tag:blogger.com,1999:blog-54961798816237870252024-03-19T00:27:23.155-07:00Through the ReelsI am a writer and blogger living in Los Angeles. I post about my life, good eats, and good movies. Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.comBlogger401125tag:blogger.com,1999:blog-5496179881623787025.post-87691112880775217182018-06-01T10:52:00.000-07:002018-06-01T11:30:04.163-07:00AFI Top 100: #23 "The Grapes of Wrath"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZL5lWx73PQjTDQaaMuxQv_2yH8AwY9FESirJ0znezwTJZdeC__MiGSbBkV5cQrH7QrJJUpBGmIm3qh0smRQ_STShTBQez6S0ireV7f3vAiE1_E7m2azN7NMT-ZenDLfW2klIiJySuPk/s1600/023-AFI-Top-100-grapes-of-wrath-movie-review-henry-fonda-john-steinbeck-ford-oklahoma-1940-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZL5lWx73PQjTDQaaMuxQv_2yH8AwY9FESirJ0znezwTJZdeC__MiGSbBkV5cQrH7QrJJUpBGmIm3qh0smRQ_STShTBQez6S0ireV7f3vAiE1_E7m2azN7NMT-ZenDLfW2klIiJySuPk/s640/023-AFI-Top-100-grapes-of-wrath-movie-review-henry-fonda-john-steinbeck-ford-oklahoma-1940-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henry Fonda & Jane Darwell in <i>The Grapes of Wrath</i> (1940)</td></tr>
</tbody></table>
<br />
Disappearing from the blogosphere certainly made it hard to come back. But recently, I've been peering around this space (lurking, if you will), thinking of the posts that have languished unfinished, and figured, <i>why not dive back in?</i> Lots of <a href="http://throughthereels.blogspot.com/2017/01/engagement-the-story.html" target="_blank">life happenings</a> have kept me away (engagement, wedding, and pending new addition), but despite my lack of reviews, our AFI Movie Night tradition continued through the start of April last year, meaning I'm... welp, <u>very</u> behind in sharing my thoughts with you. But that's the rub: I <i>want to share my thoughts</i>. Even a year+ later. So with that, here we go!<br />
<br />
Looking back now to #23 on the <a href="http://throughthereels.blogspot.com/p/afi-top-100.html" target="_blank">Top 100</a> list... like <i><a href="http://throughthereels.blogspot.com/2016/08/afi-top-100-25-to-kill-a-mockingbird.html" target="_blank">To Kill a Mockingbird</a></i>, modern readers may have a compulsory reaction to this required-reading-turned-classic-film, be it positive or negative. While <u><a href="https://en.wikipedia.org/wiki/To_Kill_a_Mockingbird" target="_blank">Mockingbird</a></u> may elicit the feel-goods of father/daughter relationships and the fight for justice, <i><b><a href="http://www.imdb.com/title/tt0032551/" target="_blank">The Grapes of Wrath</a></b></i> may well make you feel like taking a shower to get all the dust out of your pores.<br />
<br />
Adapted from the 1939 <a href="https://en.wikipedia.org/wiki/John_Steinbeck" target="_blank">John Steinbeck</a> <a href="https://en.wikipedia.org/wiki/The_Grapes_of_Wrath" target="_blank">novel</a> of the same name (with heavy involvement from Steinbeck himself), we're quickly introduced to the Joad family, just as eldest son Tom (<a href="https://www.imdb.com/name/nm0000020" target="_blank">Henry Fonda</a>) arrives, recently paroled, at their Oklahoma farm. To say that it's seen better days is an understatement. Drought has overrun the community, rocked by Dust Bowl storms and illness, and as the bank seizes the Joad home, there's barely enough time for a hug and <i>hello</i> before the family loads up a truck, tossing the kids & grandparents on the flatbed piled high with chairs and mattresses, to head West seeking a better life.<br />
<br />
The journey is long, and they're certainly not alone. The dream of orange groves and lush farms glittering in the California sunlight has enticed many other families and travelers... not to mention, plenty of folks looking to take advantage of their desperation. Even now, imagining the paradise that awaited them (compared to where they'd departed)... I'm overcome with the smell the citrus zest. *sigh* It is through Tom Joad's [less naive] eyes, however, that we witness the excitement, suspicion, and eventual lost hope swirling around the travelers. Tom's experiences, perhaps jading him to the prospect of easy and profitable work (<i>what's the catch?</i>), have taught him that nothing good can come without a good fight.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJw_eeck4Tznq7zDBBT6q3wgl8MoXnr9vAQOAm1q5IwJCynWzlnk2WoVVUYGmeopHOOnSLjB6xlZMHVV9Ps_dMlxqW6cj3w4Gi7FbNf-pMesX1mtiL_4bmMRBuu7jOE4T-Qs-Hiq9l0yQ/s1600/023-AFI-Top-100-grapes-of-wrath-movie-review-henry-fonda-john-steinbeck-ford-oklahoma-1940-03.jpg"><img border="0" height="533" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJw_eeck4Tznq7zDBBT6q3wgl8MoXnr9vAQOAm1q5IwJCynWzlnk2WoVVUYGmeopHOOnSLjB6xlZMHVV9Ps_dMlxqW6cj3w4Gi7FbNf-pMesX1mtiL_4bmMRBuu7jOE4T-Qs-Hiq9l0yQ/s640/023-AFI-Top-100-grapes-of-wrath-movie-review-henry-fonda-john-steinbeck-ford-oklahoma-1940-03.jpg" width="710" /></a>
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<br />
The book itself can be a tough, albeit fascinating, pill to swallow; what with its propensity for poeticizing the culmination of dust every other chapter... but the beauty of cinema is how much you can say in a moment without any words at all. The desolation, the suffocating hopelessness, none of that is lost on the audience here. No need to belabor the point, the Joads need to get out, and anywhere—even the unknown of the too-good-to-be-true California coast—is better than here. Time to risk life and limb, if that's what it comes to (it does), and director, <a href="https://www.imdb.com/name/nm0000406/" target="_blank">John Ford</a>, condenses Steinbeck's dense novel into a taut, digestible snapshot of history through the trials of one close-knit family.<br />
<br />
Henry Fonda, a man who could be a father or a lover without so much as a shift in facial expression, owns the role of Tom Joad. So much so that it's nearly impossible to imagine anyone else standing in his place. Even the structure of his face—the furrowed brow, high cheekbones, perpetual scruff—installs him as both weathered and idealistic; a man whose humanity is so core to his makeup, it doesn't matter what crimes have littered his past.<br />
<br />
Fonda offers the complexity that Tom Joad requires, and it's like he doesn't even have to try. Camera points, shoots, captures, and a protagonist is made. The rest of the cast, while offering strong support, never manage quite manage to pull focus from Fonda, even when they probably should—maybe with the exception of <a href="https://www.imdb.com/name/nm0002034/" target="_blank">Jane Darwell</a>. As Ma Joad, her earnestness is grounding and she brings such warmth to an otherwise disheartening tale. Fonda needs a counterpart like her, and the story benefits from the pairing.<br />
<br />
Apart from the acting, the film's pacing, along with the editing, that create the framework are magnificent. Clear choices were made about what to <i>include</i>, and what to <i>exclude</i>, from the source material, and there is hardly a misstep throughout. The plot is tight, the conflicts are palpable, and the stakes remain high—all without sacrificing character arcs or pivotal events. For me, <i>Wrath</i> is wholly reminiscent, stylistically and in tone, of <i><a href="http://www.imdb.com/title/tt0023042/" target="_blank">I Am a Fugitive from a Chain Gang</a></i> from 1932 (one of my absolute favorites, <i>why isn't it on this list?!?!</i>), particularly towards the end as Tom Joad comes to terms with what he must do to protect his family. It doesn't hurt that the screenplays share similar climactic lines that root thoroughly among the best in cinema.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDBU888VVmWDE8Pb8aaOmtxvUXi_8CV-ABmPnRbgSsrfY3EXrtPsksMhKxW9aJgQZ8J9-F0N3pNdUfarJa8QGlWVqY25araFkw2BgbfN0g6KS1Z3SVQHkvnBjwPTpmrje9b5c4QSBOIY/s1600/023-AFI-Top-100-grapes-of-wrath-movie-review-henry-fonda-john-steinbeck-ford-oklahoma-1940-02.jpg"><img border="0" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDBU888VVmWDE8Pb8aaOmtxvUXi_8CV-ABmPnRbgSsrfY3EXrtPsksMhKxW9aJgQZ8J9-F0N3pNdUfarJa8QGlWVqY25araFkw2BgbfN0g6KS1Z3SVQHkvnBjwPTpmrje9b5c4QSBOIY/s640/023-AFI-Top-100-grapes-of-wrath-movie-review-henry-fonda-john-steinbeck-ford-oklahoma-1940-02.jpg" width="710" /></a>
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<br />
On rare occasions, the film suffers from too many soaring oratory moments (which mutes the grit a bit), but it always finds the ground again. I would challenge any viewer to <u>not</u> be affected by the family and their plight; this is such a uniquely <i>American</i> tale, layered with political and economic commentary so attuned to the time, not only of the Great Depression, but of the <a href="https://en.wikipedia.org/wiki/Okie" target="_blank">Great "Okie" Migration</a> that represented a tide of social disparity and injustice. The combination of Ford and Steinbeck was tailor-made to bring this story to the screen.<br />
<br />
It's grim and it's troubling, but like the book's mandatory appearance on your high school curriculum, the film should be required American viewing.<br />
<br />
<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★★ / 5 stars<br />
<div style="text-align: justify;">
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[<a href="https://www.youtube.com/watch?v=5ayi81QMuak" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © 20th Century Fox]</div>
<div style="text-align: justify;">
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Check back next time for #22 on the list, <b><i>Some Like It Hot</i></b> — hopefully coming soon!</div>
Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com1tag:blogger.com,1999:blog-5496179881623787025.post-5200581787953719182018-03-03T17:28:00.000-08:002018-03-03T17:28:12.974-08:00My 2018 Oscar Predictions!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsbw65CCwFPrk3kRN-pRt9sytG5TcawPJT3_WtzuG0bj_Ze5RaJJAreWpxJj4EmmJTqoevKDTf9KRdyOIbYfzEL_ftbIIFreGBsBcCvMNauAFr3YBBourqFm9o-zBVnEXv7Cwd3Jz6Kc/s1600/oscars+statues+2.jpg"><img border="0" data-original-height="669" data-original-width="1071" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsbw65CCwFPrk3kRN-pRt9sytG5TcawPJT3_WtzuG0bj_Ze5RaJJAreWpxJj4EmmJTqoevKDTf9KRdyOIbYfzEL_ftbIIFreGBsBcCvMNauAFr3YBBourqFm9o-zBVnEXv7Cwd3Jz6Kc/s640/oscars+statues+2.jpg" width="710" /></a>
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 20px;"><br /></span>
<span style="background-color: #f9f9f9; line-height: 20px;"><br />It has certainly been a most eventful 2017, and there is plenty I can't wait to share eventually. But my favorite time of year has finally come around, marking the 20th anniversary of my <i>Oscar Obsession</i> (nothing can compare to 1998's <i>Titanic</i> sweep, <i>sigh</i>), and I couldn't let this week pass by without slipping quietly into the blogosphere and sharing my annual predictions! Now, sure, I missed posting last year entirely (and I mean... entirely), but 2018 is a time to start fresh, and there's certainly no better place to start shaking off the cobwebs.</span><br />
<span style="background-color: #f9f9f9; line-height: 20px;"><br /></span>
<span style="background-color: #f9f9f9; line-height: 20px;">2017 was filled with so many remarkable films, and in a total shocker, the Academy is actually honoring most of them (with the glaring exception of <i>The Florida Project</i>, what are you kidding me with this snub?!?!) But I digress.... the attention paid to <i>Get Out</i>, easily one of the standout movies of the year, makes me absolutely giddy, and while it may not be as socially relevant as some of the other movies honored with nominations, <i>Lady Bird</i> speaks to me (a 2004 high school graduate involved in drama from a Northern California suburb) on a deep, bone-marrow level.</span><br />
<span style="background-color: #f9f9f9; line-height: 20px;"><br /></span>
<span style="background-color: #f9f9f9; line-height: 20px;">But, gun to my head, it's all about <i>The Shape of Water</i> for me this time around, with my love of Del Toro knowing no bounds, and him finally getting the mainstream recognition he deserves. Fingers crossed it can overcome the flood of support <i>Three Billboards</i> (which I did enjoy from an acting perspective, but think has issues from a writing/directorial view) has garnered in recent months.</span><br />
<span style="background-color: #f9f9f9; line-height: 20px;"><br /></span>
<span style="background-color: #f9f9f9; line-height: 20px;">And so, with that, time to get to the predictions, and as usual...</span><br />
<span style="background-color: #f9f9f9; line-height: 20px;"><br /></span>
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 20px;">✓</span> = <i>My Prediction to Win</i><br />
♥ = <i>What I Wish Would Win </i>[excluded if not enough opinion on the category]<br />
<br />
Don't forget to <b><a href="http://challenge.oscar.com/" target="_blank">submit your picks</a></b> officially online, or share them in the comments below!<br />
<br />
<b>BEST PICTURE</b><br />
• <i>Call Me by Your Name</i><br />
• <i>Darkest Hour</i><br />
• <i>Dunkirk</i><br />
• <i>Get Out</i><br />
• <i>Lady Bird</i><br />
• <i>Phantom Thread</i><br />
• <i>The Post</i><br />
♥ <i>The Shape of Water</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i><b>Three Billboards Outside Ebbing, Missouri</b></i><br />
<br />
<b>BEST DIRECTOR</b><br />
• <i>Dunkirk</i>, Christopher Nolan<br />
• <i>Get Out</i>, Jordan Peele<br />
• <i>Lady Bird</i>, Greta Gerwig<br />
• <i>Phantom Thread</i>, Paul Thomas Anderson<br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 20px;">✓</span>♥ <b><i>The Shape of Water</i>, Guillermo del Toro</b><br />
<br />
<b>BEST ACTOR</b><br />
• Timothée Chalamet, <i>Call Me by Your Name</i><br />
• Daniel Day-Lewis, <i>Phantom Thread</i><br />
♥ Daniel Kaluuya, <i>Get Out</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <b>Gary Oldman, <i>Darkest Hour</i></b><br />
• Denzel Washington, <i>Roman J. Israel, Esq.</i><br />
<br />
<b>BEST ACTRESS</b><br />
♥ Sally Hawkins, <i>The Shape of Water</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <b>Frances McDormand, <i>Three Billboards Outside Ebbing, Missouri</i></b><br />
• Margot Robbie, <i>I, Tonya</i><br />
• Saoirse Ronan, <i>Lady Bird</i><br />
• Meryl Streep, <i>The Post</i><br />
<br />
<b>BEST SUPPORTING ACTOR</b><br />
♥ Willem Dafoe, <i>The Florida Project</i><br />
• Woody Harrelson, <i>Three Billboards Outside Ebbing, Missouri</i><br />
• Richard Jenkins, <i>The Shape of Water</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <b>Christopher Plummer, <i>All the Money in the World</i></b><br />
• Sam Rockwell, <i>Three Billboards Outside Ebbing, Missouri</i><br />
<br />
<b>BEST SUPPORTING ACTRESS</b><br />
• Mary J. Blige, <i>Mudbound</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <b>Allison Janney, <i>I, Tonya</i></b><br />
• Lesley Manville, <i>Phantom Thread</i><br />
♥ Laurie Metcalf, <i>Lady Bird</i><br />
• Octavia Spencer, <i>The Shape of Water</i><br />
<br />
<a name='more'></a><b>BEST ORIGINAL SCREENPLAY</b><br />
• <i>The Big Sick</i><br />
♥ <i>Get Out</i><br />
• <i>Lady Bird</i><br />
• <i>The Shape of Water</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i><b>Three Billboards Outside Ebbing, Missouri</b></i><br />
<br />
<b>BEST ADAPTED SCREENPLAY</b><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i>Call Me by Your Name</i><br />
♥ <i><b>The Disaster Artist</b></i><br />
• <i>Logan</i><br />
• <i>Molly’s Game</i><br />
• <i>Mudbound</i><br />
<br />
<b>BEST FOREIGN LANGUAGE FILM</b><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <b><i>A Fantastic Woman </i>(Chile)</b><br />
• <i>The Insult</i> (Lebanon)<br />
• <i>Loveless </i>(Russia)<br />
• <i>On Body and Soul </i>(Hungary)<br />
• <i>The Square</i> (Sweden)<br />
<br />
<b>BEST DOCUMENTARY FEATURE</b><br />
• <i>Abacus: Small Enough to Jail</i><br />
• <i>Faces Places</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span>♥ <i><b>Icarus</b></i><br />
• <i>Last Men in Aleppo</i><br />
• <i>Strong Island</i><br />
<br />
<b>BEST ANIMATED FEATURE</b><br />
• <i>The Boss Baby</i><br />
• <i>The Breadwinner</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 20px;">✓</span>♥ <i><b>Coco</b></i><br />
• <i>Ferdinand</i><br />
• <i>Loving Vincent</i><br />
<br />
<b>BEST FILM EDITING</b><br />
• <i>Baby Driver</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i><b>Dunkirk</b></i><br />
• <i>I, Tonya</i><br />
♥ <i>The Shape of Water</i><br />
• <i>Three Billboards Outside Ebbing, Missouri</i><br />
<br />
<b>BEST SONG</b><br />
♥ “Mighty River” from <i>Mudbound</i>, Mary J. Blige<br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <b>“Mystery of Love” from <i>Call Me by Your Name</i>, Sufjan Stevens</b><br />
• “Remember Me” from <i>Coco</i>, Kristen Anderson-Lopez, Robert Lopez<br />
• “Stand Up for Something” from <i>Marshall</i>, Diane Warren, Common<br />
• “This Is Me” from <i>The Greatest Showman</i>, Benj Pasek, Justin Paul<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHa71eWjy8DCnUCP4XZ-Fnji2pICKKQqoZJlHy_WP8FIyIR3LKgYHi-MxoSmZ6-97PeFdphh5VOqbdezm6BcYwIXuicktrd46VHi6ztLfZo-87Ae88L6YUff063qoCFUr4aF8wB2N1IDmC/s1600/shapeofwater.jpeg"><img border="0" data-original-height="830" data-original-width="1497" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHa71eWjy8DCnUCP4XZ-Fnji2pICKKQqoZJlHy_WP8FIyIR3LKgYHi-MxoSmZ6-97PeFdphh5VOqbdezm6BcYwIXuicktrd46VHi6ztLfZo-87Ae88L6YUff063qoCFUr4aF8wB2N1IDmC/s640/shapeofwater.jpeg" width="710" /></a>
<br />
<b><br /></b>
<b>BEST ORIGINAL SCORE</b><br />
• <i>Dunkirk</i>, Hans Zimmer<br />
• <i>Phantom Thread</i>, Jonny Greenwood<br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 20px;">✓</span>♥ <b><i>The Shape of Water</i>, Alexandre Desplat</b><br />
• <i>Star Wars: The Last Jedi</i>, John Williams<br />
• <i>Three Billboards Outside Ebbing, Missouri</i>, Carter Burwell<br />
<br />
<b>BEST VISUAL EFFECTS</b><br />
• <i>Blade Runner 2049</i><br />
♥ <i>Guardians of the Galaxy Vol. 2</i><br />
• <i>Kong: Skull Island</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i><b>Star Wars: The Last Jedi</b></i><br />
• <i>War for the Planet of the Apes</i><br />
<br />
<b>BEST CINEMATOGRAPHY</b><br />
♥<i> Blade Runner 2049</i><br />
<i>• Darkest Hour</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span><i> <b>Dunkirk</b></i><br />
<i>• Mudbound</i><br />
<i>• The Shape of Water</i><br />
<br />
<b>BEST COSTUME DESIGN</b><br />
<i>• </i><i>Beauty and the Beast</i><br />
<i>• </i><i>Darkest Hour</i><br />
<i>• </i><i>Phantom Thread</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span>♥<i> </i><i><b>The Shape of Water</b></i><br />
<i>• </i><i>Victoria and Abdul</i><br />
<br />
<b>BEST MAKEUP AND HAIRSTYLING</b><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span>♥<i> </i><i><b>Darkest Hour</b></i><br />
<i>• </i><i>Victoria and Abdul</i><br />
<i>• </i><i>Wonder</i><br />
<br />
<b>BEST PRODUCTION DESIGN</b><br />
<i>• </i><i>Beauty and the Beast</i><br />
<i>• </i><i>Blade Runner 2049</i><br />
<i>• </i><i>Darkest Hour</i><br />
<i>• </i><i>Dunkirk</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 20px;">✓</span>♥ <i><b>The Shape of Water</b></i><br />
<br />
<b>BEST SOUND EDITING</b><br />
<i>• </i><i>Baby Driver</i><br />
♥<i> </i><i><b>Blade Runner 2049</b></i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span><i style="font-weight: bold;"> </i><i>Dunkirk</i><br />
<i>• </i><i>The Shape of Water</i><br />
<i>• </i><i>Star Wars: The Last Jedi</i><br />
<br />
<b>BEST SOUND MIXING</b><br />
♥<i> </i><i>Baby Driver</i><br />
<i>• </i><i>Blade Runner 2049</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span><i> </i><i><b>Dunkirk</b></i><br />
<i>• </i><i>The Shape of Water</i><br />
<i>• </i><i>Star Wars: The Last Jedi</i><br />
<br />
<b>BEST SHORT FILM: LIVE ACTION</b><br />
• <i>DeKalb Elementary</i><br />
• <i>The Eleven O’Clock</i><br />
• <i>My Nephew Emmett</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i><b>The Silent Child</b></i><br />
• <i>Watu Wote/All of Us</i><br />
<br />
<b>BEST SHORT FILM: ANIMATED</b><br />
• <i>Dear Basketball</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i><b>Garden Party</b></i><br />
• <i>Lou</i><br />
♥ <i>Negative Space</i><br />
• <i>Revolting Rhymes</i><br />
<br />
<b>BEST SHORT FILM: DOCUMENTARY</b><br />
• <i>Edith+Eddie</i><br />
♥ <i>Heaven is a Traffic Jam on the 405</i><br />
<span style="background-color: #f9f9f9; color: #333333; font-family: "open sans" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">✓</span> <i><b>Heroin(e)</b></i><br />
• <i>Knife Skills</i><br />
• <i>Traffic Stop</i>Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-8439092574450131562017-07-20T16:49:00.000-07:002018-02-28T10:37:05.889-08:00Music Mondays: Paramore "Fake Happy"<iframe allowfullscreen="" frameborder="0" height="399" src="https://www.youtube.com/embed/kBmlbzW1-yc" width="710"></iframe><br />
<i><br /></i>
<i>Whaaat, new music, new post, whaaaat??? </i>I know. I almost have no right to even start sharing again after so long away from this blog, but you know? I FELT INSPIRED. Some songs just kinda <i>click</i> with your inner-being, particularly those moments when you're stressed and flying down an L.A. freeway alone and just scream-singing at the top of your lungs..... *inhale*slow exhale*<br />
<br />
And this one's good. Belt-it-out-your-car-window good. My beloved <b><a href="http://www.paramore.net/" target="_blank">Paramore</a></b> finally released a new album for the first time in over 4 years, and I couldn't be more stoked about it. <i><a href="https://www.amazon.com/dp/B07228RKVS/" target="_blank">After Laughter</a></i> isn't the romp their <a href="https://www.amazon.com/Paramore/dp/B00B2QG3K2/" target="_blank">self-titled</a> (2013) album was, but it's the self-proclaimed 'IDGAF/<i>Don't ask me to smile</i>' attitude laced throughout the whole record that the whole world needs right now. And "Fake Happy" is a teary ballad masquerading as a poppy rocker.<br />
<br />
Have a listen, and while you're at it, check out it's equally middle-finger-to-the-haters sister track, <i><a href="https://open.spotify.com/track/2RJfK2pOvGpnxC255YOy5k" target="_blank">Rose-Colored Boy</a></i>, while you're at it. Consider it your Monday morning therapy. xx<br />
<br />
<b>Artist:</b> Paramore<br />
