The Measure of a Man: The Life and Career of Rocky Balboa


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Have you heard the rumor?

Rocky Balboa, also know as the Italian Stallion and the former heavyweight champion of the world, is going to die.

2013Rocky_SylvesterStallone_PA-14110031250713At least that is what some people think after reading the official plot synopsis of the upcoming boxing film Creed.  Here is the press release from MGM and Warner Brothers:

From Warner Bros. Pictures and Metro-Goldwyn-Mayer Pictures comes award-winning filmmaker Ryan Coogler’s “Creed.” The film explores a new chapter in the “Rocky” story and stars Academy Award nominee Sylvester Stallone in his iconic role. The film also reunites Coogler with his “Fruitvale Station” star Michael B. Jordan as the son of Apollo Creed.

Adonis Johnson (Jordan) never knew his famous father, world heavyweight champion Apollo Creed, who died before he was born. Still, there’s no denying that boxing is in his blood, so Adonis heads to Philadelphia, the site of Apollo Creed’s legendary match with a tough upstart named Rocky Balboa.

Once in the City of Brotherly Love, Adonis tracks Rocky (Stallone) down and asks him to be his trainer. Despite his insistence that he is out of the fight game for good, Rocky sees in Adonis the strength and determination he had known in Apollo—the fierce rival who became his closest friend. Agreeing to take him on, Rocky trains the young fighter, even as the former champ is battling an opponent more deadly than any he faced in the ring.

With Rocky in his corner, it isn’t long before Adonis gets his own shot at the title…but can he develop not only the drive but also the heart of a true fighter, in time to get into the ring?

Sylvester-Stallone-creedMany have interpreted that to mean that, while training Adonis, Rocky will be battling cancer.  With the exception of the first one and Rocky V, every installment in the Rocky franchise has featured a character either dying or coming close.  Since Paulie will apparently not be appearing in Creed, that leaves Rocky himself as the most likely candidate to tragically pass away before or after the big fight.  In death, Rocky would not only pass on his legacy Adonis Creed but Sylvester Stallone would pass on the Rocky franchise to Ryan Coogler and Michael B. Jordan.

With his days possibly numbered, I decided to take a look back at Rocky Balboa’s amazing career.

Rocky (1976)

Sylvester Stallone was just another out-of-work actor when, one night in 1975, he saw a little known boxer named Chuck Wepner go 15 rounds against the reigning heavyweight champion, Muhammad Ali.  Inspired by the fight, Stallone wrote the first draft of Rocky in three days.  When he sold his script, he did so with one condition: that he be allowed to play Rocky Balboa.  You know the rest of the story: Directed by John G. Avildsen, Rocky became a huge box office hitwon the Oscar for best picture of the year, and made Sylvester Stallone into an unlikely star.

618_movies_rocky_10Rocky Balboa is an aging boxer and a collector for Philadelphia loan shark, Tony Gazzo (Joe Spinell).  The current heavyweight champion, Apollo Creed (Carl Weathers), is scheduled to fight a match in Philadelphia in honor of America’s bicentennial.  When his opponent injures his hand, Apollo decides to give a local boy a chance and the unknown Rocky gets a once-in-a-lifetime shot at the title.  Nobody gives Rocky a chance, except for Rocky.  With the help of grizzled trainer Mickey (Burgess Meredith) and alcoholic best friend, Paulie (Burt Young), Rocky prepares for the fight.  After a training montage (the first of many) that ends with Rocky running up the steps of the Philadelphia Museum of Art, Rocky shocks everyone by going the distance against Apollo.  Though he loses by a split decision, Rocky wins both his self-respect and the love of Paulie’s sister, Adrian (Talia Shire).

Rocky holds up as one of the best boxing movies ever made and it set the standard by which almost all future underdog sports movies have been judged.  Rocky may have ended with Rocky ready to take off his gloves and concentrate on his life with Adrian but the box office demanded that Rocky get another once-in-a-lifetime shot.

Rocky II (1979)

The first Rocky may have ended with Apollo saying there would be no rematch and Rocky replying that he did not want one but the film’s box office success said otherwise.  In Rocky II, Apollo is stung by criticism over how he nearly lost his first fight against Rocky and demands a rematch.  At first, Rocky refuses but, with no prospects and a wife, son, and alcoholic brother-in-law to support, Rocky finally agrees to a rematch.  What follows is largely a repeat of the first film, except this time Rocky has a lot more fans following him through the streets of Philadelphia during his training montage and Rocky actually wins the fight, becoming the heavyweight champion of the world.

rocky-ii-1979-01-gThe best thing about Rocky II is that it fleshes out the character of Apollo.  No longer is he just the cocky villain from the first film.  Instead, he is revealed to be a proud man, a fierce competitor, and a worthy opponent. Though he may lose the final fight, Apollo regains the respect that he sacrificed as the end of the first film.

