tag:blogger.com,1999:blog-18777224333621864842024-03-13T08:41:27.011-07:00Film ThoughtsWelcome to the film-related musings, complaints, and comments of Zack Clopton, an amateur film-critic, scholar, and screenwriter. Featured here are Director's Report Cards, essays, and other reviews. Enjoy!Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.comBlogger2575125tag:blogger.com,1999:blog-1877722433362186484.post-20264553499960871912024-03-10T15:29:00.000-07:002024-03-10T19:28:45.957-07:00OSCARS 2024 LIVE BLOG!<div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPsqNtEr62V__Ax2GSOfLgYfPkChTKZwNO7prRwC3Nln1vblAE4JTLrNtWgZ-2kaHFQfQAlw_GNKRUZlqmWERkb9x2BiXuzoTC848aKzBr89nN-KJz-r87GuEkvjUSSBHVqc7AhWije2_hIbJn6XVf0cARqYNQcG4Rb7gCsFu_wN2D-puNLrtHt3bl0UY/s1600/OSCARS.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPsqNtEr62V__Ax2GSOfLgYfPkChTKZwNO7prRwC3Nln1vblAE4JTLrNtWgZ-2kaHFQfQAlw_GNKRUZlqmWERkb9x2BiXuzoTC848aKzBr89nN-KJz-r87GuEkvjUSSBHVqc7AhWije2_hIbJn6XVf0cARqYNQcG4Rb7gCsFu_wN2D-puNLrtHt3bl0UY/s320/OSCARS.jpeg" width="320" /></a></div><br /></div><div style="text-align: left;"><b>6:30 -</b> Welcome to Film Thoughts' annual live blog of the Academy Awards ceremony! <br /><br />I started blogging the awards show - literally writing down my thoughts on this here blog and just publishing it as I go - in 2010. At the time, the idea of a "Live Blog," a running commentary on a live event, was still a relevant idea. Nowadays, we just post our thoughts on Twitter via our phones or whatever. However, I am committed to doing things the old way. Actually nobody has ever done it like this, so I guess I'm committed to doing things <i>my </i>way! In other words, for the six people reading this: Reload early, reload often to see more of my pointless observations throughout the night! This is as off-the-cuff as I get these days.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>6:40 -</b> Because my film nerdiness about film and my obsessive compulsive streaks roll into each other, I feel the need to watch every one of the nominated movies. I like to be informed, ya know! Maybe I do this - and, by extension, write these reviews - because I like to pretend I'm an Academy member or something. Following that logic, here's what I would vote for if I got a vote. </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwhXFyLlKXVigQEoDfy5ngJjzfi7Z8e41G7LANJSVeqWXZPOfQakvjAezlD2reYb4TsmZMyRONGc42m1E9pqwiDfCENEygsh306MioPjU4rYD-PZczVClzsoTzm7SBHbGOtdt7Kw0WSIAx0w1PjrR2Hvixf8mNmjpcrmDXj0SpvYaYc8ts-dpBqiE0kE/s494/Oscar_noms_2024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="426" data-original-width="494" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwhXFyLlKXVigQEoDfy5ngJjzfi7Z8e41G7LANJSVeqWXZPOfQakvjAezlD2reYb4TsmZMyRONGc42m1E9pqwiDfCENEygsh306MioPjU4rYD-PZczVClzsoTzm7SBHbGOtdt7Kw0WSIAx0w1PjrR2Hvixf8mNmjpcrmDXj0SpvYaYc8ts-dpBqiE0kE/s320/Oscar_noms_2024.jpg" width="320" /></a></div><br /><div style="text-align: left;">Does it make me crazy that I put more thought into these than the people actually the Academy? Yes! Yes, it does!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>6:47 -</b> I have just been informed that Lupito N'yonga's win for "12 Years a Slave" was almost a decade ago! I am crumbling into dust!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>6:51 -</b> It seems Hulu is doing a tell-all documentary about Bon Jovi, presumably because we've run out of eighties rock bands to do tell-all documentaries about.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>6:59 -</b> Once again, the time of year where I have to endure Jimmy Kimmel has arrived...</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:05 -</b> Another reason to hate Daylight Savings Time: The Oscars starting while the sun is still out feels wrong.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:07 -</b> This is a good opening montage but, all these exciting or inspiring clips flashing on-screen with exactly ONE shot from "The Zone of Interest" is pretty funny.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:09 -</b> Oh yeah, there was an Actor's Strike last year.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:11 -</b> I'm not drinking tonight but if I was I would take a shot every time there's a Barbenheimer joke.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Christopher Nolan smiling politely at the porn addiction joke. Okay, "Sillian" Murphy was a decent joke.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:12 -</b> RDJ's reaction shot was so much better than the actual joke.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:13 -</b> Messi! Yes, Messi is here at the Oscars!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:14 -</b> Jokes about "Killers of the Flower Moon" being long were old four months ago, dude.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:17 -</b> Achievement in Casting is a weird category to add when people have been begging for a Stunts category for years. But it's fine.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">The jokes are leaning hard on reaction shots tonight.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:19 -</b> A.I. could definitely take your job, Jimmy. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:20 -</b> That's nice to invite a bunch of teamsters and folks on-stage. Workers unite!</div><div style="text-align: left;"><br /></div><div style="text-align: left;">"Should we give out some Oscars?" Please, get on with it!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:22 -</b> So each of the acting categories are going to be introduced like this? This will result in a lot of awkward looking at teleprompters, I predict. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:23 -</b> This category is Da'Vine's to loose, as far as I'm concerned. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:26 -</b> I'm glad she won. Hopefully they don't announce the nominations like this for every category or else we really are going to be here all night. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:28 -</b> That was a sweet speech and I like the shout-out to her publicist. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:33 -</b> I don't think it'll happen but I'm so rooting for Paul Giamatti to win tonight. Look at him, he looks so happy to be here!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:34 -</b> I'm ashamed to admit that I would absolutely watch the Silver Oscars. Jesus, when will the hosts stop making jokes about animation only being for kids?</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:35 -</b> The Animated Shorts category was pretty weak this year but rooting for "Ninety-Five Senses" or "Pachyderm!" </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:36 -</b> I do believe I said "War is Over!" was going to win in my reviews, obviously because it is the worst of the nominees! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:38 -</b> Haha, you're not going to play Sean Lennon off the stage, assholes! </div><div style="text-align: left;"><br /></div><div style="text-align: left;">I do think "The Boy and the Heron" will win and I'm fine with that. But I really did love "Robot Dreams." </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:39 -</b> Hayao Miyazaki is too damn cool for the Oscars. He doesn't give a shit. Why would he show up for this? Gotta love it. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Can't wait to hear Billy Ellish's nominated strom. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:44 -</b> I am still delighted that a movie as fucking weird as "Poor Things" got so many nominations. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Did a 97 year old man write Kimmel's jokes tonight?</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:46 -</b> This bit is fucking painful. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">It has no chance of winning but "May December" is my fave in this category. Considering the plagiarism controversy that started today, it'll be super awkward if "The Holdovers" wins.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:48 -</b> "Anatomy of a Fall" had a very tight screenplay, so I can't complain about it winning. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:49 -</b> I missed that they played the "P.I.M.P." steel drum music as they walked on-screen. Awesome lol</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:50 -</b> "American Fiction" is genuinely my pick for Adapted Screenplay. Also I expect it to win because it has the word "Fiction" in the title and Academy voters are very literal. Or they'll just give it to "Oppenheimer," I don't know.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:52 -</b> Didn't anyone else hear that banging noise from off-stage? Did Jimmy Kimmel fall off a ladder? Anyway, I genuinely don't understand why Hollywood doesn't function under the "15 four million dollar movie" philosophy Cord is rambling about here. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:54 -</b> I do think the Billie song is pretty but I'm seriously rooting for "I'm Just Ken." I hope it doesn't get overlooked for being the silly option.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:57 -</b> No denying that Billie has got the rizz though. Like, I do not pay attention to pop music at all but I genuinely think she has an extraordinary voice. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>7:58 -</b> Why are they making David Allen Grier stand in a random hallway? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:03 -</b> I did enjoy the dissonance of the "Beetlejuice" theme starting over footage from "Past Lives."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:04 -</b> The Make-Up category is so weak tonight. I'm rooting for "Poor Things" since it's the only one tonight that isn't simply boring, realistic, old age make-ups. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:05 -</b> At least they got that much right!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:06 -</b> Guy tells a good publicist joke and they play him off the stage! Typical. Wouldn't be upset if "Poor Things" sweeps both Make-Up and Production Design but I think "Barbie" will probably get it. Jack Fisk worked on "Barbie?!" </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:08 -</b> My predictions have been strangely on-point today and, guys, I'm scared. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:09 -</b> Academy, you're never going to engineer a viral moment as good as Will Smith smacking someone. Stop trying! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:11 -</b> Is that John Cena's actual body? Dude looks weird. This bit isn't great but as a precursor to Best Costume, that's a decent punchline. It's gonna be "Barbie," right? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:12 -</b> Alright, so "Poor Things" is just going to sweep the technical categories? I'm not mad, just surprised. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:14 -</b> Always kind of annoys me that the Academy makes time for dumb-ass skits but doesn't let people talk a little longer. But, at the same time, I do understand that people would probably ramble forever if they didn't do something. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:19 -</b> The wins have mostly been on-point tonight - except for Animated Short, boooo - and the acceptance speeches have been fine. But, boy, the show itself has been slowwwwwww. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:20 -</b> This makes me wish they still did all the Best Song nominations in a montage. Can you imagine this in-between the two "Barbie" songs? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:22 -</b> What kind of hardcore rapping name is "Bad Bunny?" </div><div style="text-align: left;"><br /></div><div style="text-align: left;">It has zero chance of winning but "Io Capitano" is so good. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:23 -</b> Oh boy, I wonder how awkward "The Zone of Interest's" acceptance speech will be? Great movie though. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">8:25 - Kind of disappointed that Jonathan Glazer went for some "both-side-isms" with his acceptance speech. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:26 -</b> The premise of this bit is pretty bad but Emily Blunt and Ryan Gosling are selling it. The fact that they are honoring stuntmen <i>really </i>gives me hope they'll be preparing that for a proper category soon. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:32 -</b> Okay, the AMC theater joke was solid. They do play a lot of commercials! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:35 -</b> Sam Rockwell's beard rocks and it rocks well. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:37 -</b> Christoph Waltz pontificating about Ken... Now that's art. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:38 -</b> RDJ was my pick and and I'm glad he got it. Long overdue and he's fantastic in "Oppenheimer." Maybe next year, Gosling. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:39 -</b> "I'd like to thank my terrible childhood." Jesus, they should let Robert host. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">It's amazing how much control of the stage this guy just takes within minutes. Total movie star charisma.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:41 -</b> The dog was clapping... THE DOG WAS CLAPPING. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:46 -</b> She totally killed him, by the way. I believe she did it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Anyway... ARNOLD IS IN THE HOUSE!</div><div style="text-align: left;"><br /></div><div style="text-align: left;">They <i>did </i>both try and kill Batman. "Batman, you son of a bitch!" </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0pNY2Krf3Rw" width="320" youtube-src-id="0pNY2Krf3Rw"></iframe></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:47 -</b> GODZILLA GODZILA GODZILLA GODZILLA</div><div style="text-align: left;"><br /></div><div style="text-align: left;">YES YES YES YES</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA2EuGyoneXlsmahsMvCF9H7CBR-SvMmx8Zf6t_Qhr6gXkzA-t-cwYRQAaEdeUcWX_Lj04TLNAmIpXoysjv6mPpJdtpNvhiu2g7kj637Ke9WHHCw9mlsg6PAqi7NlpWEqN3lua2MfHQmGIVrIpFqbZpbZwKbAcDKIwtT4YOZ2qiC6tIKhsBUk3bhje5eE/s498/godzilla-yeah.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="306" data-original-width="498" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA2EuGyoneXlsmahsMvCF9H7CBR-SvMmx8Zf6t_Qhr6gXkzA-t-cwYRQAaEdeUcWX_Lj04TLNAmIpXoysjv6mPpJdtpNvhiu2g7kj637Ke9WHHCw9mlsg6PAqi7NlpWEqN3lua2MfHQmGIVrIpFqbZpbZwKbAcDKIwtT4YOZ2qiC6tIKhsBUk3bhje5eE/s320/godzilla-yeah.gif" width="320" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:48 -</b> Arnold saying the words "Godzilla" at the Academy Awards... Is this real life? Am I awake? How is this possible? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:51 -</b> Are you going to play the "Godzilla" team off the stage? Fuck you!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:52 -</b> I figured "Oppenheimer" had it in the bag. Editing was a pretty strong category this year. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:53 -</b> "Chris Nolan, you're cool too." Accurate! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:54 -</b> "American Symphony" is destined to be a forgotten Oscar nomination and I wouldn't vote for it to win. But I do like this song! It's pretty, you guys. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:55 -</b> The decision to play clips from totally unrelated movies over this song was an odd one though.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>8:59 -</b> "Maestro" was the most painfully Oscar-bait-y movie in a nomination slate largely devoid of it this year. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:00 -</b> I am digging the orchestral version of "Barbie Girl." </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:01 -</b> It's almost impressive how every single one of Kimmel's bit are just flopping tonight. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:02 -</b> I'm sure "20 Days in Mariupol" will win Best Documentary Feature, on account of its "importance." Even if the film made me feel uneasy in some ways. As for Documentary Short, I have no idea. "Nai Nai & Wai Po" probably. This is a decent bit, Kate is doing here. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:04 -</b> "Island In Between" was my pick and I knew it had no chance of winning. "The Last Repair Shop" was pleasant, so I guess I'm fine with this. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:05 -</b> "The Eternal Memory" was my favorite of this slate, by the way. Heartbreaking film. Not surprised it didn't win though. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:09 -</b> If "20 Days in Mariupol" winning an Oscar has any effect on the people in Ukraine, then I guess that film will have served its purpose. I'm still not sure movies, even documentary films, have any power to actually change the face of global politics though. How far can "awareness" take us, ya know? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:13 -</b> Has there been a harder movie in Oscar history to fit into the pageantry of the night than "The Zone of Interest?" It just resists any sort of celebratory vibes. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:14 -</b> I would genuinely love to see "El Conde" win Cinematography but that won't happen lol. It was a black-and-white movie about vampires! Of course I loved the way it looked!</div><div style="text-align: left;"><br /></div><div style="text-align: left;">"Oppenheimer" is a fine second choice. I probably would've given the Silver Oscar to "Killers of the Flower Moon," personally. But Hoyte van Hoytema is long overdue. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:16 -</b> The Live Action short line-up was... Not the best. Please, give it to "Henry Sugar" and not that "The After" or "Red, White, and Blue" garbage. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:17 -</b> Really wish Wes Anderson could have been here to accept his first Oscar. I guess this makes up for "Asteroid City" getting snubbed! One of these days, he's going to win Best Director and Best Picture for his third or fourth worst movie. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:18 -</b> When will the curse of Diane Warren be lifted from the Oscars? Anyway, here's to "Flamin' Hot," another addition to the list of truly random ass movies to get nominated just because Warren touched them. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:24 -</b> The more I think about "American Fiction," the more I loved it. One of the better movies about the creative process that I've seen recently. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:25 -</b> John Mulhoney completely outclassing Jimmy Kimmel within seconds. Just comes out, does a totally unrelated bit about "Field of Dreams," and fucking kills it.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:27 -</b> Anyway, I feel like "The Zone of Interest" kind of has to win Best Sound, right? I mean, sound is so pivotal to that film. But "Oppenheimer's" sound design is definitely powerful too. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Alright, good.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:29 -</b> This got has a nice hat and nice side burns. British people wishing folks Happy Mother's Day has become a real reoccurring theme tonight?</div><div style="text-align: left;"><br /></div><div style="text-align: left;">It's "Ken" time, baby. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:30 -</b> I've been a fan of Gosling for a while but, really, he managed to find such a total match for his particular charisma in Ken. He made that whole damn movie, in my opinion. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:31 -</b> The choreography here definitely deserves some notice. Holy shit, is that Slash?! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:33 -</b> It was a showstopper in the movie and a showstopper tonight. A highlight of what has been a very slow night. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:38 -</b> So that "Wicked" movie looks bad, right? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:39 -</b> I'm personally rooting for "Killers of the Flower Moon" to take home Best Score but I bet "Oppenheimer" gets it. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:41 -</b> Billie Ellish won Best Song because "What Was I Made For" was the <i>serious</i> song from "Barbie," even though anyone who just watched the performances could tell you that "I'm Just Ken" is the one that always brings the house down. But what do I know? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:43 -</b> This acceptance speech is pretty fucking cute though, not going to lie. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:49 -</b> Time for the annual game to see who gets left out of the In Memoriam montage. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:51 -</b> The Academy's insistence on not giving the viewers at home a clear look at what names are appearing on-screen continues to annoy the hell out of me. It's such an easy thing not to fuck up and yet they do, every year!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:56 -</b> Kimmel's jokes are extremely heavy on puns tonight. He's not even trying. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Anyway, Nic Cage is here, motherfuckers!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:57 -</b> Jeffrey Wright is quickly becoming one of my favorite actors working right now. Would love for him to win. He won't though! Paul Giamatti winning would be so fantastic but I'm still kind of banking on Cillian getting. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>9:58 -</b> "Would I have done that? Hell yes!" And that's why Nic Cage rocks. Anyway, Bradley Cooper suuuuuucks. If he wins, I'm going to scream! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:00 -</b> Cillian is great, so I do not object to him winning. It's kind of crazy that he's never even been nominated before? </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:03 -</b> So "Oppenheimer" is sweeping now, right? Just like we all knew it would. I like it when Steven Spielberg talks. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:04 -</b> All the film bros I knew in college are vindicated. Nolan has an Oscar now. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:06 -</b> I know I've been complaining all night about how flat the show has been but, I'll say this much... Staring the show at seven has made the evening go by a little faster. Will the broadcast actually be shorter than "Killers of the Flower Moon?" We are getting dangerously close. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:10 -</b> Emma Stone has really crept up the predictions as we've gotten closer to the Oscars. LIly Gladstone winning is not certain, though I still think the Academy passing over a chance to give an Oscar to a Native American for the first time is unlikely. We shall see!</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:11 -</b> Anyway, Michelle... She did it! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:13 -</b> I love Carey Mulligan, so it really shows you how fucking mid "Maestro" was that I'm annoyed that she even got nominated for it. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:14 -</b> Oh shit. People on Twitter are going to be <i>soooooo</i> mad. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:15 -</b> Alright, there's going to be a massive backlash against "Poor Things" now. It's still a really good movie! There's going to be an even bigger backlash against Emma Stone now. She's still great! Look at how fucking charming she is right now! Lily Gladstone is great but let's stop forming petty rivalries over this shit. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:18 -</b> I can't believe people like Jimmy Kimmel still think they're going to stop Trump with dumb jokes. We are so past that point, Jimmy! We can't snark our way out of this one...</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:20 -</b> Anyway, here's Big Al. Pacino still has it though. Oppenheimer Sweep! </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:25 -</b> I love that one shot of Bradley Cooper looking sad.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">And we're ending the night on a lame cell phone joke. Kimmel really did suck all the air out of hte room, didn't he?</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>10:26 -</b> Wait, excuse me, we end on a stupid reference to the fake Kimmel/Matt Damon feud. How dare you drag Messi into this!</div><div style="text-align: left;"><br /></div><div style="text-align: left;">10:28 - Anyway, as for the show itself... Kimmel really fucking sucked as host tonight! He just seemed like he did not want to be there! The presentation got off to an extremely slow start and the pacing never quite perked up from there. However, there were some great moments from presenters and especially winners. "I'm Just Ken" brought the house down and fucking "Godzilla" won an Oscar! I can't be mad about that. Overall, I would say the show itself was a bland affair but, as always, the Oscars broadcast is always worth watching for those special wins.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">And now that the Oscars are over, I can't get back to watching trash! Thank you and good night! </div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-22055184125957219622024-03-09T15:05:00.000-08:002024-03-10T15:16:15.269-07:00 OSCARS 2024: Final Reviews Round-Up<div style="text-align: left;">This marks my fifth year completing <a href="https://www.reddit.com/r/oscarsdeathrace/">the Oscar Death Race</a>. I'm still not at the point where both watching everything and writing full-length reviews of everything is realistic for me, I did manage to write full length reviews for 44 of the 53 nominated movies this year. (My review of "Society of the Snow" will be part of my J.A. Bayona Director Report Card, whenever that happens.) Here's capsule reviews of everything else! See you at the Live Blog!</div><div style="text-align: left;"><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg91I8S-jgD9KMqU40SEei735imie9h0EeQxUZlxDi8sSiiZ06EBbp6q5rWkmHl4KptK4XZPAWTK3Cz9r72cqsq-7JiR0fFR0ggj2ri3c_tmeBqSTVhn6CT86Tc-dU0Gry2_IQqOKmj5kDJtMoyxrpJuA_pgFPTORbQ1PsJjrzq6_Ont2XvQ1ZIEWvbkw/s1600/round%20up%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1095" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg91I8S-jgD9KMqU40SEei735imie9h0EeQxUZlxDi8sSiiZ06EBbp6q5rWkmHl4KptK4XZPAWTK3Cz9r72cqsq-7JiR0fFR0ggj2ri3c_tmeBqSTVhn6CT86Tc-dU0Gry2_IQqOKmj5kDJtMoyxrpJuA_pgFPTORbQ1PsJjrzq6_Ont2XvQ1ZIEWvbkw/w137-h200/round%20up%201.jpg" width="137" /></a></div>The Boy and the Heron</b></div><div><br /></div><div>Thank god we still have a master like Miyazaki around to gift us with these beautiful, detailed worlds. “The Boy and the Heron's” fantasy novel structure allows the director to reflect on themes like growth, acceptance, forgetting, ecological collapses, and archetypes Jungian and alchemic. Through it all, there's the unmissable sense of Miyazaki grappling with his own legacy and wondering if anyone can shoulder the burden. Of course, it's an absolutely gorgeous, incredibly creative fantasy as well. <b>[9/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyWKXr_EWpG0_M328NlMm5Wyqlsibk071T2i5GwlXjX2RNbaIPA1_VpZxSZBF_Y1hHDnDi55vyfuCaTESUcb4MfvlTP4SLl_cLFRDsO6I_Sq1JmVcu7xeIO-_zBNWEXQC6DF6ULQwowJlWac76Sh1nt9kPua3ut_O7cmzwrl5xAN3U-tQN3NVAeE5FVHQ/s1500/round%20up%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1013" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyWKXr_EWpG0_M328NlMm5Wyqlsibk071T2i5GwlXjX2RNbaIPA1_VpZxSZBF_Y1hHDnDi55vyfuCaTESUcb4MfvlTP4SLl_cLFRDsO6I_Sq1JmVcu7xeIO-_zBNWEXQC6DF6ULQwowJlWac76Sh1nt9kPua3ut_O7cmzwrl5xAN3U-tQN3NVAeE5FVHQ/w135-h200/round%20up%202.jpg" width="135" /></a></div>The Creator</b></div><div><br /></div><div>Summarizes all of Gareth Edwards' strengths and weaknesses as a filmmaker. On one hand, this looks damn good. The cinematography has a vast, epic quality to it. The special effects and production design are fantastic, creating a lived-in version of the future that seems plausibly connected to our current world. On the other hand, the characters and story here are as stock-parts as can be. Charismatic as John David Washington is, he can only do so much to elevate a hero with yet another dead wife and baby to motivate him. You never feel anything for him or his relationship with his surrogate robot daughter. The themes and subtext are as warmed-over and obvious as can be, the movie essentially saying nothing about mankind's relationship with robots or each other. <b>[5/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLbd7X6SpuQDbotFb2DalJ-NGv6ShtHyKoASJw43rboDGKGjSAArmWhtIpQwGdfdlG9i_r86cGMI91pUWPHSiNmhPxAcDi_KRHMc79vPTv0ClWV5v6CrqcgLjlxWkk4cPI43IG0R27L84KLB7LkBreONe_uLGB_KidjMQWhswWSoAbjPKLeILiZLNH3WI/s1563/round%20up%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1563" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLbd7X6SpuQDbotFb2DalJ-NGv6ShtHyKoASJw43rboDGKGjSAArmWhtIpQwGdfdlG9i_r86cGMI91pUWPHSiNmhPxAcDi_KRHMc79vPTv0ClWV5v6CrqcgLjlxWkk4cPI43IG0R27L84KLB7LkBreONe_uLGB_KidjMQWhswWSoAbjPKLeILiZLNH3WI/w128-h200/round%20up%203.jpg" width="128" /></a></div>El Conde</b></div><div><br /></div><div>Gorgeous black-and-white cinematography makes this one of the year's best looking movies. The first act, which dryly sets up an alternate history where Augusto Pinochet is a vampire, in-between brutal violence and darkly funny satire, is fantastic. Once it settles into being a slightly comedic story of family in-fighting and finances, it becomes less interesting. The last third features enough twists to keep my attention, even if this is never as strong as when taking a poetic or epic approach to its vampiric subject. I'm not Chilean, so I can't reflect on whether this is a tasteful or tactful treatment of real life butchery though. <b>[8/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFP8VDwYE9DDTRCRKu-gEUyRG0s4LF1hvqj_6IJeK91nUz0LZMXZDFJvEheFyzYaj6jgH8q_EtebIIZJ-fmZnkBk9XTKhGbWoI1yc7OWeImXaXa2Q5AG7UX6nWtl9gaSGYA8GgYMmQKXXyXjsRyEFE_1vM8C-8AfhwIgWPITLzuwHFYzuvSfeGn_QKrdA/s1000/round%20up%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="675" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFP8VDwYE9DDTRCRKu-gEUyRG0s4LF1hvqj_6IJeK91nUz0LZMXZDFJvEheFyzYaj6jgH8q_EtebIIZJ-fmZnkBk9XTKhGbWoI1yc7OWeImXaXa2Q5AG7UX6nWtl9gaSGYA8GgYMmQKXXyXjsRyEFE_1vM8C-8AfhwIgWPITLzuwHFYzuvSfeGn_QKrdA/w135-h200/round%20up%204.jpg" width="135" /></a></div>Elemental</b></div><div><br /></div><div>Pixar tries their hand at a romantic-comedy and it's not half-bad. The chemistry between Ember and Wade is genuinely sweet. That allows many routine moments – the big romantic gesture to win her back, for example – feel a lot more earned. It helps that the conflict that inevitably breaks the two up is based in something more meaningful, the push-and-pull of wanting to please your parents but also live your own life, than the contrived melodrama usually seen in this genre. The animation is also lovely and the Element City setting allows for some clever sight gags. As a discussion about being a foreigner assimilating into a big city, I'm not sure the film has anything clever to say though. <b>[6.5/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCYOzOcPmnwku8VZmp2NFfOxCALTZqP2hSmugdi42Vx1o3NyUb9UqdleRzp9Xz0WcMzvUjOh4ys-T7DH0Art4kjUacpsakX26zOa5QEMfwsseTu4m5jdc00NRHwTeUttUYPP5P76rD50yVYaGapbwroICBQwfiC5xHOySDguN68RT8CuMOe_8-FDzteWA/s1481/round%20up%205.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCYOzOcPmnwku8VZmp2NFfOxCALTZqP2hSmugdi42Vx1o3NyUb9UqdleRzp9Xz0WcMzvUjOh4ys-T7DH0Art4kjUacpsakX26zOa5QEMfwsseTu4m5jdc00NRHwTeUttUYPP5P76rD50yVYaGapbwroICBQwfiC5xHOySDguN68RT8CuMOe_8-FDzteWA/w135-h200/round%20up%205.jpg" width="135" /></a></div>Four Daughters</b></div><div><br /></div><div>The meta conceit, of having the real people and the actors playing them in re-enactments directly interacting, produces some interesting results. Olfa was not a good mother, though you do come to understand many of her actions. Overall, this is a good portrait of the delicate balance of dysfunction and deep emotional bonds that keep most families together. Once it becomes more of an issues doc, about how two of the sisters became radicalized, this bends more towards a tragic atmosphere. <b>[6/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr3m-lON-iDqUkHxMxKhEkxtSDn3Lo6bmdEYnotjRsOGaoLbeuULSQnAUlGPV0e8X3iEjxHjmfN3iLvQculn1iIT_UrhIGgFeJNXcMpWr31BG9CO14SJq6TfrfJKN1yEA8ecX9cYK7dUYRajaf4rz3tJqbLldbbcWsxaQ4tBKcNDtBIBliI8iMTl0t4yM/s1506/round%20up%206.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1506" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr3m-lON-iDqUkHxMxKhEkxtSDn3Lo6bmdEYnotjRsOGaoLbeuULSQnAUlGPV0e8X3iEjxHjmfN3iLvQculn1iIT_UrhIGgFeJNXcMpWr31BG9CO14SJq6TfrfJKN1yEA8ecX9cYK7dUYRajaf4rz3tJqbLldbbcWsxaQ4tBKcNDtBIBliI8iMTl0t4yM/w133-h200/round%20up%206.jpg" width="133" /></a></div>Golda</b></div><div><br /></div><div>Approaches history as a chamber drama, focusing mostly on people in command centers and offices tersely discussing geopolitical moves and strategies. The result is that “Golda” is all about how the Yom Kippur War made one woman feel <i>really</i> bad. Perhaps not the most responsible direction to approach this story with, especially in light of recent events! Director Guy Nattiv is also fond of some extremely heavy-handed visual symbolism. Having said that, there is something weirdly captivating in the choice to shoot this biopic like a horror movie, with its vertigo-inducing camera angles and seasick close-ups. The performances are sturdy and, yeah, the make-up is pretty good. <b>[6/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga6j5wHFo7m_t6jvv2KkK6MUTtfudEBeb2xfKlAM71fXS7XhU7184nMybPMQPKUQ3IEiL2JN-Psb-pBI86xS7fLG5rVBDSMXGv2v6Luw7ReBN-RbfVa2v1QsLU8JpAiuw9bhx1una7eg0khXsZES6nSy4lFKgPklE2nmsfR6upIAuF7mCKy2FLZjPKcb8/s947/round%20up%207.