INAUGURAL INVESTIGATIVE FILM FESTIVAL TO BE HELD IN WASHINGTON, D.C.

“SPOTLIGHT” NAMED AS OPENING NIGHT PREMIER

 

Washington, D.C. – September 2, 2015 – The award-winning nonprofit news organization, 100Reporters, announced today the launch of the first-ever Investigative Film Festival (IFF) and Symposium in the United States.
The Investigative Film Festival will run from September 30 to October 2 at the Smithsonian’s National Portrait Gallery, Newseum, and Woolly Mammoth Theatre in Washington, D.C. The festival will offer a new, more social and provocative way of experiencing films, with a focus on dramatic and documentary works inspired by the investigative instinct and discussions that connect films with the real people behind the stories.
The festival will open with the Washington premiere of “Spotlight,” the upcoming film that is the true story of the Boston Globe’s reporting on the sexual abuse of children by priests and the ensuing cover-up by the archdiocese. The Globe’s reporting shook the entire Catholic church to its core, and won the paper a Pulitzer Prize in 2003. Directed by Oscar-nominee Tom McCarthy and featuring an all-star cast including Michael Keaton, Mark Ruffalo, Liev Schreiber, Rachel McAdams, Stanley Tucci, John Slattery and Brian D’Arcy James, “Spotlight” dramatizes the power of investigative reporting to challenge injustice, even where entrenched institutions are involved. Open Road Films will release “Spotlight” in select theaters on November 6 and the film will open nationwide November 20.
“The IFF unfolds amid an explosion of creativity, as traditional boundaries blur and collide between journalists and visual storytellers,” said 100Reporters’ Executive Editor Diana Jean Schemo, who is founding director of the festival. “Our goal with the IFF is to shine a light on the critical role investigative reporting plays in today’s society.”
In conjunction with screenings for the general public, the festival will host investigative journalists and visual storytellers for a two-day symposium, where they can network, share best practices, learn new skills and hear from commissioning editors and funders.
Sky Sitney, industry veteran and former director of AFI Docs, is producing the festival, working alongside Ms. Schemo to develop the program and enlist leading filmmakers and investigative journalists to join the conversation.
“There’s been an avalanche of creative work that is straddling the lines between traditional filmmaking and investigative journalism,” said Ms. Sitney. “No other event in the nation’s capital is devoted exclusively to creating a space where journalists and filmmakers can interact and engage in an exchange of ideas, resources, and best practices.”
The John D. and Catherine T.  MacArthur Foundation is the founding sponsor of the festival, which also enjoys support from the Reva and David Logan Foundation, the DC Commission on the Arts and Humanities, the John S. and James L. Knight Foundation, and the Ford Foundation and Participant Media.
Those interested in attending the IFF film screenings and symposium can purchase individual tickets online and on-site, as well as a Film Pass, which allows entry into all six film screenings at the National Portrait Galley (excluding Opening Night). An All Access Pass is also available and includes entry to all films and symposium programming, including meals and festival events.
For more information on the Investigative Film Festival and Symposium, including tickets, programming, panels and speakers, visit http://www.investigativefilmfestival.com. 


About 100Reporters
100Reporters (http://100R.org) is a news organization dedicated to forging new frontiers in responsible journalism. It joins scores of the planet’s finest professional reporters with whistleblowers across the globe to report on corruption and promote civic accountability. The organization, spearheaded by veteran correspondents of top-tier news outlets, aims to raise the caliber, impact and visibility of watchdog journalism, as a means of promoting transparency and good government.

2015 AFI DOCS Documentary Film Festival

The 13th edition of the festival showcased 81 films representing 25 countries, including four world premieres, three U.S. premieres and four East Coast premieres.  For the second year, ATandT continues as the main presenting sponsorship for one of this nation’s premiere documentary film festival.

For the third consecutive year, the venues again expand from the previous Silver Spring Maryland home base at the AFI Silver Theater into downtown Washington DC where many of the filmatic issues that are presented on screen are hoped to generate immediate dialogue, and possible change, between Congress, the President’s Cabinet, Supreme Court, and journalists.

Also, the festival now has a permanent director.  Effective January 1, Michael Lumpkin (producer of 1995’s The Celluloid Closet) succeeds temporary Director Christine O’Malley (producer of Wordplay and I.O.U.S.A.) who replaced the very competent Skye Sitney after an eight year stint. Lumpkin was director of the San Francisco International LGBT Film Festival and served as a Sundance Film Festival juror.  Most recently he was the executive director of the L.A.-based International Documentary Association.

A couple of noted adjustments from the previous two years included tightening the distance between venues in DC’s Penn Quarter, allowing film goers the opportunity to travel to screenings within a seven block radius.  Also, those wishing to stay put in Silver Spring to avoid the traffic and parking hassles involved in negotiating the seven mile trip south to DC, were rewarded this year by the festival organizers who presented nearly all of the features and shorts programs at the glorious AFI Silver Theater over the course of the five days.  However, one disappointing change for those who wished to see docs that were missed during the five days was shortening the day-after Monday schedule at the AFI Silver to only four films in the smallest theater (the Audience Award winner and three festival favorites) instead of using all three theaters for multiple screenings throughout the day.

Finally, the festival also included special screenings with expanded QandA panels, a two-day Filmmaker Conference and presented its annual Guggenheim Award to Stanley Nelson whose major focus has dealt with African-American History. Among his numerous achievements is The Murder of Emmett Till, which won Sundance’s 2003 Special Jury Prize, the George Foster Peabody Award and an Emmy for Best Director-Nonfiction. The film was instrumental in the reopening of the case by the Justice Department in 1955. Other noteworthy works include Beyond Brown:  Pursuing The Promise, Jonestown: The Life and Death of Peoples Temple and Freedom Riders.  His latest film The Black Panthers:  Vanguard of the Revolution screened at the festival.  Distinguished Washington Post movie critic Ann Hornaday, a finalist for the Pulitzer Prize in 2008, was once again on hand to moderate and expertly interview Nelson following a retrospective presentation.

NOTE:  The Audience Award for Best Feature went to WHAT HAPPENED, MISS SIMONE? which was directed by Liz Garbus (THE FARM: ANGOLA, USA) which made my top 10 (see below for synopsis).  The Audience Award for Best Short went to A CONVERSATION WITH MY  BLACK SON directed by Blair Foster (co-producer of TAXI TO THE DARK SIDE) and Geeta Gandbhir (editor of BY THE PEOPLE:  THE ELECTION OF BARACK OBAMA) which consists of a series of interviews with racially diverse parents describing conversations they had with their young black sons about dealing with racism and their interaction with the police.

MY TOP 10 AT THE 2015 AFI DOCS

(1)  Peace Officer  (**** out of 4 – 109 minutes)

Directors Scott Christopherson and Brad Barber, in a brilliantly constructed first feature, examines the increasing militarization of  America’s police forces by focusing on William “Dub” Lawrence, a retired police officer who founded Utah’s SWAT in the 1970s.  When his son-in-law was killed during a stand-off with police in September 2008, Dub launched an independent investigation to prove he was murdered as a result of unnecessary excessive force.  Other examples are presented which mirror the recent headline grabbing incidents involving police misconduct in Ferguson, Baltimore and New York.  However, it is the extremely likable and charismatic Lawrence who steals the show as the filmmakers detail his incredible detective skills that will have you amazed.   The increasingly disturbing trend in police tactics, a potentially depressing scenario, is made tolerable and gripping that ultimately raises Dub to hero status by films end.  Winner of two awards at this years SXSW Film Festival, the doc is scheduled for an early October theatrical release followed by an airing on PBS’ Independent Lens series in 2016.


