Review: "Nomadland" is Frances McDormand's Land

TRASH IN MY EYE No. 64 of 2021 (No. 1802) by Leroy Douresseaux

Nomadland (2020)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – R for some full nudity.
DIRECTOR:  Chloé Zhao
WRITER:  Chloé Zhao (based on the non-fiction book by Jessica Bruder)
PRODUCERS:  Mollye Asher, Dan Janvey, Frances McDormand, Peter Spears, and Chloé Zhao
CINEMATOGRAPHER:  Joshua James Richards (D.o.P.)
EDITOR:  Chloé Zhao
COMPOSER:  Ludovico Einaudi
Academy Award winner including “Best Picture”

DRAMA

Starring:  Frances McDormand, David Strathairn, Linda May, Charlene Swankie, and Bob Wells

Nomadland is a 2020 drama film directed by Chloé Zhao.  The film is an adaptation of the 2017 nonfiction book, Nomadland: Surviving America in the Twenty-First Century, by author Jessica Bruder.  Nomadland the film depicts the real-world phenom of “nomads” people who live as transients, traveling around the United States and living in motor vehicles (“vandwelling”).  The film portrays this through the eyes of a woman who leaves her hometown to live as a vandwelling working nomad.

Nomadland opens sometime in 2011.  Sixty-something Fern (Frances McDormand) recently lost her job after the “US Gypsum Corporation” plant in Empire, Nevada shut down.  Fern had worked there for years along with her husband, who recently died.  Empire, a company town of US Gypsum, basically becomes a ghost town as almost everyone leaves after the jobs disappear.

Fern decides to sell most of her belongings and purchases a van, which she names “Vanguard.”  It becomes her new home.  Fran travel the country searching for work, sometimes working at an Amazon fulfillment center.  When she isn't at Amazon, Fern embarks on a journey through the American West, a modern-day nomad, living in her van.  Is this her new life or is it just a temporary state?

It has been noted that a number of real-life nomads and vandwellers appear as themselves in Nomadland, especially of note, Bob Wells, one of the best known proponents of vandwelling.  However, Nomadland, despite its title, is not so much about nomads and vandwelling as it is about Fern's journey.  The film's writer-director Chloe Zhao chronicles Fern's evolution from someone who becomes a vandweller out of necessity into someone who seems to fully embrace the life of a nomad.

In that, I can see why McDormand would go on to win the Academy Award for “Best Actress” for her performance as Fern.  McDormand creates in Fern a character that seems so real that I found myself believing that Fern was a real person.  This certainly helps to sell the docudrama mode Zhao sometimes adopts to tell particular chapters of this film.  In a career filled with virtuoso performances, Nomadland presents one of McDormand's very best.  Although the film does have another professional actor, David Strathairn, playing a character named “Dave,” a nomad who falls in love with Fern.  However, Strathairn and his character seem like a sapling trying to stay rooted in the hurricane that is McDormand's performance.

Nomadland is poetic and poignant; sometimes, it is poignant to the point of being too sorrowful to watch.  The film captures the restlessness in Fern, and its director captures the precariousness of Fern's new lifestyle.  Nomadland is about Fern's journey and life in Nomadland.  The “nomadland” and its nomads, are there to serve the purpose of her story.  If the film's title were more honest, it would be entitled “Fern” or “Fern in Nomadland.”  Nomadland is like a series of vignettes about Fern more than it is an actual story about something.

Still, Nomadland is a powerful character study that is successful because it is in the hands of both a powerful actress, Frances McDormand, and highly-skilled film director, Chloe Zhao, who can create multiple layers within the story of a character.  Nomadland reminds me of director Martin Scorsese's Raging Bull (1980).  People see it as a great film, while I see it as a good, but meandering film that has built a great reputation largely on a truly great, generational performance by by its leading man, Robert DeNiro (who also won the “Best Actor” Oscar for this role).  Nomadland is a really good, but meandering film that has built a great reputation on...

As a character study, Nomadland is an exceptional film, but it has no larger meaning beyond being an exceptionally well-made film.  Nomadland is one of those film's that will make some people ask, “What's the point of this?”  Art for art's sake? Oscar bait? – I couldn't really answer that question.  However, I will give Nomadland a higher grade than I gave Raging Bull.

8 of 10
A

Sunday, October 31, 2021


NOTES:
2021 Academy Awards, USA:  3 wins: “Best Motion Picture of the Year” (Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey, and Chloé Zhao), “Best Performance by an Actress in a Leading Role” (Frances McDormand), and “Best Achievement in Directing” (Chloé Zhao); 3 nominations: “Best Adapted Screenplay” (Chloé Zhao), “Best Achievement in Film Editing” (Chloé Zhao), and “Best Achievement in Cinematography” (Joshua James Richards)

2021 BAFTA Awards:  4 wins: “Best Film” (Mollye Asher, Dan Janvey, Frances McDormand, Peter Spears, and Chloé Zhao), “Best Leading Actress” (Frances McDormand), “Best Director” (Chloé Zhao), and “Best Cinematography” (Joshua James Richards); 3 nominations: “Best Screenplay-Adapted” (Chloé Zhao), “Best Sound” (Sergio Diaz, Zach Seivers, and Mike Wolf Snyder), and “Best Editing” Chloé Zhao)

2021 Golden Globes, USA:  2 wins: “Best Motion Picture – Drama” and “Best Director - Motion Picture” (Chloé Zhao); 2 nominations: “Best Screenplay - Motion Picture” (Chloé Zhao) and “Best Performance by an Actress in a Motion Picture – Drama” (Frances McDormand)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Seven Disney Releases Earn a Combined 15 Nominations at the 93rd Oscars

The Walt Disney Company Earns 15 Academy Award Nominations

Nominations for the 93rd Oscars® were recently announced, and films from across The Walt Disney Company combined to earn 15 Academy Award® nominations for 2021.

Searchlight Pictures’ critically acclaimed Nomadland received six nominations, including Best Motion Picture. The film’s star, Frances McDormand, is nominated for Best Actress in a Leading Role, and Chloé Zhao received nods for Best Achievement in Directing, Best Adapted Screenplay and Best Achievement in Editing. With Nomadland, Searchlight Pictures has now garnered 19 Best Picture Oscar Nominations and a grand total of 164 Academy Award nominations. The studio has won 40 Academy Awards since 1994, including four Best Picture winners since 2009: Slumdog Millionaire, 12 Years a Slave, Birdman and The Shape of Water.

Disney+ received its first Oscar nominations since launching in 2019. The service is home to a variety of nominated content including Onward, Soul, and the animated short Burrow, all from Disney and Pixar; Disney’s Mulan and Disney’s The One and Only Ivan. Soul and Onward are both nominated for Best Animated Feature, and Soul received two additional nominations this morning for Best Original Score and Best Sound. Disney’s Mulan received nominations for Best Costume Design and Best Visual Effects; Disney’s The One and Only Ivan is nominated for Best Visual Effects; and Disney and Pixar’s Burrow is among this year’s nominees for Best Animated Short Film.

The Hulu Original film The United States vs. Billie Holiday garnered a nomination for its star, Andra Day, who is among the nominees for Best Actress in a Leading Role. Hulu is also the exclusive streaming home to Searchlight Pictures’ Nomadland.

Here is the complete list of nominations from across The Walt Disney Company:

Nomadland (Searchlight Pictures): 6 Nominations

Best Motion Picture—Frances McDormand, Peter Spears, Dan Janvey, Mollye Asher, Chloé Zhao

Best Actress in a Leading Role—Frances McDormand

Best Achievement in Directing—Chloé Zhao

Best Adapted Screenplay—Chloé Zhao

Best Achievement in Editing—Chloé Zhao

Best Achievement in Cinematography—Joshua James Richards

Soul (Pixar Animation Studios / Walt Disney Studios Motion Pictures / Disney+ / Disney Music Group): 3 Nominations

Best Animated Feature

Best Original Score—Jon Batiste, Atticus Ross, Trent Reznor

Best Achievement in Sound

Mulan (Walt Disney Studios Motion Pictures / Disney+): 2 Nominations

Best Costume Design

Best Visual Effects

Onward (Pixar Animation Studios / Walt Disney Studios Motion Pictures): 1 Nomination

Best Animated Feature

The One and Only Ivan (Walt Disney Studios Motion Pictures / Disney+): 1 Nomination

Best Visual Effects

Burrow (Pixar Animation Studios / Walt Disney Studios Motion Pictures / Disney+): 1 Nomination

Best Animated Short Film

The United States vs. Billie Holiday (Hulu): 1 Nomination

Best Actress in a Leading Role—Andra Day

Soul director Pete Docter, producer Dana Murray and co-director Kemp Powers said, “Thank you to the Academy for this incredible honor, we are truly humbled. Soul represents several years of research, intense work, self-doubt and also a good deal of fun. Our journey on the film was similar to that of Joe Gardner’s—well, except the part where he falls down a manhole. As we struggled with story clarity and tried out who-knows-how-many different endings, we began to realize how important it was to savor what may have felt like minor moments along the way: the satisfaction of jotting down a preliminary sketch on a scrap of paper; hearing the first chords from the earliest music demos; laughing with the crew. Though we might not have known it at the time, moments like these helped inspire us and fed back into the film in innumerable ways. Though we are living through challenging times, being recognized by the Academy gives us hope that the joy we found and put into our film was shared by audiences, and nothing could be more meaningful than that.”

