OSCARS 2023 LIVE BLOG!

7:50 - Welcome once again to Film Thoughts 14th Annual Live Blog of the Academy Awards broadcast! Will anyone get slapped this year? Will Anthony Hopkins inexplicably win Best Actor? Will the correct movie be announced when the Best Picture envelope is opened? Will I want to crush Jimmy Kimmel's head with a rock before the night is over? I can't definitively answer any of these questions assurdedly except for that last one, which is definitely "yes."

Anyway, they had a TikToker on the pre-show tonight, which sounds about right.

7:54 - My internet has been patchy all evening, so if I disappear screaming into the night, that's probably why. Assuming I don't do that for some other reason. Austin Butler's best friend is his agent, which sounds like Elvis' relationship with the Colonel. 

8:00 - My clock says it's 8 o'clock now but I'm seeing a bath tile commercial right now lol 

8:01 - So nice to see The Northman and Nope in this opening montage, two great movies that weren't nominated for anything some reason. 

8:02 - Oh wow, Jimmy Kimmel is doing the Billy Crystal "inserted into the movie" gag thing. This bodes well for the rest of the night! 

By the way, I plan on taking a shot every time someone says the words "Will Smith" or "slap."

8:04 - Alright, making jokes about the Nicode Kidman AMC ad will be evergreen. 

8:05 - Brendan Fraser is just going to be on the verge of tears the entire night, isn't he? And I totally forgot that Ke Huy Quan was in "Encino Man." 

8:07 - Hey guys, did you know that Seth Rogan smokes a lot of pot???

8:08 - If Spielberg wasn't prepared to listen to jokes about his mom cucking his dad, he shouldn't have made a whole movie about it. 

John Williams is almost as old as your jokes are, Jimmy. Hey-o!

8:09 - "Babylon" was good, Jimmy. Fuck you. 

Oh wow, we are doing Nick Cannon jokes? Jesus, this is going to be a long night.

8:11 - Oh, first joke about the Slap! Shots-shots-shots!

Everybody loved "Top Gun: Maverick" but me. But nobody gives a shit what I think. 

8:13 - Second joke about the Slap. But this one was pretty good. 

8:15 - We're already up to like six jokes about the Slap, by my count. You think Jimmy is burning through them all first? That cut to Andrew Garfield made me laugh. 

8:16 - If you don't finish your speech up in sixty seconds, Rama Raos will throw a jaguar at you. 

8:17 - The Rock looking bitchin' in a salmon tux while presenting Animated Feature. I'm glad they aren't making jokes this year about how much animation sucks. 

8:18 - Pinocchio seems to be the favorite to win but I'd love it if Turning Red or Marcel the Shell pull off an upset win. And then there's The Sea Beast, definitely a movie that exists. 

8:19 - Pinocchio is definitely not among my favorite Del Toro movies but I can never complain about that guy getting more statues. I'm glad he's letting the co-director speak first. 

8:21 - Very nice speech, GDT.

8:24 - ABC actually thinks people are going to stay up to 1:00 to watch American Idol.

8:26 - Payakun is going to do a belly-flop on Jimmy Kimmel after he makes a joke about Lo'ak. 

8:28 - Boy, they are really banging the drum for inclusivity tonight? Anyway, give Short Round his Oscar already, you bastards. 

8:30 - Brian Tyree Henry is actually great in "Causeway." He'd be my second choice if Ke Huy Quan wasn't such an irresistible choice. 

YES!!!!

8:31 - I got to meet Ke Huy Quan back in 2018 and now he's an Oscar winner, which is not something I would've guessed at the time. Here's proof:

8:34 - I love Jamie Lee Curtis but I probably wouldn't have even given her a nomination for Everything Everywhere All at Once. There's no way in hell it'll actually happen but Hong Chau is my favorite of these performances. If Angela Basset or Jamie win, those are definitely career achievement Oscars. 

8:37 - Well, Jamie Lee is definitely never coming to Monster-Mania now lol 

She should've worn the hot dog fingers to accept the statue. EEAAO is going to sweep, isn't it? 

8:38 - Hell yeah, Jamie Lee giving a shout-out to horror fans. Prom Night Gang rise up. Gosh, she's so damn adorable. 

8:40 - "Tell It Like A Woman," maybe the most random movie to ever be nominated for an Oscar.

8:42 - As far as deeply mediocre ballads that got nominated because Diane Warren wrote it, "Applause" is honestly one of the more tolerable... But that performance was the definition of over-singing. 

8:48 - Lydia Tar is nominated for her performance as Cate Blanchett. 

Another joke about the Slap! Why is Todd Price wearing a fedora? Does he have a mouthful of Big League Chew? 

8:49 - Very nice of Riz Ahmed to give some kudos to Questlove, who got totally steamrolled last year by everything that happened. 

8:50 - I really want All the Beauty and the Bloodshed to win. But if Fire of Love wins, I won't be too surprised. Overall, the Documentary Feature slate this year was very strong. 

8:52 - Okay... that was unexpected. The Academy voters really want us to know how much they hate Vladimir Putin, I guess???

8:54 - For the record I liked "Navalny" and I hate Putin too. But that wasn't my pick.

8:55 - Rooting for "An Irish Goodbye." A pretty weak slate in this category this year!

I know a lot of people in the one Discord server I'm in hated this one but I thought it was cute and funny. shrugs

8:56 - Happy birthday, James!

8:58 - Micky Mouse holding a gun to the Academy President's head, demanding them to devote time to this trailer. 

9:03 - Give the Oscar to Jonathan Majors' tuxedo jacket. 

9:05 - Cinematography is a real mixed bag this year. I think Deakins is the most talented of all these cinematographers, so my vote probably would've been for "Empire of Light" or "Tar."

9:06 - So EEAAO is going to sweep the big categories and All Quiet is going to sweep the technical categories? 

9:07 - I was really afraid they were going to make Donnie Yen tell a Will Smith joke. Create a Best Stunt Work category, AMPAS! 

9:09 - David Byrne in the hot dog fingers and Raccacoonie appearing made this song getting nominated worth it. 

9:14 - Whatever "The Prank Panel" is, it does not look like a real TV show.

9:16 - The fact that Samuel L. Jackson doesn't have a competition Oscar is motherfuckin' bullshit. 

9:17 - Make-Up is another kind of mediocre slate this year. I fully expect "The Whale" to win, as it's Most Make-Up. But the way "All Quiet on the Western Front" had like visible blood vessels and thinks of that nature through the skin makes it my pick. Amazing, subtle work. 

9:19 - Fully expect certain groups and people to be utterly outraged by this win. 

9:20 - Okay, Morgan Freeman is doing the bald look now. Okay. Alright. 

