AFI Top 100: #34 "Snow White and the Seven Dwarfs"

The titular Snow White in Snow White and the Seven Dwarfs (1937)

One of only two animated features on the AFI Top 100 list, Walt Disney's Snow White and the Seven Dwarfs is also the only film on our countdown to represent the pioneering House of Mouse. A pioneer in and of itself within the world of animation, the #34 ranking fantasy is based on the dark and harrowing 1812 Brothers Grimm fairy tale, Snow White, and stands alone in being the first full length animated movie of all time. A list of endless accolades reminds any viewer that they are watching history be made, and regardless of the trouble-points presented in the film's story and primary characters (Snow White specifically), this is an undeniable achievement, and a contribution to movies worth remembering.

The lovely princess Snow White (voiced by Adriana Caselotti), left in the care of her vain stepmother, the Queen (Lucille La Verne), has been punished for her beauty and grace, forced to work as a scullery maid. The Queen's jealousy, however, knows no bounds, as she possesses a Magic Mirror (Moroni Olsen) that for more than a decade has declared her the most beautiful woman in the land. But one day, when asked "Magic Mirror on the wall, who is the fairest one of all?" the mirror responds for the first time with Snow White's name. Desperate to be rid of this reminder of her fading beauty, the Queen tries to have Snow White killed, but the Huntsman (Stuart Buchanan) sent to do the deed, wracked with guilt, sets her free in the mystical forest instead. As Snow White befriends the creatures of the wilderness, she comes across the home of seven unruly Dwarf miners, who take it upon themselves to protect her from the pursuit of the Evil Queen and her treachery.

Movie Review: "Whiskey Tango Foxtrot" (2016)

© Paramount Pictures

In a movie culture where comedies and action films involving terrorism or war wind up being offensively out of touch (*cough*London Has Fallen*cough*), the Lorne Michaels/Tina Fey produced Whiskey Tango Foxtrot surprisingly manages to make light of tough situations while making every effort to avoid trivializing them. It's also not the lighthearted comedy the advertisements promised it to be as Fey pushes to take the subject matter as seriously as the studio would allow. With most of the laugh-worthy one-liners shown in the trailer, audiences should expect a film that aims to educate as much as it aims to entertain. Based on the dark comedy memoir by journalist Kim Barker, The Taliban Shuffle: Strange Days in Afghanistan and Pakistan, about her time on the ground in South Asia covering stories for the Chicago Tribune, Fey's mature turn as Barker ('Baker' in the film) brings a sophistication to this story's darker elements, even when faced with the over-simplification of the Afghan war.

Cable news copy editor Kim Baker (Tina Fey) is in a rut, with a work and life routine that lacks any excitement, so when an opportunity arises to act as the station's war correspondent from the ground in Kabul, Afghanistan, she naively jumps on the assignment. Having no experience in travel or reporting, Kim faces culture shock, an uncertain war zone, and the struggle to convince people back home to pay attention to this quickly forgotten war. Welcoming distractions wherever she can with new friends, fellow reporter Tanya Vanderpoel (Margot Robbie) and freelance photographer Iain MacKelpie (Martin Freeman), ranging from nighttime partying, 'embed' reporting with the Marines, and investigating warlords, Kim comes to discover a love of this complicated, beautiful region—not to mention, a passion for life she's never experienced.

Having not read the novel, I can't speak to the liberties W.T.F. took with events. Noting the film's penchant to focus on the bed-hopping, excessive drinking, and the cliche competitiveness among the journalists over showing war events, it does inform the concept introduced of the "Kabubble" (or Kabul-bubble), a warping of reality that makes the dangers of their work feel normal. This is the most interesting feature of the film, and the part that offers most of the comedic moments, adding thrills to otherwise dangerous scenarios and allowing more opportunities to inject humor. Seasoned professionals and mature adults thrust into a literal bubble of imagined safety that feels more like a college frat house than a work place is a fantastic way to challenge Baker's development as a character and journalist.



