2024 Oscar® Recap: “I’d Like To Thank My Terrible Childhood And The Academy”

Last night’s 96th Academy Awards was one of the most well produced, entertaining, and incident-free (no violence!) Oscar ceremonies in recent memory. Jimmy Kimmel did a solid job as host, the past winners saluting the new nominees device was touching, and Ryan Gosling’s “I’m Just Ken” big number from BARBIE brought the house down with the feeling of everyone in the room being blown away being gloriously palpable.

I was happy to see the well predicted OPPENHEIMER sweep go down. Christopher Nolan’s epic is a movie’s movie that’s got old fashioned majesty with modern polish, and it well deserved to win the seven Oscars it did (Best Picture, Best Director, Best Actor, Best Supporting Actor (Yay to Robery Downey Jr., the first former SNL cast member to ever win an Oscar - the quote in this post’s headline comes from his speech), Best Film Editing, Best Cinematography, and Best Original Score).

 

My score of 18 out of the 23 categories was far from my best (22 out of 24, back when Sound was split into Sound Editing and Sound Mixing), but better than my worst, 13 out of 24.

 

Here’s what I got wrong:

 

BEST ACTRESS: Lily Gladstone, KILLERS OF THE FLOWER MOON

 

I, like many, thought it was Gladstone’s Oscar year as she had won the Golden Gl0bes, the Screen Actors Guild, and many critic association awards, but noooooo as Belushi would say (dated reference lost on younger readers), Emma Stone is now a two-time Academy Award winner for POOR THINGS. 

 

But Stone’s emotional acceptance speech was wonderful, featuring this funny moment:

“My dress is broken! I’m pretty sure it happened during ‘I’m Just Ken.’”

MAKEUP AND HAIRSTYLING: Kazu Hiro, Kay Georgiou and Lori McCoy-Bell, MAESTRO

 

Another POOR THINGS miss. I should’ve known MAESTRO would go home empty handed.

 

DOCUMENTARY SHORT: THE ABCS OF BOOK BANNING (Dirs. Sheila Nevins and Trish Adlesic)

 

This was a stab in the dark, as I hadn’t seen any of the Documentary Shorts. Now I’ll definitely seek out THE LAST REPAIR SHOP, which was the winner of this oft overlooked category.

 

SOUND: Jonathan Glazer, OPPENHEIMER

 

This was one I was glad to get wrong, because the sound in Jonathan Glazer’s THE ZONE OF INTEREST is such a major element of that movie, which deservedly won Best International Picture (I got that one right). OPPENHEIMER won everything else anyway.

ANIMATED FEATURE FILM: SPIDER-MAN: ACROSS THE SPIDERVERSE

 

Simply, I thought the more commercial, and more massively popular film would nab this award like usual, but I’m satisfied that Hayao Miyazaki and Toshio Suzuki’s THE BOY AND THE HERON went home with the gold. 

 

Okay, so that’s my bout with Oscars 2024. You can now go about your day.

Summer ’23: How BARBENHEIMER Rose Above All The Flopbusters

I’m most likely the last person who writes about film to weigh in on BARBIE, Greta Gerwig’s billions-grossing fantasy comedy, but since the season is winding down, I thought I’d opine at how it, and its odd blockbuster bedfellow, OPPENHEIMER became a huge event, or even a movement this last summer at the cinema (or more aptly, the multiplex).

The build-up to the release date (July 21) for both films prompted many memes, fake trailers, and a lot of op-ed action to comically address the internet phenomenon that was dubbed BARBENHEIMER (it even has a Wikipedia page!), as it seemed everyone thought it was so hilarious that two such polar opposites were opening on the same day.

Christopher Nolan’s OPPENHEIMER was the true winner artistically as it’s a must-see-on-the-big-screen masterpiece (read my review), but while BARBIE was far from an essential work, it’s a fairly fun piece of satire. A radiant Margot Robbie, as “Stereotypical Barbie,” perfectly brings to life the first ever live-action version of the Mattel model doll, who lives in the surreal Barbieland, a largely pink, plastic world populated by discontinued Barbies - the identifying of which, like Video Girl Barbie, Barbie’s friend, Pregnant Midge; and Sugar Daddy Ken, is a running joke throughout the film (aided by Helen Mirren as “The Narrator” - another nice touch).

With both the charm of his sympathy, and his stupidity, Ryan Gosling’s Ken more than holds his own with Robbie’s Barbie, and may even get more laughs. The premise, which deals with Barbie beginning to become human, and journeying to the real world (present-day Los Angeles) to find the troubled little girl whose influence on her doll brought on Barbie’s existential crisis (something like that), is pretty basic fish-out-of-the-water stuff, but it moves along briskly gag to gag.

Will Ferrell, in a role that could be his character from THE LEGO MOVIE, but I bet that’s just wishful thinking, plays the Mattel CEO bad guy here with an all-male (not true in real life) Board of Directors. A mostly funny Ferrell’s loud bluster bounces around the lavish boardroom, another example of Sarah Greenwood’s excellent production design, that calls upon the War Room in DR. STRANGELOVE. That’s actually the second Kubrick reference on display as the movie opens with a hilarious parody of the apes at the dawn of time sequence at the start of 2001: A SPACE ODYSSEY.

However, it did feel a bit padded with a chase sequence through a maze through corporate office cubicles before heading into more standard automobile activity that could’ve been cut completely, and not made a difference - especially as the movie is nearly 2 hours. Also, as funny as Gosling’s big number “I’m Just Ken” is, it felt uneven in that the movie seemed to decide to become a musical in its last third.

One of BARBIE’s most controversial moments comes in the form of a fiery America Ferrera as Gloria, a Mattel employee who unites with our heroine, and accompanies her back to Barbieland. Ferrera gives a speech, more like a rant, about the struggle of being a woman in a man’s world - sample line: “You have to answer for men’s bad behavior, which is insane, but if you point that out, you’re accused of complaining.”

Ferrera’s mouthful (which you can read in full here) is effectively edgy, yet heartfelt part of the film, but that didn’t stop many on the right to condemn BARBIE as a preachy, man-hating piece of left-wing propaganda. One such dickhead, conservative commentator Ben Shapiro, who called the film, “the most woke movie I’ve ever seen,” actually set a trashcan of Barbie toys on fire to make, uh, some point. If you’re glutton for punishment, you can watch Shapiro’s 43-minute review, which features him setting what looks like a few hundred dollars of Barbies ablaze.

