Playing Catch-Up With The Films of 2017: Transformers: The Last Knight (dir by Michael Bay)


So, I’m just going to be honest here.

I did watch Transformers: The Last Knight.  I didn’t see it at the theaters, of course.  To date, I’ve only seen one Transformers movie on the big screen.  It was the fourth one and not only did I get motion sick but when I left the theater, I discovered that I was having trouble hearing.  Even though I watched Transformers: The Last Knight on a small screen, I still made sure to take some Dramamine beforehand.  That may have been a mistake because this movie somehow drags things out for 2 hours and 30 minutes.  That’s a lot of time to spend trying to stay awake while watching something that doesn’t even try to make sense.

So, yes, I did watch Transformers: The Last Knight but I’m not really sure what I watched.  I know that there was a lot of camera movement.  There was a lot of stuff blowing up.  Robots would fly into space.  Robots would return to Earth.  Robots turned into cars.  All of the robots spoke in these gravelly voices and half the time, I couldn’t really understand what they were saying.  Mark Wahlberg was around and he spent the entire movie with this kind of confused look on his face.  His Boston accent really came out whenever he had to deliver his dialogue.  One thing I’ve noticed about Wahlberg is that the less he cares about a movie, the more likely he is to go full Boston.  To be honest, if I just closed my eyes and listened to Wahlberg’s accent and tuned out all of the explosions and robot talk, I probably would have thought I was watching Manchester By The Sea.

Anthony Hopkins was also in the movie, playing a character who might as well have just been named “Esteemed British Person.”  It’s always fun to see Hopkins in a bad movie, just because he knows that his deserved reputation for being a great actor isn’t going to suffer no matter how much crap he appears in.  He always goes through these movies with a slightly bemused smirk on his face.  It’s almost as if he’s looking out at the audience and saying, “Laugh all you want.  I’ll still kick anyone’s ass when it comes to Shakespeare…”  Anyway, Hopkins is mostly around so that he can reveal that the Transformers have been on Earth since time began.  Why, they even saved King Arthur!

The plot has to do with a powerful staff that can be used to bring life back to the Transformers’s home planet.  The problem is that using the staff will also destroy all life on Earth or something like that.  So, of course, the good Transformers are trying to save Earth and the bad Transformers are like, “Fuck Earth, let’s blow stuff up.”  Or something like that.  The main good Transformer — Optimus Prime, I guess — gets brainwashed into becoming an evil Transformer.  Of course, since Anthony Hopkins is in the movie, the majority of the film takes place in England and that can only mean a trip to Stonehenge!

And…

Look, I’ve exhausted myself.  I’m not going to say that Transformers: The Last Knight is a terrible movie because, obviously, someone out there loves this stuff.  I mean, they’ve made five of these movies so someone has to be looking forward to them.  They’re not for me, though.

Some day, I hope Micheal Bay directs a Fifty Shades of Grey movie.  I look forward to watching Christian and Ana discuss consent while the world explodes behind them.

Here’s What Won At The Emmys Last Night!


Last night, Lisa Marie did not watch the Emmys because she says that, “I’m just not feeling TV this year.”  If Twin Peaks had been eligible to be nominated, I bet it would have been a different story!

Instead, she asked me to watch the ceremony and let everyone know what I thought.  It needed less politics and more cats.

Here’s the list of winners:

COMEDY

BEST COMEDY SERIES
“Atlanta”
“Black-ish”
“Masters of None”
“Modern Family”
“Silicon Valley”
“Unbreakable Kimmy Schmidt”
X — “Veep”

BEST COMEDY ACTRESS
Pamela Adlon, “Better Things”
Jane Fonda, “Grace and Frankie”
Allison Janney, “Mom”
Ellie Kemper, “Unbreakable Kimmy Schmidt”
X — Julia Louis-Dreyfus, “Veep”
Tracee Ellis Ross, “Black-ish”
Lily Tomlin, “Grace and Frankie”

BEST COMEDY ACTOR
Anthony Anderson, “Black-ish”
Aziz Ansari, “Master of None”
Zach Galifianaks, “Baskets”
X — Donald Glover, “Atlanta”
William H. Macy, “Shameless”
Jeffrey Tambor, “Transparent”

