A Halloween Film Review: Kong: Skull Island (dir by Jordan Vogt-Roberts)


You may have noticed that, in the title of this post, I specifically referred to Kong: Skull Island as being a Halloween film but not a horror film.

That was very much intentional on my part.  Kong: Skull Island is really not a horror film.  (I think you could argue that the only King Kong film that can legitimately be considered a horror film would be Peter Jackson’s version and that’s just because he tossed in a few scenes that were obviously inspired by the old Italian cannibal films.)  I watched Kong: Skull Island a few months ago and I really can’t say that there was ever a moment where I was scared or even uneasy.  It’s just not that type of film.

At the same time, it is a fantastically fun and entertaining monster movie, one that has a good sense of humor about its own absurdity.  Halloween is not just a time to get scared.  It’s also a time to have fun and, for that reason, Kong: Skull Island is a perfect movie for October.  In fact, I think that it was actually a mistake for Warner Bros. to release the film in March.  They should have released it during the first weekend of October.  It could have provided a counterbalance to all of the depressing films that have been released this month,

Kong: Skull Island is a throwback to the gleefully absurd monster movies of the past.  Just so we don’t miss that point, the film starts with a 1944 prologue before then jumping forward to 1973.  (Significantly, not a single scene takes place in the 21st Century.)  Samuel L. Jackson plays Lt. Col. Preston Packard, the tough, no-nonsense commander of the Sky Devils helicopter squadron.  The Sky Devils are finally on the verge of leaving Vietnam but they’ve been asked to carry out on more mission.  They’ve been asked to fly an expedition over a newly discovered island.  The official story is that they’re going to be mapping the island but everyone knows better than to trust the government.

Kong: Skull Island is very well-cast, which is a good thing because the majority of the characters are thinly written.  Among the civilians in the helicopters: Tom Hiddleston, Brie Larson, and John Goodman.  Of course, they’re all playing characters but, for the most part, you’ll spend the entire movie thinking of them as being Tom Hiddleston, Brie Larson, and John Goodman.  For that matter, you never think of Samuel L. Jackson as being Preston Packard.  He simply is Samuel L. Jackson.  When they eventually discover a castaway living on the island, it doesn’t matter that the man’s “name” is supposedly Hank Marlow.  He’s played by john C. Reilly and that’s who you’ll always think of him as being.   They’re all charismatic actors so you certainly don’t mind watching them but, at the same time, the film understands that the main reason we’re all here is to see the giant gorilla.

To the film’s credit, it doesn’t take long for King Kong to show up.  This is not one of those films where things are dragged out in an unnecessary attempt to create suspense.  (After all, the audience already knows that King Kong’s on the island.)  Almost as soon as the helicopters breach the airspace over Skull Island, Kong shows up and starts knocking them out of the sky.  The survivors end up stranded on different parts of the island.

Of course, it’s not just Kong that they have to worry about.  In fact, from the start, the audience is smart enough to know that Kong is actually one of the good monsters.  However, Skull Island is also inhabited by bad monsters, like these giant reptiles that Kong keeps having to fight.

Early on, there’s a scene in America where, in regards to the Watergate scandal, John Goodman says that Washington, D.C. is never going to be more screwed up than it is at that moment.  That line pretty much epitomizes Kong: Skull Island.  It’s a lark with a knowing sense of humor and it is not meant to be taken at all seriously.  At it’s best, Kong: Skull Island satirizes some of the most pompous monster movies of the past.  Whenever someone says something portentous, you can be sure that the film will quickly find a way to puncture the somber mood.

And it’s all terrifically entertaining.  Watch, enjoy, and don’t worry too much about whether or not any of it makes sense.  A trip to Skull Island is a trip worth taking.

A Movie A Day #113: Mother Night (1996, directed by Keith Gordon)


Four years after she played the mysterious (and dead) Laura Palmer in Twin Peaks, Sheryl Lee starred as another mysterious (and possibly dead) woman in Mother Night.

Lee is cast as Helga Noth, the German wife of American expatriate Harold W. Campbell (Nick Nolte).  Harold is a playwright, living in Berlin and doing propaganda broadcasts for the Nazis.  Working with Frank Wirtanen (John Goodman), a military intelligence officer, Campbell has developed a series of verbal tics that are meant to secretly deliver information to the Allied Forces.  It is never clear whether Harold’s information serves any real purpose just as it is left ambiguous as to whether Harold believes any of the anti-Semitic propaganda that he broadcasts over the airwaves.  Working as both a propagandist and a double agent, Harold serves both the Allies and the Axis.

In the final days of the war, Helga is reportedly killed on the Eastern Front and Harold is captured by the Americans.  Frank arranges for Harold to be quietly sent to New York City but tells him that the government will never admit that they used him as a double agent.

