate in international competitions. The energy and joy of the girls, the giggling and teasing, but also incredible support they have for one another is awesome and uplifting. I have been recommending it to everyone. It's available online through A&E. The organization that supports this endeavor is Skateistan.org. You will thank me later.

1/30/20 Walk Run Cha-Cha - Paul and Millie Cao met as youngsters in Vietnam, but were separated when Paul left for America to begin a new life. They kept in contact and eventually Paul was able to bring Millie to the United States and they re-connected and married. We meet them while they are in a dance lesson, and I really had no idea what the movie was going to be about, I thought just dancing. Dancing became kind of like their second chapter together as a couple after both had successful careers and their daughter was grown and out of the house. They both take the dancing very seriously, taking private lessons and competing. Paul is the more serious of the two, rarely cracking a smile, and Millie seems to light up when she talks about dancing and listening to Western music when she was growing up. Watching them dance together was very touching. I don't think it was the 'best', but I did enjoy it. This is also online, available through general searching or on Vimeo.

1/30/20 In the Absence broke my heart. In the Absence documents the sinking of the MV Sewol, a South Korean ferry, in April 2014. It also shows in real time video and recorded radio and phone exchanges the sheer incompetence of the South Korean authorities to make any real attempt to rescue the passengers, many of them students, before the ferry sank. It is so hard to describe what happened, because it makes no sense. Government authorities were more concerned about the appearance of making a rescue and filming the scene than actually doing anything productive. A group of civilian divers did their best to recover the victims, but they were also battling the government who eventually ordered them to stop their efforts. Two of the divers were interviewed or testified in a later public forum, and you could see how tortured they were by not being able to complete their task. It was chilling to watch parents, survivors and ordinary Korean citizens marching and protesting against the government. There were several scenes that made tear up, and one of them was when the ferry was recovered, four years after the disaster, and the remaining victims were brought home. The families wanted to get closer, maybe see the bodies (I don't know if that would have been good), but the authorities were keeping them locked out, and the families are shouting about how they have been forced to wait and they were getting aggressive (I didn't blame them), the camera shows members of the police/security forces waiting in the area (waiting for a conflict) and as the families are yelling, one of the officers is shown wiping away tears. It was as if she knew what was happening was wrong and she felt horrible for what was happening. There was no narration to the film, but interviews, recorded exchanges from a variety of officials, news footage and super titles providing time frames to the disaster as well as information about what was happening. It was moving and aggravating and it was hard to find anything positive in the outcome. This documentary is available on YouTube.

Buddha, Mt. Seorak, S. Korea

Woman at War (Iceland), The Peanut Butter Falcon, Ford v Ferrari

12/7/19 Woman at War, 2018

Woman at War is set in Iceland and uses the incredible landscape as part of the action. Halla is an environmental activist and choir leader who is waging a battle against heavy industry development in Iceland, and the threat to destroy natural wonder and resources. There is a subplot, a case of mistaken identity, that runs through the film that is kind of fun to watch; it plays havoc with the authorities trying to catch Halla. In the meantime, Halla receives a letter telling her she is in line to adopt a child from Ukraine, which is at risk because of her illegal activities. Halla has a twin sister, Asa, (played by the same actress, Halldora Geirhardsdottir), who doesn't always agree with her sister's extreme actions. I really enjoyed the film; the scenery is beautiful; it's quirky, but not too much that you forget what is happening or that it's annoying; and it's timely. The director very cleverly inserted the soundtrack into the movie by placing musicians and singers in the action, moving along with the story. I don't think I have ever seen this before.  

12/7/19 The Peanut Butter Falcon, 2019, not yet nominated

If I went by the title alone, I probably would have totally skipped this movie, and shame on me. Feeling guilty for not liking Joker as much as my brother did, I watched it on his recommendation. It stars Zack Gottsagen as Zak, a young man with Down's Syndrome with very big dreams; Shia LaBeouf as Tyler, a loner who is still missing his deceased brother and getting into a lot of trouble stealing crabs from other fisherman; and Dakota Johnson who is Eleanor, Zak's guardian (for lack of a better word) at the senior citizen's home where he lives. He lives there because he has no relatives and there are few resources where he lives in North Carolina. Zak seems to get along with the residents, especially Carl (Bruce Dern), who watches wrestling videos with Zak. That is Zak's dream, to go to wrestling camp and become a professional wrestler. Zak escapes the home, with help from Carl, and winds up hiding on Tyler's boat. They get off to a rocky start, but eventually forge a bond based on honesty, humor and adventure. Eleanor catches up with them and tries to take Zak back, but Tyler intervenes and tells her she should treat him like a man and not a little kid. LaBeouf was terrific, it was nice to see him acting instad of being in the news; he was totally believable (to me) with his southern accent and his relationship with Zak. Gottsagen was fun to watch; he held his own with LaBeouf, Dern and Johnson; his character was asked to go through a range of scenarios and emotions and he was amazing. The movie is PG-13, there's some swearing and violence, but I think it may actually be a good film for the family; probably not your traditional holiday film, but I think it has a holiday spirit: love, redemption and family. If it gets any nominations, I'm thinking maybe screenplay and possibly acting ('possibly' because that category can get crowded). There's a whole backstory to how and why this movie was made which you should check out on on your own.

