Film Review: “Toy Story 4”

Starring the Voices of: Tom Hanks, Tim Allen and Annie Potts
Directed by: Josh Cooley
Rated: G
Running Time: 100 minutes
Walt Disney Studios Motion Pictures

Since 1999, audiences have asked three times, “Do we really need another one of these?” And every time, Pixar responds with, “Yes,” and audiences have overwhelmingly agreed. It’s astonishing that that same animation studio has struggled to justify other sequels, yet has had no problem continuing the adventures of Woody (Hanks), Buzz (Allen) and the other toys we’ve come to love over the past 24 years. So I almost have to wonder, is it really time to say goodbye?

If you haven’t been keeping up-to-date with these movies, the toys are no longer with their kid, Andy. They were left in the care of Bonnie (Madeleine McGraw) and she’s now off to Kindergarten. Woody, wanting to ensure that his new kid is happy despite the scary change, tags along for her first trip to school, only to watch Bonnie struggle with making friends. So with some unforeseen help from Woody, Bonnie creates a new companion/toy, called Forky (Tony Hale). The fork, with crudely created feet and arms, creates a lot of existential questions for the toys, and audience. Forky doesn’t see his purpose as a toy, actually knowing that his purpose is to be a utensil and to be tossed in the trash. He believes in that mantra so much, that he abandons Bonnie during a family trip, leaving Woody to have to go after him.

In a lot of ways, “Toy Story 4” is a road trip movie where Woody and Buzz inherently grow up. Along the way, Woody is reunited with Bo Peep (Potts), one of the secondary characters from the first two films, but unexplainably missing from the previous film. In this one, we’re shown why Bo Peep is absent from that third film and just how important she is to Woody. So much so, that when she reunites with Woody, that’s when things come-to-a-head for Woody, who just isn’t quite as happy in his new life with Bonnie as he was with Andy.

Thankfully it isn’t just Woody who’s having an identity crisis. A lot of the toys in the movie seem to be pondering their own place in this world they don’t quite understand. Woody’s knows all the rules, but may be tired of following them. Buzz may be realizing that the world isn’t as black and white, and that tough decisions come from reflection and listening to that little voice inside your head. It’s astounding that after giving our toys in the previous film, a fresh restart on bliss, that they find themselves still wondering if there’s more to this world. It’s something that kids can surely latch on to as they grow into the world around them, and for their parents who still ponder a lot of “What ifs?” in their own life and own personal quest for happiness. It’s astonishing that the fourth of any franchise, animated or not, could be this profound.

Another thing that seems to impeccably be a part of Pixar’s storytelling arsenal, is their seemingly effortless nature to establish loveable characters. Like the first three, “Toy Story 4” introduces us to a lot more toys, maybe some of the most memorable ancillary ones of the series. Although this one has the benefit of having a lot more star power, with guest stars like Key and Peele, Christina Hendricks, Keanu Reeves, and some brief cameos by the likes of Mel Brooks and Betty White. Those kinds of cameos may give credence to the belief that Pixar is officially done with the franchise.

I would have never guessed back in 1995, as a seven-year-old in theaters, that these plastic toys come to life would make me cry twice later in my life. While a lot of that is because I’ve actually grown up and matured alongside these characters, Pixar’s writers and creators bare their soul and tap into a lot of elements of the human condition in this series. The franchise has managed to create a litany of unique and impactful messages that feel simple enough for kids to understand, but complex enough to resonate throughout one’s adulthood. As much as I was OK with saying goodbye in “Toy Story 3,” especially with where our toys were left, part of me doesn’t want to say goodbye this time because of how Pixar has always given these characters something new and heartfelt to say every time.

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The Biggest Snubs from this Year’s Oscar Nominations

One of the fun things to discuss, debate, argue, or silently complain about on social media is Oscar snubs. Luckily this year, the ship has been righted and I think we can put the #Oscarssowhite controversy to rest because of how diverse the nominees were this year. Although to be fair, the Academy set the bar pretty low the past two years in terms of cultural variety. But there’s one thing the Academy can never escape and that’s snubs. While I certainly don’t believe some of my snubs ever had a chance, they are deserving of some gold.

Best Picture Snub
Swiss Army Man

I knew this was a longshot. I know the Academy isn’t about to publicly acknowledge a farting boner corpse movie. But a little part of me had hoped that its indie cred, combined with its existential storytelling, would have made it a respectable dark horse in a field of 10. It’s unique, fascinating, moving, well-acted and wonderfully shot. Its only flaw is that it’s too off putting for general audiences and slightly juvenile for the snobby voters in Hollywood. I swear this is the last time you’ll hear or see me cheerleading for this movie.