Harold spends the next fifteen years living an isolated life in New York.  His only friend is an elderly painter, Kraft (Alan Arkin), with whom he plays chess.  Eventually, Harold opens up to the painter and talks about his past.  Kraft, for his own shady reasons, reveals Harold’s identity to a group of neo-Nazis.  Though Harold initially wants nothing to do with them, this changes when they reveal that they have Helga.

Or do they?  Almost no one in Mother Night is who they claim or what they seem to be, especially not Harold.

Based on a novel by Kurt Vonnegut, Mother Night suffers from the same uneven quality that seems to afflict most films based on Vonnegut’s work.  It is easy to go overboard when it comes to bringing Vonnegut’s unique mix of drama and satire to the screen and Mother Night does that in a few scenes, especially once Harold reaches New York.  It is still an intriguing and thought-provoking film, though.  Nick Nolte gives one of his best performances as Harold and Sheryl Lee does a good job in a difficult role.

The pinnacle of Vonnegut films remains George Roy Hill’s version of Slaughterhouse-Five but Mother Night is still superior to something like Alan Rudolph’s adaptation of Breakfast of Champions.

Never Nominated: 16 Actors Who Have Never Been Nominated For An Oscar


Along with being one of the greatest actors who ever lived, the late Peter O’Toole had another, far more dubious achievement.  He holds the record for being nominated the most times for Best Actor without actually winning.  Over the course of his long career, Peter O’Toole was nominated 8 times without winning.

But, at least O’Toole was nominated!

Below are 16 excellent actors who have NEVER been nominated for an Oscar.  10 of these actors still have a chance to get that first nomination.  For the rest, the opportunity has sadly past.

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  1. Kevin Bacon

Is there anyone out there who doesn’t like Kevin Bacon?  Amazingly, despite several decades of good performances in good films, Kevin Bacon has yet to be nominated.  That said, he seems destined to be nominated some day.  If nothing else, he deserved some sort of award for being the most successful cast member of the original Friday the 13th.  (As well, 40 years after the fact, his cry of “All is well!” from Animal House has become one of the most popular memes around.)

2. Brendan Gleeson

This brilliant Irish actor deserved a nomination (and probably the win) for his brave performance in Calvary.  But, even if you ignore Calvary, his filmography is full of award-worthy performances.  From The General to Gangs of New York to 28 Days Later to In Bruges to The Guard, Gleeson is overdue for some recognition.

3. John Goodman

John Goodman deserved to be nominated this year, for his performance in 10 Cloverfield Lane.  He brought warmth to both Argo and Inside Llewyn Davis.  And he was absolutely terrifying in Barton Fink.  John Goodman is one of the most underrated actors working today.

4. Malcolm McDowell

It’s obviously been a while since Malcolm McDowell had a truly great role.  But who could forget his amazing performance in A Clockwork Orange?  For that matter, I liked his sweetly gentle performance in Time After Time.  Someone give this man the great role that he deserves!

5. Ewan McGregor

Ewan McGregor is an actor who is oddly taken for granted.  His performance in Trainspotting remains his best known work.  But, really, he’s been consistently giving wonderful performances for twenty years now.  Sometimes — as in the case of the Star Wars prequels — the films have not been worthy of his talent but McGregor has always been an engaging and compelling screen presence.  When it comes to playing someone who is falling in love, few actors are as convincing as Ewan McGregor.

6) Franco Nero

Franco!  If for nothing else, he deserved a nomination for playing not only Lancelot in Camelot and not only the original Django but also for playing Intergalactic Space Jesus in The Visitor.  I also loved his work in a little-known Italian thriller called Hitchhike.  Nero is still active — look for him in John Wick 2 — and hopefully, he’ll get at least one more truly great role in his lifetime.

7) Sam Rockwell

Let’s just get this out of the way.  In a perfect world, Sam Rockwell would already have an Oscar.  He would have won for his performance in 2009’s Moon.  He also would have received nominations for The Way, Way Back and Seven Psychopaths.  Sadly, Sam’s still waiting for his first nomination.  Again, the problem may be that he’s such a natural that he just makes it look easy.

Andy Serkis

8) Andy Serkis

Andy Serkis has never been nominated, despite giving some of the best performances of this century.  He should have been nominated for Lord of the Rings: The Return of the King.  He should have won for Rise of the Planet of the Apes.

9) Harry Dean Stanton

Harry Dean Stanton has been around forever and he’ll probably outlive everyone else on the planet.  He often seems to be indestructible.  Harry Dean is the epitome of a great character actor.  He’s a modern-day John Carradine.  And, just as John Carradine was never nominated, Harry Dean seems to destined to suffer the same fate.  Oscar may have forgotten him but film lovers never will.

