Rock ‘n Oscars

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Well of course the show was too long. I mean….

On the other hand, we’ve seen worse….A LOT worse. And Chris Rock was really funny. Despite all the hate tweets and humorless prigs who can find no laughs in an iconic internationally watched awards ceremony honoring the arts that is, at it’s worst, laughable.

Well, I don’t know about you but I needed a few good laughs and some decent movie moments this weekend. Expecting the worst – or the most dull – I got something… pretty good. As I tell my students almost daily:

It’s all about expectations.

I was talking to a friend online during a commercial break who was finding the show a mess.   This was right after I was laughing myself rather silly over one of Mr. Rock’s funnier produced segments – I think it was the moment we got to see Leslie Jones beating up a fake Leo DiCaprio and his bear in a mini-Revenant parody over the lack of roles for Black actresses; which was followed by Tracy Morgan in drag as The Danish Girl munching down on a pastry and saying This is good Danish, Girl… !

Still LOL-ing!

Still LOLing!

In any event, what I wrote to my friend was that, yes, the entire show felt a bit uncomfortable because of what’s going on in the Motion Picture Academy at the moment (Note: #OscarsSoWhite) . Which mirrors the time period the country is presently enduring politically (Note #2: #MakeAmericaGreat Again #BlackLivesMatter #AllLivesMatter).

I mean, when Mr. Rock joked about the Academy doing an In Memoriam segment that featured all the Black people shot by cops on the way to the movies this year – it sort of encapsulates the overarching issue out there, doesn’t it?

Yet with all that being said – and whether you liked, hated or felt indifferent about the entire show — it still beat Seth McFarlane mincing around the stage singing We Saw Your Boobs! or Rob Lowe serenading Snow White. Oh, how quickly you forget.

Just thinking about Seth's "We Love Your Boobs" makes me so sad I need to look at this adorable pic of Jon Hamm eating breakfast with a dog. #ifeelbetternow

Just thinking about Seth’s “We Saw Your Boobs” makes me so sad I need to look at this adorable pic of Jon Hamm eating breakfast with a dog. #ifeelbetternow

By the way, this is by no means a mea culpa for Hollywood. One need just look around the audience.   Or simply listen to Louis CK admonish all of the rich attendees – when announcing the short documentary category – that they better pay attention because the winner they were about to honor was not only probably the poorest in the room but would never make as much as any of them in his or her entire lifetime.   Since they were, Mr. CK stated, quite simply the bottom line true storytellers in the room because they all do it for little economic reward.

Preach Louis!

Preach Louis!

See, it’s not like many people in Hollywood don’t get IT. It’s just that they seldom work as a collective. And most don’t Do anything about IT. They’re too busy looking for a job, trying to keep the job they have or simply attempting to survive in an industry where baseline behavior often borderlines on the just slightly insane.

Again, just an explanation – not an excuse. Because any of us who think the white, straight male patriarchy is just going to roll over and relinquish its power need only spend a bit more time monitoring the 2016 presidential election, the relationship between the White House and Congress or merely track the progress in replacing the late Antonin Scalia on the US Supreme Court for an answer. As Mr. Rock so eloquently put it in his opening monologue (and I’m paraphrasing):

Of course Hollywood is racist. But they’re not Burning Cross racist. They’re sorority racist. It’s more – we like you Rhonda, but you’re not a Kappa.

Indeed.

And oy vey, did Black Twitter did blow up over that one. Well, I’m still p.o.’d Crash beat Brokeback Mountain for best picture 10 years ago so I suppose I get it. And none of the major above-the-line talents on the latter above were even LGBT (why would they be?) – only the subject matter.

But back to the show. Or shall I say, the nominees and winners.

Except this guy, because I can't even get into that. #DustinLanceBlack #EltonJohn #StephenSondheim #MelissaEtheridge

Except this guy, because I can’t even get into that. #DustinLanceBlack #EltonJohn #StephenSondheim #MelissaEtheridge #ugh

Here are some facts that are interesting to note and remember:

Best Picture, Original Screenplay winner: Spotlight — It was about reporters who uncovered the long buried sexual abuse of children by Catholic priests and, most importantly, the Church hierarchy that covered it up.

Best Director, Actor winner: The RevenantA period film about man and nature that subliminally deals with the environment and literally tackles American racism towards Native Americans.

Best Actress winner: Room A contemporary drama about a survivor of kidnapping and sexual abuse.

Best Supporting Actor winner: Bridge of Spies — A drama that takes apart the US government’s secrecy surrounding its 1950s spy program against the Soviet Union and the hypocrisy therein.

Best Adapted Screenplay: The Big Short  A contemporary comedy/drama that manages to shed some light and condemnation to the major players in the American financial meltdown of the previous decade.

No, Lady Gaga and Diane Warren didn’t win best song but the former’s performance of Till It Happens to You was undeniably one of the emotional high moments of the night when it concluded with a stage full of young female and male rape survivors surrounding her onstage.

... and I wasn't sure if she could top last year's Sound of Music tribute. #YouGoGaga #REALtalent

… and I wasn’t sure if she could top last year’s Sound of Music tribute. #YouGoGaga #REALtalent

As for the subject matter of the film that swept most of the technical awards – Mad Max:Fury Road – it dealt with the abuse and victimization of women of all ages in a futuristic societal wasteland – a world with little clean air, water or anything else because of the disregard and greed of all the generations that came before it.

That would be us.

Furiosa knows it

Furiosa knows it

So while the movies have a long way to go in order to meaningfully address societal inequities and real world issues – it’s not as if Paul Blart: Mall Cop 2 was awarded best picture, the new Star Wars won anything at all, or that Jurassic World 2, Hunger Games 28 or Furious 7 got any nominations.

All of the above might be scant enough progress but I’ll take it for now and hope for a rosier future.

And that they bring Chris Rock back next year.

Among other things.

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Hollywood’s Super Bowl: The Chair’s Predictions

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There is something about trying to predict Oscar winners that feels so comforting in 2016.   It’s just that way with meaningless obsessions, especially when they have to do with Hollywood.   Though if that feels bothersome, you could also consider it practical education.  If we all must live in a contemporary world that is patently unfair, what better way to prepare yourself to subvert the power structure than to try and predict its thinking. Consider it a large, life-coping global board game with movie stars.

Let's do this!

Let’s do this!

