La La Land (2016)

The intricacies of taking a beloved genre of times past, and placing it into a new era bares with it a responsibility to both give homage to that genre but also to negotiate its context with in its new setting. How do you remain authentic while still being accessible to a modern audience? This is the question not only at the core of the narrative of Damien Chazelle's La La Land, but is the fundamental task of the entire film. The golden era of the movie musical has all but faded from the the public memory as a more modern societal skepticism has made it generally irrelevant. Chazelle has clearly labored with great love to find the chords in which a movie musical can thrive in our current public mood, and I do believe he was rather successful with one large flaw: the music. 

This classic story line of a young aspiring actress (Emma Stone), and a down on his luck jazz musician (Ryan Gosling) searching for artistic integrity, relevancy, and love beautifully engages the audience. This narrative coupled with vibrant saturated cinematography, and wonderful emotional honesty from our two leading players makes the film entertaining. Stone, and Gosling find an undeniable chemistry that kept me invested in their relationship, but also in their individual character's aspirations. And as they ultimately grew apart to follow their own dreams, we knew what they had sacrificed for it. 

However, as far as the movies' success as a Hollywood musical I found a rather mixed bag. I will commend Damien Chazelle first and foremost for his clear love of this genre. He is unmistakably devoted to old Hollywood and he crafted some beautiful moments. From Stone and Gosling's first soft shoe to their waltz amongst the stars he treated us to some visually charming movie magic. He also was exceptionally crafty in showing us the happy ending that could have been in a ending ballet. By using this standard dreamy dance number (a la Gene Kelly) he was able to show an old timey ending without undermining the more realist and poignant finish his story deserved.

But the most important part of any musical is the music. Here it was rather lack luster, and many of the vocals have been horribly auto-tuned taking away the real multidimensional timbre of the human voice. The vocals sounded as though they had been whittled down when they should be vibrantly springing from the screen. These were not even close to the warm tones of Gene Kelly, or the unabashed vocals of Judy Garland which left me longing for the voices of the past. And the songs, perhaps with the exception of "The Audition" did not leave a lasting impression. 

Overall: An incredible pursuit given in love with many successes from Damien Chazelle. I just wish more time had been given to the music itself, and less time in trying to make the vocals sound "perfect", especially at the expense of the film's impact. The human voice is many layered, and boldest when it is raw. Let us never make it sound small. But as always happy watching! 

Best Picture Round Up: 2015

So I procrastinated but I just wanted to fire off some stream of consicousness on the Best Picture nominees before the show tonight. This are quick and dirty, but I did put them in order of my preference so let me  know what you think!

Room (2015)
This film is the epitome of what I look for when gauging a film's artistic cohesion. The sense of time and space is masterfully crafted and beautifully coupled with dialogue that is a language all of it's own. This is all wonderfully highlighted by a camera that discovers the world through the eyes of a child who is discovering so much around him under extreme and terrifying circumstances.  Brie Larson gives a performance of the mother with true empathy and understanding. By far my pick for this year.

The Big Short (2015)
Witticisms and clever craftsmanship bring this financial drama to life. I was impressed how it was able to engage with the greatest economic crisis of  our modern age and not only make the story accessible to everyone but also to make it enjoyable. With interesting breakaways from the narrative and some unconventional editing The Big Short finds a refreshing visual voice. Not to mention it is brought to us by some excellent actors. Bale, Pitt, and Carell, just to name a few, arrive triumphant on the screen.

Mad Max: Fury Road (2015)
Dauntless and unrelenting. Here is a post-apocalyptic film that dares to be vibrant in all aspects instead of the usual dark hues of the genre. It simulates you non-stop and the manic nature of every faucet is simply unparalleled. I did find at times the editing was lacking some clarity, but perhaps it was intentional to add to the chaos? And as I have only seen this one I cannot compare it to the rest of the canon. But I know that this is one of the best action movies I have seen in a long time. Hardy and Theron submerge themselves into the filth and send us speeding along with them. All we can do is hold on for dear life.