Honorably Snubbed as Well: 20th Century Women

Best Director Snub
Robert Eggers, The Witch

Eggers immersed himself in 1630’s New England to deliver a historically accurate portrayal of terror in the unknown wilderness of early America. Everything from the film’s dialogue to the farmstead were meticulously groomed and crafted by the director. He managed to wrangle four (including one teenager) child actors, keeping them from being annoying, as they traditionally are in horror movies. This production designer turned director crafted an atmospheric horror masterpiece. Eggers is one to watch out for.

Honorably Snubbed as Well: Daniel Scheinert and Daniel Kwan, Swiss Army Man

Best Actor Snub
Tom Hanks, Sully

Let’s clear up this presumed notion I’ve seen on social media. Tom Hanks doesn’t get nominated every year. He hasn’t been nominated for an Oscar since 2001 and hasn’t won a golden statute since 1995. I’m not asking the Academy to throw him a bone, he doesn’t need one. But don’t overlook the fact that “Sully” is a sub par movie-going experience without Hanks’ hefty talents in the pilot seat. Hanks’ navigates Clint Eastwood’s so-so work into a memorable tale of average Joe heroism and the bureaucratic blame game.

Honorably Snubbed as Well: Jake Gyllenhaal, Nocturnal Animals

Best Actress Snub
Sasha Lane, American Honey

I wouldn’t blame you for not watching “American Honey.” Three hours of wanderlust is too much for the average audience. But first time actress, Sasha Lane, is a treasure to watch. She was up for every challenge of portraying an impoverished young adult. Lane portrays an innocent, if not naive, teenager looking for her purpose and a slice of the American dream. Her character, without speaking usually, represents youthful aspirations and good intentions, despite the thieving people around her. Lane keeps the flame of hope in her character lit throughout the movie, making her character one to root for her and admire.

Honorably Snubbed as Well: Amy Adams, Arrival

Best Supporting Actor Snub
Aaron Taylor-Johnson, Nocturnal Animals

The story within a story is the strongest part about “Nocturnal Animals,” mainly due to its wonderful performances. Leading the way is Jake Gyllenhaal, but his emotionally distressed character would be nothing without the terrifying Texas psychopath played by Aaron Taylor-Johnson. While visually disgusting, Taylor-Johnson’s grimy character radiates off the screen. He’s calculating, but relaxed. He’s vicious, but calm. The dynamic extremes of his character are balanced by Taylor-Johnson who’s “ablicious” and repugnant.

Honorably Snubbed as Well: Ben Foster, Hell or High Water

Best Supporting Actress Snub
Haley Bennett, Girl on the Train

I know. I know. This is a bad movie. But the Academy has not been above nominating a bad movie or rewarding the components of a bad movie. Let’s not forget that “50 Shades of Grey” is an Oscar nominated movie with five Razzie wins under its belt. While Emily Blunt should certainly be commended for her performance, it’s Haley Bennett’s performance as the tragically flawed suburban floozy that becomes the center of the movie’s suffering. Her character lives life emotionally empty, only to be killed when finding new life. In the rear view mirror of 2016, Bennett’s performance is brave and engaging, but trapped in a lifeless cliché movie.

Honorably Snubbed as Well: Greta Gerwig, 20th Century Women

Best Animated Feature
Finding Dory

Is “Finding Dory” that average? I thoroughly enjoyed the Pixar movie and was surprised it didn’t, at the very least, get a nod. It’s not the best of the year, but it can certainly be mentioned in the same breath as the other candidates. I haven’t seen “The Red Turtle” or “My Life as a Zucchini” so I can’t comment on their quality since they certainly secured the final two spots. I’m sure they’re good. Maybe this is a sign that Pixar should just avoid sequels for a while. At least “Sausage Party” didn’t steal one of the nomination seats or else there’d be hell to pay.

Honorably Snubbed as Well: None. This was a year that saw Angry Birds, so we need to do better in 2017.

Best Original Screenplay
Zootopia

It’s been mentioned before, and not just by me, that “Zootopia” benefited from coming out at the right time. The script, while being generously relatable to kids and adults alike, has a wonderful message about acceptance. A city populated with cute, furry animals taught everyone that sexism, racism, classism and xenophobia are still very real and can divide us in a heartbeat. Disney could have easily settled for a buddy cop movies with animals, but instead allowed the script to naturally evolve and survive the rewriting process. Despite nine credited writers, “Zootopia” never became diluted or a jumbled mess. Instead it ran smoothly with a clear message of tolerance.