9:21 - That fade to black there is the kind of technical awkwardness that makes me love live television. 

9:22 - Not a single Loony Tune in this Ode to Warner Bros montage.

Bullshit Arnold GIFfrom Bullshit GIFs

9:25 - Alright, I'm glad at least one donkey was up on stage today. Bring out Eo next! 

9:27 - Get Paul Dano and Julia Louis Dreyfus to host next year. 

9:28 - I would probably vote for "Elvis" but I think "Wakanda Forever" is going to win Costume Design.

Yep.

9:29 - I'm an easy mark for people dedicating their award wins to dead parents so this speech is Good In My Book. 101 years old is a great run. 

9:30 - OH SHIT NAATU NAATU TIME!!!

9:32 - YES DANCING WITH THE SUSPENDERS YEEEAH

9:33 - The scene in "RRR" where all the English ladies push their boyfriends and shout "GO AWAY" in unison made me believe in God. And then Ram taking a fall so his buddy could win the dance contest made me certain God is real. 

9:35 - I hope Ron Perlman was paid well to participate in whatever this stupid advertising campaign is. But I know, in my heart, that he wasn't. 

9:38 - Okay, the "Room tone" joke made me chuckle. 

9:40 - Gotta admit that the boardcast tonight has been pretty slow and boring and also low-key exactly what I want the Oscars broadcast to be. If it wasn't for all this promotional shit, I'd be fine with all of this so far. 

9:41 - And now introducing the two sexiest people in the world. 

9:42 - "All Quiet on the Western Front" is fated to win but "Close" is my personal choice. The Best International Feature slate this year is extremely strong. 

9:43 - I like this guy's accent. 

9:50 - "The Fabelmans" is so good. I want it to win Best Picture. Another joke about the Slap. I don't appreciate the jokes about the show being too long because they don't want to cut shit.

9:51 - "Haulout" probably won't win but I really want it to. 

9:53 - At least the mildly racist "Strangers at the Gates" didn't win. That lady wore her best suri and everything and they are just trying to play her off the stage. So fucking rude! 

9:54 - The Boy Etc. was extremely not good. Literally everything else would be preferable.

"My Year of Dicks" was robbed!!!  

9:56 - I can't tell if Charlie's inarticulate rambling is cute or hilarious or annoying. His dog is in a hotel, you guys. 

9:58 - And now presenting a close-up on Lady Gaga's face. 

10:00 - The Oscar broadcast invoking MTV Unplugged for some reason tonight. 

As far as Lady Gaga power ballads go, "Hold My Hand" is pretty good. But I swear to god, if "Naatu Naatu" doesn't win... 

10:01 - The ode to Tony Scott is very classy though. I appreciate that. 

10:03 - Very bold of the Academy to push all the stupid-ass skits to the commercial breaks this year...

10:06 - Hugh Grant's scrotum face just walked away with this entire show, I think.

10:08 - "Babylon" is my pick for Production Design but I don't think most people liked that movie. 

10:09 - It's a great night for German accents. 

10:11 - "Babylon" and "Banshees" both had excellent scores. In fact, all five of these are really good. 

10:12 - Wow, "All Quiet on the Western Front" and "EEAAO" really are going to sweep tonight. 

10:22 - Holy shit, "Cocaine Bear' is at the Oscars. And it sounds like Elizabeth Banks has been up all night doing cocaine. 

10:23 - This is officially my favorite terrible gag at the show tonight.

Not to be a dick about this but I thought the visual effects in "Wakanda Forever" were, as the kids say, "mid."

10:24 - "The Way of Water" winning Best Visual Effects was a slam dunk. 

10:26 - "We need to thank our..." BWONNNG

Die in a grease fire, Jimmy. 

10:27 - Wow, she's so uncomfortable.

When the people on Twitter are getting bigger laughs than the host...

10:30 - Like this is pretty and all but, seriously, if they snub "Naatu Naatu," I will never stop raging. 

10:32 - Okay, actually, I think I hate this song now. If it wins, I will DEFINITELY hate it now. 

10:36 - The amount of vitriol directed at EEAAO on Film Twitter has recommitted me to spending less time on Twitter. Like, I get it if it's not your thing but the sheer intensity of the hatred is fucking weird.

10:37 - FUCK YEAH JAMES HONG 

10:38 - "Nerds who sit in front of their computers all day, otherwise known as writers." Accurate. 

10:40 - The Daniels winning Original Screenplay and then Spielberg getting Best Director is a compromise I'm willing to entertain. 

10:42 - Okay, see, how can you hate these sincere nerds? They seem really nice! I'm glad they won. 

Feels like "All Quiet..." has Adapted Screenplay at this point. I probably would've voted for "Glass Onion." 

10:43 - They went with the political choice, I guess. "Women Talking" is good. Did the Mouse force the Oscar voice over lady to say "One Magic Christmas" is a "Disney classic?" 

10:46 - "A special appearance from Lenny Kravitz" feels like a threat. 

10:50 - See, I didn't like "Maverick" but you don't see me being a dick on social media about it. 

On behalf of a grateful nation, we thank you for blowing up that power plant build by... Some country.

10:51 - Every single joke Jimmy is telling tonight is a fucking flop.

Got the feeling "All Quiet" is going to walk away with the Sound award but that's the category I must think it deserves. 

10:55 - You're welcome, "Top Gun: Maverick" Sound Guy. 

NAATU NAATU TIME YOU FUCKERS DON'T JERK ME AROUND

10:56 - YES YES YES

10:57 - Oh my god, yes! Fuck yes! The Best Song winners should always have to sing their acceptance speeches. 

10:58 - Beloved star of "The Fanatic," John Travolta. 

10:59 - If I become a famous film industry person and then die and get included at the Oscars In Memoriam montage, please do not let Lenny Kravitz sing over my name. 

11:01 - Angelo Badalamenti was a real one. Miss him. 

11:06 - Lots of great editing on the slate this year! I feel like EEAAO will get it and deserves it but almost any of these choices would be fine by me. 

11:09 - That was your second movie, dude? Holy shit. 

11:11 - Last chance to give that plucky newcomer Steven Spielberg an Oscar tonight. 

11:12 - I like these guys. They seem nice and they make good movies. 

11:14 - "I will love you no matter what." See, he loves his son! I like that. He's nice! It's okay. 

11:19 - Outlaw Jimmy Kimmel 

11:20 - I mean this with all due respect, ladies: You look very nice tonight. 

11:21 - Austin Butler would've gotten my vote, if they allowed me to vote. But I'm still kind of rooting for Fraser. 

11:23 - Didn't really like the movie that much but I'm glad he won. It's a great come back story. He's earned that award. 

