Cimarron (1931)

Cimarron (1931)

Director: Wesley Ruggles
Screenplay: Howard Estabrook & Louis Sarecky

Adapted from: Cimarron by Edna Ferber

Production Company: MGM

Rating: N/A

Starring: Richard Dix & Irene Dunne

My Rating: 2 stars out of 5

I used to say I didn't like Westerns. Then, of course, I saw good Westerns - and varied Westerns - and I realized I just don't like a Western unless it's a really good one. Cimarron is not a 'really good' one. 

That is not to say that it didn't have its moments. Cinematographer Edward Cronjager reportedly planned every single shot of the film meticulously to coincide with the widely popular book's descriptions. This is where I grant the film its 2 stars. It is beautifully shot for its time. Sprawling landscapes, even in black and white, are a joy to behold. And it ought to have been well shot. It was a $1.5 million picture produced in the depression - RKO's most expensive film until 1939's Gunga Din. 

At the time, this movie got critical acclaim, but unlike other movies I'll watch on this journey, it has not stood the test of time. The love story of Sabra (Dunne) and Yancey (Dix) set during the Oklahoma land rush of 1889 is rife with offensive stereotypes about Native Americans and black People. As we will see moving through other films - Hollywood has always had a race problem - this film's strong points do not give us much to celebrate in the wake of all that. The opening 10 or 15 minutes are the highlight of the film, and the rest of the story suffers from poorly fleshed out characters and a tired plot. 

The racism, itself, is even more troubling when the entire conversation about Western Expansion and the Frontier is told with the veneer that such expansion is the 'great equalizer'. With land a plenty, anyone can be their own master. Anyone, that is, but people of color, women, Native Americans, etc. That these messages were not part of the contemporary discourse around the movie in 1931 shows that general understanding of white privilege, racism, and sexism hadn't moved very far since 1889. While modern viewers can see these discrepancies and find a wealth of topics to discuss, in its time, Cimarron was a Western Romance with little in the way of social commentary. 

I wouldn't watch it again. 

I give 2/5 stars. 

All Quiet on the Western Front (1930)

 All Quiet on the Western Front (1930)

Director: Lewis Milestone

Screenplay: George Abbott

Adapted from: All Quiet on the Western Front by Erich Maria Remarque 

Production Company: Universal 

Rating: N/A

Starring: Lew Ayres, Louis Wolheim, John Wray, Arnold Lucy, and Ben Alexander

My Rating: 4.5 our of 5 stars

I must admit, I've been looking forward to this one. In 6th grade, our History teacher showed us the 1970s remake and I remember being moved by it. When I started this project, I reached out to my best friend, Erin, and my husband to ask them to mark any of the films they wanted to watch with me. Both wanted to see this one. Unfortunately, due to busy schedules, my husband couldn't watch it (though I'll make him watch it another time) but my best friend was able to come over and watch with me - getting it all in just in time for her to go pick up her daughter from daycare. 

Another thing that might excite a potential viewer is that fact that this particular film was banned in a number of countries in Europe and Australia - some bans only having been lifted by the 1980s! If there is anything that makes someone want to watch a movie, it's that it made the government mad. The most obvious and high profile of adversaries of the film are the Nazis who, for obvious reasons, weren't super stoked about a anti-war film that featured German soldiers questioning the very idea of why they were laying their lives down for someone else's conflict. When the film was released, Goebbles and the Brownshirts disrupted many German viewings and attacked audience members - particularly if they were perceived to be Jewish. They called it a 'Judenfilm!' and by December 11th Germany had banned it. 

The obvious opposition to the movie was that it portrayed war realistically - that is, it's not all glory and brotherhood, and heroics. WWI was millions of men dying for a cause most of them didn't understand nor care about. It didn't make war look glorious, it made war look sad, depressing, and miserable. Because that's what war actually is. For many governments this conversation was uncomfortable and even threatening. So, it was best silenced.

At the beginning of the film, Professor Kantorek gives a moving speech about the importance of fighting for the Fatherland, duty, and the glorious honor of war. This moves the boys to join up and insist. We see, even now, in America how this rhetoric is still used to get people - especially the poor - to join the military and fight battles that America deems important all over the globe. Most war movies, even when realistic, play to these tropes. They romanticize war. All Quiet on the Western Front does the opposite. There's nothing glorious about men crying, weeping, and moaning in terror as they wait to be buried alive by canon fire. There's nothing enticing about starving nearly to death on the front lines, living in trenches, and having your buddy's leg blown off 2 feet from you. It doesn't feel heroic to lie in a ditch with a man you've just stabbed as he cries out for his mother and slowly dies. 

Then, in the jarring and iconic last scene, our protagonist, Paul - a man who has been through it all from boyish optimism to hardened soldier - is shot and killed unceremoniously while reaching out to touch a beautiful butterfly. No glorious homecoming. No parade. You are left remembering his dying mother and thinking about how much she loves her son, and how devastated she'll be when she gets the telegram that tells her he was sacrificed for the 'Fatherland'. 

I don't think I need to tell you at this point this was an excellent film. It's one that stands the test of time, its message as relevant today as it was 80 years ago. Yes, it's kind of silly to hear people who sound like they are from the wheat fields of Kansas being 'German' infantrymen. But forgetting that, I'd consider this one of the 'must watch' films of the 20th Century. The rhetoric cuts to the bone, it lays open the realities of war and makes you watch. It pulls no punches. 