That being said, here are the Chair’s annual thoughts on who WILL and WILL NOT take home the Gold on Sunday night. Use it as a guide on what TO choose and what NOT to choose. Or simply check back so you can dish Chair-y as much as you dish the Awards show itself. (Note: We will provide our usual post mortem evaluation of both the show and our own psychic abilities).

BEST PICTURE

I'll leave you to your imagination....

There hasn’t been a best picture race in many years when opinion and likely results have been so divided. It reminds me of 1982 when, as a young reporter covering the Oscars, I watched the so-called experts with their mouths hanging open in the pressroom backstage the moment the unlikely Chariots of Fire was announced the winner over the two heavy favorites – On Golden Pond and Reds.

That’s what I think will happen this year. Most prognosticators believe the race is between Spotlight and The Revenant with the latter getting a slight, surging edge. However, unscientific though it may be, I have not talked to one industry friend who believes The Revenant is the best picture of the year or will vote for it. As for Spotlight, it would probably get my vote for its walloping simplicity and for making an endless distillation of facts appear to be dramatic. Yet strangely too few industryites feel excited about the film even though all seem to agree it’s quite well made.

The movie many find the most original and timely is The Big Short. Even if it still didn’t entirely decipher all the intricacies of how the American financial system collapsed in the prior decade it came pretty close. Plus, it’s the subject on everyone’s mind in an election year and the filmmakers’ clever breaking of the fourth wall in an attempt to entertain us in order to explain the unexplainable will in the end prove to be irresistible to voters. Of course, I could be wrong. Much like the meltdown of the American financial system that has happened before and will no doubt happen again. Still —

WINNER: The Big Short

ACTOR IN A LEADING ROLE

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Does anyone believe Leonardo DiCaprio will not finally win his first Oscar for The Revenant? But as a student of mine wisely commented this week, doesn’t the fact that he really was in physical pain and danger mean that he didn’t have to do as much as an actor? As opposed to Michael Fassbender who actually had to become Steve Jobs, a man we all knew that never had to wrestle with a tiger? Point taken. However, in the Oscar tradition of sweat, drool, handicap, weight loss and rolling around in the mud acting —

WINNER: Leonardo DiCaprio, The Revenant

ACTRESS IN A LEADING ROLE

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Room received four Oscar nominations and its sole win will be for Brie Larson in this category. Her raw, heartbreaking performance held the film together along with the work done by her 9-year-old co-star Jacob Tremblay, who deserves lifetime use of the personal hash tag #OscarsSoOld for being totally overlooked in the supporting actor category. But back to Ms. Larson. No offense to the other ladies but it’s no contest. Besides, she was totally overlooked once before in 2013 for her superb work in Short Term 12.

WINNER: Brie Larson, Room

ACTOR IN A SUPPORTING ROLE

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Yes, Sylvester Stallone can really act! That’s all you keep hearing anytime this category is mentioned. But did you all think he really WAS Rocky? Okay, don’t answer – I get it. The industry likes nothing more than to finally have a valid reason to reward one of the last of its old-fashioned movie stars who also created one of its most enduring film franchises of the 20th century.

WINNER: Sylvester Stallone, Creed

ACTRESS IN A SUPPORTING ROLE

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I would so like Jennifer Jason Leigh to win for her bizarrely funny and twisted turn as unapologetic robber/captive Daisy Domergue in H8 – and not only to make up for the fact that she was never nominated for her brilliant turn as a soul-sucking, relentlessly aspiring rock singer in 1995’s Georgia. (Note: Yes, I hold grudges). But it won’t happen. The Academy gave all the films in this category multiple nominations but it’s Alicia Vikander in a squeak. Imagine the difficulty of stealing a movie away from a man who is playing one of the first transgender females in medical history? Yet somehow she did it without showing off. Not to mention, she did equal if not superior work this year as the star robot/replicant/human(?) in Ex-Machina.

WINNER: Alicia Vikander, The Danish Girl

ANIMATED FEATURE FILM

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Do NOT bet against a well-reviewed Pixar film in an Oscar pool. And starring the overeager character voiced by Amy Poehler? Where she gets to learn a well-earned lesson? Seriously.

BRB, watching this for an hour

BRB, watching this for an hour

WINNER: Inside Out

DIRECTING

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Why was it initially so difficult for observers to believe that Alejandro G. Inarritu would win best director for the second year in a row for The Revanant? Well, because we Americans tend to go for the bright shiny object rather than the one we’ve been playing with for a year. Others point to history. The only ones to manage it two consecutive times were John Ford for Grapes of Wrath (1939) and How Green Was My Valley (1940), and Joseph L. Mankiewicz with A Letter to Three Wives (1949) and All About Eve (1950). (Note: Not to mention, Mr. M. also won the screenwriting trophy in both those years). More recently, Oliver Stone was named best director for both Platoon (1990) and Born on the Fourth Of July (1992).

So accept it. It’s Inarritu in a walk over the other four, all of whom are equally deserving. Still, if it only weren’t for that bear…

WINNER: Alejandro G. Inarritu, The Revenant

WRITING (ADAPTED SCREENPLAY)

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This is one of the few sure things. For making Wall Street rules, regulations and hubris almost understandable and actually funny —

WINNER: Charles Randolph and Adam McKay, The Big Short

WRITING (ORIGINAL SCREENPLAY)

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Tough category but at the end of the day making a visual and exciting screenplay about the research and writing of a story where mental, rather than physical bombs explode, has the highest degree of difficulty. The writers of Spotlight did this masterfully. I just wrote a period screenplay about a journalist uncovering a web of unrelenting corruption. Trust me, they deserve it.

WINNER: Josh Singer and Tom McCarthy, Spotlight

CINEMATOGRAPHY

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The vistas, the animals, the dream sequences, the forces of nature!! How did they do it??? And what about how cold it was??? No, were not speaking about The Hateful Eight or the magic surrealism (at least in my mind) of Mad Max. You’re just going to have to grin and bear it. (Note: I had to)

WINNER: Emmanuel Lubezki, The Revenant

COSTUME DESIGN

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There’s a lot of divided opinion on this. Do you go with pretty, gritty or flitty? In a field with a lot of glamour that will likely cancel each other out, let’s go with originality that’s also gritty.

