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eddieredmayneargentinablog · 2 years

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"Eddie Redmayne Transforms (Again)" Vanity Fair (09/12/2022)

"In a wide-ranging sitdown in Toronto, the Oscar winner goes deep on his process, his tensely brilliant turn in The Good Nurse, and changing his priorities going forward"

"Eddie Redmayne came into The Good Nurse, his first non-franchise film since the COVID-19 pandemic took hold, knowing that he needed to pull off a tricky role: Charlie Cullen, the real-life serial killer whose reputation as a compassionate nurse belied a sociopathic, murderous habit of killing dozens, maybe hundreds of patients. In Tobias Lindholm’s deliberate Netflix thriller, which costars Jessica Chastain as Charlie’s close colleague-turned-adversary and premiered Sunday night at the Toronto International Film Festival, Redmayne is disarmingly sweet and affecting in his loneliness—and then, in a corker of a final scene, completely frightening.

It’s another transformation for an actor who’s made a habit of them—winning Oscars (The Theory of Everything) and Olivier Awards (Cabaret) for comprehensive inside-out work. Redmayne has balanced these rich kinds of roles, of late, with the Fantastic Beasts franchise, the third film of which was released earlier this year. As he comes off what he describes as a career-best experience in The Good Nurse, with another performance likely to court some awards attention, the 40-year-old actor knows he has some options and has come to a new kind of conclusion for himself. As he tells me in a wide-ranging interview from his Toronto hotel: He’s finished compromising.

Vanity Fair: It’s safe to say you’re associated with relatively heroic roles. Certainly not ones that are this dark. Did The Good Nurse appeal in that way, or feel like going to a darker place than you typically do?

Eddie Redmayne: The truth is, you do a load of work before anyone sees any of the work you've done. So I did all these films for years: I did a film called Savage Grace with Julianne Moore, in which I played a guy called Anthony Bacon who killed his mother. I did a film called Hick that has 5% on Rotten Tomatoes, in which I played a Texan meth addict pedophile.

That's dark.

[Laughs] So I've done all these films, no one's seen them—in some cases, fortunately. But then of course you do a film that you become known for and then that's the world. Without you knowing it, that's the trajectory you get taken on for a while. The truth is I hadn't been looking for something specific—every script, I just react to what is presented in front of me. But I do like the idea that a lot of the characters I played have empathy as something inherent to them. What I found intriguing about Good Nurse is this was someone who seemingly had empathy and then weaponized that empathy in a way that was terrifying.

When I spoke to the real Amy [Loughren, a coworker of Cullen's who acted as an informant to law enforcement, played in the film by Chastain] she said this is two different people—“I only met the murderer Charlie Cullen once.” We’d talk endlessly about his humanity and his kindness and his gentleness and his self-deprecating humor. How he would slag off his own sort of existence. Having someone tell you that—like, the audience should never think, “How did Amy not sense this?”

It's exactly that balance—understanding how she did get so close to him, but also not necessarily sympathizing too much with him, which is a tricky line to walk. Did you think about that?

A lot. That was something Tobias and [screenwriter] Krysty Wilson-Cairns were thinking about at length. We had a month of rehearsal, which was wonderful—Jessica and Tobias and I. You can do that thing that's gotten rarer and rarer, which is just work through a script. Particularly with a character as delicate as Charlie, you need that. It's something I find inherently easier in theater, when you have months of rehearsal and it's the director's vision and you are telling their version of the story. More and more with film, when you come in for a day or you have no rehearsal and you meet the person, basically you've created these things in a vacuum.

So with that time, and I imagine some prep beforehand as well, how did you find your way into Charlie? Once again for you, there’s the physicality, the voice work, the facial expressions.

I love this question! It's the part that I enjoy the most. You had Charles Graeber's book called The Good Nurse, which is encyclopedic—and 70% of it is about Charlie Cullen before you even meet him in this movie. You have his upbringing, you have his damage. You have the fact that he first tried to kill someone, one of his sister's boyfriends, who may or may not have abused him when he was seven years old, and then tried to kill himself when he was seven years old. The fact that he, when he was 15 years old, his mom died. Then he went and joined the Navy and passed all the rigorous psychiatric tests.

It's not documentary and you're never going to get there. Often, other artists' interpretations are quite interesting. With period pieces, I used to go to the National Portrait Gallery to look at paintings or glean anything you can from anywhere. So, Charles Graeber described Charlie as looking like a “question mark.” That was so revelatory to me because it was not only a physical thing, which you can see in all the footage; it's just this blankness that's there. Then Michael Buster, who's a brilliant dialect coach I've worked with for years, he and I worked listening to Charlie's voice, trying to get a little of that sort of New Jersey-specific way of speaking. There are a few phone calls and things that we had that we could reference. Alexandra Reynolds is this amazing dancer that I first worked with on Theory of Everything—she came and I spent a day showing her all the footage I had. She does this brilliant thing of helping with the physical through something emotional: It felt like all of his tension was being held up by the nape of his neck, as if he's being held up.

I imagine you’ve done this kind of intensive work before. What about the discipline, that particular process, did you need to learn along the way? Because obviously it’s very involved.

Yes. When I was cast in Theory of Everything, [director] James Marsh said, “This does slightly live or die in your performance.” I remember having the confidence to go, “Okay, that's terrifying. So if that's the case, I need help. And this is what I need. I need a movement coach, I need a voice coach, and I need to spend four months prepping.” Beforehand I’d never have had the audacity to ask for that. What it's made me realize over the years is that's what I need. I have friends who can go from job to job and they're fucking brilliant in every single one. The ones where I do that, you see my need, unfortunately, for that long runway. What it meant with this one was that I felt like I knew what the building blocks would have to be. One of the things I enjoy about acting is that constant conflict between control and chaos. And that's what I also think Charlie is. He was incredibly control-freaky and precise, mixed with just erupting out into the world. I find in acting, there's an element of that.

With all that work you’re going completely outside of yourself, and you’re known for doing that as an actor. You’ve said the choice to do The Danish Girl, in hindsight, was a mistake. In terms of the notion of any actor can play anything, where do you see that limit now for yourself?

Very good question. The answer is, I don't have an answer for it. Every part that I'm offered at the moment, I take at face value. I wrestle with the decision myself. I hold two separate ideas that I believe should be able to be held in the same conversation, which is that I hate the idea of limiting artists or actors, because that's what we do, while at the same time realizing there are many marginalized communities who have not had a seat at the table in our industry. Until there is a rebalance, these conversations will continue and should continue happening. I can't give you a hard and fast answer because each role, I now sit and look through that prism.

You mentioned valuing the rehearsal time for Good Nurse and finding that increasingly doesn’t happen in movies. I, of course, think of your other 2022 movie. Based on just what you've shared with me so far, it does sound like your kind of process would not be as conducive to the system of studio moviemaking, necessarily.

On the first Fantastic Beasts, I went in with that same process and said, “Look, this is how I like to work,” and [director] David Yates was all for it. And he allowed an openness of process. For example, traditionally on these film sets, the visual effects department is kept well away from the actors. For me to interact with these creatures, I need to know what these artists creating these things are thinking. If we're kept at arm's length, then that's not helpful. David was wonderful. Rather than him going, “Oh, Eddie, the way we're going to do it on set is there's going to be a man with a tennis ball,” he was like, “What do you want? What do you need?” So I think if the creatives behind it are up for keeping that sense of camaraderie, that is possible on big scale films. The problem is time, and everyone’s time, and money.

This was the first time Tobias had made a Hollywood film, and every week he would assemble the Good Nurse cast and the crew, and talk through what had happened in the script that week. Someone on the crew or the cast would give a small gift, a box of chocolates or something, to someone else on the crew that had helped them that week. A costume supervisor giving something to a gaffer. It reminded us of this sense of company. It made us all feel like we were working on something for the same purpose. Now, of course, on the scale of Fantastic Beasts or something like that, you just can't have that. Sometimes you don't meet the rest of the cast until it's the premiere or you don't meet a load of the creatives. And I have missed that.

So is this kind of experience what you want to have now going forward?

Yeah. My experience through The Good Nurse, creatively, and then through Cabaret, which I've just finished in London and was a passion project for years and I helped put together—it was fucking hard work, but I loved every minute. It was going from playing this very introverted character in Charlie to this sort of extroverted, placeless character. Both experiences were very fulfilling creatively. [Pause] It made me not want to compromise.

I did see, at the Zurich Film Festival, you're receiving their version of the lifetime achievement award.

I read the words “lifetime achievement,” which made me go, “Oh, fuck. I knew I was old, but really?” [Laughs] But I'm very grateful.

But it's a huge thing for an actor who is 40 years old.

Stop laughing!

I mean it in a positive way! You’re young!

[Laughs] Yeah, I'm not sure, though, if I have a vast amount of achievement. I’m so excited to go back to that festival because I went with Savage Grace which was another passion project for me and it was one that I fought really hard to get made. I remember going. It was the first film festival I'd ever been to and it was very, very special. So to go back, having not played a serial killer for probably about 15 years, will be interesting.

You’ve brought up that project a few times now—does it feel like a full-circle moment?

I found myself in the press the past couple of days talking about how the Good Nurse book was our bible, going, “I remember…”—like I heard myself say those words before. That was a line I used during Savage Grace because there was an excellent book about that. Then two phenomenal red-headed actresses, Julianne Moore and Jess Chastain. And I do remember the night at the Oscars when Julianne and I both won. I remember the frenzied craziness of that night—you can't really take anything in because there's too much adrenaline—but Julianne was like, “Maybe someone will watch our film now!”

Savage Grace was also a few years before Theory of Everything, so it was before you learned what to ask for, in those kinds of parts, as you said.

And the only time I'd worked close to someone who was playing a real person that was sort of transformative had been Michelle Williams, when we'd done My Week with Marilyn. Michelle had chosen to work I think specifically the way that Marilyn had worked: She had a voice coach, a movement coach. I thought that was interesting. So I'd seen something in the process of being active as an actor rather than just going, “I've got the job and I'll do what I do.” You can actually ask for these things that may feel old-school, but they're worth it.

📸 "Vanity Fair Studio" by Sebastian Kim

#Eddie Redmayne #eddie redmayne #eddieredmayne #redmayne #jessica chastain #the good nurse #tiff 2022 #black and white #sebastian kim

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tilbageidanmark · 2 years

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Movies I watched this Week #85

Global Warming Film Slump: (It got too hot here to watch too many movies this week! I had to buy me a fan.) Anyway, the best of this week were ‘Blame’, ‘Clemency’, ‘Young Adult’, ‘I am love’, ‘Little Women’.

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“The Future Of Film Is Female” X 8:

🍿 Quinn Shephard (Photo Above) is my new, wonderful, discovery. Blame (2017) was her astonishing directorial debut. It’s about the staging of Arthur Miller’s ‘The Crucibles’ at a suburbian ‘Mean Girls’ high school. But it’s not a teenage drama. On its face, it’s sensitive, provocative and intelligent. However, you can’t overlook the fact that Shepard started writing the script for the movie when she was 15-year-old, that it was directed, produced, edited and sound-mixed by her, and it was even self-financed by her (and her mom). She also starred in it (brilliantly, and together with her real-life girlfriend), and played it well - ALL BEFORE SHE TURNED 20. Truly, a talent of Orson Welles-levels. Obviously, if she was a man, she��s be hailed as the new Tarantino, and given all kinds of money to do what she pleases. 9/10.

🍿 Her newest film Not Okay is about a ecosystem I don’t care about, the empty lives of narcissistic social media influencers who would fake anything to achieve internet fame. The film even opens with an onscreen disclaimer that it contain “an unlikable female protagonist” and indeed ‘Buzzfeed Danni’ is young, vain and vacuous. But Shepard is such a skilled author that she delivers a solid well-directed tale (especially with the powerful slam-poetry ending).

Shephard herself appears in a short cameo at the support group meeting, wearing a t-shirt that reads ‘The future of film is female‘.

Now that will be nice to see!

🍿 Clemency by Chinonye Chukwu won the US Dramatic Grand Jury Prize at Sundance 2019, making her the first black woman to win the award. It tells of prison warden Alfre Woodard who oversees the execution of an inmate who claims his innocence. A sober and precise look at the people who carry out this inhuman administrative murder. 8/10. Much of the crew on this film was female!

🍿 Greta Gerwig’s 2019 version of Little Women, with the magnificent Saoirse Ronan as Jo March, AKA Louisa May Alcott. Joyous and simply marvelous. Having the sisters speak in contemporary English got some used to, but eventually worked.

🍿 Jodie Foster’s directorial debut Little man Tate (1991), with herself as an ordinary single mother trying to give ‘normal’ life to her 7-year-old prodigy son. Jodie Foster herself was a former child prodigy, but this feel-good film was unfocused and unresolved.

🍿 Young Adult (2011) - Incredible script by Diablo Cody, and incredible acting by Charlize Theron. Sour-sweet, painful and real. 9/10.

🍿 Tully, another Diablo Cody script starring fat Charlize Theron (and the 3rd collaboration between Cody and director Jason Reitman, after ‘Juno’ and ‘Young Adult’). Like de Nero in ‘Raging Bull’, Charlize Theron gained 50 lbs. so she can play the bloated mom realistically, a bit too realistically. The constantly crying baby was grating indeed. 7/10.

🍿 First watch: Patty Jenkins’ painful first film, Monster (2003) about real-life street prostitute and later serial killer Aileen Wuornos. Charlize Theron deservedly won her only Oscar for this harrowing, tortured performance. She completely transformed herself into this unattractive, tragic role. Really tough to sit through.

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So I also had to get me a palate cleanser with Charlize ("I have alopecia in both eyes") Theron at her most glamorous in Long Shot - again. One of my new favorite romantic comedies, and one I can watch any time, again and again. (This is the 3rd with Bob Odenkirk that I saw this week!).

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Stolen Kisses, Truffaut’s third chapter of the Antoine Doinel saga. The very first scene by the closed Cinémathèque Française with Charles Trenet singing ‘Que reste-t-il de nos amours?’ promises prime Truffaut: Sentimental, delicate, romantic. Jean-Pierre Léaud plays a confused guy without a center who doesn’t fit in and has no clue what he wants to do. 6/10.

Here is Jean-Pierre Léaud’s first audition for ‘The 400 Blows’!

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2 more by Luca Guadagnino:

🍿 I Am Love, my 3rd of Luca Guadagnino’s dazzling ‘Desire’ trilogy (after ‘A Bigger Splash' and ‘Call Me by Your Name’). It was co-produced, and co-developed by Guadagnino and Tilda Swinton over a 7-year period. She gloriously plays a rich industrialist’s wife from Milan. It’s a luxurious masterpiece, mature, sophisticated and cultured, which leaves much of the story unsaid. The plot twist at the exact mid-point was unexpectedly shocking and very moving. Highly recommended.

