#Becoming an A-list comedy/dramedy actor??? | Explore Tumblr Posts and Blogs

joeygoeshollywood · 3 years

Text

My 25 Favorite Films of 2020

Well, this was quite the crazy year, especially for movies. While many films that were slated to be released this year were postponed due to the coronavirus pandemic, this year still provided some laughs, tears, and thrills both in theaters and in the living room.

(NOTE: Due to the delayed awards season calendar and postponed Oscar bait films that are unavailable to be seen before the end of 2020, this list will eventually be updated after having seen the following films: The Father, Minari, News of the World, Nomadland, One Night in Miami, Pieces of a Woman, Promising Young Woman)

Here are my 25 favorite films of the year:

25. Kajillionaire

Quirky filmmaker Miranda July is back with her first feature in nearly a decade. Kajillionaire is a bizarre but captivating tale about a family of criminal grifters and how the daughter reevaluates her strained relationship with her parents after an outsider is welcomed into the fold. Evan Rachel Wood takes what could have easily been dismissed as a goofy caricature in Old Dolio (yes, that’s her name) and turns into a heartfelt portrayal of a woman whose lifestyle of freeloading dictated by her parents (played by Debra Winger and Richard Jenkins) becomes her own crisis. In many ways, Kajillionaire feels like a fantasy that keeps people asking, “What on earth is going on?” And this time, it’s for the best.

24. Freaky

Revamping decades-old plots like the body-swapping antics from Freaky Friday can either result in a predictable failure or a surprising success. Thankfully, Freaky falls into the latter category. In this horror comedy, a deranged serial killer (played by Vince Vaughn) swaps bodies with his victim, a timid teen girl (played by Kathryn Newton). What makes the film work though are the dedicated lead performances, particularly by Vaughn, who is pretty convincing as young girl trapped in a grown man’s body. With a few good laughs and decent thrills, Freaky is worth the watch.

23. The Outpost

The Outpost is an intense film about the real-life story of small group of US troops isolated by surrounding mountains in Afghanistan, under the constant threat of the Taliban, which ultimately comes to a head in the Battle of Kamdesh. The film captures the harrowing experiences of these soldiers with heart-pounding action sequences, which are fueled by a solid cast including Scott Eastwood, Caleb Landry Jones, and Orlando Bloom.

22. Uncle Frank

Paul Bettany may be best known for playing The Vision in the Marvel Cinematic Universe, but he should be celebrated as his title character in Uncle Frank, a touching dramedy set in 1973 about an NYU professor who returns home to his estranged family for his father’s funeral while his niece, played by rising star Sophia Lillis, idolizes him for teaching her to be her authentic self while he keeps his sexuality a secret. Bettany brilliantly balances the coolness of his stature with the internal agony that ultimately hits a boiling point, which is counterbalanced by Peter Macdissi’s fun performance as Frank’s happy-go-lucky lover who accompanies him back home despite his wishes.

21. Hillbilly Elegy

Hillbilly Elegy was panned by critics over politics that had absolutely no role the film. Based on the best-selling memoir by J.D. Vance, the newest feature from Ron Howard shows the journey of a boy who despite all odds growing up in a poor family that constantly struggled with abuse and addition managed to get into Yale Law School and achieve the American dream. While both Gabriel Basso and Owen Asztalos hold the film together as the younger and older Vance in the present and flashback scenes, Amy Adams as the impulsive, irresponsible mother and an unrecognizable Glenn Close as the no-nonsense inspiring grandmother that turn Hillbilly Elegy into an acting tour de force.

20. The Trial of the Chicago 7

Oscar-winning screenwriter Aaron Sorkin sits in the director’s chair once again in this courtroom drama about the real-life protesters who showed up in Chicago during the 1968 Democratic National Convention. With themes that resonate today, The Trial of the Chicago 7 benefits from its sharp screenplay, well-paced editing, and an outstanding ensemble cast that includes Eddie Redmayne, Mark Rylance, Yahoo Abdul-Mateen II, Sacha Baron Cohen, Jeremy Strong, Frank Langella, Joseph Gordon-Levitt, and Michael Keaton.

19. Yellow Rose

Broadway actress Eva Noblezada makes her film debut as an aspiring country singer on the run after her mother, an illegal immigrant, is obtained for deportation. Yellow Rose presents a nuanced depiction of US immigration, but at the heart of it is a heartbreaking story of a young woman who struggles between putting her family or her dreams first. Between Noblezada’s powerful performance and solid original music, Yellow Rose hits all the right chords.

18. Palm Springs

Move over, Groundhog Day. While the Bill Murray classic has largely monopolized the time loop film genre, Palm Springs gives it a run for its money. Andy Sandberg and Cristin Milioti star as the unlikely duo who are stranded reliving the same dreaded wedding day involving mutual acquaintances and their desperate efforts to escape the seemingly inescapable. The Hulu comedy stands on its own two feet for the good laughs, the chemistry between the two leads, and the film’s emotionally-grounded plot.

17. Let Him Go

Kevin Costner and Diane Lane reunite on the big screen after playing farmer parents in Man of Steel to rancher grandparents in Let Him Go, although this time they are able to display their full acting chops. In this period dramatic thriller, they set out to find their only grandchild following the death of their son only to discover that the widowed daughter-in-law remarried into an infamous crime family. While both Costner and Lane tug at the heartstrings, it’s Lesley Manville, who plays the ruthless matriarch of the family, that really takes command of the screen. Ultimately, Let Him Go is all about family and the lengths one is willing to go to protect it.

16. Unhinged

In a year plagued by the pandemic, Unhinged led the way to the revival of movie theaters back in August and perhaps in some ways it was meant to be the film to do so as the themes of a rage-fueled society and the lack of human connection carry weight. Russell Crowe stars, as the title suggests, as an unhinged psychopath whose road rage torments a woman and her adolescent son. Unhinged is the epitome of pure entertainment and is why we go to the movies. While it’s not quite the most sophisticated thriller of the year, it’s still one helluva ride.

15. Emma

Anya Taylor-Joy has had quite the year with both highs (The Queen’s Gambit) and lows (The New Mutants). But it began before the pandemic with the release of Emma, which she stars as the iconic Jane Austen title character, a socialite who meddles in the love life of others while refusing to acknowledge her own shortcomings in that department. Supported with a strong ensemble cast, beautiful production design, and comedic charm, Emma is not to be missed.

14. The Invisible Man

ln the era of remakes and reboots, very few are as good as Universal’s latest monster flick revival of The Invisible Man. Elisabeth Moss stars as a woman who believes she’s being haunted by her abusive ex-husband, someone she becomes convinced faked his own death and is stalking her without being able to be seen. Filmmaker Leigh Whannell, the writer behind the Saw and Insidious horror franchises, generates good thrills and high-wire tension with the help of high production value and a terrifyingly-good performance from Moss.

13. Dick Johnson is Dead

Documentarian Kirsten Johnson filmed a beautiful, intimate tribute to her father Dick Johnson, who has been suffering from Alzheimer's in the final years of his life. However, instead of dreading his death, both daughter and father embrace it by having him acting out several scenes of his over-the-top demises. Dick Johnson is Dead may focus on the subject manner of death, but this documentary actually celebrates life and the laughs that happen along the way.

12. The Wolf of Snow Hollow

Perhaps one of the littlest-known films of the year, The Wolf of Snow Hollow is not your conventional indie comedy horror flick. Writer/director Jim Cummings stars as an overly-heated police officer who attempts to get to the bottom of a string of murders in his small, snowy Utah town by what appears to be some sort of werewolf, though he remains unconvinced. Featuring one of the final performances from veteran actor Robert Forster, The Wolf of Snow Hollow uses its quirky sense of humor to stand out from the rest of the pack.

11. The Gentlemen

The Gentlemen is a fun, action-packed, crime caper from Guy Ritchie about the London turf war of drug kingpins. Matthew McConaughey, Charlie Hunnam, Henry Goulding, Michelle Dockery, and Colin Ferrell all round out the strong cast, but its Hugh Grant that really steals the show as the comedically manipulative Fletcher, whose only allegiance is to himself. If you like a stylish film with well-choreographed violence and a fast-paced plot, The Gentlemen should be your cup of tea.

10. Ma Rainey’s Black Bottom

Some of the best play-to-film adaptations are the films that feel like you’re watching a play, and Ma Rainey’s Black Bottom is one of them. Produced by Denzel Washington, Viola Davis gives a transformative performance as Ma Rainey, known as the “mother of the blues” and the clash she had with a pair of White music producers, but she also butts heads with her trumpet player (played by the late Chadwick Boseman), who also has his own music ambitions. While Davis obviously gives other Oscar-worthy performance, it was Boseman who was able to show how incredibly gifted he was as an actor. And while the world lost him far too soon, at least his last role ended up being his greatest.

9. The Kid Detective

One of the biggest surprises of the year was how good a movie starring and produced by Adam Brody was. Brody plays a washed up former kid detective who attempts to revive his once-celebrated career of solving mysteries by getting to the bottom of a murder in his hometown. The Kid Detective is a brilliant dark comedy from newcomer writer/director Evan Morgan with good laughs, plenty of plot twists, and a career-best performance from Brody, who proves he’s more than just the pretty face from The O.C. we all know him as.

8. Mank

Citizen Kane is widely regarded as one of the greatest films ever made and Mank is a worthy tribute. Gary Oldman stars as the title character Herman “Mank” Mankiewicz, the Oscar-winning screenwriter behind the iconic film. David Fincher (The Social Network, Gone Girl) managed to capture the epic scale of the 1941 classic that would make Orson Welles proud.

7. Soul

Soul is one of those rare existential Pixar films that goes beyond being children’s entertainment. Following in the footsteps of 2015′s Inside Out, Soul depicts what happens to the soul of a jazz musician who’s convinced his time on Earth isn’t over. While the universe created to explain how souls work and the plot that went along with it falls short of its emotions predecessor, Soul is still high-caliber among Pixar films and a great movie for both kids and adults alike.

6. Another Round

Perhaps the greatest work from Swedish director Thomas Vinterberg to date, Another Round follows four unsatisfied middle aged men who decide to take a theory of task from a Norwegian psychiatrist, who concluded that maintaining a blood alcohol level of 0.050 will enhance their mental and psychological state. Mads Mikkelsen, who’s best known to American audiences as Hannibal Lecter in the short-lived NBC series Hannibal and the Bond villain in Casino Royale, offers a strong, nuanced performance as one of the four educators who embraces this drinking challenge in a film that provides an equal balance of chuckles, cringes, and emotional gut punches.

5. I’m Thinking of Ending Things

From the crazy mastermind of Charlie Kaufman, the writer behind Being John Malkovich, Eternal Sunshine of the Spotless Mind, and Anomalisa, his latest on Netflix is too a mind-bender. I’m Thinking of Ending Things is a surreal, zany, and at times disturbing examination of the human condition as the nameless female protagonist played by an incredible Jessie Buckley mulls over breaking up with her boyfriend (played by Jesse Plemons) while visiting his parents’ house. Accompanied with a stellar production design and a crazy-good performance from Toni Collette as “Mother,” Kaufman newest cerebral feature lives up to his iconic reputation of filmmaking.

4. Da 5 Bloods

Spike Lee is one of the few genius filmmakers who is able to blend multiple genres together and his latest film is no different. Da 5 Bloods is an action adventure, buddy comedy, dramatic character study, and war movie all wrapped up into one about a group of Vietnam War veterans who return to the former battlegrounds to find the remains of one of their fallen soldiers as well as some treasure that they kept hidden years ago. With a strong ensemble cast that includes the late Chadwick Boseman, its longtime character actor Delroy Lindo who steals the show with his powerful performance. Da 5 Bloods is easily one of Netflix’s strongest films to date.

3. The Assistant

One of the first #MeToo-era films, The Assistant offers the day in the life of a low-level female staffer of a production company who is haunted by the presence of her Harvey Weinstein-like boss (who never actually appears in the film). However, rather than depicting the dramatics of sexual misconduct, The Assistant uses the common subtleties and nuances of the workplace yet maintains the same tension and heartbreak. Anchored by the remarkable, devastating performance by up-and-comer Julia Garner (Ozark), The Assistant is as important as it is well-done.

2. Sound of Metal

Riz Ahmed gives the performance of his career as a heavy metal drummer and former addict whose sudden battle with going deaf upends his life. Sound of Metal is an incredible experience that gives a rare glimpse in the American deaf community which is enhanced by the remarkable sound design that helps the audience actually hear what the musician is going through. It’s truly one of the most rewarding films of the year.

1. The Climb

The Climb takes the generic “man sleeps with his best friend’s fiancé” storyline and turns it on its head. In his feature debut as writer and director, Michael Angelo Covino leads as the not-so-apologetic adulterer Mike and Kyle Marvin, who co-wrote the film, is the good-hearted Kyle who struggles to whether or not to forgive his best friend’s ultimately betrayal. Not only is The Climb is quirky and hilariously written, it’s a remarkably well-made comedy with some of the year’s best cinematography. Between a strong cast, a superb screenplay, and the extremely-high production value, The Climb is at the top of the mountain of 2020′s best films.

432 notes · View notes

randomrichards · 3 years

Text

BEST MOVIES OF 2020

10) BORAT SUBSEQUENT MOVIEFILM

It’s a miracle Sacha Baron Cohen could pull off his guerilla comedy style considering how iconic his character is (especially during the COVID-19 Pandemic). Just as surprising is how uncompromising it is with its political commentary and how it never backs away from its deliciously inappropriate humour.

As everyone’s favourite anti-Semitic, misogynist dim bulb reporter (Sacha Baron Cohen) becomes a pariah in his home country, Borat tries to sell his daughter Tutar (Maria Bakalova) to Michael Pence (then later Rudy Giuliani). The result is an endless array of side splitting, cringy moments from convincing a baker to write an anti-Semitic slogan on a cake to Borat attempted disguises to avoid detection.

Not since Buster Keaton has a comic actor pulled such dangerous stunts for a laugh. Cohen puts himself in such risky situations for the sake of his comedy when he hangs around with Qanon nutjobs or barges into a Republican convention dressed as “McDonald Trump.” [1] Well, it’s not just for laughs. As with his earlier works, Cohen uses his guerilla comedy style to expose the ugly side of humanity and America’s complicity in said ugly behavior. A notable theme is the consequences of misinformation. Borat is an instigator and willful idiot for his home country’s propaganda, which makes him an easy target for conspiracy theories. It all comes to a hilarious head when his daughter becomes a rightwing pundit and breaks his heart with holocaust denial.

Maria Bakalova is the film’s breakout star. An unknown actress from Bulgaria, Bakalova matches him every step of the way as the gullible, degraded young woman. She shines in her own hilarious moments when she’s ballroom dancing with a bloody dress or cheering about the joys of masturbating in front of a Republican Meeting. She also gives the movie a heart as Borat bonds with his daughter and forces him to reevaluate his beliefs.

It’s impossible for the film to reach the same level of impact as the first Borat considering what a surprise phenomenon the original was. But it’s still surprising the sequel was as good as it was without sacrificing its inappropriate humour.

9) HIS HOUSE

Writer/Director Remi Weekes brings another great addition to the metaphorror genre with His House; a creepy horror flick about a Sudanese refugee couple who find their lives in Britain threatened by the literal demons of their past.

Dilapidated rooms with peeling wallpaper, decaying floors, and malfunctioning lights are a perfect atmosphere for horror, Weekes and his cinematographer Jo Willems takes full advantage of this environment to unsettle the audience. Bol Majur (Sope Dirisu) and his wife Rial Majur (Wunmi Mosaku) find themselves tormented by voices in the walls, and mysterious figures peaking through the crawl spaces. It’s clear these supernatural figures are the manifestations of their trauma.

Weeks contrast the supernatural horror with the real horror they face, which takes the form of an uncaring bureaucracy that sticks them in a dilapidated home in a crumbling neighbourhood with some hostile, indifferent neighbours. It shows how finding a doctor’s office in an unfamiliar land can be as scary as facing ghosts.

You care a lot about these two thanks to Dirisu and Mosaku, who bring a lot of quiet humanity and heart to their characters. You pray for them as they fight for their right to live with dignity after what they’ve been put through.

8) WOLFWALKERS

British girl/wannabee warrior) Robyn (voiced by Honor Kneafsey) joins her father (Sean Bean) on a trip to a remote Irish village where she encounters Mebh (Evan Whittaker), a wild red-haired girl with the ability to control a pack of wolves. With her father tasked with killing Mebh’s pack, Robyn must find Mebh’s mother and protect the pack from the tyrannical religious fanatic Lord Protector (Simon McBurney) in Tomm Moore’s conclusion to his Irish Folklore trilogy.

The animation is just as gorgeous as Moore’s earlier films The Secret of Kells and The Song of the Sea with his trademark storybook-like animation style. A noticeable difference between the earlier is how deliberately rough the animation looks. There are moments you can see lines and circles that are usually erased when drawing characters. It fits with the wild energy of the characters.