There is a scene nearing the end where the main character, Paul, goes back to that classroom where Professor Kantorek is still giving his 'For the Fatherland!' speech to a new crop of young boys. It's one of the best scenes in the film. He asks Paul to talk about the glories of war as he's on leave from the Front. Instead of telling the class that war was glorious, honorable, and justified he tells them the truth. 

'You still think it's beautiful and sweet to die for your country, don't you? We used to think you knew. The first bombardment taught us better. It's dirty and painful to die for your country. When it comes to dying for your country, it's better not to die at all. There are millions out there dying for their countries. And what good is it?'

They call him a coward. He goes on and touches on something that I think is so relevant today. It brought to mind trying to talk to people suffering the Dunning-Kruger Effect - especially in the wake of the Trump Years. 

'There's no use talking like this. You won't know what I mean. Only, it's been a long while since we enlisted out of this classroom. So long, I thought maybe the whole world had learned by this time. Only now, they're sending babies, and they won't last a week. I shouldn't have come on leave. Up at the front, you're alive or you're dead and that's all. And you can't fool anybody about that very long. And up there, we know we're lost and done for, whether we're dead or alive. Three years we've had of it. Four years. And every day a year, and every night a century. And our bodies are earth. And our thoughts are clay. And we sleep and eat with death. And we're done for, because you can't live that way and keep anything inside you.'

He speaks as an expert. He speaks as someone literally coming directly off the Front, and because he's not saying what the boys or their Professor want to hear, he's a liar. A coward. Soldiers are only of use to them - the people seeking to glorify or wage war -  if they are parroting the company line, if they are happy to die for God and Country. Once a soldier questions his position, questions the necessity of the war and death - he's a liar, a coward. So, too, this logic applies to experts. In the age of 'expert shopping' we keep the ones we agree with and throw out the rest as liars, corrupted, bought off, take your pick. 

Excellent film. Highly recommend. 

I give 5/5 stars. Watch it.

The Broadway Melody (1929)

The Broadway Melody

Director: Harry Beaumont

Production Company: MGM

Music By: Nacio Herb Brown

Lyric by: Arthur Freed

Rating: N/A

Staring: Charles King, Anita Page, Bessie Love

My Rating: 2 out of 5 stars

And so we have the Academy's first 'talkie' Best Picture. Not only a talkie, but a musical! It was a tall order for director, Harry Beaumont, who utilized various techniques to achieve the best sound on set. This meant a process of trial and error that made for very long shooting days. For instance, it took more than 3 hours for Bessie Love to shoot a very small ukulele scene. 

In fact, sound in movies was so new that they produced a silent version of The Broadway Melody for viewing in many theaters across the country that didn't, yet, have the equipment to show non-silent films. Regardless, it was the top grossing movie of 1929 which probably helped push it into the winner's spot at the 2nd Annual Academy Awards. Let's just say, The Broadway Melody will not be making it into the top 10 of any lists. 

While I can appreciate the craft of making the picture - especially with little experience to go in in sound - it's a hokey, sappy musical with songs that are just 'meh'. It's cliched and melodramatic and I have to admit I got bored through the middle. 

Another love triangle flick, but this one is less engaging than Wings. Two sisters fight over the same man, make up, and all is well in the end - oh, and they are performers so music has an excuse to flit in and out of scenes. If it feels like I don't have much to say about this movie, it's because there isn't much to say. If you are looking for a 20s era musical to watch, see Show Boat and call it a day. 

I'd give it 2/5 stars if only because I appreciate it's technical merit and thought Bessie Love and Anita Page were lovely.

Wings (1927)

Wings (1927)

Director: William A. Wellman
Written by: Hope Loring and Louis S. Lighton

Production Company: Paramount Pictures

Rating: N/A

Starring: Clara Bow,  Charles 'Buddy' Rogers, Richard Arlen

My Rating: 4 out of 5 stars

The first Academy Award winner for Best Picture (and only silent film to win the honor) is a WWI war/romance epic written specifically for Clara Bow - Paramount's biggest star at the time. And that's interesting because her part, Mary, while providing a lot of comedic relief was not the real, narrative draw of the movie for me. 

But first, some background. Filmed in San Antonio at Kelly Field, while most pictures of the day took a month or two to film, this one took nine months. That's nine months on location in San Antonio with a lot of downtime for the hyper-attractive cast. Director William A. Wellman is quoted as saying it was an 'Armageddon of magnificent sexual Donnybrook.' Later it was noted, whether earnestly or as a joke, that by the time the production left town all the elevator girls at the famous Saint Anthony's Hotel (where the cast stayed) were pregnant. 

On top of the star-studded cast - including a small part for Gary Cooper in his early career - the director had real, WWI arial combat experience which helped him create a film by which all other arial combat films were be measured for many decades. On a $2 million budget ($29.24 million adjusted for inflation), Wellman produced a 2.5 hour epic that really is still watchable and impactful in 2022. 

I watched the film with my 8-year-old son who is deep into the YouTube, special-effects, has always

had the internet at his fingertips generation to yet be named. He was intrigued by the idea of a movie with no dialogue at all. He even asked me, 'If they can put music on it, why not speech?' The idea that there just simply did not exist the technology to make movies as he knows them awed him. Some of my favorite interjections from my son as we watched were, 'I'm not used to movies like this, but at least it does have good music.' And, a personal favorite, 'Is Gary Cooper like the olden-times Leonardo DiCaprio?' It's 2022, and I must interject that Leo's allure stands the test of time. After a few viewings of Titanic, my son understands what it is to be starstruck by DiCaprio.