<b>Song:</b> "Fake Happy" | <a href="https://www.amazon.com/dp/B06ZZXWXXH/ref=dm_ws_tlw_trk5" target="_blank">download</a> | <a href="https://open.spotify.com/track/6t44iU80A0h8WQ7vc4OoRj" target="_blank">stream</a><br />
<b>Album: </b><i>After Laugher</i>Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-43820200214387838902017-01-06T16:54:00.001-08:002017-08-24T20:20:19.818-07:00engagement: the story<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDMs-x6ET9liOOvesBb235d1sCkQAlZY9q_v7f0QIxpMvD14zLoMVT9-lgpokMTURozIryutNjNlf41bGalqoP_-xyaXwlUq16GIZSfLLgGuufJFwn7q9zkTXLbn6lNw4xfszVsEWy9I/s1600/through-the-reels-engagement-story-4.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDMs-x6ET9liOOvesBb235d1sCkQAlZY9q_v7f0QIxpMvD14zLoMVT9-lgpokMTURozIryutNjNlf41bGalqoP_-xyaXwlUq16GIZSfLLgGuufJFwn7q9zkTXLbn6lNw4xfszVsEWy9I/s640/through-the-reels-engagement-story-4.jpg" width="710" /></a><br />
<br />
<br />
It's probably been a year or more since I wrote about more personal happenings on this space, instead choosing to focus on cinematic musings. But this chica's life has experienced a sudden dose of excitement, and I can't resist posting a bit about it here, perhaps planting the seeds for like-sharing in the future. Especially with what this new year will hold.<br />
<br />
Nearly three months ago, in front of my closest friends and family, my boyfriend John became my fiancee. And made me the happiest woman in the world.<br />
<br />
Yes, this is the story of that proposal.<br />
<br />
<a name='more'></a>My mother was planning a trip to visit that weekend. A bit suddenly, I'll admit, as she emailed me about a flight price she couldn't pass up, and we should plan a trip to Universal Studios Hollywood for that Sunday during her stay so she could experience The Wizarding World of Harry Potter. Great timing, in fact, since John and I had been talking about breaking out our annual passes after a long summer of black-out dates. <i>Sure Mom, come along!</i><br />
<i><br /></i>
I'd be lying if, in the back of my mind, I didn't consider what this might mean. Being in an adult relationship of 3.5 years means conversations about an eventual engagement and marriage were relatively frequent. When would the big question happen? It was anyone's guess, and by anyone, I mean me. But this sudden parental visit gave me that sneaking feeling of a subplot at work. It didn't help that the boyfriend seemed particularly curious about my mom's email... <i>Why do </i>you<i> care?</i>... I didn't ask. But I thought it. Even more so when John said he'd think of something for us to do on the Saturday she was here.<br />
<br />
That was it. Wherever we went, whatever we did. Our Saturday excursion had to be it. I'd already scheduled a double date when my best friend, Shannon, and her boyfriend for Saturday night, so I hoped none of these new plans would hinder that. Tagging my mom along as a 5th wheel during our dinner plans wouldn't be so hard, since she's known Shannon for 15 years.<br />
<br />
A few weeks later, the big Saturday arrived. John had suggested we visit the Huntington Library in nearby Pasadena—since I'd recently been, I suggested a different locale: <b><a href="http://www.getty.edu/visit/villa/" target="_blank">The Getty Villa</a></b> in Malibu. He agreed excitedly. Phew. Mom picked up from the airport, off we shuttled to the Pacific Coast Highway, me cautiously optimistic about the afternoon.<br />
<br />
And what a beautiful afternoon it was. Meandering through the sunshine, herb gardens fragrant and the Greco-Roman marble statues glittering... but as the day wore on, I began to feel... bummed out. It wasn't happening. Walking through the stunning art exhibits, John led me out onto a sun-drenched balcony, free of any and all people that were crowding the grounds below. The Pacific Ocean in the distance, the fountain stretched out below. My mom asked me to turn around for a picture, and I spun around hopeful...? Nope, just a picture. John draped his arm around me, smiling.. and then inside we went.<br />
<br />
What was going on? Am I crazy? (don't answer that) What more perfect moment could there have been? *sigh*<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv3MvR_FyBdOyTZk5AwVQmbZ-4-Z1ba2lIz-e_k1Yc9kfGU9o9xUmSzBn6HHfWZtFYcDX1O4Oln4GX8yLtrDFzW8QhG5U5H1Fw1-WPx2sTgELSikLKXcpLECoQlE09QLCbzNC8rSFMn2w/s1600/thekimfiles-engagement-the-getty-villa-2016-10-15-00.jpg"><img border="0" height="533" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv3MvR_FyBdOyTZk5AwVQmbZ-4-Z1ba2lIz-e_k1Yc9kfGU9o9xUmSzBn6HHfWZtFYcDX1O4Oln4GX8yLtrDFzW8QhG5U5H1Fw1-WPx2sTgELSikLKXcpLECoQlE09QLCbzNC8rSFMn2w/s640/thekimfiles-engagement-the-getty-villa-2016-10-15-00.jpg" width="710" /></a>
<br />
<br />
The day wore on, and soon, it was time to go home. I was wrong. And it felt sucky. Saying that I wasn't pouty about it would be a bit of a lie, but I tried to shake it off. Let's just say... the car ride home was quiet. John and my mom both asking me if I was alright, what for my sudden silence, and I said that of course I was.<br />
<br />
It was several hours before our dinner plans with Shannon, and we grabbed a drink near our apartment to kill time. While my mom stepped away, I turned to John and admitted my surprise.<br />
<i><br /></i>
<i>I was sure that was it</i>, I said with a shrug.<br />
<br />
<i>But</i>... he sighed. <i>You picked that place. I want to be the one to plan something</i>.<br />
<br />
Fair enough! I recovered quickly, even whispering to my mom a few minutes later what I'd expected, and in shock she cried, <i>Really?? Why would he do that while I was there?!?!</i><br />
<br />
YOU KNOW WHAT I DON'T KNOW OKAY WISHFUL THINKING<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiErcja_Yp9tRo-5REYxYIyJbZdRcpgdf9VZdKhQXUpcS-1ePMJB5Kmgq5jOMS0NgeMUiMeG5g0RKffgPKpOscQccMX5QyY__UNKr8k7vD9CHg5rbIDsxiRg2wIKameGKvGfxyU9sZ1zw/s1600/idle-hour-north-hollywood-discover-los-angeles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiErcja_Yp9tRo-5REYxYIyJbZdRcpgdf9VZdKhQXUpcS-1ePMJB5Kmgq5jOMS0NgeMUiMeG5g0RKffgPKpOscQccMX5QyY__UNKr8k7vD9CHg5rbIDsxiRg2wIKameGKvGfxyU9sZ1zw/s640/idle-hour-north-hollywood-discover-los-angeles.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photo courtesy Idle Hour</td></tr>
</tbody></table>
<br />
As the sun started to set and some weirdly ominous storm clouds rolled over the San Fernando Valley, the three of us ventured off to meet my friends for dinner, thoughts of engagement sated by my mother's clear (and convincing) dismissal of her involvement. During the 3 minute drive down the road to one of our favorite restaurants, the newly refurbished <b><a href="http://idlehourbar.com/" target="_blank">Idle Hour</a></b> (built in the 1940's and famously shaped like giant barrels), I gossiped with my mom and pointed out a house I desperately wished I had the money to buy, and all the fun fantasy talk that happens when you're adulting super hard.<br />
<br />
At the restaurant, I—naturally—attempted to micro-manage where we were going to sit. Outside was too cold... gotta sit inside this time. The hostess greeted us, and I mentioned we were waiting for a couple people.<br />
<br />
<i>"What are the names?"</i> she muttered.<br />
<br />
<i>"Shannon."</i><br />
<br />
<i>"Oh, we seated them in the back patio."</i><br />
<i><br /></i>
<i>"Shannon. My Shannon? She's here with a guy?"</i><br />
<br />
<i>"I think so,"</i> she nodded. <i>"They thought it was a bit cold outside, and a larger party in the Bulldog cancelled. They asked if they could sit in there, and we allowed it."</i><br />
<i><br /></i>
Okay, I thought. She's gotta be thinking of the wrong Shannon. Though that does sound very 'Shannon.'<br />
<br />
<i>"Okay,"</i> I said, <i>"but if it's not them, it's fine, we'll sit in the barrel."</i><br />
<i><br /></i>
SIDE NOTE: The back of Idle Hour, just outside the main barrel building, is a beautiful intimate patio with a towering tree in the middle, littered with lights. Very romantic, in and of itself. But further back, nestled in the back corner, is a building in the shape of a <i>giant pipe-smoking Bulldog</i>. If you've seen the movie <i>The Rocketeer</i>, you'd probably recognize him. This is the former, also refurbished, Bulldog Cafe, which now serves as a special event space at Idle Hour. This is where the hostess wanted to take us.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjN3L6RbCD_MbLJrPN53fKK65ukBckuxhXCUhY6qXBZEfGEUQ67G-zywokLAZLD6BAsi6Yfbus9lQfZqvL_n5n4IJmkaKmvkEL0bV8S1rZVvsXeqBIb6VGTCH9OnwVs3Aq-vRC1AjmvEo/s1600/bulldog-cafe-photo-credit-william-bradford.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjN3L6RbCD_MbLJrPN53fKK65ukBckuxhXCUhY6qXBZEfGEUQ67G-zywokLAZLD6BAsi6Yfbus9lQfZqvL_n5n4IJmkaKmvkEL0bV8S1rZVvsXeqBIb6VGTCH9OnwVs3Aq-vRC1AjmvEo/s640/bulldog-cafe-photo-credit-william-bradford.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photo by William Bradford</td></tr>
</tbody></table>
<br />
As obvious as it may have been, I literally had no idea what I was walking into.<br />
<br />
The hostess walked our small party through the courtyard, and in my head I was fully preparing myself to walk in on a group of complete strangers, apologize politely, and slowly back out of the room to go back inside the main restaurant to wait for my actual friends to arrive.<br />
<br />
Then she opened the door. And there were my friends. ALL OF THEM. Well, a lot of them. More than just Shannon and her boyfriend, Greg. They were there too. But so were seven others, and even more on a hastily set-up Hangouts Video Call in the middle of the table.<br />
<br />
My brain shut off, and I immediately started cursing, like you do. John, who had been oddly quiet yet calm up until this point, held onto my arms as everyone inside this weird room chuckled and smiled widely.<br />
<br />
Then John spoke, and my heart ballooned in size and tears welled up in my eyes. Partially because I was so mad at myself for being such a grouch earlier, but also because I couldn't believe he'd surprised me. That I didn't actually see this coming. The other thing that I didn't see coming was that, instead of speaking to me all the words that he wanted to say, John broke out into American Sign Language. A language, I should stress, <i>that he does not know</i>—but that I do. In the months leading up to this night, he had learned (with the help of one of my closest friends, Cassie) his entire speech to me using only his hands.<br />
<br />
I genuinely couldn't believe it. I still can't. This is easily the most romantic thing that's ever happened in my life, and John showed me just how well he knew me.<br />
<br />
As he signed, I cried, trying to keep track of his meaning through my scrunched eyes, hands covering my face. The world slipped away, until he began to speak again.<br />
<br />
And he knelt down. With a ring box clasped in his hands. <i>"Will you marry me?"</i><br />
<br />
<i>"Yes."</i><br />
<br />
The rest of the night feels like a blur, as the most beautiful ring I've ever seen was slipped onto my finger and I got to kiss John for the first time as my fiancee. My friends cheered. Strangers outside of the Bulldog applauded. And I fell into a world of champagne and tears and toothy grins that lasted long into the night...<br />
<br />
I wanted to write down this story because I don't ever want to forget it. A day full of so many emotions, expectations, surprises, devious plans, friendly secrets & lies, and so much love.<br />
<br />
I can't wait to spend the rest of my life with this incredibly generous, goofy man.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfxgVRs2yEBeq7OQa9LBTuk5caE0AC_WKODuDeu9rTc5hh0O05Hek9AbvDtQKeh7hTPUVwuWn87djvQ24UupLjQidSCDbu6MmmprtuRjvZ9GwIp1JRlRh3yMQbWF079_8lEOT9zAPpMXo/s1600/through-the-reels-engagement-story-3.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfxgVRs2yEBeq7OQa9LBTuk5caE0AC_WKODuDeu9rTc5hh0O05Hek9AbvDtQKeh7hTPUVwuWn87djvQ24UupLjQidSCDbu6MmmprtuRjvZ9GwIp1JRlRh3yMQbWF079_8lEOT9zAPpMXo/s640/through-the-reels-engagement-story-3.jpg" width="710" /></a>
<br />
<br />
xxAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-90543523636438633772016-10-06T11:44:00.002-07:002018-06-01T11:26:08.234-07:00AFI Top 100: #24 "E.T. the Extra-Terrestrial"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhaaJ4ke2URU-PaeY91Adsqd1Xo_wkhDuRCPpIe5jiaJmm7J09xcCWPis3_vJUOOlA2_4buGDXlhJpTDzIkLRkR65kC5HDk_rn1B-3hU47G77f3XulrHgEEIoRIKW0z-A7TAR1O9LVi0/s1600/024-AFI-Top-100-e-t-the-extra-terrestrial-movie-review-steven-spielberg-henry-thomas-drew-barrymore-1982-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhaaJ4ke2URU-PaeY91Adsqd1Xo_wkhDuRCPpIe5jiaJmm7J09xcCWPis3_vJUOOlA2_4buGDXlhJpTDzIkLRkR65kC5HDk_rn1B-3hU47G77f3XulrHgEEIoRIKW0z-A7TAR1O9LVi0/s640/024-AFI-Top-100-e-t-the-extra-terrestrial-movie-review-steven-spielberg-henry-thomas-drew-barrymore-1982-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henry Thomas and E.T. in <i>E.T the Extra-Terrestrial</i> (1982)</td></tr>
</tbody></table>
<br />
As behind as I've gotten on my <a href="http://throughthereels.blogspot.com/p/afi-top-100.html" target="_blank">AFI Top 100</a> reviews, I'm trying to find the fire to get my thoughts down on everything before they slip away, out of my brain forever (or at least until I see these flicks again). Because let's face it. The next 24 films really are some of the best of the best, and one viewing just isn't going to cut it. Still, a fair few haven't been watched since I popped them into my VHS player two decades ago—and that describes #24, <i><b><a href="http://www.imdb.com/title/tt0083866/" target="_blank">E.T. the Extra-Terrestrial</a></b></i>, to a T. Frequent viewings as a child led to an <i>"I've seen it a hundred times!"</i> reaction whenever anyone suggested it, culminating into too many years away from Elliott and his admittedly unsettling-looking alien friend, not to mention another of director <a href="http://www.imdb.com/name/nm0000229" target="_blank">Steven Spielberg</a>'s masterpieces.<br />
<br />
When a curious alien gets left behind on Earth after a quiet botany expedition, the gentle creature finds his way into suburbia and—more specifically—the backyard of an equally gentle boy named Elliott (<a href="http://www.imdb.com/name/nm0001794/" target="_blank">Henry Thomas</a>), who discovers the strange being late one night. Initially terrified, Elliott quickly befriends the alien, whom he names E.T., hiding it in his bedroom and enlisting his big brother, Michael (<a href="http://www.imdb.com/name/nm0534085/" target="_blank">Robert MacNaughton</a>) and little sister, Gertie (<a href="http://www.imdb.com/name/nm0000106/" target="_blank">Drew Barrymore</a>), to help him keep E.T.'s presence a secret from everyone, including their frazzled mom (<a href="http://www.imdb.com/name/nm0908914/" target="_blank">Dee Wallace</a>). As the siblings try desperately to learn more about where E.T. came from—and how to get him home—it starts to become clear that the small alien's connection to Elliott may run deeper than anyone could have predicted. It isn't until both spontaneously become sick that they learn the government is about to discover E.T.'s whereabouts, and it's up to them to protect their friend.<br />
<br />
When I was a kid, I never thought about the symbiosis between Elliott and E.T. Never. Maybe it didn't make sense to me, that the health and emotions of one depended on the other, because I was a little kid and empathy was a weirdly foreign concept. But it makes sense now, and the impact nearly crippled me when I watched these two discover that bond this time around. The montage of feelings—physical and emotional—that overwhelm Elliott as he sits in his classroom has the benefit of being both hysterical and unexpectedly traumatic. What an incredible way to play to the audience. Children and adults can get so many different things from a scene like that, and it only lasts 5 minutes. But more than anything else in the story up to that point, it greatly informs the rest of the film.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT1w2p9IXU6naMZO83ZPV4D8icWYKTSbT-GoVd_al-pVaO-xxEZ7XyGEtdUe-utMSngDRTh5TmMCkGcIxAxADmlY76oNWFINJ7imn730Riq0CjrLQ9POWxruMDoqO2knQ8hdFkez48ehs/s1600/024-AFI-Top-100-e-t-the-extra-terrestrial-movie-review-steven-spielberg-henry-thomas-drew-barrymore-1982-02.jpg"><img border="0" height="477" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT1w2p9IXU6naMZO83ZPV4D8icWYKTSbT-GoVd_al-pVaO-xxEZ7XyGEtdUe-utMSngDRTh5TmMCkGcIxAxADmlY76oNWFINJ7imn730Riq0CjrLQ9POWxruMDoqO2knQ8hdFkez48ehs/s640/024-AFI-Top-100-e-t-the-extra-terrestrial-movie-review-steven-spielberg-henry-thomas-drew-barrymore-1982-02.jpg" width="710" /></a>
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The discovery of Thomas for the role of Elliott may just have been a gift from the movie gods. The tears, the vulnerability, the empathy... most adults can't bring that kind of performance on command, but Thomas, after only a couple TV movie roles by 1982, already had the makings of a seasoned pro. Elliott is a complicated character--he's actually jarringly relatable. Any kid who had a favorite pet and a creative spirit growing up could understand his eagerness and his plight, which is why Thomas doesn't appear to be faking anything. Whatever he's giving us, it is real down to his bones. And thankfully, he didn't have to ride this emotional roller coaster alone. Sure, MacNaughton's Michael transforms into the supportive and protective big brother every little kid should have, but he's a far steadier, less developed role. Little sister Gertie was probably supposed to be similarly 2-dimensional—but then they cast Drew Barrymore.<br />
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This isn't an expose, so I have little interest in discussing the rise and fall and rise again of Barrymore. But here? There's little doubt about the way she commands the screen, her noticeable lisp making her cheeks just that much more pinchable, her eyes just that much bigger and brighter. She probably didn't even need to be good at the 'emotions' part, but instead of riding on her cuteness alone, her range of feels knocks us over. She isn't given the meaty material that her onscreen brother is, but what she <i>was</i> given, she slays.<br />
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Paired with probably my favorite <a href="http://www.imdb.com/name/nm0002354/" target="_blank">John Williams</a> <a href="https://www.youtube.com/watch?v=uGP2o8lBgV8" target="_blank">scores</a>, Spielberg's vision for a film meant exploring a world (sort of <i>Peanuts</i>-style) from the point-of-view of the children, shooting from Elliott and E.T's eye-levels for what felt like 90% of the movie. Adults were there, but somehow more other-worldy than the titular friendly alien himself. The secrecy and tension and fear of discovery dictate the editing pace, and as the outside world closes in around the kids, their once small and quiet lives take on new meaning and importance. And the world—or rather, universe—gets so much bigger.<br />
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I'm one of those people that likes being an adult. It's rare, actually, that I ever wish to be a kid again. I know so much more now. I knew so little then. But then I watch <i>E.T.</i> and I realize what it is that's missing. The best parts of childhood when the world still let kids hop on their bikes at 9 AM with the only rule being they return by sundown—or dinner, whichever came first. Movies can't be about this anymore, because the world isn't like this anymore. It's why the Netflix series <i><a href="http://www.imdb.com/title/tt4574334/" target="_blank">Stranger Things</a></i> grips at the nostalgia that <i>E.T.</i> and its counterparts invented (Dungeons & Dragons sequences aside). A treasured part of our lives as kids we'll never be able to reclaim, and that desperate hope we all had that our make-believe would become tangible and real.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTqV52-iGoLfUT1Uc_AqGzCcb__vvOQOCCfWT1S_U_3omg5i3mN2fTNSGP4RMVxEOHjIUVfOmXMENRChqjG8oHjZUFYoRw4zMZrpEZ2zLf86jaztVDOER1rcXQ2uF_0Vrtg3kSSpsa_yg/s1600/024-AFI-Top-100-e-t-the-extra-terrestrial-movie-review-steven-spielberg-henry-thomas-drew-barrymore-1982-03.jpg"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTqV52-iGoLfUT1Uc_AqGzCcb__vvOQOCCfWT1S_U_3omg5i3mN2fTNSGP4RMVxEOHjIUVfOmXMENRChqjG8oHjZUFYoRw4zMZrpEZ2zLf86jaztVDOER1rcXQ2uF_0Vrtg3kSSpsa_yg/s640/024-AFI-Top-100-e-t-the-extra-terrestrial-movie-review-steven-spielberg-henry-thomas-drew-barrymore-1982-03.jpg" width="710" /></a>
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<i>E.T. </i>is a strong movie etched out of a silly premise, one that could easily have been forgettable had it not been for the sheer magnitude of effort put forth by Spielberg and the young actors, particularly Henry Thomas. It's hard not to think about Steven Spielberg's affinity for working with children, not to mention crafting a magical tale for young audiences, in particular (which is what infuriates me most about the stunning failure of this year's <i><a href="http://throughthereels.blogspot.com/2016/07/movie-review-the-bfg-2016.html" target="_blank">The BFG</a></i>).<br />
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While there are directors who have created incredible, memorable films that root deeply into our childhoods (<a href="http://www.imdb.com/name/nm0001060/" target="_blank">Chris Columbus</a> comes to mind), there aren't many who do it with such unwavering confidence. This is cinema at its most hopeful—and magical.<br />
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<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★★★ / 5 stars<br />
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[<a href="https://www.youtube.com/watch?v=DSx8Jobx-Gs" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © Universal Pictures]</div>
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Check back next time for #23 on the list, <b><i><a href="http://throughthereels.blogspot.com/2018/06/afi-top-100-23-the-grapes-of-wrath.html">The Grapes of Wrath</a></i></b> — or better yet, have your own viewing party and <a href="http://throughthereels.blogspot.com/2014/11/5-ways-to-find-the-afi-top-100.html" target="_blank">watch along with us</a>!</div>
Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-5151851034449948992016-09-26T13:18:00.001-07:002016-09-26T13:18:45.764-07:00Music Mondays: Lady Gaga "Perfect Illusion"<iframe allowfullscreen="" frameborder="0" height="399" src="https://www.youtube.com/embed/Xn599R0ZBwg" width="710"></iframe><br />
