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Take the March with Oyelowo in ‘Selma’

Selma_posterSelma? I hardly knew ya!

“Selma” stars David Oyelowo as Martin Luther King Jr. as he and other civil rights leaders head the 1965 march from Selma to Montgomery in an attempt to get equal voting rights for African Americans. Oprah, Common and Tom Wilkinson also star as Ava DuVernay directs.

David Oyelowo, aside from being “that guy with the confusing last name” (it’s pronounced “oh-yellow-oh”, for future reference) has been in many films in supporting roles but has never been known as a leading man. He appeared in “The Help” and “Rise of the Planet of the Apes”, and then ironically was in 2013’s “The Butler” where is character interacted with Martin Luther King, but “Selma” marks the first time he has had to carry all the weight, and he proves that he is the one of the better actors in Hollywood.

“Selma” is as solid as it is because of Oyelowo’s gripping portrayal of MLK Jr. He looks like King, rocking the slow southern accent and signature mustache, but he also shows the emotional toll that King’s life had on him. Whether it be holding back tears talking to the relatives of a deceased or the problems with his wife on the home front, Oyelowo needed to evoke multiple emotions for the role and he nails it.

The rest of the supporting cast all do solid work as well, particularly Tom Wilkinson as Lyndon B. Johnson and Henry G. Sanders as an elderly protestor. Wilkinson portrays the frustration LBJ had when trying to balance racial equality and the War on Poverty, while Sanders shares probably “Selma”’s most tender and human scene with Oyelowo when they discuss the loss of a protestor.

DuVernay’s direction for the most part is capable, however there are times that she chooses to play it safe and opt for the standard biopic path. There is one scene where King is in the car with a protestor and the young man starts to tell King about a speech of his he attended that motivated him to become part of the movement. As he continues to talk and starts to fight back tears, the score picks up, just to make sure you know that the scene is meant to be emotional.

Variety

Variety

The riot and police brutality scenes are pretty violent and sometimes hard to watch, but that’s the point. It is mindboggling to think that this type of thing happened in our country at all, much less only 50 years ago, but “Selma” reminds us that unjust brutality was a hardship that both whites and blacks who fought for equal rights did indeed face.

My only problem with the scenes of protests is that every one of them featured people getting tackled in slow motion, with the high-pitched screeching sounds in the background and close-ups of people getting tackled to the ground in first person view. This didn’t work for me, not just because it was standard dramatic riot shots, but because there are other shots in the movie that are creative and work well, such as showing the size of the marches from sweeping aerial shots.

“Selma” isn’t telling a little-known tale of an unsung hero like “The Imitation Game” did, but it features a fantastic performance from David Oyelowo and serves as a powerful reminder for how far we’ve come as a nation, yet how distant we are from achieving the full scope of Martin Luther King Jr’s dream.

Critics Rating: 8/10

Carell, Tatum Highlight Slow-Burning ‘Foxcatcher’

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Foxcatcher_First_Teaser_PosterWhat do Michael Scott, the Incredible Hulk and Jenko from 21 Jump Street have in common? They all give some of the best dramatic performances of 2014 in “Foxcatcher”.

Directed by Bennett Miller, who also helmed “Capote” and “Moneyball”, “Foxcatcher” is a  thriller based on the true story of millionaire John du Pont (Steve Carell) who become the sponsor of USA wrestlers Mark and Dave Schultz (Channing Tatum and Mark Ruffalo).

A huge fan of Steve Carell and excited to see what he could do in a dramatic role, I personally have been looking forward to this film for a long time. Originally due out in December 2013, it was delayed a full year to complete editing, so I have been counting down the days until its release since Oscar Season kicked off two months ago. And much to my pleasure, “Foxcatcher” does not disappoint.

What drives the film are the performances; Tatum, Carell and Ruffalo all shine in their own way. Tatum, coming off the comedy hit “22 Jump Street”, and Carell, from “Anchorman” and “The Office” fame, aren’t exactly who you think of when you hear “Oscar-worthy performance”, but both give just that.

Playing a meathead athlete may not seem too much of a stretch for Tatum considering his physique and persona, but Tatum’s Mark Schultz requires so much more. Stuck in his brother’s shadow despite himself winning Olympic gold, Mark takes up du Pont’s offer to come and train at his estate, seeing it as a chance to separate himself from his brother. While attempting this separation, Mark’s mental state becomes more strained, and Tatum is near perfect showing the emotional toll, as well as physical repercussions, of this.

Carell is almost unrecognizable as John du Pont, a man with an almost homoerotic obsession with the sport of wrestling, a desperate desire to impress his mother, and, as he says, a want to “see America soar again”. Comedians often have dark sides, it’s what made Michael Keaton perfect as Batman and why Robin Williams could flip a switch and give a serious performance. Carell has several scenes where he gives a chuckle-inducing line, like wanting to be called “Golden Eagle”, but nearly every time du Pont walks into a room, especially in the final 30 minutes, you feel uneasy and on edge, because you just have a feeling that this guy could just snap.