Rocky II is also notable for being the first film in the franchise to be directed by Sylvester Stallone.  Stallone would direct all of the subsequent installments, with the exception of the John G. Avildsen-directed Rocky V.

Rocky III (1982)

mr-t-plays-clubber-in-rocky-iiiRocky III has the best opening of the franchise.  While Rocky does commercials and trades jokes with Kermit and Miss Piggy on The Muppet Show, Clubber Lang (Mr. T) relentlessly trains and savagely knocks out every opponent that he faces in the ring.  The premise of the first two films has been reversed.  Now, Rocky is the overconfident champion who does not take his latest fight seriously while Clubber Lang is the challenger who is hungry for victory.  Clubber has the “eye of the tiger” and is determined to win.  Rocky is busy doing charity events with Hulk Hogan and bailing alcoholic freeloader Paulie out of jail.

Rocky III features the first death of the franchise, when Clubber shoves Mickey so hard that Mickey ends up having a heart attack and dying almost immediately after Clubber defeats Rocky and becomes the new heavyweight champion of the world.  As if Rocky needed another reason to demand a rematch, Mickey’s death makes it personal.  Unfortunately, Rocky has lost his hunger.  He no longer has the eye of the tiger.

Fortunately, Rocky’s former rival, Apollo Creed, is there to help him get it back.  Taking over as Rocky’s trainer, Apollo gets the former champion back into fighting shape.  This means that it is time for a training montage!  This one ends with a great moment in bromance history as Rocky and Apollo embrace while jumping up and down in the ocean.

2009654-rocky_iii_l_oeil_du_tigre_1983_07_gRocky III ends with what may be the best fight in the history of the franchise.  It is also the only fight to be shown straight from beginning to end, without jumping to future rounds.  From the start of the fight, it is obvious that Clubber is stronger than Rocky but, taking a page from the rope-a-dope strategy that Muhammad Ali used on George Foreman in Zaire, Rocky knows that Clubber is so aggressive that he will tire himself out before the end of the fight.  Once Clubber has exhausted himself, Rocky sends him down to the canvas.

At the end of the film, Rocky and Apollo square off one last time to see who is truly the best boxer.  The film ends before the first punch is thrown and we never find out who won.  I like to think that it was Apollo, if just because I know what is going to happen to him in Rocky IV.

Rocky IV (1985)

Ivan_kills_ApolloHaving defeated every contender in the U.S., it only made sense that Rocky’s next opponent would come from the evil empire itself, the Soviet Union.  But before Rocky could battle Ivan Drago (Dolph Lundgren), someone had to die.  This installment’s sacrificial victim was none other than Apollo Creed.  Apollo dies in the ring, beaten to death by the robotic Russian.  Of all the deaths in the Rocky franchise, Apollo’s was the most shocking and the most traumatic.  After Apollo falls face forward onto the mat, his body is still twitching even as Ivan says, “If he dies, he dies.”

Knowing that he should have been in the ring instead of Apollo, Rocky challenges Drago to a rematch, to be held in Moscow on, of all days, Christmas.  Leaving behind his mansion, his son, and his robot (yes, Rocky owns a robot in this one), Rocky goes to Siberia and that means that it is time for a training montage!  While Drago trains with machines and shoots steroids, Rocky trains by chopping wood and running in the snow.

lXRPTbIt’s a tough fight.  At first, Drago does not even seem to feel Rocky’s punches.  The Soviet audience (including someone who looks a lot like Mikhail Gorbachev) chants Drago’s name.  Just like in Philadelphia, Rocky refuses to go down.  The crowd starts to chant Rocky’s name.  When Drago’s manager demands that he win the fight in the name of communism, Drago shouts that he does not fight for the Soviet Union, he fights for himself.  Finally, with seconds left in the final round, Rocky knocks Drago out.

Lundgren_Ivan_DragoAs a bloody Drago looks on, Rocky literally wraps himself in an American flag and gives a speech.  Rocky thanks the Americans and the Soviets for supporting him and then says, “”If I can change, and you can change, then everybody can change!”  Gorbachev stands and applauds.  Is it just a coincidence that, four years later, the Berlin Wall fell and the Cold War ended?