The Martian (2015)
I will say I was skeptical at first, but rest assured that I stand corrected. This film, to me, is what Gravity could have been. A testament to human ingenuity and our shared quest for survival Damon was an absolute joy to watch as we share with him all the highs and lows of his quest to stay alive on Mars.  I think this may have been his best performance to date, and the films deeper understanding of the shared human condition was nicely brought to us by some excellent writing.

Brooklyn (2015)
Now here is a film that I think many have overlooked. This tale of a quiet Irish girl who travels to Brooklyn (The best bureau...no biases..okay maybe a little) to find her way in the world is classically told and is beautiful in it's simplicity. Saoirse Ronan gives a performance with a courageous character arc, and as she falls for a young Italian boy I could not help but think of my own Irish grandmother, and  Italian grandfather. A real New York love story.

Spotlight (2015)
I would like to apologize that Spotlight is so low on this list, but that is certainly a testament to the quality of films this year! This film has the best ensemble cast performances of this year, and presents important exposure on the crimes of the Catholic church. I will say where it lost me a little was a lack of originality in cinematography and narrative construction. It certainly feels rather generic when comparing it to other journalism films, but well worth the watch on actor execution alone.

Bridge of Spies (2015)
Riddled by some slow pacing, and at times a little dry in execution. It's definitely not one of Spielberg's stronger films. However, Hanks is as solid as he always is, he may be the most consistent performer in Hollywood. And the premise does offer some important ideas in cultural negotiations and having empathy for ones' enemies. It's still a good film, just not one of the best of this group.

The Revenant (2015) 
I know, I know, how did The Revenant end up at the bottom? Trust me I am just as surprised as you. After the incredible love for filmmaking that Birdman demonstrated perhaps my standards were too high, but in all honesty I was sincerely disappointed. DiCaprio's character was not fully realized. I think people often mistake a willingness to do tasks that others would not want to do as "acting". This is not the case, an actor should disappear into every role with deep emotional sensibility. I was not sold here. I will say the cinematography was breath taking but there were times that we were senselessly aware of the camera lens. That was a device I found aided the self-reflexivity of Birdman but felt totally out of place here as we were dragged through this tundra.

Film Haiku Roundup

In repentance for not posting anything since the Oscars my self decreed penance was counting many, many syllables. I apologize in advance. May I never get this behind again...

Flirtation Walk (1934)
Nominee

The lesson learned is:
No horse. No wife. No mustache.
What did I just watch?

2/5 Stars 

JFK (1991)
Nominee

Costner calls foul play.
Was there more than one shooter?
We may never know.

3/5 Stars

Bugsy (1991)
Nominee

Warren B. says:
"Want to build Las Vegas with
me, Annette?" Bang. Bang.

3/5 Stars

Goodbye, Mr. Chips (1939)
Nominee

Heartwarming story.
A teacher for all decades.
Goodbye, Mister Chips!

4/5 Stars

An Unmarried Woman (1978)
Nominee

Jerk husband leaves his
wife. Starts to redefine her
self. Dates an artist.

2/5 Stars 

The Goodbye Girl (1977)

Nominee

Jerk boyfriend leaves his
partner. She reinvents her
self. Dates an actor.

4/5 Stars

Julia (1977)
Nominee

Childhood friendship
Distanced by World War and time
How far for a friend?

3.5/5 Stars

The Fugitive (1993)

Nominee

Harrison Ford is
falsely accused. While Tommy
Lee Jones is grumpy.

3.5/5 Stars

The Verdict (1982)

Nominee

A washed up lawyer
seeks redemption in this case.
Will there be justice?

3/5 Stars

The Killing Fields (1984)
Nominee

Cambodia in
chaos. Wait, is that the guy
from Law and Order?

3/5 Stars

Secrets and Lies (1996)

Nominee
Race, family, and class
are complicated topics.
Everybody lies.