BEST COMEDY SUPPORTING ACTRESS
Vanessa Bayer, “Saturday Night Live”
Anna Chlumsky, “Veep”
Kathryn Hahn, “Transparent”
Leslie Jones, “Saturday Night Live”
Judith Light, “Transparent”
X — Kate McKinnon, “Saturday Night Live”

BEST COMEDY SUPPORTING ACTOR
Louie Anderson, “Baskets”
X — Alec Baldwin, “Saturday Night Live”
Tituss Burgess, “Unbreakable Kimmy Schmidt”
Ty Burrell, “Modern Family”
Tony Hale, “Veep”
Matt Walsh, “Veep”

BEST COMEDY DIRECTING
X — “Atlanta” (“B.A.N.”)
“Silicon Valley” (“Intellectual Property”)
“Silicon Valley” (“Server Error”)
“Veep” (“Justice”)
“Veep” (“Blurb”)
“Veep” (“Groundbreaking”)

BEST COMEDY WRITING
“Atlanta” (“B.A.N.”)
“Atlanta” (“Streets on Lock”)
X — “Master of None” (“Thanksgiving”)
“Silicon Valley” (“Success Failure”)
“Veep” (“Groundbreaking”)
“Veep” (“Georgia”)

DRAMA

BEST DRAMA SERIES
“Better Call Saul”
“The Crown”
X — “The Handmaid’s Tale”
“House of Cards”
“Stranger Things”
“This is Us”
“Westworld”

BEST DRAMA ACTRESS
Viola Davis, “How to Get Away with Murder”
Claire Foy, “The Crown”
X — Elisabeth Moss, “The Handmaid’s Tale”
Keri Russell, “The Americans”
Evan Rachel Wood, “Westworld”
Robin Wright, “House of Cards”

BEST DRAMA ACTOR
X — Sterling K. Brown, “This is Us”
Anthony Hopkins, “Westworld”
Bob Odenkirk, “Better Call Saul”
Matthew Rhys, “The Americans”
Liev Schreiber, “Ray Donovan”
Kevin Spacey, “House of Cards”
Milo Ventimiglia, “This is Us”

BEST DRAMA SUPPORTING ACTRESS
Uzo Aduba, “Orange is the New Black”
Millie Bobby Brown, “Stranger Things”
X — Ann Dowd, “The Handmaid’s Tale”
Chrissy Metz, “This is Us”
Thandie Newton, “Westworld”
Samira Wiley, “The Handmaid’s Tale”

BEST DRAMA SUPPORTING ACTOR
Jonathan Banks, “Better Call Saul”
David Harbour, “Stranger Things”
Ron Cephas Jones, “This is Us”
Michael Kelly, “House of Cards”
X — John Lithgow, “The Crown”
Mandy Patinkin, “Homeland”
Jeffrey Wright, “Westworld”

BEST DRAMA DIRECTING
“Better Call Saul” (“Witness”)
“The Crown” (“Hyde Park Corner”)
“The Handmaid’s Tale” (“The Bridge”)
X — “The Handmaid’s Tale” (“Offred”)
“Homeland” (“America First”)
“Stranger Things” (“Chapter One: The Vanishing of Will Byers”)
“Westworld” (“The Bicameral Mind”)

BEST DRAMA WRITING
“The Americans” (“The Soviet Division”)
“Better Call Saul” (“Chicanery”)
“The Crown” (“Assassins”)
X — “The Handmaid’s Tale” (“Offred”)
“Stranger Things” (“Chapter One: The Vanishing of Will Byers”)
“Westworld” (“The Bicameral Mind”)

MOVIE/LIMITED SERIES

BEST LIMITED SERIES
X — “Big Little Lies”
“Fargo”
“Feud: Bette and Joan”
“Genius”
“The Night Of”

BEST TV MOVIE
X — “Black Mirror: San Junipero”
“Christmas of Many Colors”
“The Immortal Life of Henrietta Lacks”
“Sherlock: The Lying Detective”
“The Wizard of Lies”

