OSCARS 2021: Over the Moon (2020)

At this point, it's fair to say that Netflix is the most powerful campaigner at the Oscars. Streaming services were going to dominate 2021's awards season anyway but Netflix has a record eighteen movies nominated this year. This is the second year in a row the streaming giant has two movies nominated in the Animated Feature category. Pushing out off-beat choices like “Marona's Fantastic Tale,” “Weathering With You,” and “Lupin III: The First” are two Netflix distributed cartoons: “Shaun the Sheep: Farmageddon” and... “Over the Moon?” What the fuck is “Over the Moon?” At least, that was the question I was asking myself on the day the nominations were announced. I guess the time has come to discover what the fuck “Over the Moon” is exactly.

Fei Fei loves to celebrate the Chinese moon festival with her mom and dad, as she's fascinated with the legend of Chang'e, the moon goddess. Shortly after the festival, Fei Fei's mom falls ill and dies. Four years later, her dad is planning to remarry, bringing an annoying little brother, Chin, into Fei Fei's life. She becomes obsessed with the idea of heading to the moon and bringing back proof of Chang'e's existence, certain this will change her dad's mind. She builds a home-made rocket ship and successfully reaches the moon, Chin unknowingly stowing away. Yet Chang'e is not the goddess Fei Fei was expecting, as her heart has been frozen by centuries of loneliness and pain. 

Throughout the first twenty minutes of “Over the Moon,” I was genuinely baffled by the faint praise I had read for this movie. Everything about the movie was underwhelming to me. The character design were deeply generic, an unimaginable attempt to replicate the Disney and Pixar house style. The big eyes and round faces are present, along with a tomboy protagonist, highly marketable animal sidekicks, and a curvy female relative for the weirdos to drool over. The songs are similarly desperate to replicate the Disney style. Every song in the movie is full of huge deliveries and sweeping melodies. All the songs want to be “Let It Go,” even the quasi-rap number about ping-pong. The result is that none of the musical numbers, with their ungainly lyrics and same-y sound, stick in the mind at all.

 

Once Fei Fei and her terrible step-brother-to-be arrive on the moon, I started to get why some people like “Over the Moon.” The lunar sequences are very colorful. Chang'e lives in a city made of day-glo, surreal structures. She's surrounded by brightly color sidekicks shaped like the often referenced moon cakes. As Chang'e introduces herself, via another forgettable song, she wears a swirling outfit of lights and steps down a series of neon colored disc. “Over the Moon” really commits to this bright color palette. Later, a chase scene even has Fei Fei and her friends speeding along avenue of yet more pulsating color. If everything thing else about the film is utterly bland and generic, at least the neon coloring scheme is something to remember.

Ultimately, all the impressive colors in the world can't make up for characters we don't care about and a plot you can't connect to emotionally. Chin, her new little brother, is absolutely grating in every scene he's in. Chang'e is the pettiest of villains. Fei Fei's trauma over her mom's death is nothing we haven't seen before. We barely meet her mom, so we feel no connection to her at all. The sense of loss, that's supposed to link Fei Fei and Chang'e, is hackneyed. Most of the characters are extended lame jokes, such as a group of cartoon chickens riding motorcycles who are called Biker Chicks. Har har. Or the bright green pangolin creature, voiced by a very loud Ken Jeong, Fei Fei encounters on the mood. When “Over the Moon” has no other ideas about what to do, they throw in jokes about astronaut diapers or frog tongues.