The talented musicians who created the score for Soul—Trent Reznor, Atticus Ross and Jon Batiste—had this reaction to their Oscar nominations: “We are astounded and incredibly grateful to be considered for the Academy Award for Best Original Score on behalf of Soul. This was a profoundly rewarding creative collaboration filled with so much love, light and lineage. The warm reception of the film continues to humble us. We will be celebrating this tremendous honor in anticipation of the ceremony to come.”

Onward director Dan Scanlon and producer Kori Rae shared, “Thank you to the Academy for honoring our film. We share this nomination with the entire cast and the crew at Pixar who were essential in bringing the magic and wonder of Ian and Barley’s journey to life. Onward was a very personal story, exploring the idea of what one would do if they had more time with a loved one they’d lost. It’s incredibly meaningful to see how this has resonated with audiences, and we couldn’t be more thankful to the Academy for their recognition.”

“We are incredibly honored to receive this nomination and be celebrated alongside such an inspiring collection of shorts—it means the world to us and the entire Burrow crew. Burrow is a short that encourages people not be afraid to open themselves up to others—and to be recognized in a year when maybe a lot of people have been feeling isolated, really means the world to us,” said Burrow director Madeline Sharafian and producer Michael Capbarat. “A sincere thank you to the Academy for this recognition.”

Mulan’s nominees for Best Visual Effects—Sean Faden, Anders Langlands, Seth Maury and Steve Ingram—said, “The VFX team of Mulan is so thrilled and deeply honored to be recognized by our branch! Thanks to our VFX producer Di Giorgiutti, our production family and our actual families! Thanks to our SFX team and all of the VFX companies (Weta, Imageworks, Framestore, Image Engine and Crafty Apes) for their stellar work and friendship. A special thanks to the amazing team at Disney including producer Jason Reed and our wonderful executive Mimi Steele, our fearless director Niki Caro and incredibly supportive DP Mandy Walker and amazing production designer and costume designer Grant Major and Bina Daigeler for giving us such rich textures to work with. It was fun bringing this world to life and I hope people will get a chance to see the work again.”

The film’s costume designer, Bina Daigeler, said, “I am over the moon and so thrilled to be nominated. It’s such a great honor and thank you to the Academy for my nomination. I am so happy to see my name alongside my amazing costume designer colleagues. Mulan was such a great and important experience. I am full of gratitude to get this recognition, especially during this rough time, and am sharing my happiness with my friends around the world.

“This nomination is a testament to the passion and talent of the visual effects artists at MPC Film,” said The One and Only Ivan’s Production VFX Supervisor Nick Davis. “We are honored to receive an Oscar nomination for the visual effects of The One and Only Ivan. I’d also like to thank our friends at Disney and our director, Thea Sharrock.”

The 93rd Oscars will be held on Sunday, April 25, 2021, and will be televised live on ABC at 8 p.m. ET/5 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

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Walt Disney Company Celebrates Its 2020 Oscar Nominations

The Walt Disney Company’s Films Receive 23 Oscar® Nominations

Nominations for the 92nd Oscars® were announced this morning and releases from The Walt Disney Company’s portfolio of brands earned a combined 23 nods in 15 categories. Fox Searchlight Pictures’ Jojo Rabbit received six nominations, including Best Picture and best Actress in a Supporting Role for Scarlett Johansson; and 20th Century Fox’s Ford v Ferrari is nominated in four categories, including Best Picture. The three nods for Lucasfilm’s Star Wars: The Rise of Skywalker include a nomination for John Williams for his original score. Pixar’s Toy Story 4 is among this year’s nominees for best Animated Feature Film.

Here is the complete list of The Walt Disney Company’s 2020 Academy Award® nominees:

Best Picture
Ford v Ferrari—Peter Chernin, Jenno Topping and James Mangold, Producers
Jojo Rabbit—Carthew Neal and Taika Waititi, Producers

Actress in a Supporting Role
Scarlett Johansson—Jojo Rabbit

Costume Design
Jojo Rabbit—Mayes C. Rubeo

Animated Feature Film
Toy Story 4—Josh Cooley, Mark Nielsen and Jonas Rivera

Film Editing
Ford v Ferrari—Michael McCusker and Andrew Buckland
Jojo Rabbit—Tom Eagles

Original Score
Star Wars: The Rise of Skywalker—John Williams

Animated Short Film
Kitbull—Rosana Sullivan and Kathryn Hendrickson

Sound Editing
Ford v Ferrari—Donald Sylvester
Star Wars: The Rise of Skywalker—Matthew Wood and David Acord

Sound Mixing
Ad Astra—Gary Rydstrom, Tom Johnson and Mark Ulano
Ford v Ferrari—Paul Massey, David Giammarco and Steven A. Morrow

Documentary (Feature)
The Cave—Feras Fayyad, Kirstine Barfod and Sigrid Dyekjær

Makeup and Hairstyling
Maleficent: Mistress of Evil—Paul Gooch, Arjen Tuiten and David White

Original Song
“I Can’t Let You Throw Yourself Away” from Toy Story 4—Music and Lyric by Randy Newman
“I’m Standing with You” from Breakthrough—Music and Lyric by Diane Warren
“Into the Unknown” from Frozen 2—Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

Production Design
Jojo Rabbit—Production Design: Ra Vincent, Set Decoration: Nora Sopková

Visual Effects
Marvel Studios’ Avengers: Endgame—Dan DeLeeuw, Russell Earl, Matt Aitken and Dan Sudick
The Lion King—Robert Legato, Adam Valdez, Andrew R. Jones and Elliot Newman
Star Wars: The Rise of Skywalker—Roger Guyett, Neal Scanlan, Patrick Tubach and Dominic Tuohy

Adapted Screenplay
Jojo Rabbit—Screenplay by Taika Waititi

“Thank you to the Academy for their recognition of our film Ford v Ferrari,” said producer James Mangold. “Jenno [Topping], Peter [Chernin] and I are thrilled to be nominated among such moving and unique films—and also grateful to our brilliant team of artists who brought our remarkable characters, and their adventures on and off the track, to life.”

Pixar’s Josh Cooley, director of Toy Story 4, and producers, Mark Nielsen and Jonas Rivera, shared their reaction to the film’s nominations for best Animated Feature and Original Song: “Working on Toy Story 4 has been an incredible journey and a tremendous honor. We love these characters so much—they are like family to us. Our goal was to tell a story that explored the idea that our purpose is a moving target. It’s humbling how that message resonated with audiences around the world. We hope people have found it not only to be entertaining, but thoughtful as well.

“Of course it’s also a film about toys, which hopefully helps imbue the experience with humor and fun, as well as emotional depth. But for us, and our entire crew, when we receive an honor like today’s two nominations, it’s clear our purpose is to strive to tell great stories. Thank you Academy for this recognition—to infinity and beyond!”

Disney Legend Randy Newman, who penned the song “I Can’t Let You Throw Yourself Away,” said, “I’m very happy. I loved working with Josh Cooley on Toy Story 4. I’m proud of this song. I like it as well as any song I’ve written for a movie. I hope it wins.”

Robert Lopez and Kristen Anderson-Lopez, Academy Award®-winning songwriters for Frozen, had this to say about their nomination for Frozen 2’s “Into the Unknown,” recognized in the best Original Song category: “For us, ‘Into the Unknown’ is more than a song—it’s a culmination of a decade-long collaboration with the incredible artists at Walt Disney Animation Studios, led by our partners and friends Jennifer Lee and Chris Buck. We have been so lucky to work hand-in-hand almost daily for five years helping to craft the story and songs for Frozen 2. To be honored by the Academy once more means the world to us.”

Creature Effects Supervisor Neal Scanlan is nominated alongside Roger Guyett, Patrick Tubach and Dominic Tuohy for the visual effects in Star Wars:The Rise of Skywalker, the Skywalker Saga’s epic conclusion. “Unbelievable, I feel incredibly lucky and honored to be nominated,” he said. “For the entire team, it is confirmation that all of their commitment and hard work has been noticed and acknowledged at the highest level. The Rise of Skywalker is the last film in the trilogy and with that comes some sadness, however this nomination is a perfect way to finish.”

The 92nd Oscars will be held on Sunday, February 9, 2020, at the Dolby® Theatre at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

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Review: "Never Die Alone" Uneven, but Inspired

TRASH IN MY EYE No. 132 (of 2004) by Leroy Douresseaux

Never Die Alone (2004)
Running time:  88 minutes (1 hour, 28 minutes)
MPAA – R for strong violence, drug use, sexuality and language
DIRECTOR:  Ernest Dickerson
WRITER:  James Gibson (based upon the novel by Donald Goines)
PRODUCERS:  Alessandro Camon and Earl Simmons (DMX)
CINEMATOGRAPHER:  Matthew Libatique
EDITOR:  Stephen Lovejoy
COMPOSER:  George Duke
Black Reel Awards nominee

CRIME/DRAMA

Starring:  DMX, David Arquette, Michael Ealy, Drew Sidora, Antwon Tanner, Luenell Campbell, Clifton Powell, Tommy “Tiny” Lister, Aisha Tyler, Jennifer Sky, Reagan Gomez-Preston, and Art Evans

Never Die Alone is a 2014 crime drama from director Ernest R. Dickerson.  The film is based on the late author, Donald Goines' 1974 novel of the same name.  Starring rapper DMX, Never Die Alone the film focuses on a drug kingpin whose return home touches off a turf war.

After a small-time drug kingpin known as King David (DMX) is murdered, Paul (David Arquette), a young white reporter who witnessed the murder and brought King David to the hospital where he died, decides to investigate the circumstances leading up to King’s death.  Paul wants to use that as research for a investigative report that he hopes will get him a newspaper job, but David’s death also sets off a small, but very violent turf war.