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A return to <a href="http://throughthereels.blogspot.com/search/label/Music%20Mondays" target="_blank">Music Mondays</a> with a metal celebration from one of my all-time favorites. In what I would consider the most traditional music video she's ever made, <b><a href="http://www.ladygaga.com/" target="_blank">Lady Gaga</a></b> introduces us to the first single off of her forth-coming fifth studio album, <i><b>Joanne</b></i>, with frantic, dirty desperation. "Perfect Illusion" is a simple, heart-bursting metal anthem (co-produced by Mark Ronson) that has improved with every listen. No experimentation, no moody intros or breakthrough bridges... just a girl belting and dancing with everything she's got.<br />
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If this song is any indicator, <i>Joanne</i> (out Oct. 21) is going to be a return to Gaga's fine form (let's just pretend the majority of <i><a href="https://www.amazon.com/Artpop-Lady-Gaga/dp/B00EW9GQR6/" target="_blank">Artpop</a></i> didn't happen, okay?) Because I'm feeling the need for more Gaga music in my life. Happy Monday, all!<br />
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xx<br />
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<b>Artist:</b> Lady Gaga | <a href="https://play.spotify.com/album/4CMblRV3mMm1cMm8MoxVEA" target="_blank">stream</a><br />
<b>Song:</b> "Perfect Illusion" | <b><a href="https://www.amazon.com/Perfect-Illusion-Lady-Gaga/dp/B01LPBY8NW/" target="_blank">download</a></b> | <a href="https://play.spotify.com/album/4CMblRV3mMm1cMm8MoxVEA" target="_blank"><b>stream</b></a><br />
<b>Album:</b> <i>Joanne</i><br />
<b>Directed by:</b> Andrea Gelardin / Ruth HogbenAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-57197547788237116422016-08-15T17:22:00.002-07:002016-10-06T12:21:55.929-07:00AFI Top 100: #25 "To Kill a Mockingbird"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0A2DWAwtn0JdYmPcEar9V-64yA7im1tKLs7zCqb8gSu6CL54tgeLFBR6uAhq1DJfbUN_XYeZ6eb9UElXEcCiiosRzSI2oFfbOJqYoTtVKs3xhXxTb7J58I0KK8a6Y-fcHenvnHwyqQ4/s1600/025-AFI-Top-100-to-kill-a-mockingbird-movie-review-atticus-finch-scout-gregory-peck-mary-badham-brock-turner-harper-lee-1962-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0A2DWAwtn0JdYmPcEar9V-64yA7im1tKLs7zCqb8gSu6CL54tgeLFBR6uAhq1DJfbUN_XYeZ6eb9UElXEcCiiosRzSI2oFfbOJqYoTtVKs3xhXxTb7J58I0KK8a6Y-fcHenvnHwyqQ4/s640/025-AFI-Top-100-to-kill-a-mockingbird-movie-review-atticus-finch-scout-gregory-peck-mary-badham-brock-turner-harper-lee-1962-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gregory Peck & Mary Badham in <i>To Kill a Mockingbird</i> (1962)</td></tr>
</tbody></table>
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Was this blog's radio silence deafening to anyone other than me? Probably not, but as I crawl back into the blogging driver's seat, I admit I must get my barrings. A month away may be enough to shake off the cobwebs and shoo away the crickets, or could very well make me forget how to form a thought. Let's give this the ol' college try, shall we? Or for this one, should I say 'high school'? Because was there a high school freshman in America <i>not</i> required to read <a href="https://en.wikipedia.org/wiki/To_Kill_a_Mockingbird" target="_blank">this book</a> by <a href="https://en.wikipedia.org/wiki/Harper_Lee" target="_blank">Harper Lee</a>, feverishly digging through its themes with distracted desperation?<br />
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As we breach the last quarter of films on our AFI Top 100 countdown, it's almost surprising that we're already hitting the (too high?) #25 selection, <i style="font-weight: bold;"><a href="http://www.imdb.com/title/tt0056592/" target="_blank">To Kill a Mockingbird</a></i>. The poetically idealistic exploration of racial injustice in the Depression-era South isn't only for school consumption, and should be remembered by the masses for more than introducing us to America's Favorite Dad. Like its source, this film is a storybook, hazy and imbued with the memories of early childhood.<br />
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It's the summer of 1933, and our narrator Scout Finch remembers the time fondly, herself a young girl of six (played by <a href="http://www.imdb.com/name/nm0000825/" target="_blank">Mary Badham</a>). The Depression has hit the quiet, dusty town of Maycomb, Alabama, but watching Scout and her older brother, Jem (<a href="http://www.imdb.com/name/nm0019221/" target="_blank">Phillip Alford</a>), playing wistfully and without a care alongside their friend Dill (<a href="http://www.imdb.com/name/nm0576345/" target="_blank">John Megna</a>), you wouldn't know it. While Jem and Scout entertain Dill with scary stories about their reclusive neighbors, the Radleys, their father Atticus (<a href="http://www.imdb.com/name/nm0000060/" target="_blank">Gregory Peck</a>), a thoughtful widow and lawyer, becomes the subject of much anger when he agrees to defend Tom Robinson (<a href="http://www.imdb.com/name/nm0676349/" target="_blank">Brock Peters</a>), who has been falsely accused of rape. Over the next few years, as the charges fuel hatred and unmask the crippling racism ingrained in the white townspeople, Scout watches in wonder and reverence as Atticus fearlessly pursues justice for Tom during an emotional trial.<br />
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<a name='more'></a>When most people talk about <i>To Kill a Mockingbird</i>, they're apt to mention Gregory Peck's performance as Atticus Finch. Considered the #1 Film Hero by the American Film Institute, he is a character synonymous with goodness. He is the kind of father every little girl wanted and the kind of man she dreamt of finding once she'd grown. Peck's handsome looks weren't in competition with his competence as an actor, nor his ability to bring a poetic gravitas to the role of a lifetime.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCeMSWqXCUuHQInYT8HhsRBF1ptQPu9uVcQc7Qyszbgdlh6Z89ztumydPnnTjxabU04gwZ2nZ1r-5KIsaln4PKUGncEBja91eJyZy5-U4PWrQwrTlIAr91K_Oq_JKnPlw3OZzZY7NDv34/s1600/025-AFI-Top-100-to-kill-a-mockingbird-movie-review-atticus-finch-scout-gregory-peck-mary-badham-brock-turner-harper-lee-1962-02.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCeMSWqXCUuHQInYT8HhsRBF1ptQPu9uVcQc7Qyszbgdlh6Z89ztumydPnnTjxabU04gwZ2nZ1r-5KIsaln4PKUGncEBja91eJyZy5-U4PWrQwrTlIAr91K_Oq_JKnPlw3OZzZY7NDv34/s640/025-AFI-Top-100-to-kill-a-mockingbird-movie-review-atticus-finch-scout-gregory-peck-mary-badham-brock-turner-harper-lee-1962-02.jpg" width="710" /></a>
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Atticus' "perfection," as is clearly conveyed in <a href="http://www.imdb.com/name/nm0612322/" target="_blank">Robert Mulligan</a>'s film, is part of what makes the film so memorable—and so hotly debated. There is an argument often made that this story and its characters (Atticus in particular) lack a necessary level of complexity—something it aims to earn by establishing a strong moral message at its core, but struggles to assert when Atticus takes his noble stand in defense of an innocent man with nary a misstep or vulnerability in sight. But I wholeheartedly disagree. Namely because this is a story told through the rose-colored glasses of a child; or rather, a grown woman who looks back on her time as a child with wonder and, dare I say, simplicity. This never was our story to interpret, but rather Scout's to dissect—a way to look at one of the most memorable moments in her life, and discover how it shaped who she's become.<br />
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Whatever marring in Atticus' character that would come to pass as Scout's worldview broadened with age doesn't appear to touch these memories—and there is beauty and hope in our never being exposed to it, either. Badham owns this story, incorporating into Scout an earnest curiosity with the grating irritation of a child who is too observant and obstinate for their own good. She's given not only the best material, but she also has the most interactions with the adult cast beyond Peck. Alford as Jem gives a fair performance, despite his having significantly less to work with, from personality to dialogue, but he is a key component in the film's initial playfulness and eventual serious shift—though despite it all, even Jem is powerfully hazy through Scout's recollection.<br />
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The strongest performance the film offers is likely also the most irritating. The alleged victim of the crime, Mayella Violet Ewell, is played with infuriating commitment by <a href="http://www.imdb.com/name/nm0668110/" target="_blank">Collin Wilcox</a>, and in the film's climactic trial sequence, Mayella proceeds to stammer and stutter and convulse with indignation through her testimony of the assault. The film handles her testimony in brilliant yet troubling fashion. For the sake of the film, and our interest in finding the truth to acquit Tom Robinson, she sputters exactly what we hope she will. Confused misinformation stemming from obvious lies about a rape that clearly couldn't have happened. In the eyes of the story, this is perfectly done. But in the eyes of a more modern audience? There is an element of victim-blaming, making Mayella, an alleged rape victim, out to be a liar—a pit in my stomach knotted up with some serious trigger language that simply wouldn't quit.<br />
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But then we remember: some people are liars, and the reason they lie is the meat behind the story's themes. Mayella's a victim, all right, and her accusations are as misguided and uneducated as her circumstances would suggest they'd be. Watching Wilcox twist Mayella into the frightened mouse she becomes is nothing short of compelling, and while Wilcox could be accused of overacting here, Mayella's recount of the events earns every second the scenery chewing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIP1JuAjU1oYf_zx5AKjCG8WZC6290TAAY3fmb5VBgXpyjk_A8mk0wkmbXp0YYR5bdsmignHz2uK3kec0MTfdEPVpt4iIf7CUvtZREv5loFVmR5KWMCyID1vpgaqTI7DUN2QLItUkijSA/s1600/025-AFI-Top-100-to-kill-a-mockingbird-movie-review-atticus-finch-scout-gregory-peck-mary-badham-brock-turner-harper-lee-1962-03.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIP1JuAjU1oYf_zx5AKjCG8WZC6290TAAY3fmb5VBgXpyjk_A8mk0wkmbXp0YYR5bdsmignHz2uK3kec0MTfdEPVpt4iIf7CUvtZREv5loFVmR5KWMCyID1vpgaqTI7DUN2QLItUkijSA/s640/025-AFI-Top-100-to-kill-a-mockingbird-movie-review-atticus-finch-scout-gregory-peck-mary-badham-brock-turner-harper-lee-1962-03.jpg" width="710" /></a>
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I could acknowledge the faults in this film that others seem to find, but in the end, I couldn't disagree more that this story is too quaint or lacks dimension. In its very bones lies the affected memories of a young girl, conveniently missing important world events to focus on the trivialities of life, and more importantly, the people that had an impact—big and small.<br />
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All of my favorite part of a movie—characters and dialogue and music—come together here to tell an emotional story that is timeless despite its timely subject matter. That is nearly impossible to do, and we shouldn't ignore the accomplishment. The American Film Institute clearly hasn't.<br />
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<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★★½ / 5 stars<br />
<div style="text-align: justify;">
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[<a href="https://www.youtube.com/watch?v=FN7dbfT7Wiw" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © Universal International Pictures]</div>
<div style="text-align: justify;">
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Check back next time for #24 on the list, <b><i><a href="http://throughthereels.blogspot.com/2016/10/afi-top-100-24-et-the-extra-terrestrial.html" target="_blank">E.T. the Extra-Terrestrial</a></i></b> — or better yet, have your own viewing party and <a href="http://throughthereels.blogspot.com/2014/11/5-ways-to-find-the-afi-top-100.html" target="_blank">watch along with us</a>!</div>
Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com4tag:blogger.com,1999:blog-5496179881623787025.post-52240974892706565172016-07-14T16:14:00.001-07:002016-07-14T16:24:10.307-07:00Movie Review: "The Secret Life of Pets" (2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ZQCWXlNti1nUVv1aROHwY2C8oHLOOxgIkybDVKuuDQoS1pw2tIxnsExUm7OJDSP1GYbtiTJUTd_zzk0bCcqUUhf72nXbgzwlfDoRH4M8sBYs_cdVq5z1PanaVtBEv3OjGCddt8J_hEQ/s1600/the-secret-life-of-pets-movie-review-max-dog-louis-ck-chloe-cat-lake-bell-2016-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ZQCWXlNti1nUVv1aROHwY2C8oHLOOxgIkybDVKuuDQoS1pw2tIxnsExUm7OJDSP1GYbtiTJUTd_zzk0bCcqUUhf72nXbgzwlfDoRH4M8sBYs_cdVq5z1PanaVtBEv3OjGCddt8J_hEQ/s640/the-secret-life-of-pets-movie-review-max-dog-louis-ck-chloe-cat-lake-bell-2016-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© Universal Pictures</td></tr>
</tbody></table>
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You can't hold it against a movie studio for going after the low-hanging fruit. And there's nothing more low-hanging than pet videos. While there is a part of me that would have been happy had <a href="http://www.imdb.com/title/tt2709768/" target="_blank"><i><b>The Secret Life of Pets</b></i></a> been just a series of Vine-like vignettes—basically the <a href="https://www.youtube.com/user/ThePetCollective" target="_blank">Pet Collective</a> viral videos in animated form—for it to be touching in addition to funny, there had to be some plot thrown in the mix. But with that plot comes the hyper-awareness that none of this is breaking new ground, and that the incredible voice talent is what makes it all come together amid the constant peppering of animal jokes. And we start, as most animal love stories do, when Girl Meets Pup...<br />
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In the eyes of Max the Dog (<a href="http://www.imdb.com/name/nm0127373/" target="_blank">Louis C.K.</a>), he and his owner Katie (<a href="http://www.imdb.com/name/nm2608689/" target="_blank">Ellie Kemper</a>) have the perfect thing going living in Manhattan. That is until one day when Katie adopts a giant, unkempt pup named Duke (<a href="http://www.imdb.com/name/nm0832314/" target="_blank">Eric Stonestreet</a>), upending his spoiled life and special relationship with his human. Desperate to be rid of this unwanted intruder, Max cracks a plan to lose Duke during their walk while Katie is at work. But when they both separate from Max's group of friends at the dog park and get picked up by a the fuzz heading for the pound, they find themselves face-to-face with an angry white bunny named Snowball (<a href="http://www.imdb.com/name/nm0366389/" target="_blank">Kevin Hart</a>) and his band of abandoned rebel pets. After Snowball sabotages the truck, he rescues the pair with the caveat that they be new recruits in his battle against domestication and the human race. Meanwhile, Max's friends—particularly pup princess Gidget (<a href="http://www.imdb.com/name/nm2809577/" target="_blank">Jenny Slate</a>)—notice he's missing and go on a mission through the city to bring him home.<br />
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There's a reason this kind of content is human cat-nip. There's nothing that brings strangers closer together than talking about their beloved pets; or whether dogs are better than cats; or how bird people are weird... As a result, the movie leans real hard on the comedy pandering to that pet-owner instinct to cry out <i>"That is </i>so<i> [insert pet name here]."</i> And hey, I'm not judging, because I'm not immune. I did it, too, at least a dozen times. I own two cats and a Miniature Dachshund, and watching Buddy the Dachshund (<a href="http://www.imdb.com/name/nm2868110/" target="_blank">Hannibal Burress</a>) give himself a belly rub with a stand mixer left me bent over with the lolz. And don't even get me started on how bitchy and familiar Chloe the Fat Cat (<a href="http://www.imdb.com/name/nm1128572/" target="_blank">Lake Bell</a>) is.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhpDmZjPQzBuAjCgSxO-ZRiTX6WLuUA8hycTx1w-zHlj9Xw8pYyxABwT055PPPA1kZwmJ_sQ5j5M9DIYE6aBjjR3UURuTcZxrr-j6bdP3dkeMNNLuLQNb9TU971ZvqQeNZmGTK9LFgm0/s1600/the-secret-life-of-pets-movie-review-gidget-dog-jenny-slate-2016-02.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhpDmZjPQzBuAjCgSxO-ZRiTX6WLuUA8hycTx1w-zHlj9Xw8pYyxABwT055PPPA1kZwmJ_sQ5j5M9DIYE6aBjjR3UURuTcZxrr-j6bdP3dkeMNNLuLQNb9TU971ZvqQeNZmGTK9LFgm0/s640/the-secret-life-of-pets-movie-review-gidget-dog-jenny-slate-2016-02.jpg" width="710" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVF-AObDvxMj4pNrWTDkAjAlHOUmk7YV7gvhu70EMsfO4jiaqVwBdF-LzpmGIo_RzsW8pedi7rtwYWJFULuufdRtQn6nS_NzRUOyN1w7DJ_4SKXF9lYMXSqROA8JvFVwEkF9aAQitgX2c/s1600/the-secret-life-of-pets-movie-review-max-dog-louis-ck-duke-eric-stonestreet-snowball-rabbit-kevin-hart-2016-03.jpg"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVF-AObDvxMj4pNrWTDkAjAlHOUmk7YV7gvhu70EMsfO4jiaqVwBdF-LzpmGIo_RzsW8pedi7rtwYWJFULuufdRtQn6nS_NzRUOyN1w7DJ_4SKXF9lYMXSqROA8JvFVwEkF9aAQitgX2c/s640/the-secret-life-of-pets-movie-review-max-dog-louis-ck-duke-eric-stonestreet-snowball-rabbit-kevin-hart-2016-03.jpg" width="710" /></a>
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But that's kind of the problem with the movie, too, if you want to identify it as a "problem." The comedy never really grows any legs, and the jokes are a blunt but purposeful flash-in-the-pan. One bit about dogs delivery puppy-dog eyes begging for food is over and you're on to the next bit about cats always landing on their feet. And so on and so forth. In the end, there's something very obvious about it all.<br />
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Duke is a problem, and he never really stops being one. Sure, he's the Buzz and Max is the Woody in this scenario, but unlike <i><a href="http://throughthereels.blogspot.com/2014/07/afi-top-100-99-toy-story.html" target="_blank">Toy Story</a></i>, where their coming together leaves us elated that they did, by the end of <i>Pets</i>... we still kinda hope Duke will find another human. Oh, you didn't feel that way? Well maybe I'm a monster then! Despite the film working so hard to bring the two together through peril and strife, they remain as at odds as where they started. The hate and paranoia has simply diminished. Perhaps it's the absurdly unrealistic way that he is animated (no other animals in this world are as ridiculously exaggerated as Duke, except maybe dat viper up dere) or Stonestreet's 'blah' voice work, but he doesn't feel right in this story, regardless of the attempts to give him depth.<br />
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Inversely, aside from Louis C.K. proving he can literally do no wrong, Jenny Slate as Gidget is a pure delight, and she steals the film from the comedians surrounding her. Slate gives that fluffy nugget a voice reminiscent of <a href="http://www.imdb.com/name/nm0795723/" target="_blank">Patty Mayonnaise</a>, and we learn that Gidget is driven by a significantly more relatable motivation in her love for Max than any of the other supporting characters. Her fearlessness is both adorable and unexpected, and it offers some of the smarter comedic moments, particularly when she embarks on her adventure and makes friends with Tiberius the Hawk (<a href="http://www.imdb.com/name/nm0000983/" target="_blank">Albert Brooks</a>). That dynamic between the two of them has more going for it than most of the other triter moments with Duke or Snowball's 'funny at first but then you're over it' crime lord toughness.<br />
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While we're likely left wanting more, there is also a lot to love. I love my pets more than anything, and watching pets love their humans and humans love their pets is always going to get me. The opening sequence is worth the price of admission, as Taylor Swift's "Welcome to New York" rings through an opening montage that will turn you into a happy puddle. For most people, none of the rest is going to matter, because Max loves Katie and Katie loves Max. Anything else is just filler.<br />
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<u>Rating</u>: ★★★½ / 5 starsAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com4tag:blogger.com,1999:blog-5496179881623787025.post-35746897727162840082016-07-13T13:53:00.002-07:002016-08-19T16:36:51.835-07:00AFI Top 100: #26 "Mr. Smith Goes to Washington"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ektqmnrEhL_87s-6wdaaCr3YHIST9UmhrXm46kYBA_WNTeAJ818fIB_rpEoBgkKkuj_iNFJ6H8mxMTJ10D7d_vdler9EpOKjNMqODjiskH2yC5VJP3_6DolMX7V3m2M735AGwCxMp9E/s1600/026-AFI-Top-100-mr-smith-goes-to-washington-frank-capra-james-stewart-government-history-fillibuster-1939-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ektqmnrEhL_87s-6wdaaCr3YHIST9UmhrXm46kYBA_WNTeAJ818fIB_rpEoBgkKkuj_iNFJ6H8mxMTJ10D7d_vdler9EpOKjNMqODjiskH2yC5VJP3_6DolMX7V3m2M735AGwCxMp9E/s640/026-AFI-Top-100-mr-smith-goes-to-washington-frank-capra-james-stewart-government-history-fillibuster-1939-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Claude Rains & James Stewart in <i>Mr. Smith Goes to Washington</i> (1939)</td></tr>
</tbody></table>
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The recent <a href="http://www.politico.com/story/2016/06/sen-chris-murphy-starts-talking-filibuster-over-gun-control-224369" target="_blank">labored action in our Senate</a> (and later in the month, <a href="http://www.politico.com/story/2016/06/democrats-stage-sit-in-on-house-floor-to-force-gun-vote-224656" target="_blank">the House</a>) has reminded me just how moved I can be by the Democratic process. Idealism doesn't take you very far in this world (or so we're taught), and the older we get, we often lean towards thinking that's for the best. But something happens when you witness idealism shift from talk to action. <i><b><a href="http://www.imdb.com/title/tt0031679/" target="_blank">Mr. Smith Goes to Washington</a></b></i>, in all its questionably naive glory, represents that at its core. Director <a href="http://www.imdb.com/name/nm0001008" target="_blank">Frank Capra</a> is known for finding the heartstrings and giving them a solid pluck—sometimes harder and longer than any reasonable person would ask for—but it goes to show how emotionally invested we all can get, despite ourselves.<br />