(2)  Steve Jobs:  The Man in the Machine  (*** 1 /2 out of 4 – 128 minutes)

Academy Award winner (Taxi to the Dark Side) Alex Gibney begins his CNN-produced exposé on the late computer genius with the announcement of his death in October 2011 showing the immense world-wide outpouring of grief that resulted-mostly by Apple consumers.  However, those who aren’t privy to the particulars of his life and dealings at the start, may have a completely opposite reaction by the end of the film.  Gibney encapsulates the highlights of his achievements beginning with his partnership with friend Steve Wozniak in 1971when they designed a digital-circuit blue box designed to rip off long distance calls from phone companies.  At the time of his demise, under his second leadership stint, Apple had become one of the most successful corporations in the world. Expertly edited by Michael J. Palmer, the film could have benefited from some judicious cuts.  However, the numerous controversies swirling around Jobs’ personal and public persona, are what make these two hours totally engrossing and, in some cases, eye-opening.  Steve Jobs:  The Man in the Machine had its East Coast premier at the Festival and is being released on September 15.

(3)  Uncertain  (*** 1/2 out of 4 – 82 minutes)

First time documentary feature directors Ewan McNicol and Ann Sandilands were making a short film in Lafayette Louisiana.  Having three days to kill they looked at a map of nearby areas and noticed a town named Uncertain next to a body of water on the Texas-Louisiana border.  Their curiosity led them to the sparsely populated town which totaled 94 occupants.  Their planned short film about the unusually named town turned into an 82-minute gem which earned them the Alfred Maysles New Director Award at this years Tribeca Film Festival.  This quietly haunting film, beautifully complemented with an infectious banjo/violin score by Daniel Hart, focuses on three of Uncertain’s residents:  a twenty-one diabetic alcoholic living day-to-day lamenting the lack of work and available women, a reformed ex-con who matches wits throughout the film with an elusive boar and a 74-year-old reborn Christian fisherman who sees nothing but positives in his meager existence.  A back story about Caddo Lake, the town’s main attraction and economic foundation being threaten by an overgrowing weed infestation, weaves in and out of the narrative.  However, it is the personal lives of these three individuals that will hold your interest and have you marvel at those who try to survive in such paltry conditions.

(4)  Welcome to Leith  (*** 1/2 out of 4 86 minutes)

As gripping as any good fictional horror story is this feature by directors Michael Beach Nichols and Christopher K. Walker.  Leith is a sleepy 3-square mile town in rural North Dakota with a population of 24.  When bearded loner Craig Cobb arrived in 2012, little did the handful of townsfolk realize the threat to their very existence was at stake.  It turns out Cobb was a neo-Nazi intent on overtaking the enclave by buying property and bringing in his white supremacist cohorts with plans on outnumbering the town council and making Leith their own personal mecca.  The filmmakers show amazing objectivity while raising pertinent questions involving first amendment and legal gun carriage rights as they document a nightmare scenario facing many communities who just want to be left alone in peace.  A brilliant electronic score by Tim Hecker accompanies the amazing footage obtained by the directors.

(5)  What Happened, Miss Simone?  (*** 1/2 out of 4 – 102 minutes)

Biopics as a documentary genre are helped immeasurably when the subjects are complex and talented.  Twice Oscar nominated competent director Liz Garbus, had both of these attributes available to her by the bucket loads with this fascinating profile of the soul/jazz/folk/classical/gospel diva Nina Simone.  Beginning with her performance at the 1976 Montreux Jazz Festival in Switzerland, Garbus then takes us through her complicated life.  Growing up in Tyron, North Carolina as Eunice Waymon (born in 1933) Simone began training at the age of 3 as a classical pianist, her first love, and eventually dreamed of becoming the first black female classical pianist to perform at Carnegie Hall.  Ironically, after the husky voice tenor had her breakout year in 1959 with the standard “I Love You Porky”, she performed there in 1964 as a pop singer.  Garbus infuses the doc with tons of archival footage, photographs, interviews, letters, and diary excerpts that reveal a tortured soul who embraced the Civil Rights movement in the 60s while suffering an abusive relationship with a demanding husband.  In the 70s she later exiled to Liberia.  In the 80s Simone was diagnosed with a bipolar disorder.  However, it is the amazing concert and TV performance footage (often complete takes) showing her enormous talent that makes this film a standout and a must-see.  The film had a limited theatrical beginning June 24 but is currently available on NETFLIX.

(6)  Tyke Elephant Outlaw  (*** 1/2 out of 4 – 78 minutes)

In March of this year, Ringling Bros, under pressure from animal activist, announced they were phasing out their use of elephants by 2018.  When Tyke the circus elephant killed her trainer and severely injured her groom before going on a rampage in Honolulu in August 1994, one has to wonder, after seeing this important heartbreaking film, how it took over 20 years to announce the ban.  Directors Stefan Moore and Susan Lambert takes the viewers into the world of circus elephant training where abuse and torture are the norm so that these majestic creatures can successfully entertain humans.  The filmmakers interviewed circus performers and obtained fascinating eyewitness testimony from those present under the big top when the incident took place.  Also included are interviews with those who worked closely with Tyke and who knew and warned others that she should not be be allowed to perform after previous close calls in the past.  Their unheeded warnings resulted in her violent unnecessary death at the hands of the police on the streets of Honolulu.   The film is expertly edited and is yet another obscene example of man’s continual quest for entertainment at the expense of animal cruelty.

(7)  Prophet’s Prey  (*** 1/2 out of 4 – 93 minutes)

Cults have long been a favorite topic for documentarians.  From Jim Jones’ Peoples Temple to most recently Scientology, there exists an endless fascination of the inner workings of  these leaders and the people who follow.  With Prophet’s Prey, Amy Berg tackles the Fundamentalist Church of Jesus Christ of Latter-Day Saints and its now incarcerated monstrous leader Warren Steed Jeffs.  Using instructive animation at the start, Berg gives a history of the LDS in the 1800s which led to the emergence of the FLDS in the early 20th century.  After  founder Rulon Jeffs died in 2002 (it is strongly suggested that it was the result of foul play) his son Warren took over.  What follows are comprehensive incriminating evidence from some of his 63 wives (some as young as 12 years old) as well as interviews with victims, former members and outside investigators which document repeated sexual abuses (including those with relatives).   A chilling audio recording of Jeffs’ rape of a twelve year old victim is also presented.  The self-proclaimed god also managed to gain complete financial control of  his congregation before his capture.   Despite his 2011 sentence of life plus 20 years, Jeffs still maintains control behind bars of up to 10,000 members that continue to blindly follow him.  Berg includes an effective haunting score by Nick Cave and Warren Ellis which complements the disturbing story.  The doc will have a fall theatrical release before premiering on Showtime.