At its core, Wings is a war story with love on the side. It's a buddy flick. In fact, there is some debate about whether or not it features the first LGBTQIA+ kiss in major motion picture history. But that's a topic we'll get to in a moment. To paraphrase Bill Hader's Stefon from SNL, this film has everything. Love triangle (quadrangle?), war, mistaken identity, drunkeness in Paris, the love of brothers in combat, thrilling arial battles, emotional character arcs, it's all there and it all stands up to the test of time. 

*PLOT SPOILERS*

The film follows Cadets Jack (Rodgers) and David (Arlen), two young men from the same town who are both in love with the local beauty, Sylvia. Sylvia's heart belongs to David, but a miscommunication on the part of Jack leaves him believing she's left him a token (her picture in a locket) as he goes off to war to remember her by. Meanwhile, Jack's girl-next-door type buddy, Mary has been in love with him for ages though he's completely oblivious. David, from the richest family in town, resents Jack and Jack resents him right back. At basic cadet training, they scuffle then come to like and respect each other - eventually becoming the best of friends and closest allies. Mary enlists as an ambulance driver where, by chance she meets up with Jack who is on leave in Paris. Only, Jack is drunk as a skunk seeing bubbles in the air as he is wined and dined by a beautiful French woman. Mary, utilizing her skills and wiles coerces him back to his room so that he won't be thrown in the brig for drunkenly ignoring the order to return to camp for that great 'push' into occupied territory in a few days time. When MPs rush into Jack's room looking for him, Mary is changing her clothes and the situation looks as if she was sleeping with a Cadet, so she's fired and sent back home. Just before Jack and David get in their planes for the final push forward to defeat the Germans, Jack drops his locket and the picture falls out. David notices that Sylvia has written a message to him. Fearing Jack will see it, and will be heart broken to know that Sylvia doesn't love Jack, but rather him, David rips up the picture, angering Jack just before they get into their planes and go into battle. In the tragic conclusion, David is shot down behind enemy lines, steals a German plane and tries to return to the American line only to be shot down by Jack who does not realize his friend is flying the plane. David then dies in Jack's arms. When he's gathering David's things to send home, he sees a note from Sylvia and realizes what David did to protect his feelings. Upon return home, Jack seeks forgiveness from David's family - which they grant - and runs off to find Mary. They kiss under a shooting star and live happily ever after. The end.

The infamous 'kiss' shared between Jack and David as David lays dying is the potential 'first' LGBTQIA+ kiss in major motion picture history. I'll be honest with you, I could read this kiss either way. In canon, it's probably meant to be a platonic kiss between two best friends. However, in the age of fanfiction I absolutely believe this story would get the Captain America and Bucky Buchanan treatment. That is to say, if you wanted these two to be forbidden lovers, all the ingredients are there. I'll let you decide. 

*PLOT SPOILERS END*

To say this film is good is an understatement. It's great. I can't say I've seen the other two nominated films, but I can say I understand why this movie was nominated and won. These arial battle scenes are beautiful and terrifying. They never felt hokey or overly amateurish even as we have computer technology to make actual, up close, life arial combat look 100% authentic today. 

Emotionally, it hits all the right notes as well. You are invested in Jack and David's friendship, their battles, their hardships, and their happiness. When David ripped up the picture Jack had been carrying around of Sylvia, I literally gasped. 

If I had any negativity to spread, it would be about Jack in general. His character is immature and somewhat annoying. In fact, David and Mary probably could do better. That said, I think the intention was to portray him that way. He had to grow. He had to learn. He became a better man through the course of the war through grief and sacrifice. 

I also want to mention something I noticed and appreciated while watching the movie. David is wealthy and he comes from a wealthy family, but he's never really portrayed as a snob. His parents are warm and loving. His dad isn't the evil rich guy pushing his kid to 'be a man' like you often see. They were scared. They were sad to see him leave for war. They were also proud of him. And David didn't ask for favors or seek accommodations. The war touches everyone and, at least in this story, there was no special treatment for those with wealth. 

It might shock you to know that the negatives for the first Academy Award winning film were lost. The closest they could find in the vaults was a spare that was intended for the Cinémathèque Française which was badly decayed. The version I watched, digitally remastered and re-orchestrated, was restored in the mid-90s. Thank god for modern technology. 

I highly recommend the film. I give it 4/5 stars. Liam gives it 4/5 stars. It's available for rent on Amazon Prime for $3.99. 

Blog Revived!

 Okay, it's been a while. Get ready, though. I have a new project for 2022! I've been inspired to watch every single Academy Award Winning movie from 1927's Wings to whatever film is announced winner in March 2022. 

Join me on this chronological journey through film coming soon. 

When We First Met and The Shape of Water

I'm fully aware that my update days are non existent of late, and my hope is to get them back on the regular every Friday schedule. But, let's take a moment to celebrate that we are into April and I've not abandoned this project! YAY! In reality, I've been watching the films but I have not had access to my computer and I'm terrible at typing on an iPad. Eventually, I'll get all caught up. Anyway, here are some reviews. Enjoy.