As Paul listens to King David’s audiotape journal (heard as a voice-over narration that frames the film) which depicts King David’s rise, his hopes for the future and for redemption, and (unbeknownst to him) the final hour of his life, people are dying in an ever increasingly violent conflict.

Directed by Ernest Dickerson, Never Die Alone is a gritty, vulgar, violent, entertaining, and ultimately quite poignant crime drama.  Sadly, the film had a somewhat limited theatrical release and the studio never really gave it a chance to catch on; hopefully, many viewers will discover it on home video.

Two things work against Never Die Alone being a great film.  The first is that the film is really three movies.  The first half hour or so is a tension filled street-crime drama with wonderfully intriguing characters who have the all-important element that really sells a story – motivation.  The second film is a flashback of King David’s life, as narrated by his audio journal.  The third is Arquette’s Paul character prowling the streets where King David was murdered in an attempt to feel the gangsta life. On the surface, any of these three would make a good movie if the filmmakers focused on one and fully developed it, especially the first sequence and incidents surrounding King’s death.  Actually, the separation from David’s return and death to move to another story line is quite jarring and, for all its interesting moments afterwards, the film never really recovers from that.

The second thing that really works against the film is DMX’s narration.  It is acceptable that he isn’t a great actor, but the thing for a director to do is to not lean on him so much.  He’s credible as a hood-type, and he can certainly get better over time with more experience as an actor and maybe some acting lessons (like that’s gonna happen).  But the worst thing to give an inexperienced actor is extensive narration duties in a film.  Simply put, the syncopation and rhythm that made DMX such an admired rapper is missing in his narration for Never Die Alone.  That’s bad for this film because so much of King David’s character and about his motivation is told rather than shown.  Sometimes, what DMX is saying comes across as stiff, but to be fair, there are times when he really sells a scene and King David with inspired moments of pure passion.

Warts aside, DMX and David Arquette do fairly good jobs as this film’s stars, but there are some good supporting performances; the best of the lot is Michael Ealy.  Excellent in the Barbershop films, he should have acting jobs pouring in, and we should see him more.  Just as talented as a slew of young stars like Orlando Bloom, Ashton Kutcher, and Heath Ledger, I wonder why we don’t see Ealy more.

6 of 10
B

NOTES:
2005 Black Reel Awards:  1 nomination: “Best Director” (Ernest R. Dickerson)

Edited: Wednesday, February 3, 2016

The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

Review: As a Character Study, "Birdman" Has Wings

TRASH IN MY EYE No. 45 (of 2015) by Leroy Douresseaux

[A version of this review originally appeared on Patreon.]

Birdman: Or (The Unexpected Virtue of Ignorance) (2014)
Running time:  119 minutes (1 hour, 59 minutes)
MPAA – R for language throughout, some sexual content and brief violence
DIRECTOR:  Alejandro G. Iñárritu
WRITERS:  Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris Jr., and Armando Bo
PRODUCERS:  Alejandro G. Iñárritu, John Lesher, Arnon Milchan, and James W. Skotchdopole
CINEMATOGRAPHER:  Emmanuel Lubezki (D.o.P.)
EDITORS:  Douglas Crise and Stephen Mirrione
COMPOSER:  Antonio Sanchez (drum score)
Academy Award winner, including “Best Picture”

DRAMA/COMEDY

Starring: Michael Keaton, Emma Stone, Edward Norton, Zach Galifanakis, Naomi Watts, Andrea Riseborough, and Amy Ryan with Lindsay Duncan

Birdman or (The Unexpected Virtue of Ignorance) is a 2014 drama and black comedy film from director Alejandro G. Iñárritu.  The film focuses on a Hollywood actor, who once starred in a series of popular superhero movies, as he tries to forge a comeback with a Broadway play.  Birdman or (The Unexpected Virtue of Ignorance), commonly known as Birdman, won four Oscars, including “Best Picture,” at the 87th Academy Awards (February 22, 2015).

Birdman introduces Riggan Thomson (Michael Keaton).  He is a washed-up Hollywood actor and former movie star best known for playing the iconic superhero, Birdman, two decades ago in a series of blockbuster films.  Riggan hopes to reinvent his career by writing, directing, and starring in a Broadway production.  Riggan's play is a loosely based adaptation of “What We Talk About When We Talk About Love,” a short story written by the late Raymond Carver (and first published in the former literary journal, Antaeus, in 1981).

Unfortunately, Riggan's play is beset by complications.  The play is produced by Riggan's best friend and lawyer, Jake (Zach Galifanakis), who is very demanding and high-strung.  The film's two actresses are Riggan's girlfriend, Laura (Andrea Riseborough), who claims to be pregnant, and a first-time Broadway actress, Lesley (Naomi Watts), who has a worried mind.  Riggan's daughter, Samantha (Emma Stone), a recovering addict, serves as her father's assistant.  The other male actor in the play is Mike Shiner (Edward Norton), a brilliant actor who is also volatile, disruptive, and attention-seeking.  The biggest complication, however, is the spirit of Birdman, which haunts Riggan with a mocking, critical voice, and that voice wants another Birdman movie.

Taking what the movie gives us, which is a little over one hour and fifty minutes of film narrative, Birdman is an extraordinary character study about the life of a struggling actor in a particular moment in time.  This moment in time is a two-week period, of which we only observe in select pieces.  People who watch this movie have to take Riggan at face value because the film is vague about whatever happened to Riggan's life prior to the two-week period that it depicts.

This situation helps to make Birdman ambiguous, and I think the director and his co-writers wanted their film to have many ambiguities.  Is this film a true black comedy?  Is it a drama about domestic and professional failures?  Is it real, or surreal, or both (when considering Riggan's powers)?  Is the last act and the ending a resolution via rebirth or by closure?  Birdman is a complex, different and fascinating work of cinema.

Considering its subject matter, that of a failed movie star in the tailspin of a midlife crisis, it is fairly obvious why the film was so attractive to so many Oscar voters.  How many members of the Academy of Motion Picture Arts and Sciences (AMPAS), which votes on the Oscars, have experienced something similar to Riggan's experiences or how many know they will... eventually.  I think that this is a tremendous movie, and I can see why it won the Oscars that it did.

On the other hand, Edward Norton and Emma Stone are good in Birdman, but there is little in their work here, in terms of substance or character portrayal, that says that either one of them gave a top five performance in the respective categories for which they were nominated for Oscars.  I also find Michael Keaton a little uneven.  He is at his best when he is emoting without dialogue and when he is giving voice to Birdman.  When he tries to give voice to anger and frustration, he is over-the-top, in his now trademark manner, familiar to us who remember him as Batman and as Beetlejuice.

Many people seem to think that Keaton was perfect for the role of Riggan Thomson who played a superhero at the height of his career and fame in Hollywood because Keaton played the title role in Batman (1989) and Batman Returns (1992) at the height of his film career.  Keaton's career seemed to diminish after Batman, gradually though, until he had seemingly disappeared from Hollywood films.  The truth is Keaton is a good actor whose full talent has rarely been utilized.

Birdman or (The Unexpected Virtue of Ignorance) gives him a chance, and there are moments in which Keaton shines.  This film is unique and has many moments of brilliance, in which Alejandro G. Iñárritu shows us that cinematic magic is indeed real.  Birdman has it, revealing that drama need not be tied to the ground nor to be framed in notions of stiff realism.  Birdman has a sense of wonder and of curiosity, believing that it is as exciting to explore a man's life as it is to explore a faraway magical kingdom or an island full of dinosaurs.

9 of 10
A+

Tuesday, September 15, 2015


NOTES:
2015 Academy Awards, USA:  4 wins: “Best Motion Picture of the Year” (Alejandro González Iñárritu, John Lesher, and James W. Skotchdopole), “Best Achievement in Directing” (Alejandro González Iñárritu), “Best Writing, Original Screenplay” (Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, and Armando Bo), and “Best Achievement in Cinematography” (Emmanuel Lubezki); 5 nominations: “Best Performance by an Actor in a Leading Role” (Michael Keaton), “Best Performance by an Actor in a Supporting Role” (Edward Norton), “Best Performance by an Actress in a Supporting Role” (Emma Stone), “Best Achievement in Sound Mixing” (Jon Taylor, Frank A. Montaño, and Thomas Varga) and “Best Achievement in Sound Editing” (Aaron Glascock and Martín Hernández)

2015 Golden Globes, USA:  2 wins: “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Michael Keaton) and “Best Screenplay - Motion Picture” (Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, and Armando Bo); 5 nominations: “Best Director - Motion Picture” (Alejandro González Iñárritu), “Best Motion Picture - Comedy or Musical,” “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Emma Stone), “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Edward Norton) and “Best Original Score - Motion Picture” (Antonio Sanchez)

2015 BAFTA Awards:  1 win “Best Cinematography” (Emmanuel Lubezki); 9 nominations: “Best Film” (Alejandro González Iñárritu, John Lesher, and James W. Skotchdopole), “Best Leading Actor” (Michael Keaton), “Best Supporting Actor” (Edward Norton), “Best Supporting Actress” (Emma Stone), “Best Editing” (Douglas Crise and Stephen Mirrione), “Best Original Music” (Antonio Sanchez), “Best Sound” (Thomas Varga, Martín Hernández, Aaron Glascock, Jon Taylor, and Frank A. Montaño), “Best Original Screenplay” (Alejandro González Iñárritu, Nicolás Giacobone, and Alexander Dinelaris, and Armando Bo), and “David Lean Award for Direction” (Alejandro González Iñárritu)


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.

