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. 

American Sniper (2014)

Nominee

The mental and physical tolls of war are not a new topic in film. On the contrary, it is one of the oldest and has been engaged with again and again as our many wars and our perceptions of them have evolved. Where American Sniper seeks to find its own voice among the many is by exploring the story through the lens of the individual, namely Chris Kyle, America's deadliest sniper of all time. How does it ultimately fair in contributing something original? It does alright. Kyle's story is morally dynamic which provides a viable launching point for a cinematic work, but a number of flaws in the narrative make me hesitate to sing it's praises.

Basically it comes down to this: when the story was focusing on the moral complexities of his position as a sniper it soared, but in dealing with his strained family life it became generic and rather unbelievable. For instance, Kyle is often depicted in between his tours of duty at home and, as to be expected, is completely emotionally unavailable to his wife and children.  But suddenly when he is back in Iraq he calls his wife not once, but twice when he is in the line of duty. Both times she is left sobbing on the other end fearing for his safety. The repetition of this scenario I found rather unrealistic and pandering especially when it robs us of other vital story elements. Specifically, later in the film they seem to have run out of time for Kyle's character development. One minute he is struggling with his final reentry into society and the next he is the perfect happy family man. Why weren't we allowed to witness this transformation?  Yet, the moments he was staring down the barrel of his rifle trying to decide whether he must kill a woman or a child for the good of some greater cause, that's when this film really said something never heard before. 

Bradley Cooper's Kyle is a classic macho man that he fully dedicated himself to; a commendable performance. It fit right in with Eastwood's old western gritty sense of atmosphere. While, Sienna Miller's performance provides a solid foil to Cooper's stoicism.

Overall: Kyle's life was unjustly ripped from this world after his valiant service to this country, and therefore his story should be told. I just feel at times there were wasted opportunities, and a lack of specificity. They should have highlighted more of what made him special, instead the film mostly blends in with the war film dialogue that already exists. Not a bad film, just not an exceptional one either. But I am certainly honored to live in the country that Chris Kyle fought for.

Whiplash (2014)

Nominee

Not every film is able to pulsate; to rhythmically ebb and flow through a narrative propelling the viewer forward. However, if there is a story where this pulse becomes not only a whim but a necessity it is the story about a drummer. Specifically, a drummer being driven toward his breaking point. Whiplash not only marches to its own systematic counting carrying the viewer along, it surges recklessly into psychological exploration, and with brilliant performances and perceptive editing it becomes one of the year's greatest films.

The story at its core is simple. It tells of a young aspiring drummer, Andrew (Teller) as he is mentored by a conservatory legend, Fletcher (Simmons). Yet, Fletcher's classroom environment is not one rooted in nurturing but rather terror-driven pressure. J.K. Simmons' execution of this abuse is most disturbing due to how natural it seems while Teller's transformation as Andrew is surprising and very strong. 

Yet, what drew me to this film the most is the seamless collaboration between editing and cinematography. This visual ode to music they create with compelling footage of instruments dances on and off the screen with expert cutting. The result is absolutely mesmerizing. These same tight angles produce the pressure being put on Andrew throughout. The viewer experiences the same claustrophobia, and it's almost suffocating.  Damien Chazelle must have had an incredible vision to find such cohesion of every aspect.

I will say, I almost feel guilty for enjoying this film, because Fletcher's tactics are successful, but also abhorrent. And I do not wish to condone his methods in anyway.

Overall: This film is astoundingly constructed, and well executed. If you are at all knowledgeable about music this is a must see. But even if you are not, every person can watch as a man is pushed to his formative precipice. That vital moment where you either prevail or you cease to exist because someone has pushed you to that point. It is then that anything is possible. Happy Watching!

Boyhood (2014)

Nominee

A person in the context of time is such a small thing, and the moments that mold us, the ones that make us specifically who we are, are only important because of us. They will be gone once we are gone, and perhaps even before as their size and shape disappear from our own memory. Boyhood is a testament to these stories, it tells of the early years of a boy named Mason Evans and although the story is linear it is not complete because only certain moments stay with you, the ones that continue to mold your present.