When We First Met
Release: February 9, 2018
Rating: NR
Production Company: Wonderland Sound and Vision
Director: Ari Sandel
My Rating: 3/10
Themes: Destiny, Time travel
Content or Trigger Warnings: The concept that such a thing as a 'friendzone' exists, problematic manipulation of women

Okay, so it will be hard to say much about this movie because it was about as deep as a puddle and ten times more predictable. Basically, a guy (Adam Devine) falls in love with a girl (Alexandra Daddario) he meets at a party only she 'friendzones' him and meets the man of her dreams the next day. Three years later when the guy realizes he can travel back in time to relive that night. Trying several strategies, he always wakes up in the morning, three years later to discover that regardless of whether he 'got the girl' or not, things are not right. All the while, in every iteration, the guy finds himself getting closer to the girl's best friend (Shelly Hennig). Well, i'm sure you can see where this is going. he realizes the first girl was never his destiny and her best friend is his real soulmate. This 'plot twist' was anticipated from about 10 minutes into the movie.

Ari Sandel's 'The Duff' was a real gem, in my book, but that probably had more to do with plot and the exquisite Mae Wittman. To be fair, the director can't help the writing here or predictable plot. And for an utterly pointless, predictable 90 minutes, there were some good belly laughs. Problematic concept aside, it's not terrible but it's not great either. I doubt anyone needs to waste their time.

The Shape of Water

Release: December 22, 2017
Rating: R
Production Company: Fox Searchlight
Director: Guillermo Del Torro
My Rating: 9/10
Themes: Love, Passion, Non-conformity, Espionage, Cold War
Content or Trigger Warnings: Nudity, sexuality

While Call Me By Your Name remains my favorite movie of 2017, I really enjoyed the Academy Award winner for Best Picture - The Shape of Water. I admit that I went in with reservations. How could I possibly buy a love story between a woman and a manfish? Well, I did.

Set in the 1960s, at the height of the Cold War, Del Torro puts you in the era, one-hundred percent. From the music, set, costuming, lighting, the total feel of the film is 1960s Cold War era espionage flick. That touches on another thing, this film seamlessly straddles multiple genres. It's science fiction, romance, espionage, coming of age, heist, and social commentary rolled into one neat, very watchable package.

The performances sell this movie. Each character is artfully rounded and portrayed with outstanding performances by Sally Hawkins, Michael Shannon, Richard Jenkins, Octavia Spencer, and Michael Stuhlbarg, and Doug Jones. Honestly, any one of these actors deserved accolades for their performances - especially Doug Jones who much convey real, human emotion and romance with no words and under a mountain of amphibious make-up.

One reviewer described this movie as a classic 'hero' movie turned on its head. In old Hollywood, Strickland (Shannon) would be the hero, fighting for the cause of American Exceptionalism in the Cold War Era. The Amphibian Man would be the natural 'monster', his foreign nature an inherent threat. This narrative flips all that on its head, with the natural 'hero' being an abusive, misogynist hellbent on torturing a defenseless creature and the 'monster' is a deep, emotional being capable of love and compassion far beyond the archetypal 'hero'. I think you can connect the dots of the lesson here.

I watched it twice almost in a row, it was that good. I highly recommend it, and it will be a film that is added to me 'often viewed' selection of movies.

Only the Brave and Black Panther

Pretty good week for movies. I finally got to see Black Panther - and with my 4 year old who totally behaved, no less.  I'll get to that in a minute. I also saw a movie i've had on my list for a couple of months, so you get two newish movies this week.

Only the Brave
Release: October 20, 2017
Rating: PG-13
Production Company: Di Bonaventura Pictures, Black Label Media
Director: Joseph Kosinski
My Rating: 8/10
Themes: Brotherhood, Sacrifice, Guilt, Redemption
Content or Trigger Warnings: Scary fires, lots of tears

I'm not going to give too much away about the plot of this movie since I think it's best viewed if you don't know what is around the corner. That said, it was really good and I'll probably watch it again soon. I'm always a sucker for 'true stories' about brave men and women, and this one does not disappoint.

The ensemble cast is amazing, with special acclaim to Josh Brolin, Jennifer Connelly, Jeff Bridges, Taylor Kitsch, and Miles Teller. The chemistry felt effortless and the writing and portrayals felt organic and real. It was not hard to evoke emotion from the audience with such capable actors stepping into those characters.

At times funny, at times deeply sad, this movie is a movie about heroes, sacrifice and redemption that never feels like it is trying too hard. The story isn't forced. The heroism isn't forced. It just is. For that reason, it allows you to be a part of these people's lives and, in the end, deeply feel the emotions of their loved ones. There are many side stories that highlight and enrich the material, and never detract. That's a sign of a good script.

For an occupation that is incredibly dangerous and rarely talked about, i think this movie does the profession justice. I think it does the men from Granite Mountain Hotshots justice. It's one I'll recommend to others.

Black Panther
Release: February 16, 2018
Rating: PG-13
Production Company: Marvel Studios
Director: Ryan Coogler
My Rating: 8.5/10
Themes: Racism, Technology, Colonization, Family, Vendetta
Content or Trigger Warnings: My 4 year old wasn't traumatized, neither will you be.

First and foremost, Black Panther is a kick ass Superhero movie. I'm not Superhero expert. I like most of the Marvel movies. I liked the Nolan Batman movies. I liked Wonder Woman, but as far as knowing the lore and getting extraordinarily hyped for comic book movies, that's just not me. That said, this is a really damn good one.

