10 Oscar Snubs From The 2000s


Welcome to the aughts. The new century started out with the terror of 9-11 and it ended with the collapse of the world’s economy. In between, a lot of films were released. Some of them were really good. A few of them were nominated for Best Picture. Most of them were not.  As always, there were snubs aplenty.

2000: Michael Douglas Is Not Nominated For Wonder Boys

I recently saw someone online bemoaning the fact that Michael Douglas appears to be fated to end his career as a supporting character in the MCU as opposed to playing the type of “mature” roles with which he made his reputation.  And I actually think that person had a good point.  Michael Douglas, whose performances once epitomized the last few decades of the 20th Century, does seem a bit out of place surrounded by CGI and responding to the overly quippy dialogue of the MCU.  If you want to see a truly good Michael Douglas performance that doesn’t involve anyone shrinking, check him out in Curtis Hanson’s Wonder Boys.  Though Wonder Boys won the Oscar for Best Original Song and picked up nominations for Editing and Adapted Screenplay, Michael Douglas’s wonderful lead performance was overlooked.

2001: Mulholland Drive Is Almost Totally Ignored

Considering the reverence with which it is now viewed, it’s interesting to note that Mulholland Drive only received one Oscar nomination, for David Lynch’s direction.  The film was not nominated for Best Picture.  Naomi Watts and Laura Harring both went unnominated.  At the time, I imagine the film was too strange for Academy voters and its origin as a television pilot probably worked against it.  Today, it is regularly cited as one of the best films ever made.

2002: Leonardo DiCaprio and Tom Hanks Are Not Nominated For Catch Me If You Can

Catch Me If You Can was that rarest of movies, an underrated Steven Spielberg production.  Christopher Walken was nominated for Best Supporting Actor and the film’s score was nominated as well.  But both Leonard DiCaprio and Tom Hanks went unnominated, despite doing some of the best work of their careers.

2002: Robin Williams Is Not Nominated For One Hour Photo

One Hour Photo featured what I consider to be Robin Williams’s best and most poignant performance.  It was also perhaps his most frightening performance, which probably explains why the Academy shied away from honoring it.

2003: Scarlet Johansson Is Not Nominated For Best Actress For Lost In Translation

Though Bill Murray got most of the awards attention, Scarlet Johansson’s performance was just as important to the success of Lost In Translation.

2004: Eternal Sunshine of the Spotless Mind Is Not Nominated For Best Picture or Best Actor

Even before he decided to present himself as being an expert on vaccines and modern art, I wasn’t a huge fan of Jim Carrey’s.  That said, even I have to admit that he deserved a nomination for Eternal Sunshine of the Spotless Mind.  The film itself was only nominated for two Oscars.  Kate Winslet was nominated for Best Actress and Charlie Kaufman won the Oscar for Original Screenplay.  The film deserved quite a bit more.

2007: Once Is Not Nominated For Best Picture

This is one snub that I haven’t quite gotten over.  Once, a beautiful independent film from Ireland, deserved far more love than it received from the Academy.  That said, it did win the Oscar for Best Original Song and Glen Hansard gave one of the best acceptance speeches in Oscar history.  So, there is a little justice.

2008: The Dark Knight Is Not Nominated For Best Picture

If ever there was a comic book movie that deserved to be nominated for Best Picture, it was this one. To me, I think the main reason why The Dark Knight is superior to so many other comic book movies is because, even with Batman and the Joker running around, it still feels as if it’s taking place in the real world.  The smartest decision that Christopher Nolan made was to use a real city for Gotham instead of constructing a phony-looking set.  The fact that The Dark Knight received 8 nominations without also receiving a nomination for Best Picture leaves little doubt that the film’s lack of a nomination was due to its origins as a comic book movie.  There was such an uproar about The Dark Knight failing to pick up a Best Picture nomination that the Academy increased the number of Best Picture nominees to ten.  (Of course, that’s didn’t do much to help anything.)

2008: Robert Downey, Jr. Is Not Nominated For Best Actor For Iron Man

The MCU is now so big that it’s easy to forget that, if Robert Downey, Jr. hadn’t been a convincing Tony Stark in 2008, the whole thing would have never happened.  Going back and watching the early MCU films, before they got bogged down in their own formula, can be an eye-opening experience.  Downey’s performance in the first Iron Man holds up extremely well.  He goes from being an irresponsible businessman to being a hero and he’s convincing at every turn.  He gave such a good performance that it convinced even those of us who weren’t comic book readers to stick around and see what was coming up next in the Marvel Cinematic Universe.

2009: George Wyner Is Not Nominated For Best Supporting Actor For A Serious Man

Not all snubs involve big stars or famous actors.  Some of them involve talented character actors like George Wyner who totally knock their one scene out of the park but who still don’t get the recognition that they deserve.  In A Serious Man, Wyner plays the rabbi who tells Larry Gopnik (Michael Stuhlbarg) the parable of the dentist who found Hebrew phrases on the teeth of one of his patients.  It’s a mesmerizing scene, thanks to George Wyner’s skill as a storyteller.