Rocky IV may be the best remembered of all of the Rocky films.  Ivan Drago was Rocky’s greatest and most imposing opponent and it is not surprising that, despite killing Apollo, he still has a strong fan base.  Unlike Clubber Lang, Ivan is a cold and methodical machine.  Rocky’s improbable win over him is not just a victory for America but a victory for humanity as well.

Rocky V (1990)

Is Rocky V canonical?  A lot of fans consider this to be the weakest film in the franchise.  Despite writing the film’s screenplay, Sylvester Stallone reportedly hates Rocky V and ignored it when he made Rocky Balboa.

rocky-5Rocky V starts with Rocky retiring after being told that his battle with Drago has left him with permanent brain damage.  Paulie, proving once again that he’s the worst best friend that anyone could hope for, loses all of Rocky’s money.  Rocky, Adrian, and Rocky, Jr. (now played by Sage Stallone) move back to the old neighborhood.  Following in the footsteps of Mickey and Apollo, Rocky trains a mulletheaded young boxer named Tommy Gunn (Tommy Morrison).  Instead of a training montage, we get a fight montage as Tommy becomes a champion but rejects Rocky’s management and signs with Don King George Washington Duke (Richard Gant).  Tommy and Rocky eventually face off in a street fight.  Originally, the plan was for Rocky to die at the end of the fight but, fortunately, someone in production realized that nobody would want to see Rocky Balboa beaten to death by Tommy Morrison.

551-3Tommy Morrison was a real-life boxer.  Rocky V was his only film role and he’s almost too convincing as the dim-witted Tommy Gunn.  In the real world, Tommy Morrison was suspended from boxing in 1996 when he tested positive for HIV.  He spent the rest of his life loudly insisting that the test was a false positive and trying to make a comeback.  He was 44 years old when he died of AIDS in 2013.

Rocky V suffers because Tommy Gunn and George Washington Duke cannot begin to compare to great Rocky opponents like Clubber Lang and Ivan Drago.  However, Rocky V does feature one of the franchise’s best endings.  Rocky and Rocky, Jr. jog up the steps of the Philadelphia Museum of Art and, father and son together, they finally decide to enter the building and discover what’s inside.

Rocky Balboa (2006)

After the critical and box office failure of Rocky V, it seemed like Rocky Balboa had retired for good.  However, after 16 years of well-deserved retirement, Rocky followed the path of George Foreman, Larry Holmes, and Riddick Bowe and decided to make a comeback.

guide_cemeteryAs Rocky Balboa begins, Rocky is a widower and owns an Italian restaurant named Adrian’s, where he spends most of his time telling patrons stories about his fighting career.  He is estranged from his son, who now wants to be called Robert and is played by Milo Ventimiglia, but Rocky still has his best friend Paulie.  If not for Rocky, Paulie would probably be living in a cardboard box.  After a computer simulation suggests that Rocky, in his prime, could have defeated the reigning heavyweight champion, Mason Dixon (Antonio Tarver), Rocky comes out of retirement for one last fight.  With the help of Apollo’s former trainer, Duke (Tony Burton), Rocky proves that he can still go the distance, even though he ultimately loses the fight in a split decision.

At the start of the film, Adrian has been dead for four years.  However, her ghost haunts the film.  Rocky regularly visits her grave and the film ends with him at her grave and saying, one last time, “Yo Adrian, we did it.”  Stallone may be the battered face of the Rocky franchise but Talia Shire was the heart.  Though she’s only seen in flashback, Rocky Balboa is a tribute to the way that Talia Shire brought Adrian to life.

Sentimental and nostalgic, Rocky Balboa felt like the perfect way to end the franchise.  However, Rocky will be returning for at least one more fight when Creed is released on November 25th.

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Trailer: The Fantastic Four


Here’s the official trailer for Interstellar 2!

Oh wait…sorry…

This film is called The Fantastic Four.  Apparently, somebody realized just how bad the previous Fantastic Four films were and decided to just reboot the whole franchise.

Anyway, judging from this trailer, it looks like this film might be more like Man of Steel than Guardians of the Galaxy.

The National Board of Review Falls For Her


The National Board of Review announced their picks for the best films and performance of 2013 earlier today and the results are a bit … unexpected.

For best picture, they picked Spike Jonze’s Her, a film that has not exactly been seen as being an Oscar front-runner.  Meanwhile, the two presumptive frontrunners — 12 Years A Slave and Gravity — had to make due with just being mentioned in the NBR’s Top Ten list.  Also, it’s interesting to note that the NBR totally snubbed American Hustle which, just yesterday, was named best film of the year by the NYCC.