(8)  King Georges  (*** 1/2 out of 4 – 77 minutes)

King Georges is French chef extraordinaire Georges Perrier.  His landmark Philadelphia restaurant, Le Bec Fin (“fine palate”), was considered the nation’s best French dining experience during its over 40-year existence.  When director Erika Frankel heard that the restaurant was closing, she turned her cameras on the passionate owner and exquisite legendary eatery to document its last days and dealings with the changing times and tastes of its customers.  The unexpected twist that transpired after filming began when Le Bec Fin received a surprisingly negative review, could not have been scripted any better.  The doc is made even more enjoyable while profiling Georges’ exuberant fiery personality.  A foodie’s delight.

(9)  The Russian Woodpecker  (*** 1/2 out of 4 – 80 minutes)

Ukrainian eccentric artist Fedor Alexandrovich was 4-years-old and living in Chernobyl during the nuclear disaster in 1986.  He has always been bothered about the cause of the meltdown-the details of which have always been shrouded in mystery.  He was also aware of an abandoned enormous structure, the Duga, located next to the plant.  The Duga cost twice as much to construct as the nuclear plant and transmitted a rapid fired clicking signal (hence the title of the film) that supposedly was designed to interfere with Western government communications.  Fedor theorized the two were connected and set about to prove his theory that the nuclear catastrophe that killed and poisoned  thousands was no accident and was part of a cover-up.   First-time director Chad Gracia follows Fedor as he visits the disaster site and interviews (sometimes with hidden camera) former high ranking Russian officials in order to get at the truth.   Also  included are historical perspectives and current Ukranian unrest footage to place proper context to the overall proceedings which mixes dark comedy (some of Alexandrovich’s antics are outrageous) with sobering realizations. The film was this years winner of the Sundance Grand Jury Prize For World Documentary.

(10)   Best of Enemies  (*** 1/2 out of 4 – 87 minutes)

Ever wonder about the origins of todays political debates between the multitude of talking heads held on a myriad of networks such as CNN and FOX?  Director Morgan Neville and Robert Gordon have the answer.  Their hilarious look back at the infamous Buckley/Vidal debates during the 1968 Republican and Democratic Presidential Conventions is a total hoot.  ABC, languishing in the ratings basement, decided to enlist right-winger William F. Buckley, a mainstay on PBS’ “Firing Line”, to debate left-winger Gore Vidal, author of the scandalous “Myra Breckinridge”, during the coverage of the conventions.  The match seemed ideal – particularly since it was known that each had total political and personal disdain for the other.  The ideological live clashes between two of the most pompous celebrities of this or any other time reached its nadir near the last of the ten debates when Vidal called Buckley a “neo-Nazi”, who promptly retorted by calling Vidal a “queer”.   The result was delicious television history and sheer fun for all of us.   Best of Enemies has a limited theatrical release on July 31.
 
HONORABLE MENTIONS
City of Gold
Drunk Stoned Brilliant Dead:  The Story of The National
                                          Lampoon
Frame By Frame
The Yes Men Are Revolting 

 

OPENING NIGHT SNAPSHOTS

(L-R)  BEST OF ENEMIES filmmakers Robert Gordon and

Morgan Neville with AFI DOCS Festival Director, Michael

Lumpkin and American Film Institute President and CEO,

 Bob Gazzale on the Opening Night Red Carpet

Former ABC news anchor Sam Donaldson on the Opening

Night Red Carpet

 

AFI President and CEO, Bob Gazzale, welcomes the Opening

Night audience to AFI DOCS and the screening of

BEST OF ENEMIES

 

(L-R) Kristin Roberts, Managing Editor of the National

Journal during the post-screening QandA of BEST OF

ENEMIES with filmmakers Morgan Neville and

Robert Gordon

 

Guests of the AFI DOCS Opening Night reception at the

 Newseum

"EX MACHINA" - **** (108 minutes)

 

Thursday May 21, 2015

 

Finally!  An intelligent sci-fi flick to sink one's teeth and mind into.  British screenwriter Alex Garland (responsible for scripting Danny Boyle's excellent sci-fi films 2003's 28 Days Later and 2007's Sunshine) does double duty for the first time while also directing this indie masterpiece.  

 

The movie begins with computer programmer Caleb Smith (Domhnall Gleeson) starring at an Email informing him that he won an in-house contest run by CEO Nathan Bateman (Oscar Isaac), creator of the world's largest and most successful Google-like company, Blue Book.  The prize:  a week-long stay hanging-out with Bateman at his secluded compound.  Upon his arrival, Smith learns that he was selected to lead a "Turing Test" to determine if Garland's newly created robot exhibits intelligent behavior indistinguishable from that of a human.  As Smith soon finds out, matching wits with the sensual AI leads to a surprising outcome that neither he nor his boss could have ever imagined.

 

Ava is the animatronic invention under scrutiny, and, as superbly played by Danish actress Alicia Vikander (who was classically trained in ballet), she brings an immense grace and sexuality that equally matches her comprehension. Vikander's portrayal is crucial to the tale and is one of the joys this parable brings forth.  Splendid seamless CGI makes her presence totally believable and utterly logical that she is capable of casting a spell over both her creator and assessor.

 

The ever competent Oscar Isaac, (The Coen Brothers' 2013 Inside Llewyn Davis), sports a shaved head and full beard and is terrific as he constantly wavers back and forth from benevolent boss to bully in his interactions with his naïve employee. 

 

Finally, a special mention goes out to the incredible original orchestration composed by Ben Salisbury and Geoff Barrow which underscores and beautifully compliments the increasingly ominous plot.

 

Ex Machina (based on the Greek deus ex machina, which means, according to Merriam-Webster, "a character or thing that suddenly enters the story in a novel, play, movie, etc., and solves a problem that had previously seemed impossible to solve") is a thriller that is short on action but huge on intellect and suspense that will likely stay with you long after you leave the theater.  And Garland's stylish and unsettling narrative and direction clearly makes him a major talent to watch in the future.

 

The film was released nationwide on April 24 but is still playing nearly two months later in the Baltimore-DC area.  So far it is the best film I've screened this year and, if possible, should not be missed on the big screen.

 

UPCOMING:  Coverage of  the 13th edition of the AFI DOCS documentary film festival held in Silver Spring MD and Washington DC that runs from Wednesday June 17-Sunday June 21

 

 

         Nathan Bateman (Oscar Issac)(r), shows Caleb Smith

                     (Domhnall Gleeson) his laboratory





 

 Eva (Alicia Vikander) happens upon the faces of future robots



"ME AND EARL AND THE DYING GIRL" - *1/2 (104 minutes)

 

Wednesday May 20, 2015

 

As a longtime champion of independent cinema (as my attendance at Sundance for seven years can attest) it was with great anticipation when I sat down for a preview of this years Dramatic Grand Jury and Audience Award winner at Robert Redford's festival last January.  Unfortunately, anticipation melded into utter perplexity.  For me, "Me and Earl and The Dying Girl" is this years "Juno".  You can count me in the minority of critics who gave thumbs down on that 2007 Jason Reitman directed Indie that incredibly made its way to the Academy's Best Picture list. 

 

Alfonso Gomez-Rejon directed the coming-of-age cliché-ridden script by newcomer Jesse Andrews that focuses on teenager Greg (Thomas Mann), whose annoying narration explaining his thoughts and actions throughout had me cringing nearly the entire length of this disappointing film.  We follow Greg, a self-professed self-indulged loner and geek, who is persuaded by mom (Connie Britton) to pay a visit to Rachel (Olivia Cooke) who happens to be dying of cancer -  a classmate he has never met.  When he shows up, he is greeted at the door by Rachel's boozed-up mom (ex-Saturday Night Live veteran, Molly Shannon) whose character can best be described as creepy as she fawns over the teenager at her door - and throughout the film .  

 

Greg and Rachel's meeting is naturally awkward -  especially when Greg reveals he is only visiting as a charity request by his parent.  Of course, this leads to a inspirational platonic relationship where Rachel "teaches" Greg to be a more caring grown-up human being. 

 

Introduced into the story is Greg's African-American friend since childhood,  Earl (RJ Cyler) whom he refers to as his "co-worker".  It seems both have interpreted the world through old film classics and went about creating satirical videos (e.g. The 400 Bros, The Sockwork Orange, and 2:48 p.m. Cowboy).  Their humorous work is scattered throughout, and are the highlights of the movie. 

 

It is ironic that the word "honest" is mentioned during the film to describe the principals.  However, for me, Me and Earl and The Dying Girl is chock full of  characters that are not fully drawn and was, ultimately, a letdown. 

You can accurately predict where the narrative is leading and, in the end, I could have cared less - other than when it would all end. 

 

The movie opened nationwide on June 12.

UPCOMING:  The Indie AI Sci-Fi  "Ex Machina"
 

 

Rachel (Olivia Cooke), Greg (Thomas Mann) and Earl

(CJ Cyler)

2015 POST-AA RAMBLINGS

 

Friday February 27, 2015 

 

THE SHOW (** 1/2)

In my preshow commentary, I questioned whether Neil Patrick Harris would add to the growing current list of non-consecutive hosts of the annual telecast.  Here's my early prediction for next year:  Yes.  Not that the dude was horrible.  He just wasn't that good or even memorable.  I almost missed Degeneres' syrupy shtick from last year.  Well, almost.    NPH's opening, where CGI inserted him in movie clips, has been done before; so nothing memorable there.  And his best bit where he roamed the aisles bantering with the stars he happened upon was done better and easier by Ellen.  His flubbing of names on several occasions actually made John Travolta proud.  And his overlong joke/magic trick involving Octavia Spencer, insisting that she watch his prediction box throughout the show, was embarrassing and annoying.  Was anyone awake at the end to see he had predicted events during the show?  Did anyone really care??  The producers need to hire writers and a host with more of an edge.  Jimmy Kimmel or, now that he might have more time on his hands, Jon Stewart come to mind.

 

As for the show itself, the 87th version clocked in at 3 hours, 22 minutes and 9 seconds (but who's counting).  It was 8 minutes longer than last years extravaganza (and, once again, it seemed a lot longer); but, thankfully, it still was 61 minutes shorter than the all-time snooze-fest in 2002 (can you even imagine!). And, according to "Variety", the final Nielsen numbers translated to a average of 36.6 million viewers and a 10.8 rating in adults 18-49 — declines of 16% and 18% respectively from last year (43.7 million and 13.1). These were the lowest totals in six years.  A large part of that was probably due to the dearth of known popular films among the nominated as only one of the Best Picture nominees (American Sniper) was a box office hit.   Or was it partly due to Harris as the host?  The answer to that one will have to wait until next year.   

 

 

Again, my annual apologies to Sergio Leone, as this breakdown will pretty much sum up the event through this reviewer's eyes:

 

THE GOOD

- The acceptance speeches were, for the most part, concise and even memorable (more on that below).  Also, the orchestra only had to chase the lessor award winners on only a few occasions for going over their time limitation.  (However, see my comment under The Bad where the orchestra did a faux pas during one of these speeches.)

 

- No audience selfies.  Social media had to settle for the multitude of tweets invading cyberspace during the show.

 

- Travolta finally getting Idina Menzel's name right in one of the better introduction bits.

 

- Lady Gaga's tribute to Julie Andrews and The Sound of Music.  The pop star can sing and is trying to prove it to most of the world who consider her as merely a caricature.  The praise she received from Dame Andrews afterward was more than well-deserved. 

 

- The Best Song performances were memorable - especially the upbeat "Everything is Awesome" (from The Lego Movie) and "Glory" (from Selma).  The rousing performance by John Legend and Common from the latter, with support from about 200 folks onstage, had many in the audience in tears. 

 

- Good (but not memorable) was this year's opener mentioned above.  It's time to change things up in this department, Oscar producers. 

 

- Production numbers (other than some of the song nominees) were, once again absent,  which helped keep the running time down (but, unfortunately, not down enough).  Also missing were the usual themes infused with 2 - 3 second clips from past films which usually failed to satisfy and only served to lengthen the proceedings.

 

-  Birdman walking away with four major awards:  Best Picture, Director, Original Screenplay, and Cinematography:  all totally deserved.   

  

THE BAD

- Harris' name pronunciations.  Was Travolta his coach?  Didn't he have long enough time to practice?? 

 

- And Harris' extremely misguided "joke" after Citizenfour won Best Documentary (about Edward Snowden and his whistleblowing on the massive covert surveillance programs run by the NSA and other intelligence agencies).  The host stated the Snowden couldn't "be here tonight for some treason".  Hey Neil - it would be nice to include that snide remark if the guy, who many consider a national hero, was actually convicted of this crime!  A disgusting ignorant statement that was totally inappropriate and, I'm sure, offended many a viewer - including myself. 

 

- Once again, the producers left out notable mentions during the In Memoriam segment:  Joan Rivers as well as screenwriter Elaine Stritch who has penned numerous scripts during her career.  Rivers definitely should have been included having appeared in numerous films, including writing and directing Billy Crystal in 1978's Rabbit Test.  Not to mention that her yearly presence on the Red Carpet was a mainstay at The Oscars.  Their excuse that there wasn't enough time to include her on the telecast so they placed her on their website, was lame at best. 

 

- According to how you look at it, Harris' bit mocking Birdman in which he was, ultimately, locked out of his dressing room and appearing onstage in his tighty whities.  First of all, a lot of America probably didn't get the joke since so few have seen the film.  And the idea was stolen from the writers over at The Independent Spirit Awards televised the night before - whose skit by ISA hosts Fred Armisten and Kristen Bell was funnier and more original.  (Note:  The Independent Spirit Awards, honoring independent films and held in Santa Monica while being televised each year on IFC the day before the Oscars, is the best award show of the season.  The 30th edition this year was funnier and miles more entertaining that The Oscars.  Held in a tent with liquor on every table makes it an unpredictable affair and worth seeing!)

 

-  The writing - especially for Harris' one-liners and puns which, more often than not, misfired and fell flat. 

 

THE UGLY

- The orchestra unfortunately chimed in and rushed Ellen Goosenberg Kent and Dana Perry (who won the Oscar for best documentary short subject for their film Crisis Hotline: Veterans Press 1) just as Perry began to relate her son's suicide in 2005.  The conductor, or someone, needs to listen to the speeches and determine when it is not appropriate to start the rush-off music. 

 

- If that wasn't bad enough, Harris comes out and poorly times what, unfortunately, was his funniest line of the night (see below).

 

- John Travolta still refusing to age gracefully.  Hey Barbarino, stop groping women's faces and start looking and acting your age already!

 

- Lady Gaga's red leather gloves worn up to her elbows on the Red Carpet.  I wasn't sure if she was attending the Oscars or getting ready to perform an autopsy. 

 

- Sean Penn's announcement of  the Best Picture Winner.  Before divulging the winning film, he referred to the Mexican national director Alejandro G. Iñárritu by joking "Who gave this son of a bitch his green card?" I personally wasn't offended but social media was on fire with the politically incorrect reference.  Including inside jokes is never a good idea when only two people (namely, Penn and Iñárritu) get it while millions of folks, including those in the audience, don't. 

 

- Not getting this broadcast, again, at least under three hours. 

 

 

NOW . . . THE ANNUAL JAY B CINEMA DIARY OSCAR SHOW AWARDS:

 

THE BIGGEST SURPRISE WINNER

None

  

FUNNIEST JOKE OF THE NIGHT

Neil Patrick Harris, commenting on the Dana Perry's dress, which looked liked someone attached a bunch of large black furry balls, joked, "It takes a lot of balls to wear a dress like that".

 

THE WORST TIMING FOR A JOKE

Neil Patrick Harris' joke about Danna Perry's dress came just after Perry's suicide announcement.

 

THE BEST CARRYOVER JOKE FROM LAST YEAR

 Repeated references to John Travolta's mispronouncing of Idina Menzel's name - even by Menzel herself. 

 

BEST SPORT BEING THE OBJECT OF ENDLESS JOKES

John Travolta 

 

BEST ACCEPTANCE SPEECH

Imitation Game's screenwriter Graham Moore after winning the Best Adapted Screenplay.  After revealing that he attempted suicide at the age of 16, Moore spoke to teenagers who might be similarly struggling.  "Stay weird, stay different, and then when it's your turn and you are standing on this stage, please pass the same message to the next person who comes along."

 

2ND BEST ACCEPTANCE SPEECH

Best Director winner Alejandro González Iñárritu who said that, for good luck, he was wearing Keaton's tighty whities.

 

BEST ACCEPTANCE SPEECH DEVOID OF A MILLION THANK YOU'S

J.K. Simmons who implored everyone to "Call your mom, call your dad. If you're lucky enough to have a parent or two alive on this planet, call 'em. Don't text, don't email, call them on the phone. Tell them you love them. Thank them and listen to them for as long as they wanna talk to you."

 

BEST OVERLONG ACCEPTANCE SPEECH THAT IGNORED THE ORCHESTRA

Best Foreign Language Film winner Pawel Pawlikowski (Poland's Ida) ended up thanking everyone from his film crew, his late wife, his deceased parents and his children ("who are hopefully watching, who are still alive!") while telling his drunk crew in Poland to keep drinking.

 

BEST NON-OSCAR PRESENTATIONS

Lego Oscars handed out to several audience member during the "Everything Is Awesome" performance.

 

BEST  SURPRISE REACTION FROM A NON-OSCAR CONTENDER

Oprah

 

BEST RIPOFF OF A COMEDY SKETCH

The Birdman spoof which was done so much better the night before during the Independent Spirit Awards.  I presumed the producers figured virtually no one would be tuning in to the most entertaining awards show of the season, held each year on IFC.  

 

BEST (AND ONLY) POLICITAL ACCEPTANCE SPEECH

Patricia Arquette calling for wage equality for women, which resulted in a firestorm in social media on both sides of the issue. 

 

BEST PUBLIC ACKNOWLEGEMENT OF A EGRECIOUS FLUB BY THE NOMINATING COMMITTEE

Harris' remark while introducing the Outstanding Animation Feature proclaiming that, "If you are at an Oscar party with the guys who made The Lego Movie, now would be an excellent time to start distracting them."

 

MOST SURPRISED OSCAR WINNER

Eddie Redmayne who won the the Best Actor Oscar who genuinely proclaimed, "“I can’t believe I’m up here!”

 

BEST PHILOSOPHICAL QUOTE OF THE NIGHT

Best Director winner Alejandro G. Iñárritu who related that, "Fear is the condom of life. It doesn't allow you to enjoy things."  

 

THE MOST DESERVING FILM TO WIN THE MOST MAJOR OSCARS

Birdman   

 

UPCOMING:  The 2015 Sundance Dramatic Grand Prize and Audience Award winner:  "Me & Earl & The Dying Girl"

 

Harris brings some dignity to the annual extravaganza

 

  Lady Gaga belting out the musical highlight of the evening



2015 PRE-AA RAMBLING THOUGHTS/PREDICTIONS

 

Friday February 20, 2015

-Exit Ellen DeGeneres-enter Doogie Howser.  Neil Patrick Harris' entertainment pedigree/qualifications as an actor, writer, producer, director, magician, comedian and singer appears to make him a natural to host Hollywood's annual pat-on-the-back.  Named by "Time Magazine" as among the 100 most influential people in 2010, Harris certainly brings experience to the show having hosted Broadway's Tony Awards in 2009, 2011, 2012 and 2013 and The Primetime Emmy Awards in 2009 and 2013.  Will he be the latest in what is lately becoming a long line of non-consecutive Oscar hosts?  Stay tuned . . .

- Here's my take on what I consider the two biggest nominating snubs of the year:
 (1)  How The Lego Movie wasn't nominated for Best Picture is beyond me.  But not being nominated for Best Animated Feature is beyond absurd!  I would love for someone to explain how the academy overlooked nominating one of the most original creative films since Pixar animators first began using a computer.  A total head-shaker.
 (2)  The brouhaha over the lack of African-American nominees in general and Selma in particular.  If you ask me, I thought the Academy got it absolutely right with the latter.  For me, despite the importance of its message and historical significance, the film, on its own merits, was a one-note stilted exercise that continually pounded its agenda like a migraine headache.  If anything David Oyelowo, as Martin Luther King, should have garnered a Best Actor nod; but nominating the film as BP would have been totally off base and unworthy-even despite the swirling controversy involving the politics of Lyndon Johnson as portrayed in the movie.  

- Surprise:  Meryl Streep gets nominated for the 19th time-now seven noms ahead of Jack Nicholson  with 12.  However, Streep fans, don't get your hopes up this year.  Although she gave her usual excellent competent performance as a witch in Into The Woods (I can hardly wait for Harris' barbs directed at her this Sunday), Meryl doesn't stand a chance of winning in this category (see below).

- It is starting to appear that a new category needs to be added to the list of 24:  Greatest Cinematographer Never To Win An Oscar.  Once again, long-time nominee Roger Deakins (DP for the Coen Brothers and Sam Mendes) is in the running for Angelina Jolie's forgettable critical flop, Unbroken.  However, his chances of finally walking away with the statuette are slim and none.  This is his 12th nomination as he continues to add to his dubious record of the most ever for a non-winner in this category.  Look for a life-time achievement segment in the not too distant future.

- Bradley Cooper is on a roll.  His amazing performance in American Sniper is his third nomination in three years.  If he is nominated next year, he ties Marlon Brando for the most consecutive.  The only question is whether he wins before Deakins.  My bet is on Bradley.

- The great song writer Diane Warren is trying to win for the first time despite 6 previous nominations.  However, her song "Grateful" from Beyond the Lights, IMHO, has no chance of winning (see below).

- The Foreign Language category welcomes two films for the first time from Estonia and Mauritania.

- There were no repeat 2014 winners nominated this year.

-Finally:  In last year's prediction column, I wrote that the magazine "Slate" named Meryl Streep as the most thanked person in the last dozen years as a result of a survey they conducted.  Now, the website vocativ.com claims they have studied all 1,396 Oscar speeches and tabulated who was thanked the most in Oscar history.  The winner:  Stephen Spielberg.  Here are the top 6:

1. Steven Spielberg (thanked 42 times)
2. Harvey Weinstein (thanked 34 times)
3. James Cameron (thanked 28 times)
4. George Lucas (thanked 23 times)
5. Peter Jackson (thanked 22 times)
6. God (thanked 19 times)

The envelope, please . . . 

BEST PICTURE
What will win:  Birdman (or The Unexpected Virtue of Ignorance)
What should win:  Birdman (or The Unexpected Virtue of Ignorance)
Upset possibility:   The Theory of Everything
For me, Birdman is the clear winner on so many levels. (To see why, click here to read my review).  The fact that the academy loves and identifies with films about tortured actors, it would seem that alone would give it a leg up on the competition when it came down to voting time.  When the nominations were announced last month, the early winner in the clubhouse was Boyhood.   Although I admire its bold concept of using the same cast over 12 years of filming (interesting fact:  the film was shot in a total of 39 days!) the film meandered, lacked focus and included an amateurish performance by Ellar Coltrane in the lead .  Other than the fascination of watching humans age 12 years over the course of its LONG 165 minutes, it failed to sustain my interest and I ended up feeling like I aged 12 years in the process.  An intriguing upset possibility is American Sniper.  In its favor is its enormous box office opening in January and the start of the trial of Chris Kyle's killer in Texas which is currently grabbing national headlines.  Also, Clint Eastwood has long been an Academy fav.  The crowd-pleasing and extremely competent The Theory of Everything, or even The Imitation Game, also could upset.  However, I feel it is a little unsettling for biopics to be considered for Best Picture-no matter how well done.  To me, a totally original film gets the nod and Birdman completely fits the bill. 

(FOR THE RECORD:  here are the eight nominated films I rated from best to least: 

(1)  Birdman (or The Unexpected Virtue of Ignorance)

(2)  The Theory of Everything

(3)  The Imitation Game

(4)  The Grand Budapest Hotel

(5)  American Sniper

(6)  Boyhood

(7)  Whiplash

(8)  Selma

        THE BEST FILM NOT NOMINATED FOR A BEST PICTURE

        The Lego Movie  (I would have placed this fifth on this list and removed Selma.)

        THE SECOND BEST FILM NOT NOMINATED FOR A BEST PICTURE
        Guardians of the Galaxy (I would have placed this one ahead of both Whiplash and Selma)

BEST DIRECTOR
Who will win:  Alejandro G. Iñárritu (Birdman)
Who should win:  Alejandro G. Iñárritu (Birdman)
Upset possibility:  Richard Linklater (Boyhood)
Anyone who has been reading my blog knows the Best Picture is ALWAYS directed by the Best Director.  However, Hollywood might be totally enamored in the enormous undertaking of not only making a film over twelve years but to have the incredible luck of losing none of the cast members.  But does it deserve special recognition and acknowledgment?  Boyhood failed to impress this reviewer as previously stated.  Therefore, I don't feel Linklater deserves the Oscar based merely on effort or gimmick.  Merit has to be part of the equation.  Iñárritu, on the other hand had directed a multi-layered work that is not only timeless, it will be dissected by film students for generations to come. 

BEST LEADING ACTOR
Who will win:  Michael Keaton (Birdman)
Who should win:  Michael Keaton (Birdman)
Upset possibility:  Eddie Redmayne (The Theory of Everything)
This is one of the closest races of the night.  Redmayne was absolutely brilliant totally embodying the theoretical physicist Stephen Hawking.  Hawking himself commented that he felt that, at times, he was watching himself on the screen.  That being said, Keaton gets the award for creating a non-fiction character all his own.  His acting range as Riggan, the tortured washed-up actor attempting a comeback on Broadway, is among the best I've ever seen on the screen.  And the voting Academy would love to finally acknowledge and award a long career to one of their favorites.  The British actor, Eddie Redmayne, is young and will have more than ample opportunity to reach the podium. 

BEST LEADING ACTRESS
Who will win:  Julienne Moore (Still Alice)
Who should win:  Julienne Moore  (Still Alice)
(Extreme) Upset possibility:  Rosamund Pike (Gone Girl)
The virtual lock of the night.  Moore will finally win her first Oscar.  However, I loved the English Actress Rosamund Pike as the nefarious Amy Dunne in the best-selling novel adaptation.  There hasn't been a knockout surprise/shocker in a major category for years - so maybe this will be it.  But I doubt it. 
     
BEST SUPPORTING ACTOR
Who will win:  J.K. Simmons (Whiplash)
Who should win:  J.K. Simmons (Whiplash)
(Extreme) Upset possibility:  Edward Norton (Birdman)
Another virtual lock.  As the sadistic music teacher in Whiplash, Simmons is so terrifying and unnerving he effectively removed any possible joy I might have taken from watching the film.  Known mainly for portraying quiet likeable characters, he goes completely against type in this role.  However, I thought Norton might upset as a narcissistic actor attempting to sabotage Keaton's comeback.  It would fall under the knockout surprise/shocker if he does.
 

BEST SUPPORTING ACTRESS
Who will win:  Patricia Arquette (Boyhood)
Who should win: Emma Stone (Birdman)
Upset possibility:  (None)
The Academy is going to have to award Boyhood somehow, and this is the easiest way to do it.  Arquette dedicated 12 years of her life to Linklater's project and the likeable actress appears to be in line for her first Oscar.  Personally, I thought her acting was unremarkable, while Emma Stone, Michael Keaton's petulant daughter, is unforgettable in every scene she appears.  However, Arquette is the overwhelming favorite and should win easily.


BEST ANIMATED FEATURE FILM
What will win:  How to Train Your Dragon 2
What should win: The Lego Movie (Not nominated)
Upset possibility:  Big Hero 6
If How to Train Your Dragon 2 wins, it will be the first animated sequel to win since Toy Story 3 in 2010.  However, none in this category is close to being as deserving as the snubbed Lego film.


BEST ORIGINAL SCREENPLAY
What will win:  Birdman (or The Unexpected Virtue of Ignorance)
What should win:  Birdman (or The Unexpected Virtue of Ignorance)
Upset possibility:  The Grand Budapest Hotel
The word on the street is that this could go to Boyhood.  Personally, I thought its script was one of the weakest aspects of the film and I would be shocked if it won.  I wouldn't be surprised if a nod to Wes Anderson's lively screenplay for The Grand Budapest Hotel was awarded.  However, the ingenious script by Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo is what ultimately makes Birdman tick and truly unforgettable.


BEST ADAPTED SCREENPLAY
What will win:  Whiplash
What should win:  The Theory of Everything
Upset possibility:  The Imitation Game
Admittedly, this is one of the toughest categories to predict.  The fury of Damien Chazelle's script based on his experiences in the Princeton High School Studio Band probably pushes Whiplash to the forefront as the favorite.  However, the winning crowd-pleasing screenplay by Anthony McCarten for The Theory of Everything, adapted from Jane Hawking's memoir, produced words that lyrically flowed as exquisitely as the visuals.  I wouldn't be surprised, though, if Graham Moore's intelligent script for The Imitation Game edged out these two nominees.

BEST DOCUMENTARY
What will win:  CitizenFour
What should win:  Virunga
Upset possibility:  Finding Vivian Maier
CitizenFour is gathering the most consistent buzz.  However, for my money, the beautiful but heartbreaking doc about the plight to save the gorillas in The Congo's Virunga National Park amidst the civil war conflict currently being waged, was the best documentary I screened in 2014.

BEST CINEMATOGRAPHY
What will win:  Birdman
What should win:  Birdman
(Extreme) Upset possibility:  The Grand Budapest Hotel
Emmanuel Lubezki will be accepting his second Oscar in a row (he won last year for Gravity) and is even more deserving this time around.  His incredibly lengthy tracking shots in one glorious take are a true cinematic marvel in a film that will be considered a classic for years to come.  Although Robert Yeoman's camera work in The Grand Budapest Hotel might have won in any other year, it was his misfortune to share a nomination with Lubezki who should easily win. 

BEST ORIGINAL SONG
What will win:  "Everything is Awesome" from The Lego Movie
What should win:  "Everything is Awesome" from The Lego Movie
Upset possibility:  "Glory" from Selma
The Academy members will be throwing this proverbial bone to The Lego Movie to give any recognition it can to one of the best films not nominated for a major award.  And, you will be humming this winning song long after the lights come up.  Perhaps being released way back in February 2014 hurt Lego's overall nomination chances.  Whatever the reason, it is almost unconscionable in this reviewer's humble opinion.  If you haven't seen this movie, run, don't walk, to your nearest Netflix outlet and see it!!

Stop back for my post-AA report next week.

"TIMBUKTU" - ***1/2 (97 minutes)

 February 7, 2015

 

Anyone who watches the news on a regular basis almost daily sees the images of horror and outrage as radical Islamic rule overtakes people whose culture and customs reach back into centuries.  Mauritanian filmmaker Abderrahmane Sissako puts a human face on these minutes long newscasts as he takes you into the milieu of one of these societies who are faced with conforming to the invading jihadists' demands (including banning music, soccer, and smoking) - or suffer the consequences including flogging and even death.

Sissako's inspiration was the 2012 Islamic takeover of Timbuktu and other parts of northern Mali.  Various subplots are included but the main focus is on a cow herding family.  Kidane, his wife Satima and 12-year-old daughter Toya live in a tent on the outskirts of Timbuktu.  Their mundane existence seems to be mostly unaffected by the radical demands in nearby Timbuktu - that is, until an unexpected tragedy results from a neighbor dispute and the resulting justice which will be imposed by the ruling jihadists.

Interspersed with this drama are scenes of various defiant confrontations between the new fundamentalist rulers and the townspeople trying desperately to maintain their customs, dignity and self-respect.  Sissako necessarily includes images of punishment but, thankfully, tones down the outrageous violence which, in the final analysis, is more effective without being sensationalistic. 

There are several breathtaking scenes of contrasting beauty offered by cinematographer Sofiane El Fani.  (One in particular is a long shot of Kidane wadding through a river after a violent confrontation with his neighbor).  The occasional music by Amine Bouhafa includes traditional Malian melodies as well as more Western influences and is effectively placed in the action.
  
Overall, the film is a quiet but profound meditation on the continuous domination and injustice that, unfortunately, is much too prevalent on the planet.
 

The film, one of five nominated in the Best Foreign Language Film Oscar category, opened on a limited basis on January 28th, and in the D.C. area on February 13.

UPCOMING FRIDAY:  My annual Academy Awards Thoughts/Predictions commentary.
 

 (l to r) Satima (Toulu Kiki), Kidane (Ibrahim Ahmed) and

Toya (Layla Walet Mohamed) relax in their open tent home

in the desert outside of Timbuktu

THE THEORY OF EVERYTHING - ***1/2 (123 minutes)

 

Thursday November 20, 2014

 

The biopic is a genre that has a long and generally successful cinematic history.  The most challenging projects involve subjects currently among the living as inevitable comparisons will be made and scrutinized.  I am quite pleased to report that first-time narrative director James Marsh (whose superb Man On Wire deservedly won the 2008 Best Documentary Academy Award, and his terrific 2011 documentary Project Nim was the recipient of numerous accolades) has successfully transferred to the screen the love story between the brilliant English theoretical physicist, Stephen Hawking, and his first wife, Jane Wilde.  Their marriage lasted 25 years and produced 3 children.

 

Screenwriter Anthony McCarten, has scripted an intelligent touching rendition of their life together that began while both were attending the University of Cambridge in the early 60's.  Based on Jane's memoir “Traveling to Infinity: My Life With Stephen,” we first meet Stephen just prior to his knowledge that he had contracted amyotrophic lateral sclerosis (ALS) - better known as Lou Gehrig's disease - a revelation that came just after he began courting the medieval Spanish poetry student.  Told he has two years to live, he is determined to end the relationship - to the chagrin of Jane who is determined to continue their affair no matter the dire predictions of Stephen's health. 

Eddie Redmayne (Les Misérables) will be a serious contender for Best Actor.  Redmayne gives a bravura performance that demands extreme physicality and expressiveness.   His Hawking is so chilling and exact that the physicist commented in an Email to the director and screenwriter that he felt he was watching himself.  And, his approval of the script resulted in allowing the filmmakers to use his mechanized voice after a tracheotomy was performed in 1985.   Jane is played by the always dependable Felicity Jones (Like Crazy) whose acting is subtle and less ostentatious - but equally impressive.  The brilliant Icelandic composer Jóhann Jóhannsson (who also composed the haunting score for Foxcatcher) has added a sweeping score that is both memorable and melodic without  overwhelming the visuals. 

 

There are minor problems.  Mainly, the toning down of Hawking's documented difficult nature, and the script's over simplification of Hawking's attempt to produce an explanation for the universe and time and space.  That being said, The Theory of Everything is more a love story than a formal pronouncement of quantum physics (for that I recommend Christopher Nolan's Interstellar which employed Hawking's colleague Kip Thorne to help explain black holes and space-time singularities). 

Marsh is able to transform a potentially depressing story of a brilliant genius who overcame physical and emotional limitations into a crowd-pleasing love story that will definitely have you leaving the theater feeling uplifted and positive.

UPCOMING NEXT WEEK:  Review of "Timbuktu" (Oscar nominated for Best Foreign Language Film) and my annual Academy Awards Thoughts/Predictions column to be posted Friday, February 20th
 

Stephen (Eddie Redmayne) and

Jane (Felicity Jones) pose on

their wedding day

BIRDMAN or (The Unexpected Virture of Ignorance) - **** (119 minutes)

 

Tuesday October 28, 2014

 

One often hears about actors declining certain roles for fear of being pigeonholed into a specific character or genre for the rest of their careers.  Usually these are performers who have established themselves in successful (and sometimes not so successful) franchise films replete with sequel after sequel.  Those who chose to repeat themselves, either due to financial gain or popular pressures or comfort level, at some point will come to the realization that, to prove themselves worthy to themselves and the world, they must tackle roles and genres late in their lives long after their signature character has faded from the theater marquees. 