11:24 - Gosh, I'm getting tears in my eyes from this acceptance speech. He's really having emotions right now. I just want to give him a big hug, you guys. 

11:26 - I kind of want them to give it to Andrea Riseborough or Ana de Armas just to see how folks would melt the fuck down over it. But in all seriousness, it should be Blanchett. 

Wow, uh, they really went with the moment right before the rape scene for de Armas' Oscar clip? Uh okay. That's a choice. 

11:28 - I can't, in all good conscious, be mad about Michelle Yeoh winning an Oscar. Even if I'd have ranked her like third on my personal ballet. It was a really good performance in a movie I liked a lot! But, once again, I feel like this win is more of a career achievement award than anything else. 

11:31 - "The movies are BACK, y'all" is the big uniting theme tonight, it seems. 

11:32 - We need some more of Harrison Ford's dgaf attitude tonight. He's too invested. 

11:33 - Not a single surprise tonight in any of the big categories. 

11:34 - "Everything Everywhere All at Once" would not have been my choice for Best Picture but I enjoyed it a lot. And it getting Michelle Yeoh, Ku Huy Quan, and James Hong up on the stage together is pretty neat. 

11:37 - It's amazing how relatively smooth the broad cast goes when you don't try any stupid bullshit like cutting winners out of the show or not performing all the songs! Normal people will say this was boring and it was boring but I'm a movie nerd so I liked it. 

Thanks to anyone who has read my bullshit this month. It's over! 

OSCARS 2023: Final Reviews Round-Up

Once again, the night of the Oscars ceremony is here and I've just barely watched everything that was nominated. The fact that this is more than most of the actual Academy voters attempt does make me feel a little better. Here's my thoughts on everything else I've seen that I just didn't have the time or inclination to write a full review of. I previously reviewed "Black Panther: Wakanda Forever," "The Batman," "Avatar: the Way of Water," and "Pinocchio." If you're wondering where my review of "The Fabelmans" is, it'll go up whenever I finish my Steven Spielberg retrospective. Whenever that will be. Anyway, come back at 8:00PM EST for my annual live blog of the broadcast!

All That Breathes

The most effective element of this documentary is showing how polluted and torn apart by political turmoil New Delhi is. The opening shot of rats crawling over the streets, or the subtly conveyed growing pressure of national discontent, make those ideas clear. I do wish this unusually quiet film focused more on the inner life of the men determined to save these birds. We only get a little insight into their personal motivations and thoughts, via some too brief narration. Moreover, I wish this was about the birds themselves more. Ostensibly the main topic of this doc, the black kites feel pushed to the margins too often. [6/10]

Argentina, 1985

Handsomely produced courtroom drama with strong cinematography and solid pacing, that heats some totally expected emotional beats but makes everyone inspiring. Richardo Darin's lead performance is fantastic, the emotional heart of a story with many political ramifications. The testimonies of human rights abuse under the Military Junta's rule are harrowing, though I do wish a little more time was spent with the generals themselves, to give non-Argentinians a better idea of what our heroes were up against. [7/10]

Close

One of the best films I've ever seen about the masculine need for emotional and physical intimacy and the shame associated with showing it. So keenly observes the way boys invent hyper-macho personas for themselves to cover up any perceived vulnerabilities. The story only grows more heartbreaking as it goes along, until a deeply cathartic final scenes. The young actors are both fantastic and the filmmaking is unobtrusive. The symbolism of the flower farm might be a bit much but otherwise this was brilliant. [9/10] 

Empire of Light

Not the disaster I've read but it's definitely a bit muddled. Is this a movie about the magic of movies? Not really, as that element feels shoved in at the last minute. The reflections on race feel p
retty clumsy. When focused on Olivia Coleman's character and her struggles with mental illness, I found some things to like her. Coleman has an unhinged, manic monologue that struck me as pretty true to life. The romance story build around that plot point is cute, if never developed much. And Roger Deakins' cinematography is fucking gorgeous, the film aglow with warmth and an amazing use of light and shadows. [6/10]

Everything Everywhere All at Once

What I loved about this is how it handles massive themes, like feeling insignificant in the vastness of the universe or the ripple effects of every choice we make, alongside highly personal concepts, like the power of kindness or love connecting us all. This is tied to an amazingly zany sense of humor, always throwing increasingly wacky sight gags while wildly creative instincts direct every aspect of the story. An ode to the sheer scope of Michelle Yeoh's talent and a rebirth for Ke Huy Quan. [9/10]

Mrs. Harris Goes to Paris

Well, this was adorable. Lesley Manville makes for a protagonist you can root, if only because her actions seems so genuinely sweet. Seeing her break out of her shell and come into her own is worthwhile. Yes, those Dior gowns look splendid and the movie, in general, has a perfectly presented and charming appearance. Every single event that happens in the story can be easily predicted from minute one but the entire concoction is so fluffy and nice to look at that you don't mind at all. [7/10]

The Quiet Girl

The Academy must really love the Irish countryside this year! This is an incredible sweet and quiet film, watching its characters go about their lives with no judgment or contrivances. Watching the titular character slowly be accepted into the hearts of a new family are touching, in a soft way. The performances are down-to-earth and realistic. It's also almost unbearably slow at times, no matter how touching it ends up being. [7/10]

RRR

The manliest movie of the year, this is pure entertainment from beginning to end. The over-the-top action scenes continuously top themselves in terms of ridiculousness. A musical number/dance-off in the first half ranks among the most joyous cinematic moments of 2022. The bro-mance at the film's center is hilariously overwrought and amusing. Undeniably jingoistic, with its cartoonishly evil colonialist villains and ra-ra final song, but I admire its spirit. The three-hour run time sags a little in the middle but it perks back up for the absolutely bonkers finale. [9/10]

The Sea Beast

Chris Williams is really repeating himself here. Red looks and acts a lot like Toothless, while Blue was clearly inspired by Stitch. Yet the giant monsters are still the highlight of this motion picture. It's certainly not the characters, who remain shallow sketches with utterly generic arcs. The story is thematically muddled, with too much pontificating about peace and heroes, while the exact rules of this world never solidify. (This is especially true about a very confusing sequence involving a witch.) [5/10]

Turning Red

Anybody who thinks the amazingly specific sense to the setting, characters, and story is anything but a huge benefit to it is a dense motherfucker. I love so many of the animation quirks here, the details in the face. The influence of anime and manga led a special zing to several key moments. The relationship between the central four characters is totally delightful. The emotional climax to the mother/daughter story arc is extremely well done. Generally speaking, this is a really funny, beautifully animated, breezy flick. Oh, and the songs are really catchy too. [9/10]

OSCARS 2023: The 2023 Oscar Nominated Documentary Short Films

The Elephant Whisperers (2022)

Set in the Mudumalai National Park in South India, “The Elephant Whisperers” focuses on Bomman and Belli, two members of an indigenous tribe who have devoted their lives to caring to elephants. They are officially licensed by park officials to insure the protection and care of these animals. They adopted an orphan elephant named Raghu when he was a baby, in poor health and malnourished. The two soon form a strong bond with Raghu, considering him part of their family. Later, another orphan named Ammu joins their tribe, which initially leads to some tension between the two pachyderms. Yet the special connection between humans and animals sees them through this difficult time. 