10) Donald Sutherland

It’s hard to believe that Donald Sutherland has never been nominated for an Oscar but it’s true.  He probably should have been nominated for his work in Ordinary People and JFK.  Even his work in The Hunger Games franchise was an absolute delight to watch.  I imagine that Sutherland will be nominated someday.

Donald Sutherland and Kristen Stewart

Finally, here are 6 actors who sadly were never honored by the Academy and who are no longer with us:

  1. John Carradine

I mentioned John Carradine earlier.  Carradine was a favorite of many directors and he brought his considerable (and rather eccentric) talents to a countless number of films.  Among his best performances: Stagecoach and The Man Who Shot Liberty Valance.

2. John Cazale

Before his untimely death, John Cazale acted in 5 films: The Godfather, Godfather Part II, The Conversation, Dog Day Afternoon, and The Deer Hunter.  All five of them were nominated for best picture.  12 years after his death, archival footage of him was used in The Godfather Part III.  It was also nominated for Best Picture.  Not only is Cazale alone in having spent his entire career in films nominated for best picture but, in each film, Cazale gave a performance that, arguably, deserved to be considered for a Best Supporting Actor nomination.  Cazale was an amazing actor and it’s a shame that he wasn’t able to give us more great performances.

3. Oliver Reed

Oliver Reed was a legendary drinker but he was also an amazingly entertaining actor.  I’m not a huge fan of Gladiator but his final performance was more than worthy of a posthumous nomination.

Alan Rickman

4. Alan Rickman

When it comes to the late Alan Rickman, it’s not a question of whether he should have been nominated.  It’s a question of for which film.  I know a lot of people would say Rickman deserved a nomination for redefining cinematic villainy in Die Hard.  Personally, I loved his performance in Sense and Sensibility.  And, of course, you can’t overlook any of the times that he played Snape.

5. Edward G. Robinson

Edward G. Robinson was never nominated for an Oscar!?  Not even for Double Indemnity?  Or his final performance in Soylent Green?  Horrors!

6) Anton Yelchin

It’s debatable whether or not Anton Yelchin ever got a chance to give a truly award-worthy performance during his lifetime.  I would argue that his work in both Green Room and Like Crazy were pretty close.  But, if Yelchnin had lived, I’m confident he would have eventually been nominated.  We lost a wonderful talent when we lost him.

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What if Lisa Picked The Oscar Nominees — 2016 Edition


With the Oscar nominations due to be announced tomorrow, now is the time that the Shattered Lens indulges in a little something called, “What if Lisa had all the power.” Listed below are my personal Oscar nominations. Please note that these are not the films that I necessarily think will be nominated. The fact of the matter is that the many of them will not. Instead, these are the films that would be nominated if I was solely responsible for deciding the nominees this year. Winners are starred and listed in bold.

(You’ll also note that I’ve added four categories, all of which I believe the Academy should adopt — Best Voice-Over Performance, Best Casting, Best Stunt Work, and Best Overall Use Of Music In A Film.)

(Click on the links to see my nominations for 20152014, 2013, 2012, 2011, and 2010!)

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Best Picture

*American Honey*

Arrival

Hell or High Water

Kubo and the Two Strings

La La Land

Love & Friendship

A Monster Calls

Moonlight

The Neon Demon

The Nice Guys

andrea-arnold

Best Director

*Andrea Arnold for American Honey

Shane Black for The Nice Guys

Barry Jenkins for Moonlight

David MacKenzie for Hell or High Water

Nicholas Winding Refn for The Neon Demon

Denis Villeneuve for Arrival

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Best Actor

Andrew Garfield in Hacksaw Ridge

Ryan Gosling in The Nice Guys

Tom Hanks in Sully

Chris Pine in Hell or High Water

Ryan Reynolds in Deadpool

*Denzel Washington in Fences

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Best Actress

*Amy Adams in Arrival

Kate Beckinsale in Love & Friendship

Viola Davis in Fences

Sasha Lane in American Honey

Emma Stone in La La Land

Anya Taylor-Joy in The Witch

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Best Supporting Actor

*Mahershala Ali in Moonlight

Tom Bennett in Love & Friendship

Jeff Bridges in Hell or High Water

Alden Ehrenreich in Hail Caesar!

John Goodman in 10 Cloverfield Lane

Patrick Stewart in Green Room

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Best Supporting Actress

*Naomie Harris in Moonlight

Felicity Jones in A Monster Calls

Riley Keough in American Honey

Jena Malone in The Neon Demon

Helen Mirren in Eye in the Sky

Angourie Rice in The Nice Guys

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Best Voice Over and/or Stop Motion Performance

Auli’i Cravalho in Moana

Ellen DeGeneres in Finding Dory

Ginnifer Goodwin in Zootopia

*Liam Neeson in A Monster Calls

Art Parkinson in Kubo and the Two Strings

Charlize Theron in Kubo and the Two Strings

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Best Original Screenplay

American Honey

*Hell or High Water

Kubo and the Two Strings

La La Land

The Nice Guys

The Witch

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Best Adapted Screenplay

*Arrival

The Jungle Book

Love & Friendship

Moonlight

A Monster Calls

Sully

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Best Animated Film

Finding Dory

*Kubo and the Two Strings

Moana

Sausage Party

The Secret Life of Pets

Zootopia

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Best Documentary Feature

The Confessions of Thomas Quick

Holy Hell

O.J.: Made in America

Rigged 2016

Weiner

*The Witness

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Best Casting

*American Honey

Everybody Wants Some!!

