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!

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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

Born on the Fourth of July (1989)

Nominee

Perhaps my greatest error was watching this film so soon after The Thin Red Line, because it fell very short by comparison. The predominant issue being a complete lack of subtlety throughout the technical aspects coupled by some of the most egregious over acting I think has ever been displayed. The moral root of this story was not complex enough for the heavy handedness they were wielding and I for one feel like I have been mauled in the face by a self righteous sledgehammer for two and a half hours. 

The story here is straightforward and is based on the real life of Ron Kovic, a Vietnam veteran who initially believes in the cause but ultimately became disenchanted by it. This is, indeed, a story worth telling but the script writing completely missed the mark here. Great films show most of their content visually and leave the interpretation in the hands of the audience, mediocre films do a little too much telling in the dialogue, and in this instance we were told, and told, and told again why we were watching and I was bored. Meanwhile the actual character arc of Kovic was stilted by the time lapses of the plot. The narrative jumped to and from random years and locations and by doing this the audience did not actually get to see Kovic's descent but rather the final product making him a rather unbelievable protagonist. 

However, it is not just the blatancy of the script writing that is at fault because this was flawed as much in the show as it was in the tell.  The cinematography was crippling to the pace of this film, Oliver Stone and company abused the slow motion to no end. The imagery was at times very well constructed but because the nature of the film was already so exposed some of these prolonged images just came off as excessive and cheesy. 

Yet, if I am really handing out the award for excessive cheesiness, Mr. Cruise has won with flying colors. A much better actor might have been able to tone down the dialogue's lack of forbearance, but instead he basically yelled the entire time. Making what I believe should have been some of the emotional climaxes of the film comical (i.e.  The don't shout penis conversation, and his desert fight with Dafoe). Needless to say,  if I wanted to be screamed at by Tom Cruise I would go seek him out in person. 

Overall: The one saving grace of this film was John Williams' soundtrack, at least I could close my eyes and listen to a soaring score when all else failed. (That is if I could hear it over Tom Cruise's bellowing.) Quite frankly I found this film insulting, Vietnam is an extremely dynamic topic but this was dumbed down beyond recognition. Which demonstrates a complete lack of faith in any intelligence of the viewership.  Go watch Apocalypse Now instead. 

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Quiet Man (1952)
Nominee
This film is 50% Irish charm, and 50% dated misogyny that manifests in domestic violence. The nostalgia for pastoral Ireland I appreciate, the emotional and physical abuse Maureen O'Hara experiences not so much. It was extremely uncomfortable to watch at times. Sorry John Wayne, no dice.
1/5 Stars

Witness for the Prosecution (1957)
Nominee
A really well done trial film! Charles Laughton carries the story as the sharp-witted heavily viced defense attorney. I will say the pacing is rather bizarre with a majority of plot taking place at the very end. However, It made for a good mystery overall.
3/5 Stars

Twelve O'Clock High (1949)
Nominee
The plot is mostly slow air force bureaucracy discussions. Gregory Peck's character arc was just not there cheapening his breakdown. However, the one battle scene with actual war footage was quite good.
2/5 Stars

Elizabeth (1998)
Nominee
Cate Blanchett for the win! Her Elizabeth goes from delicate youth to empowered Queen seamlessly. While the film could be stronger in some plot details, and is at times heavy handed in its religious allegories it was overall a good watch.
3.5/5 Stars 

I am standing on my desk...

I am standing on my desk because I was compelled to by the beauty and joy that Robin Williams saw in this world, and in turn shared with us. A man of rapid fire humor, and incredible emotional access. He felt like a friend because he was one. And he shared every corner of himself with us.

I am standing on my desk because the rhetoric on mental illness needs to change. No one should feel so lost that they suffer in silence. No one should feel so ashamed that they leave us before their time. No one should feel so alone that they are suffocated by the guilt they feel because they can't bring themselves to be happy.

I am standing on my desk, because I know there is enough love in this world to end suicide. We just need to access it. Carpe Diem. 

Thin Red Line (1998)

Nominee

When I first became aware that Terrence Malick had made a war film I was certain that the message would be clear: the ever enduring Man vs. Nature. The viewer was going to be led along through a visually stunning three hour escapade of how war is destroying our humanity, intercut with vibrant images of animal life and landscapes. And besides the visual presence of a number of birds and mountainsides, I could not have been more egregiously mistaken.

I want to make clear that I do not mean that Malick celebrates war, for that would also be a misrepresentation of the film's core. What he achieves instead is the visual implication that war in and of itself is part of our nature, but that is precisely what makes it all the more grotesque. For as one solider states in a very Malickian (I can make up words right? My blog, my rules.) manner: "What's this war in the heart of nature? Why does nature vie with itself? The land contend with the sea? Is there an avenging power in nature? Not one power, but two?" Nature is constantly at war, and it can be both beautiful and savage. 

This violence is at the heart of nature itself, but that does not mean that that truth identically manifests itself in every individual. This is expertly written as well as performed by a truly impressive ensemble cast. Sean Penn, Adrien Brody, John Cusack, Woody Harrelson, and Nick Nolte just to name a few present to us the many faces innate violence forms. Whether it the previously AWOL soldier who is able to suppress this instinct, or the high ranking General who's self worth is tied to it, these actors portray every nuanance in this spectrum. 

Almost needless to say that this film successfully couples the brutality of war with the visually intoxicating syntax that Malick has mastered. Full of light, and animal life he is able to establish an awe inspiring, almost dreamlike state. I will mention that some find Malick's existential musings sometimes repetitive throughout his work, but I find it rather intriguing that he has dedicated his craft to the questioning of humanity, and his skill with a camera wins him that right. For after all, he will keep trying to find an answer, and may never be satisfied.

Overall: A war film unlike any other. Malick dares to question the existence of war with heightened grace, and vitality. His films ebb and flow with their own pulse. You just need to be willing to go for the expressive ride. Happy Watching!