Debating the Hunt

I want what I want when I want it and HOW I want it.

Well, sorry.  That’s not how it happens.

This weekend I binged the first three episodes of the wildly imaginative and riveting new Amazon series, Hunters.  In it, Al Pacino plays a wealthy NYC Holocaust survivor who leads a secret ragtag band of avengers out to exterminate a small organized army of Nazis and pro Hitler youth bent on creating a Fourth Reich.

Think X-Men meets Inglorious Bastards told through the eyes of a Gen X’er in the late 1970s.

Sounds good to me!

Mixing fact and fiction, as dramatists are wont to do, Hunters is a crazy ride through a cross-section of imagined superhero type adventures (Note: Sans supernatural powers) and serious, sometimes gruesome reinventions of Holocaust atrocities.  The latter are quite difficult to look at and yet impossible to look away from.

As a somewhat diminutive Jewish boy from NYC who also felt powerless in my younger days, especially when it came to Nazis and bullies, I found myself LOVING every moment of Hunters, especially for the dramatic and sweet comic revenge the series offered.

Still, this hasn’t stopped its inevitable condemnation from a large and loud group of detractors.

Twitter 2020

Those include any number of Jewish groups who’ve chastised the series and its creators for inventing Nazi cruelties in a reimagined Grand Guignol type setting.  The same type of setting many of them also applauded in the above-mentioned, and Oscar-winning, Tarantino film.

Other virulent critics and social media observers were a lot more Guignol in their characterization, dismissing the entire affair as Jewsploitation.

One organization, dedicated to preserving the site of the Auschwitz camps as a memorial and preemptive warning for future generations, even called it dangerous foolishness.

It is on Amazon Prime, not PBS. #getagrip #wait #amibeingtooharsh?

Never mind the series’ 31-year old creator and show runner, David Weil, is the grandson of a Holocaust survivor and used his grandmother’s stories as a jumping off point for many of the ideas in the program.

Now taste is taste and certainly no one is obligated to love, like or even tolerate something if it is not to their sensibilities.

On the same token, one can safely assume that none of us, critics or boosters alike, are fans of the Holocaust or disagree that the return to power of Nazis and a new Fourth Reich would be a heinous, dangerous thing.

I think we’re all on the same page here

In other words, we are all in 100% in agreement on the overriding need of getting the word out on that specific dramatic message.  It’s simply the means by which we get there that we disagree on.

Another way to put it is that when it comes to the most important stuff, we are all on the SAME team, if not page.

You might see where I’m going here.  But in case you don’t, here goes:

I believe the United States is right now on the verge of our own modern day Holocaust: of democracy, our core values, our safety and our liberties.

I believe the determining factor on which way it goes will be whether we reelect Donald J. Trump to the presidency later this year.

I believe the overwhelming majority of Democrats, and more Republicans than many of us imagine, agree on this. Certainly the majority of registered voters in the country agree.  As they did in the last election.

Get your surfboard #bluewave2020

Yet here’s what I’ve witnessed among my own intimate group of fellow friends, associates and Americans, many of them Democrats, in the last few weeks:

– The condemnation of comedian John Mulaney by numerous like-minded Dems for daring to say he’d like to play Pete Buttigieg if they ever made a film about the candidate’s life. (Note: FYI, Mulaney has not even endorsed Buttigieg).

– A massive social media backlash against show biz icon Bette Midler for tweeting that Mike Bloomberg is our best choice to dethrone Trump. (Note: Several fans screamed that they’re done with her forever even though Midler has been a vociferous and almost daily anti-Trump voice on Twitter for over a year).

Do NOT come for our Bette!

– Very personal rantings from a bunch of close male friends against Elizabeth Warren because she dared to confront Mike Bloomberg very directly about his past treatment of women during the last two presidential debates and, as the logic goes, ruined his chance of election.

– The vow to SIT OUT the election entirely and NOT VOTE from a powerful small group of wealthy Dem donors I know if Bernie Sanders winds up being our party nominee.