La La Land

Moonlight

Hell or High Water

Green Room

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Best Cinematography

American Honey

Arrival

Hell or High Water

La La Land

Moonlight

*The Neon Demon 

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Best Costume Design

The Conjuring 2

Hail, Caesar!

La La Land

*Love & Friendship

The Nice Guys

The Witch

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Best Editing

Arrival

Hell or High Water

Kubo and the Two Strings

*La La Land

Moonlight

A Monster Calls

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Best Makeup and Hairstyling

Captain America: Civil War

Deadpool

Doctor Strange

Everybody Wants Some!!

Hail, Caesar!

*The Neon Demon

Best Original Score

Hell or High Water

Kubo and the Two Strings

*La La Land

Moana

Moonlight

The Neon Demon

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Best Original Song

*”Audition (The Fool Who Dreams)” from La La Land

“How Far I’ll Go” from Moana

“Waving Goodbye” from The Neon Demon

“I’m so Humble” from Pop Star: Never Stop Never Stopping

“Drive It Like You Stole It” from Sing Street

“Go Now” from Sing Street

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Best Overall Use Of Music

*American Honey

The Conjuring Part Two

Hell or High Water

La La Land

The Neon Demon

Sing Street

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Best Production Design

Arrival

Don’t Breathe

Green Room

The Neon Demon

La La Land

*10 Cloverfield Lane

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Best Sound Editing

Captain America: Civil War

Deadpool

*Hacksaw Ridge

La La Land

A Monster Calls

Sully

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Best Sound Mixing

Captain America: Civil War

Deadpool

Hacksaw Ridge

A Monster Calls

La La Land

*Sully

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Best Stunt Work

Captain America: Civil War

*Deadpool

Doctor Strange

Hacksaw Ridge

Jason Bourne

The Legend of Tarzan

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Best Visual Effects

Arrival

*Doctor Strange

The Jungle Book

Kubo and the Two Strings

A Monster Calls

Rogue One: A Star Wars Story

Films Listed By Number of Nominations:

13 Nominations — La La Land

1o Nominations — Hell or High Water

9 Nominations — Moonlight, The Neon Demon

8 Nominations — American Honey, Arrival, Kubo and the Two Strings, A Monster Calls

6 Nominations — The Nice Guys

5 Nominations — Deadpool, Love & Friendship

4 Nominations — Captain America: Civil War, Hacksaw Ridge, Hail Caesar!, Moana, Sully

3 Nominations — Doctor Strange, Green Room, Sing Street

2 Nominations — The Conjuring 2, Everybody Wants Some!!, Fences, Finding Dory, The Jungle Book, 10 Cloverfield Lane, The Witch, Zootopia

1 Nomination — The Confessions of Thomas Quick, Don’t Breathe, Eye in the Sky, Holy Hell, Jason Bourne, The Legend of Tarzan, O.J.: Made in America, Pop Star: Never Stop Never Stopping, Rigged 2016, Rogue One: A Star Wars Story, Sausage Party, The Secret Life of Pets, Weiner, The Witness

Films Listed By Number of Oscars Won:

4 Oscars — American Honey

3 Oscars — La La Land

2 Oscars — Arrival, Moonlight, The Neon Demon

1 Oscar — Deadpool, Doctor Strange, Fences, Hacksaw Ridge, Hell or High Water, Kubo and the Two Strings, Love & Friendship, A Monster Calls, Sully, 10 Cloverfield Lane, The Witness

Will the Academy agree with my predictions?  Probably not but we’ll find out on Tuesday!

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The Utah Film Critics Association Celebrates La La Land


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The Utah Film Critics announced their picks for the best of 2016!

• Best Picture: “La La Land”; runner-up: “Moonlight.”