Ruffalo has his moments to stand out as well, especially in the second half of the film when he comforts a quickly deteriorating Mark.

What may turn some people off from “Foxcatcher” is the fact that it is a candle burning film, meaning it is a lot of build-up. At times the film may feel like it has no true aim, or even seem uneventful, but it is all building to a fantastically executed climax by Miller. The acting, the score and the direction all come to a perfect head, resulting in a final scene that is still etched in my brain and gets better as more time passes.

“Foxcatcher” is a fantastically acted, wonderfully directed thriller that takes a while to build but is well worth the wait. Tatum, Carell and Ruffalo all have scenes in which they are brilliant, and whether you know how this story ends or not, the final half hour of this film will have you leaning forward in your seat and your heartbeat slowly increasing.

Critics Rating: 8/10

Simmons and Editing Stand Out in ‘Whiplash’

Whiplash_poster               I’m telling ya, man, editors don’t get enough respect.

“Whiplash” stars Miles Teller as a young drummer who enrolls in the number one music school in the country. Upon arrival he is met by a cutthroat teacher (J.K Simmons) who goes to extremes to try and get the best out of his students. Damien Chazelle writes and directs.

“Whiplash” has three things about it that really make it work: the editing, Miles Teller and J.K. Simmons. Without these three components it may have just been another small-time movie that is quickly forgotten. However with these two actors and an amazing editing job by Tom Cross, “Whiplash” is elevated to one of the best films of 2014.

It’s impossible not to love Miles Teller. Even in meh films such as “Two Night Stand” or “21 and Over” he shines, and his charisma and likability improve the film itself. In “Whiplash”, he gives arguably his best performance to date, as he keeps the same quick wit and amusing one-liners, but also delves into dramatic, almost depressing territory. His character is so torn and determined to be the best drummer possible that he shuns out everyone around him and practices to the point that his fingers bleed (literally).

As good as Teller is, however, the real stand out is J.K. Simmons. His character goes from calm and inspiring one second to screaming and verbally abusing the next. Like we’re talking “Wolf of Wall Street”-string-five-swear-words-into-one-sentence verbal abuse. Simmons is like Sergeant Hartman from “Full Metal Jacket” and Simmons’ J. Jonah Jameson had a love child; he has his funny moments and his rants can be entertaining to the audience, but at the same time you are thankful he is not the man in your life who is in charge of giving you orders.

The editing in the film is what really deserves praise, however. The whole movie is cut like a jazz performance, with quick jumps from one character’s face to another, from one instrument to the next. The film’s finale wears on a tad bit too long, however it is so smoothly put together that is does not drag; if anything, it will leave you leaning in your seat for more reason than one.

Writer/director Damien Chazelle first made “Whiplash” as a short film in 2013, and his script landed on the Black List, the best unproduced screenplays in Hollywood. He does a great job transferring his short onto the big screen, and his screenplay features a little bit of everything. You want humor? Simmons’ monologues and Teller’s charm will have you chuckling. You want thrills? When Teller goes up on stage you are just as nervous as he is because you know if he screws up Simmons will tear him apart. You want romance? Teller awkwardly asks a girl out who is then seen in only one more scene, but hey, it’s in there!

“Whiplash” is a film that is career-defining for young guns Teller and Chazelle, as well as veteran character actor Simmons. They all bring something different and special to the table, and when combined together the end product is engaging and intense, especially when you throw in some amazing editing. Sorry to continue and bring that up but seriously. It’s that good.

Critics Rating: 8/10

Keaton and Norton are Perfect in ‘Birdman’

Birdman_posterSometimes a film has a large scope and just isn’t able to fill it. Whether it is the visual ambitions or just from a technical standpoint, a director’s goals just sometimes don’t pan out on screen. “Birdman” is absolutely not one of those films.

“Birdman” stars Michael Keaton as a washed up actor who is known for formally portraying a superhero in movies (kind of ironic). To try and remain relevant and prove he is capable of being a true actor, he mounts a Broadway play while at the same time battling his family, his costars and himself. Edward Norton and Emma Stone costar and Alejandro González Iñárritu writes and directs.

“Birdman” does something I’ve never seen before: it shoots the entire film as if it is one continuous take, with each scene seemingly transitioning to the next with no edits. While obviously the entire movie was not shot in 120 straight minutes, each scene seems to be one take. This is not only is impressive from a filmmaking standpoint, but also becomes mind-blowing when you think of the pressure that put on the actors to not screw up; and is even more amazing when you see the results.