There’re the clear environmental themes of humans encroaching on animal lives and the need to respect nature. Lord Protector believes he needs to dominate the wilderness and the wolves. The villagers in contrast have more respect for the environment but can’t do much under Protector’s rule. So, the wolves are forced to find a new home.

Another theme of this film is the importance of questioning authority and not blindly conforming to social norms. Robyn’s father expects her to train to be a chambermaid while he’s blindly follows Lord Protector’s orders. They keep saying it’s “for the greater good,” but that “greater good” involves the destruction of a wilderness and a denial of one’s true self. It just leaves everyone miserable. And all for a religious fanatic.

It’s a shame Moore’s films don’t get more attention because they have that rare sense of wonder.

7) NEVER RARELY SOMETIMES ALWAYS & UNPREGNANT (tie)

I’m putting these two films together on the list because they have the same premise of two teen girls travelling across state lines so one of them can get an abortion. What sets them apart is how different they are in styles.

Never Rarely Sometimes Always is a grounded drama about Autumn (Sidney Flanigan) a teenage girl from Pennsylvania who secretly travels with her cousin Skylar (Talia Ryder) to New York to get an abortion without their parents knowing. Writer/director Eliza Hittman avoids melodrama in favour of grounded realism. Flanigan and Ryder keep their performances at a lowkey level to reinforce the realism. Hittman also avoids political moralizing in favour of just presenting a slice of life showcase as the cousins travel to New York, try to find the appropriate procedure for her circumstance, then tries to find the money to get back home. In a way, it makes the little moments more meaningful when Autumn is forced to watch anti-abortion propaganda or when she and Skylar plays at an arcade.

While the former goes for grounded drama, Haley Lu Richardson’s Unpregnant bears a closer resemblance to comedic road movies like National Lampoon’s Vacation and Planes, Trains & Automobiles. This time, popular teen Veronica (Haley Lu Richardson) enlists the help (and the car) of social outcast/former friend Bailey (Barbie Ferreira) to drive from Missouri to Albuquerque to get the procedure without her parents knowing. The result is a chaotic road trip with the two crashing a few cars and meeting a few colourful characters along the way. This film has quite a set of cameos including Breckin Meyer, Betty Who and Giancarlo Esposito. This film has the John Hughes blend of broad humour and recognizable heart. This film gets its point across by showcasing the absurdity of how teen girls are treated. One notable example is Veronica’s boyfriend; a stage 5 clinger who lives under the “nice guy” mindset.

Both films celebrate teen girls helping each other out.

6) THE VAST OF NIGHT

Switchboard operator (Sierra McCormick) and DJ Everett Sloan (Jake Horowitz) search for the source of a mysterious sound in The Vast of Night; a gripping and visual dazzling sci fi flick that captures the feel of the Twilight Zone.

Director Andrew Patterson and co-writer Craig W. Sanger wrote a tightly knit story the follows our heroes over the course of a night as they play detective in a 1950s New Mexico town. Never does a second feel wasted. Plus, it’s fun to see stereotypical 1950s nerds being the heroes in a story like this.

What truly makes this film stand out is its visual styles. From the Twilight Zone-esque opens plays on an old tv, cinematographer M.I. Littin-Menz has you under his spell. His camerawork is always gorgeous in both the way he is zooming into a 1950s high school basketball game and shining omniscient light from the night sky. There are also some unusual moments when the film will suddenly play on 1950s tv. This may either further the intrigue or take some viewers out of the movie.

The result is a unique experience for sci-fi fans.

5) KAJILLIONNAIRE

Emotionally distant young woman Old Dolio (Evan Rachel Wood) and her small-time con artist parents (Debra Winger and Richard Jenkins) find their lives turned upside down when a perky stranger named Melanie (Gina Rodriguez) joins in their schemes.

Some audiences may be put off by July’s stylized approach to filmmaking, especially Wood’s unusual deep voice. But for those into lighthearted, quirky comedies will be enchanted by the little visual oddities of the family stooping (or in Old Dolio’s case, leaning back) to avoid their landlord or the pink suds always flowing down their apartment walls.

Kajillionnaire fits into July’s celebration of the timid and the outsiders. But July surprises us with a dark side to the outsider. The parents reject the unfulfilling, debt filled conventional life, but they aren’t particularly good at their cons and struggle to make ends meet. It has also made their daughter emotionally distant and with severe trust issues. It takes Melanie to give Old Dolio the human connection she never had.

I can’t say much beyond that because it takes many unexpected twists and turns. What I can say is this colourful dramedy offers an assurance of human connection.

4) SMALL AXE

Ok, I may be cheating on this one since it’s five films (two of them just barely over an hour), but director Steve McQueen’s anthology complement each other perfectly with their unflinching examinations of systemic racism inflicted on lives of West Indie Brits during 1960s and the 1980s. The films are also connected by their celebration of people who celebrate life despite overwhelming odds stacked against them.

MANGROVE centers on the title Caribbean restaurant in Notting Hill. Owner Frank Crichlow (Shaun Parkes) just wants to serve customers and be left alone, but his business is a constant target of harassment by racist cops. It all comes to a head with a 1970 protest, which leads to Frank and 8 others falsely accused of inciting a riot.

The trial demonstrates how Police can brutalize protesters, then turn around and accuse the protesters of inciting violence. It also shows how the justice system is complicity by blindly taking the word of the police over civilians. Not helping is a prosecuting attorney who peddles in racist dog whistles, a defense attorney naïve about the justice system’s treatment of black people and an indifferent judge. But the defendants stand strong as they use the trial as a platform to expose racial profiling while poking holes in cop’s testimony.

The two standouts in the film are Parkes and Letitia Wright as British Black Panther Co-Founder Altheia Jones. Parkes brings a lot of sympathy as a desperate man who just wants to live his life but grows to become an activist due to circumstances outside of his control. In contrast, Wright is a powerhouse of righteous anger as she fights for dignity.

LOVERS ROCK takes us through a night at a house party, where two strangers (Amarah-Jae St. Aubyn and Micheal Ward) fall in love. There’s isn’t much plot in this one, its mostly just people dancing and playing music. But as the camera lingers on the DJ playing records and the guests dancing and enjoying each other’s company, this film enchants you with its celebration of music, dancing, and the joy of company. It feels like a much-needed break from the uncomfortable racism we see in the other movies.

RED, WHITE, AND BLUE Is probably the most heartbreaking. John Boyega portrays Leroy Logan, a young man who enrolls in the Metropolitan Police in hopes of reforming it from the inside. He underestimates the racism he’ll face during training or how the system enables the racism. What makes it worst is how his own community would turn against him, especially his father (Steve Toussaint).

Boyega gives a powerful performance as a determined and smart guy who fails to understand how in over his head he is. You feel his fury when Leroy berates his fellow officers for putting his life in danger by not answering his call for backup. Toussaint is just as powerful as a man who feels betrayed when his son joins the very people who have brutalized him for years.

ALEX WHEATIE tells the true-life story of a young man (Sheyi Cole) who would go on to become an award-winning writer after being jailed during the Brixton Uprising of 1981. We follow him from his childhood growing up in uncaring white institutional care homes to finding a sense of community in Brixton, where he develops a passion for music. Through his attempts to pursue a DJing career and his run ins with the law that he confronts his past and begins a journey to healing.

We conclude with Education, a coming-of-age story of Kingsley (Kenyah Sandy), a 12-year-old boy who was singled out as “disruptive” and sent to special classes for the “subnormal”. This film looks at an unofficial segregated system that dismissed black kids and discarded them in classes for people with mental disability. It’s clear Kingsley is a smart kid with interest in rockets and space, but he shows signs of dyslexia. But neither his headmaster nor are the special classes helpful, especially when the teacher cares more about play his guitar and teaching the kids anything useful. His parents are even less helpful when they dismiss his concerns (when they’re not working two jobs.) It leads to a sad moment when Kingsley hides inside a bus to avoid seeing his friends.

This film also shows the power of black women. You see it through Kingsley’s sister Stephanie (Tamara Lawrence) whose empathy makes her realize somethings up. You see through Lydia Thomas (Josette Simon) activism as she investigates these school conditions. You especially see it through Kingsley’s mom (Sharlene Whyte), not just from working to jobs to provide for her family but her ability to grow and learn. She goes through a journey as Lydia teaches her about the systemic racism in the education system, forcing her to realize how she’s dismissed her son’s concerns. Near the end, we see how children like Kingsley can be helped by those willing to understand his problem.

3) FIRST COW

Timid forager Cookie (John Magaro) feels out of place among the hunters and fur traders in the Oregon Territory. Then along comes King-Lu (Orion Lee), a Chinese immigrant with big dreams. Together, they swipe milk from the only cow in the area to cook and sell pastries to the locals in the area. As their little business grows, so does the bond between these outsiders. But their success comes under threat when they attract the attention of a wealthy landowner (Toby Jones) who owns the cow.

A premise like this does not sound like the type of film that attracts major audience attention, especially with Co-writer/Director Kelly Reichart’s minimalist style. But when it comes to Reichart, less is more. Reichart takes her time to take in the muted colours and natural beauty of Christopher Blauvelt’s cinematography and allow the relationships to develop naturally. It’s helped by the low-key yet engaging performances. Lee showcased the enthusiastic determination of a born entrepreneur. But it’s Magaro who shines brightest with the most nuanced performance of the year, revealing Cookie’s humanity through the subtlest gestures.

Reichart’s subtle, patient storytelling isn’t for everyone, but through her gentlest touch she enchants the audience with a haunting tale of unlikely friendships and the achievements of outsiders.

2) UNCUT GEMS

I know this is a film was released in 2019, but It didn’t come to our theatre until 2020 and It’s too damn good not to talk about.

This film is a cinematic panic attack. Never once do the Safdie brothers give you a moment to relax as fast-talking Jeweler Howard Ratner (Adam Sandler) dodges pissed off debt collectors while plotting for the biggest bet he can get. The result is an experience that keeps you on edge from opening credits to end credits. In lesser hands this would be an unpleasant experience, but the Safdie brothers uses this to create a compelling, intense portrayal of a man who gets off on standing on the edge of a cliff.

One reason it works is because beauty and ugliness make strange bedfellows in their movies. Nowhere is this more perfectly summed up than in the opening scenes where cinematographer Darius Khondji travels through an inside of a gem. The colours and lights make you feel like you’ve ascended to a magical world, but this scene happens in between scenes of African Miners being exploited and the inside of Howard’s colon. Just as beautiful is Daniel Lopatin’s new wave musical score. On its own, the music lulls you into a beautiful sense of peace. But this music often plays over uncomfortable scenes of characters screaming over each other. Somehow these two elevate the cinematic experience.

But the true strength of the film is Howard himself, which is astounding considering how unlikeable the character is. Throughout the film, he keeps digging himself into a deeper hole as he gambles even more recklessly, which makes it worst when he starts putting other’s people lives at risk. But he’s too complicated to hate. He shares a close bond with his kids and his coworkers. The film makes it clear he’s excellent at predicting Basketball games with near perfect accuracy, which gives you hope he will win. But then again, you don’t end up with over a hundred thousand dollars in debt without making terrible life decisions. He would be impossible to watch without Adam Sandler’s performance. He blends a smooth-talking charm and panic desperation to his character every time he tries to fast talk his way out of his circumstance. You can see why people like having him around.

When the credits roll, you’re relieved it’s over and were glad to experience the thrill.

1) THE TRIAL OF THE CHICAGO SEVEN

The real-life trial of seven protesters and Black Panther co-founder Bobby Seale feels more like an SNL skit than a courtroom drama. From the Merry Prankster duo Abby Hoffman (Sacha Baron Cohen) and Jerry Rubin (Jeremy Strong)’s tweaking the nose at the buffoon judge Hoffman (Frank Langella) to the Judge bounding and gagging Seale, this trial was so contrived it can only come from real life. And writer/director Aaron Sorkin exposes the absurdity of this story in The Trial of the Chicago Seven.

It’s funny how a film about a trial from the late 60s can capture the mood of 2020. But with brutal images of Police attacking protesters and Judge Hoffman’s horrific treatment of Seale, this film feels like it came at the perfect time.[2] The trial itself showcases how the Justice system works to silence discourse and smears protestors. Sorkin further emphasizes how the system attacks anyone by showcasing the contrasting beliefs of the protestors from the radical anarchism of Hoffman and quiet dignity of Seale to the moderate ideals of student protestor Tom Hayden (Eddie Redmayne) and the unapologetic pacifism of suburban dad David Dellinger (John Carroll Lynch).

Sorkin does all this while keeping the film gripping and entertaining from start to finish. He brings his sharp wit to his dialogue whether it’s Hoffman’s political speeches or the Marx-brother’s esque exchanges between the Judge and the increasingly frustrated defense attorney William Kunstler. Matching his writing are the endless great performances from the actors including Joseph Gordon-Levitt as reluctant prosecuting attorney Richard Schultz and Strong bringing out his inner Tommy Chong. But it’s Cohen who steals the whole film bringing out the uncompromising radicalism of Hoffman, who seems to have a better understanding of the situation than most of the protestors.

The result is a film that perfectly captures the political feel of 2020.

[1] At one point, he was almost attacked by protesters.

[2] Which is ironic considering it took Sorkin over a decade to get the film made.

26 notes · View notes

aion-rsa · 3 years

Text

Rick and Morty: A Guide to Every Voice Actor

https://ift.tt/eA8V8J

The world of Rick and Morty has grown to absurd proportions. The show spans multiple planets, galaxies, timelines, and multiverses, meaning there’s always an opportunity to meet strange new people and creatures.

As such, Rick and Morty’s voice cast has grown along with the adventures of its titular pair. While co-creator Justin Roiland, Chris Parnell, Spencer Grammer, and Sarah Chalke have reliably voiced the central Smith-Sanchez family this entire time, the show also relies on a large crop of other voice actors. Some actors recur while others pop up only a time or two as very special guests. But all contribute to the rich aural tapestry of Adult Swim’s very ambitious animated series.

Gathered here is a list of (to the best of our knowledge) every voice actor who has popped up on Rick and Morty, who they played, and where you may have heard (or seen) them before.

Justin Roiland

Rick, Morty, Mr. Meseeks, Mr. Poopybutthole, Mr. Always Wants to Be Hunted

Justin Roiland is not just the co-creator of Rick and Morty but also the vocal engine for how much of the show sounds. Roiland portrays Rick, Morty, Mr. Meseeks, Mr. Poopybutthole, and countless other distinctively voiced characters in the show’s weird world. From the pilot on, Roiland’s tic-filled voice patterns have driven a lot of the humor behind the show.

Roiland has been an animator and a voice actor for quite a long time, getting involved with his eventual Rick and Morty co-creator Dan Harmon and his Channel 101 imprint back in 2004. There he made Internet-only cult animated series like House of Cosbys, and 2 Girls One Cup: the Show. His voice was previously well known as Earl of Lemongrab (“Unacceptable!!!”) in Adventure Time.

Chris Parnell

Jerry Smith

Former SNL cast member Chris Parnell has had a prolific career in comedy both as a live-action and voice actor. Parnell is best known for playing Garth Holliday in Anchorman: The Legend of Ron Burgundy, Dr. Leo Spaceman in 30 Rock, and many more roles in film and television. In the animation world he’s voiced characters on Archer, Robot Chicken, Gravity Falls, and beyond. His voice is often perfect for the “everyman” role and as such he has only been required to embody the sad form of Jerry Smith on Rick and Morty thus far.

Spencer Grammer

Summer Smith

The daughter of Kelsey Grammar, Spencer Grammar got her start as Casey Carywright on the ABC Family college dramedy Greek. Since then, she has done chiefly live-action work on shows such as CSI, Chicago PD, and Grey’s Anatomy.

Sarah Chalke

Beth Smith

Canadian actress Sarah Chalke brings two enormous roles from TV comedy’s past to her work on Rick and Morty. At first she was best known as the “second Becky” on ABC sitcom Roseanne. She would then go on to portray Dr. Elliot Reid for nine seasons of the classic Scrubs. Chalke is still chiefly a live-action comedic actress today but has done some more voice work in the past, including on Clone High and American Dad.

Kari Wahlgren

Jessica, Cynthia, Samantha, Mother Gaia

Kari Wahlgren works extensively as a voice actress for animated movies, TV shows, and video games. As evidenced by her character list above, she is often Rick and Morty’s go-to voice to portray one of Summer’s teenage peers.

Brandon Johnson

Mr. Goldenfold

Brandon Johnson is a familiar face and voice to Adult Swim audiences. He has previously popped up on NTSF:SD:SUV and American Dad. On Rick and Morty he voices Mr. Goldenfold, who is seemingly the only teacher at Morty and Summer’s school.