Honorably Snubbed as Well: The Invitation

Best Adapted Screenplay
Silence

Martin Scorsese’s decades long passion project is based on a work of historical fiction. While having never read the novel myself, the folks who have read the book have left nothing, but glowing reviews of it online. If the purpose of the 20th century novel is to make us reflect and question spirituality and our religious beliefs as a whole, Scorsese captured that wonderfully in a movie that, while drawn out, is beautifully retold on the silver screen. Scorsese painted a beautiful picture just like the book certainly transported readers back to post-Feudal Japan.

Honorably Snubbed as Well: High-Rise

Best Music
Cliff Martinez, Neon Demon

While I’m not completely sold on “Neon Demon” being a good movie, I found myself listening to the soundtrack of “Neon Demon” multiple times. While adding another layer to the movie, the soundtrack on its own accord is a wonderful synth album inducing feelings of hope and despair. “Neon Demon” is a visual experience, complimented by a wonderful score that spurs dread and bouncy optimism, sometimes within a single song. “Neon Demon” is the only movie this year where the music feels like an unseen narrator for how we’re supposed to feel.

Honorably Snubbed as Well: Johann Johannson, Arrival

Best Music, Original Song
Drive it Like You Stole It, Sing Street

The coming-of-age love letter to the 80’s, “Sing Street,” should have been more popular. Not only did the Clash, A-Ha, and the Cure get some much deserved love on the screen, but the movie featured some dynamic original music. Most of the original content, like “Riddle of the Model,” was short nods to music by Duran Duran or other iconic bands. However, the movie reaches its crescendo with its most poppy rock hit, “Drive It Like You Stole It.” The song is a big metaphor for the final act and growing up in general. Just listen to it and tell me that’s not the best original song of the year.

Honorably Snubbed as Well: Montage, Swiss Army Man

Best Foreign Language
Elle

I’m finding it difficult, once again, to put into words why I like this movie so much. Just read my review.

Honorably Snubbed as Well: I’m not sure. I should be more cultured.

 

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Film Review: “Inferno”

Starring: Tom Hanks, Felicity Jones and Ben Foster
Directed by: Ron Howard
Rated: R
Running time: 2 hrs 1 mins
Sony Pictures

Our Score: 2.5 out of 5 Stars

It’s funny that I saw this film the same night the World Series started. The film opens with Bertrand Zobrist (Foster) being chased through some classic Italian streets only to jump to his death from one of the grand towers. Is Bertrand’s story exciting or would I have been better off watching Chicago Cub player Ben Zobrist getting three hits in game one. I’ll let you know in a second.

Based on the latest best-selling novel by Dan Brown, and once again starring Tom Hanks as renown symbologist Robert Langdon, the tale finds Dr. Langdon waking up in a hospital believing that he is in Boston. Imagine his surprise when he discovers that he is in Florence, Italy and has been in the hospital due to having been grazed in the head by a bullet. His wallet and watch are gone but he does find something called a Faraday Pointer which, when activated, produces a map to Dante’s various levels of hell. Intrigued yet?

While I very much enjoyed both “The DaVinci Code” (I gave it 3 ½ stars out of 4 on a website I wrote for long ago) and “Angels and Demons” (3 out of 4 – same site), those films had a lot more action in them. I found “Inferno” quite boring at times, wishing I had paid my money to have someone read the book to me, which would have been more exciting than what was happening on screen. But I don’t blame the cast or the crew. This is the third time Hanks has played Langdon and it’s obvious that he is comfortable in the role. The supporting cast also does well, with Foster’s Bertrand Zobrist popping up through flashbacks to try to keep the story moving. And director Howard, one of my personal favorites, has no trouble keeping the action interesting. When there is action. Unfortunately there are also huge chunks where people just ramble on and on about Dante, hell and where they should be heading to next. Wherever it is, the cast waits and waits on Hanks to divulge the next destination, then gives him a resounding “Of Course!”

If you’re a fan of the series you might enjoy this more than I did. If not, spend your time with BEN Zobrist. Go Cubs!

 

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Media Mikes 2016 Fall/Holiday Movie Preview

Labor Day has come and gone, and unless you’re dressing up as a ghost, you better not be wearing anything white! With the end of summer comes the beginning of fall and the start of Hollywood’s “Prestige Movie Push!”

We’ll take a look at what the studios hope are their best bets to fill the multiplexes and bring home the Oscars. Once again, a big thank you to our friends at Internet Movie Data Base (IMDB) for some synopsis information. Opening dates noted are subject to change at the whim of the studios. Enjoy!

OCTOBER 7

THE 13th

Documentary
Directed by: Ava DuVernay

The director of “Selma” gives us an in-depth look at the prison system in the United States and how it reveals the nation’s history of racial inequality.

OSCAR CHANCES: Will surely make the short list.

