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Reactions to 2016 Oscar Nominations

Another year, another Oscars. The nominations for the 88th Academy Awards were announced on Thursday, and as usual there were some surprises, both good and bad, with the best film of 2015, “The Revenant,” rightfully leading the pack with 12 nods. Here I’ll do a quick rundown of the major nominations along with my thoughts.

 

BEST PICTURE

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revanant

Room

Spotlight

I’ve seen all of these but “Brooklyn,” and while none are a surprise, a few, in my humble opinion do not deserve their nominations. By now I’ve made I clear I am the only human on the face of this earth that hated “Mad Max,” but apparently I’m wrong and everyone else saw a movie that wasn’t dumb, loud and lacked anything resembling narrative. Fine. “The Martian” is a blockbuster film that picked up random momentum and pop culture support, and I sadly didn’t love “Bridge of Spies” or “The Big Short” (to varying degrees). Would have loved to see “Straight Outta Compton,” “Steve Jobs,” or even “Creed” get a nomination here, but “Revenant” and “Spotlight” are two of 2015’s best films, so hopefully one of them pulls it out.

 

BEST ACTOR

Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revanant

Michael Fassbender, Steve Jobs

Eddie Redmayne, The Danish Girl

DiCaprio and Fassbender were the only locks here, and they gave the two best performances of 2015 so that makes sense. The other three aren’t surprising, but each one flirted with being odd-man-out and pushed out by likes of Johnny Depp or Will Smith. Much like the film he was in, I think Damon got a nod because it was the cool thing to do, and while I didn’t love “Trumbo” it’s cool and well-deserved that “Oscar Nominee Bryan Cranston” is a thing now.

Leonardo DiCaprio, The Revenant

Leonardo DiCaprio, The Revenant

 

BEST ACTRESS

Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

Only saw Brie Larson and “Room” of this bunch, but she’s essentially a lock to win. Jennifer Lawrence will get nominated for any and everything she does for the rest of time because she is this generation’s Meryl Streep, so not giving her an Oscar nod would be a crime.

 

BEST SUPPORTING ACTOR

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Very satisfied with this group. Bale (along with Carell) was only bright spot of “Big Short,” Hardy was commanding in “Revenant,” Ruffalo is underrated in everything so glad to see him get love, Rylance gave the best supporting performance of the year in my opinion, and Stallone’s comeback story can’t help but be loved. Idras Elba and Michael Shannon were both on the outside looing in, and I still think Seth Rogen’s work in “Steve Jobs” has been overlooked all awards season, but what on that film hasn’t been ignored?

Sylvester Stallone, Creed

Sylvester Stallone, Creed

 

BEST SUPPORTING ACTRESS

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Winslet for “Steve Jobs,” yay. Alicia Vikander for “Danish Girl,” didn’t see the movie but love her so yay. RACHEL MCADAMS, HECKS YES… (clears throat) sorry. That nomination came out of nowhere but I really thought I was the only person who thought she gave the best performance in “Spotlight” and assumed she wouldn’t get her name called.

 

DIRECTING

Adam McKay, The Big Short

George Miller, Mad Max: Fury Road

Alejandro G. Iñárritu, The Revenant

Lenny Abrahamson, Room

Tom McCarthy, Spotlight

Like…ok. I’m happy McKay got an Oscar nomination (or rather, two, more on that in a second) but the fact he got them for “Big Short” baffles and almost angers me. That film has no real scope or reigns on its story, and that is due almost entirely to his direction and screenplay (again, more in a second). Iñárritu deserves love for “Revenant,” what he had to do for that movie is insane, and McCarthy’s direction in “Spotlight” is so subtle it’s almost brilliant. Like, cool, George Miller gets his “Mad Max” nomination, whatever, it’s a well-made film; more surprised at Abrahamson getting nominated for “Room.” Unless he is the sole reason Larson and Jacob Tremblay gave stellar performances, it seemed he didn’t have a great grip on the material.

Alejandro G. Iñárritu, The Revenant

Alejandro G. Iñárritu, The Revenant

 

ORIGINAL SONG

“Earned It” – Fifty Shades of Grey

“Manta Ray” – Racing Extinction

“Simple Song #3” – Youth

“Til It Happens to You” – The Hunting Ground

“Writing’s on the Wall” – Spectre

“Oscar nominee ‘Fifty Shades of Grey’” is my suicide note but at least it isn’t for “Love Me Like You Do.” How Wiz Khalifa and “See Your Again” didn’t get nominated is a mystery. I guess the Academy either (A) hates rap songs (but Eminem won an Oscar, so) or (B) thought they were being hipster by give two random films nominations. Either way…