An over-used expression these days by Shapiro, and many of the folks at Fox News, is “if you go woke, you go broke,” but the incredible success of BARBIE proves that to be B.S., just like just about every rule that anybody makes about going woke. Sure, it can be seen as just a silly spoof of a toy for little girls, but Gerwig, and co-writer (and her long-time partner) Noah Baumbach had some layers they wanted to playfully explore, and it makes for a movie that’s sure to be a repeated, and relished part of pop culture for a long, long time.

But while the double bill of BARBENHEIMER is the big hit of our hottest ever summer, there was another notable phenomenon, that being that this has been the era of the flopbuster. Sometimes, as the Urban Dictonary defines it, a flopbuster is a movie that was supposed to be a blockbuster but flopped at the box office, other times, it’s a terrible movie that still makes lots of money.

This summer was jammed packed with flopbusters including THE FLASH, INDIANA JONES AND THE DIAL OF DESTINY (read my review), HAUNTED MANSION (my review), and MISSION IMPOSSIBLE: DEAD RECKONING PART I. As people were probably burned out, or felt burned, by Indy since his last, much lambasted adventure, or passed on Cruise’s latest mission while ignoring its acclaim, and turned their nose up at THE FLASH, like I did, despite it containing the return of Michael Keaton’s Batman, it seems obvious why audiences opted instead for the brainer/no-brainer combo that is BARBENHEIMER.

In the wake of the success of BARBIE, it was announced that Lena Dunham, of HBO’s Girls fame, was going to make a movie based on Mattel’s ‘90s mini-doll “Polly Pocket.” Actor/writer/director Randall Park had a great reaction to that:

“Barbie is this massive blockbuster, and the idea is: Make more movies about toys! No - make more movies by and about women!”

Now, is that really so woke an idea?

More later…

FIRST MAN: The Film Babble Blog Review

Opening tonight at multiplexes from here to the stars:

FIRST MAN (Dir. Damien Chazelle, 2018) 

Damien Chazelle’s follow-up to his Oscar-winning smash LA LA LAND, is a quietly profound adaptation of James R. Hansen’s 2005 biography of Neil Armstrong. Chazelle re-unites with his LA LA LAND lead Ryan Gosling, who brings his patently stoic presence to the part of Armstrong as we follow him on his epic journey from edgy test flights to the historic Apollo 11 mission to the moon in 1969.

Even though one knows exactly how this film will end, Josh Singer’s (SPOTLIGHT, THE POST) screenplay provides a strong sense of danger as the road to space is littered with casualties including Ed White (Jason Clarke), who was the first American to walk in space; Elliot See (Patrick Fugit), and Gus Grissom (Shea Whigham).

This is never off the mind of Armstrong’s spouse, Janet Shearon, played by The Queen’s Claire Foy, who makes the most of the standard worried wife back at home role. Foy, utilizing a convincing American accent, appears to have trouble emotionally connecting with her husband, who Gosling coldly plays except for in the scenes set in space. The point apparently being that Armstrong’s real love was the stars. This is probably why they got divorced years later (not covered in the film, of course).

Aided by cinematographer Linus Sandgren, who shot LA LA LAND, Chazelle paints an impressionistic picture of the space race era in which they show more than they tell what went down. This adds to the film’s dream-like feel at times, especially in dealing with haunting flashbacks to before Armstrong’s 2-year old daughter died, something that reminded me of the abstract approach of Denis Villeneuve’s ARRIVAL.

Since I’ve grown up on the stories of the moon mission, and seen countless re-tellings of how the men and women of NASA struggled to reach the final frontier (in other words, there’s no way this wouldn't have some of the stuff that’s in THE RIGHT STUFF), many of the aesthetics here are very familiar – having 2001-ish style strings during one sequence for instance – but the lucidity of how authentic everything comes across from the period stylings to how dead on the imagery of the moon looks made for an immersive experience all around.

Cazelle wisely decides to stick with what the astronauts – Gosling’s Armstrong, and Corey Stoll’s Buzz Aldrin – saw through cramped capsule windows, or their lunar helmets, and the effect makes you feel like you’re getting what the incredible experience really looked like.

For much of FIRST MAN, the only thing that broke up the visually poetic spell for me was Gosling’s dead eyed performance. But when his eyes light up at the view of the heavens that very few humans have seen (also when giving a speech about said experience), one can get what the film has to say about the character, the real man, and his fantastic adventure that is faithfully and beautifully recreated.

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BLADE RUNNER 2049: Even More Of A Slow Burner Than The First One

Now playing at multiplexes from here to the off-world colonies:

BLADE RUNNER 2049

(Dir. Denis Villeneuve, 2017)

Now, for a long time I didn’t think that there would actually be a sequel to BLADE RUNNER. But then, I didn’t think there’d be more episodes of Twin Peaks, more PLANET OF THE APES movies, or another GHOSTBUSTERS, or…well, you get the idea.

So, yeah, I should know better than to discount what the studios might still consider viable commercial properties. So here’s the long-awaited BLADE RUNNER 2049, coming 35 years after Ridley Scott’s original, but, wait, it’s actually more the follow-up to the DIRECTOR’s CUT that was released in 1992, or maybe it’s the sequel to the 2008 FINAL CUT.

There has been much debate as to which version of the first BLADE RUNNER is the definitive one (we can disregard the International Theatrical release, the US Broadcast version, and the Workprint), mainly because there’s an argument as to whether or not the protagonist, Rick Deckard (Harrison ford), is a replicant (a human-like robot, for those not in the know), and which version confirms this (or not).

Denis Villeneuve (PRISONERS, SICARIO, ARRIVAL), working from a screenplay by Hampton Fancer, who co-wrote the original with David Peoples, and co-wrote this one with Michael Green; posits a new LAPD Blade Runner named K played by Ryan Gosling, who’s trying to solve a mystery involving a box he found on a mission full of the bones of a replicate.

The film tells us right off that Gosling’s K is a replicant, who may be a little conflicted about having to retire his own people as we learn in an opening fight scene with Dave Bautista (Drax in the GUARDIANS OF THE GALAXY movies) as a runaway replicant.