“The Elephant Whisperers” is both the longest and the slowest of the nominated shorts. There are definitely moments here worth seeing. Elephants are extraordinary animals that I am very fond of. Seeing them pick up bells with their versatile trucks or interact with their human friends are often touching. The bond Bomman and Belli share with Raghu and Ammu is truly something special. Seeing the pure trust these massive animals have with their humans is very inspiring. Plus Ammu is just really cute, a fuzzy little guy that has a youthful energy. 

Unfortunately, “The Elephant Whisperers” is so focused on its observational goals that it doesn't have much narrative drive. This is a documentary very much devoted to just watching people go about their lives, interacting and discussing their beliefs. The pacing is glacial and not a whole lot happens over its forty minute run time. About the only truly driving events in the story are the forest fires during the summer months and a time when Bomman and Belli are separated from Raghu. I'm not opposed to documentaries that simply depict normal life as it unfolds. (In so much that a life spent with elephants is “normal.”) Yet “The Elephant Whisperers,” with its soft musical score and gentle characters, mostly just made me sleepy. The strongest parts of this short could've been conveyed within ten or fifteen minutes, making “The Elephant Whisperers” feels needlessly padded out at times. [6/10]

Haulout (2022)

“Haulout” follows a man living alone in a ramshackle shack on a desolate beach in Siberia. It seems to be a solitary existence until they arrive. Overnight, literally every inch of the beach is filled up with 95,000 walruses. This affords the researcher an up close and personal chance to study these animals. It also means he's trapped on this beach, surrounded on all sides by huge animals with pointed tusks. This is the life of marine biologist Maxim Chakilev, who has been doing this for a decade. The documentary observes him as he takes notes on the creatures and goes about his day-to-day business in this utterly inhospitable location. 

“Haulout” features what is assuredly one of the most unforgettable shots out of all of this year's Oscar-nominated films. After seeming totally alone for the first few minutes, Chakilev is awoken in the middle of the night by a cacophony of animal grunts. He steps up to a window, turns on a light, and is suddenly surrounded on all sides by horny walruses. It's quite a sight, emphasized shortly afterwards by an aerial drone shot of the utterly packed beach. Harrowing as the situation is – we see the walruses jab each other with those massive tusks – I couldn't help but react with laughter. Chakilev is a totally deadpan protagonist, silent and unshakable. (With his handlebar mustache, he looks a little like a walrus too.) The walruses lock eyes with him or wiggle into his personal space, causing him to push the huge animals back with a broom. It's such an absurd situation, being knee-deep in the Walrus Pit, the kind of unlikely scenario you'd never expect to see but is nevertheless totally real.

As quietly hilarious as “Haulout” can be, this is not just a documentary about the wonders of the natural world. In fact, it has quite a sad ending. After the walrus orgy ends, Chakilev wanders the beach, documenting the dead bodies left behind. This scene gives you a clear idea of how massive these animals can be but also how vulnerable they are, as Chakilev finds a walrus baby clinging to its mother's corpse. The title card reveals, unsurprisingly, that this mass gathering of bodies is a result of climate change. Darkly funny and filled with one-of-a-kind visual, “Haulout” makes it point succinctly and powerfully with no narration and little dialogue. [9/10]

How Do You Measure a Year? (2021)

After getting nominated for the widely loathed “When We Were Bullies” in 2022, documentarian Jay Rosenblatt is back this year. Every year on her birthday, from the time she was two until she was eighteen, Jay would interview his daughter, Ella. Each year, he asks her the same questions. Over the course of a half-hour, we watch Ella grow up from a little girl to a young woman. We see her interests change and evolve, along with her outlook and opinions on the world. She develops a love for animals and singing, showtunes and sign language, while frequently referencing the sometimes testy relationship kids have with their parents. 

I was a little kinder to “When We Were Bullies” than most people seemed to be. I don't know if I have a more charitable opinion of Rosenblatt or whatever. I do think “How Do You Measure a Year?” is a pretty cute premise for a documentary. It gets a lot of mileage just out of Ella's natural adorableness. As always, truth comes from the mouth of babes, as little Ella says all sorts of amusing, baffling, unexpected things. Watching her grow up into a little girl with an interest in singing and dreams of stardom is absolutely charming. When she enters her “Hannah Montana” stage, or develops a fondness for musicals, it reminds me of everything kids go through. We each have those moments of intense fascination for some bit of pop culture debris or another.

Seeing these yearly clips back to back also gives us a microscopic peek at how people grow up. One moment, Ella is a care-free little kid and the next, she's a moody teenager who seems barely disinterested in talking. Yet, as she ages into a young adult and prepares to put this yearly ritual behind, she gets a bit sentimental too. It's cute, watching those changes happen and seeing Ella grow up so totally within the spans of a few minutes. I don't know if “How Do You Measure a Year?” really gets into its chosen topics in any particular depth. Certainly more could have been done with the idea. But it's also a lot shorter than “Boyhood” while touching on a lot of the same concepts. [7/10]

The Martha Mitchell Effect (2022)

The fourth of the nominated documentary shorts takes us back to the days of the Nixon administration. It focuses in on Martha Mitchell, the outspoken wife of Attorney General John N. Mitchell. After Mitchell joins the Nixon cabinet, his wife quickly gains a reputation for speaking openly and candidly about political topics. This makes her a media celebrity. Despite initially being a fan of the president, even working on his re-election campaign, Martha is soon made privy to a plot to undermine the election process. Upon speaking out, she is detained, labeled insane in the press, demonized, and soon proven to be right.

The word “gaslighting” is certainly one of the most discussed terms of our time, as women the world over finally have a word to describe behavior that has long been observed. The story of Martha Mitchell allows us to see a media-wide version of gaslighting. Martha Mitchell was arrested by government agents, drugged, and left with bruises on her body. Stories leak to the press about how she's mentally unwell or an alcoholic. The men around her claim she has a serious, but unspecified, problem. Of course, Mitchell's claims about Watergate were true and she was later justified, becoming a beloved figure again. To the point that the title of this documentary is taken from an observed psychological effect, where someone deemed delusional is later proven to be right.