3/5 Stars

Birdman or (The Unexpected Virtue of Ignorance) (2014)

Best Picture Winner

Filmmaking is farcical, and movies are some of the best lies we tell. They stake a claim on reality while being anything but true. The standard Hollywood approach would be to carefully craft a film to suspend an audience's disbelief, but not Birdman. Here Inarritu has exposed the potential of film and by doing so expertly blurred the lines between what is real and what is surreal. 

Birdman tells the story of Riggan (Keaton), a fading superhero actor who is seeking some form of redemptive catharsis through an attempt at the stage. So we are given a man at a fatal breaking point surrounded by all the wonderful dysfunction that the craft of theater presents. He has the classic fettering producer (Galifianakis), his egocentric Broadway star (Norton), and a drug addled emotionally suppressed daughter (Stone) all of whom come in and out of Riggins world supplying much of the chaos he is trying to negotiate. All of this is presented through one false continuous shot allowing for seamless transitions from what could be real to what most certainly isn't.

From the opening shot where Riggan is floating in meditation to his ultimate ascent to the unknown beyond, the film implies that a total submission to one's artistic work may in fact be insane but also provides a shot at nirvana. A degree of spirituality is necessary in art and when you succumb to that lifestyle you may, dare I say, make something of yourself, and I do believe Inarritu has found that transcendence. Birdman is written with a real understanding of the world and percussively marches forward with no apology. This is portrayed by a number of great performances with Michael Keaton leading the charge in a brilliantly manic fashion. 

Overall: This is my favorite film of 2014. Inarritu is unabashedly indulgent and this is his greatest ode to filmmaking to date. All of it is real, and none of it is: a perfect beautiful lie. 

The Theory of Everything (2014)

Nominee

An all comprehensive theory of existence would be beautiful, for it seems to suggest a great equalizing force. If everyone and everything was put into motion at the same moment, made of the same basic matter, than there is an unseen bond that forces us to be unified in some small way. This does not mean that we are all the same, but rather every individual story should interest us because it's part of one big narrative that we all exist within. In this instance we are given the story of Stephen Hawking, a man that once dared to believe that all this could be true, and his wife Jane, the woman who cared for him with heroic determination while having to watch as one of the world's greatest minds became locked in a deteriorating vessel.

This relationship is the primary focus of the film as it is based on a book by the real Jane Hawking. It does a beautiful character study of this relationship over time and the effects of their specific hardships on their ability to be happy. This couple is valiantly humanized and terrifically imperfect as the subtle (and very British) work of Felicity Jones draws out our sympathies while Eddie Redmayne displays excellent craftsmanship as he tells this mans story through his eyes. Their world is also amplified by a gorgeous score and distinctive color washes that lift this film out of the monotony of a typical biopic.

However, I did find this film rather incomplete. Yes, the film successfully dictated a couples' love that evolves within their specific set of circumstances over time. That in and of itself is no small feat, and I do not wish to diminish that triumph.  Yet it rather left out what specifically makes Stephen fundamentally interesting: his work. There are some brief scenes that mention his contributions but they were fleeting and did not delve into his concepts with any great magnitude. 

Overall: An important story was told here but it lost sight of its roots. And when these roots are some of the greatest achievements of our time then we are missing a vital part of Stephen Hawking's story. We have lost the specifics of what he contributed to our universal story, and what is left is still good, but it's just not everything. 

The Grand Budapest Hotel (2014)

Nominee

When it comes to film analysis there are any number of devices you can use to frame your discussion. One could argue a genre, country of origin, or industrial context (just to name a few) best inform the structure of a film, but in the case of any Wes Anderson film there is no question; Auteur Theory reigns supreme. That is to say above all else the director becomes the most influential part of the creative process; which is extremely apparent in the case of The Grand Budapest Hotel. The quirky vibrancy that propels this film onto the screen has the kind of specificity that could only be orchestrated by one person with an all encompassing vision. That does not mean he could have done it alone, but rather he has found a brand of storytelling so singular that he is is able to pull in some of the industries best to see this story to the end.