Through some detective work, with his boss, Lt. Joshi (Robin Wright) breathing down his neck, K discovers that the remains belong to a replicant named Rachel, who died in childbirth. That’s the same Rachel – the replicant played by Sean Young that Deckard fell for and left Los Angeles with for greener pastures at the end of the first one.

Meanwhile, we see K’s homelife where he interacts with his love interest, an electronically produced hologram named Joi played by the fetching Cuban actress Ana de Armas, who really breathes a lot of life into this project. At one point, Armas secures a prostitute (Mackenzie Davis) for K so that she can engage with a surreal threesome with him.

By this point, one is probably wondering ‘what about Deckard? Where’s he?’ Well, get comfy as BR 2049 is two hours and 43 minutes and it’s well over half the movie before it gets to Ford.

In the meantime, we meet Jared Leto as the sinister yet zen-like Niander Wallace, who’s the films equivalent to the original’s Dr. Tyrell as he took over the corporation from him; Sylvia Hoeks as Wallace’s killer servant Luv, Carla Juri as Dr. Ana Stelline, a designer of the implanted dreams in replicants’ minds, and Lennie Jame as Mister Cotton, who runs a child labor camp, and helps K find Deckard.

K is led to believe that he may be the son of Rachel and Deckard, as there’s a memory of a wooden horse that he previously thought was implanted, but the date carved in it is his birth-date which is the same date carved in the tree where Rachel was buried.

Ford’s Deckard finally gets his screen-time in the last third, and it’s the lovably gruff, grumbling, rough and tumble performance we’ve come to expect from the 75-year old icon. It’s a shame he couldn’t have entered the movie sooner.

When I was 12 and saw the original BLADE RUNNER – the 1982 theatrical release – I wasn’t a fan at first. I found it to be very slow, and dreary, and I disliked Deckard’s drab demeanor (I was expecting something more along the lines of Han Solo and Indiana Jones, I guess), but with repeat viewings it really grew on me. The 1992 DIRECTOR’S CUT really won me over, and I also loved THE FINAL CUT, though I’d be hard pressed to list what were really the crucial differences.

Upon seeing the trailers for this sequel, I knew one thing - even if the film is a disappointment story-wise, it’s was going to look amazing. And, sure enough, it looks fantastic. Cinematographer Roger Deakins’ Oscar worthy visuals beautifully capture Dennis Gassner’s production design which expands on the definitively dystopian world of the original, adding the vast orange vistas of the deserts outside of LA, and the gorgeously lit lairs of Wallace’s opulent palace.

You’ll have plenty of time to luxuriate in those sets, as the film stretches out for long sequences, between what few action scenes there are, where K is flying or walking through them to get to his various destinations.

While the visuals expand on the look of Deckard and company’s world, the narrative doesn’t expand much on the idealogy of the world Phillip K. Dick created in his 1967 novel “Do Androids Dream of Electric Sheep?” because Fancer and Green’s screenplay predominantly focuses on circling back on the events of the previous installment.

Also circling back is the score by Hans Zimmer and Benjamin Wallfisch that jars throughout with otherworldly pulsing electronica that re-purposes the main themes of Vangelis’ soundtrack from the original.

BLADE RUNNER 2049 has moments that are eye-poppingly immersive yet it also has moments that are dull as hell. 

To fully embrace the experience, it will definitely help to be a fan, or have at least seen the original. But it’s even more of a slow burner than the first one was. If you saw the original (or any version) and thought it was boring, then this one will bore you even more.

But Overall, Villeneuve’s take on the BLADE RUNNER is a fascinatingly flawed anti-epic that should delight the casual and the hardcore largely because it’ll give them something new to talk about.

However it’s received, I bet that decades from now, there’ll be a different version (BLADE RUNNER 2049: THE FINAL CUT perhaps?) that we’ll all probably prefer.

More later...

LA LA LAND: A Cinematic Song & Dance Delight From Start To Finish

Now playing at a multiplex or art house near you:

LA LA LAND (Dir. Damien Chazelle, 2016)

Within moments of this film’s big opening scene – an impressively choreographed production number involving dozens, maybe hundreds, of commuters singing and dancing to the joyous original song “Another Day of Sun” atop a gridlocked Los Angeles overpass – you know you are experiencing something really special.

For Damien Chazelle’s third feature is the definition of a modern movie musical – one that respects the “follow your dreams” tropes of the golden age of Hollywood, but puts a fresh-faced spin on it with by acknowledging that living “happily ever after” may not happen the way you imagined.

After that lavish, invigorating opening number, in the same traffic we meet Mia (Emma Stone), an aspiring actress who pisses off jazz pianist Sebastian (Ryan Gosling) in the convertible behind her because she was too busy running lines for an audition to notice that the cars ahead of her have moved forward. Sebastian repeatedly honks as he passes her, and she responds by flipping him the bird. Not exactly a meet cute.

Mia works as a barista at a coffee shop on a big studio lot where she’s constantly starstruck by her famous customers and dreams to be one of them someday.

But that’s something that’s going to have to wait we see as Mia flubs her audition, then finds that her car has been towed while she and her roommates (Callie Hernandez, Sonoyo Mizuno, and Jessica Rothe) were at a party in the Hollywood hills that was supposed to cheer her up but only ended up making her feel lonely anyway.

On Mia’s walk home, she is enticed to enter a restaurant/night club named Lipton’s because she overhears an intriguing tune being played by the club’s new house pianist, who, of course, is Sebastian.

The film then flashes back to Mia and Sebastian’s first meeting in the opening traffic jam, and we see the last day from his perspective. We learn that hardcore jazzhead Sebastian is a classic struggling musician archetype who lives with his snarky sister Laura (Rosemarie DeWitt) as he floats from one humiliating low paying gig to another.

Sebastian’s latest gig at Lipton’s has his boss Bill (J.K. Simmons) forcing him to play Christmas standards, forbidding him from playing freeform jazz. Before long, Sebastian can’t help but improvise which gets him fired but gains him a fan in Mia. The angered artist though ignores her as he storms out, and we have our second failed meet cute.