It's a good story and one told well here. Directors Anne Alvergue and Debra McClutchy do a good job of assembling archive footage into a compelling whole. The way news footage, vintage audio recordings, more recent interviews, and clips from television are put together are clever. A colorful, forthright figure like Martha Mitchell does make a strong protagonist to build a documentary around. It does bother me a little that she was fine, even supportive, of Richard Nixon's policies until his paranoia started to effect her personally. But it sounds like she came around to the right side of history eventually, so I guess it's okay. [7/10]

Strangers at the Gates (2022)

Set in Muncie, Indiana, “Strangers at the Gates” revolves around the local mosque and Islamic community center. It tells the story of Richard “Mac” McKinney, a former Marine who developed an intense hatred of Muslims after returning home from years spent overseas in Afghanistan. Behind the back of his beloved wife and stepdaughter, McKinney begins to plot a hate crime. He builds a bomb and intends to blow up the building. Before committing this heinous act, he visits the mosque and is surprisingly welcomed with open arms. Slowly, his viewpoint begins to change and he reconsiders his plan. 

“Strangers at the Gates” has a nice message. It shows how a person can change from being full of hate to being more accepting and peaceful, just through simple acts of kindness. However, the short goes about telling this story in an incredibly frustrating way. It slingshots between tonal extremes. The Muslim families and members are presented as always sunny, loving, and kind. Anytime McKinney is interviewed, the music gets dark and suspenseful. The filmmaker always frames McKinney to look like a serial killer and we get several clips of his ex-wife being on the verge of tears. It really seems like McKinney went through with his plan to become a mass murderer. Of course, this is not the case. After being accepted by the members of the mosque, McKinney abandoned his plan, converted to Muslim, and now attempts to put his hateful past behind him. 

This is not only an incredibly manipulative way to present this story, it also does not delve into these events with the depth they deserve. McKinney outright attributes his Islamophobia to his time spent in the military. The documentary never gets into how the military trains young recruits – McKinney was 18 when he joined the marines – to see other human beings as subhuman things worthy of hate and extermination in any meaningful way. The filmmakers seem to approach McKinney's initial intense hatred of Muslims and his plan to become a mass murderer with a lack of gravity. Moreover, the local Muslim community accepting him and even forgiving him is shown as nothing but a light-hearted story. Surely some mosque members were terrified to hear that this man wanted to kill them all and nearly went through with it? Moreover, do we really want to send the message that the onus to forgive hatred and prejudice is on those discriminated against? “Strangers at the Gate” has a powerful idea at its center and could have explored these themes in a way that would've revealed a lot about American culture. Instead, it went in a shallow, feel-good direction and burdened itself with a misleading structure. [5/10]

OSCARS 2023: To Leslie (2022)

When “To Leslie” arrived in theaters last October, it received little attention. The reviews were glowing, with Andrea Riseborough being praised. Yet few people saw the movie and it grossed a pittance at the box office. The film was destined to be overlooked and the production company certainly didn't have the funds for an award season campaign. Instead, director Michael Morris – a TV veteran making his feature debut here – organized a grassroots campaign focused on reaching out to famous friends, to organize screenings. The tactic worked and Riseborough received a Best Actress nomination. Some thought the campaigning tactics were unethical and that Riseborough's nomination came at the expense of other, more deserving performers. It can be hard to separate a film from this kind of political shenanigans. Yet what else can I, as a random film nerd here on the internet, do but attempt just that? So here's my thoughts.

Leslie, a native of West Texas, won the lottery six years ago. She wasted the entire $190,000 fortune on booze and drugs. Her reputation ruined and still drinking heavily, Leslie reaches out to her now adult son, James. Her behavior quickly sees him kick his own mom out, Leslie staying at a friend's home. This arrangement also soon goes south, leaving Leslie homeless. She ends up at a ratty motel, run by a trusting man named Sweeney. Leslie continues to struggle with her addiction and the ruins she's made of her life, while holding out hope for a better future.

What most impressed me about “To Leslie” is its sense of place. The film was supposedly inspired by the screenwriter's own relationship with his mother, suggesting this is a highly personal story for him. You can see that in the final product. Every place in this film feels lived-in. The countless bars Leslie drifts through, the cramped apartments, the flea-bitten motel: All these feel like real locations. There's an impressive sequence where she walks down a street, the camera watching carefully, as she passes in front of different bars, each playing a different genre of music. You get the repeated impression that hanging out and drinking are the only things to do in this town. That a festival appearing, later in the film, is a major event for the locals. I've never lived in Texas but I have lived in towns like this. I recognize a lot of true-to-life details here.

It's a town full of lost souls. Sweeney's co-worker, Royal, is a burned-out acid head with a vaguely referenced history of his own. Even though Leslie's former friends, Nancy and Dutch, give her a lot of shit, they still hang out in bars a lot too. Somewhat inevitably, a seemingly kind stranger tries to force himself on Leslie at one point. Yet, no matter how big all the other fuck-ups are around here, Leslie is still somehow the biggest. It seems the entire town blames her for throwing away her one chance to make something of herself. Andrea Riseborough's performance truly is extraordinary, as she shows every regret and mistake on her distinctive face. When she's at her lowest moment, begging a handsome stranger in a bar to pay her compliments, your heart can't help but break a little. 

Some have accused “To Leslie” of being misery porn, of lingering excessively on how pathetic its main character is and piling mistreatment on her. Yet the film avoids this distinction in an important way. Yes, things get bad for Leslie, she screws up, she gets chewed up and spit out. Ultimately though, no matter how much everyone else dismisses her, she finds another chance with Sweeney. Played by an unusually mellow Marc Maron, it's clear early on that he likes her. He gives her an umpteenth chance, showing her kindness and love when everyone else has tossed her away. And that's when “To Leslie” moves towards being surprisingly touching. If a grade-A fuck-up like Leslie, who has drank away every opportunities she's been given, isn't beyond love... If someone like that can be forgiven, get another chance, and prove themselves... Then all of us are worthy of love. 