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The film stars frequent Capra collaborator and all-around "good guy" <a href="http://www.imdb.com/name/nm0000071/" target="_blank">James Stewart</a> as Jefferson Smith, an idealistic young youth leader who finds himself with an unexpected United States Senate appointment after his controversial predecessor dies. Not knowing how in-over-his-head he is, Smith accepts his civic duty and turns to his late father's trusted friend, Senator Joseph Paine (<a href="http://www.imdb.com/name/nm0001647/" target="_blank">Claude Rains</a>), for mentorship. When Smith arrives in Washington D.C., he faces unrelenting resistance to his hopeful ideas, from members of the Senate to his politics-wise secretary, Clarissa Saunders (<a href="http://www.imdb.com/name/nm0000795/" target="_blank">Jean Arthur</a>).<br />
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Saunders takes it upon herself to wise-up the poor guy, rubbing the shine from his eyes by helping him write his first bill, one to create a government funded camp for Boys, and making sure he understands just how hard it's going to be. But as he pushes his plan forward, he is roadblocked by his friend, Senator Paine, who is under the thumb of James Taylor (<a href="http://www.imdb.com/name/nm0036427/" target="_blank">Edward Arnold</a>), a corrupt political boss, who aims to discredit Smith and everything he's worked for. Unwilling to compromise his values, Smith takes to the Senate floor in an attempt to save his reputation and weed out the corruption that surrounds him.<br />
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<a name='more'></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwwfApZWifPc8qsMJbcuu1usr1R64r2XQJEzZkxFnOIIHfrhXlFGGy689Oh5Ye7nCWn9zDx7oSefKPblu_1ARN46n1IvlyUiqnvfHGqsZjShViKfW8K8JPSBrnPCBGtYMTfJjcmYEz4A8/s1600/026-AFI-Top-100-mr-smith-goes-to-washington-frank-capra-james-stewart-government-history-fillibuster-1939-03.jpg"><img border="0" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwwfApZWifPc8qsMJbcuu1usr1R64r2XQJEzZkxFnOIIHfrhXlFGGy689Oh5Ye7nCWn9zDx7oSefKPblu_1ARN46n1IvlyUiqnvfHGqsZjShViKfW8K8JPSBrnPCBGtYMTfJjcmYEz4A8/s640/026-AFI-Top-100-mr-smith-goes-to-washington-frank-capra-james-stewart-government-history-fillibuster-1939-03.jpg" width="710" /></a><br />
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It's what I love and hate about politics, all rolled up into one film. While the acting from Jimmy Stewart and particularly Jean Arthur is about as dynamic as they get, and they have no problem driving the most impactful scenes, the movie isn't particularly layered in its characterizations. The corruption in politics was as tired a trope then as it is now, and much of the conflict feels more or less muffled by too many obvious hurdles. A Senator in the pocket of special interests? <i>No! Say it isn't so!</i> There is a lot gape-mouthed, stunned silences here, as Smith indignantly refuses to believe anyone could possibly do something bad.<br />
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That isn't to say he doesn't pull this off. I'd be hard-pressed to think that Stewart was any different in real life (and according to co-star Jean Arthur, his off-screen joy and optimism was equally as insufferable). As Smith, he's not only allowed to let his happy flag fly, he also gets to showcase how he deals with people hating him for it. There's something so honest about that here, as the world reveals itself to be a far uglier place than this sheltered young man ever imagined.<br />
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But while Smith is walking around in a glow-y haze for most of the movie's first half, Jean Arthur as Saunders embodies in attitude and voice exactly what we're thinking. She's not cruel, but she's no novice in this fast-paced world. She's intelligent and independent and street savvy, and like many of the other characters—and frankly, us—she doesn't have patience for someone with their head in the clouds. Without Arthur in this movie, it would have been absolutely unbearable. Having someone to counteract Stewart's drive to inspire was essential. She levels him out, brings him back down to Earth, and she brought the comedy, too, in a film with very little of it. Rarely do I see classic Hollywood actors pull off being comically drunk off their asses, and on more than one occasion, Arthur steals the show right out from underneath Stewart doing just that.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm6m57vcOksJLiu95S_JuB3co8Zgbi3BdPWUarDbQ9WXnxUdvWy3tzvemXS1aAj4BPsDkasgS82yFvIzeBglX7m9sqPGFcvtgH__vnLyj7yzU6AkNuIQHtXnVY8Knj-l4OJILKg3IfHe0/s1600/026-AFI-Top-100-mr-smith-goes-to-washington-frank-capra-james-stewart-government-history-fillibuster-1939-04.jpg"><img border="0" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm6m57vcOksJLiu95S_JuB3co8Zgbi3BdPWUarDbQ9WXnxUdvWy3tzvemXS1aAj4BPsDkasgS82yFvIzeBglX7m9sqPGFcvtgH__vnLyj7yzU6AkNuIQHtXnVY8Knj-l4OJILKg3IfHe0/s640/026-AFI-Top-100-mr-smith-goes-to-washington-frank-capra-james-stewart-government-history-fillibuster-1939-04.jpg" width="710" /></a>
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The film can be infuriating at times, and that's to its credit; it certainly tries to infuriate, because by the climax, there isn't anybody that you're not fed up with. Smith for being too naive and weak, frustrated in his attempt to grow a backbone, and Paine for being a lying, conniving traitor... they all deserve a good flick to the ears. The ending is also jarringly abrupt. In an <i>"Um, OK, I guess we're done?"</i> kind of way, which doesn't feel like it gives credence to the epic (and mostly successful) stand that Smith just took.<br />
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Despite all of that, though, it still inspires. Justice doesn't come easily, and it can come with a cost that is difficult to reconcile. It is an uphill battle, and we feel the slog by the end. And there are some hard truths. Smith is wide-eyed and hopeful, and our being annoyed by that fact is cause for some serious self-reflection. This one is a classic for a reason, and while some things don't stand the test of time, it's hard to watch this and not notice how some things, particularly in politics, never change.<br />
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<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★ / 5 stars<br />
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[<a href="https://www.youtube.com/watch?v=sm9qaEJ3MBc" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © Columbia Pictures]</div>
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Check back next time for #25 on the list, <b><i><a href="http://throughthereels.blogspot.com/2016/08/afi-top-100-25-to-kill-a-mockingbird.html" target="_blank">To Kill a Mockingbird</a></i></b> — or better yet, have your own viewing party and <a href="http://throughthereels.blogspot.com/2014/11/5-ways-to-find-the-afi-top-100.html" target="_blank">watch along with us</a>!</div>
Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-7661256989485100842016-07-12T16:32:00.002-07:002016-07-12T16:44:29.257-07:00Movie Review: "The Legend of Tarzan" (2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwMRqTk_m0WBBfZqntluWmTC3JNSL7PSBwbHS4iJEUwqPODfwuoM6THrx0M_EgEmRmsCkz0v5_XdLbF3MKOyCy50KmifV6LVnyecpFlZ2rZy3h7eU7_DXsnXle6OBTL7jhyphenhyphenEMdD2Oe5nY/s1600/the-legend-of-tarzan-movie-review-alexander-skarsgard-margot-robbie-samuel-l-jackson-christoph-waltz-2016-01.jpg"><img border="0" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwMRqTk_m0WBBfZqntluWmTC3JNSL7PSBwbHS4iJEUwqPODfwuoM6THrx0M_EgEmRmsCkz0v5_XdLbF3MKOyCy50KmifV6LVnyecpFlZ2rZy3h7eU7_DXsnXle6OBTL7jhyphenhyphenEMdD2Oe5nY/s640/the-legend-of-tarzan-movie-review-alexander-skarsgard-margot-robbie-samuel-l-jackson-christoph-waltz-2016-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© Warner Brothers</td></tr>
</tbody></table>
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The most appropriate sequel to a film that was never made. Then I remember that, of course it was, like a hundred times. With that, a true origin for this new Tarzan wasn't necessary, because what? Were you born under a rock? Yet something else happened, in this world of Zach Snyders and J.J. Abrams'... We weren't forced to endure some unnecessary, offensive re-imagining that made these beloved turn-of-the-century characters unrecognizable. Rather, <i><b><a href="http://www.imdb.com/title/tt0918940/" target="_blank">The Legend of Tarzan</a></b></i> from director <a href="http://www.imdb.com/name/nm0946734/" target="_blank">David Yates</a> (of the <i>Harry Potter</i> series' later films) is as straight-forward and clean a telling as you could imagine. On top of that? It is rife with pearl-clutching romance. And I couldn't disagree more with the critics about this one.<br />
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John Clayton III (<a href="http://www.imdb.com/name/nm0002907/" target="_blank">Alexander Skarsgård</a>) has been living in peace in Victorian England with his wife, Jane (<a href="http://www.imdb.com/name/nm3053338/" target="_blank">Margot Robbie</a>), for the past ten years, having left behind his life in Africa, where he was known by another name: Tarzan. When King Leopold of Belgium's control of the mineral-rich Congo is threatened, he sends his malicious envoy, Leon Rom (<a href="http://www.imdb.com/name/nm0910607/" target="_blank">Christoph Waltz</a>), to gain access to a mountain full of diamonds controlled by a vengeful Chief (<a href="http://www.imdb.com/name/nm0005023/" target="_blank">Djimon Hounsou</a>)—and Rom's passage can only be paid by delivering Tarzan, the King of the Apes, to the tribe. Unaware of this plot, John travels with Jane and an American soldier, George Washington Williams (<a href="http://www.imdb.com/name/nm0000168/" target="_blank">Samuel L. Jackson</a>), to the Congo in search of evidence that local men are being unjustly enslaved—but when Jane's life is threatened, John must shed his lordly visage and embrace the animal inside that he'd tried so desperately to suppress.<br />
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The plot is uncomplicated and the motivations are crystal clear. Everyone has their own agendas, but nothing keeps the story from moving forward. This is an action/adventure cinema lesson in <i>not</i> getting sidetracked. Rather than "starting at the beginning," the film begins long after the origins of Tarzan, only giving us tastes of his upbringing among the animals sprinkled strategically throughout the film. John's introduction as a Lord is contradictory to our expectations, and it allows for an exciting build to his transformation back into Tarzan of the jungle. He is a man in control, but he is also driven by instinct, and the combination is unnerving to watch. At one point, Rom speaks with unexpected honesty to Jane, <i>"Your husband's wildness disturbs me more than I can easily express."</i> There is fear in him, but also jealousy, and even more subtly, arousal; it's a kind of envy he can't quite understand, but we understand it. Watching John become Tarzan is thrilling, in more ways than one. And Leon Rom feels it, too.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcLMcZ1KTVHjnWCYGLb_I5LIOu261YzqEx3BfVqbC4PSShu7rME2v597Ij0WV_kSR0dk4Z9EslRxjlS1S-NJLZpz8skThraqkYHYO4NGP05Rx_MoSWIIG2v3Ra9iPj_wl2EcWAJh-rMdc/s1600/the-legend-of-tarzan-movie-review-alexander-skarsgard-margot-robbie-samuel-l-jackson-christoph-waltz-2016-02.jpg"><img border="0" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcLMcZ1KTVHjnWCYGLb_I5LIOu261YzqEx3BfVqbC4PSShu7rME2v597Ij0WV_kSR0dk4Z9EslRxjlS1S-NJLZpz8skThraqkYHYO4NGP05Rx_MoSWIIG2v3Ra9iPj_wl2EcWAJh-rMdc/s640/the-legend-of-tarzan-movie-review-alexander-skarsgard-margot-robbie-samuel-l-jackson-christoph-waltz-2016-02.jpg" width="710" /></a>
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Skarsgård may have been an uninspired choice for the role of Tarzan, but it was without question the right one. It isn't a stretch for him, considering the years he spent on "<a href="http://www.imdb.com/title/tt0844441/" target="_blank">True Blood</a>" sniffing out blood like a sexy animal beast. But those are his obvious, out-of-the-box strengths. As Tarzan, his weaknesses also wind up landing in the 'plus' column. The underlying Swedish accent, normally a hurdle for him to overcome, adds to the slightly awkward spoken English that you'd expect someone raised by apes to develop.<br />
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On the other side, Margot Robbie's American English is never quite right, but her classic beauty is reminiscent of Old Hollywood—she's confident and strong, but perversely aware of her vulnerability in this aggressive world. She relies on Tarzan, which may not feel all that progressive, but for a movie like this with characters like these, it shouldn't. Visually and emotionally, she's complete perfection as Jane. And together, they'll give anyone the vapors.<br />
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In true summer movie fashion, the action is also impressive. It's simultaneously consistent and varied— the topography changes may have been occasionally dizzying, but the cinematography was soaring, though like many films intended for 3D, there are obvious trick-shots that are lost on 2D audiences, and even borderline silly. The supporting cast was wonderful, albeit lacking in dimension (Hounsou is never bad, but he wasn't given much here). Even with all the familiar faces, it didn't feel like desperate stunt casting. This is the movie that <i><a href="http://throughthereels.blogspot.com/2016/05/movie-review-the-jungle-book-2016.html" target="_blank">The Jungle Book</a></i> failed miserably to be. The cherry on top, the piece that tied the entire epic together, was the score by <a href="http://www.imdb.com/name/nm0340003/" target="_blank">Rupert Gregson-Williams</a>, particularly is sequences featuring vocals by <a href="https://twitter.com/Zoe_Mthiyane" target="_blank">Zoe Mthiyane</a>. Parts of the composition were <i><a href="https://www.youtube.com/watch?v=ijJUSssk2b8" target="_blank">Gladiator</a></i> good. From me, there isn't much higher praise.<br />
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Personally, I think that Yates' <i>Tarzan</i> screams for repeat viewings. I enjoyed it in the way that I did 1999's <i><a href="http://www.imdb.com/title/tt0120616/" target="_blank">The Mummy</a></i>, where something just keeps drawing me back. There are excusable imperfections that do nothing to inhibit the enjoyability of the movie overall. Even with the occasionally weak dialogue or rough CGI, the performances are strong and the sexual tension is exhilarating—it's simply a bonus that the story is familiar enough to avoid the weight of loaded exposition, allowing a more mature (though simple) plot to flesh itself out. A summer feast for the eyes and ears, just let the spirit of the jungle wash over you and enjoy the rest.<br />
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<u>Rating</u>: ★★★★ / 5 starsAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-54311641180668057632016-07-11T15:26:00.002-07:002016-07-11T15:51:07.609-07:00Music Mondays: Hozier "Better Love"<iframe allowfullscreen="" frameborder="0" height="399" src="https://www.youtube.com/embed/Wm4CrOfbHMI" width="710"></iframe><br />
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This weekend, I saw <i><a href="http://www.imdb.com/title/tt0918940/" target="_blank">The Legend of Tarzan</a></i>, and while I'm still writing out my thoughts (spoiler: I liked it—a <i>lot</i>), this seemed too appropriate not to share for Music Mondays. During the final credits, I couldn't help but perk up when I heard the romantic crooning of <a href="http://hozier.com/" target="_blank"><b>Hozier</b></a>. "Better Love," Hozier's sweetly soaring ballad, was the perfect cap-off of a purely summer spectacle jam-packed with all kinds of sexy chemistry.<br />
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While the movie may not be to everyone's tastes, this song should be far less contentious. Can Hozier write a song for every movie from now on? That'd be great, kthx.<br />
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<b>Artist:</b> <a href="http://hozier.com/" target="_blank">Hozier</a><br />
<b>Song:</b> "Better Love"<br />
<b>Album: </b><a href="https://www.amazon.com/Legend-Tarzan-Original-Picture-Soundtrack/dp/B01H4G91FM/" target="_blank"><i>The Legend of Tarzan</i>: Original Motion Picture Soundtrack</a>Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-15529697865133906272016-07-07T17:36:00.003-07:002016-07-10T01:20:41.840-07:00Movie Review: "The BFG" (2016)<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtFmRkuuy9DjZNCTo8SC9FfYKTSti3p8kese2UeYibkQGqIXiCHryxVPo_uExqphtW-868P6dQu1He9bA5wiLUN01eGnHCoUS-q1XL0NM_uAdSDYw59KkDz6eQugPtz9dveUE6noWxdhM/s1600/the-bfg-movie-review-steven-spielberg-ruby-barnhill-mark-rylance-roald-dahl-2016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtFmRkuuy9DjZNCTo8SC9FfYKTSti3p8kese2UeYibkQGqIXiCHryxVPo_uExqphtW-868P6dQu1He9bA5wiLUN01eGnHCoUS-q1XL0NM_uAdSDYw59KkDz6eQugPtz9dveUE6noWxdhM/s640/the-bfg-movie-review-steven-spielberg-ruby-barnhill-mark-rylance-roald-dahl-2016.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© Walt Disney Pictures</td></tr>
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I'm going to try to keep this one [kinda] short. For me. I know, alert the media. The reason being is that I feel bad about hating this movie so, so much. It is, after all, for children, directed by one of the greatest directors of all time, adapted from a <a href="https://en.wikipedia.org/wiki/The_BFG" target="_blank">book</a> by one of the most adored authors ever, and the trailer made me tear up without fail. All the ingredients were there, and yet this new version of <i><b><a href="http://www.imdb.com/title/tt3691740/" target="_blank">The BFG</a></b></i> was unexpected, insufferable garbage. Worst of all? It was so <i>boring</i>.<br />
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You know the story. Ten-year-old Sophie (<a href="http://www.imdb.com/name/nm6982717/" target="_blank">Ruby Barnhill</a>) may be a dreamer and a reader, but she's also considered a bit of a stubborn troublemaker at the orphanage where she lives. As all wild spirits are wont to do, Sophie is happiest wandering the halls playfully late a night alone—that is until one night when she spots, out by a lamp post on the street, a Giant (<a href="http://www.imdb.com/name/nm0753314/" target="_blank">Mark Rylance</a>). He, naturally, spots her, too. Fearing she'll reveal his existence to the world, he snatches her up and whisks her away to Giant Country, where he's made his long-time home in the bowels of a hillside.<br />
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When Sophie notices that this frightening 24-foot creature isn't all that frightening at all, he reveals himself as the Big Friendly Giant and a curious friendship blossoms. But this real-life dream catcher isn't alone in this world, and the other, larger giants certainly aren't as friendly. Instead, they're human being eating machines, and it's up to Sophie to convince the BFG that only he can save the children of London from being snatched from their beds by revealing the existence of giants to the world. Easier said than done.<br />
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The story isn't the problem. In fact, keeping most of the original story intact is all director <a href="http://www.imdb.com/name/nm0000229/" target="_blank">Steven Spielberg</a> (but mostly writer <a href="http://www.imdb.com/name/nm0558953/" target="_blank">Melissa Mathison</a>) does right. As the story develops in this cinematic version, however, it becomes immediately clear that we're in for quite a slog. Introductions are what they are, and Sophie and BFG get there quickly, but Spielberg then spends a significant amount of time bouncing pointlessly around throughout BFG's home and world and work and thoughts and dreams... without ever really revealing much.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi62JQ-pH3UHvrbStexKoxjUMg-FPJ0l0g3sN3v19RCSmrGlwz06ohA5gfQtSlyrGX0FPNpFSV_EXQMXGjvphGkOaJOzQCSW10v4eB4gIWYxW4Tip-tW8RaMy3Xct3Z_aF9XLzjWgZ8xq0/s1600/the-bfg-movie-review-steven-spielberg-ruby-barnhill-mark-rylance-roald-dahl-2016-02.jpg"><img border="0" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi62JQ-pH3UHvrbStexKoxjUMg-FPJ0l0g3sN3v19RCSmrGlwz06ohA5gfQtSlyrGX0FPNpFSV_EXQMXGjvphGkOaJOzQCSW10v4eB4gIWYxW4Tip-tW8RaMy3Xct3Z_aF9XLzjWgZ8xq0/s640/the-bfg-movie-review-steven-spielberg-ruby-barnhill-mark-rylance-roald-dahl-2016-02.jpg" width="710" /></a>
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The same scenes and conversations continue to happen, from the back and forths to London to the bone-crunching "evil" giants continuously bumbling their way in and out of the action. <i>Smell a human, Look for it, Find Nothing. Smell a human, Look for it, Find Nothing</i>.... rinse and repeat. Some scenes last an inexplicably long time (re: that bloody awful breakfast scene at Buckingham Palace) and contain really stupid moments that we're forced to endure unnecessarily, while other more important moments (the final battle of the giants) are over in a flash. How could you be expected to focus on the meaningful connection between Sophie and BFG in a film so poorly constructed?<br />
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Author <a href="https://en.wikipedia.org/wiki/Roald_Dahl" target="_blank">Roald Dahl</a> is known for playing around with tone, not to mention language and theme. He was a master at experimenting with the unsettling nature of childhood and magic—but Spielberg had no idea how to handle one of Dahl's most famous stories. That's what infuriated me, because he should have. This is the guy that brought E.T. to life! How could he so drastically miss the mark with basically the CGI equivalent of <i>E.T.</i> meets <u>Peter Pan</u>? He simply tries so hard to be important, to pay the necessary credence to the story, that the movie inflates with its own sense of stunted self-awe—and then bursts like a balloon.<br />
