Tag Archives: academy awards

‘Spotlight’ a Well-Acted, Infuriating True Story

Michael Keaton probably should’ve started this whole “drama acting” thing a while ago. He could have a lot more Oscar nominations.

“Spotlight” tells the true story of the Boston Globe team of journalists (Keaton, Mark Ruffalo, Rachel McAdams and Brian d’Arcy James) that worked to uncover the child abuse by Catholic priests, and the extents the church went through to cover it up. Tom McCarthy directs and co-writes.

Keaton earned his first career Oscar nomination for last year’s “Birdman,” and many think he could score another nomination for his work here. Keaton, along with pretty much the entire cast, does solid and nuanced work in “Spotlight,” a film that is more about the little moment and aftertaste it leaves in your mouth than the wide scope.

The story told in “Spotlight” is something many people may have heard of, but few likely know the extents the journalists went through in order to uncover the conspiracy involving the Catholic Church. As a journalism major, I appreciate a film that shows the work newspapers go through to break a story and the inner-conflicts they have on how and when to run them.

Director McCarthy does a very good job subtly showing the power and influence the Church has over the institutions and families of Boston, by doing things like showing churches in the background of many establishing shots. The script, which he co-wrote with Josh Singer, has some nice interplay between the characters, and gives each actor an individual scene to shine.

The real stars of the show to me, however, are Mark Ruffalo and Stanley Tucci. Ruffalo is arguably the lead of the ensemble cast, given the character with most emotional weight. He has one scene that will likely be used as his “For Your Consideration” reel, and the scenes that he and a small but effective Tucci share are when the film is at its best.

The film does take a little while to get going (the team kicks the story around before they realize the magnitude it could have), and at times people throwing out names of so many priests, lawyers, and victims, half of which never get a face placed to them, can get confusing in-the-moment.

The film will make you angry that so little was done to stop and punish the priests who abused so many children, but that is just good filmmaking. At the end of the film is lists cities that have since had sex abuse scandals brought up against the Church, and it’s enormous.

“Spotlight” isn’t groundbreaking cinema, and it isn’t intense throughout the entire runtime as it is in some individual moments, but those moments that do excel are as effective and entertaining as anything at the movies this year.

Critics Rating: 8/10

Variety

2015 Oscar Predictions

Well, it’s almost that time of year. Time for the King Daddy of all award shows, the Oscars. Here I will go over who I think SHOULD win (subjective) that pretty golden statue, and who I think WILL win (objective), on Sunday, February 22.

Best Picture

This is pretty much a two horse race, with two other films having a longshot of playing spoiler. The only film with practically no shot of winning is “Selma”, which only has one other nomination (Best Song, which it will win). Other films like “Whiplash”, “Imitation Game” and “Theory of Everything” were solid, but pretty much it will come down to “Boyhood” vs “Birdman”. “American Sniper” and “The Grand Budapest Hotel” have picked up immense momentum since January, so they have the best shot of being a dark horse. Of the films nominated I personally found “Imitation Game” the best, but I think the final award of the night will go to “Boyhood” due to all that went in to making the film. Plus the theme song of the film, “Hero”, is fantastic.

SHOULD WIN: The Imitation Game

WILL WIN: Boyhood

Variety

Best Director

Probably the most interesting competition of this year. It will likely come down to Richard Linklater (“Boyhood”) and Alejandro González Iñárritu (“Birdman”), but it goes deeper than that. Both men created projects that defied what we knew about film, with Linklater using the same cast to film “Boyhood” over 12 years, and Iñárritu shooting “Birdman” is continuous, sometimes 15 minute long takes. Whoever loses this award will likely take home Best Original Screenplay, so they shouldn’t hang their head for too long. I think Linklater wins because of his dedication and control of such a monumentally unique film. Other nominees include Wes Anderson (chance to win here or Original Screenplay for “Budapest”), Bennett Miller (who was nominated for his work on “Foxcatcher”, yet the film did not receive a Best Picture nod) and Morten Tyldum (“Imitation Game” was driven more by Cumberbatch and the script so this one somewhat baffled me).

SHOULD WIN: Richard Linklater

WILL WIN: Richard Linklater

Variety

Best Actor

Pretty much the same story as Best Picture, this award will likely go to one of two nominees. I love Steve Carell to death and his performance in “Foxcatcher” was amazing, but he and Benedict Cumberbatch both should just be happy to have earned their first Oscar nod. Like his “American Sniper” vehicle, Bradley Cooper has a small chance of pulling the upset, but it will come down to Michael Keaton (“Birdman”) and Eddie Redmayne (“Theory of Everything”), and Redmayne has won all the precursor awards needed to imply a victory. The Academy may give Keaton the edge because he is the older, more well-known actor; however Redmayne’s role was so demanding both physically and emotionally, I think he’ll win it.