I caution anyone attending this movie expecting it to be the best movie of all time to remember that it is a Superhero movie. It is one through and through and it doesn't make itself anything different. What transcends the genre for Black Panther is how well it does what it means to do. That is, it is a film by people of color for people of color. White people, like me, are along for the ride, and what a ride it is. Every scene of this movie is filled with fleshed out characters, deliberate costuming and scene choices, and writing that makes it clear this is a revolution in how representation in Hollywood should go down.

Ryan Coogler who has not yet made a bad film doesn't tarnish his record here. Not only revolutionary, not only watchable, this film takes you from laughter to tears which is not easy to do in its genre. Shuri's (played by Letitia Wright) 'Don't scare my like that, colonizer,' had me rolling in my seat. While, Killmonger's (played by Michael B Jordan) parting words about his ancestors who were slaves flinging themselves from ships because 'they knew death was better than bondage' brought literal tears to my eyes.

One of the most exciting things about the movie is Wakanda which seems like a little bit of heaven on earth. Beautiful and filled with unique tribes that live in harmony - yes, even the obnoxious libertarian equivalents living in the mountains. The tech in this movie is so cool and I just want to learn so much more about it. The question of Wakanda's moral responsibility to the rest of the world, especially people of color, is only heightened by the clear level of technological advancement of this small society.

One can't talk about this movie without also highlighting how absolutely kick ass the women in this film are. They aren't strong because they've been through hell and back. They aren't strong because of a man or being put into peril. They are strong. Full stop. They are strong of mind, body, and spirit. These are not women you save. These are women who save themselves. It is of rare to get such representation, especially for women of color. Letitia Wright, Lupita Nyong'o, and Danai Gurira are so perfectly cast it's hard to imagine anyone else playing the roles. They are brilliant and diverse and I hope they give a generation of girls something to look up to. I know I want to be like them when I grow up.

Chadwick Boseman's Black Panther is nuanced and relatable but Michael B Jordan almost steals the show being one of the most relatable villains in the Marvel Universe to date. Though Killmonger has let his righteous indignation turn to hate and vengeance his indignation is, righteous. He has every right to be pissed, even if his anger might be misplaced. Jordan is so relatable you aren't really rooting for him to lose, even though you don't want him to win either. I say he almost steals the show because, personally, I think the man who stole the show was Wintson Duke, who played M'Baku, the leader of the mountain tribe. He is hilarious and somehow manages to be huge, scary, and huggable at the same time. I'm in love.

If you have not seen the movie, see it. Don't expect an Oscar movie. But expect a really good superhero movie that you'll want to see again.

Ice Princess and Fifty Shades Freed

The Olympics put me in the mood for Ice Princess. It's a movie I've never watched, to this point, because every time I see it, I'm not in the mood. So this week is pretty light on substance. Sue me. ;)

Also, look, I'm aware the Fifty Shades franchise is garbage, problematic, and worst of all - poorly written! But, it's a tradition for my husband and me to enjoy these terrible little cinema nuggets for Valentine's Day, so shut up. ;)

Release: March 18, 2005

Rating: G
Production Company: Walt Disney Pictures
Director: Tim Fywell
My Rating: 4.5/10
Themes: Perseverance, Integrity, Popularity
Content or Trigger Warnings: Unrealistic, predictable sports themes

So, long story short a girl (Michelle Trachtenberg) with a moderate interest in skating but no real training decides to start learning how to skate after a physics assignment makes her see it could be something she really loves. In record time she goes from newbie to landing triples. Thrown in are pat attempts at conflict with a former cheater coach (Kim Cattrall) and a less than enthusiastic mom (Joan Cusack).

it's incredibly unrealistic, and the stuff of typical pre-teen Disney drama. Mom just doesn't understand. The cool girls just don't understand. But with a lot of hard work - and a upbeat pop montage - you too can be a champion (fill in the blank).

it was cute. Pre-teens would love it. Personally, I found the storyline boring and skippable. But I did enjoy the skating parts. Probably won't watch this one again.

Fifty Shades Freed
Release: February 9, 2018
Rating: R
Production Company: Trigger Street Productions
Director: James Foley
My Rating: 2/10
Themes: Toxic relationships, controlling spouses
Content or Trigger Warnings: Sexual content, bad writing

Was it the worst of the trilogy? Well, no... Was it good? Well, no. Here's the thing. You know what you are getting into here. The books are garbage. The two preceding movies are garbage. This was always going to be garbage. But getting past that, there are a couple of things I noticed worth mentioning.

As the source material is really just a glorified Twilight fanfiction, and as fanfiction is notoriously light in compelling plot, but abundant with sexy daydreams, this is the first of the three where I could see they had to add material to the original to not only make a coherent plot but to make the 'conflict' believable'. Now, don't get me wrong. It was very, very close to the book. But there was a little more effort put into the 'Jack Hyde' narrative than leaving it until the last minute to crash together just for your Happy Ever After.

Something, too, that is a little tweaked is Christian Grey himself. While Dakota Johnson has done an admirable job working with less than quality material, Jamie Dornan has had to try to make a likable character from a male lead that is probably one of the most absurdly childish romantic leads in a long time. In the books, I never got the feeling that Christian Grey progressed that much. Yeah, yeah, he wanted a 'vanilla' relationship. He wanted to get married. Came around to having children. Blah, blah, blah. But was it ever any deeper than just being obsessed with out Mary Sue heroine? Never really felt like it. This movie, at least - with Dornan's help - seeks to show marked progression in Christian to the point that by the end, you figure he's relatively well adjusted - or as much as one can be who has only let people touch his chest for the last few months.