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Small pieces of the film were beautiful, like the way the dreams themselves were animated, almost tangible and so emotionally affecting. But anything enjoyable (including the adorable Ruby Barnhill) was overshadowed by the messy tone of the terror mixed with slapstick, that it took everything in my power to not furrow my brow and scowl at the whole thing. Had I expected less, perhaps I wouldn't have viewed it so harshly. But as <a href="http://www.rogerebert.com/" target="_blank">Roger Ebert</a> might say, <i>I hated hated hated this movie.</i><br />
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Hey, turns out this wasn't so short after all. Oh well.<br />
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Rating: ★½ / 5 starsAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-27945733042884895282016-07-07T16:15:00.000-07:002016-07-07T16:21:05.719-07:00Movie Review: "Swiss Army Man" (2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBlyfYZE7XUpltPnd3ngUOuU1sY3ZqjORjXWTk8nac-coJ0DC8QZN3Vs1rSHb5MfpLP4nsVq_qxkwZUhA3cRZSsNjtyu_1T1lLDr5dEybW_gQx0uqtPW_xUhazOvXVKGI0wDmcyP-vGAA/s1600/swiss-army-man-movie-review-the-daniels-daniel-radcliffe-paul-dano-dead-body-fart-2016-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBlyfYZE7XUpltPnd3ngUOuU1sY3ZqjORjXWTk8nac-coJ0DC8QZN3Vs1rSHb5MfpLP4nsVq_qxkwZUhA3cRZSsNjtyu_1T1lLDr5dEybW_gQx0uqtPW_xUhazOvXVKGI0wDmcyP-vGAA/s640/swiss-army-man-movie-review-the-daniels-daniel-radcliffe-paul-dano-dead-body-fart-2016-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© A24</td></tr>
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If ever there was a time in your life that you said to yourself, <i>"I wish I could watch Harry Potter's lifeless body regurgitate fresh drinking water like a spigot to save a man's life,"</i> then this is the movie for you. You may also need to seek some help. <i><b><a href="http://www.imdb.com/title/tt4034354/" target="_blank">Swiss Army Man</a></b></i> is undoubtedly the curious byproduct of <i><a href="http://www.imdb.com/title/tt0162222/" target="_blank">Cast Away</a></i> and <i><a href="http://www.imdb.com/title/tt0098627/" target="_blank">Weekend at Bernie's</a></i> having a weird love triad with Daniel Quinn's <u><a href="https://en.wikipedia.org/wiki/Ishmael_(novel)" target="_blank">Ishmael</a></u>—if all of them shared a curious fetish for whoopie cushions. Directors <a href="http://www.imdb.com/name/nm3215397/" target="_blank">Daniel Scheinert</a> and <a href="http://www.imdb.com/name/nm3453283/" target="_blank">Dan Kwan</a> (so many Daniels in this) have a sick and exhilarating sense of humor, and what makes their vision here so special is that it's not for nothing. Moreover, it's not expected summer fare; a movie that makes you think, and feel, and tear up through your laughs. The comedy is an avenue for the philosophical, and vice versa, as we witness the life-reviving effects of love, and the debilitating fear of living, through the eyes of two dudes trying to figure it all out. With flaming farts.<br />
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Hank (<a href="http://www.imdb.com/name/nm0200452/" target="_blank">Paul Dano</a>) has been stranded on a desert island, and he's—quite literally—at the end of his rope. Right before ending it all, he finds a gurgling corpse (<a href="http://www.imdb.com/name/nm0705356/" target="_blank">Daniel Radcliffe</a>) has washed ashore his beach, and its mere presence gives Hank the inspiration to plan his escape from imminent death. That, and the fact that the corpse's continuous flatulence holds the power to motoring the two of them straight through the crashing waves. As Hank dead-lifts his new friend (pun intended) through the forest in search of help, something happens: the corpse, who we learn goes by Manny, starts to move. And talk; and think; and display plenty of other mysterious abilities. As Manny's water-logged mind develops, his child-like questions about life and love prompt Hank to reexamine his own existence, and the two discover through one another a joy and reverence for life.<br />
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There are more than a few moments that really need to remain secrets. This isn't a heavy "reveal" movie with loads of gasping <i>Oh my god</i>s or <i>Whaaaaat??</i>s... Rather, the development of this friendship, along with Manny's inquisitive hopefulness, worry, and imagination, create a magnificent and touching story that simply needs to be experienced. That being said, it's also littered with truly disturbing imagery as Manny the corpse is basically abused and mutilated, but that's all tampered with soaring music by <a href="http://www.imdb.com/name/nm7874447/" target="_blank">Andy Hull</a> and <a href="http://www.imdb.com/name/nm7883542/" target="_blank">Robert McDowell</a>, not to mention the fact that the corpse itself doesn't really mind. None of the jarring shots of impalements, guttings, or bone crackings last longer than a quick edit, which is a true testament to the sharply carved out structure and pacing. You can honestly get away with anything if you commit to the rules up front.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVEfc2AbfQTOaC0hUj98XcSyzaJCkh0GMlXWBfa-OqQXXjoa5XVElheLPvW0U8CF2dv_QJzpVmqI8yuCt7Ey3S6TM-6MYZREqRPIhUBw-TBtxCTcrOLO6evKN5fvAdlF0eDAx-OHOC7WE/s1600/swiss-army-man-movie-review-the-daniels-daniel-radcliffe-paul-dano-dead-body-fart-2016-02.jpg"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVEfc2AbfQTOaC0hUj98XcSyzaJCkh0GMlXWBfa-OqQXXjoa5XVElheLPvW0U8CF2dv_QJzpVmqI8yuCt7Ey3S6TM-6MYZREqRPIhUBw-TBtxCTcrOLO6evKN5fvAdlF0eDAx-OHOC7WE/s640/swiss-army-man-movie-review-the-daniels-daniel-radcliffe-paul-dano-dead-body-fart-2016-02.jpg" style="cursor: move;" width="710" /></a>
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This is Daniel Radcliffe's best role (on screen) to date. It's well known how cool and laid back a guy he is, and so it's no wonder he fell into this role so perfectly. Physically, he contorts and pushes his body in ways that I'd normally be totally unsettled by (when his convincing <a href="http://www.indiewire.com/wp-content/uploads/2016/06/danielradcliffe.png?w=780" target="_blank">body double</a> isn't in the shot), but like the abuse he goes through at the hands of Hank, none of the horror ever really breeches through. Radcliffe is simply too wide-eyed and bushy-tailed to make it anything other than uplifting. Likewise, Dano was right at home in this quirky, mentally unstable world. His performance didn't surprise me the way that Radcliffe's did, but it was equally as commanding, and for much of the film, it's Hank's personality and creativeness that make this such a triumph.<br />
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I hesitate to say too much, because I genuinely think this movie has a little bit for everybody, even those who turn their nose up at the hoity-toity indie stuff. <i>Swiss Army Man</i> is a happy marriage between high- and low-brow—without much in between. In the end, we're left with an appropriately ambiguous and sentimental buddy adventure that is also a study in societal behaviors, albeit through an absurd lens. And while there are twinges of existential sadness, you're never far away from a punchline. Usually one with a fart.<br />
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<u>Rating</u>: ★★★★½ / 5 stars<br />
<br />Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-51780293722985157872016-07-05T17:00:00.002-07:002016-07-05T17:00:10.966-07:00Movie Review: "Independence Day Resurgence" (2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd2y6ybj_x6tInV4TP83knZLP3f3KC8MVzcFIOjIuLLEIKlVEEBVifPiKeUijrRM_zjkp5yOX5vpIcI07CxOJuVlePzr6srpij8TGY5j14LixNHdEggtqYECJ3iZiN_fTweJdbUHEvyOo/s1600/independence-day-resurgence-roland-emmerich-jeff-goldblum-liam-hemsworth-bill-pullman-2016-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd2y6ybj_x6tInV4TP83knZLP3f3KC8MVzcFIOjIuLLEIKlVEEBVifPiKeUijrRM_zjkp5yOX5vpIcI07CxOJuVlePzr6srpij8TGY5j14LixNHdEggtqYECJ3iZiN_fTweJdbUHEvyOo/s640/independence-day-resurgence-roland-emmerich-jeff-goldblum-liam-hemsworth-bill-pullman-2016-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© 20th Century Fox</td></tr>
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The instinct to make a sequel for one of Hollywood's <a href="http://www.imdb.com/title/tt0116629/" target="_blank">greatest patriotic anthems</a> was not misguided. I mean, you have to give 20th Century Fox some credit for waiting this long. It's that <i>wait</i>, 20 long years, that gave me hope. They wouldn't greenlight something after so many years if it wasn't totally amazeballs, right? <i>Right??</i> In my mind, there was no way <i><b><a href="http://www.imdb.com/title/tt1628841/" target="_blank">Independence Day Resurgence</a></b></i> wasn't going to be a good time—the BEST time, in point of fact—and even the cheesiest of dialogue couldn't stomp out that hope. Unfortunately, the inclusion of (one would think) fool-proof throw backs to <i>ID1</i> gutted this movie of any value as director <a href="http://www.imdb.com/name/nm0000386" target="_blank">Roland Emmerich</a> infused the nostalgia of his nineties masterpiece into the drawl and tedious explosion exploitation of <i>2012</i>—and we're left with a limp, quip-less action parody that was too afraid to be its own thing.<br />
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It's been 20 years since Earth was invaded by an unknown and advanced extra-terrestrial race, leading to a battle between alien and man that ended in a victory for Earth—and the hope that the aliens would never return. But when satellite engineer David Levinson (<a href="http://www.imdb.com/name/nm0000156/" target="_blank">Jeff Goldblum</a>) is once again called to investigate the appearance of a mysterious space craft heading for our planet, he reluctantly enlists the help of global scientists and a group of young fighter pilots, including Jake Morrison <a href="http://www.imdb.com/name/nm2955013/" target="_blank">(Liam Hemsworth</a>, who sadly gets top billing) and Dylan Hiller (<a href="http://www.imdb.com/name/nm1900772/" target="_blank">Jessie T. Usher</a>, who is far too dull to be in this), to discover a means to protect themselves against a new—and stronger—invasion. As the heroes of the first wave of attacks come to terms with the questions they never sought to answer, it may lie with the younger generation to use the alien technology they've grown up with to take down this enemy once and for all.<br />
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Phew! That was a description full of cliches. It seems fit, though. The film's opening 20 minutes started strong. A solid first act is hard to come by, but the story's opening is basically running on fumes from 1996. But hey, there was potential, and you could feel it in the build-up. Then, as the fumes ran out (maybe I should have seen this coming?), it just started shitting all over itself with unoriginal CGI, overblown death sequences, and strong-armed character reminiscing that suffocated any hope of a memorable, cohesive story. Jeff Goldblum is still his Goldblum-y self, and you'll love him for it, despite his being forced into ridiculous scenes with characters blustering through their decades-long PTSD. <a href="http://www.imdb.com/name/nm0000597/" target="_blank">Bill Pullman</a> as President Whitmore is aptly more grizzly and crazy this time around, but he isn't given the heart-stirring writing of the first film that appropriately covered up his so-so acting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy8VC4xY6Xk8E17g_BXuGZq15svR9HEd8truWzV__ECHZ6Y3j_T5NiUZ2V1T-hUaqfy9vyJFdHnoUf6reTO0WquFI0i0nub68OsIa85nyp82ErpcNieFxxzzuZWOwuIxLM5hwMTuQJEWk/s1600/independence-day-resurgence-roland-emmerich-jeff-goldblum-liam-hemsworth-bill-pullman-2016-03.jpg"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy8VC4xY6Xk8E17g_BXuGZq15svR9HEd8truWzV__ECHZ6Y3j_T5NiUZ2V1T-hUaqfy9vyJFdHnoUf6reTO0WquFI0i0nub68OsIa85nyp82ErpcNieFxxzzuZWOwuIxLM5hwMTuQJEWk/s640/independence-day-resurgence-roland-emmerich-jeff-goldblum-liam-hemsworth-bill-pullman-2016-03.jpg" width="710" /></a>
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The use of alien technology should have been the most exciting, creative, easy to incorporate part of the story—what better way to waste 20 minutes than to showcase all the cool junk the aliens left on our planet, and what we did with it? But that doesn't happen. Everybody is so <i>over it</i> by this point, we don't even get to be in on the excitement of discovery and innovation. It's that discovery that makes the original so damn entertaining. Instead, <i>Resurgence </i>drops in a bunch of new ideas that are more existential than it's actual themes are capable of handling, like other alien races and a planet full of galactic refugees, except that is all so slapdash that you could miss it with a 2 minute bathroom break. Considering they were <i>thisclose</i> to simply regurgitating the same old story, the attempts to be "different" are just embarrassing.<br />
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For nearly two hours, we're forced to be surrounded by kids who are still carrying around their petty grudges, like one of them got left out of the capture the flag game at overnight camp that time and still won't stop talking about it. With the exception of Hemsworth, every single one of them lacks even an iota of charisma—something we likely could have overlooked had the movie not bludgeoned us with reminders that these people are the offspring of far more charismatic and memorable people. The sad truth is that I'd have easily awarded the movie a star (or two!) if they'd cast original Patricia Whitmore, <a href="http://www.imdb.com/name/nm0926165/" target="_blank">Mae Whitman</a>, rather than the lack-luster but arguably "hotter" <a href="http://www.imdb.com/name/nm2140860/" target="_blank">Maika Monroe</a>. For shame, Fox. Opportunity missed.<br />
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The studio's fear of creating new characters—ones that were separated emotionally, mentally, and physically from our favorites in the original—is evident. Emmerich had zero confidence that audiences would stick with the story if they weren't bombarded by memories and nostalgia, not to mention the same old jokes, and it makes for exhausting, obnoxious movie-going that, worst of all, isn't very fun. <i>Hey guys, remember how Will Smith was a witty, fearless pilot and loved punching aliens?!? Well his son does sorta the same stuff but not really, but look it's his son, you're not looking!</i><br />
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Yeah no, movie. We got it.<br />
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<u>Rating</u>: ★★ / 5 stars<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw9XS8IM3m0R3tmVIRCDkJ1o9W5GPjQGzQPvn8RnBNE_-dPeHPdwnaxZi0jwyXVrJ5Ub7Ir1hNyDhiDIoowENhH57dqnrEEfgHqqtsXAU_uGjHDqz9EDykv3rii_iYlDHzpmqbQe4i54s/s1600/independence-day-resurgence-roland-emmerich-jeff-goldblum-liam-hemsworth-2016-02.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw9XS8IM3m0R3tmVIRCDkJ1o9W5GPjQGzQPvn8RnBNE_-dPeHPdwnaxZi0jwyXVrJ5Ub7Ir1hNyDhiDIoowENhH57dqnrEEfgHqqtsXAU_uGjHDqz9EDykv3rii_iYlDHzpmqbQe4i54s/s640/independence-day-resurgence-roland-emmerich-jeff-goldblum-liam-hemsworth-2016-02.jpg" width="710" /></a>Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-84807644638793901142016-06-29T16:38:00.000-07:002016-06-29T16:38:28.864-07:00AFI Top 100: #27 "High Noon"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmcn_ZnFH5n5uSAwya_MJgPFV9dt3V7of27brK1o4n2abPyi2df-RAVIXb0aipSX0cePDQbqljmOv_KM1DKZBLup1eHpLGDh_OVJPn5t5BObFwUwI3XAKC2XoSa0vSFrHZulZQXWWmJo/s1600/027-AFI-Top-100-high-noon-movie-review-western-gary-cooper-grace-kelley-1951-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmcn_ZnFH5n5uSAwya_MJgPFV9dt3V7of27brK1o4n2abPyi2df-RAVIXb0aipSX0cePDQbqljmOv_KM1DKZBLup1eHpLGDh_OVJPn5t5BObFwUwI3XAKC2XoSa0vSFrHZulZQXWWmJo/s640/027-AFI-Top-100-high-noon-movie-review-western-gary-cooper-grace-kelley-1951-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gary Cooper in <i>High Noon</i> (1952)</td></tr>
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It's rare that a movie is able to make the promise of a compelling climax right in its very own title. In AFI's #27 film, the short and sweet <i><b><a href="http://www.imdb.com/title/tt0044706/" target="_blank">High Noon</a></b></i>, that's exactly what we get: the anticipation of a climax rounding out about noon, by the clock's estimation. All it has to do is deliver. Unassuming in its simplicity, this experimental western aims to, in real time, build tension around a determined protagonist who stands alone against a threat to his town—and his life.<br />
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Writer <a href="http://www.imdb.com/name/nm0286025" target="_blank">Carl Foreman</a> made no secret of his film's true message, an allegory for his own fight against allegations of communist sympathies and his gray-listing in Hollywood by the House Un-American Committee. So while the hero's plight may well be obvious, it doesn't help that he all but drowns in his own self-righteousness.<br />
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Hadleyville is a small, dusty town in New Mexico, protected by long-time Marshal Will Kane (<a href="http://www.imdb.com/name/nm0000011/" target="_blank">Gary Cooper</a>). On the day of Kane's marriage to his youthful bride, Amy (<a href="http://www.imdb.com/name/nm0000038/" target="_blank">Grace Kelly</a>), he confidently hangs up his gun and his badge, handing the safety of the town over to his only deputy, Harvey Pell (<a href="http://www.imdb.com/name/nm0000978/" target="_blank">Lloyd Bridges</a>), until the new Sheriff takes over. He and Amy have barely left the town limit before hearing news that a dangerous local criminal, Frank Miller (<a href="http://www.imdb.com/name/nm0531756/" target="_blank">Ian MacDonald</a>), has just been released from prison, and is on his way to Hadleyville to seek revenge on Kane, who put him behind bars—and he's set to arrive on the noon train. Unwilling to let the town fall victim to Miller, Kane hightails it back to town to deputize as many men as he can to stand with him against Frank and his gang. But when the townsfolk turn a blind eye, cowardly refusing to fight, Kane realizes that he must enter this showdown alone, or risk sleeping with one eye open for the rest of his life.<br />
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The film's structure is framed around the real-time run of events, playing out on screen in a steady build to its promise. And it does deliver. The sounding of the train whistle, the rising of coal smoke from the distance, as the clock strikes noon, does exactly what it's supposed to do. We experience the heightened nervousness that Kane does, and nearly all of the credit should be given to director <a href="http://www.imdb.com/name/nm0003593" target="_blank">Fred Zinnemann</a>. Not only did he understand how to direct Cooper in such a gripping performance, but he knew to weave the building uncertainty about whether this was a fight worth fighting throughout the film from the very start. The consistent presence of the clocks, the visualization of time ticking away, effectively drive our attention towards the end game—it's simply a bonus that we get there so quickly, in under 90 minutes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVUcbJNcTAno1b-BUvVl-xIj5FViLdAXAMTrQkZILS2fEwsvLaMfUzvvOgKsFpddcv2DxZgXAXpGjmO8LSBuIFn_aELBuu9JUM1kt24SxEd2CV8mrRH99fAeOoHKpAEYlfjnihPcvvBBU/s1600/027-AFI-Top-100-high-noon-movie-review-gary-cooper-grace-kelly-western-zinnemann-1952-02.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVUcbJNcTAno1b-BUvVl-xIj5FViLdAXAMTrQkZILS2fEwsvLaMfUzvvOgKsFpddcv2DxZgXAXpGjmO8LSBuIFn_aELBuu9JUM1kt24SxEd2CV8mrRH99fAeOoHKpAEYlfjnihPcvvBBU/s640/027-AFI-Top-100-high-noon-movie-review-gary-cooper-grace-kelly-western-zinnemann-1952-02.jpg" width="710" /></a>
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Gary Cooper's worn and ready demeanor suits Kane almost too perfectly. His creased face is tired and smudged with the dust of many years' worth of struggles to keep this lawless land lawful. And from the looks of it, he's been more or less successful, and his relief during the wedding ceremony is evident: he's alive, he's about to marry a woman way too young and good for him, and he's proud of everything he's accomplished. And when he hears the name "Frank Miller," watching all of that happiness drain away in an instance is crippling.<br />
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Cooper as Kane is ostracized, belittled, and emasculated. In a very un-Western way, he's a man with plenty of fear. Cooper is far older (50) than Kane was originally meant to be at 30 years old, but it's a common Hollywood oversight that ends up benefiting the film. The worry that nearly cripples Kane didn't build up overnight. The years he's witnessed injustice, murders, and vengeful criminals are evident on his face, as are the blood, sweat, and tears he's put into making something of this one tavern town. When all of that is threatened, there is no question that he'd turn around to defend it, even if it cost him his life.<br />
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The weight of obligation he feels, strangely, doesn't fall on anyone else. Even his new bride, Amy, can't bring herself to care much for the only home she's ever known. This is where the movie starts to falter. Kane's passion and dedication is evident, but the ambivalence (or fear, whatever you want to call it) of the rest of the town, who are unwilling to take beside him, is nonsensical. As Kane goes from man to man (to man to man to man), only to be met with derision, a brush-off, an assertion that <i>"It's not his problem anymore"</i>... it leaves us scratching our head in a curious <i>Huh??</i> Writer Foreman does a feeble job giving anyone other than Kane a leg to stand on (much less a backbone), so as worthy a hero as he might be, there is no balance of side characters to keep him from devolving into a self-righteous, stubborn loner. No one will help him, so why should he stick his neck out for them? Well, because the script says so, and no one is more convincingly <i>good</i> than Gary Cooper.<br />