Tina Fey is far and away the film's best asset. She's smart and natural and never fights for a laugh. Good on her, because strong-arming the comedy here would never have worked, particularly as she comes face to face with legitimately troubling situations, like wandering into a male-only park in the heart of Kabul, or enduring enemy fire to get the perfect video shot on the front lines. The story even takes a few subtle moments to educate the unassuming audience, in case you didn't know that Afghan people aren't called "Afghanis" (that's the currency). Kim's continuous bombardment of education informs her increasing confidence, a self-assurance that adds dimension to her character and the focused goal of the film. A light is shed on the early state of war in Afghanistan, the complex nature of the conflict and the role of international forces there—all shown through the veil of an intelligent comedy.

Writer Robert Carlock does his best to keep the tone consistent, and he's more or less successful. The film never veers into inexplicably serious territory, or on the other side, silliness. But one major exception to the "tonally aware" praise previously given is Alfred Molina's confounding casting as Afghan Attorney General Ali Massoud Sadiq. The "come hither" jokes from Sadiq to Baker are awkward and tasteless, easily the least useful part of the film. And no one should ignore the clear oversight in casting a British actor over an Afghan one—though he isn't the only example of that kind of casting choice. Christopher Abbott, an Italian American, as Baker's fast friend, Kabul native Fahim, is much more effective in forging a connection with our protagonist. Their moments together are actually the most touching in the film, and their interplay highlights an impressive range of cultural incompatibilities that, when effort is made, can be overcome.

The rest of the cast's talents aren't so much wasted, but they're not given as much material to work with. Martin Freeman takes a bit of a departure from his usually innocent and sweet persona and pulls off the womanizing machismo pretty well. Margot Robbie, distracting in her beauty, as always, is far more one-dimensional than she should have been, and sadly, her character is kind of pushed to the side all too quickly. The biggest surprise might have been Billy Bob Thorton as Marine General Hollanek. Not only was he a good fit for the role, he drives every one of the embed sequences and strengthens the messaging about the happenings in war—an obvious counterpart to Baker and her curiosity; Hollanek is a dose of welcome reality.

It could easily be argued that the film doesn't go far enough, only taking a handful of moments to remind us about the violence of the front lines. But at the same time, Kim Baker is a sharp, fascinating female lead, a character that comes to readily understand just how dangerous being a woman unprotected in this region can be, and one who finds a touching camaraderie with colleagues that make the hard work worth doing. The end result is a balanced, albeit overly playful, story that is driven by the incomparable Tina Fey, her strongest foray into a [semi]-drama to date.

Rating: ★★★½ / 5 stars

Ranking the 2016 Oscar Nominated Shorts: Live Action

The Oscars may have been last Sunday (my "prediction count" was an acceptable 15/24), and I may have run out of precious time to write and post every review for all 57 films nominated (as of the telecast, I'd managed to get out reviews for 35 of them), but I won't stop just because the ceremony has come and gone. This is, after all, the first year that I watched every single film on the Oscar checklist, so even though we know who the winners turned out to be, I can't help but share my thoughts on all the great cinema in 2015—and a few films that left me scratching my head (I may be one of nine people who watched The 100-Year-Old Man Who Climbed Out the Window and Disappeared). But I digress.

The last bunch of Oscar-nominated Shorts I managed to pop in to see the weekend of the awards show, knocking them out in the 11th hour, were the Live Action films. While the award eventually went to crowd-pleaser Stutterer, there were four others very worthy of attention. A group of projects that, after critiquing the Animated and Documentary shorts, turned out to be the best collection of nominees in the bunch.

So now, a week too late, here are my thoughts and rankings of the 2016 Oscar Nominated Shorts: Live Action:

1. EVERYTHING WILL BE OKAY (ALLES WIRD GUT)


Directed By: Patrick Vollrath
Country: Germany/Austria
Run Time: 30 min
View the Trailer

As we're introduced to young, eight-year-old Lea (Julia Pointner), she's picked up from her mother's house one morning by her father, Michael (Simon Schwarz), for their weekend together. Divorced, Michael and his ex-wife don't speak, but the hand-off is made and Lea joins her father happily. As the fun commences and Michael takes his beloved daughter on a series of small errands disguised as adventures, Lea begins to feel as is something is different on this particular weekend. Something that could have the potential to change their lives forever.