BEST MOVIE/MINI ACTRESS
Carrie Coon, “Fargo”
Felicity Huffman, “American Crime”
X — Nicole Kidman, “Big Little Lies”
Jessica Lange, “Feud: Bette and Joan”
Susan Sarandon, “Feud: Bette and Joan”
Reese Witherspoon, “Big Little Lies”

BEST MOVIE/MINI ACTOR
X — Riz Ahmed, “The Night Of”
Benedict Cumberbatch, “Sherlock: The Lying Detective”
Robert De Niro, “The Wizard of Lies”
Ewan McGregor, “Fargo”
Geoffrey Rush, “Genius”
John Turturro, “The Night Of”

BEST MOVIE/MINI SUPPORTING ACTRESS
Judy Davis, “Feud: Bette and Joan”
X — Laura Dern, “Big Little Lies”
Jackie Hoffman, “Feud: Bette and Joan”
Regina King, “American Crime”
Michelle Pfeiffer, “The Wizard of Lies”
Shailene Woodley, “Big Little Lies”

BEST MOVIE/MINI SUPPORTING ACTOR
Bill Camp, “The Night Of”
Alfred Molina, “Feud: Bette and Joan”
X — Alexander Skarsgard, “Big Little Lies”
David Thewlis, “Fargo”
Stanley Tucci, “Feud: Bette and Joan”
Michael Kenneth Williams, “The Night Of”

BEST MOVIE/MINI DIRECTING
X — “Big Little Lies”
“Fargo” (“The Law of Vacant Places”)
“Feud: Bette and Joan” (“And the Winner Is”)
“Genius” (“Einstein: Chapter One”)
“The Night Of” (“The Art of War”)
“The Night Of” (“The Beach”)

BEST MOVIE/MINI WRITING
“Big Little Lies”
X — “Black Mirror: San Junipero”
“Fargo” (“The Law of Vacant Places”)
“Feud: Bette and Joan” (“And the Winner Is”)
“Feud: Bette and Joan” (“Pilot”)
“The Night Of” (“Call of the Wild”)

VARIETY/REALITY

BEST REALITY COMPETITION PROGRAM
“The Amazing Race”
“Amercan Ninja Warrior”
“Project Runway”
“RuPaul’s Drag Race”
“Top Chef”
X — “The Voice”

BEST VARIETY TALK SERIES
“Full Frontal with Samantha Bee”
“Jimmy Kimmel Live”
X — “Last Week Tonight with John Oliver”
“Late Late Show with James Corden”
“Late Show with Stephen Colbert”
“Real Time with Bill Maher”

BEST VARIETY SKETCH SERIES
“Billy on the Street”
“Documentary Now”
“Drunk History”
“Portlandia”
X — “Saturday Night Live”
“Tracey Ullman’s Show”

BEST VARIETY SERIES DIRECTING
“Drunk History”
“Jimmy Kimmel Live”
“Last Week Tonight with John Oliver”
“Late Show with Stephen Colbert”
X — “Saturday Night Live”

BEST VARIETY SERIES WRITING
“Full Frontal with Samantha Bee”
X — “Last Week Tonight with John Oliver”
“Late Night with Seth Meyers”
“Late Show with Stephen Colbert

A Movie A Day #198: Men of Respect (1990, directed by William Reilly)


That Bill Shakespeare really gets around.

Men of Respect comes to us disguised as a gangster movie but it is actually a modern-day version of MacBeth.  Mike Battaglia (John Turturro) is one of Charlie D’Amico’s (Rod Steiger) top lieutenants but he is upset because D’Amico has announced that his successor will be Bankie Como (Dennis Farina).  When Mike stumbles across a fortune teller, he is told that not only will he soon be in charge of the D’Amico crime family but that he will hold the position until the stars fall from the sky and that he will never be harmed by a “man of woman born.”  At the instigation of his ambitious wife, Ruthie Battaglia (played by Turturro’s real-life wife, Katherine Borowitz), Mike murders Charlie, Bankie, and everyone else who is standing in his way.  Even as D’Amico’s son (Stanley Tucci) starts to recruit soldiers for an all out war, Mike remains confident.  Even when one of this soldiers sees a fireworks show and says, “Jeez, it looks like stars from falling from the sky,” Mike remains cocky.  When his wife starts to complain that she can not get the blood stains (“the spot”) out of the linen, Mike is not concerned.  Why not?  “All these guys were born of a woman,” Mike says, “they can’t do shit to me.”