Fox Searchlight and National Geographic Channel Unite for "He Named Me Malala"

National Geographic Channel Joins Fox Searchlight Pictures for Global Theatrical Release of the Highly Anticipated Feature Doc HE NAMED ME MALALA

Oscar Winner Davis Guggenheim-Helmed Film to Receive Cross-Platform Support from the Global Resources of National Geographic for Theatrical Launch; National Geographic Channel to also Premiere the Film on TV in 2016

"One child, one teacher, one book and one pen can change the world." – Malala Yousafzai

LOS ANGELES--(BUSINESS WIRE)--Fox Searchlight Pictures announced today that National Geographic Channel has joined forces with Fox Searchlight Pictures for the global theatrical release of Academy Award winner Davis Guggenheim’s upcoming feature documentary HE NAMED ME MALALA, an intimate portrait of Nobel Peace Prize Laureate Malala Yousafzai, who was targeted by the Taliban and severely wounded by a gunshot when returning home on her school bus in Pakistan’s Swat Valley.

    “That is why we are joining this project as true partners, from the global theatrical release through our eventual television broadcast, and dedicating our collective resources to bring Malala’s important journey and advocacy for girls’ education to millions of people worldwide.”

With this partnership, National Geographic Channel and National Geographic Society will join the global launch campaign to support the theatrical release this October. Additionally, in 2016 the film will air on the National Geographic Channels in 171 countries and 45 languages.

National Geographic will support this important film from theatrical release through the broadcast television premiere with all of the resources of the National Geographic Channels as well as through the National Geographic Society in National Geographic Magazine, National Geographic Digital Media, National Geographic Education Programs, National Geographic Kids, and more.

“This is a film that you leave not only feeling incredibly inspired, but truly wanting to make a difference. As leaders in bringing stories of global importance to the largest audience possible, it is more than just an honor to be part of this project, I feel it is our duty,” said Courteney Monroe, CEO, National Geographic Channels. “That is why we are joining this project as true partners, from the global theatrical release through our eventual television broadcast, and dedicating our collective resources to bring Malala’s important journey and advocacy for girls’ education to millions of people worldwide.”

“We are excited to be partnering with the National Geographic Channels to help bring Davis’ passion and commitment in the telling of Malala’s moving story to audiences worldwide across their extensive media platforms. Davis’ masterful eye captures this inspiring young individual and we are proud to champion her efforts to bring awareness to the critical global issue of the education of girls,” said Fox Searchlight Pictures Presidents Nancy Utley and Steve Gilula.

The documentary offers a look into Malala’s life both before and following the attack. Fifteen at the time of the incident, she was singled out, along with her father, for advocating for girls’ education. The shooting sparked an outcry from supporters around the world. Malala miraculously survived and is now a leading campaigner for girls’ education globally as co-founder of the Malala Fund.

Acclaimed documentary filmmaker Davis Guggenheim (“An Inconvenient Truth,” “Waiting for 'Superman'”) examines how Malala, her father Zia and her family are committed to fighting for education for all girls worldwide. The film delivers an inside glimpse into this extraordinary young girl’s life – from her close relationship with her father who inspired her love for education, to her impassioned speeches at the United Nations, to joking around at home with her parents and brothers.

The launch of the film will also coincide with an international advocacy and fundraising campaign in partnership with the Malala Fund, Malala’s nonprofit organization working to empower adolescent girls globally through a quality secondary education.

HE NAMED ME MALALA is being released by Fox Searchlight Pictures, in association with Image Nation Abu Dhabi and Participant Media, with National Geographic Channel. The film is produced by Walter Parkes, Laurie MacDonald and Davis Guggenheim. Executive producers are Mohamed Al Mubarak and Michael Garin from Image Nation Abu Dhabi, Jeff Skoll from Participant Media, and Shannon Dill.


About National Geographic Channels
Based at the National Geographic Society headquarters in Washington, D.C., the National Geographic Channels US are a joint venture between National Geographic and Fox Networks. The Channels contribute to the National Geographic Society’s commitment to exploration, conservation and education with smart, innovative programming and profits that directly support its mission. Launched in January 2001, National Geographic Channel (NGC) celebrated its fifth anniversary with the debut of NGC HD. In 2010, the wildlife and natural history cable channel Nat Geo WILD was launched, and in 2011, the Spanish-language network Nat Geo Mundo was unveiled. The Channels have carriage with all of the nation’s major cable, telco and satellite television providers, with NGC currently available in more than 90 million U.S. homes. Globally, National Geographic Channel is available in more than 432 million homes in 171 countries and 45 languages. For more information, visit www.natgeotv.com.

About Image Nation Abu Dhabi
Since launching in 2008, Image Nation Abu Dhabi has become one of the leading content creators in the Middle East. The company produces filmed content across a wide range of platforms, with a particular focus on audiences in the UAE and Gulf region. Image Nation seeks to fulfill four key commitments: Developing Emirati filmed entertainment; growing the local film and television industry through training and internship programs; supporting Abu Dhabi entities in creating content to meet strategic and marketing objectives; and co-producing an aggressive slate of international films through several strategic partnerships.

About Participant Media
Participant Media (http://www.ParticipantMedia.com) is a global entertainment company founded in 2004 by Jeff Skoll to focus on feature film, television, publishing and digital content that inspires social change. Participant's more than 60 films include Good Night, and Good Luck, Syriana, An Inconvenient Truth, Food, Inc., Waiting for ‘Superman’, The Help, Contagion and Lincoln. Participant launches campaigns that bring together government entities, foundations, schools, and others to raise awareness and drive people to take action on issues from each film or television show. Pivot (http://www.pivot.tv/), the company’s television network, is available nationally in 47 million homes, with a diverse slate of talent and a mix of original series, acquired programming, films and documentaries. TakePart (http://www.TakePart.com) is Participant’s digital news and lifestyle magazine and social action platform for the conscious consumer. Through its films, social action campaigns, digital network, and its television network, Participant seeks to entertain, encourage and empower every individual to take action.

About Parkes/MacDonald
Parkes/MacDonald Productions was founded in 2005 by Walter Parkes and Laurie MacDonald to develop and produce feature film and television projects. Previously, Parkes and MacDonald served as the founding presidents of Dream Works SKG motion picture studio; during their 12 year tenure, they led the studio to three consecutive Best Picture Oscars. Films produced or executive-produced by Parkes & MacDonald include GLADIATOR, MEN IN BLACK I, II & III, FLIGHT, MINORITY REPORT, THE MASK OF ZORRO, CATCH ME IF YOU CAN, LEMONY SNICKET’S A SERIES OF UNFORTUNATE EVENTS, THE TERMINAL, ROAD TO PERDITION, THE RING, THE KITE RUNNER, and Stephen Sondheim’s musical thriller, SWEENEY TODD: THE DEMON BARBER OF FLEET STREET, among many others. In total, films produced or executive-produced by Parkes and MacDonald have earned in excess of $6 billion in worldwide box office. Their 2015 slate includes NBC’s critically acclaimed The Slap, the NBC pilot Warrior, RINGS for Paramount Pictures and KEEPING UP WITH THE JONESES for Fox. Upcoming productions include the live action BARBIE film for Sony scheduled for production late 2015/early2016.

In 2012, Parkes/MacDonald teamed with Image Nation Abu Dhabi to form Parkes + MacDonald/Image Nation. HE NAMED ME MALALA is the first film financed by this new partnership.

About the Malala Fund
Malala Fund is a non-profit organization that empowers girls globally through education to achieve their potential and be agents of change in their communities. Co-founded in 2013 by student, education activist and Nobel Peace Prize Laureate Malala Yousafzai and her father and teacher Ziauddin Yousafzai, the Malala Fund invests in and advocates for girls’ secondary education and amplifies the voices of adolescent girls globally.

About Fox Searchlight Pictures
Fox Searchlight Pictures is a specialty film company that both finances and acquires motion pictures. It has its own marketing and distribution operations, and its films are distributed internationally by Twentieth Century Fox. Fox Searchlight Pictures is a unit of 21st Century Fox.

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Review: First Trip to "The Best Exotic Marigold Hotel" Was Quite Lovely

TRASH IN MY EYE No. 16 (of 2015) by Leroy Douresseaux

The Best Exotic Marigold Hotel (2012)
COUNTRY OF ORIGIN: United Kingdom
Running time:  124 minutes (2 hours, 4 minutes)
MPAA – PG-13 for sexual content and language
DIRECTOR:  John Madden
WRITER:  Ol Parker (based on the novel, These Foolish Things, by Deborah Moggach)
PRODUCERS:  Graham Broadbent and Peter Czernin
CINEMATOGRAPHER:  Ben Davis (D.o.P.)
EDITOR:  Chris Gill
COMPOSER:  Thomas Newman
Golden Globes nominee

COMEDY/DRAMA with elements of romance

Starring:  Judi Dench, Tom Wilkinson, Bill Nighy, Penelope Wilton, Maggie Smith, Ronald Pickup, Celia Imrie, Dev Patel, Tina Desai, Lillete Dubey, Paul Bhattacharjee, Neena Kulkarni, Rajendra Gupta, and Lucy Robinson

The Best Exotic Marigold Hotel is a 2012 British comedy-drama from director John Madden.  The film is based on the 2004 novel, These Foolish Things, from English author Deborah Moggach.  The Best Exotic Marigold Hotel focuses on a group of British retirees who travel to India to take up residence in a newly restored hotel that is not quite ready for prime time.