The novelty of “Over the Moon,” I suppose, is that it is steeped in another culture's mythology. If a little Chinese-American kid feels seen or represented in this big budget animated film, I guess that justifies “Over the Moon's” existence. (I assume it's a big budget production, though the actual character animation is pretty underwhelming.) Yet basing the movie in Chinese mythology also feels like a very cynical attempt to grab oversea dollars in the world's fastest growing film market. Save for a few pretty images, I have nothing to recommend about “Over the Moon.” Is it nice that an original I.P. scored a nomination over something like a DreamWorks sequel? Maybe. But not so much when Netflix could've pushed “The Willoughbys,” a far better and more visually interesting, animated feature over this one. [4/10]

OSCARS 2021: Collective (2019)

Last year, something unprecedented happened at the Oscars that didn't get much press. For the first time ever, a film from the Best Documentary category crossed over to the International Feature category. This had, somehow, never happened before in the nearly one hundred years the Oscars had existed. Even more surprisingly, the exact same thing happened this year. Another documentary from Eastern Europe has earned a spot in the same two categories. That film is “Collective” and it's a much different sort of story than last year's “Honeyland.” I don't know if some sort of precedence has been set now but, in this case, it's certainly deserved.

In 2015, a fire broke out at the Romania nightclub Colectiv. Because proper emergency exits had not been installed, twenty-seven people were killed. In the months following the tragedy, thirty-seven people died in the hospitals due to infections. Writers from the Sports Gazette magazine, led by journalist Cătălin Tolontan, soon uncover a massive web of corruption in Romania's medical sector. This leads to shake-ups in the country's government, with Vlad Voiculescu coming on as the new Minister of Health. Voicuescu begins an uphill battle to root out the crimes and corruption that is costing lives in the county every single day.

“Collective” is a real life story that unfolds like a captivating novel. It begins with one horrible event that unlocks a pathway towards a hundred other terrible deceptions. It's soon uncovers that every hospital in Romania was using heavily diluted disinfectants to clean their medical equipment, allowing deadly bacteria to fester in operating rooms. This was a known fact and people at every administrative level were paid off to let it pass. That the former Minister of Health was a former hospital administrator himself. Every reveal is followed by a more shocking one. Such as footage of burn victims with maggots squirming in their wounds, a mysterious suicide, incriminating audio, and a scam-like operation being run involving organ transplants.

That “Collective” unfolds as such a compelling procedural is truly a testament to director Alexander Nanau and his team. Sometimes, he captures images that are so perfect, so fittingly ironic, that they would feel too on-the-nose in a narrative film. The metal band that was on-stage the night of the Colectiv fire were singing a song about corruption, about raging against those that betray you. A group of activists, protesting the medical corruption, happen to gather outside a building with the word “Pain” written on it. During a press conference, the parents of the people who died in the hospital burn units talk to the press... Behind an advertisement talking about having a brighter tomorrow. I don't know if these were intentional choices or just happy accidents but I have to commend the filmmakers for grabbing a hold of these images.

Despite all the information “Collective” relays, the film never looses track of the human element either. It repeatedly returns to a survivor of the fire, who lost a hand and several fingers. She poses for artfully nude photographs, showing no fear of exposing her scars. Two figures especially emerge as the story's heroes. Cătălin Tolontan feels it is his responsibility as a journalist, to inform the people of the truth. He often faces down belligerent government authorities or television interviewers. By the film's end, the journalists' families are even being threatened. Yet Tolotan is also motivated by something else: He repeatedly expresses guilt for not reporting the corruption soon, a very humanizing moment. Vlad Voiculescu, meanwhile, strikes the viewer as a fundamentally good guy. He describes clear disgust with the neglect in the hospitals. While on the phone with an administrator, the man begs Voiculescu not to go public with the truth, while the minister repeatedly stresses that it's the right thing to do. These heroes are our guides through “Collective's” dark world.