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In keeping with the continual theme of risk-taking Western favorites, it wouldn't be half as exciting if this film wasn't so controversial. Hated by a ream of folks who quite literally built the genre (John Wayne, John Ford), the lack of a flashy hero is only compounded by the so clearly defined battle of good vs. evil. The stakes are high, but there is something hollow about Hadleyville and those who inhabit it. Cooper's ability to keep us with him makes up for a lot, but the underlying metaphor of the underdog is hardly subtle. Add onto that the arguably underutilized side characters, particularly Kelly and Bridges despite how good they are, and you're looking at a divisive film.<br />
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But in the world of the AFI, what fun would it be to have a controversy-free movie on this countdown? The more to praise or deride, the more delight we all get in talking about them. <i>High Noon</i> is no different, and it's the team-up of Cooper and Zinnemann that lean this review towards the praise column.<br />
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<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★½ / 5 stars<br />
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[<a href="https://www.youtube.com/watch?v=g9CR_tib0CA" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © United Artists]</div>
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Check back next time for #26 on the list, <b><i>Mr. Smith Goes to Washington</i></b> — or better yet, have your own viewing party and <a href="http://throughthereels.blogspot.com/2014/11/5-ways-to-find-the-afi-top-100.html" target="_blank">watch along with us</a>!</div>
Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-46819527260810150222016-06-27T17:35:00.002-07:002016-06-27T17:35:35.252-07:00Music Mondays: Bo Burnham "Can't Handle This"<iframe allowfullscreen="" frameborder="0" height="399" src="https://www.youtube.com/embed/rYy0o-J0x20" width="710"></iframe><br />
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I actually shared this on my Facebook earlier today, and realized it would make a great entry for Music Mondays. <b><a href="http://www.boburnham.com/" target="_blank">Bo Burnham</a></b> is a brilliant young comedian known for his musical comedy and enhanced theatrics, but in his most recent Netflix comedy special, <i><a href="https://www.netflix.com/watch/80106124" target="_blank">Make Happy</a></i>, he delivers his magnum opus with "Can't Handle This," otherwise known as his 'Kanye Rant.'<br />
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What starts out as an appropriately funny couple of verses laced with (surprisingly beautiful) auto-tune transforms into an unexpectedly emotional and resounding climax to his show. Watch it now (take note of the incredible lighting cues!), and check out his other comedy all over YouTube, including his first Netflix special, <i><a href="https://www.youtube.com/watch?v=ejc5zic4q2A" target="_blank">What</a></i>. This guy is a genius. Enjoy, and happy Monday!<br />
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<b>Artist:</b> <a href="https://www.youtube.com/user/boburnham" target="_blank">Bo Burnham</a><br />
<b>Song:</b> "Can't Handle This"<br />
<b>Album/Show:</b> <i>Make Happy</i>Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-49316874786497278652016-06-26T12:26:00.001-07:002016-06-26T12:30:36.803-07:00Movie Review: "Finding Dory" (2016)<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">© Pixar Animation Studios</td></tr>
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Is this a whole week late? Maybe. Am I kinda embarrassed that I wrote 98% of this review at 1 AM after watching it opening night only to leave the last 2% until today? ... Yes. To say that I'd been anticipating this release with every last inch of my being would be an understatement; talking about it with refined thought and insight is a tall order, so prepare yourself for mediocrity here. From me, not the movie. Because the greatest film to come out of Pixar's masterwork factory, <i><a href="http://www.imdb.com/title/tt0266543/" target="_blank">Finding Nemo</a></i>, has finally gotten an unneeded but very welcome follow-up (despite the world already enduring multiple <i><a href="http://www.imdb.com/title/tt0317219/" target="_blank">Cars</a></i> off-shoots) with <i><b><a href="http://www.imdb.com/title/tt2277860/" target="_blank">Finding Dory</a></b></i>. Considering this role single-handedly revitalized the career of comedy genius, <a href="http://www.imdb.com/name/nm0001122/" target="_blank">Ellen Degeneres</a>, focusing the movie's events on the life and times of Dory the Blue Tang fish and her mysterious short-term memory loss was, in short, a no-brainer. What I didn't expect was just how all-encompassing the message of embracing differences would be.<br />
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A year after crossing the ocean to rescue a little clown fish named Nemo, Dory (Degeneres) has settled into a new life and routine on the reef with Nemo and his dear old dad, Marlon (<a href="http://www.imdb.com/name/nm0000983/" target="_blank">Albert Brooks</a>). Her lack of memory hasn't slowed her down one bit, until one day she's reminded that <i>everyone</i> has a family—which means her's must be out there somewhere. With only pieces to go on and the sudden realization she was separated from them as a young fishy, Dory enlists Marlon and Nemo to accompany her on a journey home.<br />
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Their adventure carries them across the sea once again, this time to Morro Bay, CA and the Marine Life Institute, a sanctuary containing diverse creatures housed for rescue, rehabilitation, and (hopefully) release. With the help of some incredibly talented new friends—including wannabe-captive octopus, Hank (<a href="http://www.imdb.com/name/nm0642145/" target="_blank">Ed O'Neill</a>), short-sighted whale shark Destiny (<a href="http://www.imdb.com/name/nm0647698/" target="_blank">Kaitlin Olson</a>), and sonar-deaf beluga Bailey (<a href="http://www.imdb.com/name/nm0123092/" target="_blank">Ty Burrell</a>)—Dory must infiltrate the Institute to find her parents and set them free. So long as she doesn't forget the reason she came there.<br />
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The first film deals with the concept of captivity versus freedom (something not completely lost here), and the enemy is unapologetically <i>us</i>. This time around, humans are hardly the problem, despite always seeming to get in the way of things (children are still, in fact, marine life's worst nightmare; glad to see some things never change.) The real challenges for these characters lie within—phobias, compulsions, disabilities mental and physical—all that must be overcome. And with that, the implications of this story—Dory's story, most notably—are demonstrably sad.<br />
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Nobody stole the show from Degeneres as Dory, try as they might. Not even the cutesy-cuddly sea otters, or even baby Dory (voiced by <a href="http://www.imdb.com/name/nm8204463/" target="_blank">Sloane Murray</a>), who may well be the most adorable animated character ever drawn up (with that little bird from <i>Dory</i>'s pre-movie short, <i><a href="http://www.imdb.com/title/tt5613056/" target="_blank">Piper</a></i>, coming in a close second). This film utilizes flashbacks heavily, painting a picture of Dory's past to drive her motivation—and our investment. Marlon and Nemo may have an important role to play, but Marlon takes a back seat as Dory's newest curmudgeonly partner, the "septupus" Hank. He does more than just the heavy-lifting, scooping Dory up and carrying her around on her journey. He is, on the outside, the most capable creature this series has introduced—but even he suffers from debilitating fears and physical ailments. He, of course, wouldn't frame it that way, though.<br />
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Director Andrew Stanton dug through the "Best of TV's Comedic Timing" list to litter the newest cast members with "<a href="http://www.imdb.com/title/tt1442437/" target="_blank">Modern Family</a>" and "<a href="http://www.imdb.com/title/tt0472954/" target="_blank">It's Always Sunny in Philadelphia</a>" voice talent... but then there's the shoehorn of characters from the original that, to say the least, had no business being in this. Stanton and team <i>had</i> to realize that they'd struck solid gold with these new characters—they should have leaned into them more, without feeling the need to give old favorites Crush (voiced by Stanton) and Squirt a couple of minutes of forced screen time. It's a small complaint, particularly because this only affects the first 15 minutes and re-establishes this world that we met over twelve years ago—but it's a world we never forgot, given that <i>Nemo</i> may be Pixar's most perfect film. I hope that they're braver with separating themselves from the original for <i><a href="http://www.imdb.com/title/tt0317705/" target="_blank">The Incredibles</a></i> sequel than they did with this.<br />
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The incredible thing about Pixar, but particularly in <i>Dory</i>, is their ability and willingness to incorporate all manner of characters into their stories. Whether they're differently-abled or socially awkward or obsessive compulsive, all personalities are welcome. With one exception. My boyfriend pointed this out to me as we left the theater, and I couldn't believe I'd missed it. For characters with mental handicaps, this is not a friendly story. There's not one, but <i>two</i>, characters introduced that are slow mentally, and the movie couldn't try harder to make them the butt of every joke. I'm talking about Gerald the Sea Lion and Becky the Pacific Loon (apt, huh?). They're non-verbal, continuously compulse, and frequently derided by their peers for it. In a movie about embracing impairments, it's a wonder how these two managed to draw the short straws. It isn't offensive per se, but it is curious. It's hard not to think that their goofy-toothed grins or cock-eyed tweaks weren't added simply for the laugh, and there were a lot of laughs.<br />
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Despite some missteps in use of characters, I'm hard-pressed to find much wrong with the bones of this movie. Not only was it piercingly emotional, it was also hysterical. Credit can be given to <i>Nemo</i> for creating characters so rich with history—history that we get to finally relish in and explore—and they do their star the justice she deserves. <i>Dory</i> distinguishes itself from its predecessor, too, and gives spectacular dimension to Pixar's most beloved fish.<br />
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<u>Rating</u>: ★★★★ / 5 starsAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-14041723490104131282016-06-16T13:20:00.004-07:002016-06-16T13:20:59.306-07:00AFI Top 100: #28 "All About Eve"<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Anne Baxter & Bette Davis in <i>All About Eve</i> (1950)</td></tr>
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Sometimes there's nothing better than two bad-ass bitches facing off while decked out in pearls. AFI's #28 film, <i style="font-weight: bold;"><a href="http://www.imdb.com/title/tt0042192/" target="_blank">All About Eve</a></i>, may be the closest Old Hollywood ever got to a dragged-out library read, all thanks to perennial leading lady and the original movie Queen, <a href="http://www.imdb.com/name/nm0000012/" target="_blank">Bette Davis</a>. This popular and infamous gem hearkens back to one of my favorite lines from any Hollywood movie: <i>"There's always somebody younger and hungrier coming down the stairs behind you."</i><br />
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Ah yes, thank you, <i><a href="http://www.imdb.com/title/tt0114436/" target="_blank">Showgirls</a></i>, for paying homage to this classic tale of stage ambition. You two are comparable in oh-so-many ways. Not the least of which is a cat-fight for the ages, and subversive backstage manipulations rivaled by none. Needless to say, though, it wasn't <i>Showgirls</i> that was nominated for 14 Oscars—a record that, to this day, has yet to be beat (only <a href="http://throughthereels.blogspot.com/2014/11/afi-top-100-83-titanic.html" target="_blank">met</a>). <i>All About Eve</i> has prevailed as perhaps more iconic and influential than it even deserves. But that's the beauty of cinema: there is no telling what will stay with audiences throughout the years. And <a href="http://www.imdb.com/character/ch0011420/" target="_blank">Margo Channing</a> certainly stuck.<br />
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Fresh off the train from the Mid-West, young Eve Harrington (<a href="http://www.imdb.com/name/nm0000879/" target="_blank">Anne Baxter</a>) is enamored with the glamour of the Broadway stage—not to mention her growing fascination with its biggest star, the seasoned and temperamental Margo Channing (Davis). When Even is spotted for the umpteenth time outside the stage door for Margo's current production, the actress's close friend, Karen Richards (<a href="http://www.imdb.com/name/nm0002141/" target="_blank">Celeste Holm</a>) takes Eve under her wing, bringing the girl into their inner circle of friends. Many take pity on Eve, particularly the men, including Karen's husband, playwright Lloyd Richards (Hugh Marlowe), Margo's boyfriend and frequent director, Bill Sampson (<a href="http://www.imdb.com/name/nm0581282/" target="_blank">Gary Merrill</a>), and eccentric producer Max Fabian (<a href="http://www.imdb.com/name/nm0711855/" target="_blank">Gregory Ratoff</a>), all curiously noting her youth, naivete, and harmless obsession with Margo. Margo, however, begins to notice the girl's curious behavior as she manipulates her way into every crevice of their work—and their lives. Only Margo and her friend, critic Addison DeWitt (<a href="http://www.imdb.com/name/nm0001695/" target="_blank">George Sanders</a>), see Eve for what she is: a woman who will stop at nothing to be a success.<br />
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This is a delicious soap opera full of ferocious female talent (you'll even notice a young <a href="http://www.imdb.com/name/nm0000054/" target="_blank">Marilyn Monroe</a> appearing in a suitably cast role). I don't know that there's another way to describe it. The plot lines showcase the subversive nature of show business, particularly highlighting the women who find comfort in defining themselves as divas. Nobody embodies that like Bette Davis, and there is something perverse about watching someone try to knock her down permanently off that high horse. As viewers, we understand that Margo Channing may indeed be a performer in need of a reality check about her own greatness and importance, but that doesn't mean that we we're ready to see her go. That's what director <a href="http://www.imdb.com/name/nm0000581" target="_blank">Joseph L. Mankiewicz</a> does so well, balancing our alliances by creating an underdog in Eve, only to reveal her as a frightening, an arch-browed devil.<br />
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The film doesn't try to deal an even deck between Margo and Eve—you are simply never on Eve's side, despite seeing the flaws in Margo. It doesn't take long before you realize that you're incapable of giving Eve the benefit of the doubt. Baxter is one committed broad, because this is one tough role to play. Eve is unapologetically destructive. She slithers into Margo's life and infects it like a cancer—benign though she might appear. It never even occurs to most of the Broadway veterans that this nobody farm-girl could be anything other than harmless. That's really why Baxter is so effective in this part, and why the development of her character is so unnerving. And it isn't subtle. <i>At all</i>. She's strange and creepy, hovering around Margo and staring with a glaze in her eyes—this is some serious <i><a href="http://www.imdb.com/title/tt0105414/" target="_blank">Single White Female</a></i> material, and Anne Baxter delivers a hair-raising performance.<br />
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Margo Channing and her pals are major <a href="https://twitter.com/hashtag/SquadGoals?src=hash" target="_blank">#squadgoals</a>. There's a fear that curdles inside you as Eve weaves her way into the hard-set mechanics of this close-knit group of friends and lovers—that somehow, she might indeed tear them all apart. One of my biggest "plot device" pet peeves is when problems between people—in this case, Margo and her friends—could easily be solved if they'd only talk to each other, but they never do, so everything disintegrates into chaos. <i>All About Eve</i> gets dangerously close to suffering from that... but then something magical happens. It doesn't.<br />
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The characters aren't as easily manipulated as they might seem, and there is a loyalty that rears up in defense of Margo that brings a glint of hope to your eye and a rally-cry of <i>"Get that bitch!"</i> to your lips. As heightened as the drama feels, it also is unflinchingly relatable. Everyone has had friendships tested by the influence of outside forces, or even new friends. The progression of their dismissals of Even to their united front against her touches on all those desires for personal justice we've ever craved to see.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGYnXnDovdecH8EXKWiohQQzirZXqvDjNX5iBbt5kypuGmLsKWV6-a3Ezd7OHrMWdTt8nNrozlGUu6mezpCpZbmvijUogNGLqKTAZLeOBs3UQM1kZL6zAzHgEQLNfBlYOTEDrqPQT_L2w/s1600/028-AFI-Top-100-all-about-eve-movie-review-bette-davis-margot-channing-anne-baxter-celeste-holm-1950-03.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGYnXnDovdecH8EXKWiohQQzirZXqvDjNX5iBbt5kypuGmLsKWV6-a3Ezd7OHrMWdTt8nNrozlGUu6mezpCpZbmvijUogNGLqKTAZLeOBs3UQM1kZL6zAzHgEQLNfBlYOTEDrqPQT_L2w/s640/028-AFI-Top-100-all-about-eve-movie-review-bette-davis-margot-channing-anne-baxter-celeste-holm-1950-03.jpg" width="710" /></a>
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There is nothing delicate about this film; no clear nuances that need to be rehashed and interpreted. The action plays out in clear black and white, and that is what makes <i>All About Eve</i> so easily (and frequently) emulated. This isn't to say that it's simplistic or juvenile in its execution—not in the least. In fact, Mankiewicz is a true master in his creation of an evergreen story. It's as seedy a tale as you may expect, which for me, keeps it just out of reach of perfection.<br />
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The movie is showy and over-dramatized, the characters continuously spouting poetically as if they are in their own little play. The definition of scenery chewing. Such exaggeration surely is magnificent to watch, particularly with a group of catty friends—but the roots of the story, Eve's long-game infiltration and the perpetual back-stabbing, are what make this film truly memorable and deserving of accolades.<br />
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<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★★ / 5 stars<br />
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[<a href="https://www.youtube.com/watch?v=skZDG3Ffw8A" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © 20th Century Fox]</div>
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Check back next time for #27 on the list, <b><i>High Noon</i></b> — or better yet, have your own viewing party and <a href="http://throughthereels.blogspot.com/2014/11/5-ways-to-find-the-afi-top-100.html" target="_blank">watch along with us</a>!</div>
Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com1tag:blogger.com,1999:blog-5496179881623787025.post-17831005579741211942016-06-13T10:36:00.002-07:002016-06-13T10:36:35.077-07:00Music Mondays: Fitz and the Tantrums "HandClap"<iframe allowfullscreen="" frameborder="0" height="399" src="https://www.youtube.com/embed/Y2V6yjjPbX0" width="710"></iframe><br />
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<i>We're in need of something good right now.</i> After a weekend full of unspeakable tragedy, it's easy to forget that June is a month dedicated to feeling PRIDE. I hope that in light of the sadness, you all found love, support, and happiness in your communities. And I also hope, if you were celebrating PRIDE across the country this weekend (or next, or the next), you found reason to dance. Today's Music Monday is dedicated to all those who refuse to slink into the shadows, and loudly proclaim their identities without fear. Find that joy and never let go.<br />
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Here is the new track from <b><a href="http://www.fitzandthetantrums.com/" target="_blank">Fitz and the Tantrums</a></b>, "HandClap," to lift you up and keep you dancing fiercely. ♥ 🌈<br />
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<b>Artist:</b> <a href="http://www.fitzandthetantrums.com/" target="_blank">Fitz and the Tantrums</a><br />
<b>Song:</b> "HandClap" | <b><a href="https://www.amazon.com/dp/B01D41ASOE/ref=pm_ws_tlw_trk1" target="_blank">download</a></b><br />
<b>Album:</b> <i><a href="https://www.amazon.com/Fitz-Tantrums/dp/B01DEMEVDM/" target="_blank">Fitz and the Tantrums</a></i>Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-53167783839358693762016-06-10T17:23:00.000-07:002016-06-10T17:23:31.663-07:00Movie Review: "Now You See Me 2" (2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk1OWlC_SmKq4LhwgyRqgw4Ki8rTY0yEu5vcboxG0-hb1xB_oQ0TIyWwTxiyy0HCBMna_v_cOx0pTqeKtSt0dbnz59mNfDoo3DRiXrx15iEvL8ePeWx5IncORxEciYajnmVmdtmByw5zw/s1600/now-you-see-me-2-movie-review-jesse-eisenberg-woody-harrelson-lizzy-caplan-mark-ruffalo-2016-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="495" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk1OWlC_SmKq4LhwgyRqgw4Ki8rTY0yEu5vcboxG0-hb1xB_oQ0TIyWwTxiyy0HCBMna_v_cOx0pTqeKtSt0dbnz59mNfDoo3DRiXrx15iEvL8ePeWx5IncORxEciYajnmVmdtmByw5zw/s640/now-you-see-me-2-movie-review-jesse-eisenberg-woody-harrelson-lizzy-caplan-mark-ruffalo-2016-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© Summit Entertainment</td></tr>
