Mission to Mars (2000)
Rent Mission to Mars on Amazon Video
Written by: Lowell Cannon and Jim Thomas & John Thomas (story). Jim Thomas & John Thomas and Graham Yost (screenplay)
Directed by: Brian De Palma
Starring: Tim Robbins, Gary Sinise, Don Cheadle, Jerry O'Connell
Rated:PG
My rating is simple, Watch It, It Depends, Skip it. Read my previous movie reviews!
Plot
When the first manned mission to Mars meets a catastrophic and mysterious disaster after reporting a unidentified structure, a rescue mission is launched to investigate and bring back any survivors.
Verdict
The concept is fun, though not novel. Why are we fascinated with Mars, and from where did our ancestors hail? The problem is the clunky dialog. Due to that, this never feels credible. That and the CGI is woefully outdated. I like sci-fi so the concept made this bearable, but this could have been a good movie. It's not.
It depends.
Review
To be a space and NASA movie, it's an interesting move to jump cut and not see the astronauts ever leave Earth. The first scenes is a backyard cookout and in the next scene they're on Mars. The cookout scene must have been added later just to introduce us to the characters and provide them a hint of personality. The first Mars scene feels like an opening scene as it starts tracking a little rover before jump starting the plot.
I also don't understand why this is set in the future. There's little reason for it and the only 'future' thing we see is a car that is laughably low effort. Maybe NASA tech wasn't at the required level, but it's probably part of the misguided effort when adding the cookout scene. I just don't believe that scene was part of the original script.
Once on Mars an exploratory team finds an anomaly. They encounter a storm while investigating and that sequence is just hokey, from the acting to the visuals. A lot of the movie feels like how someone imagines space exploration without any of the training or knowledge of what it's really like. Due to this storm and loss of contact a rescue mission is enacted.
The timeline of how quickly the rescue mission arrived is a lingering question. I don't know how long it would take to do the calculations and plan a mission to get the team up there. It seemed like a short time, but then Don Cheadle's character looks like he's been stuck on Mars for a few years when they find him.
The way the movie develops characters is just clunky. Much of the dialog is soap opera level and that isn't a compliment. I like the concept. This explores humankind's origin, but it feels like something out of the '80s, not as recent as 2000.
I liked Sinise's wife foreshadowing when she talks about how Mars must be special because it holds a special place in many culture's. It's a nice bit of foreshadowing that would have worked even better towards the beginning of the movie, rather than the end.
The team finally discovers the origin of the anomaly and we are treated with some terrible CGI. If you watch this, compare it to the CGI dinosaurs in Jurassic Park which was made seven years earlier.
I really thought this might tie back to the Egyptian civilization. It has this whole conspiracy vibe going, why not take it all the way. Sadly, it doesn't make that connection.
Wednesday, 31 May 2017
Safe Movie Review
Safe (1995)
Buy Safe on Amazon
Written by: Todd Haynes
Directed by: Todd Haynes
Starring: Julianne Moore, Xander Berkeley, Dean Norris
Rated: R
My rating is simple, Watch It, It Depends, Skip it. Read my previous movie reviews!
Plot
Everyday environmental toxins begin making suburban housewife Carol increasingly ill.
Verdict
This is a subtle movie that will make you question everything in your vicinity, from what you consume to how you interact with the environment. It taps into the underlying fears of mortality and not being able to find a cure or even a diagnosis. Your death is imminent and there is nothing you can do about it but remain in prisoner of the world.
Watch it.
Review
Moore and Haynes would later work together on a more main stream movie, Far from Heaven (2002) (read my review).
Carol begins to get symptoms, rashes and a cough. It's dismissed as allergies at first, and I almost wish I didn't know the premise. Without knowing the premise you'd wonder if this is in her head.
Daily life has become literally unbearable. No longer can she complete her daily tasks.
Any kind of chemical affects her, leading to nose bleeds and trouble breathing. It makes you think about whats around you. We interact with toxins all the time. That new car smell is off gassing of plastics and the glue in the carpet. As with many allergens, exposure can eventually lead to a reaction. The world has become a prison for Carol.