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="947" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga6j5wHFo7m_t6jvv2KkK6MUTtfudEBeb2xfKlAM71fXS7XhU7184nMybPMQPKUQ3IEiL2JN-Psb-pBI86xS7fLG5rVBDSMXGv2v6Luw7ReBN-RbfVa2v1QsLU8JpAiuw9bhx1una7eg0khXsZES6nSy4lFKgPklE2nmsfR6upIAuF7mCKy2FLZjPKcb8/w135-h200/round%20up%207.jpg" width="135" /></a></div>Indiana Jones and the Dial of Destiny</b></div><div><br /></div><div>Maybe it lacks the magic of Spielberg. However, “Dial of Destiny” does provide geriatric Indiana Jones with a fitting send-off. There's a layer of regrets to Harrison Ford's performance, that grows more evident as the film goes on. Mads Mikkelsen makes a compelling, conniving villain. I like that this one makes the points that Nazis never really went away and we should always punch them. The McGuffin is an intriguing one, leading to some exciting action, ancient temple set-pieces, and a surprising finale. And you know what? I even like Indy's new sidekicks in this. <b>[7/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBmxWfK3j5UAdx8JaTTsHmkCpcMvVHIPSsVPUzSONqfPT8Gn50GBuAVvF87rg9KdX6D4jDcxO3u6wEMOqchRDJA8gjTu1htSYWuDjtpx-qIGHuPa4JcPt7Z-6T9HeFGGFEXLLaLC_kCHNEgZpXokmC2InVb6h9moaTrvdANGg6bUkD5uZx6q7ls9RIE48/s1000/round%20up%208.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="679" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBmxWfK3j5UAdx8JaTTsHmkCpcMvVHIPSsVPUzSONqfPT8Gn50GBuAVvF87rg9KdX6D4jDcxO3u6wEMOqchRDJA8gjTu1htSYWuDjtpx-qIGHuPa4JcPt7Z-6T9HeFGGFEXLLaLC_kCHNEgZpXokmC2InVb6h9moaTrvdANGg6bUkD5uZx6q7ls9RIE48/w136-h200/round%20up%208.jpg" width="136" /></a></div>Mission: Impossible – Dead Reckoning Part One</b></div><div><br /></div><div>I've somehow never seen a single “Mission: Impossible” movie before, so any meaning the callbacks to previous films or the characters' established history didn't mean anything to me. The plot is a largely unimportant MacGuffin hunt, so many of the exposition scenes are tedious. However, the cast is decent. Cruise and Atwell having decent chemistry and Pom Klementof is a good unhinged henchwoman. The action scenes are obviously the main attraction here. Some of the melee fights look a bit silly but the stunt work is generally excellent. I do admire the film's commitment to topping itself with more ludicrous set pieces. Guess I gotta watch the rest of these now? <b>[7/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiErnTVwNbJMrxxmhRNh4ES-b2dhyyl8bhih_KUKdwwkR1w9eWVPLMzncijg9IIc1kG9EB05vAXV7KihrKAfqt5UEslYVGqY16NoE2VP4pb1piSXSzEjWdyRW0KJwjOeVMKOJFIg7AMVGLUpSFnhlUy9G6iwKIpW5H9uKGghXGk1NJfoIKQ9BzCcm4JtgE/s1482/round%20up%209.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiErnTVwNbJMrxxmhRNh4ES-b2dhyyl8bhih_KUKdwwkR1w9eWVPLMzncijg9IIc1kG9EB05vAXV7KihrKAfqt5UEslYVGqY16NoE2VP4pb1piSXSzEjWdyRW0KJwjOeVMKOJFIg7AMVGLUpSFnhlUy9G6iwKIpW5H9uKGghXGk1NJfoIKQ9BzCcm4JtgE/w135-h200/round%20up%209.jpg" width="135" /></a></div>The Teacher's Lounge</b></div><div><br /></div><div>As a thriller about how a single mistake can have oversized ramifications on your life and other people, this is often nerve-wracking. The music is very intense, the camera emphasizes the crushing smallness of the school rooms, and Leonie Benesch gives an excellent performance as a woman barely holding it together. One definitely feels like there's commentary here about the omnipresence of surveillance in our modern age and how easily so-called “cancel culture” can get out of control. I wish this actually had an ending though! <b>[7/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-69463615281843584012024-02-29T12:43:00.000-08:002024-03-10T12:52:16.937-07:00OSCARS 2024: Killers of the Flower Moon (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWuQQCTW2QoK8nCjkAZRjSYp123G9MsMKCYFA0M6J8Y72bQd9tZg3ttJsrgWvdKP9HytXR1-4-IdFvpY-yJ1d7XHxY6y4ZfmLMrwLcGXBWsgY_LT6OBNQay82iIB1Pov3g5c6KhFX8XInqocEs-thDfKp_yC-1pgf27ugHVugLmzvtruSlfyUTNdBuHo/s1500/kotfm%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWuQQCTW2QoK8nCjkAZRjSYp123G9MsMKCYFA0M6J8Y72bQd9tZg3ttJsrgWvdKP9HytXR1-4-IdFvpY-yJ1d7XHxY6y4ZfmLMrwLcGXBWsgY_LT6OBNQay82iIB1Pov3g5c6KhFX8XInqocEs-thDfKp_yC-1pgf27ugHVugLmzvtruSlfyUTNdBuHo/s320/kotfm%201.jpg" width="213" /></a></div>Many years ago, Martin Scorsese said he would like to <a href="https://www.slashfilm.com/518693/infographic-martin-scorsese-man-genres/">make a movie in every cinematic genre</a> possible. Considering this – and knowing his love of classic Hollywood and everything therein – it's surprising that he's never made <a href="https://www.metrotimes.com/arts/with-killers-of-the-flower-moon-martin-scorsese-finally-makes-a-western-and-its-triumphant-34417233">a western</a> before. When it was first announced that Scorsese was circling an adaptation of David Grann's non-fiction book “<b><a href="https://www.imdb.com/title/tt5537002/reference/">Killers of the Flower Moon</a></b>,” it was assumed that Scorsese and the western would finally meet. Yet, as the script went through several years of development, the focus changed more. Meetings with representatives of the actual Osage Nation convinced Scorsese and Eric Roth to rewrite the film, to center more <a href="https://www.newyorker.com/culture/the-front-row/martin-scorsese-on-making-killers-of-the-flower-moon">around the Native American perspective</a>. The resulting, epic length motion picture was backed almost solely by Apple, in their continued attempt to buy award season prestige. It worked, because a new Marty movie is always an event, but “Killers of the Flower Moon” has also proven to be a hotly debated new masterpiece from one of America's greatest living directors. </div><div><br /></div><div>In 1897, oil is discovered on the Osage Nation reservation in Oklahoma. By 1921, the oil boom had made the Osage some of the richest people in the country per capita. William Hale, a local sheriff and ranch owner, invites his nephew Ernest Burkhart to live with him. Hale's relationship with the Osage is close but he's actually been plotting for years to steal their headrights to the land, via murder and marrying wealthy Native women off to white men. He convinces Ernest to seduce Mollie Kyle, a sickly but very wealthy Osage woman. The two soon marry, Ernest immediately involved in Hale's murderous, criminal plot. The Osage are well aware of the deaths and attempt their own investigations but Hale does everything he can to suppress them. It's not until Mollie – who Ernest is slowly poisoning – lobbies Washington directly that authorities start looking into the crimes.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf46XQesh-_2VpuOg7_BfJweHazgUCy9Q9qYXsS0_vmsDiV7Zoip_xUlz3pSbPn87cuRA4ByNHx3vvO5KDjVmgq8vu9p5j53Lxix1smjjXbStJ3SSMEgt1rdjSbN1OcBd7DfPNaB6v9dWvfeiZOKlbc7c_2VIpsFlIAhNDCsxoECw04fd9iEdTai2-nZI/s1500/kotfm%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1013" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf46XQesh-_2VpuOg7_BfJweHazgUCy9Q9qYXsS0_vmsDiV7Zoip_xUlz3pSbPn87cuRA4ByNHx3vvO5KDjVmgq8vu9p5j53Lxix1smjjXbStJ3SSMEgt1rdjSbN1OcBd7DfPNaB6v9dWvfeiZOKlbc7c_2VIpsFlIAhNDCsxoECw04fd9iEdTai2-nZI/w135-h200/kotfm%202.jpg" width="135" /></a></div>More than anything else, “Killers of the Flower Moon” is a case study of the mechanics of evil. The film's three-and-a-half hour length is largely devoted to showing every step by which Hale and his associates slowly massacred the Osage population. He integrates himself into the community, working so closely with the Osage that he's even present at the meeting where the tribe elders announce their plan to root out the killers. As played by a chillingly stately Robert De Niro, Hale is depicted as an always polite master schemer who is an expert at telling people what they want to hear. From there, he engineers a campaign of murder, oppression and manipulation that runs through every strata in the town. White doctors are his underlings. Outside investigators are beaten or killed. Murder is carried out casually, as it suits his plans. In one of the film's most chilling sequences, Hale coldly states how a depressed Osage man must stay alive long enough for his insurance plan on him to pay off. </div><div><br /></div><div>If “Killers of the Flower Moon” dedicates much of its extensive runtime to showing how these vile plans were carried out so casually, Roth's script also makes sure to shine a light on the character of such evil men. Ernest Buckhart declares, early on, that he loves money. He robs a group of Osage partiers, before immediately loosing all the jewels on a bad poker hand. Later, the entire plan is nearly blown up by Burkhart foolishly letting an accomplice steal his car. If Hale is such a convincing manipulator that he can operate practically in the light, Ernest is such a total stodge as to obey every command thoughtlessly. Leonardo DiCaprio, showing little in the way of movie star vanity, plays Burkhart as a grunting, lowly criminal motivated only by greed and the loosest sense of pride in his own mindless actions. When Hale drags Ernest into a Masonic temple and paddles his ass, it reveals him more and more as an overgrown child acting out horrible deeds on behalf of powers. This reveals a clear message: Evil isn't complicated. It's stupid and common, motivated only by taking want it wants from those who are vulnerable. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBtHNKEqezS93BjeZIixihf5CeY7P-IgbB-ZlTs_VAuwMmWXD5oXNcyhEKK-L7fHg5-6-4dmoDGMVay2VQkbOEzaWm_pMwPy8aquU_vPABeZKtLJ4cC8M10GPBhhZpm_vFCx4NHPdyGVFdcFftdm6NLCtViANQxJmj-H3wqliHeOzPbdpxMusGXBsfu38/s1600/kotfm%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBtHNKEqezS93BjeZIixihf5CeY7P-IgbB-ZlTs_VAuwMmWXD5oXNcyhEKK-L7fHg5-6-4dmoDGMVay2VQkbOEzaWm_pMwPy8aquU_vPABeZKtLJ4cC8M10GPBhhZpm_vFCx4NHPdyGVFdcFftdm6NLCtViANQxJmj-H3wqliHeOzPbdpxMusGXBsfu38/w135-h200/kotfm%203.jpg" width="135" /></a></div>As a post-mortem on these infamous murders, “Killers of the Flower Moon” takes a detached, almost clinical approach to its violence. Scorsese devotes screen time to many of the murders, both before and after the fact. Often, we see the victims cut down by gunshots in long distance shots. This distance only emphasizes how casual the killers were about their actions. A bullet pops off, a body falls to the ground, and it's left to be discovered. This happens over and over again. Hale and his henchmen were so confident in their plans that little steps were necessary to cover their tracks. The only time Scorsese moves in close for the violence is when a home near Ernest and Molly's place is blown up with dynamite. We see the gaping head wound of the victims, who are still, seeming to maintain a level of dignity in death that are beyond their murderers. Not coincidently, this is when the deaths seem to start to actually effect even a simpleton like Burkhart. </div><div><br /></div><div>Throughout the film, attention to brought to how many of the Osage people were deemed “incompetent” by the government, requiring a guardianship to manage their own money. Burkhart argues with a funeral home owner, over being charged “Osage prices.” The doctors and Hale joke openly about murdering an Osage member to his face. People who knew Ernest are depicted as being well aware of what he was doing. This occurs alongside casual racism, from people who dismiss the indigenous people as savages, or a newsreel about the Tulsa race massacre. “Killers of the Flower Moon” is a long movie and it uses that length to repeatedly hammer home how the American environment of the time allowed this to happen without a moment's glance. If greed motivated Hale's scheme, if unquestioning men like Ernest Burkhart carried it out, then the systemic forces of prejudice that infect every corner of American culture is responsible for letting it happen uninterrupted. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn7JeZ75Qk0FHR0jKq7lIxepKsNKD_zKpj3Welh2N5Kzu1_bVzRvYMvNvdz4rk-672X3Tcf9NimMjA2esGfquQskkiLeDMAl29kIIi9eYwZJIfTPtrJfleX3_3l6VWwFVU4mXMDMzSjTdjlLTamTo5H_X_Rkd2nRMCFipqaGVebaodj6POJA_Vz7-nt8g/s1350/kotfm%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn7JeZ75Qk0FHR0jKq7lIxepKsNKD_zKpj3Welh2N5Kzu1_bVzRvYMvNvdz4rk-672X3Tcf9NimMjA2esGfquQskkiLeDMAl29kIIi9eYwZJIfTPtrJfleX3_3l6VWwFVU4mXMDMzSjTdjlLTamTo5H_X_Rkd2nRMCFipqaGVebaodj6POJA_Vz7-nt8g/w160-h200/kotfm%204.jpg" width="160" /></a></div>Yes, “Killers of the Flower Moon” is about white forces stomping out Native American culture. It does this through means cultural, political, and interpersonal. The first scene has an Osage elder bemoaning that their children will not speak their language. Mollie's mother states that all her children have married white men. The spectre of liquor and American consumerism, brought to the Osage by the white man, haunts the whole movie. Scorsese's effort to center the Native perspective surely resulted in the expanded role for the Osage figureheads. Lily Gladstone – of Piegan Blackfoot and Nez Perce heritage herself – plays Mollie as wounded and sometimes helpless to the forces around her. Yet she also maintains an incredible sense of dignity. Every Osage character in the film does. Her conflicted feelings are brought to life through several meaningful moments of voiceover narration. The movie grants the indigenous people a complicated, fleshed-out personality that we really see even in thoughtful films about how Native Americans have been abused and absorbed by the white culture all around them.</div><div><br /></div><div>Without falling back on stereotypes of Indian mysticism, the film respects the Osage culture with haunting visions of animal spirits and ancient ancestors. These are elements of the film's powerful cinematography, the warm, earthy images often feeling like paintings come to life. This pairs with a harsh, rambling score that establishes the feeling of a crushing, advancing machine that can't be stopped. In its last third, “Killers of the Flower Moon” becomes a courtroom drama devoted to showing how even a feckless man like Ernest Burkhart can realize his own wrong-doing. Without the ability to intellectually justify his actions like Hale – always scheming, even from his jail cell – does, Ernest is left to wallow in his own miserable suffering. It all proceeds a haunting final scene, which puts a perfect point on the idea that all of American culture is at fault for letting this happen, up to and including Scorsese himself.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLkNNsUeO013wvMYs8CmsqHusd1VQ3zKBERX_Hw6Pu6BUXuUsDz_j0ndYU7TecYbAtcC3hlIG7DzXL5p_ChMQCEH1vEioNLzt1JUFnY6p3fl28J-YvJ8m-hCZGKmbyf7BFVGg-IHhftBfivxi439iPp2PmIKtPtKYcxUCCYRsE6Ce0D00EHP95_9wAV50/s881/kotfm%205.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="881" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLkNNsUeO013wvMYs8CmsqHusd1VQ3zKBERX_Hw6Pu6BUXuUsDz_j0ndYU7TecYbAtcC3hlIG7DzXL5p_ChMQCEH1vEioNLzt1JUFnY6p3fl28J-YvJ8m-hCZGKmbyf7BFVGg-IHhftBfivxi439iPp2PmIKtPtKYcxUCCYRsE6Ce0D00EHP95_9wAV50/w136-h200/kotfm%205.jpg" width="136" /></a></div>Though intimidating in its length, “Killers of the Flower Moon” is sure to rank as one of Scorsese's most pointed movies. In a career obsessed with how men perform violent acts, the film sees the director truly examining the cause and effect of violence. It's an exhausting yet graceful examination of the controlling systems that allow these things to happen while also functioning as an indictment on those that did wrong and a tribute to those that still survive. <b>[9/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-16619367709694325762024-02-28T11:15:00.000-08:002024-03-10T11:36:00.914-07:00OSCARS 2024: Barbie (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKcveNbXLGkZaawrt6OKKR5UM0hCCrASsKJ3e83b659SQ-9kulkHOJuVfiM-TfBFI3IPUKJhEnx2Mn_jzL0WSj3IlWkezUVlldCZckwODPLH2nUFbL7xfW0AXdzIF0ci1-A0fNWj11nsHK-UnuygJDiKzAdqZ08oep2g_Ar_2kZgWOOHn37yODyQG23GA/s1500/Barbie%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1012" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKcveNbXLGkZaawrt6OKKR5UM0hCCrASsKJ3e83b659SQ-9kulkHOJuVfiM-TfBFI3IPUKJhEnx2Mn_jzL0WSj3IlWkezUVlldCZckwODPLH2nUFbL7xfW0AXdzIF0ci1-A0fNWj11nsHK-UnuygJDiKzAdqZ08oep2g_Ar_2kZgWOOHn37yODyQG23GA/s320/Barbie%201.jpg" width="216" /></a></div>In 2009, it was announced that Mattel was <a href="https://variety.com/2009/film/markets-festivals/barbie-s-a-living-doll-at-universal-1118009027/">developing a film</a> based on their world-famous Barbie doll. This was part of a wave of Hollywood films in the wake of Michael Bay's “Transformers,” trying to develop franchises out of beloved toy brands. <a href="https://www.womansday.com/life/entertainment/g44691140/the-history-of-toy-and-board-game-movies-before-barbie/">Most of these projects</a> that came out flopped and many more died on the vine. Yet “<b><a href="https://www.imdb.com/title/tt1517268/reference/">Barbie</a></b>” stuck around. Versions of the film starring <a href="https://deadline.com/2016/12/amy-schumer-barbie-movie-sony-pictures-mattel-1201863294/">Amy Schumer</a> and <a href="https://deadline.com/2017/07/anne-hathaway-barbie-movie-sony-1202135188/">Anne Hathaway</a> never manifested. Through it all, nobody was much excited for a movie based on the plastic blonde. Until the latest star on the project, Margot Robbie, got indie darling <a href="https://www.theguardian.com/film/2023/jul/09/it-had-to-be-totally-bananas-greta-gerwig-on-bringing-barbie-back-to-life">Greta Gerwig</a> signed on to direct. As more casting and information came out, people became more excited about this “Barbie” movie. By the time it released last summer, it was among the most anticipated films of the year. The project continued to defy the odds by becoming <a href="https://variety.com/2023/film/box-office/barbie-highest-grossing-worldwide-movie-year-1235705510/">the biggest hit of the year</a>, well reviewed, and is now nominated for multiple Academy Awards. </div><div><br /></div><div>Gerwig's film begins in Barbie Land, the pink, pastel alternate reality populated by Mattel's playthings. Multiple versions of the doll rule the land while, multiple versions of her male counterpart Ken serve as studly, vacant-minded second class citizens. Life seems ideal in Barbie Land... Except for when the blondest, most stereotypical Barbie begins to have unavoidable thoughts of death. Once her feet are no longer pointy and her thighs get cellulite, she visits the so-called Weird Barbie. She's informed that the child playing with her in the Real World must be having this sadness and that Barbie must travel to the mortal realm to resolve this issue. The neediest, beach-iest Ken accompanies her as she discovers the real world is a lot more complicated. She also meets Sasha, a grumpy tweener, and her mother Gloria, who happens to work for Mattel as a Barbie designer. Meanwhile, Ken discovers the concept of patriarchy brings it back to Barbie Land, flipping the idyllic, pink world on its head.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0rVd72X0J7KgGhnT_qCfDNYZGSFb4rMuVu57_UjbXvCrxnFPa6xj8jmQtDjSswoYcJa3PvpJaiEYqsGB-BWc95Ne5d87fcEbtEYYiSLyb-RHy-OckjZAyJvroYpmQ2yqIHhcTSQoa4HPq7kVNyid3xo2xtAIMyaeVkcs2bSaxarJrVVy0COFtyDbJGLg/s1500/Barbie%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0rVd72X0J7KgGhnT_qCfDNYZGSFb4rMuVu57_UjbXvCrxnFPa6xj8jmQtDjSswoYcJa3PvpJaiEYqsGB-BWc95Ne5d87fcEbtEYYiSLyb-RHy-OckjZAyJvroYpmQ2yqIHhcTSQoa4HPq7kVNyid3xo2xtAIMyaeVkcs2bSaxarJrVVy0COFtyDbJGLg/w160-h200/Barbie%202.jpg" width="160" /></a></div>As a comedy, “Barbie” operates in two separate modes, clearly divided along its two worlds. The first is a highly campy homage to the history of the “Barbie” product line. The film takes great delight in blowing up the various “Barbie” play-sets, vehicles, accessories, and accessories into life-sized props and sets. The film highlights several bizarre artifacts from “Barbie” history, like some of <a href="https://www.vanityfair.com/hollywood/2023/07/barbie-weird-discontinued-dolls">the more regrettable variations</a> on the dolls and forgotten characters like Midge, <a href="https://collider.com/barbie-allan-explained/">Allen</a> (played by Michael Cera at his most hilariously deadpan), and <a href="https://techliberation.com/2007/08/15/oh-sht-barbies-pooping-dog-is-a-killer/">a pooping dog</a>. The physics of this world operate under a cartoon, play-time logic. Most prominently, the playthings/people within this world act in an exaggerated manner you'd expect from a kid on a sugar high. When presented with Barbie's flat feet, people scream in overblown horror. The Kens posture against each other in a juvenile manner, a little girl's version of manly squabbles. It's a bit grating, especially in the early scenes, but I also have to commend the movie for its creative embracing of this artificial world and all that entails.</div><div><br /></div><div>If “Barbie” had devoted itself totally to this Barbie Land, it probably would've been a pretty amusing – if slightly insufferable – motion picture. However, this is also a fish-out-of-water film that transports Barbie and Ken into our real world. Contrasting the naïve yet weirdly perspective Barbie with the harsh realities of our reality produces the biggest laughs in the film. Such as her denial of Sasha's claim that she's a fascist, the joke that easily got the largest reaction out of me. Or the running gag of her and Ken's inability to understand paying for things. These scenes capitalize on “Barbie's” biggest positive. Margot Robbie's considerable charm and excellent comedic timing makes this plastic doll a personable, living thing that is repeatedly baffled by everything that's happen with moments of hilarious insight. This peaks during an amusing sight gag, once Robbie's Barbie succumbs to the depression she feels. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgERSea22t1gdSG800qxuCzlaPf-DdlzNuXd9rL04UZDJXlQZgWoox3swHWL4jFuS1m7-0PX0cF-FqpFh4m5bP8kQG2nCTNczB-Ht7KgUjjragiYVZ-JrDP2k3GmAu1r2yEoNxrkR8Q2gWzZADb4CFlxVrW9r0IjFYPgfgtPqYsWPuxe_pZg45t0PqYZws/s1500/Barbie%203.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1013" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgERSea22t1gdSG800qxuCzlaPf-DdlzNuXd9rL04UZDJXlQZgWoox3swHWL4jFuS1m7-0PX0cF-FqpFh4m5bP8kQG2nCTNczB-Ht7KgUjjragiYVZ-JrDP2k3GmAu1r2yEoNxrkR8Q2gWzZADb4CFlxVrW9r0IjFYPgfgtPqYsWPuxe_pZg45t0PqYZws/w135-h200/Barbie%203.jpg" width="135" /></a></div>Probably the smartest thing Gerwig did while constructing “Barbie” is embracing <a href="https://www.npr.org/2023/07/27/1189987314/barbie-movie-feminist-history">the doll's complicated relationship with feminism</a>. The utopian Barbie Land acknowledges that “Barbie,” as an ideal, presents a perfected version of femininity that can accomplish anything. This contrasts roughly with the real world conception of the doll, as <a href="https://barbarafalconernewhall.com/2023/07/29/barbie-sex-object-or-blank-slate/">a fetishized sexual object</a>. If Gerwig had left it at that, I think “Barbie” would be a much stronger film. Instead, the script gets increasingly didactic as it goes along. There's phony feeling platitudes, like Barbie telling an old woman that she's beautiful. This tendency peaks during America Ferrera's monologue about the contradictory nature of being a woman, a flat laying down of the movie's themes that Ferrera does admittedly deliver in a fiery manner. After that, “Barbie” ladles it on, growing more sentimental as it heads into an overlong epilogue. </div><div><br /></div><div>“Barbie's” feminist messaging being so blunt might be why the movie ends up getting stolen by Ryan Gosling's Ken. Gosling strikes the perfect amount of brainlessness, playing a character who becomes a malicious antagonist almost by accident, because he's just too dumb to know any better. Maybe that's because Gosling always has that sad puppy dog glare in his eyes, even during Ken's most sexist moments. Gosling also has a stunning comedic timing, with a weirdo energy that manages to make even normal lines into huge laughs. The go-for-broke quality Gosling brings to Ken is one hundred perfect on display during <a href="https://www.yahoo.com/entertainment/barbie-m-just-ken-musical-115509191.html">the “I'm Just Ken” musical number</a>, a moment of such perfectly joyous silliness that it immediately became one of my favorite moment in movies last year. The musical number is so brilliantly pulled off that everything that follows feels unnecessary. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmS_ov71rjdxqHe8XXHMaDyOEZ69f83uscSUIYBnWlcyoxsFXK0J8tccCh4KAa_3Iw5u07_6ilTByUqtgg3TfAqkG0ORtZxsd15NjxpBE7jHk4W8mPci5Wxj0zoR490F5jueZXra0xSmuKW7JSI9JI60ejhyphenhyphen30ttP1_JEtj72VLK1oxJAGIFDtgcQpzQA/s1500/Barbie%204.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmS_ov71rjdxqHe8XXHMaDyOEZ69f83uscSUIYBnWlcyoxsFXK0J8tccCh4KAa_3Iw5u07_6ilTByUqtgg3TfAqkG0ORtZxsd15NjxpBE7jHk4W8mPci5Wxj0zoR490F5jueZXra0xSmuKW7JSI9JI60ejhyphenhyphen30ttP1_JEtj72VLK1oxJAGIFDtgcQpzQA/w160-h200/Barbie%204.jpg" width="160" /></a></div>If “Barbie” trusted its own message more, and was willing to convey its idea to its audience with more subtly, it would be a stronger, funnier film. (This weakness is also evident in <a href="https://variety.com/2023/film/news/barbie-mattel-script-notes-execs-shot-1235779179/">the toothless satire</a> directed at the Mattel corporation.) On the other hand, the fact that a movie made to sell dolls was this fresh, amusing, and pointed in the first place is nothing short of a miracle. It does have some insightful things to say about femininity, masculinity, and their roles in the world while also being kind of delightfully weird. At least by the standards of 145 million dollar kids movies. Robbie and Gosling are fantastic and their performances go a long way to making the movie as enjoyable as it is. If studios want to give I.P. projects like this to auteurs like Gerwig more often, that can only be a net-gain for the film world. <b>[7/10]</b></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-35612501233133678002024-02-27T20:44:00.000-08:002024-03-09T21:00:10.865-08:00OSCARS 2024: Spider-Man: Across the Spider-Verse (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwhltTvQjFHG7VIwneHtrIj6GfJ3ntnMx1NY8s9zlOzCOtBlAPX43wrRxq8__tGIVzmRXGzf_wK_XpqNvhP0joKyifcAtrTUz7B8Aen47r8S2sI9mZSqbw-jEAAocp1QwJlzLpn-jGKQ0kCjCA03NDnxv9Bd0P-AWT8sA3zvmPtasuBcwKGEZax4DiVKE/s1500/spiderverse%201.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1042" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwhltTvQjFHG7VIwneHtrIj6GfJ3ntnMx1NY8s9zlOzCOtBlAPX43wrRxq8__tGIVzmRXGzf_wK_XpqNvhP0joKyifcAtrTUz7B8Aen47r8S2sI9mZSqbw-jEAAocp1QwJlzLpn-jGKQ0kCjCA03NDnxv9Bd0P-AWT8sA3zvmPtasuBcwKGEZax4DiVKE/s320/spiderverse%201.jpg" width="222" /></a></div>Five years after “<a href="https://zacksfilmthoughts.blogspot.com/2019/02/oscars-2019-spider-man-into-spider.html">Spider-Man: Into the Spider-Verse</a>'s” release, its impact is already clear. Multiple American animated movies have emulated its distinctive visuals. The comic book concepts of a multi-verse became even more popular since then. And it further cemented Spider-Man's place as the most popular superhero of all time. Naturally, because comic book stories never end, a sequel was planned right from the beginning. Yet there was a slight problem. Part of why “Into the Spider-Verse” became such an unexpected commercial and critical success was that nobody expected it to be good. Just look at the other components of <a href="https://www.hollywoodreporter.com/movies/movie-news/madame-web-bomb-killed-sony-franchise-1235829471/">Sony's on-going disastrous attempt</a> to spin the bits and pieces of the “Spider-Man” rights they own into a successful franchise for an example of how low expectations were. A sequel, “<b><a href="https://www.imdb.com/title/tt9362722/reference/">Spider-Man: Across the Spider-Verse</a></b>” actually had an uphill battle of its own, because people really liked the first one. Well, I guess they pulled it off again, as the sequel has been well received in its own right. Months after the hype has died down, why do I think now?</div><div><br /></div><div>Following the events of “Into the Spider-Verse,” Miles Morales and Gwen Stacy have continued to operate as the respective Spider-People of their universes. That's when an incursion by another universe's Vulture draws Gwen into an inter-dimensional league of other Spider-People who police the multi-verse. She goes to visit Miles, around the time he's challenged by a new villain called the Spot and is dealing with some issues with his parents. After the Spot learns how to travel to other dimensions, Miles follows Gwen into another world. This delves Miles into a multi-versal adventure, where he meets a collection of new Spider-Men – some have his best interest at heart, others have plans of their own for him – and he'll learn a lot more about himself. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRZV-ly1NP2WbHJFUCLWjVOiAtyZHC57GnbOF3PDvOvhF5dJ5ONhd52jmISmwyn1R6mKySUElD19twEB_3G99njlazjLInfvDKPV62DenfxWWBFEenCF72-RuHICLpVsp3eIpQj4Iaoe1DtUhyphenhyphen5BDGZYB6bnEtMU7oRzk5gmUpQ7erYco9033pi3YEziY/s1500/spiderverse%202.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="939" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRZV-ly1NP2WbHJFUCLWjVOiAtyZHC57GnbOF3PDvOvhF5dJ5ONhd52jmISmwyn1R6mKySUElD19twEB_3G99njlazjLInfvDKPV62DenfxWWBFEenCF72-RuHICLpVsp3eIpQj4Iaoe1DtUhyphenhyphen5BDGZYB6bnEtMU7oRzk5gmUpQ7erYco9033pi3YEziY/w125-h200/spiderverse%202.jpg" width="125" /></a></div>The animation style of “Into the Spider-Verse” was what signaled to many people that the movie was more than just a quickie cash-in project. “Across the Spider-Verse” clearly sets out to top the original by having an even more explosive visual sense. Time is spent developing the look for each dimension, Gwen's world being characterized by water color like palette. Or Spider-Punk always being surrounded by <a href="https://libguides.msubillings.edu/punk">zine style cut-out art</a>. When the Vulture – from <a href="https://www.marvel.com/comics/discover/297/marvel-1602">the Marvel 1602 world</a>, it seems – appears, it's as hand-drawn blueprints. The film doubles down on the comic inspiration of the first one, with even more world balloons, thought bubbles, and sound effects appearing on-screen. In truth, “Across the Spider-Verse's” hyperactive visuals are so frantic and constant at times, it borders on the overwhelming. This might be one of the few films I've seen that felt more coherent at home than on the big screen. Nevertheless, it is a hell of a spectacle. </div><div><br /></div><div>This visual playfulness peaks during a sequence in the middle of the movie, where Miles is chased through the Society headquarters by a whole horde of Spider-People. This includes such colorful sights as <a href="https://marvel.fandom.com/wiki/Spider-Cat_(Earth-999)">Spider-Cat</a>, <a href="https://marvel.fandom.com/wiki/Pter_Ptarker_(Earth-66)">Spider-Rex</a>, and <a href="https://marvel.fandom.com/wiki/Patrick_O%27Hara_(Earth-31913)">a cowboy Spider-Man</a>. It's a lot of fun. So are cameos from the LEGO Spider-Man universe. Yet, sometimes, “Across the Spider-Verse” piles on the references and in-jokes to the point that they feel stifling. I appreciate the shout-outs to <a href="https://www.polygon.com/23755233/spider-man-cartoon-1967-across-the-spider-verse-connection">the 1967 “Spider-Man” cartoon</a>. Yet cameos from Andrew Garfield or a desperate connection to the MCU makes the movie feel more like an extension of a massive corporate product than as, ya know, a movie meant to tell a story. This is evident in the appearance from Spider-Man characters that end up barely contributing anything to the story too.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigMAtRQM3Uqk0qy_lemaE87j88jP7fujaw9nrxncGMMinNOzgoYdu39APDcJT3gd9b_xeAMjAGCoa_1eK2xn6rugsEsxqs8bWtWAjiEmyTIcHOHy8WXXCWyfPg_GPs21OWtR2OwP6UkvfM4UmwC7xfBB8tZclxz9XtgLC6bWfZgnpC72UdZKE0IYe2LFs/s1500/spiderverse%203.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1099" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigMAtRQM3Uqk0qy_lemaE87j88jP7fujaw9nrxncGMMinNOzgoYdu39APDcJT3gd9b_xeAMjAGCoa_1eK2xn6rugsEsxqs8bWtWAjiEmyTIcHOHy8WXXCWyfPg_GPs21OWtR2OwP6UkvfM4UmwC7xfBB8tZclxz9XtgLC6bWfZgnpC72UdZKE0IYe2LFs/w146-h200/spiderverse%203.jpg" width="146" /></a></div>Another weakness in “Across the Spider-Verse” is that the film goes out of its way to tell us what Miles Morales' entire character arc is going to be. Before leaving on his latest adventure, his mother tells him not to allow anyone to tell him he doesn't belong. This completely predicts what happens to him later, Miles establishing his own destiny, his own right to exist against a horde of authority figures that tell him he has no right to be here. This is further set-up by the plot's focus on “Canon Events,” another example of a determined history being laid out for our hero. One that, obviously, he's going to deny. It's all laid on a little thick.</div><div><br /></div><div>I say he's “going to” because... “Across the Spider-Verse” doesn't actually have an ending. If you follow comic book movie and entertainment news, you were probably aware that this sequel was <a href="https://ew.com/movies/spider-man-across-the-spider-verse-first-look/">originally announced as a Part One</a>. That designation was dropped from the title but clearly the structure was not changed in anyway. “Across the Spider-Verse” fills up its run time by expanding on characters' back stories and introducing a horde of new heroes and rivals. This is fine. The movie builds to a climax during Miles' conflict with the other Spider-Men. The film then continues to an extended epilogue, which exists solely to set-up a cliffhanger. Not a particularly compelling one, if I'm being blunt. The truth is “Across the Spider-Verse” ends right when it's starting to feel like it's finally gained momentum. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8an9ekiHbIA6gHytvJWaj1nvi16Gf8fs65BF0Ib5L5BQwIWXdaiAhJMn2dHGw74ON8LNv8mP2bDN6m8AF3z5SQJ0QRp5Es6HqtrDgMrpEvdLoRgKSjJrC_ZnxV_MXluMyjcSifV1B5aY3zA8zCVj1bccuJgvDc87Luony_dZiDI6_RTqrx_FXNSLeakU/s1500/spiderverse%204.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1012" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8an9ekiHbIA6gHytvJWaj1nvi16Gf8fs65BF0Ib5L5BQwIWXdaiAhJMn2dHGw74ON8LNv8mP2bDN6m8AF3z5SQJ0QRp5Es6HqtrDgMrpEvdLoRgKSjJrC_ZnxV_MXluMyjcSifV1B5aY3zA8zCVj1bccuJgvDc87Luony_dZiDI6_RTqrx_FXNSLeakU/w135-h200/spiderverse%204.jpg" width="135" /></a></div>The apparent flaws with “Across the Spider-Verse” are all the more frustrating because, when it works, it works really well. The subplot focuses on Gwen and her universe are compelling. The slower scenes devoted to her interactions with Miles are really cute, suggesting a gentle kind of romantic tension between the two. Once again, I find myself feeling like a “Spider-Man” story works best when focusing on the smaller stakes, rather than the universe toppling threats. Yes, “Across the Spider-Verse” is an impressive visual experience, that does a lot of really cool shit, and is a loving homage to the “Spider-Man” franchise's history. However, it's also a fundamentally incomplete film, leaving the viewer ultimately unsatisfied. <b>[7/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-86583705527524917192024-02-26T19:10:00.000-08:002024-03-09T19:30:16.327-08:00Director Report Card: Christopher Nolan (2023)<div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqhbGvymMTfjdJoiM9defIfKzL7aPLyugBEQkSCadoZ2I5M_AydeGUri1ldAv7X97OzQdmM1t7m3UaesnZ9BRKOu-QVIhjo4OzhTfFtgIV6nCuLxibVSYRutbZIwlFscpD9y9eSGDW6hKtL86D-Np_HTRu9xd6cxRVf-e-PB1wwCtJ-YDGE2QMalcCn5k/s1500/oppenheimer%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="947" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqhbGvymMTfjdJoiM9defIfKzL7aPLyugBEQkSCadoZ2I5M_AydeGUri1ldAv7X97OzQdmM1t7m3UaesnZ9BRKOu-QVIhjo4OzhTfFtgIV6nCuLxibVSYRutbZIwlFscpD9y9eSGDW6hKtL86D-Np_HTRu9xd6cxRVf-e-PB1wwCtJ-YDGE2QMalcCn5k/w126-h200/oppenheimer%201.jpg" width="126" /></a></div>12. <a href="https://www.imdb.com/title/tt15398776/reference/">Oppenheimer</a></b></div><div style="text-align: left;"><br /></div><div>Other directors could have made “Oppenheimer.” J. Robert Oppenheimer is a pivotal figure, not just in science, but in modern history as we know it. He's already been the subject of many different biographies, <a href="https://variety.com/2023/tv/global/oppenheimer-bbc-christopher-nolan-sam-waterston-1235677307/">a BBC serial</a>, <a href="https://www.rsc.org.uk/oppenheimer">a play</a>, and a few previous films. This is the kind of respectable topic that you'd expect any number of stately, award season-friendly biopics could be made about. Other directors could have made “Oppenheimer” but only Christopher Nolan could have made it a blockbuster. Nolan is one of the few directors you can sell a movie on and Universal knew it, selling the hell out of the film to general audience. When paired by the buzz generated by <a href="https://www.vox.com/culture/23789864/barbenheimer-barbieheimer-barbie-oppenheimer-release-memes-double-feature">the “Barbenheimer” meme</a>, a serious, R-rated drama about the niche topics of history and nuclear physics ended up becoming one of the highest grossing films of 2023. It might also be one of the highly lauded films of Nolan's frequently praised work.</div><div><br /></div><div>In 1954, <a href="https://www.britannica.com/biography/J-Robert-Oppenheimer">J. Robert Oppenheimer</a> is interviewed by a security hearing for his possible communist connections and for rumors he might've been linked to a Russian spy that reported on the Trinity program. He recounts his professional career, beginning his studies at Cambridge and how a meeting with Niels Bohr encouraged him to study theoretical physics. He's questioned about his relationship with known communist Jean Tatlock and how he met his wife, Kitty. Eventually, after becoming the head of the physics department at Berkeley, he's recruited to help create a nuclear bomb for the U.S. military. The further away from these events Oppenheimer grows, the more he comes to regret his actions. Meanwhile, in 1959, Lewis Strauss gives his opinion on Oppenheimer to the Senate while awaiting confirmation in the president's cabinet. </div><div><br /></div><div>Christopher Nolan would first come to most people's attention thanks to “Memento,” a movie that gained praise for its non-linear story structure. Timelines that leap around have continued to become a lauded part of Nolan's future film, in the flashback heavy structures of “The Prestige” or “Inception's” multi-layered narrative. Yet it feels like it's been a while since a Nolan movie has gone back-and-forth like that. “Oppenheimer” does something very similar to “Memento,” in the way it follows <a href="https://www.digitalspy.com/movies/a44573921/oppenheimer-explained/">two separate timelines</a> that are differentiate by one being in black-and-white. That Oppenheimer telling his story to the security hearing also triggers extensive flashbacks, that make up the bulk of the movie's runtime, is another example of Nolan's favorite storytelling trick. This structure resembles the way memory works while also creating of chances for narrative ironies. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Pe0AhfpsklpH0gzJIsHiavl6B-zBOdXI7XnZTN-PPbom2py3cZ98KVkT0qa4IkbeDM6k_9o6GzgT9moA1LB3UNBAPXS5GhZSfK-A7xr0vWrCv8cNZNLX1cJSYN-S9SZXJTvE8X3hAGIfGl3l_vy-xmfBRB8SgPy8aPFiyN8LjO311oA6N_RuhqM3J1E/s1500/oppenheimer%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="948" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Pe0AhfpsklpH0gzJIsHiavl6B-zBOdXI7XnZTN-PPbom2py3cZ98KVkT0qa4IkbeDM6k_9o6GzgT9moA1LB3UNBAPXS5GhZSfK-A7xr0vWrCv8cNZNLX1cJSYN-S9SZXJTvE8X3hAGIfGl3l_vy-xmfBRB8SgPy8aPFiyN8LjO311oA6N_RuhqM3J1E/w126-h200/oppenheimer%202.jpg" width="126" /></a></div>Lots of movies attempt to sum up a prominent person's entire life, within a few hours. Yet “Oppenheimer” really does set out to synthesize a man's professional, political, and personal lives. It's a lot more than just a summing up of J. Robert Oppenheimer's career, starting with his school career, following throughout the creation of the nuclear bomb, and the aftermath of those events. Nolan – working from script he wrote himself – finds thematic links between all sectors of Oppenheimer's life. His political beliefs influence his career choices and the judgements made on him later in life. His tumultuous love life effects his professional decisions. It's all linked, no action existing in a vacuum. “Oppenheimer” is a movie of chain events – visually symbolized in the first shot being of ripples forming in a puddle – and, likewise, everything Robert does echoes through every other aspect of his world. </div><div><br /></div><div>Ironically, as much as “Oppenheimer” is a movie about one event triggering another, it zeroes in on J. Robert Oppenheimer's greatest flaw (at least in this telling): His inability to see the consequences of his action, to perceive what might follow from the events he triggers. He womanizes, juggling Jean and Kitty without guessing that this might effect both women negatively. He's well aware that his communism connections will be scrutinized by the government. Yet he doesn't report it when a colleague suggests sharing information with the Russians. Of course, the biggest example of this is the bomb itself. Afterwards, he feels remorse and regrets for all his mistakes, breaking down or wringing his hands about it. However, that's only after the fact. Oppie says early on that he's not great at the math side of physics, seeming to represent his inability to predict the fallout of his own actions in every corner of his life.</div><div><br /></div><div>Of course, it's not like Oppenheimer was alone in his tendency to disconnect his actions from his consequences. When the film was first released, there was <a href="https://www.nbcnews.com/news/asian-america/oppenheimer-draws-debate-absence-japanese-bombing-victims-film-rcna96279">an exhausting round of Discourse</a> about the film not showing the bombing of Hiroshima and Nagasaki. Some where offended that a movie about the mass death of thousands of Japanese people centered on a white guy feeling bad about it. This seems to overlooked a key scene. When deciding what cities to drop the nuclear bombs on, Secretary of War William L. Stimson <a href="https://thegaijinghost.com/blog/oppenheimer-kyoto-scene-ending-explained">rules out Kyoto</a> partially because he honeymooned there with his wife. It's such a callous, telling line. An American has been to <i>this</i> place and therefore disqualifies it from annihilation. The rest of Japan is fine to be destroyed though, in his eyes. Not showing the bombing just further illustrates Oppenheimer's disconnect from his own actions and what happens because of them. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Hxddsfc6s4AYAOcXr-Aw0asQzbU8neTgB27fnEVpTqIuAwzersAZR8uGuj14C6S2Vl-jqelBgB1xXY00D5yOb7_RcucPPTgOP0x9xBCLKeIZoQKHDoqx8gvTTuItpAl3bPk0bkCZyzgOQ4NqNfizBaQY0qPoYQ5VXj9CnkFvX5q5PHuy-i-GAwMqmJA/s800/oppenheimer%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="533" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Hxddsfc6s4AYAOcXr-Aw0asQzbU8neTgB27fnEVpTqIuAwzersAZR8uGuj14C6S2Vl-jqelBgB1xXY00D5yOb7_RcucPPTgOP0x9xBCLKeIZoQKHDoqx8gvTTuItpAl3bPk0bkCZyzgOQ4NqNfizBaQY0qPoYQ5VXj9CnkFvX5q5PHuy-i-GAwMqmJA/w133-h200/oppenheimer%203.jpg" width="133" /></a></div>It confirms all the clichés we have about the Academy that the only time they've given Nolan a Best Director nominations have been for his “serious,” non-genre films. This is all the funny, because “Oppenheimer” has more in common with his science fiction and superhero films than it at first appears. The scene where Oppie puts on his famous fedora for the first time feels a lot like Batman putting on the cowl for the first time. Similarly, the script makes drops references to future events the same way a comic book movie includes shout-outs to famous future characters or events. The famous quote from <a href="https://www.wired.co.uk/article/manhattan-project-robert-oppenheimer">the Bhagavad Gita</a> is highlighted long before it'll become relevant to Oppenheimer's life. <a href="https://www.afnwc.af.mil/About-Us/History/Trinity-Nuclear-Test/">Los Alamos</a> is whispered in a hushed tone long before Robert is recruited to help build the bomb. <a href="https://www.imdb.com/news/ni64349675/">John F. Kennedy</a> gets a name-drop that recalls the Joker's appearance being teased at the end of “Batman Begins.” Considering some people have entertained <a href="https://www.reddit.com/r/FanTheories/comments/157cbhn/oppenheimer_the_film_is_a_metaphor_for/">the (unlikely) theory</a> that “Oppenheimer” is a metaphor for Nolan's own feelings about birthing the ubiquity of the superhero genre, this becomes all the more ironic.</div><div><br /></div><div>No matter how much “Oppenheimer” resembles Nolan's previous movies, you can feel him attempting to stretch himself too. Another similarity with “Memento” is, much the same that film primarily took place in Leonard Shelby's mind, everything in the “Fusion” timeline is told from J. Robert Oppenheimer's perspective. (To the point that <a href="https://variety.com/2023/film/news/christopher-nolan-wrote-oppenheimer-script-first-person-1235633753/">the screenplay was written in the first person</a>.) Setting this story in Oppenheimer's own memories allows Nolan to indulge in a kind of visual symbolism that isn't typical of him. It's not exactly subtle. When recounting his sex life to the security hearing, Robert imagines himself naked before them. At the same time, he feels responsibility for Jean's death, her body weighing down on his chest. After reluctantly trying to celebrate the bomb successfully falling, he steps in a pile of ash. This visualizes him realizing just what he's unleashed. Think of this as Film Theory 101 for the kind of Reddit Bros that venerate Nolan as one of the greats. That's not wrong. Yet it is interesting to see the director blend some of his past styles into something new for him.</div><div><br /></div><div>Maybe the movie's visual signifiers arise out of its desire to make the invisible world Oppenheimer observes visible. This is evident through a number of visual effects shots, of strings of atoms and molecules, of stars burning out in space. Moments like this is when “Oppenheimer,” to me, feels like its really pushing towards something bigger. The film is not made for physicists and I'm absolutely not one either. Yet the steps Nolan and his team took to illustrate the scientific concepts beyond our physical world impresses me. You also see this in <a href="https://www.asoundeffect.com/oppenheimer-film-sound/">the thundering sound design</a>, that piles on otherworldly bursts of noise and corresponding walls of silence to further show us the strength of these unseen forces on our world. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM_i6V_rtdgBKP2mw3MmwVO6DDCB4gXyz2-RihVVixwyMYEav2BTN3PLjRAwWhcg75dLuv__9JfJF53r0sMumqxchatXXiyZ0g4uznrI_-YQhXgpxXyWEL2OWmTOyN4O6sitvf2Fjp6lqrzHYNFLtNmZ6iOH_P4AKNwDOg24GHvUWjO012vKij3Z51MNw/s1350/oppenheimer%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM_i6V_rtdgBKP2mw3MmwVO6DDCB4gXyz2-RihVVixwyMYEav2BTN3PLjRAwWhcg75dLuv__9JfJF53r0sMumqxchatXXiyZ0g4uznrI_-YQhXgpxXyWEL2OWmTOyN4O6sitvf2Fjp6lqrzHYNFLtNmZ6iOH_P4AKNwDOg24GHvUWjO012vKij3Z51MNw/w160-h200/oppenheimer%204.jpg" width="160" /></a></div>That sound design is also excellent at building suspense. Whenever Oppenheimer feels overwhelming, there's a cavalcade of stomping noise on the soundtrack. This can't help but make your heartbeat rise, in fearful anticipation of what might happen... Which is pretty surprising, since we <i>do</i> know what happens. “Oppenheimer” pulls off a neat trick, of leaving us feel suspense over foregone conclusions. We know that the nuclear bomb won't start a chain reaction that destroys the world. We know that J. Robert Oppenheimer is ultimately dismissed of any un-American activities. Yet the film is so brilliantly assembled, so tightly edited and so beautifully photographed, that it all comes together fantastically. All the craftsmen involved in the making of “Oppenheimer” were operating at the top of their game.</div><div><br /></div><div>At the center of the film is a career-best performance from Cillian Murphy. Murphy's deep blue eyes convey so much emotion, most painful during the scenes where he's barely holding himself together under the consideration pressure of what he's done. Such as when he's grappling with Jean's suicide or the consequences of the bomb. It's amazing how much Murphy can tells with just a look or the angle of his face. He carries the entire movie on his shoulders, making even the most melodramatic dialogue – such as the final line – come off as mythic and profound. </div><div><br /></div><div>Murphy is supported by an incredible cast, composed largely of some of the best character actors of our modern age. Basically every part has a recognizable face in it, from a bellowing Jason Clarke as Roger Robb or a suitably sweaty David Dastmalchian as William Borden. Robert Downey Jr. is fantastic as Strauss, a man whose petty grievances and resentments boil under the surface until finally overflowing in the last act. If you look at Strauss as the movie's antagonist, he's not the most sinister part in the film. In just a few scenes, Casey Affleck projects a deep sense of malevolence. Dane DeHaan is also coldly calculating as Kenneth Nichols, seeming to glare at other humans with an alien gaze. The heart break and erratic moods of Jean are brought to life with a real depth by Florence Pough. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1qZN63ycOnUNVEod3LiMPXDAE6AOuK7swir4smzbc3Aa5bgWZmxJnWOfxT9odQdv-2HmWWgNXst-6JUSmI6ay0bhxoaxeiA0qq0g3KOmbbp3cDurReJWjh_WpmLATxMnOCv3UV7KlpXUyVxZsqlxRj0Mj1rtMxdxqguvZ4pi0bXDTlSrbqmRRSPp5m8g/s1500/oppenheimer%205.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="947" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1qZN63ycOnUNVEod3LiMPXDAE6AOuK7swir4smzbc3Aa5bgWZmxJnWOfxT9odQdv-2HmWWgNXst-6JUSmI6ay0bhxoaxeiA0qq0g3KOmbbp3cDurReJWjh_WpmLATxMnOCv3UV7KlpXUyVxZsqlxRj0Mj1rtMxdxqguvZ4pi0bXDTlSrbqmRRSPp5m8g/w126-h200/oppenheimer%205.jpg" width="126" /></a></div>Ultimately, “Oppenheimer” is likely to go down in cinema history as one of the best biographic films ever made, that grapples with the complexities of the man at its center while also giving us a holistic understanding of this figure. It handles the heavy meaning of the nuclear bomb, how it changed the world forever. On a technical level, it is a massive achievement, its music, sound design, cinematography, and editing all operating on a top level. A massively talented cast and a director playing with his own styles and themes in fascinating ways insures it's a strong watch, every single time. Sure to be discussed and debated for years to come, it's another masterpiece from one of the great commercial filmmakers of our time. <b>[Grade: A]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-35093445508533792442024-02-25T19:36:00.000-08:002024-03-08T19:55:23.150-08:00Director Report Card: Ridley Scott (2023)<div style="text-align: left;"><br /></div><div style="text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUpWuB-Q2RkcAQVyOKyeLKfwEq2JvN66pJFCNwZFqh7z5iChpj1Z7NCGFMQTMVwxa_izpiFfSlWRm9Lxlf7zFbPsQP1zr1vusvIl6rInLtzs5BfM24qqe1bnVeurI7HgyUKj3kef791hpKYtT4LcWo7aXTZAR5M-ZGQfgMP5pX4I5r73ROMzaOxewCgI/s1500/Napoleon%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1012" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUpWuB-Q2RkcAQVyOKyeLKfwEq2JvN66pJFCNwZFqh7z5iChpj1Z7NCGFMQTMVwxa_izpiFfSlWRm9Lxlf7zFbPsQP1zr1vusvIl6rInLtzs5BfM24qqe1bnVeurI7HgyUKj3kef791hpKYtT4LcWo7aXTZAR5M-ZGQfgMP5pX4I5r73ROMzaOxewCgI/w135-h200/Napoleon%201.jpg" width="135" /></a></div>28. <a href="https://www.imdb.com/title/tt13287846/reference/">Napoleon</a></b></div><div style="text-align: left;"><br /></div><div>In 1927, French filmmaker Abel Gance unleashed <a href="https://www.hollywoodreporter.com/movies/movie-features/hollywood-flashback-abel-gance-silent-napoleon-revolutionary-1235648037/">a five and a half hour long epic</a> about the life of Napoleon Bonaparte. Though now regarded as one of the greatest films of the silent era, Gance's “Napoleon” was divisively received at the time. The film was edited and cut down afterwards, being the subject of <a href="https://www.bfi.org.uk/sight-and-sound/features/monumental-reckoning-how-abel-gances-napoleon-was-restored-full-glory">numerous restorations</a> in the nearly one hundred years since its completion. In the early seventies, Stanley Kubrick sought to make a movie about Napoleon, which he promised would be “<a href="https://www.bbc.com/culture/article/20190808-was-napoleon-the-greatest-film-never-made">the best movie ever made</a>.” After years of meticulous research, Kubrick couldn't secure funding for the film and it was never made. There have been <a href="https://www.vulture.com/article/napoleon-movies-history.html">many films actually made</a> about Bonaparte and many others not made – <a href="https://www.criterionchannel.com/the-great-dictator/videos/chaplin-s-napoleon">Charlie Chaplin also attempted</a> to adapt the emperor's story – but Gance's compromised vision and Kubrick's unmade epic tend to overshadow them all. I suppose the irony is too great to ignore, of great filmmakers trying and failing to make a movie about one of history's most ambitious, and ultimately humbled, conquerors. </div><div><br /></div><div>Ridley Scott is a great admirer of Kubrick. You can see the influence of “Barry Lyndon” – the movie Stanley made instead of his “Napoleon – on almost everything Scott has done. Considering Scott's own career of successful and unrealized historical epics, it's not surprising that Ridley has been trying to make his own “Napoleon” movie for quite a while. He approached David Scarpa to write a film on the subject in 2017 and the movie, initially given the unfortunate title of “<a href="https://www.slashfilm.com/740141/bye-bye-kitbag-ridley-scott-very-wisely-renames-his-napoleon-movie/">Kitbag</a>," had been in-and-out of development since then. Finally, Scott would clear his ever-packed dance card and be able to move forward with the now retitled “Napoleon” in 2022, the film releasing last November. </div><div><br /></div><div>In the aftermath of Marie Antoinette's execution, a young French army officer named Napoleon Bonaparte leads the Siege of Toulon. This elevates Napoleon through the ranks and he soon defends the new government from royalist insurrectionists. After leading a successful military campaign in Egypt, Napoleon overthrows the French Directory. He declares himself Emperor shortly afterwards. Bonaparte soon leads the French military against the Austrians, the Prussians, the Russians, and the English. All the while, the love of his life – a woman named Josephine – inspires and infuriates him as he strives for greatness.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBIo_Oo7vYZRFas-xFF38rC4p1M_uphd5Nz2dhaG3hxfllqRJxMK3l5O_7h96eW0mc7BsgQmWvmVR0X2JWX-OoocoYQ86H8B5F0qxM-y_2OgGEiBHt4q8MJS-_dDbV-Dc0Wi22d47pyJGF2tVkcoyrNfaqfTfXuIkdRzFNehr6X15cgMCQQmtuKjGcOwY/s1350/Napoleon%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBIo_Oo7vYZRFas-xFF38rC4p1M_uphd5Nz2dhaG3hxfllqRJxMK3l5O_7h96eW0mc7BsgQmWvmVR0X2JWX-OoocoYQ86H8B5F0qxM-y_2OgGEiBHt4q8MJS-_dDbV-Dc0Wi22d47pyJGF2tVkcoyrNfaqfTfXuIkdRzFNehr6X15cgMCQQmtuKjGcOwY/w160-h200/Napoleon%202.jpg" width="160" /></a></div>It's the one thing every one knows about Napoleon. He was short and he sought to make up for this inadequacy by conquering Europe. This is, of course, <a href="https://www.washingtonpost.com/history/2023/11/22/napoleon-short-myth/">not true</a>. The French emperor was considered of average height for his time. However, that hasn't stopped the idea of <a href="https://storywellness.com/napoleon-complex/">the Napoleon Complex</a> from entering popular usage. While Scott's film makes no comment on Napoleon's height, it does run with the idea that his desire for conquest was driven by psychological insecurities. “Napoleon” depicts the military leader as obsessed with achieving what he perceives as his destiny. He talks often of his greatness. After conquering Egypt, he looks a mummy in the eyes and playfully places his hat atop the sarcophagus. As if he's saying to one king that he has surpassed him. This was a man, determined to rule, by any means necessary.</div><div><br /></div><div>Scott's film only hints at Bonaparte's back story. We meet his mother, <a href="https://www.historyextra.com/period/georgian/letizia-bonaparte-mother-napoleon-who-life/">whom he seems very close to</a>, though any further details are left unspoken. <a href="https://www.napoleon.org/en/magazine/publications/joseph-bonaparte/">His brother</a> plays a prominent role in the earlier scenes before disappearing from the story all together. We never learn exactly where the emperor's unquenchable thirst for power came from, what inadequacy drove him to try and conquer the world, yet clearly there was something there. He has frequent arguments with his underlings. He seeks to establish dominance over other country's rulers in petty manners. He's obsessed with securing an heir, as if his inability to do so reflects on his strength somehow. Without being a full psychological breakdown of Napoleon's mind, the film runs with the idea that, behind every great leader, there's a great amount of neurosis. </div><div><br /></div><div>The greatest source of Napoleon's insecurities, this film would have us believe, was his relationship with Josephine. Upon setting eyes on the woman, he's immediately drawn to her. The seduction plays out quickly. <a href="https://slate.com/culture/2023/11/napoleon-movie-josephine-sex-smells-body-odor.html">Their sexually activities</a> are depicted as frequent but brutish. Josephine teases him, forcing him to beg for it, while he stamps his feet and whinnies like a horse. She insists he's nothing without her. When he learns she has taken a lover, he uproots his entire military campaign and heads back to France. In other words, he seeks to conquer Josephine much the same way he sought to conquer the world. Just like the world, she resists him. And it drives him fucking nuts. It's a dysfunctional love story, a constant push and pull of submission and dominance between two stubborn individuals. In other words: The interplay of power and sex that Scott has played with across his last few films continues here. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-z6VjziNek_DmO1SWvLvHuNAuSnF5Bl4FqPzoAYenHnAeexAlrIUR0Vb4iTzjfmdF2iHVdXDn5mLMkoVj4JFoo7ZGEBAHgDgbtZX8nY5wdtcDsOzZ2vrGi1fG2JZ9KW-9iM7y1msnIZXIDkWb6Gf70Yv80Cg_qaOxrPRbD11OVCti5J_fKqMgK-gerWk/s1500/Napoleon%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1012" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-z6VjziNek_DmO1SWvLvHuNAuSnF5Bl4FqPzoAYenHnAeexAlrIUR0Vb4iTzjfmdF2iHVdXDn5mLMkoVj4JFoo7ZGEBAHgDgbtZX8nY5wdtcDsOzZ2vrGi1fG2JZ9KW-9iM7y1msnIZXIDkWb6Gf70Yv80Cg_qaOxrPRbD11OVCti5J_fKqMgK-gerWk/w135-h200/Napoleon%203.jpg" width="135" /></a></div>In fact, the details of Napoleon and Josephine's maladaptive relationship take up so much time in Scott's films, that some have characterized the whole movie as <a href="https://screenrant.com/napoleon-movie-funny-comedy-intentional/#:~:text=Director%20Ridley%20Scott%20and%20star,The%20unexpected%20comedy%20in%20Napoleon">a comedy of sorts</a>. Considering “House of Gucci” was a pulpy parody disguised as an operatic tragedy, it's not an unreasonable suggestions. At times, “Napoleon” definitely plays into this reading. The film depicts <a href="https://www.napoleon.org/en/history-of-the-two-empires/articles/18-brumaire-the-context-and-course-of-a-coup-detat/">the Coup of 18 Brumaire</a> as slapstick comedy. Bonaparte flees from a raging Directory, stumbling over himself several times. French politics are shown as a tumultuous circus all throughout, various leaders bickering childishly among themselves, passion often erupting into shouting and physical violence. Scott elevating events to absurd heights, such as in the stealth comedy of “Hannibal” or “Black Rain,” is probably not the most unreasonable approach to French politics. </div><div><br /></div><div>The main attraction of “Napoleon” was, perhaps, seeing Joaquin Phoenix and Ridley Scott reunite for the first time since “Gladiator.” Phoenix is, after all, one of the great actors of our time. He's especially good at playing intense individuals hype-fixated on their obsessions, whether they be Johnny Cash or the Joker. When combined with a script that focuses on Napoleon's neurosis, Phoenix plays the emperor as a bit of a weirdo. He carries himself with a sense of grandeur throughout but pairs it with sad eyes and a nervously furrowed brow. No matter how hard this Napoleon wants to be seen as great, it's only a veneer always about to crack up and reveal the vulnerability underneath. When he arrives in Moscow, abandoned by its ruler, his voice cracks in disappointment that no one is here. It's a compelling angle to approach the general from, Phoenix giving a memorably neurotic performance.</div><div><br /></div><div>If Phoenix's Napoleon is a hurt little boy trying to prove himself, over and over again, Vanessa Kirby plays Josephine as something like a scheming femme fatale. From the moment Napoleon sets his eyes on her, she teases and tempts him. She clearly knows how to get a reaction out of him and uses it to her advantage throughout. It's only when the two are forced to divorced – due to Josephine's inability to mother an heir – that her feelings towards Napoleon seem to change. Josephine does love him, it seems, and not just when it's politically advantageous. Kirby is very convincing as a seductive, ball-busting mistress. She is less certain when playing a woman genuinely in love. But I think that's probably a weakness of the script, than anything else. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFr2KO0DcnJYKWgJTK5cuBuuMpTY-SA1QrXLe8pAE3ef47GuptWZaTv-zSvx4AFFB3O4I46mt_81yByqxOkxLXpDCu7rSxtvTqk6V8cTjS0RFrDPOnwywat7I7JjQ3NWysvmeTJfaxFFCkEuYW8rSjiKlyNDIV6Xr10bna8n1sjatsbr12xTplsRiG7iQ/s755/Napoleon%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="755" data-original-width="604" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFr2KO0DcnJYKWgJTK5cuBuuMpTY-SA1QrXLe8pAE3ef47GuptWZaTv-zSvx4AFFB3O4I46mt_81yByqxOkxLXpDCu7rSxtvTqk6V8cTjS0RFrDPOnwywat7I7JjQ3NWysvmeTJfaxFFCkEuYW8rSjiKlyNDIV6Xr10bna8n1sjatsbr12xTplsRiG7iQ/w160-h200/Napoleon%204.jpg" width="160" /></a></div>Ultimately, despite having some interesting ideas about the psychological hang-ups of 1800s world leaders, “Napoleon” is still a historical epic directed by Ridley Scott. And we know what those look like by this point. Dariusz Wolski, Scott's regular cinematographer since “Prometheus,” is back behind the camera. As in “Exodus” and “The Last Duel,” he guarantees the film has a gloomy, overcast look through most of its runtime. It seems the sun is never shining whenever Napoleon is on the battlefield, even when he's in the middle of the Egyptian desert. The interiors are largely lit by candles, giving them a warm and painterly glow that blends with the washed-out colors in such a way that the film is rarely interesting to look at. Of course, Scott's movies have kind of looked like this since “Gladiator,” so I don't really blame Wolski.</div><div><br /></div><div>Having said that, “Napoleon” certainly does have its cool moments. Even if Scott's obsession with theatrical violence can come off as juvenile sometimes, the bloody moments in “Napoleon” are still notable. The sheer destructive powers of cannonballs are displayed when they tear a horse's chest open or rip through a line of insurrectionists. The battle scenes are fittingly chaotic, full of bullets whizzing by and bodies crumbling to the ground. The moment that was most heavily advertised in the trailers, where Napoléon lures the Prussian army out onto an icy lake only to shatter it with artillery, is indeed a highlight of the film. However, a later scene, of the Russian forces leaving the bodies of dead French soldiers hanging from the trees recall the horror movie dread of Scott's “Alien” movies.</div><div><br /></div><div>By this point, it's a cliché that Ridley Scott's historical epics are almost always abbreviated in theaters. It's all but expected by now that a longer, better, director's cut will emerge at a later date. Indeed, Scott has impishly promised that <a href="https://www.thedailybeast.com/obsessed/ridley-scotts-4-hour-napoleon-cut-why-i-cant-wait-to-see-it#:~:text=Actually%2C%20the%20longer%20cut%20will,of%20his%20latest%20behemoth%20edit.">a four hour long cut</a> of “Napoleon” exists somewhere. If the theatrical cut of “Napoleon” – already long at 157 minutes – is missing around ninety minutes of footage, that certainly explains some things about its pacing. As it exists now, “Napoleon” does play a bit like the Wikipedia article version of history. It quickly passes through the historical events, reducing many of Napoleon's campaigns and wars down to a single battle each. It feels like a summary of a much longer history at times. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlJ8XSrgrMCBGLz6QfwmWSwSMA_tNTCV2XDieQSnwtQeJ8q-FXtddLlVwtFP4xj6UYMIZqaFLRnVjutVgW8Y1q_ri0f7Z_gwCoT84-BhzID2Vc6zaRy3lUeVnObrWSQb3cTv6eqqaImLcKQlACf6ruG3IKKk3snPd3T4r5vvUSNIPjpx9hlBhxQztGlM/s1350/Napoleon%205.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlJ8XSrgrMCBGLz6QfwmWSwSMA_tNTCV2XDieQSnwtQeJ8q-FXtddLlVwtFP4xj6UYMIZqaFLRnVjutVgW8Y1q_ri0f7Z_gwCoT84-BhzID2Vc6zaRy3lUeVnObrWSQb3cTv6eqqaImLcKQlACf6ruG3IKKk3snPd3T4r5vvUSNIPjpx9hlBhxQztGlM/w160-h200/Napoleon%205.jpg" width="160" /></a></div>”Napoleon” was produced by Apple Original Films, the studio shelling out around 200 million dollars in order to get the sometimes critically acclaimed auteur on-board their fledging studio. They marketed the hell out of “Napoleon,” hoping to grab the same crowd that turned up for “Oppenheimer” earlier in the year. It didn't quite work out, as the film underperformed at the box office. It also hasn't become an awards season juggernaut, grabbing only three Oscar nominations in the technical categories. Scott has already moved on to a new studio willing to give him a blank check. I have no doubt that the longer cut of “Napoleon” will be superior, should it ever emerge. As the film exists now, it is a sometimes interesting historical epic, at its best when focusing on the foibles of its legendary protagonist and his lover and far more routine (and clipped down) when dedicating time to the battles you expect to see. <b>[Grade: B-]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-26604146545671169552024-02-24T16:07:00.000-08:002024-03-08T16:19:25.986-08:00OSCARS 2024: To Kill a Tiger (2022)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiut0omMykuWSGUw9JCgVz_OO28q254UHUusGOlnyHg5caccgHMlilamoDD4IKbDcj8Hqe5N7UPzhbytH0_LPBMt4IUs2BCP1qC04TIid5-FrCaCs7zV-4jglWfrQyLNjOUXM2s5KjXgQPL0KtzGe8fcnBc63OJbBgDwWjPepFuB93Dgnn1EsDjuhHlLy0/s5400/to%20kill%20a%20tiger%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5400" data-original-width="3600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiut0omMykuWSGUw9JCgVz_OO28q254UHUusGOlnyHg5caccgHMlilamoDD4IKbDcj8Hqe5N7UPzhbytH0_LPBMt4IUs2BCP1qC04TIid5-FrCaCs7zV-4jglWfrQyLNjOUXM2s5KjXgQPL0KtzGe8fcnBc63OJbBgDwWjPepFuB93Dgnn1EsDjuhHlLy0/s320/to%20kill%20a%20tiger%201.jpg" width="213" /></a></div>It is still really hard to be a woman in this world. Back in 2022, among the Oscar-nominated documentaries was “<a href="https://zacksfilmthoughts.blogspot.com/2022/03/oscars-2022-writing-with-fire-2021.html">Writing with Fire</a>.” That film illustrated some of the difficulties women face in India in the modern age. (And before that was “<a href="https://thepadproject.org/period-end-of-sentence/">Period. End of Sentence</a>,” which shown even basic feminine biology sometimes struggles to be recognized.) In the years since then, filmmakers continue to focus on the women of India and their fight for equality. “<b><a href="https://www.imdb.com/title/tt21688772/reference/">To Kill a Tiger</a></b>” is another nominated documentary, focusing on this plight. Or, at least, one case in particular that can't help but speak to wider issues facing the country. India-born, Canadian filmmaker Nisha Pahuja directs, presumably giving a culturally – and gender – specific perspective on this story. </div><div><br /></div><div>“To Kill a Tiger” focuses on Ranjit, a simple famer living in Jharkhand. His thirteen year old daughter, while attending the wedding of a friend in the village, is brutally raped by four different men. Ranjit seeks justice for his daughter by finds the process to be difficult. The local authorities refuse to do anything but the bare minimum to help. The community leaders repeatedly suggest the matter be swept under the rug. Yet Ranjit refuses to give up. He teams up with women's rights organization to take the case to a higher court, while facing threats from other forces. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_YDYj0ZuOpfW8v_4AtYU_ePH8y9yOub1ADppRVum_K3EHnsNz_PlfaU15xS98J2clumDU4gQMsSpSBrw20aomJE61eaCXA5DojOosJq2mvM3EGNTamLC9MJnKhkycWkknD53tgIJFEOj24P5vFV_2vBhruuu-3fUqgX295Ix5RTmlJIrm5v5o6TjuVo/s1296/to%20kill%20a%20tiger%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_YDYj0ZuOpfW8v_4AtYU_ePH8y9yOub1ADppRVum_K3EHnsNz_PlfaU15xS98J2clumDU4gQMsSpSBrw20aomJE61eaCXA5DojOosJq2mvM3EGNTamLC9MJnKhkycWkknD53tgIJFEOj24P5vFV_2vBhruuu-3fUqgX295Ix5RTmlJIrm5v5o6TjuVo/w200-h113/to%20kill%20a%20tiger%202.jpg" width="200" /></a></div>“To Kill a Tiger” is one of the most frustrating films I've seen recently but not because it's a badly made movie. Repeatedly, every time Ranjit and those working with him attempt to further his fight for justice, he is faced with the same answer: Why doesn't Ranjit's daughter just <a href="https://www.article-14.com/post/how-india-s-rape-survivors-end-up-marrying-their-rapists">marry one of the men who raped her?</a> The local authorities suggest this. The old women in the village say the same thing. People repeatedly throws this answer out there, as if it is a totally reasonable solution. Everyone says that this will keep further shame from coming to the village, which they seem to consider more important than a girl being horribly raped. Whenever someone suggests that a woman probably would not want to be married to someone who violently attacked her, people counter that this is how it's always been done. </div><div><br /></div><div>To hear this suggestion, so absurd as to be become vulgar, repeatedly thrown out there is absolutely infuriating. I can only imagine how it made Ranjit feel. Most of the men in the film try and shift the blame to the girl. Saying she shouldn't have been alone, that she must have done something to attract this attention. They all seem more concerned with resolving the issue as quickly as possible, that further legal proceedings might ruin the boys' lives. These are the kind of excuses we've all heard many times, any time the topic of sexual assault comes up. India and America might be very different places but it seems men, in every country and culture, are eager to blame literally anyone but other men whenever a young girl is attacked and raped. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbQMukj02ZZCT36MAnhH4WHuEkKOM8KL6zqGa0RUkqPePbMvCODoG_T14CO4zQBpPqrBP2LD87x4PfwhrE5GVayKMGXouzkdBNj7moho1_hZJ5F4CsSYqLLEeXb9lnLMlH8bAPtDKdKxhuOC9Hf2uZWq-RH6FrpB_2vmuo-GN57zd1VKSCAABeA3GWjYY/s2592/to%20kill%20a%20tiger%203.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2592" data-original-width="1728" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbQMukj02ZZCT36MAnhH4WHuEkKOM8KL6zqGa0RUkqPePbMvCODoG_T14CO4zQBpPqrBP2LD87x4PfwhrE5GVayKMGXouzkdBNj7moho1_hZJ5F4CsSYqLLEeXb9lnLMlH8bAPtDKdKxhuOC9Hf2uZWq-RH6FrpB_2vmuo-GN57zd1VKSCAABeA3GWjYY/w133-h200/to%20kill%20a%20tiger%203.jpg" width="133" /></a></div>I suppose you could criticize the makers of “To Kill a Tiger” for centering its story on Ranjit, the father, instead of the girl herself. This decision seems to mostly have been done to protect the daughter, though she is interviewed and on-screen multiple times. Ranjit does strike the viewer as a fascinating man. He repeatedly blames himself for failing his daughter. He says over and over again that he should've protected her. The regret and pain he feels is always clear. Yet, despite the monumental pressure on him to give up, he never stops fighting for his daughter. Countless people around him insists he accept the ways things have always been done but he stands up for change. He's a brave, humble man.</div><div><br /></div><div>“To Kill a Tiger” does have one of the more satisfying endings I've seen this Oscar season. It's a powerful film, that shows that sometimes justice can be done if people keep standing up for what is right. Questions linger in the air, what the fallout will be, and the movie quickly addresses them in a pre-credit title card. The filmmakers do not just present this story as it happened, as compelling as it might be. They suggest and attack the structures that cause these things to happen, holding up a mirror to the faces and forces that causes these crimes to happen. That is what documentary filmmaking is all about. <b>[7/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-15268956598818257552024-02-23T15:03:00.000-08:002024-03-08T15:15:04.099-08:00OSCARS 2024: Perfect Days (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuzkP1K5NrJgbsklx3RMeqc0FKJ1f-tjSxdzwNdER3W6u-hQc81kXJuu7vUogYRHIJfxNBsTz9QnWjSFZQS2458yRBBKknSa-vuHWHmGHdE3XuAF9qfdjLn60VRhI0KPA54zJyvCDV8loxRkpb2TigfhDMoUEgu8zYkBaBF4-5Juc-1OtlZB3VgydGXOs/s1500/Perfect%20Days%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1060" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuzkP1K5NrJgbsklx3RMeqc0FKJ1f-tjSxdzwNdER3W6u-hQc81kXJuu7vUogYRHIJfxNBsTz9QnWjSFZQS2458yRBBKknSa-vuHWHmGHdE3XuAF9qfdjLn60VRhI0KPA54zJyvCDV8loxRkpb2TigfhDMoUEgu8zYkBaBF4-5Juc-1OtlZB3VgydGXOs/s320/Perfect%20Days%201.jpg" width="226" /></a></div>I hope this doesn't get me excommunicated from the film nerd society but I've never seen a <a href="https://www.theguardian.com/film/2024/feb/11/wim-wenders-perfect-days-tokyo-toilet-cleaner-paris-texas-werner-herzog">Wim Wenders</a> movie before. I'm certainly aware of his standing among serious cinephiles. “<a href="https://www.theguardian.com/film/2022/jul/27/paris-texas-review-harry-dean-stanton-unforgettable-in-haunting-classic">Paris, Texas</a>” and “<a href="https://www.rogerebert.com/reviews/great-movie-wings-of-desire-1988">Wings of Desire</a>” are considered classics. “<a href="https://collider.com/until-the-end-of-the-world-movie-predicted-today/">Until the End of the World</a>” is on my list of things to watch some day. However, his work has alluded me up to this point. Well, that changes now. The Academy seeing fit to nominate “<b><a href="https://www.imdb.com/title/tt27503384/reference/">Perfect Days</a></b>” has finally changed that. Japan's submission for Best International Film, set in Japan, spoken entirely in Japanese, with an all Japanese cast, despite being directed by a German, the movie has been the latest critically acclaimed film to be made by Wenders. I guess now it's time for me develop an opinion on this auteur. </div><div><br /></div><div>Hirayama is a sanitation worker living in Tokyo. He spends his days cleaning public bathroom stalls around the city. He is a quiet, private man who speaks little. His much younger co-worker, Takashi, attempts to befriend him but Hirayama remains remote. He spends his free time taking photographs, reading, riding his bicycle, and listening to music. Sometimes, he goes to a bar and has friendly conversations with the woman who owns it. At night, he has strange dreams. His quiet existence is interrupted when his teenage niece arrives at his apartment, unannounced. This slowly begins to reveal more of Hirayama's life and past.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyZFOUdQb5ozsW0mrRS82v16w8uyuJLEU7BC4Mx8T_qFhDekN5kOBbr6JGPfv9_jHZHdbt6SBqPnmv9aH5gJGlJQBllZg23xVSpk_N_G-ulWsDRB9CJDhKnyy1JCYNWXKfSe6hUFhZ0chSzwVYlRje3pWUfCOUvlOnXBI1hLWEbIBFGIIP3qiJUKi01XU/s1200/Perfect%20Days%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="839" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyZFOUdQb5ozsW0mrRS82v16w8uyuJLEU7BC4Mx8T_qFhDekN5kOBbr6JGPfv9_jHZHdbt6SBqPnmv9aH5gJGlJQBllZg23xVSpk_N_G-ulWsDRB9CJDhKnyy1JCYNWXKfSe6hUFhZ0chSzwVYlRje3pWUfCOUvlOnXBI1hLWEbIBFGIIP3qiJUKi01XU/w140-h200/Perfect%20Days%202.jpg" width="140" /></a></div>“Perfect Days” is an exceedingly quiet movie. Its first hour is devoted almost entirely to simply showing us what Hirayama's daily routine is. It seems most every day of his is largely the same. He gets up, shaves, buys a coffee from a vending machine, goes to work, rides his bike, goes to a public bathhouse, gets a drink, comes home, and reads until he falls asleep. On his days off, he doesn't do much besides develop photographs, which are usually of a tree in the park he works near. His apartment is small and solitary. Koji Yakusho's wide, expressive eyes suggest Hirayama has an active inner life, which is further emphasized by the glimpses we get at his nightly dreams. Yet the man's history and background remains unknown to us. </div><div><br /></div><div>In fact, I suspect that this is one of the main things “Perfect Days” is about. All throughout the film, Hirayama has brief encounters with the people around him. A homeless man who poses in the park for photographs, a woman who sits on a bench near him as he eats lunch, or people passing to-and-from the restrooms: He interacts with them a little, never really getting to know them. Takashi attempts to court a girl named Aya. She sits in Hirayama's van and listens to his music, crying a little, which we never learn the motivation behind. Hirayama picks up a note in the one toilet stall, playing Tic-Tac-Toe with an unseen person. We have brief encounters with other people. We see their faces, maybe talk to them or learn their names, but we can never know all of them. Everyone keeps their secrets. “Perfect Days” is all about the unknowable quality of the ordinary people we pass on the street every day. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ZYYFaJCKP4s7tog44PQm_80IIvDibxlrfrSa7TBxui2Z6JHSfHXqGBwlbRIrnkOyjuaC1lSn5EntuTDPXvPZwK8wQoGf0pZXGOG6T2G9gjVI5M0Nej8c_95lgyMZp-rafNZQkTohckgSZ6H72tvBkaL2hWjVqqMBuDjGi1kImxBTKhyphenhyphen9UGYJEur7_Vo/s2000/Perfect%20Days%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1333" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ZYYFaJCKP4s7tog44PQm_80IIvDibxlrfrSa7TBxui2Z6JHSfHXqGBwlbRIrnkOyjuaC1lSn5EntuTDPXvPZwK8wQoGf0pZXGOG6T2G9gjVI5M0Nej8c_95lgyMZp-rafNZQkTohckgSZ6H72tvBkaL2hWjVqqMBuDjGi1kImxBTKhyphenhyphen9UGYJEur7_Vo/w133-h200/Perfect%20Days%203.jpg" width="133" /></a></div>There's certainly a melancholy quality to “Perfect Days.” Hirayama's world seems quiet and lonely. The little bit of information we get about his life, from his interactions with his niece, suggests there's sadness and regrets in his past. He has short, meaningful conversations with people, dripping with sadness. This especially becomes the case as the film moves towards its last third. And yet, for the most part, Hirayama seems content. As the title suggest, the man seems to have more perfect days than imperfect ones. He takes joy in the simplest things. Like driving to work, listening to his favorite music, or riding his bike. The only time we really see him upset is when his co-worker quits suddenly and he has to do two people's work all by himself. And he seems annoyed more because his daily routine is interrupted by this. Maybe there's something to be said for that, enjoying consistency in our lives, every day. </div><div><br /></div><div>As mundane as it all sounds, there's an incredible specificity to “Perfect Days.” Hirayama takes great pleasure in everything around him. To resurrect a dead meme, he surrounds himself with objects that “<a href="https://knowyourmeme.com/memes/does-it-spark-joy">spark joy</a>.” This includes old books, an antiquated camera and faded photographs, and his favorite songs. His music, in particular, is a source of great joy. Hirayama surrounds himself with outdated technology, listening to all his albums on cassette tapes. I wasn't even sure “Perfect Days” was set in the modern century until his niece references iPhones. It seems to suggest that the protagonist walls himself off in the past. Yet, he's happy there. Maybe it's not our place to judge what makes other people happy.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRJuU6AlsQxG2u-NQ-Sw_gGby5mw9zFwcs3cVJEdP8U55rCYVGH2-k5a1OxPr9lfLhrJ7c0ZQXncx7OSia2AJK2vowFK07rVCgCGu4-dHa2PH9h3kAuWCX52y20odzy4Wy6xABezLG8DXp3byxe0LFIS2KcernjLE-AIw8ZMHArZ9q8jsyNMUh03e6Dg/s1350/Perfect%20Days%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRJuU6AlsQxG2u-NQ-Sw_gGby5mw9zFwcs3cVJEdP8U55rCYVGH2-k5a1OxPr9lfLhrJ7c0ZQXncx7OSia2AJK2vowFK07rVCgCGu4-dHa2PH9h3kAuWCX52y20odzy4Wy6xABezLG8DXp3byxe0LFIS2KcernjLE-AIw8ZMHArZ9q8jsyNMUh03e6Dg/w160-h200/Perfect%20Days%204.jpg" width="160" /></a></div>Ultimately, “Perfect Days” is a beguiling, mysterious motion picture. Great emotions seem to simmer just under the surface, always out of reach of the viewer. It implies much more than it actually shows. Yet I can't help but be oddly entranced by it. The cinematography is expressive, the lighting soft and relaxed. There's a lot going on, under the surface. If nothing else, it has <a href="https://www.nme.com/news/film/heres-every-song-on-the-perfect-days-soundtrack-3592061">a pretty great soundtrack</a>, filled with key needle drops by Patti Smith, Van Morrison, Sam Cooke, and (naturally) Lou Reed. I guess I should probably look into this Wim Wenders guy more, shouldn't I? <b>[7/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-89420931641239199692024-02-22T17:32:00.000-08:002024-03-07T18:10:20.626-08:00OSCARS 2024: 20 Days in Mariupol (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJClkpirZkcPGuwSnzcFQcnvX0h_xE-3G3Q4c1MDHZncPwSXwZG1OxJDxqpA_kcsB34z0qO5MqN9BCnSrwACJWyRSNMGxMrQDR1im4EkZ3E0nz605RfxruK-NiOd1xIdOwOejni_JCudcqXUQ-Z8GpgqZ_PdEf5zIL326-BaIeQFifPH7q0vkmaEiyBCg/s1481/20%20Days%20in%20Mariupol%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJClkpirZkcPGuwSnzcFQcnvX0h_xE-3G3Q4c1MDHZncPwSXwZG1OxJDxqpA_kcsB34z0qO5MqN9BCnSrwACJWyRSNMGxMrQDR1im4EkZ3E0nz605RfxruK-NiOd1xIdOwOejni_JCudcqXUQ-Z8GpgqZ_PdEf5zIL326-BaIeQFifPH7q0vkmaEiyBCg/s320/20%20Days%20in%20Mariupol%201.jpg" width="216" /></a></div>At the 92nd Academy Awards, back in early 2020, two films about the Syrian Civil War were nominated in the Best Documentary Feature category. Both were ground-level films, largely composed of footage recorded by people trapped in the middle of the combat. “<a href="https://zacksfilmthoughts.blogspot.com/2020/01/oscars-2020-for-sama-2019.html">For Sama</a>” and “<a href="https://zacksfilmthoughts.blogspot.com/2020/02/oscars-2020-cave-2019.html">The Cave</a>” were both harrowing watches, the former especially. This year, the Academy has saw fit to nominated another non-fiction film recorded in an active war zone. “<b><a href="https://www.imdb.com/title/tt24082438/reference/">20 Days in Mariupol</a></b>” is set in a different country, during a different war, but remarkably similar in its unbridled grimness and unwillingness to look away to the aforementioned films. Once again, my totally self-imposed mission to watch all the nominated films has me seeing sights I really have no business looking at. Let's see if I can find something meaningful to contribute to this topic.</div><div><br /></div><div>“20 Days in Mariupol” is set in the titular Ukrainian city. War correspondent and videographer Mstyslav Chernov and his team are in Mariupol, documenting the city on the eve of <a href="https://www.rand.org/latest/russia-ukraine.html">Russia's 2022 invasion</a>. Russian president Vladimir Putin initially promised that the military would not attack citizen cities. As the violence begins, it immediately becomes clear that no attempt is made to fulfil this promise. Mariupol immediately becomes a battleground, the civilian population caught in the middle as Russian forces attack schools, hospitals, and neighborhoods. Local humanitarian forces are quickly overwhelmed by the sheer number of injured and dead. Chernov and his team are trapped in the city for twenty days, their cameras capturing many of the atrocities and tragedies as they occur.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eyBI1ZcDufhrCN_cku93-j9ljS1nxOvUN7-sNdytmFKz1qnPtl0XSIXkvYXS2Ctwk6ciub4RZnq5rn_-A2YbdgNuH9NwJqqGNeURLRd46wTQEJVi9TyyF0a7b_1py6kQc5sNp_lTUTj6TSg46H9opDmzpNRCb4nARfWjxIU0w3pSrD6_73842jRj1Tg/s1200/20%20Days%20in%20Mariupol%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eyBI1ZcDufhrCN_cku93-j9ljS1nxOvUN7-sNdytmFKz1qnPtl0XSIXkvYXS2Ctwk6ciub4RZnq5rn_-A2YbdgNuH9NwJqqGNeURLRd46wTQEJVi9TyyF0a7b_1py6kQc5sNp_lTUTj6TSg46H9opDmzpNRCb4nARfWjxIU0w3pSrD6_73842jRj1Tg/w200-h200/20%20Days%20in%20Mariupol%202.jpg" width="200" /></a></div>“For Sama” featured one of the most distressing scenes I've ever seen in any movie, when an infant is pulled from a dead mother and the doctors attempt to get the limp baby to breathe. I bring this up because “20 Days in Mariupol” features nearly the exact same series of events. In both cases, the baby does start crying, proving it's alive. Which, I suppose, make these scenes ultimately less disturbing than a lot of the other destruction both films capture. “20 Days in Mariupol” is a nearly unending parade of horrifying war footage. We see children in the emergency room, their bodies broken and bloody, many of them not surviving their injuries. Women scream through blood on the operating table. The dead and dying are carried on stretchers through the wreckage. People weep and cry, their children and loved ones taken away from them. Buildings explode. Eventually, the authorities can do nothing but pile up the corpses in a trench, a mass grave forming before our eyes. </div><div><br /></div><div>Over and over again, Chernov's grim narration repeats how important it is to capture this footage. To show these events happening. He befriends one of the cops hopelessly trying to maintain order in the city, who speaks the same message in Russian and in broken English directly into the camera. He asks the people in the west to help, that the suffering in Mariupol not be forgotten. And this is probably the greatest value “20 Days in Mariopul” has. At one point, a legal expert assures the filmmakers that, based on what has happened in this city, the Russian government could easily be <a href="https://share.america.gov/holding-russia-accountable-for-war-crimes-in-ukraine/">prosecuted for war crimes</a>. In which case “20 Days in Mariupol” might be most valuable as video evidence at such a trial. Yes, I do think these events need to be documented. These people, who lived and died and struggled and suffered, deserve to have their stories told.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFjBzU-YcTVhmL0Pyvp9em8mD_RIcvIcFSdEYzdI_YWV7DapSVkJtzJpp00JCNmbr2wCEhhx1-W1vorSm1qS8jYE3uk___JfolQJ1mAqoOYf8MYYD7b0JAxUZOeALH8Rfgi5cc_r-E5wuxOLADlBtFjNLPo4bGdaTN2SL_JZ2rMibHRWHfyjy-eONkto/s1080/20%20Days%20in%20Mariupol%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="863" data-original-width="1080" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFjBzU-YcTVhmL0Pyvp9em8mD_RIcvIcFSdEYzdI_YWV7DapSVkJtzJpp00JCNmbr2wCEhhx1-W1vorSm1qS8jYE3uk___JfolQJ1mAqoOYf8MYYD7b0JAxUZOeALH8Rfgi5cc_r-E5wuxOLADlBtFjNLPo4bGdaTN2SL_JZ2rMibHRWHfyjy-eONkto/w200-h160/20%20Days%20in%20Mariupol%204.jpg" width="200" /></a></div>But what do I, as one individual person, gain by watching this? I can't stop Russia from invading Ukraine. I can't help the people who I see harmed and killed in this film. I don't think me dropping everything in my life, getting on a plane, flying into a war zone, and trying to do aid work will help much. The most I can do is donate to <a href="https://donate.redcrossredcrescent.org/ua/donate/~my-donation?_cv=1">on-the-ground organizations</a> and <a href="https://www.charitywatch.org/charity-donating-articles/top-rated-charities-providing-aid-in-ukraine">charities</a> in the Ukraine. Which I did, immediately after watching “20 Days in Mariupol.” If that was simply the filmmakers' goals, then I guess they achieved their purpose. If heads of states watch this film and are moved to help in some way, via political pressure or legislation, then “20 Days in Mariupol” can make a difference too. </div><div><br /></div><div>Otherwise, I can't help but wonder what the point is simply watching these hideous things happen. Especially when the documentary filmmakers center themselves in this story repeatedly. Throughout “20 Days in Mariupol,” Chernov and his cameras meet people on the streets. Such as a strangely serene man dragging his possessions behind in a cart. Or a fellow carrying a turtle in a little bowl, determined not to give up on his beloved pet even in the middle of a war. We get these tiny slivers of these deeply human stories within this horrible situation. Wouldn't “20 Days in Mariupol” have honored all who lived and died through this war by focusing on the stories of the people? Instead, the film is about the brave reporters documenting these hideous events. A narrative structure even forms in the last act, the movie building towards a climax of the reporters escaping from a besieged hospital and sneaking out of the city, the politically sensitive footage hidden under their car seats. Is “20 Days in Mariupol” trying to be an <i>entertaining movie</i> in these moments? How does that help bring attention to the plight of the citizens of Ukraine?</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBLqAVlL0oyCZrwyIbHg5uqs4xmUygEbKU9XgIO_JaBCKh4LDHjdW7CVkcirUSY8ndpEJjJfPKcYgPtRv7YOdszQ7FZBmMNIgHCRSLs9LB_wf0ksbFoXwZiUiiZ7TBIxu-XUyRFkjJfnnlG33sAz-QjQJ_R0vjg6ypRKlJLhqkjf4BRUt_PJYFhPDBes/s1080/20%20Days%20in%20Mariupol%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBLqAVlL0oyCZrwyIbHg5uqs4xmUygEbKU9XgIO_JaBCKh4LDHjdW7CVkcirUSY8ndpEJjJfPKcYgPtRv7YOdszQ7FZBmMNIgHCRSLs9LB_wf0ksbFoXwZiUiiZ7TBIxu-XUyRFkjJfnnlG33sAz-QjQJ_R0vjg6ypRKlJLhqkjf4BRUt_PJYFhPDBes/w200-h200/20%20Days%20in%20Mariupol%203.jpg" width="200" /></a></div>Several very brief scenes in “20 Days in Mariupol” show Russian officials denying these war crimes are happening. Saying it's all fake news and propaganda, that Russia is simply defending itself. I suppose simply recording what happened, in the face of <a href="https://www.atlanticcouncil.org/in-depth-research-reports/report/undermining-ukraine-how-russia-widened-its-global-information-war-in-2023/">disinformation like this</a>, makes “20 Days in Mariupol” important. Yet I still can't help but question the motivation of editing footage like this into a movie – a piece of media to be watched, content to be consumed – and releasing it to the masses. There are powerful images in “20 Days in Mariupol.” There are also horrible, disturbing ones. Does giving myself nightmares by watching this make things any better for the people of the Ukraine? Will giving this movie an Oscar help the families of those who died in Mariupol or those who escaped? Is showing the world atrocities enough? I don't have the answers. Subsequently, “20 Days in Mariupol” is difficult to watch, even more difficult to write about, and impossible to assign any sort of grade or rating. <b>[-/10]</b></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-46993252428643990032024-02-21T16:58:00.000-08:002024-03-07T17:32:22.839-08:00OSCARS 2024: Io Capitano (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7_Az891R1VdU3HJ6NLwFypEezO-IoUt3w-jfacoYrQQ30oiZyZShrnSrPdcXRn5rTTgkB3YdDyR9VtqILZi7WLiWKfTDwmphCvgZ9zSZ5bIYdeBilMLQbZHhZk-J2GU6qXimJJom6VnzjbRRUPzxLzdL50RUcvR_7eWU5Oql7LmGxvsQFKSE1W-dBUw0/s1142/Io%20Capitano%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1142" data-original-width="798" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7_Az891R1VdU3HJ6NLwFypEezO-IoUt3w-jfacoYrQQ30oiZyZShrnSrPdcXRn5rTTgkB3YdDyR9VtqILZi7WLiWKfTDwmphCvgZ9zSZ5bIYdeBilMLQbZHhZk-J2GU6qXimJJom6VnzjbRRUPzxLzdL50RUcvR_7eWU5Oql7LmGxvsQFKSE1W-dBUw0/s320/Io%20Capitano%201.jpg" width="224" /></a></div>There's lots of things you could criticize the international wing of the Academy for. However, if nothing else, the International Feature Film category does often achieve what is more-or-less its intention: To bring films and voices from other countries far more attention than they would otherwise get. If not for the Oscars, I doubt many people would have seen “<b><a href="https://www.imdb.com/title/tt14225838/reference/">Io Capitano</a></b>.” The film is Italy's submission into the category. It is a co-production between Italy, Belgium, and France. Filmed mostly in Senegal and Morocco, the director is Italian, the cast is largely Senegalese, and the story takes place all over Northern Africa. I would say that is a win for international representation and cooperation, if nothing else. </div><div><br /></div><div>Seydou and his cousin Moussa – whom he treats more like a brother – are two sixteen year old boys living in a small village in Dakar. They both dream of travelling to Europe and becoming singers, dancers, and musicians. Both have saved up enough money to make the trip, though Seydou's mother is horrified when he mentions the idea to her. He leaves in secret, the two boys travelling into the desert to get fake passports made. They have to bribe guards as they enter into Mali. They're loaded onto a truck with a dozen other people and begin a perilous trip across the Sahara desert. At the Libyan border, Seydou and Moussa are separated by soldiers with guns, demanding bribes. Unable to pay, Seydou arrives in a prison camp, faces torture and kidnapping, and eventually is sent to work on a rich man's home with an older craftsman. Thus begins Seydou's journey to Tripoli, where he hopes to be reunited with Moussa so they can finally make the final leg of their quest: On a boat packed full of other migrants, crossing the sea to Sicily.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVx-J-kDF8QTzZNrqhXYH3OOuYkcL2UDs4CC5UTl2LC_vb9pzHEXLwFQmiV378mY8TNHgHFIXFEySBittASMm6gDNSy2fE4shp4T6eJKt8WhN77xrIV6gOsGXk47zwUlMIJXY4884F8eUqcbXwudxHfJEHFMQEiVM7JEtyKjgWhiipqWIrsRQizMAVXj8/s2834/Io%20Capitano%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2834" data-original-width="1984" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVx-J-kDF8QTzZNrqhXYH3OOuYkcL2UDs4CC5UTl2LC_vb9pzHEXLwFQmiV378mY8TNHgHFIXFEySBittASMm6gDNSy2fE4shp4T6eJKt8WhN77xrIV6gOsGXk47zwUlMIJXY4884F8eUqcbXwudxHfJEHFMQEiVM7JEtyKjgWhiipqWIrsRQizMAVXj8/w140-h200/Io%20Capitano%202.jpg" width="140" /></a></div>The official synopsis of “Io Capitano” refers to it as a “<a href="https://www.imdb.com/title/tt14225838/plotsummary/?ref_=tttr_ql_stry_2">Homeric fairy tale</a>.” While the film is mostly telling an original story, inspired by <a href="https://www.pbs.org/newshour/world/whats-behind-the-surge-in-migrants-arriving-to-italy">the plight of real people travelling across Africa</a> to Europe, there are often fascinating allusions to “The Odyssey.” The boys being driven across the desert, crammed into the bed of a pick-up truck with a whole crowd of people, being tossed about by the unhinged driving, recalls the hazards of <a href="https://hc.edu/news-and-events/2018/08/23/scylla-and-charybdis-between-fear-and-courage/">Charybdis and Scylla</a>. A ill woman calling Seydou away from the desert guide is a vague echo of the sirens. The warden in the Libyan prison has a glass eye, an obvious homage to <a href="https://www.theoi.com/Gigante/GigantePolyphemos.html">Polyphemus</a>. Seydou's humiliation in the prison recalls Odysseus being <a href="https://www.thecollector.com/circe-sorceress-odyssey/">a captive of Circe</a>. The beautiful, veiled wife of the rich man has an air of <a href="https://www.greekmyths-greekmythology.com/calypso-odysseus-greek-myth/">Calypso</a> about her. Once arriving in Tripoli, Seydou travels through an underground iron works, full of sparks and flames, like Odysseus passing through the underworld. When he finally finds Moussa, it almost seems like he's forgotten his cousin, as if he's been with <a href="https://www.greekboston.com/culture/mythology/lotus-eaters/">the lotus eaters</a>. </div><div><br /></div><div>The parallels between Seydou's journeys and Homer's epic add depth to this story. Yet “Io Capitano” is maybe most interesting when it incorporates its own elements of mysticism and magical realism into its story. Seydou misses his mother, much like how Odysseus misses Penelope. Yet the dream he has, of his mother floating over the desert, begging him to return home, is unique to this telling. There's a hint of <a href="https://ancient-literature.com/aeolus-in-the-odyssey/">Aeolus</a> in the old wise man from the village, who appears to Seydou in a dream while he's in the prison. The scene that follows, in which an Icarus-like spirit travels back to the village to assure Seydou's mother that he's alright, speaks to the powerful melancholy that is central to this film. “Io Capitano” blends classical mythology with African spiritualism in service of telling a story rift with human emotions like regrets and longing. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKwRCZVMIm_mJeVPksOKKjqCzCLcq95yYob0BJV8h9nGAwmc7yKXIN8HiyYH-R8SfVmeqh43U6Og5HOtx1CxrseqKzbw4nOQPX4w7_YhAWhBdH2xmJjQrFKFyI80HbuMMl-dhd16ASA27sJCv9iRBXiDA4U9TlmounuoCJCDNYH4lt4ot4_JiVIrm3-Q/s2400/Io%20Capitano%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2400" data-original-width="1625" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKwRCZVMIm_mJeVPksOKKjqCzCLcq95yYob0BJV8h9nGAwmc7yKXIN8HiyYH-R8SfVmeqh43U6Og5HOtx1CxrseqKzbw4nOQPX4w7_YhAWhBdH2xmJjQrFKFyI80HbuMMl-dhd16ASA27sJCv9iRBXiDA4U9TlmounuoCJCDNYH4lt4ot4_JiVIrm3-Q/w136-h200/Io%20Capitano%203.jpg" width="136" /></a></div>This fusion of specific cultural struggles with archetypal narratives shows us that myth-making and storytelling know no borders. “Io Capitano” is a story of brotherhood, tested but never forgotten. No matter how severe the hardships Seydou faces, he never forgets Moussa. He searches ceaselessly for his cousin in Tripoli. When they are reunited, the other boy has a bullet hole in his leg and wants to return home. It is up to Seydou to carry him, to give him the strength not to give up. It's a classical story, of the bond between two boys that pushes them through all sorts of challenges. </div><div><br /></div><div>If “Io Capitano” partakes in the world-wide known narrative of two best friends on an adventure, it touches on <a href="https://orias.berkeley.edu/resources-teachers/monomyth-heros-journey-project#:~:text=Monomyth%3A%20The%20Hero's%20Journey&text=Joseph%20Campbell's%20Monomyth%2C%20developed%20in,traditions%20across%20time%20and%20culture.">another Campbellian monomyth</a>. That would be the boy rising from unassuming roots, to become a man and then a hero. Seydou Sarr plays the eponymous, showing such a naturalistic charisma that he could easily be an international star some day. He faces horrors but pushes through, showing courage he didn't know he had. He meets a mentor, the old stone mason, who gives him the skills he'll need to survive this journey. All the while, he is gripped with uncertainty, forced into situations he's not prepared for. Yet he perseveres, captaining a boat full of the sick and homeless on a journey across unknown waters. The final moments has Seydou fully evolving into his role as an adult survivor. There's a reason stories like this have been carried in the human soul as long as stories have existed. They resonated in a deep place.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM43wr30guWwL04e0MvFHaIL8obDWotn_KqA89-cw5Ta1NuZNc65HVeBhBqnKCvghZ7zt6JGRh_gLnamy9iALTr84K-8vTQsfHIADleS7xypwd6dzUKIK5Z6yacar3UyA6bVWtpOJn5DW8j_nBPYzTcKy252P6R5lZpfrbeXtRr_lalcqJYVtkaK4pbeU/s991/Io%20Capitano%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="991" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM43wr30guWwL04e0MvFHaIL8obDWotn_KqA89-cw5Ta1NuZNc65HVeBhBqnKCvghZ7zt6JGRh_gLnamy9iALTr84K-8vTQsfHIADleS7xypwd6dzUKIK5Z6yacar3UyA6bVWtpOJn5DW8j_nBPYzTcKy252P6R5lZpfrbeXtRr_lalcqJYVtkaK4pbeU/w161-h200/Io%20Capitano%204.jpg" width="161" /></a></div>Honestly, my only disappointment with “Io Capitano” is that it could've been a little longer. I would have liked to have seen Moussa's own journey, that brought him back to his cousin in the Libyan big city. The “Odyssey” parallels could have been taken further. The boys will surely confront new challenges once they are in Italy, other people trying to achieve their dream of being singers and dancers. Much like how, upon returning to Ithaca, Odysseus had to fight off <a href="https://www.maicar.com/GML/SUITORSPENELOPE.html">the suitors</a> squatting in his home. I don't know what the equivalent to <a href="https://kiwihellenist.blogspot.com/2019/09/mythbusters-odysseus-axes.html">shooting an arrow through a row of axes</a> would be though... You know a movie is good when it runs two hours and you wish it had an extra hour or two more. If you can consider “Io Capitano” a Senegalese film – I would – it's the second film from Senegal I've seen. The first was “<a href="https://outlawvern.com/2022/10/27/saloum/">Saloum</a>,” which was also excellent. Meaning I need to see more films from this country, if this is any indication of their overall quality.