Agree?  Disagree?  Have a snub of your own that you’d like to mention?  Let us know in the comments!

Coming up next, we go from the 2010s to the present day!

Film Review: Ant-Man and the Wasp: Quantumania (dir. by Peyton Reed)


I once read somewhere that in joining Marvel Comics, you could never get started writing or drawing any of the top tier characters like Spider-Man or any of the X-Men. Instead, you were left to work with some of the lesser known (or less famous) characters like the The Fantastic Four, Moon Knight or Namor and then work your way up to the big wigs. I don’t know if that’s true, but after having completed both Avengers: Infinity War and Avengers: Endgame, the MCU feels like it’s in the same position for me. Most of the S and A-Tier level heroes and villains were used in some way. Even their B-Class characters are in play (like who was the Multitude of Madness‘ Black Bolt, anyway?), so all they really have left are characters only the deepest comic fans know. It might be great for the movie fans who are just learning about them all (like myself, who primarily danced in the Spider-Man circles), but I wonder about the comic book fans and whether it’s all still holding up for them.

All that aside, it’s still better than getting a reboot of the same two or three heroes we keep getting over at DC – though they are learning. I’ll give Disney/Marvel credit for the attempt. I’m still waiting for DC to give either Green Arrow a try on film or Green Lantern another chance.

Ant-Man and the Wasp: Quantumania (or just Quantumania) finds Scott Lang (Paul Rudd) enjoying his life after the events of Avengers: Endgame. He’s a best selling author now, a welcome change from being unknown in Avengers: Endgame. He has a wonderful family in Hope Van Dyne (Evangelline Lilly), along with her parents, Hank Pym (Michael Douglas) & Janet Van Dyne (Michelle Pfeiffer). If only his daughter Cassie (Kathryn Newton, taking over for Endgame‘s Emma Fuhrmann) wasn’t getting into trouble all the time, things might just be perfect.

Cassie explains to Scott that with her free time, she’s been studying the Quantum Realm and managed to create a device that can track objects within it. At hearing this, Janet balks and demands Cassie shut down the device. This leads to a malfunction that pulls the entire family in to the Quantum Realm. The realm is full of life, much like the alternate dimensions that Doctor Strange has travelled. There is also a great evil dwelling in Kang (Jonathan Majors, Creed III), who hopes to escape. Can the family find a way back home, while dodging the threats that lie within?

The acting in Quantumania is fine. We’re introduced to some interesting supporting characters with William Jackson Harper (Midsommar) and Katy O’Brian’s (Syfy’s ZNation) performances. We’re also reunited with some familiar faces. Paul Rudd is charming and funny as always, as is Evangelline Lilly. Although we won’t get to know how Emma Fuhrmann would have done as Cassie this time, Kathryn Newton’s good here. It’s Marvel, I get it. Recasts can and do happen. We could argue that we’re a bit out of touch with this new casting, butCassie is given a lot to do in this installment, which really brings her full circle with some of the conversations she had with Scott, pre-Blip and all.

They all take a bit of a back seat to Michelle Pfeiffer, however. Janet Van Dyne is tight-lipped about the Quantum Realm, and Pfeiffer carries her experience there flawlessly. Her character is scared at the thought of returning, but once she arrives, Janet has layers of secrets that peel back. She and Kang were the most interesting characters of the group. There’s almost a covert agent quality to Janet, and I wouldn’t mind seeing a backstory of more of her adventures. An animated Adventures of The Wasp in the Quantum Realm, Disney?

And then there’s Jonathan Majors. You can’t have a good hero without a good villain, and his portrayal of Kang is scary. Anyone who watched Da 5 Bloods, The Harder They Fall or HBO’s Lovecraft Country knows that Majors can easily shift between quiet and reserved to explosive. He’s also physical enough to back his character’s words. I’m not entirely convinced of Kang’s motives for doing what he’s doing, but Majors’ presence is definitely felt when he’s in a scene.

Quantumania is basically 2010’s Tron: Legacy with a fresh coat of paint. Family gets pulled into another realm. Said realm is ruled by a major villain who wishes to spread their evil outside of the realm. Family must find a way to escape realm, yet ensure that the villain doesn’t get out as well. Quantumania‘s execution of the plan is far better than Tron‘s and I found myself truly worrying about the fates of the Lang/Van Dyne family in some of the scenes. I have to give a bit of kudos to whoever had the idea to have “the little guy” in Ant-Man be the first to square off with such a villain like Kang. For me, the end result was the opposite of watching the Hulk’s first interaction with Thanos. Back then, audiences may have thought that if the Hulk was dispatched so easily, what would that say for everyone else? In Quantumania, Scott and Hope give it their all, despite only really having their wits, fists, family & science. It was a bit more rewarding for me. There’s also something of a heist element to Quantumania, but it’s unfortunately weaker than the first two films. I would have loved to see a plan/info gathering/execution chapter to it all, but it never gets there.