🍿 The Staggering Girl, an artsy 2019 Guadagnino’s short with Julianne Moore, Marthe Keller and Kyle MacLachlan, and with score by Ryuichi Sakamoto. Created together with fashion house Valentino it’s more like a highfalutin 35 min. commercial for them. Beautiful and boring. 2/10. 🍿

Oh, how sexual mores change. Michael Caine’s 1966 Alfie does not come across today as a boyishly charming free-spirited ‘player’ with a Cockney accent, who thinks of himself as ‘God’s gift to women’. Rather a callous scumbag, a self-centered male-chauvinist asshole. It’s hard to find this film witty any more. 🍿

Michelangelo Antonioi X 2:

🍿 Antonioni’s 2nd short, the early neo-realistic short, N.U., a documentary about the workers of the Netezza Urbana, the department of sanitation: the anonymous street-sweepers of Rome.

🍿 And his very last work at 90, ‘The Dangerous Thread of Things’, part of the 2004 trilogy Eros, three unrelated stories about love (and sex). The other two parts are ‘The Hand’ by Wong Kar-wai and ‘Equilibrium’ by Steven Soderbergh. Kar-wai’s short, about a tailor who falls in love with gorgeous concubine Gong Li, was perfect.

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Ed and Pauline (2014) is a short about influential film critic Pauline Kael’s early writing life and partnership with Edward Landberg, with whom she ran the Berkeley Cinema Guild and Studio in Berkeley, CA, thus creating the first art cinema in the USA.

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Boudu Saved from Drowning by Jean Renoir, with Michel Simon from 1932. A strange comedy of manners about a middle-class bookseller who saves a free-spirited, suicidal clochard and brings him into his household. Unreformable and unlikable, the anarchistic house guest does not conform, and the good deed is not rewarded.

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..."We accept the reality of the world with which we're presented"...

Re-watch: Peter Weir's prophetic The Truman Show (1998) retains it’s power. An “exploration of simulated reality, existentialism, surveillance, religion, metaphilosophy, privacy, and reality television, with elements of dystopian fiction, metafiction, psychological drama, romantic comedy, satire, and social science fiction”. Shot at the Florida home of infamous pedophile Matt Gaetz.

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“.. Wearing a turtleneck is like being strangled by a really weak guy.,, all day..” and “This jacket is dry clean only. Which means it’s dirty.” Etc.

I never heard Mitch Hedberg before. This is his 45 min. Comedy Central Special from 1999. Deadpan.

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I Don't Just Want You To Love Me, (1992). A mediocre German documentary about the prolific Rainer Werner Fassbinder. 3/10.

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After bingeing the first 4 seasons last week, I thought I’ll continue with Better Call Saul, but unfortunately after the first 3 episodes of Season 5 I had enough. The more I decided that I’m not buying into the emotional lives of the characters, the more I started to dislike it.

(I don’t have to be a completist in everything I do!)

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Throw-back to the art project:

Adora With Jean-Pierre Léaud.

Adora in The Truman Show.

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(My complete movie list is here)

#movies

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thisfunktional · 1 month

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#IFTTT #Blogger #in theater #in theater trailer #Movie #Movie trailer #movies #trailers

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poirott · 2 years

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i went to see dotn today and thought of you! i think i last reblogged your gifsets when motoe came out. dotn was so good and i'm super proud i figured out most of the final solution. have a good day!

Hello! Thank you for all the asks I got about Death on the Nile, they’re much appreciated! <3 I’m sorry for not replying to them on time! It’s been a busy time in fandom, with Branagh winning a BAFTA and an Oscar, and film festival awards. A lot of my time over the past few months has been spent covering his ‘Belfast‘ promo tour, festivals and appearances, at my Ken blog, but also keeping an eye on anything DOTN related. :)

I’ve seen DOTN at a pre-premiere in February but didn’t post about it because it's almost impossible discussing the film, or even just hinting at or trying to talk around certain elements, relationships and plot points, without going into spoiler territory, and most of the things I wanted to squee about were indeed riddled with spoilers. Not just details related to book canon, like the identity of the killer, the clues, who dies, etc, but some of the amazing details and twists that were created just for the film. And there were a LOT of those and I LOVED THEM, as I did the canon reference to Poirot’s past, new ground being covered that was mentioned in the books but never filmed before, and nods to other Poirot novels (certain quotes, Poirot’s plans for the future, etc) and even films.

I LOVED DOTN and thought it was better than Murder on the Orient Express, especially the fast-paced second half that felt like a different film compared to the slower first half. The first third or half served to introduce the characters and the relaxed atmosphere of the Nile trip, giving us some of the most stunning shots of the boat, the sights, and life on the river, before everything went haywire on board. The cast had great chemistry, each character had a "wow” moment, Okonedo, Wright and Bateman were the standouts for me (apart from Branagh), certain relationships went deeper than expected and into new directions which was exciting to see, and the costumes, set design, locations and score were all top notch.

Some people are griping about the background CGI but I think the team did the best they could, since they could not film on location in Egypt (for most of the film, anyway), due to the restrictions they were faced with (the existing boats were either too old or too small + logistical problems, which the 1978 film also notoriously had), and anyway, they built the whole Karnak boat from scratch and it was a gorgeously made set, with beautiful scenic backdrops. I wish the boat could remain a museum piece somewhere for people to visit and admire.

The 2nd half kicked in with the building of tension, foreboding scary music, quick cuts, night time shots of the Karnak floating on dark water (fear of drowning, hello), then BAM, a twist you didn’t see coming, and BAM, another one, pandemonium everywhere, tensions flying high, people yelling at Poirot to do something, Poirot walking around like a badass looking handsome, yes, all the good stuff! <3 The faster pacing made me think the 2nd half was more heavily edited/trimmed than the 1st. Trailers have shots that don’t appear in the theatrical cut. Even after re-watching the film a couple of times, I’m still discovering new things through dialogue or stuff in the background!

Poirot being flirted at, genuinely flirted at, and not recognizing it for what it is because he’s not used to the sensation, it’s been too long for him, added like 50 years to my life! :) No one could wipe the huge grin on my face! And the adorable dork that he is, his first instinct is to react in a shy manner and stare at the lady and stumble over his words, like he can’t quite make out whether her interest is real or not. I LOVE HIM SO. Ken’s delivery and comedic timing got the most laughs at my screening. Also the scene with Jackie by the railing when they talk about love, that both the Ustinov and Suchet adaptations have covered before, yet Ken managed to make it his own with a gentleness and heart-breaking vulnerability, delivering one of the best moments in his Poirot franchise. Jesus Christ. My heart bleeds for Poirot. Oscar winner Kenneth Branagh!

Despite having new shocking twists and turns, watching DOTN felt soothing and calming and like a weight was lifted off my shoulders because it’s been such a long wait since the end of filming till release. I remember sagging into my seat, happy and content. It was almost surreal to be at the cinema again. The pandemic may have stalled the release and affected the film’s box office (not unusual for non-blockbuster films coming out these days) but didn’t conquer it; we have news the 3rd film is already written, so let’s keep our fingers crossed it gets greenlit. It’s tricky discussing box office results because we’re in different times now, the pandemic changed the game.

At the end of the day, DOTN’s RT audience score is much, much better than MOTOE’s, at 82%, and the critics score also slightly higher, which is another plus for me. That and knowing the Agatha Christie estate and 20th Century are fully behind Ken and support him.

My contentment also stems from certain theories I've had - and waffled on and on about obsessively on this blog - about Ken’s Poirot for 7 YEARS, becoming canon in the film. :D Another theory a friend of mine had came true as well, even though it seemed too bold and “out there” for the screenwriter to do, yet it happened. It added a whole new dimension to the story, made it more personal, like a sucker punch in the gut. DOTN hit the spot for me, not because it validated my fan theories (as rewarding and affirming as that was), but because the film was better, more fun, emotional and exciting than I expected. With all the disappointments over the delays I’d have been fine with just an ok movie, as long as we finally got to see it, and own it on dvd.

But it was so much more than that, it delivered for me and was worth the wait, Ken’s Poirot was everything I’d hoped for, and that made my happier than I can explain in a single post, or a hundred. :)

After Ken got choked up and teary-eyed on stage at TIFF 2021 festival, as he talked about uncertainties and issues with the pandemic and writing ‘Belfast’ when lockdown began, and how much it meant to him that audiences got to experience it in cinemas, I just wanted a happy resolution and a good outcome for him, both for ‘Belfast’ and for DOTN. And I think he got that.

Jamie Dornan, who sat next to him on stage, leaned over, touched Ken’s knee and shoulder and asked him if he was alright, with the audience clapping and cheering in support. I giffed it here:

Ken nodded and said through tears it was just “gonna be one of those nights.” He could barely speak for a while. “You plot a place in your life when... Very simple thing, you’re very happy, and then, in a minute, it was very difficult to deal with everything that came up.” (He started writing ‘Belfast’ 3 months after DOTN finished filming, and he was happy then, I took this to mean DOTN contributed to his happiness, but then DOTN got delayed because of the pandemic, he was shooting ‘Belfast’ in-between lockdowns, etc.) But all the stress that comes with a movie release in a pandemic can get too much sometimes, and as a leader and director, he’s expected to exude an unflinching confident aura and stay strong for everybody, putting on a brave face, and bottling up any fears or sad feelings. It was unusual for him to break down and he recovered quickly, thanks to Dornan’s warmth and the audience’s support.

His honest reaction moved me to tears. I’ve never seen Ken like this before. ‘Belfast’ had a tight schedule in-between lockdowns, the actors had to be tested every day before shooting, DOTN has been through the wringer over and over again, getting pushed back several times. It’s been nerve-racking and intense and Ken’s been keeping it together like a professional, always cheerful and confident in every interview.

But it’s all over now, we can breathe and relax and watch the films to our hearts’ content, and be happy for Ken’s success. Bless you, sir. You did it. I’m letting the feeling of calm and relief sweep over me as I look forward to more news about the 3rd film. <3

Sorry for the essay. Take care, everyone, and cheers!

#death on the nile #poirot #hercule poirot #kenneth branagh #replies #apologies again for the lateness #it feels great giffing and discussing the movie #i've already re-watched it 3 times #i talked about it in tags before #in other posts weeks ago #but since there are so many spoilers around #i was wary of posting anything concrete #i burst into tears when ken cried at TIFF #it pains me to see him sad #it was so sudden and #i just wanted to give him a hug #we love and support you <3<3 #major respect for jamie for being so kind

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joeygoeshollywood · 3 years

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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.

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tcm · 3 years

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Pioneering Black Actors of Hollywood By Susan King

Clarence Muse and Rex Ingram by Susan King Thirty years ago, the legendary Oscar-winning actor Sidney Poitier reflected on the Black performers who paved the way for him in the Los Angeles Times: “The guys who were forerunners to me, like Canada Lee, Rex Ingram, Clarence Muse and women like Hattie McDaniel, Louise Beavers and Juanita Moore, they were terribly boxed in. They were maids and stable people and butlers, principally. But they, in some way, prepared the ground for me.”

Poitier prepared the ground for such contemporary Black actors and directors currently in competition during the 2021 awards season such as Regina King and Leslie Odom Jr. (One Night in Miami), Delroy Lindo (Da 5 Bloods), the late Chadwick Boseman and Viola Davis (Ma Rainey’s Black Bottom), Andra Day (The United States vs. Billie Holiday) and Daniel Kaluuya (Judas and the Black Messiah).

But it is imperative to remember the veterans from the 1930s-1960s who tried to break out of stereotypes and maintain dignity at a time when Hollywood wanted to “box” them in.

Clarence Muse

Muse appeared in countless Hollywood films often uncredited. And as Donald Bogle points out in his book Hollywood Black, Muse spoke his mind to directors if he felt he was being pushed around or when his characters were stereotypes. Bogle stated, “At another time when Muse questioned the actions of his character in director King Vidor’s 1935 Old South feature SO RED THE ROSE, Vidor recalled that Muse was quite vocal in expressing his concerns. A change was made. Vidor could not recall exactly what the issue was, but he never forgot Muse’s objection.”

The 1932 pre-Code crime drama Night World screened at the 2019 TCM Classic Film Festival to a standing-room only crowd. The film stars Lew Ayres, Boris Karloff and Muse as the doorman at a club owned by Karloff. The audience was surprised that such a stereotypical role was anything but thanks to Muse’s poignant performance. Instead of being forced to be the comic relief, Muse’s Washington is a man worried about his wife’s surgery at a local hospital. Though his boss doesn’t treat him as an equal—after all it is 1932—Karloff’s Happy shows general concern toward Washington.

Muse, said Bogle, “also worked in race movies, where he realized there was still a real chance for significant roles and narratives.” One such was BROKEN STRINGS (’40), which he also co-wrote. It’s certainly not a great film, but Muse gives a solid turn as a famed Black violinist who wants his young son to follow in his footsteps. But the son wants to play swing with his violin.

Muse, who was a graduate of Dickinson College in Pennsylvania, also co-wrote the Louis Armstrong standard “Sleepy Time Down South.” In the 1920s, he worked at two Harlem theater companies, Lincoln Players and Lafayette Players, and 23 years later he became the first African American Broadway director with Run Little Chillun. He continued to act, appearing in Poitier’s directorial debut BUCK AND THE PREACHER (’72), CAR WASH (’76) and THE BLACK STALLION (’79) and was elected to the Black Filmmakers Hall of Fame in 1973. He died one day before his 90th birthday in 1979.

Rex Ingram

Tall and imposing, Ingram had a great presence on the big screen and a rich melliferous voice. No wonder his best-known role was as the gigantic Genie in the bottle in Alexander Korda’s lavish production of THE THIEF OF BAGDAD (’40). Born in 1895, he began his film career in movies such as Cecil B. DeMille’s THE TEN COMMANDMENTS (’23). Ingram also has the distinction of playing God in THE GREEN PASTURES (’36) and Lucifer Jr. both on Broadway in 1940 and in the 1943 film adaptation of the musical CABIN IN THE SKY.

Ingram also brought a real humanity to his role as the slave Jim in MGM’s disappointing THE ADVENTURES OF HUCKLEBERRY FINN (’39), starring a miscast Mickey Rooney, who was way too old at 19 to play the part. Ingram, though, breaks your heart when he talks to Huck about how his dream is to earn enough money to buy his freedom so he could join his wife and child living in a free state. And when he runs away, Ingram explains to Huck why he had to flee the widow Douglas: “If one of them slave traders got me, I never would get to that free state. I would never see my wife, or little Joey.”

