Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday April 21st, we celebrate the end of my tax season by watching THE ACCOUNTANT (2016) starring Ben Affleck, Anna Kendrick, J.K. Simmons, Jon Bernthal, Jeffrey Tambor, Cynthia Addai-Robinson, John Lithgow, and Jean Smart.
Contrary to popular belief, THE ACCOUNTANT is not based on the life of Little Rock-based CPA Bradley Crain, although there are many obvious similarities. Rather, it’s the story of Christian Wolff, a math savant who often plies his trade for some of the world’s most dangerous criminal organizations. When he takes on a legitimate client and discovers discrepancies in the company’s books involving millions of dollars, a group of hitmen try to kill him and the company’s accountant Dana Cummings (Anna Kendrick). Will they live long enough to discover the person behind the embezzlement, or will they just become another set of death statistics? I don’t want to give too much away, but I will go ahead and address the elephant in the room… THE ACCOUNTANT 2 opens on Friday night, April 25th.
So, join us tonight for #MondayMuggers and watch THE ACCOUNTANT! It’s on Amazon Prime. The trailer for THE ACCOUNTANT is included below:
The awards precursor season is getting started …. kinda.
The AARP Movies For Grown-Ups Nominations were announced last week, on the 20th. I’m only now getting around to sharing them because I’m not a member of AARP and therefore, I had no idea these nominations had even been announced. It seems a bit earlier than usual, for them. Then again, you know how retired folks are about getting up early.
How influential are the AARP nominations? Not very. These nominations were not made being film critics or people who work in the industry. They were made by the editors of AARP’s magazine. That said, it’s always good to get mentioned somewhere. If nothing else, this list might indicate which films are resonating with the over-5o set.
Or maybe I just like long lists.
Anyway, here are the nominations! The winners will be announced on January 11th, during the Denny’s breakfast special.
Best Picture/Best Movie for Grownups A Complete Unknown
Conclave
Emilia Pérez
Gladiator II
September 5
Best Actress Pamela Anderson (The Last Showgirl)
Marianne Jean-Baptiste (Hard Truths)
Nicole Kidman (Babygirl)
Demi Moore (The Substance)
June Squibb (Thelma)
Best Actor Adrien Brody (The Brutalist)
Daniel Craig (Queer)
Colman Domingo (Sing Sing)
Ralph Fiennes (Conclave)
Jude Law (The Order)
Best Supporting Actress Joan Chen (Didi)
Aunjanue Ellis-Taylor (Nickel Boys)
Lesley Manville (Queer)
Connie Nielsen (Gladiator II)
Isabella Rossellini (Conclave)
Best Supporting Actor Clarence Maclin (Sing Sing)
Guy Pearce (The Brutalist)
Peter Sarsgaard (September 5)
Stanley Tucci (Conclave)
Denzel Washington (Gladiator II)
Best Director Pedro Almodóvar (The Room Next Door)
Jacques Audiard (Emilia Pérez)
Edward Berger (Conclave)
James Mangold (A Complete Unknown)
Ridley Scott (Gladiator II)
Best Screenwriter Jacques Audiard, Thomas Bidegain, Nicolas Livecchi (Emilia Pérez)
Jay Cocks and James Mangold (A Complete Unknown)
Winnie Holzman (Wicked)
Peter Straughan (Conclave)
Denis Villeneuve and Jon Spaihts (Dune: Part Two)
Best Ensemble A Complete Unknown
Beetlejuice Beetlejuice
His Three Daughters
September 5
Sing Sing
Best Actress (TV) Jennifer Aniston (The Morning Show)
Jodie Foster (True Detective: Night Country)
Jean Smart (Hacks)
Meryl Streep (Only Murders in the Building)
Sofia Vergara (Griselda)
Best Actor (TV) Billy Crudup (The Morning Show)
Idris Elba (Hijack)
Jon Hamm (Fargo)
Gary Oldman (Slow Horses)
Hiroyuki Sanada (Shōgun)
Best TV Series or Limited Series The Crown
Hacks
Palm Royale
Shōgun
Slow Horses
Best Intergenerational Film Didi
Here
His Three Daughters
The Piano Lesson
Thelma
Best Time Capsule A Complete Unknown
The Brutalist
Here
Maria
September 5
Best Documentary I Am: Celine Dion
Luther: Never Too Much
Piece by Piece
Super/Man: The Christopher Reeve Story
Will & Harper
Made for television in 1992, Overkill: The Aileen Wuronos Story opens with Aileen (Jean Smart) and her friend, Tyria Moore (Park Overall), hitchhiking their way through Florida. Aileen is outspoken and unpredictable, quick to lose her temper with anyone who doesn’t give her a ride or money and also very possessive of Tyria. Tyria is naïve and a bit spacey, though she is smart enough to have figured out that Aileen is financing their trip through sex work.
Of course, if you’ve seen Monster, you already know the story of Aileen and Tyria and you also know that Aileen is eventually going to end up in a lot of trouble and Tyria is going to be pressured to betray her. Monster made it clear that Aileen and Tyria were a romantic couple and it even suggests that, for all of her crimes, Aileen sincerely loved Tyria. Overkill, probably due to being a made-for-television movie from the 90s, treats Aileen and Tyria’s relationship a bit more ambiguously. While Aileen is portrayed as being very possessive and very protective of Tyria, their relationship is portrayed as being more of a roommate situation than a romantic one. Indeed, Aileen is often portrayed as being almost stalkerish in her behavior towards Tyria. Aileen comes across as being much more interested in Tyria than Tyria is in Aileen.