The Best Exotic Marigold Hotel opens in present day Great Britain and introduces a group of British retirees and AARP types.  Recently widowed housewife, Evelyn Greenslade (Judi Dench), is forced to sell the home she shared with her late husband in order to cover the huge debts he left.  Jean and Douglas Ainslie (Penelope Wilton and Bill Nighy) are searching for a retirement they can afford; they lost most of their savings through investing in their daughter's Internet business.

Muriel Donnelly (Maggie Smith) is a retired housekeeper who is need of a hip replacement operation.  Her doctor informs her that she can have it done far more quickly and inexpensively in India than she can in the U.K., but Muriel hates Indians (as well as every other person of color).  Madge Hardcastle (Celia Imrie) is searching for another husband.  Aging lothario Norman Cousins (Ronald Pickup) still wants to have sex with young women, but now, he needs to find a new place to try and re-capture his youth.  These six people decide to spend their retirement at a hotel in India, based only on the pictures on the hotel's website.

Meanwhile, high-court judge, Graham Dashwood (Tom Wilkinson), spent the first eighteen years of his life in India; he suddenly decides to retire and return there.  When these Brits arrive at The Best Exotic Marigold Hotel, they find it dilapidated.  The hotel's energetic young manager, Sunil Indrajit “Sonny” Kapoor (Dev Patel), promises that he will make the hotel look like what the website promises.  Now, everyone has to deal with the unexpected, and some are better at that than others.

The Best Exotic Marigold Hotel is simply frothy feel-good entertainment – nothing more, nothing less.  The characters are interesting, but not especially well-developed.  There are so many of them that screenwriter Ol Parker cannot really develop them in the amount of the film's running time that actually involves storytelling, which is less than its stated 100 minutes running time.

But, boy, did I enjoy this movie anyway.  The Best Exotic Marigold Hotel is sweet and charming, and its cast of veteran (some would say “senior citizen”) actors makes it a rare treat in a landscape of movies about children and 20-somethings saving the world.  Loving and wanting-to-be-loved are not exclusively the domain of lovelorn teens and the newly-turned middle-aged.  Yearning and striving for the good life:  well, old folks can want that, also.  That is why I am glad that this funny, heartwarming, and sometimes heartbreaking film is here to be enjoyed again and again.  The Best Exotic Marigold Hotel is a good place for movie lovers to visit or even to stay.

7 of 10
B+

Friday, March 27, 2015


NOTES:
2013 Golden Globes, USA:  2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actress in a Motion Picture - Comedy or Musical” (Judi Dench)

2013 BAFTA Awards:  1 nomination: “Alexander Korda Award for Best British Film” (John Madden, Graham Broadbent, Peter Czernin, and Ol Parker)

The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

2015 Directors Guild Award Nominations - Feature Film Category

The Directors Guild of America (DGA) is the entertainment labor union that represents film and television directors.  The DGA gives out the Directors Guild of America Award each year to honor outstanding achievement.

Directors Guild of America President Paris Barclay announced the five nominees for the “DGA Award for Outstanding Directorial Achievement in Feature Film for 2014” on Tuesday, January 13, 2015.

“In a year full of excellent films, DGA members have nominated a stellar group of passionate filmmakers,” said Barclay. “Inspiring and artistic, these five directors made films that left an indelible impact not only on their fellow directors and members of the director’s team, but on audiences around the world. Congratulations to all of the nominees for their terrific work.”

Negromancer covers five DGA Award categories:  Feature Film, Documentary Films and the television categories:  Dramatic Series, Comedy Series, and Movies for Television and Mini-Series.  There are five other television categories that Negromancer does not cover:  Variety/Talk/News/Sports – Regular, Variety/Talk/News/Sports – Specials, Reality Programs, Children's Programs, Commercials

The DGA Award winners will be named at the 67th Annual DGA Awards Dinner on Saturday, February 7, 2015 at the Hyatt Regency Century Plaza in Los Angeles.

2015 / 67th DGA Award in Feature Film the nominees for the year 2014 (in alphabetical order):
   
WES ANDERSON
The Grand Budapest Hotel
(Fox Searchlight Pictures)

Mr. Anderson’s Directorial Team:
    Unit Production Manager: Miki Emmrich
    First Assistant Director: Josh Robertson
    Second Assistant Director: Ben Howard

This is Mr. Anderson’s first DGA Award nomination.

CLINT EASTWOOD
American Sniper
(Warner Bros. Pictures)

Mr. Eastwood’s Directorial Team:
    Unit Production Manager: Tim Moore
    First Assistant Director: David M. Bernstein
    Second Assistant Director: Paula Case
    Second Second Assistant Director: Clark Credle
    First Assistant Director (Morocco Unit): Ahmed Hatimi
    Second Assistant Director (Morocco Unit): Yann Mari Faget
    Second Second Assistant Directors (Morocco Unit): Andrew Madden, Khalil Zghayou

This is Mr. Eastwood’s fourth DGA Award nomination, all in this category. He won the DGA Award for Outstanding Directorial Achievement in Feature Film for Million Dollar Baby in 2004 and for Unforgiven in 1992. He was also nominated in this same category for Mystic River in 2003. Mr. Eastwood was honored with the DGA Lifetime Achievement Award for Outstanding Directorial Achievement in Feature Film in 2006.

ALEJANDRO G. IÑÁRRITU
Birdman or (The Unexpected Virtue of Ignorance)
(Fox Searchlight Pictures)

Mr. Iñárritu’s Directorial Team:
    Unit Production Managers: James W. Skotchdopole, Robert Graf
    First Assistant Director: Peter Kohn
    Second Assistant Director: Amy Lauritsen
    Second Second Assistant Director: Catherine Feeny
    Location Manager: Joaquin Prange

This is Mr. Iñárritu’s third DGA Award nomination. He was previously nominated in this category for Babel in 2006. He won the DGA Award for Outstanding Directorial Achievement in Commercials for “Best Job” (Proctor and Gamble) in 2012.
   
RICHARD LINKLATER
Boyhood
(IFC Films)

Mr. Linklater’s Directorial Team:
    Unit Production Manager: Cathleen Sutherland
    First Assistant Director: Vince Palmo Jr.
    Second Assistant Directors: Susana Jasso, Kathleen Tull
    Second Second Assistant Directors: Mary Beth Chambers, Brian Franklin

This is Mr. Linklater’s first DGA Award nomination.

MORTEN TYLDUM
The Imitation Game
(The Weinstein Company)

Mr. Tyldum’s Directorial Team:
    Production Manager: Suzie Shearer
    First Assistant Director: Phil Booth
    Second Assistant Director: James Manning

This is Mr. Tyldum’s first DGA Award nomination.

The winner in the Feature Film category will be announced at the 67th Annual DGA Awards on Saturday evening, February 7, 2015 at the Hyatt Regency Century Plaza. The DGA Awards will be hosted by actor Jane Lynch.

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Gotham Awards Choose "Birdman" as Best Picture of 2014; Michael Keaton Named "Best Actor"

Honoring independent films, the Gotham Awards are the first major awards of the film awards season.  This year, the 2014 edition kicks off the 2014-15 season.  The Gotham Awards ceremony was held on Monday, December 1, 2014 at Cipriani Wall Street.

The 2014/24th Annual Gotham Independent Film Award winners are:

Best Feature
Birdman or (The Unexpected Virtue of Ignorance)
Alejandro G. Iñárritu, director; Alejandro G. Iñárritu, John Lesher, Arnon Milchan, James W. Skotchdopole, producers (Fox Searchlight Pictures)

Best Documentary
CITIZENFOUR
Laura Poitras, director; Laura Poitras, Mathilde Bonnefoy, Dirk Wilutzky, producers (RADiUS, Participant Media, and HBO Documentary Films)

Bingham Ray Breakthrough Director Award
Ana Lily Amirpour for A Girl Walks Home Alone at Night (Kino Lorber)

Best Actor*
Michael Keaton in Birdman or (The Unexpected Virtue of Ignorance) (Fox Searchlight Pictures)

* The 2014 Best Actor nominating panel also voted to award a special Gotham Jury Award jointly to Steve Carell, Mark Ruffalo, and Channing Tatum for their ensemble performance in Foxcatcher (Sony Pictures Classics).

Best Actress
Julianne Moore in Still Alice (Sony Pictures Classics)

Breakthrough Actor
Tessa Thompson in Dear White People (Lionsgate and Roadside Attractions)


Spotlight on Women Filmmakers ‘Live the Dream’ Grant:
For the fourth consecutive year, IFP is proud present the euphoria Calvin Klein Spotlight on Women Filmmakers ‘Live the Dream’ grant, a $25,000 cash award for an alumna of IFP’s Independent Filmmaker Labs. This grant aims to further the careers of emerging women directors by supporting the completion, distribution and audience engagement strategies of their first feature film.

WINNER: Chloé Zhao, director, Songs My Brothers Taught Me

The nominees are:
Garrett Bradley, director, Below Dreams
Claire Carré, director, Embers


Gotham Independent Film Audience Award: Boyhood
New this year, IFP members had a voice in determining the 5th Annual Gotham Independent Film Audience Award with nominees comprised of the 15 nominated films in the Best Feature, Best Documentary, and Bingham Ray Breakthrough Director Award categories. All IFP current, active members at the Individual Level and above will be eligible to vote.  Voting took place online from November 19th at 12:01 AM EST and concluded on November 26th at 5:00 PM EST.  The winner of the Audience Award was announced at the Gotham Awards Ceremony on December 1, 2014.