He also is superb in Frank Borzage’s noir MOONRISE (’48) as Mose Johnson, the friend of the murderer’s son Danny (Dane Clark), who lives in a shack in the wilderness with his coonhounds. Noble and thoughtful, Mose is the film’s conscience and helps guide Danny to do the right thing after he kills a bully (Lloyd Bridges) in self-defense.

Ingram was one of the busiest Black actors at the time and at one point even served on the Board of the Screen Actors Guild. But the same year MOONRISE was released, he was arrested and pleaded guilty for transporting an underage girl from Kansas to New York. He served a prison sentence and for a long time his career was derailed. He even lost his home. Though his film career was never the same upon his release, he worked in TV and on the Broadway stage, appearing in Beckett’s Waiting for Godot, and died in 1969 at 73 shortly after doing a guest shot on NBC’s The Bill Cosby Show.

Ernest Anderson

Anderson never achieved the notoriety of Muse and Ingram, but the actor gave an extraordinary performance in the Bette Davis-Olivia de Havilland melodrama IN THIS OUR LIFE (’42) directed by John Huston. Born in 1915, Anderson earned his BA at Northwestern University in drama and speech. He was recommended for his role in the movie by Davis, who saw the young man working at the commissary on the Warner Bros.’ lot.

Anderson plays Parry, the son of the Davis-de Havilland family’s maid who aspires to be a lawyer. Davis’ spoiled rotten Stanley Timberlake gets drunk, and while driving she kills someone in a hit-and-run accident. Stanley throws Parry under the bus telling authorities he was the one driving the car.

Initially, the script depicted Parry in much more stereotypical terms, but Anderson went to Huston and discussed why he wanted to play the character with dignity and intelligence. Huston agreed. And for 1942, it’s rather shocking to see a studio film look at racism as in the scene where Parry tells de Havilland’s Roy why he wants to be an attorney:

“Well, you see, it’s like this, Miss Roy: a white boy, he can take most any kind of job and improve himself. Well, like in this store! Maybe he can get to be a clerk or a manager. But a colored boy, he can’t do that. He can keep a job, or he can lose a job. But he can’t get any higher up. So, he’s got a figure out something he can do that no one can take away. And that’s why I want to be a lawyer.”

Needless to say, such monologues were cut when the movie was shown in the South. Despite strong reviews for his performance, Anderson never got another role with so much substance. But he continued working through the 1970s and died in 2011 at the age of 95.

#Clarence Muse #Rex Ingram #Ernest Anderson #Bette Davis #Warner Bros #Black actors #Hollywood Black #TCM #Turner Classic Movies #black representation #Susan King

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uhforfuckssake · 3 years

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Oscar’s men are heroes. Oscar’s women are victims.

We analyzed the Oscar-winning roles of every best actress and best actor recipient since 1929. The results paint a sobering pattern.

By Steve Persall

Published Mar. 1, 2018

Updated Aug. 26, 2019

Supposedly the easiest acting path to winning an Academy Award is playing a hero, even flawed, or else a physically or mentally ill person.

Not if you’re a woman.

In fact, men are more than twice as likely to take home an Oscar for portraying those qualities.

RELATED: Hollywood's women deserve better, stronger roles, Persall says

That’s one conclusion I’ve drawn from examining the 180 roles (including two ties) that earned best actor and actress Academy Awards since 1929. Not a scientific study to be certain, but a subjective assessment by an experienced critic. Even with a generous margin of error, the numbers are striking.

In my estimation, 80 of 90 best actor Oscar winners won for roles considered heroic, antiheroic with an addiction to beat or a change of heart to make, or a disability or mental illness to cope with. George C. Scott in Patton and Ben Kingsley in Gandhi play heroes. Jeff Bridges in Crazy Heart and Nicolas Cage in Leaving Las Vegas play antiheroes with the same flaw of alcoholism. Rod Steiger’s flaw is bigotry in In the Heat of the Night. Blindness in Ray and Scent of a Woman can be as dramatically effective as cerebral palsy in My Left Foot.

Ingrid Bergman and Charles Boyer in a scene from Gaslight in 1946. Times files.

Meanwhile, I only counted 35 of 90 best actress winners whose roles fit those descriptions. Meryl Streep as Margaret Thatcher in The Iron Lady, Sissy Spacek in Coal Miner’s Daughter and Anne Bancroft in The Miracle Worker are true-life heroes; winners from biopics are fairly even between the genders. Same goes for physical or mental illnesses. At that point, defining heroism in women’s roles begins to differ.

Fictional women characters often take different, darker routes to Oscars; the hero as victim or sexual object. The academy’s rewarding of these roles since its inception may have encouraged such portrayals.

Elizabeth Taylor in BUtterfield 8 in 1961. (AP Photo/File)

Consider that 11 best actress Oscar winners portrayed prostitutes or characters defined by sexual behavior often including nudity. (Another 8 winners of the best supporting actress Oscar fit that description.) Meanwhile, except for Matthew McConaughey (Dallas Buyers Club), best actor winners have barely shown skin.

Another 11 best actress Oscar winners portrayed victims of sexual, physical or emotional abuse from men. Six characters were raped, from Jane Wyman’s Johnny Belinda (1949) to Brie Larson in Room (2016). Two had husbands trying to kill them. All but three winning roles survive with lifelong scars.

Jodie Foster as Sarah Tobias in The Accused. Paramount Pictures.

Jodie Foster as Sarah Tobias in The Accused. Paramount Pictures. [ ROB MCEWAN ]

No fewer than 13 best actor Oscar winning roles portrayed women’s abusers (Raging Bull) and their murderers (Reversal of Fortune, Dr. Jekyll and Mr. Hyde). On the other hand, only two best actor portrayals can be described as men victimized by women, led by one to a grim end: Jack Nicholson in One Flew Over the Cuckoo’s Nest and Emil Jannings (The Way of All Flesh) at the very first Academy Awards in 1929.

At least 13 best actress Oscar portrayals were of women suffering men, from the philanderers of Come Back, Little Sheba and Room at the Top to mean drunks in Hud and The Country Girl. If they’re lucky, the relationship is irritating but non-violent and leads to romance; that’s As Good as It Gets.

Billy Bob Thornton and Halle Berry in "Monster's Ball.'' Lions Gate Films.

Just as many best actress roles can be considered sweetheart performances, more charm than dramatic challenge, like Audrey Hepburn in Roman Holiday and Emma Stone in last year’s La La Land. Bing Crosby in Going My Way and Richard Dreyfuss in The Goodbye Girl may be the closest to sweetheart turns on the actors’ list.

On the encouraging side, there are five best actor winners who played men thinking they’re in control until a woman proves differently: Clark Gable, It Happened One Night; Humphrey Bogart, The African Queen; Yul Brynner, The King and I; Rex Harrison, My Fair Lady; and Anthony Hopkins, The Silence of the Lambs.

Notice that the most recent film among those five is now 27 years old. That’s the kind of equal opportunity thinking Hollywood from top to bottom needs again.

#feminism #women in media #women in hollywood #female representation in media #misogyny #patriarchy

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introvertguide · 3 years

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Bonnie and Clyde (1967); AFI #42

The next film that we covered for the group was the period true- crime drama, Bonnie and Clyde (1967). It is the story of the notorious Barrow gang, led by Clyde Barrow and Bonnie Parker, during the American Great Depression. This film features a cavalcade of some of Hollywood's biggest actors including Warren Beatty, Faye Dunaway, and Gene Hackman. It is supposedly quite accurate because some of the witnesses and even a couple of the gang members of the actual crimes were still alive during the production of the film. Actress Estelle Parsons won Best Supporting Actress for he portrayal of Blanche Barrow, which I would like to comment on. I also want to speak a little to the accuracy of the story, but first I want to spoil the plot of the film.

SPOILER WARNING!!!! I AM GOING TO REVEAL THE WHOLE MOVIE SO I CAN COMPARE TO WHAT I LEARNED ABOUT THE ACTUAL HISTORY!!! THE MOVIE AND THE REAL LIFE STORY WILL BE SPOILED COMPLETELY!!! YOU HAVE BEEN WARNED!!!

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In the middle of the Great Depression, Clyde Barrow (Warren Beatty) and Bonnie Parker (Faye Dunaway) of Texas meet when Clyde tries to steal the car belonging to Bonnie's mother. Clyde had spotted Bonnie hanging out in her room naked from the heat, and she spotted him watching her and was intrigued by the danger. Bonnie is bored by her job as a waitress, which Clyde correctly guesses, and decides to take up with him and become his partner in crime. They pull off some weak crimes including a bank heist at a location that has been hit by the depression and there is no money. Clyde actually makes the teller come out to the escape car and tell Bonnie what the deal is and she just laughs at the situation.

The pair find an extra man in a worldly ignorant but mechanically inclined gas station attendant named C.W. Moss (Michael Pollard). Clyde apparently has a way with words because people just join him for no real reason besides being bored. Clyde's older brother Buck (Gene Hackman) and his wife, Blanche (Estelle Parsons), a preacher's daughter, also join them. The two women dislike each other at first sight because Bonnie thinks that Blanche will ruin their fun (she does) and Blanche believes that Bonnie is evil and wants to get rid of her (she does). Keep in mind while watching this that Estelle Parsons won the Academy Award for Best Supporting Actress for this portrayal.

Bonnie and Clyde turn from pulling small-time heists to robbing banks since they now have a full gang. Their exploits also become more violent when C.W. comically botches a bank robbery when he sees an open parking spot and decides to parallel park. He can't get out of the space quickly and he delays their escape, forcing Clyde to shoot the bank manager in the face when he jumps onto the slow-moving car's running board. The gang is pursued by law enforcement, including Texas Ranger Frank Hamer (Denver Pyle), whom they capture and humiliate by taking his photo and setting afloat on a little dingy on a nearby river.

The group likes to switch out cars because they treat the getaway vehicles very rough. When they are seen stealing a car by its owner, a young man named Eugene Grizzard (Gene Wilder) and his girlfriend Velma Davis (Evans Evans), the robbed couple attempt to follow the stolen car. The gang stops and takes the couple hostage in the chase car and even pull over to get some burgers. They let the couple go when they find out they are in their 30s (too old apparently) and find a roadside stop. A raid later that night catches the outlaws off guard, mortally wounding Buck with a shot to his head and injuring Blanche so she can't see. Bonnie, Clyde, and C.W. barely escape alive. With Blanche sightless and in police custody, Hamer tricks her into revealing C.W.'s name, which they use to find any safe places where the remaining gang might go (until then, C.W. was only an "unidentified suspect").

Hamer locates Bonnie, Clyde, and C.W. hiding at the house of C.W.'s father Ivan (Dub Taylor), who thinks the couple have corrupted his son (as evidenced by an ornate tattoo that Bonnie convinced C.W. to get). The elder Moss strikes a bargain with Hamer: in exchange for leniency for the boy, he helps set a trap for the outlaws. When Bonnie and Clyde stop on the side of the road to help Mr. Moss fix a flat tire, the police in the bushes open fire and riddle them with bullets. Hamer and his posse come out of hiding and look pensively at the couple's bodies as a nearby flock of swallows fly away.

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This film stood out as it was a comical version of the super violent gangster films that were popular in the 30s. Storywriters David Newman and Robert Benton wanted to punch up the violence with a romantic undertone so they sent the script to French New Wave director Francois Truffaut for contributions. Warren Beatty was visiting Paris and heard about the project then decided he wanted to produce the picture. He was going to have his sister, Shirley MacLaine, play the roll of Bonnie until he decided that he was going to play the part of Clyde. That would have been really awkward, so he tried find a lead actress that he could have a romantic scene with. Many actresses were approached and Faye Dunaway was eventually chosen for the part.

Beatty decided that they needed an American director and offered that job to a plethora of established directors in Hollywood and finally landed on Arthur Penn even after he turned down the position multiple times. What it all comes down to is that not a lot of people wanted to be part of this production. It was considered somewhat of a risky art film at the time because of the questionable sexuality of Clyde and the heavy violence.

So what was so risky? Looking at films that were made only a few later, this seems rather tame. This film came out just a little before the MPAA was established and the writers had been influenced by the French films that didn't have the same restrictive film rules that were present in the United States. It was originally proposed that Clyde be played as bisexual, but the script eventually called for him to be more asexual. The real Clyde Barrow had been sexually assaulted in prison so he would have been scarred by that experience and might not have been interested in Bonnie in that way. This depth into a character's sexuality had generally been avoided in American cinema before this film and there was concern about audience reactions. They shouldn't have worried because the movie was a sleeper hit, eventually making $75 million on a $2.5 million budget.

The number of graphic murders actually shown on screen (especially when Clyde shot a guy in the face who jumped on the car during a get away) was unprecedented at the time. There was also some dismay by critics about the portrayal of Bonnie as sleazy and the whole gang as somewhat stupid. These were a bunch of uneducated folks that grew up in a time when it was more important to find a job. They were smart enough to avoid capture for years, which is shown in the movie, so they had to have some sort of intelligence.

There is a little bit of an elephant in the room with this movie and it involves the historical accuracy. The dates and crimes are well documented and a lot was known about the characters when the movie was produced. However, a major part of the movie was speculation and fabrication about the personalities in the gang. The characters that were based on living people at the time were actually the least accurate as C.W. Moss was a fictional person based on two different gang members (one who was still alive) and the actions of Blanche Barrow were based on a different member of the gang. The real Blanche Barrow lived until the 1980s and famously complained that Parsons's portrayal "made [her] look like a screaming horse's ass!" Parsons is the one the went on to win Best Supporting Actress.

This film was much more enjoyable for me on second watch. The first viewing left me hating the character of Blanche and I wondered if there was some sort of conspiracy to get that actress an Oscar. On second view, I realize that she was necessary to be a foil to the gang. There had to be a weak link in the chain and the audience knew that she would be the downfall of the group. Her presence made the police encounters all the more intense because there was this crazy wild card that could ruin everything at any time. It really adds a touch of comedy along with a bigger element of suspense. She is annoying, but enjoyable, and the people around her react to her behavior in a realistic way, so I appreciate what the character brings to the table.