In other words, no matter how dark and depressing “To Leslie” gets, it does have a happy ending. One that it definitely earns. That makes it more than feel-bad drudgery. Powered by a searing, soul-bearing performance from Riseborough, it's a touching indie drama with humble ambitions. Personally, I'm glad that Riseborough – who has done fantastic work in other overlooked movies – is finally getting her due on a big stage. Moreover, I actually welcome a tiny film like this getting some love from the Academy. You can squabble all you want about who deserved it more. I won't be surprised if campaigning rules get an overhaul by next year. But I think Riseborough, and “To Leslie,” deserved that nomination. [8/10]

OSCARS 2023: Living (2022)

White people have a proud tradition of ripping off Akira Kurosawa movies. Whether it's “The Magnificent Seven” moving “Seven Samurai's” story to the wild west, or “Star Wars” basing a few characters on “The Hidden Fortress,” the Japanese master's work has provided inspiration for years now. I guess if you're going to steal, steal from the best, right? Kurosawa himself had that philosophy, what with “Yojimbo” being inspired by “Red Harvest” and his numerous riffs on Shakespeare. The cycle continues this year with “Living,” a riff on Kurosawa's “Ikiru.” (Which itself drew inspiration from Tolstoy's “The Death of Ivan Illych.”) “Living” was actually pushed into development by a Japanese author, acclaimed novelist Kazuo Ishiguro providing the script. That level of prestige no doubt contributed to the movie's critical success, which is probably how it received two Academy Award nominations.  

Rodney Williams is an elderly English fellow, working as a low-level bureaucrat in 1950s London. His unassuming life is interrupted when he's given a terminal cancer diagnosis from his doctor. Stunned, he decides not to tell his son and considers suicide. Instead, he withdraws half his life savings and stops going to work. Deciding to “live a little” before his life ends, he goes out for a night on the town with a young writer he meets and takes a much younger former co-worker out to lunch. With his remaining time slipping away, Williams decides to contribute a little bit of good to the world before he passes on, something his colleagues reflect on after the fact.

Based on its plot synopsis and the Academy's general taste, I expected “Living” to be a soft and sweet little British film. This is not a totally incorrect presumption yet I was still a bit taken aback by how quiet and considerate “Living” is. There's several long stretches without any dialogue at all. Instead, the film focuses on Bill Nighy's face as he thinks about what the right course of action is, whether it's internally debating whether to tell his son or his reaction after his younger friend takes him to an exotic dancer. The musical score is quiet and not intrusive. Music actually plays a vital role in “Living,” as there are several notable moments devoted solely to Williams warbling off folk songs. This is a movie full of sighs and long pauses, especially concerned with the weight of quiet conversation and the consequences of our actions.

Bill Nighy is one of those beloved character actors, always reliable to bring a little bit of class or energy to a movie, no matter how dire it might be. I certainly associate him more with scene-stealing, sarcastic comedy – in projects like “Love Actually” or “Shaun of the Dead” – than I do serious dramatic roles. Yet “Living” is a display for Nighy's considerable skills as a performer. Nighy says  a lot just with a look or his body language. You totally buy him as an old man, at the end of his life, considering whether he's wasted the time he has or what kind of legacy he'll leave behind. You definitely buy him as an old man, so consumed by his daily routine that he's forgotten about the impact he can make. When Nighy gives a wry little chuckle or a small smile, it's really earned. This is most evident during the frequently delightful, often deeply melancholic scenes he shares with Miss Harris, the younger co-worker you suspect he has a bit of a crush on.

I was a bit caught off-guard by “Living's” structure. I don't think it's a spoiler to say that Williams dies before the film is over, though it happens with about a half-hour left to go. Instead, the final act of the film is devoted to his former co-workers and family members reflecting on the man's life and the effect he had in his final weeks alive. The conclusions they draw are maybe stated a little too plainly. Sometimes, it feels like “Living” is stating its themes and points directly to the audience, instead of showing it through the narrative and interactions. But it's an awfully nice message. “Living” ends things in a very sweet place, touching the audience without being too sappy or maudlin about things. 

I've never seen “Ikiru,” so I can't compare “Living” with it directly. From what I've read, this is a respectful remake, if perhaps a little too wispy. Nevertheless, I'm glad I watched it. Nighy gives a wonderful, gentle performance and I'm happy it got some recognition from the Academy. It's a handsome production, with nice costumes and thoughtful cinematography. I'm glad that contemplative projects like this can still get made and seen on a wide basis. “Living” doesn't break any new ground but it made me smile, made me a little sad, and made me think about some stuff. Sometimes that's all you need. [7/10]

OSCARS 2023: Tár (2022)

We're so used to awards bait movies being biopics. When a movie about a genius with a difficult personal life came along last year, it was perhaps forgivable to assume it was based in reality. No, Lydia Tár is not a real person. But I know so little about composers in the modern age of classical music that I would probably believe you if you had told me she was. Todd Fields' return to cinema, sixteen years after “Little Children,” “Tár” doesn't necessarily go out of its way to dissuade this notion though. The film opens with an interview between the fictional  Tár and real life NPR correspondent Adam Gopnik, listing off her countless achievements. It weaves various other real life figures, places, and concepts in and out of its story from there. Fields seems to be saying that Lydia Tár may not be real but she very easily could be. 

So who is Lydia Tár anyway? She is the first female conductor at the Berlin Philharmonic, currently doing a series devoted to Mahler. She is the most successful woman conductor in history, a superstar in the world of classical music. Lydia – a gay woman married to Sharon, her concertmaster, who she has a young daughter with – does not consider her gender notable. In fact, she's opposed to gender politics. As she begins the Mahler series, and preps the release of a new book, she becomes fascinated with Olga, a young cellist. The blatant favoritism she shows towards her does not go unnoticed. At the same time, the news leaks that a former student of  Tár's – that she seems to have had an affair with – killed herself. The girl's parents are suing Lydia. Soon mired in controversy, Lydia Tár finds her personal and professional life imploding. 

It is somewhat reductive to refer to “Tár” as a movie about cancel culture. It's also not an entirely wrong statement. The story of Lydia Tár forces us to grapple with the same question that so many high-profile cancellations have: How long do we let extraordinary talent excuse shitty behavior? Lydia Tár is a liar and a manipulator, who uses the power afforded by her position and fame to abuse people for her petty wants and desires. How much of a sexual predator she is exactly is left ambiguous, though it seems probable. More than anything else, she's a raging egomaniac, who thinks she can get away with all of it. Her pompousness makes it inconceivable to her that the people around her notice that she's doing these things. 

Yet she's also, unquestionably, a genius. This is apparent from the very first scene, where all of her qualifications are listed off and she responds brilliantly to each question. In probably the key sequence of the movie, Lydia teaches a class that soon degrades into her badgering a young composer-in-training who dismisses the classic masters because they were all racist old white guys. Perfectly conveyed in a single shot, it shows how utterly precise and biting Tár's wit is while never making us doubt that she's a huge jerk. She's one of those modern pop culture figures, who thinks themselves protect by their vaulted position in life, that can't even imagine that she's wrong. Lydia Tár never thought being a woman or gay held her back, so why should it go for anyone else? She doubles down, instead of ever having a moment of self-reflection. This certainly reflects her self-image as an impeachable genius, who looks down on young people as “robots.”