WINNER: Jenny Bevan, Mad Max: Fury Road

DOCUMENTARY (FEATURE)

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Not much debate on this one for me. There are many worthy issues these films tackle. But Amy Winehouse was a once in a generation talent. Her music is sad, happy, incisive and makes you feel and think. This portrait of her life does the same. It’s not for the faint of heart and often quite troubling. Which is why it deserves to win and will win. Watch the film, listen to her records and then search YouTube (start here). You’ll be surprised at the treasures you’ll unearth.

WINNER: Amy

Miss you girl

Miss you girl

DOCUMENTARY (SHORT SUBJECT)

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A perennial tiebreaker in the Oscar pool. I don’t know and neither do you. From what I hear from people who have seen them all Body Team 12, which follows a team collecting the dead at the height of the Ebola outbreak, has a slight edge. But the others deal with the Holocaust, genocide against women, kids and Agent Orange, Syrians, and family loyalties in the face of murder. Take your pick.

WINNER: Body Team 12, David Darg and Bryn Mooser

FILM EDITING

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This award often goes to the best picture winner so logic dictates it should be either The Revenant, Spotlight or The Big Short. Which is why I’m going with Mad Max. It’s an illogical year – everywhere. Not to mention, can you imagine editing Mad Max and coming up with anything coherent – much less artful?

WINNER: Margaret Sixel, Mad Max: Fury Road

FOREIGN LANGUAGE FILM

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Don’t bet against the Holocaust when you’re Oscar predicting. Especially when the film is as lauded as this one.

WINNER: Son of Saul (Hungary)

MAKEUP AND HAIRSTYLING

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No one is going to get an award for creating all that slop around Leo’s beard. Better to reward the people who painted the dark streaks below and above Charlize’s eyes. Not to mention that haircut!

WINNER: Lesley Vanderwalt, Elka Wardega and Damian Martin, Mad Max: Fury Road

I surrender!

I surrender!

MUSIC (ORIGINAL SCORE)

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Ennio Morricone is 87 years old and actually scored all those Sergio Leone spaghetti westerns from the sixties everyone has been copying for years. And he’s NEVER won an Oscar. Are you kidding? #itstime

WINNER, Ennio Morricone, The Hateful Eight

MUSIC (ORIGINAL SONG)

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Personally, I’d go with “Simple Song #3,” since it’s the perfectly fulfilling climactic moment of Youth – the mysterious song that’s referred to all through the film that ultimately delivers. But at this point the surge of support seems to be more for the Warren-Gaga tune that tries to encapsulate feelings evoked around the all too prevalent epidemic of sexual abuse towards women.

WINNER: “Til It Happens to You,” Diane Warren and Lady Gaga, The Hunting Ground

PRODUCTION DESIGN

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The Revenant didn’t feel designed so much as simply shot. Or is that its strength? Because you and I both know the 1800s west does not actually exist anymore anywhere in this world. But no matter. To create an alternate universe from nothing takes…the Oscar. I think.

WINNER: Colin Gibson, Lisa Thompson, Mad Max: Fury Road

SOUND EDITING

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No one likes having to predict this category because as you get older your hearing starts to go and you’re never really sure what the heck you’re listening to. On the other hand, you can still recognize sounds. And on that basis, is there anything to compete with the insanity in Mad Max: Fury Road? Um…no.

Winner: Mark Magini, David White, Mad Max: Fury Road

SOUND MIXING

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I don’t know about you but the many sounds in The Revenant confused me, and not in a good way. Where was he and how did he manage any of it – it didn’t sound good, did it? Star Wars sounded like it always does, which is certainly good, though not great. Bridge and Martian were both a nice mix of movie stuff. But once again, Mad Max – what the heck was that??? It sounded soooo good. Yes, it did confuse me, but in a very gooood way.

WINNER: Chris Jenkins, Gregg Rudloff and Ben Osmo, Mad Max: Fury Road

 VISUAL EFFECTS

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The movies have become a visual effects feast. Which I’m not sure is a good thing but that’s off point. Star Wars is going to win something and this is the category. The series has pushed industry special effects to the forefront. Is that worthy of an award or condemnation? Again, the subject of another discussion.

WINNER: Roger Guyett, Patrick Tubach, Neal Scanlan and Chris Corbould, Star Wars: The Force Awakens

…AND THE ULTIMATE TIE BREAKERS:

Or as we like to call it – no one TRULY knows anything so take your pick.

SHORT FILM (ANIMATED)

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I have NO idea!!! Some say World of Tomorrow, which gives a little girl a tour of her future; others predict Sanjay’s Super Team, the imaginings of a young Indian boy of Hindu gods as superheroes. The latter seems like the right kind of invention for this category. Though the key word is seems…

WINNER: Sanjay’s Super Team

SHORT FILM (LIVE ACTION)

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Nearly every expert I’ve researched has picked Ave Maria, which is about five nuns and their routine in the West Bank being interrupted when an Israeli family moves in. Sounds timely to me but this is pure conjecture. Younger people seem to favor Shok, which centers on the friendship between two boys during the Kosovo War. As my gambler Dad says of the odds in situations like these – pick ‘em!

WINNER: Ave Maria

Want to download the Chair’s full predictions? Click the photo below!

chair ballot

Don’t miss a beat with the Chair as he tweets his way through the Oscars — and laments on his own predictions. And check back for a full recap!

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Global Warnings

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Why does one write about anything as silly and meaningless as an award show – especially the Golden Globe Awards – which are chosen by a bizarre group of international critics who have the collective credibility of, well – a blogger?

The correct answer is not – because you are a blogger.

Rather, it is the same answer I give my students and friends when they ask, Why does fill in name of a good or favorite actor do so many bad movies?

Answer: Look at all the choices available to them at the time. Which one do you think they should have picked?

In my case, I just can’t spend another week on The Republican Apprentice, Hils, the Bern or Grandpa Munster (Note: Oh please, you know who I mean).

I'm back!

I’m back!

Plus, our president has guns covered at the moment, there doesn’t seem much of a debate left on climate change and do you really need to read another 10 best/worst list of 2015 or a preview of your top choices or potential losses for 2016? No, you do not.

So here are my GG predictions. We’ll weigh in on Monday for a post mortem of the show. The commercials have host Ricky Gervais teasing us that he might make a celebrity cry. Don’t dress. And take that as seriously as any tease you encounter on television – or anywhere else for that matter.