This brand he has created appeals to our childlike wonder but is infused with a dark humor all while remaining visually appealing. You feel as if you are watching a storybook unfold, and The Grand Budapest Hotel is certainly no exception. This story of a hotel concierge, (Ralph Fiennes) and his Lobby boy (Tony Revolori) has it all: love, suspense, murder, and mad cap antics all around. So what keeps it from being to much? Well, for one Anderson knows exactly what to exaggerate and what to pull back. He has this way of creating antithesis by contrasting this visually enthralling world with some of the most understated dialogue making the overall product even more delightful.

This matter of fact writing within these insane contexts is what really sells the humor, but you also need a cast of dedicated actors to put these caricatures on the screen. And with this line up it is no surprise that it works. Ralph Fiennes is just impeccable and his flamboyance is well matched by newcomer Tony Revolori's deadpan. While the rest of this sprawling ensemble truly finds the whimsy to bring this fantasy to life.

Yet, perhaps the most impressive part is the space the actors negotiate seems to have a character of it's own. This hotel and the world around it is fully realized. Every frame is expertly constructed to show only what Anderson wants to show you, and because of that there is so much to see. With the camera placing the actors symmetrically within every frame, you are able to take in the jam packed colorful imagery that Anderson gives us and it's certainly a pleasure.

Overall: I feel like this film was Wes Anderson's artisitc manifesto. He did everything he does and he did it the only way he knows how, with panache. It's certainly one of the most refreshing styles I have seen, and I enjoyed every minute of this crazy ride. So, in the words of M. Gustave, the concierge himself, "You see, there are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed that's what we provide in out own modest, humble, insignificant...oh, fuck it." Happy Watching!

Selma (2014)

Nominee

When it comes to Selma I find two of my philosophies to be relevant. The first: There are certain historical atrocities we as a cultural collective can never truly atone for, but we must try to engage these subjects by any means possible. Because to let these events fade away for the sake of comfort would be an even graver transgression. However, I must confess, I also have a rather large amount of skepticism towards the 'biopic' format. My main issue steams from the fact that the importance is innately built into the individual's life story and the films can very quickly become overt in their message and exude a sort self-righteous aloofness. So the main question: Would Selma be able to overcome the biopic aspect and give homage to a greater cultural necessity for dialogue? I can now say yes it can.

With the rise of the #BlackLivesMatter movement in light of the lose of life in Ferguson, and New York City it was the perfect time to be reminded that these events did not happen in a vacuum. Our present is informed by a long complicated history and we need to know the past if we hope to make any progress with our future especially when grappling with the topic of race. Selma tells the story of the 1965 marches that took place in Alabama to completely implement the African American right to vote. I think it was a prudent choice to focus on this portion of the Civil Rights movement. These marches took place after Martin Luther King's "I Have a Dream" speech, at a time when the south had been desegregated on paper but not in practice. This shows that the fight for social justice is never truly over. 

As far as the film's approach to Martin Luther King, Jr. himself it did an admirable job of telling the story of the man, not just the icon. This King is plagued by uncertainty at times, and the strain his infidelity places on his family life is not hidden away, but instead depicted to emphasis King's humanity. David Oyelowo as King and Carmen Ejogo as Coretta beautifully portray this couple's journey. If one of them falters the other always seemingly finds the strength to raise up their partner, while the rest of this sprawling cast, featuring the talents of Oprah and Cuba Gooding, Jr, enact pure empathy in the viewers. 

The viewership's sense of responsibility to attend to this story also comes from the honesty the camera finds amongst the violence. Ava DuVernay is relentless in placing the camera in the mist of these heartbreaking scenes of police brutality, and by doing so we see not the nameless mob but individual faces with stories of their own. It is because we witness this immeasurable pain with them that their final arrival at Montgomery is all the more triumphant. 

Overall: This film was carefully crafted with truth and a sense of importance, while still placing trust in the intelligence of the audience. It also came at the right time, for it is time for us to once again be dissatisfied with the status quo. Let us revisit King's vision of possibility and work for a better version of equality because not only can we be better, we must be. In memory of Martin Luther King, Jr. : Happy Watching.