<b> [9/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-18924732409873255492024-02-20T07:32:00.000-08:002024-03-07T07:50:44.149-08:00OSCARS 2024: The Color Purple (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM1t6taasMFkNroLIsbIgnUetml2KgxKeFlSMqGn_2E4NOzwp7Nr1rKXJ5usLOdtCEdGvcmuMsYdHJ5TitR4dDaBvBsqD8bvQEOJKs8Dwc8e1yND135Z7yYENDZO6dHDYrCjGnZu-SPcJWEflfte6VyztSOr2x_7WSRAZI9IrLCS_G2thViVqWX6AhO18/s1200/Color%20Purple%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="966" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM1t6taasMFkNroLIsbIgnUetml2KgxKeFlSMqGn_2E4NOzwp7Nr1rKXJ5usLOdtCEdGvcmuMsYdHJ5TitR4dDaBvBsqD8bvQEOJKs8Dwc8e1yND135Z7yYENDZO6dHDYrCjGnZu-SPcJWEflfte6VyztSOr2x_7WSRAZI9IrLCS_G2thViVqWX6AhO18/s320/Color%20Purple%201.jpg" width="258" /></a></div>Steven Spielberg's 1985 adaptation of “<a href="https://zacksfilmthoughts.blogspot.com/2022/08/director-report-card-steven-spielberg_58.html">The Color Purple</a>” is generally considered a respectable but somewhat incomplete adaptation of Alice Walker's landmark novel. Especially <a href="https://afterellen.com/the-color-purple-is-lesbian/">the queer element</a> of the book was downplayed in the film. This is likely why other adaptations were considered a valid enterprise. In 2004, <a href="https://www.pcs.org/features/from-page-to-stage-the-color-purple">a stage musical</a> based on the novel would debut to critical acclaim. Considering the role music played in the original, this adaptation made a bit more sense than your usual attempts to bring a well-known movie to Broadway. Since we live in a time where recognizable I.P.s drive every studio decision, “The Color Purple” making the leap back to the screen was only a matter of time. Last year, it happened, “<b><a href="https://www.imdb.com/title/tt1200263/reference/">The Color Purple</a></b>: The Musical: The Movie” releasing around Christmas. The reviews were okay, the box office wasn't great, but the movie still scooped up a single Oscar nomination. </div><div><br /></div><div>Director <a href="https://www.bbc.com/news/world-africa-67747661">Blitz Bazawule</a> sticks closely to Spielberg's film and Walker's novel. “The Color Purple” is still the story of Celie, a black woman living in Georgia in the early 1900s. She's separated from her beloved sister, Netty, when their abusive father essentially sells her to a man in town as his wife. “Mister,” as he insists she calls him, is a monstrous man who beats Celie and terrorizes her into raising his kids. The shy, reserved Celie soon meets other women. Such as the outspoken Sophia and Shug Avery, a blues singer Mister harbors feelings for. Celie slowly comes out of her shell and stands up to the hateful men in her life. All the while, she never forgets her long lost sister.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq9knCrBeeJSzPOuIIiObl6U_CoSqyNvzskkCkQNwiZRhHj2waZ4kwUJj_4USWSkXU7PmRQDCZ4DIc_BuxAJSlDIbF_gTczZVP05-8sNifRCQyhWG8SHaTdJ0cPm0hzl00mcbDyZ4-c1Q-H1wT4jQVxJlr2MZ_IrY0KdISCKxnPDBTBRsfnSs6YVO2g8k/s755/Color%20Purple%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="509" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq9knCrBeeJSzPOuIIiObl6U_CoSqyNvzskkCkQNwiZRhHj2waZ4kwUJj_4USWSkXU7PmRQDCZ4DIc_BuxAJSlDIbF_gTczZVP05-8sNifRCQyhWG8SHaTdJ0cPm0hzl00mcbDyZ4-c1Q-H1wT4jQVxJlr2MZ_IrY0KdISCKxnPDBTBRsfnSs6YVO2g8k/w135-h200/Color%20Purple%202.jpg" width="135" /></a></div>Usually when a story makes a leap across mediums, I don't consider it a true remake. 2023's “The Color Purple” is, ostensibly, not an adaptation of the 1985 film. It's an adaptation of the stage musical, right? Yet I couldn't stop thinking about Spielberg's version while watching this one. Every moment of emotion that lingers with me about this story is from that film. When Celie finally rebels against Mister, nearly slashing his throat with a razor before exploding at him around the dinner table, it's a moment of almost frightening catharsis. That same scene in the remake, meanwhile, feels like a pale imitation. The same can be said of the horrible string of events that leads to Sophia being imprisoned and her spirit broken. The violence is unsettling in the original, while here it feels much less shocking. I guess it goes without saying that not every filmmaker can engineer a scene with the power and impact that Steven Spielberg can. </div><div><br /></div><div>This isn't to say there isn't talent involved with this “Color Purple.” Cinematographer Dan Lausten creates a good looking movie. The lighting is bright but with depth. The colors are rich. The camera movements are dynamic without being too distractingly showy. The cast is fairly talented. The nominated Danielle Brooks, as Sophia, is a stand-out. She brings a massive amount of power to her declarations of independence. Colman Domingo is utterly despicable as Mister, the exact kind of entitled scumbag you'd expect from this character. Taraji P. Henson is also very good as Shug, with an attitude and verve that draws the eyes. However, I'll admit that Fantasia Barrino seems miscast to me as Celie. Whoopi Goldberg was so perfectly meek in the part, playing a girl so frightened she fades into the woodwork. Barrino is just waiting to break loose and announce herself.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZwPKxiBA7Pd9FLgmpHlpIZmULOWQ3l6OMCLqRgVvHXSdKTMKZM4lGS3642G3e25eQPRAcpMbKFlJpMHX2MF33JQcUZ0T3Vp65iDrwvctEyyw1qb2NdGjYUlqy2_A3Sd7Cw8-N69YS1XUiEThxfXeVTl4JNy7DvXmdgQedt9jfMGQlccNIS2f_Lpa-Mac/s1500/Color%20Purple%203.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1012" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZwPKxiBA7Pd9FLgmpHlpIZmULOWQ3l6OMCLqRgVvHXSdKTMKZM4lGS3642G3e25eQPRAcpMbKFlJpMHX2MF33JQcUZ0T3Vp65iDrwvctEyyw1qb2NdGjYUlqy2_A3Sd7Cw8-N69YS1XUiEThxfXeVTl4JNy7DvXmdgQedt9jfMGQlccNIS2f_Lpa-Mac/w135-h200/Color%20Purple%203.jpg" width="135" /></a></div>Musicals, of course, live and die based on how strong their songs are. I haven't seen “The Color Purple” on-stage and maybe it plays better there. However, I'll admit I did find this one to be a bit of a slog musically. Most of the songs blend together in my memory, many of them using similar construction. There's a lot of numbers here where back-up singers join in to emphasize the intended power of a lyric or melody. The truth is musical depend on a very careful tonal balance. Sometimes, people randomly breaking into song and dance will just look silly. That's the case here, when men building a house start using boards and hammers in their dances moves. Or during the especially silly number “Miss Celie's Pants.” It says a lot about the quality of the music here that the best numbers are the ones taken from the original movie. </div><div><br /></div><div>Spielberg's “Color Purple” was too long and too sentimental at times, while also having the edge and ugliness necessary to sell this story. The eventual triumph doesn't mean much unless it's earned. The remake lacks that grittiness, its victories feeling much more contrived. The performances aren't bad and it's a good looking film. However, when a musical doesn't hook me, I find myself becoming bored quickly. That was sadly the case with this “Color Purple.” <a href="https://bannedbooks.library.cmu.edu/alice-walker-the-color-purple/">Walker's novel</a> remains the definitive version of the story while this take can't even stand up to the compromised strengths of Spielberg's adaptation. <b>[5/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-82700096480890960452024-02-19T19:35:00.000-08:002024-03-06T19:45:02.243-08:00OSCARS 2024: Nyad (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLoP20tSPxw54tQr7FAqbKZfJuI_liXv_x5t3vxz19AbduTuawffsmmoGF0VaDVsvxG133hygFMOVSAW6zPqaiBtpG0FkkBgv227OkLVgM5ThMJec8hzOFT71TAYSbMVxfakWIbRPkXihQ_b5MoSKtmMnZmciXTHiTj0m-P_u9X1IWtyHARJTCuUWDgw/s755/nyad%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLoP20tSPxw54tQr7FAqbKZfJuI_liXv_x5t3vxz19AbduTuawffsmmoGF0VaDVsvxG133hygFMOVSAW6zPqaiBtpG0FkkBgv227OkLVgM5ThMJec8hzOFT71TAYSbMVxfakWIbRPkXihQ_b5MoSKtmMnZmciXTHiTj0m-P_u9X1IWtyHARJTCuUWDgw/s320/nyad%201.jpg" width="216" /></a></div>In 2015, husband and wife filmmaking team Elizabeth Chai Vasarhelyi and Jimmy Chin made “<a href="https://www.rogerebert.com/reviews/meru-2015">Meru</a>,” a documentary about Chin and two other men climbing an especially perilous peak in the Indian Himalayas. In 2018, the same duo made “<a href="https://zacksfilmthoughts.blogspot.com/2019/02/oscars-2019-free-solo-2018.html">Free Solo</a>,” about Alex Honnold's free-climbing of El Capitan in Yosemite National Park. The break-out documentary hit of the year, “Free Solo” would go on to win the Best Documentary Feature award at the Oscars. Vasarhelyi and Chin have made a few other documentaries since then but 2023 would see them handling their first narrative feature. And it followed a subject not too similar to their hit docs. “<b><a href="https://www.imdb.com/title/tt5302918/reference/">Nyad</a></b>” is about <a href="https://www.newyorker.com/magazine/2014/02/10/diana-nyad-profile-cuba-florida-swim">Diana Nyad</a>, the swimmer who came to fame in the seventies for her numerous long distance swims. It's not surprising that this filmmaking duo would be drawn to Nyad's most arduous task – swimming from Cuba to Florida, while in her sixties – as another display of the human body and its ability to perform stunning acts of stamina. The resulting film unsurprisingly captured the Academy's attention, receiving two nominations in the acting categories. </div><div><br /></div><div>In 1980, long-distance swimmer Diana Nyad first attempted the 110-mile, continuous swim from Cuba to Florida. She did not compete the task. Even though Nyad remains a point of inspiration for athletes all over the world, that she has left this journey incomplete vexes her still. At the age of sixty, she decides to try again. Her life-long friend, Bonnie Stoll, acts as her couch. A surly navigator by the name of John Bartlett is recruited to steer the boat. Nyad does everything she can to prepare but still she fails her mission. A month later, she tries again, this attempt cut short when she nearly dies from a jellyfish sting. This is the second of five attempts by Nyad to complete the swim, growing more desperate and determined with each failure. All the while, her body, mind, and the commitment of her friends will be pushed to their absolute limits. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbyBxcBEyyMM1Vg0oy4oXoWxo8EPUPaugN28oTXmQH9mcYeu3bONCvmPua5iZ4_eFZn8ufalbOv1vZApCqA-rE6H2AIAqbeaaiTfDoew2okyKuZhgD-p5ukbJb5-t4E9ftHYXaw2_4Nc51kekYYjS3EQGJBgEKMssGcVAjVEvoGdmIyXbIMQiL_0gdJTk/s587/nyad%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="587" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbyBxcBEyyMM1Vg0oy4oXoWxo8EPUPaugN28oTXmQH9mcYeu3bONCvmPua5iZ4_eFZn8ufalbOv1vZApCqA-rE6H2AIAqbeaaiTfDoew2okyKuZhgD-p5ukbJb5-t4E9ftHYXaw2_4Nc51kekYYjS3EQGJBgEKMssGcVAjVEvoGdmIyXbIMQiL_0gdJTk/w171-h200/nyad%202.jpg" width="171" /></a></div>Diana Nyad's story is about as cinematic as a true story can get. Her last name literally being pronounced the same as <a href="https://www.theoi.com/Nymphe/Naiades.html">the water nymphs of Greek mythology</a> is the kind of detail you'd expect a screenwriter to invent. Her achievements are seemingly superhuman, the kind of record-breaking tasks that seem impossible. A swim through open ocean is full of dangers, from out-of-control tides, to sharks, to how to pull off practical necessities like eating, drinking, or using the bathroom. More than anything else, what makes Diana Nyad's story so well suited to the movie screen was her undying determination. To attempt something like this <i>once</i> is daunting. To try over and over again, despite nearly dying every time, is the kind of improbable resoluteness you typically find in fictional characters, not real people. In other words, Diana Nyad's story was tailor-made for a movie. </div><div><br /></div><div>Probably the biggest challenge facing filmmakers bringing Nyad's story tot he screen is that... Swimming for a really long time is maybe not the most exciting action to watch. It's a journey fraught with danger. I can't even begin to imagine how Diana pushed her body and her mind through a mission like this. Yet someone swimming in a straight line probably wouldn't make much of a movie otherwise. In order to make “Nyad” as cinematic as possible, the filmmakers delve right into Diana's mind. When she begins to hallucinate, deep into the swim, we are greeted to those visuals. Her memories come to life around her: Her difficult childhood with her irresponsible father, sexual abuse at the hands of her swim coach, her struggles as a young gay woman. From there, Vasarhelyi, Chin, and cinematographer Claduio Miranda do everything they can to make this journey look at memorable as possible. Deep reds, blues, and purples glow through crashing waves as Nyad swims on and on. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTDDycsf_GZgOzEvd_9RP5XGu787VkCFn8n8Pe3Ef3y7J_OnrdPBHmsZqJuxuF_e2XGWN5N7BhSaqOSxfgz1gbaiiVe0tQtj8zyMHPNsr72cb9ZloF5fhGTNgxphxneV6MZvb_1hVkXE6mJ10Y3l0GUZlB1rRxXQe_NtrBDq0RzhKKQTvHJGM1oBXg5EY/s1500/nyad%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTDDycsf_GZgOzEvd_9RP5XGu787VkCFn8n8Pe3Ef3y7J_OnrdPBHmsZqJuxuF_e2XGWN5N7BhSaqOSxfgz1gbaiiVe0tQtj8zyMHPNsr72cb9ZloF5fhGTNgxphxneV6MZvb_1hVkXE6mJ10Y3l0GUZlB1rRxXQe_NtrBDq0RzhKKQTvHJGM1oBXg5EY/w133-h200/nyad%203.jpg" width="133" /></a></div>The script is sturdy and the film looks good. What makes “Nyad” really worth watching, however, are the lead performances. Annette Bening plays Diana as irrepressible. After nearly dying of a jellyfish sting, while recovering in the hospital, she's already talking to an expert about what to do the next time. After being fished out of the water, almost dead, she's still trying to swim. Bening allows for Diana to have an ego, which gets her in trouble. She's a proud and stubborn woman. Yet her unkillable spirit is too inspiring not to love a little bit, making full use of Bening's ability as an actress. Jodie Foster is ideally cast as Bonnie, an ever-true friend that challenges her partner but never gives up on her. Every time Foster gets an inspiring speech or an impassionate monologue, she makes it sing. That's what you hire Jodie Foster for. Rhys Ifans is also nicely crochety as literally a weathered old sea captain.</div><div><br /></div><div>“Nyad” is the kind of Oscar-nominee that's not likely to be remembered in a few years. The fact that it was a Netflix production, designed to play in theaters for a single week before being buried on a streaming service forever, isn't going to help. I'm not sure I'm going to remember much about after the ceremony wraps. The movie does nothing to reinvent the biopic formula. However, the performances are strong and the movie is steadily assembled. Sometimes, all you need is an extraordinary story brought to life by competent talent. I foresee this becoming a favorite among moms all over. <b>[7/10]</b></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-66046940266197827152024-02-18T18:00:00.000-08:002024-03-06T18:25:30.494-08:00OSCARS 2024: The 2024 Oscar Nominated Live-Action Short Films<div style="text-align: left;"><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbEalubVy2SkNooh5S90JIT-eWN2YDputKNgaLS0lIxpog3_z-20Enfhn6cULDyQEprUfDr11NmerdO6rB-Nqp9P4cLpk0fgS8LBpiNYoU3lq2Mor3SKGGYL_1IkBBx_AZme86R-PE9gEpSkQAAJqZNLtw-c0Dv0sYS_jjkmzcnA5rVxwqtWVlXYA9gY/s6150/live%20action%20shorts%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="6150" data-original-width="4050" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbEalubVy2SkNooh5S90JIT-eWN2YDputKNgaLS0lIxpog3_z-20Enfhn6cULDyQEprUfDr11NmerdO6rB-Nqp9P4cLpk0fgS8LBpiNYoU3lq2Mor3SKGGYL_1IkBBx_AZme86R-PE9gEpSkQAAJqZNLtw-c0Dv0sYS_jjkmzcnA5rVxwqtWVlXYA9gY/w132-h200/live%20action%20shorts%201.jpg" width="132" /></a></div><a href="https://www.imdb.com/title/tt28532006/reference/">The After (2023)</a></b></div><div><br /></div><div>"The After" begins with Dayo, some sort of besuited businessman type, having a pleasant morning with his young daughter and beautiful wife. The daughter is then brutally stabbed by a random maniac and tossed over a bridge, the wife shortly crawling after her. This is when I was reminded I was watching <a href="https://www.resetera.com/threads/the-oscar-nominated-short-films-this-year-sure-seemed-to-love-children-experiencing-trauma.98875/">an Oscar-nominated live action short film</a>. The rest of "The After" takes place a year later, with Dayo now working as a ride-share driver and still thoroughly trapped in his grief. That is when an unexpected act of kindness from a random person gives him the first moment of catharsis he's had since the death of his family. </div><div><br /></div><div>Yes, the shorts branch of the Academy remains addicted to melodramatic misery porn about dead kids. "The After" is especially ham-fisted about its opening tragedy. The film takes <i>just</i> enough time to establish what our protagonist has to lose before taking it away as abruptly as possible. Naturally, for maximum shock factor, our hero has to watch his wife and kid die violently and randomly. A car crash or medical emergency wouldn't be dramatic enough. It has to be a motorcycle helmet clad slasher. That image is so improbable and sprung on us so randomly, that "The After" seems just as likely to cause laughter as gasps. I mean, it wouldn't be funny if it was a mass shooter. But this is a British film and <a href="https://www.vox.com/policy-and-politics/2015/12/4/9850572/gun-control-us-japan-switzerland-uk-canada">they actually have gun control</a> in that country, so the sacrificial lambs must die at the hands of a horror movie villain popping up suddenly in this glurge-y drama. It's difficult to take any of this seriously, when it's so transparently manipulative. How are we supposed to care about this guy's wife and kid when they exist solely to give him a tragedy to overcome?</div><div><br /></div><div>"The After" doesn't stop ladling it on after that. The flash-forward shows Dayo as completely broken, seemingly spending all his free time sitting in his car, pinning and crying over his dead family. Once another little girl enters his car, who just so happens to look very similar to his dead daughter, you can guess where this is headed. The only thing elevating "The After" above its status as tear-jerking sludge is David Oyelowo's lead performance. He manages to bring a degree of humanistic vulnerability to his character, especially in the climatic moment, that is actually somewhat touching. You have to be made of stone not to be a little moved by a grown man collapsing into tears from an innocent gesture. Otherwise, "The After" is the kind of heavy-handed, tragedy-laden, faux-inspirational nonsense you'd expect to see trending on your aunt's Facebook page. <b>[5/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvBa2gveJ6VtzSpMgrU7EKGcv9wLcsctruWRtHtSFBNzL4IarGQILvU3fYSR6nPq2rstom4ykIsrrneUmOReND-EYKOmcyKH3tQsD1oq6S0uUqFtJ9ycK_g8w9vSIJiM0LWx4F-GUUEk4pygbOevFa6lltgJFUgBU6w4RFqeAPUH30_RVipHFP9sbLQYA/s1482/live%20action%20shorts%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1482" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvBa2gveJ6VtzSpMgrU7EKGcv9wLcsctruWRtHtSFBNzL4IarGQILvU3fYSR6nPq2rstom4ykIsrrneUmOReND-EYKOmcyKH3tQsD1oq6S0uUqFtJ9ycK_g8w9vSIJiM0LWx4F-GUUEk4pygbOevFa6lltgJFUgBU6w4RFqeAPUH30_RVipHFP9sbLQYA/w135-h200/live%20action%20shorts%202.jpg" width="135" /></a></div><a href="https://www.imdb.com/title/tt22749100/reference/">Invincible (2022)</a></b></div><div><br /></div><div>We've got two nominated shorts in a row beginning with a minor dying this year. “Invincible” starts with fourteen-year-old Marc driving a car into a lake. We then flash back to show the last 48 hours of his life. Marc is a bright but troubled young man who is back in a juvenile detention facility after a weekend with his parents. He assures his little sister that she'll see him again, because he can survive anything. Back at juvie, his moderating officer warns him that, if he escapes one more time, the consequences will be more severe. Marc tries to behave himself but his hunger for freedom can only be restrained for so long.</div><div><br /></div><div>“Invincible” is <a href="https://ca.news.yahoo.com/montreals-vincent-ren-lortie-almost-090000461.html#:~:text=The%20French%2Dlanguage%20film%20is,stolen%20car%20into%20a%20river.">based on a true story</a>, of what happened to the director's friend when he was young. This set up certainly gives the Quebecoise short film more gravitas than the glurge-y melodrama of “The After.” It helps that the film approaches its subject in an understated manner. Marc, as calmly played by Léokim Beaumier-Lépine, clearly has more going inside than it appears. He's clever enough to turn on the sprinklers when left in a sweltering prison cell. He's creative enough to express his feelings through a thoughtful poem. Even if he's too stoic to read it in front of the class. When the boy has a chance to glee, when a guard leaves a gate open, we see him consider it. Yet he holds himself back, trying to behave under the rules his role has assigned him. </div><div><br /></div><div>As an ode to someone too free to ever exist within the confines of society, “Invincible” could have been a little more fleshed out. This is a short that feels like a prototype for a feature film. Still, the discussion of existential themes – as displayed by Marc's friend, who claims they can imprison his body but not his mind – suggests there's more than just that trite idea going on here. It's well photographed, with the cramped, Academy ratio cinematography emphasizing the character's confinement. I wish the last third wasn't so rushed but this one did achieve some of the emotions it clearly sets out to create. <b>[7/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ISTWPXqxPMRfcvlk1-qYZTjzeTL7AUtl3muz0mUWlQfPrx3If45739be3cZ_azp6sLrl1BkLqXDXLqXfAUNi4LuEVYcJj9Ui3KMYB-jLqTqXp5kMnOPxLkETJg33X1BXzApao7Tqx7U53JvHXB1IHX2crvQ1bxznyBha5Qw289IaDIGGygAWMCe82PA/s1547/live%20action%20shorts%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1547" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ISTWPXqxPMRfcvlk1-qYZTjzeTL7AUtl3muz0mUWlQfPrx3If45739be3cZ_azp6sLrl1BkLqXDXLqXfAUNi4LuEVYcJj9Ui3KMYB-jLqTqXp5kMnOPxLkETJg33X1BXzApao7Tqx7U53JvHXB1IHX2crvQ1bxznyBha5Qw289IaDIGGygAWMCe82PA/w139-h200/live%20action%20shorts%203.jpg" width="139" /></a></div><a href="https://www.imdb.com/title/tt26600054/reference/">Knight of Fortune (2022)</a></b></div><div><br /></div><div>Danish short “Knight of Fortune” also revolves around death, though at least it's not of a child. Karl travels to the morgue to say good-bye to his recently deceased wife. He can't bring himself to look at her body, instead occupying his time by fixing a broken lamp and sitting in the bathroom. That's where he meets Torben, another widower also there to see his wife's body. As they stand over the corpse, Torben begins to read from a long list of apologies. That's when the woman's family enters the room, none of them seemingly recognizes Torben. Karl is left confused by the entire scenario but quickly learns what is going on. In his own way, this eccentric stranger helps him confront his own grief. </div><div><br /></div><div>“Knight of Fortune” presents a side of grief that isn't often acknowledge: Sometimes, you'd rather do anything besides look the death of someone you love in the face. Karl stopping to fix a sparking lamp before opening his wife's casket is a good sign of the kind of guy he is. After he's kept from crying in the bathroom by a weird stranger, I thought “Knight of Fortune” would be a dryly sardonic comedy about a man being repeatedly interrupted on his way to grieving for his wife. Instead, the film takes a much more reflective path. The true nature of Torbin's ritual is easy to guess but still plays out in a touching manner. We all have to say good-bye to the people we love. If you don't grapple with that pain, you'll become trapped by it. Sometimes, you need a helping hand to get out of that cycle.</div><div><br /></div><div>“Knight of Fortune” is the gentlest of comedies though, about an unlikely friendship blooming in an even more unlikely place. Leif Andrée as Karl carries the right kind of world-weariness on his face, as an old man having trouble processing his pain. Jens Jørn Spottag has the right off-beat energy as Torben, to leave you a little uncertain of the guy at first before realizing that he actually means well. The awkwardness between them presents a bit of dry comedy but, ultimately, this is a very sweet little film about accepting the inevitable and finding a way to carry on. <b>[7/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuXBYSrpiHuh7jxnMRUKVnITlOBsj_g6m30pTAcsE6vNNRl5nhSRggh48vDl97a8ByLigcssu96WUt_iqkw4us0RCtHwDIBV3pODKizvdTcvsvmdVtp2tBZ3vqokb1dwi0t7FSSRONr0LWKbU0CZcO1ZOK0KyEiJYQwuQhoXiyDMZXrEhnDEzw6RJRJNE/s850/live%20action%20shorts%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="850" data-original-width="638" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuXBYSrpiHuh7jxnMRUKVnITlOBsj_g6m30pTAcsE6vNNRl5nhSRggh48vDl97a8ByLigcssu96WUt_iqkw4us0RCtHwDIBV3pODKizvdTcvsvmdVtp2tBZ3vqokb1dwi0t7FSSRONr0LWKbU0CZcO1ZOK0KyEiJYQwuQhoXiyDMZXrEhnDEzw6RJRJNE/w150-h200/live%20action%20shorts%204.jpg" width="150" /></a></div><a href="https://www.imdb.com/title/tt27759823/?ref_=rt_li_tt">Red, White and Blue (2023)</a></b></div><div><br /></div><div>“Red, White and Blue” focuses in on Rachel, a waitress and mother of two in need of an abortion as quickly as possible. She lives in Arkansas, where the surgery has been de-facto outlawed, and must drive all the way into Illinois, even for a chance that she might be able to have the necessary procedure. She pinches penny to save up enough funds for the trip. Leaving her son at a friend's and, with her ten year old daughter Maddy in tow, the two do what they can to make this dire event into a fun road trip. Yet not everything is as it appears. </div><div><br /></div><div>“Red, White and Blue” is, ostensibly, filmmaking as activism. This is a movie meant to draw attention to how fucking shitty abortion laws are in America right now. First, Rachel must save money anywhere she can. The visual cliché of an adult raiding her child's piggy bank is literally employed here. Even then, Rachel can only afford the appointment after a generous customer leaves her a big tip. This is still not enough, as the waiting list is extremely long upon Rachel arriving at the clinic. Despite the incredible graveness of this situation, “Red, White and Blue” is still strangely framed as light-hearted. The woman and her daughter sing along to a pop song on the radio, eat lots of junk food, and even stop at a carnival. Contrasting such an upsetting situation with a fast-paced montage is extremely weird. </div><div><br /></div><div>At this point, I was just confused by “Red, White and Blue's” approach. Even more frustrating, this seems to be one of those issues movie with nothing more on its mind than to showing us how bad things are. Writer/director Nazrin Choudhury does not get into how this country has gotten to this point, or the various factors of why it has happened. No further commentary is provided beyond these things simply being this way and how bad that is. At rough as this is, it's all a prologue for a truly offensive plot point. The movie reduces a horrible, all-too-common event to nothing but a cheap twist ending. If that wasn't bad enough, the movie piles on unnecessary details that strike me an exploitative exercise in bad taste. What is the purpose of films like this, that pass off a cheapening of real world horrors as activism? I can't answer that question. However, if the history of the Academy's choices in this category is any indication, “Red, White and Blue's” utterly surface level treatment of a controversary issue and its gormless shock tactics will probably be rewarded with an Oscar. <b>[4/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYSHoi1wpwcSJ5f5iKnP9yMbKpRnhRoefOQWcitQKOvJM3LF93avIsfvRH0heCYqDPLEGGLdtAAtb5advOZ8_lkOD1kLasch-832RMvO0e8CR4dAtqbx52Lur4Fq5XIkx6VRC34x-BMdrBE9fOSehQd47fASFEfhoANVfObor0o6-oRMLP8NI5PZ8uaKk/s1481/live%20action%20shorts%205.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYSHoi1wpwcSJ5f5iKnP9yMbKpRnhRoefOQWcitQKOvJM3LF93avIsfvRH0heCYqDPLEGGLdtAAtb5advOZ8_lkOD1kLasch-832RMvO0e8CR4dAtqbx52Lur4Fq5XIkx6VRC34x-BMdrBE9fOSehQd47fASFEfhoANVfObor0o6-oRMLP8NI5PZ8uaKk/w135-h200/live%20action%20shorts%205.jpg" width="135" /></a></div><a href="https://www.imdb.com/title/tt16968450/reference/">The Wonderful Story of Henry Sugar (2023)</a></b></div><div><br /></div><div>The Academy ignored Wes Anderson's latest feature length masterpiece, “<a href="https://movieweb.com/asteroid-city-wes-anderson-forgotten-oscar-season/#:~:text=The%20film%20received%20nine%20Oscar,Alejandro%20Gonz%C3%A1lez%20I%C3%B1%C3%A1rritu%20for%20Birdman.">Asteroid City</a>,” this year. However, they did notice one of the shorter Roald Dahl adaptations he made that debuted on Netflix not long afterwards. Like Dahl's story, “<a href="https://www.roalddahlfans.com/dahls-work/short-stories/the-wonderful-story-of-henry-sugar/">The Wonderful Story of Henry Sugar</a>” involves the titular gambler who stumbles upon a pamphlet written by a doctor, who met a man who claimed he could see with his eye closed. Sugar studies and practices the techniques for three whole years, until he has mastered them. He immediately uses the newly acquired skill to cheat at cards and earn piles of money at the casino. Yet the life-long gambler soon discovers that his priorities have changed with the acquisition of this new talent.</div><div><br /></div><div>Despite only being forty minutes long, “The Wonderful Story of Henry Sugar” sees Wes Anderson indulging in all of the trademarks that define his films. The movie contains a nesting doll style narrative, stories within stories being told throughout. A narrator, patterned after Dahl himself, provides a framing device. Before Sugar relates his story himself, reading the first-person account from the doctor who then has the performer telling how he acquired these abilities. Many of these recollections are related directly to the camera by a talented range of actors including Ralph Fiennes, Benedict Cumberbatch, Dev Patel, and Ben Kingsley. This continues to show Anderson's obsession with narrative playfulness, about how storytelling itself is an act of creation that draws us deeper into people's souls. </div><div><br /></div><div>Netflix paid over <a href="https://about.netflix.com/en/news/netflix-acquires-iconic-roald-dahl-story-company">600 million dollars</a> for the Roald Dahl Story Foundation and they were clearly willing to show that money on-screen here. The elaborate production design and visual symmetry that is Anderson's most defining trademark are very present here as well. The stories-within-stories are presented as stage play, stage hands moving special effects in and out of scenes as the sets shift around the actors. It's an amazing visual experience, animation and puppetry being used to create a fantastically home-made, artistic world. Through it all is Dahl's story, which is an utterly charming tale of a cad slowly transforming into a selfless man almost as a side-effect of his latest con. In other words: This will do nothing to change the minds of anyone who finds Anderson's schtick insufferable. For those of us who love his style, this is another triumph, a master operating at full power. <b>[9/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-12999369041553012562024-02-17T17:12:00.000-08:002024-03-06T17:56:53.724-08:00OSCARS 2024: The Zone of Interest (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXyMnzXO9GjaNSJRiR4O5kJBwbuUolq1sswcV2G08L02iF7Xt9fDL60wCWBmbw61RADWTvicZHzKf9u3xCwd2Eovw1SV1f_QFGd5qC8eCLE_CIDIg8YJoYxHGU6RuIo9apsXfZhq7ttyYEBEsovNwcBibe2ufPeY9sYRfE1v9NUIdaK5ssxnY_aY0AMM/s2250/Zone%20of%20Interest%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2250" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXyMnzXO9GjaNSJRiR4O5kJBwbuUolq1sswcV2G08L02iF7Xt9fDL60wCWBmbw61RADWTvicZHzKf9u3xCwd2Eovw1SV1f_QFGd5qC8eCLE_CIDIg8YJoYxHGU6RuIo9apsXfZhq7ttyYEBEsovNwcBibe2ufPeY9sYRfE1v9NUIdaK5ssxnY_aY0AMM/s320/Zone%20of%20Interest%201.jpg" width="213" /></a></div>When Jamiroquai's music video for “<a href="https://ew.com/article/1997/06/06/explaining-jamiroquais-virtual-insanity-video/">Virtual Insanity</a>” hit, it was evident that the director was someone special. Jonathan Glazer immediately became a favorite of film fans the world over but he takes his time with his project. It's been a decade since his last movie, cosmic horror film “<a href="https://film-cred.com/under-the-skin-scarlett-johansson-jonathan-glazer-anniversary/">Under the Skin</a>” that wowed many and baffled others. In all that time, there's been rumblings that Glazer's next film would be an adaptation of <a href="https://www.newyorker.com/magazine/2014/09/29/death-factory">Martin Amis' Holocaust novel</a>, “<b><a href="https://www.imdb.com/title/tt7160372/reference/">The Zone of Interest</a></b>.” In 2019, Glazer would team with A24 and a number of other production companies in order to finally realize the project. The resulting film has been maybe the most critically acclaimed and audacious work of Glazer's lauded career. The Academy has recognized the achievement, giving Glazer his first Best Director and Best Picture nods. </div><div><br /></div><div>The year is 1943 and the Nazis' Final Solution is well underway. Just outside the walls of the notorious Auschwitz concentration camp resides a home. Nazi commandant <a href="https://www.jewishvirtuallibrary.org/rudolf-h-ouml-ss">Rudolf Höss</a> lives there with his wife, Helga, and their five children. The family goes for swims in the near-by river, the father goes fishing. Helga tends to a garden and a group of servants prepare birthday parties and special dinners. All the while, countless lives are ended and countless more people are put through Hell on earth just on the other side of a wall. Höss and his family carry on, going about their daily lives without any concern for the horrors going on just a few feet away from them at any given time.