Musically speaking, it’s nice to have Christophe Beck back on board for another installment. He’s taken the Ant-Man theme to new heights and the music throughout fits the film well. While there aren’t any standout songs like “Anthropodie” on the last film, the score overall turns a simple heist theme into an epic fight of good vs. evil.

Although the 3D in the film is nice, it’s not really required. For me, the effect faded after a while, only to resurface in key sequences. That could be mostly my fault for sitting in the front row, or perhaps the Avatar films have spoiled me. There’s a lot of CGI at work with the Quantum Zone, and I thought they did okay with it, for the most part. There’s nothing to complain about. Then again, we’ve kind of seen it before in every other multiverse story leading up to this.

Overall, Quantumania is a fun ride into the Quantum Zone. We’re given a chance to see Janet Van Dyne shine in her element. Every member of the entire Ant-Man family has something to offer (even Michael Douglas, who is smooth with the one liners), and it wasn’t particularly bad, as third films go.

Monday Live Tweet Alert: Join Us For Mask of the Ninja and Black Rain!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, for #MondayActionMovie, SweetEmmyCat is hosting 2008’s Mask of the Ninja, starring TSL favorite Casper Van Dien!  It’s available on YouTube!

 

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  Tonight’s movie, starting at 10 pm et, will be 1989’s Black Rain, starring Michael Douglas!  The film is available on Prime!

 

It should make for a night of intense viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto twitter, start Mask of the Ninja at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to prime, start Black Rain and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.  And reviews of these films will probably end up on this site at some point over the next few weeks. 

Marvel releases the Ant Man & The Wasp: Quantumania Trailer!


Scott Lang (Paul Rudd), Hope (Evangeline Lilly), Cassie (Kathryn Newton, Detective Pikachu) and the Pyms (Michelle Pfeiffer and Michael Douglas) are back for another adventure. This time, it appears they’re all pulled into the Quantum Zone and meet some strange creatures, one of which is the variant of Kang The Conqueror (Jonathan Majors, The Harder They Fall). Peyton Reed returns as well to direct the film, which also includes Bill Murray and Samuel L. Jackson.

Ant-Man and the Wasp: Quantumania will be released next year.

Film Review: Coma (dir by Michael Crichton)


Michael Crichton’s 1978 film, Coma, tells the story of strange things happening at a Boston hospital.

Seemingly healthy patients are having complications during routine surgery, complications that leave them brain dead.  Dr. Susan Wheeler (Genevieve Bujold) thinks that there’s something bigger going on than just routine medical complications.  First, her best friend (Lois Chiles) falls into a coma while undergoing an abortion.  Then, Tom Selleck falls into a coma while having knee surgery.  Dr. Wheeler investigates and discovers that all of the patients were operated on in the same operating room and that all of them were shipped to a mysterious facility after their surgery.

Yep, it sounds like a conspiracy.  However, no one is willing to listen to Dr. Wheeler.  Not her boyfriend (Michael Douglas).  Not Dr. George (Rip Torn), the chief anetheisologist.  Not Dr. George Harris (Richard Widmark), the chief of surgery.  Dr. Wheeler thinks that it’s all a conspiracy!

And, of course, it is.  As the old saying goes, the only thing that a conspiracy needs to succeed is for people to be remarkably stupid and almost everyone in Coma is remarkably stupid.  Admittedly, some of them are in on the conspiracy but it’s still rather odd how many people apparently don’t see anything strange about healthy people going into a comas and then being shipped to a mystery facility.

Coma is probably best known for the scene where Susan manages to sneak into the mystery facility and she finds herself in a room full of suspended bodies.  Visually, it’s an impressive scene.  It’s truly creepy and it also captures the detached sterility that most people hate about medical facilities.  At the same time, it’s also the only visually striking moment in the entire film.  Every other scene in Coma feels flat.  Whenever I’ve watched this film, I’m always a little bit shocked whenever anyone curses because Coma looks more like an old made-for-TV film than anything you would ever expect to see in a theater.

My point is that Coma is a remarkably boring film.  It has a potentially interesting story but my God, is this movie ever a slog.  It’s pretty easy to guess what’s going on at the institute so there’s not a whole lot of suspense to watching Susan try to figure it all out.  When the truth is revealed, it’s not exactly a shocking moment.  For that matter, you’ll also be able to guess which doctor is actually going to turn out to be the villain.  There’s really no surprises to be found.

Coma was the second feature film to be directed by Michael Crichton.  With the exception of the scenes in the institute, the visual flair that Crichton showed in Westworld is nowhere to be found in Coma.  The film moves at a tortuously slow place.  A part of me suspects that, as a doctor, Crichton related so much to the film’s characters that he didn’t realize how dull they would be for those us who don’t look at a character like Rip Torn’s Dr. George and automatically think, “He’s just like that arrogant bastard I worked under during my residency!”  Call it the Scrubs syndrome.