It's easy to see why “Collective” would appeal so much to American Academy voters. A story of flagrant political corruption, of government officials performing crimes in broad day light and assuming they'll never get caught, seems awfully relevant after the last four years. Even story elements involving a right-wing news industry eager to cover up lies, a world that is aggressive towards an independent press willing to report facts, and medical corners being cut ring as very true right now. Ultimately, “Collective” is astonishing filmmaking, a powerfully directed motion picture that tells a sobering story about the abuse of power. [9/10]

OSCARS 2021: Another Round (2020)

Watching Mads Mikkelsen ascend through the Hollywood hierarchy, from eccentric cult figure to established character actor, has been satisfying. In big budget movies, he mostly plays bad guys or other sinister figures. Which certainly follows the tradition of other European actors coming to America before him. In his homeland of Denmark, Mikkelsen is a major star and gets to appear in all sorts of movies. He previously appeared in Thomas Vinterberg's “The Hunt,” which earned critical praise all over the globe and an Oscar nomination. Vinterberg and Mads would re-team for “Another Round,” which also garnered wide-spread acclaim. The film would score an Oscar nomination for Best International Feature as well as a surprise nod for Vinterberg in Best Director.

Martin, Tommy, Peter, and Nikolaj are a group of high school teachers and long time friends. Each of them have felt a certain spark go out of their life, with Martin feeling especially unsatisfied at work and with his wife. While celebrating Nikolaj's 40th birthday, they discuss Finn Skårderud's theory that humans naturally lack the correct blood alcohol content. That a B.A.C. of 0.05% – mildly intoxicated – is the ideal level to be at all the time. As an experiment, they begin to stay slightly buzzed all the time. And it works, as the men become more lively with their students and more relaxed at home. They decided to push the experiment to new levels, drinking to excess every day, and that's when the problems really start.

“Another Round” does not exactly have the moral I was expecting. You figure a movie about a bunch of guys day-drinking to improve their lives has to come down on either the pro- or anti-alcohol side of things. As the four men start to get shit-faced all the time, their personal and professional lives certainly begin to suffer. The word “alcoholism” is used. Yet “Another Round's” relationship with booze is a little more complicated than that. Being slightly buzzed through the day does reduce the daily amount of anxiety Martin feels. He does become more fun and energetic at a 0.05% B.A.C. A minor subplot involves Peter passing this info onto a student, telling him to take a shot before an exam. The intended lesson is, I suspect, “everything in moderation.” Though I don't think we're meant to take this as permission to drink at work either.

Of course, “Another Round” isn't really about booze or alcoholism. It's instead about that much discussed topic of mediocre white dudes having mid-life crises. Martin's son doesn't seem to respect him and his wife is cold towards him. As he drinks, he's more interesting to his offspring and students and has great sex with his wife. That's not necessarily because the drinking mellows him out. Throughout “Another Round,” imbibing is connected with youth. The first thing we see in the movie are teenagers binge drinking, for example. Sneaking off to sip some alcohol throughout the work day is the kind of childish endeavor that recaptures Martin's younger days. It's impressive that “Another Round” tackles this idea without being melodramatic or tacky about it. It doesn't just these guys for wanting to be young again but it also addresses the slippery slop they're on.

What really holds “Another Round” together is its phenomenal lead performance. Mads Mikkselsen, despite the kind of roles he plays in Hollywood, is really good at giving an everyman kind of performance. In his early scenes, he plays Martin as a man who has had all the joy sucked out of his life. He's listless in those early scenes yet is equally good at summoning an incredible charisma later on. As you watch Mads progress through these emotions, you get really invested in the character's journey. “Another Round” ends on the perfect note, a burst of joyous, youthful energy that acts as the ideal catharsis... And also gives Mads the chance to show off his rarely utilized skills as a dancer.

More than one person has stated that “Another Round” is essentially the movie version of a classic “Simpsons” quote: “To alcohol! The cause of – and solution to – all of life's problems!” This is basically true but that's okay. The script is more complex than that implies and also less severe than the logline had me expecting. Beautifully directed by Vinterberg, who includes a lot of rich lighting and naturalistic camera movement, the film is delightful from beginning to end. Also, the movie's Dutch title is simply “Druk,” which directly translates to “binge drinking” but looks and sounds like plain old “Drunk.” Which is pretty funny. [8/10]

OSCARS 2021: Crip Camp (2020)

Last year, Barack and Michelle Obama's production company, Higher Ground Productions, won an Oscar for “American Factory.” While you can certainly debate the ethics behind a former president winning awards for producing a film, “American Factory” was excellent and absolutely earned that statue. The Obamas would, naturally, continue their partnership with Netflix for their next project. “Crip Camp” has also garnered an Oscar nomination. Yet, aside from these factoids, the two projects could not be more different. 