While Aileen and Tyria travel across Florida, men are turning up dead up and down the interstates. The victims were all shot and they were all middle-class, white professionals. Most of them are found in circumstances that suggested that they had picked someone up and that person subsequently shot and then robbed them. When Detective Brian Munster (Brion James) suggests that all of the men could have fallen victim to a female serial killer, his colleagues are skeptical. Everyone knows that serial killers are always men. But Munster continues to insist that the murderer must be a woman and soon, he comes to suspect that the killer could be Aileen. However, all of the evidence that Brian has is circumstantial and it won’t be enough to get a conviction. He and the member of his investigative team start to watch Aileen, waiting for her to make a mistake that will give them what they need to make an arrest….
After she was convicted of murdering seven men, Aileen Wournos claimed that the police always knew that she was the one committing the murders but that they didn’t arrest her because they wanted to reap the publicity from pursuing America’s first female serial killer. As evidence, she cited this movie and it must be admitted that this movie does feature a lot of scenes of Munster and his detectives waiting for Aileen to make her next move. That said, one would think that Overkill would be the last movie that Aileen would want to bring attention to because the film essentially presents Aileen Wournos as being a petulant and trashy psychopath who turned to crime because she was too stupid to do anything else with her life. If Monster portrayed Aileen as being someone who had been so damaged by society that she could no longer function, Overkill portrays Aileen as being someone who uses her childhood trauma as a convenient excuse for her own antisocial tendencies.
Overkill is a considerably more simplistic portrayal of Aileen’s crimes than Monster. That said, Jean Smart does a good job in the role and is convincingly angry at the world. Overkill is more about the effort to catch Aileen than Aileen herself and character actor Brion James, who usually played villains over the course of his career (like Leon in Blade Runner and the killer in The Horror Show), makes for a convincingly no-nonsense cop. Overkill is a well-made and well-acted film, even if it does ultimately feel a bit shallow in its storytelling.
The Satellite nominations were announced on Thursday morning.
What are the Satellites? For years, they were like a less important version of the Golden Globes. However, considering all of the recent controversy that has surrounded that Hollywood Foreign Press and the Golden Globes, it wouldn’t surprise me if, in a few years, the International Press Academy and the Satellites became Hollywood’s new favorite shady precursor group.
Like the Globes, the Satellites hand out awards for both film and television. Below, you’ll find their film nominations. If you want to see their TV nominations, Next Best Picture has got you covered.
Here are the Satellite noms for 2022! To me, perhaps the most interesting thing about the nominations is that many of the biggest contenders — Glass Onion, Top Gun: Maverick, Black Panther: Wakanda Forever, Avatar: Way of the Water — are sequels. It’ll be interesting to see if the Academy follows suit.
ACTRESS IN A MOTION PICTURE DRAMA Jessica Chastain – The Good Nurse (Netflix) Cate Blanchett – TÁR (Focus Features) Michelle Williams – The Fabelmans (Universal Pictures) Danielle Deadwyler – Till (United Artists Releasing) Vicky Krieps – Corsage (IFC Films) Viola Davis – The Woman King (TriStar Pictures)
ACTOR IN A MOTION PICTURE DRAMA Brendan Fraser – The Whale (A24) Tom Cruise – Top Gun: Maverick (Paramount Pictures) Gabriel LaBelle – The Fabelmans (Universal Pictures) Hugh Jackman – The Son (CAA Media Finance) Bill Nighy – Living (Sony Pictures) Mark Wahlberg – Father Stu (Columbia Pictures)
ACTRESS IN A MOTION PICTURE, COMEDY OR MUSICAL Margot Robbie – Babylon (Paramount Pictures) Michelle Yeoh – Everything Everywhere All At Once (A24) Janelle Monáe- Glass Onion: A Knives Out Mystery (Netflix) Emma Thompson – Good Luck to You, Leo Grande (Searchlight Pictures)
ACTOR IN A MOTION PICTURE, COMEDY OR MUSICAL Collin Farrell – The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Austin Butler – Elvis (Warner Bros.) Diego Calva – Babylon (Paramount Pictures) Adam Sandler – Hustle (Netflix) Ralph Fiennes – The Menu (Walt Disney Studios Motion Pictures) Daniel Craig – Glass Onion: A Knives Out Mystery (Netflix)
ACTRESS IN A SUPPORTING ROLE Jean Smart – Babylon (Paramount Pictures) Angela Bassett – Black Panther: Wakanda Forever (Walt Disney Studios Motion Pictures) Kerry Condon – The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Dolly de Leon – Triangle Of Sadness (Neon) Claire Foy – Women Talking (United Artists Releasing) Jamie Lee Curtis – Everything Everywhere All At Once (A24)
ACTOR IN A SUPPORTING ROLE Eddie Radmayne – The Good Nurse (Netflix) Ben Whishaw – Women Talking (United Artists Realising) Paul Dano – The Fabelmans (Universal Pictures) Brendan Gleeson – The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Ke Huy Quan – Everything Everywhere All At Once (A24) Jeremy Strong – Armageddon Time (Focus Features)
MOTION PICTURE, DRAMA Top Gun: Maverick (Paramount Pictures) Living (Sony Pictures) The Fabelmans (Universal Pictures) Till (United Artists Releasing) Women Talking (United Artists Releasing) Avatar: The Way Of The Water (Walt Disney Studios Motion Pictures) TÁR (Focus Feature) Black Panther: Wakanda Forever (Walt Disney Studios Motion Pictures)
MOTION PICTURE, COMEDY OR MUSICAL Triangle Of Sadness (Neon) Everything Everywhere All At Once (A24) RRR (Variance Films) Glass Onion: A Knives Out Mystery (Netflix) The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Elvis (Warner Bros.)