12/8/19 Ford v Ferrari, 2019, not yet nominated

I only had the faintest idea what Ford v. Ferrari was about, and even then, I still didn't quite get it, but it got some good reviews and it's in the time frame where you expect it to be nominated. It's based on the true story of Henry Ford II and Ford Automotive's quest to build a legitimate race car to compete with Ferrari in LeMans and other races. Matt Damon is Carroll Shelby a race car driver and designer who was brought in by Ford to develop the car; Shelby brought in Ken Miles (Christian Bale) to drive and help with the design. Miles is a very difficult character, he doesn't get along with a lot of people because he doesn't suffer fools and he's very good at what he does, and he knows it. The movie looks at Ford's involvement in the design and building process as well as the butting in to the strategy of racing, to the point of ordering Miles to be excluded. Miles is a hot head and Shelby has to be the moderating source and also a visionary, which isn't easy. Because I wasn't previously familiar with the story of Shelby, Miles and Ford II, I didn't have any preconceptions or knowledge of the outcome, which helped with the suspense: I really did not know how it was going to end. Bale brought a cocky intensity to Miles, often providing commentary as he's racing, while Damon is a good counterbalance to Bale, rarely shouting, but using his Texas drawl to make people think he's not as sharp as he is, but he truly sees the big picture. As a total sidenote, I don't know if the portrayal of Henry II is accurate, but on film, Tracy Letts makes him seem to be the biggest wanker, at least to me. If you can catch this movie before it hits the DVD/streaming run, I would do it. The photography is amazing; the perspective from inside the car, and the racing shots in general are crazy. If I had to bet, I would say it will pick up nominations for sound and film editing. 

2019 films: The Irishman and Knives Out

It seems from February until Thanksgiving cinema is a vast wasteland, filled with throwaway movies. I've learned over the eight years of doing this blog that I can pretty much wait until November before I have to worry about serious Oscar contenders. Sure, there's always the odd special effects nominee or underdog picture that sneaks onto the coveted list of nominated films, but not as often as you would think. It's time to focus, because nomination morning will be here before I know it.

12/1/19 The Irishman, 2019, not yet nominated

I can't address how many, or if any, of the events in The Irishman are true or accurate, that's probably the purview of another blog and another writer (or two or three), however, Martin Scorsese's film about the purported events in the life of Frank 'The Irishman' Sheeran  (played by Robert DeNiro), Jimmy Hoffa (Al Pacino) and other members of the mob are definitely worth watching. The three plus hours goes pretty fast (although to be honest, I had to split it out over three nights), and some of the story lines were familiar to me, and the acting was really terrific. Joe Pesci is Russell Bufalino and he exercises a lot of control and influence very quietly, he lets other people throw punches, shoot guns and otherwise get their hands dirty. Pacino is a little over the top as Hoffa, but I guess Hoffa was a larger than life character. The movie follows Sheeran's rise through the Bufalina organization, from driving trucks to work that was a little more violent, to working with/for Jimmy Hoffa. Sheeran narrates the film, taking us back through time; there are a lot of time jumps, so you do have to pay attention (sometimes I don't do that very well). There is also a parade of characters, some with similar names or appearances and it can get confusing (back to that paying attention part). It's a  little like Goodfellas meets The Sopranos. One of the things about the movie that's getting some attention is the digital de-aging of the actors, many of whom are in their 60s, taking them back to their 20s, 30s, etc. The mystery of what happened to Jimmy Hoffa and where his body is still remains a topic of interest as evidenced by the buzz the movie has received. We'll see how the nominations shake out because the movie was distributed by Netflix and had a very limited theatrical release, which rubs some voting members the wrong way, who may still be bitter that Roma (also distributed by Netflix) did so well last year.

12/5/19 Meeting Gorbachev, 2018

With all of the craziness in the world these days, especially around international relations and threats to ramp up nuclear weapons from various quarters, it felt like a good time to watch this documentary by Werner Herzog and Andre Singer about Mikhail Gorbachev. Growing up during the Cold War and actually remembering many of the events from the 1970s and 1980s, I appreciated seeing them from Gorbachev's perspective and with historical context. Gorbachev was the polar opposite of his predecessors, which while that worked to the West's advantage, it turned out to be his political death knell. In ninety minutes, Herzog takes us through Gorbachev's rise in the Communist Party; his relations with Western leaders including Ronald Reagan, Margaret Thatcher and Helmut Kohl; his beloved wife, Raisa (I don't think I can name any other wife of a Soviet leader, or most leaders, but we knew Raisa) and his family; and his sad decline, in health and status. Herzog is an amazing filmmaker, and I have seen may of his feature films and his documentaries, and my only qualm with him is that sometimes he injects himself into the story. I guess it works on some level and sometimes gives us more insight, but still, I occasionally wish he would shush. If you're a political science nut or a history buff, I totally recommend watching this film.