ADAPTED SCREENPLAY

The Big Short

Brooklyn

Carol

The Martian

Room

How, in the actual heck of it, do you not nominate Aaron Sorkin and “Steve Jobs?!” I know the film underperformed at the box office, which in turn turned voters off from the film, but it was not only an apparent lock to get a nod, it was the odds-are favorite to win. I’m actually physically upset at this. It still is the best script of the year, but then again “Gone Girl” was one of the best of 2014 and it didn’t get a nomination… I don’t get the love for “Room’s” screenplay, like it’s fine, but “The Big Short” is a mess that didn’t do a good job describing its confusing stock terms despite thinking it was mastering it. “Two-time Academy Award nominee Adam McKay” is now a thing, so I guess that’s cool. Like he’s a nice guy… [sigh]

ORIGINAL SCREENPLAY

Bridge of Spies

Ex Machina

Inside Out

Spotlight

Straight Outta Compton

Pumped “Straight Outta Compton” got some love, although a little surprised it was for Screenplay; it’s a fun script but nothing I thought the Academy would recognize. Glad “Spotlight” got nominated but I think “Inside Out” got love for the originality of its concept more than the actual content of the script (the whole idea of the film actually falls apart if you think about it for more than a minute, like so do the emotions have emotions? I’m getting off track).

Straight Outta Compton

Straight Outta Compton

Those are my thoughts on the big awards, I’ll have more as Award Season pushes on, including predictions and my own personal awards for the best in 2015 films. The 88th Academy Awards air on February 28, 2016.

‘Spotlight’ a Well-Acted, Infuriating True Story

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Spotlight_(film)_posterMichael 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

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

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

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

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 4th 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

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

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

Indiewire

2015 Oscar Nomination Reactions

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Who says the Oscars are boring?

The 87th 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

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

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

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 6th career nomination.

Julianne Moore Variety

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 7th 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

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

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

“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

American_Sniper_posterBecause, 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

american-sniper

Variety

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

‘Unbroken’ Is A Good Movie About An Amazing Story

Unbroken_posterAnother 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

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

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

Gyllenhaal Steals the Show in ‘Nightcrawler’

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Nightcrawlerfilm            Jake Gyllenhaal once patrolled the streets of Los Angeles as a cop in “End of Watch”; now he drives around them at night filming crime and accidents.

“Nightcrawler” is all about the people who independently film accidents and then sell them to news stations (“if it bleeds, it leads” the film makes sure to tell us a half dozen times). When Lou (Gyllenhaal) steps into this world, he begins to blur the line between observer and participant. Rene Russo and Bill Paxton costar as Dan Gilroy writes and has his directorial debut.

“Nightcrawler” is a nice looking, tense thriller that is almost completely driven by its characters. Every actor has a scene or two in which they own, but in the end this movie would be nothing without Jake Gyllenhaal.

Gyllenhaal is so creepy, unsettling and unrecognizable as Lou that it is impossible to take your eyes off of him. As the film progresses, we become more and more uneasy with every passing scene, as we know it is only a matter of time before Lou snaps; we just don’t know at what—or who—it is going to be at. Lou speaks almost completely in cliché business and motivational lingo (his motto is, “if you want to win the lottery, you have to earn the money to buy a ticket”) and it is not obvious if he is a brilliant negotiator or simply just insane.

Riz Ahmed plays Rick, a homeless young man who is hired as Lou’s assistant. Rick is too desperate for cash to turn away from Lou, or even realize what he is getting himself into, and by the time he begins to realize Lou may be a psychopath he is in too deep.

The rest of the supporting cast does a fine job as well. Russo plays a TV news director who buys Lou’s initial tape, and is equally repulsed and fascinated by him. Bill Paxton has a few fun lines as Lou’s rival, a fellow “nightcrawler”, and Kevin Rahm plays a TV executive, who serves as the voice of reason for the audience, questioning Lou’s methods and whether running certain clips is ethical, or even legal.

The film is edited and paced brilliantly, offering quick-cuts and perfectly timed scenes to keep the flow going, while never sacrificing content. The climax of the film is as tense and thrilling as anything I have seen at the movies this year, and even though while watching we have a feeling we know what is going to transpire, we just hope we are wrong.

Now there are a few points in “Nightcrawler” that feel like they were added simply to showcase Los Angeles, or try and make sure we are aware how “dedicated” Lou is to his job, and this makes the film’s narrative stray a bit and at times make the plot seem a bit aimless, but it is never anything Gyllenhaal can’t get back on track.

“Nightcrawler” is a solid thriller with a brilliant lead performance, shot in one of the most vibrant and neon-soaked cities in the world. The film is worth seeing simply because of Gyllenhaal, but the supporting characters, dark humor and exhilarating climax are a nice treat, too.

Critics Rating: 7/10