THE BIRTH OF A NATION

Starring: Nate Parker, Armie Hammer
Directed by: Nate Parker

Set against the antebellum South, the film follows Nat Turner, a literate slave and preacher, whose financially strained owner, Samuel Turner accepts an offer to use Nat’s preaching to subdue unruly slaves. As he witnesses countless atrocities – against himself and his fellow slaves – Nat orchestrates an uprising in the hopes of leading his people to freedom.

OSCAR CHANCES: After last year’s #OSCARSOWHITE controversy, the early buzz on this film almost guaranteed a bounty of nominations. However, it was recently revealed that writer/director/star Nate Parker and his co-writer, Jean McGianni Celestin, were accused of raping a fellow college student in 1999. Though Parker was not found guilty and Celestin had his conviction overturned, their alleged victim committed suicide. Not sure how this news will affect the Academy voters.

THE GIRL ON THE TRAIN

Starring: Emily Blunt, Haley Bennett and Justin Theroux
Directed by: Tate Taylor

In the film, being compared to “Gone Girl,” a recently divorced woman
takes the train to work every day and imagines the lives of a young couple she
sees every day. Things get weird when the young wife disappears.

OSCAR CHANCES: Blunt is already getting raves for her performance.


OCTOBER 13

MASCOTS

Starring: Christopher Guest, Parker Posey and Jane Lynch
Directed by: Christopher Guest

Simply described as “a look into the world of competitive mascots,” this is the latest opus from the great Christopher Guest. Sadly, unless I missed it, this is the first of Guest’s films that does not include Eugene Levy.

OSCAR CHANCES: Possible screenplay nod.

 

OCTOBER 14

THE ACCOUNTANT

Starring: Ben Affleck, J.K. Simmons and Anna Kendrick
Directed by: Gavin O’Connor

A forensic accountant un-cooks the books for illicit clients. What I like about the trailer is that Affleck seems to be a young genius. Maybe this is his chance to play Will Hunting?

OSCAR CHANCES: Maybe.


KEVIN HART: WHAT NOW?

Starring: Kevin Hart
Directed by: Leslie Small and Tim Story

Kevin Hart performs his comedy in front of 50,000 fans.

OSCAR CHANCES: No.


OCTOBER 21

AMERICAN PASTORAL

Starring: Jennifer Connelly, Dakota Fanning and Ewan McGregor
Directed by: Ewan McGregor

In 1968, a hardworking man, who’s been a staple in his quaint community for years, watches his seemingly perfect middle class life fall apart as his daughter’s new radical political affiliation threatens to destroy their family. Based on the novel by Philip Roth.

OSCAR CHANCES: Adapted screenplay?

IN A VALLEY OF VIOLENCE

Starring: John Travolta, Ethan Hawke and Karen Gillan
Directed by: Ti West

A mysterious stranger and a random act of violence drag a town of misfits and nitwits into the bloody cross-hairs of revenge. Ethan Hawke’s second western this season and John Travolta in a cowboy hat for the first time since “Urban Cowboy.” Yee-hah!

OSCAR CHANCES: Sadly Western’s very rarely get recognized.

JACK REACHER: NEVER GO BACK

Starring: Tom Cruise, Cobie Smulders
Directed by: Edward Zwick

Jack Reacher must uncover the truth behind a major government conspiracy in order to clear his name. On the run as a fugitive from the law, Reacher uncovers a potential secret from his past that could change his life forever.

OSCAR CHANCES: Director Zwick has helmed three of my favorite films (“About Last Night,” “Glory” and “Legends of the Fall” but only has an Oscar for co-producing “Shakespeare in Love.” It’s about time this man was recognized, though I don’t think it’s going to be for a Jack Reacher film.

A MONSTER CALLS

Starring: Liam Neeson, Felicity Jones and Sigourney Weaver
Directed by: J.A. Bayona

A boy seeks the help of a tree monster to cope with his single mom’s terminal illness.

OSCAR CHANCES: Visual effects.

TYLER PERRY’S BOO! A MADEA HALLOWEEN

Starring: Tyler Perry
Directed by: Tyler Perry

Madea winds up in the middle of mayhem when she spends a haunted Halloween fending off killers, paranormal poltergeists, ghosts, ghouls and zombies while keeping a watchful eye on a group of misbehaving teens. I’m scared.

OSCAR CHANCES: I’m going to go out on a limb and say “no”

OCTOBER 28

INFERNO

Starring: Tom Hanks, Felicity Jones
Directed by: Ron Howard

When Robert Langdon wakes up in an Italian hospital with amnesia, he teams up with Dr. Sienna Brooks, and together they must race across Europe against the clock to foil a deadly global plot. The second Felicity Jones film in as many weeks.