MOTION PICTURE, INTERNATIONAL Argentina, 1985 (Argentina) Decision To Leave (Korea) Holy Spider (Denmark) Close (Belgium) War Sailor (Norway) Corsage (Austria) Bardo (Mexico) The Quiet Girl (Ireland)
MOTION PICTURE, ANIMATED OR MIXED MEDIA Turning Red (Walt Disney Studios Motion Pictures) Marcel The Shell With Shoes On (A24) Guillermo del Toro’s Pinocchio (Netflix) Inu-Oh (GKIDS) The Bad Guys (DWA)
MOTION PICTURE, DOCUMENTARY The Territory (National Geographic Documentary Films) All The Beauty And The Bloodshed (Neon) Moonage Daydream (Neon) Fire Of Love (Neon) Descendant (Netflix) The Return of Tanya Tucker: Featuring Brandi Carlile (Sony Pictures) Good Night Oppy (Amazon Prime Video) All That Breathes (HBO Documentary Films) Young Plato (Yleisradio)
DIRECTOR Baz Luhrmann – Elvis (Warner Bros.) James Cameron – Avatar: The Way Of The Water (Walt Disney Studios Motion Pictures) Steven Spielberg – The Fabelmans (Netflix) Joseph Kosinski – Top Gun: Maverick (Paramount Pictures) Martin McDonagh – The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Sarah Polley – Women Talking (United Artists Releasing)
SCREENPLAY, ORIGINAL Daniel Scheinert & Daniel Kwan – Everything Everywhere All At Once (A24) Tony Kushner & Steven Spielberg – The Fabelmans (Universal Pictures) Martin McDonagh – The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Ruben Östlund – Triangle Of Sadness (Neon) Todd Field – TÁR (Focus Features) Lukas Dhont & Angelo Tijssens – Close (A24)
SCREENPLAY, ADAPTED Sarah Polley – Women Talking (United Artists Releasing) Samuel D. Hunter – The Whale (A24) Rian Johnson – Glass Onion: A Knives Out Mystery (Netflix) Peter Craig, Ehren Kruger, Justin Marks, Christopher McQuarrie & Eric Warren Singer – Top Gun: Maverick (Paramount Pictures) Kazuo Ishiguro – Living (Sony Pictures) Rebecca Lenkiewicz – She Said (Universal Pictures)
ORIGINAL SCORE Harold Faltermeyer, Lady Gaga, Hans Zimmer, Lorne Balfe – Top Gun: Maverick (Paramount Pictures) Terence Blanchard – The Woman King (TriStar Pictures) Justin Hurwitz – Babylon (Paramount Pictures) John Williams – The Fabelmans (Universal Pictures) Carter Burwell – The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Hildur Guðnadóttir – Women Talking (United Artists Releasing)
ORIGINAL SONG “Hold My Hand” – Lady Gaga: Top Gun: Maverick (Paramount Pictures) “Lift Me Up” – Rihanna: Black Panther: Wakanda Forever (Walt Disney Studios Motion Pictures) “Naatu Naatu” – Kala Bhairava, M.M. Keeravani & Rahul Sipligunj: RRR (Variance Films) “Vegas” – Doja Cat: Elvis (Warner Bros.) “Carolina” – Taylor Swift: Where The Crawdads Sing (Columbia Pictures) “Applause” – Diane Warren: Tell It Like a Woman (Samuel Goldwyn Films)
CINEMATOGRAPHY Claudio Miranda – Top Gun: Maverick (Paramount Pictures) Linus Sandgren – Babylon (Paramount Pictures) Roger Deakins – Empire of Light (Searchlight Pictures) Ben Davis – The Banshees Of Inisherin (Walt Disney Studios Motion Pictures) Russell Carpenter – Avatar: The Way Of The Water (Walt Disney Studios Motion Pictures) Mandy Walker – Elvis ( Warner Bros)
FILM EDITING Eddie Hamilton – Top Gun: Maverick (Paramount Pictures) Jonathan Redmond, Matt Villa – Elvis (Warner Bros.) Sarah Broshar, Michael Kahn – The Fabelmans (Universal Pictures) Paul Rogers – Everything Everywhere All At Once (A24) Monika Willi – TÁR (Focus Features) Terilyn A. Shropshire – The Woman King (TriStar Pictures)
SOUND ( Editor / Mixer ) Top Gun: Maverick – Mark Weingarten, James H. Mather, Al Nelson (Paramount Pictures) Avatar: The Way Of The Water – Christopher Boyes (Supervising Sound Editor / Re-Recording Mixer ), Gwendolyn Yates Whittle Dick Bernstein (Supervising Sound Editors), Gary Summers, Michael Hedges (Re-Recording Mixers), Julian Howarth (Production Sound Mixer) (Walt Disney Studios Motion Pictures) Babylon – Steve Morrow, Ai-Ling Lee, Mildred Iatrou Morgan, Andy Nelson (Paramount Pictures) Elvis – David Lee, Wayne Pashley, Andy Nelson, Michael Keller (Warner Bros.) The Woman King – Becky Sullivan, Kevin O’Connell, Tony Lamberti, Derek Mansvelt (Sony Pictures) RRR – Raghunath Kemisetty, Boloy Kumar Doloi, Rahul Karpe (Variance Films)
