Ghosts of Sundance Past #1: Brittany Runs A Marathon (dir by Paul Downs Colaizzo)


As we all know, this year’s Sundance Film Festival started last week on Thursday.

To me, Sundance has always signified the official start of a new cinematic year.  Not only is it the first of the major festivals but it’s also when we first learn about the films that we’ll be looking forward to seeing all year.  It seems like every year, there’s at least one successful (or nearly successful) Oscar campaign that gets it start at Sundance.  This year, for instance, people are already intrigued by Zola, Minari, Shirley, and Ironbark and it’s almost entirely due to how those films have been received at Sundance.

My initial plan for this year was to spend the last few days of January looking at some of the films that have won awards or otherwise created a splash at previous Sundance Film Festivals.  I was planning on starting last Thursday but then I came down with a terrible cold, from which I’m still recovering.

So, instead, I’m starting today.  It happens.  In the past, I would have beaten myself up over not starting on time but, if I’ve learned anything from my 10 years of writing for TSL, it’s that sometimes you just have to accept that life can be unpredictable.  Sometimes, you just have to embrace the mystery.

Anyway, to start things off, I want to take a look at one of my favorite films from last year, Brittany Runs A Marathon.

When we first meet Brittany Forgler (Jillian Bell), she is a 28 year-old New Yorker who works at a theater.  She’s single.  She’s funny.  She’s irresponsible.  She usually either drunk or hungover.  In many ways, she’s the ideal friend.  You wouldn’t necessarily want her to be your best friend, of course.  But she’s still someone who seems like she’d be the perfect member of a group, in that she can make a joke but, at the same time, she doesn’t have much of a life so you don’t have to worry about her attracting attention away from you.  Add to that, Brittany has an Adderall prescription, which she tends to abuse.  (It happens.)  Everyone loves someone who can provide them easy access to prescription medication.

In fact, it’s while she’s trying to get her prescription updated that Brittany is given some very serious news.  Her doctors informs her that she’s not very healthy.  She’s overweight and rarely gets any exercise.  Her doctor tells her that she needs to change that.  And since Brittany can’t afford to be a member of even the cheapest of gyms, it seems like the only option left is to start running.

In public.

In New York City.

Now, you can probably guess from the title that Brittany eventually comes to love running and decides that she wants to run in the New York marathon.  And you can probably guess that, about halfway through the movie, Brittany faces a crisis that causes her to consider just giving up.  As far as the running is concerned, this is a likable but occasionally predictable film.

Fortunately, Brittany Runs A Marathon is about more than just running.  It’s about growing up and taking responsibility for your life but it’s also about loving who you are, regardless of who that might be.  What makes this film so special is that Brittany doesn’t automatically become an Olympic class runner.  Nor does her life magically come together just because she manages to complete a 5k.  Instead, what makes this film so special is that it’s about Brittany finding her own happiness and accepting who she is.  When Brittany struggles, it’s impossible not to feel for her.  When Brittany succeeds, it’s impossible not to cheer.

It helps that this is also a terrifically funny film.  The dialogue is sharp and witty and Jillian Bell is one of those actresses who can make even the simplest of lines hilarious.  (She can also make them heart-breaking when she needs to.)  While Brittany is running, she’s also working as a pet sitter.  When she discovers that another pet sitter, Jern (Utkarsh Ambudkar), is essentially squatting in their employer’s house while she’s out of town, Brittany ends up moving in with him.  Everyone tells Brittany that she’s eventually going to end up sleeping with Jern.  Brittany says it will never happen.  Jern says it will never happen.  We know it will happen because Bell and Ambudkhar have such a wonderful chemistry.  They’re like a 21st century version of Tracy and Hepburn.

I wasn’t expecting much from Brittany Runs A Marathon but it’s a good film, a funny comedy with a good heart and serious points to make.  Not surprisingly, it was also loved at Sundance, where it won the Audience Award.

Lisa Reviews An Oscar Nominee: The Diary of Anne Frank (dir by George Stevens)


From 1942 to 1944, a teenage girl named Anne Frank lived in hiding.