I would highly suggest looking into the real life of Bonnie and Clyde along with the whole Barrow Gang because they took major advantage of the Great Depression banks, but not so much the suffering people. To some, the members of the Barrow gang were considered celebrities or even heroes because they were getting back at the banks that had mishandled so many people's money. I started my search off with this nice article on the Encyclopedia Britannica site and dug deeper to find out more about the connections between the real people and the film:

https://www.britannica.com/biography/Bonnie-and-Clyde-American-criminals

So does this film belong on the AFI top 100? I absolutely think so. It has some connections to French New Wave, but it is American directed with American actors and it tells the story of some of the most notorious criminals in American history. It is also a very good film that won Oscars and was a box office success. Bonnie and Clyde are part of Americana and were almost the equivalent of a Robin Hood character to many at the time. Would I recommend this film? I would. Keep an eye out for the Blanche character because she can be annoying, but know she serves a purpose and the movie is not all about her. The connection between Bonnie and Clyde is epic and has influenced a lot of American films, so enjoy it for the cinematic quality, the history in film, and the history of the United States.

#bonnie and clyde #true crime #crime drama #warren beatty #faye dunaway #introvert #introverts #classic cinema #AFI top 100 #crime couples #famous criminals

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letterboxd · 3 years

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Bridging the Gap.

Filmmaker So Yun Um highlights ten underrated Asian American and Pacific Islander films set against the backdrop of America.

Asian American and Pacific Islander Heritage Month has many film lovers seeking to celebrate Asian American cinema. Beyond Minari, Always Be My Maybe and Crazy Rich Asians, there are dozens of films that depict the Asian American experience. In choosing to focus on ten of the lesser-seen, I contemplated the notion of what defines AAPI cinema.

For me, it goes deeper than films that have been directed by, or star, Asian American and Pacific artists. Having watched a wide selection of Asian American films, I can firmly say our cinema, no matter the genre, puts Asian Americans at the forefront on both sides of the camera. I believe the essence of Asian American cinema was born out of resourcefulness, mining themes and ideas that distinctly bridge the gap between Asian and American culture. These films tell stories that explore the vast differences between the two, and the ways in which they coexist, whether comfortably or uncomfortably.

In selecting these ten underrated AAPI films, I searched deep to find stories with uncompromising vision and character; stories about Asians that could only be told within, and against the backdrop of, America. These ten films highlight intimate, distinct and unfiltered experiences mostly unseen at our local multiplexes: family and cultural obligations, generational and cultural gaps, and raw, mostly obscured views of American life.

Chan is Missing (1982) Directed by Wayne Wang, written by Isaac Cronin and Wayne Wang

There would be no Asian American independent cinema without Wayne Wang’s Chan is Missing. Shot on black-and-white film, this striking noir follows Jo, a San Franciscan cab driver, and his nephew, Steve, as they track down the titular Chan after he disappears with their money. Wang’s unpredictable directing career spans neighborhood intrigues, rom-coms and family movies; alongside which, he has kept a strong focus on Asian American stories (he helmed the adaptation of Amy Tan’s generational bestseller, The Joy Luck Club).

In Chan is Missing, for the first time on screen, we get to finally see an “ABC” (American-Born Chinese) story from the source, with an all-access pass to the often misunderstood terrain and people of Chinatown. It’s the tightness of the plot and the authenticity of its characters that make this movie such a classic. Even after 40 years, Chan Is Missing doesn’t feel dated—its laugh-out-loud dialogue (they actually utter the word “FOB”!) and moody tone capture why Chinatown continues to be an enigma. Spoilers: Chinatown runs by its own rules.

Available on DVD via Indiepix Films.

Better Luck Tomorrow (2002) Directed by Justin Lin, written by Ernesto Foronda, Justin Lin and Fabian Marquez

Justin Lin’s directorial debut film is a visionary portrait of Asian Americans that’s still relevant two decades on. Since its release in the early aughts, there has yet to be a film that explores the nuances and complexities of the average Southern-California Asian American teen like this film does. Better Luck Tomorrow focuses on a group of Asian American overachievers who become bored with their lives and enter a world of petty crime. It’s loosely based on four Sunny Hills High School students and the real-life murder of Stuart Tay, a teenager from the OC.

With its depiction of overachieving A+ students who are also foul-mouthed, drug-taking kids, this film was the launching pad for many iconic Asian American actors today—Sung Kang from the Fast and Furious franchise, John Cho (Star Trek) and my personal favorite, Jason Tobin, star of the Warrior TV series. (It’s entertaining to see the seeds of the Fast and Furious series planted in this film in the character of Han, played by Sung Kang, before the explosion of the franchise: one of the characters mutters, “Rumors about us came and went fast and furious”—and the rest is history.)

Better Luck Tomorrow still stands as the most iconic film to capture the suburban Asian American teen existence in all its good, bad and ugly light. “I was part of a movement,” Tobin recalled in this GQ oral history of the film, “and it was a culmination of all the battles I had fought before that to get Asian faces on the big screen.”

Available to stream and rent on multiple platforms.

The Grace Lee Project (2005) Directed by Grace Lee

If you’re an Asian American who grew up in California or New York, chances are, you know at least two Grace Lees in your life. But growing up in Missouri, Korean American filmmaker Grace Lee was the only one she knew with her name. She soon discovers that with the name comes a certain stereotype, that of the “good” Asian—quiet, well-behaved and a hard worker. Lee goes on a quest to interview a wide range of women who have the same name and soon discover if this wildly common stereotype is true.

Lee’s witty, autobiographical documentary is effortlessly funny and insightful. The Grace Lee Project dives deep into identity politics to reveal that sometimes, a name is simply a name. This was the start of Grace Lee’s journey as a filmmaker and she continues to be an important voice in not just the documentary space but in narrative stories as well.

Streaming on Kanopy.

Saving Face (2004) Written and directed by Alice Wu

Alice Wu’s Saving Face is a timeless queer love story. Produced by none other than Will Smith (yes, that Will Smith), Saving Face follows a Chinese American lesbian woman and her traditional mother (played by Michelle Krusiec and Joan Chen, respectively) as both battle with their reluctance to go against cultural expectations and reveal their secret loves. It’s part family drama, part rom-com, exploring expectations specific to Asian women across generations.

While most Asian American films focus on familial obligations through the point of view of the children of immigrants, Wu’s film considers the conflicts of both daughter and mother. For Asian Americans, it’s a tale as old as time but with a twist that shows that no matter how old you get, you still have to, unfortunately, fight to be who you are. I also highly recommend Wu’s spiritual sequel, The Half of It, on Netflix.

Streaming on Amazon Prime and Tubi, and for rent on various VOD platforms.

In Between Days (‘방황의 날들’, 2007) Directed by So Yong Kim, written by Bradley Rust Gray and So Yong Kim

So Yong Kim’s debut feature, In Between Days, follows Jiseon Kim, a Korean teen immigrant, who falls in love with her best friend while navigating the challenges of living in a new country. Director Kim is a masterful storyteller and captures life as it should be seen: unfiltered and trivial at times, but using the mundane to find cinematic magic.

I like to categorize So Yong Kim’s work as a showcase of extreme intimacy. Her story features painfully delicate characters and moments so real, you’ll wonder how any of these scenes could be fiction. There’s a sense of vulnerability and loneliness that fills the air as Jiseon struggles to assimilate to a new country, replete with toxic relationships, self-sabotage and unrelenting jealousy. So Yong Kim’s work is so painfully real, it hurts to watch.

Available on Kanopy and Amazon.

Ping Pong Playa (2007) Directed by Jessica Yu, written by Jimmy Tsai and Jessica Yu

There are two things that embody countless Asian American men’s experience: their love for basketball, and their love of rap music. Ping Pong Playa covers both, and is exactly the kind of Asian American comedy I’ve been waiting for! Christopher “C-Dub” Wang (played by co-writer Jimmy Tsai) is a wannabe baller and a supreme slacker who has to step up to the plate when his family’s business and ping-pong-champion reputation is on the line. In addition to being centered around an Asian family, the core of the film rivals any other low-brow, underdog sport film.

Laugh-out-loud hilarious, this is Academy-Award-winning filmmaker Jessica Yu’s first narrative feature, following a groundbreaking career full of daring documentaries (her Oscar was for this portrait of writer Mark O’Brien, who spent much of his life in an iron lung). Seeing C-Dub as an NBA-loving slacker turned ping-pong playa felt validating; it showed that even if you’re a lazy and immature Asian, you can always find something to succeed at.

Streaming on Tubi, and for rent on Amazon and iTunes.

In Football We Trust (2015) Directed by Tony Vainuku and Erika Cohn

While Salt Lake City, Utah, is seen as predominantly a white Mormon town, it in fact has the largest population of Pacific Islanders in the US mainland, due to the strength of the The Church of Jesus Christ of Latter-day Saints’ proselytizing in the Pacific. The documentary In Football We Trust follows four Polynesian high-school students, as they chase their lifelong dream of attaining professional recruitment. Told in moments of adolescence, the film follows the greatest challenges for these four young men, as they chase their dreams while trying to grow up.

In no time, they’re faced with the harsh reality that just maybe, football isn’t all it’s cracked up to be. As much as their hefty attributes and builds serve as their greatest advantages, these boys’ cultural and familial obligations become both their greatest motivations and, possibly, their downfall. Filmed over the span of four years, first time filmmakers Tony Vainuku and Erika Cohn chronicle the NFL hopefuls as they navigate the pressure to balance dreams and family to win a golden ticket out of gang violence and poverty.

Streaming on Kanopy, and for rent on various VOD platforms.

Spa Night (2016) Written and directed by Andrew Ahn

In his directorial debut, Andrew Ahn perfectly captures a specific corner of Los Angeles’ Koreatown. Spa Night’s focus is David, a closeted Korean American teenager who takes a job at a Korean spa to help his struggling family, and then discovers an underground world of gay sex. You may recognize Joe Seo as the goofy bully in the Netflix hit show Cobra Kai, but it’s Spa Night where you can see him truly shine—he won Sundance’s US Dramatic Special Jury Award for Breakthrough Performance.

Seo delivers a powerfully restrained performance, exploring the burden of hiding your true self from your family. Spa Night is more than a coming out story, it’s also about the broken American dream that so many immigrants experience. Ahn’s direction is finely tuned, honing in on the specificity of Koreatown. It is an acutely queer story of second-gen Asian Americans, where coming out is never really about just you, but also your family.

Streaming on Kanopy, and for rent on various VOD platforms.

Punching at the Sun (2006) Directed by Tanuj Chopra, written by Tanuj Chopra and Hart Eddy

Mameet is young, angry and has always lived in the shadow of his basketball-legend brother, Sanjay. When Sanjay is suddenly killed during a robbery at the family store, Mameet spirals and takes his anger out on anyone and everyone. Coping with loss at a young age is hard enough, but Punching at the Sun mixes in the specific anxieties of being a South-Asian man amidst the backdrop of post-9/11 America. In doing so, the film addresses the difficulty of juggling teenage angst and immigrant identity—Mameet is not afforded the option to express his anger and grief.

Cathartic and emotionally validating, this is a simple yet nuanced slice-of-life story that conveys the heaviness of growing up with the weight of the world on our shoulders. In Mameet’s case, thank goodness, he ultimately shares some of that burden with his comical friends and knit-tight family.

Available to rent on Vimeo.

Meet the Patels (2014) Directed by Ravi Patel and Geeta Patel, written by Ravi Patel, Matthew Hamachek, Billy McMillin, and Geeta Patel

In the romantic documentary Meet the Patels, Ravi Patel is a dutiful first-gen son whose parents are continually nagging him to marry a nice Indian girl. With Ravi's sister Geeta Patel co-directing and co-writing, and his parents in the frame, his film (and true-life story) are indeed a family affair. What starts as his journey to find a wife to make his family happy becomes an enlightening intro to Indian culture and modern love—think dating apps, weddings and a Patel Matrimonial Convention (gotta see it to believe).

Humorous as it is outrageously charming, Meet the Patels ultimately shows the struggles and cultural expectations most immigrant offspring face, on top of the million other obstacles of trying to find your one and only true love in this mad, mad world.

Streaming on various platforms.

Related content

Ten Underrated Asian American & Pacific Islander Films, a Letterboxd list

Best Asian American Films: So Yun Um’s list

Debbie Chang’s comprehensive Asian American film canon list (also features Asian-Canadian, Asian-British and other diaspora)

Bellamy’s list of feature-length films directed by Asian Americans

Follow So on Letterboxd

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Summer Movie Preview: From Black Widow to The Suicide Squad and Beyond

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The summer movie season has returned. Finally. Once something we all just took for granted, like handshakes and indoor dining, a summertime season stuffed with pricy Hollywood blockbusters and cinematic escapism suddenly feels like a long lost friend. But, rest assured, the summer movie season is genuinely and truly here. It’s maybe a little later than normal, yet it’s still in time for Memorial Day in the States.

This is of course happy news since many of the big screen events of this year have been 12 months or more in the offing. A Quiet Place Part II was supposed to open two Marches ago, and In the Heights is opening almost an exact year to the day from its original release. They’re here now, as is an impressive assortment of new films. There are genre fans’ long lost superhero spectacles, with Black Widow and The Suicide Squad leading the pack (and Shang-Chi closing out the season unusually late in time for Labor Day weekend), and there are also horror movies like The Conjuring 3 and M. Night Shyamalan’s Old, aforementioned musicals, family adventures in Jungle Cruise, psychedelic Arthurian legends via The Green Knight, and a few legitimately original projects like Stillwater and Reminiscence. Imagine that!

So sit back, put your feet in the pool, or up by the grill pit, and toast with us the summer movie’s resurrection.

A Quiet Place Part II

May 28 (June 3 in the UK)

Fourteen months after its original release date, the first movie delayed by the pandemic is finally coming to theaters for Memorial Day weekend. And despite what some critics say (even our own), most of us would argue it’s worth the wait. As a movie about a family enduring after a global crisis that has left their lives in tatters, and marred by personal tragedy, A Quiet Place Part II hits differently in 2021 than it would have a year ago. And it’s undeniably optimistic view of humanity feels like a warm balm now.

But beyond the meta context, writer-director John Krasinski (flying solo as screenwriter this time) has engineered a series of intelligent and highly suspenseful set pieces which puts Millicent Simmonds’ Regan front and center. Also buoyed by subtle and affecting work by Emily Blunt and Cillian Murphy, here as a neighbor they knew a few years and a lifetime ago, this is one worth dipping your toe back into cinema for, especially if you liked the first movie.

Cruella

May 28

We’ll admit it, we had the same initial skepticism you’re probably feeling about a Cruella de Vil origin story set in punk rock’s 1970s London. But put your cynicism aside, Disney’s Cruella is a decadent blast and the rarest of things: a live-action Disney remake that both honors its source material and does something creative with it. Neither a soulless scene-by-scene remake of a better animated film, or a lazy Maleficent like re-imagining, Cruella more often than not rocks, thanks in large part to its lead performance by Emma Stone.