Despite the impression that one might get from a lot of breathless film bloggers (like me, to cite just one example), winning a critic’s prize does not automatically translate into Academy recognition.  It’ll be interesting to see if the acclaimed but reportedly offbeat Her manages to turn the NBR prize into Oscar momentum.

BEST PICTURE
“Her”

BEST DIRECTOR
Spike Jonze, “Her”

BEST ACTOR
Bruce Dern, “Nebraska”

BEST ACTRESS
Emma Thompson, “Saving Mr. Banks”

BEST SUPPORTING ACTOR
Will Forte, “Nebraska”

BEST SUPPORTING ACTRESS
Octavia Spencer, “Fruitvale Station”

BEST ORIGINAL SCREENPLAY
Joel and Ethan Coen, “Inside Llewyn Davis”

BEST ADAPTED SCREENPLAY
Terence Winter, “The Wolf of Wall Street”

BEST ENSEMBLE
“Prisoners”

BEST ANIMATED FEATURE
“The Wind Rises”

BEST FOREIGN LANGUAGE FILM 
“The Past”

BEST DOCUMENTARY
“Stories We Tell”

SPOTLIGHT AWARD
Career collaboration of Martin Scorsese and Leonardo DiCaprio

BREAKTHROUGH PERFORMANCES
Adele Exarchopoulos, “#Blue is the Warmest Colo#r”
Michael B. Jordan, “Fruitvale Station”

DEBUT DIRECTOR
Ryan Coogler, “Fruitvale Station”

CREATIVE INNOVATION IN FILMMAKING 
“Gravity”

FREEDOM OF EXPRESSION
“Wadjda”

BEST PICTURE NOMINEES (alphabetical)
“12 Years a Slave”
“Fruitvale Station”
“Gravity”
“Inside Llewyn Davis”
“Lone Survivor”
“Nebraska”
“Prisoners”
“Saving Mr. Banks”
“The Secret Life of Walter Mitty”
“The Wolf of Wall Street”

BEST FOREIGN LANGUAGE NOMINEES (alphabetical)
“Beyond the Hills”
“Gloria”
“The Grandmaster”
“A Hijacking”
“The Hunt”

BEST DOCUMENTARY NOMINEES (alphabetical)
“20 Feet from Stardom”
“The Act of Killing”
“After Tiller”
“Casting By”
“The Square”

BEST INDEPENDENT FILMS (alphabetical)
“Ain’t Them Bodies Saints”
“Dallas Buyers Club”
“In a World…”
“Mother of George”
“Much Ado About Nothing”
“Mud”
“The Place Beyond the Pines”
“Short Term 12”
“Sightseers”
“The Spectacular Now”

Here Are The Winners of the 2013 Gotham Awards


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The Gotham Awards were awarded earlier tonight.  Here are the winners:

X = Winner

BEST PICTURE
“12 Years a Slave”
“Ain’t Them Bodies Saints”
“Before Midnight”
X – “Inside Llewyn Davis”
“Upstream Color”

BEST ACTOR
Chiwetel Ejiofor in “12 Years a Slave”
Oscar Isaac in “Inside Llewyn Davis”
X – Matthew McConaughey in “Dallas Buyers Club”
Robert Redford in “All Is Lost”
Isaiah Washington in “Blue Caprice”

BEST ACTRESS
Cate Blanchett in “Blue Jasmine”
Scarlett Johansson in “Don Jon”
X – Brie Larson in “Short Term 12”
Amy Seimetz in “Upstream Color”
Shailene Woodley in “The Spectacular Now”

BEST BREAKTHROUGH ACTOR
Dane DeHaan in Kill Your Darlings
Kathryn Hahn in Afternoon Delight
X – Michael B. Jordan in “Fruitvale Station”
Lupita Nyong’o in “12 Years a Slave”
Robin Weigert in “Concussion”

BEST BREAKTHROUGH DIRECTOR
X – Ryan Coogler for “Fruitvale Station”
Adam Leon for “Gimme the Loot”
Alexandre Moors for “Blue Caprice”
Stacie Passon for “Concussion”
Amy Seimetz for “Sun Don’t Shine”

BEST DOCUMENTARY
X – “The Act of Killing”
“The Crash Reel”
“First Cousin Once Removed”
“Let the Fire Burn”
“Our Nixon”

The Gothams themselves are not considered to be that strong of a precursor to the Oscars.  However, 12 Years A Slave has been so widely perceived as being such a lock for Best Picture that any time it loses to another film, it’s going to be noticed.

It’s The 2014 Independent Spirit Nominations!