This one was less with the sexy details than before, but that's probably for the best. Those sex scenes have seemed forced in cinema-version from the beginning. All in all, it's the same as the others, no better or worse. If you get some little kick out of this guilty pleasure, you'll probably like this one okay too.

Everything, Everything, Teeth, Tangerine, The Florida Project,

Okay, so I missed last week because I had some work to do and life to live. BUT, I promised myself I wouldn't flake out on this goal, so I'm bringing you FOUR movie reviews today - a day late, I know. With the exception of 'Everything, Everything' these are movies that I've been really excited about. Without further ado...

Everything, Everything

Release: May 19, 2017
Rating: PG-13
Production Company: Warner Brothers, MGM, Alloy Entertainment
Director: Stella Meghie
My Rating: 4.5/10
Themes: Independence, Safety, Romance, Parenting
Content or Trigger Warnings: Teenage sap

You'd be forgiven for thinking you'd stepped into a John Green inspired picture when you watch this one. The film adaptation of Nicola Yoon's young adult bestseller is much in the same vein as works like 'The Fault in Our Stars' and 'Paper Towns'. It is, however, a bit sappier than the love stories of the Green variety.

Don't get me wrong, I found the premise engaging. An 18-year-old girl, Maddy (Amanda Stenberg), lives her entire life in her well-filtered house with her overprotective mother. She longs to go outside but she has a rare disease that makes all outside contaminants fatal to her. She falls in love with the new boy next door, Olly (Nick Robinson). Love leads them to impulsively take a romantic vacation to Hawaii where she falls ill. Deciding to break contact with him so as to never put her health in danger again, Maddy discovers that she never had the rare immuno-deficiency that she's been told makes it impossible for her to leave her home. In fact, she only had low immunity due to her isolation. Confronting her mother, she learns that her mom isolated her out of fear of losing her when her father and brother were killed in an accident. Olly has problems of his own, including an abusive father. It's the stuff of typical teenage fantasy romance.

One glaring problem is that the plot is predictable. I could guess that she wasn't really sick pretty early on. I also knew that she would eventually break out of her isolation and that would lead to a breakup. Basically, every step of the way, you could see what was coming around the corner. As enjoyable as this film might be to a young audience, it doesn't pack much in for older or more cynical viewers.



Teeth
Release: January 19, 2007
Rating: R
Production Company: Lionsgate
Director: Mitchell Lichtenstein
My Rating: 7.5/10
Themes: Sexism, sexual assault, Feminism, misogyny
Content or Trigger Warnings: Gore, violence, sexual assault

I'm so glad I stumbled across this black comedy/horror/social commentary indie flick. I'd heard about it before, and it's had been on my list for a while, but a recommendation from a friend led me to sit down and finally watch. Thanks, Netflix!

Taking on feminist bread and butter like virginity as a social construct, poor sex education, slut shaming, prevalence of sexual assault, the 'nice guy' trope, it gives us a  glorious vengeful heroine ready to use her special 'assets' to rectify the violence imbalance. It really is no wonder that most of the critics who didn't like this movie were men. No one is immune, not even the sort of adorably dorky guy who - though he seems well-intentioned at first - turns out to be an asshole trying to boost his own popularity and esteem through the exploitation of our lead.

The plot is simple. Dawn (played impeccably by Jess Weixler) is an abstinence advocate, saving herself for marriage. When she meets Tobey, supposedly an abstinence advocate as well, and he rapes her, she discovers she has 'vagina dentata' or vaginal teeth. From there, every man who assaults or wrongs her can be instantly punished with a sharp bite from her vagina. I recommend watching it. More information from me will not highlight your experience. What is most fun is to watch Dawn gradually get sick of men's shit and become her own person, not so bogged down by societal expectations of women's sexuality.

Teeth is a fun - maybe a little more entertaining for the women than the men. Still, I highly recommend it to anyone into black comedy and low-budget horror. It has its cult status for a reason. Well, directed and produced, this is a flick I will revisit many times, I'm sure.


Tangerine

Release: July 10, 2015
Rating: R
Production Company: Duplass Brothers Productions, Through Films
Director: Sean Baker
My Rating: 8.5/10
Themes: Transgender issues, sex work
Content or Trigger Warnings: sexuality, language

There is a kind of energy bubbling under the surface of this screwball comedy that follows two transwomen sex workers (Sin-Dee, played by Kitana Kiki Rodrigues and Alexandra, played by Mya Taylor) on a random day in the parts of Los Angeles rarely shown in Hollywood pictures.

I can't say enough about how impressed I am with the cinematography in this film. The entire thing was shot on an iPhone. An iPhone, y'all. It's grainy but saturated to provide a vivid and real quality to a story that feels like it is about real people. Baker not only co-wrote and directed the film but was one of the two cinematographers and edited the film himself. He is clearly brilliant.

It is a deeply funny and moving film, which is unprecedented not only in actually casting transwomen - not cismen portraying transwomen - and telling stories of probably the most marginalized of populations, transwomen of color. While it might seem that a story of such a specific demographic hunting down a philandering pimp might be just the sort of story that wouldn't play well to a large audience, nothing could be further from the truth. In fact, what makes this film so great is that, despite the fact that these two characters are very rarely represented in modern media, this is essentially a buddy comedy anyone can relate to. Best friends through thick and thin, even when you are pissed at each other.