For some reason, Coma is a film that people often recommend to me.  I don’t know why.  Trying to sit through it nearly put me in a coma.

Here Are The Major 72nd Emmy Nominations!


Usually, when it’s time for the Emmy nominations to be announced, I’ll post what I personally would have nominated.  I didn’t do it this year because, for whatever reason, I didn’t watch as much TV last season as I have in the past so I felt like, if I had done a Lisa Has All The Power post for the Emmy nominations, I would have ended up just nominating a bunch of shows that I hadn’t actually watched and that would just be wrong.

I will say that I was hoping to see nominations for Bad Education and Unbelievable.  Both did receive nominations, though not as much as they should have.  Bad Education was nominated for Best TV Movie and Hugh Jackman received a nomination but it deserved so much more.  (It’s the best film that I’ve seen so far this year and it bugs the Hell out of me that it was sold to HBO and not Netflix because Bad Education is the type of movie that should get Oscar recognition.)  Unbelievable was nominated for Best Limited Series but Kaitlyn Dever and Merritt Weaver deserved nominations as well.  I was also disappointed that neither Aaron Paul nor Robert Forster were nominated for El Camino.  I’m also upset that my favorite comedy series — Medical Police — was totally snubbed but I’m not really surprised.  Medical Police is hilarious but it’s not self-important enough for the Emmys.  Still, considering that Curb Your Enthusiasm was kind of terrible this year, it’s a shame that Medical Police couldn’t sneak in there.

(This year still isn’t as bad as the year that Twin Peaks: The Return was snubbed in all the major categories.)

Anyway, here are the major nominees.  At least The Mandalorian got some recognition.  GO BABY YODA!

Drama Series

“Better Call Saul” (AMC)
“The Crown” (Netflix)
“The Handmaid’s Tale” (Hulu)
“Killing Eve” (BBC America/AMC)
“The Mandalorian” (Disney Plus)
“Ozark” (Netflix)
“Stranger Things” (Netflix)
“Succession” (HBO)

Comedy Series

“Curb Your Enthusiasm” (HBO)
“Dead to Me” (Netflix)
“The Good Place” (NBC)
“Insecure” (HBO)
“The Kominsky Method” (Netflix)
“The Marvelous Mrs. Maisel” (Amazon Prime Video)
“Schitt’s Creek” (Pop TV)
“What We Do in the Shadows” (FX)

Limited Series

“Little Fires Everywhere” (Hulu)
“Mrs. America” (Hulu)
“Unbelievable” (Netflix)
“Unorthodox” (Netflix)
“Watchmen” (HBO)

Televison Movie

“American Son” (Netflix)

“Bad Education” (HBO)

“Dolly Parton’s Heartstrings: These Old Bones” (Netflix)

“El Camino: A Breaking Bad Movie” (Netflix)

Unbreakable Kimmy Schmidt: Kimmy vs. The Reverend (Netflix)

Lead Actor in a Drama Series

Jason Bateman (“Ozark”)
Sterling K. Brown (“This Is Us”)
Steve Carell (“The Morning Show”)
Brian Cox (“Succession”)
Billy Porter (“Pose”)
Jeremy Strong (“Succession”)

Lead Actress in a Drama Series

Jennifer Aniston (“The Morning Show”)
Olivia Colman (“The Crown”)
Jodie Comer (“Killing Eve”)
Laura Linney (“Ozark”)
Sandra Oh (“Killing Eve”)
Zendaya (“Euphoria”)

Lead Actor in a Comedy Series

Anthony Anderson (“Black-ish”)
Don Cheadle (“Black Monday”)
Ted Danson (“The Good Place”)
Michael Douglas (“The Kominsky Method”)
Eugene Levy (“Schitt’s Creek”)
Ramy Youssef (“Ramy”)

Lead Actress in a Comedy Series

Christina Applegate (“Dead to Me”)
Rachel Brosnahan (“The Marvelous Mrs. Maisel”)
Linda Cardellini (“Dead to Me”)
Catherine O’Hara (“Schitt’s Creek”)
Issa Rae (“Insecure”)
Tracee Ellis Ross (“Black-ish”)

Lead Actor in a Limited Series or Movie

Jeremy Irons (“Watchmen”)
Hugh Jackman (“Bad Education”)
Paul Mescal (“Normal People”)
Jeremy Pope (“Hollywood”)
Mark Ruffalo (“I Know This Much Is True”)

Lead Actress in a Limited Series or Movie

Cate Blanchett (“Mrs. America”)
Shira Haas (“Unorthodox”)
Regina King (“Watchmen”)
Octavia Spencer (“Self Made”)
Kerry Washington (“Little Fires Everywhere”)