Turning MacBeth (or any of Shakespeare’s tragedies) into a Mafia film is not a bad idea but Men of Respect‘s attempt to translate Shakespeare’s language to 20th century gangster talk leads to some memorably awkward line readings from an otherwise talented cast.  By the time Matt Duffy (Peter Boyle) announced, in his Noo Yawk accent, that he was delivered via caesarean section, I could not stop laughing.  Even the scenes of gangland mayhem feel like second-rate Scorsese.  The idea behind the film is intriguing and there are a lot of recognizable faces in the cast but Men of Respect gets bogged down as both a Shakespearean adaptation and a gangster film.

The SAG Nominations are here and … Hello there, Captain Fantastic!


captain-fantasticEarlier the year, I choose not to see Captain Fantastic.  Every bit of advertising that I saw for it led me to believe that Captain Fantastic was basically just Wes Anderson-lite and, as we all know, only Wes Anderson can successfully duplicate Wes Anderson.

Well, I think I may have made a mistake because Viggo Mortensen is definitely in the hunt for best actor.  Though most of the precursor awards (so far) have gone to Casey Affleck for Manchester By The Sea, Mortensen still seems like a likely nominee.

Just consider this: he got a SAG nomination!  And so did Captain Fantastic, itself!  It was nominated for best ensemble, which is the SAG equivalent of best picture…

Actually, maybe you shouldn’t spend too much time fixating on that.  People like me always talk about how the SAG awards are an obvious precursor for the Oscars.  Our logic is that the Actor’s Branch is the largest voting bloc in the Academy and the members of the Actor’s Branch are among those who also vote for the SAG awards.

Of course, we always forget that the majority of SAG members are themselves not a part of the Academy.  So, while enough members of SAG may have liked Captain Fantastic for it to get an unexpected ensemble nomination, that doesn’t necessarily mean that those voters are also members of the Academy.

I mean, let’s consider what happened last year.  Beasts of No Nation picked up an ensemble nomination.   So did Straight Outta Compton.  So did Trumbo.  None of those films proved to be an Oscar powerhouse.  In fact, Beasts of No Nation received a grand total of zero Oscar nominations.

So, let’s put it like this — it’s a good sign for a film or a performer to get a SAG nomination.  But there’s still no guarantee that it will translate into Oscar recognition. Captain Fantastic may have been nominated and La La Land was snubbed (for ensemble).  But I imagine that the reverse will happen when the Oscar noms are announced in January.

With all that in mind, here are the SAG nominations!

FILM

Best Film Ensemble
“Captain Fantastic”
“Fences”
“Hidden Figures”
“Manchester by the Sea”
“Moonlight”

Best Actor
Casey Affleck, “Manchester by the Sea”
Andrew Garfield, “Hacksaw Ridge”
Ryan Gosling, “La La Land”
Viggo Mortensen, “Captain Fantastic”
Denzel Washington, “Fences”

Best Actress
Amy Adams, “Arrival”
Emily Blunt, “The Girl on the Train”
Natalie Portman, “Jackie”
Emma Stone, “La La Land”
Meryl Streep, “Florence Foster Jenkins”

Best Supporting Actor
Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Hugh Grant, “Florence Foster Jenkins”
Lucas Hedges, “Manchester by the Sea”
Dev Patel, “Lion”

Best Supporting Actress
Viola Davis, “Fences”
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures
Michelle Williams, “Manchester by the Sea”

Best Stunt Ensemble
“Captain America: Civil War”
“Doctor Strange”
“Hacksaw Ridge”
“Jason Bourne”
“Nocturnal Animals”

TV

Best Comedy Ensemble
“The Big Bang Theory”
“Black-ish”
“Modern Family”
“Orange is the New Black”
“Veep”

Best Comedy Actor
Anthony Anderson, “Black-ish”
Titus Burgess, “Unbreakable Kimmy Schmidt”
Ty Burrell, “Modern Family”
William H. Macy, “Shameless”
Jeffrey Tambor, “Transparent”