– The vow to NEVER VOTE for any moderate Democratic nominee – especially Joe Biden, Pete Buttigieg and, yeah, Bloomberg – from any number of younger Dems that I know.

You’ll only get real talk from the Chair

– The thorough CONFUSION of many of the people closest to me on which Democratic candidate to vote for in the primary due to the fear that if the if they choose the person they TRULY SUPPORT they are wasting their vote because that person CAN’T WIN or WONT BE THE NOMINEE and they will thus unwittingly help nominate another candidate they loathe, dislike or generally would be quite reluctant to vote for.

Talk about SELF-SEWING American discord according to Russia’s plan.

Not to be scolding, but, well, now is the time for us all to grow the f-ck up.

What this means is: vote for whomever you REALLY want in the primary.  ANYONE.  And then unite behind the major party candidate your party nominates in order to rid our country of the Nazi in OUR House.

Yeah I said it

This might seem like hyperbole but in my mind it’s not.

This might seem like a difficult choice to make but if you don’t overcomplicate it, it isn’t.

See, on the big issues of Reichs and Nazi-like behavior, the objectives that unite as are pretty simple and a lot stronger than any which divide us.

Or should be.

Blondie – “One Way or Another” (Live)

Oscars So RIGHT

How is it that after 92 years the Oscars finally came up with both a telecast and a list of winners to be proud of?

Hitting the right notes, literally, for just about everything, the 2020 Oscars will probably be best remembered as the first time in history a foreign… ahem… INTERNATIONAL film won best picture.

Show tagline: PARASITE, NO HOST

Not only that, Parasite writer-director Bong Joon-ho took home THREE more Oscars for best director, best screenplay and best international (formerly foreign) film.

The hottest name in Hollywood!

And it was only a mere five decades ago when another Oscar winning writer-director, Billy Wilder, famously quipped to his cameraman:

Shoot a few scenes out of focus. I want to win the foreign film award.

That Parasite managed to touch the hearts and souls of a majority of Oscar voters is not in doubt. But what also seems clear is that the choice of a non-American film about economic inequality as the Motion Picture Academy members’ big winner was a very clear and very present way for voters to send out another message to the world. And that message is:

2020 America, and Americans, are NOT living in a bubble or behind a WALL. We are not isolationists who want to disengage with you. We, in fact, do get IT, even if it doesn’t always seem that way these days So don’t give up on us…yet.

I’m paraphrasing, of course.

In fact, I might be reaching or making this up out of whole cloth. Though truly, I don’t think so.

How I will try to think of 2019 in America

Hollywood might not literally speak for all 327 million people living in the U.S. but as an industry it is one of its chief representatives to the rest of the world. American movies reflect America to international audiences and what the Oscars choose to represent as the best of the best carries that weight.

Taken in that light the major category victories for Parasite were no small thing. No, they certainly don’t change the state of the world but, at the same time, they proclaim that things aren’t staying stagnant. If the same staid Academy that made the safe choice of Green Book as last year’s best picture is now doing a full 360 and saying a South Korean film dealing with class warfare is the gold standard, well, who knows what else is in store from any number of American industries looking to project some message to the outside of who we really are.

Don’t ever look back!

Oh yes, hope springs eternal. But then again, why not?

This message of change, or perhaps inclusion was reflected all throughout the Oscar telecast on Sunday night.

Singer-songwriter-performer extraordinaire Janelle Monae had Oscar’s best musical opening in history as she went from mock Mister Rogers garb to full blown, self-proclaimed, queer Black artist singing revamped lyrics to her 2010 tune Come Alive. Sashaying her way through a panoply of back up dancers and celebrities, she actually managed to make the Academy Awards seem hip and happening for the first time in…..well….EVER.

At one point THIS happened

But that was only one of a string of ingenious, nostalgic and just plain awe inspiring musical moments.