BEST MOTION PICTURE – DRAMA

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CAROL Number 9 Films; The Weinstein Company

MAD MAX: FURY ROAD Warner Bros. Pictures / Village Roadshow Pictures / Kennedy Miller Mitchell

THE REVENANT Regency Enterprises; Twentieth Century Fox

ROOM Element Pictures / No Trace Camping; A24 

SPOTLIGHT Anonymous Content / Participant Media / First Look; Open Road Films

Winner: SPOTLIGHT

It’s got the heat, as they say. And it’s a really good film. CAROL is too rarified for this group, MAD MAX is too forward-thinking, THE REVENANT is too gross and ROOM is too small. If you are thinking a possible upset for your betting pool, remember this is an international consortium – so perhaps, REVENANT or MAD MAX. But, uh…no

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA

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CATE BLANCHETTCarol

BRIE LARSONRoom

ROONEY MARACarol

SAOIRSE RONANBrooklyn

ALICIA VIKANDERThe Danish Girl

Winner: ALICIA VIKANDER

This is one of the trickiest categories so don’t wager the house. Brie Larson should win and will probably be awarded the Oscar because it is likely Ms. Vikander will be put up for supporting actress. But given these nominations, the international appeal of THE DANISH GIRL should do it along with AV’s universal raves. The CAROL women will split. Possible spoiler is Saorise Ronan but that’s doubtful since the film is small and likely has not been seen by all the voters, “critics” though they may be.

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA

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BRYAN CRANSTON, Trumbo

LEONARDO DICAPRIO, The Revenant

MICHAEL FASSBENDERSteve Jobs

EDDIE REDMAYNEThe Danish Girl

WILL SMITHConcussion

Winner: LEONARDO DICAPRIO

FYI, I think Bryan Cranston will win the Oscar. But again – international voting is a big element here and Mr. DiCaprio seldom, if ever, wins awards. The true winner should be Michael Fassbinder who couldn’t grunt, bleed, accent or costume his way through the nearly impossible role of a somewhat unlikeable icon. But that won’t happen. Nor will Mr. Smith go to the stage.

BEST MOTION PICTURE – MUSICAL OR COMEDY

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THE BIG SHORT    Paramount Pictures / Regency Enterprises

JOY     Fox 2000 Pictures; Twentieth Century Fox

THE MARTIAN    Twentieth Century Fox

SPY     Twentieth Century Fox

TRAINWRECK    Universal Pictures / Apatow Productions

WINNER: THE MARTIAN

How much do you want to see Amy Schumer up there? Well, (NOTES SPOILER!) you’re going to have to wait for a category. And the true winner should be THE BIG SHORT. But I’m not entirely sure this group will go for the latter. The international market ADORES Ridley Scott and he’s another perennial non-winner. Not to mention, there are a group of critics who see the overly long, overly optimistic for humanity theme of THE MARTIAN irresistible. Well, no one can accuse we here at notes of any of that!

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY

BFFs

BFFs

JENNIFER LAWRENCE, Joy

MELISSA MCCARTHYSpy

AMY SCHUMERTrainwreck

MAGGIE SMITH, The Lady in the Van

LILY TOMLINGrandma

WINNER: AMY SCHUMER. And no, you didn’t read that wrong.

It’s a comedy and this group also likes to feel both hip and out-of-the-box from time to time. Not to mention – the Hollywood Foreign Press’ main source of revenue (meaning how they stay afloat) is the broadcast of this show (which means ratings).

Lest we forget who won big at the 2010 Globes!

Lest we forget who won big at the 2010 Globes!

Not to say Ms. Schumer doesn’t deserve best comic (and even musical!) performance by an actress this year. Though my vote would go to Lily Tomlin. Why? Because how often do we get the treat of seeing Lily Tomlin playing a snide lesbian…in the movies, that is?

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY

The world saves Matt Damon... again

The world saves Matt Damon… again

CHRISTIAN BALE, The Big Short 

STEVE CARELL, The Big Short 

MATT DAMONThe Martian

AL PACINODanny Collins

MARK RUFFALOInfinitely Polar Bear

WINNER: MATT DAMON

Sure, this feels ridiculous. Is ‘THE MARTIAN a comedy? As much as it’s a musical. Nevertheless, it’s Damon in a walk. My vote is for Bale or Carrell. Or Mark Ruffalo. Or Al Pacino, even though I haven’t seen that movie.

BEST MOTION PICTURE – ANIMATED

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ANOMALISA    Starburns Industries; Paramount Pictures

THE GOOD DINOSAUR    Pixar Animation Studios; Walt Disney Studios Motion Pictures

INSIDE OUT    Pixar Animation Studios; Walt Disney Studios Motion Pictures

THE PEANUTS MOVIE     Blue Sky Studios; Twentieth Century Fox

SHAUN THE SHEEP MOVIE    Aardman; Lionsgate / Studiocanal

WINNER: Um, INSIDE OUT. Seriously.   (For my thoughts on the truly bizarre Anomalisa, check out last week’s post)

BEST MOTION PICTURE – FOREIGN LANGUAGE

#honesty

#honesty

THE BRAND NEW TESTAMENT (BELGIUM / FRANCE / LUXEMBOURG)

THE CLUB (CHILE)

THE FENCER (FINLAND / GERMANY / ESTONIA)

MUSTANG (FRANCE)

SON OF SAUL (HUNGARY)

I have no business weighing in here since I haven’t seen any of the nominees. The talk is for SON OF SAUL. Few Hollywood groups or award contests can resist a Holocaust film.

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE

Whatever Chairy, you know I'm fabulous!

Whatever Chairy, you know I’m fabulous!

JANE FONDA, Youth

JENNIFER JASON LEIGHThe Hateful Eight

HELEN MIRRENTrumbo

ALICIA VIKANDEREx Machina

KATE WINSLET,  Steve Jobs

WINNER: JENNIFER JASON LEIGH

I gotta say Jennifer Jason Leigh even though THE HATEFUL EIGHT is the one big film this year I still haven’t seen. Why? It’s only early January. Why JJ Leigh? Because she should have won years ago for GEORGIA and I’m still annoyed. Look it up. #SadieFlood4Ever

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE

Not a knockout for Sly

Not a knockout for Sly

PAUL DANO, Love & Mercy

IDRIS ELBABeasts of No Nation

MARK RYLANCE, Bridge of Spies

MICHAEL SHANNON99 Homes

SYLVESTER STALLONECreed

WINNER: MARK RYLANCE

Mark Rylance has the edge. Watching his performance is an acting master class in less is more. It should be required viewing for anyone serious about the craft.