They run into each other again at a pool party where Mia is supremely amused to see Sebastian playing synth-keyboards in an incredibly cheesy ‘80s cover band. So much so that she requests “I Ran” by A Flock of Seagulls to torture him.

Sebastian confronts her afterwards and before long they are engaged in endless flirtation as they walk down a dreamy moonlit street in the Hollywood hills with a gorgeous view of the LA skyline. This is the backdrop for another delightful song and dance number, “A Lovely Night,” highlighted by such witty lines as “we stumble on a view that’s tailor made for two, what a shame those two are you and me.”

When he shows up at her workplace the next day, Mia gives Sebastian a tour around the Warner Brothers lot. Upon her declaring that she hates jazz, he whisks her off to a club to try and convert her, and also reveal that his big dream is to own a jazz club himself someday.

Our protagonist couple falls for each through multiple montage song and dance numbers, including a particularly stirring one in which they visit the planetarium at the Griffith Observatory after seeing the location at a revival screening of REBEL WITHOUT A CAUSE.

While Mia works on a one-woman play in hopes of kick starting her career, Sebastian joins his friend Keith’s (John Legend) band the Messengers, both pursuing their dreams but with mixed results as Sebastian hates the commercial pop direction of his new outfit.

Gosling, who got his start as a child actor singing as a mouseketeer in a revival of Disney Channel’s Mickey Mouse Club, shows off his talents as a vocalist, pianist (that’s really him on the keys not a piano double), and dancer here with buckets of charm. Sebastian may be Gosling’s sharpest and most irresistible role yet.

Stone, likewise, pulls out the stops as a triple threat, matching Gosling’s moves beat by beat. I saw Stone make her Broadway debut in “Cabaret” a few years back so I knew she had the chops, but she doubly impressed me throughout this endlessly adorable film.

Our good looking stars are surrounded by gorgeous scenery, lushly shot by Swedish cinematographer Linus Sandgren (AMERICAN HUSTLE, JOY), and a dazzlingly colorful production design by longtime Quentin Tarantino collaborator David Wasco.

The score made up of over a dozen instantly memorable original songs composed by Justin Hurwitz, who worked with Chazelle on his previous two films (GUY AND MADELINE ON A PARK BENCH, WHIPLASH), with perfectly on-point lyrics written by Benj Pasek and Justin Paul, is the icing on the cake.

It all paves the way to an absolutely stunning, showstopping ending - see it before somebody spoils it for you.

Sure to make the upper region of my best films of 2016 list, LA LA LAND is a fun, toe-tapping, romantic, life-affirming, cinematic delight from start to finish. It was hard to stop smiling the whole time. In their third film together (CRAZY, STUPID, LOVE and GANGSTER SQUAD were the first two), Gosling and Stone have proved themselves to be worthy of being America’s top screen duo sweethearts.

A blast of a spectacular yet intimate feeling big-screen musical is exactly what we need right now as there’s a strong sense that there’s bleakness on the horizon.

Until then, let Ryan and Emma sing and dance your troubles away - they are definitely up to the task.

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THE NICE GUYS: A Shane Black Blast That Smartly Knows How To Be Dumb

Now playing at a multiplex near you:

THE NICE GUYS (Dir. Shane Black, 2016)

Writer/director Shane Black follows up the biggest hit of his career, IRON MAN 3, by steering back into his hard R-rated rude, crude action comedy comfort zone in THE NICE GUYS, a buddy detective film that’s up there with his funniest work.

It scores with the inspired casting of two guys not normally known for making audiences laugh: Russell Crowe and Ryan Gosling, who respectively play grizzled enforcer-for-hire Jackson Healy and scruffy private eye Holland March.

Set in 1977 Los Angeles, the film follows Healy and March as they are thrown together to solve a case involving the apparent suicide of porn star Misty Mountains (Murielle Telio), a missing girl named Ameila (Margaret Qualley), who’s mistaken for the dead X-rated actress, and the possibly corrupt head of the Department of Justice (Kim Basinger), who’s Amelia’s mother.

Despite March’s protests, the duo are joined by Angourie Rice as the private dick’s precocious daughter Holly, who is much smarter than her incredibly clumsy, constantly drunk father, so while she’s putting leads together, he’s falling off balconies.

Winding through the prerequisite fist fights, car chases, and shoot-outs, is Black and co-writer Anthony Bagarozzi’s deftly hilarious dialogue which I bet will help make this be as quoted as Black’s LETHAL WEAPON, KISS KISS BANG BANG and even THE LAST BOY SCOUT scripts in the anals of film geek fandom.

While highly comical, the film boasts a serious action villain in the dapper, cold as ice, mafia hitman John Boy (Matt Bomer) who arrives on the scene with a trunk full of automatic guns targeting Healy and March.

At times it seems like Black wanted to make his version of an pre-THE BIG SHORT Adam McKay movie, replacing Will Farrell and whatever co-star (John C. Reilly? Mark Whalberg?) with Crowe and Gosling, retaining the ‘70s-era satire, albeit in a much lesser surreal vein, of the ANCHORMAN movies but operating from a much grittier level.

Actually maybe it’s more like the 1974 buddy comedy FREEBIE AND THE BEAN, in which Alan Arkin and James Caan play mismatched detectives who get entangled with the mob – that vibe is pretty strong too.

The attention to period detail from the smog-filled sky to the roster on the marquee of LA’s famous marquee The Comedy Store, coupled with a soundtrack full of primo ‘70s rock and R&B, effectively sets the mood and tone even despite the fact that every song – from “Papa Was a Rollin’ Stone” to “A Horse With No Name” has been used countless times in movies before. The same could be said for the soundtrack to GUARDIANS OF THE GALAXY but that doesn’t stop it from being awesome.

THE NICE GUYS is a Shane Black blast with the funniest performances of both Crowe and Gosling’s career. Crowe’s weathered, jaded persona contrasts hilariously with Gosling’s haphazard demeanor in scene after scene, and with the talented 14-year old Rice added to the mix, the film overflows with comic chemistry.

The only slight misstep here is the overly restated shading of political commentary dealing with the intertwined conspiracy involving the Big Three Detroit automakers. This also has an Adam McKay-ish ring to it. No matter though really, THE NICE GUYS is smart enough to know how to be dumb and that transcends that bit of heavy handiness.