VISUAL EFFECTS Top Gun: Maverick – Ryan Tudhope, Scott R. Fisher, Seth Hill, Bryan Litson (Paramount Pictures) Avatar: The Way Of The Water – Joe Letteri, Eric Saindon, Richie Baneham, Dan Barrett (Walt Disney Studios Motion Pictures) Babylon – Jay Cooper, Elia Popov, Kevin Martel, Ebrahim Jahromi (Paramount Pictures) Good Night Oppy – Abishek Nair, Marko Chulev, Steven Nichols (Amazon Prime Video) The Batman – Dan Lemmon, Russell Earl, Anders Langlands, Dominic Tuohu (Warner Bros) RRR – V. Srinivas Mohan (Variance Films)
PRODUCTION DESIGN RRR – Sabu Cyril (Variance Films) Babylon – Florencia Martin, Anthony Carlino (Paramount Pictures) Elvis – Catherine Martin, Karen Murphy (Warner Bros.) Avatar: The Way Of The Water – Dylan Cole, Ben Procter (Walt Disney Studios Motion Pictures) The Fabelmans – Rick Carter (Universal Pictures) A Love Song – Juliana Barreto Barreto (Bleecker Street Media)
COSTUME DESIGN Ruth E. Carter – Black Panther: Wakanda Forever (Walt Disney Studios Motion Pictures) Mary Zophres – Babylon (Paramount Pictures) Cathrine Matrin – Elvis (Warner Bros.) Gersha Phillips – The Woman King (TriStar Pictures) Sandy Powell – Living (Sony Pictures) Alexandra Byrne – Empire of Light (Searchlight Pictures)
ENSEMBLE MOTION PICTURE: Glass Onion: A Knives Out Mystery (Netflix)
The Gotham Awards were held last night and the big winners were CODA and Maggie Gyllenhaal’s The Lost Daughter. The Gothams aren’t exactly the biggest or most influential of the Oscar precursors but they were are one of the first so a victory can only help!
The winners are listed in bold:
Best Feature
“The Green Knight” “The Lost Daughter”
“Passing”
“Pig”
“Test Pattern”
Best Documentary Feature
“Ascension”
“Faya Dayi”
“Flee”
“President”
“Summer Of Soul (…Or, When The Revolution Could Not Be Televised)”
Best International Feature
“Azor” “Drive My Car”
“The Souvenir Part II”
“Titane”
“What Do We See When We Look at the Sky?”
“The Worst Person In The World”
Bingham Ray Breakthrough Director Award Maggie Gyllenhaal for “The Lost Daughter”
Edson Oda for “Nine Days”
Rebecca Hall for “Passing”
Emma Seligman for “Shiva Baby”
Shatara Michelle Ford for “Test Pattern”
Best Screenplay
“The Card Counter,” Paul Schrader
“El Planeta,” Amalia Ulman
“The Green Knight,” David Lowery “The Lost Daughter,” Maggie Gyllenhaal
“Passing,” Rebecca Hall
“Red Rocket,” Sean Baker & Chris Bergoch
Outstanding Lead Performance Olivia Colman in “The Lost Daughter” Frankie Faison in “The Killing of Kenneth Chamberlain”
Michael Greyeyes in “Wild Indian”
Brittany S. Hall in “Test Pattern”
Oscar Isaac in “The Card Counter”
Taylour Paige in “Zola”
Joaquin Phoenix in “C’mon C’mon”
Simon Rex in “Red Rocket”
Lili Taylor in “Paper Spiders”
Tessa Thompson in “Passing”
Outstanding Supporting Performance
Reed Birney in “Mass”
Jessie Buckley in “The Lost Daughter”
Colman Domingo in “Zola”
Gaby Hoffmann in “C’mon C’mon” Troy Kotsur in “CODA”
Marlee Matlin in “CODA”
Ruth Negga in “Passing”
Breakthrough Performer Emilia Jones in “CODA”
Natalie Morales in “Language Lessons”
Rachel Sennott in Shiva Baby”
Suzanna Son in “Red Rocket”
Amalia Ulman in “El Planeta”
Breakthrough Series – Long Format (over 40 minutes)
“The Good Lord Bird”
“It’s A Sin”
“Small Axe” “Squid Game”
“The Underground Railroad”
“The White Lotus”
Breakthrough Series – Short Format (under 40 minutes)
“Blindspotting”
“Hacks” “Reservation Dogs”
“Run the World”
“We Are Lady Parts”
Breakthrough Nonfiction Series “City So Real”
“Exterminate All the Brutes”
“How To with John Wilson” “Philly D.A.”
“Pride”
Outstanding Performance in a New Series
Jennifer Coolidge in “The White Lotus”
Michael Greyeyes in “Rutherford Falls” Ethan Hawke in “The Good Lord Bird”
Devery Jacobs in “Reservation Dogs”
Lee Jung-jae in “Squid Game” Thuso Mbedu in “The Underground Railroad”
Jean Smart in “Hacks”
Omar Sy in “Lupin”
Anya Taylor-Joy in “The Queen’s Gambit”
Anjana Vasan in “We Are Lady Parts”
(Incidentally, I’m probably the only person not involved with the show to have noticed the victory for Philly D.A. I’m just going to be honest and say that is one of my least favorite results ever. Philly D.A. was a pure propaganda, nothing more.)
As a sign of how wrapped up I am in this year’s Horrorthon, consider this: the 2021 Gotham Nominations — the first precursor of Awards Season! — were announced on Thursday and I totally missed them! This is actually not the first year that this has happened. October is a busy month for me and sometimes, the Gotham noms get missed.