I can only imagine how truly daunting this task actually was, in some ways its unbelievably simple; tell the story of a boy growing up, but when you are given twelve years to create this film there must be total dedication to your craft. Every aspect must be focused and honed toward one goal with terrifying perfection, and I must say, I believe Linklater delivered. From cinematography to narrative structure this piece was strong because all components were in agreement: This story is worth telling.

As we follow Mason through his life with his single mother, sister, and semi-available father we witness abusive stepfathers, strained monetary circumstances, first loves, and first heart breaks. And while all of these things already make the character empathetic what makes him even more accessible is the cinematography. As he grows so does the camera. Like our own memories, as Mason gets older the more detailed the world around him becomes creating some of the best realism achieved on camera. He begins the film as an observer staring at clouds, and watching his father and mother fight through a window not knowing what they are even saying. The camera expertly echoes this with point of view shots, but by the end he has come to know his own world and the camera is no longer an isolated observer but rather an active participant.  The frame finds this same abandon and ends the film by being in the thick of the action as Mason begins his first days of college.

This attention to Mason's context is also seen in the narrative structure. Just as the camera finds his current role within the time frame, the story only tells the parts of his life that really influenced him, the horrific realities and the simple moments as if ripped from Mason's own memory. And as we skip forward from one moment to another we have the privilege of watching all of the characters transform.

This would not be possible without the incredible cast that took the time to create a piece as risky as this, and their labors certainly paid off. Patrica Arquette expertly fluctuates through confidence and uncertainty as the mother, which is well complimented by Ethan Hawkes rather linear trajectory from fair weather young father to responsible adult. I must also commend Ellar Coltrane for growing up in front of the world on film. He gives a subtle perforamce and I am curious to see what else he will do.

If I have any qualms I could have done without Linklater's daughters performance as Mason's sister. I found it rather grating, but nepotism is hard to combat. Also the film does push three hours which does become rather tedious towards the end.

Overall: The reality of this story is what makes it so substantial, and yet it is influential without being blatantly weighty. I congratulate Linklater for this twelve year labor of love. I also thank his producers for supporting a risky but important project. They cultivated unconventional creativity. This film shows that every person has a story worth hearing, even if its small in the scheme of things. Happy Watching!

Into the Woods (2014)

Ladies, Gents, and all those in between and beyond, I have a confession to make: I am a theater person. Yes, one of those local neighborhood eccentrics who enjoys a good musical romp, or perhaps an early evening Shakespeare indulgence. I am telling you this because try as I might I cannot be fully objective when it comes to Into the Woods. It is one of the most celebrated American musicals written by one of Broadways greatest legends: the one and only, Stephen Sondheim. So adapting this musical for the screen is no small feat, and I certainly had fairly high expectations. I wanted to LOVE this film, and well, instead I really enjoyed it. Which is still a great film watching experience just not the one I was expecting.

I believe my hang ups on the film come down to one simple thing, Into the Woods is such a self aware piece about storytelling. Specifically taking familiar stories and turning them on their head to make a point to a modern audience. So when the musical is staged this idea is well complimented by the medium of live theater, where anything can happen at a moments notice. Even the actors after months of rehearsal are not entirely in control of their surroundings on the stage. Where as film is an entirely different approach. Every frame, angle, and edit is carefully tailored which creates a much more controlled and very intentional environment. Ultimately, it felt rather like it had lost a certain energy in the new medium.  And while I was okay with a majority of the cuts they made I did feel they should have kept Rapunzel's death and the Mysterious Man (Okay he is sorta there...but I mean the character as a whole) in the film because both of these components were important emotional plot points for other characters. However, these complaints aside the film is still worth the watch.  