</tbody></table>
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Is this movie called <i><b><a href="http://www.imdb.com/title/tt3110958/" target="_blank">Now You See Me: The Second Act</a></b></i>? I, um... the theater seemed to think so, but the opening movie credits didn't. Looks like the Marketing team changed their mind halfway through and decided new branding was in order. Wouldn't have helped, though—nothing could have. The movie's title is the least of its problems.<br />
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A year after the events of the original, and the Four Horsemen illusionists (<a href="http://www.imdb.com/name/nm0251986" target="_blank">Jesse Eisenberg</a>, <a href="http://www.imdb.com/name/nm0000437/" target="_blank">Woody Harrelson</a>, <a href="http://www.imdb.com/name/nm2002649/" target="_blank">Dave Franco</a>, with new horseman <a href="http://www.imdb.com/name/nm0135221/" target="_blank">Lizzy Caplan</a>) are ready to make their reappearance after being in hiding from the FBI, who are still hot on their trail. In hopes of revealing the secrets of a new computer chip that can hack any computer and information, the team's return to the stage is unexpectedly interrupted, and they find themselves in Macau, China, face to face with a new enemy, Walter Mabry (<a href="http://www.imdb.com/name/nm0705356/" target="_blank">Daniel Radcliffe</a>). With their leader and outed FBI agent, Dylan Rhodes (<a href="http://www.imdb.com/name/nm0749263/" target="_blank">Mark Ruffalo</a>) forced to work with his [apparently] mortal enemy, Thaddeus Bradley (<a href="http://www.imdb.com/name/nm0000151/" target="_blank">Morgan Freeman</a>), to find them, the Horsemen are forced to plan their most intricate heist yet (not really): stealing the chip for Mabry to use as he sees fit. Naturally, there's more to the story, and only their trusty magic tricks can save them now.<br />
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This whole movie was awful. Just awful. It's shocking that so many incredible actors were convinced to say such stupid things. The reveals were mediocre and unimpressive, even more so (from what I can tell) than the original. Granted, I didn't see that one, but from the looks of it, it was at least unapologetically fun(?). But if the writing there is anything like here, then I won't be giving it a shot. The entire movie takes for granted that you've seen the first one, which I hadn't, and the introduction of characters is practically non-existent. Not bad for an involved sequel, but this one could have spared the time to round everyone out a bit for a new audience. This isn't <i>Harry Potter</i>. You don't have a rich world to re-establish; but a hint about why we should care wouldn't hurt.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuyIvd7LuLTSLKlzrLZWWudH3yKQWx8hO1tz5sHtLmdpZmvknj9tZ7D6Mlq5T-z9yt49L72J6UeZNFOzHqYBQ3-Eweo5vjd50alrTs1scu7UIU5YYPeXD8-dtKukVt7EGkr8bhAD1i6V8/s1600/now-you-see-me-2-movie-review-jesse-eisenberg-woody-harrelson-lizzy-caplan-mark-ruffalo-2016-02.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuyIvd7LuLTSLKlzrLZWWudH3yKQWx8hO1tz5sHtLmdpZmvknj9tZ7D6Mlq5T-z9yt49L72J6UeZNFOzHqYBQ3-Eweo5vjd50alrTs1scu7UIU5YYPeXD8-dtKukVt7EGkr8bhAD1i6V8/s640/now-you-see-me-2-movie-review-jesse-eisenberg-woody-harrelson-lizzy-caplan-mark-ruffalo-2016-02.jpg" width="710" /></a>
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Rather than creating an entirely new story, bringing in a new-ish villain with completely different goals, they simply regurgitate the same old revenge plot from the first with boring, hapless criminals and far less spectacle. Michael Caine comes off like a stumbling amateur, and Daniel Radcliffe's Geoffrey-style whining was only compounded by his predilection for walking across glass, fish-filled floors barefoot and not shaving. The set up for stealing this coveted computer chip is absurd, yet the heist itself is a complete joke. They don't even commit to the "planning montage" that ultimately ends up being the best part. Card flinging tricks are only cool if you're really doing it, not when it's been done cheaply in some post house. And don't even get me started on the finale. What a letdown.<br />
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Lizzy Caplan is one of my all-time favorites, but she's reduced to the token woman role without any apology from the writers thanks to Isla Fisher (the previous token female) opting out due to her pregnancy. If fact, the filmmakers kinda lean into the "only woman" concept way too much, and Caplan has to stomach saying lines like <i>"You need a woman on the team!"</i> or whatever nonsense they made her say to explain her presence. You're so much better than this, Lizzy! You <i>all</i> are so much better than this. Yes, even you, Jesse Eisenberg.<br />
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I did get some weird feelings I've never experienced towards Eisenberg in this, though, and the sudden experience made me what to take a shower to scrub out the thoughts. There's just a... you know what, never mind. I can't explain it, it was a lapse in attraction-judgment, it won't happen again. Maybe it was the haircut? I don't know!! But admittedly, the showman in him fits the concept for this role just right, but for all that showmanship, there really isn't much of a show.<br />
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Your options in the theater this weekend aren't that promising. I recommend seeing something again, like <i>The Nice Guys</i> (review for that coming soon!)<br />
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<u>Rating</u>: ★½ / 5 starsAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-77466730422559084462016-05-31T10:29:00.003-07:002016-06-16T20:55:39.237-07:00AFI Top 100: #29 "Double Indemnity"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNMa69THv4sWMqZiQ5P4EwK395kn1_oiX6G8XqZYqOQdVAEObYv8T9o4RAlJBZ_R-8C9plgBkvkTxDV8kL6hlkKi-Y7KT7hV6ozcye7tvIyzVlCE6fmuie7DfwmIvSECSBjwP9kGdWisA/s1600/029-AFI-Top-100-double-indemnity-film-noir-movie-review-fred-macmurray-barbara-stanwyck-1944-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="439" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNMa69THv4sWMqZiQ5P4EwK395kn1_oiX6G8XqZYqOQdVAEObYv8T9o4RAlJBZ_R-8C9plgBkvkTxDV8kL6hlkKi-Y7KT7hV6ozcye7tvIyzVlCE6fmuie7DfwmIvSECSBjwP9kGdWisA/s640/029-AFI-Top-100-double-indemnity-film-noir-movie-review-fred-macmurray-barbara-stanwyck-1944-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barbara Stanwyck & Fred MacMurray in <i>Double Indemnity</i> (1944)</td></tr>
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Even though I've gotten farther behind on these reviews than I'm willing to admit in print, it still isn't lost on me that we're within reach of the Top 20 on our <a href="http://throughthereels.blogspot.com/p/afi-top-100.html" target="_blank">AFI Top 100</a> quest. That means that in the past [almost] two years, this blog has published over 70 classic reviews for beloved movies. And this gem is no different. A continued exploration of the film noir genre, this time veering into the world of murder for love—and, of course, for riches. Who are we kidding? In the spectacularly rich <i style="font-weight: bold;"><a href="http://www.imdb.com/title/tt0036775/" target="_blank">Double Indemnity</a></i>, coming in at #29 on our countdown, we're treated to the most fully-realized noir of all time, perfected long before this was a studied genre.<br />
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The top salesman at the Pacific All-Risk Insurance Company, Walter Neff (<a href="http://www.imdb.com/name/nm0534045/" target="_blank">Fred MacMurray</a>), has a new client. Hired by the man's glamorous and flirtatious young wife, Phyllis Dietrichson (<a href="http://www.imdb.com/name/nm0001766/" target="_blank">Barbara Stanwyck</a>), Neff realizes there's more than meets the eye with this transaction when Phyllis pursues an affair with him—an affair he does nothing to discourage. When Phyllis suggests that her husband's death could free them to be together, Neff's intimate knowledge of Mr. Dietrichson's accident insurance policy leads him to devise a complicated scheme in order to activate its double indemnity clause. It appears that the unrequited lovers are primed to get away with their plot, that is until Neff's friend and boss, Barton Keyes (<a href="http://www.imdb.com/name/nm0000064/" target="_blank">Edward G. Robinson</a>), begins to investigate Phyllis—with suspicions that she's in cahoots with another man.<br />
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<a name='more'></a>This movie is full of spectacular subtleties. These are smart people. They're not hapless criminals. This is the planning of a crime that you can't help but admire, because they consider all the angles. Not getting caught is key, and they never miss a beat. In the scene where Neff and Keyes chat in the hallway outside Neff's apartment, all while Phyllis stands behind his front door... When she grabs hold of the doorknob and shifts the door on its hinges <i>ever so slightly</i>, just to let Neff—whose hand rests on the other side—know she's there... Sheer. Brilliance. Neff and Phyllis are comparable personalities, neither purely good or evil, but both certainly capable of inhuman deeds. Watching their relationship ebb and flow as a result of these realities is what provides the film with its devilish sensuality.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEG473mLW_SRAdQYQ1mHGmzfUTzc2cBu5rMb8qulXhcm4nDNWi-yBHU2jcpdqDn2idpg1j1VfXny51e9FJelmQsusrpBWAJaAFd_28VxFTCnMcfitcQLXEGtqq3PPr5LfdI64zdbN2Jnw/s1600/029-AFI-Top-100-double-indemnity-film-noir-movie-review-fred-macmurray-barbara-stanwyck-edward-g-robinson-1944-02.jpg"><img border="0" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEG473mLW_SRAdQYQ1mHGmzfUTzc2cBu5rMb8qulXhcm4nDNWi-yBHU2jcpdqDn2idpg1j1VfXny51e9FJelmQsusrpBWAJaAFd_28VxFTCnMcfitcQLXEGtqq3PPr5LfdI64zdbN2Jnw/s640/029-AFI-Top-100-double-indemnity-film-noir-movie-review-fred-macmurray-barbara-stanwyck-edward-g-robinson-1944-02.jpg" width="710" /></a>
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Barbara Stanwyck as an actress benefited from her ability to play the sex and play the innocence. It's why her casting in this role was a triumph of perfection. To anyone watching, she was the obvious choice. She wasn't the coy kitten that may have leaned too far into the sex, nor is she so doe-eyed and dim that you'd never notice to glint of opportunity in her eyes. She rides the middle, and Phyllis does the same—it's how she reels in Walter, not only to help her plan this murder, but inevitably to do it for her.<br />
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MacMurray's casting was less obvious. He's a golden boy, perhaps best known to most modern audiences for his later role in Disney's 1961 <a href="http://www.imdb.com/title/tt0054594/" style="font-style: italic;" target="_blank">The Absent-Minded Professor</a>, soft, uncomplicated, and non-controversial—to say playing Walter Neff was against type would be an understatement. But to watch him at work in this film, you'd never know it. Again, like Stanwyck, he's capable of manipulating his moral compass. On the surface, he's a bright-eyed, dimple-chinned Boy Scout, and that makes his ability to commit and get away with this crime all the more believable. As the narrator (in classic noir fashion), MacMurray speaks of the dame that got the better of him, laying out the events just as they happened, of course with the added element of filtered suspense and romance.<br />
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Walter and Phyllis flirt with abandon, and their double entendres are enough to bring a blush to your cheek, and that's all thanks to the writing. Like <i>The Maltese Falcon</i>, the greatest noir inspiration came straight from the novels of Raymond Chandler, but it was Billy Wilder that made the film so high-brow. He brought his vision for the story into everything from the editing to the lighting direction (fun fact: gold dust was mixed into the dust in the air so that the sunlight shining into the dark rooms would glitter—wow!), and as a result, we're treated to a plethora of texture amidst every side glance and forbidden rendezvous.<br />
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Wilder knew how to bring out the weasel in MacMurray (see: #80 on the AFI Top 100, <i><a href="http://throughthereels.blogspot.com/2014/12/afi-top-100-80-the-apartment.html" target="_blank">The Apartment</a></i>), but by putting us in his head, we can't help but root for him, and hope that he'll come out on top—whether that means ending up with Phyllis or beating her at her own twisted game. The care that Walter takes to cover their tracks, the risks he's willing to take for this unknown woman is fascinating. It's even more incredible when you realize that she never even had to ask. She's just that good at manipulating men.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIly_kmH-Zpw3ebty83gzqmeOTZN9nvJM5LEcgdjS2EBlNbczRD7osmpsqI8xZX8TZwENNDVtQIVx-dSSoFmBtaLLSEGS-rxDZ9r71T5vOdZ49osbfN2sYJMImK7QUabfEpXma4-tz_pM/s1600/029-AFI-Top-100-double-indemnity-film-noir-movie-review-fred-macmurray-barbara-stanwyck-1944-03.jpg"><img border="0" height="439" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIly_kmH-Zpw3ebty83gzqmeOTZN9nvJM5LEcgdjS2EBlNbczRD7osmpsqI8xZX8TZwENNDVtQIVx-dSSoFmBtaLLSEGS-rxDZ9r71T5vOdZ49osbfN2sYJMImK7QUabfEpXma4-tz_pM/s640/029-AFI-Top-100-double-indemnity-film-noir-movie-review-fred-macmurray-barbara-stanwyck-1944-03.jpg" width="710" /></a>
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Considering there are so few noir representations on this countdown, it's hard not to compare this to <i><a href="http://throughthereels.blogspot.com/2016/04/afi-top-100-31-the-maltese-falcon.html" target="_blank">The Maltese Falcon</a></i>. Where <i>Falcon</i> is shadowed and violent, <i>Double Indemnity</i> is all sophistication and melodrama. The bullets firing and gun smoke wafting through the air isn't overly theatrical; it's dark and foreboding, and usually paired with the scent of fresh blood, perfume, and the taste of bourbon on the rocks. It is lurid rather than suspenseful, perhaps attributed to the fact that Walter is narrating it with a gunshot wound in his belly. We know something has gone terribly wrong, and now it's Billy Wilder's job to show us exactly how it happened.<br />
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The beauty of this film is bound to sneak up on you; the intricacies of the dialogue prompting an unexpected laugh or flutter in your gut... the details of the crime leaving you more than a little impressed, and your own mental cogs turning with the tickling question: <i>If it were you, how would you pull off this murder?</i> J'adore!<br />
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<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★★½ / 5 stars<br />
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[<a href="https://www.youtube.com/watch?v=yKrrAa2o9Eg" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © Paramount Pictures]</div>
<div style="text-align: justify;">
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Check back next time for #28 on the list, <b><i><a href="http://throughthereels.blogspot.com/2016/06/afi-top-100-28-all-about-eve.html" target="_blank">All About Eve</a></i></b> — or better yet, have your own viewing party and <a href="http://throughthereels.blogspot.com/2014/11/5-ways-to-find-the-afi-top-100.html" target="_blank">watch along with us</a>!</div>
Anonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-61171912430830630182016-05-30T17:44:00.001-07:002016-05-30T17:44:26.710-07:00Music Mondays: Justin Timberlake "Can't Stop the Feeling"<iframe allowfullscreen="" frameborder="0" height="399" src="https://www.youtube.com/embed/p5RobDomh5U" width="710"></iframe><br />
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Happy Memorial Day, all you US folks! I hope you're all merrily drunk on beer and hot dogs by this point, and if the playlist spinning wherever you are isn't rocking <b><a href="http://justintimberlake.com/" target="_blank">Justin Timberlake</a></b>'s new uber-pop track, "Can't Stop the Feeling," then they're robbing you of a dancing good time. OK, so it might be the final credits track for the new movie <i><a href="http://www.imdb.com/title/tt1679335/" target="_blank">Trolls</a></i>, but that doesn't mean it's not catchy to the max!<br />
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Enjoy the day, everyone, and try to ignore the fact you have to return to work tomorrow. Muah! xx<br />
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<b>Artist:</b> <a href="http://justintimberlake.com/" target="_blank">Justin Timberlake</a><br />
<b>Song:</b> "Can't Stop the Feeling" | <b><a href="https://www.amazon.com/gp/product/B01F49E0IO" target="_blank">download</a></b><br />
<b>Album:</b> <i>Trolls</i> SoundtrackAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-76199536373778368342016-05-29T15:33:00.001-07:002016-05-29T15:33:44.149-07:00Movie Review: "X-Men: Apocalypse" (2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhffKFZskk9TBfvFe1GEnZmCIoTIQl-0Tfype9thCdCbnPOJr0Z10fb-02iAY2Ha6f2-SivsjMv3EJBWqDxM_MAsREeXE1VxpvNN56DOFQhoM46RowX_JzwrxuQZ_AChKWXWdmOUNMD0_4/s1600/x-men-apocalypse-movie-review-bryan-singer-mystique-lawrence-magneto-fassbender-xavier-mcavoy-quicksilver-peters-jean-grey-turner-oscar-isaac-psylocke-munn-2016-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhffKFZskk9TBfvFe1GEnZmCIoTIQl-0Tfype9thCdCbnPOJr0Z10fb-02iAY2Ha6f2-SivsjMv3EJBWqDxM_MAsREeXE1VxpvNN56DOFQhoM46RowX_JzwrxuQZ_AChKWXWdmOUNMD0_4/s640/x-men-apocalypse-movie-review-bryan-singer-mystique-lawrence-magneto-fassbender-xavier-mcavoy-quicksilver-peters-jean-grey-turner-oscar-isaac-psylocke-munn-2016-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© 20th Century Fox</td></tr>
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It never hurts to preface that I'm clueless when it comes to the convoluted comic history of Marvel's <a href="https://en.wikipedia.org/wiki/X-Men" target="_blank">X-Men</a>. I can't knowingly comment on how the studio changed this character this way or that character that way, much less the accuracy of the plot itself, so those choices have no barring on my thoughts below. <i>That being said</i>, it doesn't stop me from having an opinion about original <i><a href="http://www.imdb.com/title/tt0120903/" target="_blank">X-Men</a></i> director, <a href="http://www.imdb.com/name/nm0001741/" target="_blank">Bryan Singer</a>'s, latest foray into the mutant world with <i><b><a href="http://www.imdb.com/title/tt3385516/" target="_blank">X-Men: Apocalypse</a></b></i>. He just can't quite figure out how to make this movie work.<br />
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Kitschy and playful ribbing of eighties culture and the franchise itself is counteracted by its characters taking themselves far too seriously to be in on the fun. Newly introduced mutants were split down the middle between exciting new additions and cumbersome baggage—the latter of which was usually accompanied by an inability to act with an accent not their own.<br />
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In a continuation of the events of 70s-set <i><a href="http://www.imdb.com/title/tt1877832/" target="_blank">Days of Future Past</a></i>, our mutant friends have come together behind Charles Xavier (<a href="http://www.imdb.com/name/nm0564215/" target="_blank">James McAvoy</a>) at his newly founded school for Gifted Youngsters. There we meet a whole slew of unfamiliar faces with very familiar names. Noticeably absent from teaching duties, however, is Mystique (<a href="http://www.imdb.com/name/nm2225369/" target="_blank">Jennifer Lawrence</a>), now working to rescue tormented mutants across the globe, and Magneto (<a href="http://www.imdb.com/name/nm1055413/" target="_blank">Michael Fassbender</a>), in hiding after becoming the most wanted mutant in the world.<br />
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But like all superhero flicks, there must be a supervillain, and there may be none more unstoppable than the powerful Apocalypse (<a href="http://www.imdb.com/name/nm1209966/" target="_blank">Oscar Isaac</a>), awoken after nearly 3000 years underneath an Egyptian pyramid with a serious case of the Mondays. After he recruits a collection of power-hungry sidekicks, Xavier's team must band together to stop him from having a tantrum and destroying the world—which means it may be time to train a new generation of X-Men.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijIEFVJM5jn2Q44oRXv18-RmMAqvDgbTJHXxEc11B7ukJUecc1oQyVs_uyXf9KPv321eYH-lxDbdDYhDFTTUCWhOfL0b0tMzdXprssSpvGu3rPz0EujFM3dOedklgYwsZDFYZ_klemD2s/s1600/x-men-apocalypse-movie-review-bryan-singer-mystique-lawrence-magneto-fassbender-xavier-mcavoy-quicksilver-peters-jean-grey-turner-oscar-isaac-psylocke-munn-2016-02.jpg"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijIEFVJM5jn2Q44oRXv18-RmMAqvDgbTJHXxEc11B7ukJUecc1oQyVs_uyXf9KPv321eYH-lxDbdDYhDFTTUCWhOfL0b0tMzdXprssSpvGu3rPz0EujFM3dOedklgYwsZDFYZ_klemD2s/s640/x-men-apocalypse-movie-review-bryan-singer-mystique-lawrence-magneto-fassbender-xavier-mcavoy-quicksilver-peters-jean-grey-turner-oscar-isaac-psylocke-munn-2016-02.jpg" width="710" /></a>
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<a href="http://www.imdb.com/name/nm3849842/" target="_blank">Sophie Turner</a>'s young Jean Grey is perhaps the most exciting prospect in the bunch, but it takes her easily three-quarters of the movie to shed her awkward navigation of the role. Her delivery is far too stale (blame the writers, if you want), but there is an underlying self-consciousness to her performance that can only be attributed to teenage-hood. A silver lining. Young Grey is hardly defined, nor has she come into her own, and Singer manages, albeit two hours too late, to find her a path to growth. Lots of potential for Turner as the powerful Phoenix, but you won't fully get what you're looking for in this.<br />