We had Idina Menzel belting a Disney song along with belters from more than a dozen countries in THEIR native languages.

Then there was Eminem appearing seemingly out of nowhere to rap his 2003 Oscar winning song Lose Yourself with some updated lyrics evoking the era of Trump.

OK so the song is as old as Billie Eilish, so what?

Soon Elton John was pounding on his red piano and singing the soon-to-be Oscar winning song he co-wrote with longtime lyricist partner Bernie Taupin for their autobiographical film Rocketman.

That followed twice nominated Cynthia Erivo also bringing the house down with her inspirational ballad Stand Up from her film about abolitionist Harriet Tubman, Harriet. 

And her dress was PERFECTION #QueenCynthia #EGOTiscoming

Then, as a capper, we got a haunting version of the Beatles’ Yesterday sung by this year’s multi-Grammy winner, 18-year-old Billie Eilish, in memory of the many film artists we lost this past year.

And amid all of that was this quite subversive high comic moment of the evening:

Rebel Wilson and James Corden entering in the crazy train makeup and costumes from their 2019 film disaster, Cats, to give this simple introduction to the award they were tasked to present:

As cast members of the motion picture CATS nobody more than us understands the importance of good visual effects.

Proving it’s never to soon…

Certainly one could gripe about a few misfired jokes from various presenters or any number of times when any one of us knew the wrong person, or people, were standing center stage with an Oscar in their hands that we felt belonged to someone else.

Still, it is difficult to argue with what most of those who did win were trying to say in their acceptance speeches.

They rambled, but we stuck with them

Aside from thanking their immediate families, or their teams, or their friends or cast mates, almost every major speech felt like a sincere outreach to an international audience for us all to find some way come together rather than to continue to be pulled apart by the circumstances of our times.

While the ceremony theoretically honors the art and craft of film, this year’s Oscars somehow felt more like a hand extending far beyond Hollywood and the borders of the U.S. towards the rest of the world in solidarity.

PLUS This is now Oscar-winning, so really, all is right with the world

Though on second thought, perhaps it’s more like a cry from those of us within to everyone watching on the outside for…help?

Janelle Monae – Oscars 2020 Opening

Oscar Watch: 2020

Think of watching the Oscars like a booty call.  Or the hookup you reluctantly fall back on once a year.

Neither may be the best use of your time but each offers a chance for something mindless, seductive, exciting and fabulous, perhaps all at once.

Be nice… after all, Green Book can’t win again.

Never mind there’s a 98.6% chance that won’t happen.  We all live for that elusive 1 (plus) percent.  And isn’t that what the Oscars are really about?

So, don’t pretend you won’t watch, hate watch or go to some event where you sort of watch or shhhh shhhh everyone so you can watch.  You will and so will we – live and on Twitter and via Facebook.  In the meantime, here are five things to watch out for while you’re watching this year’s Academy Awards:

1- THE TAMING OF NETFLIX – For the first time in Oscars’ history it’s not a film studio leading the pack for the most nominations but a….streaming service.  That would be Netflix with 24 nominations – 10 for The Irishman, 6 for Marriage Story, 3 for Two Popes, 2 for best-animated feature (Klaus and I Lost My Body) and 1 for best documentary short (Life Overtakes Me).

It’s not that Netflix will get entirely shut out of the game – after all, money from prestige films is really hard to come by these days.  It’s more that the streamers need to know their place.  So look all three of Netflix’s dramatic feature nominees to go home empty handed in every category with the exception of Laura Dern’s win for best supporting actress in Marriage Story.  A second award will likely be in the animated feature category, probably for Klaus.  But that should be all.

GO GET YA OSCAR, DERNZ!

2-  BILLIE EILISH – She just co-wrote and performed the theme for the upcoming James Bond film and, as such, will likely be an Oscar nominee next year.  But this year the iconoclastic 18-year old will be performing…..something.