Best Comedy Actress
Uzo Aduba, “Orange is the New Black”
Jane Fonda, “Grace & Frankie”
Ellie Kemper, “Unbreakable Kimmy Schmidt”
Julia Louis-Dreyfus, “Veep”
Lily Tomlin, “Grace & Frankie”

Best Drama Ensemble
“The Crown”
“Downton Abbey”
“Game of Thrones”
“Stranger Things”
“Westworld”

Best Drama Actor
Sterling K. Brown, “This Is Us”
Peter Dinklage, “Game of Thrones”
John Lithgow, “The Crown”
Rami Malek, “Mr. Robot”
Kevin Spacey, “House of Cards”

Best Drama Actress
Millie Bobby Brown, “Stranger Things”
Claire Foy, “The Crown”
Thandie Newton, “Westworld”
Winona Ryder, “Stranger Things”
Robin Wright, “House of Cards”

Best Movie/Miniseries Actor
Riz Ahmed, “The Night Of”
Sterling K. Brown, “The People v. O.J. Simpson”
Bryan Cranston, “All The Way”
John Turturro, “The Night Of”
Courtney B Vance, “The People v. O.J. Simpson”

Best Movie/Miniseries Actress
Bryce Dallas Howard, “Black Mirror”
Felicity Huffman, “American Crime”
Audra McDonald, “Lady Day at Emerson’s Bar & Grill”
Sarah Paulson, “The People v. O.J. Simpson”
Kerry Washington, “Confirmation”

Best Stunt Ensemble
“Game of Thrones”
“Daredevil”
“Luke Cage”
“The Walking Dead”
“Westworld”

Quick Review: Exodus: Gods & Kings (dir. by Ridley Scott)


Exodus-Gods-and-Kings-Poster-Bale-and-EdgertonOkay, let’s face it.

After Cecil B. DeMille’s 1956 epic “The Ten Commandments”, it’s pretty hard to come up with another story about Moses that comes as close to it. I’ll admit I have a personal love for 1998’s The Prince of Egypt.  Ridley Scott makes a great attempt in his new film “Exodus: Gods and Kings”, but it comes off feeling like the result of having one person relay a story to you through 3 other individuals. By the time the story reaches you, it’s no longer the same tale.

This is a hard review to write with regards to avoid spilling details.

Exodus follows the story of brothers Moses (Christian Bale – The Dark Knight Trilogy) and Ramses (Joel Edgerton – The Thing, The Great Gatsby), sons to the great Pharaoh of Egypt (John Turturro). Both brothers are seasoned warriors, but with the passing of Pharaoh, a truth is brought to light that forces Moses into exile. During his time away, he finds God and makes it his mission to free his people. Ramses refuses to listen to reason, and some drastic measures are taken to help convince him.

That sounds great on the surface, but it’s the execution that’s flawed. And this is Ridley Scott of all people. I loved Kingdom of Heaven and moderately enjoyed Robin Hood, but I just didn’t completely feel like I was invested in this film.

Biblical tales are tricky. Stick too close to the source material and you can have a heavy-handed story that says what it should, but could bore some audiences. Take too many liberties, and you can have audiences excited, but leave some upset or shocked at what’s presented (like with Scorsese’s The Last Temptation of Christ). Here, the liberties are taken to a place where most of the movie doesn’t even require Moses to be in it. The argument could be made that the other films did this too – that the acts occurred with Moses as a harbinger of what was to come. Exodus makes it more of a difference of opinion on how to handle Ramses. Moses elects for a more battle hardened strategy – let the people fight for themselves. This left me wondering where they found the time and freedom away from the Egyptian Soldiers to learn what they did.

On the flip side of the coin, God decides to handle it Their own way. This leaves our Moses in a position where he’s at odds with the Almighty, a sharp contrast to the Moses that followed the Word to the letter. To an audience that can’t help but make comparisons, it’s way off, though it’s supported by the theme that one shouldn’t say things just to placate others and that they should follow what they believe. What came before basically said..”Okay, I don’t know what your plan is, but you’ve shown me your wonders, I believe in you and you’ll guide me right.” Exodus says..”Okay, you’ve got a plan I’m not too cool with, so…uh…just give me a chance to save / warn the people before your wrath comes down.”