She and her family lived in what was sometimes called The Secret Annex, three stories of concealed rooms that were hidden behind a bookcase in an Amsterdam factory.  At first, it was just Anne, her older sister Margot, and their parents.  Eventually, they were joined by another family and eventually a dentist, with whom Anne did not get along.  Life was not easy in the concealed space and tempers often flared.  As the months passed, Anne had a romance-of-sorts with Peter, the teenage son of the other family, but she wondered if she truly felt anything for him or if it was just because they were stuck together.  Anne looked forward to someday returning to school and seeing all of her old friends, again.  However, she knew that she could not leave the Annex until the Nazis had finally been forced out of the Netherlands.  She and the other occupants had to remain in hiding and they had to remain perfectly quiet eight hours a day because they were Jewish.  If they were discovered, they would be sent to the camps.  So, they waited and Anne kept a diary.

Tragically, the Nazis did eventually discover the Secret Annex.  Of the 8 occupants, only Anne Frank’s father, Otto, would survive the war.  The rest died in various concentration camps.  Anne Frank’s mother starved to death in Auschwitz.  Her older sister, Margot, was 19 when she fell from her bunk and, because she was in such a weakened state, was killed by the shock.  Anne Frank, it is believed, died a few days after Margot.  She died at the Bergen-Belsen Concentration Camp, one of the 17,000 prisoners to succumb to Typhus.  Before she died, Anne Frank spoke with two former schoolmates who were also being held at Bergen-Belsen.  She told them that she had believed her entire family was dead and that she no longer had any desire to go on living.

However, Otto Frank did survive and, at the end of the war, he returned to the Secret Annex.  That’s where he discovered Anne’s diary.  After editing it (a process that Anne, who aspired to be a journalist, had already started doing shortly before she was arrested), Otto arranged for the publication of the diary.  The Diary of A Young Girl (or, as it was titled in some countries, The Diary of Anne Frank) was a bestseller and has remained one ever since it was first published.  Along with being recognized as being one of the most important books ever written, it’s also been adapted for both stage and screen.

The first such screen adaptation was in 1959.  It was directed by George Stevens and it starred 20 year-old Millie Perkins as Anne.  (Perkins bore a great resemblance to Audrey Hepburn, who was reportedly Otto Frank’s preferred choice for the role.  Hepburn turned him down, saying she would have been honored to have played the role but believed that she was too old to believable as a 14 year-old.)  Joseph Schildkraut played Otto while Diane Baker played Margot and Gusti Huber played Edith Frank.  The Van Daans were played by Shelley Winters and Lou Jacobi while Richard Beymer played their son (and Anne’s tentative boyfriend), Peter.  Ed Wynn, who was best known as a comedian, played the role of Albert Dussell, the dentist to whom Anne took a dislike.  (The surviving family of Fritz Pfeffer — who was renamed Dussell in Anne’s diary — objected to the way he was portrayed in both the book and the film.)

As a film, it has its flaws.  George Stevens specialized in big productions but that was perhaps not the proper approach to take to an intimate film about a teenage girl coming-of-age under the most difficult circumstances imaginable.  Because this was a 20th Century Fox production from the 50s, The Diary of Anne Frank was filmed in Cinemascope, which made the annex itself look bigger than it should.  Scenes that should feel claustrophobic often merely come across as being cluttered.

But, in the end, the story is so powerful and so important that it doesn’t matter.  Though the Annex was recreated on a Hollywood sound stage, the exteriors were actually filmed in Amsterdam.  When we see the outside of the factory where the Frank family lived, we are seeing the actual factory.  When we see repeated shots of the uniformed Nazi police patrolling the streets at night, we know that we’re seeing the actual view that Anne Frank undoubtedly saw many a night from the Annex.  And because we know the story, we begin the film knowing how it’s going to end and that adds an even greater weight to each and every scene.  It’s impossible not to relate to Anne’s hopes for the future and it’s just as impossible to not mourn that Anne never lived to see that future.