We see the monotony of Carol's life, and I felt a disconnect. This is shot at a distance, making it feel cold. While Carol seems content with life, surely she can't be, at least the framing suggests that. It creates an unsettling mood because I wanted to believe Carol felt trapped despite it not being implicitly stated. Is her illness a way to escape this life, a reaction to this life, or is she truly ill.
She goes to a commune with people that share her illness. The leader of the commune has AIDS. This is a direct corollary with a weakened immune system and common interactions posing a problem. The connection is clear but it doesn't go anywhere. Carol is secluded from the world and relatively safe, but she's still imprisoned. The world is still fatal.
Buy Safe on Amazon
Written by: Todd Haynes
Directed by: Todd Haynes
Starring: Julianne Moore, Xander Berkeley, Dean Norris
Rated: R
My rating is simple, Watch It, It Depends, Skip it. Read my previous movie reviews!
Plot
Everyday environmental toxins begin making suburban housewife Carol increasingly ill.
Verdict
This is a subtle movie that will make you question everything in your vicinity, from what you consume to how you interact with the environment. It taps into the underlying fears of mortality and not being able to find a cure or even a diagnosis. Your death is imminent and there is nothing you can do about it but remain in prisoner of the world.
Watch it.
Review
Moore and Haynes would later work together on a more main stream movie, Far from Heaven (2002) (read my review).
Carol begins to get symptoms, rashes and a cough. It's dismissed as allergies at first, and I almost wish I didn't know the premise. Without knowing the premise you'd wonder if this is in her head.
Daily life has become literally unbearable. No longer can she complete her daily tasks.
Any kind of chemical affects her, leading to nose bleeds and trouble breathing. It makes you think about whats around you. We interact with toxins all the time. That new car smell is off gassing of plastics and the glue in the carpet. As with many allergens, exposure can eventually lead to a reaction. The world has become a prison for Carol.
We see the monotony of Carol's life, and I felt a disconnect. This is shot at a distance, making it feel cold. While Carol seems content with life, surely she can't be, at least the framing suggests that. It creates an unsettling mood because I wanted to believe Carol felt trapped despite it not being implicitly stated. Is her illness a way to escape this life, a reaction to this life, or is she truly ill.
She goes to a commune with people that share her illness. The leader of the commune has AIDS. This is a direct corollary with a weakened immune system and common interactions posing a problem. The connection is clear but it doesn't go anywhere. Carol is secluded from the world and relatively safe, but she's still imprisoned. The world is still fatal.
Sense8 Netflix Series Canceled After 2 Seasons
Sense8 (2015-2017)
Watch Sense8 on Netflix
Created by the Wachowski's who made The Matrix, eight strangers across multiple continents are mentally linked and can enter each others minds.
Netflix announced after two seasons and twenty-three episodes, the series will not be renewed for a third. Two years had passed between the first and second season.
Last week Netflix announced that The Get Down (2016-17) would not be renewed for a second season.
Press Release
Watch Sense8 on Netflix
Created by the Wachowski's who made The Matrix, eight strangers across multiple continents are mentally linked and can enter each others minds.
Netflix announced after two seasons and twenty-three episodes, the series will not be renewed for a third. Two years had passed between the first and second season.
Last week Netflix announced that The Get Down (2016-17) would not be renewed for a second season.
Press Release
PODCAST 258: Wake in Fright & The Creeping Terror
Panic Room (2002)
Genre
Thriller
Director
David Fincher
Country
USA
Cast
Jodie Foster, Kristen Stewart, Forest Whitaker, Jared Leto, Dwight Yoakam, Patrick Bauchau, Ann Magnuson, Ian Buchanan, Paul Schulze
Storyline
When three burglars break in their new home, Meg Altman (Jodie Foster) and her daughter Sarah (Kristen Stewart) take refuge in the house's safe room. What they don't know, however, is that what the three men are looking for is in that very room.
Opinion
Panic Room has everything it takes to be a solid thriller. It has a good cast, an interesting storyline, but most important it has David Fincher. Nobody does thriller like he does. Unfortunately, a quite terrible screenplay happened, and Panic Room ended up being a mediocre thriller.