SHOULD WIN: Steve Carell

WILL WIN: Eddie Redmayne

Variety

Best Supporting Actor

Well this paragraph could be as short as “it’s going to be J.K Simmons” because it’s going to be J.K Simmons. Most people know him as J. Jonah Jameson in the original Spider-Man trilogy, however he gave a fantastic performance in “Whiplash”, and it is good to see him finally winning awards. Edward Norton was equally amazing in “Birdman”, and he would get my vote, but Simmons has near swept everything else. Ethan Hawke got his 4^th nomination, Mark Ruffalo got his second and Robert Duvall somehow got one for “The Judge” (my mouth hit the floor when it was announced). It’ll be Simmons, with 1% chance Norton comes in for the steal.

SHOULD WIN: Edward Norton

WILL WIN: J.K. Simmons

Indiewire

Best Actress

If you thought Best Supporting Actor was a lock, then this is a steel cage. Julianne Moore will win. Like, 100%. Not too many non-critics saw her work in “Still Alice”, but like Simmons she has swept the board. The women who will stand and clap when Moore’s name is called include former Oscar winners Marion Cotillard and Reese Witherspoon, as well as first-timers Felicity Jones and Rosamund Pike.

SHOULD WIN: Julianne Moore

WILL WIN: Julianne Moore

Variety

Best Supporting Actress

The Oscars aren’t very fun this year. The front runner is Patricia Arquette for her 12-year-long role in “Boyhood”, and deservingly so. Laura Dern earned a nomination, as did Emma Stone, so that’s kind of cool. I loved “The Imitation Game” but have no real idea why Keira Knightley was nominated, and I threw up when Meryl Streep got her obligatory nomination (all she has to do is appear in a movie and the Academy will nominate her). Arquette did the best and most dedicated work, and she deserves the trophy she will likely take home.

SHOULD WIN: Patricia Arquette

WILL WIN: Patricia Arquette

Indiewire

2015 Oscar Nomination Reactions

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Who says the Oscars are boring?

The 87^th Academy Award nominations were announced Thursday, and with them came some shocks, both good and bad. Here I’ll give a quick rundown of my thoughts.

Best Picture

I knew my top film from 2014 “Captain America: The Winter Solider” wasn’t going to get any love here (although it did score a Visual Effects nod), buts some of the other films from my Top 10 list did earn the nomination, including the amazing “Birdman” and “Imitation Game”, as well as “Boyhood”. A surprising and welcome addition was “Whiplash”, and a snub I am surprised but not crushed by is “Foxcatcher”. “Selma” earned a nomination for Best Picture and that’s about it, but more on that in a second. “The Grand Budapest Hotel” continues its momentum ride, earning a Best Picture nod on its way to nine total nominations, tied for most with “Birdman”.

The Imitation Game Variety

Best Director

Alejandro González Iñárritu and Richard Linklater both got their expected nominations for “Birdman” and “Boyhood”, respectively, but the biggest surprise to most people is that “Selma” director Ava DuVernay’s name is not on the ballot. Replacing her is Bennett Miller for “Foxcatcher” (rare to see a director get nominated for a film that is not). I am not saddened or shocked by this move, as I thought Miller handled his real-life subject matter better than DuVernay, but still, some are upset. Morten Tyldum for “The Imitation Game” and Wes Anderson for “The Grand Budapest Hotel” round out the group, the first time either man has scored a Best Director nomination.

Richard Linklater Variety

Best Actor

Oh, hello there, Bradley Cooper. Cooper is by and far the biggest surprise on this list, as it seemed David Oyelowo was a lock for his portrayal of Martin Luther King, Jr. in “Selma”. I am shocked by the lack of Oyelowo, both because of how great his performance was, and the fact that the Academy loves biopic pieces (Michael Keaton is the only actor in this group who did not portray a real-life person). Also, Steve Carell earned a nomination for his chilling, career-defining role in “Foxcatcher”. Admission: I was freaking out that Carell wasn’t going to get nominated, but now I can say “Michael Scott has an Oscar nomination”, so that’s pretty cool. Jake Gyllenhaal’s name was in discussion for his creepy work in “Nightcrawler”, but I guess one psychopath was enough for the Academy.