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRwwG1D-AmgFEnURjduN0DIWjFY4H7JQw49KfjIFIDN8qNapOsS15xG1up-bL0jCBI4yB3tDkwW6zYUwmhjEPwbecm87SthvZvn7GnX2VP6Kz0gyhKuIWJtt7feKtPUzGECtg2FE317qw1kt5iauatg9mM39dNws0jkMWj49AcGY3EHmeuURzxR1Fjbwg/s2000/Zone%20of%20Interest%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1350" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRwwG1D-AmgFEnURjduN0DIWjFY4H7JQw49KfjIFIDN8qNapOsS15xG1up-bL0jCBI4yB3tDkwW6zYUwmhjEPwbecm87SthvZvn7GnX2VP6Kz0gyhKuIWJtt7feKtPUzGECtg2FE317qw1kt5iauatg9mM39dNws0jkMWj49AcGY3EHmeuURzxR1Fjbwg/w135-h200/Zone%20of%20Interest%202.jpg" width="135" /></a></div>Most movies about the Holocaust plunge us right into the misery of the genocide, showing us people surviving or struggling one of the most horrifying events in European history. Much has <a href="https://mubi.com/en/notebook/posts/the-atrocity-is-present-jonathan-glazer-s-the-zone-of-interest">already been written</a> about how “The Zone of Interest” differs in its approach. Glazer and his team keep everything we typically associate with the Holocaust off-screen. Instead, <a href="https://www.indiewire.com/features/craft/zone-of-interest-movie-concentration-camp-sound-design-1234937096/">we simply <i>hear</i> everything</a>. Gun shots. Screams. Trains pulling in. The ever-present rumbling of the furnaces. “The Zone of Interest” is not about surviving the Holocaust. Instead, it's about presenting a society totally complacent in the faces of these horrors. “The Zone of Interest” is blatantly about how people can turn their backs on atrocious human suffering. Helga complains about having her pleasant home life interrupted when Rudolph is tasked with operations in Hungary. The kids have parties, screams of terror within ear shot. The only time Rudolph directly comments on the massacre happening under his watch is when some bones float into the river and interrupt a pleasant family outing. Suffering and death on a massive scale is only a minor inconvenience for him.</div><div><br /></div><div>A common reaction to “The Zone of Interest” has been to say it's about the “<a href="https://www.newyorker.com/magazine/2023/12/18/the-zone-of-interest-movie-review-anselm">banality</a> <a href="https://www.washingtonpost.com/entertainment/movies/2024/01/16/zone-of-interest-movie-review/">of</a> <a href="https://www.dailycardinal.com/article/2024/02/the-zone-of-interest-highlights-the-horrifying-banality-of-evil">evil</a>.” Even Steven Spielberg has <a href="https://screenrant.com/zone-of-interest-steven-spielberg-review/">used this line</a>. And, yes, the film <i>is</i> about that. Near the end, while bored at a party, Rudolf absent-mindedly wonders how much effort it would take to gas everyone in the room. Nazi officials did absolutely dreadful things without thinking about their moral consequences. It was a job for them, the extinction of millions being a nine-to-five gig. Yet simply reducing “The Zone of Interest” to the “banality of evil” doesn't even begin to cover everything the film is doing. Using <a href="https://www.hollywoodreporter.com/movies/movie-news/zone-of-interest-cinematographer-lukasz-zal-1235645356/">a similar technique</a> to what he did in “Under the Skin,” Glazer's team rigged up the house and its surrounding areas with cameras. This allowed the team to watch the actors play out a daily routine. The events are often watched from afar, observing Höss and his family like a cold and inattentive god. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOkuI69LsP-b1yOydE1qU75odBsHYhKhORQinAhbx4AmXN6UgzZYF0Anu45neHxpXuwnoggkcswAuQFLF8o2532JGuVPKwNBd1ZO74DMfSPtgmnV3gCaOpRfMFulN-AlWtc6ZeCGR0edB_BrXh3oYaeWBBLKUWGoZtG051r066TwsUwFblDsVvneRLXg/s1600/Zone%20of%20Interest%203.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOkuI69LsP-b1yOydE1qU75odBsHYhKhORQinAhbx4AmXN6UgzZYF0Anu45neHxpXuwnoggkcswAuQFLF8o2532JGuVPKwNBd1ZO74DMfSPtgmnV3gCaOpRfMFulN-AlWtc6ZeCGR0edB_BrXh3oYaeWBBLKUWGoZtG051r066TwsUwFblDsVvneRLXg/w135-h200/Zone%20of%20Interest%203.jpg" width="135" /></a></div>This means the audience is watching what is happening with the same dispassionate gaze as the Nazis themselves. We are being made complacent in these horrors too. This makes “The Zone of Interest” a profound statement not just about the Holocaust but <a href="https://jacobin.com/2024/02/zone-of-interest-holocaust-film">about any genocide</a>. All of us are living our day-to-day lives, going to work, eating meals, hanging out with friends and family, while others are dying and suffering somewhere in the world. To participate in Western society is to take part in a massive machine that only operates at the cost of countless lives. Right now, the U.S. government is funding a genocide in Gaza by Israel. How many other pitiless atrocities have the average American contributed to with their tax dollars totally unawares? Glazer's film uncomfortably asks us to consider that turning a blind eye on ceaseless human suffering unimaginable is not especially difficult or unique. It may, in fact, be an unavoidable component of the American condition. </div><div><br /></div><div>That Spielberg would comment on “The Zone of Interest” is intriguing. Spielberg's own “Schindler's List” generated debate, <a href="https://www.nytimes.com/2023/12/19/magazine/movies-holocaust-zone-of-interest.html">if it was even morally responsible</a> to make a movie about the Holocaust. Film, even the greatest and best intentioned films, are spectacles. Somebody, somewhere, is going to be munching on popcorn and Jujubes while watching a reenactment of the systematic slaughter of six million Jews, <a href="https://www.opensocietyfoundations.org/explainers/what-roma-genocide">five hundred thousand Romani</a>, <a href="https://mjhnyc.org/exhibitions/nazi-persecution-homosexuals-1933-1945/">a hundred thousand homosexuals</a>, and countless others. Some studio lackey will be checking the box office returns on how many people bought tickets to such a show. Is cinema, as a medium, uniquely incapable of capturing the horrors of such an event? Glazer's film circumnavigates this dilemma as much as it can by simply never depicting all the visuals clichés we associate with Holocaust movies. We see the garden fertilized with ashes. Gun shots and wails of agony break up the unending churning of the furnaces. Yet the audience is forced to imagine everything else. The movie glues us to our seats and has the terrors of these events germinate in our minds for 105 minutes. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsEipUFR0LDl3khsPT9ukajXtItDuS5B3ygflV24ewKlcXBmMtjKHbNrxjDOJK1DZXXEX-r5Z5WoDi6D0PiFmxlemu9eLMxmVoW49wkQb-EFZcN_dMxvORxylJF2cqZAYdyDDGdSRhoqm0AZwsIoPlvFCi1KepHNVRNfR24XMmxdwGd2ALKNOXpsECHw4/s1500/Zone%20of%20Interest%204.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsEipUFR0LDl3khsPT9ukajXtItDuS5B3ygflV24ewKlcXBmMtjKHbNrxjDOJK1DZXXEX-r5Z5WoDi6D0PiFmxlemu9eLMxmVoW49wkQb-EFZcN_dMxvORxylJF2cqZAYdyDDGdSRhoqm0AZwsIoPlvFCi1KepHNVRNfR24XMmxdwGd2ALKNOXpsECHw4/w133-h200/Zone%20of%20Interest%204.jpg" width="133" /></a></div>This is not the only way that Glazer and his team take the spectacle out of the idea of filmmaking. The far-off cinematography is often paired with utterly mundane activities. We watch these little figures do totally mundane, every day tasks. Rudolf talks on the phone with his officials, who coldly commend him on his horrible work. We see a whole room full of high-ranking Nazis go through the steps of bureaucracy. When combined with the daily chores, it is monotonous. When combined with the unending sounds of torment, “The Zone of Interest” gives the impression of being in Hell itself. The only time Glazer breaks form is when showing <a href="https://screenrant.com/zone-of-interest-leaving-apples-real-story-director-why/">a Polish girl</a> sneaking into the camp and leaving food for workers. These scenes are shot in inverted monochrome and accompanied by Mica Levi's bellowing, groaning, ogre-like soundtrack. (Which is <a href="https://variety.com/2024/music/focus/the-zone-of-interest-poor-things-the-killer-composers-discuss-strange-scores-1235867125/">otherwise not present</a> in most of the film.) In its final moments, as Rudolf Höss descends the interior staircases of the camp, as the film becomes unmoored in time and flashes forward to <a href="https://www.auschwitz.org/en/museum/news/the-zone-of-interest-jonathan-glazers-film-about-the-auschwitz-commandant-awarded-the-grand-prix-at-cannes-film-festival,1617.html">the Auschwitz Museum</a> in the modern day, it's made clear. These events will exist forever, the acts of these men will reverberate through history eternally. Yes, if eternal damnation exists, it is surely very much like this. </div><div><br /></div><div>In other words: “The Zone of Interest” is a staggering masterpiece, a uniquely powerful achievement that seeks to not just have the audience understand the horrors of the Holocaust but forces us to grapple with their implications like few films have before. It's a great movie. It's also a movie I never want to see again. The film summons a foreboding atmosphere more nightmarish than any horror film I've ever seen. Movies about the Holocaust will continue to be made, as long as films continue to be made. I don't think there will ever be another film on the topic like this one. Part of me hopes there never will be. “The Zone of Interest” is an astute, haunting exorcism of true evil. <b>[9/10]</b></div><div><b><br /></b></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-78472504764398762382024-02-16T20:57:00.000-08:002024-03-05T21:10:11.991-08:00OSCARS 2024: Anatomy of a Fall (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2n-Dgd54KqBdZ9IJ9Htk-Cqz97V638WhHRdPVRmEonb6JdGti6QI9AdXARyRqF9TD1PKL0UHgWM5aRoNT0RyR4vIeJDmeiqS-wrKXAZZzFxi1lzdhrVfgi3za_jQvr9oDHm1VPixsSg7YqtgmTyueoy3hyphenhyphen3MaZwcfiE2evmgaVBGiEHmS_2uwMnMFUz4/s1467/Anatomy%20of%20a%20Fall%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1467" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2n-Dgd54KqBdZ9IJ9Htk-Cqz97V638WhHRdPVRmEonb6JdGti6QI9AdXARyRqF9TD1PKL0UHgWM5aRoNT0RyR4vIeJDmeiqS-wrKXAZZzFxi1lzdhrVfgi3za_jQvr9oDHm1VPixsSg7YqtgmTyueoy3hyphenhyphen3MaZwcfiE2evmgaVBGiEHmS_2uwMnMFUz4/s320/Anatomy%20of%20a%20Fall%201.jpg" width="218" /></a></div>Being an industry award show run primarily by people in the United States, the Academy Awards naturally tend to favor English language films. The number of times a film not in the English language has been nominated for Best Picture, much less won, is rare. Even though, the very serious film critic types tend to highlight movies from all over the year, when talking about the year's best. However, maybe things have been getting a little better in that regard. “Parasite” sweeping the top categories a few years back might've been a game-changer, in retrospect. This year, “<b><a href="https://www.imdb.com/title/tt17009710/reference/">Anatomy of a Fall</a></b>” has picked up several nominations in top categories. It's a French film, starring a German actress, in a mixture of English and French. That's a win for multi-nationalism, I'd say. </div><div><br /></div><div>Sandra Voyter gives an interview at her isolated cabin home but has to cut it short when her husband begins to blare music upstairs. The couple's blind son, Daniel, takes his dog Snoop, out for a walk. When he returns, he discovers that his father, Samuel, is dead on the snow beneath the house. Immediately, authorities begin to suspect that Sandra murdered her husband, pushing him from the guardrail to his death. She maintains her innocence, insisting that Samuel was suicide and killed himself. Soon, the case goes to trial and becomes a high-profile news story. The evident is stacked against Sandra by an aggressive prosecutor, forcing her son to come to his own conclusion about what happened.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKUlq-AOB5NSxZ7xJ04DjWn9HTlJV0pfKporGyVhacgITuGrF53TuJZ7SjMOmj288Sy6GlCAD1KLzDGB7JHuJEifVY0WhjtU7ugBPiwuJfRHgR-adrPR0R0IjlqvqPpR3dF7TxzBJI2t2SbzWdYFfdFROPhFAO9sUKrJUMpyDIsSq80w9wLtYl5QNw_4/s1200/Anatomy%20of%20a%20Fall%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="880" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKUlq-AOB5NSxZ7xJ04DjWn9HTlJV0pfKporGyVhacgITuGrF53TuJZ7SjMOmj288Sy6GlCAD1KLzDGB7JHuJEifVY0WhjtU7ugBPiwuJfRHgR-adrPR0R0IjlqvqPpR3dF7TxzBJI2t2SbzWdYFfdFROPhFAO9sUKrJUMpyDIsSq80w9wLtYl5QNw_4/w147-h200/Anatomy%20of%20a%20Fall%202.jpg" width="147" /></a></div>“Anatomy of a Fall” belongs to the very respectable genre of <a href="https://movieweb.com/best-courtroom-drama-movies/">the courtroom drama</a>. This is a style of story that is linked very closely to the murder mystery, in terms of structure and pay-off. In both styles of story, we are presented with a dilemma, evidence, and a number of suspects. “Anatomy of a Fall” is special in that there's only ever one real suspect, Sandra herself. The audience's interaction with the narrative arises out of deciding whether she did it or not. This puts us in the exact same place as the jury, watching compelling evidence for both sides being laid down and forced to draw our own conclusions from what we've learned. Within this structure, “Anatomy of a Fall” is immediately compelling and keeps you hooked throughout. Each new reveal draws you in deeper, causing its two hour and thirty minute runtime to sail by.</div><div><br /></div><div>Director Justine Triet and her co-writer Arthur Harari didn't just set out to write a persuasive court room thriller though. “Anatomy of a Fall” is ultimately about <a href="https://www.curzon.com/journal/anatomy-of-a-fall/">the subjectivity of truth</a>. Throughout the film, the prosecutor and Samuel's psychologist present the image of a man with everything to live for and a venomous wife. Yet, every peek we get at Sandra's perspective of events, we see Samuel as a bitter and broken man. From certain points of view, both of these things are true. The truth is, in this case and in reality at large, objective fact can only take us so far. Some things exist as uncertainties. The version of Sandra and Samuel that exist in each other's heads were, in some ways, just as real as any other. Ultimately, “Anatomy of a Fall” comes to the conclusion that we must all choose our understanding of the truth, our own version of reality, and go from there. Because what other choice do we have?</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinESVkuP83KRY8Gc4nq1ulG7EDJzTvq8muw5YRaeoOYJp7QXq4qdwu8Nf_VT9rhbjlSusFrpURgPgFVO8p3T9iPpuNr52AeK2w0tGqIy7nqsilvWWQAFNOBm0lqgA3_TT8GT1BRxCyegBZmNhbf7q1wZV4d504ZZslpZz4DKWvgWJd-HcmeEeNXNR7hiQ/s1500/Anatomy%20of%20a%20Fall%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1017" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinESVkuP83KRY8Gc4nq1ulG7EDJzTvq8muw5YRaeoOYJp7QXq4qdwu8Nf_VT9rhbjlSusFrpURgPgFVO8p3T9iPpuNr52AeK2w0tGqIy7nqsilvWWQAFNOBm0lqgA3_TT8GT1BRxCyegBZmNhbf7q1wZV4d504ZZslpZz4DKWvgWJd-HcmeEeNXNR7hiQ/w136-h200/Anatomy%20of%20a%20Fall%203.jpg" width="136" /></a></div>There are other layers here as well. Unavoidably, gender comes into play. Sandra isn't just a woman but a bisexual one. She's had affairs with women in the past, something which greatly wounded Samuel. The prosecutor is brutal, tearing Sandra down on the stand and trying to create the image of her as a castrating bitch, who stole from her husband and plotted his murder far in advance. Would he be treated her this way if she was a man? Or even a strictly straight woman? One of the few times “Anatomy of a Fall” breaks its commitment to subjective reality is when it gives us a look at a terrible argument the couple had the day before the death. This makes “Anatomy of the Fall” one of the most brutal games of he said/she said that I've seen in film. The fragile egos of men and the pressures women live under all play a role in how they act, how they see things, and how their individual realities exist. </div><div><br /></div><div>All of its fascinating ideas aside, “Anatomy of a Fall” is just a fantastically assembled motion picture. Simon Beaufils' cinematography manages to combine visual tricks like handheld footage or smooth tracking shots with more intimate shots, that emphasizes the characters and their places within the buildings and rooms. Laurent Sénéchal's editing strings the film together elegantly, making every cut count. Sandra Hüller gives a performance so realistic, you can hardly believe she's acting sometimes. She seems like a real person, thrust into this unenviable position. Yet, when asked to really give it her all and belt it out, Hüller is simply thunderous. Milo Machado-Graner is heart-breaking as poor Daniel, who looses his dad and looses his innocence in a much wider sense. Messi the dog, as Daniel's seeing-eye dog Snoop, also has to give <a href="https://www.thewildest.com/dog-lifestyle/messi-trainer-award-season">one of the best canine performances</a> I've ever seen. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3NanhlSiJKpyc1Ihp2IE56T5zB6_iESnXqW1xQXqlkC2HwI040QKJpozWZCHinrksCI6stBXgkpKYJh6rrmdlTUIXIRv2Bkq0ZPrzGdh7iW_SJ9bLTiOTuCenw6_akIcKXOZrAnqKSgMKHTGVnFqspz7W2rERa7lZ9tXLiEyzVfHTyroBKfe4h7rtwQ/s1413/Anatomy%20of%20a%20Fall%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1413" data-original-width="998" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3NanhlSiJKpyc1Ihp2IE56T5zB6_iESnXqW1xQXqlkC2HwI040QKJpozWZCHinrksCI6stBXgkpKYJh6rrmdlTUIXIRv2Bkq0ZPrzGdh7iW_SJ9bLTiOTuCenw6_akIcKXOZrAnqKSgMKHTGVnFqspz7W2rERa7lZ9tXLiEyzVfHTyroBKfe4h7rtwQ/w141-h200/Anatomy%20of%20a%20Fall%204.jpg" width="141" /></a></div>The question everyone is asking after seeing “Anatomy of a Fall” is: Did she do it? That's even <a href="https://www.didshedoit.com/">the film's English tagline</a>. I do believe the movie presents as much evidence as possible for either case to be true. However, one scene I think does maybe push my opinion in a particular direction. And that's when Sandra seemingly attempts to seduce her lawyer, a moment that suggests she's <i>really</i> invested in being proven innocence. Yet, I suppose, even that scene is up to interpretation. Being able to generate discussion and debate is a sign of a great film. “Anatomy of a Fall” isn't just a flawlessly executed genre exercise but also a movie with so much more on its mind, grappling with heady ideas within a very accessible format. <b>[9/10]</b></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-7761274888882665132024-02-15T18:08:00.000-08:002024-03-05T18:46:30.953-08:00OSCARS 2024: Maestro (2023)<div style="text-align: left;"><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv5UNvygZHbCLOX4uWLgAGe64bChPV5q47CWC1_-dHxJ7z7yqa4CgwF4kBZXjoGGz7kP25GPjZnBR38e-zcA_UhVGMmaG0FqTVR9eRkcNISAfbzsDFta12mmLLQb5x5gL0KvG45ucZaZ-8NQ1O8wqqxu3QHc557arqjG6wAmQYruNqXt9q0pjuUikIxlM/s2048/Maestro%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1383" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv5UNvygZHbCLOX4uWLgAGe64bChPV5q47CWC1_-dHxJ7z7yqa4CgwF4kBZXjoGGz7kP25GPjZnBR38e-zcA_UhVGMmaG0FqTVR9eRkcNISAfbzsDFta12mmLLQb5x5gL0KvG45ucZaZ-8NQ1O8wqqxu3QHc557arqjG6wAmQYruNqXt9q0pjuUikIxlM/s320/Maestro%201.jpg" width="216" /></a></div>What's your opinion about Bradley Cooper? I can't say I felt too passionately about him one way or another until recently. He started out as a fairly bland leading man type, in forgettable flicks like “<a href="https://www.fangoria.com/original/the-midnight-meat-train-review/">The Midnight Meat Train</a>” and “Limitless.” Bro-like turns in “The Hangover” and “The A-Team” defined his early stardom and seemed to be about where he was comfortable. Yet Cooper clearly had something to prove. He mugged his way through “<a href="https://zacksfilmthoughts.blogspot.com/2013/01/director-report-card-david-o-russell.html">Silver Lining Playbooks</a>,” “<a href="https://zacksfilmthoughts.blogspot.com/2014/02/director-report-card-david-o-russell.html">American Hustle</a>,” and “<a href="https://zacksfilmthoughts.blogspot.com/2015/02/recent-watches-american-sniper-2014.html">American Sniper</a>” in such a way that showed his desperation to display his talent. It says a lot about my feelings towards Cooper that I didn't start to warm up to him until he started to relax a little, disappearing into roles like <a href="https://screenrant.com/guardians-galaxy-3-rocket-bradley-cooper-inspiration/">a CGI raccoon</a> or <a href="https://www.theringer.com/movies/2021/12/1/22810420/jon-peters-licorice-pizza-bradley-cooper-true-story">a coked-up Jon Peters</a>. However, those were just preludes. Cooper was assuredly not done showing the world his ability for greatness. And so “<b><a href="https://www.imdb.com/title/tt5535276/reference/">Maestro</a></b>” was born, a passion project Cooper bore to the screen almost singlehandedly. A movie so overflowing with Capital I Importance that it was destined to become the most hotly debated title of 2024's Oscar season. Cooper's plea for greatness worked, with “Maestro” earning notices at multiple award shows before picking up seven Academy Award nominations. Is the mainstream press – who have been <a href="https://www.rottentomatoes.com/m/maestro_2023">largely receptive</a> to the movie – right? Or is “Maestro” as swollen an act of overburdened hubris as everyone on Film Twitter seems convinced it is?</div><div><br /></div><div>The maestro in question is <a href="https://www.britannica.com/biography/Leonard-Bernstein">Leonard Bernstein</a>, the beloved composer and conductor that is one of maybe two modern classical songwriters the average person can name. Bookended by an interview from the end of Bernstein's life, the film essentially begins with the start of superstar career, when he called in to conduct the New York Philharmonic after Bruno Walter fell ill. While writing “On the Town,” Leonard meets actress <a href="https://www.classicfm.com/composers/bernstein-l/felicia-montealegre-wife-chilean-actress-roles/">Felicia Montealegre</a>. Despite Bernstein being gay, he finds a soulmate in Felicia. The two marry and have children, while Bernstein's career as a composer grows in prominence. Yet he's frustrated, seeking to conduct great music. This inner turmoil leads him to affairs, that drive a wedge between himself and Felicia. Yet they remain bonded, which only grows sturdier after Felicia is diagnosed with breast cancer and begins to face the end of her life.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrXuZngWBLl4NUK-B_TTFxe-UwxBz8l0HdhrghiQXV3qwLjRdjVxqC4vyiIDUnTyZMLMoSyO5vWE41X0juAWCO1s723N4k75_nlodwYAQ77pZl9gwCXsNil7T_7PorpX9otxzlgXzZi_iMmkHAQ2fgW7sMbqrI4VqKs2jmkDunbQDdkBhrLPcqwhJ85Wk/s1500/Maestro%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1013" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrXuZngWBLl4NUK-B_TTFxe-UwxBz8l0HdhrghiQXV3qwLjRdjVxqC4vyiIDUnTyZMLMoSyO5vWE41X0juAWCO1s723N4k75_nlodwYAQ77pZl9gwCXsNil7T_7PorpX9otxzlgXzZi_iMmkHAQ2fgW7sMbqrI4VqKs2jmkDunbQDdkBhrLPcqwhJ85Wk/w135-h200/Maestro%202.jpg" width="135" /></a></div>Why do we make biographical movies, books, and so on? Presumably it is in order to gain insight into the minds and actions of people we admire. To learn what made them tick, what drove them to create or perform acts of greatness. “Maestro” begins with a quote from Bernstein, saying that “a work of art does not answer questions” but “provokes them.” This seems to be the approach Cooper has taken to Bernstein here. Because “Maestro” consistently, frustratingly keeps its topic at a distance. What drove Leonard Bernstein to compose and conduct? He makes some vague mention of striving for greatness but little further insight is provided. When we see him conduct, he seems to fall into a state of ecclesiastic euphoria. But why? Bernstein's background is mentioned in dialogue, his love affairs glimpsed in passing, his relationship with his children briefly illustrated, <a href="https://fherehab.com/learning/leonard-bernstein">his drug abuse</a> shown in one scene. Yet “Maestro” stubbornly refuses to provide insight for any of these actions. </div><div><br /></div><div>“Maestro's” chilly approach to its subject extends to what is, ostensibly, the main focus of the film. The film definitely wants to frame itself as a love story, between Leonard and Felicia. Yet the reason for their bond remains as understated as anything else in the movie. The two share a certain chemistry, sure, and we are presented with many scenes of them talking and chatting. Yet why does Felicia love Leonard? She know he's mostly interested in men, sexually. Yet is still offended when she catches him making out with random twinks. Why does Bernstein cheat on his devoted, loving wife? He bids a male lover farewell after deciding to marry Felicia, another moment that is vaguely defined. We see them argue and we see them comfort each other in the back half, after her cancer diagnosis. However, the spark between them – what either gets out of this relationship – is another element “Maestro” keeps just out of reach. Why Felicia puts up with his moods and infidelity and remoteness is never answered.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRMmjJdExSxacnlmv7rT7xG-Zk7-DSJaakZ4yTIhFHInm6esOWfAvWAucIdXDoyvvIjvyVHC2eEKOeohdnE41jn8-YLa8drJKhAubIGrr4_THIKa32Bwv3Nq5HboIyK2AjM5l3HYtJSEABEJ5egqUXQilJNgVb60PRJVqq71-CHhWy7I14Pi0eaXyTXwQ/s1350/Maestro%203.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRMmjJdExSxacnlmv7rT7xG-Zk7-DSJaakZ4yTIhFHInm6esOWfAvWAucIdXDoyvvIjvyVHC2eEKOeohdnE41jn8-YLa8drJKhAubIGrr4_THIKa32Bwv3Nq5HboIyK2AjM5l3HYtJSEABEJ5egqUXQilJNgVb60PRJVqq71-CHhWy7I14Pi0eaXyTXwQ/w160-h200/Maestro%203.jpg" width="160" /></a></div>Matthew Libatique's cinematography definitely emphasizes the movie's approach. The players are often framed far off in the distance, away from the viewer. Leonard and Felicia talk under a canape in the garden, partially obscured from us. There's an especially ostentatious – some might even say pretentious – sequence where the two argue in a private room. They stand by a window, the balloons from the Macy's Thanksgiving parade going by outside, the camera holding still for several minutes as we watch them verbally spar quite a while away from us. When not holding on these far-off shots, the cinematography is full of flashy movement. There are multiple drawn-out, tracking shots, usually overhead shots that pass through doorways and walls as it follows the characters. Not to mention, the scenes set in the forties are in black-and-white, that most obvious visual indicator that what we are watching is high-minded art. </div><div><br /></div><div>The cinematographer is showing off. The sound design – mostly composed of Bernstein's pre-existing music, of course – is showing off. But nobody is showing off in “Maestro” as much as Bradley Cooper. He does everything an actor eager for an Oscar is supposed to do. He wears <a href="https://www.hollywoodreporter.com/movies/movie-news/bradley-cooper-maestro-nose-controversy-1235668741/">a fake nose</a> and is plastered in old age make-up as the movie progresses. He applies a distractingly nasal voice. He spits out reams of erudite dialogue. And when Bernstein is conducting, he swings his arms around in rhapsody and contorts his face in utter exaggerated ecstasy. Carey Mulligan is like this too, vomiting monologues of twisting, stagey dialogue. But she's a better actor than Cooper and the entire motive isn't a delivery system for her ACTING, so she comes off a little better. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmBklJFSnkVl2aiXziNBMbxGJ7CsTW7FYjkemAxjsBgODKL8_-Uosa92E9RrSW7bIbGqCQkR96pNkfZLTFlpnduQK3b5Wgc6frOvwAG_1yecZ0eEOmU3M7eJ93eL_ZY-93ZPxq-gLAwd0K7GMeCooaeJXpFwSSvwiAIIJNYzfb6_bddFLqvc3NYIsQnqw/s2000/Maestro%204.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1350" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmBklJFSnkVl2aiXziNBMbxGJ7CsTW7FYjkemAxjsBgODKL8_-Uosa92E9RrSW7bIbGqCQkR96pNkfZLTFlpnduQK3b5Wgc6frOvwAG_1yecZ0eEOmU3M7eJ93eL_ZY-93ZPxq-gLAwd0K7GMeCooaeJXpFwSSvwiAIIJNYzfb6_bddFLqvc3NYIsQnqw/w135-h200/Maestro%204.jpg" width="135" /></a></div>Ultimately, what can you call “Maestro” but a massive act of hubris on Cooper's behalf? He directed, co-wrote, and produced this movie strictly as a vehicle for him to play Bernstein. The script is designed to leave so many empty spaces in Bernstein's characterization, that Cooper's frankly sweaty acting is meant to fill the blank spaces. Is this a tribute to Bernstein's genius or a vanity project for an Oscar-hungry A-lister? I know which I believe. I will give Cooper and “Maestro” this much though: He actually put <a href="https://time.com/6338624/maestro-rem-song-leonard-bernstein/">the R.E.M. song</a> in the movie. That made me laugh. “Maestro” is a handsome production, with strong make-up effects, pretty cinematography, and a handful of well-executed scenes. It would have to be, considering the movie and prestige attached to it. Yet a biography that brings us no closer to understanding its subject, as this one does, can be considered nothing but a failure. <b>[5/10]</b></div></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-31197031231401951462024-02-14T17:38:00.000-08:002024-03-05T18:05:00.219-08:00OSCARS 2024: Rustin (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv09NpAEbxGiiqopVNGh1i477D3sSeuSvW3Ua33Do5SB16bMKbB2fDmFFFr6lklvDoRFyRpK7rC8urq7xP8RaeBUbSTrop6Mrj7C0MECSQesGvisSXsEhARCOSgwXc-3tLutSc_1dovB6qcugT4t0g3YwLG8yJKxlmRyM2M0SkBWFTUcKIBlKojKEhiw/s1481/Rustin%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv09NpAEbxGiiqopVNGh1i477D3sSeuSvW3Ua33Do5SB16bMKbB2fDmFFFr6lklvDoRFyRpK7rC8urq7xP8RaeBUbSTrop6Mrj7C0MECSQesGvisSXsEhARCOSgwXc-3tLutSc_1dovB6qcugT4t0g3YwLG8yJKxlmRyM2M0SkBWFTUcKIBlKojKEhiw/s320/Rustin%201.jpg" width="216" /></a></div>At this point, Oscar Season and biographical films are <a href="https://collider.com/oscars-biopics-addiction/">irrevocably linked</a>. The Best Actor category is almost inevitably dominated by performers playing real people. A quick glance shows me that we haven't had a year without a biopic nominated in that category <a href="https://www.oscars.org/oscars/ceremonies/2008">since 2008</a>. While many biographical films are actually quite good – indeed, a great one is leading the field this year – most films in this genre are not so notable. It's become a cliché that, if an actor wants to take a short cut to critical respect and award recognition, playing a real person is the way to do it. Especially if the subject contributed to American history, had a distinctive physical appearance, or spoke with a weird voice. In 2024, the film that meets all these qualifications is “<b><a href="https://www.imdb.com/title/tt14160834/reference/">Rustin</a></b>.” To really show that this is the token biopic nod, Colman Domingo's lead performance is also the <i>only</i> nomination the film has received.</div><div><br /></div><div>“Rustin” is, of course, about <a href="https://nmaahc.si.edu/bayard-rustin">Bayard Rustin</a>, civil rights activist and proponent of non-violent protest. The film begins in 1960, as Rustin and Martin Luther King have organized <a href="https://www.nps.gov/subjects/civilrights/sclc.htm">the Southern Christian Leadership Conference</a> and are preparing a peaceful march on the Democratic National Convention. When it slips that a rumor is about to be leaked, that openly gay Rustin is having an affair with King, he leaves the organization. Two years later, Rustin begins work to help organize <a href="https://kinginstitute.stanford.edu/march-washington-jobs-and-freedom">the March on Washington for Jobs and Freedom</a>. Along the way, Rustin carries on a love affair with white activist Tom Kahn, falls for another man, and tries to exist as both a gay man and a black man in a time when both are persecuted.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXezE2UryQ5zuu2WF6qvqgtpEp17Kb_XSFgdyaz2GknHI9wafhTWRJhpu9bJczOCKaIcitSGi8FxCKaEs_h9Qsylt6858xR6Jib3j_QbrRngQrdRNfCyFLm7biWX7Ptkxrv0JAPMq-iesvGCXG2ECUq4Yo5x89oIe8yF9Il8cxlPfhRkPCFQ3P_iwXwU/s1280/Rustin%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXezE2UryQ5zuu2WF6qvqgtpEp17Kb_XSFgdyaz2GknHI9wafhTWRJhpu9bJczOCKaIcitSGi8FxCKaEs_h9Qsylt6858xR6Jib3j_QbrRngQrdRNfCyFLm7biWX7Ptkxrv0JAPMq-iesvGCXG2ECUq4Yo5x89oIe8yF9Il8cxlPfhRkPCFQ3P_iwXwU/w221-h125/Rustin%202.jpg" width="221" /></a></div>“Rustin” was directed by <a href="https://www.newyorker.com/culture/the-new-yorker-interview/george-c-wolfe-would-not-be-dismissed">George C. Wolfe</a>, the famous playwright turned filmmaker who previously brought “<a href="https://zacksfilmthoughts.blogspot.com/2021/04/oscars-2021-ma-raineys-black-bottom-2020.html">Ma Rainey's Black Bottom</a>” to the screen. A fair criticism of that film is it never quite escaped its stage bound roots. Perhaps Wolfe took this heart for “Rustin.” The film employs a number of visual tricks. Such as black-and-white flashbacks, first person perspective shots during Bayard's run-ins with the cops, high-speed montages, and a few weird zooms. Despite all these steps, it's unavoidable that “Rustin” is still largely composed of people sitting around and talking things out. Many scenes are devoted to Rustin, King, and other prominent black rights leaders arguing and debating various plans and issues. Most baffling of all is “Rustin's” conclusion. After the entire movie building up to the March on Washington... The actual march takes place entirely off-screen! We merely see a split-second of King's speech and the aftermath. What an utterly strange decision.