BEST DIRECTOR – MOTION PICTURE

Le sigh

Le sigh

TODD HAYNES, Carol

ALEJANDRO G. IÑÁRRITU, The Revenant

TOM MCCARTHYSpotlight

GEORGE MILLERMad Max: Fury Road

RIDLEY SCOTT, The Martian

WINNER: TODD HAYNES

This is one of the toughest categories. The winner SHOULD be Tom McCarthy for not showing off and telling a story in a compelling way without all the bells and whistles. But likely it’s between Todd Haynes and Ridley Scott. Hmmmmmm. Okay, it’s Todd Haynes. It’s just the kind of film that would feel arty to these voters.

BEST SCREENPLAY – MOTION PICTURE

Is that my office?

Is that my office? #hotmess

EMMA DONOGHUE, Room

TOM MCCARTHY, JOSH SINGER,  Spotlight

CHARLES RANDOLPH, ADAM MCKAYThe Big Short

AARON SORKINSteve Jobs

QUENTIN TARANTINO, The Hateful Eight

WINNER: TOM MCCARTHY, JOSH SINGER, Spotlight

It’s hard to imagine they won’t win for making journalism heroic, dramatic and noble once again. The writers of THE BIG SHORT could be the spoilers here simply for originality. Though let’s not get carried away on that score.

BEST ORIGINAL SCORE – MOTION PICTURE

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CARTER BURWELL, Carol

ALEXANDRE DESPLAT, The Danish Girl

ENNIO MORRICONE, The Hateful Eight

DANIEL PEMBERTON, Steve Jobs

RYUICHI SAKAMOTO, ALVA NOTO, The Revenant

WINNER: ENNIO MORRICONE but…

…really no one has ANY idea, including the members of the Foreign Press.

Is this the tie-breaker in your pool? Then go for Ennio Morricone. Otherwise, drink every time someone onstage says original.

BEST ORIGINAL SONG – MOTION PICTURE

Betting against the sentimental choice

Betting against the sentimental choice

“LOVE ME LIKE YOU DO” (Fifty Shades of Grey)  Music & Lyrics by: Max Martin, Savan Kotecha, Ali Payami, Ilya Salmanzadeh

“ONE KIND OF LOVE” (Love & Mercy)  Music & Lyrics by: Brian Wilson, Scott Bennett

“SEE YOU AGAIN” (Furious 7)   Music & Lyrics by: Justin Franks, Andrew Cedar, Charlie Puth, Cameron Thomaz

“SIMPLE SONG #3”  (Youth)   Music & Lyrics by: David Lang

“WRITING’S ON THE WALL” (Spectre)   Music & Lyrics by: Sam Smith, Jimmy Napes

WINNER: ONE KIND OF LOVE 

Since the entire movie of YOUTH depends on and leads up to the performance of the haunting SIMPLE SONG #3, you’d think this was a lock. But I don’t believe this group can resist giving the much-loved Brian Wilson biopic, LOVE AND MERCY, some love. Or the much-admired Brian Wilson some long overdue awards attention.

BEST TELEVISION SERIES – DRAMA

globes-tv-drama_3523203k

EMPIRE (Fox)

GAME OF THRONES (HBO)

MR. ROBOT (USA Network)

NARCOS (Netflix)

OUTLANDER (Starz)

WINNER: MR. ROBOT

I’m going out on a limb here though it could easily be GAME OF THRONES. But the Foreign Press loves to be the FIRST to discover a show around awards time. I remember at the turn of the century when they SHOCKED the crowd on hand and at home and gave Fox’s PARTY OF FIVE best drama series. Again, look it up. As for MR. ROBOT – I’m in the middle of binge-watching it and I have to say I’m sort of hooked. Sort of? Huh?

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA

Friendly competition

Friendly competition

CAITRIONA BALFE, Outlander

VIOLA DAVIS, How to Get Away with Murder

EVA GREENPenny Dreadful

TARAJI P. HENSONEmpire

ROBIN WRIGHTHouse of Cards

WINNER: VIOLA DAVIS

Take it to the bank. She’s crazy good. Literally.

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA

JON HAMM! JON HAMM! JON HAMM!

JON HAMM! JON HAMM! JON HAMM!

JON HAMM, Mad Men

RAMI MALEKMr. Robot

WAGNER MOURANarcos

BOB ODENKIRK, Better Call Saul

LIEV SCHREIBER, Ray Donovan

WINNER: JON HAMM

That’s the sound of me cheering.

BEST TELEVISION SERIES – MUSICAL OR COMEDY

Still riveted

Still riveted

CASUAL (Hulu)

MOZART IN THE JUNGLE (Amazon)

ORANGE IS THE NEW BLACK (Netflix)

SILICON VALLEY (HBO)

TRANSPARENT (Amazon)

VEEP (HBO)

WINNER: TRANSPARENT

It’s the show of the moment. It just is. I suppose VEEP could sneak in it but it’s doubtful.

BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – MUSICAL OR COMEDY

You know you love me Chairy

You know you love me Chairy

RACHEL BLOOM, Crazy Ex-Girlfriend

JAMIE LEE CURTIS, Scream Queens

JULIA LOUIS-DREYFUS, Veep

GINA RODRIGUEZJane the Virgin

LILY TOMLINGrace and Frankie

WINNER: JULIA LOUIS-DREYFUS

Has Julia Louis-Dreyfus ever lost an awards competition? Who does she know? Still, there is a slim chance for Gina Rodriguez. Yeah, the international factor again. But I’ve learned my lesson betting against the Walt Disney of comedy actresses. (Note: I didn’t really just write that, did I?)

BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY

Is there a Globe for failure to age?

Is there a Globe for failure to age?

AZIZ ANSARI, Master of None

GAEL GARCÍA BERNAL, Mozart in the Jungle 

ROB LOWEThe Grinder

PATRICK STEWART, Blunt Talk

JEFFREY TAMBORTransparent

WINNER: JEFFREY TAMBOR

The closest there is to a sure thing. A brilliant portrayal of a trans woman because he plays her very simply – as a person.

BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION

A winner dontcha know

A winner dontcha know

AMERICAN CRIME (ABC)

AMERICAN HORROR STORY: HOTEL (FX)

FARGO (FX)

FLESH & BONE (Starz)

WOLF HALL (PBS)

WINNER: FARGO

It’s the most talked about drama this year. If one more person looks at me wide-eyed and says – What do you mean you don’t watch Fargo – you must! – I’M GONNA SCREAM. Ahhhhhhhhhh

BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR MOTION PICTURE MADE FOR TV

Oh Chairy, you betray me!!!

Oh Chairy, you betray me!!!

KIRSTEN DUNST, Fargo

LADY GAGA, American Horror Story: Hotel 

SARAH HAY, Flesh & Bone

FELICITY HUFFMAN,  American Crime

QUEEN LATIFAH, Bessie

WINNER: KIRSTEN DUNST….

….Because c’mon, you HAVE to watch FARGO. Then you’d understand. Though remember when she burst on the seen as a young girl in INTERVIEW WITH A VAMPIRE? I do. Again, look it up.

BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR MOTION PICTURE MADE FOR TV

pg-6-wolf-hall-bbc

IDRIS ELBA, Luther

OSCAR ISAAC, Show Me a Hero

DAVID OYELOWONightingale

MARK RYLANCEWolf Hall

PATRICK WILSONFargo

WINNER: MARK RYLANCE

Because FARGO has to lose in some category and Mr. Rylance is that good in everything he does.

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION

You crazy, Chairy??

You crazy, Chairy??

UZO ADUBA, Orange is the New Black

JOANNE FROGGATT, Downton Abbey

REGINA KINGAmerican Crime

JUDITH LIGHTTransparent

MAURA TIERNEY, The Affair

WINNER: JOANNE FROGGATT

How do you not give DOWNTON ABBEY something? Talk about international appeal. Not to mention – it’s Anna.

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION

What about my comeback?

What about my comeback?

ALAN CUMMING, The Good Wife

DAMIAN LEWISWolf Hall

BEN MENDELSOHNBloodline

TOBIAS MENZIESOutlander

CHRISTIAN SLATER, Mr. Robot

WINNER: BEN MENDELSOHN

I actually saw all of Bloodline. If there ever were an award-winning type of role, Mr. Mendelsohn had it – and delivered. The others will have to make do being in his company this year.

OKAY – SEE YOU ONLINE where I’ll be live tweeting at: @NOTESFROMACHAIR. Tune in!!!

The Art of Art

Screen Shot 2015-12-27 at 5.57.39 PM

As the year closes, many of us serial commenters feel compelled to do a 10 Best (or Worst) list. They both have their charms, depending on your mood. Certainly the latter is more fun to write even if it cuts into all the good karma you’ve accrued in the world thus far.

Still, at this point in my life and on this particular year I’m feeling a bit more benevolent and quite a bit more appreciative. For what?   Well, a lot of things. (Note: I will not be listing them all, don’t worry). But certainly being alive is one.

There are lots of bullets one dodges as time marches on and at no time does this become more crystal clear than when you look in the mirror or view the lives of others around you. The former is a particularly sobering fact. No matter how fabulous you look it eventually becomes apparent to even the least introspective person in the universe at odd moments that you will not withstand the test of time. And even more sobering is the undeniable reality that this can all change faster than the actual announced winner of Miss Universe 2015 if the karmic gods deem it so.

The mere fact that you are still living, breathing and thriving – even in all your imagined or real misery? Well, that also puts you ahead of a large group of others on the planet once you average it all out and divide it by the appropriate number. Watch the news or realistically consider each and every one of your friends and acquaintances, if you don’t believe me. You can even throw in a few of the sworn enemies you are perpetually jealous of – though not The Republican Apprentice. He deserves neither your jealousy nor even one moment of your consideration – for anything.

Your damn right Chairy!

Your damn right Chairy!

This being the case, I wanted to close 2015 by saying thanks and honoring one very large group. And that is all of the artists out there. The great ones, the good ones, the average ones, the not so good ones and… well, as I’ve said, I’m not doing a worst list but if I were and you were – well, you can even count in those too.

It’s the artists that have kept me – all of us – going up to this point in time and I suspect they will continue to do so for the rest of my (our) future(s).

Films, television, music, books, newspapers, paintings, home furnishings – in your hands or virtually – there are actual real people out there who do all of that. At some point it’s all a blank. Until someone sits down or stands up somewhere and has the courage, or anger, or bravado to say to us – here, this is what I think. Take it or leave it. Whether you like it or not.

Be bold

Preach

It’s not an easy thing to do and it’s a really difficult feat to do well. It may even be a necessary thing to do for many of us, you or them who do it – a way of survival, a type of selfish coping that has its own side benefits – but that doesn’t make it any more simple or less hard. It takes time, energy, determination, study and at the end of the day, a fair amount of bravery – especially if you’re planning to be honest and thus risk the wrath and mass condemnation of others. Remember, at the point of origin the screen is empty. Like –- there is nothing there. At. All. Try staring into the night sky and take away the stars and all traces of weather –- then pour black paint on it –- and you might have some approximation. Or do it in the daytime and make it all white. Depending on your mood/s.

This holiday week I was watching Green Day’s Billie Joe Armstrong (co-creator of the brilliant, massively successful American Idiot album and Broadway musical) on a rerun from earlier this year of the 2015 Rock ‘n Roll Hall of Fame ceremonies. He was accepting his honor after being inducted into this rare group and recounting his love affair with music. The Beatles, Elvis – even Kool and the Gang as a kid– he heard them all and a lot more growing up thanks to his siblings and extended family. And he loved it all and it soon became apparent to him that this was his world. That would be music – not creating one of the premiere breakthrough crossover punk bands and album/cds in history – that would come later.

Just a couple of (legendary) punks

Just a couple of (legendary) punks

And – he worked at it from the time he met one of his bandmates in the fifth grade. Yeah, he did the drugs, engaged in all the requisite, cliché misbehaviors (including many stints in rehab and numerous other episodes of self-indulgence) and has had more than his share of hits and misses. But after he played his 15 minute set with his group one had to marvel at just how edgily perfect they remain more than 25 years later. How do they/does he do it? Aside from the obvious talent, the answer lied in the rest of his speech. As he looked out in the audience at a sea of still alive musical icons and got almost teary-eyed as he gave a shout out to Patti Smith for her seminal LP Horses that he listened to as a kid. Right after his drummer, Trey Cool (yeah, that’s his name), met the gaze of Ringo Starr and thanked him profusely for being one of his true inspirations.