OSCAR CHANCES: Sorry, Tom, but your nomination this year is coming from “Sully”

 

NOVEMBER 4

BLEED FOR THIS

Starring: Miles Teller and Aaron Eckhart
Directed by: Ben Younger

The inspirational story of World Champion Boxer Vinny Pazienza who, after a near fatal car crash, which left him not knowing if he’d ever walk again, made one of sport’s most incredible comebacks.

OSCAR CHANCES: Both Robert DeNiro and Hillary Swank won Oscars for portraying boxers so never say never. Hell, Stallone got nominated…TWICE!

DOCTOR STRANGE

Starring: Benedict Cumberbatch, Rachel McAdams and Mads Mikkelsen
Directed by: Scott Derrickson

A neurosurgeon with a destroyed career sets out to repair his hands only to find himself protecting the world from inter-dimensional threats.

OSCAR CHANCES: Visual effects.

HACKSAW RIDGE

Starring: Andrew Garfield and Sam Worthington
Directed by: Mel Gibson

WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people and becomes the first Conscientious Objector in American history to be awarded the Medal of Honor. Mel doesn’t appear in this one but his dead-ringer son, Milo, does.

OSCAR CHANCES: Gibson (Mel, not Milo) already has an Oscar for directing so you never know. I’m sure people have forgotten what all of the hub-bub was about concerning him a few years ago.

LOVING

Starring: Ruth Negga and Joel Edgerton
Directed by: Jeff Nichols

Back in the dark ages, Richard and Mildred Loving, an interracial couple, are sentenced to prison in Virginia in 1958 for getting married. Apparently they had nothing better to do in Virginia at the time.

OSCAR CHANCES: Acting, picture.

TROLLS

Starring the voices of: Anna Kendrick and Justin Timberlake
Directed by: Mike Mitchell and Walt Dohrn

Remember those little plastic things with long hair that you used to put on the end of your pencil? When I was a kid we called them Kewpies but apparently they are Trolls and they have their own movie. Good for them!

OSCAR CHANCES: Maybe best hairstyling?

NOVEMBER 11

ARRIVAL

Starring: Amy Adams, Jeremy Renner and Forest Whitaker
Directed by: Denis Villeneuve

A linguist is recruited by the military to assist in translating alien communications.

OSCAR CHANCES: Picture, director, acting.

SHUT IN

Starring: Naomi Watts and Jacob Tremblay
Directed by: Farren Blackburn

A heart-pounding thriller about a widowed child psychologist who lives in an isolated existence in rural New England. Caught in a deadly winter storm, she must find a way to rescue a young boy before he disappears forever.

OSCAR CHANCES: Unsure, but young Mr. Tremblay should have been nominated last year for “Room.”

USS INDIANAPOLIS: MEN OF COURAGE

Starring: Nicolas Cage and Tom Sizemore
Directed by: Mario Van Peebles

The harrowing true story of the crew of the USS Indianapolis, who were stranded in the Philippine Sea for five days after delivering the atomic weapons that would eventually end WWII. If you saw “Jaws,” this is the tale that Quint tells. Other “Jaws” related facts: this was the original idea for “Jaws 2.” Also: Mario Van Peebles starred in “Jaws the Revenge.”

OSCAR CHANCES: To me it looks like a “made for TV” movie. How about Emmy chances?


NOVEMBER 18

THE EDGE OF SEVENTEEN

Starring: Hailiee Steinfeld, Blake Jenner and Woody Harrelson
Directed by: Kelly Fremon Craig

High-school life gets even more unbearable for Nadine when her best friend, Krista, starts dating her older brother. Is that weird? When I was in high-school I wanted to date my best friend’s older sister. Hopefully Stevie Nicks got some money from this.

OSCAR CHANCES: Nada

FANTASTIC BEASTS AND WHERE TO FIND THEM

Starring: Eddie Redmayne, Jon Voight and Ezra Miller
Directed by: David Yates

The adventures of writer Newt Scamander in New York’s secret community of witches and wizards 70 years before Harry Potter reads his book in school. Even though Harry Potter and his pals are less than 20 years old it seems like they’ve been around forever.

OSCAR CHANCES: Visual effects, music (the great James Newton Howard)

MANCHESTER BY THE SEA

Starring: Casey Affleck and Michelle Williams
Directed by: Kenneth Lonergan

An uncle is forced to take care of his teenage nephew after the boy’s father dies.

OSCAR CHANCES: Both Affleck and Williams have been nominated in the past so I’m not ruling anything out.

NOCTURNAL ANIMALS

Starring: Amy Adams and Jake Gyllenhaal
Directed by: Tom Ford

An art gallery owner is haunted by her ex-husband’s novel, a violent thriller she interprets as a veiled threat and a symbolic revenge tale. November is Amy Adams month.