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The Best Character Award is a split between <i>Days of Future Past</i> scene-stealer, Quicksilver (<a href="http://www.imdb.com/name/nm1404239/" target="_blank">Evan Peters</a>), and newbie <a href="http://www.imdb.com/name/nm2240346/" target="_blank">Kodi Smit-Mcphee</a>'s youthfully naive, Nightcrawler. Both are given clearly defined direction which allows them to work within this world without being dragged down by the slogging plot trajectory. Quicksilver's personal mission to find Magneto leads him to join up with the virtuous X-Men, but he has his own objective separate from standard world-saving, which allows him more material to work with.<br />
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Likewise, Nightcrawler is a tragic character in awe of not only mutants, but American culture and the mere concept of freedom. There's comedy there, to be sure, but his wonderment is laced throughout the entire story, and you just want to give him a hug. Smit-Mcphee brought out a childishness in the teleporting mutant that was hopeful and curious, a stark contrast to his teen counterparts who were already too jaded for their own good.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbz746zhnglDUN3eayfZNfDs0MMvMy3FyuejF1xp5Be_AP1bj8VcsSUzpuUC3NWS5yIZ-8uy_OoJUtr_f-w1i9IrL2uteTg1tNYlMV2zXHMyovYQvxtGHCvBz0hGL5jSO-DgiLQWOT-oA/s1600/x-men-apocalypse-movie-review-bryan-singer-mystique-lawrence-magneto-fassbender-xavier-mcavoy-quicksilver-peters-jean-grey-turner-oscar-isaac-psylocke-munn-2016-03.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbz746zhnglDUN3eayfZNfDs0MMvMy3FyuejF1xp5Be_AP1bj8VcsSUzpuUC3NWS5yIZ-8uy_OoJUtr_f-w1i9IrL2uteTg1tNYlMV2zXHMyovYQvxtGHCvBz0hGL5jSO-DgiLQWOT-oA/s640/x-men-apocalypse-movie-review-bryan-singer-mystique-lawrence-magneto-fassbender-xavier-mcavoy-quicksilver-peters-jean-grey-turner-oscar-isaac-psylocke-munn-2016-03.jpg" width="710" /></a>
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Bryan Singer's detached narrative fights to hold onto the expertly executed energy of <i>Future Past</i>, but fails to incorporate the gripping nature of villainy that made its predecessor so great. Magneto is the most consistently conflicted character the franchise has developed over the past 16 years (!!), and yet Singer manhandles him in an attempt to breath life into the lifeless motivations of Apocalypse. Because the sad truth was, we don't know anything about Apocalypse, our titular character.<br />
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Even after a way-too-long movie (seriously, this could have been 40 minutes shorter), his motivations were hollow, at best. For such a powerful guy, you'd think he'd have refined his interview process for selecting henchmen (kind of a risky move to assume emotional wildcards would stick by you in a fight). Apocalypse is an ancient, god-like mutant who aided in forming and destroying civilizations, introduced straight out of the opening of <i><a href="http://www.imdb.com/title/tt0120616/" target="_blank">The Mummy</a></i>. Got it. After being re-awoken from... an ancient slumber?... he experiences a <i><a href="http://www.imdb.com/title/tt0119116/" target="_blank">Fifth Element</a></i>/Leeloo moment and learns everything about human history from a television set. Angry and annoyed, he determines humans must be stopped.<br />
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And that's it! Throw a bit of ethnic-cleansing in there in order to spare mutants extinction, and there's your movie. Basically, he's established terribly, and watching his team stand stiffly on an old, plastic <i>Star Trek</i> mountain set for 20 minutes mid-climax doesn't move things along much, either. None of it is enough to make anyone care. Way over <i>here</i> is a story developing that will actually carry into the future of the franchise, and despite its languid flaws, it's certainly where we'd rather be, watching Mystique train these n00bs so Jennifer Lawrence doesn't have to do this shit anymore.<br />
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It wasn't all dire straits (though Magneto's storyline certainly weighed the movie down); I have a soft-spot for this epic series, even the questionable ones (<i><a href="http://www.imdb.com/title/tt0376994/" target="_blank">Last Stand</a></i>), because at the very least, the relationships between the X-Men are tension-filled and dynamic. Even that isn't lost here, despite Singer losing sight of the finish line. This feels like the necessary end to a trilogy that had successfully breathed youthful life into aging characters—and it's continuing to do so as we venture into the world of <a href="http://www.imdb.com/title/tt4682266/" target="_blank">new mutants</a>.<br />
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<u>Rating</u>: ★★½ / 5 starsAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com3tag:blogger.com,1999:blog-5496179881623787025.post-40471007289513467882016-05-19T13:51:00.002-07:002016-05-19T13:57:02.836-07:00Movie Review: "Money Monster" (2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTVUsCXuOPBsgcG61Yh6z0BUIXh_WyfON_pf03UOIkZZdf8qt5EaHy5AkZHwMqnrO5OZdeD5U5f_9o2w__k3y3G4ZVHMDRsuyZyS63OmmSjuVIgamErwvwefjafBl3N8VxasehtqlyoQk/s1600/money-monster-movie-review-jodie-foster-george-clooney-julia-roberts-wall-street-2016-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTVUsCXuOPBsgcG61Yh6z0BUIXh_WyfON_pf03UOIkZZdf8qt5EaHy5AkZHwMqnrO5OZdeD5U5f_9o2w__k3y3G4ZVHMDRsuyZyS63OmmSjuVIgamErwvwefjafBl3N8VxasehtqlyoQk/s640/money-monster-movie-review-jodie-foster-george-clooney-julia-roberts-wall-street-2016-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© TriStar Pictures</td></tr>
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Did someone find this script in a pile of Bernie Sanders' long lost diatribes? In all seriousness though, the economic injustice and Wall Street-focused vitriol may be conveniently timed to hit the big screen this year (and I'm more than positive that this isn't he only Sanders joke to pop up in a review for <i style="font-weight: bold;"><a href="http://www.imdb.com/title/tt2241351/" target="_blank">Money Monster</a></i>.) Directed by <a href="http://www.imdb.com/name/nm0000149" target="_blank">Jodie Foster</a> and featuring a small but impressive cast, this is a layered story with a compelling premise that suffers from its inability to see the bigger picture—or perhaps its inability to understand how far the corrupt will go to hide their corruption. That makes for a remarkably underwhelming thriller.<br />
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Lee Gates (<a href="http://www.imdb.com/name/nm0000123/" target="_blank">George Clooney</a>) may be the hottest television star talking Wall Street and hot stocks on his show "Money Monster," but when the powerful Ibis Clear Capital loses hundreds of millions of dollars overnight due to a computer glitch, Gates' most recent "Must Buy" stock takes a terrifying market tumble. With shareholders scrambling, Gates and his longtime producer, Patty Fenn (<a href="http://www.imdb.com/name/nm0000210/" target="_blank">Julia Roberts</a>) rush to take advantage of the media attention by being the first to get Ibis CEO, Walt Camby (<a href="http://www.imdb.com/name/nm0922035/" target="_blank">Dominic West</a>), on their show to get the scoop.<br />
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On the day of the live broadcast, Camby is nowhere to be found, but little do they know that Kyle Budwell (<a href="http://www.imdb.com/name/nm1925239/" target="_blank">Jack O'Connell</a>), a disgruntled investor who lost his life savings, has infiltrated the studio to take them both hostage. Now with Gates alone and held at gunpoint live on the air, Patty and her team in the control booth must track down the answers that Budwell is demanding, and it may lead them down a rabbit-hole of theft and corruption far more dangerous than the man with the gun.<br />
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Noticeably, the story starts off slow, but picks up steadily. Foster plays with escalation in this film, arguably to its detriment. As the stakes begin to drop, the information and reveals ramp up. It's an interesting shift, one that changes the dynamic of the movie, and I'm uncertain whether it was for the better. By decreasing the threats to our hero (I'll do my best not to reveal how), Foster puts all the attention on the conspiracy—something that isn't quite deep enough to scrutinize. The corruption is slight and the means to cover it up amateurish—the lack of realism isn't in that it goes too far; it's in that it doesn't go far enough. Other than the guy with a bomb strapped to his chest, real danger is never really looming when they start to get down to brass-tacks.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF1cfHTC5DSOF5HVnsDhMuDtJk2w7Rgu0ANcdCcb7lkT-qDVChcY8edYvT8fBLnkH03SajMNkSg7qZZRyap4YtIaA36Pcrca52fk_f4RgWp3dTg-JWMHgo-IAgg1Vc-TyMZBTpAM53Jek/s1600/money-monster-movie-review-jodie-foster-george-clooney-julia-roberts-wall-street-2016-02.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF1cfHTC5DSOF5HVnsDhMuDtJk2w7Rgu0ANcdCcb7lkT-qDVChcY8edYvT8fBLnkH03SajMNkSg7qZZRyap4YtIaA36Pcrca52fk_f4RgWp3dTg-JWMHgo-IAgg1Vc-TyMZBTpAM53Jek/s640/money-monster-movie-review-jodie-foster-george-clooney-julia-roberts-wall-street-2016-02.jpg" width="710" /></a>
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The highlight is in the acting talent. The chemistry between Clooney and Roberts, not to mention the history between the two, shows. Rarely in the same room, they're still side by side the entire picture, and work off of one another like old pros. Roberts looked particularly at ease in this very unglamorous role, the technical dialogue not slowing her down at all, allowing her to bring plenty of tension into the control room. For a character that rarely stands up, Peggy is active and purposeful. Her fervent advice to Clooney's Gates through his earpiece put her in a position to be the level-headed one, keeping Gates from going off the deep end—or Clooney from chewing the scenery.<br />
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Clooney is, well... he's George Clooney. He's suave and handsome and everything about him in this role makes sense. It's a bit on the nose—a womanizing television star with plenty of cash, a full day planner, and an inscrutable reputation—but who am I to question a spot-on casting decision? When you've got a surefire win, you gotta go for it. What likens Lee Gates to us here is that his smarmy charm when he's high is counteracted by his maturity and sharpness when he's low. The television persona is just an act, and watching Clooney shed it slowly throughout this whole ordeal overshadows the rest of the story.<br />
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Focusing more closely on the story reveals just how malleable all the motivations are. Roberts' Patty does her due diligence as a professional producer, but this team used to never really reporting any news are suddenly a crack team of investigative journalists capable of uncovering a [semi-]convoluted conspiracy plot? There is a lot of flurry behind the scenes, as Budwell's anxiety and fear and anger unravel, and Foster simply could not hold onto that tension. It certainly doesn't help that, in the end, there is a cloying attempt at closure and the sincere knowledge that nothing that just happened surprised us. It's fair to say, though, that watching these characters be so devastatingly shocked watching the same thing unfold might be enough to distract most viewers into thinking there was more there there.<br />
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<u>Rating</u>: ★★★ / 5 starsAnonymoushttp://www.blogger.com/profile/06542135108071275742noreply@blogger.com0tag:blogger.com,1999:blog-5496179881623787025.post-20911177948807926082016-05-12T18:12:00.001-07:002016-05-31T14:48:16.148-07:00AFI Top 100: #30 "Apocalypse Now"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqjfo5u-SrR8z6weQuDvFukokAl8xCRh7DF7DGJEqVic7Q-6JU6rWRJti_sW2uuJ7URLkTGzUpgjuYS_oAht8WZJIdqBc6PAdwJSGWHJ1mFpwh70Tu4apLBnnvfXHAyRAT8uOk6xArD8/s1600/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1978-01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqjfo5u-SrR8z6weQuDvFukokAl8xCRh7DF7DGJEqVic7Q-6JU6rWRJti_sW2uuJ7URLkTGzUpgjuYS_oAht8WZJIdqBc6PAdwJSGWHJ1mFpwh70Tu4apLBnnvfXHAyRAT8uOk6xArD8/s640/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1979-01.jpg" width="710" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Martin Sheen in <i>Apocalypse Now</i> (1979)</td></tr>
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The only thing more memorable than the experience of watching AFI's #30 film, <i style="font-weight: bold;"><a href="http://www.imdb.com/title/tt0078788/" target="_blank">Apocalypse Now</a></i>, is director <a href="http://www.imdb.com/name/nm0000338" target="_blank">Francis Ford Coppola</a>'s nightmarish experience filming it; a 16-month shoot riddled with so many problems, they had enough footage to make a <a href="http://www.imdb.com/title/tt0102015/" target="_blank">documentary</a> almost as long as the movie itself (a doc that I, personally, find far more interesting). The drama of the film unwittingly pulls me in every time, but it's the reality of it that still makes me cringe. With its inspiration pulled from <a href="https://en.wikipedia.org/wiki/Joseph_Conrad" target="_blank">Joseph Conrad</a>'s novella and ivory trading metaphor, <u><a href="https://en.wikipedia.org/wiki/Heart_of_Darkness" target="_blank">Heart of Darkness</a></u>, our attention shifts from the Congo in Africa to the harrowing front lines of the Vietnam War, a far more culturally relevant location during the turbulent '70s. Coppola compounds the terror of the jungle with the horror of war to create a film that has no equal; as a result, it doesn't make it particularly easy to watch.<br />
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Pulled from a hazy, drugged stupor in his Ho Chi Minh City hotel room during the summer of 1970, Captain Benjamin Willard (<a href="http://www.imdb.com/name/nm0000640/" target="_blank">Martin Sheen</a>) is tasked with a top secret mission to locate a once-celebrated officer, Colonel Kurtz (<a href="http://www.imdb.com/name/nm0000008/" target="_blank">Marlon Brando</a>), who is believed to have gone rogue—and completely insane—after disappearing into the Vietnam jungle. With intel pointing him in one direction, upriver into enemy territory, Willard enlists the aide of a Navy patrol boat run by playful and oblivious kids to carry him deep into the wilderness—and as they encounter an endless stream of dangers and odd characters, Willard starts to question whether he's even on the right side of this fight.<br />
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<a name='more'></a>The experience of watching this movie is like struggling to come up for fresh air and never being able to take that life-saving inhale. What begins in a dark, dank, sweaty hotel rooms ends in a dark, dank sweaty jungle, and the journey—the true point of the film—is riddled with terrors that simply steal your breath away. It's an exhausting mental strain, and Willard's willful detachment from his surroundings and the people helping him only exacerbates our stress level. It also successfully contributes to the admiration building up inside of him for Kurtz, despite knowing better.<br />
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Through Sheen's weighted narrations, we witness Willard's fascination and admiration grow through the papers of Kurtz' damp, crumbled dossier, and it does more than explain the glaze over his eyes. To Willard, Kurtz is the personification of the repugnant effect our being in this war at all has had on its people. Evil breeds evil, and no one is immune from its temptations, not even him.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVKMQGQkXy0xosAYihUqaH2GSNwdFgHPVK3fgSMHv0hSMkOFF9Ot8KbWbCIY1qniKP5mbcH69iu3JyBqu7tVs1KBPVJAb3leWbFyWkYSF6MGuKfiw3PeBda7bvbH5lwa2MOBhJJGe_V_o/s1600/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1979-03.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVKMQGQkXy0xosAYihUqaH2GSNwdFgHPVK3fgSMHv0hSMkOFF9Ot8KbWbCIY1qniKP5mbcH69iu3JyBqu7tVs1KBPVJAb3leWbFyWkYSF6MGuKfiw3PeBda7bvbH5lwa2MOBhJJGe_V_o/s640/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1978-03.jpg" width="710" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeEYTcOT7KHmlHepUvAQ7AEW2k90Pb-209SYl-UtrH2NdCpxU8PKLXmPKlWoHtw_el8h7ZOjL3auYV6Mbf0t0Ktr-9Mh9yKMsZFDUuOw02DMWQis0oxNmbWKhA6wQEnWJPAGoLNJf7jTo/s1600/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1979-04.jpg"><img border="0" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeEYTcOT7KHmlHepUvAQ7AEW2k90Pb-209SYl-UtrH2NdCpxU8PKLXmPKlWoHtw_el8h7ZOjL3auYV6Mbf0t0Ktr-9Mh9yKMsZFDUuOw02DMWQis0oxNmbWKhA6wQEnWJPAGoLNJf7jTo/s640/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1978-04.jpg" width="710" /></a>
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It's not all dread and anxiety, though. On occasion, the characters find a way to have fun their fingers on their triggers. Watching Lieutenant Colonel Bill Kilgore's fleet of helicopters descend over the mouth of the river while Wagner plays is a thing of beauty. <a href="http://www.imdb.com/name/nm0000380/" target="_blank">Robert Duvall</a> is brilliant, I wish the entire film was about him and his merry band of men. But what a fantastic addition to the supporting cast, a C.O. obsessed with finding the perfect spot on the beach to surf, unphased by surrounding gunfire and falling mortar shells. <i>"I love the smell of napalm in the morning."</i> Goddamn, what a great sequence of cinema, the perfect representation of the delusion of the American forces, and it remains the highlight of the film. He's there and then gone, and off we go to more serious, less enjoyable endeavors.<br />
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Because then you're faced with scenes that go on way too long... ones that descend into deranged savagery, often dispensing with the details that remind us we're human. You love animals? Great. They save a puppy. But then they lose it in a gun fight. How? We don't know, it falls overboard or something. Ah! <i>What?</i> And in those 30 minutes between rescue and death, you'll never find a moment's peace. Coppola found ways to intersperse vignettes of strange interactions, ones where the tensions intensify to a tipping point before exploding. And it happens again, and again, and again, all shrouded in a magnificent score (by Coppola and his father, <a href="http://www.imdb.com/name/nm0178874/" target="_blank">Carmine</a>) and soundtrack that keep everything eerily cohesive.<br />
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As a viewer, there is no respite. Sheen is our eyes and ears (not to mention our voice), but even he abandons us as he descends into his own type of madness. For him detachment is easy, but for us, it's impossible. Watching <i>Apocalypse Now</i> will have a profound effect on every viewer—it's simply a matter of whether or not the effects are something you can stomach. Me? I can't do it, though I have forced myself to several times. I find such beauty in Coppola's vision, and Joseph Conrad's incorporated allegories, but enduring it is another thing entirely. A more modern example of this inability to reconcile the respect for something and simultaneous hatred for it is how I feel about <i><a href="http://www.imdb.com/title/tt0477348/" target="_blank">No Country for Old Men</a></i>. It's wonderful and impressive, but I can't stand to watch it. And at the same time, I'd encourage everyone to see it, at least once.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0z-LSUWkQ3xvkLDhIJwFKi0fgOiQQV4x9uOedVJ_EXgbMjIbCK5mcYL86CT9WChsMux_LEx26ft8MLH-i-1bt01iq8xX-MsDF0xL1QEpTx0aEoTB63MV7XnT4G11gxN2WjPhVSPfpltU/s1600/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1979-02.png"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0z-LSUWkQ3xvkLDhIJwFKi0fgOiQQV4x9uOedVJ_EXgbMjIbCK5mcYL86CT9WChsMux_LEx26ft8MLH-i-1bt01iq8xX-MsDF0xL1QEpTx0aEoTB63MV7XnT4G11gxN2WjPhVSPfpltU/s640/030-AFI-Top-100-apocalypse-now-movie-review-francis-ford-coppola-martin-sheen-marlon-brando-robert-duvall-dennis-hopper-vietnam-1978-02.png" width="710" /></a>
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Many films on this AFI Top 100 journey are as famous for what happened off screen as the scenes taking place on... But this one goes above and beyond in its execution and legendary rumors (like <a href="http://www.imdb.com/name/nm0000454/" target="_blank">Dennis Hopper</a> getting a then-14-year-old <a href="http://www.imdb.com/name/nm0000401/" target="_blank">Lawrence Fishburne</a> hooked on heroine). <i>Apocalypse Now</i> packs some big punches, and it earns the right to knock you down. Every character looks exhausted and angry and hungry and high, and that's because all of the actors actually were. The endless build to Brando's reveal as Kurtz is earned, too, and Brando makes it worth our while.<br />
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This is a disgusting, upsetting, and impressive movie. If you have never seen it, you should—but I've warned you.<br />
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<u style="text-align: justify;">Rating</u><span style="text-align: justify;">:</span> ★★★½ / 5 stars<br />
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[<a href="https://www.youtube.com/watch?v=IkrhkUeDCdQ" target="_blank">Watch the Trailer</a>] | [<a href="http://throughthereels.blogspot.com/p/afi-top-100.html">Read More AFI Top 100 Reviews</a>] | [images © United Artists]</div>
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Check back next time for #29 on the list, <b><i><a href="http://throughthereels.blogspot.com/2016/05/afi-top-100-29-double-indemnity.html" target="_blank">Double Indemnity</a></i></b> — or better yet, have your own viewing party and <a href="http://throughthereels.blogspot.com/2014/11/5-ways-to-find-the-afi-top-100.html" target="_blank">watch along with us</a>!</div>
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