Phil Hendrie

Principal Gene Vagina

Philip Hendrie is best known for hosting The Phil Hendrie Show, a proto-Comedy Bang Bang-esque talk radio show in the 1990s where he portrayed both a fictionalized version of himself and many other wacky characters. He broke into animated voice acting in the late ‘90s, voicing dozens of characters on King of the Hill and popping up in Futurama as well. On Rick and Morty he plays the unfortunately named principal of Morty’s school.

Ryan Ridley

Frank Palicky, Lighthouse Keeper, Concerto

Ryan Ridley is a writer and producer on Rick and Morty, and like many of the show’s writers is sometimes called upon to lend his voice to a character or two. His best known creation is the Lighthouse Keeper on the Purge planet obsessed with his terrible screenplay. Ridley has also written for Ghosted, Blue Mountain State, and Community.

Rob Paulsen

Snuffles, Centaur

Rob Paulsen is a legendary voice actor best known for voicing two Ninja Turtles (Raphael and Donatello) and several Animaniacs characters. His filmography is truly impressive and includes the important role of Snuffles the Smith family dog on Rick and Morty.

Jess Harnell

Scary Terry, Ruben

Harnell is another Animaniacs veteran. After voicing Scary Terry and some additional voices in season 1, Harnell has yet to return to Rick and Morty.

Patricia Lentz

Joyce Smith

Patricia Lentz provides the voice of Jerry’s mom. She’s had a long, impressive career of live-action and voice acting with some highlights including Runaways, Sabrina the Teenage Witch, and Happy Days.

Dana Carvey

Leonard Smith

The voice of Jerry’s dad is provided by one of SNL’s better known alums in Dana Carvey. A master impressionist, Carvey was an important figure on SNL during the ‘80s and would go on to star in Wayne’s World, The Master of Disguise, and Trapped in Paradise. Shortly after his SNL career, he hosted The Dana Carvey Show, which did not last long but is notable in TV history for having an incredible cast of writers including Louis C.K. Charlie Kaufman, Jon Glaser, Robert Carlock, and frequent Dan Harmon collaborator Dino Stamatopoulos.

Echo Kellum

Jacob Philip, Brad, Triple Trunks

“I throw balls far. You want good words? Date a languager.” So sad that we had to leave Brad behind in C-137. Echo Kellum provides the voice of Brad and several other Rick and Morty characters.. Kellum is a UCB grad who has appeared in Key & Peele, Comedy Bang! Bang! and most notably Arrow as Mister Terrific.

John Oliver

Dr. Xenon Bloom

John Oliver now carries on the legacy of The Daily Show in his superb HBO news series Last Week Tonight. Prior to finding his perfect comedy news niche, Oliver had a lengthy comic acting career starting in his native England and extending into his new home in the U.S. Oliver previously played an important recurring role in Harmon’s Community and pops up just once on Rick and Morty.

David Cross

Prince Nebulon

David Cross is one of several sketch comedy legends who lent their voice to Rick and Morty as part of their lengthy careers. Cross created and starred in sketch series Mr. Show with Bob and David alongside co-creator Bob Odenkirk (how has he not popped up on Rick and Morty yet?). Since then he’s had a successful stand up career and been a part of some impressive TV ensembles such as Arrested Development.

Dan Harmon

Birdperson, Kevin, Mr. Marklovitz, Davin, Ice-T, Dr. Glip-Glop, Nimbus

Dan Harmon is the co-creator of Rick and Morty alongside Roiland. The two share a long history going back to the Channel 101 days. While both Roiland and Harmon are skilled storytellers, Harmon has truly delved into the science of story throughout his career. Harmon is best known for creating and showrunning Community, which became an onscreen sensation for fans and an offscreen nuisance for NBC due to Harmon’s at times difficult behavior. On Rick and Morty, Roiland and Harmon deploy Harmon’s deadpan delivery to good use, with him often playing monotone characters like the beloved Birdperson.

Tom Kenny

King Jellybean, Squanchy, Conroy, Million Ants, Etc.

Tom Kenny is an incredibly successful voice artist who you likely best know as none other than SpongeBob SquarePants. On Rick and Morty, Kenny’s roles are decidedly less wholesome than the sponge who lives in a pineapple under the sea. Kenny was a big factor in season 1 playing King Jellybean and Sqaunchy. He’s popped up sparingly in seasons 2, 3, and 4 as well, most notably as Million Ants of the Vindicators.

Cassie Steele

Tammy Gueterman, Tricia Lange

Somebody’s gotta play Tammy Gueterman, that traitorous monster. And that “honor” goes to Cassie Steele. Steele’s name is recognizable to Canadian (and some American) audiences due to her role as Manny Santos on Degrassi: The Next Generation. Rick and Morty was her first voice acting role. She will continue her voice acting career as the lead in Disney’s upcoming Raya and the Last Dragon.

Claudia Black

Mar-Sha/Ventriloquiver

Claudia Black has turned up on Rick and Morty twice, once in season 1 and once in season 4. It’s a surprise she hasn’t done so more often as she’s built up quite the voice acting career. After becoming well known in sci-fi series like Farscape and Stargate SG-1, Black continued on into a successful gaming career, providing her voice to Uncharted, Gears of War, and Dragon Age.

Maurice LaMarche

Morty Jr. Brad Anderson, Abradolf Lincler, Crocubot

Maurice LaMarche’s smooth baritone is quite familiar to many animation fans. LaMarche has voice acted in everything from Animaniacs to Futurama. He’s got a killer Orson Welles impression and that seems to be the starting point for many of his Rick and Morty characters.

Alfred Molina

Mr. Needful

Many of us know Alfred Molina from his incredibly successful film career in projects like Boogie Nights, Spider-Man 2, and The Da Vinci Code. But Molina has also had quite the career as a voice actor as well. In the past couple decades, Molina has lent his sturdy voice to Rango, Monsters University, Ralph Breaks the Internet, Frozen II, and more. He was clearly a shrewd choice for the Lucifer-like Mr. Needful. It’s a wonder why he hasn’t turned up on Rick and Morty more.

Richard Fulcher

King Flippy Nips

Richard Fulcher is best known as the unofficial third member of British comedy troupe The Mighty Boosh, though he himself is American. Fulcher wrote and acted in every incarnation of The Mighty Boosh. He has also had a prolific career in comedy acting outside the troupe. As of late, Fulcher has leaned into his voice acting abilities including this sadly one-off role on Rick and Morty as King Flippy Nips, ruler of Pluto.

Nolan North

Scroopy Noopers, Multiple Others

Nolan North has done extensive videogame work in franchises such as Uncharted, Assassin’s Creed, and the Arkham series. That’s right: the voice of shrimpy Plutonian Scroopy Noopers on Rick and Morty is both Nathan Drake and Desmond Miles. North also voices many other characters in positions of authority for the show.

Aislinn Paul

Nancy

Aislinn Paul is another Degrassi: The Next Generation alum who has broken into the voice acting world. On Rick and Morty, Paul plays only Nancy, Summer’s nerdy classmate who everyone is always mean to. Hopefully one day there will be justice for Nancy.

Alejandra Gollas

Lucy

Alejandra Gollas is a bilingual Mexican actress who has acted in films, TV shows, and stage productions for decades. Her only Rick and Morty role was that of creepy Titanic enthusiast Lucy.

Scott Chernoff

Revolio Clockberg Jr.

Originally referred to as “Gearhead,” Revolio Clockberg Jr. is one of Rick and Morty’s most recognizable recurring characters. Embodying this important role is veteran voice actor and TV writer Scott Chernoff. Chernoff has lent his voice to dozens of animated properties and has even written for many successful comedies including BoJack Horseman, The Tonight Show with Conan O’Brien, and School of Rock. He is one of many Channel 101 veterans involved in Rick and Morty and pitches in with some other background voices on the show here and there.

Keegan-Michael Key

Schleemypants

Keegan-Michael Key is likely best known as half of the ultra successful sketch comedy duo Key & Peele. (Wonder whatever happened to the other guy!) Key has had an enormously successful career as a comedic actor on television. On Rick and Morty he plays testicle-looking time cop Schleemypants.

Jordan Peele

Second Fourth-Dimensional Being

Oh, here’s Peele! Schleemypants’ unnamed partner is the only character Peele has played on Rick and Morty.

Jemaine Clement

Fart

New Zealand comedic actor Jemaine Clement is best known for being half of the Grammy award-winning comedic musical act Flight of the Conchords alongside Bret McKenzie. Clement has also worked extensively with fellow Kiwi Taika Waititi to produce recent classics like What We Do in the Shadows. His deadpan delivery was a perfect choice monotone gaseous being “Fart.”

Andy Daly

Krombopulos Michael

Krombopulos Michael is Rick and Morty’s Boba Fett: he looks cool but ultimately does nothing. Playing K.M. was one of the most sought-of “character voice actors” in the industry. Daly’s cheerful everyman delivery has proven useful on dozens of comedy shows across the entertainment landscape. Perhaps best known for his starring vehicle Review with Forest MacNeil, Daly has also lent his voice to series such as Harley Quinn, Bob’s Burgers, and Big Mouth. He can also be heard as a crucial role on Roiland’s Solar Opposites.

Christina Hendricks

Unity

Christina Hendricks is best known for her role as Joan Holloway on Mad Men. In addition to that, however, she’s appeared in quite a few genre films and shows like Firefly, Life, and The Neon Demon. Hendricks has done some voice work here and there and her only role on Rick and Morty to date is assimilation expert and one-time Rick Sanchez paramour Unity.

Patton Oswalt

Beta-Seven

Patton Oswalt is basically the dark matter of the comedy universe. He and his voice turn up just about everywhere. Perhaps his best known voice acting role is that of lead character Remy in Ratatouille. On Rick and Morty he has played only Beta-Seven thus far and is surely due for some more appearances.

Keith David

The President

Even if you’ve never heard of Keith David, you have surely heard his voice. An unmistakable baritone with gravitas, David has leant that voice to projects such as Gargoyles, Halo, and Spawn. David has worked with Harmon before on the final season of Community. Surely, there is no better voice for Rick and Morty’s unnamed President…or its Reverse Giraffe.

Kurtwood Smith

General Nathan

Not sure if you recognize Kurtwood Smith’s voice? You would if he called you a dumbass. Yes, Smith is best known to TV audiences as Eric Forman’s ornery dad Red on That ‘70s Show. He provides that same ornery spirit to the role of General Nathan on Rick and Morty in “Get Schwifty.”

Stephen Colbert

Zeep Xanflorp

Stephen Colbert is of course a longtime comedic actor, host of The Colbert Report, and now host of The Late Show on CBS. The Late Show understandably takes up most of his time nowadays but he was nice enough to portray the intelligent alien living inside Rick’s flying saucer’s Miniverse battery.

Nathan Fielder

Kyle

“The Ricks Must Be Crazy” has quite the star power among its voice cast. In addition to Colbert’s Zeep, the episode also introduces another Microverse populated by Kyle. Kyle is played by Nathan For You’s cringe comedy maestro Nathan Fielder.

Jim Rash

Glaxo Slimslom

Jim Rash is another frequent Dan Harmon collaborator, best known for his role as Dean Pelton on Community. Rash is an accomplished comedic actor and an Oscar award-winning screenwriter. He’s the perfect choice to play alien couples counselor Glaxo.

Matt Besser

Fungo

Matt Besser is an improv comedy specialist who is a founding member of the Upright Citizens Brigade comedy troupe. Over his long career, he’s appeared in just about everything. On Rick and Morty he portrays alien diplomat Fungo, who tries to convince Jerry to donate his penis to Shrimply Pibbles.

Werner Herzog

Shrimply Pibbles

Werner Herzog might be the strangest inclusion in the Rick and Morty voice canon. Herzog is a towering figure in the cinema world as a director, screenwriter, documentarian, and occasional actor. His German accent and generally serious and pessimistic disposition has made him a natural target for comedies looking to inject a bit of weird humor into the proceedings.

Chelsea Kane

Arthricia

Chelsea Kane has appeared in several TV series targeted to tween audiences like Disney Channel’s Jonas and Freeform’s Baby Daddy. Her brief role as the Purge planet’s Arthricia was a jumping off point to try more voice actor roles on shows like Hot Streets, Regular Show, and DC Super Hero Girls.

James Callis and Tricia Helfer

Pat and Donna Gueterman

James Callis and Tricia Helfer portray the parents of double-agent Tammy Gueterman for a very specific reason. Callis and Helfer are best known for their roles on Syfy’s classic series Battlestar Galactica, with Callis playing brilliant scientist (and traitor to humanity) Gaius Baltar and Helfer playing Cylon model Number 6. Pat and Donna Gueterman on Rick and Morty look just like the actors playing them, which should have been our first clue that something is amiss.

Nathan Fillion

Cornvelious Daniel

Who is Nathan Fillion if not nerd culture’s best friend? Fillion came into prominence by playing Captain Mal Reynolds on Joss Whedon’s beloved Firefly. Since then Fillion has had a solid career on shows like Castle and The Rookie. In his spare time, however, he provides his voice to animated series like Rick and Morty and Big Mouth, often playing a thinly-veiled version of himself. Cornvelious Daniel is notable for being the first character onscreen in Rick and Morty to enjoy that sweet, sweet McDonald’s Szechuan sauce.

Tony Hale

Eli

Tony Hale won two Emmys for playing the Vice President’s bagman Gary Walsh on Veep. Before that he was the youngest Bluth child, Buster, on Arrested Development. As of late, however, he’s getting more into the voice acting scene. You (or your kids) may best know him as the beloved Forky in Toy Story 4. But prior to that, he popped up as a cheery Mad Max-style biker named Eli on Rick and Morty.

Joel McHale

Hemorrhage

Joel McHale is, of course, another Community alum. He played lead character Jeff Winger on Harmon’s old NBC series. In addition to that, McHale has had a lengthy career in comedy, having hosted The Soup and Netflix’s recent Tiger King special. He was also a tight end of the University of Washington football team but that’s neither here nor there. He voices bucket-wearing post-apocalyptic warlord Hemorrhage on Rick and Morty.

Susan Sarandon

Dr. Wong

Perhaps no character on Rick and Morty has delved deeper into Rick’s psyche than Smith-family psychologist Dr. Wong. Lending her voice to Dr. Wong in the infamous “Pickle Rick” episode is legendary actress Susan Sarandon a.k.a the Louise in Thelma and Louise.

Peter Serafinowicz

Agency Director

Peter Serafinowicz is a British comedian and actor who used his role voicing Darth Maul in The Phantom Menace as a launching pad to befriend some truly talented creators and get some truly fascinating roles. Serafinowicz has popped up in Shaun of the Dead, Guardians of the Galaxy, Parks and Recreation, and more. He also portrayed the titular Tick in Amazon’s The Tick. His role in Rick and Morty is briefly that of a Russian villain agency director who tries to take down the ever-elusive Pickle Rick.

Danny Trejo

Jaguar

“Pickle Rick” really has quite the impressive guest voice cast. Danny Trejo joins Peter Serafinowicz and Susan Sarandon in lending his voice to this episode. Trejo plays Rick’s loose canon action hero ally, Jaguar. Outside of Rick and Morty, Danny Trejo may be one of the most recognizable faces in entertainment. A frequent collaborator of Robert Rodriguez, Trejo has leveraged his fascinating upbringing and tough guy appearance into countless roles.

Gillian Jacobs

Supernova

Another Community alum! Superhero team The Vindicators requires a lot of guest voice talent and clearly Dan Harmon knew one place to turn. Jacobs played Britta on Community (she’s the worst). The Pittsburgh-born actress has also appeared in Girls, Don’t Think Twice, and Ibiza.

Christian Slater

Vance Maximus

Christian Slater is a big get for Vindicators leader Vance Maximus. While he’s best known to modern audiences as the titular Mr. Robot in Mr. Robot, Slater got his start as an actor with popular roles in movies like Heathers, Interview with the Vampire, and Broken Arrow. Slater has had a fruitful voice acting career as well, having previously played “Slater” in Archer.

Lance Reddick

Alan Rails

Alan Rails is another one of the hallowed Vindicators crime-fighting team. Playing the ghost train-summoner is Lance Reddick. Reddick has been a mainstay on television for decades, turning up in Oz, Fringe, Lost, and more. Most notably he played Cedric Daniels for the entirety of The Wire’s run.

Logic

Logic is one of the few Rick and Morty guest stars who gets to be an animated version of himself. This Maryland-based rapper has released five successful albums and enlisted Rick and Morty to help promote his sixth mixtape Bobby Tarantino II.

Clancy Brown

Risotto Groupon, Story Train passenger

Talk about a guy with a commanding voice. Clancy Brown has been a successful actor for a long time, going back to his roles in Highlander, The Shawshank Redemption, and Lost. He’s undoubtedly best known to animation fans, however, as the voice of stingy Krusty Krab owner Mr. Krabs in SpongeBob SquarePants. On Rick and Morty, he’s played alien restaurant manager Risotto Groupon and a Story Train passenger in season 4’s “Never Ricking Morty.”