Also a producer on the picture, Stone takes on the role of Cruella de Vil like it’ll be on an awards reel and absolutely flaunts the character’s madness and devilish charm. She also finds an excellent sparring partner via Emma Thompson, young Cruella’s very own Miranda Priestly. Once these two start their verbal battle at the end of the first act, the movie is elevated into an electric period comedy (with plenty of heavy handed period music). It’s a pseudo-thriller for all ages, enjoying some very sharp elbows for a kids movie.

The Conjuring: The Devil Made Me Do It

June 4 (May 26 in the UK)

The latest big-screen adventure for real-life ghostbusters Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) sees the two drawn into the unusual case of the first ever U.S. murder trial where the defendant claimed he was innocent because he was possessed by a demon. This is the eighth movie in The Conjuring expanded universe—director Michael Chaves has already made a foray into this supernatural world with The Curse of La Llorona—and as with all the main Conjuring films, the hook is that it’s (very loosely) based on a true case that the Warrens were involved with.

Peter Safran and James Wan are back on board as producers, although with this being the first time Wan isn’t directing one of the main Ed and Lorraine investigations, we’re a little cautious about this return to the haunted museum.

In the Heights

June 11 (June 18 in the UK)

Lin-Manuel Miranda’s first Tony award winning musical is getting the proper big screen treatment in In the Heights. A full-fledged movie musical—as opposed to a taped series of performances, a la Disney+’s Hamilton—In the Heights is like a sweet summer drink (or Piragua) and love letter to the Latino community of New York City’s Washington Heights neighborhood.

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Closer in spirit to the feel-good summertime joy of Grease than the narratively complex Hamilton, this is perfect multiplex escapism (which will also be on HBO Max if you’re so inclined). Directed by Crazy Rich Asians’ Jon M. Chu, In the Heights has a euphoric sense of movement and dance as it transfers Miranda’s hybrid blend of freestyle rap, salsa rhythm, and Caribbean musical cues to the actual city blocks the show was written about. On one of those corners lives Usnavi (Anthony Ramos), a bodega owner with big dreams. He’s about to have the summer of his life. You might too.

Hitman’s Wife’s Bodyguard

June 16 (June 21 in the UK)

You know Hitman’s Wife’s Bodyguard is a throwback when even its trailer brings back the “trailer voice.” But then the appeal of the 2017 B-action comedy, The Hitman’s Bodyguard, was its very throwback nature: a violent, raunchy R-rated buddy comedy that starred Samuel L. Jackson and Ryan Reynolds, who exchanged quips as much as bullets between some genuinely entertaining stunts.

Hopefully the sequel can also be as much lowbrow fun as it doubles down on the premise, with Reynolds’ Michael Bryce now guarding Samla Hayek’s Sonia, the wife of Jackson’s Darius. All three are on a road trip through Italy as they’re chased by Antonio Banderas in what is sure to be a series of bloody, explosive set pieces. Probably a few “motherf***ers” will be dropped too.

Luca

June 18

Pixar Studios’ hit rate is frankly incredible. With each new film seemingly comes a catchy song, an Oscar nomination, and a flood of tears from anyone with a heart—and there’s no reason to believe that its next offering will be any different. Luca is a coming-of-age tale set on the Italian Riviera about a pair of young lads who become best friends and have a terrific summer getting into adventures in the sun. The slight catch is that they’re both sea monsters.

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This is the feature directorial debut of Enrico Casarosa, who says the movie is a celebration of friendship with nods to the work of Federico Fellini and Hayao Miyazaki. The writers are Jesse Andrews and Mike Jones—Andrews is new to Pixar but has experience with coming-of-agers, having penned Me and Earl and the Dying Girl, while Jones co-wrote Soul. Jacob Tremblay and Jack Dylan Grazer voice the young boys (sea monsters)—13-year-old Luca and his older teenager friend Alberto—with Maya Rudolph as Luca’s sea monster mom. After a year of lockdown, this could be the summer movie we all need.

June 25

You better start firing up the grill, because the Fast and Furious crew is finally ready to have another summer barbecue. And this time, it’s not only the folks whom Dom Toretto calls “mi familia” in attendance. The big new addition to F9 is

John Cena as Jakob Toretto. As the long-lost little brother we didn’t know Vin Diesel’s Dom had, Jakob is revealed to be a superspy, assassin, and performance driver working for Dom’s arch-nemesis, Cypher (Charlize Theron). Everything the Family does together, Jakob does alone, as a one-man wrecking crew, and he’s coming in hot.

Fans will probably be happier, though, to see Sung Kang back as Han Seoul-Oh, the wheelman who was murdered in Fast & Furious 6, and then pretty much forgotten in The Fate of the Furious when his killer got invited to the cookout. It’s an injustice that brought veteran series director Justin Lin back to the franchise to resurrect the dead. So it’s safe to assume he won’t be asking Cypher to bring the potato salad.

The Forever Purge

July 2 (July 16 in the UK)

We know what you’re thinking: Didn’t The Purge: Election Year end the Purge forever? That or “are they really still making these?” The answer to both questions is yes. Nevertheless, here we are with The Forever Purge, a movie which asks what happens if Purgers just, you know, committed extravagant holiday crime on the other 364 days of the year? You get what is hopefully the grand finale of this increasingly tired concept.

The Tomorrow War

July 2

Hear me out: What if it’s like The Terminator but in reverse? That had to be the pitch for this one, right? In The Tomorrow War, instead of evil cyborgs time traveling to the past to kill our future savior, soldiers from the future time travel to the past to enlist our current best warrior and take him to a world on the brink 30 years from now.

It’s a crazy premise, and the kind of high-concept popcorn that one imagines Chris Pratt excels at. Hence Pratt’s casting as Dan, one of the best soldiers of the early 21st century who’ll go into the future to stop an alien invasion. The supporting cast, which includes Oscar winner J.K. Simmons and Yvonne Strahovski, Betty Gilpin, and Sam Richardson, is also nothing to sneeze at.

Black Widow

July 9

The idea of making a Black Widow movie has been around since long before the Marvel Cinematic Universe first lifted into the sky on Tony Stark’s repulsors. The character has been onscreen for more than a decade now, and Marvel Studios has for too long danced around making a solo Widow, at least in part due to the machinations of Marvel Entertainment chairman Ike Perlmutter.

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But the standalone Black Widow adventure is here at last, and it now serves as a sort-of coda to the story of Natasha Romanoff, since we already know her tragic fate in Avengers: Endgame. Directed by Cate Shortland (Berlin Syndrome, Lore), the movie will spell out how Natasha (Scarlett Johansson) kept herself busy between the events of Captain America: Civil War and Avengers: Infinity War, primarily with a trip home to Russia to clear some of that red from her ledger.

There, she will reunite with figures from her dark past, including fellow Red Room alumnus Yelena Belova (Florence Pugh), Russian would-be superhero Alexei Shostakov, aka the Red Guardian (David Harbour), and Melina Vostokoff (Rachel Weisz), another survivor of the Black Widow program and a maternal figure to Natasha and Yelena.

It’s a chance to say goodbye to Nat and see Johansson as the beloved Avengers one more time. But this being Marvel, we suspect that the studio has a few tricks up its sleeve and in this movie about the future of Phase 4.

Space Jam: A New Legacy

July 16

In the annals of synergistic branding, Space Jam: A New Legacy might be one for the record books. A sequel to an older millennials’ 1990s touchstones—the thoroughly mediocre Michael Jordan meets Bugs Bunny movie, Space Jam—this sequel sees LeBron James now trapped in Looney Tunes world… but wait, there’s more! Instead of only charmingly interacting with WB’s classic stable of cartoon characters, King James will also be in the larger “WB universe” where the studio will resurrect from the dead every property they own the copyright to, from MGM’s classic 1939 The Wizard of Oz to, uh, the murderous rapists in A Clockwork Orange.

… yay for easter eggs?

Old

July 23

Though he might be accused of being a little bit hit-and-miss in the past, the release of a new M. Night Shyamalan movie should always be cause for celebration. Especially one with such a deeply creepy premise. Based on the graphic novel Sandcastle by Pierre Oscar Levy and Frederik Peeters, Old sees a family on vacation discover that the beach they are on causes them to age extremely rapidly and live out their entire lives in a day.

This is surely perfect fodder for Shyamalan, who does high-concept horror like no one else. The cast is absolute quality, featuring Gael García Bernal, Hereditary’s Alex Wolff, Jo Jo Rabbit’s Thomasin McKenzie, Phantom Thread’s Vicky Krieps, Little Women’s Eliza Scanlen, and many more. The trailer is pleasingly disturbing too as children become teenagers, a young woman is suddenly full-term pregnant, and adults seem to be decaying in front of their own eyes. Harrowing in the best possible way.

Snake Eyes

July 23 (August 20 in the UK)

Snake Eyes will finally bring us the origin story of the G.I. Joe franchise’s most iconic and beloved member. Henry Golding (Crazy Rich Asians) stars in the title role, with Warrior’s Andrew Koji as his nemesis—conflicted baddie (and similar fan fave) Storm Shadow. Expect a tale heavy on martial arts badassery, especially with The Raid’s Iko Uwais on board as the pair’s ninja master. Samara Weaving will play G.I. Joe staple Scarlett after her breakout a few years ago in Ready or Not, while Úrsula Corberó has been cast as Cobra’s Baroness. Robert Schwentke (The Time Traveler’s Wife, Red) directs.

Jungle Cruise

July 30

Jungle Cruise director Jaume Collet-Serra is best known for making slightly dodgy actioners starring Liam Neeson (Unknown, Non-Stop, Run All Night) and half-decent horror movies (Orphan, The Shallows), so exactly which direction this family adventure based on a theme park ride will take remains to be seen.

Borrowing a page and premise from Humphrey Bogart and Katharine Hepburn in The African Queen (1951), Jungle Cruise stars the ever-charismatic Dwayne Johnson as a riverboat captain taking Emily Blunt’s scientist and her brother (Jack Whitehall) to visit the fabled Tree of Life in the early 20th century. Like the ride, the gang will have to watch out for wild animals along the way.

Unlike the ride, they’re competing with a German expedition team who are heading for the same goal. A solid supporting cast (Jesse Plemons, Édgar Ramírez, Paul Giamatti, Andy Nyman) and a script with rewrites by Michael Green (Logan, Blade Runner 2049) might mean Disney has another hit on its hands. Either way, a lovely boat trip with The Rock should be diverting at worst.

The Green Knight

July 30 (August 6 in the UK)

There have been several major Hollywood reimaginings of Arthurian legends in the 21st century. And every one of them has been thoroughly rotten for one reason or another. Luckily, David Lowery’s The Green Knight looks poised to break the trend with a trippy, but twistedly faithful, interpretation of Sir Gawain and the Green Knight.

Dev Patel stars as Sir Gawain, a chivalrous knight in King Arthur’s court who takes up the challenge of the mysterious Green Knight (The Witch’s Ralph Ineson under mountains of makeup): He’ll swing a blow and risk receiving a returning strike in a year’s time. Gawain attempts to cheat the devil by cutting his head clean off, yet when the Green Knight lifts his severed head from Camelot’s floors, things start to get weird. As clearly one of A24’s biggest visual fever dreams to date, this is one we’re highly anticipating.

Stillwater

July 30 (August 6 in the UK)

The Oscar winning-writer director behind Spotlight, Tom McCarthy, returns to the big screen with a fictional story that feels awfully similar to real world events. In this film, Matt Damon plays Bill, a proud father who saw his daughter Allison (Abigail Breslin) go abroad to study in France. After she’s accused of murdering her roommate by local authorities, the deeply Southern and deeply Oklahoman father must travel to a foreign land to try and prove his daughter’s innocence.

It obviously has some parallels with the Amanda Knox story but it also looks like a potentially hard hitting original drama with a talented cast. Fingers crossed.

The Suicide Squad

August 6 (July 30 in the UK)

You might have seen a Suicide Squad movie in the past, but you’ve never seen James Gunn’s The Suicide Squad. With a liberating R-rating and an old school vision from the Guardians of the Galaxy director—who likens this to 1960s war capers, such as The Dirty Dozen or Where Eagles Dare—this Suicide Squad is absolutely stacked with talented actors wallowing in DC weirdness. One of the key players in this is Polka-Dot Man, another is a walking, talking Great White Shark, voiced by Sylvester Stallone. The villain is a Godzilla-sized starfish from space!

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So like it’s namesake, there’s probably a lot of characters who aren’t going to pull through this one. Even so, we can rest easy knowing that Margot Robbie’s Harley Quinn will be as winsome than ever, and the likes of Idris Elba and John Cena will add some dynamic gravitas to the eccentric DC Extended Universe.

Free Guy

August 13

Perhaps pitched as The Truman Show for the video game age, Free Guy stars Ryan Reynolds as an easygoing, happy-go-lucky “Guy” who discovers… he’s a video game NPC living inside the equivalent of a Grand Theft Auto video game. This might explain why the bank he works at keeps getting robbed all the time. But as a virtual sprite who’s developed sentiency, he just might be able to win over enough gamers to not shoot him, and make love not war.

It’s an amusing premise, and hopefully director Shawn Levy can bring to it the same level of charm he achieved with the very first Night at the Museum movie.

Respect

August 13 (September 10 in the UK)

Before her passing in 2018, Aretha Franklin gave her blessing to Jennifer Hudson to play the Queen of Soul. Now that musical biopic is here with Hudson hitting the same high notes of the legend who sang such standards as “(You Make Me Feel Like) A Natural Woman,” “Think,” “I Say a Little Prayer,” and of course “Respect.”

The film comes with a lot of expectation and a lot of pedigree, with Forest Whitaker and Audra McDonald in the cast. Most of all though, it comes with that rich musical library, which will surely take center stage. And if movies like Bohemian Rhapsody and Rocketman have taught us anything, it’s that moviegoers love when you play the hits.

Reminiscence

August 20 (August 18 in the UK)

Lisa Joy is one of the most exciting voices on television today. One-half of the creative team behind Westworld, Joy steps into her own with her directorial debut (and as the solo writer) in Reminiscence, a science fiction film with a reliably knotty premise.

Hugh Jackman plays Nick Bannister, a man who lives in a dystopian future where the oceans have risen and the cities are crumbling. In a declining Miami, he sells a risky new technology that allows you to relive your past (and possibly change it, at least fancifully?). But when he discovers the lost love of his life (Rebecca Ferguson) is cropping up in other peoples’ memories, which seem to implicate her in a murder, well… things are bound to start getting weird. We don’t know a whole lot more, but we cannot wait to find out more.