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The nominees for the 2014 Independent Spirit Awards were announced earlier today.  While the Spirit noms aren’t exactly the most accurate of Oscar precursors (and the rules of Indie Spirit Awards are pretty much specifically designed to honor the type of low-budget films that are often ignored by the Academy), more than a few of the Spirit nominees are usually remembered when the Oscar nominations are announced.

The winners will be announced, by Patton Oswalt, on March 1st.

Myself, I’m just happy to see Frances Ha and Upstream Color’s Shane Carruth nominated.

Best Feature:
“12 Years a Slave”
“All Is Lost”
“Frances Ha”
“Inside Llewyn Davis”
“Nebraska”

Best Director:
Shane Carruth, “Upstream Color”
J.C. Chandor, “All is Lost”
Steve McQueen, “12 Years a Slave”
Jeff Nichols, “Mud”
Alexander Payne, “Nebraska”

Best Screenplay:
Woody Allen, “Blue Jasmine”
Julie Delpy, Ethan Hawke and Richard Linklater, “Before Midnight”
Nicole Holofcener, “Enough Said”
Scott Neustadter & Michael H. Weber, “The Spectacular Now”
John Ridley, “12 Years a Slave”

Best Female Lead:
Cate Blanchett, “Blue Jasmine”
Julie Delpy, “Before Midnight”
Gaby Hoffman, “Crystal Fairy”
Brie Larson, “Short Term 12″
Shailene Woodley, “The Spectacular Now”

Best Male Lead:
Bruce Dern, “Nebraska”
Chiwetel Ejiofor, “12 Years a Slave”
Oscar Isaac, “Inside Llewyn Davis”
Michael B. Jordan, “Fruitvale Station”
Matthew McConaughey, “Dallas Buyers Club”
Robert Redford, “All Is Lost”

Best Supporting Female:
Melonie Diaz, “Fruitvale Station”
Sally Hawkins, “Blue Jasmine”
Lupita Nyong’o, “12 Years a Slave”
Yolonda Ross, “Go for Sisters”
June Squibb, “Nebraska”

Best Supporting Male:
Michael Fassbender, “12 Years a Slave”
Will Forte, “Nebraska”
James Gandolfini, “Enough Said”
Jared Leto, “Dallas Buyers Club”
Keith Stanfield, “Short Term 12”

Best First Feature:
“Blue Caprice”
“Concussion”
“Fruitvale Station”
“Una Noche”
“Wadjda”

Best First Screenplay:
“In a World,” Lake Bell
“Don Jon,” Joseph Gordon-Levitt
“Nebraska,” Bob Nelson
“Afternoon Delight,” Jill Soloway
“The Inevitable Defeat of Mister and Pete,” Michael Starrbury

John Cassavetes Award:
“Computer Chess”
“Crystal Fairy”
“Museum Hours”
“Pit Stop”
“This Is Martin Bonner”

Best Cinematography:
Sean Bobbit, “12 Years a Slave”
Benoit Debie, “Spring Breakers”
Bruno Delbonnel, “Inside Llewyn Davis”
Frank G. DeMarco, “All Is Lost”
Matthias Grunsky, “Computer Chess”

Best Editing:
Shane Carruth & David Lowery, “Upstream Color”
Jem Cohen & Marc Vives, “Museum Hours”
Jennifer Lame, “Frances Ha”
Cindy Lee, “Una Noche”
Nat Sanders, “Short Term 12”

Best Documentary:
“20 Feet From Stardom”
“After Tiller”
“Gideon’s Army”
“The Act of Killing”
“The Square”

Best International Film:
“A Touch of Sin”
“Blue Is the Warmest Color”
“Gloria”
“The Great Beauty”
“The Hunt”

Robert Altman Award (given to a film’s director, casting director and ensemble cast)
“Mud”

Piaget Producers Award:
Toby Halbrooks & James M. Johnston
Jacob Jaffke
Andrea Roa
Frederick Thornton

Someone to Watch Award:
“My Sister’s Quinceanera,” Aaron Douglas Johnston
“Newlyweeds,” Shake King
“The Foxy Merkins,” Madeline Olnek

Truer Than Fiction Award:
“A River Changes Course,” Kalvanee Mam
“Let the Fire Burn,” Jason Osder
“Manakamana,” Stephanie Spray & Pacho Velez

The Oscar Season Begins With The Gotham Nominations!


UpstreamColor_KrisJeffEscalator_3000x1277

Can you guess what my favorite time of year is?