Thomas Middleditch

Tommy Lipnip

Thomas Middleditch is likely best known to television audiences as overmatched tech tycoon Richard Hendrix on HBO’s Silicon Valley. That’s just the tip of the iceberg for Middleditch’s comedy career. The prolific improviser played Tommy Lipnip in Rick and Morty and must have impressed Justin Roiland enough to give him a lead role on his Hulu comedy Solar Opposites.

John DiMaggio

Multiple Minor Roles (Death Stalker, Leader, Knight, etc.)

John DiMaggio is an incredibly busy voice actor. If you’ve ever enjoyed an animated comedy, there’s a good chance DiMaggio contributed his voice to it. His best known roles include Bender on Futurama, Jake the Dog on Adventure Time, and Scotsman on Samurai Jack.

Sherri Shepherd

Judge

Sherri Shepherd is an actress, comedian, and TV personality best known for being a co-host on The View for seven years. Since then she’s turned up as an actress or talking head on many shows and lent her voice to portray a judge that deals with Morty in the season 4 premiere.

Sam Neill

Monogatron Leader

In addition to having one of the best Twitter accounts in the world, Sam Neill is also an actor best known for playing Dr. Alan Grant in Jurassic Park and Jurassic Park III. The New Zealander has continued to work quite a bit in recent years, turning up in Thor: Ragnarok and Peaky Blinders. On Rick and Morty he plays the leader of the Monogatron alien race in “The Old Man and the Seat.”

Taika Waititi

Glootie

Playing another Monogatron, this one named Glootie, is New Zealand actor/director Taika Waititi. Waititi got his start in the New Zealand comedy scene alongside other Rick and Morty guest star Jermaine Clement. Since then he has only gone on to become one of the most in-demand filmmakers on the planet. Waititi is behind Thor: Ragnarok, JoJo Rabbit, and an upcoming Star Wars film.

Kathleen Turner

Monogatron Queen

Kathleen Turner is what you would call a “get” for Rick and Morty. Turner has won two Golden Globe awards and been nominated for an Oscar and several Tony awards. She is best known for her roles in ‘80s movies Romancing the Stone, Prizzi’s Honor, and The War of the Roses. Turner has also been working as a voice actress since the ‘80s, voicing Jessica Rabbit in Who Framed Roger Rabbit and going on to act in The Simpsons and King of the Hill as well.

Jeffrey Wright

Tony

Jeffrey Wright is no stranger to sci-fi, having toiled away as sad robot Bernard on Westworld for three seasons. Wright got three-quarters of a way to an EGOT in one role by playing Belize in Angels in America. Since then he’s acted in several Daniel Craig Bond films, Boardwalk Empire, and The Hunger Games. On Rick and Morty he plays the role of an alien who vexes Rick into an existential crisis by continuing to use his private toilet.

Elon Musk

Elon Tusk

Elon Musk is a South African/Canadian/American engineer and industrialist who serves as the founder and CEO of SpaceX and CEO of Tesla, along with numerous other ventures. Presumably he did not call anyone behind the scenes of Rick and Morty a pedophile but you never know.

Justin Theroux

Miles Knightley

Justin Theroux has had quite the career in Hollywood. He first came to prominence acting in the David Lynch films Mulholland Drive and Inland Empire. He then continued to appear in major films while also writing some for good measure like Tropic Thunder, Iron Man 2, and Rock of Ages. On television he played Kevin Garvey in HBO’s The Leftovers. For Rick and Morty, he played the role of “heist artist” Miles Knightly in “One Crew Over the Crewcoo’s Morty.” You son of a bitch, I’m in.

Pamela Adlon

Angie Flint

Pamela Adlon is the rare case of an actor who was first best-known for voice work breaking into the live-action arena in a big way. Adlon is best known for giving voice to Bobby Hill on King of the Hill, while also voice acting in other animated projects like Recess, and 101 Dalmatians: The Series. A longtime collaborator of Louis C.K. (though not so much anymore), Adlon appeared on FX’s Louie and got a well-received FX show of her own, Better Things. On Rick and Morty, Adlon portrays Angie Flint – a lock-picker who Rick recruits to his heist team.

Matthew Broderick

Talking Cat

Matthew Broderick is a longtime stage, film, and television actor best known for his roles on Ferris Bueller’s Day Off, WarGames, The Producers, and much more. Most recently he turned up on Netflix’s sadly-departed post-apocalyptic comedy Daybreak. On Rick and Morty, Broderick plays a Talking Cat with a secret so heinous it will drive anyone to near insanity.

Liam Cunningham

Balthromaw

To portray the voice of a wizened dragon, Rick and Morty turned to an actor best known for a series filled with them. The Irish actor Liam Cunningham is known to most people as Ser Davos Seaworth from Game of Thrones. Though not usually a voice actor he must have enjoyed his role on Rick and Morty as he turns up again briefly in Roiland’s Solar Opposites.

Phil LaMarr

Multiple Minor Roles

The first two things most people (and by most people I mean me) think of when they think of Phil Lamarr are his time on Mad TV and the moment his head explodes on Pulp Fiction. But aside from sketch comedy and head explosions, LaMarr has had a remarkable voice acting career. He portrayed the title character in Samurai Jack while also providing his voice to Justice League, Static Shock, and countless video games. It’s surprisingly hard to figure out what voices Phil LaMarr plays on Rick and Morty but given his talents it’s certain to be quite a few.

Christopher Meloni

Jesus

When Rick and Morty briefly presented the savior of mankind in season 4’s sixth episode, surely there was only one choice to play him. Christopher Meloni has had one of the more fascinating careers in entertainment. After playing the deadly serious role of Elliot Stabler on Law and Order: SVU for years, Meloni has re-embraced his comedic side in projects like Happy!, Harley Quinn, while reprising his role in the Wet Hot American Summer franchise.

Paul Giamatti

Story Lord

Paul Giamatti once joked in a late night talk show interview that his role in any given heist or action movie would be the guy wearing a headset in a van, typing on a computer, and telling the hero to “get out of there, man!” He has since parlayed that character actor sensibility into a remarkable, multi-award-winning career. Giamatti is best known recently for portraying Chuck Rhoades on Billions and producing AMC’s Lodge 49. Prior to that he played lead roles in American Splendor, HBO’s John Adams, and much more. The guy has a good handle on stories and therefore makes perfect sense as Rick and Morty’s Story Lord.

Alan Tudyk

Chris, Observant Glorzo, Multiple Minor Roles

Alan Tudyk is a nerd culture mainstay. Very few comic-cons come and go without Tudyk involved in at least one project presenting within them. Tudyk has played Hoban “Wash” Washburne on Firefly and its spinoff movie Serenity, Mr. Nobody on Doom Patrol, and many more beloved characters. His live-action appearances are just the tip of the nerd iceberg, however, with Tudyk providing his voice to everything from Solo: A Star Wars Story (K-2SO) to Harley Quinn (Clayface/The Joker). On Rick and Morty, Tudyk plays several unnamed characters.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Rob Schrab

God

Rob Schrab is a Channel 101 veteran and longtime Harmon collaborator. Schrab is best known for his work as a director of projects like Monster House, Community, Parks and Recreation, and more. On Rick and Morty he plays none other than God…or at least the Zeus-like god of a remote planet.

Jim Gaffigan

Hoovy

Jim Gaffigan is a wildly successful standup comedian who co-created and starred in a TV show about his life for TV Land called The Jim Gaffigan Show. While he’s appeared sparingly in films, of late he’s dabbled in voice acting, lending his voice to Hotel Transylvania 3, Playmobil: The Movie, and Luca. His kindly Midwestern accent lends itself nicely to the helpful but doomed Hoovy on Rick and Morty.

Planetina

Alison Brie

Five seasons in and Rick and Morty is still finding old friends from Community to make their debut. Alison Brie played Annie Edison on Dan Harmon’s classic series. Since then she’s become quite the star, serving as a lead on GLOW and voice acting in BoJack Horseman and The Lego Movie 2. She even provided the voice of Natasha Romanoff a.k.a. Black Widow in the video game Marvel Avengers Academy.

Steve Buscemi

Eddie

Steve Buscemi is a prolific and talented character actor known for his classic roles in Fargo, Reservoir Dogs, The Sopranos, and more. That he plays such a relatively minor role on Rick and Morty suggests that he might be a fan of the show and just wanted to stop by and say hey. Buscemi is also notable for being a New York firefighter prior to his acting life.

Christina Ricci

Princess Ponietta

Once known as a talented child actor, Christina Ricci has continued her creative work into adulthood. The actress has starred in films like Speed Racer, Black Snake Moan, and the upcoming fourth Matrix movie. Bless her for dropping by Rick and Morty only to play an CHUD horse-person princess pregnant with Rick’s heir.

Kyle Mooney

Blazen

Kyle Mooney is an SNL cast member and writer who specializes in offbeat characters and sketches. He also wrote and starred in 2017’s Brigsby Bear. His role hasn’t been officially confirmed on Rick and Morty yet but it seems as though he voices the Mortal Kombat-esque faux badass Blazen.

The post Rick and Morty: A Guide to Every Voice Actor appeared first on Den of Geek.

from Den of Geek https://ift.tt/2TZnSGJ

#aion-rsa #Den of Geek

3 notes · View notes

letterboxd · 3 years

Photo

Together, Alone.

Together Together writer and director Nikole Beckwith talks to Ella Kemp about platonic love, pragmatic pregnancy, melancholic comedy and being inspired by Magnolia’s rain of frogs.

“The three of us were having our own platonic love affairs while we were making the film, which was very, very cool.” —Nikole Beckwith on working with Ed Helms and Patti Harrison

Back before vaccinations began, when we were still looking for glimmers of hope, the virtual 2021 Sundance Film Festival delivered us an abundance of joy: the family dramedy CODA, Questlove’s extraordinary piece of history, Summer of Soul, the delightful Sesame Street documentary and some precious smaller stories, too. One of those is the low-key revolutionary Together Together, Nikole Beckwith’s “visual representation of a warm hug”.

A platonic love story about surrogacy and solo parenting, Together Together stars Ed Helms as Matt, a single man in his forties who desperately wants to be a father. Interviewing women to carry his baby, he chooses twenty-something Anna, played by Patti Harrison, who completely nails her first feature leading role (she has previously appeared in A Simple Favor and Raya and the Last Dragon).

Over the nine months that follow, the pair boundary-shift as they navigate their unconventional relationship. They’re not together-together, but the bond between them is real, and strong. “Matt and Anna are loners, but they’re comfortable and functional in that space,” Beckwith explains. “And part of their connection is recognizing and respecting that in each other.”

Ed Helms and Patti Harrison in ‘Together Together’.

Flipping the narrative on surrogacy stories, Together Together encourages audiences to think about family in a new way. “Matt is in this strange middle zone,” Beckwith explains. “He’s not part of a community with a ton of children, and he’s not out partying at bars or living the child-free life. So the key to moving out of that space is taking matters into his own hands and redefining his future, and his idea of and desire for parenthood comes from himself—not from wistful fantasies romanticizing the idea of having kids.”

Anna’s story is just as clearly drawn: positive, rational, generous. “The last thing I wanted was to see her looking at children, with her hand on her belly, thinking ‘How am I going to give this up?’,” the filmmaker says. “I think that’s a really dominant way into surrogacy stories, but surrogacy is positive, it’s additive, and Anna knows herself. She knows what she’s capable of.” It’s a rare depiction of pregnancy on screen. “When a woman becomes pregnant, they’re not completely eclipsed by that fact. It doesn’t become their primary identity. So Anna is being very pragmatic about that experience.”

Together Together embraces “alone-ness” in a reassuring way, especially coming after a year in which many of us have experienced solitude involuntarily. Originally from Newburyport, Massachusetts, Beckwith spends a lot of time alone, but is firm that loneliness and solitude are not the same thing. Her story about the ambiguous spaces we inhabit when we don’t have a partner has its roots in real-life relationships.

“We just couldn’t get enough of each other,” Beckwith says of one male friend who changed her life when she moved to New York, far away from the small town she had grown up in. “I was just totally electrified and excited by them, and it was so hard for me to figure out that we were falling in platonic love. I hadn’t realized that was a kind of love you could fall in and just thought, ‘how beautiful’.”

The timelessness of non-romantic relationships is reflected in the film’s wondrous piano score, “a strange, poetic stream of consciousness” composed by Alex Somers, who also scored Captain Fantastic and Honey Boy. It is a hat-tip to Nora Ephron’s films, “those two-hander relationship movies in which the score is largely piano standard,” Beckwith explains. “We didn’t want it to sound old, while still having a whiff of nostalgia, while still feeling new, but in a timeless way instead of an overtly modern way.”

Beckwith looked for inspiration in all the right places. She nods to the dynamic between Melissa McCarthy, Kristen Wiig and Maya Rudolph in Bridesmaids as a depiction of platonic love that set the bar for Together Together. For examples of a middle-aged man who oscillates between being alone and lonely, Bill Murray’s performance in Sofia Coppola’s Lost in Translation led the way. And in terms of the first film to light a fuse in her moviemaking brain, she has Paul Thomas Anderson to thank.

“I had a pretty incredible experience watching Magnolia when it was in theaters,” she remembers of the filmmaker’s 1999 emotional epic. "When the frogs fell from the sky, I was like, ‘So you can do anything?’ And then every time William H. Macy turns on his car radio and Gabrielle’s ‘Dreams’ comes on, for some reason that opened a pocket in my mind which was like, ‘These are decisions that somebody is making.’ And that was the first moment, with those two scenes, that I realized movies are made.

“I hadn’t ever thought of the rubber-to-the-road aspects of movies coming from someone specific. Being from a small town, I’d never seen a movie like that before. Those two moments really kind of made me think about it in a new way—it was very cool.”

Writer-director Nikole Beckwith.

Just as Anderson has brought dramatic nuance out of renowned comic actors (most notably, Adam Sandler in Punch Drunk Love), Together Together also asks us to adjust our expectations of our modern-day comedy heroes. It is packed to the rafters with American indie comedy stars (Tig Notaro, Anna Konkle, Sufe Bradshaw, Julio Torres, Jo Firestone and many more), but plays for laughs only where it feels right. The tone is held throughout by Harrison and Helms, who were, says Beckwith, “grounded and present”.

Leave your memories of Helms as office nerd Andy Bernard at the door, and expect a softer Harrison than the acerbic comedy titan who greets you on Instagram or the TV show Shrill. It was a shot in the dark that such potent chemistry would materialize. “I mean, what is chemistry?” Beckwith says, when asked about the electric feeling her leads emanate. “It’s an elusive magic—you can’t invent it, you can’t count it. It just is or it isn’t, and we were so lucky that it was.”

“They’re both such gifted comedians that there was no doubt in my mind that we could take the things that fuel the stuff we know them for, and just switch it around,” says Beckwith. “I think in order to be a truly terrific comedian you have to be holding hands with all the difficult, melancholy things about being alive, because that’s where comedy comes from and that’s what it relates to—and that’s why it’s so ubiquitous. We need it.”

Recently Viewed: The Final Kanopy Binge

Well, as of today, the New York Public Library has officially severed ties with Kanopy, my favorite streaming service. Sadly, like MoviePass and Sunshine Cinema, the free membership model was simply too good to last. Luckily, I managed to cross several movies off of my (forty page long) watch list before my account expired:

A Cat In the Brain: Lucio Fulci (the mad genius behind such stomach-turning classics as City of the Living Dead, Zombi 2, and Don’t Torture a Duckling) goes full-on meta, starring as a horror director haunted by his own violent imagery. It’s a blood-soaked, darkly comic masterpiece in which the filmmaker has an absolute blast eviscerating both his critics and himself (figuratively, of course).

Blood Rage: The opening credits actually displayed the film’s alternate title, Slasher, which feels more appropriate—this steaming hunk of late ‘80s cheese is about as generic as splatter flicks get. While it boasts impressive gore effects (courtesy of Ed French, who also worked on the similarly trashy Sleepaway Camp and the decidedly more prestigious Terminator 2: Judgment Day), a funky synthesizer score, and a genuinely compelling performance by Mark Soper (playing both the murderous psychopath du jour and his wrongfully imprisoned twin brother), it is, by and large, rather forgettable. Though it does feature Ted Raimi in a brief cameo role as the “Condom Salesman,” so it has that going for it.

The Loyal 47 Ronin: This particular interpretation of the oft-adapted Japanese historical legend, produced by Daiei (the studio behind the Zatoichi and Sleepy Eyes of Death series), attempts to tell a sort of “definitive” version of the popular tale, cramming in as many of the obligatory vignettes as it can manage—an honorable man is forced to deceive the woman he loves in order to obtain vital information, a femme fatale finds herself questioning where her loyalties really lie, a devoted son must disgrace himself in front his father to protect his cover, and so on. Obviously, this ambition has the unintended side effect of rendering the narrative bloated and unwieldy, leaving many subplots severely undercooked; fortunately, the stellar cast—including Raizo Ichikawa, Shintaro Katsu, Machiko Kyo, and Kazuo Hasegawa (as well as Date Saburo, thanklessly lurking in the background as always)—more than compensates for such trivial shortcomings.