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New Releases On Blu Ray & DVD: 10/22/13

Last summer’s horror hit THE CONJURING brought about old school scares with aesthetics that recall such classics as THE EXORCIST, POLTERGEIST, and an obvious spiritual connection, THE AMITYVILLE HORROR. James Wan’s film, based on the real-life account of a pair of paranormal investigators (Ed and Lorraine Warren played by Patrick Wilson and Vera Farmiga), releases today just in time for Halloween on a 2 disc Blu ray edition (DVD + UltraViolet), and a single disc DVD.

Special Features: 3 featurettes (“A Life in Demonology,” “THE CONJURING: Face-To-Face With Terror,” and something called “Scaring the ‘@$*%’ Out of You”) equaling around 30 minutes.

One of my favorite films of the year, Richard Linklater’s BEFORE MIDNIGHT, the third film in the ongoing series about the talky relationship between Ethan Hawke and Julie Delpy, also comes out today on home video in single disc Blu ray and DVD editions. Read my review, which contains info about the film’s Special Features, here.

A film that definitely won’t make my top ten of favorites, Shawn Levy’s THE INTERNSHIP (my review), the comedy that had Vince Vaughn and Owen Wilson goofin’ on Google, is our this week in a 2 disc Blu ray Combo Pack, and a single disc DVD edition. Special Features include Theatrical and Unrated versions of the film, deleted scenes, a mocumentary about the Quidditch Match: “Any Given Monday,” and commentary with Director Levy.

The writing duo from THE DESCENDANTS, Nat Faxon and Jim Rash, scored box office success with their directorial debut THE WAY, WAY BACK, as I saw by week after week of appreciative audiences last summer at the indie theater I work at part-time. I wasn’t particularly impressed with the film – it’s a pretty routine kid-comes-of-age-while-on-a-family-trip-to-the-beach scenario, but its decent cast including Steve Carrell, Allison Janey, Toni Collette, Sam Rockwell, and Maya Rudolf keep it somewhat afloat. Bonus material includes deleted scenes and several behind-the-scenes featurettes.

Another comedy that doesn’t quite cut it that’s out today on Blu ray and DVD is Dan Mazer’s I GIVE IT A YEAR. The British rom com is about a couple, Rafe Spall and Rose Byrne, who get married only to find they’re in love with other people in the form of Anna Farris and Simon Baker. Being that first time director Mazer co-wrote BORAT and BRUNO, there’s a lot of crude humor epitomized by how Spall puts the premise in one of the film’s making-of featurettes in the Special Features:

“In all relationships, you get together with someone, you spend the first four months of the relationship stifling farts. Then they get married and let it rip. And they realize that they don’t like the smell of each other’s farts.”

For those who happen to like this film’s farts, there’s also a blooper reel, deleted/extended scenes, outtakes (of one wacky scene involving doves) and multiple interviews with cast/crew.

Nicholas Winding Rehn and Ryan Gosling’s crime thriller follow-up to DRIVE, ONLY GOD FORGIVES also drops in single disc Blu ray/DVD editions today. Special features include a commentary with Director Rehn, 12 short behind-the-scenes segments, “The Music of ONLY GOD FORGIVES with Cliff Martinez, and over 10 minutes of interviews with Rehn.

Also out today: Max Mayer’s comedy drama AS COOL AS I AM (starring Claire Danes, Sarah Bolger, and James Marsden), Rachid Bouchareb’s JUST LIKE A WOMAN (2012), Roel Reiné’s action fantasy DEAD IN TOMBSTONE (for those who can’t get enough Danny Trejo), Verena Paravel’s 2012 documentary LEVIATHAN, and Lavinia Currier’s 2011 drama OKA!

On the older films out today front, there’s the Bruce Lee: The Legacy Edition (4 Blu ray/7 DVD), The Vincent Price Collection, Michael Findlay and Horacio Fredriksson's 1976 thriller SNUFF, and the Criterion Collection Edition of Lewis Allen’s 1944 horror classic THE UNINVITED, starring Ray Milland.

TV series sets out this week include Nikita: The Complete Third Season, Call The Midwife: Seasons 1 & 2, The Young Riders: Season 2, and Silk Stalkings Complete Seasons 6, 7, & 8.

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Current Indie Films Offer Big Stars Without The Blockbuster Bombast

You don’t have to wait for the summer super hero sequel season (kicking off this Friday with IRON MAN 3) to see big name stars for a bunch of them are currently starring in indie films at your local art house. 

For instance, Derek Cianfrance’s (BLUE VALENTINE) highly touted crime drama THE PLACE BEYOND THE PINES, now in its 3rd week in the Triangle area, boasts star turns by Ryan Gosling and Bradley Cooper. 

The film tells a story set in the town of Schenectady, New York, that spans 3 character threads. Gosling’s scenario involves the bleach blonde pretty boy turning to a life of crime (robbing banks with the help of his circus-honed motorcycling skills) in order to support the year old baby that former flame Eva Mendes just told him he is the father of.

One of Gosling’s robberies is foiled by Cooper as a young law student turned cop and then his scenario begins. Cooper takes advantage of his hero status to further his career, realizing the system’s just too damn corrupt (mostly in the form of a slimy, us usual, Ray Liotta - could Liotta ever play a cop that’s not corrupt?).

The third act has Cooper’s kid (Emory Cohen) growing up to be a troubled teenager who befriends a fellow student, Dane Dehan, who turns out to be Gosling’s kid. Gosling’s and Cooper’s acts crackle with energy, but the final act lost me. It felt like it could have been incorporated into the second story-line or at least not be so drawn out. Perhaps it simply lacked the star power of the first two thirds. Whatever the case, the film has just enough storytelling drive to make it worthwhile.

Nobody could accuse Robert Redford’s new political drama THE COMPANY YOU KEEP, which opened last Friday in Raleigh, of lacking star power. Apart from Redford’s lead role, there’s Shia Labeouf, Susan Sarandon, Nick Nolte, Chris Cooper, Julie Christie, Richard Jenkins, Stephen Root, and indie darling Brit Marling. Sadly though, all this talent can’t save the film from Redford’s tired soapboxing as you can read in my review “Redford’s Vanity Project THE COMPANY YOU KEEP Is A Star-Studded Dud” (4/26/13).