Michael Keaton and Edward Norton give two of 2014’s best performances, if not two of the better acting jobs in recent years. Keaton plays a man trying to remain relevant well past his prime, but “mocks Twitter and won’t even get a Facebook page” as his daughter (Stone) says. He has moments of dark humor, the entire film does, but it is the scenes that show him fighting his inner demon (in the form of the voice of a man in a bird costume) that are the best.

Norton may be even better playing a Broadway actor who thinks his he is God’s gift to the stage, and when someone does something to ruin his techniques, he voices his distaste, even if it’s in the middle of a live performance. There is one scene between Norton and Stone (who is fantastic in her own right) that is just insanely fun and pretty damn well-executed, and if Norton gets the Oscar nomination that he deserves then that scene will likely be used as his submission tape.

As near-perfect as the acting in “Birdman” is, the messages it sends are just as good. One is all about the differences between actors and celebrities, and how many actors have traded in genuine craft for capes, and judge their career on weekend box office totals. Another underlying message is that critics are just those who failed at the craft themselves; like they say, those who can’t do, teach (ouch).

The score of the film is also amazing, and it seemed that on numerous occasions it was the transition between scenes with its drums and symbols.

“Birdman” is nearly perfectly executed on near all fronts. The acting and score are phenomenal, Alejandro González Iñárritu’s direction and screenplay are infectious, and the continuous shot gimmick is anything but (next movie I see the edits and different angles are going to be painfully glaring). The third’s final act gets a little out there, and the ending in particular is a bit ambiguous, but these don’t ruin the film. Much like Keaton hearing the voice of Birdman, I can’t get Norton and Keaton out of my head, and I’m sure this won’t be the last that I, or you, hear about their performances for a long time.

Critics Rating: 9/10

‘Interstellar’ Reaches for the Stars, Scratches Greatness

interstellar            In his first directorial effort since completing his Dark Knight trilogy, Christopher Nolan returns to the visually striking and mind-bending side of films with “Interstellar”.

Set in the future on a dying planet Earth, several astronauts (Matthew McConaughey, Anne Hathaway) set out into a wormhole near Saturn to try and find a new planet suitable for human life. Nolan favorite Michael Caine plays the intellectual head of the project and Jessica Chastain also stars.

Say what you will about Christopher Nolan films, but one thing that is undeniable is that every one of his movies has large scopes and ambitions. The problem most of his films not named “Inception” and “The Dark Knight” have are that the scope is often too big to fill. “Interstellar” sets the bar incredibly high (that bar being an entirely different galaxy) and for most of the film it appears like it will reach that bar and be something great; before the wheels come off in the final act.

The acting in the film is great across the board. McConaughey, fresh off his first Oscar for the superb “Dallas Buyers Club”, shows that his 2013 was no fluke. He plays a father who is conflicted with possibly saving the human race, but while leaving his children behind for years in the process. He still has his signature droll and charm, but this is a side of McConaughey we’ve never seen. My future wife Anne Hathaway is equally as solid as McConaughey’s fellow astronaut, a woman torn between morals and emotion.

The visuals in the film are striking and much like last year’s “Gravity” there are shots that show the pure magnitude of space that will leave you breathless. On numerous occasions the camera pulls up to show the small ship riding among the sea of stars in complete silence, and for a split second it puts everything in perspective.

Everything was going great with “Interstellar”, and for a moment I thought maybe this could be the next space classic a la “2001”, but then the final act happens. I obviously can’t say much of anything without spoiling it, but it is one of those moments that while you watch it transpire you just think, “Oh. Well. Um…ok. Sure, I guess.” I really think the studio gave Nolan complete control of this project, and that may have been a slip-up on their end.

There are also the classic (at this point cliché) “Nolan-isms”, such as underdeveloped side characters, plot holes and the aforementioned unfillable scope, but they aren’t as prevalent or glaring here as with his other projects.

“Interstellar” has no right being nearly three hours long, but there was not a second during it that I was bored. The performances are great, the visuals are outstanding and there are several very well-directed moments of tension, one of which had the entire audience gasp at the same time. “Interstellar” reaches for the stars and they just barely evade its grasp, but just because it is not a stellar movie (*snickers*) does not mean it is a trip you can afford not to take.

Critics Rating: 8/10

2014 Oscar Predictions

The 2014 Oscars are right around the corner, so here are my thoughts on who I want to win (SHOULD WIN) and who all signs point towards winning (WILL WIN) for the 6 main Oscar categories.