12/6/19 Knives Out, 2019, not yet nominated

When I first saw the trailers for Knives Out, I immediately thought of Robert Altman and Gosford Park (I have since read that writer/director Rian Johnson used that film as one of his inspirations). I really don't want to give anything away about this star-studded ensemble murder-mystery because it's still out and I'm recommending it to anyone who asks and I want it to be a surprise. Christopher Plummer is Harlan Thrombey, a famous mystery writer whose death throws his family into chaos. His family members include his eldest daughter, Linda (Jamie Lee Curtis) and her husband, Richard (Don Johnson who was actually pretty good) and their ne'er do well son, Ransom (Chris Evans); his younger son, Walt (Michael Shannon); his daughter-in-law Joni (Toni Colette); and other assorted family members. Harlan also has a nurse, Marta (Ana de Armas), who provides medical care but also friendship, and she seems to be the only person who has no expectations from Harlan. Harlan's death appears to be a suicide, but someone has contacted private detective, Benoit Blanc (Daniel Craig with a delicious Southern accent) to dig a little deeper. This is where I have to stop for fear of revealing a clue. The main setting for the film is a beautiful, creepy estate and the interior sets are clever. There is a lot to pay attention to visually. The performances are terrific, quirky, funny, surprising, and de Armas as Marta was a fabulous surprise (she was in Blade Runner 2049, which I barely remember watching), keeping up with the veteran cast and giving them a run for their money; I look forward to seeing her in more films. Benoit Blanc is a great departure for Craig, and he seems to savor it; I think he would get along famously with Hercule Poirot if that was possible on time-space continuum. I don't normally go to movies with people, but this would be an exception to the rule if I hadn't already seen it; there's a lot to discuss afterward.

12/6/19 Alice Doesn't Live Here Anymore, Best Actress, 1974

I watched Alice Doesn't Live Here Anymore totally by fluke, but since it was on The List it was a happy fluke. It was also a bit of coincidence because it was directed by Martin Scorsese forty-five years ago. Alice was one of his earliest films, squeezed in between Mean Streets and Taxi Driver. Ellen Burstyn stars as Alice Hyatt, a housewife who is married to an abusive man who has squashed her dreams of becoming a singer. After he is killed in a truck accident, Alice packs up her son, Tommy, and heads to California, making a few stops along the way. One of her longest stays is in Tucson where she lands a job at Mel & Ruby's Diner (Vic Tayback plays grumpy Mel) where she bumps heads with sassy Flo (Diane Ladd) and meets David (Kris Kristofferson) a regular customer and a local rancher who has romantic intentions. Heading into 2020, it might not seem to be a big deal to have a woman headlining a film, but in 1974, the early days of the women's movement and a time when most female roles in movies were wives, helpmates, mothers, sex kittens, it was a big deal. Alice Hyatt is forced to become the head of her small family unit, making decisions (some of them questionable), raise her son and maybe follow her dream. Burstyn brings a level of humanity and reality to Alice, she loves her son, but struggles with his wise-ass attitude; she wants to be loved, but has learned her self-respect is worth more. It's probably not a movie on most people's watch list, but it was recently on Turner Classic Movies, and if you catch it, you should give it try. It's interesting to note that Harvey Keitel appears in the movie as Ben, one of Alice's questionable decisions; it was Keitel's third film with Scorsese (third of many); Jodi Foster plays Tommy's friend, Audrey, and she starred in Scorsese's next film, Taxi Driver (along with Keitel and Robert DeNiro). Alice was turned into a 30 minute sitcom starring Linda Lavin; Tayback reprised his role as Mel; Diane Ladd was in the series as a replacement for Polly Holliday's Flo.

Three films about real life and fictional heroes: Maiden, Pavarotti and Hellboy

11/28/19 Maiden, 2018

Maiden is why I love documentaries so much. It has unapologetic protagonist in Tracy Edwards; a challenging, life-changing event in the Whitbread Round the World Race; antagonists in the form of the all-male teams against whom Tracy and her crew were competing; and an uplifting and empowering message.  In 1989, Tracy Edwards assembled an all-female crew to compete in a grueling around the world yacht race. Director Alex Holmes includes footage filmed by the crew during the race; historical news clips and interviews; and current interviews with the crew, the competition and journalists. Tracy is brash, abrupt, certain in what she wants, but not always sure of how to get it and she's balanced by her shipmates' temperaments and experience. Tracy's confidence hides her insecurities and fears of failure, and that honest portrayal is part of what makes the movie so compelling to watch. Additionally, the footage shot during the race is terrific, the waves of the ocean crashing on the boat, the icy conditions as the race goes around Cape Horn. I feel like it's been a while since I have strongly recommended a documentary (or any film, really), but let me encourage, cajole, suggest you rent Maiden. #girlpower

11/29/19 Hellboy, 2019

I watched the 2019 version of Hellboy because I've seen the previous live action films directed by Guillermo del Toro and starring Ron Perlman, and I enjoyed them, so why not. David Harbour stepped into the horns as Hellboy and Ian McShane played his adopted father, Trevor Bruttenholm. I was a big fan of the original franchise, and was as skeptical as many critics and fans, so I was ready to not like it. I was pleasantly surprised. This film was rated R (the earlier films were PG-13) and they let fly the F-bombs and plenty of blood spray, but otherwise, it had demons from the other world, action, humor. The story was probably not as strong as it could have been, but depending on my mood and what I'm watching, sometimes that doesn't bother me, and it didn't bother me here. I was curious to see how this would develop and what a sequel would look like, but it doesn't sound like that's going to happen. I enjoyed it, and if you're looking for something for the long winter nights coming up and you're looking for a wisecracking demon movie, give Hellboy a watch.