The singing across the board was well executed and beautifully matched the orchestrations. Honestly, hearing the songs set to a full orchestra is what I look forward to the most in film adaptions, and this one delivered. In addition, I felt this ensemble performed these more realistic fairytale characters quite well. Anna Kendrick, Chris Pine, James Corden, Emily Blunt, Tracy Ullman all gave solid performances just to name a few. Now, just to be clear, I love Meryl Streep, and it's because I love her that I gotta say her first act Witch was a little overstated for me, I found myself being removed from the fiction because I was very aware of her acting. But her post-transformation witch was much more naturalistic and she truly disappeared into the part. So all is right with the world, and Meryl reigns supreme.

Another laudable aspect was the production design. The atmosphere was extremely well developed throughout with the lighting and costuming providing cohesion to this fairytale world. I liked how the film was dark but not too shadowy, matching the film's thematic purpose. It's message is clear and it's not pretty but its also true: You cannot let your individual longings blind you from the needs of others, because in the end you may not even know what you truly want.  Which is a message that could not be more relevant to a modern audience. 

Overall: This is a great story, I do feel that the stage version is stronger than this film, but the intent was there and execution is successful. And perhaps it was for the best that the film was not entirely what I anticipated. After all, be careful what you wish for. Happy Watching! 

The Imitation Game (2014)

Nominee

Communication in its most basic form is an interaction between two beings, one conferring an idea and the other, at the very least, perceiving it. However, as we soiree into more complex concepts we must engage in different communicative means to help convey our meaning. Yet, no matter how we encode the information the interaction cannot be deemed successful until it has been processed by the receiving party. In the instance of film with its many modes of story telling it is often difficult to find the right artistic balance to bring together all the parts for an audience. Where should the weight of the message be placed? The narrative structure? The cinematography? In the case of the Imitation Game they beautifully placed the message in the hands of the actors,  while presenting the facts of the story with brilliant simplicity. Which is the prefect way to approach the story of Alan Turing, the man who broke the greatest code ever written but struggled with basic human interaction. 

The story of Alan Turing is an important one that holds an incredible amount of current relevance. His story is told in three time frames: his first experiences with cryptology and love as a young school boy, his code breaking work during World War II, and his brutal conviction for his homosexuality in the 1950's. Each of these plotlines depicts Turing's confusion on how to communicate with his peers although he shows an incomparable aptitude for breaking codes. It was his outsider vantage point that allowed him to believe the impossible: that he could create a machine that could analyze the encrypted words of the Nazis. This story is riddled with thematic elemants from his persecution for his sexual orientation, to the moral dynamics of breaking Engima, the film could have easily been bogged down by overt drama and weighty visuals, but it wasn't. 

The cinematography is classic clean-cut invisible story telling which is much more difficult than most would assume. Leaving the challenge of grappling with the content to the actors and writers. Benedict Cumberbatch has given one of the best performances of the year as Turing. His Turing was emotional but not overstated, a loner but not unsympathetic. While Keira Knightley as Joan Clarke, the only woman on the code breaking team, foils his character well by guiding him through the maze of society. The two have great chemistry and really are the coehesion that holds the whole film together. 

The writing was for the most part engaging, giving life to the characters and weaving the story in a way that made sense. I will say some of the dialogue gets a little cheesy, i.e. "Sometimes it is the people no one imagines anything of who do the things that no one can imagine." It's a lovely sentiment and it's nice when it recurs once...but saying it three times? Whoa down there, Nelly.

Overall: Sometimes it takes the most simplistic approach to successfully convey the most intricate ideas. Some may find this film basic, I find it well executed with the kind of narrative that begs to be told, and needs to be heard. Cumberbatch has given Turing a chance to finally be valued for his work, and he deserves it. You have my attention. Happy Watching! 

Watching the Small Screen

I have been getting requests for quite some time now to do a post on my favorite TV shows. I assure you it has not taken me this long due to some silver screen snobbery, (on the contrary I think the competition between the two media formats push each other to improve. We would not have widescreen and color without it!) What was holding me back was my inability to come up with a definitive ranking  that was truly representative of each program. There were just to many factors. So in no particular order, here are some of my favorite shows!