The Gothams, of course, only honor independent films and they have pretty strict rules as far as what they consider to be independent. The budget has to come in at a certain relatively low amount, for one thing. So, as a result, a lot of Oscar nominees are not Gotham eligible. But, at the same time, those Gotham rules also allow some films that otherwise might get overlooked a chance to get some precursor love. Being nominated for a Gotham is hardly a guarantee that the Academy will remember you. But it certainly doesn’t hurt.
Better late than never, here are the 2021 Gotham Nominations! As you’ll notice, the Gotham’s performance awards are gender neutral. This is the first year that the Gothams have done this. They also added categories for supporting performances and best performance in a series.
Anyway, here are the nominees:
Best Feature
“The Green Knight”
“The Lost Daughter”
“Passing”
“Pig”
“Test Pattern”
Best Documentary Feature
“Ascension”
“Faya Dayi”
“Flee”
“President”
“Summer Of Soul (…Or, When The Revolution Could Not Be Televised)”
Best International Feature
“Azor”
“Drive My Car”
“The Souvenir Part II”
“Titane”
“What Do We See When We Look at the Sky?”
“The Worst Person In The World”
Bingham Ray Breakthrough Director Award
Maggie Gyllenhaal for “The Lost Daughter”
Edson Oda for “Nine Days”
Rebecca Hall for “Passing”
Emma Seligman for “Shiva Baby”
Shatara Michelle Ford for “Test Pattern”
Best Screenplay
“The Card Counter,” Paul Schrader
“El Planeta,” Amalia Ulman
“The Green Knight,” David Lowery
“The Lost Daughter,” Maggie Gyllenhaal
“Passing,” Rebecca Hall
“Red Rocket,” Sean Baker & Chris Bergoch
Outstanding Lead Performance
Olivia Colman in “The Lost Daughter”
Frankie Faison in “The Killing of Kenneth Chamberlain”
Michael Greyeyes in “Wild Indian”
Brittany S. Hall in “Test Pattern”
Oscar Isaac in “The Card Counter”
Taylour Paige in “Zola”
Joaquin Phoenix in “C’mon C’mon”
Simon Rex in “Red Rocket”
Lili Taylor in “Paper Spiders”
Tessa Thompson in “Passing”
Outstanding Supporting Performance
Reed Birney in “Mass”
Jessie Buckley in “The Lost Daughter”
Colman Domingo in “Zola”
Gaby Hoffmann in “C’mon C’mon”
Troy Kotsur in “CODA”
Marlee Matlin in “CODA”
Ruth Negga in “Passing”
Breakthrough Performer
Emilia Jones in “CODA”
Natalie Morales in “Language Lessons”
Rachel Sennott in Shiva Baby”
Suzanna Son in “Red Rocket”
Amalia Ulman in “El Planeta”
Breakthrough Series – Long Format (over 40 minutes)
“The Good Lord Bird”
“It’s A Sin”
“Small Axe”
“Squid Game”
“The Underground Railroad”
“The White Lotus”
Breakthrough Series – Short Format (under 40 minutes)
“Blindspotting”
“Hacks”
“Reservation Dogs”
“Run the World”
“We Are Lady Parts”
Breakthrough Nonfiction Series “City So Real”
“Exterminate All the Brutes”
“How To with John Wilson”
“Philly D.A.”
“Pride”
Outstanding Performance in a New Series
Jennifer Coolidge in “The White Lotus”
Michael Greyeyes in “Rutherford Falls”
Ethan Hawke in “The Good Lord Bird”
Devery Jacobs in “Reservation Dogs”
Lee Jung-jae in “Squid Game”
Thuso Mbedu in “The Underground Railroad”
Jean Smart in “Hacks”
Omar Sy in “Lupin”
Anya Taylor-Joy in “The Queen’s Gambit”
Anjana Vasan in “We Are Lady Parts”
Watching Life Itself is like getting a Hallmark card from a serial killer. Even if you appreciate the sentiment, you still don’t feel good about it.
Written and directed by This Is Us creator Dan Fogelman, Life Itself attempts to juggle several different themes, so much so that it can sometimes be difficult to understand just what exactly the film is attempting to say. That said, I think the main lesson of the film is that you should always look both ways before stepping out into the middle of the street. It doesn’t matter if you’ve got a horrific backstory, involving a decapitated father, a pervy uncle, and a gun. It doesn’t matter if you love Pulp Fiction or if you think Bob Dylan’s more recent work is underrated. It doesn’t matter if you’ve got a dog and husband who is so in love with you that he’s practically a stalker. It doesn’t even matter that your pregnant and looking forward to naming your firstborn after your favorite musician. If you don’t look both ways before stepping out into the middle of the street, you’re going to get hit by a big damn bus.
That’s the lesson that Abby (Olivia Wilde) does not learn and, as a result, she not only gets run over by a bus but we, the viewers, are subjected to seeing her repeatedly getting run over by that bus. As temtping as it is to feel bad for Abby, my sympathy was limited by the fact that she and her husband (Oscar Isaac) named their dog Fuckface. I mean, seriously, who does that? Not only is it cruel to the dog but it’s also inconsiderate to the people who have to listen to you shouting, “Fuckface!” whenever the dog gets loose. For whatever reason, the movie doesn’t seem to get how annoying this is. That’s because Life Itself is another one of those movies that mistakes quirkiness for humanity.
The other annoying thing about Abby is that she’s an English major who somehow thinks that the use of the unreliable narrator is an understudied literary phenonema. In fact, she’s writing her thesis on unreliable narrators. Her argument is that life itself is the ultimate unreliable narrator because life is tricky and surprising, which doesn’t make one bit of sense.