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Review: "Club Dread" is an Awkward Mix of Horror and Comedy (Happy B'day, Bill Paxton)

TRASH IN MY EYE No. 93 (of 2004) by Leroy Douresseaux

Broken Lizard’s Club Dread (2004)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – R for violence/gore, sexual content, language and drug use
DIRECTOR:  Jay Chandrasekhar
WRITERS:  Broken Lizard (Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, and Jay Chandrasekhar)
PRODUCER:  Richard Perello
CINEMATOGRAPHER:  Lawrence Sher
EDITOR:  Ryan Folsey
COMPOSER:  Nathan Barr

COMEDY/HORROR/THRILLER

Starring:  Bill Paxton, Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Brittany Daniel, Jordan Ladd, M.C. Gainey, Samm Levine, Lindsay Price, and Michael Yurchak

The subject of this movie review is Club Dread, a 2004 comic horror-thriller directed by Jay Chandrasekhar.  The film stars and is written by the comedy troupe, Broken Lizard, of which Chandrasekhar is a member.  Club Dread focuses on the staff members of an island resort, as they try to stop a serial killer’s rampage ... or at least hide bodies.

Broken Lizard, the comedy troupe who gave us the hilarious Super Troopers, returns with a new film decidedly different from Super Troopers, and it is entitled Club Dread.  Coconut Pete’s Coconut Beach Resort is an island retreat off the coast of Costa Rica for swinging singles i.e. people who want to have lots of recreational sex.  The owner is Coconut Pete (Bill Paxton), a burnt out rock singer/songwriter who is a low rent version of Jimmy Buffet.

As the movie begins, a machete-wielding maniac starts killing Pete’s employees.  After destroying the only two boats on the island, the killer threatens Coconut Pete and his staff:  keep it business as usual; do not tell the tourists about his murderous escapades or he will kill them all.  Of course, he keeps on killing; hilarity and paranoia ensue.

On the surface, Club Dread is a strange film, and it would be incorrect to call it a horror comedy.  It’s more a comic slasher flick, and it pulls off a rare trick – the horror film that is genuinely funny, not ironic and self-referential funny like the Scream franchise.  Amazingly, the film has all the elements that are absolutely required to make a slasher flick.  What makes it funny?  The answer would be the actions of the characters.  Although the players are virtually to a man nothing but wispy caricatures, the things they do and say are outrageous, silly, ridiculous, and sometimes hilarious.

The main reason this film doesn’t become a disaster is director Jay Chandrasekhar, a member of Broken Lizard.  He has a deft comic touch, and, for the most part, it works.  He manages to take his troupe’s peculiar brand of comedy and make it at least palatable to a broader audience.  Club Dread isn’t by any means a really good film.  It’s a decent horror flick with lots of laughs.  But taken as a whole Chandrasekhar had made a film that will be a good video rental for horror fans.  And in an odd way, there is something about Club Dread that makes it hard to stop watching.

5 of 10
C+

Updated:  Saturday, May 17, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Super Troopers" Can Be Funny (Happy B'day, Jay Chandrasekhar)

TRASH IN MY EYE No. 36 (of 2002) by Leroy Douresseaux

Super Troopers (2001)
Running time:  100 minutes (1 hour, 40 minutes)
MPAA – R for language, sexual content and drug use
DIRECTOR:  Jay Chandrasekhar
WRITERS:  Broken Lizard (Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske)
PRODUCER:  Richard Perello
CINEMATOGRAPHER:  Joaquín Baca-Asay
EDITORS:  Jumbulingam (Jay Chandrasekhar), Jacob Craycroft, and Kevin Heffernan
COMPOSERS:  38 Special

COMEDY

Starring:  Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Marisa Coughlan, Brian Cox, Daniel van Bargen, Michael Weaver, Dan Fey, Jim Gaffigan, and Lynda Carter

The subject of this movie review is Super Troopers, a 2001 comedy starring the comedy troupe, Broken Lizard, and directed by member, Jay Chandrasekhar.  The film focuses on five Vermont state troopers, who are pranksters and screws ups, trying to outperform an overachieving local police department.  Although Super Troopers was shown at the 2001 Sundance Film Festival, it did not receive a national U.S. theatrical release (by Fox Searchlight Pictures) until 2002.

Movie reviewers often take the easy road or the high-minded road when they opine on what we film lovers call the guilty pleasure – the bad movie that is “really (seriously, now) entertaining.”  So a movie often has to be taken for what it is, and what it is may not amount to very much.  Perhaps the filmmakers were expressing themselves in the only way they knew.  They were being themselves or being true to their game.  Or maybe speaking in their own voices and not in someone else’s voice, and they made a movie just to have a silly time.

This is Super Troopers, and for the sake of the usual argument, this is a poorly constructed movie.  It’s way too long, has a poor story, a predictable plot and premise, a boring setting, and is set in an indeterminate time, etc.

The plot, in which the appealing underdogs must overcome the overachieving jerks in order to save their low rent livelihoods, is the stiff upon which this cast hangs their act, and the act is the show.

Broken Lizard is a New York and Los Angeles based comedy troop made up of this movie’s director and his co-writers.  The movie is merely a vehicle for their uproarious act.  I’ve never seen them onstage, but, based upon this funny (no, really) film, I’m anxious to taste them.  They are difficult to categorize.  They aren’t slackers, because they lack the phony Gen X cool, and they aren’t thugs, ruffians, and lowlifes.  Goofy and dumb doesn’t quite fit.

They’re like regulars guys, and their extreme antics are their means to wile away the extreme boredom, continued dullness, and constant pain-in-the-ass throb of life.  Their sexual antics are loud without being raunchy.  Their act is harmful, but like “Beavis and Butthead” and “Bart Simpson,” they are mostly harmful to themselves.  Broken Lizard comes across as regular guys having a way too wild time.

When you watch Super Troopers, you can forget about what a movie is supposed to be like and what’s supposed to be in a movie, you just have a great time laughing at these clowns.

Yeah, maybe the show does go on a bit too long, as if Broken Lizard is not aware that as funny as they are, they can wear out their welcome, but that doesn’t take away from the fun, not by much.

6 of 10
B

Updated:  Wednesday, April 09, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

John Ridley Wins USC Libraries Scripter Award for "12 Years a Slave"

[USC Libraries 2014 Scripter Award winner John Ridley with Dean of the USC Libraries Catherine Quinlan and Scripter Literary Achievement Award winner Robert Towne. (Photo Credit: Ron Murray) and courtesy of Busineswire.]

"12 Years a Slave" Wins USC Libraries Scripter Award

John Ridley and Solomon Northup take the 26th-anniversary honor

LOS ANGELES--(BUSINESS WIRE)--Screenwriter John Ridley joined family members of nineteenth-century author Solomon Northup to receive the 26th-annual USC Libraries Scripter Award for “12 Years a Slave.” Selection committee co-chair Howard Rodman announced the winners at the black-tie event on Saturday, Feb. 8, at USC’s Doheny Memorial Library.

“Until I read Solomon’s memoir, I didn’t know what being a writer was all about,” Ridley said in his acceptance speech. “The way that Solomon wrote, the clarity with which he wrote, and more importantly, the strength of his character, what he went through without bitterness, without hate—that really taught me something.”

“12 Years a Slave’s” Scripter win adds to the growing number of awards for the Fox Searchlight film, including best motion picture in the drama category at last month’s Golden Globes. The film is nominated for nine Academy Awards, including Best Picture and Best Adapted Screenplay.

Scripter, established by the Friends of the USC Libraries in 1988, honors the screenwriter of the year’s most accomplished cinematic adaptation as well as the author of the written work upon which the screenplay is based. Scripter is the only award of its kind that recognizes authors of the original work alongside the adapting screenwriters.

Ridley based his adaptation on Northup’s memoir, a bestseller when published in 1853 by Derby & Miller. In the 20th century, the work lapsed into obscurity until Louisiana State University Press issued an annotated version in 1968, following work by two Louisiana researchers to verify the story’s details.

USC Libraries Dean Catherine Quinlan welcomed the attendees gathered in the Los Angeles Times Reference Room of USC’s historic Edward L. Doheny Memorial Library.

“A library does more than collect ambitious life stories, more than make certain the great literary, philosophical, and scientific thinkers live on to inspire endless generations of discoverers,” Quinlan said. “An excellent library also creates experiences for students that inspire them to seek meaning in their studies, their careers, and their lives.”

Co-chaired by Golden Globe-winning and Oscar-nominated screenwriter Naomi Foner and USC screenwriting professor and vice president of the Writers Guild of America, West, Howard Rodman, the Scripter selection committee chose “12 Years A Slave” from a field of 86 eligible films.

The USC Libraries also honored Robert Towne with the Literary Achievement Award for his contributions to the art of adaptation throughout his career. His daughter, Chiara Towne, presented the honor.

“The truth is, there are no shortcuts to great screenplays about the past,” she said. “But growing up, the thing I noticed that set my father’s writing apart was the extraordinary, unending amount of research that goes into his films.”

Towne, a native of Southern California, has set much of his work there, including his scripts for Ask the Dust, which Towne adapted from the 1939 novel by John Fante, and the Depression-era Chinatown, which earned him an Academy Award for Best Original Screenplay in 1975. He is currently working as a writer on the final season of AMC’s television series “Mad Men.”

In receiving the award, Towne credited the guidance and inspiration he has received from writers and other artists throughout his career, “They have given me the advantage of their perspective and given it to me truthfully. What I am standing on is their advice and help.”