The climax is wildly funny, just to be smacked in the face with the startling reality of transphobia and the struggles that come with being an underprivileged sex worker, and finally a reminder that real friends are always there for you. It is so hard to successfully walk the tight-rope between screwball comedy and deep, real pain but this film does it expertly.  Very much recommend.

The Florida Project
Release: October 6, 2017
Rating: R
Production Company: Cre Film, Freestyle Picture Company, Cinereach, June Pictures
Director: Sean Baker
My Rating: 8.5/10
Themes: Poverty, Sex work, childhood
Content or Trigger Warnings: drugs, sexuality

You may notice that this is from the same director as 'Tangerine'. That's not a coincidence. I watched them both, one after the other, because I wanted to compare them. I was not disappointed. Sean Baker clearly has an eye for portraying real stories about people that are usually underrepresented by entertainment mediums.

This film is told from the perspective of six-year-old Moonee (played fantastically by Brooklynn Prince) in Kissimmee, Florida. Her mother, Halley (played by Bria Vinaite) struggles to keep their heads above water as they live in a single room in a budget motel. While Moonee often seems unaware of just how impoverished she is, her mother resorts to online sex work, locking Moonee in the bathroom so she can see clients.  Though she wants to keep her daughter, her lifestyle causes CPS to step in on Moonee's behalf.

It's a sad ending that leaves you wondering about the real people who are in these situations. Desperate to provide for their families, the work that single mothers might be forced to do is the same work that can tear their children away from them.

What I find really fascinating is that these portrayals are vivid and real. Nearly everyone in the cast but veteran Willem DeFoe (who plays the motel manager) is a newcomer to the business. Perhaps Baker's authentic style lends itself to this kind of fresh, untested actor. Certainly, Tangerine was also filled with relatively unknown actors portraying very authentic characters in an organic way.

If I were to choose my favorite of the two Sean Baker films I watched this week, I think I liked Tangerine better, but really the difference is marginal. They are both very good, moving, and heartfelt pictures that I will undoubtedly watch again and again.

The Girl With All the Gifts and Happy Death Day

After a pretty exciting double feature this weekend, I decided to knock off two on my list that I'd wanted to see but maybe weren't the tippy top of my list. Sorry for the short updates. Neither of these films wowed or disappointed me enough to whip up a lot of enthusiasm. ;) Without further ado...


The Girl With All the Gifts

Release: August 3, 2016
Rating: R
Production Company: Altitude Film Sales, BFI Film Fund, Poison Chef
Director: Colm McCarthy
My Rating: 6/10
Themes: Civil unrest, zombie apocalypse, dystopian future, education
Content or Trigger Warnings: violence and some gore

I really watched this because it was the book we were reading in my book club, to be honest. I probably wouldn't have chosen it on my own. It's not that I don't like zombie movies, necessarily. I loved World War Z, Zombieland, and Dawn of the Dead (remake and original). It's just that I don't usually pick such movies at random. This one fell into my lap.

The plotline was interesting. First of all, it tied up a lot of loose ends that zombie pics rarely handle like 'what happens to all the zombies when they run out of a food source?' From that perspective, it was an interesting idea. And I enjoyed watching it, even if it was the kind of film you forget about a few days after you watch it.

The real weight of the film is in the underlying themes of justice, rights, humanity, education, and what it is that makes someone worth saving. How does education form us? What, if any, rights do dangerous people have? How do you draw the line between utilitarianism and human rights? Such themes are timely right now and cleverly explored here in this film.

I probably wouldn't watch it again, but it's is well worth seeing - especially if this genre is up your alley.

Happy Death Day
Release: October 13, 2017
Rating: PG-13
Production Company: Blumhouse Productions
Director: Christopher Landen
My Rating: 6.5/10
Themes: Being a good person, selfishness, popularity
Content or Trigger Warnings: violence and some gore

I was pleasantly surprised by this one. While it was a horror remake of Groundhog Day, and while it was a bit predictable - bitchy girl becomes a nice person after learning something over the course of reliving her death day - it was a lot of fun to watch and I only caught onto who the killer was about half way through which is better than most scary movies.

'Tree' (Jessica Roth) is a pretty unlikable character that you do end up rooting for in the end. The catharsis of her getting back at her enemies is a lot of fun to watch. The characters throughout the show are pretty one dimensional but it doesn't need much more depth than that. Making the 'survivor' not only not virginal but also not a Mary Sue is a fresh twist on an old trope. More than that, you can tell the filmmakers really enjoy film. This movie is almost like an opportunity to play out as many alternate endings as you can dream up. That's pretty fun for an audience.

The best thing is, you never get the feeling Happy Death Day is taking itself too seriously. For that reason, you can enjoy it for what it is and move on.

BONUS POST: Call Me By Your Name and Three Billboards outside Ebbing, Missouri

Yeah, I know it's not Friday. Don't worry, I'll post on Friday too. My husband, the amazing man that he is, offered to allow me to have a Double Feature Saturday at the local art house movie theatre (not that local, actually - the other side of town). So, he took the kids to Inflatable Wonderland and I spent 6 blissful hours enjoying two movies I've wanted to see for a long time.