OSCAR CHANCES: Across the board


NOVEMBER 23

ALLIED

Starring: Brad Pitt and Marion Cotillard
Directed by: Robert Zemeckis

In 1942, an intelligence officer in North Africa encounters a female French Resistance fighter on a deadly mission behind enemy lines. When they reunite in London, their relationship is tested by the pressures of war. Cotillard isn’t married so maybe we can look forward to reading about “Bradarion” soon.

OSCAR CHANCES: Pitt, Cotilliard and Zemeckis have been there before.

BAD SANTA 2

Starring: Billy Bob Thornton, Kathy Bates and Tony Cox
Directed by: Mark Waters

Fueled by cheap whiskey, greed and hatred, Willie teams up once again with his angry little sidekick, Marcus, to knock off a Chicago charity on Christmas Eve.

OSCAR CHANCES: I thought Billy Bob deserved a nod for the first film but I’m going to say no.

MOANA

Starring the voices of: Dwayne Johnson, Alan Tudyk and Nicole Scherzinger
Directed by: Ron Clements, John Musker, Don Hall and Chris Williams

A young woman uses her navigational talents to set sail for a fabled island. Joining her on the adventure is her hero, the legendary demi-god Maui.

OSCAR CHANCES: Animated feature, original song

RULES DON’T APPLY

Starring: Warren Beatty, Lily Collins and Ed Harris
Directed by: Warren Beatty

An unconventional love story of an aspiring actress, her determined driver, and the eccentric billionaire who they work for. Beatty has been wanting to do a Howard Hughes-based film since the 1970s. Not sure if this is what he had in mind back then but, after a 15-year absence, it’s great to see him both in front of and behind the camera.

OSCAR CHANCES: Only two people have been nominated in the same year for acting, directing, writing and producing the best picture: Orson Welles and Warren Beatty. And Beatty did it TWICE!


NOVEMBER 25

LION

Starring: Dev Patel, Rooney Mara and Nicole Kidman
Directed by: Garth Davis

A five-year-old Indian boy gets lost on the streets of Calcutta, thousands of kilometers from home. He survives many challenges before being adopted by a couple in Australia; 25 years later, he sets out to find his lost family.

OSCAR CHANCES: Many


DECEMBER 2

LA LA LAND

Starring: Ryan Gosling and Emma Stone
Directed by: Damien Chazelle

From the creator of “Whiplash” comes a film about a jazz pianist who falls for an aspiring actress in Los Angeles. And it’s a musical!

OSCAR CHANCES: Early film festival buzz say’s this may be the film to watch (both on screen and at awards time!)


DECEMBER 9

MISS SLOANE

Starring: Jessica Chastain
Directed by: John Madden

An ambitious lobbyist faces off against the powerful gun lobby in an attempt to pass gun control legislation.

OSCAR CHANCES: Actress. Madden directed the Oscar-winning “Shakespeare in Love.”

OFFICE CHRISTMAS PARTY

Starring: Jason Bateman and Jennifer Anniston
Directed by: Josh Gordon and Will Speck

When his uptight CEO sister threatens to shut down his branch, the branch manager throws an epic Christmas party in order to land a big client and save the day, but the party gets way out of hand.

OSCAR CHANCES: Zip

DECEMBER 16

COLLATERAL BEAUTY

Starring: Will Smith and Keira Knightley
Directed by: David Frankel

A tragic event sends a New York ad man on a downward spiral.

OSCAR CHANCES: I’ve already had to apologize to Will Smith twice for doubting he’d get nominated for “Ali” and “The Pursuit of Happyness.” There won’t be a third. Good luck Will.

FENCES

Starring: Denzel Washington and Viola Davis
Directed by: Denzel Washington

An African American father struggles with race relations in the United States while trying to raise his family in the 1950s and coming to terms with the events of his life. Based on the August Wilson play.

OSCAR CHANCES: YES!

THE FOUNDER

Starring: Michael Keaton and Patrick Wilson
Directed by: John Lee Hancock

The story of McDonald’s founder, Ray Kroc. You may look at your next hamburger differently. Keaton is said to be so good that they pulled the film from it’s original release date.

OSCAR CHANCES: Keaton

A KIND OF MURDER

Starring: Patrick Wilson and Jessica Biel
Directed by: Andy Goddard

In 1960s New York, Walter Stackhouse is a successful architect married to the beautiful Clara who leads a seemingly perfect life. But his fascination with an unsolved murder leads him into a spiral of chaos as he is forced to play cat-and-mouse with a clever killer and an overambitious detective, while at the same time lusting after another woman. This will be a day of decisions for Patrick Wilson fans.