Breaking Bad (2008-2013)
Alright I lied, I said no particular order and then I put Breaking Bad first on purpose. But, can you blame me? The level of character complexity they achieved here is bar none. It was maddening how perfectly you would love a character and then hate them sometimes within minutes. I consider it a privilege to have watched Bryan Cranston's descent, it was some of the best acting ever witnessed on television, and it was complimented by an incredible team of fellow actors, writers, directors, and producers. Flawless from beginning to end, they told the story of Walter White the chemistry teacher turned kingpin, and to that I say: Look on his works, ye Mighty, and despair.

Arrested Development (2003-2006, 2013)
This dysfunctional, fraudulent and questionably incestuous family just cannot negotiate reality and as a result they are hysterical. The original episodes are built on the best (or perhaps the worst) inside jokes with an extra helping of understated sarcasm which made it an instant cult classic. Perhaps one of the greatest mistakes in TV history was it's preemptive cancellation. I will say the Netflix reboot is not awful, but it is not quite as strong as the first seasons. If anything just watch it so you can say: THERE IS ALWAYS MONEY IN THE BANANA STAND!, and know what you are talking about.

How I Met Your Mother (2005-2014)
The latest of the classic twenty somethings in New York sitcom format what HIMYM brought to the table was a refreshing narrative structure, and it's own glossary of phrases. From the 'Slap Bet' to 'the blitz' these jokes stuck with you because they were relatable, and so were the characters.  I know the ending did not live up to the rest of the show, but overall it was still a breath of fresh air. It was legen-wait for it and I promise I won't put cheesy references in all of these reviews but for this one I can't help it...dary.

The Sopranos (1999-2007)
The original TV anti-hero, Tony Soprano is a psychopath and it is because of this that he raised the standard of television. No one would ever question after the Sopranos if TV could hold it's own against film in quality.  The dialogue between Gandolfini and Falco is some of the best achieved realism on camera. Which is well contrasted by the surrealism they achieve in the exploration of Tony's subconscious. Admittedly I am currently in Season 6, Part 1 so I have not seen the famed and much maligned ending yet. Irregardless Tony paved the road for more dynamic character work, and this Jersey Italian film buff is enjoying the ride.

The Big Bang Theory (2007-)
What this delightful posse of geniuses, and one girl next door provides is a humorous scenario to explore: 1.) an endlessly entertaining subculture, and 2.) our universal struggle for communication. Watching Sheldon Cooper, a theoretical physicist, and his gang of friends attempt to comprehend mainstream society I have to laugh because I have been there. Jim Parsons is a joy to watch, and for all lovers of fantasy and sci-fi the references are killer. I will say the most recent episodes have not been up to par, (some of the humor has been more mean spirited), but on the whole it is certainly worth the watch.

House M.D. (2004-2012)
When I grow up if I am half as cool as Hugh Laurie I will be okay with that. This pill popping narcissistic curmudgeon that he created revitalized the medical genre with every tightly written witticism he uttered. His diagnostic cases were always intriguing and were used to explore greater moral dilemmas. In all honesty, the last season was rather weak, with the character of Lisa Cuddy missing, the original Dean of Medicine at Princeton-Plainsboro Hosptial, the power play is just not as exciting. But we had to have House and Wilson's last hurrah, and Laurie makes it worth your while.

Game Of Thrones (2011-)
There is nothing I appreciate more than full attention to detail, and when undertaking the task of bringing to life George R.R. Martin's Westeros that is no small feat, but HBO has succeeded. With the incredible casting of these truly dimensional characters (special shout out to Peter Dinklage! Impeccable.), the power struggle for the throne is visually brutal and enthralling. Each kingdom has been beautifully developed into reality with unifying aesthetics that rival those of the Lord of the Rings creative teams. So whether you are rooting for Dany and her dragons, or are one of those crazy people who actually like the Lannisters, you simply have to keep watching. P.S. Go read the books, too!! They were first and they are great!