Like I said, I was very interested in the storyline and, knowing Fincher, I was expecting an exciting, tense story with many twists along the way. Which of course did not happen. While it was a bit tense, the plot was pretty predictable, filled with holes and the twists weren't that jaw-dropping.
And since there's so little of a plot, the film ends up being quite boring. There still is David Fincher's typical tension but since the story is dragged, it feels like being trapped in a never-ending film. Maybe Fincher was going for that, I don't know.
Another problem is the characters. They are unrealistic, pretty stupid and annoying. Not to mention a few utterly pointless characters at the beginning of the film. They add absolutely nothing to the film. However, in spite of how badly they were written and how poor the dialogue was, the cast still managed to do a good job.
In addition, Panic Room also benefits from a truly beautiful camera work. It's incredibly how wonderful are some of the shots. But then again, this is Fincher, so it doesn't really come as a surprise.
Like I said, I was very interested in the storyline and, knowing Fincher, I was expecting an exciting, tense story with many twists along the way. Which of course did not happen. While it was a bit tense, the plot was pretty predictable, filled with holes and the twists weren't that jaw-dropping.
And since there's so little of a plot, the film ends up being quite boring. There still is David Fincher's typical tension but since the story is dragged, it feels like being trapped in a never-ending film. Maybe Fincher was going for that, I don't know.
Another problem is the characters. They are unrealistic, pretty stupid and annoying. Not to mention a few utterly pointless characters at the beginning of the film. They add absolutely nothing to the film. However, in spite of how badly they were written and how poor the dialogue was, the cast still managed to do a good job.
In addition, Panic Room also benefits from a truly beautiful camera work. It's incredibly how wonderful are some of the shots. But then again, this is Fincher, so it doesn't really come as a surprise.
Tuesday, 30 May 2017
New in Theaters for June
A lot of movies are premiering in June, but only a few of them interest me. This is why they might be worth watching... or avoiding.
A dystopian love story amidst a community of cannibals that stars Keanu Reeves, Jason Momoa, and Jim Carrey. I have no idea what this is, but I'm sold on the premise alone.
Baby Driver (June 30, 2017)
Terrible name aside, I'm an Edgar Wright fan. This heist movie seems poised to take advantage of Wright's talents.
All Eyez on Me (June 16, 2017)
The Tupac Shakur biopic. I though Straight Outta Compton was going to be a indulgent puff piece, and it turned out to be excellent. I'm thinking this will follow suit.
The Beguiled (June 23, 2017)
Set at an all girls school during the Civil War, a wounded Union soldiers upsets the balance in the house. Stars Nicole Kidman, Colin Farrell, Elle Fanning, and Kirsten Dunst. Farrell always provides a solid performance and Kidman is straight off of her solid turn in her Big Little Lies role.
The Hero (June 9, 2017)
An ailing movie star must confront his past and mortality. Starring Sam Elliot, Krysten Ritter, Laura Prepon, and Nick Offerman.
Offerman did The Founder last year, and if that's any indication, he can pick good roles. While Elliot did do Netflix's The Ranch, I'm hoping this is a rebound for him.
Wonder Woman (June 2, 2017)
Outside of Batman, DC has had a hard time making a successful movie franchise. Batman v Superman wasn't good, and large chunks of it were mini-trailers for future DC movies, Wonder Woman included. How many cameos will this have?
The Mummy (June 9, 2017)
Isn't this a Brendan Frasier movie? In this one Tom Cruise takes on a mummy awoken from her tomb. Seems it might be the Frasier version. I want to call this creatively bankrupt, but I'll refrain. The Cruise Missile has been successful, but this might be pushing it.
Transformers: The Last Knight (June 23, 2017)
How are these movies still being made? Who is paying money to see this franchise and continuing the cycle? At this point this is less movies and more a Michael Bay collection plate.
WATCHING
The Bad Batch (June 23, 2017) A dystopian love story amidst a community of cannibals that stars Keanu Reeves, Jason Momoa, and Jim Carrey. I have no idea what this is, but I'm sold on the premise alone.