“Crip Camp” begins at Camp Jened in 1971. Jened was a camp run by a self-described group of hippies for disabled youths. Mostly teenagers, the disabled youths were allowed to spend time with people like them and forge a community. Out of Camp Jened arose Judith Heumann and other disabled people who realized modern society was not designed to accommodate them. Heumann would lead the disabilities rights movement. A wave of activism, including multiple sit-in protests, would finally begin to get legislation passed. But not without a fight. 

“Crip Camp” is a documentary essentially built upon two things. First is a series of talking head interviews, done recently. The second of which is archive footage from the seventies, when Camp Jened was still operational. These are the parts of “Crip Camp” that is really interesting. We see disabled youths, relaxing and goofing around. They play guitar, sing songs, and bang on metal folding chairs. They chat casually among themselves, discussing their experiences as disabled people. They talk about the frustrations they feel, of being unable to depend solely on themselves. One of the girls, with cerebral palsy, talks about her lack of privacy, which is then characterized as a basic human right.

What's most valuable about these moments, and the others like them, is how they force the viewer to consider disabled people as... People, like anyone else. The kids at the camps, despite the challenges they face, are still teenager. They're horny, talking frankly about dating and making-out and sex. One of the film's funniest moment is when an activist with C.P. talks about how proud she was when a doctor thought she might have gonorrhea. Later on, we see vintage footage of another camp-goer becoming a member of the New York punk scene, dressing in drag and doing a striptease. When pop culture so frequently depicts the disabled as individuals characterized only by their disabilities, it's important to see their basic humanity – to be sexual and funny and theatrical – honored. 

Despite the title, “Crip Camp” is not focused solely on the camp. In fact, in its second half, the focus turns entirely to the disability rights movement that arose out of the camp. This is a compelling story in its own right. Hearing about the grass roots element of the movement, how disabled people from all over the country gathered in D.C. and New York to draw attention to their plight. An anecdote about the local Black Panthers chapter rushing in to help deliver food was especially interesting. (This award season is a big one for the Black Panthers.)  Yet these segments of the film do, sometimes, feel like a simple collection of facts. “Crip Camp” looses sight of the human element a little bit in its last third. 

I totally understand why directors Nicole Newnham and James LeBrecht turn their focus to the activism in the second half. It's an important story and one that absolutely needs to be told. The fight goes on too. Yet the archive footage, that really gives us an intimate peek at the lives of these interesting people, was the part of the film that most captured my heart. The proper emotional climax of the film is when two of the documentary's star characters return to the former site of the camp. “Crip Camp” is most effective when letting its cast live, breath, and be their selves. [7/10] 

OSCARS 2021: Borat Subsequent Moviefilm (2020)

When rumors started to filter out in 2019 and early 2020 that Sacha Baron Cohen may be making a “Borat” sequel, I had an important question: In the era of Trumpian dumbness, did we need a new “Borat” movie? The whole point of the original film was to expose the bigotry and idiocy many Americans hid just under the surface. In our modern, post-facts world – where many people proudly declare their racism and anti-intellectualism – what purpose could Borat serve? Apparently, “Borat Subsequent Moviefilm” arose out of Cohen's growing horror over the encroaching 2020 election. This desire to do something, anything, in the face of the possibility of a second Trump term, prompt Cohen to un-retire his most famous character. The film would roll out on Amazon last fall, right before the election. Much like the first film, it's blend of vulgar comedy and social satire would make it a surprise Oscar contender. 