Funeral Parade of Roses: This countercultural cult classic is borderline indescribable. The narrative structure is defiantly nonlinear, shifting genres, styles, and tones so frequently and abruptly that it causes whiplash. The plot revolves around a love triangle between a drug-dealing nightclub owner and two of his drag queen hostesses (replete with references to Oedipus Rex, of all things)… but there are also documentary segments exploring the Japanese LGBTQ community circa 1969, punctuated by moments of zany slapstick comedy. It’s a disorienting assault on the senses—and I enjoyed every minute of it.

Right Now, Wrong Then: A Korean romantic dramedy that depicts the exact same impromptu date twice in a row... albeit with some major differences between each telling. I love how open to interpretation this one is; personally, I believe that the second version of the story represents the protagonist’s idealized memories of the “true” events (the various supporting characters he encounters, for example, become noticeably less critical of his actions than they were in the first half), but director Hong Sang-soo (Grass) doesn’t enforce a concrete meaning—which makes the movie significantly more memorable.

The Penalty: The incomparable Lon Chaney stars as a diabolical criminal mastermind seeking vengeance for the loss of his legs in a childhood accident. This is quite possibly the single most breathtaking transformation in the entirety of the chameleonic actor’s illustrious career, requiring not one ounce of makeup, yet no less physically-demanding than his performance as Quasimodo in The Hunchback of Notre Dame. His unwavering commitment to the role elevates the otherwise thin (and frequently outright misogynistic) material.

Meru: Before Free Solo, professional mountain climber/photographer Jimmy Chin helmed this phenomenal documentary about conquering one of the most perilous peaks in the Himalayas. While it shares its spiritual successor’s penchant for awe-inspiring visuals, this is a markedly more intimate cinematic experience, delving deeper into the inarticulable psychological forces that compel seemingly ordinary human beings to risk life and limb in pursuit of the ultimate thrill.

5 notes · View notes

frazzledsoul · 5 years

Note

13, 19, 23, 27!

what genre of TV show is your favourite?

I tend not to want to watch relationship dramas anymore, since ER/Gilmore Girls broke my heart a long time ago and it’s not worth it to get emotionally involved again and to let the writers screw me over (I think I’m relearning this lesson with This Is Us). So I tend to like dark, twisted, gory, supernaturalTV shows where anyone can die at any moment.

My real love, though? Dark, twisted, gory supernatural TV shows where the writers genuinely love the characters and want them to be happy. This is why Orphan Black and Fringe are perfect shows to me. I think Stranger Things could be that kind of show, but we’ll see. I also like comedies/dramedies where the couples get together and … that’s basically it. No more drama or love triangles, and life goes on. This is rare. I have only seen this in Bones and Parks and Rec.

are there any shows on your “to watch” list right now?

OMG! Are you freaking kidding me? Bodyguard, Mindhunter, Hanna, The Fall, The Crown, Frontier … it’s a long list. I am bad at bingeing, I tend to only gravitate to something when it’s leaving streaming.

are you a fan of will-they-won’t-they plots?

In theory, yes. In execution, not so much. Writers are fickle and they rarely just leave a couple be after they get them together. I’ve also learned that it’s wise to emotionally disengage from a show when it becomes clear that the writers don’t share your love for a ship or they adore the villain more than any of their main characters.

which actor do you think deserves an Emmy for their work on TV?

I feel like my answer is supposed to be Lauren Graham, but I have complicated feelings here. ASP has publicly admitted that she wrote that Partings plot twist in order to whore for an Emmy. All of her her shitty mistakes there, her twisting of Lorelai into a person that she wasn’t, doing horrible things that she wouldn’t do, was to get that award. Knowing that, I cannot in good conscience say that Lauren deserved it. When you give awards to actors for playing characters that aren’t the ones we came to love, you reward the writers for putting them in that position. ASP did not deserve to be rewarded. Objectively, Lauren probably deserved it for any of the first five seasons, but I still feel dirty saying that because I know ASP would have been rewarded by default. I will never root for that woman getting awards attention (even by proxy through her actors) after what she did.

That said, Parenthood is removed from all of that mess, and Lauren definitely deserved it for that show! I also think it’s tragic that John Noble never got anything for Fringe. And I’m still mad that Steve Carrell and Hugh Laurie never got the Emmys they deserved. I think Millie probably deserves it for Stranger Things but I think there’s a good chance she’ll get it before the show is done.

#memes #gilmore girls #orphan black #fringe

1 note · View note

hornyliverpudlianputz · 5 years

Text

Movies tag

I was tagged by @stuartsutcliffee, thanks love!

Rules are post one gif each from your top ten fave movies (in no particular order) so here we go! I’m labeling them so if people are interested they can check them out.

The Gods Must Be Crazy, a South African comedy from the 80s. Manages to tie together plotlines involving a violent political coup gone awry, a tribal man’s quest to find the edge of the world, a field scientist researching elephant dung, and a city woman trying to become a rural school teacher.

A Knight’s Tale, an American “historical” dramedy from the early 2000s. Has a lot of a-list actors right before they became a-list and a banger of a sound track.

The Princess Bride, an American fantasy comedy from the 80s. To quote its own description from dialog within the movie: “Fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles... “

What We Do In the Shadows, a New Zealand comedy from just a few years ago. It’s got vampires but like. They’re dorks.

Monty Python and the Holy Grail, a 70s British comedy from sketch group Monty Python. It’s a take on the Aurthurian legend of the Grail Quest. Hijinks ensue.

Maurice, an 80s BBC drama based on a posthumously published novel by EM Forster. Basically a gay period piece (with a happy ending!)

The Lion King, a Disney animated movie from the early 90s. AKA cartoon lions do “Hamlet” with an all-star voice cast and some songs along the way.

Singin’ In the Rain, an American musical comedy from the 50s. Every song in it is an absolute bop and the tap dancing is just the cherry on top. (my gif)

La vita e bella (Life is Beautiful), an Italian dramedy from the 90s. It is a beautiful movie and very, very funny but it’s also about the Holocaust so approach with caution.

The Aristocats, a Disney animated movie from the 70s. Cats! Paris! The butler did it! Singing! Romance! KITTEN SIBLINGS! Need I say more.

Anybody who wants to jump on this train go for it! God I keep thinking of other movies I want to put on here, there’s no sci fi rep whatsoever. Damn.

#personal #this is fun!

2 notes · View notes

remainseatedatalltimes · 5 years

Text

A Trip Down the 2018 Cinema Lane

And so, with a single snap of two fingers, 2018 comes to an end. Or, if you happen to be an intergalactic titan, so does half the Universe. At least until April 2019. More on that a little later.

For now, let’s take a look back at the year that was. A year where Super Heroes, Super Villains, and the Super Ambivalent reigned; board, school and video games became a spectator sport; the divide between actors and musicians became blurry(er); and synchronized swimming (amongst other aquatic themed activities) awed audiences worldwide, not once, but twice!

But whilst 2018 certainly dazzled with blockbuster spectacle and musical crescendos, as a whole, I actually feel the year was a bit, well…blah.

I mean, there were plenty of good, bordering on great films – and very few outright travesties (although, I haven’t seen Holmes and Watson), but as I sit and write this year in review, I’m struggling to find many films that I can say I truly loved. You know, those films that you want to watch over and over again, and shout from the rooftops about (such as last year’s Coco – seriously – if you haven’t seen this movie yet, stop reading, and get your priorities in order)!

Now, don’t get me wrong, there were a number of films that I thoroughly enjoyed including Molly’s Game which delivered Aaron Sorkin’s regular witty banter and complex characters; the ingenious and highly original Wreck It Ralph sequel, Ralph Breaks The Internet; and the Marvel juggernauts (see what I did there) Black Panther AND Avengers: Infinity War.

But my top two films of the year couldn’t be further removed from each other if they tried.

In second place, the absolutely stunning and “practically perfect in every way” sequel to Mary Poppins - Mary Poppins Returns. I believe it’s an extraordinary accomplishment to deliver a sequel to a genuine film classic 54 years after the original and make it feel like a completely natural and complementary sequel. From brief traces of the original films score stitched effortlessly (I’m sure it was not effortless at all) into the new score – itself both completely original and yet also still in the same style as its predecessor; to the seemingly carbon copy but in reality shrewdly clever and timely story-line; and of course, then there is the brilliance that is Emily Blunt: Mary Poppins Returns is that rare example of a near perfect sequel. It doesn’t attempt to upstage its predecessor. It simply complements it. And the result is a heart-warming, charming and oh so nostalgic trip down memory lane.

And then there’s my number one film of the year. The slick, stylish, visually dynamic, unsettling and violent tale of a mysterious hotel nestled on the border of California and Nevada: Bad Times at the El Royale. I have to admit, even I was a little surprised to discover this film at the top of my list, but Drew Goddard’s dark film noir-esque tale of seven strangers and one fateful night had me transfixed for its entire 2+ hour run-time. But I shouldn’t have been surprised. Since his early career as a writer for Buffy the Vampire Slayer, Drew Goddard has always demonstrated an astute ability to cunningly weave together elements of horror, thriller, drama and comedy in a way few others can. And Bad Times at the El Royale is no exception. Throw in a brilliant cast, some phenomenal cinematography and a well-conceived mystery that is based more around what the audience doesn’t know yet – rather than a big audacious twist in the final act that doesn’t make sense – and you have an enormously entertaining and clever thriller that I feel will become a bit of a cult classic in years to come.

Now as I mentioned earlier, whilst many of the other films of 2018 fell a little short of expectations and potential, the good news is, very few were outright travesties. Still, at the lower end of my list was the uneven and somewhat boring sequel to the 2016 smash hit – Deadpool 2; the clichéd and beyond cheesy J-Lo workplace dramedy Second Act; and the visually impressive, but ultimately just uneven and peculiar, A Wrinkle In Time.

But it was another odd combination that took out the not-so-illustrious honour of being my least favourite films of the year.

The first, the part animation, part live action re-telling of Peter Rabbit. Now don’t get me wrong, my reason for disliking this film may be a bit ridiculous – but here it is. I like James Corden. He’s a very funny, charismatic, clever comedian and host. But in animated bunny form with almost non-stop dialogue for 90 minutes – well – let’s just say, I would have been way too happy to make rabbit stew of his oh-so-annoying take on Peter Rabbit.

And speaking of annoying voices, then there was Tom Hardy’s hideous portrayal on my favourite Marvel villain of all time – Venom. From Hardy’s horrible, whiny and dull portrayal of Eddie Brock, to a nonsensical – and frankly clichéd and humdrum plot, Venom was a mess of movie that turned one of Marvel’s greatest villains into a wearisome and somewhat pathetic character. Sure, there may have been worse Super Hero movies (I’m looking at you Batman vs Superman), but in terms of under-delivering on its potential, Venom is pretty hard to beat.

So that’s it for another year and another movie list! Now it’s onward and upwards in 2019.

With half the Universe sitting on the edge of their seat (and oblivion) until April’s Avengers: Endgame, the rest of us will sit in gleeful anticipation of a year where nostalgia reigns supreme. Between the inevitable 90’s overload that will be Captain Marvel, to the Mouse House’s string of live action ‘remakes’ Dumbo, Aladdin and the unstoppable force that is set to be The Lion King, not to mention 2 X-Men films (Dark Phoenix and The New Mutants), another musical biopic – this time based around Elton John – Rocketman, and a string of sequels including Frozen 2, Star Wars: Episode IX, and Spiderman: Far From Home to name a few, needless to say, 2019 is going to be nothing short of epic.

Is it possible to get an annual pass to a cinema?

Until next year…

#movies #movie review #movie list #best movies #Film Review #best films #film #best of 2018 #year in review #the year that was #mary poppins #bad times at the el royale

2 notes · View notes

weekendwarriorblog · 4 years

Text

Welcome to Awards Season Part 3 – The Performances of 2019

Okay, things went a bit haywire with my scheduling on what I hoped to be an ongoing (and weekly) column/series, but to be perfectly honest, I need to focus on paid writing work. I actually had a whole second part of the movies piece that talked about the movies that premiered in the September festival season and in recent months, but it was going very, VERY long, and I just didn’t have time to finish it. It would have been great, as The Godfathers* once sang, “If I Only Had the Time.” (*Look ‘em up on Spotify.. this is a real band and they’re awesome!)

Instead, as you can determine by the title above, I want to talk about some of the actors in this year’s awards races, which has become quite a bit more competitive than it has in years past.

What’s interesting about the Oscar acting race is that there are some really strong precursors like the Golden Globes, Critics Choice and SAG, but they’re all different groups with only SAG having any membership overlap with the Academy. All three groups have announced their nominations with the actual awards being presented over the next few weeks. The first two winners will be announced before the Oscar nominations on Jan 13, and then SAG announces a week later.

Another thing to note is that everyone has a different opinion of what makes a great performance. Some like really emotive performances, others appreciate transformative roles where you no longer recognize the actors, and in some cases, a movie just has such a good script that an actor’s ability to deliver those lines is enough to honor their roles. We have some of all of those below, and this has been an amazing year where we have a number of tough acting categories to fill.

Often, all the voting groups might agree on three or four nominees in each acting category and there’s one or two slots open for others but this year definitely seems to be a lot of possibilities with some categories only have one or two sure-things, which can lead to a lot of surprises when Oscar nominations are announced on Monday morning, January 13.

THE ONE-OFFS

There are a couple movies that are getting a lot of attention for their lead performances, usually title roles, and that’s almost the only thing that’s getting any mention. Two or three of these days may get Oscar nominations, but it’s repeatedly been tough for actors to win in movies not nominated for Best Picture and only one of these three stands a chance in getting more than an acting award.

Joker

Todd Phillips’ take on a Batman villain origin story doesn’t have a ton of agreement on why it’s good or bad, but one thing everyone can agree on is Joaquin Phoenix’s harrowing portrayal of Arthur Fleck, which actually gives the late Heath Ledger’s Oscar-winning portrayal of the character in Christopher Nolan’s The Dark Knighta run for its money. Even though none of the other performances in the movie are getting attention, I totally can see this getting other nominations for screenplay, technical categories and maybe even Best Picture which puts Phoenix in good place as a front runner for lead actor.

Judy

Another brilliant performance that no one can deny is Renee Zellweggerchanneling an older Judy Garland in this biopic that sees the aging singer/actor trying to mount a comeback at a series of London dates. It reminded me a lot of last year’s Stan and Olliebut Zellwegger has never been better in terms of what she puts into transforming into Garland when onstage performing but also creating an incredibly emotional

Rocketman

Another movie that I wish was getting more transaction is this Elton John musical that’s filled with his music but is equally brilliant for Taron Egerton’s performance for the veteran music man, a role that involves him singing all of his own vocals (unlike last year’s Oscar winner Rami Malik in Bohemian Rhapsody) and performing very emotional scenes. I love the movie, and I was glad to see Egerton get both

Dolemite is My Name

The last time Eddie Murphy was seriously a contender in the awards race was for his supporting role in 2006’s Dreamgirls, although he ended up losing the Oscar to Alan Arkin after winning SAG and the Golden Globe. Murphy is going all-out for his portrayal of Rudy Ray Moore in a movie that harks back to James Franco in The Disaster Artista few years back. Murphy already received a Golden Globe nomination in the Musical/Comedy category where his toughest competition may be Taron Egerton, but Murphy’s comeback trail might be paved with a second Golden Globe after six nominations.

Hustlers

The other actor getting almost all the attention for her movie is Jennifer Lopezin this crime-drama set in the world of strip clubs, and she already has enough support that she could be considered one of the frontrunners in the supporting actress category. Still, it’s going to be hard for Oscar voters to take her or the movie too seriously due to the subject matter, so like Murphy, she’s doing a lot of extra-curricular stuff to get her out there (like performing half-time at the Super Bowl), which should guarantee Lopez a well-deserved Oscar nomination.

Jordan Peele’s follow-up to Get Outmay not have gotten as much awards traction, but considering that it came out in March, the support its getting for its star Lupita Nyong’oboth from critics and from early awards voters is refreshing for her performance in what is a straight-up genre film. She did not receive a Golden Globe nomination but her SAG nomination over other favorites (like Awkwafina) makes her a serious contender for a second Oscar nomination. (She won the Oscar for her first nomination in 12 Years a Slave.)