It's unsettling because it feels so real. There is nothing shiny or epic about this story, and I found it disturbing and beautiful. In many ways, this is easily the most involving film of the nominees, because there is no apparent threat to any of these characters... that is until you realize what's really going on. Slow and patient, the predictability (or rather, the realization, whenever it is that it hits you--for me, is was about 4 minutes in), doesn't take away from the intensity for one second. Because even if you understand that no danger may come to young Lea, it's impossible not to fear for her. I found her performance magnificent, especially for someone so young. It's rare that the camera even leaves her face, and her curiosity and worry build over time. A purely immersive film, and my personal favorite.

2. SHOK


Directed By: Jamie Donoughue
Country: Kosovo/UK
Run Time: 21 min
View the Trailer

The most difficult film to watch of this collection and by far the most singularly cinematic achievement, as well. In twenty minutes, director Jamie Donoughue managed to create a complex war-torn society, one being navigated by two young boys just beginning to understand the severity of the danger they're encountering. Set during the Kosovo War in 1998, and framed through the stark memory of a bicycle, we're introduced to friends Oki (Andi Bajgora) and Petrit (Lum Veseli). As the Serbian takeover threatens the lives of the Albanian citizens, Petrit naively finds a way to make some money from the leader of a group of local Serbian soldiers. When his involvement puts a wedge between he and Oki, the two must fight to do what's right in the face of terrifying injustice.

The final moments were some of the most upsetting and beautifully shot climaxes of the year--of any film. It being inherently difficult to watch is what's keeping it from being higher on this list, but I have no doubt in my mind that it should have taken home the 2016 Oscar. Not to mention, this is another example of the incredible young talent we've seen steal the show throughout this entire awards season.

3. STUTTERER


Directed By: Benjamin Cleary
Country: UK/Ireland
Run Time: 12 min
View the Trailer

This is the only movie presented in this category that I'd happily watch again. And I say "happily" because it stands alone in its uncompromising happy ending and optimistic outcome for everyone involved. A rarity in cinema this year, regardless of length (Brooklyn may be the only other celebrated example). Is it any wonder that Academy voters took to its hopeful protagonist, a justifiably quiet typographer named Greenwood (Matthew Needham) who suffers from an uncontrollable, debilitating speech impediment? His stutter surely doesn't represent the eloquent words swirling around his head, but his inability to convey them has left him isolated.

When he discovers that his online relationship with the engaging Ellie (Chloe Pirrie) is approaching the next phase after she asks that they meet face to face, Greenwood goes through a transformative period as he comes to terms with his deepest fear: communication. I adored this story, and not just because of the British Sign Language we get to watch Greenwood practice (signed languages are a huge passion of mine, and I wish I saw them represented in cinema more). A touching and sweet escalation of one man's determination to overcome such a personal challenge, this one stands out for exactly that reason.

4. DAY ONE


Directed By: Henry Hughes
Country: USA
Run Time: 25 min
View the Trailer

There really isn't a bad film among these, and Day One is no exception. The only contribution from the United States to receive a nomination, this film about an Afghani-American named Feda (Layla Alizada) enlisting as an interpreter and being deployed to Afghanistan is a small story in a much larger ecosystem of war. Like Shok, this is a snapshot framed around the personal inexperience of our protagonist. And while it didn't quite have the structural genius as the previous shorts, the acting and direction make it undeniably compelling.

On her first day on the job, an unsure Feda accompanies a group of US soldiers to investigate intelligence that a bomb-maker is residing in a small village. When they arrive to arrest the bomb-maker, Feda discovers that his wife is not only pregnant, but is about to give birth. Navigating cultural limitations, fear, and wavering trust, the team instructs Feda, the only female on the team, to aide in the complicated and dangerous delivery of the baby. In some ways, this story is very simple. We don't really get to know these characters, but the world is rich with complications that force these very different people to interact and work together for a common goal. It's beautiful watching it all come together, and despite some strange shot choices (fake baby arms), Alizada is a captivating lead in a high stakes story.