Borat's first movie made Kazakhstan an international laughing stock. The reporter is placed in a prisoner's camp for fourteen years. He's only busted out because the president of the country decides his brand of misogynistic xenophobia will appeal to the Trump/Pence administration. Borat is released and sent to America, to give Mike Pence the gift of a chimpanzee/pornographic movie star. Before leaving, Borat discovers his own country hates him and that his family has disowned him... Except for his fifteen year old daughter, Tutar. She accompanies him as he takes another tour of America. The absurdist outsiders, among other misadventures, wrangle with Trump culture and the COVID-19 pandemic. 

Cohen must have been aware of the fact that, in 2020, we didn't need Borat to expose the ugly underbelly of the American condition. To compensate for this, the sequel doubles down on the absurdity. The humor mostly still arises from having the outrageous Borat mingle with unassuming Americans but the scenarios are goofier. Such as when he repeatedly has to use a copy shop to fax messages back and forth from his boss. Or an especially hilarious bit where Borat attempts to become a barber. Cohen also addresses another concern for the sequel, that Borat was now too well known for the mockumentary approach to work, head-on. Borat, already played by Cohen in disguises, puts on further disguises of his own. This results in even more ridiculous scenarios of Borat and Tutar arguing in a cake shop or doing their thing at an already uncomfortable debutante ball. This was a wise route to follow, since the sillier bits in the original “Borat,” that made unawares Americans straight men to Cohen's antics, are actually the ones that have aged the best.

It's still hard to say what Cohen and his team achieved by unleashing Borat once again in 2020. Inevitably, the character comes into contact with our new, far more insane political climate. He quarantines with a pair of Q-Anon conspiracy theorists, pranks a Mike Pence speech, and performs an admittedly catchy song at some sort of alt-right rally. There's no need to unmask America's ugliest impulse here – the brief sight of a Trump fan flashing a Nazi salute barely registers – but Cohen at least succeeds in belittling hateful, horrible people. Borat and Tutar, amid a series of amusing misunderstandings, has a pro-lifer implicitly admitting he's fine with incest and rape. Obviously, the film's proudest moment is its humiliation of Rudy Giulliani. Obviously, Rudy didn't need any help in that department but “Borat 2” did provide another amusing chapter in the hilarious public meltdown of “America's mayor.”

The most unexpected thing about “Borat 2” is how weirdly charming the titular character's relationship with his daughter is. It's utterly absurd but Borat comforting Tutar by allowing her to sleep outside of her cage is... Sweet really isn't the right word for it but nothing else quite fits. Maria Bakalova's performance, wild and fearless and somehow totally innocent, makes Tutar a real character. Her interactions with babysiter Jeanise Jones are both really funny and oddly touching. Watching her reject her father's toxicity, in a typically vulgar Borat-ian manner, is a genuinely satisfying character development. Obviously, Cohen's humor is knee-deep in irony but Borat and Tutar learning to appreciate each other is completely sincere. 

I didn't expect “Borat Subsequent Moviefilm” to serve much of a purpose. Politically, it certainly didn't. Laughing at Trump and his cronies, who thrive on being the big dumb center of attention, accomplishes nothing but making us feel smugger. Yet who can blame Cohen for doing something to try and keep from going mad in a mad world? The sequel still managed to justify its own existence by creating an endearing – I guess that's the right word – dynamic between father and daughter. It's also pretty funny in spots. Bakalova is absolutely charming and I'm rooting for her at the Oscars. [7/10]

OSCARS 2021: The Mole Agent (2020)

From the beginning of the genre, people have debated whether documentaries count as fiction or non-fiction. The credibility of “Nanook of the North,” which featured many engineered scenes, has long been questioned. This back-and-forth continues to this day. Among this year's Oscar-nominated documentations is “The Mole Agent.” A Chilean film with a somewhat far-fetched premise, director Maite Alberdi has admitted that several of the film's sequences were staged for the camera. Despite the accusation, there's been relatively little controversy surrounding the film being presented as a factual documentary. I guess people don't mind the lines being blurred if the film-making is strong enough.