And so it goes, for all of us. Whether we’re inducted into the rock ‘n roll Hall of Fame or not. Whether we’re even any good or not.   We get there on the shoulders and backs and through the minds of others.

No matter how big you get, fangirling is forever

No matter how big you get, fangirling is forever

Last night I re-watched That’s Entertainment – a brilliant 1974 movie that is essentially a clip collection of classic MGM musicals introduced by classic movie stars of the time including Frank Sinatra, Gene Kelly, Elizabeth Taylor, Fred Astaire, Mickey Rooney and, as a surrogate for her mother Judy Garland – Liza Minnelli. It’s an era that will never return again: movies from the 1930s – early 1960s – a timeless American era that will forever define a certain kind of cinema that will certainly live on hundreds of centuries after all of our worried looks into the mirror or at the news on television are long gone. I love musicals and I suppose they’re not for everyone – except those movies, on some level, truly are. Even if it’s not your thing, how do you not admire and remain fascinated by Astaire dancing, Eleanor Powell tapping, Judy Garland singing? Or the optics of Busby Berkeley directing?

Berkeley keeps us hypnotized

Berkeley keeps us hypnotized

What you learn watching That’s Entertainment are the endless hours, days, weeks and months these artists labored at their craft. (Note: Needless to say, this was mostly a time before strict union rules – or overly enforced ones either for stars or mere contract players). The repetition, the trial and error, the dedication and yes, sheer push, drive and obsession of the studios and artists to do beyond their best created the kinds of big screen results that will endure long beyond what I’m writing and you’re reading here – or from anyone, anywhere else today.

I fear we’re losing a bit of that these days. It’s not that we all don’t work hard but that kind of intense single-mindedness – shutting out the rest of the world to be immersed in your craft – is it all even possible anymore? How do you shut it all out? The stimulation? The endless bombardment of information? Can you? Will it ever be the case again? I somehow feel as if I doubt it. Perhaps the answer is to simply include it and come up with something else. Or a newer form altogether. Perhaps that is happening already. In fact, I’m sure it already has. Even as we write or speak.

Andy knew what was up

Andy knew what was up

So yeah, Spotlight, Trumbo and Room were terrific for me – and I have high hopes for Hateful Eight and the new Star Wars. I love that Homeland regained its footing and thrilled me with one of the best villains on TV this season while this 22 year old overweight nerdy kid named Jordan Smith on The Voice made my mouth drop wide open when he reinvented Freddie Mercury’s Somebody to Love and bounced Adele off the #1 spot on ITunes. Plus, we haven’t even gotten to Adele. Hello.

Oh and don't forget to buy the world a coke!

Oh and don’t forget to buy the world a coke!

Yes, all of them did truly inspire . But there’s a much bigger group out there that includes many of us – as fellow creators, listeners, fans or passersby. We might disagree about the best and the worst but getting to experience all of it – even the misfires we dish – it is what ultimately unites – rather than divides us.

The Republican Apprentice notwithstanding. Always.

Happy 2016.

Size Matters

Screen Shot 2015-12-13 at 3.55.29 PM

It’s one of those small, personal films…..

The audience is VERY limited…..

People in major metropolitan areas will be go for it, but…I mean…

Why would anyone want to see this?…

BO-RING!!!…………

BRILLIANT!!!

There seems to be two types of movies nowadays – the BIG and the SMALL.

The BIG ones are entertaining and appeal to many people. Even when they’re dramatic they have lots of ACTION and are not full of MANY LEVELS of meaning. They’re LOUD and they’re fun. They can also be funny, with recognizable characters that you’d like to hang out with or hate. When they work they’re like great fast food or stylish mass-market clothing lines. You indulge in them because they deliver on what they promise.

Of course, this description is a little ridiculous. But that’s fine because we’re not talking about the BIG here. They get enough attention as it is.

That leaves – The SMALL. And the PERSONAL.

This variety is just that: intimate, multi-layered and often not very obvious. They are not fun in a ha-ha sort of way and many times they are just plain upsetting or confusing. Their pace is A LOT SLOWER (more, ahem, leisurely) and in too many moments you care to admit they can make you wonder why you would choose to spend what precious little spare time you have watching another person’s therapy session. Still, they give you something that you can’t get most anywhere else – an intimate, almost forbidden look into the psyche of someone else. At their best they can be moving, thought-provoking and, as a side benefit, can make you feel personally less crazy about your own mind and life.

Join the club!

Join the club!

Certainly, this description is biased and overly general. But no less false or true than the one used to describe BIG.   If it also seems a bit snobby, like I’m preferring this to the former, then so be it. Remember, we’re talking about what the general public considers SMALL. It needs all the help that it can get.

This being a lazy weekend where I’ve been under the weather after finishing up months of work on two different jobs, I was up for the small in the last few days.

You’d think it would be the opposite, right? Well, you wouldn’t be alone. My parents never understood why I preferred to write heart-breaking poetry at the age of 12 instead of playing baseball outside. Or why I worried so much about the destruction of the world, my own death and other existential questions of life.

What can I say, some of us were just born this way.

So to satisfy all of these urges– and yes, to RELAX ME – I popped in three different DVDs from my holiday pile courtesy of the usually ungenerous film studios. They are all what are considered SMALL movies. And they ALL had their moments – which you can take any way you want.

Other than being tossed by the general SHOW BIZ public into the dreaded SMALL and PERSONAL category, they have absolutely nothing else in common. Which is why they’re worth examining individually before they entirely disappear from the motion picture zeitgeist – and perhaps seeing if what I (or THEY) say about small is true.

BY THE SEA 

Directed, written and starring Angelina Jolie-Pitt

brad-and-angie-by-the-sea

It’s difficult to imagine ANYTHING starring Mr. and Mrs. Brad Pitt as small or personal, right? After all, is anything they do either of those things for very long? Certainly, it’s never SMALL. Except this film.

No – it’s nowhere near as BAD as you might have read it is. Nor is not a two-hour plus perfume commercial, the ultimate vanity project or the thinly veiled semi-autobiographical tale of Ms. Jolie-Pitt’s deceased mother.