This makes “Tár” a thoroughly modern tale of our times, about those who abuse their power and the attitudes they have. Yet it's also a classical story of hubris destroying someone, a self-conscious tragedy about a genius brought low by their own ego. Cate Blanchett, never less than utterly brilliant and perfectly considered in every way, does not play her as an honorable anti-hero. The film is too honest about her countless flaws. Yet it does tell Tár's story in-context. In the final minutes, we are given an understanding of where she came from and what she sacrificed to get there. We see her be warm with her daughter, who she is deeply protective of. Blanchett makes Lydia a thoroughly complex, fully formed person. She is too totally human not to be, if not sympathetic, than at least understandable.

In bewitching sequences that push the film towards the margins of the horror genre, it becomes clear that Lydia is well aware of what's coming for her. While on her morning jogs, she hears a woman screaming in the distance, a mysterious moment that is never explained. She's awoken in the middle of the night by strange noises, finding objects in the house askew. Nightmares of Krista, the former lover who committed suicide, haunt her at nights. Maybe the most unsettling scene in the film has Lydia dropping Olga off at her apartment, only to be chased through the darkened building by an unseen dog. These moments are haunting and tense, supported by the sparse musical score and exacting cinematography.

I'm sure a hundred other reviews have made the observation that “Tár” is so precisely directed by Fields and his team, that it could've been conducted by Lydia herself. Probably the most powerful cut points right up at Lydia at the podium, right before the thundering first cords strike up. Fields utilizes many long cuts, such as in that immediately iconic class room sequence, with a deliberately watching camera. Everything about how the movie looks and sounds – How the hell didn't this get a Best Sound nomination? – is meant to put us into the very specific head space of this character and the world she inhabits. There's even an increasing sense of cosmic humor, as Tár spirals towards a suitably ironic fate, a personal hell of her own making.

“Tár” has emerged as the Film Twitter/Letterboxd Bro favorite of this year's Best Picture nominees. I'm not surprised about that, since this is exactly the sort of movie that rewards multiple re-watches and a meticulous attention to detail. But, like, it's really good. I can't deny that. It's a little too long and slow in spots but the precisely weaved spell “Tár” creates eventually got to me. Blanchett is utterly brilliant, the movie is fantastically assembled, and it repeatedly surprised me all throughout. Good shit. You should see it too, if you haven't! [9/10]

OSCARS 2023: Women Talking (2022)

The #MeToo movement had a direct effect on the American film industry. It forced an entire system that just took sexual abuse as an unfortunate but tolerated, maybe even accepted, part of the woodwork for decades to confront the lives destroyed by that tolerance. To be honest, Hollywood is still trying to figure out how to grapple with its dirtiest open secret being exposed. (While the revealing of predators and pervs goes on to this day.) A direct attempt to fictionalize the campaign largely went unnoticed by critics and audiences. “Women Talking” is not directly about #MeToo but it’s impossible not to think of Sarah Polley’s film as informed by the movement. This one broke through more, earning two Oscars nominations, including a coveted Best Picture nod.

“Women Talking” is based off a novel by Miriam Toews. That book was inspired by the “ghost rape” cases of Bolivia, where women in an isolated Mennonite community were drugged with animal tranquilizers by the men around them and then brutally assaulted. Before the perpetrators were caught in the act, the women were told the rapes didn’t happen or were performed by demons. “Women Talking” begins with the attackers about to return to the village from prison, the women of the community being told they must forgive their rapists. Instead, they gather in the barn loft and put it to a vote. They will either do nothing, stay and fight, or leave. They debate about what to do, while one of the few remaining men in the village takes the minutes. 

“Women Talking” is rather stage play-like in its construction. The majority of the film takes place in one location, the hayloft, and the most of the runtime is taken up by the many characters discussing and debating. (Which makes the title a rather literal description of what happens.) Also like many a piece of theater, “Women Talking” is clearly not just about its story. The Mennonite community is essentially all of human culture in microcosm. The sexual assaults represent all abuse that women have suffered at the hands of men over the millennia. Each of the characters and their opinions stand for the various opinions women can have about this state of affairs. Some of the women, like Claire Foy’s Salome, demand violent retribution against their attackers. Frances McDormand, in a glorified cameo as a character only named “Scarface,” accepts the men’s decision. Most everyone else debates the how and why of these events, how it effects their faith and outlook on life, and where to progress from here.

When your story features characters who are less fully defined personalities than they are symbols for a certain point-of-view, it can be hard to warm up to a movie. It doesn’t help that the Mennonite fashion sees all of the women wearing identical, drab black dresses with similar haircuts, making it tricky to tell everyone apart sometimes. Polley’s film really gets into the ethics of how to respond to these very relevant, real life happenings – that men abuse and assault women – that effects millions of women all around the world. She even goes so far as to include a transman in the narrative, someone who transitioned after his assault and took a partial vow of silence. I don’t think Polley and her movie intends to speak for all women, all survivors of rape, but it certainly tries its hardest to cover as many of the bases as it can. This is not just a narrative but very much an attempt to figure out a response to the fact that men hurt and rape women with startlingly frequency. 

As a man, I think my thoughts on this topic are the last ones that matters. I genuinely do not feel smart enough to really discuss “Women Talking’s” importance or reflection on society. Yet the question couldn’t help but linger in my brain: What should be done? It’s not exactly a spoiler to stay that the women eventually decide leaving and starting anew elsewhere is the best option. Getting into the practical matters of this decision are compelling. What do they do with their children? Do their sons pose a threat to them? Will the boys carry on the sexist legacy started by their fathers? Do the women themselves, thoroughly indoctrinated by the sexist attitudes of their elders, hold some guilt for accepting the crimes as they were happening? It’s a really complicated dialogue, grappling with ideas like slut-shaming and internalized misogyny. Not to mention matters of faith raised by the religious background of these women. 

For whatever my opinion is worth, I think Polley and her team tackle these ideas with as much tact and thoughtfulness as possible. We only ever see the aftermath of the assault, the bruises and knocked-out teeth being brutal enough on their own. Men are largely excluded from the story, with Ben Whishaw’s August being the sole adult man who is fully seen on-seen and named. Otherwise, the males are depicted as a series of identical overalls. Polley’s approach is somber, with a muted color palette and simple (if graceful) cinematography. Even the musical score is deliberately understated, the movie endeavoring in all aspects never to sensationalize or exploit real life assaults while clearly making its opinion known. 