My guess is that it’s either an imaginative background vocal to the In Memoriam segment or some weird preview of the Bond song.

Or, well…okay, the truth is I have no idea.  But I’ll bet she wears sparkly pajamas while she’s doing it and they will be the top online seller of Oscar knock off outfits the very next day.

I want to understand this… I think?

3- PARASITE vs. 1917 – Since the four acting prize winners are pretty much set (Note: Joaquin Phoenix (Joker), Renne Zellweger (Judy), Brad Pitt (Once Upon A Time…In Hollywood) and Laura Dern (Marriage Story)) that leaves best picture and director to provide the suspense.

What seems inevitable is a split between the 1917 and Parasite with our money on Sam Mendes as best director for 1917 and Parasite taking home the big best picture prize.  Why?  Because everyone admires 1917 as opposed to loving it and no film speaks to this moment in time better than Parasite.

4BRAD PITT’S STANDING OVATION AND ACCEPTANCE SPEECH – He’s the only one in his category to have never won an acting Oscar.  He was great in Once Upon A Time.  He’ a 56 year old shirtless wonder.  He’s made fun of himself in truly hilarious, self-effacing speeches all throughout awards season and everyone wants to see/hear what comes next.  (Note:  Ahhhhh, no, it won’t be Jen….Or will it?).

This might be the second to last time I can post this… OK let’s be real, I will post this forever #goodlawd

5- POLITICS DRINKING GAME – The main attraction.  You likely won’t hear the word Trump mentioned at all during the show. But throw one back every time you do hear the words peace, equality, global warming, justice, America or any variation of the phrase: lawless White House Orange Pumpkin Monster.

It will ensure the best Oscar experience you’ve ever had and you won’t remember a thing in the morning.

Elton John with Taron Egerton – “(I’m Gonna) Love Me Again”

Same Ol’ Oscar

The 92nd Oscar nominations were reliably predictable.  No, this year’s list of honorees cannot rightly be categorized as #OscarsSoWhiteStraightMale.  But neither could the group even vaguely be considered #OscarsSoColorful, #OscarsSoInclusive or even #OscarsSoPurelyArtistic.

It does seem a bit quaint to even be discussing what Hollywood (Note: Whoever or whatever that is) deems deserving of its annual golden statuette when the world is falling apart around us but perhaps that’s the very reason to spend a bit of time on it.  We all need a diversion or two, or twenty-three, and well, every year the Motion Picture Academy never fails to both come through AND simultaneously disappoint.

The Academy always comes through…

That said, it was interesting to see just how aware the Academy was of just how white the awards had the potential to be.  You could tell by their choice of not one but two people of color – Issa Rae and John Cho – to announce the nominees to an international audience.  That’s twice as many non-White people that were nominated in all four acting categories combined!

It’s a sad state that Green Book was more diverse

Meaning, Cynthia Erivo was the sole person of color to be singled out in an acting category this year for her lead performance as famed abolitionist Harriet Tubman in the fine historical drama, Harriet.  Does it count for diversity that Antonio Banderas was also nominated for his lead role in Pedro Almodovar’s brilliant semi-autobiographical pic Pain and Glory? That’s for social media to decide so you’re on your own there.

Leading the list of this year’s nominated films with ELEVEN nods was…Joker? Well, the title of that film alone says everything you need to know about the times we live in.  Close behind were: The Irishman and 1917 and Once Upon A Time in…Hollywood with ten each.

More like a TEN (but really, this did factor in right?)

The aforementioned Ms. Erivo was also one of a handful of recipients to receive two Oscar nominations in two separate categories this year.  Her second was as co-writer in the best song category for Harriet’s “Stand Up.”  Also double nominated were: Scarlett Johansson as both lead actress and supporting actress for Marriage Story and JoJo Rabbit, respectively; and David Heyman as a producer on two potential best picture winners, Marriage Story AND Once Upon A Time in…Hollywood.