The A&A Detective Agency places an unusual want ad in the paper: They require an 80-to-90 year old man who is active, intelligent, and proficient with technology. After seeing many candidates, they settle on Sergio. The agency has been hired to investigate claims of elder abuse in a local nursing home. Sergio is called a spy and outfitted with fitting equipment, such as a pair of glasses and a pen with hidden micro-cameras inside. Sergio goes to live at the nursing home for an extended time, getting to know the residents there, and investigating whether the claims have any truth to them or not.

Elder abuse is a serious topic that affects many people and nursing homes are certainly not exempt from that. “The Mole Agent,” however, is not an expose about the horrible abuse going down in Chilean retirement homes. Throughout the film, Sergio sees suggestions of what might be abuse. Some of the bathrooms are left dirt. Some of the patients seems left along too long, or don't receive their medication at the correct time. Ultimately, it's decided that these incidents cannot be classified as “abuse.” However, the elderly at the home are forgotten. They are rarely visited by their children or grandkids. A woman mentions that she spent her whole life raising her children and is dismayed to see they have left her behind now. “The Mole Agent” is largely an examination of the isolation and loneliness that comes with age and asks us to consider how the forgotten must feel.

Despite being about several pretty heavy topics, “The Mole Agent” is not a depressing film. In fact, long stretches of it are quite funny. Sergio is a charming, sweet old man that can sometimes be described as doddering. He has trouble working the gadgets he's been given. He sends long, rambling reports back to the agency about every minute detail at the home. There's a pretty adorable subplot about one of the elderly patients developing a crush on Sergio, even fantasizing about marrying him. The nursing home throws parties and celebrations for the patients, all of which is pretty charming. There are bracing moments in the film – such as a confused old woman breaking down in tears while Sergio attempts to comfort her – but “The Mole Agent” mostly finds warmth and humor in the interactions it covers.

Knowing that the director has admitted that some of “The Mole Agent” was staged, the viewer can't help but wonder how much of the movie is set-up. The early scenes, of Sergio being recruited and outfitted with the various recording devices, are pretty clearly scripted. Despite these gadgets being at hand, most of “The Mole Agent” was clearly recorded by a professional camera team. They are even on-screen several times, the residents of the nursing home commenting on their presence. It's hard to take the idea that Sergio is investigating allegations of abuse too seriously, when he's followed by a team of cameramen everywhere he goes. 

Yet, ultimately, these questions only distract so much. Good filmmaking is good filmmaking and getting hung up on how much of “The Mole Agent” is “real” or not is a fool's errant. While you can debate whether that makes it worthy of being included in the documentary category, I think most of the movie is probably unscripted. This is an entertaining and funny film, that introduces us to a lovable central protagonist. Even if it isn't a serious expose on elder abuse – a topic that certainly warrants attention and discussion – it does touch upon important ideas of aging. [7/10]

OSCARS 2021: Hillbilly Elegy (2020)

Every Oscar season brings with it a “villain movie.” This is a movie that, despite being politically gross or made by shitty people or just obnoxious, attracts attention from the Academy. In past years, this was due to films like “Joker” or “Bohemian Rhapsody” being huge box office successes and gaining just enough positive reviews to be legitimized in the eyes of AMPAS. This year, the villain movie is “Hillbilly Elegy.” The Netflix original was clearly designed to be the boldest of Oscar bait. The film was met with scorn from most corners of the critical world and it's author was quickly revealed to be a piece of shit. Despite that, the Academy's overwhelming love of Glenn Close and a lack of decent competition in the Make-Up category led the movie to two nominations. Which means I have to review it. Thus is my lot of life. 