Stevens originally planned for the film to end with a scene of Anne at Bergen-Belsen.  To their discredit, 20th Century Fox removed the scene after preview audiences complained that it was too upsetting.  People should be upset while watching (or, for that matter, reading) The Diary of Anne Frank.  Even today, there are people who still seem to struggle with acknowledging the enormous evil that was perpetrated by the Nazis and their allies.  As a result, it’s not uncommon to find people who, when they don’t outright deny that it happened, try to minimize the Holocaust.  It’s a disgusting thing.  There was recently a viral video, which was released by NowThis that featured a student at George Washington University saying, “What’s going to happen if there’s another Holocaust? Well, we’re seeing what’s happening. We’re seeing people die at the border for lack of medical care. That’s how Anne Frank died. She didn’t die in a concentration camp, she died from typhus.”  NowThis later said that the student meant to say that Anne Frank “didn’t die from a concentration camp, she died from typhus,” and you really have to wonder just how fucking stupid someone has to be to think that 1) that’s somehow an improvement on what was originally said and 2) that typhus and the concentration camp were not essentially the same thing.  Even if one accepts that the student misspoke, it would seem that her main complaint was the the concentration camp didn’t have proper medical care, as opposed to the fact that it was specifically created to imprison and kill Jewish people.  It’s an astounding combination of ignorance and antisemitism.  NowThis later edited her comments out of the video, which again seems to miss the point of why people were upset in the first place.  Instead of just saying, “Hey, this idiot is a Holocaust denier and, regardless of whether she hates Trump as much as we do, we want nothing to do with her,” NowThis instead said, “Well, if that comment offends you, we’ll take it out and you won’t have to hear it.”  To me, that’s why The Diary of Anne Frank is still important and why it should still be read and watched and studied.  There are too many ignorant people and craven, weak-willed organizations out there for us to turn our backs on teaching history.

The Diary Anne Frank was nominated for best picture of the year.  While Shelley Winters won the Oscar for Best Supporting Actress, the Best Picture Oscar went to Ben-Hur.  Interestingly enough, Ben-Hur’s director, William Wyler, was originally interested in directing The Diary Anne Frank before George Stevens was brought on board.

Lisa’s Marie’s Top 26 Films of 2019


And now, without further ado, I conclude my look back at 2019 with my 26 favorite films of the years.  Why 26?  Because Lisa doesn’t do odd numbers!

(Want to see my previous picks?  Click here for 2018, 2017, 20162015, 2014201320122011, and 2010!)

1. The Souvenir
2. Once Upon A Time In Hollywood
3. Uncut Gems
4. Luce
5. The Irishman
6. Parasite
7. The Lighthouse
8. Crawl
9. Dragged Across Concrete
10. Doletmite Is My Name
11. Avengers: Endgame
12. 1917
13. Joker
14. The Two Popes
15. The Aeronauts
16. Hustlers
17. The Report
18. Brittany Runs A Marathon
19. Rocketman
20. The Last Black Man in San Francisco
21. Apollo 11
22. I Lost My Body
23. The Farewell
24. Us
25. Midsommar
26. Spider-Man: Far From Home

4 Shots From 4 Paul Newman Films: Cat On A Hot Tin Roof, Cool Hand Luke, The Verdict, The Hudsucker Proxy


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

95 years ago today, Paul Newman was born in Shaker Heights, Ohio.  He would go on, of course, to become one of America’s greatest film stars, an acclaimed actor who was active from the mid-part of the 20th century to the beginning of our current century.  He made his film debut in 1954 with The Silver Chalice (and subsequently paid for an ad in which he apologized for his performance in the film, which I think was a bit unnecessary as he wasn’t really that bad in the film) and he made his final onscreen appearance in 2005 in Empire Falls.  (He did, however, subsequently provide the voice of Doc Hudson in Cars, along with narrating a few documentaries.)  Time and again, he proved himself to be one of the best actors around.  According to most report, he was also one of the nicest.  When he died in 2008, the world mourned.

In honor of his cinematic legacy, here are….

4 Shots From 4 Paul Newman Films

Cat On A Hot Tin Roof (1958, dir by Richard Brooks)

Cool Hand Luke (1967, dir by Stuart Rosenberg)

The Verdict (1981, dir by Sidney Lumet)

The Hudsucker Proxy (1994, dir by the Coen Brothers)

Scene That I Love For Australia Day: The Chase Begins in Mad Max: Fury Road


Time zones really suck!