Uncut Gems

After a strong platform release, the Safdie Brothers’ new crime-comedy-thriller (?), starring Adam Sandler, has opened nationwide, and Sandler’s performance is getting a lot of the praise and accolades for the movie, although he wasn’t nominated for a Golden Globe (possibly cause of the film’s confusing genre classification, although Sandler was previously nominated for Punch Drunk Loveyears ago). It did get a Critics Choice nomination as well as an Independent Spirit nomination, but it seems like a tough battle to convert that into an Oscar nod.

Harriet

There’s something to be said about Cynthia Erivo’s performance as Harriet Tubman in an otherwise weak biopic (compared to some of the others this year), but she has already been nominated in all three previous precursors (SAG, Golden Globes, Critics Choice) which puts her in a good place to get one of five nominations. The question is whether she’ll get a nomination on the merits of the movie and her performance or if it’s a response to #OscarsSoWhite and the lack of women of color other than possibly Awkwafina, which would put her up against Lupita.

Just Mercy

Destin Daniel Cretton’s adaptation of this popular novel hasn’t been getting nearly as much critical or awards traction as other movies, but it’s best bet is Jamie Foxxas a prisoner on Death Row, which also got a surprising SAG nomination despite not receiving any other awards. We’ll see if the movie gets any traction now that it’s in limited release. It will only hit theaters nationwide just as the Oscar nomination process is closing.

THE ENSEMBLES

A good problem for a movie to have is to have so many great performances by its cast that it’s hard to just single out one great performance. Sometimes, this means that it’s best best is in the SAG Ensemble category rather than in individual ones, but there are a few where there are clear standouts in an overall great cast.

Parasite

Bong Joon-ho’s class dramedy-thriller has gotten a lot of love and attention from critics over the past year since it debuted at Cannes, and a lot of that is due to its amazing cast. There are great performances by mostly unknown Korean actors, some of whom have been working for decades in Korea but you’d be hard-pressed to get anyone to remember any single name. The one exception may be Song Kang-ho, who is easily the Tom Hanks/Cruise of Korea, having worked with Director Bong since the beginning of his career. Lots of

The Irishman

Martin Scorsese’s latest crime-drama about the Jimmy Hoffa disappearance has an amazing ensemble cast, although like Marriage Storyand others above and below, it’s getting the most attention for three amazing performances. Probably the most attention is being paid to two performances: Joe Pesci in his return to the screen after many years, reuniting with Scorsese, and Al Pacino, who shockingly never worked with Scorsese before, instead being the lynchpin of Francis Ford Coppola’s “Godfather” movies. The irony is that they’re both supporting roles to that of Robert De Niro, who not only plays the main character but also originally found the book and brought the project to Scorsese. De Niro is really good in the movie, better than he’s been in years, but it’s not the sort of transformative or emotional role that often gets attention. The fact that BOTH SAG and the Golden Globes left De Niro off their list might prove that there isn’t nearly as much support for this movie, although it’s likely to get two acting nominations in the supporting category.

Once Upon a Time … in Hollywood

In some ways, Quentin Tarantino’s ninth movie is in the exact same boat as Scorsese’s, because it’s a great ensemble but three performances in particular are getting all the attention.Obviously, Leonardo DiCapriois well liked and well-respected by the Academy to receive as many Oscar nominations as he has (before winning for The Revenant), and he’s doing something very different in Tarantino’s latest, definitely more comical. It’s an interesting counterpoint to the performance by Brad Pitt, who is just so dominant in the film in every scene that it’s hard not to think that putting him into the supporting category might help him win much like Christoph Waltz did for Django Unchainedand George Clooney in Syriana. (Oh, the joys of category fraud!) Margot Robbieis also pretty amazing in the film as Sharon Tate, but it’s not nearly as moving and memorable as her performance in…

Bombshell

The Jay Roach-directed Fox News sex scandal movie was released a few weeks back and has expanded nationwide with not much of a fanfare, but the biggest support it’s received is from SAG, who gave it four nominations including the coveted Ensemble Cast nomination against some of the stronger Best Picture contenders like Irishman, Parasiteand Once Upon a Time. Charlize Theron’s multiple nominations as Megyn Kelly by most of the groups, including Golden Globes, definitely gives her an edge to get into the Oscar nominations, and Robbie’s portrayal of a composite character is also quite compelling. Amazingly, Nicole Kidmanalso received a nomination for her turn as Gretchin Carlson, a much smaller role, but that was from SAG, who has more in common with the Academy than other groups. I’m a little bummed that John Lithgowisn’t getting more attention for his performance as Roger Ailes or Kate McKinnonfor that matter.

Little Women

This might be better off in the one-off category, because so much attention is being foisted on Saoirse Ronan’s second performance in a Greta Gerwig movie that other great performances are mostly being ignored. That is, except for Florence Pugh, who is just as amazing playing Amy in two different periods, both younger and more mature. Frankly, I think Timothée Chalametis also terrific (as he is in The King), as is Chris Cooper and Laura Dern, but people have issues with some of the choices made and the movie might be more impressive for Gerwig’s adaptation than any single performance. The fact that this didn’t get a SAG ensemble nomination in a VERY crowded year is somewhat telling, but Ronan was also left off the list which might mean she may have to watch this year’s Oscars from Ireland.

Waves

I also want to mention Trey Edward Schutt’s latest movie, which has fantastic performances by Kelvin Harrison, Jr, newcomer Taylor Russell, Lucas Hedgesand Sterling K. Brown, the latter giving a fine supporting role. Unfortunately, despite the critical support, this one seems to be getting lost in the shuffle of a busier-than-usual fall awards season. The fact that Brown has yet to receive a nomination means this one is probably D.O.A., but still a fine dramatic film.

MULTIPLE PERFORMANCE FILMS OF NOTE

The next few movies also have great ensemble casts but their focus seems to be even more radar-focused on one or two performances, which may be why none of them received SAG Ensemble nominations.

Marriage Story

Noah Baumbach’s relationship drama might be the only movie this year that has a chance at the extremely elusive ability to be nominated in all four acting categories, something we’ve only seen recently with two of David O. Russell’s movies, Silver Linings Playbookand American Hustle. A lot of attention is being focused on the powerful, emotional performances by Adam Driverand Scarlett Johanssonand rightfully so, but Laura Dernis pretty amazing as the latter’s divorce lawyer, and it’s so wonderful to see Alan Aldaon screen as one of Driver’s kinder lawyers. This might be another case where the screenplay is so good that all the actors are doing their best work, although the lack of a SAG Ensemble nomination (despite those great performances) and Baumbach not receiving a Golden Globe nomination for directing also puts a slight damper. So far, the first three actors have received nominations from every precursor group and that should help get them Oscar nominations, although Dern has the best chances at converting her nomination to an actual Oscar since she doesn’t have as much definite competition.

The Farewell

We then get into the Sundance premieres that I spoke about last time, and Lulu Wang’s personal dramedy about going to China to visit her dying Nana, who was unaware of her condition. The movie has a beautiful performance by Awkwafina, one of last year’s breakout stars. She has already received Golden Globe and Critics Choice nominations but was ignored by SAG in favor of others. That doesn’t mean that she’s completely out of the race and to the actor’s credit, she’s been doing the most in terms of getting out there and talking about the movie/role, which will keep her on people’s minds when filling out their awards ballot. It’s hard not to give equal credit to the Chinese actress, Zhao Shuzhen, for her performance as Nana, although she hasn’t received nearly as much early awards recognition, just a Critics Choice nomination. If you remember, Alfonso Cuaron’s Romagot a supporting actress nomination for a lesser-known Mexican actress, so maybe this film will get similar love. As much as I love this movie, I feel that both actors are starting to become outliers within very crowded categories, but it’s hard to deny what they both bring to Wang’s film.

The Two Popes

One of four Netflix movies that the streaming service is pushing is this drama that features a fantastic script by Anthony McCarten (Darkest Hour) and two amazing performances by Jonathan Pryceand Anthony Hopkins, which certainly deserve accolades. The question is whether the Academy members give much support to the movie over others in a very crowded year. If this movie is able to get a Best Picture nomination or screenplay, one can probably assume that one or both actors will get nominated but it seems like Hopkins has a better chance, just cause Pryce is competing in a much tougher Lead Actor category. Both actors received Golden Globe nominations and Hopkins was nominated for a Critics Choice nod, but neither received SAG nominations, which isn’t great for their Oscar chances.

Clemency

A movie that just got released (today, in fact) after first premiering at Sundance all the way back in January might be in a place where it’s been forgotten by some and not seen by others, which is a shame, since the performances by Alfre Woodard and Aldis Hodgeare two of the year’s best even though the movie is definitely a tougher drama, maybe even than the somewhat similar Just Mercy. Unlike that one, this movie probably won’t even get a wide release, so it will probably get lost in the shuffle.

The Report

Another movie that got a ton of attention out of Sundance but has lost a lot traction since is Scott Z. Burns’ political thriller starring Adam Driverand Annette Bening, the latter as Senator Dianne Feinstein, who oddly is getting more attention than Driver. (It might since Driver is so much better in Marriage Storythat few are paying much heed to his equally great performance in this.) Bening did get a Golden Globe nomination but no SAG OR Critics Choice, so it feels like she may be an outlier in the supporting actress category.

Richard Jewell

An otherwise decent real-life drama that has been mired in politics and other stuff is Clint Eastwood’s new movie about the Atlanta Olympics bombing and the title security guard, as played by Paul Walter Hauser, who helped save lives but then was accused of planting the bomb. Hauser is quite fantastic, as is Kathy Batesas his mother, but only the latter has gotten any awards attention with her Golden Globe nomination.

DECENT PERFORMANCES IN OTHERWISE TOUGHER SELLS

The four movies below are likely to be remembered as the movies that people liked but didn’t get as much attention for their performances as for more technical aspects.

The Lighthouse

Another movie that got quite a bit of critical attention at Cannes ala Parasite but hasn’t been able to convert that into much attention beyond that is Robert Eggers’ second movie that relies so much on the two-hander performances by Robert Pattinson and Willem Dafoe. Dafoe seemed like a shoe-in to get a fifth Oscar nomination for his role – personally, I thought he was better in Edward Norton’s Motherless Brooklyn– but supporting actor has just become far too competitive in the later months of the year.

Jojo Rabbit

Taiki Waititi’s Nazi satire has many fans – I’m not one of them – but winning the Audience Award at the Toronto Film Festival is one of the precursors for the Academy’s Best Picture category that can’t be ignored. On top of that, Scarlett Johansson (already sitting pretty with her inevitable Marriage Storynomination) was nominated by SAG and the Critics Choice in the supporting category, which shows support for the movie, even though the Golden Globes only nominated her co-star Roman Griffin Davisas filler in the Actor, Musical/Comedy category. (He also could be a frontrunner for the Critics Choice Young Actor/Actress.) The thing is that they might have a tougher time at the Oscars, especially with so many other options in the supporting actress category.

Ford vs. Ferrari

I guess I’m a bigger fan of James Mangold’s racing drama than many of my fellow critics, and yet, many were surprised by the amount of support that Christian Balehas been getting in the earlier side of awards season, most notably with SAG and Golden Globe nominations, yet nada from the Critics Choice (my own group!). That’s really interesting, and it shows continued support and respect for the frequently-nominated Oscar winner, and we’ll have to see if that can translate to another Oscar nomination.

1917

Sam Mendes’ movie is fantastic and is likely to get a lot of Oscar nominations and George MacKay’s performance is one that really should be getting more attention, although it’s likely to get lost in the shuffle of the amazing visuals and action of this very personal war movie.

Honey Boy

Another movie that is definitely getting a little lost in the shuffle is Alma Har’el’s narrative feature debut based on Shia LaBeouf’s screenplay, in which LaBesouf stars as a version of his own abusive Hollywood father. It also has fantastic performances by young Noah Jupe, also great in Ford v Ferrariand Lucas Hedges, but it’s a tougher movie and like Waves, it’s hard to get people to see this when there are so many bigger and stronger movies.

I have more to write about the Oscar race and maybe next time I’ll make some actual predictions… again, time permitting.

#WelcomeToAwardsseason Oscars SAG Performances Movies

0 notes

savetopnow · 6 years

Text

2018-03-16 10 TV now

Cord Cutters

Cord cutters’ choice: Streaming TV alternatives spring up in Netflix’s shadow

PBS - "This Old House" and "Ask This Old House" are now on TubiTV

Checking back in with some questions and additional info...sorry it gets a little long

Need help deciding on a live streaming service!

Sling Pro-rates their service

Netflix Best Of

[US] Magnus (2016): Norwegian prodigy, the Mozart of chess, the world chess champion. A great documentary from start to end but my fav was when he was invited to Harvard :) *a jaw dropper*

[US] The World's Most Extraordinary Homes (2017): two Brits (an actress and an architect) gush over some pretty gushable modern residential architecture.

[US] Occupied (2017): In the near future, Russia initiates a "silk glove" invasion of Norway to restart oil production, but soon uncertainty, chaos and danger erupt. In SEASON 2, the volatile standoff triggers a series of events that have dire consequences for Europe and the world.

[US] Gomorrah (2016): Bad people do bad things while having horrible taste in home décor. A modern gangster tale that makes 'The Sopranos' look like a comedy or Lifetime movie of the week by comparison. Subtitled, but worth the effort. I dare you to like anyone in this series.

[US] Doc Martin (2004): series; not shocking, not gory, just quirky ordinary people in a charming English “dramedy”

Reddit Television

Dax Shepard Joins 'The Ranch' After Danny Masterson Exit

'The Good Fight' and The Case for the Prestige Procedural

Marvel casts 'Sopranos' actress as 'Luke Cage' season 2 villain

‘Agents of SHIELD,’ 16 other shows double in week 23 broadcast Live +7 ratings

[crosspost] I am Neil Patrick Harris: actor, producer, magician, doula and host of Genius Junior. AMA!

TV & Jelly

The Bachelor Week 5: Glitter

The Bachelor Week 4: I’ll be that voice of reason and voice of reality

The Bachelor: Week 3 WHY AM I DOING THIS

The Bachelor Week 2: My Patience Has Been Trialed

The Bachelor Week 1: Salt and Pepper

TV Guide

Here's What's Coming to Hulu in April

Dax Shepard Joins The Ranch After Danny Masterson Firing

Here's When Supernatural, The Flash and More CW Shows End Their Seasons

Rise Lacks the Community Spirit of Friday Night Lights

A Look at Empire's 9 Most Outrageous Storylines

TV Is My Pacifier

Thursday on TV – 3/15/18

Wednesday on TV – 3/14/18

If We Controlled Your Remote… 3/14/18

Tuesday on TV – 3/13/18

If We Controlled Your Remote… 3/13/18

TV Line

Grey's Recap: Flashback and Forth

RuPaul's Drag Race All Stars Finale: Did the Right Queen Win Season 3?

Pilot News: Peyton List Gets Gone, Chuck Vet to Bad Boys Spinoff and More

Big Little Lies' James Tupper to Co-Star With Katie Holmes in Fox FBI Pilot

The Ranch: Dax Shepard Joins Season 3 Following Danny Masterson's Firing

The TV Addict

The CW Schedules Season Finales for April and May

Daily Binge: Your Daily Dose of TV News You Need to Know (Thursday March 15, 2018)

THE X-FILES Recap: Ugly Case, Beautiful Miracles In Church

Daily Binge: Your Daily Dose of TV News You Need to Know (Wednesday March 14, 2018)

LIFE SENTENCE: Aiden Has to Deal With the Reality of Becoming a Father

#tv

0 notes

aion-rsa · 3 years

Text

How Saving Private Ryan’s Best Picture Loss Changed the Oscars Forever

https://ift.tt/3shvKln

Saving Private Ryan’s loss of the Best Picture Oscar in 1999 still hurts. It’s a sentiment shared by many, and not just because of the disappointment they experienced when Shakespeare in Love took home that night’s top prize. After all, there have been plenty of upsets before and since. Just ask Brokeback Mountain’s producers about Crash, or La La Land’s about Moonlight. If Orson Welles was still alive, the stories he’d surely have to tell about How Green is My Valley.

Yet when it comes to Steven Spielberg’s seminal World War II epic losing to an amusing (if somewhat lightweight) romantic comedy, never before had there been an upset so fundamentally unexpected that it changed the way awards were won; and never before had a generally celebrated studio hit with frontrunner status run into the political machinations of Harvey Weinstein. The Oscars would never be the same.

Released in July 1998, Saving Private Ryan opened during a peak of renewed interest in the generation of Americans who endured the Great Depression and then won World War II, transforming the U.S. into a superpower. Later in the same year as Saving Private Ryan, Tom Brokaw’s book The Greatest Generation would popularize the term used by its title to describe their sacrifice. But by the time that was published, Spielberg had already given the idea visual form for younger audiences.

With an intense commitment to realism and authenticity, the director’s use of shaky handheld photography and brutally unsentimental depictions of violence were shocking in 1998. The opening sequence, centered on the D-Day landing, especially evoked documentary filmmaking, creating horror so visceral it would soon change the way war movies were shot. In that specific moment, however, all this suffering made the sacrifice of the film’s heroes—eight American soldiers sent behind enemy lines to bring one paratrooper home—appear Herculean.