BEST PICTURE

For all intents and purposes, this is a two horse race between “12 Years a Slave” and “Gravity”. “American Hustle” has an outside chance of squeaking in, but the Academy will probably choose between the visually stunning “Gravity” and the historically important “12 Years”. Regardless of who wins Best Pictu12_Years_a_Slave_film_posterres, both films will win multiple awards Sunday night. “Wolf of Wall Street” and “Captain Phillips” were my top two favorite films from 2013, but they are either too controversial or too under-publicized to stand a chance here. Also if “12 Years” wins, it will be Brad Pitt’s first Oscar win, so that would be cool.

Should Win: Captain Phillips

Will Win: 12 Years a Slave

Best Director

I personally feel Paul Galfonsoreengrass was snubbed for “Captain Phillips”, but it wouldn’t have mattered much, because it is pretty much a lock that Alfonso Cuarón will win for “Gravity”. If you watch any of the behind the scenes for the film, he had so much to do with creating the most visually stunning film ever (Avatar be darned). Steve McQueen could win for “12 Years a Slave” because of the emotional toll of that film, but honestly this would be an upset if anyone other than Cuarón wins.

Should Win: Alfonso Cuarón

Will Win: Alfonso Cuarón

Best Actor

This is by and far the tightest race in any category in Oscar history. Tom Hanks didn’t receive a nomination foractor “Captain Phillips”, yet he wasn’t snubbed; that’s how great this year’s nominations are. The leaders, however, are Matthew McConaughey for “Dallas Buyers Club”, Chiwetel Ejiofor for “12 Years a Slave” and Leonardo DiCaprio for “The Wolf of Wall Street”. Christian Bale (“American Hustle”) and Bruce Dern (“Nebraska”) both gave great performances, but it would still be a small shock if they won. McConaughey has done an amazing job turning his career around from the awful rom-coms and was phenomenal in “Dallas”. Ejiofor had such a large range of emotions in “12 Years”. And DiCaprio went all in with “Wall Street” and may deserve to win simply because he has been snubbed by the Academy for near 2 decades now. It will be close, but in the end I think the actor with the most physically demanding role will win, and that goes to McConaughey, who lost 38 pounds.  

Should Win: Leonardo DiCaprio

Will Win: Matthew McConaughey

Best Supporting Actor

Much like Best Picture, this is pretty much going to come down between 2 nominees: Jared Leto (“Dallas Buyers Club”) and Barkhad Abdi (“Captain Phillips”). 2-time nominated guys Bradley Cooper (“American Hustle”) and Jonah Hill (“Wolf of Wall Street”) will have to try their luck again actor2another year, and despite being memorizing in “12 Years a Slave” Michael Fassbender has denounced the Academy after getting snubbed for “Shame” several years back, effectively knocking him out of contention. Between Leto and Abdi, Leto has the slight edge because his role was extremely demanding in several categories (he played a cross-dresser, lost 40 pounds and got his arms and legs waxed). As fantastic as Leto is, however, I personally would love to see Adbi win, giving “Phillips” it’s likely only win of the night. Plus he had never acted before this role; the guy was driving limos. That would be a crazy rags-to-riches story.

Should Win: Barkhad Adbi

Will Win: Jared Leto

Best Actress

Like many non-Academy members, I did not see Cate Blanchett in “Blue Jasmine”, but the buzz around Hollywood is she is a lock to win. She has essentially swept every award this year. Sandra actressBullock (“Gravity”) and Judi Dench (“Philomena”) both gave great performances, but this just isn’t their year. And if Meryl Streep wins for “August: Osage County” I am pretty sure everyone watching the TV will groan and throw up. The only person who can challenge Blanchett is Amy Adams, and it is for the same reason DiCaprio stands a chance: she’s a 5-time nominated, no time winning actor. The Academy may feel bad if Adams goes home empty handed for a fifth time, and as much as I would love the overrated “Hustle” to not win a single award on Sunday night, I think Adams deserves a trophy for once.

Should Win: Amy Adams

Will Win: Cate Blanchett

Best Supporting Actress

I am going to begin by saying Jennifer Lawrence doesn’t deserve her nomination and was nominated for the same reason Meryl Streep was: because of her name being credited in a movie. That being said, everyone in Hollywood does not agree with me, as Lawrence has won the BAFTA and Golden Globe this year for “American Hustle”. She has two real competitors: June Squibb (“Nebraska”) and Lupita Nyong’o (“12 Years a Slave”). I thought Squibb was the best part of “Nebraska”; she was funny, angry and honest, often all at once. Nyong’o did a good job stirring up emotion in her role, and stands the best chance of beating Lawrence from sweeping the Big 3 awards. I really don’t know how this one will go; my gut says Lawrence, my logic says Nyong’o and my heart says Squibb. As long as Lawrence doesn’t win I’ll be happy, but deep down I fell I’m going to be disappoinlupita-jennifer-600x450ted come Sunday night.

Should Win: June Squibb

Will Win: Jennifer Lawrence…or Lupita Nyong’o, I really truthfully haven’t a clue.