OSCAR CHANCES: Don’t see any

ROGUE ONE: A STAR WARS STORY

Starring: Felicity Jones, Jimmy Smits and Warwick Davis
Directed by: Gareth Edwards

Or, as I like to call it, “Episode 6.5” The Rebellion makes a risky move to steal the plans to the Death Star, setting up the epic saga to follow. Holy crap! The Death Star, Leia’s family, Darth Vader AND Wicket the Ewok? I’m already in line!

OSCAR CHANCES: Visual effects, make up.

DECEMBER 21

20th CENTURY WOMEN

Starring: Annette Bening, Elle Fanning and Laura Wiggins
Directed by: Mike Mills

The story of three women who explore love and freedom in Southern California during the late 1970s.

OSCAR CHANCES: Can anyone tell me why Annette Bening hasn’t won an Oscar yet? Didn’t think so. Keep your fingers crossed.

ASSASSINS CREED

Starring: Michael Fassbender and Marion Cotillard
Directed by: Justin Kurzel

When Callum Lynch explores the memories of his ancestor Aguilar and gains the skills of a Master Assassin, he discovers he is a descendant of the secret Assassins society. This synopsis seems so crazy considering the cast. I wonder if the two leads made the same mistake Bill Murray did when he thought “Garfield” had been written by one of the Coen brothers!

OSCAR CHANCES: Fassbender elevates everything he’s in so I’m not saying no!

PASSENGERS

Starring: Jennifer Lawrence and Chris Pratt
Directed by: Morten Tyldum

A spacecraft traveling to a distant colony planet and transporting thousands of people has a malfunction in its sleep chambers. As a result, two passengers are awakened 90 years early. It’s so weird to see Lawrence in a movie at the end of the year NOT directed by David O. Russell. Oh well, there’s always next year.

OSCAR CHANCES: Visual effects, technical stuff

PATRIOTS DAY

Starring: Mark Wahlberg and Michelle Monaghan
Directed by: Peter Berg

An account of Boston Police Commissioner Ed Davis’s actions in the events leading up to the 2013 Boston Marathon bombing and the aftermath, which includes the city-wide manhunt to find the terrorists behind it. Sounds better than what I thought it was – knowing Wahlberg is a huge New England Patriot fan I thought it was about a day with Tom Brady. The third film by Wahlberg and director Berg and second this year.

OSCAR CHANCES: Oh yes.

SING

Starring the voices of: Matthew McConaughey and Scarlett Johansson
Directed by: Garth Jennings

A koala named Buster Moon has one final chance to restore his theater to its former glory by producing the world’s greatest singing competition.

OSCAR CHANCES: Animated film….maybe.

DECEMBER 25

GOLD

Starring: Matthew McConaughey and Bryce Dallas Howard
Directed by: Stephen Gaghan

An unlikely pair venture to the Indonesian jungle in search of gold. When he was outrageously thin in “Dallas Buyer’s Club” McConaughey still looked good. In this one he’s bald and….dammit!

OSCAR CHANCES: No sir.

WHY HIM?

Starring: James Franco and Bryan Cranston
Directed by: John Hamburg.

A dad forms a bitter rivalry with his daughter’s young rich boyfriend. Based on a story by Jonah Hill. Somebody needed money.

OSCAR CHANCES: I’m ashamed that I have to include those words with this film.

DECEMBER 28

PATERSON

Starring: Adam Driver
Directed by: Jim Jarmusch

Set in the present in Paterson, New Jersey, this is a tale about a bus driver and poet.

OSCAR CHANCES: Love Jarmusch. Maybe a witting nod.

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Filed Under: Film Headlines, Movies Tagged With: 2016, 20th century women, a kind of murder, a monster calls, aaron eckkhart, adam driver, ...

Film Review: “Sully”

Starring: Tom Hanks, Aaron Eckhart and Laura Linney
Directed by: Clint Eastwood
Rated: PG-13
Running time: 1 hr 35 mins
Warner Bros

Our Score: 5 out of 5 Stars

Before I saw this film, this is what I knew about Captain Chesley “Sully” Sullenberger: he landed a plane on the Hudson River and then he went to the Super Bowl, heralded as a hero. If only life was that easy.

January 15, 2009. A normal day for all involved, unless you’re a passenger on US Airways Flight 1549. As the world knows now, during take-off the plane met up with a flock of Canadian geese, several of who were sucked into both engines, rendering the plane powerless. Despite initial attempts to return to the airport, pilot “Sully” Sullenberger (Hanks) decides to set the plane down in the middle of the Hudson River. Miraculously, all 155 people on board survive. Sully is labeled a hero but before he can get patted on the back he is informed by the National Transportation Safety Board (NTSB) that he is being investigated for possible negligence. Computer simulations show that had he turned the plane around as intended, he could have landed safely at several nearby airports. Did he make the right decision?