Steve Carell Variety

Best Actress

The probable winner of this category, Julianne Moore, got her nomination for her role as a professor struggling with early onset Alzheimer’s. The women Moore will likely beat out include Marion Cotillard, Felicity Jones, Rosamund Pike and Reese Witherspoon. Of those names, only Cotillard surprises me, as it seemed Jennifer Aniston had a lot of buzz. Golden Globe winner Amy Adams will have to wait another year to get her 6^th career nomination.

Julianne Moore Variety

Best Supporting Actor

Probably the least surprising category. All five guys were nominated in the category at the Golden Globes, with J.K. Simmons taking home that trophy, and likely come February will have his name read at the Oscars, too. My vote would go to Edward Norton who was mind-blowingly good in “Birdman” as an egocentric actor, but beggars can’t be choosers. The hype-train didn’t stop for 84-year-old Robert Duvall, who scored his 7^th nomination for “The Judge”, and to that I say… *shrugs* (it’s an OK movie certainly elevated by him and Downey’s chemistry).

Edward Norton Indiewire

Best Supporting Actress

This one features one of the biggest surprise nominations in Laura Dern. There was little talk about her getting nominated for “Wild”, but apparently the Academy saw her work better than Jessica Chastain’s in “A Most Violent Year” (a film that earned as many nominations as “Dumb and Dumber To”). I love that Emma Stone got nominated, I roll my eyes at Meryl Streep’s obligatory yearly nod, and I continue to applaud Patricia Arquette’s work in “Boyhood”, and she is the clear front-runner.

Patricia Arquette Indiewire

Other Notes

“The Lego Movie” not getting a nomination for Best Animated Film is shocking, even though it did get a Best Song for “Everything is Awesome”. Many people are up-in-arms about “Selma” only getting two nominations (Picture and Song) and to that I only say that in my personal opinion, everything in every category that was nominated over it was more deserving, except Cooper over Oyelowo (Cooper got a Best Picture nod, too,a for “Sniper” so it really seemed fair to give Oyelowo the Actor slot). I didn’t love “The Grand Budapest Hotel” but after it won Best Comedy at the Globes I knew a big day at the Oscars was inevitable (again, NINE nominations!). I’m so glad Tom Cross got nominated for his amazing editing job in “Whiplash”, I’m thrilled and astonished “Transformers: Let’s Blow Up the World Again” didn’t get a single visual and sound nomination, and I’m happy to see “Whiplash” and “Nightcrawler” get Screenplay nods, even if “Whiplash” did steal “Gone Girl”’s Adapted slot.

“The Lego Movie” Variety

Neil Patrick Harris will host the 87th Annual Academy Awards on Sunday, February 22, 2015 on ABC.

‘American Sniper’ Shows the Horror, Necessity of War

Because, America.

“American Sniper” is based on the autobiography of the same name by Navy SEAL Chris Kyle. The film follows Kyle, dubbed the most lethal sniper in U.S. history with 160 confirmed kills, as he struggles to balance his duties on the battlefield with the ones at home. Bradley Cooper stars as Kyle, Sienna Miller plays his wife and Clint Eastwood directs.

Last January “Lone Survivor”, another true story about Navy SEALs, was released and it was an above-average, well-intentioned war film that had its fair share of miscues. “American Sniper” is right on par with “Survivor” as another real-life tale telling the story of some of the best and bravest men in the world, but it trips up along the way.

Clint Eastwood’s directorial filmography is really a tale of two types of films: engaging and interesting (“Gran Tornio”) or slow and mind-numbingly boring (“Hereafter”). His most recent film, last year’s “Jersey Boys” was a bit of both as the first half was great and the second half was Nyquil. “American Sniper” follows “Jersey Boys” because there are some parts that soar and are beautifully shot, but there are also some glaring narrative and pacing issues.

I know the story of Chris Kyle, and the man is a true American hero. Bradley Cooper does a very honorable portrayal of Kyle, playing a man who enlists in the SEALs because he wants to do something more with his life, but by the end of the film is questioning why he is doing what he is doing. Cooper essentially is playing two characters: badass super soldier and struggling husband.

The film does a good job showing Kyle in the early stages of his relationship with his wife, and by the end of the film how he has drifted apart because of the things he has seen and done in combat (despite him claiming his only regrets are the men he couldn’t save). Unlike most war films that are clearly pro-war or anti-war (or “Lone Survivor” which is accidently both), “American Sniper” walks the line quite delicately of what conflicts are actually worth getting into, and are they worth the lives of our soldiers?

One of the problems with the film, however, is how it handles the transitions between home and battle. The film opens up with Kyle sniping on an Iraq rooftop before abruptly cutting to a scene of him hunting as a child, as part of the obligatory “you’ve got a real knack for this sniping thing, kid!” moment. The rest of the film jumps back-and-forth between locations, sometimes without much explanation.