5. AVE MARIA


Directed By: Basil Khalil
Country: Palestine/France/Germany
Run Time: 15 min
View the Trailer

When a boisterous family of Israeli settlers crash their car into the Virgin Mary statue outside of a remote West Bank convent, the group of nuns living inside are asked to help, despite having taken a vow of silence. Realizing that they're at an impasse after the family realizes their Sabbath rules restrict the operation of a telephone, the group must find a way to communicate and work together to restore peace to all of their lives.

Self-described as a comedy, this film may not be considered the most memorable or interesting, but it's playful nature and cross-cultural confusions are enjoyable nonetheless. An issue I might cite is that it feels far less important than it might think it is, and that may have to do with the writing, which is creative in its situational comedy but slightly obnoxious in its dialogue. But at only 15 minutes, it's a short and simple movie with a fun cast of characters. There is just no way it could hold a candle to the films above, especially thematically.

Movie Review: "London Has Fallen" (2016)

© Focus Features

Around this same time last year, I watched Olympus Has Fallen for my 365 Movies Project, and it shouldn't have been a surprise to anyone that Hollywood would find another way to put the President of the United States in unbelievable danger, this time across the pond in the suitably titled, London Has Fallen. Far less "pro-America" than its predecessor, it is instead significantly more "anti-everywhere else." Xenophobia and racial sensitivity run amuck, almost as aggressively as the nineties action-flick clichés that, after 100 long minutes, begin to feel inescapable. Director Babak Najafi's US film debut (having spent a career in his adopted home country of Sweden) regurgitates the same terrorist plot formula that has become all too familiar if you've watched a movie in the last 30 years, and while Najafi leans heavily on his over-qualified cast, they can't save the film from its humdrum dialogue and predictable plot twists.

Having returned to serve U.S. President Benjamin Asher (Aaron Eckhart) for his second term, lead Secret Service agent Mike Banning (Gerard Butler) awaits the birth of his first child, this time considering an official resignation on his own terms. But when the British Prime Minister unexpectedly passes away, Banning scrambles to oversee the safety of the President as they, along with all the leaders of the western world, travel to London for the funeral. Despite the heightened security and without warning, terrorists led by vengeful arms dealer, Aamir Barkawi (Alon Aboutboul), infiltrate the intelligence and police's ranks, bringing down a devastating attack on the city. Desperate to keep the President safe and not knowing who he can trust, Banning makes his way through the streets of London, fighting to ensure Barkawi's men never get their hand's on the leader of the free world.

Since this is essentially the same movie as its prequel, I'd say that neither is better than the other, but the fact that the original separated the two leads from interacting makes the buddy-adventure explored here completely override the intensity (and uncertainty) that was generated before. Butler and his accent are gruff and commanding, certainly more so than the dimple-chinned and charming Eckhart, who takes full advantage of the floundering battle-green persona he's given. Banning is so aggressively capable, you're left battled at how he can be so bad at his job.

The whole crux of the first film was: "Had Banning only been here, none of this would have happened," and that assessment is immediately cut down at the knees the moment hell fire rains down from Westminster Abbey and Banning stands in shock and dismay. As wonderful as it is watching Banning protect Asher against all means of chaos and terror, a good Secret Service head wouldn't have put him at risk in the first place. I don't think it's USSS protocol to "reluctantly" gamble with the President's life just because POTUS doesn't want to be rude.



Unfortunately, most of the other characters littered throughout the plot spend the length of the film in constant wide-eyed disbelief, if for no other reason than to contrast the inexplicably unflappable Banning. Locked in the Situation Room, they... watch screens and occasionally gasp and more often than not look concerned, and the talents of Oscar-celebrated stars, Morgan Freeman, Melissa Leo, and Jackie Earle Haley go completely to waste. The only exception is the exceptional Angela Bassett as Secret Service Director, Lynne Jacobs. Displaying an emotional range none of the other actors can match, she's sadly relegated to being the character whose advice everyone ignores—with irreversible consequences.