J.D. Vance grew up in the Appalachian region of Kentucky and Ohio. His mother, Beverly, had an explosive personality, frequently getting into screaming match with her son and daughter, Lindsey. His grandmother had a similarly large disposition, though she often defends J.D. when Beverly becomes too much to live with. Despite numerous disruptions at home, J.D. would grow up to be a Yale law grad with a beautiful finance. As he's about to have a promising job interview, he gets a phone call: His mom has overdosed on heroin. He returns to Kentucky to take care of his mom, reflecting on memories and dealing with the chaos at home. 

Speaking as a resident of Appalachia, albeit on the West Virginian side, some of the sights seen in “Hillbilly Elegy” are not alien to me. While living in Ohio, J.D and his family see people arguing on their front porches. Everyone is constantly puffing on cigarettes, even Meemaw after she has a heart attack. There's lots of screen doors, overalls, and folding card tables. (And just to make sure we know it's partially set in the nineties, “Hillbilly Elegy” drops a few obvious needle drops like Eagle-Eye Cherry and Local H.) In other words, it's southern, rural poverty. Drug use is common, from inhalants to Beverly's abuse of pills and heroin. Despite the poverty he grew up in, J.D is clearly fond of his old Kentucky home. Not to mention the film depicts his mother figures as being full of wisdom, despite their trashy attitudes and appearances. 

In other words, “Hillbilly Elegy” is the kind of movie that romanticizes poverty. Moreover, it's the kind of poverty porn that shows it as a state that can be escaped. The script constantly references Beverly being the smartest girl in her high school class, without actually showing us much evidence of that. In his darkest moment, J.D. smashes some toilets inside a business and wrecks a car. This is the wake-up call he needs to... Start doing well in public school and working a minimum wage job at a grocery store? “Hillbilly Elegy” tries to forge the myth that poverty is something you can easily escape with this nebulous thing called “hard work.” It presents poverty as a failure of morality – via Beverly's drug abuse and personal problems – and not a societal condition that people are born into. It's bullshit.

This is, somehow, not the most offensive message contained within “Hillbilly Elegy.” Beverly is, to put it simply, abusive to her children. She screams at J.D. for a simple mistake, like knocking over some Easter eggs. After an innocuous comment, Beverly almost wrecks a car, smacks her son around, and chases him into a stranger's home while in a frenzy. His grandmother, despite being presented as some sort of folksy hero, is also borderline abusive. Her brand of “tough love” includes threats of violence and abandonment. Despite his family treating him like shit, J.D. is constantly told that family is too important to leave behind. That he owes these terrible people something, simply because of blood relation. Having seen people, friends and loved ones, torn part because they can't walk away from their terrible families, I can't tell you how much this pissed me off. What a garbage message to send out as “inspiring” or whatever.

To go along with its shitty themes, “Hillbilly Elegy” is front-loaded with grotesquely overacted performances. Beverly is clearly written as a woman with a mental illness, with she self-medicates with drugs. Amy Addams does not attempt to bring any humanity to this role. She plays Beverly as nothing but a shrieking, hateful person full of scorn. When the inevitable, tear-strewn confrontation over her drug use arrives, it's done in as over-the-top fashion as possible. Glenn Close, as Meemaw, is only a notch or two less ridiculous. She croaks out hideous dialogue about good and bad Terminators, Close mugging excessively. Han Zimmer's score matches the oversized emotions of these performances. 

The film also has an almost hilarious abrupt ending, after rambling on for nearly two hours. Do I have anything nice to say about “Hillbilly Elegy?” The make-up team maybe did deserve a Oscar nomination, as Close and Addams do convincingly look more like people living out in the sticks than movie stars. Owen Asztalos gives a solid enough performance as young JD. Maryse Alberti's cinematography is sometimes nice and the Kentucky countryside, when the movie focuses on it, is lovely. I haven't mentioned that Ron Howard directed this yet, because he brings absolutely nothing distinct to the film. That “Hillbilly Elegy” managed to score any nominations at all is a testament to how powerful Netflix has become, as this film is a ghoulish exercise that does little beside irritate and anger. [4/10]