Speaking of narrators, Life Itself has three, which is three too many. Two of the narrators are unreliable but I get the feeling that the third one is meant to be taken literally, which is a shame because the film would have made a lot more sense if it had ended with a Life of Pi-style revelation that none of what we just watched actually happened.
Anyway, Abby getting hit by a bus has repercussions that reverberate across the globe and across time. Not only does it lead to her husband writing a bad screenplay but it also leads to him committing suicide in a psychiatrist’s office. Abby’s daughter, Dylan (Olivia Cooke), grows up to be what this film believes to be a punk rocker, which means that she angrily covers Bob Dylan songs and stuffs a peanut butter and jelly sandwich down another girl’s throat. Meanwhile, in Spain….
What? Oh yeah, this film jumps from New York to Spain. In fact, it’s almost like another film suddenly starts after an hour of the first one. You go from Olivia Cooke sobbing on a park bench to Antonio Banderas talking about his childhood. Banderas is playing a landowner named Vincent Saccione. Saccione wants to be best friends with his foreman, Javier (Sergio Peris-Mencheta) but Javier suspects that Saccione just wants to steal away his saintly wife, Isabel (Laia Costa) and maybe Javier’s right!
Javier has a son named Rodrigo (who is played by five different actors over the course of the film before eventually growing up to be Alex Monner). When Saccione gives Rodrigo a globe, Javier decides to one-up him by taking his wife and child on a vacation to New York City. Rodrigo has a great time in New York, or at least he does until he distracts a bus driver, which leads to a bus running down a pregnant woman…
…and the movie’s not over yet! It just keeps on going and believe it or not, there’s stuff that I haven’t even mentioned. Life Itself has a running time of only two hours. (For comparison, it’s shorter than almost every comic book film that’s come out over the past few years.) This is one of the rare cases where the film might have been improved with a longer running time because Fogelman crams so much tragedy and melodrama into that running time that it literally leaves you feeling as if you’re being bludgeoned. This is one of those films that gets in your face and screams, “You will cry! You will cry!” Even if you are inclined to cry at movies (and I certainly am), it’s impossible not to resent just how manipulative the film gets. You get the feeling that if you spend too much time wondering about the plot holes or the on-the-nose dialogue, the third narrator might start yelling at you for not getting with the program.
Life Itself is full of twists that are designed to leave you considering how everything in life is connected but, for something like this to work, the twists have to be surprising. They have to catch you off-guard. They have to make you want to see the movie again so that you can look for clues. The twists in Life Itself are not surprising. Anyone who has ever seen a movie before will be able to guess what’s going to happen. For that matter, anyone who has ever sat through an episode of This is Us should be able to figure it all out. Life Itself is not as a clever as it thinks it is.
Also, for a film like this work, you have to actually care about the characters. You have to be invested in who they are. But nobody in the film ever seems to be real and neither do any of their stories. (To the film’s credit, it actually does point out that one narrator is idealizing the past but that’s an intriguing idea that’s abandoned.) Everyone is just a collection of quirks. We know what type of music they like but we never understand why. Background info, like Abby being molested by her uncle or Isabel being the fourth prettiest of six sisters, is randomly dropped and then quickly forgotten about. Almost ever woman has a tragic backstory and, for the most part, a tragic destiny. (Except, of course, for Rodrigo’s first American girlfriend, who is dismissed as being “loud.”) Every man is soulful and passionate. But who are they? The film’s narrators say a lot but they never get around to answering that question. This is a film that insists it has something to say about life itself but it never quite comes alive.
Some critics are saying that Life Itself is the worst film of 2018. Maybe. I don’t know for sure. The Happytime Murders left me feeling so icky that I haven’t even been able to bring myself to review it yet. Life Itself, on the other hand, is such a huge misfire that I couldn’t wait to tell everyone about it. There’s something to be said for that.
November 22, 1963. While the rest of the world deals with the aftermath of the assassination of John F. Kennedy in Dallas, a man named Michael Curtis drives a jeep across the South Texas desert, heading for the border. In the jeep, he has a $800,000 and a high-powered rifle. When the jeep crashes, the man, the rifle, and the money are left undiscovered in the desert for 21 years.
1984. Two border patrol agents, Logan (Kris Kristofferson) and Wyatt (Treat Williams), are complaining about their job and hoping for a better life. It looks like they might get that opportunity when they come across both the jeep and the money. A bitter Vietnam vet, Logan wants to take the money and run but Wyatt is more cautious. Shortly after Wyatt runs a check on the jeep’s license plate, a FBI agent (Kurtwood Smith) shows up at the station and both Logan and Wyatt discover their lives are in danger.
Though it was made seven years before Oliver Stone’s JFK, Flashpoint makes the same argument, that Kennedy was killed as the result of a massive government conspiracy and that the conspirators are still in power and doing whatever they have to do keep the truth from being discovered. The difference is that Flashpoint doesn’t try to convince anyone. If you’re watching because you’re hoping to see a serious examination of the Kennedy conspiracy theories, Flashpoint is not for you. Instead, Flashpoint is a simple but effective action film, a modern western that uses the assassination as a MacGuffin. Though Kris Kristofferson has never been the most expressive of actors, he was well-cast as the archetypical gunslinger with a past. Rip Torn also gives a good performance as a morally ambiguous sheriff and fans of great character acting will want to keep an eye out for both Kevin Conway and Miguel Ferrer in small roles.
Continuing my look back at the films of 2016, here are four mini-reviews of some films that really didn’t make enough of an impression to demand a full review.