I’m in America right now and the date here is currently January 26th.  Now, I look at that date and I think to myself, “Hey, it’s Australia Day!  I’ve got friends in Australia and, according to our site stats, this site has got quite a few readers over there as well!  I definitely need to wish everyone a good holiday!”

Except, of course, I’m a day behind Australia.  In Australia, it’s currently January 27th.  Australia Day was yesterday.

So, what can I say?  I’m a day late in wishing everyone a happy Australia Day and the time zones are too blame.  I’ve never understood why we need time zones anyways.  Don’t even get me started on the International Date Line, which I think was only invented to leave people like me feeling confused.

Oh well.  Happy belated Australia Day!

Today’s scene of the day is from the second-most financially successful Australian film of all time, 2015’s Mad Max: Fury Road.  I don’t know if it’s possible to really describe just how exciting it was to see this film for the first time.  At a time when action films were typically unambitious and uninspired, Mad Max: Fury Road grabbed the world and said, “Wake up, dammit!”

Of course, the film itself is about more than just action.  It’s about empowerment and freedom and the environment and redemption.  It’s a film that seems to be taking place in another world.  That is, until you see all the cars and the spray paint and then you’re like, “Oh wait a minute.  This just humanity in the future.”  Mad Max: Fury Road was nominated for Best Picture and really, it should have won.  Does anyone remember which film beat it?  (The correct answer is Spotlight.)

In this scene below …. well, the chase begins!  And it’s an amazing scene, largely because there is no CGI.  There is no shaky cam designed to make things look more exciting than it actually was.  Those are actual cars, speeding through an actual desert and that’s an actual person playing a guitar that shoots out fire.  And you know what?  Give some credits to the drummers too.

This scene was, of course, directed by George Miller.  Check it all out below:

After Last Night, 1917 is your new Oscar front runner!


There were a lot of very important awards given out last night and suddenly, the Oscar race has become much, much clearer.  Yes, Parasite is a big contender and it’s certainly a big deal that it won at SAG.  It’ll probably win quite a few Oscars.  But, as of right now, the front runner for best picture is clearly 1917.

Not only has 1917 won the PGA award but, last night, Sam Mendes won the DGA.  1917 is coming on strong and it’s late release date is definitely working in its favor.  It came out just in time to wow the Oscar voters but also late enough that there wasn’t time for any sort of backlash to develop against it.  If I had to guess now, I’d say that 1917 is going to win Best Picture and we can at least take comfort in the fact that it’s better than the last Sam Mendes film that won.

Anyway, instead of doing like 30 different posts for each group that met last night, here’s a quick rundown:

The DGA (Director’s Guild of America) — Sam Mendes won Best Director for 1917.  Honey Boy’s Alma Har’el won for Best First Time Director.  The documentary award went to Steven Bogner and Julia Reichert for American Factory.

Annie Awards (Animation) — Klaus won Best Feature.  I Lost My Body won best indie feature.

ASC (American Society of Cinematographers) — Roger Deakins for 1917

USC Scripter Awards (Adapted Screenplay) — Greta Gerwig for Little Women

CAS (Cinema Audio Society) — Best Feature went to Ford v. Ferrari.  Best Animated Feature went to Toy Story 4.  Best Documentary Feature was won by Making Waves: The Art of Cinematic Sound.

So, for all you people making your Oscar bets — well, who knows?  Listen, the Oscars are unpredictable.  GREEN BOOK WON LAST YEAR, PEOPLE!  So, anything’s possible.  One thing to remember is that Best Picture is determined by a preferential voting system so it’s a close race between two films, it could easily be everyone’s second choice that wins.  And that could mean an upset victory for something like Ford v Ferrari or even Little Women.

But, as for right now, 1917 is the front runner.

Lisa Marie Picks The Best of The 2019 Lifetime Films


Today, I continue my look back at 2019 with the best of Lifetime!

(For my previous best of Lifetime picks, click on the links: 2014201520162017, and 2018!)