Candyman

August 27

Announced back in 2018, this spiritual sequel to Bernard Rose’s 1992 original is one of the most exciting and anticipated movies on the calendar. Produced by Jordan Peele and directed by Nia DaCosta, the film takes place in the present day and about a decade after Chicago’s Cabrini-Green housing projects have been torn down. Watchmen’s Yahya Abdul-Mateen II plays an up-and-coming visual artist who moves to the now-gentrified area with his partner and is inspired by the legend of Candyman, an apparition with a hook for a hand, to create new work about the subject. But in doing so, he risks unleashing a dark history and a new wave of violence.

Tony Todd, the star of the original movie, will also reprise his role in a reboot that aims to inspire fear for only the right reasons.

The Beatles: Get Back

August 27

Director Peter Jackson thinks folks have a poisoned idea about the Beatles in their final days. Often portrayed as divided and antagonistic toward one another during the recordings of their last albums, particularly Let It Be (which was their penultimate studio recording and final release), Jackson insists this misconception is influenced by Michael Lindsay-Hogg’s 1970 documentary named after the album.

So, after going through the reams of footage Lindsay-Hogg shot but didn’t use, Jackson has crafted this new documentary about the album’s recording which is intended to paint a fuller (and more feel-good) portrait of the band which changed the world. Plus, the music’s going to be great…

Shang-Chi and the Legend of the Ten Rings

September 3

The greatest fighter in Marvel history finally hits the big screen with Shang-Chi and the Legend of the Ten Rings. Simu Liu (Kim’s Convenience) takes on the title role of a character destined for a bright future in the MCU. Marvel fans might note that the “Ten Rings” of the title is the same organization that first appeared all the way back in Iron Man, and Tony Leung will finally bring their villainous leader, The Mandarin, to life. Awkwafina of The Farewell and Crazy Rich Asians fame also stars. Directed by Destin Daniel Cretton (Short Term 12), this should deliver martial arts action unlike anything we’ve seen so far in the MCU.

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The post Summer Movie Preview: From Black Widow to The Suicide Squad and Beyond appeared first on Den of Geek.

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

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dipulb3 · 3 years

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Analysis: Female directors are having a moment

New Post has been published on https://appradab.com/analysis-female-directors-are-having-a-moment/

Analysis: Female directors are having a moment

In the year of our Lord 2021, it feels like female directors are finally getting more opportunities — and more acknowledgment.

Take, for example, this past Sunday’s Golden Globe Awards.

Three women were nominated in the best director category for the first time.

Only one woman had ever won the category prior to Sunday, and that was Barbra Streisand in 1984 for “Yentl.”

Here are some of the women who are making waves and headlines in Hollywood:

Chloé Zhao: The “Nomadland” director became the first woman of Asian descent and only the second woman ever to win the best director award at this year’s Golden Globes.

The film’s star, Frances McDormand, told The New York Times Zhao really understood the actress’ affinity for the character who packs up her life in a van and becomes part of an older community of people who work odd jobs across the country.

“Chloé tapped into the truth of it which was at different points of my life, I’ve said to my husband, ‘I can’t take this anymore, I’m dropping out,'” McDormand said.

Regina King: The acclaimed actress-turned-director was up against Zhao at the Globes.

She has been on quite a streak in her career the past few years, including nabbing the best supporting actress Oscar for “If Beale Street Could Talk” in 2019.

Now, the former child star is being hailed for her big screen directorial debut in “One Night in Miami,” adapted from Kemp Powers’ stage play about a meeting between Cassius Clay, Jim Brown, Sam Cooke and Malcolm X.

The night of the Golden Globes, King told “E!” it was “bittersweet” that she, Zhao and Emerald Fennell marked the first trio of female nominees, given that this is 2021.

Emerald Fennell: Another actress who has stepped behind the camera (we are starting to see a trend here), she has received critical acclaim for writing, directing and producing the thriller “Promising Young Woman,” starring Carey Mulligan.

The movie is not only cheeky but gets into some uncomfortable territory, so much so that it has been praised for turning the revenge genre on its ear.

“It’s just part of the fun of making something, the smoke and mirrors and the misdirections,” Fennell told IndieWire. “I love all that stuff, all of my favorite movies have that sort of thing in them. It’s very interesting, isn’t it, how much we want violence, how much instinctively as an audience we’re begging for blood.”

Robin Wright: “The House of Cards” star did some directing on that Netflix series, so she wasn’t a total neophyte when it came to both starring in and directing her first feature film, “Land.”

Wright plays a woman struck by a family tragedy who gives up her successful life in the big city and moves to a remote area in Wyoming.

She told Women’s Wear Daily that she was delighted with the film’s reception so far.

“We feel so blessed that people are feeling the movie,” Wright said. “It is very relevant to what’s going on today, of being disconnected from our loved ones. We’re not living the norm. The message in this movie is about that very thing.”

These leading female directors represent just a handful of creatives proving women are making inroads on the Hollywood scene.

The numbers don’t lie: For the second consecutive year, the percentages of women directing top-grossing films increased, reaching “recent historic highs,” while the overall percentages of women working in key behind-the-scenes roles remained relatively stable, according to a study by San Diego State University released in January.

“Women accounted for 16% of directors working on the top 100 grossing films in 2020, up from 12% in 2019 and 4% in 2018,” wrote study author Martha M. Lauzen, founder and executive director of SDSU’s Center for the Study of Women in Television and Film. “Women comprised 18% of directors on the top 250 films in 2020, up from 13% in 2019 and 8% in 2018.”

A rising tide raises all ships, especially when a woman is at the helm, so here’s to more female directors on the horizon.

For your weekend

Three things to watch:

‘Coming 2 America’

Prince Akeem and Semmi are heading back to Queens, New York. Eddie Murphy and Arsenio Hall reprise their respective roles for the sequel to the hit 1988 film.

This time the prince is in search of his son and heir to the kingdom of Zamunda. My question is what have the rose petal droppers been up to all this time?

“Coming 2 America” starts streaming Friday on Amazon Prime.

‘Boss Level’

Former special forces agent Roy Pulver (Frank Grillo) is trapped in a time loop that constantly repeats the day of his murder. To break the cycle, he must hunt down Col. Clive Ventor (Mel Gibson) while also trying to save his ex-wife (Naomi Watts).

That sounds like some seriously fast-paced action.

“Boss Level” starts streaming Friday on Hulu.

‘Biggie: I Got a Story to Tell’

March 9 marks the 24th anniversary of the unsolved murder of rapper Christopher Wallace, aka Biggie Smalls or The Notorious B.I.G., at age 24.

Arguably one of the best and most beloved hip-hop artists of all time, Wallace is the subject of a new doc that looks at the legacy of his life and death. Currently streaming on Netflix, with “rare footage and in-depth interviews, this documentary celebrates the life of The Notorious B.I.G. on his journey from hustler to rap king.”

So, call your friends and let them know so your crew run-run-run, your crew run-run to catch it.

Two things to listen to:

Sweden has blessed us with the likes of ABBA and Spotify. Now add Zara Larsson to that list.

The 23-year-old singer, who got her start as a youngster on a TV talent show, is dropping her third studio album, “Poster Girl,” on Friday.

March is the month we celebrate women — and who is more empowering than Oprah Winfrey?

The answer to that is no one.

Check out “Oprah’s SuperSoul Conversation‪s” podcast if you want to feel motivated, inspired or just need the uplifting vibe that is trademark Oprah. ‬

One thing to talk about:

Are we over awards shows?

My Appradab colleague Brian Lowry reported that “Globes ratings plummeted more than 60% from the 18.3 million viewers who watched last year, per Nielsen data, to an average audience of 6.9 million.”

Yikes.

With the pandemic going on you would think plenty of people would be tuning in to shows like the Golden Globes, but, apparently, not. Even in a “normal year,” there seems to be less enthusiasm for award shows than there used to be, and that begs the question if Hollywood needs to find a different way to celebrate the industry.

The pandemic is causing us all to reevaluate things.

Something to sip on

Looking for a new show to watch? We asked some of our friends around Appradab what TV binge has helped them decompress in the time of Covid.

Phil Mattingly, senior White House correspondent

I basically have an encyclopedic knowledge of Bravo shows due to my wife’s fandom/the disappearance of sports the first few month of Covid. Not sure I should acknowledge that publicly.

Alisyn Camerota, Appradab New Day anchor

I’ve been watching “Succession.” It depicts a dysfunctional, rotten world, and somehow I find that soothingly distracting from our daily stress.

Stephanie Elam, Appradab correspondent

Fantasy, take me away! I’ve turned to shows that allow me to escape reality — “Once Upon a Time” with my daughter, “Lovecraft Country” and “His Dark Materials” without her.

Ana Cabrera, Appradab Newsroom anchor

“Criminal Minds” on Netflix. I know it’s old, but I’m a newcomer to it! I’m a sucker for mystery and suspense.

Pop back here next Thursday for all the latest entertainment happenings that matter.

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theculturedmarxist · 3 years

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Bryan Fogel’s “The Dissident” was too hot to handle.

The documentary about the murder of Jamal Khashoggi, the journalist and political activist who was allegedly killed in 2018 on the orders of the Saudi Royal Family, was one of the hottest films at last year’s Sundance. It had glowing reviews, a ripped from the headlines subject, and a big-name director in Fogel, fresh off the Oscar-winning “Icarus,” a penetrating look at Russian doping that got the country banned from the Olympics.

And yet, Netflix, which had previously released “Icarus,” and other streaming services such as Apple and Amazon steered clear of “The Dissident.” Without any interested buyers, the film languished until last fall. That’s when Briarcliff Entertainment, an obscure distributor run by former Open Road CEO Tom Ortenberg, announced it would release the movie on-demand.

Fogel thinks the subject matter was too explosive for bigger companies, which have financial ties to Saudi Arabia or are looking to access the country’s massive population of well-to-do consumers. Using interviews with Khashoggi’s fiancee Hatice Cengiz, as well as friends and fellow activists, Fogel creates a damning portrait of Crown Prince Mohammed Bin Salman’s apparent involvement in brutally silencing the writer and thinker and the country’s crackdown on free speech. Thanks to previously unreleased audio recordings, “The Dissident” draws a direct line between Khashoggi’s assassination at the Saudi embassy in Turkey and the Saudi government’s anger over his outspoken criticism of the country’s human rights abuses and mismanagement.

“The Dissident” is currently available on-demand, but its rather muted release isn’t the way Fogel had dreamed of provoking a larger conversation around Khashoggi’s murder. He spoke to Variety about the difficulty of making “The Dissident” and then getting it seen and why he thinks his new movie had the major streamers running scared.

Why did you want to make “The Dissident”?

After the success of “Icarus,” I felt a great burden and social responsibility to make a worthy follow-up. I was looking for a story regarding human rights, regarding freedom of speech, freedom of press, journalism. I also wanted a story that had real world implications that could create real world change through social action or political action.

As the investigation into the murder of Jamal unfolded, my ears perked up and I immediately started reading more about this man. I hadn’t heard of him, but I found out how trusted and regarded he was as a voice on the Middle East. He was also being presented in many media circles as a terrorist sympathizer or member of the Muslim Brotherhood or a friend of Bin Laden. This was not true. He was a moderate, who was fighting for free speech for his country and believed women should have rights. He believed Mohammed Bin Salman’s policies were putting the country on the wrong direction.

Was it difficult to get his friends and fiancee and family to speak to you?

It was very very difficult. This is where the accolades and recognition of “Icarus” and the Academy Award really changed the conversation. In those weeks following his death every journalist was after Hatice. As I approached her and other people, they were able to see my prior work. Hatice invited me about a month after his murder to come and meet with her in Istanbul. I didn’t bring a film crew. I spent the next five weeks there just building trust. It was a harrowing time in her life and I just kept explaining that I was not there for a day or a week or a month. I told her: if we do this, we’re going to go on this journey together. I promised that if she let me into her life, I was going to protect Jamal.

At the Sundance premiere, you challenged distributors to “…not be fearful and give this the global release that this deserves.” How did that turn out?

[Netflix CEO] Reed Hastings was there that day and so was Hillary Clinton. We had a standing ovation. People were wiping tears from their eyes as Hatice took the stage. It was the same scene at each one of our screenings. We were blessed with incredible reviews from all of the trades. In any normal circumstance, you’d think of course this film is going to be acquired and distributed. And yet not only was it not acquired and distributed, there was universal silence. Not a single offer. Not for one dollar or not 12 million dollars, which was what was paid for another documentary title at the festival. Nothing. It was literally as if nobody knew me. It was that startling and that shocking.

Six months later Tom Ortenberg and Briarcliff Entertainment stepped forward and said, hey we want to distribute this film. That’s wonderful. People will be able to rent this film on-demand. But what I wanted was for this film to be streaming into 200 million households around the world. I wanted people to have easy access to it. Instead we pieced together global distribution here and there.

Will this have a chilling effect on movies that want to tackle these kinds of controversial subjects?

This is a depressing and eye-opening moment that any filmmaker that wishes to tell a story like this needs to pay attention to. These global media conglomerates are aiding and abetting and silencing films that take on subject matter like this despite the fact their audiences want content like this. I was told that “Icarus” has had somewhere in the neighborhood of 700 million views. I don’t know if that’s accurate, but I know it was substantial. The decision not to acquire “The Dissident” had nothing to do with its critical reviews, had nothing to do with a global audience’s appetite to watch a docu-thriller, but had everything to do with business interests and politics and, who knows, perhaps pressure from the Saudi government. Netflix did remove Hasan Minhaj’s episode of “Patriot Act” [at the Saudi government’s request] in 2019 and defended that decision by saying, “we’re not a truth to power company. We’re an entertainment company.” It has been a struggle to get this film into the world and to shine a light on the human rights abuses that are happening in that kingdom. These companies, that have chosen not to distribute this film, in my opinion, are complicit.

Have you had conversations with these companies about why they didn’t want to release “The Dissident”? If so what has been their response?

It has been to not respond.

Is this about money? Are they wary of angering the Saudi Royal Family because they have money from Saudi Arabia or want to access their market?