Much better is Jeff Nichols’ MUD, with Matthew McConaughey in the title role, also in its first week in the Triangle. 

McConaughey, a little less confident than usual yet still somewhat slick,  plays an outlaw on the lam, living on an island in the middle of Arkansas' Lower White River, who is discovered by a couple of kids (Tye Sheridan and Jacob Lofland). The kids help the fugitive get a boat down out of a tree (“that’s a hell of thing” McConaughey keeps saying about the boat’s predicament) and back in commission so he can escape with the love of his life, a redneck floozy played by Reese Witherspoon (the role couldn’t be more timely with her recent brush with the law and all). 

There a few glaring narrative conveniences - the kids seem to happen upon Witherspoon too easily, and later come to her hotel room at just the right time when she’s being roughed by a thug played by Stuart Greer for a few examples - but they could reasonably be chalked up to small town coincidences I reckon.

MUD is a mostly engrossing Southern drama driven by its superb cast, including Sam Shepherd, Nichols’ TAKE SHELTER star Michael Shannon, Joe Don Baker, Sarah Paulson, and Ray McKinnon, and its thoughtful screenplay by Nichols. 

But in a cast of recognizable faces, the 15 year old newcomer Sheridan, who could be considered the film’s true protagonist, stands out. Nichols’ has given the kid thematic weight in the form of a belief in love - a belief in danger of being squashed by a crush on an older girl (Bonnie Sturdivant) and the fact that his mother (Paulson) is divorcing his father (McKinnon) - but Sheridan carries it with poise.

So, if you’re looking for alternatives to the coming tidal wave of CGI-saturated blockbuster-wannabes on the big screen, THE PLACE BEYOND THE PINES and MUD will provide the stars without the bombast. 

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THE IDES OF MARCH: The Film Babble Blog Review

THE IDES OF MARCH (Dir. George Clooney, 2011)

Ryan Gosling continues his dominance of the silver screen this year in George Clooney’s 4th film as director, a political drama that’s flawed yet still a gem.

As a presidential campaign advisor, Gosling utilizes the same cool confidence he had in last month’s DRIVE in his back room dealings to get Clooney, as a Democratic Pennsylvania Governor, into the White House.

Gosling answers to Philip Seymour Hoffman as Clooney’s harried campaign manager whose rival on the competing Republican candidate’s team is Paul Giamatti, which is great because I’ve wanted to see Hoffman and Giamatti in a film together for ages.

Hence the title, the film takes place in March right before the crucial Ohio primary and deals with a scandalous secret involving a young staffer (Evan Rachel Wood) who Gosling has a fling with.

Wood just happens to be the daughter of the present head of the National Democratic Party, so a tangled web is being weaved when Gosling learns incredibly damaging information about his man in the race.

Giamatti wants to woo Gosling over to his side, and that might not be such a far-fetched option, but not one he’s going to leak to Marissa Tomei, Hoffman’s co-star from BEFORE THE DEVIL KNOWS YOU'RE DEAD, as a New York Times Reporter.

To have these big names reciting lofty dialogue in this tightly directed film goes a long way. Sure, it’s a story we’ve heard many times before about corruption and compromise, idealism vs. empty ambition, but with these acting heavyweights aided by a sharp screenplay it’s an essential experience.

Except for a few major moments, Clooney mainly stays in the background while Gosling carries the movie. It builds to a chilling confrontation between the 2 men that I really wish television ad spots for the film wouldn’t show clips of. It’s not a spoiler that ruins the movie, but it’s still a little too revealing.

THE IDES OF MARCH doesn’t reach the heights of Clooney’s GOOD NIGHT AND GOOD LUCK, for there are some convolutions in the plot mechanics. It’s a bit of a stretch to believe that Gosling alone would be able to manipulate the situation so cunningly, but the film gets so close to brilliance that it’s easy to look past such gaps in logic.

With a stellar cast, excellent cinematography by Phaedon Pappamichael, an un-imposing score by Alexandre Desplat, and a screenplay written by Clooney, Grant Heslov, and Beau Willimon (the film is based on Willimon’s play “Farragut North”), this is certainly the definition of a prestige picture, or more crudely Oscar bait.

It does has power aplenty to take it through to awards season, but I bet it will hailed more for its performances over any statement about dirty politics that it tries to make.

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CRAZY, STUPID, LOVE: The Film Babble Blog Review

CRAZY, STUPID, LOVE (Dirs. Glenn Ficcara & John Requa, 2011)

At the beginning of this ensemble rom com, after an opening montage of the feet of restaurant patrons playing footsy, Steve Carrell is told by his wife of 25 years (Jullianne Moore) that she wants a divorce. This sets off a chain of vignettes that are more about clichéd silly lust than what the title wants us to think.

This is a simple-minded movie more concerned with setting up cheap gags than actual character connection. Like in the scenario where Carrell befriends a womanizing Ryan Gosling at a bar.

Gosling assigns himself as Carrell's wingman, so, of course, there's a shopping mall montage where Carrell gets new hip clothes and a snazzier haircut, and before you know it he's a success with the ladies. This kind of sequence should've been retired the second the '80s ended.

Meanwhile, Carrell and Moore's 13-year old son (Jonah Bobo) has a crush on their babysitter (Analeigh Tipton) who he's over-texting, Moore is fending off the further advances of a sleazy co-worker who she had an affair with (Kevin Bacon, who's really getting around this year), and a seemingly unconnected Emma Stone is pining for Josh Groban as a dorky lawyer.

There are 2 twists that are revealed in this material - one which you can see coming if you are paying attention, and the other is of the "oh, come on!" variety. I won't spoil what they are, but I will say that one of them involves Marisa Tomei as a squirmy, and completely unconvincing woman that Carrell has a one-night stand with.

The cast defintely has plenty of comic chops (as in EASY A, Stone has a way with one-liners), and there are some juicy jokes here and there in CRAZY, STUPID, LOVE, but I cringed much more than I laughed. It contains a lot of talk about soul mates, but that's just audience pandering talk. I never believed it ever really cared about matters of the heart.

In one scene, Carrell watches sadly as Moore drives off and it begins to rain. Carrell: "That is such a cliché." It sure is, yet at least in that moment the movie owns up. If only it did at its other dishonest cloying turns, then maybe it would be a movie with a soul instead of a big screen sitcom that might as well have a laugh track dubbed in.