30 Rock (2006-2013)
Tina Fey is another marvel of mankind. Her self-reflexive brainchild about filming a live TV program is creative and unforgiving in it's approach. Nothing is too sacred to joke about and these caricatures of people in the industry are able to run with it. Fey leads the cast through ridiculous antics which will make you laugh outright. Two things: some of the jokes are relevant to the time they were written in so I worry some references will be lost in a while (Aka Watch it now!), and it takes the show a couple of episodes to really find its niche, but after it does you will love it all the more.

American Horror Story (2011-)
This is by far the most graphic and unrelenting program to ever hit television, and for those who are not weak of heart it's a great miniseries to explore. Where I think they succeed beyond a measure of a doubt is creating atmosphere. I am not one who is usually effected by horror, but their imagery and pacing creates a fiction that I can buy into. And because it is a miniseries they are able to explore new venues and characters each season. If anything they do sometimes jump the shark with their all in approach. (i.e. Season 2: They were already in an asylum did they really need to throw in aliens?) Yet, I can forgive them because their version of horror is both sexy and brutal, all of which is mesmerizing.

Gilmore Girls (2000-2007)
Alright, I will confess I am ever so slightly embarrassed by this one so I may sound a tiny bit defensive. I normally would never go for something that is so chick-flicky, but what we have here is not just a mother/daughter duo struggling to find their significant others. What this show truly is is a feminist manifesto. (Too much?) But really now, Lorelai Gilmore is a strong intelligent single mother who has raised a great daughter, Rory, without the help of anyone. Making not one, but two female protagonists that are allowed to be self-sufficient and feminine without apology, which is awesome. Also I must applaud the writers, Lorelai's crack fire wit is what has kept me watching in all those moments of doubt. So haters are going to hate, but I am going to keep watching.

Downton Abbey (2010-)
Downton Abbey is just a great time period story. As the British aristocracy attempts to find its footing in the early 1900's they are met with historical circumstance, in addition to the normal conundrums of love and family. The Crawley's and their household are just as susceptible to change and they must either embrace it or become obsolete. It includes a huge ensemble cast with stand out, Maggie Smith, she is the perfect overly opinionated grandmother who can say anything she wants and will. While the two spheres of existence on the Downton estate, namely the servants vs. the family, provide a stark contrast to explore societal mobility. All the while you get to enjoy the British being, well, wonderfully British.

Modern Family (2009-)
Modern Family has miraculously taken the most classic topic, family, and made it so comical that it somehow resembles reality. Its circumstantial humor coupled with the confessional format gives the watcher an all access pass to the characters that makes them all the more endearing. From Phil Dumphy the classic goofy Dad to Gloria the Colombian bombshell wife who no one should mess with, there is someone for every viewer to relate to. It has won the Emmy for comedy five years in a row, and with it's willingness to explore new content it, quite frankly, deserves it.

House of Cards (2013-)
When attempting to describe Frank Underwood the first word that comes to mind is ruthless. He is a man with a vision of great power, and he knows how to play the game of politics and media to get there. This show is dark, it's dirty, it's provocative and it's so well shot. Watching Kevin Spacey and Robin Wright navigate the intricacies of their political position is a pleasure. Initially, I was not fond of Spacey breaking the fourth wall, it is a film approach that seems better suited for comedy, but because the writing of these moments is so indulgent it has definitely grown on me. Netflix can certainly hang with the big boys.

Orange is the New Black (2013-)
While I am on the topic of Netflix, I would be amiss without mentioning Orange is the New Black. While the show is funny, and the characters are memorable to say the least, it is also able to highlight bureaucratic idiosyncrasies of the prison system, and engage in broader societal topics. I am so glad a show with strong LGBT, and gender equality themes has exploded in popularity. My one great qualm is that I actually cannot stand the main character, Piper Chapman, she is rather needy and entitled. But she is starting to transform, and the rest of the inmates are certainly fun to watch.

Everybody Loves Raymond (1996-2005)
Are you from a rather loud, sometimes demanding family with a lovable and quirky cast of characters? If yes, then here is a sitcom you can sympathize with. The writing on this show was not wildly original, but what made it stand out for me was the comedic timing of the actors, especially Peter Boyle, and Doris Roberts as Raymond's ever present parents. They are both veterans of the screen and it showed. It was also one of the first 'adult' shows I remember being allowed to watch so perhaps that adds to the allure for me, but either way I still enjoy it whenever its on.