11/29/19 Pavarotti, 2019

I enjoy opera, but by no stretch of the imagination am I an expert. I know what I like, I know the main voices and I've been to several operas, but that's about it. Pavarotti was more than an opera star, he was a global cultural icon, playing to hundreds of thousands of fans around the world, donating time and money to children's charities; even if you knew nothing about opera, you probably heard of Luciano Pavarotti. Director Ron Howard shows us the many sides of Pavarotti, the playful, jovial, grouchy, insecure using news footage, interviews with Pavarotti, his family, friends and critics. Howard does a terrific job of capturing Pavarotti's joie de vivre and his love of people. I feel like I learned a lot about Pavarotti, but also about opera. I know a lot of people are turned off by the thought of opera, even if they have never heard it (aside from maybe some comedic or over the top performance, like the Bugs Bunny cartoons), but some of it is really good. I don't know if this will be nominated for an Oscar since it doesn't expose any scandal, there's no underdog or any of the other usual themes in nominated films, but it's still very well done. I don't know if I can convince you to watch it, but I hope so, and maybe give the opera a try. Too much?

2019 films - Toy Story 4, The Farewell and The Hustle

10/20/19 They Killed Sister Dorothy, 2008

Dorothy Stang was a nun living and working in Brazil who was brutally murdered for her work to protect the Amazon Rainforest and the poor who lived there. She crossed paths and had violent encounters with the ranchers who wanted to cut the forest down. The documentary uses interviews with her brother; Sisters in her order, Sisters of Notre Dame de Namur; the peasants she helped; the ranchers she angered; and the men accused of shooting her in cold blood. It also includes footage from the trials of the men who were accused of killing her. Sister Dorothy was passionate about her love of the Amazon and the people who lived who lived, so passionate she was willing to risk her life. The fires in the Amazon recently made my viewing of this film vey timely.

11/23/19 The Farewell, 2019, not yet nominated

I don't know if The Farewell will be nominated for any Oscars, although I think Adapted Screenplay might be a possibility. A few of my movie loving friends kept telling me I needed to see The Farewell, and I finally got around to it. The screenplay, by Lulu Wang, was based on her story that she did for American Life, which was based on real life events in her family. Billi Wang (Awkwafina) and her parents live in New York City, while her grandmother still lives in China. Billi finds out from her parents (reluctantly) that Nai Nai (Zhao Shuzhen) has been diagnosed with lung cancer, which devastates Billi. It doesn't get better when her parents tell her they are going back to China for a 'family reunion' to say their goodbyes to Nai Nai, they're not telling her she's ill, and Billi isn't invited. It's Eastern tradition versus Western cerebralism, because Billi thinks they should be honest and tell her grandmother, but that's not how it's done in China; they don't want to worry Nai Nai, so they are all getting together for the wedding of Billi's cousin. The movie moves between those awkward family moments we all have (sibling rivalry, meeting up with relatives you haven't seen in a long time), to celebrating one's cultural and history, to dealing with the mortality of a beloved grandmother. Awkwafina was terrific (she was one of the only things I liked from Crazy Rich Asians which I otherwise pretty much loathed) and I think she showed that she doesn't just do comedy, she tapped into some pretty serious emotions and dramatic moments. I wish I would have gotten this review done before Thanksgiving in case you were looking for a break from football and Christmas movies, but you still have time to watch this during the interminable Christmas marathons, and I recommend that you do. There are subtitles, but don't let that turn you off.

11/27/19 Toy Story 4, 2019 Not yet nominated

I don't want to sound like the Grinch or Scrooge, but this was not the best animated movie ever, and it wasn't even the best Toy Story movie in the franchise. The story picks up after Woody and company are adopted by Bonnie and given a new home with her other toys. Sadly, Bonnie no longer wants to play with Bo Peep, so she is sent off to the land of misfit toys (oops, wrong movie), and Woody is heartbroken. Bonnie makes a new toy at school, called 'Forky'. Forky has some existential issues: he's garbage and should be thrown out, he doesn't want to exist as a toy. Unfortunately, he's Bonnie's favorite toy, and as he escapes the confines of the family's RV, Woody chases after him. Then all sorts of adventures and misadventures ensue: some very creepy ventriloquist dummies are the henchman for a voiceless talking doll; Woody meets up again with Bo, who is now a liberated woman, Buzz listens to his inner voice and becomes a problem solver; and Keanu Reeves becomes one of my favorite animated characters in the franchise as Duke Caboom. I do like that production crew includes old and familiar voices (Annie Potts, Don Rickles, Estelle Harris and Joan Cusack to names a few), but also brings new voices (at least to the franchise) like Carol Burnett, Carl Reiner, Carl Weathers, Jordan Peele and Keegan-Michael Key. Of course there is the familiar sound of Randy Newman on the soundtrack. It's probably going to get nominated, because I think it's been codified into law that any Pixar film gets nominated for an Oscar, and will usually win. Now that the grown up review is done, I do think that kids will like it (but those dummies are kind of scary) and it could be a good family flick instead of watching The Santa Claus 2 again.

11/28/19 The Hustle, 2019

I kind of want my Redbox points back, because this movie wasn't even worth a free rental. I like Rebel Wilson (although I think she is going to be typecast which would be a shame) and I like Anne Hathaway, but this movie was so disappointing. I thought it was going to be funny, and it had maybe five laughs, otherwise, it was cringeworthy. Don't confuse this with the much buzzed about movie with Jennifer Lopez, Hustlers.  I didn't, but that would have been a good excuse.