Baby Driver (June 30, 2017)
Terrible name aside, I'm an Edgar Wright fan. This heist movie seems poised to take advantage of Wright's talents.
All Eyez on Me (June 16, 2017)
The Tupac Shakur biopic. I though Straight Outta Compton was going to be a indulgent puff piece, and it turned out to be excellent. I'm thinking this will follow suit.
The Beguiled (June 23, 2017)
Set at an all girls school during the Civil War, a wounded Union soldiers upsets the balance in the house. Stars Nicole Kidman, Colin Farrell, Elle Fanning, and Kirsten Dunst. Farrell always provides a solid performance and Kidman is straight off of her solid turn in her Big Little Lies role.
The Hero (June 9, 2017)
An ailing movie star must confront his past and mortality. Starring Sam Elliot, Krysten Ritter, Laura Prepon, and Nick Offerman.
Offerman did The Founder last year, and if that's any indication, he can pick good roles. While Elliot did do Netflix's The Ranch, I'm hoping this is a rebound for him.
AVOIDING
Outside of Batman, DC has had a hard time making a successful movie franchise. Batman v Superman wasn't good, and large chunks of it were mini-trailers for future DC movies, Wonder Woman included. How many cameos will this have?
The Mummy (June 9, 2017)
Isn't this a Brendan Frasier movie? In this one Tom Cruise takes on a mummy awoken from her tomb. Seems it might be the Frasier version. I want to call this creatively bankrupt, but I'll refrain. The Cruise Missile has been successful, but this might be pushing it.
Transformers: The Last Knight (June 23, 2017)
How are these movies still being made? Who is paying money to see this franchise and continuing the cycle? At this point this is less movies and more a Michael Bay collection plate.
Guardians of the Galaxy Vol. 2 Movie Review
Guardians of the Galaxy Vol. 2 (2017)
Buy Guardians of the Galaxy Vol. 2 on Amazon
Written by: James Gunn (written by), Dan Abnett & Andy Lanning (based on the Marvel comics by), Steve Englehart and Steve Gan (Star-lord created by), Jim Starlin (Gamora and Drax created by), Stan Lee & Larry Lieber and Jack Kirby (Groot created by), Bill Mantlo and Keith Giffen (Rocket Raccoon created by)
Directed by: James Gunn
Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Vin Diesel, Kurt Russell, Michael Rooker, Karen Gillan, Sylvester Stallone, Ving Rhames, Michelle Yeoh
Rated:PG-13
Plot
The Guardians must fight to keep their family together as they unravel the mystery of Peter Quill's true parentage, when his a man claiming to be his father appears.
Verdict
This has become the summer blockbuster, no longer is it traditional one man army action movies, it's team effort comic book movies. This boasts impressive visuals, not just the CGI but even shot composition. While it's not quite as fun and irreverent as the first (read my review) due to multiple story lines concerning different aspects of family, it has enough humor to keep the story lines lively. It's got more than a few great scenes, and anything with Baby Groot is a winner.
The soundtrack alone could carry this movie and Kurt Russell is great. It's one of the better Marvel movies.
Watch it.
Review
This showcases some great visuals and tons of CGI work in quite a spectacle, but I do miss the irreverent fun of the first Guardians. This pairs off characters to delve into father-son, sibling, and outcast relationships. One of those sub plots is fine, albeit heavy for what I was hoping, but trying to tackle all three comes off as emotionally manipulative.
The first scene was impeccable. The team for hire is setting up to defend batteries. Rocket is getting the music ready before being chided that music is the least important thing in a battle. When the battle commences Baby Groot wanders over to the radio and connects the cord. Mr. Blue Sky by Electric Light Orchestra begins playing. The camera focuses on Baby Groot, immersed in the song, narrowly misses being smacked around by tentacles as the team fights a Chtulu monster in the background.