Sienna Miller does fine work as Kyle’s wife and she shares some tender scenes with Cooper, even if sometimes she is given nothing more than cliché “pregnant soldier wife” dialogue. The rest of the cast is solid, especially those portraying PTSD soldiers; however none of them are fleshed out or given too much to do.

“American Sniper” is a good-not-great movie that is a fitting tribute to its real-life subject, and features some well-shot battle sequences from Eastwood and some great scenes from Cooper. The film’s largest problem is its almost whiplash-inducing jumping to-and –from war scenes, as well as a frustrating ending that likely stems from the filmmakers not knowing how to properly handle the subject matter. Still, it is an enjoyable and at times tense and heart-breaking film about the horrors of warfare, and is one of the more honest war stories in recent years.

Critics Rating: 7/10

Variety

‘Unbroken’ Is A Good Movie About An Amazing Story

Another Oscar Season, another Hollywood biopic.

“Unbroken” tells the true tale of Louis Zamperini, a USA Olympic athlete who is taken prisoner by the Japanese in World War II after his plane goes down over the Pacific Ocean. Jack O’Connell stars as Zamperini and Japanese singer Miyavi plays the POW camp’s leader. Angelina Jolie directs as the Coen Brothers worked on the script.

The film takes place in essentially two locations: the ocean and the Japanese prison camp. Zamperini’s plane crashes over the ocean and he and two fellow soldiers (Domhnall Gleeson and Finn Wittrock) are adrift for 47 days. These scenes were my favorite of the whole film as they show the true perseverance of Zamperini, as well as feature some intense moments including several run-ins with sharks and enemy fighter planes. The score and cinematography really excel here as well.

When the group is “rescued” by the Japanese the film slows down, and never fully recovers. Zamperini is continuously beaten and tested by the camp’s leader, called “The Bird” by fellow prisoners, and these scenes become numbing after a while. I’m not saying the film should have overlooked or sugar-coated this part of Zamperini’s imprisonment, however after a while it seemed Jolie was just beating us over the head with the fact that torture happened in prison camps.

Zamperini is depicted as a womanizer and troubled child, and in real life this was true. While on the raft, Zamperini talks about how he may not believe in God, and then in a storm he promises to dedicate his life to God if He saves his life. While this is all in-line with the true story, the idea of God doesn’t play a part in the rest of the film until text comes up before the credits. The film’s poster brands the story to be about redemption, yet Jolie abandons this notion and replaces it with a man who can take a severe beating and show no bruises in the next scene. Instead of Louis’ spiritual redemption we just see him as a superhero that is capable of taking extreme physical punishment, and I didn’t feel this worked.

The climax itself is a catch-22. Because it is the final confrontation between Louis and The Bird, the scene should be empowering and moving, as well as have tension because if Louis fails, he is ordered to be shot. The acting in the scene is superb, with Zamperini showing his strength and The Bird trying his hardest to break him. Both actors say more with their eyes than their words, and the duo add something extra to the scene.

The problem is that the scene has no sense of time, and you are unsure if the incident has lasted five minutes or several hours. Characters are standing around watching the event unfold, and any tension you should be feeling is instead replaced with confusion.

“Unbroken” isn’t as moving as it could have been, but it is a well-intentioned biopic that features solid performances and some intense scenes. Had Jolie known how to properly manage the narrative and hadn’t felt the need to show the torture simply for the sake of showing torture, then perhaps it could have been something great. Instead it is a good movie about a great man who had an amazing story.

Critics Rating: 7/10

Bill Murray Shines as ‘St. Vincent’

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Welcome back, funny Bill Murray. After several years of making cameos and starring in indie dramas, Murray returns to his roots of comedy in “St. Vincent”, where he plays a cranky old drunk who is saddled with babysitting the son of his new neighbor, played by Melissa McCarthy. Hollywood rookie Theodore Melfi writes and directs.

It is a testament to a film when it can overcome all of its genre clichés and narrative familiarities and still be generally entertaining. “St. Vincent” is pretty standard, as we’ve seen the “grumpy guy bonds with the nerdy young kid and the two go on crazy adventures together” formula numerous times before (“Bad Santa” or “Bad Words”, for example). But in spite of all this, Murray shines in an honest, emotional and at times very funny performance.

Without Murray, chances are this movie would not work, and would have been stuck in the “schmaltzy and overdone” category. However Murray elevates the film with his dry wit, and it is a blast seeing him teach the young boy (played by Jaeden Lieberher) how to gamble on horses, mow dirt patches and stand up to bullies.