Here is a full list of the nominations along with some (accurate? snide? bitchy?) opinions on those chosen and those left out of the major categories.  Let’s save the rest for when the awards are handed out on Feb. 9th.   In the meantime, get your Joker masks ready, the next four weeks promise to be….memorable?

My mantra to get through these nominations

BEST PICTURE

FORD V FERRARI  Peter Chernin, Jenno Topping and James Mangold, Producers

THE IRISHMAN  Martin Scorsese, Robert De Niro, Jane Rosenthal and Emma Tillinger Koskoff, Producers

JOJO RABBIT  Carthew Neal and Taika Waititi, Producers

JOKER  Todd Phillips, Bradley Cooper and Emma Tillinger Koskoff, Producers

LITTLE WOMEN  Amy Pascal, Producer

MARRIAGE STORY  Noah Baumbach and David Heyman, Producers

1917  Sam Mendes, Pippa Harris, Jayne-Ann Tenggren and Callum McDougall, Producers

ONCE UPON A TIME…IN HOLLYWOOD  David Heyman, Shannon McIntosh and Quentin Tarantino, Producers

PARASITE  Kwak Sin Ae and Bong Joon Ho, Producers

The question is, what DIDN’T get nominated?  Pretty much all the films predicted to get a nod in this category managed to squeak through.  The possible exception was Knives Out, which nevertheless received what more and more seems to be the consolation prize of a writing nomination, in this case for its director Rian Johnson.

Still gets top honors for best knit!

What else MIGHT have been nominated in this category even though you’d be crazy to expect it?   Well, the indie movie The Last Black Man in San Francisco should not have to rely solely on the Independent Spirit Awards to be named among the best films of the year when it is clearly that and more.   But don’t get me started on the #OscarsSo……. Again.

DIRECTING

THE IRISHMAN  Martin Scorsese

JOKER  Todd Phillips

1917  Sam Mendes

ONCE UPON A TIME…IN HOLLYWOOD  Quentin Tarantino

PARASITE  Bong Joon Ho

Here’s the thing.  Greta Gerwig, Little Women, Lulu Wang, The Farewell, Marielle Heller, A Beautiful Day in the Neighborhood, Alma Har’el, Honeyboy and Kasi Lemons, Harriet.  When you have five women who directed the aforementioned Oscar caliber films and not one gets nominated in this category, well, this is why people begin to talk.

We riot at dawn #burnitdown #justiceforGreta

Though whenever this subject comes up I point to the SOLE FEMALE to WIN best director, Kathryn Bigelow.  She got the award for her work on The Hurt Locker, a war movie with a male protagonist.  What this tells us, aside from the fact that Bigelow is a great director, is that the subject matter of a movie has as much to do with the gender of a director where the Oscar nominees (and winners) are concerned.

Anyone hungry? #sausagefest

ACTOR IN A LEADING ROLE

ANTONIO BANDERAS   Pain and Glory

LEONARDO DiCAPRIO  Once upon a Time…in Hollywood

ADAM DRIVER  Marriage Story

JOAQUIN PHOENIX  Joker

JONATHAN PRYCE  The Two Popes

There are those who might rightly be grousing that the performances of Taron Egerton in Rocketman and Robert DeNiro in The Irishman should have gotten a nod.  But truly the best performance of the year NOT in this category was in Uncut Gems.  Adam Sandler did the best acting of his career as a Jewish, compulsive gambler jeweler who can’t get out of his own way in an unrelenting and uncomfortably riveting film.  Does he deserve the Oscar for it?  Yes.  Do I care if you disagree?  No, cause it’s true.

Get ready for Grown Ups 3 #sigh

ACTOR IN A SUPPORTING ROLE

TOM HANKS  A Beautiful Day in the Neighborhood

ANTHONY HOPKINS  The Two Popes

AL PACINO  The Irishman

JOE PESCI  The Irishman

BRAD PITT  Once upon a Time…in Hollywood

Brad Pitt is really the only one who matters here…for so many reasons.  Least of which is that Mr. Pitt is the sole person in this category NEVER to have won an acting Oscar.