Call Me By Your Name
Release: November 24, 2017
Rating: R
Production Company: Sony Pictures Classic
Director: Luca Guadagnino
My Rating: 10/10
Themes: sexuality, coming of age, star-crossed love
Content or Trigger Warnings: sexuality

I just have to get this out of the way before I go on. I loved this movie. Loved it. I wish I could watch it again right now. It was so beautiful and pitch-perfect, so expect some gushing in the following comments. I'm not exaggerating with my rating of 10 out of 10.

Set in the summer of 1983, we find Elio (Timothee Chalamet), who is a precocious and introverted 17-year-old at his parent's beautiful summer home in Northern Italy. His father, who is a professor annually invites home a grad student to stay with them and study. This summer, that student is Oliver (Armie Hammer) - Jewish, like Elio, ruggedly handsome, and thoroughly American.  After a large portion of the summer dancing around the topic, the two give in to requited feelings and have a beautiful, passionate love affair that ends far too soon when Oliver has to go back to America and, later we find out, and on-and-off-again relationship with a woman. You can probably guess the rest.

While the plot line is the stuff of typical bittersweet summer romance, what makes this film really soar, narratively, is how absolutely real and authentic it feels every step of the way. A storyline that could easily become cheesy never once strays there. It's pure and even innocent. It's a beautiful love story. In fact, I'll go so far as to say it's one of the most beautiful and captivating love stories I've ever seen on film. Yes, I believe that. Elio is innocent but not cartoonishly so. He knows what he wants, he doesn't mind taking it. Oliver is not some Harlequin fantasy, his feelings for Elio are real, deep, and vulnerable. Both of them want each other so badly, both of them are honest enough with themselves - eventually - to be unguarded and pure with each other.

Some will say the love they share, and the way things unfold is a little too perfect, a bit idyllic. Well, sure. The entire setting is idyllic, from Elio's gorgeous summer home, to the perfect swimming holes, the quaint and charming town, the parents who understand you and don't judge, the Italian countryside. Really, the beauty of this film cannot be overstated, and the warmth and love within Elio's family unit is something that I know I longed for while watching. Hell, even Oliver's dancing is charming as hell. But, in my opinion, having a love story that was so real, vibrant, and pure that didn't need to have added plot bunnies of homophobia, cheating, lying, manipulation, misunderstanding only served to make the movie better - less predictable. We've seen all of that before. This film didn't need contrived plot devices.

As you can understand, when Oliver eventually must leave, Elio is heartbroken. What follows is one of the most beautiful monologues in LGBTQ+ movie history. Instead of an awkward father hmm-hawing around for the right thing to say to his son who is heartbroken over another man, Mr. Perlman (Michael Stuhlbarg) accepts his son with no qualifiers, validates his feelings, encourages him to feel it and not to try to 'get over' how much it hurts. He knows Elio and Oliver had something special and he articulates that to Elio. It was a really powerful scene that left me a total wreck.

I'll finish with the chemistry and acting. Chalamet and Hammer ooze sensuality on screen in a way that has you longing for them to touch from the minute they meet. The movie keeps you waiting but the chemistry is always crackling. The acting is superb on all counts, but I give special nod to Timothee Chalamet and Michael Stuhlbarg, the former who shows such adeptness at complicated subtle emotions and the latter who stole nearly every scene he was in.

Go see this movie. It's easily my favorite movie of 2017.


Three Billboards outside Ebbing, Missouri
Release: November 10, 2017
Rating: R
Production Company: Fox Searchlight
Director: Martin McDonagh
My Rating: 9/10
Themes: justice, police brutality, injustice, vigilantism
Content or Trigger Warnings: language

Francis McDermott is a force to be reckoned with as Mildred, mother of a rape and murder victim in a small town in Missouri. Every part of her screams 'bad ass', and at the same time, she is vulnerable and deeply, deeply sad. There can never be enough good said about Ms. McDermott's acting, to be frank, and this role was written just for her. 

The script blends deeply troubling and upsetting scenarios with humor seamlessly. One minute you are laughing, the next, well...you are righteously pissed. It has all the makings of a good film and it is one. I'm not sure I'd label it as the best film of the year. Still, I'm not going to hold the Hollywood Foreign Press responsible for setting my expectations too high. It was a great movie that I thoroughly enjoyed watching.

Frustrated, with no idea how to get police attention back on her daughter's cold case, Mildred rents three billboards on a rarely used road near her house to ask: Raped while dying, still no arrests? What now, Chief Willoughby? And, of course, things are not all quite as simple as they seem. It turns out that Chief Willoughby (Woody Harrelson) is actually a pretty good guy - a police officer who hasn't forgotten her daughter's case, but has no leads. Of course, there is the shitty cop (Sam Rockwell) who is also a racist. And while he's those things, he runs deeper too. Mildred, though, is single-minded in her efforts to get police searching for her daughter's murderer, if not only for her own peace but to protect other women out here. 

The real magic of this movie is in the dialogue. Mildred delivers some excellent mini-monologues gouging holes into 'the system' be it police, religion, or society at large. I wanted to stand up and cheer when she told the town priest that, like The Bloods and The Crips in LA, he was 'culpable' in the abuse of boys by the Church. 'You joined a gang, man.' She spits at him. It's brilliant. She highlights how the police waste time harassing and beating people of color but not solving real crimes. She puts a voice to the 'he said/she said' argument that seemingly always fails the victim. The script is rich with social commentary and gives a foul-mouthed, bad ass voice to women who are sick of being told to sit patiently and wait for justice.