Ridley and Rodman in their remarks acknowledged Towne’s work as inspiration to them and the community of screenwriters. “I’m not sure this room has been filled with more wisdom than when Robert Towne stood here alone,” Rodman said.

This year’s event featured a silent auction, the proceeds of which support the renovation of USC’s Leavey Library. Donors to the auction included AOC, Arthur Murray Santa Monica, At Your Side Private Exercise, Bennett Farms, Bouchon Beverly Hills, Coravin Wine Access System, The Chopra Center For Well Being, Dancing with the Stars, The Del Mar Thoroughbred Club, Jay and Kristine Eagan, Fess Parker Inn, Frank Lloyd Wright Preservation Trust, Fred Segal Salon, The French Reflection, Rachel Galey Make-up, The Geffen Playhouse, The Grammy Museum, Grand Pacific Palisades Resort, Kinara Spa, The Kitchen For Exploring Foods, Knock Knock, LA Saddlery, The Los Angeles Clippers, The Los Angeles Lakers, The Los Angeles Opera, Lafond Winery, Lux Dog Daycare, Metropolitan Fine Arts, The Montage Beverly Hills, Neiman Marcus, The NFL, Christine Ofiesh, OPI, OSEA Malibu, Pebble Beach Concours d’Elegance, Picca Restaurant, Bob and Betty Plumleigh, Poseidon Stand Up Paddleboards, Victor Raphael / Clayton Spada, Rivera Restaurant, The San Diego Chargers, SBE Restaurant Group, Stephen’s Hay & Grain, Terranea Resort, Total Wine and More, The Voice, WEN by Chaz Dean, and Wilshire Dental Center Group & Dr. Brent Kaplan DDS.

In-kind sponsors this year included John and Dana Agamalian and Blue Ice Vodka; Esquire Bar & Lounge of Pasadena, Calif.; Penguin Group; and the Wine of the Month Club.

scripter.usc.edu

2014 USC Scripter Award Nominees Revealed

USC Libraries Name Finalists for 26th-Annual Scripter Award

LOS ANGELES--(BUSINESS WIRE)--The USC Libraries have named the authors and screenwriters of Captain Phillips, Philomena, The Spectacular Now, 12 Years a Slave, and What Maisie Knew as finalists for the 26th-annual USC Libraries Scripter Award. Scripter honors the screenwriter or screenwriters of the year’s most accomplished cinematic adaptation as well as the author or authors of the written work upon which the screenplay is based.

The finalists are, in alphabetical order by film title:

•Richard Phillips with Stephan Talty, authors of A Captain’s Duty: Somali Pirates, Navy SEALs, and Dangerous Days at Sea, and screenwriter Billy Ray, for Captain Phillips

•For Philomena, author Martin Sixsmith, who wrote the book The Lost Child of Philomena Lee, and screenwriters Steve Coogan and Jeff Pope

•Novelist Tim Tharp and screenwriters Scott Neustadter and Michael H. Weber for The Spectacular Now

•Solomon Northup, author of Twelve Years a Slave, and screenwriter John Ridley for 12 Years a Slave

•Screenwriters Carroll Cartwright and Nancy Doyne for What Maisie Knew, adapted from the novel by Henry James

The Friends of the USC Libraries established Scripter in 1988. Previous Scripter winners include the screenwriters and authors of Argo, The Descendants, No Country for Old Men, and The English Patient.

Co-chaired by Golden Globe-winning screenwriter Naomi Foner and USC professor and vice president of the Writers Guild of America, West, Howard Rodman, the 2014 Scripter selection committee selected the five finalists from a field of 86 eligible adaptations.

Serving on the selection committee, among many others, are film critics Leonard Maltin and Kenneth Turan; authors Michael Chabon, Michael Ondaatje and Mona Simpson; screenwriters Geoffrey Fletcher, Callie Khouri and Steve Zaillian; and USC deans Elizabeth Daley of the School of Cinematic Arts, Madeline Puzo of the School of Dramatic Arts and Catherine Quinlan of the USC Libraries.

The studios distributing the finalist films and the publishers of the original stories are:

•Captain Phillips—Columbia Pictures and Hyperion Books
•Philomena—Weinstein Company and Macmillan
•The Spectacular Now—A24 and Alfred A. Knopf
•12 Years a Slave—Fox Searchlight and Derby & Miller
•What Maisie Knew—Millennium Entertainment and Herbert S. Stone

The USC Libraries will announce the winning authors and screenwriters at a black-tie ceremony on Saturday, Feb. 8, 2014 in the historic Edward L. Doheny Jr. Memorial Library on the University Park campus of the University of Southern California. Academy Award winners Helen Mirren and Taylor Hackford will serve as honorary dinner chairs.

Current silent auction donors and other event sponsors include AOC, Arthur Murray Santa Monica, At Your Side Private Exercise, Bouchon Beverly Hills, The Chopra Center for Wellbeing, Corvain Wine Access System, Del Mar Thoroughbred Club, Fess Parker Inn, Flight Deck, Frank Lloyd Wright Preservation Trust, French Reflections, The Geffen Playhouse, Daryle Ann and Mark Giardino, The Grammy Museum, The Grill, The Kitchen For Exploring Foods, Knock, Knock, Montage Beverly Hills, The LA Opera, The Los Angeles Clippers, Lee Olvera, OPI, Pebble Beach Concors d' Elegance, Pica Peru, Mr. and Mrs. Robert Plumleigh, Porto Via Beverly Hills, Poseidon Stand Up Paddleboards, Rivera, SBE Restaurant Group, Total Wine and More, USC Athletics, and WEN Chaz Dean.

For more information about Scripter—including ticket availability, additional sponsorship opportunities, and an up-to-date list of sponsors—please email scripter@usc.edu or visit scripter.usc.edu.

Review: "Melinda and Melinda," Good Cast, Average Movie

TRASH IN MY EYE No. 8 (of 2006) by Leroy Douresseaux

Melinda and Melinda (2004)
Running time:  99 minutes (1 hour, 39 minutes)
MPAA – PG-13 for adult situations involving sexuality, and some substance material
WRITER/DIRECTOR:  Woody Allen
PRODUCER:  Letty Aronson
CINEMATOGRAPHER:  Vilmos Zsigmond
EDITOR:  Alisa Lepselter

COMEDY/DRAMA

Starring:  Radha Mitchell, Chiwetel Ejiofor, Will Ferrell, Amanda Peet, Jonny Lee Miller, Chloë Sevigny, Steve Carell, Josh Brolin, Vinessa Shaw, Daniel Sunjata, Geoffrey Nauffts, Wallace Shawn, Larry Pine, Stephanie Roth Haberle, and Neil Pepe

The subject of this movie review is Melinda and Melinda, a 2004 comedy and drama from writer/director Woody Allen.  The film follows two alternating stories about a woman named Melinda’s attempts to straighten out her life.  Fox Searchlight Pictures gave the film a limited release in the United States in March of 2005.  Except for a cameo, Allen does not appear as a significant character in this film.

Over a meal at a restaurant, four friends, two of them playwrights, discuss the essence of life.  Is it comic or tragic?  One of them brings up a story he heard from friends about the unexpected arrival of young woman named Melinda (Radha Mitchell) at a dinner party.  The two playwrights, one who writes tragedies and the other who composes hit comedies, take the incident with Melinda and embellish it, each from his point of view.

Max the Tragedian (Larry Pine) tells a story of doomed love with Melinda as a disturbed young woman who returns to New York City after having several years of misfortune and heartbreak.  She was the bored housewife of a Midwestern doctor, and her affair with a photographer ended the marriage.  Her ex-husband also took the children from Melinda, and her subsequent suicidal depression landed her straight-jacketed in a mental ward.  She arrives at the home of her friend, Laurel (Chloë Sevigny), like Melinda a former Park Avenue princess, and Laurel’s husband, Lee (Jonny Lee Miller), a struggling actor and alcoholic.  Melinda’s arrival hastens the disintegration of Laurel and Lee’s marriage, but Melinda meets Ellis Moonsong (Chiwetel Ejiofor), a smooth talking, handsome, and debonair composer.  They strike up what looks like a promising romance until Ellis notices someone else…

Sy the Comedian (Wallace Shawn) looks at Melinda’s predicament as a romantic comedy.  She is the childless downstairs neighbor of the dinner hosts, an ambitious indie filmmaker named Susan (Amanda Peet) and her husband, Hobie (Will Ferrell) an under-employed actor.  Sy’s Melinda is also coming off a broken relationship, so Hobie befriends Melinda in an attempt to help her find a new love.  However, Hobie falls for Melinda, but he has to suffer in silence when she unexpectedly starts dating an amiable and handsome broker (Daniel Sunjata).  Thus, the film goes back and forth contrasting the fate of each Melinda.

Melinda and Melinda is a decent Woody Allen film, and it’s also a bit different from most of his pictures.  For one thing, he only makes a cameo appearance in the opening sequence that most viewers will probably miss.  However, Will Ferrell’s Hobie of the comedic half of Melinda and Melinda is the stand-in for the neurotic, smart-talking type Allen plays in his films.  The tragic half of the film is quite engaging, but not overly dark and tragic, perhaps because the cast plays it so smoothly and low key.  Mitchell gives a solid performance, and Chiwetel Ejiofor (Dirty Pretty Things) plays Ellis Moonsong as a romantic figure, which lightens up a segment that plays heavily on the notion of doomed relationships.