• Directing: Barry Jenkins, “Moonlight”; runner-up, Damien Chazelle, “La La Land”

• Lead Actor, Male: Casey Affleck, “Manchester by the Sea”; runner-up: Joel Edgerton, “Loving”

• Lead Actor, Female: Emma Stone, “La La Land”; runner-up: Ruth Negga, “Loving”

• Supporting Actor, Female: Viola Davis, “Fences”; runners-up: (tie) Naomie Harris, “Moonlight,” Michelle Williams, “Manchester by the Sea”

• Supporting Actor, Male: (tie) Mahershala Ali, “Moonlight,” John Goodman, “10 Cloverfield Lane”

• Original Screenplay: Taylor Sheridan, “Hell or High Water”; runner-up: Kenneth Lonergan, “Manchester by the Sea”

• Adapted Screenplay: Barry Jenkins and Tarell Alvin McCraney, “Moonlight”; runner-up: Eric Heisserer, “Arrival”

• Cinematography: Linus Sandgren, “La La Land”; runner-up: Bradford Young, “Arrival”

• Original Score: Justin Hurwitz, “La La Land”; runner-up: Johann Johannsson, “Arrival”

• Documentary Feature: “Cameraperson”; runner-up: “Weiner”

• Animated Feature: “Kubo and the Two Strings”; runners-up: (tie) “Moana” and “Zootopia”

• Non-English Language Film: “The Handmaiden” (South Korea); runners-up: (tie) “Elle” (France) and “Toni Erdmann” (Germany)

Here Are the 2016 Seattle Film Award Nominees!


Here are the 2016 Seattle Film Award Nominees!  I don’t know what the cat’s yawning about; these nominations are actually an interesting mix of the usual suspects (Moonlight, Manchester, La La Land) and a few unexpected but intriguing picks (like 13th and The Witch).

THE 2016 SEATTLE FILM AWARD NOMINEES:

BEST PICTURE OF THE YEAR:

BEST DIRECTOR:

  • Damien Chazelle – La La Land
  • Robert EggersThe Witch
  • Barry JenkinsMoonlight
  • Paul Verhoeven – Elle
  • Denis Villeneuve – Arrival

BEST ACTOR in a LEADING ROLE:

  • Casey Affleck – Manchester By The Sea
  • Ryan GoslingLa La Land
  • Logan Lerman – Indignation
  • Viggo Mortensen – Captain Fantastic
  • Denzel Washington – Fences

BEST ACTRESS in a LEADING ROLE:

  • Amy Adams – Arrival
  • Kate Beckinsale – Love & Friendship
  • Isabelle Huppert – Elle
  • Natalie Portman – Jackie
  • Emma StoneLa La Land

BEST ACTOR in a SUPPORTING ROLE:

BEST ACTRESS in a SUPPORTING ROLE:

  • Viola Davis – Fences
  • Lily Gladstone – Certain Women
  • Naomie HarrisMoonlight
  • Kate McKinnonGhostbusters
  • Michelle Williams – Manchester By The Sea

BEST ENSEMBLE CAST:

BEST SCREENPLAY:

BEST ANIMATED FEATURE:

BEST FOREIGN LANGUAGE FILM:

  • EllePaul Verhoeven, director
  • The HandmaidenPark Chan-wook, director
  • The InnocentsAnne Fontaine, director
  • Under The ShadowBabak Anvari, director
  • The WailingNa Hong-jin, director

BEST DOCUMENTARY FEATURE:

BEST CINEMATOGRAPHY:

BEST COSTUME DESIGN:

BEST FILM EDITING:

BEST ORIGINAL SCORE:

BEST PRODUCTION DESIGN:

BEST VISUAL EFFECTS:

BEST YOUTH PERFORMANCE (18 years of age or younger upon start of filming):

BEST VILLAIN:

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The Phoenix Critics Circle Has Risen From The Ashes With These Nominees!


The members of the Phoenix Film Critics Circle challenge their rival in the Phoenix Film Critics Society.

The members of the Phoenix Film Critics Circle challenge their rival in the Phoenix Film Critics Society.

Here are the nominees of the Phoenix Critics Circle, who should not be mistaken for the Phoenix Film Critics Society.  Do the Circle and the Society have regular rumbles, like the Sharks and the Jets?  I’d like to think that they do.

The winners will be announced on the 17th!

BEST PICTURE
Arrival
Hell or High Water
La La Land
Manchester by the Sea
Moonlight

BEST COMEDY FILM
Deadpool
The Edge of Seventeen
Hail, Caesar!
Hunt for the Wilderpeople
The Nice Guys

BEST SCIENCE FICTION FILM
10 Cloverfield Lane
Arrival
Midnight Special

BEST HORROR FILM
The Conjouring 2
Don’t Breathe
The Witch

BEST MYSTERY OR THRILLER FILM
Green Room
Hell or High Water
Nocturnal Animals

BEST ANIMATED FILM
Kubo and the Two Strings
Moana
Zootopia

BEST FOREIGN LANGUAGE FILM
The Handmaiden
Neruda
Things to Come
The Wailing

BEST DOCUMENTARY
13th
Gleason
O.J.: Made in America
Tickled
Weiner

BEST ACTOR
Casey Affleck, Manchester by the Sea
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Viggo Mortensen, Captain Fantastic