My guess is both. Decisions are being made that it’s better to keep our doors open to Saudi business and Saudi money than it is to do anything to anger the kingdom. Netflix released a statement regarding Black Lives Matter that is in direct contrast to their statement regarding Hasan Minahaj. One stands behind truth to power and the other says we’re not a truth to power company, so it appears they are a truth to power company when it is convenient. But when their business doesn’t align with that or it might impact their subscriber growth, they’re not. The same can be said for all the streaming companies. In the film, there’s Jeff Bezos on the stage with Hatice. Jamal worked for Jeff Bezos [at the Washington Post, which Bezos owns]. So the same can be said of Amazon. I don’t want to point a finger at anyone because it’s all of them. This is a situation where business, subscriber growth, investment was more important than human rights. There’s got to be greater accountability. Not just on a business level, but on a political level. Trump vetoed the desire of both the House and the Senate to hold Saudi Arabia accountable for this crime. He continued to sell them weapons. He’s trying to get the Justice Department to grant Mohammed Bin Salman immunity from prosecution.

Would you still work for Netflix or the other streamers who declined to release “The Dissident”?

Listen, this is my career. This is my work. I’m sure that I will have other projects that might not take on subject matter like this and are not at odds with their business interests. When those projects come along, I will be glad to work with any of these companies. Look, I love Netflix. I really, really do. I’m so grateful to them because without Netflix, “Icarus” would not have become what it became. I’m not insulted by this. I’m not personally offended. I don’t view anything that is happening as personal. I just view it as business. I can understand it on a business level. I don’t agree with it, but I get it. I’m not mad. I’m disappointed.

What message do you want viewers will take away from the film?

There’s a hashtag #JusticeForJamal and the question has to become what does justice mean? We know that Mohammed Bin Salman will not stand trial for this murder. We know that the henchmen he sent are unlikely to truly stand trial. We have to look to the future. So what I hope people will take from the film is knowledge, because knowledge is power. Just like “Icarus” or “Blackfish” or “The Cove,” I hope this film has the ability to change hearts and minds. As more and more people come to “The Dissident,” I hope there’s a call to action. I hope that takes place on social media or through writing letters to congressmen or senators. The first thing I hope is people will spread the word. The second thing is I hope they will use the power of free speech that we have in this country and are so blessed to have to change the narrative. The Arab Spring happened because of Twitter, the Black Lives Matter and #MeToo movements took hold because of social media. We’ve seen that through combined action, change can come.

Disclosure: SRMG, a Saudi publishing and media company which is publicly traded, remains a minority investor in PMC, Variety’s parent company.

#netflix #saudi arabia #mohammed bin salman #jeff bezos #the dissident #sundance #jamal kashoggi #bryan fogel #cinema #film #censorship

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tilbageidanmark · 4 months

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Movies I watched this Week # 155 (Year 3/Week 51):

My first Singaporean film, Anthony Chen's award-winning debut feature, Ilo Ilo. There is a new sub-genre emerging in recent years, realistic dramas about live-in maids and domestic workers (Many from South America and from South-East Asia: 'Lina from Lima', 'The second mother', 'La Nana', 'Roma', 'La cieniga', 'A simple life', and also others I haven't seen). Most are terrific, and so is this one, with 100% score on Rotten Tomatoes.

[That Wikipedia list of movies with 100% score on RT is often a reliable indicator for the type of fair I like to spend my time with]. Highly recommended - 9/10.

🍿

2 more by Aki Kaurismäki:

🍿 My 10th tragic feature by him, and possibly my favorite, The match factory girl. The great Kati Outinen is a sad and lonely young woman who has a one-night stand. Minimalist, bleak and unrelenting, this was no Hans Christian Andersen fairy tale. Considered by some as the "Best Finnish film". 9/10.

🍿 To Each His Own Cinema, a 2007 anthology of 34 3-minute shorts by different directors about how movies inspired them. Takeshii Kitano, the Dardenne brothers, Zhang Zimou, Jane Campion, Atom Egoyan, Gus Van Sant, Lars von Trier, Roman Polanski, Michael Cimino, David Cronenberg, Wong Kar-wai, Ken Loach, Claude Lelouche, David Lynch, Etc. It was commissioned to celebrate 60th anniversary of The Cannes Film Festival.

The often-repetitive stories were about old cinema houses out in the country, ticket taking, projectionists, watching Bresson and Fellini in small villages, and similar wet dreams for cineastes. A nice touch was that the credits were shown only at the end of each short, so you could try to guess who directed it while watching.

Most of the films were not very good. Among the few stand outs were Hou Hsiao-hsien (A family in 1940s Taiwan goes to see a film in a suddenly decrepit theater), Aki Kaurismäki (Foundry workers on lunch break enjoy a Lumiére silent film of workers on lunch break), Abbas Kiarostami (Iranian women watch 'Romeo and Juliet' and cry), Wim Wenders (The inhabitants of a remote Congo village watch Black Hawk Down) and The Coen Brothers (A cowboy resembling Llewellyn Moss at a repertory art house, debating if he should see Renoir or Nuri Bilge Ceylon).

🍿

Ridley Scott's first stream-of-consciousness film, Boy and Bicycle. Made in 1962, when he was 23, and starring his 16 year old brother, Tony [who would jump to his death from the San Pedro Bridge exactly 50 years later]. A boy skips school, and wanders round the empty docks of his West Hartlepool industrial seaside town. Like a working class scene from 'Dubliners'.

It took Ridley 15 years before he was able to direct his next movie, during which time he specialized in producing commercial advertising. His most famous one, The bike Ride, an advert for bread, also featured a boy on a bike. It was later voted as the 'Best British Advert of all time'.

🍿

My 7th and 8th films by Sofia Coppola:

🍿 Priscilla, another pretty young woman living in a privileged gilded cage (like Coppola's herself did). A beautiful romance without sex, and with an oppressive power imbalance. "The Elvis" and the 14 year old girl [and without a single Elvis song]. 7/10.

🍿 In her shallow The Bling Ring, a group of celebrities-wannabes Valley Girls burgles from Hollywood celebrities homes, and become mini-celebrities themselves. It was pretty, but I couldn't find any deeper meaning there.

🍿

Danish cinema produced dozens of 'Danish Noir' works in the 1940's, during the Nazi occupation, and the 1950's. Mordets melodi ("Melody of murder") is considered Denmark's first horror film, and is my first movie directed by the great Bodil Ipsen. [The Danish "Oscars" are actually called "The Bodil's" after her and the other female influencer, Bodil Kjer].

Like Fritz Lang's 'M', a crazed, ambi-sexual killer continues to strangle women while singing a luring French cabaret song, and the dark, dramatic sets are visually stark.

🍿

Bradley Cooper's new adulatory bio-pic Maestro, about the larger-than-life, overbearing genius that was Leonard Bernstein. Uncanny recreation of his life, but mostly his bisexuality vs. his love for his wife and family. Carey Mulligan was tremendous in it. So was Gustav Mahler. This is the year of the “Great Man” in movies, Napoleon, Oppenheimer, Ferrari, Bernstein… (Photo Above).

🍿

First-watch earlier Buñuel X 2:

🍿 Nazarin, Buñuel‘s own favorite work, about a saintly priest, who mistakenly tries to follow in Christ's footsteps. But all his literal interpretations of the dogmas are proven to lead him, as well as his small coterie of freaks and miscasts, into misfortunes. One of the last of his Mexican films, this religious parable is the one that convinced the Spanish censors to allow him to return from exile.

🍿 Bunuel's only documentary (pseudo-documentary rather), Land Without Bread, describing (exaggerated) misery in a remote Spanish town. Extreme poverty, hunger and destitute rarely seen on film.

🍿

Dil Dhadakne Do is an Indian soap opera, staged on a first-class Turkish cruise ship in the Mediterranean, directed by a woman, and narrated by a dog. It's a 3-hour long American-style 'Rich and famous' sit-com of a large family, full of expected love intrigues of bland characters.

I was hoping for another hopping Song and Dance story, but there were only 3 dance numbers in it, Gallan Goodiyaan, Girls like to dance and the final credit scene.

🍿

3 atypical Christmas fairy tales:

🍿 My second unusual anime by Satoshi Kon, Tokyo Godfathers (after 'Paprika'). An imaginative Christmas Miracle parable of The Three Magis. Except that here they are three unlikely homeless heroes, an alcoholic, a trans woman, and a teenage runaway who likes to spit on people from above. They discover an abandoned newborn while searching through the garbage for presents. Emotional and unorthodox. 8/10.

🍿 The Bloody Olives, a Belgian meta Film Noir of a husband, his wife and her lover who keep murdering each other again and again while decorating their Christmas tree. Full of twists and double crosses.

🍿 "One morning, as Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a giant banana..."

Malcolm Tucker's Oscar-winning parody Franz Kafka's It's a Wonderful Life was not too convincing: It's too easy to parody Kranz Fuckfuck.

🍿

First watch: Truffaut's second installment of the Antoine Doinel's saga, Antoine and Colette. The boy of '400 Blows' is now 17, and awkwardly falls in love for the first time. Youthfully charming.

🍿

2 by Norwegian Kristoffer Borgli:

🍿 The first half of Dream scenario had me in stitches: Such an original thought experiment, and so unhesitatingly fresh. But exactly at mid-point, when everybody's dreams turn into nightmares, the story progressed into a underwhelming flirtation with broader contemporary themes, fame, cancel culture, public perception. The only anchor left in Paul's life is memories of his lovely wife, Julianne Nicholson. 6/10.

🍿 Checking out his only previous feature, Sick of Myself: That too was a story with an intriguing premise that opened very strong, end completely fizzled halfway. A young barista lives anonymously and unnoticed, being ignored by her self-centered boyfriend and acquaintances. One day at work, a woman is being mauled by a dog and she's the only one jumping to help her. While covered in blood, she is suddenly the center of attention. The rush causes her to start an insane dive into self-mutilation. The second half centered on narcissism, influencers, victimhood and social media, and was highly disappointing. My 5th film with Anders Danielsen Lie. 4/10.

🍿

"Chip, you know how I hate the brown word"...

My first black comedy from John Waters' commercial period, Serial mom.

With Waters regulars Chesty Morgan, Tracy Lords, Mink Stole, Patty Hearst and Ricky Lake [But it could do better with less Fat jokes]. Also, with a lawyer named Nazelrod and a panties-sniffer named Marvin Pickles. The hot rock and roll girl band is called Camel Lips. So the anti-establishment humour is very elementary.

🍿

“I Didn’t Come To Rescue Rambo From You. I Came Here To Rescue You From Him”…

First watch: I did not expect Rambo: first blood to be that watchable, with such excellent Jerry Goldsmith score. A traumatized Vietnam vet feels spat on and maligned. And all the years I thought it but a thoughtless, jingoistic violent flick.

🍿

3 more stand-ups:

🍿 Trevor Noah: Where Was I, his latest stand-up opens with his best line upfront: "I really enjoy every day in America right now. The same way you'd enjoy your last day on earth". It has a few other good jokes, but otherwise it's pretty tame. The venue, The Fox Theater in Detroit, looks magnificent. 4/10

🍿 Sane man, my first stand-up with heavy-smoker, politically incorrect Bill Hicks. I heard the name before, but never seen him perform.

🍿 So, for the second time in a week, I re-watched Dave Gorman’s Googlewhack Adventure, a contagiously funny presentation.

🍿

4 Shorts:

🍿 Agnès Varda's Les Fiancés du pont Mac Donald, a Harold Lloyd and Buster Keaton-inspired silent comedy from 1962. With JL Godard and Anna Karina.

🍿 Re-watch: From David Firth's, the creator of 'Salad Fingers', the unsettling Cream. Inventing a single solution to all of the world's problems.

The credit page at the end is just as hilariously expansive as the bitter story itself.

🍿 Figs, a gentle 81-year-old black woman who survived a life of oppression, from the cotton fields of Louisiana to becoming a teacher in South Los Angeles.

🍿 The girl with the yellow stockings, a light German story of a young man asking his girlfriend to marry him again and again.

🍿

One I couldn't finish even after trying hard for nearly 20 minutes: The toothless, 1990's Clintonite-lite, political romance Speechless. Trying to cash in on the then real-life hookup between James Carville and Mary Matalin, it was awful on every level.

🍿

(My complete movie list is here).

#movies

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levyfiles · 4 years

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Famous director Shane once worked for Scorsese and got a name of his own at a young age. His he fam has a production company, he made his way up pretty fast and is considered a Cannes fave. He fancies actor and aspiring director Ryan, who at first is not-so-fond of being asked as armcandy to premieres and events, but eventually comes around because the exposure is good for his career. You know what else is good? the dick he is getting, especially when he becomes the face of all Shane's projects+

I did NOT deserve this in my inbox, Nini, but I had a good swim in my own feelings thinking about an upstart director with a prolific history walking in Scorsese’s footsteps. I am INSPIRED!!!

I love the idea it gave me that it gave him a taste for noir and sharp and shaky love stories like Age of Innocence. I love absolutely the idea that Ryan becomes a muse; every lead character he establishes in his script-writing room has Ryan’s features. He sometimes sits in scene watching in awe when Ryan brings his characters to sharp relief, adding his own gestures and mannerisms to what was on the page. Imagine their relationship starts because Ryan is cast in Shane’s most recent oscar-hopeful romantic/noir epic. Shane frustrates him because he pushes Ryan, watches his scenes with a very critical, cynical lens. Ryan is halfway through a broken-hearted declaration, telling his costar he’s loved her his whole life and Shane keeps cutting frequently and telling him to go again. It’s hard coming up out of your character and cutting in again.

“Liar,” he calls Ryan. “I don’t believe you in this scene.”

Ryan tries again, gritting through his irritation until Shane cuts the scene again.

“Stop. Lying, Bergara. I know when you’re acting. I don’t want to know. I’ve seen you tell the truth in your past work and it’s 30 seconds in a long 2hr scene. I’m not buying it.” which for a two-time emmy-nominee and one-time Bennet award winner, you can’t just Say things like that.

Ryan loses it; confronts him. He’s not into being treated like a pawn in this director’s dumb Oscar game; he knows directing. When he makes enough movies; he’s gonna kill the directing game. He has vision. Maybe he’s on the verge of a tantrum, planning to leave the set. He can do so much better than this.

Maybe Shane follows him. A weird thing for a director to do esp with a big production. “I really thought you had it in you. I watched your interviews when you were just starting out and I know you’ve got director’s eyes. I want that. I want to see that and I’ll pull it out of you with my bare hands if I have to. I push because you’ve got the performance in your chest. He is you; I wrote every scripted feature after the way your eyes get wide when you’re hurt; show me that anger and disbelief when you tell her you’ve loved her for years because she’s not gonna believe you either. Get out there and make them believe.”