This category is so 90s, you have to watch all the nominees on VHS

ACTRESS IN A LEADING ROLE

 CYNTHIA ERIVO  Harriet

SCARLETT JOHANSSON  Marriage Story

SAOIRSE RONAN  Little Women

CHARLIZE THERON  Bombshell

RENÉE ZELLWEGER  Judy

Yeah, it was between Cynthia Erivo and Awkwafina (The Farewell) for the female of color slot and Cynthia won.  Just kidding, sort of, but not…really.  However, it won’t matter.  Renee Zellweger’s daring recreation of Judy Garland at the end of her life, singing and all, will win and should win.

Although Charlize wins for inspiring the most gasps (and nightmares)

ACTRESS IN A SUPPORTING ROLE

KATHY BATES  Richard Jewell

LAURA DERN  Marriage Story

SCARLETT JOHANSSON  Jojo Rabbit

FLORENCE PUGH  Little Women

MARGOT ROBBIE  Bombshell

Did you really think J Lo would be nominated for doing her Oscar pole dance in Hustlers?  Really?  No, I mean…really???  Really????????

MAYBE WE DID CHAIRY?!?!

WRITING (ADAPTED SCREENPLAY)

THE IRISHMAN  Screenplay by Steven Zaillian

JOJO RABBIT  Screenplay by Taika Waititi

JOKER  Written by Todd Phillips & Scott Silver

LITTLE WOMEN  Written for the screen by Greta Gerwig

THE TWO POPES  Written by Anthony McCarten

 

WRITING (ORIGINAL SCREENPLAY)

KNIVES OUT  Written by Rian Johnson

MARRIAGE STORY  Written by Noah Baumbach

1917  Written by Sam Mendes & Krysty Wilson-Cairns

ONCE UPON A TIME…IN HOLLYWOOD  Written by Quentin Tarantino

PARASITE  Screenplay by Bong Joon Ho, Han Jin Won; Story by Bong Joon Ho

You could have read three or four articles predicting the screenplay nominations and scored close to 100% in both of these categories.  But for my money, the big omission is Booksmart, a coming of age/last night of high school story chock full of memorable characters in hilariously awkward situations you felt you had both seen and never seen before.  So imaginative, heartfelt, funny and extremely difficult to achieve that it took four writers – Emily Halpern, Sarah Haskins, Susanna Fogel and Katie Silberman.  Of course the fact that they’re four women writing a female driven narrative had NOTHING to do with the snub!

What does the Oscars have against girls and poles?

Not to downgrade the rest, but I got up at 5:15 am for this!  So, here they are without comment:

 

ANIMATED FEATURE FILM

HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD 

I LOST MY BODY 

KLAUS 

MISSING LINK 

TOY STORY 4 

 

CINEMATOGRAPHY

THE IRISHMAN  Rodrigo Prieto

JOKER  Lawrence Sher

THE LIGHTHOUSE  Jarin Blaschke

1917  Roger Deakins

ONCE UPON A TIME…IN HOLLYWOOD  Robert Richardson

 

COSTUME DESIGN 

THE IRISHMAN  Sandy Powell and Christopher Peterson

JOJO RABBIT  Mayes C. Rubeo

JOKER  Mark Bridges

LITTLE WOMEN  Jacqueline Durran

ONCE UPON A TIME…IN HOLLYWOOD  Arianne Phillips

 

DOCUMENTARY (FEATURE)

AMERICAN FACTORY 

THE CAVE 

THE EDGE OF DEMOCRACY 

 FOR SAMA 

HONEYLAND  

 

DOCUMENTARY (SHORT SUBJECT)

 IN THE ABSENCE 

LEARNING TO SKATEBOARD IN A WARZONE (IF YOU’RE A GIRL) 