</div><div><br /></div><div>A lot of 'Rustin” is like that. The film attempts to be a snapshot of Bayard's whole life within this handful of years. This means it splits its focus between his work as an activist, as he attempts to push through his own plans against resistance from other established leader, and his status as a gay man during the early sixties. The various love affairs Rustin has are all quickly rushed through. The subplot involving a composite character played by Johnny Ramney ends especially abruptly. The film does what it can to blend these two aspects of Rustin's life, especially when his previous arrest for “perversion” is announced to the public. Yet it never comes together into a logical whole. We don't get a sense of Bayard Rustin as a whole human being, a civil rights activist and peaceful protestors who also happened to be homosexual. The elements uncomfortably linger next to each other, as if the script is changing focus back and forth.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-M2DvOE-Yw_xlMbvJxZ9AgNXfoNQDwh0pVCt8NyawPpaWNCw0UBEdY3Ye-V9Fo8nNjfXaPh6aVbA5PCpZg_ZP5WpLhYflbvx4NtDzCk9yEj9ZwBEqius9LpD10QV5d5toXrQBMXMAACbEXoQsFiKHi1KG8KWPQaVyaOARPWHGJeeeCgNGfwfuw0uIzZk/s1350/Rustin%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-M2DvOE-Yw_xlMbvJxZ9AgNXfoNQDwh0pVCt8NyawPpaWNCw0UBEdY3Ye-V9Fo8nNjfXaPh6aVbA5PCpZg_ZP5WpLhYflbvx4NtDzCk9yEj9ZwBEqius9LpD10QV5d5toXrQBMXMAACbEXoQsFiKHi1KG8KWPQaVyaOARPWHGJeeeCgNGfwfuw0uIzZk/w160-h200/Rustin%203.jpg" width="160" /></a></div>Ultimately, movies like this depend a lot on their performances. Colman Domingo is a hugely charismatic actor and that is well on display here. However, this is also a very showy performance. Domingo mimics <a href="https://www.youtube.com/watch?v=grSbGG8uM-0">Rustin's distinctive speech pattern</a>, while wearing a lot of make-up and period clothes. It's theatrical, in the kind of way that can't help but be a bit distracting. We aren't seeing a character come to life. We are seeing an actor play that character. There are a few performances like that. Such as Chris Rock as Roy Wilkins, who is obviously never anyone but Chris Rock. This stands against more naturalistic performances, like a very subdued Aml Ameen as King or an immediately magnetic Jeffrey Wright as Adam Clayton Powell Jr. (Who more-or-less fills the role of catty antagonist throughout the film.)</div><div><br /></div><div>There are biographical movies that rise above the genre and become classics in their own right. There are also biopics that, outside of its star turn, is destined to be forgotten. I'm sure Colman Domingo, as a black gay man in reality, was very proud to bring this key figure in African-American and LGBT+ history to life. You can tell it was a big deal for him. Yet “Rustin,” as a movie, feels a lot like a Wikipedia encapsulation of someone's life with a few baffling omissions and changes. I hope Domingo gets another chance to show off his abilities in a better movie in the future. <b>[5/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-66049779071438989672024-02-13T20:47:00.000-08:002024-03-05T17:37:15.042-08:00OSCARS 2024: Robot Dreams (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaPWpnb566TSbGl0JsShAVqmcDxcFPzZx60qOJmRp_FTXooVXJHP5w0OOgkiI5ZFbatcyflrAyqeWvsuFZiJ1IDNg0BGwi6099H7PvQnVGQVxZ_R1DN8OY2IlcgS6PUylOP9_nZqbralkr5ye04b40JxfijiG3GuGxwd0IAte-WqxTRiwZSaMLGQ3aYDQ/s1412/robot%20dreams%201.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1412" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaPWpnb566TSbGl0JsShAVqmcDxcFPzZx60qOJmRp_FTXooVXJHP5w0OOgkiI5ZFbatcyflrAyqeWvsuFZiJ1IDNg0BGwi6099H7PvQnVGQVxZ_R1DN8OY2IlcgS6PUylOP9_nZqbralkr5ye04b40JxfijiG3GuGxwd0IAte-WqxTRiwZSaMLGQ3aYDQ/s320/robot%20dreams%201.jpg" width="227" /></a></div>The Academy can't seem to make up their mind about animation. Any time one of those anonymous Oscar voter interviews are given, <a href="https://www.vulture.com/article/oscars-animation-award-problems.html">the attitudes towards animation</a> seems to always be dismissive. The number of times whatever Disney or Pixar has put out every year wins Best Animated Feature further suggest that the voting body, as a whole, doesn't take the artform very seriously at all. Yet animation branch of the Academy generally does a good job of selecting nominees for the category, consistently <a href="https://variety.com/2023/film/focus/oscars-2024-contenders-best-animated-feature-1235820523/">making room for smaller movies</a>. When I saw the trailer for “<b><a href="https://www.imdb.com/title/tt13429870/reference/">Robot Dreams</a></b>” last year, I thought it might be able to slip into the animation slate at the Oscars. It looked like the kind of indie animation that the Academy favors. For once, my prediction came true. The Academy passed over Disney's mediocre “Wish” in favor of this tiny, but critically acclaimed, Spanish feature. </div><div><br /></div><div>Dog sits alone in his apartment in New York City, observing happy couples and friendships around him. That is when he sees a late night commercial for a mail-order robot. He purchases the machine and assembles it, soon having a mechanical best buddy to call his own. Dog and Robot spend the whole summer as inseparable friends. During a visit to the beach, Robot's joints rust stiff. Unable to move him from his spot, Dog leaves him there overnight. When he returns the next day, he's told the beaches are closed for the season. Thus begins the friends' long separation, where Dog and Robot dream about being reunited. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheAuTqdY_ZQ1V4q-V2WE_Vqbv5kY7PqxrvgOlgJAg5ZbtMS_NfDYirryXBlsmSHja-4Z_ilEpY_2C0f_JwtMECbsHhXhblivZ7PD1HBxxoc_p-B-OcKWd6s6guQg95IVpbaNOt-Qon7PnLlIe89dUZMeL23WDIfVCUYAA6x7VsPpoM0nI8lzBnLIeluD0/s1200/robot%20dreams%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1068" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheAuTqdY_ZQ1V4q-V2WE_Vqbv5kY7PqxrvgOlgJAg5ZbtMS_NfDYirryXBlsmSHja-4Z_ilEpY_2C0f_JwtMECbsHhXhblivZ7PD1HBxxoc_p-B-OcKWd6s6guQg95IVpbaNOt-Qon7PnLlIe89dUZMeL23WDIfVCUYAA6x7VsPpoM0nI8lzBnLIeluD0/w178-h200/robot%20dreams%202.jpg" width="178" /></a></div>“Robot Dreams” is adapted from <a href="https://thelittlemanreviews.wordpress.com/2023/06/01/book-review-robot-dreams-by-sara-varon-2007/">a comic by Sara Varon</a>. I'm not familiar with Varon's source material but I suspect it's largely in the style of comic strips. I get this impression from “Robot Dreams'” largely episodic plotting. After Dog and Robot are separated, the film settles into a groove of showing various dreams and misadventures. Dog goes to the mountains and is bullied by some anteaters. He goes on a few dates with a feminine Duck, who eventually stops returning his calls. An especially off-beat sequence has him going bowling with a snowman. Robot, meanwhile, has a series of surreal visions about being reunited with his friends, ranging from a four wall breaking homage to “Wizard of Oz” to being rescued by some rowers with a leaky boat. Even if the lack of narrative consistence is a bit frustrating, these sequences are imaginative.</div><div><br /></div><div>What ultimately makes “Robot Dreams” more than a series of charming encounters is the deep sense of longing and melancholy its story summons. The film begins with the image of Dog playing Pong by himself, as good a metaphor for the crushing isolation of loneliness as any I've ever seen. After their separation, Dog and Robot's dreams address a number of all-too-understandable feelings. Such as the idea that Dog will replace Robot with just another model. Yet everyone must move on eventually. The last third of “Robot Dreams” shows that life goes on. We never forget, as beautifully illustrated in a touching climatic moment. Sometimes, however, wonderful moments in our lives are fleeting. This is what “Robot Dreams” is about, the unavoidable fact that something doesn't last forever just because we love it. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1V10eRPmIdhNKqNAfzMBeC1LAWkwxzetebXVAPkG9uk05Ta1Fedzal-pd_zX3ZOru_7a6Ji0FhIm-k483qgjYune1kCT1axcrcVdUC39gnbeCJYupjZ3wdJ4_jgBv7iLHcDM1-1Ed1k_nmVXi513jlbdQIZUCzXNs2Z5yRAe8Eplj3AzktOB3b8EZXFQ/s4961/robot%20dreams%203.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4961" data-original-width="3508" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1V10eRPmIdhNKqNAfzMBeC1LAWkwxzetebXVAPkG9uk05Ta1Fedzal-pd_zX3ZOru_7a6Ji0FhIm-k483qgjYune1kCT1axcrcVdUC39gnbeCJYupjZ3wdJ4_jgBv7iLHcDM1-1Ed1k_nmVXi513jlbdQIZUCzXNs2Z5yRAe8Eplj3AzktOB3b8EZXFQ/w141-h200/robot%20dreams%203.jpg" width="141" /></a></div>Further impressing me is the specificity of “Robot Dreams.” The movie is very clearly set in eighties Manhattan. Dog drinks <a href="https://www.thewrap.com/tab-soda-discontinued-product-placement/">a can of Tab</a>. Boom boxes are prevalent. The fashions are heavy on visors and fanny packs. Most notably, the World Trade Center is often seen in the distance. Even though director Pablo Berger is Spanish, it's clear that the source material provided lots of specific details to draw from. Among those is the use of Earth, Wind & Fire's “September.” That song has <a href="https://www.vox.com/2018/9/21/17887990/earth-wind-fire-september-21-meme-demi-adejuyigbe">long become a meme</a> but its use here is really significant. That song also speaks to a brief event that looms large in someone's memory, one night lingering forever in a person's mind. That the song becomes a reoccurring motif throughout the film makes its use all the more important. </div><div><br /></div><div>There's no spoken dialogue in “Robot Dreams,” which only emphasizes the feelings at the story's center. This is a tale told through meaningful looks and fluid dances. Or the way Dog's tail wags in excitement, just the way you'd expect a dog's tail to. The animation here is not mind-blowingly unique or especially vivid. However, the character designs are really cute and the film's movement matters when it comes. (Such as during a notable sequence involving <a href="https://www.youtube.com/watch?v=A62djdsGW8A">an octopus playing the drums</a>.) The emotions “Robot Dreams” speaks to really got to me. There's a wistfulness, and ultimately a sense of hope, in the way it plays out. Haven't we all been a lonely dog looking for his robot best buddy to call his own sometimes? I know I have. <b>[9/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-41958641163600051282024-02-12T18:59:00.000-08:002024-03-04T19:18:23.125-08:00OSCARS 2024: Poor Things (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRLw0_wiP_fY5S-zU7ETVXOZv15PeaAAlCs3Vg7mdow4A1_7sNOQUIY8cNw0m3Ltl936yi16P7rZd0Tv5T4iEPvRfs14pRCCIfI50Nvcp1rYCdjEU2i74PHTxvkLzs5jU3qcy2WtHizhdQ5k1dMbNV0vTEiip7YifZz9CZMA-JeGYiZ8N5ya0D0f0FoxE/s1500/Poor%20Things%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1013" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRLw0_wiP_fY5S-zU7ETVXOZv15PeaAAlCs3Vg7mdow4A1_7sNOQUIY8cNw0m3Ltl936yi16P7rZd0Tv5T4iEPvRfs14pRCCIfI50Nvcp1rYCdjEU2i74PHTxvkLzs5jU3qcy2WtHizhdQ5k1dMbNV0vTEiip7YifZz9CZMA-JeGYiZ8N5ya0D0f0FoxE/s320/Poor%20Things%201.jpg" width="216" /></a></div>I maintain that Yorgos Lanthimos is an unlikely candidate for an Oscars favorite. It's hard to imagine aggressively stylized, absurdist anti-comedies like “<a href="https://www.rogerebert.com/reviews/the-killing-of-a-sacred-deer-2017">Killing of a Sacred Deer</a>” or “<a href="https://www.newyorker.com/culture/richard-brody/the-petty-laments-of-yorgos-lanthimoss-the-lobster">The Lobster</a>” appealing too much to the stuffy shirts at the Academy. And yet Lanthimos has slowly become a regular presence on the nominations slate. “The Favourite” breaking through with Oscars voters was one thing, since that was still something of a costume drama, a historically popular genre with AMPAS fuddy-duddies. “<b><a href="https://www.imdb.com/title/tt14230458/reference/">Poor Things</a></b>,” meanwhile, is a hard-to-classify science fiction/fantasy that walks a very odd tonal balancing act. Despite this, the movie has become one of the frontrunners at this year's Oscars, earning eleven nominations. So what is it about this one that caught the Academy's attention? </div><div><br /></div><div>A pregnant woman tosses herself from a bridge in what appears to be Victorian London. An eccentric scientist named Godwin Baxter fishes the body out of the river, transplanting the brain of the still living fetus into the dead woman's skull. He names the new lifeform Bella, who has a deeply child-like reaction to the world at first. She advances rapidly though and Godwin – whom Bella calls “God” – recruits one of his anatomy students to help study her. The student, Max, even agrees to marry Bella. That's when she meets a smooth-talking swindler named Duncan Wedderburn, who takes the naïve but eager-to-learn Bella out of her home. The two travel across Europe, learning to lust after and loathe each other, on the way to Bella becoming a fully-formed human being in her own right. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUSKw-oALAVoqyBdVLcodurTe8TeWqErOsOFp7wcEBFohjM4Ro-_leiP-s31v7tNYNBs5S7Xs3VMAsvqZs9M3B9wHnHOQbjZfQsdcD60xtDounAjUdKfAr6TKhxTmxz_V8PUaHMFhg0-8aTbnnWQBruHAlfrWVUUchU-mvepcAl_EUg2zy5XK_h6ak9E8/s800/Poor%20Things%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUSKw-oALAVoqyBdVLcodurTe8TeWqErOsOFp7wcEBFohjM4Ro-_leiP-s31v7tNYNBs5S7Xs3VMAsvqZs9M3B9wHnHOQbjZfQsdcD60xtDounAjUdKfAr6TKhxTmxz_V8PUaHMFhg0-8aTbnnWQBruHAlfrWVUUchU-mvepcAl_EUg2zy5XK_h6ak9E8/w200-h200/Poor%20Things%202.jpg" width="200" /></a></div>The most obvious literary predecessor to “Poor Things” is <a href="https://time.com/6344025/poor-things-frankenstein-mary-shelley-feminist/">Mary Shelley's “Frankenstein.”</a> Both stories are about innocent beings, created without their consent by a scientist with a God complex, tossed into a world they are unprepared for. While Frankenstein's creation is hardened into a remorseless killer by the world, Bella remains eager to find the best in people throughout. Like a child, she seeks nothing but pleasant stimuli but, owing to her adult form, quickly turns to vice. She gorges on sweets, drinks booze to excess, and has lots and lots of sex. Upon meeting a philosopher, she is exposed to the horrors of the world and hopes to make it better, to contribute something to this planet. Isn't this what we all seek out? To not just define ourselves but to also try and improve the chaotic, cruel planet we are tossed onto? The fact that Bella's creator and father-figure is defined specifically as “God” sets up even more existential themes and concepts to think about.</div><div><br /></div><div>Yet “Poor Things” is concerned most obviously with <a href="https://www.desertsun.com/story/life/entertainment/movies/film-festival/2024/01/01/movie-review-poor-things-explores-womanhood-emma-stone-yorgos-lanthimos-palm-springs-film-festival/71854891007/">Bella's status as a woman</a>. Almost all the men around her seek to control her. Godwin, reflecting his own childhood with a hideously cruel father, tries to keep her under his strict observation. Duncan, a philandering cad, is fine with Bella fucking and travelling, as long as he maintains all the power. The minute she starts to show any independence, and starts to outpace him in worldliness, he becomes a sneering, bitchy man-child. He's especially testy about Bella owning her sexuality, by becoming a sex worker. He can screw around as much as he want but a woman who seeks out casual sex is a whore, you see. “Poor Things'” feminist themes get all the more blatant as it goes along, the men in Bella's life growing more monstrous as the movie heads into its expanded final act. While you can criticize the film for not being especially subtle, you can't say it's wrong either. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4DwIBkkf0mLsj4Un4WsybonGkqt_YxteXvOdBmwNdFBjTac8geW2FqaRmwaTAwVS7MLWQR8OBAPsa2ad-G-NIrCHWMHzN-w-jL0pTW2OQ9IrJm4m6XUvpcDUsvRPqgkPDGY4lZsgDwV3jV5c8s913y0owMElspDFUeofelVnO1VwZ8ZJYxrvxCLGZFUg/s1000/Poor%20Things%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="673" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4DwIBkkf0mLsj4Un4WsybonGkqt_YxteXvOdBmwNdFBjTac8geW2FqaRmwaTAwVS7MLWQR8OBAPsa2ad-G-NIrCHWMHzN-w-jL0pTW2OQ9IrJm4m6XUvpcDUsvRPqgkPDGY4lZsgDwV3jV5c8s913y0owMElspDFUeofelVnO1VwZ8ZJYxrvxCLGZFUg/w134-h200/Poor%20Things%203.jpg" width="134" /></a></div>To describe “Poor Things” just as its ideas does the movie a disservice though. This is a delightfully weird, frequently hilariously perverse comedy. Lanthimos' odd ball sense of humor rears its head early and often. Godwin's laboratory is populated with strange animal hybrids, such as a dog with a goose's head. Later, the scientist – whose face is scarred in such a way that makes him look a lot like Frankenstein's monster already – passes a massive belch bubble out of his mouth. All of these strange events pass with Lanthimos' trademark, deadpan sensibility, hardly being commented on. This proceeds the film's best comedic element, Bella herself. As a wide-eyed innocent with a particularly hedonistic appetite, she bluntly comments on everything around her, tearing through the layers of polite society in the process. Bella's complete disregard for societal niceties is best displayed during the show-stopping dance sequence, where she awkwardly gyrates across a ballroom.</div><div><br /></div><div>Part of why “Poor Things” comedic instinct come off as funnier, and less staccato than “The Lobster” or “The Favourite,” is because of the incredibly talented cast. Emma Stone has never been better than as Bella Baxter. She moves with a spasmodic body language that immediately tells us so much about this character, while also speaking in clipped English. As Bella evolves, she adds more words to her vocabulary but maintains a unique outlook on the world. Stone's blazing blue eyes are well-suited to this. Yet Bella is more than a <a href="https://www.filminquiry.com/born-sexy-yesterday/">Born Sexy Yesterday</a> waif. Instead, Stone makes her an all-feeling organism, directed not just by sensation but by feeling. It's a stunning physical and emotional performance. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhah5IaXbnU-7yHmSk-Xlp2wAFEr3U3LZe_ILJ3OHQ5Xr6eEK6DsiBcIPs3Wh3IyBGIoVTB1yJO6Og-uYYL427mV-Rw3nqwK0oCJTKqrAxHPiUXLQOOH4Aj8HIhQACIqwEkdGDKJJ7O6eyY31Qi-a8SPJW1I33rj17c-zAC6v7pFF4JSnHJKZoA4mJuY5s/s1500/Poor%20Things%204.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1050" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhah5IaXbnU-7yHmSk-Xlp2wAFEr3U3LZe_ILJ3OHQ5Xr6eEK6DsiBcIPs3Wh3IyBGIoVTB1yJO6Og-uYYL427mV-Rw3nqwK0oCJTKqrAxHPiUXLQOOH4Aj8HIhQACIqwEkdGDKJJ7O6eyY31Qi-a8SPJW1I33rj17c-zAC6v7pFF4JSnHJKZoA4mJuY5s/w140-h200/Poor%20Things%204.jpg" width="140" /></a></div>Stone is supported by a hilarious Mark Ruffalo, who fantastically hams it up as a screeching, sweating bastard of a man, and an equally funny but oddly soulful Willem Dafoe, as a very complicated man. Yet the biggest supporting player in the film is how it looks. Robbie Ryan's cinematography switches between sterile black-and-white and blazingly gorgeous color. The film is often shot through a fish-eye lens, centering us through Bella's virginal approach to the world and visually establishing the odd ball tone. The movie is ambiguously set in some sort of steampunk version of Victorian London, with lots of bizarre machinery and unearthly city skylines. The film emphasizes this with surreally colored skies and architecture, further creating a bewitching alternate universe the viewer can get loss in.</div><div><br /></div><div>I'm sure a lot will be written about “Poor Things” in the future. People are already passionately debating <a href="https://www.theguardian.com/film/2024/jan/24/bound-gagged-poor-things-feminist-masterpiece-male-sex-fantasy-oscar-emma-stone-ruffalo">if the movie is feminist enough</a> or <a href="https://thepioneeronline.com/48251/uncategorized/poor-things-a-males-version-of-feminism/">the right kind of feminist</a>. What role its comedy and explicit sex plays in underlining its ideas. I'm sure film school term papers will dive into its many allusions and philosophical premises. I definitely look forward to the movie becoming a film fan favorite, all its angels being dug into. It's an amusingly weird, gorgeously created, fantastically acted movie with a lot on its mind. I'm kind of in shock that something this willingfully strange got so many Oscar nominations but I'm pleased as well. May Yorgos' reign be long and uninterrupted. <b>[9/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-64497097206499870912024-02-11T16:06:00.000-08:002024-03-04T16:28:04.258-08:00OSCARS 2024: American Symphony (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbas0oIDoq81fWIbr1pN_-X3yn5BUI-H2cMy5PD2W-DHW6unJM4NuAAc5otoVh1SYmoxW-n-oG1BUhyphenhyphens5Vs6izMLq6bIbeA5JfBwBUmtpbHymhYCeMICngx8p0WcmrOvvz2qlT6FvXrHqq86BYRTrUQZtJzjlBNReFwceyNmbyh8umZc9rk4iBJ46pMWM/s1200/American%20Symphony%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="810" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbas0oIDoq81fWIbr1pN_-X3yn5BUI-H2cMy5PD2W-DHW6unJM4NuAAc5otoVh1SYmoxW-n-oG1BUhyphenhyphens5Vs6izMLq6bIbeA5JfBwBUmtpbHymhYCeMICngx8p0WcmrOvvz2qlT6FvXrHqq86BYRTrUQZtJzjlBNReFwceyNmbyh8umZc9rk4iBJ46pMWM/s320/American%20Symphony%201.jpg" width="216" /></a></div>Some could probably make the argument that Barack Obama was far more successful <a href="https://www.vox.com/culture/2017/1/20/14289476/barack-obama-president-pop-culture-late-night">as a pop culture icon</a> than a president. This is probably why Barack and Michelle have pursued film and television since leaving office, creating the production studio Higher Grounds Production. Partnered with Netflix, the Obamas studio has largely created the kind of thing you'd expect: Uplifting stories about diverse Americans with a generally left-wing but not too challenging political bent. This approach has been well received with the Academy. The genuinely excellent "<a href="https://letterboxd.com/bonehead_xl/film/american-factory/">American Factory</a>" won Best Documentary in 2020 and "<a href="https://letterboxd.com/bonehead_xl/film/crip-camp-a-disability-revolution/">Crip Camp</a>" would be nominated in the same category the next year. Higher Grounds' output hasn't been quite as well received this year. "<b><a href="https://www.imdb.com/title/tt28865980/reference/">American Symphony</a></b>," presumably their big push in the documentary category, was passed over. Instead, it would receive a sole Oscar nomination for Best Song. </div><div><br /></div><div>This might have to do with the film's slightly more niche premise. Instead of being about an issue facing countless Americans or an inspiring story of fighting for representation, it's about <a href="https://en.wikipedia.org/wiki/Jon_Batiste">Jon Batiste</a>. I don't really follow popular music so I didn't know who that was before starting this film. Batiste is a musician who combines jazz, classical, and modern soul music. His fifth album, "<a href="https://www.grammy.com/news/jon-batiste-we-are-album-year-2022-grammys-speech">We Are</a>," would be nominated for eleven Grammys and earn five, including album of the year. "American Symphony" follows Batiste in the aftermath of this victory, as he attempts to compose his first symphony and deals with his wife, <a href="https://www.suleikajaouad.com/">Suleika Jaouad</a>, struggling with leukemia.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZfTHbiEEpvuwu696sPEXyZ2qztXYahy6kyGY5PppPsB3k6gTekOoj25oPaLfKAz82H9gvsoMrcbJuD09M7RWrQLJkcFH5lXF9ACRDhPRYstDjOiR1UoQhoxhRb7gHma-gFn9AtQmjA7VbK520vQwtq2uIvoTC_uhn-GshZ5444BEodML9CejPrMteqo/s464/American%20Symphony%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZfTHbiEEpvuwu696sPEXyZ2qztXYahy6kyGY5PppPsB3k6gTekOoj25oPaLfKAz82H9gvsoMrcbJuD09M7RWrQLJkcFH5lXF9ACRDhPRYstDjOiR1UoQhoxhRb7gHma-gFn9AtQmjA7VbK520vQwtq2uIvoTC_uhn-GshZ5444BEodML9CejPrMteqo/w129-h200/American%20Symphony%202.jpg" width="129" /></a></div>"American Symphony" is directed by Matthew Heineman, previously of "<a href="https://letterboxd.com/bonehead_xl/film/cartel-land/">Cartel Land</a>." That film drew its power from dropping the audience right into the middle of an active war zone, the cameramen being shot at alongside the people on-screen. "American Symphony" is nowhere near that intense, obviously, but it does seek to capture a similar sense of intimacy with its subject. The filmmakers are at home with Batiste and his wife, as they get married, as they see a doctor or ride in an ambulance. Among the movie's most touching scenes is a moment devoted to John, Suleika, and friends just messing around in the snow. The composer gave Heineman and his team full access. We see him on the phone with his therapist, losing sleep at night, and even hear him talking from the bathroom at one point. That degree of openness does deserve to be applauded. </div><div><br /></div><div>Despite how much Batiste let the filmmakers into his life, "American Symphony" suffers from a serious lack of stakes. I mean, the guy's wife is fighting leukemia. That's about as big of a struggle on a personal level as one can imagine. Yet, I must stress, that this is not the focus of the film. This is a movie about Batiste and his music, especially the composition of the titular symphony. Certainly, great films have been made about the creative process and the artist's turmoil at trying to express themselves. The film mostly shows this by focusing on Batiste developing insomnia. Not so much from creative block. The actual musical process seems to go pretty smoothly in "American Symphony." Batiste has an understanding and extremely talented team around him, working to help him realize his vision. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYkq1rnb7pILAeq_mOI52c8oAa0yRxJwqeK_Lr9ghzv_F4fI5OB2wc2z1BjBDNj71sP9WENOM2TmNuMP-bGD-UCZYxK28bONt5GudTwl4QJtngFxTu4K0M_T94G7uk9FBlI6ugYZfGiMzIR1jWdOjWgStvdEw81Jr3GPE7ppykBNoL_AftTpdViKL0Vs/s1080/American%20Symphony%203.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="704" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYkq1rnb7pILAeq_mOI52c8oAa0yRxJwqeK_Lr9ghzv_F4fI5OB2wc2z1BjBDNj71sP9WENOM2TmNuMP-bGD-UCZYxK28bONt5GudTwl4QJtngFxTu4K0M_T94G7uk9FBlI6ugYZfGiMzIR1jWdOjWgStvdEw81Jr3GPE7ppykBNoL_AftTpdViKL0Vs/w131-h200/American%20Symphony%203.jpg" width="131" /></a></div>Instead, John's anxiety arises from the pressure he feels over trying to make great art, to live up to the expectations people have put on him. This too is an understandable problem from any creative person. Yet, when the guy's wife is potentially dying over here, it seems a lot more trivial. This is the main problem with "American Symphony." Batiste seems like a nice guy and relatively down-to-earth. Still, the film devoted time to showing him win Grammies and pose with the awards afterwards for photographers. There's a moment where he's recognized by multiple fans at the airport the next day. His collaborators and friends tell him how brilliant he is. We see him relaxing in a pool or on the beach while his wife is in the hospital or ambulance. Or watches him reap glory from home. I came away from "American Symphony" feeling like Suleika Jaouad was more worthy of a documentary than her husband. </div><div><br /></div><div>I'm not going to accuse the film of being an act of hubris by Jon Batiste but the decision to foreground his artistic pretensions over everything else unavoidably makes him look conceited. I wonder what point, exactly, the filmmakers were trying to make. Aside from showcasing the guy's talent. Yes, Jon Batiste is good. The climatic performance of the symphony the whole film is building towards is dynamic. The end credit song, "<a href="https://www.youtube.com/watch?v=27jnCQYRXLc">It Never Went Away</a>," is the source of the movie's sole Oscar nomination. And it's probably the best of the Original Song nominees this year, a touching and subtle ode to Suleika. (Or Jon's ever-present anxiety, I'm not sure.) Ultimately though, "American Symphony" feels like an arm of the marketing department for its star's latest effort than a film meant to stand alone. <b>[6/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-87692987466462744992024-02-10T15:41:00.000-08:002024-03-04T16:02:58.722-08:00OSCARS 2024: Bobi Wine: The People's President (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbwvUchyfgZPw9LMvjO7JTqeMTzWWmGgbMTGc627Cd3sgy65jFIgVA6er8QOLvcLFvuAh99hk6weFt5J2mWJleW014Sie_9J1ogsD0UkdGXi5jZNoOxXkPpFMIs1HxvyBHyuNhyphenhyphenAb7xL2QIhhDl0lJctGBKm6Gq9XuSwr6K3SN4TBhQEnQzvViZLY17AQ/s1500/bobi%20wine%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbwvUchyfgZPw9LMvjO7JTqeMTzWWmGgbMTGc627Cd3sgy65jFIgVA6er8QOLvcLFvuAh99hk6weFt5J2mWJleW014Sie_9J1ogsD0UkdGXi5jZNoOxXkPpFMIs1HxvyBHyuNhyphenhyphenAb7xL2QIhhDl0lJctGBKm6Gq9XuSwr6K3SN4TBhQEnQzvViZLY17AQ/s320/bobi%20wine%201.jpg" width="213" /></a></div>Last year, the Best Documentary Feature Oscar went to <a href="https://zacksfilmthoughts.blogspot.com/2023/02/oscars-2023-navalny-2022.html">a movie about Alexei Navalny</a>, an opposition leader against a de-facto dictator in a foreign country. In the time since that award was given, Navalny has <a href="https://www.reuters.com/world/europe/jailed-russian-opposition-leader-navalny-dead-prison-service-2024-02-16/">died in prison</a>. It was a sad reminder that the documentary arts, as an actual force of change, are not as powerful as anyone in Hollywood would like to think. Now, another movie about a different opposition leader running for political office against a de-facto dictator in a different faraway country is nominated for an Oscar again. Bobi Wine, the subject of “<b><a href="https://www.imdb.com/title/tt21376900/reference/">Bobi Wine: The People's President</a></b>,” has something else in common with Navalny too. Both began in other fields than politics, Alexei moving from internet comedian and Wine starting out as one of the biggest pop stars in Uganda.</div><div><br /></div><div>Born Robert Kyagulanyi, <a href="https://en.wikipedia.org/wiki/Bobi_Wine">Bobi Wine</a> began to gain popularity as an AfroBeat performer in his native Uganda in the mid-2000s. As he grew more popular, Bobi Wine started to use his music to bring attention to social issues and humanitarian causes in Uganda. His wife, Barbi, was a big inspiration for that. Eventually, this interest led Kyagulanyi to pursue politics, being elected to Parliament. Wine has been an especially outspoken critic of Ugandan president <a href="https://www.nytimes.com/2023/07/11/world/africa/uganda-president-crimes-against-humanity.html">Yoweri Museveni</a>. Museveni has been in office since the eighties, often changing laws to extend his presidency. As Wine challenges Museveni more, eventually emerges as an opposing candidate for president, the pop-star turned politician has his life, and the lives of his friends and family, directly threatened. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0fMOpJVwkxitinB7kmGleqfksQHx4e65LmuzJsBQvlWUm2qIVnB-v3hkj1ZFHAO2YB10X5MwvAYs_ociSU9x1EgevkkeZzhN_8YPvfc8ip2Rtvpl58agp6NLp13twrTPKr42Rc4didAL-UeB_3IVJ7S-ojneljnwPRdQCKkcCGUMuA-BiNbPBu3YvcvU/s1200/bobi%20wine%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="750" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0fMOpJVwkxitinB7kmGleqfksQHx4e65LmuzJsBQvlWUm2qIVnB-v3hkj1ZFHAO2YB10X5MwvAYs_ociSU9x1EgevkkeZzhN_8YPvfc8ip2Rtvpl58agp6NLp13twrTPKr42Rc4didAL-UeB_3IVJ7S-ojneljnwPRdQCKkcCGUMuA-BiNbPBu3YvcvU/w125-h200/bobi%20wine%202.jpg" width="125" /></a></div>I'll get the obvious out of the way first. I'm an ignorant American. I don't hear nearly enough about what's going on in other parts of the world, simply because our news organizations, papers, and journals in this country don't talk about them. Uganda is far away from the United States and the state of affairs over there rarely makes the news over here. I suspect that's true of a lot of people watching “The People's President,” which makes this documentary important for that reason alone. The film is going to inform a whole new audience about what is happening to the Ugandan people. </div><div><br /></div><div>And what is happening in Uganda doesn't seem great. “The People's President” is one of those docs that puts the audience right into the action with its subjects. As Wine's campaign picks up more steam, Museveni's regime clearly begins to feel threaten. Wine is brutally beaten and unlawfully imprisoned. Eventually, he's released and goes back on the trail. His family is harassed by soldiers, forcing him to send his kids to the U.S. for their own safety. It escalates into violence quickly. We see friends and members of Wine's campaign shot or beaten, bleeding out through their noses as they struggle to breathe. In one of the film's most bracing moments, Wine is pulled out of his vehicle literally in the middle of an interview. At one point, we see first person footage of someone being shot at, the sound of the bullets whizzing by. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg54h6Q3KRAD53CKlDpbzNF2i2iKPnhqW1KmV2aDM0r_qHj5D-8xoe4kQISTlypqbDcAWPkNFPDILdF3gfOwHFdYmrkPKGU0Cn6qzysiwN-qEa57r9w_4kIwmLJomEFwGvpnsg7HdDNrP_duQpw3tbqrT7AUmeZG1GoVJkqcYTKn8SEnJvJ7YSWQNAJGXY/s1200/bobi%20wine%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="960" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg54h6Q3KRAD53CKlDpbzNF2i2iKPnhqW1KmV2aDM0r_qHj5D-8xoe4kQISTlypqbDcAWPkNFPDILdF3gfOwHFdYmrkPKGU0Cn6qzysiwN-qEa57r9w_4kIwmLJomEFwGvpnsg7HdDNrP_duQpw3tbqrT7AUmeZG1GoVJkqcYTKn8SEnJvJ7YSWQNAJGXY/w160-h200/bobi%20wine%203.jpg" width="160" /></a></div>Through it all, Bobi Wine remains steadfast in his ideas and goals. He admits that he used to admire Museveni, who was a revolutionary once fighting for the rights of the people. The question inevitably hangs in the air: If Wine gets elected, what would stop him from similarly becoming corrupted and turning into an authoritarian too? The man himself raises this question and assures people that his goal is to make sure the people of Uganda have the power to control what happens in their own country. That, in such a situation, he would be willing to step down. One hopes so. Wine seems genuine. The more intimate scenes, of him interacting at home with his wife and kids, are very sweet. His commitment to his political ideas, of wanting to return power to the citizens of Uganda, seems sincere. I suppose anyone willing to get beaten for what he believes in, get back up and keep at it afterwards, is serious. </div><div><br /></div><div>As of this writing, Wine is not imprisoned, despite loosing the more-or-less rigged election against Museveni in 2021. Hopefully, he won't end up in the same situation as Alexei Navalvy. “The People's President” is a well assembled doc, using raw footage to put the viewer right into the middle of the chaos and make us all too aware of what is at stake here. It says a lot about how effective I found the movie, in spite of one big factor: I don't actually like Wine's music very much. A song he performs, to encourage safety during the COVID-19 pandemic, is one of the corninest fucking things I've heard recently. All of that aside, the movie about him is pretty good and I sincerely hope that his journey to bring wider freedom to Uganda is successful.