Supporting Actor in a Drama Series

Giancarlo Esposito (“Better Call Saul”)
Bradley Whitford (“The Handmaid’s Tale”)
Billy Crudup (“The Morning Show”)
Mark Duplass (“The Morning Show”)
Nicholas Braun (“Succession”)
Kieran Culkin (“Succession”)
Matthew Macfadyen (“Succession”)
Jeffrey Wright (“Westworld”)

Supporting Actress in a Drama Series

Laura Dern (“Big Little Lies”)
Meryl Streep (“Big Little Lies”)
Helena Bonham Carter (“The Crown”)
Samira Wiley (“The Handmaid’s Tale”)
Fiona Shaw (“Killing Eve”)
Julia Garner (“Ozark”)
Sarah Snook (“Succession”)
Thandie Newton (“Westworld”)

Supporting Actor in a Comedy Series

Andre Braugher (“Brooklyn Nine-Nine”)
William Jackson Harper (“The Good Place”)
Alan Arkin (“The Kominsky Method”)
Sterling K. Brown (“The Marvelous Mrs. Maisel”)
Tony Shalhoub (“The Marvelous Mrs. Maisel”)
Mahershala Ali (“Ramy”)
Kenan Thompson (“Saturday Night Live”)
Dan Levy (“Schitt’s Creek”)

Supporting Actress in a Comedy Series

Betty Gilpin (“GLOW”)
D’Arcy Carden (“The Good Place”)
Yvonne Orji (“Insecure”)
Alex Borstein (“The Marvelous Mrs. Maisel”)
Marin Hinkle (“The Marvelous Mrs. Maisel”)
Kate McKinnon (“Saturday Night Live”)
Cecily Strong (“Saturday Night Live”)
Annie Murphy (“Schitt’s Creek”)

Supporting Actor in a Limited Series or Movie

Dylan McDermott (“Hollywood”)
Jim Parsons (“Hollywood”)
Tituss Burgess (“Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend”)
Yahya Abdul-Mateen II (“Watchmen”)
Jovan Adepo (“Watchmen”)
Louis Gossett Jr. (“Watchmen”)

Supporting Actress in a Limited Series or Movie

Holland Taylor (“Hollywood”)
Uzo Aduba (“Mrs. America”)
Margo Martindale (“Mrs. America”)
Tracey Ullman (“Mrs. America”)
Toni Collette (“Unbelievable”)
Jean Smart (“Watchmen”)

Reality Competition

“The Masked Singer” (FOX)
“Nailed It” (Netflix)
“RuPaul’s Drag Race” (VH1)
“Top Chef” (Bravo)
“The Voice” (NBC)

Variety Sketch Series

“A Black Lady Sketch Show” (HBO)
“Drunk History” (Comedy Central)
“Saturday Night Live” (NBC)

Variety Talk Series

“Daily Show with Trevor Noah” (Comedy Central)
“Full Frontal with Samantha Bee” (TBS)
“Jimmy Kimmel Live” (ABC)
“Last Week Tonight with John Oliver” (HBO)
“Late Show with Stephen Colbert” (CBS)

Falling Down (1993, directed by Joel Schumacher)


Earlier today, when I heard that Joel Schumacher had died, I immediately thought of Falling Down.

Falling Down stars Michael Douglas as William Foster, a man who is at the end of his rope.  He’s lost his job.  He’s just gotten a divorce and his wife has taken a restraining order out against him.  On the hottest day of the year, his car’s air conditioning has just broken down.  When he finds himself stuck in a traffic jam, he impulsively abandons his car and starts to walk across Los Angeles, collecting weapons, enemies, and admirers along the way.

Almost everyone who Foster meets annoys him in some way.  A convenience store clerk refuses to give him change so that he can make a phone call.  In the film’s most famous scene, a fast food restaurant refuses to allow him to order off of the breakfast menu, which leads to Foster pulling out a gun.  D-Fens, as he’s now known due to his personalized license plate, is making his way to his daughter’s birthday party, leaving behind  a wake of destruction behind him.  Trying to stop him is Detective Martin Prendergrast (Robert Duvall), who is, naturally, just a day away from retirement.

I think about Falling Down a lot.  It’s always been a controversial film, with critics debating whether we’re supposed to empathize with Foster or not.  The film itself often tries to have it both ways, asking us to condemn Foster’s violence while, at the same time, expecting us to cheer for him when he expresses his frustrations.  On the one hand, you can understand some of his anger.  Why can’t you order off the breakfast menu if you want to?  Who hasn’t gotten annoyed with unnecessary road work?  At the same time, it’s also hard to overlook that almost all of Foster’s victims are more obnoxious than he is.  If the store clerk has been polite when he refused to give him change, would we have still cheered when Foster destroyed the store?  Foster even has an encounter with a white supremacist that’s supposed to assure us that Foster might be an angry white man but he’s the right type of angry white man.