If you guessed November, you’re right!  My birthday is on November 9th, our own Dazzling Erin’s birthday is on November 24th, and then Arleigh’s birthday is on November 27th!  November is a big month here at the Shattered Lens.

My second favorite time of year?  October, of course!  How can you go wrong with so much horror?

And then, of course, my third favorite time of year is December because that’s when I get most of my presents.

Along with being my favorite three months of the year, another thing that all three of those months have in common is that they comprise what is known as Oscar Season.  Oscar Season is the period of time when the majority of the Best Picture contenders are released and all of the critic groups give out their awards in the hope of influencing the Academy’s nominations.  I love movies and I love awards so how can I not love Oscar Season?

Well, I’m happy to say that Oscar Season officially began earlier today when the nominations for the 23rd annual Gotham Independent Film Awards were announced.  The Gotham nominations aren’t exactly the best precursor of what’s going to be nominated in January but, nonetheless, they usually manage to include at least a few legitimate contenders.

This year, for example, Oscar front-runner 12 Years A Slave managed to collect the most Gotham nominations.  Personally, I’m just happy to see that my favorite film of 2013, Upstream Color, collected two nominations.

The Gothams will be awarded on December 2nd.

Here are the nominations:

Best Feature

12 Years a Slave

Steve McQueen, director; Brad Pitt, Dede Gardner, Jeremy Kleiner, Bill Pohlad, Steve McQueen, Arnon Milchan, Anthony Katagas, producers. (Fox Searchlight Pictures)

Ain’t Them Bodies Saints

David Lowery, director; Tony Halbrooks, James M. Johnston, Jay Van Hoy, Lars Knudsen, Amy Kaufman, Cassian Elwes, producers (IFC Films)

Before Midnight

Richard Linklater, director; Richard Linklater, Christos V. Konstantakopoulos, Sara Woodhatch, producers (Sony Pictures Classics)

Inside Llewyn Davis

Joel Coen and Ethan Coen, directors; Scott Rudin, Joel Coen, Ethan Coen, producers (CBS Films)

Upstream Color

Shane Carruth, director; Shane Carruth, Casey Gooden, Ben LeClair, producers. (erbp)

 

Best Documentary

The Act of Killing

Joshua Oppenheimer, director; Signe Byrge, Joshua Oppenheimer, producers (Drafthouse Films)

The Crash Reel

Lucy Walker, director; Julian Cautherly, Lucy Walker, producers (HBO Documentary Films)

First Cousin Once Removed

Alan Berliner, director and producer (HBO Documentary Films)

Let the Fire Burn

Jason Osder, director and producer (Zeitgeist Films)

Our Nixon

Penny Lane, director; Brian L. Frye, Penny Lane, producers (Cinedigm and CNN Films)

 

Bingham Ray Breakthrough Director Award

Ryan Coogler for Fruitvale Station (The Weinstein Company)

Adam Leon for Gimme the Loot (Sundance Selects)

Alexandre Moors for Blue Caprice (Sundance Selects)

Stacie Passon for Concussion (RADiUS-TWC)

Amy Seimetz for Sun Don’t Shine (Factory 25)

 

Best Actor

Chiwetel Ejiofor in 12 Years a Slave (Fox Searchlight Pictures)

Oscar Isaac in Inside Llewyn Davis (CBS Films)

Matthew McConaughey in Dallas Buyers Club (Focus Features)

Robert Redford in All Is Lost (Lionsgate and Roadside Attractions)

Isaiah Washington in Blue Caprice (Sundance Selects)

 

Best Actress

Cate Blanchett in Blue Jasmine (Sony Pictures Classics)

Scarlett Johansson in Don Jon (Relativity Media)

Brie Larson in Short Term 12 (Cinedigm)

Amy Seimetz in Upstream Color (erbp)

Shailene Woodley in The Spectacular Now (A24)

 

Breakthrough Actor

Dane DeHaan in Kill Your Darlings (Sony Pictures Classics)

Kathryn Hahn in Afternoon Delight (The Film Arcade and Cinedigm)

Michael B. Jordan in Fruitvale Station (The Weinstein Company)

Lupita Nyong’o in 12 Years a Slave (Fox Searchlight Pictures)

Robin Weigert in Concussion (RADiUS-TWC)

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Film Review: Fruitvale Station (dir by Ryan Coogler)


On January 1st, 2009, a young man named Oscar Grant was executed in Oakland, California.  Grant was returning home from celebrating the New Year’s in San Francisco when he and several other young black man were pulled off a train by the Bay Area Rapid Transit Police.  According to the police, Grant had been involved in a fight on the train.  In a moment that was recorded by several cell phones (and later broadcast across the world), Grant was shot in the back by a BART policeman.  According to the police, Grant had been resisting arrest and his executioner had meant to use his taser but had grabbed his gun by mistake.