On the other hand, Ferrell’s performance overwhelms Radha Mitchell’s in the comedic half of the film, and that’s not a bad thing.  The romantic comic angle is mostly flat, and the romance isn’t engaging.  The more Ferrell is on screen the more his comic timing and acting come forward and livens a dull segment into something mildly amusing and somewhat engaging.

Though I’m sad to admit it, I found Melinda and Melinda to be about an average film, sometimes even a chore to watch, and it would be an average film even if someone other than Woody Allen’s name were on it.

5 of 10
C+

Friday, January 13, 2006

Updated:  Wednesday, July 24, 2013

News Corp. Announces 21st Century Fox

News Corporation Announces 21st Century Fox as New Name for Independent Media and Entertainment Company

NEW YORK--(BUSINESS WIRE)--News Corporation (NASDAQ: NWS, NWSA; ASX: NWS, NWSLV) today announced that 21st Century Fox will be the new name of the independent media and entertainment company created by the proposed separation of its businesses. The name, which will be effective with the separation, draws on the Company’s creative heritage, while also speaking to the future as well as the innovation that defines its portfolio of businesses. 21st Century Fox replaces the previously announced name Fox Group.

Reaching more than a billion people in 100 local languages every day, the proposed 21st Century Fox will be home to a global portfolio of cable and broadcasting networks and properties, including FOX, FX, FXX, FS1, Fox News Channel, Fox Business Network, Fox Sports, Fox Sports Network, National Geographic Channels, Fox Pan American Sports, MundoFox and STAR; film studio Twentieth Century Fox Film; and television production studios Twentieth Century Fox Television and Shine Group. The proposed Company will also provide premium content to millions of subscribers through its pay-television services in Europe and Asia, including Sky Deutschland, Sky Italia and its equity interests in BSkyB and Tata Sky.

Rupert Murdoch, who will serve as Chairman and CEO of the proposed 21st Century Fox, commented on the Company’s new name:

“Over the years, we have built a global portfolio of companies that has consistently defied conventional wisdom, and succeeded where others have failed because we are driven by a steadfast belief in great ideas, the power of imagination and the desire to thrill and engage audiences with enduring stories and experiences. 21st Century Fox is a name that draws upon the rich creative heritage of our film studio, while also speaking to the innovation and dynamism that define all of our global media and entertainment businesses and will guide us into the future.”

Chase Carey, the future company’s President and Chief Operating Officer, commented, “Together, as 21st Century Fox, we will have the global footprint and creative bench that give us a competitive edge across more than 50 countries. We believe that the 21st Century Fox name captures the power of our legacy as well as the vast opportunities for our consumers, businesses and investors as we look forward.”

News Corporation Separation
On June 28, 2012, News Corporation announced its intent to pursue the separation of its business into two separate independent companies, one of which will hold the Company’s global media and entertainment businesses and the other which will hold the businesses comprising News Corporation’s newspapers, information services and integrated marketing services, digital real estate services, book publishing, digital education and sports programming and pay-TV distribution in Australia. In addition to final approval from the Board of Directors and stockholder approval of certain amendments to the Company’s Restated Certificate of Incorporation, the completion of the separation will be subject to receipt of regulatory approvals, opinions from tax counsel and favorable rulings from certain tax jurisdictions regarding the tax-free nature of the transaction to the Company and to its stockholders, further due diligence as appropriate, the execution of certain agreements relating to the distribution, and the filing and effectiveness of appropriate filings with the SEC. There can be no assurances given that the separation of the Company's businesses as described will occur.


About News Corporation
News Corporation (NASDAQ: NWS, NWSA; ASX: NWS, NWSLV) had total assets as of December 31, 2012 of approximately US$63 billion and total annual revenues of approximately US$34 billion. News Corporation is a diversified global media company with operations in six industry segments: cable network programming; filmed entertainment; television; direct broadcast satellite television; publishing; and other. The activities of News Corporation are conducted principally in the United States, Continental Europe, the United Kingdom, Australia, Asia and Latin America.

Cautionary Statement Concerning Forward-Looking Statements
This document contains certain "forward-looking statements" within the meaning of the Private Securities Litigation Reform Act of 1995. These statements are based on management's views and assumptions regarding future events and business performance, including its expectations with respect to the proposed transaction. Actual results may differ materially from these expectations due to changes in global economic, business, competitive market and regulatory factors. In addition, actual plans, actions and results relating to the proposed transaction may differ materially from current expectations as a result of certain risks and uncertainties, including but not limited to: unanticipated developments that delay or negatively impact the proposed transaction; changes in market conditions; disruption to business operations as a result of the proposed transaction; the inability to retain key personnel; and the other risks and uncertainties described from time to time in our filings with the Securities and Exchange Commission. More detailed information about these and other factors that could affect future results is contained in our filings with the Securities and Exchange Commission. There can be no assurance that the proposed transaction will be completed as anticipated or at all. The "forward-looking statements" included in this document are made only as of the date of this document and we do not have any obligation to publicly update any "forward-looking statements" to reflect subsequent events or circumstances, except as required by law.

Participants in the Solicitation
The Company and its executive officers and directors may be deemed to be participants in the solicitation of proxies from the stockholders of News Corporation in connection with the proposed transaction, if pursued. Information about the executive officers and directors of News Corporation and their ownership of News Corporation common stock is set forth in the Schedule 14A preliminary proxy statement for News Corporation's special meeting, which was filed with the Securities and Exchange Commission on April 4, 2013.

Review: "The Sessions" Keeps it Real

TRASH IN MY EYE No. 25 (of 2013) by Leroy Douresseaux


The Sessions (2012)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – R for strong sexuality including graphic nudity and frank dialogue
DIRECTOR: Ben Lewin
WRITER: Ben Lewin (based on article “On Seeing a Sex Surrogate” by Mark O'Brien)
PRODUCERS: Judi Levine, Ben Lewin, and Stephen Nemeth
CINEMATOGRAPHER: Geoffrey Simpson (D.o.P.)
EDITOR: Lisa Bromwell
COMPOSER: Marco Beltrami
Academy Award nominee

DRAMA

Starring: John Hawkes, Helen Hunt, William H. Macy, Moon Bloodgood, Annika Marks, Adam Arkin, Rhea Perlman, W. Earl Brown, Robin Weigert, Blake Lindsley, Ming Lo, Rusty Schwimmer, and Jennifer Kumiyama

The Sessions is a 2012 drama from writer/director Ben Lewin. The independent film is the story of Mark O’Brien, a real-life poet who was paralyzed from the neck down due to polio. The film is based on the article, “On Seeing a Sex Surrogate,” which was written by O’Brien about the sex surrogate who helped him lose his virginity.

The Sessions opens in 1988 in Berkeley, California where we meet Mark O’Brien (John Hawkes). Mark lives in an iron lung due to complications from polio, which he contracted as a child. Due to his condition, Mark has never had sex. Hunting for someone to relieve him of the burden of his virginity, Mark seeks companionship in the women near to him. After consulting with his priest, Father Brendan (William H. Macy), Mark goes to a professional sex surrogate. Mark meets Cheryl Cohen-Greene (Helen Hunt), a sex therapist and surrogate, who agrees to help him through a series of sessions. This arrangement, however, ends up being, depending on the time and the techniques used, both more and less complicated than either one expected.

There is such overwhelming, beautiful humanity in The Sessions. Writer-director Ben Lewin’s script creates characters that have to be intimate and vulnerable with each other, but not in a contrived way. The actors take what Lewin gives them and make characters that are honestly human by being vulnerable. Vulnerability reveals what is both pitiable and pathetic and also durable and strong, and these are the things that open the characters to the audience. When the audience can go into the characters on such a seemingly intimate level, made-up people can seem like honest-to-God real people, the kind that the audience can’t help watching.

And what wonderful performances the cast gives, from top to bottom. At the 2013 Film Independent Spirit Awards, John Hawkes won “Best Male Lead” and Helen Hunt won “Best Supporting Female.” Sadly, only Hunt earned a corresponding Oscar nomination. Individually, these two actors give great performances; together, they make magic.

In The Sessions, Hawkes is on the level of Daniel Day-Lewis (who won the best actor Oscar at the 2013 Oscars ceremony), as he transforms himself into another person, not a character, but an actual person. Hawkes’ Mark O’Brien is as real as a fictional character can be. Helen Hunt offers so many levels of conflicted emotions and deeply romantic longings. In her hands, Cheryl Cohen-Greene could actually be the lead in this movie. Hunt makes her such a beautiful soul, so I’m glad that this artist is still a working actress.

There are other fine performances. William H. Macy brings some much needed levity to this film as the acerbic sounding board, Father Brendan. Moon Bloodgood is radiant in a quiet role, full of subtle motions and colors.

I have to admit that I shed some tears at this movie; it is both heartbreaking and achingly beautiful. The frank sexual discussions and sex talk are not at all erotic or arousing. I found myself mostly wincing when Mark and Cheryl are sexual. The Sessions, however, aroused the movie lover in me. It is one of the best films of 2012 and, as a love story, is exceedingly special and exceptional. Let’s hope Ben Lewin can keep making movies that come close to the excellence of The Sessions.

9 of 10
A+

NOTES:
2013 Academy Awards, USA: 1 nomination: “Best Performance by an Actress in a Supporting Role” (Helen Hunt)

2013 BAFTA Awards: 1 nomination: “Supporting Actress” (Helen Hunt)

2013 Golden Globes, USA: 2 nominations: “Best Performance by an Actor in a Motion Picture – Drama” (John Hawkes) and “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Helen Hunt)

Saturday, April 06, 2013