This startles Ryan, who thought he was just working for a catty, no-nonsense erratic director. The guy maybe has vision and he clearly sees Ryan as a performer, not a pawn. This imbues scenes with a quick emotionally charged left-turn. It’s his best performance. After that, Ryan refuses to work with anyone else. The first time Ryan wins Best Actor next year is because Shane kissed him full on the mouth before Ryan delivers a murderous monologue. Reviews and critics say the flush on him, and the mad light in his eyes during the scene terrified and moved them. Shane drags Ryan into every project he does and Ryan is happily along for the ride. Odd that Hollywood’s strongest lead and notable acclaimed actor keeps so private about his love life when Shane’s directing resume is making him Shine.

When he does his first film; it’s an ode to Shane but no one knows; people speculate because so many stylings and shots are like mocking tributes to scenes in any of Shane’s films but brighter, used out of context. It’s alarming. Shane writes a long response and lets the Rolling Stone publish it. He states ostentatiously and a little ironically that everyone else needs to stop working on film right now because Bergara killed it.

What a great series of asks; what a superb headcanon. I lived today.

#shyan headcanons #fic prompt #shyan #shyan fic #yaboybergara

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sleepykittypaws · 4 years

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Easter Favorites

Looking for a little holiday viewing egg-citement? (Yes, that was terrible. I regretted it instantly.) There’s plenty of Easter-specific entertainment readily available, so hop on over to find some of my favorites. (I’m sorry. Can’t help myself. It’s a sickness, really.)

Updated: April 2, 2024

Movie Favorites

Easter Parade (1948) - It really doesn’t get better than this Judy Garland-Fred Astaire classic. Singing, dancing, romance and a classic Garland holiday song, that rivals Have Yourself a Merry Little Christmas.

Rise of the Guardians (2012) - This under-seen Dreamworks animated movie spans multiple holidays but it’s tough-as-nails take on the Easter Bunny, voiced by Hugh Jackman, is among its most memorable, making it perfect Easter family viewing.

Peter Rabbit (2018) - This live-action, animated hybrid should really not be good, and yet a star-studded cast—James Corden, Domhnall Gleeson, Sam Neill, Margot Robbie, Daisy Ridley and Rose Byrne, to name just a few—and a clever, yet still sweet take, on the classic Beatrix Potter tale over performs for all ages. There’s even a slightly less good, but still fine sequel.

Hop (2011) - This is about the Easter Bunny’s teenage son who eschews the family business to head to Hollywood and become a drummer and ends up roommates with James Marsden. And, no, I did NOT make that plot summary up. Much better than you’d expect based on that premise, including an appearance from Hugh Laurie as the Easter Bunny, and David Hasselhoff as, well…The Hoff.

Steel Magnolias (1989) - Melodramatic and occasionally overacted? Sure. But this story of a supportive group of Southern ladies with iron will, played by Sally Field, Dolly Parton, Shirley MacLaine, Olympia Dukakis, Daryl Hannah and Julia Roberts always—and I do mean always—makes me cry. What makes this an Easter film you might ask? An unforgettable egg hunt scene.

Monty Python’s Life of Brian (1979) - For all those Christmas babies that think sharing Jesus’ birthday is bad, try being mistaken from him. One of the Python’s less quoted, but still supremely funny, movie efforts.

Harvey (1950) - I maintain there’s a Jimmy Stewart movie for every holiday, and this is one of his best. OK, so this Oscar winner isn’t set at Easter, but it’s hard to find something more appropriate for the holiday than a giant bunny.

Cookie’s Fortune (1999) - This Robert Altman dark comedy/murder mystery is set over an Easter weekend, and is one of his more under-rated efforts, in my opinion.

The Half of It (2020, Netflix) - Alice Wu’s take on Cyrano is set in a (fictional) small town and culminates at an Easter church service.

Pieces of Easter (2013) - An under-seen road trip rom-com set at the holiday. Kind of fun, plus it’s available on Amazon Prime.

BONUS NON-SUGGESTION: Do ‼️ NOT ‼️ Watch either the 1978 animated or 2018 BBC versions of Watership Down. It’s just the thing to give your kids life-long, bunny-related nightmares. Source: My 7-year-old self.

Favorite Specials

It’s the Easter Beagle, Charlie Brown (1974, CBS) - The Peanuts gang brings holiday heart and laughs for the whole family, with Linus once again pining for another little-known holiday hero.

Here Comes Petter Cottontail (1971, ABC) - A Rankin-Bass classic that's actually better than many of their lesser-tier Christmas offerings, featuring the classic and catchy Easter song.

The Easter Bunny is Comin’ to Town (1977, ABC) - Another Rankin-Bass holiday must see, this one narrated by the late, great Fred Astaire.

Daffy Duck's Easter Show (a.k.a. Daffy Duck's Easter EGG-citement, 1980, NBC) - Original primetime animated special sponsored by McDonald’s; Loved this as a kid, because it’s one where the animator and his characters interact.

The Velveteen Rabbit (1973) - This original, award-winning, live-action version of the classic tale is a little hard to find, but absolutely magical and completely heartbreaking, in the best way.

Easter Yeggs (1947) - This Looney Tunes cartoon, which originally debuted as a theatrical short, has Bugs meeting a depressed Easter Bunny.

The Velveteen Rabbit (1985, HBO) - Not quite as lyrical as the hard-to-find 1973 short, this animated version is narrated by Christopher Plummer, and is very true to the original book.

A Family Circus Easter (1985, NBC) - Dizzy Gillespie plays the Easter bunny in this lesser-known animated special.

Ice Age: The Great Egg-Scapade (2016, FOX) - We don’t get many modern, Easter specials and this one was slight, yet fun.

A Claymation Easter (1992, CBS) - This very weird, stop-motion animated special from Will Vinton won an Emmy for Outstanding Animated Program.

More to Explore

Willy Wonka and the Chocolate Factory (1971) - This Gene Wilder classic isn’t technically Easter-set, but it’s the perfect viewing for a post-chocolate bunny binge.

Charlie and the Chocolate Factory (2005) - Ditto the above if you, for some reason, prefer this creepy Johnny Depp version.

Meet Me in St. Louis (1944) - Yes, this is one of my favorite classic Christmas movies, but there are also several Easter pivotal scenes in this gorgeous Judy Garland classic.

Mall Rats (1995) - Definitely a different tone, but for those that like their holiday viewing a bit (OK, a lot) less sweet, there’s an extremely memorable encounter with a mall Easter Bunny in this Kevin Smith classic.

Hank and Mike (2008) - Slight, but not unenjoyable comedy about Easter bunnies hitting the unemployment line.

Peter Rabbit 2: The Runaway (2021) - Live action-animation hybrid sequel.

Miss Potter (2006) - Renee Zellweger plays Peter Rabbit author Beatrix Potter giving it a tangential Easter connection.

Roald & Beatrix: The Tail of the Curious Mouse (2020) - This UK-made Sky movie original is a Christmas story, telling the fictionalized story of a real-life meeting between Beatrix Potter and a six-year-old Roald Dahl.

Zootopia (2016) - This very good Disney animated offering would definitely be in my top 10 if it was at all Easter-centric, but it’s bunny-heavy plot still makes it a solid holiday adjacent option.

Alice in Wonderland (1951) - If we’re expanding to Disney bunny-centric stories this White Rabbit-centered story, or the definitely inferior 2010 live-action version, are totally on the table.

The Santa Clause 2 (2002) - Yes, it’s mostly Christmas, but Jay Thomas does play a wry Easter Bunny in this Disney sequel.

1969 (1988) - This Robert Downey Jr.-starring, anti-war drama starts on Easter, with Downey and Kiefer Sutherland hitchhiking home to see one of their friends ship off to Vietnam.

Rebel Without a Cause (1955) - In case you missed that this James Dean classic is a very obvious death and resurrection allegory, the story also literally begins on Easter Sunday at the police station.

Annie Hall (1977) - The pivotal scene where the very Jewish Alvy, played by Woody Allen, meets Annie’s (Diane Keaton) family is set on Easter with a tense family dinner highlighted by a giant ham.

Easter (2003) - Film festival indie about a church-burning wife.

Redemption for Easter (2021) - A family comes together for the holiday for the first time since being rocked by tragedy.

Easter Sunday (2022) - The highly anticipated Jo Koy, Filipino family comedy was released theatrically in 2022—well after Easter—to not-great reviews, but is now available to watch at home if you’re curious.

A Walton Easter (1997, CBS) - Holiday reunion movie of the long-running, family-centered series.

Risen (2016)- Remember that short-lived 2010s trend of making Bible stories into truly ridiculous, big-budget, action movies with A-list(ish) stars? (Here it’s Joseph Fiennes and Tom Felton) Well, this one’s a doozy. Not so much “good,” as so bad it’s almost kind of sort of fun.

Mary Magdalene (2018) - Bigger stars—Rooney Mara, Joaquin Phoenix and Chiwetel Ejiofor—headline this ripped-from-the-pages of The Bible tale.

The Chronicles of Narnia: The Lion, The Witch and the Wardrobe (2005) - This new testament allegory based on the C.S. Lewis series certainly makes a fitting Easter watch.

The Last Temptation of Christ (1988) - Martin Scorsese’s Oscar-winning portrayal of Jesus’ life is very well done, but definitely not much fun.

The Passion of the Christ (2004) - Mel Gibson’s extremely gruesome crucification tale.

Jesus Christ Superstar (1973) - Less blood, more music, same story.

Godspell (1973) - Just as much music, even more camp.

Amar Akbar Anthony (1977) - This Bollywood classic follows three brothers, abandoned and raised by parents from three different religions. The imagery for Anthony, the Christian-raised brother, includes him popping out of a giant Easter egg in one of the film’s many signature musical sequences.

Greed (1924) - OK, I admit I’m not sure where you’d find this Erich von Stroheim silent classic, but this morality tale features an Easter-set betrayal and Christmas comeuppance, in case you didn’t get the symbolism already.

Lilies of the Field (1963) - Faith-based classic starring Sidney Poitier.

The Ten Commandments (1956) - Annual TV-airings make many feel this Charlton Heston, Bible-based film is specific to Easter, despite its Old Testament story.

Ben-Hur (1959) - This other Heston-starring Biblical epic was not only the most expensive movie made of its time, and the biggest hit of 1959, but it actually tells a Jesus-set, Bible story.

The Prince of Egypt (1998) - A well-done animated tale of Moses is not particularly Easter (Old Testament once again), but the religious overtones, with kid-friendly appeal, make it something that often gets holiday airtime.

The Greatest Story Ever Told (1965) - Max Von Sydow plays Jesus in this New Testament-based story that was Claude Rains’ final film. The story of the production behind this legendary boondoggle—like how 20th Century Fox pulled out after spending 2.3 million (about $865 million in 2020 dollars) without director George Stevens shooting a single frame—is probably a lot more interesting than the movie itself.

King of Kings (1961) - MGM’s much cheaper, and finished far sooner, version of The Greatest Story Ever Told.

The Robe (1953) - Richard Burton plays a commander of the Roman unit who crucified Jesus, who later converts to Christianity.

Barabbas (1961) - Another BCU (Bible Cinematic Universe) character tale, this time with Antony Quinn playing the criminal that was spared from crucification, in lieu of Jesus.

Jesus of Nazareth (1977, ITV) - This Italian-British TV co-production was directed by the legendary Franco Zeffirelli.

Son of God (2014) - Mark Burnett and Roma Downey cut down their 10-hour History Channel miniseries, The Bible, to make this mediocre, at best, 2-hour movie.

Jesus Revolution (2023) - A soft and fuzzy look at the origins of the modern Evangelical church in the U.S. that elides a lot of the real details, but has been fairly well reviewed for an explicitly faith-based film.

Praise This (2023) - Chloe Bailey leads this original gospel-themed musical contest story being released on Peacock just in time for Easter.

The Miracle Maker: The Story of Jesus (2000) - Animated take on Jesus’ story.

The Dog Who Saved Easter (2014) - Extremely generic family film.

An Easter Bunny Puppy (2013) - David DeCoteau family film.

Easter Under Wraps (2019, Hallmark) - Hallmark’s first attempt at an Easter-themed romance. How well did it go? Well, they didn’t attempt to make another until 2023 (see below).

The Blessing Bracelet (2023, Hallmark) - The Dayspring-branded, faith-based story starring Amanda Schull and Carlo Marks is set over Easter and premieres April 8 on Hallmark Movies & Mysteries.

An Easter Bloom (2024, Hallmark) - Faith-based, holiday-set romance starring Aimee Teegarden.

The Easter Egg Adventure (2004) - Did you know there was an animated Easter movie starring Brooke Shields and James Woods? Yeah, me neither.

Baby Heuy’s Great Easter Adventure (1998) - Direct-to-video animated movie

Yogi the Easter Bear (1994, syndicated) - One of the last performances of voice great Don Messick.

The Easter Chipmunk (1995, USA) - Not on par with the original holiday Alvin and the Chipmunk specials, this is still fairly sweet.

Here Comes Peter Cottontail: The Movie (1995) - Direct-to-video animated movie.

Easter Bunny Adventure (2017) - Low-budget animated movie starring William McNamara.

Rabbit School: Guardians of the Golden Egg (2017) - Animated, Easter-themed movie based on German children’s book, A Day at Bunny School.

Rabbit Academy: Mission Eggpossible (2022) - Animated, Easter-themed sequel to Rabbit School.

An Easter Story (1983, Showtime) - Paul Fusco puppet special.

The Fat Albert Easter Special (1982, CBS) - Primetime special based on the characters from the Saturday morning animated series Fat Albert and the Cosby Kids

The First Easter Rabbit (1976, NBC) - Rankin-Bass’ take on the Velveteen Rabbit story.

Winnie the Pooh: Springtime with Roo (2004) - Direct-to-DVD Disney animation, that’s A Christmas Carol take, but for Easter.

Springtime for Pluto (1944) - Original Disney theatrical short.

Funny Little Bunnies (1934) - Disney Silly Symponies short.

VeggieTales: An Easter Carol (2004) - Direct-to-DVD animated special that, yes, apes the Winnie the Pooh take.

VeggieTales: ‘Twas The Night Before Easter (2011) - Yet another direct-to-DVD animated special from the faith-based, produce pals.

Pooka Lives (2020, Hulu) - Part of the, Into the Dark horror movie series from Blumhouse, and its first sequel, a follow-up to the 2018 Christmas movie, Pooka, this features a resurrection (get it?) of the cuddly stuffed animal turned killer.

Critters 2: The Main Course (1988) - In this horror sequel, the titular Critters kill the Easter Bunny

Easter Bunny, Kill! Kill! (2006) - Holiday horror movie from Chad Ferrin.

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