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BLUE VALENTINE: The Film Babble Blog Review

BLUE VALENTINE (Dir. Derek Cianfrane, 2010)

It's billed as "a love story", but BLACK VALENTINE is more accurately a toxic love story.

As a couple in the final stages of their marriage, Ryan Gosling and Michelle Williams go through the messy motions and as the film cuts back and forth from the beginning of their relationship to the present we see that they were doomed from the start.

In the present Gosling and Williams (who also co-executive produced the film) have a 4 year old daughter (Faith Wladyka) and live a fairly unremarkable existence in Pennsylvania- he paints houses; she works as a nurse.

In the past Gosling worked for a Brooklyn moving company and met Williams in a nursing home he was re-locating a senior to. Williams, there visiting her grandmother (Jen Jones) has a giggly spark when first meeting her later beau, and before long they're an item much to the chagrin of her former lover (Mike Vogel).

Williams is pregnant with Vogel's baby so there's that too.

In several sequences like one set in a blue-lit future-themed hotel room where Gosling hopes to re-ignite the couple's dying flame get into some emotionally wretching territory, but the film never wallows in misery.

Sometimes feeling like a series of sad snapshots of a doomed romance, "Blue Valentine" captures the tone and uneasiness of fading affection without a false move.

It's surprising that Williams got a Oscar Nomination for her work here and Gosling didn't. Don't get me wrong - William's nom is well deserved, but Gosling's restless intensity definitely equals hers.

A great Grizzly Bear soundtrack and graphic instances of sex and violence are intertwined inside the abstract construction of this film, but I bet what will linger more in the memory will be the raw moments between Gosling and Williams where they ache together yet still can not connect.

Like a heart made out of barbed wire, BLUE VALENTINE really stings.

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ALL GOOD THINGS: The Film Babble Blog Review

ALL GOOD THINGS (Dir. Andrew Jarecki, 2010)

Andrew Jarecki, director of one of the best documentaries of the Aughts (CAPTURING THE FRIEDMANS), stays in the world of non-fiction for his first narrative drama based on what's been called "the most notorious murder case in New York history."

Loosely based on the life on real estate mogul Robert Durst whose wife Kathleen McCormack mysteriously disappeared almost 3 decades ago, this film begins as a love story with overhanded ominous overtones.

Through a framing device of later court testimony providing narration we meet Ryan Gosling and Kirsten Dunst as the couple, renamed David and Katie Marks, who meet in 1971 and seem initially happy, well, if she looks the other way when he mumbles to himself.

Gosling's powerful NYC property owner father played with suave menace by Frank Langella doesn't care for Dunst or his son's hippy lifestyle (the couple smokes joints and own a health food store out in the sticks in Vermont called "All Good Things").

Langella wants his son to be back in New York working for the family business - work than mainly involves shady money pick-ups from sleazy tenants. Gosling gives in to his father and the couple give up the country for the big city.

We learn from Lily Rabe as a outgoing friend of Gosling's that his mother had committed suicide in front of her son . This may explain why he demands that Dunst immediately get an abortion when she tells him she's pregnant.

The couple grow apart after that with Gosling in NY while Dunst stays at their weekend lake house pursuing a medical career.

Gosling has several violent outbursts aimed at his worried wife and after one particularly gloomy evening at their second home Dunst vanishes.

Throughout the film we see flashes of a dark figure hauling garbage bags that presumably have human remains onto a bridge in the middle of the night.

Despite the suspicion of many, Gosling is never charged with a crime and moves on until years later when he's charged with the murder of a cranky neighbor (the always welcome Phillip Baker Hall).

Though he claims self defense and is acquitted, of course, strong doubts linger.

The film gets a bit unfocused in its final third, but it was on shaky ground much earlier it must be said. Gosling is effectively cold and creepy and the film matches that demeanor beat by beat yet the overall take-away isn't one of eerie fascination.

ALL GOOD THINGS acts as if it has secrets to tell, but it really only has a few speculations up its sleeve.

It feels like a slightly glorified "made for TV" melodrama like those shown on the Lifetime network.

The supporting cast is capable - Dunst registers more realistically than she has before for me, and as her coke snotting best friend Kristen Wiig (Saturday Night Live) has a few moments as, I guess, light comic relief, but there isn't a lot of weight to this plodding procedural.

There have been great inconclusive films before such as David Fincher's ZODIAC and Jarecki's own doc CAPTURING THE FREIDMANS - films that passionately probe for the truth through a murky web of contradictions, but ALL GOOD THINGS simply doesn't have the hook or enough layers to make it anything more than a forgettable true crime thriller throwaway.

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300 Blows So Turn To Some New Release DVD Relief

So, I made it out to see the #1 movie in the US of A earlier tonight. I knew going in that it wasn't really my genre (so keep that in mind - obviously I'm in the minority as the box office indicates) but I gave it a whirl. Now I'll take a stab at a review: 

300 (Dir. Zach Snyder, 2006)



"This isn't going to be over quickly and you will not enjoy it." - Theron (Dominic West) My sentiments exactly. The Battle of Thermopylae in 480 B.C. is told in tortuously tedious terms here. Based on Frank Miller's graphic novel, 300 is relentlessly stylised beyond any level of actual human connection. Much of the time it resembles a vacous video game or a glib expensive TV or historically themed magazine ad with it's artificial gold or silver-hued grainy surface. 

A passionless sex scene early in the film is shot just like a Calvin Klein Obsession commercial. King Leonidas (a mightily melodramatic Gerald Butler) leads the obsessively dedicated but small army of 300 Spartans, who with their red capes and bare chiseled chests march through the hills looking like the scariest Chippendales review ever. In this gallant Kamikaze mission they take on waves of thousands of attacking Persians in stop/start MATRIX-ish methods like frozen in mid-air assault positions and slo-mo floating droplets of blood all done as CGI composition on top of blue-screen backgrounds. None of it feels or looks real, and I know that's precisely the point but I never felt anything for any of the characters and none of the countless deaths - many by spear - pierced through my bored indifference. With none of the soul of the best action war epics 300 dies just as dreary a death as the heroes it depicts. 

Now some more new Release DVD reviews. 