Bones (2005-)
This is by far my guiltiest pleasure on this list. I will fully admit that the writing is not great and the main reason I started watching it was that I thought David Boreanaz was hot. I am including it here because I feel like everyone needs that go to show that it doesn't matter how much you have missed, you can just jump back in. So many shows nowadays expect you to have seen all of the episodes, which is extremely time consuming, but that is not a requirement here. I also really enjoy the varied approach Bones takes to the crime genre with its use of forensic anthropology. And I'll take a strong female lead any day! So thanks, Emily Deschanel.

New Girl (2011-)
I am now shamelessly segueing from one Deschanel to the other, but Zooey's New Girl is deliciously quirky and I love it because this kind of weird is my kind of weird. These guys seem to speak to each other in their own  language on their own wavelength, but still attempt to thrive in the real world.  To some it may seem totally out there, but to me it reminds me directly of my college apartment mates. So between the originality of writing and my nostalgia I thoroughly enjoy this show. As a note: even if you haven't seen the show you should definitely play The True American Drinking Game, you throw things, you shout patriot pharses, you climb furniture, and you drink beer. What more could you want?


To Wrap Just a couple Lists!

Some other shows I want to list but got to lazy to talk about at length:

Cheers, I Love Lucy, Happy Days, M*A*S*H, and Lost.

Shows on my to watch list (In case you think I am a moron for missing one of these):

Friends, Boardwalk Empire, Fargo, True Detective, West Wing, The Wire, Masters of Sex, Louie, and Seinfeld

And as always, Happy Watching!

Snapshots 3

The extremely hazardous part of watching all the nominees for Best Picture is you end up watching a lot of losers. And while some are just as good as the winner, others are not. This round up was a little rough to say the least.

Children of a Lesser God (1986)
Nominee
A film that has extreme societal importance because it highlights the lifestyle of a marginalized group, namely, the deaf. It gave Marlee Matlin, the role of a lifetime and she absolutely delivered. However, where the film really suffered was, ironically, the sound. The dialogue in this film was stilted and felt at times illogical.  And in lieu of William Hurt repeating everything Matlin was signing they should have subtitled her. Also, if you ever meet the person that thought synthesizers in movie soundtracks were a good idea, please smack them for me.
2/5 Stars 

Love is a Many-Splendored Thing (1955)
Nominee
This movie tries to do exactly two things, and fails at both. As a love story it fails because Jones and Holden hated each other, and their lack of chemistry is visible on screen. It also tried to be socially progressive by highlighting how Jones character is 'Eurasian', but what was an attempt at cultural commentary now verges on being racial insensitive. Moral of the story: when filming a movie about someone of a particular race, find a person of that race to play the part.
   1/5 Stars

Nicholas and Alexandra (1971)
Nominee
Alas, another movie that had great potential but fell short. The story of the fall of the Romanovs is very dramatic, full of political volatility, strange personal problems, and war. The worst thing they could have done to it was to make these characters flat, and that is exactly what they did...for three hours. But at least they were beautifully costumed while doing so.  Also I think the film struggled because it was filmed at the end of the 'classical epic' period, so the style was going out, and the few artsy moments they threw in to update the film felt disjointed. Yet, there is some credit due for the final scene of the assassination. It is extremely well constructed, and builds incredible suspense.
2/5 Stars

Seven Brides for Seven Brothers (1954)
Nominee
Oddly, my favorite of this group. However, it was completely idiotic. Based on the Roman myth of the Sabine, it takes place in the Colorado mountains, and  tells the story of seven brothers who kidnap women to be their wives  This plot is incredibly objectifying and sexist, but I must say the music was very enjoyable while the dancing was innovative and wonderful to watch. So basically this film is causing me great inner turmoil, my intellectual feminist half votes nay, but my musical theater      appreciating half says yay.
   2.5/5 Stars