LIFE OVERTAKES ME

ST. LOUIS SUPERMAN

WALK RUN CHA-CHA 

 

FILM EDITING

FORD V FERRARI  Michael McCusker and Andrew Buckland

THE IRISHMAN  Thelma Schoonmaker

JOJO RABBIT  Tom Eagles

JOKER  Jeff Groth

PARASITE  Yang Jinmo

 

INTERNATIONAL FEATURE FILM

CORPUS CHRISTI  Poland

HONEYLAND  North Macedonia

LES MISÉRABLES  France

PAIN AND GLORY  Spain

PARASITE  South Korea

 

MAKEUP AND HAIRSTYLING

BOMBSHELL  

JOKER 

JUDY 

MALEFICENT: MISTRESS OF EVIL 

1917 

 

MUSIC (ORIGINAL SCORE)

JOKER  Hildur Guðnadóttir

LITTLE WOMEN  Alexandre Desplat

MARRIAGE STORY  Randy Newman

1917  Thomas Newman

STAR WARS: THE RISE OF SKYWALKER  John Williams

 

MUSIC (ORIGINAL SONG)

I CAN’T LET YOU THROW YOURSELF AWAY  from Toy Story 4; Music and Lyric by Randy Newman

(I’M GONNA) LOVE ME AGAIN  from Rocketman; Music by Elton John; Lyric by Bernie Taupin

I’M STANDING WITH YOU  from Breakthrough; Music and Lyric by Diane Warren

INTO THE UNKNOWN  from Frozen II; Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

STAND UP  from Harriet; Music and Lyric by Joshuah Brian Campbell and Cynthia Erivo

 

PRODUCTION DESIGN

THE IRISHMAN 

JOJO RABBIT 

1917  

ONCE UPON A TIME…IN HOLLYWOOD 

PARASITE 

 

SHORT FILM (ANIMATED)

DCERA (DAUGHTER) 

HAIR LOVE 

KITBULL 

MEMORABLE 

SISTER 

 

SHORT FILM (LIVE ACTION)

BROTHERHOOD 

NEFTA FOOTBALL CLUB 

THE NEIGHBORS’ WINDOW 

SARIA 

A SISTER 

 

SOUND EDITING

FORD V FERRARI 

JOKER 

1917 

ONCE UPON A TIME…IN HOLLYWOOD 

STAR WARS: THE RISE OF SKYWALKER 

 

SOUND MIXING

AD ASTRA 

FORD V FERRARI 

JOKER  

1917 

ONCE UPON A TIME…IN HOLLYWOOD 

 

VISUAL EFFECTS

AVENGERS: ENDGAME 

THE IRISHMAN 

THE LION KING 

STAR WARS: THE RISE OF SKYWALKER 

The Rolling Stones – “You Can’t Always Get What You Want”

Now Playing: MEH

A friend of mine recently posted about being disappointed in the current crop of movies and pondered whether his expectations were simply too high.

I thought:

I used to feel this way about people until years of therapy educated me to the fact that since you can’t expect anyone to behave in the absolutely perfect way you would in any given situation, well, you can’t quite fault them for it.

But art is something else and movies are really something more than that.

If you can’t depend on a chunk of the films in the last three months of the year to be really great, or at least really, really good, what hope is there for the future of the country/world?

Even my pessimism is working against me

Or to put it another way:

What else can THEY take away?

THEY get to fill the majority of movie screens most of the year with super heroes, escapist action and the mindless romps of cardboard characters that pass for humor.  Surely the little sliver left for us adults, or people of any age with some discernment or taste, would not go undisturbed.

Would it?

Oh Chairy, you make me laugh

Well, I quickly diagnosed the condition.  The U.S. film industry has entered a state of artistic global warming and it’s going to take generations of action to reduce the trend and it’s effect on the world.  That is, if it’s not too late already.