 TIDELAND (Dir. Terry Gilliam, 2006) Only film fans who haven't been paying attention would be unaware of Terry Gilliam's near complete ostracisation from the world of commercial film. 

The ex-Monty Python member is notorious for ferociously fighting major studio heads, plentiful production problems, and wildly going over budget leaving numerous projects stalled in development hell and making him ineligible to direct movies he would be perfect for - like one or two of the HARRY POTTER movies for example. 

If one were to put on the DVD for TIDELAND having not read anything about it (and with little to no promotion that's very possible) they may be surprised to see Gilliam at the beginning of the film giving a disclaimer/introduction. In a shadowy grainy black and white headshot that's almost as scary an image as anything in TIDELAND Gilliam states : "Many of you are not going to like this film. Many of you luckily are going to love it. And then there are many of you who won't know what to think when the film finishes but hopefully you will be thinking." 

Gilliam goes on to explain that the film is seen through the eyes of an innocent child and that while viewing it one should forget what they know as a cynical adult. Easier said than done but once TIDELAND gets going it casts a long lasting spell as potent as one's most fantastical child-hood day dream (or nightmare). The child in question in this adaptation of Mitch Cullin's 2000 novel is Jeliza-Rose (10 year old Jodelle Ferland) who has a SHINING-like habit of talking to her index finger alternately wearing 5 different doll-heads who each have bitchy personalities and voices of their own only heard by her. 

When her junkie mother Queen Gunhilda (a typically crazy Jennifer Tilly) dies early on from a heroin overdose, Jeliza -Rose's father Noah (Jeff Bridges doing what appears to be a Kris Kristofferson impression to ward off comparisons with "The Dude") buses them out to the middle of nowhere (actually Saskatchewan) to hide out in his long deceased Mother's abandoned farmhouse. Then things start to get weird. Before long Jeliza-Rose meets her neighbors - the one-eyed witchy Dell (Janet McTeer) and the epileptic Dickens (Brendan Fletcher) who excitedely plots destruction by way of dynamite derailing a passing passenger train that he thinks is a monster shark. 

Noah also dies of an overdose, from a fix prepared by his dutiful daughter no less and Dell performs taxidermy on his corpse so it can still join them at a place at the dinner table come mealtimes - "he looks like a burrito" Jeliza-Rose exclaims. It's all seen in tilted camera angles and wide panoramic shots that enhance the orange wheat field landscape. 

The stark reality that originally grounds the film continually threatens to escape into Jeliza-Rose's Alice In Wonderland-influenced dementia. The scenes between Fletcher and Ferland come close to having inappropriate sexual overtones but remembering Gilliam's warning and sensing the true tone should eliminate any uncomfortable tension.

TIDELAND appears to be the worst reviewed movie Gilliam has ever made. 
It has a 26% rating on Rotten Tomatoes.com (the site that tailies up the major critic's ratings) and the words "ugly", "pointless", "murky" and especially "unwatchable" come up in just about every review. Well I'm going against the tide here - this is a moving and darkly beautiful masterpiece. Ferland wonderfully carries the movie with even her doll’s head’s (and one squirrel) voices playing the right heartbreaking notes and every scene is perversely perfect in it’s construction. So as Giliam predicted I am luckily among the few who loved it. 

HALF NELSON (Dir. Ryan Fleck, 2006) 

A young African American female student named Drey (Shareeka Epps) at an inner-city high school walks in on her white 20-something-year old teacher Dan Dunne (Ryan Gosling) smoking crack in the girl's locker room. They form an unlikely friendship and get worrisome windows into each other's troubled lives. 

Epps is growing up too fast in a world of dealers and street crime while Gosling (Oscar nominated though everyone knew he wouldn't win) is in a state of stunted growth muddling his conviction for teaching Civil rights history and coaching the girl's soccer team. More tension arrives in the form of Anthony Mackie as the impeccably smooth Frank - a pusher and family friend of Drey's that Dunne warns Drey to stay away from. A stilted confrontation between the 2 men occurs but the level of conflict is low and surprisingly speech-free. 

Purposely gritty and well acted HALF NELSON works as an exercise in realism with no sappy wrap-ups or enforced morals. Well acted with a sober intensity throughout makes one feel that they've spent an hour and 40-something minutes with some real people and that's very rare these days. 

FAST FOOD NATION 
(Dir. Richard Linklater, 2006)



It would be easy to label this a brother or sister film to THANK YOU FOR SMOKING as a dramatized indictment of big corrupt corporations and their consequences on everyday people but FAST FOOD NATION contains none of that film's semi-successful sense of satire, cynicism or exaggerated allegory.

Taking Eric Schlosser's best selling muckraking non-fiction book and throwing out all but the title and it's central issues, Linklater gives us several tangled narratives - unfortunately none compelling enough to really have impact. In one thread that is dropped half-way through a Mickey's (a fictional McDonald's type chain) exec. 

Don Anderson (Greg Kinnear) investigates claims that manure may be in the beef. In another, Mexican immigrants (Wilmer Valderrama, Catalina Sandino Moreno, Ana Claudia Talancn) work at an incredibly unsavory meat proccessing plant and have their lives compromised at every turn. 

Then there's also Amber (Ashley Johnson) - a teenage employee of a Mickey's that is developing activist ideals while her co-workers plot a possible robbery of their own establishment. Not to forget the pointed cameo by Bruce Willis or the pointless cameo by Linklater regular Ethan Hawke.

The strong cast (including Kris Kristofferson, Luis Guzman, Patricia Arquette, and Avril Lavigne!) and Linklater's mastery of dialogue driven scenes is what this movie has got going for it but the overall unpleasantness and lack of new insight into this material makes it unappetizing in a different way than it set out to be. 

Seeing the factory killing floor in action in any context is disturbing and eye-opening, here though it doesn't have the intended effect of enhancing all the loose threads. FAST FOOD NATION has its civil conscience in the right place, sad that it's cinematic heart isn't.

Correction : In a post earlier this year I listed INDIANA JONES 4 as a movie to look forward to in 2007. It's reported release date is actually May 22nd, 2008. Also I was told by a loyal film babble reader that the last time Harrison Ford portrayed Indiana Jones was not in INDIANA JONES AND THE LAST CRUSADE (1989) but here.

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