BEST ACTRESS
Amy Adams, Arrival
Annette Bening, 20th Century Women
Jessica Chastain, Miss Sloane
Natalie Portman, Jackie
Emma Stone, La La Land

BEST SUPPORTING ACTOR
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Ben Foster, Hell or High Water
John Goodman, 10 Cloverfield Lane
Michael Shannon, Nocturnal Animals

BEST SUPPORTING ACTRESS
Viola Davis, Fences
Greta Gerwig, 20th Century Women
Naomie Harris, Moonlight
Helen Mirren, Eye in the Sky
Michelle Williams, Manchester by the Sea

BEST DIRECTOR
Damian Chazelle, La La Land
Barry Jenkins, Moonlight
Kenneth Lonergan, Manchester by the Sea
Denis Villeneuve, Arrival

BEST SCREENPLAY
Damien Chazelle, La La Land
Efthimis Filippou, Yorgos Lanthimos, The Lobster
Eric Heisserer, Arrival
Barry Jenkins, Moonlight
Taylor Sheridan, Hell or High Water

BEST SCORE
Nicholas Britell, Moonlight
Justin Hurwitz, La La Land
Johann Johannsson, Arrival
Mica Levi, Jackie

Film Review: 10 Cloverfield Lane (dir by Dan Trachtenberg)


10_Cloverfield_Lane

I know that everyone’s excited about Batman v. Superman being released this weekend but before you go off and spend your money to watch two comic book titans beat up on each other for six hours (or however long that damn movie is supposed to last), you should ask yourself, “Have I seen 10 Cloverfield Lane?”

If the answer to that question is no, you need to go out and see it now.  Yes, even before you see Batman v. Superman.  Batman v. Superman is going to be around for a while.  10 Cloverfield Lane has already been out for a couple of weeks and, though it’s done well enough, it still hasn’t quite become the blockbuster that it deserves to be.

Most of the talk about 10 Cloverfield Lane has centered around the twist ending.  I’m not going to spoil the ending, even though you probably already know what it is.  Oddly enough, as much as I liked the film, the ending didn’t really work for me.  I liked the idea behind the ending more than I liked the actual execution.  Add to that, it added an element of hope to a film that, up until that point, had been wonderfully and defiantly hopeless.  The film’s ending also set things up for a sequel, one that will probably not be as interesting as the original.

Fortunately, the first 83 minutes of 10 Cloverfield Lane are so strong and well-executed that I can overlook any minor quibbles that I had with the final 20.  Mary Elizabeth Winstead plays Michelle.  Michelle lives in New Orleans and, when we first meet her, she’s breaking up with her fiancée.  (Though we never actually see him, the fiancée is played by Bradley Cooper.  What is Michelle thinking!?)  Leaving the safety of her apartment, Michelle goes for a drive in the country.  (Going off to the middle of nowhere in the middle of the night?  It might not be a good decision but hey, we’ve all been there.)  Suddenly, she starts to hear weird things on the radio.  Cities across America are suffering from blackouts.  She gets a call from her fiancée but before she can answer the phone, there’s a sudden a flash of light.  Something crashed into her car from behind and Michelle blacks out.

When Michelle awakens, she’s in an underground bunker.  Her host is Howard (John Goodman), a doomsday prepper who tells her that he saved her life.  He explains that something has happened on the surface.  The air is poisoned.  The world is ending.  The only safe place is in the bunker.  Fortunately, Howard has an extensive collection of old VHS tapes, several teen magazines (“The quizzes have already been done,” Howard apologetically says), and a lot of food.  He also has a change of clothes for Michelle to wear.  Howard explains that the clothes once belonged to his daughter.

From the minute we meet him, it’s obvious that Howard is unstable.  The only question is how unstable.  The film makes brilliant use of John Goodman’s persona.   When we see John Goodman, our automatic instinct is to like him.  We’re used to seeing him playing good guys.  What we forget, however, is that John Goodman has played his share of villains as well.  He can be intimidating, as Michelle quickly realizes.  Howard is unpredictable.  One minute, he’s watching Pretty In Pink for the 100th time.  The next minute, he’s threatening to dunk someone in acid.

It turns out that Howard and Michelle are not alone.  The slightly dim but good-natured Emmett (John Gallagher, Jr.) is also in the bunker.  Unlike Michelle, Emmett believes Howard’s claims about something terrible happening on the surface.  Emmett also believes that, no matter how correct he may be about the end of the world, Howard still might be totally crazy.