Driving Miss Daisy, The Red Shoes and 2019 nominee, Never Look Away

From a stroll in Chicago this past May, Siskel and Ebert. Two thumbs up.








6/9/19 Driving Miss Daisy, Best Picture, Best Actress, Best Makeup, Best Adapted Screenplay, 1989

One of the fun things about re-watching movies I watched 5, 10 or 20 years ago is seeing if I still feel the same way as when I first watched them. There have been some movies where I feel incredibly different, either in a good or bad way; sometimes it's been a more subtle change, like maybe I still enjoy the movie or a performance, but I don't love it. I think that's how I feel about Driving Miss Daisy. I think it's a good movie, with some terrific performances by Jessica Tandy, Morgan Freeman and Dan Ackroyd, and a sense of melancholy. Driving Miss Daisy was adapted from Alfred Uhry's play, and if it wasn't a play, the tight dialog and banter between the two main characters would make you think it would be a great play. Tandy plays Daisy Werthan, an elderly, Jewish widow in Georgia in the 1940s whose son (Dan Ackroyd) decides it's best if she stop driving and they find someone drive her around. That someone is Hoke Colburn (Morgan Freeman), a black man who has the patience of a saint because Miss Daisy is not always the most appreciative person in the world. The pair spend over 20 years together, occasionally getting glimpses into the other's universe, anti-Semitism directed at Miss Daisy, racism towards Hoke and just aging in an ever-changing world. Call me sentimental or simple or both, but part of what I do really like about the story is the development of relationship between Miss Daisy and Hoke, from a reluctant acceptance of a driver in her life to a true appreciation of one another and caring about each other's well being. Tandy, Freeman and Ackroyd were all nominated for Oscars, with Tandy winning for Best Actress. Was it the Best Picture of the year? I don't know, possibly not. Spike Lee's Do the Right Thing, which came out the same year, was not even nominated for Best Picture, but that may be one of the movies that still has an impact thirty years later. The Dead Poets Society, which was nominated, is also one that gets referenced today, whether for Robin Williams' performance or the coming of age story; Field of Dreams is a favorite among baseball fans, and has some quotable lines, but I've only seen it once, and I don't think it was Best Picture (maybe I'll feel differently if I watch it again). 

6/22/19 The Red Shoes, Best Original Score, Best Art Direction, 1948

The Red Shoes is one of those films that gets mentioned by directors, photographers and film historians. Of course, that usually means it's pretentious and overwrought and overhyped, or maybe just not very good. I'm happy to say that 'usually' doesn't mean always and the hype about how beautiful the film looks is totally spot on. It was made by the same team that made Black Narcissus, Michael Powell and Emeric Pressburger, which was a beautifully filmed movie that also used the Technicolor technology (that movie was overwrought). Moira Shearer who stars as the main character, Victoria Page, was originally a ballet dancer; selecting a dancer for the lead roles was intentional as opposed to actors who learned to dance. The story is a story within a story, based on the fairy tale of the same name by Hans Christian Andersen. Of course there is a love story or two, battles of egos, men who know what's best for the young ingenue and tragedy. I'm not a ballet expert, and I don't usually seek it out, but this was gorgeous to watch, and the acting was a little melodramatic at times, but I think that's pretty much what you get for that time period. If you are a film buff/fan and have not seen The Red Shoes, I recommend watching it over the upcoming autumn/winter weekends.

8/17/19 Never Look Away, nominated Best Foreign Film, Best Cinematography, 2018

Never Look Away starts in the Nazi era in Germany and goes through the Cold War and the division of Germany in to east and west. The movie is fiction but has its basis in some facts from the life of artist Gerhard Richter. The film was written and directed by Florian Henckel von Donnersmarck who also wrote and directed Oscar winner The Lives of Others, a very intense look at the East German secret police during the Cold War. The movie is three hours long and there were definitely moments where it felt like it was dragging. Kurt Barnert (Tom Schilling) is a young man when the movie starts; he loves his aunt Elisabeth who is fun and artistic and very much against Hitler. What befell her at the hands of doctors sympathetic to Hitler affected Kurt for the rest of his life. Kurt tries to pursue his art, but he can't find his voice, although he finds his muse in Ellie Seeband (Paula Beer), a fashion student whose family has a room to rent. Kurt and Ellie have a furtive romance because they fear that her very strict and controlling (and creepy) father (Sebastian Koch) will forbid it. Their romance grows and Kurt begins to find his artistic voice and they escape to West Germany. Kurt also discovers a link between his past and his young aunt and Ellie's father, although it is more clear to the viewer than it is to him. It is probably very difficult for anyone who was not alive during the Cold War, the Iron Curtain and the time of the Berlin Wall and East and West Germany (do people remember what the GDR or FDR stood for?), but it impacted art, sport and the geopolitical climate for decades. It is a long movie and in German, so you have to read it, but it covers a period of history that a lot of Americans are not familiar with, and it's interesting and has some good plot twists and worth the time. 

Old and New: Broadcast News, A Raisin in the Sun, Green Book and Capernaum

All I can say is, it's a good thing I have a day job.