Four credited writers attached to this excuse for a screenplay suggests there were a multitude of rewrites, likely stripping the film of any of its initial personality—that is to say, if it ever had any. Full of "took you long enough"s and "we will find you, and we will destroy you"s, it doesn't even try to say anything new or hide the obvious reveals to come. Close your eyes and you're listening to Michael Bay's greatest nineties hits. Open your eyes, and your witnessing the worst of his CGI effects reel. While the hand-to-hand combat scenes packed a damn impressive punch (hardy-har), try not to look too closely at the multitude of poorly designed computer-generated explosions. Calling the flat and terror-less flames "first-year VFX student quality" would be an insult to first year VFX students everywhere. Thankfully for the film's sake, director Najafi took as much time focusing in as tight on Butler as he could, managing to create a more than solid infiltration scene during the climax reminiscent of a first person shooter. But that impressive execution stands very much alone.

If it weren't for the fact that the blindly insensitive, one-dimensional, and petty portrayal of the villainous terrorists infused the film with such hostile, chauvinistic racism, this may have been an excusably good time. The leads do possess a friendship that isn't hard to believe in and root for, and frankly, that's more than most would expect in an action film this straight-forward. It's also not hard to argue that London Has Fallen is typical Hollywood March-release faire that, while wholly tone-deaf, shouldn't be taken seriously enough to offend anyone. There are certainly entertaining moments of shoot-em-up glee that would be enough to lift most viewers out of boredom and keep their attention until the obvious "We'll be back" close, but one can't help but wish Asher's term as President would come to a goddamn end already and save us from another sequel.

Rating: ★★ / 5 stars

My 2016 Oscar Predictions!

image via Hollywood Reporter

For the first time in my entire life, I attempted to watch every single movie nominated for an Academy Award for this 88th Annual ceremony. It was an exhausting endeavor, one that I'm not sure I'd try to tackle again, but it was incredible to see the varying quality of nominees, particularly in categories like Documentary, Foreign, or Animated features. Not only will I successfully watch all 42 films + 15 short subjects by Sunday night (I have 3 left to go, marked with a * below), I've posted reviews for [almost] all of them, too! (click on the movie titles below to check out my thoughts in greater detail) The reviews that are missing will be posted within the coming weeks, but this is the very first year where I have an educated guess for all the categories, even those pesky short films. A mixed blessing, particularly when your favorites are not favored to win the top prize!

Every year, I post predictions somewhere online—anywhere I can—and my record isn't always so hot. This is especially true for our annual Oscar Party Pool, where I truly believe an upset just might happen, and that it'll be in my favor. My heart gets in the way of my head, and I just can't help rooting for the long shot. This year, though, many of my favorites have a pretty darn good chance of winning! So without further ado, I've posted by predictions for this year's Oscars below, tagging as follows:

✓ = My Prediction to Win
♥ = What I Wish Would Win

Don't forget to submit your picks, or share them in the comments below!

BEST PICTURE
• The Big Short
• Bridge of Spies
• Brooklyn
♥ Mad Max: Fury Road
• The Martian
✓ The Revenant
• Room
• Spotlight

BEST DIRECTOR
• Adam McKay, The Big Short
✓♥ George Miller, Mad Max: Fury Road
• Alejandro González Iñárritu, The Revenant
• Lenny Abrahamson, Room
• Tom McCarthy, Spotlight

BEST ACTOR
• Bryan Cranston, Trumbo
• Matt Damon, The Martian
✓♥ Leonardo DiCaprio, The Revenant
• Michael Fassbender, Steve Jobs
• Eddie Redmayne, The Danish Girl

BEST ACTRESS
• Cate Blanchett, Carol
✓♥ Brie Larson, Room
• Jennifer Lawrence, Joy
• Charlotte Rampling, 45 Years
• Saoirse Ronan, Brooklyn

BEST SUPPORTING ACTOR
• Christian Bale, The Big Short
♥ Tom Hardy, The Revenant
• Mark Ruffalo, Spotlight
• Mark Rylance, Bridge of Spies
✓ Sylvester Stallone, Creed

BEST SUPPORTING ACTRESS
• Jennifer Jason Leigh, The Hateful Eight
• Rooney Mara, Carol
• Rachel McAdams, Spotlight
✓♥ Alicia Vikander, The Danish Girl
• Kate Winslet, Steve Jobs