Best Picture: Escaping the NXIVM Cult

Best Director: Lisa Robinson, Escaping the NXIVM Cult

Best Actor: Eric Roberts, Stalked By My Doctor: A Sleepwalker’s Nightmare

Best Actress: Maira Walsh, Identity Theft Of A Cheerleader

Best Supporting Actor: Peter Facinelli, Escaping the NXIVM Cult

Best Supporting Actress: Sarah Dugdale, Death of a Cheerleader

Best Screenplay: Amish Abduction

New Movie Posters for you to see (With trailers included!)


I know, I know, I have been away from posting my normal movie previews and reviews for a while, that is my fault!

But I’ll be back to posting my normal movie previews/reviews soon!

Until then here are some things you can look forward to me previewing and reviewing:

A Perfect Host

2020 movie posters

Alien OutBreak

Alien outbreak

Covenant

Covenant

 

And last, but not least, You might have been…

Stalked

Hope you all enjoyed my tour through my movie screeners I get to watch this month!

Lisa Reviews An Oscar Nominee: Romeo and Juliet (dir by George Cukor)


You know the story that’s told in this 1936 film already, don’t you?

In the city of Verona, Romeo Montague (Leslie Howard) has fallen in love with Juliet Capulet (Norma Shearer).  Normally, this would be cause for celebration because, as we all know, love is a wonderful thing.  However, the House of Capulet and the House of Montague have long been rivals.  When we first meet them all, they’re in the process of having a brawl in the middle of the street.  There’s no way that Lord Capulet (C. Aubrey Smith) will ever accept the idea of Juliet marrying a Montague, especially when he’s already decided that she is to marry Paris (Ralph Forbes).  Things get even more complicated with Juliet’s cousin, Tybalt (Basil Rathbone), kills Romeo’s best friend, Mercutio (John Barrymore).  Romeo then kills Tybalt and things only grow more tragic from there.

It’s hard to keep track of the number of films that have been made out of William Shakespeare’s tale of star-crossed lovers and tragedy.  The plot is so universally known that “Romeo and Juliet” has become shorthand for any story of lovers who come from different social sects.  Personally, I’ve always felt that Romeo and Juliet was less about love and more about how the rivalry between the Montagues and the Capulets forces the young lovers into making hasty decisions.  If not for Lord Capulet throwing a fit over his daughter’s new boyfriend, she and Romeo probably would have split up after a month or two.  Seriously, I’ve lost track of how many losers I went out with in high school just because my family told me that I shouldn’t.

Producer Irving Thalberg spent five years trying to get MGM’s Louis B. Mayer to agree to greenlight a film version of Romeo and Juliet.  Mayer thought that most audiences felt that Shakespeare was above them and that they wouldn’t spend money to see an adaptation of one of his plays.  Thalberg, on the other hand, thought that the story would be a perfect opportunity to highlight the talents of his wife, Norma Shearer.  It was only after Warner Bros. produced a financially successful version of A Midsummer Night’s Dream that Mayer gave Romeo and Juliet the go ahead.

Of course, by the time the film went into production, Norma Shearer was 34 years old and a little bit too mature to be playing one of the most famous teenagers in literary history.  Perhaps seeking to make Shearer seem younger, Thalberg cast 43 year-old Leslie Howard as Romeo, 44 year-old Basil Rathbone as Tybalt, and 54 year-old John Barrymore as Mercutio,  (In Barrymore’s defense, to me, Mercutio always has come across as being Verona’s equivalent of the guy who goes to college for ten years and then keeps hanging out on the campus even after dropping out.)

In short, this is the middle-aged Romeo and Juliet and, despite all of the good actors in the cast, it’s impossible not to notice.  There were few Golden Age actors who fell in love with the authenticity of Leslie Howard and Basil Rathbone is a wonderfully arrogant and sinister Tybalt.  Norma Shearer occasionally struggles with some of the Shakespearean dialogue but, for the most part, she does a good job of making Juliet’s emotions feel credible.  As for Barrymore — well, he’s John Barrymore.  He’s flamboyant, theatrical, and a lot of fun to watch if not always totally convincing as anything other than a veteran stage actor hamming it up.  The film is gorgeous to look at and George Cukor embraces the melodrama without going overboard.  But, everyone in the movie is just too old and it does prove to be a bit distracting.  A heart-broken teenager screaming out, “I am fortune’s fool!” is emotionally powerful.  A 43 year-old man doing the same thing is just not as effective.