4/27/19 Broadcast News, National Historic Film Registry, 1987

Unfortunately for Broadcast News, Bernardo Bertolucci's The Last Emperor was also released in 1987 and won 9 Academy Awards in the same season, many in the same categories. The movie stars William Hurt, Holly Hunter and Albert Brooks as members of a newscasting team (it reminds me of an early version of the tv series The Newsroom). At times, it made me nostalgic for the old days of three channels, landlines and typewriters. Written and directed by James L. Brooks, the script is fast paced and smart, topical for its time, and yet if you updated the technology, it could be set today. 


5/8/19 A Raisin in the Sun, National Film Registry, 1961

I was prompted to bump A Raisin in the Sun to the top of my list after watching a documentary about the author/playwright, Lorraine Hansberry on PBS. To me, the fact that a black woman wrote a play that was nominated for Tony awards in 1960 is astonishing, then that she insisted on writing the screenplay as well, is groundbreaking. The story features a black family in the late 1950s, early 1960s, who are trying to decide what to do with the inheritance from their late father. The matriarch (Claudia McNeil) wants to buy a house (the family are sharing a very cramped apartment) and live the American dream; her son, Walter Lee Younger, (Sidney Poitier) has his own ideas of what to do with the money, like some pie in the sky investments with some questionable characters; Walter's sister has the radical idea of going to medical school and was hoping to take some of the inheritance money to pay for medical school. Walter's wife, Ruth (Ruby Dee) also has her sights set on a new house where their son can grow up and not sleep on the sofa. Once the decision is made to buy a house, the Younger family has to deal with the fact that despite the fact that their new neighbors don't really know them, they are politely asked not to move in. It's polite, but not very subtle that the white neighbors are not excited to have a black family in their midst. This was not fiction, but reality for many young black families of that time and even now, if we're honest. The movie is very well acted, and it's fun to see a young Poitier and Dee. The only thing that kind of bothered me, and I've noticed this when I've watched other plays turned into films, is that the dialog doesn't seem as natural; it seems stilted. I don't know if I would have noticed it if I didn't know it was based on a play. It didn't detract from the message of the story or the performances, but it's just something that caught my ear. It seemed odd to me that A Raisin in the Sun wasn't nominated for any Oscars, but it has been added to the National Film Registry.

Green Book, Best Picture, Best Supporting Actor, Best Original Screenplay, nominated Best Actor, Best Film Editing,  2018

I don't think I am qualified to discuss all the controversy surrounding Green Book, whether it is about director Peter Farrelly's past; the true nature of the relationship/friendship between Dr. Don Shirley (Mahershala Ali, in another Oscar winning role) and Tony Vallelonga (Viggo Mortenson); or the 'white savior' complex. Before I saw the movie, I said it was Driving Miss Daisy in reverse, and was reluctant to see it, but of course, it was nominated and won several Oscars. So, I saw it and tried to be objective. It was a good movie; I think Mahershala Ali is an amazing actor who has the ability to transform himself from a violent drug dealer to a thoughtful and innovative pianist; I like a good buddy movie, seeing two people learn about one another, dealing with their quirks, but finding common ground; and having Vallelonga witness the discrimination and harassment that Shirley experienced and eventually sticking up for him. They learned from each other. I still think it was a reverse Driving Miss Daisy with condensed timeline and a little edgier script. I thought it was a good movie, but I didn't think it was great, or the best of the year; my hope was Black Panther, which might have been a long shot, but I think it ticked so many boxes; my other thought was Roma, but given the anti-Netflix bias, that probably wasn't going to happen.

6/1/19 Capernaum, Nominated Best Foreign Film, 2018

Some people like getting scared watching movies, others like to pee themselves laughing, and others like to have a good cry. One of the best feelings for me after watching a movie is feeling like I've been sucker punched, that I've watched something that blows me away and leaves me feeling raw. That's how I felt after I finished watching Capernaum. The star of the film, Zain Al Rafeea, was a Syrian refugee living the slums of Beirut, will break your heart. His character's name is also Zain, and he is a little boy of 12 years old who has to help support his family by selling, stealing, working and protecting. It's a lot to ask of a grown up, much less a kid. The movie is told in flashbacks, which threw me for a minute, but is a great way to tell the story of how he wound up in court suing his parents for being born. Zain is defiant and strong, but also shows that he will do anything to take care of the people he loves, whether or not they are family. Zain meets Rahil, an illegal immigrant with a young baby, who works jobs under the table and asks Zain to watch her baby. Zain and Rahil make an unlikely pair, but they come to rely on one another. I will hold off on telling you any more of the plot, because there are a few twists and turns that you should experience for yourself. Capernaum is like Roma in that it tells the stories of the unseen in their respective communities; people you know are there, but they are ignored or shunted aside when their perceived value may be gone. Both films also used non-actors in the main roles. They also both make you think. They are also both foreign films, which can sometimes turn people off. This is one of those times I am going to ask you to put aside your fear of subtitles and watch Capernaum (and Roma while we're at it) and take a chance on Zain and Rahil.

A last push the night of the Oscars 2019

As I finish this entry, the night of the Oscars, there are eleven films I haven't seen. It's my worst showing in the last couple of years, but I felt so uninspired and house-bound during this ridiculous deep-freeze we've had here, that I'm actually thrilled with how many I have seen.