Melissa McCarthy, toning down her performance here, gives one of her best performances because she isn’t playing the swearing slob. She portrays a single mother who is simply trying to make a better life for her son, and in that he gets a few chuckles, but for the most part just displays true emotion and relatability.

The strongest points of the film are its opening act and its climax, for two very different reasons. The first scenes when we first meet Murray are genuinely funny and harken back to the golden days of his career. The final minutes of this scene are masterfully acted by the entire cast, especially Murray, who for much of the final scene speaks only with his facial expressions. The scene is very well done and will hit you right in the feels (seriously, I had a lump in my throat).

There is a point about halfway through “St. Vincent”, though, where the film seems to be aware that it is being too goofy and sentimental, and thinks it needs to fix this by adding extreme drama. This would have been fine, except the tone switch comes completely out of left field, and just doesn’t seem natural. Suddenly the movie becomes a dark, almost depressing drama, and it really just felt out of place. This likely falls on the shoulders of rookie director Melfi, but other than this one segment he does a great job mixing emotion and laughs, both with his direction and the script.

“St. Vincent” won’t win any awards for originality, but I really hope it wins something for Murray. He is the reason this film is as good and enjoyable as it is, and he alone is the reason to see this movie. It is an entertaining, multi-layered performance, and every scene he is not in, as few as there are, you notice his absence.

Critics Rating: 7/10

‘Fury’ Is Powerful, Gritty and One of Year’s Best

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Brad Pitt and World War II. So far, it has proven to be a potent combonation. First Pitt was hunting Nazis in “Inglorious Basterds”, now he is commanding a tank in Germany.

“Fury”, written and directed by “End of Watch’s” David Ayer, tells the tale of five American soldiers who get stuck in their tank behind enemy lines. Outnumbered and outgunned, they must fight their way through and defeat the surrounding Nazi forces. Brad Pitt, Logan Lerman, Shia LaBeouf, Michael Peña and Jon Bernthal portray the members of the tank.

There’s really no point of sugar coating it or beating around the bush: “Fury” is one of the year’s best movies and one of the better, and most realistic, war films of all-time. From the haunting depictions of battle, to the heart-wrenching performances, to the high production value everything about this film is as beautiful as it is chilling.

The performances across the board are nothing short of fantastic, with the standouts being Pitt and Lerman. Pitt plays a man who has clearly let the evils of war shatter any morals and sensitivity he ever had, and this is demonstrated when on the first day of the job for the tank’s new recruit (Lerman), Pitt orders him to execute an unarmed German solider.

I have never been a Logan Lerman fan, I believe he plays a pretentious, spoiled boy in every role he takes (“Noah” and “3:10 to Yuma”, just to name two), but the man shut me up with his performance here. He is a soldier who was pulled away from his desk and put on the front lines, and it seems like he will never get used to the idea of taking a human life. But throughout the film we see him begin to change and become more desensitized to the notion of war, but he never loses the innocence that we empathize with.

The rest of the cast are all cookie-cutter roles (minority member, jerky sociopath and Bible-thumper), but the actors all have their moments to shine.

Ayer has proven that he is more than capable of shooting an engaging action scene, but never while sacrificing drama or content. Even when the bullets are flying and shells are being rocketed off, we see the characters’ weaknesses and at times hesitation in their actions. Even at the end of the film, in the midst of an extended battle, the action never feels derivative or redundant, because we are getting heavy doses of human drama, accompanied by a fantastic score from composer Steven Price.

What holds “Fury” back from the greatness it so clearly was striving for is a scene in the middle of the film. After taking a town, Pitt and Lerman come across two German women, who proceed to make lunch. The scene drags on for 22 minutes (I remember looking at my phone twice), and in the end the entire interaction took place simply for a plot point down the road.

If that one scene had been shorter, which it should have been, then “Fury” may have been able to be mentioned in the same breath as “Saving Private Ryan” and “The Hurt Locker” for greatest war movie of all-time. That being said, “Fury” is still a fantastically shot, grittily depicted and powerfully acted war story, which features a climax that had my theater silent when the credits began to roll.

Critics Rating: 9/10

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Movie reviews from David Palmer

Tag Archives: academy awards

‘Spotlight’ a Well-Acted, Infuriating True Story

2015 Oscar Predictions

2015 Oscar Nomination Reactions

‘American Sniper’ Shows the Horror, Necessity of War

‘Unbroken’ Is A Good Movie About An Amazing Story

Bill Murray Shines as ‘St. Vincent’