2016 was a mixed year for Ben Affleck. Batman v. Superman may have been a box office success but it was also such a critical disaster that it may have done more harm to Affleck’s legacy than good. If nothing else, Affleck will spend the rest of his life being subjected to jokes about Martha. While Ben’s younger brother has become an Oscar front runner as a result of his performance in Manchester By The Sea, Ben’s latest Oscar effort, Live By Night, has been released to critical scorn and audience indifference.
At the same time, Ben Affleck also gave perhaps his best performance ever in The Accountant. Affleck plays an autistic accountant who exclusively works for criminals and who has been raised to be an expert in all forms of self-defense. The film’s plot is overly complicated and director Gavin O’Connor struggles to maintain a consistent tone but Affleck gives a really great performance and Anna Kendrick reminds audiences that she’s capable of more than just starring in the Pitch Perfect franchise.
I really wanted to like Carnage Park, because it was specifically advertised as being an homage to the grindhouse films of the 1970s and y’all know how much I love those! Ashley Bell plays a woman who gets kidnapped twice, once by two bank robbers and then by a psycho named Wyatt (Pat Healy). Healy chases Bell through the desert, hunting her Most Dangerous Game-style. There are some intense scenes and both Bell and Healy are well-cast but, ultimately, it’s just kind of blah.
The Choice was last year’s Nicholas Sparks adaptation. It came out, as all Nichols Sparks adaptations do, just in time for Valentine’s Day and it got reviews that were so negative that a lot of people will never admit that they actually saw it. Benjamin Walker and Teresa Palmer play two people who meet, fall in love, and marry in North Carolina. But then Palmer is in a car accident, ends up in a coma, and Walker has to decide whether or not to turn off the life support.
As I said, The Choice got terrible reviews and it’s certainly not subtle movie but it’s actually better than a lot of films adapted from the work of Nicholas Sparks. Walker and Palmer are a likable couple and, at the very least, The Choice deserves some credit for having the courage not to embrace the currently trendy cause of euthanasia. That alone makes The Choice better than Me Before You.
The Legend of Tarzan (dir by David Yates)
Alexander Skarsgard looks good without his shirt on and Samuel L. Jackson is always a fun to watch and that’s really all that matters as far as The Legend of Tarzan is concerned. It’s an enjoyable enough adventure film but you won’t remember much about it afterward. Christoph Waltz is a good actor but he’s played so many villains that it’s hard to get excited over it anymore.
Unfortunately, there is no cowbell in this movie. Okay, this one is about a lady named Gwen Green (Andrea Roth). She works as an assistant editor. Delta Burke plays Dahlia Marchand who writes romance novels, but is going to pen an autobiography. Turning down more experienced editors, she picks Green to be her editor as soon as she sees her. I honestly had to watch this twice because the first time around I missed a few things so I was rather confused as to what Burke’s obsession with this woman was. Honestly, I thought she was a lesbian for a minute there and this shot near the end of the movie didn’t help.
The movie begins with one of Green’s friends getting married. Then her friend catches the bridal fever and becomes obsessed with getting married. She drags Green into her nuttiness. So we go speed blind dating. I have seen this scene done in numerous movies, but I think it’s the first time I’ve seen this in one of these montages.
Didn’t work for me no matter how much of a resemblance he might bare to Jeffrey Combs. Green doesn’t find her man here. Instead, she is passing by a bookstore and decides to go in and replace the window display with books by Dahlia Marchand. Sadly, this didn’t feel contrived because I can remember my Dad buying things from his business clients to support them. It doesn’t surprise me that now since she is editing one of Marchand’s books, she would do this. Of course a little slip and fall in the store, and she meets the guy she will end up with. He works at the store.
Sorry, I really didn’t mean to catch him with his “you’re gonna die now” look on his face. The rest of the film plays out like this. Marchand is going to launch her book at his store. Marchand oddly avoids the store. Green works with this guy getting closer and closer. Since her friend has poisoned Green’s mind and since the guy didn’t propose to her on the spot, she gets engaged to the wrong guy. Then we find out that Marchand picked her because she wanted someone who wouldn’t do their job and thus wouldn’t ask her about gaps in her biography. The big gap being her years working at that bookstore. Turns out it’s the guy’s uncle who owns the store that once had a thing with her. It wraps up like you think.
This was okay. Very cliched and it’s one of those ones I like to say sleepwalks through the formulaic plot, but the actors were likable enough, including Delta Burke. I did like that they borrowed the comparing scars scene from Lethal Weapon 3.
You can do worse, but you can also do better.
Audrey’s Rain (2003) – Where the hell did this Hallmark movie come from? It’s got cursing, people who act like real people (kids included), suicide, a mentally challenged or at least mentally cracked in some fashion character, sexual references, direct reference to breasts as “buzzards”, making out, use of the word horny, the kid tries to say Audrey’s sandwiches taste like shit, fart jokes, a fart joke directed at a reverend who just asked Audrey to consider returning to the church, and more.
Seriously, is this the kind of movie Hallmark initially made? Cause this is a far far far cry from the kind of stuff they make today and have for many years. I actually thought I was watching a real movie here. The only things I saw in common with other Hallmark movies were that Larry Levinson was involved. Well, I guess I should talk a little bit about it.
It starts off with Audrey (Jean Smart) trying to blow away a rodent with a rifle. Yay! That scene is the one time this film censors itself. Despite the word “bastard” showing up in the close captioning, the sound falls silent on that word. Funny they did that considering this follows shortly afterwards.