The film was a massive blockbuster hit, back when $482 million worldwide was considered massive and blockbusters could be about more than superheroes and space wizards. Going forward there was little doubt in most conventional Oscar watchers’ minds that Spielberg had his second Best Picture Oscar sewn up.

Come Oscar night though, Spielberg picked up the Best Director Oscar (his second after Schindler’s List) while John Madden’s Shakespeare in Love left audiences at home surprised by taking the top award, alongside its wins for Best Actress, Best Supporting Actress, Best Original Screenplay, and Best Score… the latter two also at Saving Private Ryan’s expense.

Unto itself Shakespeare in Love is a charming film, essentially a backstage dramedy with literary pedigree. Ostensibly a fictionalized origin story for how the Bard got the idea for Romeo and Juliet, the film inserts insider Hollywood humor into an Elizabethan setting while also offering a lush romance between old Will and his personal Juliet (or Twelfth Night’s Violet, depending on the scene). It can be a sweet movie, but until 1998, it was not the kind of film that won Best Picture. In fact, most of the biggest winners of the ‘90s had been widely popular studio blockbusters: Titanic dubiously beat L.A. Confidential the year before; Braveheart beat Sense and Sensibility in 1996; and the year prior to that saw Forrest Gump defeat the Quentin Tarantino trailblazer, Pulp Fiction.

That latter case of popularity beating indie credibility was perhaps the most important to 1999, since that year’s conventional, feel-good Tom Hanks vehicle not only beat out a critical darling, but it beat a film produced by Miramax Films, a then-speciality arm of Disney which was originally founded (and still run) as an indie distributor by Bob and Harvey Weinstein. You likely know the latter’s name.

Before Harvey Weinstein became the notoriously disgraced figure of our post-#MeToo era—which culminated with his sentence to 23 years in prison after being convicted on one count of sexual assault in the first degree and one count of rape in the third degree—he reigned in Hollywood with impunity. And his throne room was the Oscar stage. Unlike other studios, Weinstein’s made the accruement of Oscars the centerpiece of its release strategy, building prestige and attention off award wins, and transforming that into belated box office dollars. The process redefined what an “Oscar Movie” looked like: they generally became smaller budgeted, less seen, and often greenlit with (if not written for) Academy voters’ preconceived tastes in mind.

Shakespeare in Love beating Saving Private Ryan was the turning point that implemented this sea change.

When the Weinstein-produced comedy first screened for Academy voters in December 1998, the movie was met by a reportedly cool reception, signaling the film would have a small impact on the year’s Oscar race. However, as detailed by Rebecca Keegan and Nicole Sperling’s intricate reporting in Vanity Fair, Weinstein’s pioneering Oscar campaign for that movie would become his “bully masterpiece.”

Prior to Shakespeare in Love’s win, Oscar campaigns were generally a cordial, good old boys affair. There would be industry screenings for Academy voters and the guilds, of course, and promotions in trade newspapers that would provide “For Your Consideration” pullout ads. However, Weinstein more or less invented the relentless months-long Oscar campaign that ends in February, but can begin as early as September.

Previously, promoting a movie for a filmmaker or actor might include appearing on talk shows ahead of the week of release, and doing a weekend of junket interviews. But after Shakespeare in Love, if a film had Oscar prospects it became an almost weekly obligation of appearing at screenings, participating in countless Q&As, and glad-handing at parties with awards voters. In fact, Academy voters got in trouble in ’98 for attending Weinstein’s “Welcome to America” party at New York’s posh Elaine’s restaurant—it was in honor of British Shakespeare in Love director, John Madden.

“It all began with Harvey,” one publicist told Vanity Fair. “I don’t remember ever feeling pressure like that from other studios. He was like, ‘Can you do these radio call-ins all morning?’ He calls the clients directly and guilts them. He really is a beast.”

Former Miramax executive Mark Gill described it as the movie’s release as being only an opening salvo for the publicity requirements placed on actors at the studio. “That was just ‘Good morning,’” said Gill. “You’ve got three months of shaking hands and kissing babies in you.”

Back in 1999, there was of course some resistance to this style of aggressively brazen schmoozing. Chief among the skeptics was Spielberg, the director of Saving Private Ryan and a Hollywood legend who didn’t feel the need to essentially beg for trophies.

“I said [to Steven Spielberg], ‘Listen, this is what’s going on,’” recalled Terry Press, a marketer then working at Spielberg’s DreamWorks Pictures. “Steven said to me, ‘I do not want to get down in the mud with Harvey.’”

TCM host Ben Mankiewicz also recalled these events when Den of Geek spoke with him several years ago.

Said Mankiewicz, “Spielberg was urged to counter… and Spielberg being a normal, well-adjusted good person who believed in the process [said] ‘No, I’m not going to campaign for my movie. I’ll do promotions for my movie, but I’m not going to try and charm people and send them things so they vote for my movie.’”

Meanwhile Miramax started a whisper campaign saying everything good about Saving Private Ryan occurred within the first 15-20 minutes on the beaches of Normandy, and the rest was sentimental hokum. It worked. Spielberg did not campaign like it’s the Monday before election day, and Weinstein did.

Movies

Saving Private Ryan: The Real History That Inspired the WW2 Movie

By David Crow

Movies

How the Secret of Saving Private Ryan’s Power Lies in its Portrayal of the Enemy

By Mark Allison

While Weinstein is thankfully gone, the crude lessons learned by Shakespeare in Love’s win over Saving Private Ryan are not. Awards seasons generally begin in early September with the Venice Film Festival and the Toronto International Film Festival acting as unofficial clearinghouses for studios and distributors to showcase their most award-friendly wares. It then continues with each film being released between October and December, mounting months-long rollouts that never really end until Oscar night.

Coupled with corporate studio interests leaning evermore heavily on “four-quadrant” blockbusters that are built on franchises, this system has created an environment where Oscar movies are often little-seen limited releases, and mainstream populist films are more concerned with superpowers than prestige. While the actual type of movies nominated for Best Picture appear to be gradually changing—from more diversity among the winners like Moonlight and Parasite to even superhero movies like Black Panther and Joker now getting nods—the generally accepted wisdom that Oscar movies and popular movies are mutually exclusive remains intact.

In other words, the studios rarely make movies like Saving Private Ryan anymore, and what is making big money is not the type of film to end up on “Best of the Year” lists come December. But even when there are exceptions to the rule, and studios let auteurs make a Dunkirk or a 1917, the filmmakers will still be spending months in what Spielberg once called “the mud.”

“It ranks pretty low in the list of lousy things that Harvey Weinstein did, they’re terrible what Harvey Weinstein did,” Mankiewicz told us. “But it’s on the list.”

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post How Saving Private Ryan’s Best Picture Loss Changed the Oscars Forever appeared first on Den of Geek.

from Den of Geek https://ift.tt/3e5IW82

#aion-rsa #Den of Geek

0 notes

roseisread · 7 years

Photo

Top 25 Movies of 2016

I saw 51 of the many more films released in 2016, so naturally this list suffers from the usual incompleteness. But of those 51, the movies listed below are the ones that really stuck with me, entertained me, moved me, or made me see the world through a different lens after the credits rolled. Some of them are deeply personal and hold great meaning; others are just a great excuse to laugh or shudder or sob about something that doesn’t matter so you don’t have to think about the things in real life that might evoke that reaction for a couple hours.

If you saw something amazing that didn’t make the list, be sure to let me know so I can add it to my watchlist (or defend my choice to leave it off the list of faves).

25. Zootopia (Netflix) At a time when the world was finding reasons to divide itself into fractious subgroups, along came a winsome little animated film about tolerance and eschewing stereotypes. The animation is top notch, the story is funny and action-packed, and any scene featuring the sloth from the DMV threatened my ability to breathe because I was laughing so hard. If you missed it in theaters, be sure to catch up with it on Netflix. It’s a real gem.

24. The Conjuring 2 (Amazon/iTunes rental) The first Conjuring got a ton of acclaim but I wasn’t that enamored with it. This one, on the other hand, totally delivers. Once again, Vera Farmiga and Patrick Wilson star as paranormal investigators who are plagued by dark forces. This time, the action centers on a family in England (inspired by the somewhat infamous Enfield Poltergeist) with an unwanted apparition who interacts with them in all kinds of upsetting ways. Rather than relying solely on jump scares, there’s a lot of great suspenseful sequences and practical effects that use the atmosphere and physical space to masterful effect. Plus, the characters are likable and we are rooting for them which goes a long way toward making this a better than average horror movie.

23. The Edge of Seventeen (Theaters) Hailee Steinfeld plus Woody Harrelson equals brilliance. Add to the mix the savvy direction of first timer Kelly Fremon Craig and the charming supporting cast (particularly Hayden Szeto) and you have a winning combo that leaves other teen dramedies in the dust. The story is relatable for anyone who experienced high school: Nadine feels alienated at school and at home, partly because high school sucks and parents just don’t understand but also partly because she sees herself as just a little bit superior to her peers and family members. She’s a classic Holden Caulfield type, really. When her best friend starts dating Nadine’s brother and mortal enemy, she takes it as a personal betrayal. Between this, her crush on a bad boy type, and her tentative steps toward romance with a nerdy but sweet classmate, she’s got a lot on her plate. Naturally, she takes solace by venting to her favorite teacher, the bemused Harrelson who takes all of her abuse and whining with stoic aplomb.

22. Jackie (Theaters) I was born in 1981, which means I don’t have any personal connection to Jackie O. the way people of my parents generation did. I don’t have recollections of seeing her on TV or experiencing the Kennedy assassination, but I’ve been hearing about it all my life and thus feel like I know the story. This movie took me by surprise by showing me something new, something I’d never considered: The personal grief of a tremendously public loss. Natalie Portman embodies the carefully manicured public persona as well as the private devastation of Jackie Kennedy in the days surrounding JFK’s death. It’s not a traditional biopic, and not a traditional historical drama. That makes sense coming from Chilean director Pablo Larrain, who also gave us the excellent political thriller/comedy No a few years ago. He captures pivotal moments and edits them together into a kind of fractured consciousness befitting the recently bereft Jackie.

21. 10 Cloverfield Lane (Amazon/GooglePlay rental) I’ve still never seen the original Cloverfield (I know, I know), but I do love me some John Goodman being a possible creeper so I had to see this movie. The title really was an afterthought; the story was written independent of the horror franchise and marketing decided a built-in audience and some name recognition would boost ticket sales. All of this to say, you don’t need to know or love Cloverfield to know and love 10 Cloverfield Lane. Essentially it’s a chamber piece, modeled on some of Hitchcock’s techniques (Lifeboat/Rope/Dial M for Murder). Oh and also the original script got a once-over by a certain Damien Chazelle, who was once slated to direct it as well until Whiplash got greenlit and then he got a little busy making a movie called La La Land which may or may not be definitely coming up later in this list so... yeah. But anyways. It’s got that breathlessness and intensity Chazelle brought to life in his other movies, but this time in an actual horror/suspense setting. Mary Elizabeth Winstead and John Gallagher, Jr. play Goodman’s reluctant houseguests in his underground bunker. Goodman claims to be protecting them from something horrible outside; they’re not sure whether to believe him or to trust their instinct that the something horrible is Goodman himself. All three performances are excellent, and your nerves will be frayed little bundles by the time 103 minutes is up.

20. Certain Women (Theaters) Just watching this movie made me feel physically cold. It takes place in Montana, and is essentially a triptych that follows three different women in the same small town. The first, played by Laura Dern, is an attorney with a particularly high maintenance client (Jared Harris). The second is a woman (Michelle Williams) who feels alienated from her husband and their teenage daughter, even as the family is working on building a house together. The final story, and by far my favorite, focuses on a farmhand (the glorious Lily Gladstone in a breakout role) who chances upon a night class taught by Kristen Stewart and becomes transfixed. This is a quiet film, about women who yearn for more than their lives so far have given them. Each one deals with the small injustices and tiny victories that ordinary events bestow, but one senses beneath the surface a lingering question of “Is this all there is?” In that way, it’s totally relatable. There aren’t a lot of major plot arcs here, but that’s exactly the point of the film. In watching this movie, you realize that Henry David Thoreau’s quote about the masses leading lives of quiet desperation might well be answered by Simone de Beauvoir: “I think that where you go wrong is that you imagine that your reasons for living ought to fall on you, ready-made from heaven, whereas we have to find them for ourselves.”

19. Don’t Think Twice (YouTube/GooglePlay rental) If you listen to podcasts at all (especially This American Life, WTF, or You Made It Weird), you should know the name Mike Birbiglia by now. He’s a comic turned actor/writer/director and this is his latest original work. This time, he enlisted fellow talented comics to join him onscreen: Chris Gethard, Gillian Jacobs, Keegan Michael Key, Kate Micucci, and Tami Sagher play his friends and fellow members of an improv troupe. They’re all people you know or have been--starving artist types who are holding onto a dream that comedy will one day pay the bills and take them to the next level. When that actually happens to one of them, the group dynamic shifts considerably. As Morrissey so accurately sings, “We hate it when our friends become successful.” But really, the truth is we hate ourselves when our friends become successful. It makes us question whether it’s a matter of deserving it or working hard or random chance. The great thing about this movie is the blend of truly hilarious comedic moments and stirring emotional honesty. It’s about friendship, it’s about surviving your thirties, it’s about figuring out if the dreams you’ve had your whole life are the dreams you still actually want to come true. If you can get through Gillian Jacobs’ incredible solo improv performance toward the end of this movie without tears, you get to be the new Clear Eyes spokesperson instead of Ben Stein.

18. Love and Friendship (Amazon Prime) This movie features one of the funniest characters of the year, an immensely clueless rich dolt named Sir James Martin (Tom Bennett), who marvels at the existence of peas and struggles to arrive at the correct number of commandments. Who could be responsible for such a creation? Well, who else but the writer whose best work pokes fun at social climbers and wealthy nitwits: Jane Austen. Whit Stillman adapted her little known work Lady Susan into this charming and hilarious period piece starring Kate Beckinsale, Chloe Sevigny, Stephen Fry, and Xavier Samuel. Beckinsale does her absolute greatest work in this movie--I had no idea she was capable of this kind of performance, and she absolutely slays. As far as Austen adaptations go, this one is my favorite since Clueless--and that’s about the highest praise I could offer.

17. Don’t Breathe (YouTube/Amazon/Vudu Rental) The premise of Fede Alvarez’s sophomore thriller is simple: A trio of young Detroit opportunists break into the home of a blind veteran (Stephen Lang) after hearing he’s got a lot of cash in the house, figuring it’ll be an easy score. But they underestimate this particular blind man and his ability to protect his home and property. The result is a fast-paced cat and mouse game that will definitely have you holding your breath for long chunks of time. I had a blast watching this movie, even if it should have ended a few scenes earlier than it did.

16. Hell or High Water (Amazon/iTunes/GooglePlay Rental) One of my favorite pieces of music, classical or otherwise, is Aaron Copeland’s Fanfare for the Common Man. This composition was directly inspired by a speech delivered by Henry Wallace in 1942, which outlined the cause of freedom and the stakes of World War II while also setting a tone for the whole century as one in which ordinary people--the common man--would share the same standard of living, of educational and economic opportunity, of scientific discovery. An excerpt of this speech reads thusly: “When the freedom-loving people march; when the farmers have an opportunity to buy land at reasonable prices and to sell the produce of their land through their own organizations, when workers have the opportunity to form unions and bargain through them collectively, and when the children of all the people have an opportunity to attend schools which teach them truths of the real world in which they live — when these opportunities are open to everyone, then the world moves straight ahead.” Well, the world has continued moving since those words were spoken, but those opportunities are certainly not yet open to everyone despite promises all around that anyone in America should be able to succeed on grit and good will alone. When grit and good will fail to deliver, some people give up and some people become outlaws. That’s where we find our protagonists in this movie, Toby and Tanner Howard (Chris Pine and Ben Foster, respectively), as it opens. They’re robbing banks out of perceived necessity, and also out of a sense of Karma not acting quite fast enough for their liking. Meanwhile, a pair of Texas Rangers (Jeff Bridges and Gil Birmingham) get assigned to the case and aim to catch up with whoever’s responsible and give ‘em hell. The film is beautifully shot by cinematographer Giles Nuttgens, and the screenplay contains scintillating dialogue and the kind of characters you might find in a classic Western, plus a final showdown for the ages. On the performance side, there’s not a weak one in the bunch. Chris Pine proves he’s more than just a pretty face and Jeff Bridges sheds his Dude persona to give an even better performance here than in his Oscar-winning turn in Crazy Heart. If you need a movie to watch with your Dad that you can both enjoy, this is that movie.