The scene confirms that this is a typical day for the team, wherein most movies would treat this encounter as the penultimate battle in the movie. I wanted this movie to be another zany adventure, but the focus on family bogs it down. These are heavy themes for a movie like this, and the theme is explored to varying degrees through Quill, Gamora, and Rocket. That pushes the run time to well over two hours. Most of the quips are in the first quarter of the movie. We needed that level of camaraderie throughout. "Trash panda" is easily the best put down and is much better in context.
While Peter Quill's father is an integral part to who he is, this doubles down with Gamora and her sister's subplot about their rivalry and emotional needs, and then the movie adds another subplot between Yondu and Rocket and how they distance themselves emotionally from others.
Kurt Russell is always fun to watch and is a great choice to play Quill's father, Ego. His arc leads to a few questions. It seems a bit contrived that Quill is the only child out of the potentially hundreds, if not thousands, he's fathered that inherited Ego's specific genetic makeup.
As powerful as Ego is claimed to be, the fact he needs a child to fully harness his power and do whatever it is he wants to do raises the question of what's the bottleneck on his powers?
It seems the only reason he needs Quill is to manufacture a plot for the movie. This is overcome with the sub-plots mentioned before and a couple of well placed Baby Groot scenes. It has a few tongue in cheek references, but I wish we got more of those and less melodrama.
The soundtrack makes the great visuals all the better, setting the mood for the movie. While I like the first movie better, Volume 2 is still one of the best Marvel movies, avoiding cliches, and remaining fun for the most part.
Buy Guardians of the Galaxy Vol. 2 on Amazon
Written by: James Gunn (written by), Dan Abnett & Andy Lanning (based on the Marvel comics by), Steve Englehart and Steve Gan (Star-lord created by), Jim Starlin (Gamora and Drax created by), Stan Lee & Larry Lieber and Jack Kirby (Groot created by), Bill Mantlo and Keith Giffen (Rocket Raccoon created by)
Directed by: James Gunn
Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Vin Diesel, Kurt Russell, Michael Rooker, Karen Gillan, Sylvester Stallone, Ving Rhames, Michelle Yeoh
Rated:PG-13
Plot
The Guardians must fight to keep their family together as they unravel the mystery of Peter Quill's true parentage, when his a man claiming to be his father appears.
Verdict
This has become the summer blockbuster, no longer is it traditional one man army action movies, it's team effort comic book movies. This boasts impressive visuals, not just the CGI but even shot composition. While it's not quite as fun and irreverent as the first (read my review) due to multiple story lines concerning different aspects of family, it has enough humor to keep the story lines lively. It's got more than a few great scenes, and anything with Baby Groot is a winner.
The soundtrack alone could carry this movie and Kurt Russell is great. It's one of the better Marvel movies.
Watch it.
Review
This showcases some great visuals and tons of CGI work in quite a spectacle, but I do miss the irreverent fun of the first Guardians. This pairs off characters to delve into father-son, sibling, and outcast relationships. One of those sub plots is fine, albeit heavy for what I was hoping, but trying to tackle all three comes off as emotionally manipulative.
The first scene was impeccable. The team for hire is setting up to defend batteries. Rocket is getting the music ready before being chided that music is the least important thing in a battle. When the battle commences Baby Groot wanders over to the radio and connects the cord. Mr. Blue Sky by Electric Light Orchestra begins playing. The camera focuses on Baby Groot, immersed in the song, narrowly misses being smacked around by tentacles as the team fights a Chtulu monster in the background.
The scene confirms that this is a typical day for the team, wherein most movies would treat this encounter as the penultimate battle in the movie. I wanted this movie to be another zany adventure, but the focus on family bogs it down. These are heavy themes for a movie like this, and the theme is explored to varying degrees through Quill, Gamora, and Rocket. That pushes the run time to well over two hours. Most of the quips are in the first quarter of the movie. We needed that level of camaraderie throughout. "Trash panda" is easily the best put down and is much better in context.
While Peter Quill's father is an integral part to who he is, this doubles down with Gamora and her sister's subplot about their rivalry and emotional needs, and then the movie adds another subplot between Yondu and Rocket and how they distance themselves emotionally from others.
Kurt Russell is always fun to watch and is a great choice to play Quill's father, