→ March 9, 2017
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Long Way North.

The Academy of Motion Picture Arts and Sciences doesn’t release a shortlist of nominees for Best Animated Feature, instead simply listing all eligible films for a given year, with the 2016 list comprising 22 titles, five of which were eventually nominated. That’s how I stumbled on Long Way North, which is free to stream via Amazon Prime; directed by one of the assistants from the amazing 2009 film The Secret of Kells, Long Way North is a very old-fashioned sort of animated film, made in 2D Flash with a traditional feel and a strong, simple story for all ages. (You can also buy/rent it on iTunes).

Sasha is our heroine, the headstrong daughter of an ambitious Russian diplomat in the late 19th century, but after making a rather poor impression at her debutante ball, she chooses to run away from home to find out what happened to her adventurer grandfather, whose supposedly unsinkable ship never returned from an attempt to sail the Northeast Passage by way of the North Pole. She ends up on a merchant ship of tough guys who agree to search for her grandfather’s ship in hopes of collecting the enormous reward out for it, and, of course, she has to save the day through her courage and cleverness in figuring out where to look.

The movie succeeds on two core levels – the look and the story. The 2D rendering gives the movie a real old-school, almost comic-book feel, enhanced by the lack of contour lines in the film, giving the images a layered look, like paper or fabric pasted on backgrounds. In an era where we expect to be dazzled by animation – look at this year’s Oscar winner Zootopia, with its absurdly realistic rendering of animal fur, or Best Animated Short winner Piper‘s rendering of water – Long Way North delights with its minimalism. It’s a throwback in a good way, with an animation ethos like that of The Triplets of Belleville, where simplicity is given to us as an alternative to the near-perfection of Pixar. Once Sasha gets out of her parents’ dank mansion and into the world, the pictures explode with vibrant colors and sweeping fills that look painted on canvas.

The story is the real selling point in Long Way North, as it takes the coming-of-age framework and gives it a few more adult twists, even darker ones as Sasha and the crew face real life-or-death struggles as they approach the North Pole. Sasha is the center of the entire story and the only fully-realized character in the film, but her arc is more than just “spoiled kid meets adversity” or “child never gives up on dreams.” You know she’s not going to die in the Arctic, but the writers succeed in making her path from home to the Pole and back again matter in a way that gives us drama and tension without feeling forced, while also striking the right balance between rewarding Sasha’s blind faith in her grandfather and making her feel the consequences of the risks she’s taken.

The script itself has some really silly, avoidable mistakes in it. After an accident aboard the ship, one of the sailors rues the loss of all of their penicillin … which wasn’t discovered until about forty years after the time of this film. One scene has a character giving Sasha CPR, even though that technique was also decades away from invention. The Northeast Passage itself had already been sailed before the time of the story as well, by Adolf Erik Nordenskiöld, after several partial expeditions by Russian sailors. There’s even a glitch where the title of a book that’s part of the plot changes (by one word). It’s all rather sloppy, which is jarring in a film that looks so clean.

My daughter is a fan of any film that has a female protagonist, especially one who saves the day through cleverness or perseverance, and she loved Long Way North even though the opening exposition is a little confusing. I was more drawn in by the lush feel of the film at first, and didn’t find myself as caught up in the story as she was until the first third or so was over, and Sasha was in the small port town where she boards the mercenary ship. I would probably still recommend this over The Red Turtle, which was nominated for the Oscar over Long Way North, because it’s so much more accessible, with a better literal story (instead of TRT‘s more metaphorical one), and a brighter feast for the eyes as well. And in a related story, I’m hoping to catch My Life as a Zucchini, the only one of the five nominees for Best Animated Feature this year I haven’t seen yet, when it plays here in Wilmington this weekend.

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→ March 7, 2017
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I Don’t Feel at Home in This World Anymore.

So I’m told that the new movie I Don’t Feel at Home in This World Anymore isn’t technically a movie, because Netflix bought the film at January’s Sundance Festival and released it directly to its streaming service, bypassing a theatrical release entirely. That means it’s ineligible for annual movie awards and (most) critics’ lists. I don’t think the movie was going to end up earning Oscar nods, but it might have been on some top ten lists given its indie cred and noir-farcical feel, along with a pretty great performance by Elijah Wood.

Melanie Lynskey plays the protagonist, Ruth, a frumpy, meek post-op nurse who lives alone, is constantly put-upon or merely stepped-on, and comes home from the Worst Day Ever to find that someone broke into her house and stole her laptop and her grandmother’s silver. The police are indifferent and even blame her* a bit for the break-in, giving zero reason for her to expect to ever see her stuff again. She had location-tracking software on her laptop, however, and when her phone tells her the laptop has been turned on and is located about a ten-minute drive away, she recruits her martial arts-obsessed neighbor, Tony, to go get it back … which leads them into one semi-incompetent escapade after another until people start getting shot.

* Unrelated: last year, we had a false alarm at our house for unknown reasons, but the police ended up getting to the house before we could return and call them off. The officer who went through the house was really unpleasant to us after, saying we’d left “every door unlocked,” and all but calling us idiots. While we have certainly made the mistake of leaving one door unlocked, there’s one door that we never open and that is always locked, one he claimed was left unlocked … which it wasn’t. So I probably related to Ruth a little more than usual when the cop was talking down to her.

I keep seeing references to this film as “neo-noir,” but it’s noirish, at best, and is too comical, with protagonists and antagonists too inept, to really qualify as noir. Ruth and Tony are just amateurs, and they get drunk on the success of the laptop retrieval mission. When they get closer to the bumbling, violent idiots behind the burglary, things get more serious, except that the gang literally can’t shoot straight, and we get a Fargo-esque screwup that leaves a few people dead and Ruth running for her life from the big baddie, played by David Yow (lead singer of the Jesus Lizard). The tone definitely gets darker as the film goes on, but less in a Touch of Evil sort of way, more in a Pulp Fiction holy-shit-people-are-dying-horrible-deaths way.

There is a broader theme underlying I Don’t Feel at Home in This World Anymore that takes it beyond mere indie black-comedy territory – that people today are losing their empathy. Ruth views the burglary as the greatest violation in a day of minor violations, and thinks the problem is just that people are assholes (her word for it, not that I disagree). And when she confronts some of the people who were assholes to her, only one, Tony, actually sets about proving her wrong. There’s no answer to the questions of where our empathy went, or how to get it back, but as the foundational observation for an inept crime caper film, it works quite well.

By the way, Lynskey’s first major role in anything was in 1994’s Heavenly Creatures, where she played Pauline Parker, who murdered her mother with the help of her friend Juliet Hulme. The director of that film was Peter Jackson, who later directed the Lord of the Rings films, starring … Elijah Wood. Hulme was played by another then-unknown actress, Kate Winslet. And you probably know who Juliet Hulme is, but not by that name: She was released from prison after serving her five-year term, changed her name to Anne Perry, and became a best-selling author of historical detective fiction.

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→ March 6, 2017
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Sing Street.

Sing Street is a coming-of-age story, set in the 1980s, that also serves as an homage to the distinctive pop and new-wave sounds of the first half of that decade along with the new medium of the music video. Written and directed by John Carney, who wrote and directed the wonderful 2007 film Once (now a Tony Award-winning musical), Sing Street uses largely unknown actors and original music that manages to evoke classic ’80s pop tunes without directly ripping them off, and includes all kinds of little visual cues to remind those of us who grew up in that era of the atmosphere of the time. The film earned a Golden Globe nomination for Best Musical or Comedy (it’s both), but didn’t earn a Best Song nomination, and was totally overlooked by the Oscars. I named it my #10 movie of 2016 on my post last weekend. It’s currently streaming on Netflix and available to rent on amazon and iTunes.

The film follows Conor, the youngest of three children of squabbling Robert (Aidan Gillen, a.k.a. Mayor Carcetti from The Wire) and Penny (Maria Doyle Kennedy, a.k.a. Mrs. S from Orphan Black), as he’s moved from a posh private school to a free school run by the Christian Brothers called Synge Street, named for the Dublin street on which it’s located. (The street and school are both real.) Conor’s bullied right away by the tough kids in the new school, but spots an attractive girl standing across the street – complete with ’80s big hair – and lies about being in a band to try to impress her, asking her to be in their first video. Then he has to make a band, which becomes Sing Street, and launches the remainder of the story, along with the film’s wonderful soundtrack.

Each Sing Street song is a thematic copy of something that’s popular at the moment, like Duran Duran’s “Rio” or Hall & Oates’ “Maneater.” If you remember the ’80s act Danny Wilson, who had a minor hit in the U.S. in 1988 called “Mary’s Prayer,” their lead singer Gary Clark wrote most of the music for Sing Street, and has a clear knack for this sort of knockoff – the song that sounds like some other song, but has enough of a hook to work on its own, with new and often quite clever lyrics. I’m far from the only person who thought “Drive It Like You Stole It” was robbed of an Oscar nomination – neither Sting’s version of the same song he’s been rewriting since “They Dance Alone” or that awful Timberlake song where he trolls the entire world deserved a spot over this one – but you could make a case for “Up” or closer “Brown Shoes” too.

The story itself is a little light, and we’re mostly just following the two main characters, Conor and Raphina, as they start to grow up a little, make some mistakes, and develop a sort of teenage crush. Everyone else is comic relief, including Conor’s manic, frustrated musician brother Brendan (played by American actor Jack Reynor, who’s great except for his bad Irish accent); Mark McKenna as rabbit-obsessed multi-instrumentalist wizard Eamon; and even class bully Barry, who has a predictably awful home life but gets his little moment in the sun. And Carney works in several ’80s music-video tropes, including shots of the main couple running out of a concert hall or the two of them running down the alley in the half-light, as well as clips of the band filming amateur music videos that imitate the stuff they’ve seen on TV.

Carney himself has said he regrets the ending, joking that he wishes he’d killed the two protagonists off, but I found his comments puzzling because, before I saw his comments, I didn’t think the ending was so unambiguously happy. Other than the clear reference to “Rio,” except for Conor getting poured on as opposed to Simon LeBon basking in sunshine, the ending seemed open-ended and doubtful to me. There’s no real reason to believe good things are going to happen to either character in what would hypothetically follow the final sequence. It’s an escape, because the film itself (and the music videos that inspired it) is an escape, but the characters are only escaping from, not escaping to. To compare it to the other great musical of 2016, La La Land, there’s probably no chance Conor and Raphina are staying together for long. They’re two kids in something like love, doing something rash and impetuous that probably won’t work out, but so what?

Ferdia Walsh-Peelo has a star-making turn as Conor, playing him with little flashes of the charisma of a lead singer, but primarily as a shy, slightly nerdy kid who’s barely coming into his own over the course of the film. He was 16 when it was filmed and won’t turn 18 until this October, if you want to wonder what you’ve done with your life. Lucy Boynton has less to do as Raphina, but she manages to pull off a solid combination of insecurity and superficial haughtiness, while also proving to be quite the chameleon as the costume and makeup folks run her through a series of looks that are unquestionably ’80s and best left there. (She’s also going to appear in the upcoming film version of Murder on the Orient Express.) Walsh-Peelo is the one I’d like to see some more, though, since he sang his own vocals and has a certain presence even behind his character’s meekness.

For more on how Carney & company created the convincing sounds of a band of teenagers who’ve just started playing together, I recommend this piece from MIX magazine.

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→ March 3, 2017
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Author: The JT Leroy Story.

I’ll be doing a Facebook Live event on Monday at 11 am ET as part of our buildup to the April 25th release of my book Smart Baseball. I also have a new boardgame review up at Paste, covering the cooperative game for kids Mole Rats in Space, from the designer of Pandemic.

Author: The JT Leroy Story is an unusual documentary because its subject, Laura Albert, recorded many of the phone calls she made during the time period where she was posing as the bestselling author who, it turned out, wasn’t real. Albert herself does most of the talking in the film, which makes it so much more compelling than many documentaries (but raises reasonable questions about the reliability of what we’re hearing), and makes the film’s revelation at the end that much more effective of a stomach-punch and an explanation for so much of what came before. The film was nominated for a Writers’ Guild award for Best Documentary Screenplay and is free on amazon prime.

JT Leroy was a fictional author who wrote real books, an HIV-positive teenager/young adult who had worked as a truck-stop prostitute and been pimped out by his drug-addicted prostitute mother, and who expressed genderfluid feelings before that was part of the common vernacular. He was either the creation of Albert, a woman in her mid-30s at the time of Leroy’s ascension, or a separate ‘avatar’ who expressed himself through her; Albert seems to vacillate between explanations, but is clear that this isn’t dissociative identity disorder, at least. She ‘became’ Leroy to write, and wrote fictional stories about what were supposedly his real-life experiences. Leroy’s first two novels, Sarah and The Heart is Deceitful Above All Things, were critically acclaimed and became best-sellers, earning the author a cult following that extended to the celebrity world, only some of whom appear to have been aware that Albert was the actual writer behind the works.

In 2005, a New York article outed Albert as the writer behind Leroy and her sister-in-law as the person acting as Leroy in public, with the New York Times later corroborating the story. Painted as a grand hoax, Albert’s authorship of Leroy’s works doesn’t seem analogous to hoaxers like James Frey or plagiarists like Q.R. Markham; Leroy’s novels were original works of fiction, and never presented to anyone as fact. At most, they were said to be based on fact, or inspired by it, which is false but shouldn’t alter anyone’s perceptions of the quality of the content. (I haven’t read any of Albert’s works under any name and thus have no opinion on whether any of it is good.)

Author attempts to answer two questions about the scandal. One is simply to tell everyone what happened, because the story was major news for a few weeks in 2005-06, and then faded away as such controversies do, especially since in this case the only harm done to anyone was to the film company that eventually sued Albert for fraud. (She signed the option contract as JT Leroy, rather than under her own name.) The documentary gives us the story from Albert’s perspective, punctuated by dozens recordings of phone calls with her publisher, her therapist, her friends, and celebrities who befriended Leroy or Albert (including Billy Corgan and Courtney Love), plus a few others who appear on camera to discuss their roles in helping bring Leroy to the reading public.

The second question is always the toughest for any documentary to answer – the reason(s) why – although in this case, Author at least gives us the central figure’s own explanation with some supporting evidence. The filmmakers here chose to leave the biggest revelation until the end of the film, a gimmick that I found extremely effective, because instead of essentially absolving Albert up front for everything that comes afterwards, Author tells you everything that happened (through Albert’s lens) and then finishes up by giving us a clue on what spark may have started the conflagration.

Author lacks the completeness that a thorough documentary requires; Savannah Knoop, who posed as Leroy in public, appears just once near the end of the film, and Geoff Knoop, Albert’s husband at the time, is nowhere to be found. All we’re getting is Albert’s retelling of the story, in which she takes some responsibility but also depicts herself as someone wronged by media coverage of Leroy as a “hoax” rather than an avatar of a pseudonymous writer. I admit to finding hoaxes fascinating, largely for the motivations of the perpetrators and their general belief that they won’t get caught, and Albert has a reasonable complaint that she’s been treated unfairly. If you thought the novel had literary merit, is that merit diminished at all just because the author wasn’t actually male, young, genderfluid, or HIV-positive?

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→ March 1, 2017
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A Man Called Ove.

A Man Called Ove was one of five nominees for this year’s Oscar for Best Foreign Language Film, won by the preseason favorite, the Iranian movie The Salesman, whose director had won previously for the amazing film A Separation. Ove was Sweden’s submission for the award, and it is a perfectly serviceable movie but not remarkable in any way. It’s just very well-made and well-acted, but it’s based on a best-selling book of the same name that seems like the sort feel-good pablum that offers a superficial meaning-of-life message like “be nice to others.”

Ove is a grumpy old man, recently widowed, obsessed with following and enforcing rules, making enemies of everyone in his little planned community. He’s utterly miserable and tries multiple times in the film to kill himself to be with his beloved wife, Sonja. When a new family moves in, with the father Swedish and the mother, Parvaneh, of Iranian descent, they interrupt more than one of these suicide attempts, and the mother seems totally immune to his misanthropy, forcing herself into his life, making him teach her to drive and even to watch her kids one night, to the point where she cracks his exterior and gets him to tell her (and us) his life story. In the end, Ove becomes a changed man, a friend to all, a grandfather surrogate to her kids, and I’m sure you can guess what happens after that. (It’s available to rent on amazon and iTunes.)

This movie goes nowhere without the performance of Rolf Lassgård as Ove (pronounced “OOH-vuh”), a turn that won him the Swedish equivalent of the Academy Award for Best Actor. Ove is the only nuanced character in the entire film, a grumpy old man whose grumpiness is a cover for misery, loneliness, and a return to the chronic shyness that plagued him pre-Sonja. There’s something inexplicable in his resistance to kind overtures from neighbors, or simple requests from one woman he’s known for decades to help fix her radiator. (The reason turns out to be both funny and stupid at once.) It seems like Lassgård had a harder task because he was playing a character whose complexity was compromised by the absurdity of his behavior.

The story itself is faintly ridiculous, not least because the movie never gives us a single reason to think that Sonja, who is kind, intelligent, and very pretty, would have the slightest interest in the insular, moody, and unromantic Ove. He doesn’t so much pursue her as stalk her, and she responds by more or less leading him around by the nose. They have almost nothing in common, and their personalities are dead opposites. I can see why she illuminated Ove’s life to the point where he says there was nothing before Sonja and there is nothing after her, but what exactly did she see in him?

(Incidentally, part of why I found Sonja so compelling was her taste in literature. When they first meet, she’s reading The Master and Margarita, my favorite novel ever.)

Parvaneh is too relentlessly positive to be realistic, and the fact that she’s already very pregnant at the start of the movie means we know that baby is going to pop out before the film ends, probably at a dramatic or inopportune moment. (It’s like Chekhov’s gun.) The story checks all the boxes about modern prejudice – we see Ove get over his casual sexism, racism, and homophobia over the course of the film. And one of the various subplots in the story, the fate of Ove’s neighbor and former rival Rune, has an utterly ridiculous deus-ex sort of resolution that undermined all of the details that came before it. None of this made Ove’s revival in the film’s final 20 minutes any less emotional to watch, but when A Man Called Ove was done, I had the distinct feeling of having consumed a lot of empty calories.

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→ February 26, 2017
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Oscar picks and movie rankings.

It’s Oscars Sunday, and for the first time since the 2013 ceremony, I’ve seen the majority of the nominees for Best Picture and several other categories. Here are my rankings of all of the 2016 movies I saw, based on release date or Oscar eligibility. Any linked titles go to reviews. As I review a couple more of these this week, I’ll update this post to link to them.

1. La La Land
2. Moonlight
3. Manchester by the Sea
4. O.J.: Made in America
5. Tanna
6. Arrival
7. Everybody Wants Some!!
8. Tower
9. The Lobster
10. Sing Street
11. Fences
12. Loving
13. Zootopia
14. Hell or High Water
15. Moana
16. Hail Caesar
17. Fire At Sea
18. Love & Friendship
19. Kubo and the Two Strings
20. Author: The JT Leroy Story
21. Midnight Special
22. Louder than Bombs
23. Finding Dory
24. Life, Animated
25. I am Not Your Negro
26. A Man Called Ove
27. The Red Turtle
28. Hidden Figures
29. The 13th
30. Phantom Boy

I’ve still got a half-dozen or so 2016 movies I want to see, which I’ll mention as I go through the remainder of the post.

I don’t pretend to any insider knowledge of the Oscars, so any predictions here are just for fun, and I think I only managed to run the table of nominees in one category, so don’t take my opinions too seriously.

Best Picture

Who should win: I’ve got La La Land as the best movie of the year, although I think Moonlight is more than worthy too.

Who will win: The heavy betting has been on La La Land all year and I don’t pretend to know any better.

I haven’t seen: Lion, which I’ll see eventually, and Hacksaw Ridge, which I won’t see because the director is an anti-Semitic domestic abuser.

Who was snubbed: All the movies I have in my top ten that didn’t make the final nine nominees would have been extreme surprises if they’d earned nods. I think O.J.: Made in America was the best movie not nominated, but if we’re limiting to realistic candidates, then Loving would be my pick.

Best Director

See above. I know sometimes these two categories are split, but I usually don’t understand it when it happens, and can’t imagine that happening this year.

Best Actor

Who should win: Casey Affleck gave one of the best performances I’ve seen in years in Manchester by the Sea. The only reason I could see for him to lose out to Denzel Washington would be Affleck’s off-screen issues – he has been accused by multiple women of sexual harassment.

Who will win: I’d give Affleck 55/45 odds over Denzel.

I haven’t seen: Viggo Mortensen (Captain Fantastic) or Andrew Garfield (Hacksaw Ridge).

Who was snubbed: Colin Farrell was terrific in The Lobster. And A Man Called Ove fails utterly without Rolf Lassgård’s performance as the title character.

Best Actress

Who should win: I think Emma Stone for La La Land, but I’ve only seen two of the five nominated performances.

Who will win: Stone seems like a lock.

I haven’t seen: Isabelle Huppert (Elle), Meryl Streep (Florence Foster Jenkins), or Natalie Portman (Jackie). That last film just hit digital last week, so when it becomes a rental option I’ll see it. I won’t see Elle.

Who was snubbed: Amy Adams for Arrival.

Best Supporting Actor

Who should win: Mahershala Ali for Moonlight.

Who will win: Mahershala Ali for Moonlight.

I haven’t seen: Dev Patel (Lion) or Michael Shannon (Nocturnal Animals). I’ll get Lion soon.

Who was snubbed: I thought Kevin Costner was pretty great in Hidden Figures, one of the only characters with any complexity in that film. Shannon was excellent in Midnight Special, but he’s just kind of great in everything.

Best Supporting Actress

Who should win: Viola Davis for Fences, which was really more of a lead performance. She owns the second half of that film.

Who will win: Davis.

I haven’t seen: Nicole Kidman (Lion).

Who was snubbed: Octavia Spencer got a nomination here for Hidden Figures, so was Taraji Henson submitted in the lead category for the same film? If Henson was eligible for this category, she was better in a harder role than Michelle Williams’ brief appearances in Manchester by the Sea. I also thought Rachel Weisz (The Lobster) and Lucy Boynton (Sing Street) were worthy.

Animated Feature

Who should win: Tough call for me, but of the four I’ve seen I’d give the nod to Zootopia for the best combination of animation quality, story, and voice acting.

Who will win: I think Zootopia wins this too.

I haven’t seen: My Life as a Zucchini opens in Philly this upcoming weekend and in Wilmington the following Friday. I’m dying to see it.

Who was snubbed: Finding Dory wasn’t a great film by Pixar standards but I think in many years it gets a nod, perhaps losing out because there were two other Disney films in the category.

Cinematography

Who should win: I think of the three nominees I’ve seen, I’d give the nod to Arrival.

Who will win: La La Land.

I haven’t seen: Lion or Silence. Adnan Virk loved Silence – I think he named it his top movie for 2016 – but I think I’ll pass given its length and my short attention span.

Who was snubbed: Hell or High Water was beautifully shot, with wide pans of the New Mexican landscapes.

Documentary Feature

Who should win: It’s almost unfair that the seven-hour O.J.: Made in America documentary (from ESPN) is eligible in this category, but it is, and it’s among the best documentaries I’ve ever seen regardless of length or format.

Who will win: O.J.: Made in America. If anything else wins, it’ll be a travesty.

I haven’t seen: None. I got all five here.

Who was snubbed: Tower was absolutely deserving of a spot over at least three of the other four nominees; I could see an argument Fire at Sea over Tower, even if I don’t agree with it.

Foreign Language Film

Who should win: I have only seen two of the five, and neither of the two that appear to be the critical favorites. Tanna would be more than worthy of the honor, but I can’t say if it’s better than the two leaders.

Who will win: It sounds like The Salesman is going to win, because it’s a great film and because of the Muslim ban’s effect on its director.

I haven’t seen: The Salesman, Toni Erdmann, or Land of Mine. I will probably have to wait for digital options for all three.

Who was snubbed: I haven’t seen any other foreign-language films from 2016, but am very interested in seeing two films on the shortlist, Neruda (from Chile), which I just missed the one weekend it was playing near me, and The Happiest Day in the Life of Olli Mäki (from Finland), which hasn’t been released anywhere here or online that I can see. That latter film has a 100% rating on Rotten Tomatoes through 13 reviews.

Music (original song)

Who should win: Tough call for me, but I think La La Land‘s “Audition (The Fools Who Dream)” hits the right combination of great song and essential to the film’s story, over Moana‘s “How Far I’ll Go,” which I’d say is the better song outside the context of the movies. That said, Lin-Manuel Miranda is a national treasure and I will never be upset to see him give an acceptance speech.

Who will win: I get the sense “City of Stars” is the favorite here.

I haven’t seen: I didn’t see Jim: The James Foley Story but I’ve heard the nominated song, “The Empty Chair.”

Who was snubbed: Sing Street‘s total absence here is a farce. “Drive It Like You Stole It” was my favorite from the film, but I could argue for a couple of others as well. Also, my favorite song from Moana was actually “We Know the Way.”

Writing (Adapted Screenplay)

Who should win: This is Moonlight‘s to lose.

Who will win: Moonlight.

I haven’t seen: Lion.

Who was snubbed: The screenplay for Loving was deemed to be “adapted” by the Academy, although the Writers’ Guild classified it as original.

Writing (Original Screenplay)

Who should win: The Lobster.

Who will win: La La Land.

I haven’t seen: 20th Century Women.

Who was snubbed: Tanna.

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→ February 23, 2017
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The Red Turtle.

If you saw that The Red Turtle came from Hayao Miyazaki’s Studio Ghibli and figured this was another charmer from the producers of My Neighbor Totoro and Spirited Away, well, allow me to disabuse you of that notion. This 80-minute, dialogue-free film, which was nominated for the Academy Award for Best Animated Feature this year, is by turns dark, pensive, and bizarre, operating almost entirely on a metaphorical level to elevate its paper-thin plot to something much more. And I still couldn’t really tell you how much I liked the film.

The movie opens with a man apparently surviving a shipwreck and washing up on a very remote tropical island, from which he begins to try to escape by building rather ornate rafts. Each time he tries to sail away, however, an unseen creature, which turns out to be the turtle of the title, smashes his raft to bits, so when the turtle comes ashore at one point, he attacks it and flips it over, leaving it to die. Somehow, this causes the turtle to morph into a woman, who then becomes the man’s mate, with the second half of the story following their life together as a couple and eventually parents of a young boy.

There isn’t even really that much of a story – we see a few events, like a tidal wave destroying much of the island, but so little happens here that I couldn’t process the movie in my head without immediately considering its possible metaphorical meanings. The arc of the entire movie has the main character starting at sea, landing, starting a family, growing old, and … well, the movie can only end in one or two ways, so I’ll leave it at that.

So what does the turtle/woman represent? I haven’t settled this in my own mind yet, but I think the turtle – the only red one in the film, as there are lots of turtles, but the rest are green – might stand in for maturity, or the way that the world forces maturity on us. Faced with the terrifying prospect of being stranded forever (growing up), the man tries to escape multiple times rather than facing the reality of the situation. The turtle prevents him from running away (and perhaps dying in the process), and only when he accepts that he has to stay can he continue with his life, at which point the turtle becomes his partner and eventually the mother of his child. But the turtle could represent commitment, or religion, or something else that he was fleeing before we first see him adrift in a storm.

The Red Turtle also has a strong ecological underpinning, with the man wholly dependent on the island for his survival. He begins by battling his environment, including the overt fight with the turtle, before submitting to his fate, and developing a way to support himself and eventually the woman and their child off what the island can provide them. If this was a deliberate theme, it comes through more in the animation itself than the story; the natural elements, especially the water and the foliage, around the island are drawn more delicately and thoroughly, with greater depth and complexity of color, than the relatively plain, barely-drawn people. If nothing else, I inferred that the filmmaker, Michaël Dudok de Wit, loves nature.

The film as a whole is dark, visually, in literal contrast to the other four nominees plus Finding Dory. The combination of the muted color palette and the lack of dialogue or significant action made the film seem a lot longer than it actually was; I enjoy some philosophical works of fiction, whether on the page or the screen, but perhaps The Red Turtle left too much of the deep thinking to me rather than putting it on the screen. This is the movie that wins the art film festival award, but if I were an Oscar voter, I would put it fourth among the four nominees I’ve seen for the category. (I haven’t seen My Life as a Zucchini yet, but I saw the trailer before this film, and it’s bright and colorful and looks absolutely fantastic; it opens in Philly on March 4th and here in Wilmington a week later.)

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→ February 23, 2017
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Hidden Figures.

The story of the three African-American women who broke through color and gender barriers at NASA in the 1960s makes perfect fodder for a Hollywood movie, and Hidden Figures, based on the book of the same name, has become a surprise commercial success, earning more than any of the other eight nominees for Best Picture this year. The story itself is wonderful, a fairy tale of talented women of color whose good work was recognized for what it was and who persevered through an era that didn’t respect them as people to help develop the American space program. But this movie … this is a movie for kids. Even with lots of great performances, it’s incredibly bland, and it’s hard for me to believe that the truth was this simple.

The story revolves around Katherine Goble, Mary Jackson, and Dorothy Vaughn, the three women, all black, all working at NASA, all relegated to the “colored computer” room – a time when a computer was a person who computed, not a machine that did it for you. Goble (Taraji Henson, who gives the film’s best performance) was a child prodigy in math, according to the film, solving quadratic equations when most kids were doing arithmetic, and has become an adult who can, apparently, do trigonometry in her head. Her story is the most central of the three, as she’s drafted to fill an opening in the Space Task program, one that no white man was able to handle, working for Al Harrison (Kevin Costner, who’s pretty fantastic as well), a character made up for the movie. (NASA has a brief FAQ that explains that several of the white characters in the film aren’t real, but that John Glenn really did ask for “the girl” to double-check the calculations.) Vaughn (Octavia Spencer, who was nominated for Best Supporting Actress) ran the colored computer room and ends up teaching herself Fortran, one of the earliest programming languages, so she can run the new IBM mainframe NASA is installing. Jackson (Janelle Monae) has the least to do in the film, but became the first black female engineer at NASA, thanks in part to her challenge of a whites-only rule at the school where the classes she needed to take were offered.

The three actresses who play the three women do well with what they’re given, but the characters we see on screen are just a little too cute and the story created a bunch of fake obstacles for them to overcome. The “colored” bathroom detail is inaccurate, but forms a big and very silly part of the story. (Plus the script makes Goble appear to be a klutz.) I wouldn’t want such a script to create fake racism for the women to face, but at the same time, I find it very hard to believe that this was the height of the interference for three black women in Virginia circa 1960, a state where many facilities were truly still segregated and mixed-race marriages were still illegal. Did Goble’s white male colleagues in the Space Task program really go no further than asking her to use a separate coffee pot? And did we really need the white savior figure in the pastiche character of Harrison to force everyone else to accept Goble as part of the team?

There are a lot of recognizable faces among the remainder of the cast, delivering mixed results. Kirsten Dunst, also playing a character contrived for the story, plays the garden-variety Southern white racist woman who seems to think she’s not racist. She was just missing her Sunday hat to make the stereotype complete. Mahershala Ali, who appeared with Monae in Moonlight, appears as a very one-dimensional love interest for the widowed Goble. (The scene where his character proposes is more saccharine than a case of TaB.) Glenn Powell, who was so damn good as the philosophical Finn in Everybody Wants Some!!, is incredibly charming as John Glenn, but that character was written with less nuance than anyone – he’s the Great American Hero, so let’s not tarnish him in any way.

The truth behind Hidden Figures had to be more interesting than what we’re getting here on film. This version feels like it was made for kids – and my ten-year-old daughter absolutely loved it across the board. She loved that the women outsmarted the men, that racism took the L, that science and math were at the heart of the story, and that it says women can do STEM jobs just as well as men. But it didn’t exactly give her a fair picture of race in America at the time of the story, either, and when she asked if it was really “like that” afterwards, I told her that it was probably much worse. These three women deserved a better story than the one they got here, even if the truth is uglier than we’d like it to be.

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→ February 22, 2017
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Kubo and the Two Strings.

Kubo and the Two Strings is one of the five nominees for Best Animated Feature for this year’s Oscars, or perhaps one of the four nominees that’s going to lose to Zootopia … although I could craft a good argument for Kubo winning instead, especially if the quality of the animation and visual style count as much as the story and voice acting do. It’s available to rent or buy (just $10) on amazon and iTunes.

Kubo is a 3D stop-motion film from the same studio that produced Coraline (which is fantastic), Paranorman, and The Boxtrolls, all also filmed with stop-motion animation, a painstaking process of which you get a glimpse if you hang around through Kubo‘s closing credits. It’s incredible to look at and I found it hard to believe some parts were done via stop-motion because they were too smooth and vivid, things we would normally associate with computer animation like Pixar uses in its best-in-breed films.

Kubo is the main character, a one-eyed young boy who lives in a cave outside of his village with his ailing mother, whose grip on reality seems to ebb and flow with the daylight. She tells him heroic stories of his father, Hanzo, a warrior who disappeared while trying to protect his family, and Kubo repeats those stories by day in the town square, using his magic shamisen, which builds and animates origami figures as he plays and talks. By night, he must return to the cave, or his evil grandfather and aunts will return to try to steal his other eye to make their powers complete.

Needless to say, he stays out one night, there’s a battle, and Kubo has to go on a quest to find his father’s missing armor so he can protect himself from his grandfather (voiced by Ralph Fiennes, who is a little too good at the whole villain thing). He’s joined by Monkey (voiced by Charlize Theron), a totem he kept who was animated by his mother’s last burst of magic, and eventually Beetle (Matthew McConaughey), a giant insect samurai with meory loss, who help him try to retrieve the three parts of the armor and perhaps learn some Valuable Lessons along the way.

The story is a bit hackneyed, but the characters themselves are well-written and there’s plenty of humor within it to keep it from feeling too much like a fable. McConaughey gives a pretty good Buzz Lightyear performance as the flawed hero, mixing in bravado with the absent-mindedness that provides a lot of the comic relief. But Kubo is more of a visual feast than a great story – it’s just such a beautiful and unique-looking film that even the slower sequences when the quest first begins are still riveting.

I’ll also mention Finding Dory quickly here – it wasn’t nominated, falling behind two other Disney properties and two foreign films, and I can see why. It felt a lot like the softer version of Finding Nemo, with a lot less of the first film’s wonder and more feel-good elements – although I thought showing two sequences where Dory is separated from her family might be too much for younger kids. It’s a stunning film to watch, as Pixar manages to animate water and other difficult substances like nobody else in animation history, and I enjoyed the Wire reunion of Idris Elba and Dominic West as sea lions sharing a rock. It’s free to stream on Netflix now.

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→ February 20, 2017
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Tanna.

Tanna is one of the five nominees for this year’s Oscar for Best Foreign Language Film, despite the fact that it was Australia’s official entry in the category. (They speak English there, regardless of what those awful beer commercials say.) The movie takes place on the island of Tanna in the archipelago nation of Vanuatu, and all dialogue is in local Tanna languages, mostly Nauvhal (Nivhaal), a language with fewer than 5,000 native speakers. It’s one of the ten best movies I’ve seen from 2016 across all categories, a simple story perfectly told, with beautiful cinematography and stunning performances from Tanna natives with no acting experience. It’s available to rent on amazon and iTunes.

Tanna itself is based on the true story of a young native couple who, in 1987, wished to marry for love rather than partake in the custom of arranged marriages between tribes (known as Kastom). The couple, the son of the deceased chief of the tribe at the center of the story and the girl who’s being promised to their rivals, choose to run away together, sparking a hunt for them around the island and the potential for war between the tribes. You can probably guess how this is going to end, which is also part of the actual story, but it’s how we get to that point that makes the movie click.

The background itself is mesmerizing – this film could double as a Vanuatu Tourism video, with the kind of lush jungles and deep blue waters that eco-tourists dream about. But the filmmakers also choose to deploy this asset wisely, since the film could easily be nothing but wide shots of the island, the forests, the volcano where the Spirit Mother resides (to which the islanders go frequently), or the waterways. The tribes depend largely on the land for everything, including food, shelter, and clothing, so it’s prevalent in just about every shot in the movie, even when the camera focuses tightly on one or two characters.

(The island itself was hit extremely hard by Cyclone Pam in 2015, not too long after filming was completely, with substantial infrastructure damage, and is still recovering nearly two years later.)

Once you get past the glorious sights of the island, it’s the performances by the amateur actors that carries Tanna. The actors all played characters with their actual names – Wawa is played by Marie Wawa, Dain (pronounced Dah-een) is played by Mungau Dain and was chosen because he was the best-looking member of the tribe. According to the Sydney Morning Herald, none of the members of the Yakel tribe had ever seen a movie, so the filmmakers strung up a sheet and showed them one to give the locals an idea of what they wanted to do. (Article contains spoilers.) There isn’t a false note in anyone’s performance here, not the young girl who plays Wawa’s sister, not the old men who play the Chief (the Yakels’ actual chief) and other elders. Even Dain manages to play the brooding romantic lead like a Hollywood veteran.

The production is a touch overdone at some spots, with needless flourishes that just don’t add to the film. When Selin, Wawa’s younger sister, tries to grab a mushroom off a tree and is warned that it’s terribly poisonous, you know it’s going to come up again (Chekhov’s gun, in a gun-free society). When Wawa and Dain embrace at the volcano’s rim, we don’t really need the volcano to spout sparks behind them to push the point home. Tanna‘s simplicity is its greatest strength, a straightforward story that puts these actors at the center, showing us the natives’ culture and history without condescension. The direction isn’t heavy-handed, but has moments where the touch could have been even lighter.

This is the first of the five Best Foreign Film nominees I’ve seen, but it certainly sets the bar for the category; I’ll do a ranking on Sunday, but this might end up in my top five overall. A Man Called Ove, another foreign-film nominee, is also available online, while the other three are still kicking around in art/indie theaters. I thought that the German-language Toni Erdmann might be the favorite based on early buzz, but Tanna seems to have a little hype behind it now and it’s certainly worthy of the honor.

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