Despite being a box office failure (it turned out that Mayer was right about Depression-era audiences considering Shakespeare to be too “arty”), Romeo and Juliet was nominated for Best Picture of the year, the second Shakespearean adaptation to be so honored.  However, the award that year went to another big production, The Great Ziegfeld.

Lisa Reviews An Oscar Nominee: Sounder (dir by Martin Ritt)


The 1972 film Sounder follows the Morgans, a family of black sharecroppers living in 1930s Louisiana.

When we first see Nathan Lee Morgan (Paul Winfield) and his young son, David Lee (Kevin Hooks), they’re hunting.  Accompanying them is their loyal dog, Sounder.  As they hunt, two things become very obvious.  Number one, David Lee is a good father who is doing his best to provide for his family under the most difficult circumstances possible.  Number two, the family is desperately poor.  When Nathan finally gives in to temptation and steals a ham to feed his family, the local Sheriff (James Best) shows up at the farmhouse the next day and arrests him.  Nathan is taken away to prison and one of the deputies even shoots Sounder.

Fortunately, Sounder survives and so do the Morgans.  Under the stern but loving leadership of their mother, Rebecca (Cicely Tyson), the Morgan children manage to bring in the season’s crops.  Unfortunately, having to work out in the fields doesn’t leave much time for David Lee to get an education.  When he does go to school, he and the other students listen as a middle-aged, white teacher reads to them from Huckleberry FInn.

After the wounded Sounder finally returns to the Morgan family and recovers from his wounds, David Lee decides that he wants to go to the prison and see his father.  Unfortunately, the sheriff refuses to even tell the family where Nathan has been incarcerated.  None of the white authority figures in town care that the Morgans are struggling or that they’ve managed to bring in the crops themselves.  None of them cares or seems to even understand that David Lee is missing his father.  The sheriff presents himself as being a reasonable man and is never heard to the use the n-word.  Instead, he and every other white person in town refers to David Lee as being “boy,” diminishing everything that he’s done since his father was arrested.

David Lee finally figures out the location of a prison that might (or might not) currently be housing his father.  It’s several miles away.  Accompanied by Sounder, David Lee sets out to make the long journey to the prison.  Along the way, he discovers another school and a far more empathetic teacher named Camille (Janet MacLachlan).  David Lee is forced to make a decision that will effect not only his future but also the future of his family.

Sounder is a heartfelt film.  It’s a film that’s less interested in telling a story with a traditional beginning and end as opposed to just sharing scenes of everyday life.  In this case, it’s the life of family that manages to survive despite it often seeming as if the entire world is arrayed against them.  The film was based on a book that pretty much centered around the dog.  The movie, on the other hand, is more about the family and, despite the fact that the film is still named after him, the dog is pretty much superfluous to the plot.  That said, Sounder still plays an important role because, just as Sounder survives being shot at and remains loyal to the people that he loves, the Morgans survive whatever adversity is tossed at them.  Watching the film, the viewer is very much aware that life is never going to be easy for the Morgans but, at the same time, it’s impossible not take some comfort in the fact that they have each other.  Paul Winfield and Cicely Tyson both give strong performances as the resilient Nathan Lee and Rebecca and the entire film is the type of movie that’ll inspire tears even as it inspires happiness.

At the Oscars, Sounder was nominated for Best Picture, where it provided a gentle contrast to the other nominees, Cabaret, Deliverance, The Emigrants, and The Godfather.  Paul Winfield and Cicely Tyson were nominated for Best Actor and Best Actress, making 1972 the first year in which black performers were nominated in both of the lead categories.  (It was also the first year in which more than one black actress was nominated for Best Actress as Tyson ended up competing with Lady Sings The Blues‘s Diana Ross.)  In the end, Tyson lost to Cabaret‘s Liza Minnelli while Winfield lost to The Godfather‘s Marlon Brando.  And, of course, The Godfather also went on to deservedly win the award for Best Picture.