So, is Howard crazy?  You bet he is.  That’s obvious from the minute we meet him.  The brilliant thing about 10 Cloverfield Lane is that, even as it convinces us that Howard’s insane and dangerous, it still makes us wonder if he might be right.  Director Dan Trachtenberg expertly captures the claustrophobic tension of life in that underground bunker and the script has a nicely satirical subtext.  (The film’s best moments are when Howard attempts to play the role of patriarch to those who he is forcing to be his new family.)  The film is brilliantly acted, especially by Mary Elizabeth Winstead who perfectly portrays both Michelle’s fear and her inner strength.  As for John Goodman — well, you’ll probably never quite look at him the same way again.

10 Cloverfield Lane is an intelligent and well-crafted thriller.  Don’t wait for Netflix.  Don’t go to the dollar theater.  If you haven’t already, see it now!

Embracing the Melodrama #48: Coyote Ugly (dir by David McNally)


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“Never give up on your dreams!” is such a familiar movie cliché that I have to admit that there’s a part of me that really wants to see a mainstream, big budget studio film that proudly declares, “Give up!”  We’ve seen so many films about photogenic people who leave pretty but predictable small towns and end up in big, scary New York City that we pretty much know exactly what’s going to happen as soon as they step off that bus.  They’re going to get robbed.  They’re going to end up at an all-night dinner.  They’re going to meet the lover of their dreams.  They’re going to get quirky friends.  They’re going to become a success.  And, most importantly, they’ll be advised to “never give up on your dreams!”  It’s not that I’m cynical or that I don’t enjoy watching people succeed.  It’s just all so predictable that I found myself yearning for a film that will not slavishly follow the formula.

Unfortunately, 2000’s Coyote Ugly is not that film.  In fact, Coyote Ugly is such a thoroughly predictable film that it’s perhaps not surprising to discover that it’s also a film that’s been embraced by a lot of people.  It never ceases to amaze me how, whenever Coyote Ugly shows up on cable, twitter is full of viewers declaring their love.

Coyote Ugly tells the story of  Violet (Piper Perabo), who may look like an ordinary waitress from New Jersey but who aspires to be a songwriter in New York City.  As the film begins, she is in the process of leaving her loving but overprotective father (John Goodman) and her best friend (Melanie Lynesky) so that she can move to the big city and never give up on her dream.  Before she leaves, she’s asked to sign a piece of paper so that it can be tacked to the wall of the local pizza place.  It’s a tradition, apparently.  Before anyone leaves town for New York, they’re asked to leave behind an autograph.  The wall is covered with signatures, indicating that apparently every waitress in New Jersey thinks that she’s a songwriter.

Violet moves to New York and, at first, it seems like she might not make it.  Her apartment is a dump and her neighbors get mad whenever she sings.  (Violet responds by setting up a small recording studio on the roof of her building.)  Nobody is willing to listen to her demo.  About the only good thing that happens to Violet is that she meets Kevin (Adam Garcia), an Australian who encourages her to never give up on her dreams.

Eventually, Violet finds herself in one of those all-night diners that always seem to pop up in movies like this.  She notices that the girls seated at a table near her seem both to be happy and to have a lot of money.  It turns out that they work at the Coyote Ugly Saloon and since one of them (played by Tyra Banks, in a cameo) is quitting so she can go to law school, that means that there’s soon going to be an opening at the bar.

After talking to the Coyote’s owner, Lil (Maria Bello), Violet manages to get a job as a bartender.  Along with serving drinks to a combination of hipsters, frat boys, and stock brokers, another part of Violet’s job is to jump up on the bar and dance.  Eventually, she even gets a chance to sing when it’s discovered that the sound of her voice (or, to be technical about it, LeAnn Rimes’s voice since Rimes provided Violet’s singing voice) can somehow inspire drunks to stop fighting and act civilized.  Violet bonds with her fellow bartender Cammie (Izbella Miko) while the other bartender, Rachel (Bridget Moynahan) takes an instant and almost pathological dislike to her.  Lili is tough, Cammie is a flirt, and Rachel likes to set things on fire.  That’s about all we find out about them.

Even when her father disowns her for working at the Coyote and even when she and Kevin have a fight over her extreme stage fight and Kevin’s refusal to talk about his troubled past, Violet never gives up on her dreams!

And, if you can’t guess every single thing that happens in Coyote Ugly before it happens, then you really need to start watching more movies.

Despite the fact that the movie is named after the Coyote Ugly Saloon and it’s full of scenes of Violet and her co-workers dancing on top of that bar, the Coyote Ugly itself is actually pretty superfluous to the overall film.  The film itself is all about Violet pursuing her dream to become a songwriter and the bar itself really doesn’t play that major of a role into her eventual success.  Instead, it’s just a place where she works.  Violet could just as easily have worked at a particularly rowdy Dave and Buster’s and the overall film would have turned out the same.

And that’s a shame because, while watching the film, it’s hard not to feel that a movie about either Lil, Cammie, or Rachel (or, for that matter, a film about Tyra Banks going to law school) would be a thousand times more interesting that any film about boring old Violet.  I mean, here we have a film named after a business that is owned by a woman and that specifically employs and potentially empowers other women and what does the movie do with all of this material?