Yet “Women Talking” is not suffocatingly dour all the way through. In fact, there are frequent moments of humor. The tension of the debates often defuse into laughing. One of the elderly members fearing she is dying after a spirited monologue, only to discover her glasses are just fogged up, is a highlight. There’s room for warmth and grace too. A memory about driving horses over a rough road is beautifully conveyed. August has romantic feelings for Ona, Rooney Mara’s character who is pregnant with her rapist’s child. August subplot plays out in a surprisingly touching manner, that manages to make it clear what men’s position should be in these matters without resorting to “Not All Men” style posturing. 

If it isn’t obvious, “Women Talking” is a difficult film for me to write about. I talk about trashy monster movies most of the time, not serious meditations on the most pressing social issues of our lives. I’m not equip for it. While it is tempting to just evaluate “Women Talking” on an aesthetic level – it’s well assembled in all ways, with an incredibly complicated script that is gamely performed by all involved – I do think Polley finds the humanity here as well. That makes this an important movie with some very pointed things to say. Kind of makes me wish people at-large actually gave a shit about the Oscars, because movies like this are designed to generate discussion. [7/10]

OSCARS 2023: The Whale (2022)

When it was announced that Darren Aronofsky would direct an adaptation of Samuel D. Hunter's play, “The Whale,” the project was met with equal parts excitement and trepidation.  Aronofsky remains a beloved auteur in many circles, though his reputation grown more divisive over the years. The film was spotlighted early on as a likely awards contender for Brendan Fraser, a prediction that has held true. At the same time, “The Whale” was derided even before it was released as fatphobic. A24, a company who pride themselves on selling unsellable arthouse fair to savvy viewers, seemed to base the entire advertising campaign around a single image. This prompted suggestions the project might be a fiasco. When reviews started to roll in, they were mixed, with raves coming alongside accusations that “The Whale” is a miserablist slog. The film remains hotly debated, though the Academy saw fit to give it three nominations. 

Eight years ago, English professor Charlie would leave his wife and daughter, Ellie, to pursue a relationship with Alan, a male student. Due to his family's religious background, Alan would eventually commit suicide. Heartbroken, Charlie would begin to binge eat. Now morbidly obese and confined to his home, Charlie teaches his class remotely and refuses to show his face. His only friend is Liz, his nurse and Alan's brother, who knows Charlie's congestive heart failure will end his life soon. Following an appearance from Thomas, a missionary from the same church Alan came from, Charlie makes one last desperate attempt to reach out to a now teenage Ellie. She still resents her father but, seesawing between hope and despair, Charlie attempts to break through her thorny exterior. 

“The Whale” contains emotions to match the size of its protagonists. By which I mean that this is a melodrama with a capital M. Characters cry and weep, in agony and joy. They scream and swear at each other, blowing all their anger and frustration at one another. Every thought and feeling is expressed in very big, showy manners. Ellie and Charlie's interactions are never less than fraught with lifelong resentment. When his ex-wife finally appears on-screen, the history between the two comes right up to the surface. Liz gives a monologue to Thomas midway through the film, explaining her and Alan's background, that is an Oscar clip moment if I've ever seen one. This approach will put many viewers off, “The Whale” coming across as an over-the-top display of ghastly emotion.

Yet melodrama has its place, on the stage most of all. I actually find the emotions in “The Whale”  rather effective. This is a movie determined to get tears out of the audience, to make you cry from the sheer pathetic humanity on-display. In service of that goal, the script hammers the viewer over the head with its themes. Charlie repeatedly expresses the importance of honesty, of being truthful to yourself and with others. Despite this being a movie where plenty of cruelty is shown, it's ultimately a story about forgiveness and acceptance. About how people are, ultimately, good and kind. If you, by some chance, missed these ideas, the characters outright say them into the camera several times. 

If you've got a taste for melodrama that wears its ambitions and emotions right on its plus-sized sleeves, than “The Whale” will definitely activate your waterworks. Yet the film often gave me reason to doubt its sincerity. Darren Aronofsky's directorial style is claustrophobic and grungy, bringing his work on “Requiem for a Dream” to mind. That movie was a punishing gauntlet for the viewer. “The Whale” often operates in a similar vein. The screaming volume of its emotional content can't help but make you uncomfortable. An oppressive atmosphere of smothering despair hangs over much of the proceedings, emphasized by how cramped and disorderly Charlie's apartment is. (The film is set against the backdrop of the 2016 election, with talks of the end time from Thomas, furthering this apocalyptic feeling.)  

Perhaps Aronofsky was seeking to make the audience feel the same way Charlie does, suffocating under his own mass. It certainly draws lots of attention to his physical appearance. His sweaty, greasy folds and mounds of fat are made as grotesque as possible. We see him in various states of undress, his gut practically dragging on the floor. He's always covered in flop sweat, his hair sticking to his head, whether he's choking on a meatball sub or just sitting on his couch. That sense that “The Whale” is as much freakish geek show as it is exploration of human failings reaches its nadir during a scene of Charlie binge-eating in depression, climaxing with him vomiting into a bucket. Those who prematurely accused “The Whale” of fatphobia were, I'm afraid, right to be concerned. As much as Aronofsky claims to want to show Charlie's humanity, it reacts at disgust to his body as much as several characters do throughout the film.

Whether you find “The Whale's” approach off-putting, overbearing, or dishonest, it remains a display for its cast. Brendan Fraser always exuded an incredible sincerity, whether it was a serious drama like “School Ties” or “Gods & Monsters” or light-hearted comedies like “Encino Man” or “George of the Jungle.”  This is probably why so many people on the internet have come to cheer him on during his comeback, likely to reach fruition with his Oscar win for this performance. It's a good use of Fraser, who sells the gasping-emotions of Charlie as he faces down his final days. Even if Fraser is much more believable when delivering Charlie's dissertations on kindness, than he is when wallowing in self-loathing. Fraser is given strong support from Sadie Sink, who keeps up a prickly exterior that's clearly hiding a vulnerable inner child. As well as Hong Chau as Liz, a practical woman who is desperately trying to hold it together in the face of inevitable tragedy.

“The Whale's” overwrought melodrama continues up until the final moment, which is by far the film's most ponderous scene. It's a hard film to like, Aronofsky's edge-lord tendencies betraying him more than once as he stops to focus on the humiliating, dehumanizing elements of Charlie's struggle. Or in Ellie's frankly bitchy behavior. This can't help but undermine a script that is trying to find the best in everyone. The result is a movie that feels depressing and off-putting for its own sake. This makes it all the odder that Aronofsky retains all the sappy elements from the original play. The result is a movie I'm not sure at all how to respond to, beyond admiring the performances. “The Whale” is either well-intentioned but wildly misguided or deeply cynical to its core and I can't tell which. [6/10]