2/10/19 The Wife, nominated Best Actress, 2018

Glenn Close has been nominated for Best Actress for her role as the wife of author Joseph Castleman (Jonathan Pryce). We meet the Castlemans in 1992 just prior to Joseph receiving the call that he has won the Nobel Prize in Literature. Joe is garrulous and outgoing, a man who thoroughly enjoys his celebrity, including the adoration of female fans, which Joan (Close) has tolerated for many years. Through a series of flashbacks and the prodding of biographer Nathaniel Bone (Christian Slater), we learn how Joan and Joseph met, he was her professor and they had an affair, and also how Joan was responsible for getting Joseph noticed by her bosses at a publishing house. The outside world sees the Castlemans as a golden couple, with their long and successful marriage and their beautiful children; but we get to see the cracks, their son, David (Max Irons), who is desperate for his father's approval of his own writing; Joan, who may be reaching the end of her tether just being known as the wife of Joseph Castleman. The tension and relatively small cast and few sets made it feel like this could be a play (it was based on the novel by Meg Wolitzer); Joan is a very internalized character, restrained in her emotional display, until she can't hold it back anymore. Is it enough to win? I don't know. I think so and I hope so, but Olivia Colman was really good in The Favorite (I hated that movie), and Lady Gaga was good in A Star is Born, so I guess we'll find out tonight.

2/17/18 Hale County This Morning, This Evening, nominated Best Documentary, 2018

There are so many ways to do documentaries: they can have a narrator, telling us everything that's going on; subtitles providing helpful information as the events in the documentary unfold; they can follow a very specific topic or cause; they can be investigative, uplifting or heartbreaking. I prefer documentaries that inform me of something, especially something with which I am unfamiliar. I wanted to get that from Hale County This Morning, This Evening but I didn't. There is some beautiful photography in the documentary filmed in Hale County, Alabama, but I wanted to know more about the people in the movie. It seemed like the camera was just rolling, maybe picking up bits of dialog; there are a few 'interviews', but I felt it was really hard to connect with the stories. I wanted to know more about the young people who were trying to change their lives and raise their young families. We got a little, but I wanted more (which is actually a good thing versus not being interested at all). I contrast that with the documentary short that I watched right after Hale County (I saw them both on-demand from PBS), called While I Yet Live (on YouTube as well) which was about a group of African-American women who quilt, but it was more than that, they shared their stories of why it was important, why they did it, a little about growing up in their small town.

2/16/19 Shoplifters, nominated Best Foreign Film, 2018

Shoplifters is Japan's entry in the Foreign Film category, and it gives us a different look into what we think we know of Japan and Japanese society. Shoplifters also redefines what it means to be a family, is it blood or is it a group of people who care about each other and share a living space. Osamu leads this assemblage which includes his long term partner, Nobuyo; the owner of the house they live in; her granddaughter; and a young boy who they 'adopted' years ago. They eke out a living by shoplifting, working factory jobs and by hostessing (dancing). Their lives are moving along nicely, even with their financial challenges, they seem happy. One day, on the way home from a hard day of shoplifting, Osamu and Shota (the young boy) find a little girl sitting by herself, appearing to be without adult supervision. They bring her home and she becomes one of the family, finding love and attention she was missing from her real family. It's not an easy transition, but a normal one as everyone figures out their new place in this new family arrangement. Everyone has their secrets, and some of these come into the open over the course of the movie. Even though the movie is set in Japan, and there are probably traits or themes that are specific to Japan, what I liked about the movie is also the universality of family and love, even when conditions are difficult. The ending doesn't sugar-coat anything, and that's probably a lot closer to reality, but I wish it would have ended differently. I don't think I would have objected to a little sugar-coating.

2/18/19 At Eternity's Gate, nominated Best Actor, 2018

So conflicted about At Eternity's Gate - I thought Willem Dafoe as Vincent Van Gogh was terrific, he captured his tortured soul and passion for painting, but Julian Schnable's direction was annoying, frenetic. Perhaps that was to convey the idea of Van Gogh's confusion and erratic behavior, but I hated it, and the fact that you have a cast of really good actors (Oscar Isaac as Gaughin, Mads Mikkelsen as a sympathetic priest and Rupert Friend as Vincent's brother, Theo), just let them act. The scenery is gorgeous. Spinning around and using weird lenses was not necessary. The movie focuses on Van Gogh's last few years as he struggles with his mental health in Arles and Auvers; there is some insight into Van Gogh's relationship with Gaughin; and the screenwriters posit a different theory of Van Gogh's death. I think my favorite movie about Van Gogh is still Loving Vincent, an animated biographical film, also looking at the circumstances of his death. It is beautifully drawn/painted; if you are interested in animated technique, watch it.