<b> [7/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-11743665253204248092024-02-09T18:19:00.000-08:002024-03-04T15:32:54.019-08:00OSCARS 2024: The 2024 Oscar Nominated Documentary Short Films<div style="text-align: left;"><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimie4VSpprrYozAQmxfI8Wdj-ARbHkQ-reXntLEQ-qUH9aJD3VX-BlSIxyIbh_X0DxeJ3Gs46GKMHJ5-P6zDb4eoRLewmd6jHzSPUihyrCGEQQKNeeJXWzQxzGUJq97hD6I7GH9pAv5HmZ3v1jmkPTYH9rCFz46BpmYNdUwqPwcvjYV3sWg2goDdI2DC0/s3000/doc%20shorts%201.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="2000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimie4VSpprrYozAQmxfI8Wdj-ARbHkQ-reXntLEQ-qUH9aJD3VX-BlSIxyIbh_X0DxeJ3Gs46GKMHJ5-P6zDb4eoRLewmd6jHzSPUihyrCGEQQKNeeJXWzQxzGUJq97hD6I7GH9pAv5HmZ3v1jmkPTYH9rCFz46BpmYNdUwqPwcvjYV3sWg2goDdI2DC0/w133-h200/doc%20shorts%201.jpg" width="133" /></a></div><a href="https://www.imdb.com/title/tt29361805/reference/">The ABCs of Book Banning (2023)</a></b></div><div><br /></div><div>"The ABCs of Book Banning" discusses many of the literary titles that have been <a href="https://www.npr.org/2023/09/20/1200647985/book-bans-libraries-schools">banned, restricted, or challenged</a> in schools across America. The hook of the doc is that it interviews children in these schools, asking them what they think of the various challenged titles and why anyone would ban them. This is interspersed with short glimpses at the books themselves, often with scenes animated or text highlighted. The idea here is that those who wish to ban these titles have already had their words heard, so this film is devoted to letting the authors and the children ostensibly meant to be protected by these bans speak their minds on the topic.</div><div><br /></div><div>That's an interesting approach but, ultimately, one that doesn't allow for a lot of depth. "The ABCs of Book Banning" is the definition of a feel-good documentary. It presents us with a bunch of bright-eyed, insightful children who are clearly baffled by why these books – almost all of which deal with queer identity, black history, or prejudice – would ever be made unavailable. The obvious moral here is that even kids, some young as eight years old, know that book banning is only meant to limit our access to information, not "protect" us. There is some value in this, in showing the titles that right-wing agitators seek to ban today. If all of these books are about gay people, black people, women, or Jews, it's not hard at all to figure out why certain authorities would want these things removed.</div><div><br /></div><div>Yet, despite its title, "The ABCs of Book Banning" doesn't actually get into the process of how these things happen. No discussion is made of how right-wing policy makers come into places of power, of how they begin the process of challenging or restricting a title. Without this context, all we are left with is the inspirational message that everyone – children, most of all – can see that book banning is ridiculous. This shallow approach is apparent in how much of the short's runtime is devoted to passages from the book appearing on-screen before the words "BANNED" or "RESTRICTED" appear over them. The film is bookended by a 100 year woman giving an impassioned speech about how her husband died in World War II to protect Americans' rights to read and write whatever they want. And that's nice. But it's not very informative about how our access to knowledge is being challenged these days. My guess is that "The ABCs of Book Banning" is mostly for children themselves, to prompt discussion on this topic and motivate them to seek out these answers themselves. <b>[6/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXqJSyIOJORr6bt96vKsrPDw4VKf2hhIexoxfogeOLGH2vtiV18DkGwt4WIIcZZoWHHZWWACo2bE0HzYpMb913aCp0vpWp4JSCwvXqZnemqW-IvopezFZ9GZBRX37qjw7pT_mPHpPYdbmwLRUJzz6uB5e64NBIODYiiT3rlm8LfrW6LcwZA6NaaxXDkw/s7200/doc%20shorts%202.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="7200" data-original-width="5400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXqJSyIOJORr6bt96vKsrPDw4VKf2hhIexoxfogeOLGH2vtiV18DkGwt4WIIcZZoWHHZWWACo2bE0HzYpMb913aCp0vpWp4JSCwvXqZnemqW-IvopezFZ9GZBRX37qjw7pT_mPHpPYdbmwLRUJzz6uB5e64NBIODYiiT3rlm8LfrW6LcwZA6NaaxXDkw/w150-h200/doc%20shorts%202.jpg" width="150" /></a></div><a href="https://www.imdb.com/title/tt28627868/reference/">The Barber of Little Rock (2023)</a></b></div><div><br /></div><div>“The Barber of Little Rock” is about <a href="https://www.newyorker.com/culture/the-new-yorker-documentary/barber-of-little-rock-arlo-washington-wealth-gap">Alro Washington</a> who is, yes, a barber working in Little Rock, Arkansas. He also runs People Trust, a non-profit community bank that operates in the town. Washington mostly gives out small loans to individuals in desperate situations and small businesses. The film details how Washington came to form the small bank, which largely serves the local black community in Little Rock, a town that still has sharp economic and racial divides. It also shows him going about his daily business, teaching people how to cut hair and sharing the stories of those who seek out his financial assistance. </div><div><br /></div><div>Unlike “The ABCs of Book Banning,” “The Barber of Little Rock” does a much better job of illustrating how and why these injustices come to be. The film briefly details how districts are divided along racial lines in Little Rock, how a major highway clearly separates the rich (and predominately white) part of the city from the poor (and largely black) areas. Banks in the nicer parts of city frequently do not give out loans or see customers from the other side of the tracks, an all too depressing and easily believable illustration of how America is still far from united and equal. Some of Washington's barber students are also ex-convicts, another stark reminder of how communities are separated and segregated. </div><div><br /></div><div>Yet “The Barber of Little Rock” is also a depiction of a man and the people he helps. Washington talks frankly about economic inequality and the small steps he has taken to fight it, to help those in need. The film devotes plenty of time to people telling their own stories, talking about their hardships and their definition of the “American dream.” The film highlights all too clearly how we do not all live in the same America, how systems are designed to keep the poor down. Yet it's also an inspiring story, showing that there are people out there willing to help and doing what they can to make things better. [7/10]</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnx1KpO8JpZ3QNfXAXTksMlhPaVnO5IUcykqke0tSbu05ivKpjw0hlbPpwSojoTk7j6w8uTyXy3Qsnpf6I4ifuTNdzbrJUSmdCX1zfM1n1Ywbulh9aICGWGU0P0wgHaZFMIoVSV2KENIdh2oFiR-WArWNeHaTIuW_V8cFoMlQHeugM3MqMasWXfA40A64/s960/doc%20shorts%203.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="637" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnx1KpO8JpZ3QNfXAXTksMlhPaVnO5IUcykqke0tSbu05ivKpjw0hlbPpwSojoTk7j6w8uTyXy3Qsnpf6I4ifuTNdzbrJUSmdCX1zfM1n1Ywbulh9aICGWGU0P0wgHaZFMIoVSV2KENIdh2oFiR-WArWNeHaTIuW_V8cFoMlQHeugM3MqMasWXfA40A64/w133-h200/doc%20shorts%203.jpg" width="133" /></a></div><b><a href="https://www.imdb.com/title/tt30523942/reference/">Island in Between (2023)</a></b></div><div><br /></div><div>“Island in Between” is a deeply personal documentary made S. Leo Chiang, the son of Chinese parents who grew up in Taiwan but has spent most of his adult life in the United States. The titular location is <a href="https://en.wikipedia.org/wiki/Kinmen">Kinmen</a>, a series of islands situated between Taiwan and the Chinese mainland. A frontline during the various military conflicts between China and Taiwan, the island is still littered with tanks and other reminders of the violent past. In 2001, a direct ferry between Kinmen and China was opened up, allowing Taiwanese citizens – such as Chiang – to visit the Communist country that he heard vilified his entire life. Yet the pandemic and rising political tensions between the countries has closed the ferry more recently. “Island in Between” observes life on this small island, torn between two countries.</div><div><br /></div><div>I don't know anything about S. Leo Chiang but I get the impression that he must have worked as a photographer. “Island in Between” is frequently a gorgeous film, in its shots of tank cannons emerging from the sands of the beach against a sunset. Or its footage of the buildings, structures, streets, and people of both China and Taiwan. These images provide the backdrop for the personal reflections of the filmmaker. He compares himself to a child pulled between three parents. He recalls propaganda songs he was taught as a child, about killing and crushing the Communist Chinese. He reflects in awe of how beautiful mainland China was when he actually visited it for the first time. In just twenty minutes, the filmmaker illustrates the confusion and struggles he's faced as the child of different, competing cultures. </div><div><br /></div><div>“Island in Between” is also a good depiction of the tension between these two countries. Here in America, we don't learn much about the conflicts between Taiwan and mainland China. Chiang's films makes it clear that, even in the modern day, the wounds are still decidedly fresh. We see footage of women separated from their families because of the ferry closing. People repeatedly reassure themselves that war will never happen again. However, we also see Taiwan increasing their military presence in Kinmen. We hear nationalistic songs played in Taiwan and in mainland China. It's clear that tensions are still brewing between these countries, that the past is far from over for either of them. “Island in Between” can't confront these ideas in too much depth and it's not supposed to. Instead, this is a melancholic statement from a filmmaker reflecting on the country that birthed him and how he feels about the contradictions within it. <b>[8/10] </b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnTr45SATmjHzviA9BgjSdAMcYHRFcEEddjVsSxdD_d6OddyFr6mfOW5mwm5fj8jB70ihrj9iLCs9EjOwzIFlInlvmfC0Y-JOH3Im3uPDvUHmMGDXAhoVP7S7P1czkag7eytuBVneUgYMI09Jvnr_xct1DhPNZSjbDX6YOQFQPH_0__qHaQlzdxIPavCA/s1481/doc%20shorts%204.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1481" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnTr45SATmjHzviA9BgjSdAMcYHRFcEEddjVsSxdD_d6OddyFr6mfOW5mwm5fj8jB70ihrj9iLCs9EjOwzIFlInlvmfC0Y-JOH3Im3uPDvUHmMGDXAhoVP7S7P1czkag7eytuBVneUgYMI09Jvnr_xct1DhPNZSjbDX6YOQFQPH_0__qHaQlzdxIPavCA/w135-h200/doc%20shorts%204.jpg" width="135" /></a></div><a href="https://www.imdb.com/title/tt29118186/reference/">The Last Repair Shop (2023)</a></b></div><div><br /></div><div>From the directors of “<a href="https://letterboxd.com/bonehead_xl/film/the-queen-of-basketball/">The Queen of Basketball</a>” and “<a href="https://letterboxd.com/bonehead_xl/film/a-concerto-is-a-conversation/">A Concerto is a Conversation</a>,” comes another frontrunner in the Documentary Short category. At L.A.U.S.D., a system still exist where students in music programs can have <a href="https://www.kcrw.com/news/shows/greater-la/ladwp-music/last-repair-shop">their instruments repaired</a> if they are damaged. “The Last Repair Shop” follows four craftsman, in different parts of the warehouse, devoted to fixing and reassembling specific types of instruments. Dana specializes in string instruments. Paty takes care of the brass. Duane handles woodwinds. Steve does double duty as a supervisor and a piano technician. Each individual have stories of their own, coming from varied backgrounds. They relate their own tales of being broken and how the job of fixing broken things has helped put their lives back together too.</div><div><br /></div><div>In a year where most of the documentary shorts are of the feel-good variety, “The Last Repair Shop” is probably the most feel-good of the lot. It's an inspiring tale of how finding something you love can keep you moving forward. For the students interviewed, they discuss how their love of music and their commitment to practicing and playing brightens up their lives. Brief mentions are made of mental illness and struggles. For the craftsman that repair their instruments, they divulge their backgrounds. Dana is a gay man who had trouble coming out as a young man. Paty is a single man who had to struggle in a male dominated field in order to take care of her children. Steve is an Armenian immigrant who lots his father to war back home and came to America with almost nothing. Duane describes being an outcast as a youth.</div><div><br /></div><div>These stories tug at your heart strings. Of course they do. They come from genuine places, real life experiences. Yet what I really liked about “The Last Repair Shop” is the personal details that emerge from their tellings. How Duane's love of “Frankenstein” as a boy and a chance encounter with a fiddle at a market led him down the path he's on now. How Paty has a jar full of the bizarre objects she's fished out of tubas and trumpets over the years. This gives us such a touching insight into who these people are. It makes them seem very real. “The Last Repair Shop” doesn't quite have the emotional impact of “the Queen of Basketball” but it is a sweet and touching story, about the importance of music and the overlooked artisans that make that dream possible.<b> [7/10]</b></div><div><br /></div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_5bptZVYtAcRda-loYFxnBcO9Ox7X4qdTcDWucymkJUndarnhvLGw_af4Soe1F0zAgOmGp2o9lsMXGuVZnIgs6gnwvNVjbEbiFVNtqQvcWkf0Hj_8ip7S7sJO41EGD25ul1pOdJPluKGRDrNAFJSH04-byjo1LxQxZkgdSu4rnvgceuxt-_6asbFQ2g/s997/doc%20shorts%205.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="997" data-original-width="750" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_5bptZVYtAcRda-loYFxnBcO9Ox7X4qdTcDWucymkJUndarnhvLGw_af4Soe1F0zAgOmGp2o9lsMXGuVZnIgs6gnwvNVjbEbiFVNtqQvcWkf0Hj_8ip7S7sJO41EGD25ul1pOdJPluKGRDrNAFJSH04-byjo1LxQxZkgdSu4rnvgceuxt-_6asbFQ2g/w151-h200/doc%20shorts%205.jpg" width="151" /></a></div><a href="https://www.imdb.com/title/tt26218316/reference/">Nǎi Nai & Wài Pó (2023)</a></b></div><div><br /></div><div>Another very personal nominee this year is “Nǎi Nai & Wài Pó.” It's a portrait of director Sean Wang's two grandmothers, ninety-six year old Nǎi Nai – his father's mother – and eighty-six year old Wài Pó, his mother's mother. After the deaths of their spouses, the two move in together and become such close friends, they might as well be sisters. They even sleep in the same bed together. Filmed during the pandemic, the documentaries finds the two old ladies afraid to leave their own homes. During this time, they fill their days by dancing, doing tai chi, watching movies, and farting a lot. They seem incredulous at their grandmother's idea to turn them into movie stars.</div><div><br /></div><div>Like I said, this is a mostly light-hearted batch of nominees this year. “Nǎi Nai & Wài Pó” is definitely the fluffiest of the bunch. It's devoted to little more than how cute and cool old people are. Sean Wang's grandmothers are adorable, yes. Watching them dress up in trendy clothes and pretend to act like rap stars is amusing. So is watching them watch R-rated movies, dance, or describe their sleeping arrangements. You do get a sense of who these old women are through these scenes.</div><div><br /></div><div>However, I do wish there was a little more depth to “Nǎi Nai & Wài Pó,” as cute as it is. Both women talk about loosing their husbands and how hard it is, watching the time pass around them. They look at pictures of their kids and grandkids, discussing how quickly young people grown up. I do wish there was more discussion of what their lives during the pandemic was like, about their philosophies during difficult times like that. Instead, Wang takes an intimate approach to putting us in this space with his grandmothers. I guess you could compare “Nǎi Nai & Wài Pó” to hanging out with these fun, old ladies for a few hours. But I do wish it had a little more of a purpose beyond just that. <b>[6.5/10]</b></div><div><b><br /></b></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-1991050670606414572024-02-08T18:07:00.000-08:002024-02-27T18:25:24.203-08:00OSCARS 2024: Nimona (2023)<div style="text-align: left;"><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlzYRbV_YqnuigrjqiIjJ489PV-NPZqptx1TJ5hY1I6O6nlQQ7yKrZ6l9-CwWES3hkOCvxmxbR1ELNgcOLpxQBshyEKLIaQ5siAKBli3PSVipg7AFaUH3w8DoJb-VKf9tAJwtmTIKEYYMZzUigCdDvUANBBpSR32yuw3gRUtyHH6Yo0ig8wf4eBNuefIo/s1200/Nimona%201.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="810" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlzYRbV_YqnuigrjqiIjJ489PV-NPZqptx1TJ5hY1I6O6nlQQ7yKrZ6l9-CwWES3hkOCvxmxbR1ELNgcOLpxQBshyEKLIaQ5siAKBli3PSVipg7AFaUH3w8DoJb-VKf9tAJwtmTIKEYYMZzUigCdDvUANBBpSR32yuw3gRUtyHH6Yo0ig8wf4eBNuefIo/s320/Nimona%201.jpg" width="216" /></a></div>Here's a nice story. In 2012, college student ND Stevenson began publishing <a href="https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive">a web comic</a> on Tumblr. Entitled "Nimona," the series became popular. This caught the attention of HarperCollins, who began publishing it <a href="https://www.harpercollins.com/products/nimona-nd-stevenson?variant=41245817077794">in physical volumes</a> in 2015. Shortly afterwards, the film rights were purchased by Blue Sky Studios, the guys behind the "Ice Age" franchise and a subsidiary of 20th Century Fox. When Disney bought Fox, the "<a href="https://www.imdb.com/title/tt19500164/reference/"><b>Nimona</b></a>" movie was canceled despite being nearly completed. Fans were outraged, especially due to the unavoidable suspicions that Disney canned the film because of <a href="https://gizmodo.com/disney-dont-say-gay-nimona-movie-scrapped-lgbtq-kiss-1848671768">its queer characters</a>. The uproar was enough to encourage Annapurna Pictures to pick up the movie and complete production, with Netflix distributing. It was a good example of the passion of fans and filmmakers overcoming corporate malfeasance. Perhaps that inspiring story also warmed the Academy's heart, as now "Nimona" is nominated for Best Animated Feature. </div><div><br /></div><div>A thousand years ago, Queen Gloreth built a wall around the kingdom to protect it from the monsters outside. Now, the high-tech city is further served by a legion of sci-fi knights. Among them is Ballister Boldheart, a commoner has risen to the highest rank. When Boldheart is about to be knighted, his sword leaps to life and blasts the queen. Now the most wanted fugitive in the land, Boldheart goes on the run. That's how he meets Nimona, a mischievous shapeshifter eager to become a full-fledge villain. And she thinks Boldheart is her ticket to that goal. The two form an unlikely friendship, working together to clear Boldheart's name and uproot the conspiracy within the kingdom. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc-H9aIIXBMg06dGhp5NOibomWO4_IVUp5Q1QJiGa4_KHP2iS_VeN-nTsoo-NBWsy1LPp1yHYYK2qBtYcnz9k515yjmB_roboZcIB4T1X-LJqdc3zoBunACGdBQdBO7rkJilEDboUxLGNp5kFbFRhSuYz8Fp_tXw_0Ut9gyQAn_OYKS8FX1QBJuowhIrU/s3000/Nimona%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="2000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc-H9aIIXBMg06dGhp5NOibomWO4_IVUp5Q1QJiGa4_KHP2iS_VeN-nTsoo-NBWsy1LPp1yHYYK2qBtYcnz9k515yjmB_roboZcIB4T1X-LJqdc3zoBunACGdBQdBO7rkJilEDboUxLGNp5kFbFRhSuYz8Fp_tXw_0Ut9gyQAn_OYKS8FX1QBJuowhIrU/w133-h200/Nimona%202.jpg" width="133" /></a></div>When I was a kid, I had a bunch of little knight toys that I loved. When I realized these figurines were perfectly in-scale with some old "Star Wars" and "G.I. Joe" vehicles I had, I started to conceive of a sci-fi/fantasy mash-up story. I certainly wasn't alone in finding this idea appealing. "<a href="https://dc.fandom.com/wiki/Camelot_3000_Vol_1">Camelot 3000</a>" came out in 1982 and I'm sure there are older examples of such a premise. "Nimona" fits right into this niche sub-subgenre of "knights and dragons but also robots and lightsabers." There are knights, within a feudal landscape ruled over by a queen. But they have hovercrafts, instead of horses, and laser cannons, instead of catapults. Boldheart wears a traditional suit of armor alongside a robotic arm. It's a neat juxtaposition... But also one that doesn't hold up to much scrutiny. The populace in "Nimona" have cellphones and some version of the internet exist. This makes the plot – which necessitates a general incuriosity about the world outside the kingdom's walls – harder to justify. I can maybe swallow the idea of people still using broadswords and chainmail armor in a world where heat rays and plastic polymers exist. <a href="https://tvtropes.org/pmwiki/pmwiki.php/Main/RuleOfCool">Rule of Cool</a> applies to any speculative setting, after all. But medieval style political hierarchies and a Dark Age conception of the world become much harder to buy into when cellphone footage leaking, television, and social media are also plot points. </div><div><br /></div><div>Perhaps this is nitpicking. Yet "Nimona's" mediocre world-building points towards another half-assed element of the film that bugged me. "Nimona" has been praised for its LGBT+ elements. Boldheart is in-love with Goldenloin, a direct descendant of Gloreth and another knight. The two share a loving relationship. Meanwhile, Nimona's status as a cultural outsider – who is persecuted by a society that sees her as a "monster" and has come to internalize that attitude – is clearly meant to be symbolic of queer marginalization within a heteronormative world. The film becomes more and more heavy-handed with this idea as it goes on, patterning its villains after Catholic nuns who constantly yell about how "monsters" must be destroyed. Nimona's self-hatred after years of rejection driving her down a self-destructivd path forms the dramatic crux of the final path. Yet it's so odd to me that the movie makes this symbolic journey of queer self-acceptance alongside an open gay romance. Why not make Nimona openly queer too? Why not make that part of her motivation as well? The subtext grows more muddled in a last act that seems to suggest gay people sacrificing themselves to protect straight society is the only way to be accepted. I don't think that's the point the filmmakers set out to make. Yet its another good example of how the internal logic of this story and world could've been thought out better. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizxw1-xffIiSAYqHn1IJu9caaRcoUr-FBKddrdvS39HK1TAmlPrTW0TvNUpR2ujdMfxaxauChldF-t0WFVLOU54X1YX8GNxQ9z1rw4xpjm1fWN60Bbd01lkESVhrc74lfrd2uVYkLHJuCrK3f3PMHSCLXZoXYNxgIKJpMsfhOBIDVBYg3wAfsderZkYM8/s1920/Nimona%203.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1920" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizxw1-xffIiSAYqHn1IJu9caaRcoUr-FBKddrdvS39HK1TAmlPrTW0TvNUpR2ujdMfxaxauChldF-t0WFVLOU54X1YX8GNxQ9z1rw4xpjm1fWN60Bbd01lkESVhrc74lfrd2uVYkLHJuCrK3f3PMHSCLXZoXYNxgIKJpMsfhOBIDVBYg3wAfsderZkYM8/w113-h200/Nimona%203.jpg" width="113" /></a></div>Ultimately, I'll admit that “Nimona” took a while to win me over. The film begins with a tidal wave of exposition, to quickly establish its world and characters. Before we eve have time to learn much about Boldheart, the plot is set in-motion by him being framed for murder. Once Nimona herself appears, she's bouncing around the place in a manic manner, telling lots of jokes and acting abrasive. “Nimona” suffers badly from a style of humor that some refer to as “Whedon-esque,” though I think it has more in common with the pale imitators of Whedon. One of the antagonist peppers his speech with “bros.” The film piles on wacky incidents like Nimona turning into a creepy kid with glowing eyes or a dragon that spews breakfast cereal. At times, especially in the early parts of the runtime, it all becomes rather overwhelming. And, to be frank, annoying.</div><div><br /></div><div>Despite its many, many flaws, “Nimona” does succeed when focusing on its central relationship. When played by Riz Ahmed, Boldheart acts as the comedic straight man to Chloe Grace Moretz' Nimona. While the character threatens to become obnoxious at any number of times, Nimona is ultimately the kind of heroine I'm predisposed to love. She puts up a tough, thorny exterior in order to protect a sad, vulnerable heart. When the movie gets at the heart of this unlikely friendship, in little moments like Boldheart pulling a blanket over a sleeping Nimona, is when the movie is at its best. Not the manic coic set pieces, sarcastic dialogue, or all-over-the-place plot. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYceP8GgMqPNWH0Z9GJgBkuGWdjnV5nABhodgw3geDzQi7e6SnMT_dPYoEVztlF9_OR-A9256JwO-kFl_Vz93GtlEdEVaKZOIqw2W0EeH7-FYaTVWkq-TIp3yv7CDEZZGgPyCL-60Dz_HmUztA8v3uB9RqZDrbqvDv8ehBffq3OvMbcE8POdqb09aYX0/s1500/Nimona%204.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYceP8GgMqPNWH0Z9GJgBkuGWdjnV5nABhodgw3geDzQi7e6SnMT_dPYoEVztlF9_OR-A9256JwO-kFl_Vz93GtlEdEVaKZOIqw2W0EeH7-FYaTVWkq-TIp3yv7CDEZZGgPyCL-60Dz_HmUztA8v3uB9RqZDrbqvDv8ehBffq3OvMbcE8POdqb09aYX0/w133-h200/Nimona%204.jpg" width="133" /></a></div>I've seen people both praise and dismiss “Nimona's” animation style. It's certainly not up to the standards of the “Spider-Verse” films or its imitators, “<a href="https://zacksfilmthoughts.blogspot.com/2023/02/oscars-2023-puss-in-boots-last-wish-2022.html">Puss in Boots: The Last Wish</a>” or “<a href="https://zacksfilmthoughts.blogspot.com/2023/08/recent-watches-teenage-mutant-ninja.html">Ninja Turtles: Mutant Mayhem</a>.” The animation is at its best when detailing quirky facial expressions for its character. The models look like standard CGI cartoon characters and the attempt to add a stylized, cell-shaded look to the animation is not always successful. Still, I've seen much worst animation in bigger budget movies. I wish I liked “Nimona” more, as its fans are clearly passionate. I would say it's a film whose positive moments are far outshined by its weaknesses. <b>[6/10]</b></div><div><br /></div></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0tag:blogger.com,1999:blog-1877722433362186484.post-65223872444273964632024-02-07T19:34:00.000-08:002024-02-26T19:49:17.975-08:00OSCARS 2024: The Eternal Memory (2023)<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ARGZkcmmTAOw4LjVRixQKPi3YWDqJo_RbRYgL9DSTpCoV1T-mlnLKs_gKZZnb58RwD7gB5JbxRrtmdGcP6Rhdy1rkmGY6EOTfyoNGsiXT8T1a4sl_f1-VE8UNr8yuFSnyXsEY5x6iJafKP801nZJgP5utJHJEHbNF0USaM9rvyTB0E1FWxNlMbA0DMM/s1985/Eternal%20Memory%201.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1985" data-original-width="1344" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ARGZkcmmTAOw4LjVRixQKPi3YWDqJo_RbRYgL9DSTpCoV1T-mlnLKs_gKZZnb58RwD7gB5JbxRrtmdGcP6Rhdy1rkmGY6EOTfyoNGsiXT8T1a4sl_f1-VE8UNr8yuFSnyXsEY5x6iJafKP801nZJgP5utJHJEHbNF0USaM9rvyTB0E1FWxNlMbA0DMM/s320/Eternal%20Memory%201.jpg" width="217" /></a></div>Chances are it's going to happen to us, one way or another. A lot of us are going to get old. And, once you're old, your memory will probably start to slip, no matter how sharp you might be in your prime. If it <i>doesn't</i> happen to you, by some slim chance, it'll probably happen to someone you know. Your parents, your partner, a dear friend. Odds are you will watch one or the other start to fade. This is the nature of existence. We're all finite machines and our gears will be stripped with age. Obviously, such an unavoidable, existential topic has inspired filmmakers and storytellers over the years. The sheer human tragedy of watching a loved one loose themselves to disuse or age has been covered many times before. Yet, being such an intensely personal topic, it's always one worth exploring again. Among this year's slate of Oscar-nominated documentaries is another such film, “<b><a href="https://www.imdb.com/title/tt24082488/reference/">The Eternal Memory</a></b>.”</div><div><br /></div><div>Journalist <a href="https://en.wikipedia.org/wiki/Augusto_G%C3%B3ngora">Augusto Gongora</a> has been a trusted figure on Chilean television for decades. During the military dictatorship of Augusto Pinochet, Gongora was an independent reporter opposing the government. After Pinochet's fall, Gongora became a beloved broadcaster and television presenter that largely discussed literature and the arts. In 2016, he married long-time girlfriend, actress Paulina Urrutia. At the age of 62, Gongora was diagnosed with Alzheimer's disease. “The Eternal Memory” tracks Gongora's relationship with his wife – who he affectionately calls Pauli – and his daily progress with the disease. As the COVID-19 pandemic begins, Paulina herself begins to document the toll the condition is taking on her husband herself. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_j-EZceGBynR9AVuplsubBlUr9CnzUKe2Aj1pdmXOPIVPrwuRe5C4QY7Af_DjJt89kXsh3rnfrTv2wtNitqxbaKbHm3SKijgKS6KK8X47JNQ1LS_Dk5QI8jGRu9pQ_JAdhdUcenRmbIVN_NSH-VUijA2g5sV7QLBXKXo7lmQe1WDs20tMw_uXI5s0rVI/s1350/Eternal%20Memory%202.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_j-EZceGBynR9AVuplsubBlUr9CnzUKe2Aj1pdmXOPIVPrwuRe5C4QY7Af_DjJt89kXsh3rnfrTv2wtNitqxbaKbHm3SKijgKS6KK8X47JNQ1LS_Dk5QI8jGRu9pQ_JAdhdUcenRmbIVN_NSH-VUijA2g5sV7QLBXKXo7lmQe1WDs20tMw_uXI5s0rVI/w160-h200/Eternal%20Memory%202.jpg" width="160" /></a></div>The documentary genre is, by its very nature, a somewhat voyeuristic genre. It's a format built around the idea of watching other people's lives and events, as they play out and actually happen, with as few artistic liberties as possible. “The Eternal Memory,” and its director Maite Alberdi, clearly sought to put the viewer as much as possible into Pauli and Augusto's life. We are introduced to them in bed, as she greets him in the morning. After the pandemic begins, Pauli taking control of the camera herself makes the film an even more intimate peek into this difficult situation. Most of the movie is set around the couple's home, the two of them being the principal people in nearly every scene. By the end of “The Eternal Memory,” you feel like you know these two. Which makes watching Augusto's mind slip away from him all the more difficult. </div><div><br /></div><div>Alzheimer's is, unavoidably, a heartbreaking condition. “The Eternal Memory” really gives us an up-close-and-personal audience with this. Before bed every night, Pauli has to take their wedding photo down, because Augusto doesn't recognize them and becomes fearful of these strangers. A really upsetting scene shows him, at night, getting upset and yelling at the door, wondering where his “friends” are. Another moment has him breaking down as he holds multiple books in his hands, frightened at loosing his memories. He watches broadcast from his own career, somehow seeming to recall some events while experiencing others for the first time. There are moments of clarity too, such as when Augusto grieves for what him and his wife have lost. It's hard to watch.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiKxuHryRPvoWY8TLHw8WPn1WOYQXnlaOBSsSnXsFpuk_EMfXYP24r4aMe0lam-tjEJtyy03wjAS-Y_FvVunnOtMROIu2emghi0gEZhrTzz8yX-Ort7uKJNnamBAqjvPhHEPsWoXcnAIjrlU7uhoK4tFm5dVNfbZE4w1LkTGze0hvyTr6UQETQ_B8Np6s/s2048/Eternal%20Memory%203.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1437" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiKxuHryRPvoWY8TLHw8WPn1WOYQXnlaOBSsSnXsFpuk_EMfXYP24r4aMe0lam-tjEJtyy03wjAS-Y_FvVunnOtMROIu2emghi0gEZhrTzz8yX-Ort7uKJNnamBAqjvPhHEPsWoXcnAIjrlU7uhoK4tFm5dVNfbZE4w1LkTGze0hvyTr6UQETQ_B8Np6s/w141-h200/Eternal%20Memory%203.jpg" width="141" /></a></div>“The Eternal Memory” doesn't just seek to show us what Augusto and Paulina went through during the twilight years of his condition. The movie shows us clips from his considerable career and life, footage of him with his children and wife during their happier days. Even during the film's present, we see Pauli reminding her husband of their life together, of the love they share. And it's evident, no matter how much he forgets or how confuse he becomes, Augusto always loves Paulina. The film gives you a sense of the whole scope of this man's life and, most importantly, of the passion and understanding he shared with this very special woman. This is what makes the film, ultimately, as touching as it is sad. Love does endure. I believe that. </div><div><br /></div><div>You probably notice that I referred to Augusto Gongora in the past tense throughout this review. The man <a href="https://deadline.com/2023/06/augusto-gongora-obituary-subject-of-sundance-winning-documentary-the-eternal-memory-1235409358/">passed away last year</a>, after “The Eternal Memory” was completed. The finished film is dedicated to him. It's unsurprising to learn this, after watching him decline so much throughout the film. As a study of the struggles of watching a loved one loose themselves to Alzheimer's, “The Eternal Memory” is a frequently heartrending film. Yet the film also argues for how love, for all its ineffable qualities, can hold a sway over people that outlasts even the worst diseases. <b>[8/10]</b></div><div><br /></div>Bonehead XLhttp://www.blogger.com/profile/04545161927886923285noreply@blogger.com0