Of course, this makes sense.  We have for a while been the #2 polluting country worldwide, responsible for 15% of the planet’s greenhouse gases/carbon monoxide emissions (Note:  Only China bests us at 30%)  Not to mention,  we recently pulled out of the Paris Climate Accord.

So if the choice comes down to huge corporate profits vs. the safety of the planet, be it from pollutants in the air, sea or mind, um, there is only one choice.

Money TRUMPS everything. 

You know I loathe to use the word!!!

This is not to say we’re doing nothing about pollution or that there are no good films to see.  We do and there are.  Though it sort of reminds me of the quality of work I did when my divorced working Mom assigned me my daily household chores.

Never did I NOT get the job but not once, EVER, did I achieve anything spectacular as a final product.  The amount of sheer commitment, single-mindedness and self reflection on the importance of the request that in turn would produce the ultimate load of uber clean and perfectly folded bathroom towels to please Mom could not be further from my #1 priority.

Listen… it was hard work!!

What I wanted was to do it my way, get my allowance money and not have to deal with what was clearly unwarranted and unjustified negative feedback.  We made a deal and I more than fulfilled my end of the bargain.  In fact I did a damn great job of it given all the amount of commitments I had to juggle and guff I was up against as a latch key teenager.

To not to see it my way was clearly ignorance, an inability to truly understand the task at hand with the funds available to me and the overwhelming nature of the job I was tasked with.

Or, so I thought.

See:

It’s not that The Irishman isn’t interesting or well made.  It’s just that, well, it’s a bit of a slog.

I think I aged 20 years watching this

It’s not that Marriage Story doesn’t try.  It’s just that, given the many (Note: So Many) problems in today’s world, it ultimately comes off as superficial, self-important, over-praised and naval gazing. 

It’s not that Knives Out isn’t fun and has nothing to say.  It’s just that, well, it’s not nearly as great as the first two and a half minute trailer and that’s a problem in an almost two hour spoof of an/all Agatha Christie film. 

and a criminal underuse of miss jamie lee

It’s not that Parasite doesn’t have a cool point of view and doesn’t subvert our much too comfortable expectation of “cinema.” It’s just that, well, it’s screenplay is far from seamless and it requires us to accept way, way too much fantastical stuff for a non-genre film.

It’s not that Jo Jo Rabbit is not entertainingly fantastical and welcome-ingly strange.  It’s just that, well, when reinventing the comic Nazi archetype en masse one needs to be much, MUCH more clever and A LOT more specific (Note: See Inglorious Bastards).

It’s not that Hustlers doesn’t have a really and truly quite compelling pole dance by an age-defying Jennifer Lopez and literally countless seductively glossy film montages.  It’s just that, well… an anthem of feminism and/or female empowerment?  R-R-R-Really?  No……really?????

OK but… how many de-aging cameras are on her?

I could go on and if you catch me in person I’d be glad to.  You might not be interested or glad about it, though, and certainly I’d understand that.  After all, there is enough disappointment, bitterness and anger in our overly polluted world already.

The point is, really, where are today’s cinematic equivalents of:

Citizen Kane, Singing In the Rain, Giant, All About Eve, The Graduate, A Clockwork Orange, Rosemary’s Baby, All the President’s Men, E.T., Sophie’s Choice, Do the Right Thing, Working Girl, Boyz in the Hood, Schindler’s List, Mulholland Drive, Eternal Sunshine of the Spotless Mind, Moonlight and yes, La La Land??

You said it Chairy!!

They (whoever they are) say that we get the best art in the most difficult of times.  Judging from the movie art this year this means either the times are going to have to get a lot worse or filmmakers and the industry at large need to figure out a way to go from the satisfaction of good/really good/highly profitable to the exhilaration of great/risk it all fantastic/not trying to thread the needle of commerciality and art and thus achieving both incredible.

No pressure.  At least no more pressure than past generations of filmmakers and their needy, more than willing to go on a journey, audiences ever felt.

Hozier – “Take Me To Church”