 

Riggan Thomson (Michael Keaton) made his mark in the 80's playing Birdman.  Now in his 60's, his ego and career have blazingly crashed to earth - like the meteor depicted falling through the sky that opens the movie.  Shift to the rear view of Riggan as he hovers above the floor in lotus position meditating in his St. James Theater dressing room as he converses with his alto-ego Birdman voice discussing his current state of affairs.  We soon learn that he is attempting to jump start his profession by directing and starring in a Broadway adaptation of  a Raymond Carver short story, “What We Talk About When We Talk About Love". 

 

It is the day before previews begin and during the dress rehearsal an unexpected accident leaves the production without one of its major players.   Enter the co-star's (Naomi Watts) boyfriend as a replacement:  loose cannon egomaniac Mike Shiner (Ed Norton) -  whose immediate infusion of energy and talent might just increase the possibility the play and Riggan become a critical and popular success.

However, Riggan must deal with more drama and neurotic characters swirling around him than the play itself which only serves to further enhance his insecurities.  There is his girlfriend and second co-star, Laura (Adrian Riseborough) who announces she's pregnant.  There is his estranged impish daughter Laura (Emma Stone) fresh out of rehab who is Riggan's reluctant personal assistant.  There is Riggan's best friend and producer, Jake (comic actor Zach Galifianakis in an excellent against type straight role) who is frantic on keeping the play on course when Riggan threatens to quit after that aforementioned accident.  There is Riggan's ex-wife Sylvia (Amy Ryan) hovering around the proceedings who still loves the star while clearly wearing her emotions on her sleeve.  There is the supercilious New York Times drama critic Tabitha Dickinson (Lindsey Duncan) who has the power to close a play overnight and who has utter disdain for the lead.   And then there is Shiner, whose method-acting and narcissism continuously threaten the production's success both on and off the stage.

Acclaimed Mexican director Alejandro González Iñárritu (Amores Perros, 21 Grams, Babel, Biutiful) is known for somber dark dramas virtually absent of any humor.  However, here he and his co-writers Nicolas Giacobone, Alexander Dinelaris and Armando Bo, have created a biting meta satire on a par with Academy Award winner Paddy Chayefsky's brilliant script for Sidney Lumet's 1976's Network.  The theater, Hollywood, insecurity, the search for fame and celebrity, narcissism, social media:  these are just a few of the topics granted equal reference and ridicule.  Not to mention the myriad of inside jokes that repeated viewings are a must in order to savor them all.   

Iñárritu's selection of Keaton as Birdman is nothing short of brilliant.  His role here is a wink towards Keaton's Batman from 1989 and 1992 which began the onslaught of comic strip films that continue to this day.  And, although Keaton has appeared in numerous films since, his roles have been largely unremarkable - until now.  Keaton's incredible range struggling with reality and the fantasy of Birdman and his superpowers (which culminates in an eye-popping fantasy sequence in the third reel) puts him as a front-runner for an Oscar.

Each of the supporting players are excellent and I would not be surprised if Ed Norton appears on the Best Supporting list come January.  Also, Stone and Duncan both deliver memorable soliloquys that are distinctly Oscar caliber. 

One "character" gets a special mention:  the camera of cinematographer Emmanuel Lubezki.  Six time AA nominated (including for The New World, Children of Men and The Tree of Life) and fresh off his Oscar for last years Gravity, Lubezki is in line to win his second.  His use of long uninterrupted tracking shots (along with seamless editing by Douglas Crise and Stephen Mirrione) gives the impression the movie was shot in one continuous take.  This is a technical marvel that will make you feel that you are part of the action as it swirls in and around the nooks and crannies of the St. James Theater without interruption for most of the film.  Add to this an incessant drumming soundtrack by the great jazz musician Antonio Sanchez whose cadences serve to connect the unfolding craziness on the screen.  

Birdman receives my four star rating after it passed my overnight four-star-test when I woke up the following morning and immediately started thinking about this film.  It is clearly the best movie I've seen this year.

UPCOMING:  The Stephen Hawking biopic "The Theory of Everything"

 

(l to r) Riggan (Michael Keaton) and Mike Shiner (Edward

Norton) prepare to duke it out backstage of the St. James Theater 

 Riggan and daughter Sam (Emma Stone) having a heart-to-heart conversation

 

Riggan, co-star Lesley (Naomi Watts) and producer Jake (Zach Galifianakis) try and stop Riggan from quitting

ST. VINCENT - ** (103 minutes)

Tuesday October 2, 2014

Lord, we've seen this plot before:  curmudgeon (Bill Murray) meets sweet innocent little boy (Jaeden Lieberher) who attempts to transform curmudgeon into a likable human being.  Jack Nicholson is the staple of this franchise.  (At the premiere at the Toronto Film Festival, Bill Murray was asked how he got the role and replied it was because Jack was unavailable.) 

That being said, my expectations of seeing Murray perform his usually excellent acting chops was through the roof; but, alas, Murray and the talented cast couldn't overcome the lame predictable script by first time writer/director Theodore Melfi.

The film begins with Murray reciting an old joke (even that one is recycled) on a black screen that opens with him sloshing several cocktails at his local Brooklyn watering hole.   He proceeds to back his 1983 Chrysler Le Baron convertible (one of the most memorable characters in the film) into his picket fence followed by a kitchen mishap that results in a bashed-in face.  The next morning he "meets" his new next door neighbor Maggie (Melissa McCarthy) and her 12-year-old son, Oliver, when her moving van causes a tree branch to land on said convertible.  A relationship is made that eventually places the grumpy Murray as mentor and babysitter to Oliver while mom is working double shifts at a local hospital to earn enough money to fight a custody battle with her separated husband. 

The supporting talent tries their best to propel the script including McCarthy, who plays it straight and tones down her usually outrageous comedic persona exhibited in previous roles such as Bridesmaids, The Heat, and Tammy.  Chris O'Dowd has a competent minor role as Father Geraghty, a hip teacher at Oliver's Catholic school, while Terence Howard has a few brief scenes as a loan shark trying to collect a debt from the nearly penniless Murray.  However, Naomi Watts, sporting a Russian accent, seems miscast as a pregnant hooker with a heart who services Murray throughout the movie.

Melfi, who got his start directing commercials, fills his script with predictable set pieces and supporting characters that, by the time the inevitable syrupy climax rears its head, you'd wish you would have waited and paid for the rental instead of first-run money.

St. Vincent opens nationwide on October 24.

UPCOMING:  Michael Keaton's latest comedy "Birdman or (The Unexpected Virtue of Ignorance)" by acclaimed Mexican director Alejandro Gonzalez Inarritu

Vincent (Bill Murray) and Oliver (Jaeden Lieberher) out on 

the town

(l to r) Maggie (Mellissa McCarthy), Oliver, and Daka (Naomi

Watts)