Centuries from now, should movies still be being made, film historians will still be talking about Tom Hanks and Clint Eastwood. Hanks has two Oscars for his acting and three other nominations while Eastwood has four Oscars – two for directing – and another seven nods. “Sully” is Eastwood and Hanks at the top of their game. Our generation’s Jimmy Stewart, Hanks has excelled in playing the “everyman” who is forced to face impossible odds. Here he is tasked with the emotional weight of the film. “I’ve flown millions of passengers for 40-years and I’m going to be judged by what I did in 208 seconds,” he laments. Sadly, he is right. The airline knows there is going to be lawsuits, and if someone can be blamed, the better off for them. Hanks gives Sully a quiet pride. Even when he’s sure he made the right decision he can’t help but question himself. It’s an emotional rollercoaster, as Sully goes from appearing on David Letterman to having vivid dreams about the plane crashing into the New York skyline.

Eastwood has always been a simple director, letting his camera almost eavesdrop on the action. Here he puts us squarely in the shoes of the title character, to the point where you’re quietly second-guessing yourself. As usual, he stocks his films with top acting talent, including Eckhart (in a sweet mustache) as co-pilot Jeff Skiles and Linney as Sully’s wife, Lorraine. A great group of supporting actors, including Mike O’Malley, Jamey Sheridan and Anna Gunn make up the NTSB group investigating the incident.

A quick note: the film is being released the same weekend America will remember the 15th Anniversary of the attacks of September 11th, 2001. The film depicts some troubling shots, via Sully’s dreams, of airplanes crashing into buildings. Though part of a dream, the images are haunting so keep that in mind when deciding to bring a young child along. That being said, if you want to introduce your little one to a true hero, introduce them to “Sully.”

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Filed Under: Film Reviews, Movies Tagged With: aaron eckhart, anna gunn, chesley sullenberger, clint eastwood, jamey sheridan, jeff skiles, ...

Film Review “Bridge of Spies”

Starring: Tom Hanks, Mark Rylance and Alan Alda
Directed by: Steven Spielberg
Rated: PG 13
Running time: 2 hrs 21 mins
Touchstone Pictures

Our Score: 5 out of 5 stars

I was born in 1960. By the time I was old enough to understand the state of the world, President Kennedy had been assassinated and the Russians were the bad guys. I don’t think I ever had a genuine fear that one day my Cleveland neighborhood would just evaporate in a nuclear explosion but I do know that to the generation before me, the Cold War was very real.

1957. We are introduced to a man who spends the majority of his days painting. Occasionally he will journey to the local park, paints in hand, to take in the beauty of the day. He is also occasionally followed by various members of the United States government. This man is Rudolf Abel and he is a Russian spy.

The second collaboration between Steven Spielberg and Joel and Ethan Coen, who co-wrote the script with Matt Charman, “Bridge of Spies” jumps to the top of my “Best Film of the Year” list. Three-plus decades after “Bachelor Party,” Tom Hanks continues to add classic characters and performances to his resume’. Here he plays insurance litigator James Donovan, an attorney approached by the US government to represent Abel in his upcoming espionage trial. Donovan appreciates the fact that the US wants the trial to be transparent to the world…to show that Abel’s rights are not being violated. He doesn’t appreciate that he will soon be known as the guy defending the spy. Assured that things will be handled swiftly he remarks, “Great. Everyone will hate me, but at least I’ll lose.” Things get even more hectic when the U2 spy plane piloted by Francis Gary Powers is shot down over Russia and Powers is declared a spy.

Hanks’ performance is complimented by a star-making performance by Rylance, who in his native England is regarded as the greatest stage actor since Laurence Olivier. He is amazing here, his gentle manners and quiet demeanor lulling the audience into caring about him. The supporting cast is equally strong, from Alan Alda as Donovan’s boss at his law firm to Amy Ryan as Donovan’s supportive wife.

Visually the film is brilliant. Director Spielberg has recreated East Berlin in the early 1960s down to the razor wire on the wall. The mood is perfectly reflected in the screenplay by Charman and the Coens. Thomas Newman’s musical score also helps convey the feelings of the time. This is Spielberg’s 28th full length feature film since 1974. With the exception of “The Color Purple,” the previous 27 had been scored by John Williams. A short illness, and composing the score for the upcoming “Star Wars” film, prevented Williams from working on “Bridge of Spies.” Newman’s score is fine accompaniment to the story but I did, on occasion, catch myself wondering how Williams would have scored certain scenes.

As fall fades into the holiday season, “Bridge of Spies” has thrown down the first gauntlet in the season’s Oscar race.

 

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Filed Under: Film Reviews Tagged With: bridge of spies, film review, mark rylance, steven spielberg, tom hanks
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