It tells a story so predictable and so simplistic that it could just as easily been generated by a computer program.

Coyote Ugly is a massive mixed opportunity but, for whatever reason, some people seem to love it.

https://twitter.com/jhali_/status/487998680163561472

And good for them.

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Film Review: The Monuments Men (dir by George Clooney)


Remember when The Monuments Men was everyone’s pick for the best film of 2013?

It may be hard to remember now, especially now that the film has actually been released and dismissed by most critics.  But, during the summer of 2013, all of the people at Goldderby and AwardsDaily were convinced that The Monuments Men would be a major player at the Oscars.  Sure, the thinking went — 12 Years A Slave and August: Osage County would be major contenders but the surest bet for a win was The Monuments Men.

With the benefit of hindsight, it’s easy to laugh but, at the time, the logic behind this assumption seemed sound.

After all, The Monuments Men not only tells a true story but it also takes place during the only good war, World War II.  It’s directed by George Clooney, who is the epitome of a star..  The film features supporting performances from Matt Damon, Cate Blanchett, Bill Murray, Jean Dujardin, Bob Balaban, Hugh Bonneville, and John Goodman.  The film also has a valuable message about the importance of culture and how tyrants always try to control and suppress the imagination.

So, who can really blame all the usual suspects for deciding, without having actually seen the movie, that The Monuments Men would be great?  Even when the film’s release date was moved from December of 2013 to February of 2014, it was assumed that it was only being moved because 12 Years A Slave was such a great film that no movie — not even The Monuments Men — could hope to compete with it for the title of best film of 2013.

The Monuments Men?” they all said, “It’ll be the best film of 2014…”

And then, finally, The Monuments Men was released and we all got a chance to see it and…

Well, it turns out The Monuments Men was not quite what everyone was expecting.  It’s not quite bad but, at the same time, it’s also not quite good.  Instead, it simply is.

To its credit, The Monuments Men attempts to tells a worthy story.  During the final days of World War II, Frank Stokes (played by George Clooney) leads a seven-man team of art historians who are tasked with both recovering art stolen by the Nazis and keeping allied soldiers from accidentally destroying Europe’s culture while trying to save it.  Stokes and his team find themselves forced to deal with both soldiers who resent being told what they can and can not blow up and with a competing team of Russians who are eager to take as much art as they can back to Moscow.

The film makes a very relevent point about both the importance of art and why it must be preserved and protected for future generations.  As the proud recipient of a degree in art history, I really wanted to like The Monuments Men.  Especially considering what our President recently had to say about those of us who majored in art history, this is a film that I wanted to see succeed.

Unfortunately, The Monuments Men does not succeed.  It’s an almost painfully old-fashioned film, one that features every single wartime film cliché imaginable and which never manages to be as interesting as the story its trying to tell.  We like the monuments men because they’re played by actors like Bill Murray and John Goodman but we never get to know any of them as individuals and, as a result, their story falls flat.

A lot of the blame has to rest with the director.  As I watched The Monuments Men, I found myself thinking about the other films that George Clooney has directed.  Confessions of A Dangerous Mind is memorable largely for Sam Rockwell’s lead performance but, otherwise, the film tries way too hard to be wacky.  Good Night and Good Luck is sincere but rather simplistic.  Leatherheads is a comedy that’s not that funny.  And finally, there’s The Ides of March, a film which thinks it’s a lot smarter than it actually is.  I think, when it comes to George Clooney, there’s a tendency to be so blinded by his charisma that we tend to assume that he can do anything, including direct.  However, if one can manage to ignore Clooney the star while considering Clooney the filmmaker, it becomes obvious that he’s actually a rather unimaginative director whose good intentions often times disguise the fact that he’s not much of a story teller.

That, ultimately, is the main problem with The Monuments Men.  The film is full of effective scenes and charismatic actors but they never quite gel to form a compelling narrative.  At one point in the film, Bill Murray and Bob Balaban are sent to one part of Europe while Goodman and Dujardin are sent to another.  We get a handful scenes featuring each team.  Murray and Balaban bond with a scared German.  Dujardin and Goodman deal with a teenage sniper.  Suddenly, in the next scene, Clooney drives up to an army camp in a jeep and there’s Murray, Balaban, Goodman, and Dujardin all standing outside a tent, waiting for him.  How did they all get back together?  Where is the camp located?  Did either team accomplish what they were sent out to do?  The film never tells us.

(Meanwhile, the less said about a lengthy subplot featuring a lot of awkward interaction between Matt Damon and Cate Blanchett the better.)

As I said before, it’s not that The Monuments Men is a bad film.  It’s just such a disappointing one.