2/21/19 Roma, nominated Best Picture, Best Director, Best Actress, Best Supporting Actress, Best Original Screenplay, Best Foreign Language Film, Best Cinematography, Best Production Design, Best Sound Editing, Best Sound Mixing, 2018

I have to admit it took me a good 30-40 minutes to really settle into this film written, directed, filmed and edited by Alfonso Cuaron. The movie, set in 1970 Mexico and filmed in black and white, is a devoid of super heroes, CGI, special effects and a big name cast. And that is totally okay. The movie tells a story of a middle class family in a Mexico City neighborhood and their maid/housekeeper/nanny, Cleo (Yalitza Aparicio in her film debut). The family goes through its daily life, including domestic troubles which aren't investigated or explained, we just see them happen and see the consequences of them on the family. Cleo is a big part of the children's lives and even the matriarch of the family sees her something more than a housekeeper (although sometimes not). The family is going through a crisis as the father has absented himself, with the excuse of a conference, but he has really left the family. Cleo has a boyfriend, Fermin, who has convinced her to have sex with him, but he is later unwilling to accept the consequences of his actions, he's even hostile to Cleo. The family surprised me with their support of Cleo and her pregnancy, willing to help with baby furniture and not firing her, which was Cleo's fear. I don't want to ruin it because I think it's a movie that should be seen (it's a Netflix production and available via streaming), but there is a scene towards the end, when the family is at the beach, that was incredibly compelling and heart-stopping, and I really didn't know how it would end. Personally, I think the movie was too long, and I would have liked a lot less whining from the children, but it is a lovely story, with wonderful, naturalistic acting from Aparicio, gorgeous cinematography from Cuaron (that's a given) and a nice surprise (for me, apparently everyone else in the world loved it months ago).

2/22/19 Can You Ever Forgive Me?, nominated Best Actress, Best Supporting Actor, Best Adapted Screenplay, 2018

Melissa McCarthy plays writer Lee Israel who turned to forgery when her writing failed to pay the bills. Saying the Israel is a prickly personality might be considered an understatement. She struggles with interpersonal relationships, seeing them as a necessary evil; she prefers the company of her cat, Jersey. Despite this, she forms a friendship of sorts with Jack Hock (Richard E. Grant), a gregarious drug dealer, who eventually helps Lee in her scheme. After Lee's writing stalls out, she starts to create forgeries of famous people and selling them around New York City. After Lee gets a little carried away with a letter from Noel Coward which turns out to be her undoing, and she needs Jack's help. Lee doesn't hide her anger and frustration at not being more successful, especially after she starts drinking. Periodically, she lets her defenses down, especially when she meets up with her ex-girlfriend, Elaine (Anna Deavere Smith) and you can almost feel how lost Lee is without Elaine, but that ship has sailed. I'm a big fan of Melissa McCarthy; I think she is one of the most talented and fearless comic actresses out there, and maybe that's why she's in so many bad movies, but with the right script and right director, she is a force to be reckoned with. This role is not slapstick funny, but rather relies more on a tone of voice and attitude to convey Lee's snark, but also her other facets. McCarthy is so good in her delivery, you feel the biting sarcasm. The role is so different from her other parts, and she embraces it. The movie is worth watching, DVD is fine.

2/23/19 A Star is Born, nominated Best Picture, Best Actor, Best Actress, Best Supporting Actress, Best Adapted Screenplay, Best Cinematography, Best Sound Editing, Best Original Song, 2018

The nomination should be for the best re-re-adapted screenplay since this is the fourth movie with this title and essentially the same theme. Bradley Cooper is Jackson Maine, a singer/songwriter in the twilight of his career, maybe due to drugs, drinking and a painful and disorienting tinnitus, who meets Ally (Lady Gaga) a young, aspiring singer-songwriter who lacks the confidence, but not the talent, to be a star. Their romance is a whirlwind, with Ally joining Jackson on stage, until she takes the stage, up front and center, and blows the audience away. She also gets the attention of a music producer who has a vision for Ally, and becomes her manager. Predictably (especially if you've seen the other versions) Ally surpasses Jackson in fame, which spurs his alcoholism and jealousy. I honestly don't think this should be nominated for Best Adapted Screenplay or Cinematography; it will probably win for "Shallow", which, as much as I don't want to admit it, is a really great song. Lady Gaga is more than up to her role as Ally, I'm not sure how much of a stretch it was for her, but it made curious to see her in another role. I liked the movie, but for me, if it wasn't nominated, I might not have seen it. I don't think it brought anything new to the table, except showcasing another talent of Lady Gaga. It seemed like Bradley Cooper was doing his Sam Elliott impression, which was handy, because Elliott plays Jackson's older half brother. Most of you have probably already seen it and more than likely have a much more favorable opinion.

2/23/19 Border, nominated Best Makeup and Hairstyling, 2018

What a nice surprise. I was reminded of Guillermo del Toro as I watched the fantasy elements unfold in the Swedish film Border.  Tina (Eva Melander) is a customs guard at a seaport and has an unusually strong sense of smell, which she uses to find smugglers. She goes through her daily routine: work, going home to be with her boyfriend, Roland and occasionally visiting her father in a care home. She looks very different from most of the people around her, and feels like she is different, but isn't sure how. One day she smells something wrong with a passenger coming through, but it seems like he is clean, but Tina is certain, and hones in on his phone where she discovers a hidden SD card that has child pornography on it. This sets off one of the plot points as Tina and her special sense are used to help the police delve deeper into this ring, and you get the feeling that she feels a sense of self worth that she might not have had before. The other main plot has to do with Vore (Eero Milonoff), another passenger that Tina stops, but she's not 100% certain as to why, except the viewer notices the similarities in their appearances, and Tina is drawn to him, and offers him a place to stay at her guest house. Vore explains to Tina who she really is, and they begin a relationship. The movie is a fantasy-mystery, and Tina is a character you can care about in a story that has current day relevance. In the hope that you will check it out (I found it serendipitously on Amazon Prime last night), I don't want to give too much away. Eva Melander brings a humanity to her character and apparently went through fours of makeup everyday.