To understand why this film has always stuck with me, you have to understand that my Dad was an engineer.  He worked with a lot of people who basically were William Foster, except that they never got their hands on as much weaponry as Foster manages to do.  Whenever I see this movie and I see Michael Douglas with his nerdy glasses and short-sleeved white shirt and black tie, I’m reminded of visiting my father at work and listening to his co-workers complain about how much they hated the rap music that their kids were listening to.  From those experiences, I can tell you that Michael Douglas perfectly nails the role of William “D-Fens” Foster.  Though the film’s script may sometimes try to present Foster as simply being “a man who has finally had enough” (and that’s certainly the way that Foster would probably view himself), Douglas gives a much more complex performance in the role.  He plays Foster not as being a hero or even an anti-hero.  Instead, he’s a man who has realized that life is never going to be as good as he was told it would be and, watching the world change around him, he’s snapped.  He’s the villain, even if he and some of the film’s biggest fans don’t realize it.  “I’m the bad guy?” he asks and yes, he is.  The tragedy of the film is that he can’t understand how that came to be.  Neither Joel Schumacher as a director nor Michael Douglas as an actor ever suggests that Foster has become a stronger or happier person as a result of his actions.  He never becomes the societal avenger that some may want him to be.  Instead, he just wants to get to his daughter’s birthday party.

When Joel Schumacher’s death was announced today, most people talked about the Batman films that he directed.  However, Falling Down, with its brilliant lead performance from Michael Douglas, is the Joel Schumacher film that will always stick with me.

Hail, Hero! (1969, directed by David Miller)


After going away to college, Carl Dixon (25 year-old Michael Douglas, in his film debut) has returned to his rural hometown.  Though Carl comes from a family with a long military tradition, he’s against the war in Vietnam and is considered to be a hippie by his family.  As soon as his stern father (Arthur Kennedy) sees Carl, he sits him down in the kitchen and, after declaring that no one is going to mistake his son for a girl, cuts his hair.  Meanwhile, Carl’s mother (Teresa Wright) stays out of the conflict between her husband and her son while Carl’s older brother (Peter Strauss) continues to resent Carl for the accident that injured his spinal cord and kept him from going off to war.

Carl has an announcement to make.  Despite being against the war in Vietnam, he’s joined the army.  He will soon be going overseas, where he’ll get a chance to be a hero and where he says he hopes to love the enemy.  No one in his family can understand his decision, though they certainly spend a lot of time talking about it.  Carl can’t explain it either, though he certainly keeps trying.  Eventually, Carl ends up going for a swim with a local girl (Deborah Winters), smoking weed with a woman who lives in a cave with a mummified baby, and painting the family barn with a mural that’s supposed to explain it all.

Hail, Hero! is an extremely talky film that wants to say something about the war in Vietnam but it doesn’t seem to know what.  The film’s too sincere in its confusion to be a disaster but it’s also too muddled to really be effective.  Carl is opposed to the war but he drops out of college and enlists because it’s what his father would have wanted him to do but his father doesn’t seem to be impressed with the decision and Carl doesn’t seem to like his father to begin with so why volunteer for something that you find to be immoral?  The film would have been effective if Carl had been drafted into the war and had to choose between reporting for duty or fleeing to Canada.  But having him drop out of college and volunteer to serve makes it more difficult to sympathize with him when he talks about how opposed he is to the war.

If the film gets any attention today, it is probably because of Michael Douglas in the lead role.  This was Douglas’s film debut.  He was 25 when he made the film and he was already a dead ringer for his father.  Unfortunately, he doesn’t give a very good performance.  He’s miscast in the lead role.  Carl Dixon is supposed to be insecure and conflicted.  Insecure is not something that comes to mind when you think about Michael Douglas.  Instead, Carl just comes across as being petulant and self-righteous.  Hail, Hero! tries to say something about the war in Vietnam but Carl Dixon’s the wrong messenger.

Film Review: Avengers: Endgame (dir by the Russo Brothers)


(Minor Spoilers Below!  Read at your own risk.)

So, how long does the no spoiler rule for Avengers: Endgame apply?  There’s so much that I want to say about this film but I know that I shouldn’t because, even though it had a monstrous opening weekend, there are still people out there who have not had a chance to see the film.  And while this review will have minor spoilers because, otherwise, it would be impossible to write, I’m not going to share any of the major twists or turns.

I will say this.  I saw Avengers: Endgame last night and it left me exhausted, angry, sad, exhilarated, and entertained.  It’s a gigantic film, with a plot that’s as messy and incident-filled as the cinematic universe in which it takes place.  More than just being a sequel or just the latest installment in one of the biggest franchises in cinematic history, Avengers: Endgame is a monument to the limitless depths of the human imagination.  It’s a pop cultural masterpiece, one that will make you laugh and make you cheer and, in the end, make you cry.  It’s a comic book film with unexpected emotional depth and an ending that will bring a tear to the eye of even the toughest cynic.  By all logic, Avengers: Endgame is the type of film that should collapse under its own weight but instead, it’s a film that thrives on its own epic scope.  It’s a three-hour film that’s never less than enthralling.  Even more importantly, it’s a gift to all of us who have spent the last ten years exploring the Marvel Cinematic Universe.