The death of Oscar Grant made the news even down here in Texas and I can still remember discussing it with my friends.  As a bunch of good, white liberals (and yes, believe it or not, I was once a little bit liberal, though even back then I was, at heart, more of a civil libertarian than anything else), we were all properly outraged by what happened.  At one point, I declared that this proved that police hide behind the power of their tasers.  We all agreed that it was a terrible thing that had happened and that the cop involved needed to be held responsible.

Only recently did I realize that, even as fashionably outraged as me and my friend were and even though we did feel that this was a classic case of police overreactions, we also automatically assumed that the cop was telling the truth when he said that he meant to grab for his taser.  For all of our righteous indignation, we — as a bunch of white people who had spent most of our time living in white neighborhoods and white towns — still had a hard time accepting the idea that a white police officer had intentionally executed a black man.  As outraged as we were, we were assumed that we were angry about an aberration.  As such, we assumed that the shooter would be held responsible and we went on with our comfortably sheltered lives.  Needless to say, we were incredibly naive.  While the death of Oscar Grant made national news, it made far less news when the man who shot him was eventually sentenced to only two years in prison.  (He was paroled after 8 months.)

I’ve been thinking about Oscar Grant (and the way that my friends and I initially reacted to the news reports of his death) ever since I saw Fruitvale Station, a devastating independent film that also marks the directorial debut of Ryan Coogler.

Starting in the early morning hours and ending in the first hours of 2009, Fruitvale Station follows Oscar Grant (played, in an award-worthy performance by Michael B. Jordan) as he lives the final day of his life.  In between doing such every day things as buying a birthday card for his mother (played, in a luminous performance, by the great Octavia Spencer) and picking up his daughter from daycare, Oscar worries about how he’s going to pay his rent and struggles against the temptation to return to his former life of dealing drugs.

While we watch the film knowing what Oscar doesn’t — that this is the last day of his life — the film itself manages to be a lot more than just a recreation of a tragic event.  There’s a vibrancy and sense of hope to the scenes where Oscar drives through Oakland or hangs out with his family.  That vibrancy makes the film’s inevitable conclusion all the more powerful and devastating.

As for the actual shooting, Fruitvale Station leaves it to the audience to decide whether Oscar was intentionally executed or if he was shot by a cop who thought he was holding a taser.  As the cop who shot Oscar, Chad Michael Murray is only on-screen for a split second.  As the other cop on the scene, Kevin Durand (who played Martin Keamy on Lost) shouts and bullies as only Kevin Durand can do.  If the film leaves it ambiguous about whether or not Oscar was intentionally shot, it’s not ambiguous about the fact that Oscar was killed because, as a black man, he was automatically viewed as being a potential threat by the white police officers.  Whether the intention was to tase him or to shoot him, the ultimate goal was to reassert the authority of the police.

As Fruitvale Station makes clear, the shooting was both an individual tragedy and a piece of the larger tragedy that’s still being played out across this country.   The film’s triumph is that it makes Oscar Grant into both a compelling individual and a powerful symbol of the struggle that many Americans face as they try to survive under a system that’s been designed to keep them down.

So, have you seen Fruitvale Station?  If you haven’t, you need to.  It’s one of the best films of 2013.

Review: Chronicle (by Josh Trank)


“Found footage” films have become all the rage of late. Many attribute this to the extreme popularity of the Paranormal Activity films of the last couple years, but I like to think it goes even farther than that. Even before the aforementioned horror series we got the found footage horror of both the Spanish horror series [Rec] and it’s Americanized version with Quarantine. One thing which we haven’t gotten to see use this style of storytelling is the superhero genre which still continues to go strong. Filmmaker Josh Trank and screenwriter Max Landis (Masters of Horror: Deer Woman) solve this lack of superhero/found footage film with their surprisingly well-made Chronicle.

The film begins with one of three high school seniors, the shy and troubled Andrew (played by Dane DeHaan), testing out his new video camera. We learn through this first ten or so minutes of the film that his only friend in school is his own cousin Matt (Alex Russell) and that his plans for the new camera is to videotape everything that goes on through his day at school and at home. We learn much about Andrew during these first minutes of the film. We see that his home life consists of him worrying about his very sick mother and trying to avoid the wrath of his drunken, abusive father. School life is not any much better as he’s bullied by other classmates and seen as a non-entity by the rest outside of his cousin Matt. It is his cousin who invites him to a rave party in one scene which will lead up to the two meeting up with a third high school senior, the very popular Steven (payed by Michael B. Jordan), and their discovery of something strange in deep in the woods.