15. De Palma (Amazon Prime) Sisters. Carrie. Dressed to Kill. Blow Out. Mission Impossible. Body Double. Scarface. The Untouchables. Casualties of War. About 20 other films--all directed by Brian De Palma, the subject of this documentary. For some, he’s alienating. For me, this guy is legendary. His films pick up where Hitchcock left off and go running off in their own bonkers directions, oozing style and excess and delivering tawdry and thrilling twists along the way. I’m convinced that one day he’ll be revered by film students and not just genre lovers, and at that point this doc will serve as a Hitchcock/Truffaut type text. The doc is really just De Palma going through his filmography chronologically, shots of him talking edited together with clips from every one of his movies and archival behind the scenes footage. That might sound boring but I promise you it is not. He tells lots of stories, does not shy away from pointing out the flaws and issues in his movies, and reflects on the reception his movies have received from critics and cultural scholars over the years. He also tells some fascinating stories from his youth that shed light on the types of movies he grew up to make. He also talks a lot about his techniques and the way his shooting style developed. If you are interested in filmmaking or De Palma or both, this movie will have you riveted from start to finish.

14. Manchester by the Sea (Theaters) For a meditation on grief and loss, this movie made me laugh a lot. That might sound inappropriate, but if you’ve ever experienced loss yourself, you know it’s not linear and doesn’t follow rules or codes of conduct. Sometimes you laugh at inopportune times. Sometimes you want to cry and can’t. Sometimes you melt down at the sight of frozen food (see what I did there? Melt/frozen! Ahh I kill me sometimes). Casey Affleck and Lucas Hedges make a great onscreen team, with Affleck playing Lee Chandler and Hedges playing Patrick, Lee’s teenage nephew. They’ve both lost someone important to them, but neither is great at opening up on the subject. Lee does his best to take care of his nephew, but he feels ill-equipped to be the stable parental figure Patrick needs. For his part, Patrick would prefer to keep things the way they are. “I have two girlfriends and I’m in a band!” he points out, and who is Lee to argue with that kind of logic?

Of course I can’t finish discussing this movie without highlighting the luminous presence of Michelle Williams, who owns every second she’s onscreen (which isn’t very long). Her final scene with Affleck broke me right in two.

13. Born to be Blue (Digital Purchase) Every year springs new musical biopics upon us, to varying degrees of creativity and critical acclaim or derision. My favorite one from 2016 was Robert Budreau’s nonlinear narrative inspired by incidents from the life of Chet Baker as portrayed by Ethan Hawke, who gives his best performance outside a movie with “Before” in the title. For the unfamiliar, Chet Baker is best known as the singer of “My Funny Valentine” today, but he was also a prominent jazz trumpet player and part of the West Coast jazz scene in the 1950s and 60s. As so many artist types, his genius was often threatened by his dalliances with substances and people whose momentary glamor gave way to decay and destruction.

Hawke captures Baker’s charming qualities as well as his tendencies toward self-sabotage, and the movie does not feel like a typical biopic as it incorporates a more meditative approach than a chronological one. There’s also a movie-within-the-movie which adds to the novel feel and keeps this from just hitting all the major events in Baker’s life in order. Carmen Ejogo is excellent as Baker’s primary love interest, a complex and well-drawn foil for the troubled musician. Her character is an amalgam of real life people, but she stands out as more than just your typical long-suffering wife/lover trope.

12. Fences (Theaters) August Wilson’s intimate play gets the cinematic treatment at the hands of Denzel Washington, who both directed and stars here. Troy (Washington) is a garbage man who drinks a lot and talks a lot more to his wife Rose (Viola Davis), his friend Bono (Stephen Henderson), his son Cory (Jovan Adeppo), and others who show up at his doorstep. The story is simple, but the characters are anything but. This may be my favorite ever Denzel performance, and certainly my pick for Best Actor in a Leading Role of 2016. Davis is phenomenal too, in a quiet but steady way. And not as many people are talking about Stephen Henderson, who played Bono in the play as well as the movie, but he’s excellent. If you want to hear beautifully written dialogue (and monologues), see some of the year’s best performances, and be moved by a family drama that feels relevant even though it was written and set in a bygone era, go see Fences.

11. Midnight Special (On Demand) In the first of two Jeff Nichols-directed movies that came out in 2016, Michael Shannon (a frequent Nichols collaborator) is a father trying to protect his son. The boy has some unique abilities, to say the least, and everyone from cult leaders to government agencies wants to exploit those abilities. It’s part superhero origin story, part Close Encounters of the Third Kind, and all about the joy, terror, and unbridled love that come with being a parent. The movie features memorable visuals as well as supporting performances from Joel Edgerton, Kirsten Dunst, and Adam Driver. The ending may leave you with more questions than answers, but the emotions it evokes are unmistakable.

10. Tower (iTunes) In 1966, a lone gunman stood atop a tower on the University of Texas campus and opened fire on the unsuspecting people below. For the next 96 minutes, chaos and carnage took over the scene as law enforcement and campus officials tried to devise a way to stop the shooter without endangering more lives. This documentary tells the story of that day from the perspective of people who were there, using interviews and re-staging events using rotoscoping animation. The result is one of the most powerful documentaries in recent memory (outside of Joshua Oppenheimer’s The Act of Killing and The Look of Silence). Hearing from victims, bystanders, police officers, journalists, and students who experienced this firsthand reveals so much about the nature of trauma, the way we react in extreme circumstances, and the contrast between what was then a first-of-its kind incident and what is now an all too frequent occurrence: The campus shooting spree. It’s never preachy, just lets each person tell their own story. Always, the focus is on the people on the ground rather than the person behind the violence. It’s a must-see film.

9. Arrival (Theaters) Denis Villeneuve has become one of my favorite directors of recent years, and it’s great to see a film of his get embraced so widely by audiences as well as critics. In case you haven’t yet seen it, this movie features Amy Adams as a linguist and Jeremy Renner as a scientist. Both of them have been recruited to help the government communicate with the aliens who have recently parked giant pods all over the world. The movie opens with a much more human story, and if you cried at the beginning of Up you will certainly shed tears here too. I won’t give more away than that, but what happens informs the emotions and decisions made throughout the film in interesting ways. I love the visuals of this film, and the emotional arc of the story. I also adored all the technical linguistic things that were going on, and I don’t know enough about science or language to know whether they were plausible so I’m just going to assume ignorance is bliss and aids in suspension of disbelief. There is one scene that seems to create a divide in audiences between loving and hating this movie. I won’t explain beyond saying it involves a phone call, so if you’ve seen it you know what I’m talking about. I can understand the criticism, but for me it was not enough to derail all that came before and after. If you haven’t seen this yet and you like your science fiction with a few tugs on the heartstrings, this is definitely worth your time.

8. The Lobster (Amazon/iTunes/GooglePlay Rental) I adore this movie, but that does not mean you will. I have to put that caveat right up front. In fact, at least one person I recommended this movie to absolutely hated it. So, take my opinion with a grain of salt but I will try to convey truth in advertising. Yorgos Lanthimos, whose previous films were Dogtooth and Alps, makes his English language debut with this dystopian romantic comedy. Colin Farrell, John C. Reilly, Rachel Weisz, Ben Wishaw, Lea Seydoux, and Olivia Colman are the human subjects who populate the story. In their world, if you find yourself without a partner, you go to a hotel where you have 45 days to pair up with someone. If you do not find a suitable match, then at the end of 45 days you get turned into the animal of your choice. You can extend the time of your matchmaking opportunities by going out to the forest and hunting “loners,” people who have escaped from the hotel in the past and choose to live lives of solitude. It’s a wacky premise, but leads to numerous laugh out loud scenarios in addition to the more plaintive moments. I should warn you that there is a scene or two of violence involving an animal, which may be tough to watch for some. That may be one of the reasons people hate it. But as a critique of human behavior and society’s obsessions, it’s quite an effective parable.

The latter half of the film takes a different turn, and while I don’t want to give away what happens, that’s why I called this a “romantic” comedy. You may not want to watch it with your date on Valentine’s Day, but if you do it should certainly give you much to discuss afterward.

7. April and the Extraordinary World (YouTube/Vudu/GooglePlay/Amazon Rental) This animated steampunk French film features a talking cat and a whipsmart girl and an underground lair and a bunch of other wondrous things that I don’t dare attempt to describe. It’s an alternative history film, it features the voice of the marvelous Marion Cotillard, and it should’ve been nominated for Best Animated Feature at the Oscars. Alas, it was not. But if you want to watch a gorgeous, funny, charming film that might inspire a generation of girls to go into STEM careers, watch this.

6. The Neon Demon (Amazon Prime) I feel intoxicated every time I even recall this sumptuous film. If you missed my review of it earlier this year, go check it out and then go watch this film... if you dare.

5. Sing Street (Netflix) This is, hands down, the feel good movie of the year. Written and directed by John Carney, who gave us Once and Begin Again, this film is set in Ireland in the early 1980s. The premise is simple, really: A boy starts a band to impress a girl that’s out of reach. Not only does he hope to impress her with the music, but he convinces her to star in their music videos since she’s seeking a career as a model. Then he has to actually form the band, and learn how to play instruments and write songs. Along the way, his older and cooler brother educates him on the cool musicians of the day: The Smiths, Duran Duran, The Clash, The Jam, Hall & Oates, The Cure, Spandau Ballet. The original songs in this film are super catchy and fun, and serve as homages to the great bands referenced above. If you’re a sucker for the films of John Hughes, the music of the 80s, and stories about brothers and coming of age and following your dreams, this is the movie for you.

4. The Handmaiden (Theaters) Take a novel set in Victorian England about pickpockets, conmen, and insane asylums that’s been referred to as “lesbian Dickens” (Sarah Waters’ Fingersmith), and set it in colonial South Korea, and make sure it’s directed by the guy who made Oldboy. This is a recipe for the most gorgeously photographed, erotically charged, bonkers in the best way movie of the year. I don’t want to get too far into the story which has so many delicious surprises, but the quick version is that an orphan pickpocket goes to live with a rich but possibly mentally ill young woman to serve as her handmaiden. This is all in an attempt to con said rich young woman into a marriage plot with a smooth talking ne’er do well man. And there’s also the added wrinkle of the rich girl’s creepy uncle, who collects banned erotic books and holds readings in his library for men who pass through. It’s a very unsettling atmosphere for two young ladies, and they form a bond with one another in spite of themselves. There are moments of horror, laughter, and blush-inducing romance in this unrated film (don’t watch it with Grandma unless she has a very open mind and you have a very comfortable relationship). Its runtime is 145 minutes but I wanted to stay in this world forever.

3. Green Room (Amazon/iTunes/GooglePlay Rental) We lost too many good people last year, and Anton Yelchin was one of the losses that hurt the most. In this movie, he gives arguably his best performance as a member of a punk band that gets in way over its head when they take a gig for gas money that takes place in a remote area where most of the audience is neo-Nazi skinheads. They get through the performance, uncomfortable as it is, but the real trouble happens later when one of them witnesses something their hosts really don’t want them to see. From there, it’s a tense stalemate as the band members have to improvise and evaluate who can be trusted. The movie is directed by Jeremy Saulnier, who gave us the excellent and underrated Blue Ruin a few years ago. This one has a similar blend of regular people in irregular situations, with plenty of blood and gore but also a fair bit of humor and a whole lot of real raw punk rock, both on the soundtrack and in the aesthetic. It helps that Saulnier was in a band himself back in the day, so he brings a real authenticity to the characters in the movie. This stayed atop my “best of the year” list all the way into December, when I finally saw the last two films on my list. I’ve watched it multiple times and would watch it many more. If you took delight in a video of a Nazi getting punched a few weeks back, you should definitely watch this movie. And if you didn’t, well, you should still watch this movie.

2. Moonlight (Theaters/Digital Purchase) Barry Jenkins (director/co-writer) and Tarell Alvin McCraney (co-writer) have created a moving, timeless piece of visual poetry in this film that captures three significant chapters in the life of a young man named Chiron. When we first meet him, he’s maybe six or seven years old and people call him “Little.” He hides out in an abandoned house to escape from neighborhood bullies, and is discovered by Juan (Mahershala Ali), a local drug dealer with a complicated moral compass. Juan and his wife Teresa (Janelle Monae) become de facto surrogate parents to Little, whose mom (Naomie Harris) works late and brings random men home and sells their belongings off piece by piece to afford the drugs she craves. In the second chapter, Little is now “Chiron,” in high school and life hasn’t gotten easier. He’s still quiet, still has a troubled relationship with his mom, and feels pretty alone in his peer group with the exception of his friend Kevin. He and Kevin share an unexpected but life-changing evening on the beach that is intimate and believable and raw. The next day at school, however, another life-changing exchange takes place between the two young men and this one is even more visceral in its immediate and long lasting impact on Chiron’s future. Finally, we see him as “Black,” a little older and transformed from the skinny vulnerable teen into a muscular, physically intimidating presence. He’s clearly fighting against his past by embracing everything he can to seem larger than life and untouchable, in both his physical appearance and his lifestyle. He gets a phone call one night that reconnects him with a part of his past he could never quite shake. I won’t spoil what happens next, but the final twenty minutes of this movie are a perfect encapsulation of long-suppressed feelings finally forcing their way out into the open. It’s such a personal story, but the specifics make it so relatable that it feels universal in its specificity. The performances in this movie are wonderful, the cinematography is gorgeous, the score is amazing--I could go on for years. To me, this movie showed a story I’ve never seen on screen before, from a perspective that’s completely underrepresented in pop culture. It never feels manipulative or stereotypical or preachy--just real and achingly human. Some moments in this movie have replayed themselves over and over in my mind hundreds of times, and even having seen it twice in the theater I can’t wait to study every frame of it on multiple viewings once it’s available on Blu-Ray. I want it to seep into my bones the way it seeped into my heart. 1. La La Land (Theaters) “This is the kind of movie that just fills your heart up,” I texted a friend the second I exited the theater after seeing La La Land the first of three times (and counting). And every time I watch it, my heart overflows a little more. Here’s a film that will resonate differently depending on your frame of mind when you watch it, the same way Eternal Sunshine of the Spotless Mind can feel funny or sweet or tragic or dark or romantic depending on your current relationship status. At first glance, Damien Chazelle may seem to be showing off in his follow up to Whiplash, tapping into an easy sentimentality that short circuits our center of reason by throwing in references to Singin’ in the Rain, Casablanca, West Side Story, and an LA that probably only ever existed in the imaginations of the people who never actually visited the City of Stars but fell in love with its many portrayals on the silver screen. And yes, Hollywood does love stories about itself and yes, the novelty of an original movie musical does scream “anachronistic film school prodigy.” So I get the skepticism, I truly do. I can’t promise this movie will live up to the hype of a record-tying number of Oscar nominations for you, but I can tell you that it means so much more than that to me. It’s not just another charming but forgettable throwback (I’m looking at you, The Artist). In case you haven’t yet experienced this movie, a quick breakdown: Sebastian and Mia, portrayed by Ryan Gosling and Emma Stone, are both in LA chasing their dreams of artistic success. He’s a jazz pianist; she’s an actress. Neither has quite made it, and “making it” to them means doing something authentic on their own terms which makes success even more elusive. Compromise may be part of real life but neither of them is quite ready to give up the fantasy yet. Their relationship starts off adversarial, then tentative, then before you know it they’re literally floating into space so carried away are they with love and visions of a future together. The stages of their lives and the story are divided up by seasons, and sure as summer follows spring, you can’t get through the year without the fall. Fall in this movie has a double meaning, and the cute flirty interludes give way to frustrated sighs and changing priorities. Other seasons follow, which I will not spoil, but I will say that the final five or ten minutes of this movie could stand on their own and still be my favorite film of 2016. People compared Whiplash to The Red Shoes, and I would make the same comparison to this film although for different reasons. The ballet sequence of The Red Shoes and the final sequence of La La Land share an artistic splendor the can induce wonder and catharsis in equal measure. I’m prone to quoting Charles Bukowski, so I’m going to close by quoting him again. I think the following poems explain the core of this film, and why it resonates so much with me: “the area dividing the brain and the soul is affected in many ways by experience – some lose all mind and become soul: insane. some lose all soul and become mind: intellectual. some lose both and become: accepted.” --You Get So Alone at Times That it Just Makes Sense “if it doesn't come bursting out of you in spite of everything, don't do it. unless it comes unasked out of your heart and your mind and your mouth and your gut, don't do it. if you're doing it for money or fame, don't do it. if you're doing it because you want women in your bed, don't do it. unless it comes out of your soul like a rocket, unless being still would drive you to madness or suicide or murder, don't do it. unless the sun inside you is burning your gut, don't do it. when it is truly time, and if you have been chosen, it will do it by itself and it will keep on doing it until you die or it dies in you. there is no other way. and there never was.” --So You Want To Be a Writer?

#best films of 2016 #lists #movie reviews #la la land #moonlight #arrival #sing street #green room #the handmaiden

4 notes · View notes