The film itself starts almost immediately after the “Snap” that ended Avengers: Infinity War and we watch as Clint Barton (Jeremy Renner, returning to the franchise after being absent in the previous film) finds himself powerless to keep his family from disintegrating.  After often being dismissed as the Avengers’s weak link, both Clint Barton and Jeremy Renner come into their own in the film.  As one of two members of the Avengers who does not have super powers, Clint serves as a everyperson character.  He’s a reminder that there’s more at stake in Endgame than just the wounded pride of a few super heroes.  When Thanos wiped out half the universe, he didn’t just wipe out Spider-Man, Doctor Strange, and Groot.  He also left very real wounds that will never be healed.

When the film jumps forward by five yeas, we discover that the world is now a much darker place.  When we see New York, the once vibrant city is now gray and deserted.  Our surviving heroes have all dealt with the Snap in their own way.  Clint is now a vigilante, killing anyone who he feels should have been wiped out by Thanos but wasn’t.  Thor (Chris Hemsworth) drinks and eats and feels sorry for himself.  Captain America (Chris Evans) attends support groups and, in one nicely done scene, listens as a man talks about his fear of entering into his first real relationship in the years since “the Snap.”  Tony Stark (Robert Downey, Jr.) is living as a recluse and is still blaming himself.  Hulk (Mark Ruffalo) is now an avuncular, huge, and very green scientist.  Only Natasha (Scarlett Johansson) remains convinced that the Snap can somehow be undone.  She’s right, of course.  But doing so will involve some unexpected sacrifices and a lot of time travel….

And that’s as much as I can tell you, other than to say that the film takes full advantage of both the time travel aspects (yes, there are plenty of Back to the Future jokes) and its high-powered cast.  With our heroes — which, along with the usual Avengers, also include Ant-Man (Paul Rudd) and Rocket Racoon (Bradley Cooper) — hopping through time and space, we get a chance to revisit several of the films that led up to Endgame and it’s a thousand times more effective than it has any right to be.  Yes, one could argue that the cameos from Robert Redford, Tom Hiddleston, Hayley Atwell, and others were essentially fan service but so what?  The fans have certainly earned it and the MCU has earned the chance to take a look back at what it once was and what it has since become.

Indeed, Avengers: Endgame would not work as well as it does if it hadn’t been preceded by 21 entertaining and memorable movies.  It’s not just that the MCU feels like a universe that it as alive as our own, one that is full of wonder, mystery, sadness, and love.  It’s also that we’ve spent ten years getting to know these characters and, as a result, many of them are much more than just “super heroes” to us.  When Tony Stark and Captain America argue over whether it’s even worth trying to undo the Snap, it’s an effective scene because we know the long and complicated history of their relationship.  When the Avengers mourn, we mourn with them because we know their pain.  We’ve shared their triumphs and their failures.  Tony Stark may be a guy in an iron suit but he’s also a man struggling with his own demons and guilt.  Steve Rogers may be a nearly 100 year-old super solider but he’s also every single person who has struggled to make the world a better place.  As strange as it may be to say about characters known as Iron Man, Captain America, and the Black Widow, we feel like we know each and every one of them.  We care about them.

Needless to say, the cast is huge and one of the great things about the film is that previously underused or underestimated performers — like Jeremy Renner, Scarlett Johansson, Paul Rudd, Don Cheadle, and Karen Gillan — all finally get a chance to shine.  As always, the heart of the film belongs to Chris Evans while Robert Downey, Jr. provides just enough cynicism to keep things from getting to superficially idealistic.  Chris Hemsworth and Mark Ruffalo get most of the film’s big laughs, each playing their borderline ludicrous characters with just the right combination of sincerity and humor.  Of course, Josh Brolin is back as well and he’s still perfectly evil and arrogant as Thanos.  But whereas Thanos was the focus of Infinity War, Endgame focuses on the heroes.  If Infinity War acknowledged that evil can triumph, Endgame celebrates the fact that good never surrenders.

As Endgame came to an end, I did find myself wondering what the future is going to hold for the MCU.  A part of me wonders how they’re going to top the past ten years or if it’s even possible to do so.  Several mainstays of the MCU say goodbye during Endgame and it’s hard to imagine the future films without their presence.  It’s been hinted that Captain Marvel is going to be one of the characters holding the next phase of the  MCU together and, fortunately, Brie Larson is a quite a bit better in Endgame than she was in her previous MCU film.  Hopefully, regardless of what happens in the future, Marvel and Disney will continue to entrust their characters to good directors, like the Russo Brothers, James Gunn, and Taika Waititi.  (Wisely, Disney reversed themselves and rehired James Gunn for the next Guardians of the Galaxy film.  Of course, Gunn never should have been fired in the first place….)