We never get any full explanation as to the origin of the mysterious object the three teens find underground, but all we know afterwards is how it’s given Andrew, Matt and Steven the ability to move things with their minds. This new found ability is just the tip of the proverbial iceberg as all three learn more about their new found powers. Matt figures out that their power is like a muscle and constant use just strengthens and enhances what they’re able to do. All three react to having superpowers as all high school teenagers would when confronted with such a situation: they become giddy boys behaving badly.

They test out their powers on the unsuspecting public at the local mall parking lot and stores. It’s all pretty much harmless, teenage fun until an accident caused by Andrew shows all three the inherent dangers in their new abilities. Matt wants ground rules in how they use their powers with Steven following suit, but Andrew doesn’t understand why the need for them even though he’s remorseful of what he had caused. It’s the beginning of small cracks in the relationship between the three teens that would widen as the film moves into it’s second half with less joy and lighthearted fun and more darkness as one of the three begins to act out on his troubles both at home and in school.

Chronicle could almost be a coming-of-age story in addition to being an origins story that superhero films seem required to do. We see Matt, the cousin, grow from being the wannabe intellectual into someone genuinely caring about what is happening to his introverted cousin Andrew. Steven, the popular football captain and student body president, learns more about Andrew and how he his new friend’s troubled upbringing concerns him enough to try and bring Andrew out from his protective shell and make him more confident about himself. With Andrew we see a teenager who many would feel much sympathy for. He’s the kid who symbolizes the turmoil a growing teen must go through both emotionally and psychologically. Whether it’s rebelling from familial authority or trying to survive the dangerous waters of high school life. We can see ourselves in Andrew’s shoes and his reaction to finally having the ability to fight back against those who have made his life a living hell feed our own fantasies as teenagers to be able to do the same.

All of this would be moot if the film ended up being uninteresting, bland and boring. Fortunately the film doesn’t end up being any of those three. What we get is a fun and thrilling film which takes both the superhero genre and the found footage gimmick and adds some new wrinkles that combines towards a fresh new take on both. Found footage films have the unenviable task of convincing the audience that we’d believe someone would be lugging around a camera all the time and find ways to videotape every moment to create a believable narrative. It’s a leap in logic that will sink or swim these types of films. With Chronicle we see how their new abilities solves this particular dilemma in found footage stories. Being able to move things with one’s mind should make it easy to film yourself without having to hold the camera and instead have it floating and following one around.

The film also does a great job in building up these characters into believable ones with their own back stories and motivations. We’re not left with basic cutouts of what we think teenagers are in films. Max Landis’ screenplay goes a long way in turning these three into real teenagers and their reactions in their new powers were quite believable. How else would teen boys react to finding out they’re now superheroes, but behave badly and use them not for the benefit of others but to have fun.

The film could easily have gone the route of making them want to start helping others (though in Steven’s case he does try to help Andrew become more outgoing through the use of his abilities), but that would’ve felt disingenuous and unrealistic. Even the film’s dialogue seemed to flow naturally without having to resort to witty teen-speak that some writers think teen conversations are full of. It helps that the performances of the three actors playing the three teens came off as well-done. Dane DeHaan as the troubled Andrew comes off looking best of all three with his reactions to his own personal troubles coming off as real and not as some young actor trying too hard to try and impress.

For a found footage film Chronicle does a great job in recreating the look and feel of the three teens superpowers. Whether it’s moving things around with their mind or flying through the sky, the film makes each and every act look like something that could happen for real. The scenes of destruction which encompasses the climactic sequence of the film look very realistic and on the small-budget (when compared to most superhero films) come off as very impressive. The technique of each scene being part of video camera footage (whether they’re handheld HD cameras or smartphone footages) allowed for whatever CGI-effect used to look seemless and not artificial looking.

January and February have always been the dumping ground for films the studios either have little faith in or think don’t deserve the much more lucrative summer blockbuster and holiday season months. Chronicle manages to make its case that this would’ve been one film that could’ve done well playing around with the mega-budgeted blockbusters this summer and hold it’s own. It’s a film that takes a simple premise and creates something not just fun and exciting, but also takes a delve into the psyche of the teenage mind and all the pitfalls and dangers one can find themselves in navigating through it. Chronicle is one of the better films in these early months of the 2012 film season and overall probably one of the better one’s by year’s end.