Sure, the sister got her hand on his mouth before he got the full word out, but still. I’ve seen Hallmark censor the word “butt”.
So, you’ve got Audrey, two kids from a sister who killed herself, and another sister who has mental issues. I’m pretty sure she’s supposed to be mentally challenged, but I don’t remember there being enough details to tell you any more than that. And that’s where this film’s real issue is. While you really don’t care too much about this sister, the film does feel like it jumps over sections that were once there or should be there telling us more.
A man from Audrey’s past gets close to her and they do end up together. There’s a quirky friend. There are flashbacks. The kids have problems with the memories of their dead mother. There’s a pretty gut wrenching scene where we think the little girl might have hung herself like her mom did. It all works quite well, but it feels like it should have been a mini-series rather than just a movie. Maybe it was, and then was edited down.
At the end of the day, if you like Hallmark, see it. It’s like no other Hallmark movie out of the 106 I’ve seen so far. Just know that it will feel like it was chopped up.
Love On The Air (2015) – I kind of felt bad watching this when it premiered cause some guy who claimed to have worked on the film tweeted me twice saying he was glad I was enjoying it. I felt bad because the majority of my tweets were complaints about the movie. I don’t think I even mentioned the problems with the actors. Oh, well.
Love On The Air begins with our two leads doing their radio shows on the same network. I don’t remember what the name of their shows were, if they had any, but a modern equivalent would be tweets with #NotAllMen attached for hers and #YesAllWomen for his. It’s that kind of stuff being slung at the beginning of this movie. The largely writing off the other gender based on bad experiences thing. Only it’s far tamer than the stuff you hear online and not as complex. Thank goodness. But it does have that isolationist/separatist rhetoric to it that people cry foul over when it’s skin color, but not as much with gender. She even says “be an island”. I honestly could have done without this as the setup seeing as it’s stuff like this that makes places like Twitter depressing, but that’s the setup.
Our leading lady is Sonia (Alison Sweeney). Our leading man is Nick (Jonathan Scarfe). The two of them end up going at it on the air for a few minutes and that leads to them doing it on a regular basis. You can guess where this goes.
A day for night shot, along with shots that were under lit or shot on cloudy days.
Odd choices of things to focus on or I swear at times the camera just going out of focus.
This blinding light that keeps shining at you during this scene.
And random obstructions in front of the camera for reasons beyond me.
What? You thought they were going to fall in love? Well, that happens too, which is another problem. They have both been burned by certain experiences in their past. Problem is, I think they needed to even out the two of them out a little more. He is noticeably easier to get along with than she is. I know it makes for a little more of a traditional romance of him winning her over, but it would have been nice for them to have dialed down Sonia a little bit. I also know that it begins with her engagement being called off so she’s fresh off a recent bad experience, but I still wanted them to be on more even ground.
However, if you can get past the odd cinematography and the characters starting out on uneven footing, I know I sure didn’t feel they had any chemistry together. Scarfe is kind of warm and a little likable. Sweeney not as much. I understand how spending time with each other reminds them that no matter how many or intensity of experiences you have with a section of the population, you can’t right the whole lot off. However, I didn’t really buy that they should end up together as anything but good friends who do a show together.
I guess this is the kind I say won’t kill ya!
A little personal side note. I think I have mentioned it before, but Sweeney also does a series called Murder, She Baked on Hallmark. I wish that had her killing people with her cooking. She really comes across to me as someone who could play a villain well. I never saw her on Days Of Our Lives so maybe she did there.
All Of My Heart (2015) – This is another one of those Hallmark movies that borrows a screwball plot that you’d find in the 1940’s. It begins with Jenny Fintley (Lacey Chabert) and Brian Howell (Brennan Elliott), I kid you not, each inheriting half of the same house in the country. Being a cook, she sees it as business opportunity to open a bed and breakfast. Being a stockbroker, he sees it as an asset that needs to be liquidated. Hilarity ensues? Not really. This isn’t like Growing The Big One, which is a Hallmark movie and not one of those late night cable movies I’ve reviewed. I still don’t know how Hallmark lucked out on that name.
It’s just them falling in love by spending time with each other. She’s there cause she wants to open a business. He gets stranded there after his job slips out from underneath him. Oddly, the film teases that it’s going to do something humorous like Funny Farm (1988), but doesn’t follow through.
That’s Ed Asner who you probably know as the guy who shoots people in the back on Hawaii Five-O. The other guy is Daniel Cudmore who is probably best known as Jaffa #1 from the Homecoming episode of Stargate SG-1. Asner sits on the bench in front of the General Store and makes humorous comments as well as some important ones at the end of the movie. Cudmore is the colossus who runs the store and is the local plumber. They are both funny in this movie. I wanted more quirky characters. Sure, hoping for the crazy mailman from Funny Farm would be asking too much, but I could have done with more of these two. I would have preferred Chabert and Elliott coming together dealing with the odd, but lovable town rather than just coming together because it’s Hallmark.
My only other complaint has to do with Lacey Chabert. I didn’t watch Party Of Five back when I was kid and have very limited exposure to her work. Largely just Hallmark, but I really want more personality out of her here. Along with looking like she’s wearing more makeup then I care for, she seems to act like she is a kid who just entered her first planetarium. He has some more personality, but I really wanted something like what Shannen Doherty and Kavan Smith had in Growing The Big One.
So, which one of these does this poor dog from one of the commercials on Hallmark say you should see? Audrey’s Rain. Despite it’s problems, it’s so different. If you like Hallmark, you should see it. I’m a little biased though, cause I like Jean Smart.