And that’s really all I can say about Avengers: Endgame right now, other than to recommend that you see it.  In fact, everyone in the world needs to hurry up and see it so we can finally start talking about the film without having to post spoiler warnings!

For now, I’ll just say that Avengers: Endgame is a powerful, emotional, and entertaining conclusion to one of the greatest cinematic sagas ever.

Insomnia File #39: Disclosure (dir by Barry Levinson)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!

On Tuesday, if you were having trouble getting to sleep around one in the morning, you could have turned over to Cinemax and watched the 1994 film, Disclosure.

The majority of Disclosure takes place at DigiCorp, which is some sort of technology company that Bob Garvin (Donald Sutherland) founded because, as the movie explains it, he only has $100 million dollars but still dreams of being a billionaire someday.  With a huge merger approaching, Garvin announces that he will be promoting Meredith Johnson (Demi Moore) to run the new CD-ROM division.  This shocks a lot of people, as everyone was expecting the promotion to go to Tom Sanders (Michael Douglas).  However, Garvin explains that, ever since his daughter died, he’s wanted to promote a woman.

(Presumably, if a male relative had died, Tom would have gotten the promotion.  I have to admit that I kept waiting for the film to get back to the subject of Garvin’s dead daughter but, apparently, that was just an odd throw-away line.)

Tom and Meredith have a history.  They were once lovers, though Tom is now happily married to Susan (Caroline Goodall) and has a family.  Meredith takes one look at a picture of Susan and says that Tom must miss being able to take his lover from behind whenever he felt like it.  Tom says, “Mrs. Robinson,  you’re trying to seduce me.”  No, actually, he says, “No, no, no, no, no, no…..”  It all ends with Tom fleeing Meredith’s office while Meredith, in her bra, chases after him, shouting threats all the way.  The only witness to this is a cleaning lady who sadly shakes her head before returning to her dusting.

Tom is so traumatized by the experience that he has a bizarre nightmare in which Donald Sutherland says that he likes his suit and then attempts to lick his face.  Tom’s trauma continues when he goes to work the next day and discovers that Meredith has accused him of sexual harassment!  Tom responds by suing the company and it’s time for an epic courtroom battle, one that will deal with one of the most important issues of our time….

….except that never happens.  Here’s what is weird.  For all the talk about abuse of power and all the scenes of a remorseful Tom apologizing to both his wife and his secretary for his past behavior, the whole sexual harassment plot turns out to be a red herring.

Instead, the film turns into this weird techno thriller, one that involves Tom trying to figure out how to make a better CD-ROM.  That may have been a big deal back in 1994 but today, you watch the film and you think, “Who cares?”  (Even better is a scene where Garvin brags about how his company is on the cutting edge of fax technology.)  Once Tom realizes that Meredith only accused him of sexual harassment to keep him from building the perfect CD-ROM, we get a scene of him using a virtual reality headset to search through the companies files.  At one point, he spots a bot with Demi Moore’s face destroying files and he shouts out, “She’s in the system!”  It’s just strange.

The film’s plot is often incoherent but the cast keeps things amusing.  Michael Douglas spends the first half of the movie looking either annoyed or terrified.  Things pick up for him in the 2nd half of the movie.  Whenever he gets good news from his lawyer, he jumps up in the air and goes, “Yessssssss!” and it’s so dorky that it’s kind of endearing.  Meanwhile, Demi Moore doesn’t even try to make Meredith into a credible character, which is actually just the right approach to take to this material.  There’s no room for subtlety in a film as melodramatic as this.  Finally, Donald Sutherland is his usual avuncular self, smirking at all the right moments and suggesting that he finds the movie to be just as amusing as we do.  For all of its plot holes and problematic subtext, Disclosure is an entertainingly stupid film.  A lot of the credit for the entertaining part has to go to the cast.

As I said, Disclosure is just strange..  As with most films from the 90s, its sexual politics are all over the place.  On the one hand, Tom learns that even inadvertent sexism can make the women who wok with him feel unsafe.  On the other hand, the only woman with any hint of a personality is portrayed as being pure evil.  In no way, shape, or form is this a movie to be taken seriously.  Instead, this is just a weird film that cries out, “1994!”

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger
  17. The Suburbans
  18. Only The Strong
  19. Great Expectations
  20. Casual Sex?
  21. Truth
  22. Insomina
  23. Death Do Us Part
  24. A Star is Born
  25. The Winning Season
  26. Rabbit Run
  27. Remember My Name
  28. The Arrangement
  29. Day of the Animals
  30. Still of The Night
  31. Arsenal
  32. Smooth Talk
  33. The Comedian
  34. The Minus Man
  35. Donnie Brasco
  36. Punchline
  37. Evita
  38. Six: The Mark Unleashed