There were four writers on board for Exodus. Both Adam Cooper and Bill Collage worked together on Brett Ratner’s “Tower Heist” and Jeffrey Caine is known for “The Constant Gardner” and “Goldeneye”. Steven Zallian (Moneyball, The Girl With the Dragon Tattoo, American Gangster) was the fourth. I’m thinking with all those fingers in the pie, the movie was bound to go in a different direction. Again, it’s not terrible, just different.

The casting for Exodus is okay. The strongest performances go to both Bale and Edgerton, and I’ll state here that I had more fun watching Edgerton on screen than I did with Bale. I haven’t seen him play the villain like this since The Guardians of Ga’Hoole and he does a decent job here. Bale does well, but it’s like watching Batman again. Not saying he’s typecast because of it, but seeing Christian Bale yell is almost expected in a movie these days. Reunited with her Aliens director, Sigourney Weaver has about 10 to 15 minutes total of screen time in the film, and Ben Kingsley might have the same amount. Aaron Paul spends most of his time making that stare he does when he see something incredible. There’s not a lot for any of these actors to chew on, but they try their best with it.  Both Indira Varma (Game of Thrones) and Ewan Bremer (Jack the Giant Slayer, Trainspotting) are on hand as Ramses’ advisors. They don’t really count too much in all this.

Visually, the effects for the Plagues are very good. I honestly think those segments were the best in the entire film. The rest, I’m not so sure. The Red Sea sequence, when it happens, it done in such a way that the mysticism is just about sucked out of it. I’m sitting there hoping for a big reveal and found myself asking if that was it. Perhaps it was the angle where I was sitting or the theatre I saw it in, but it wasn’t as clear as it could be. It seemed like I was watching a 3D version of the film (I went for the regular one). The fight sequences were also done very well, many of which were similar to Ridley’s Robin Hood or Gladiator. Also note that at 154 minutes, it’s a long film. I pulled my iPod Nano out of my pocket twice to check the time.

As for the kid factor, I would say that teens and older can see this. There’s quite a bit of violence early on, along with some bloodshed, but nothing too extreme. In terms of sexual situations, there really aren’t any.

I think overall, my expectations for what this could be were larger than the final product. Had I never known of any film prior to this, Exodus would have more of an impact for me. As it stands, I’d watch it again, but probably when it hits Cable.

Trailer: Exodus: Gods and Kings (Final)


Exodus Banner

Ridley Scott has been hit-or-miss (mostly misses) of late and response to the trailers and news about Exodus: Gods and Kings doesn’t seem to be helping.

Yet, despite all the indifference to Scott’s upcoming Biblical epic (and calls of whitewashing) I am quite intrigued about this take on the Book of Exodus. Will it have the pageantry of Demille’s The Ten Commandments (both of them)? Or will it be another CGI-overload? Or will it be a piece of entertaining pulp a la Gladiator? I guess we will find out this Holiday season.

Exodus: Gods and Kings is set for a December 12, 2014 release date.

Trailer: Exodus: Gods and Kings (Official)


Exodus Banner

Ridley Scott has been instrumental in bringing back the sword-and-sandal epic when he unleashed Gladiator to audiences everywhere in the summer of 2000. Since then he has made many films which range from black comedy to historical epic right up to horror and a war film.

With Exodus: God and Kings, Scott returns to the sword-and-sandal epic but now with a heavy dose of the Biblical as he adapts the Old Testament Book of Exodus. A film working on the same scope and scale as Cecil B. Demille The Ten Commandments released in 1956, this latest adaptation of Moses, Ramses and the exodus of the Israelites from Egypt looks to put the epic back in 2014.

With each passing year, more and more of Scott’s films have taken on the unavoidable sheen of the CGI as his visuals attempt to recreate time and places of Earth’s past. For some, Scott’s been more miss than hit with the last couple films yet they all remain visual feasts and Exodus: Gods and Kings looks to continue that streak. Whether the film will be good storytelling will be something that’s still to be decided.

Exodus: Gods and Kings is set for a December 12, 2014 release date.