By The Sea is actually a strangely watchable and often infuriatingly flawed tale of a an early 1970s it couple in marital crisis done in the style of a late 1960s French film where shots linger, meanings are implied and the scenery, clothes and sunsets are all breathtakingly beautiful. All done to the tune of what seems like a mash-up of the ambient theme music of every film ever directed by Jean Renoir, Roger Vadim and Claude Chabrol, not to mention a few others.

and then pipe in some Burton-Taylor 1970s glamour

and then pipe in some Burton-Taylor 1970s glamour

If you’re looking for faults you’ll find them. It’s thoroughly dumb-founding why Ms. Jolie-Pitt spends the majority of her screen time miserably unhappy and girding towards a breakdown. And when the truth is finally revealed (Note: yes, hang in there, she finally will let you know) it has nowhere near the impact it might have had it been doled out to us in even semi-coherent bits and pieces all along. True, this is screenwriting 101 but, I mean, are you going to be the one to give the Pitts notes when they’ve signed on to star in a new movie they want you to make?

This being the case, let’s focus on the positives. This is a filmmaker-movie star that understands exactly who she is and what the public thinks of her. So what she chooses to do here is indulge us with it – meaning her – until we can’t see straight and then subvert our expectations of who we think she is. Or, well, who her character is. Not that there’s a difference. Or, is there?

Oh Angie... you clever girl.

Oh Angie… you clever girl.

See, that’s the point. Ms. Jolie-Pitt plays an impossibly beautiful, glamorous former-dancer from New York married to Mr. Pitt, an impossibly handsome famous novelist of the time. They live in New York but are vacationing in a gem of a small hotel on the water in the south of France where they drive a spiffy sports car and seem to have unlimited clothes, style and funds to stay as long as they choose. They are so breathtakingly watchable and enviable that you hate them – then hate them for being as miserable as they both are. Until you also can’t help but be intrigued by one question: how can this possibly be??????

And that’s the crux of the film and what makes it more often than not watchable. Which is not to say I give it a hearty recommendation. But by the end, you marvel at how skillfully Ms. Jolie Pitt was able to undermine our expectations of just who she and her husband are vs. what they seem to be. And if you want to know if I’m talking about the real couple or the characters they play I have no idea. Which is, again, the entire point, and what makes the movie an unusual experience you don’t get much of anymore on the BIG (or even small) screen.

ROOM

Directed by Lenny Abrahamson; Written by Emma Donoghue (based on her novel)

Every year it seems there’s room for ONE small, personal, INDIE film on the Hollywood must-see A list. Last year it was Whiplash, and deservedly so. This year it’s Room, a movie that is equally deserving.

It’s difficult to predict why one very intimate, low-budget SMALL story will work so well while others falter. The strength of Room is its unrelenting oppressive intimacy and suppressed emotions. Which is not say it’s without its fair share of hysteria. But there’s an astonishing lack of bells and whistles here – whether due to budget, design, style or all three – and it all works pretty seamlessly.

There will be no spoilers except to say Brie Larson and Jacob Tremblay, who play a mother and her five-year old son stuck in a small room – a premise novelist/ screenwriter Donoghue was inspired to create after she read about an even more harrowing real-life story. People often think writers can only tell personal stories they’ve experienced or seen happen to their family and friends. This is shortsighted and denies the very craft of writing itself. If you do your homework and are open to your own emotions you can become part of each character’s story and wind up telling a tale about your own life – at least by extension.

Move over J. Law, Brie's Hollywood's newest It Girl

Move over J. Law, Brie’s Hollywood’s newest It Girl

For whatever reason, that seems to have happened here with Ms. Donoghue, the director and the actors. Ms. Larson is astonishing, as she was in the similar-in scope Short Term 12 several years ago. Her co-star, the now 8-year-old Jacob Tremblay gives one of those child performances that will go down next to Hayley Joel Osment in The Sixth Sense and Abigail Breslin in Little Miss Sunshine. You just find yourself wondering – how can this be? How does a kid DO this? And…could I even put two thoughts together when I was his age???

There’s a lot more to Room than any of this but since I managed to see it with little or no information beforehand I’ll do you the same favor here. But you should see it. It shows that you can still aspire to tell any sort of subject matter onscreen and, with enough time and effort, do it every bit as well or better than any one of the BIG guys (or gals, for that matter).

INFINITELY POLAR BEAR

Directed and written by Maya Forbes

3

This movie is an admittedly semi-fictionalized account of the writer-director’s own childhood as the young daughter of her bipolar, blue-blood father who tries to be a full-time parent to her and her sister when their African American mother decides to go to grad school in order to be able to earn enough money to support the family.

Its strength is that it embraces mental illness as both a serious medical condition AND entertainingly over-the-top oddity. Too often this type of character becomes merely charmingly strange or sadly pathetic – either whitewashed into a sideshow freak or held up as a sadly melodramatic life-wrecking nut job. Mark Ruffalo’s performance manages to convey equal parts of both and it imbues the film with just the right kind of narrative drive to sustain a fairly episodic story. Just as you think it’s all getting a bit ridiculous, he anchors you back to a believable reality. But when the film veers into Lifetime TV melodrama (Note: That is if Lifetime TV did more films with male leads – but that would then make it a TNT or Nat Geo movie where he’d have to be a crazy cowboy in the Wild West), he comes up with an odd bit or reaction that makes you smile but won’t send your face into snide eye-roll mode.

Just want to remind everyone that this was a real Lifetime movie in 2015.

Just want to remind everyone that this was a real Lifetime movie in 2015.

One wishes the story offered something a little bit…newer on the subject. Or perhaps that by looking at his predicament through the 2015 lens of what we know about mental illness makes everything about what’s presented seem a bit dated. One can’t help but feel like we’ve seen it before, or read about it or watched too many cable and now even network series on the subject with more than our fair share of QUIRK.

There are also moments in the movie where we can’t help but feel as if we’re watching Ms. Forbes’ comic recreations of a childhood that she has recreated for many others through the years. Of course, there is nothing wrong with that on its own. Almost every artist does it with their stories and experiences in some form or another before offering it up for general digestion (NOTE: Guilty as charged). The trick is for it not to seem as if this is material that has had previous out-of-town runs. You don’t want the sense that the daughters’ embarrassments are too planned or the wife’s exasperations too rehearsed – which is how it too often seemed. But like he does in so many roles, it’s Mr. Ruffalo who seems to know just how to calibrate it all. It’s why he’s the go-to character guy of his age group – a guy who knows how to make the small seem something better than big – REAL.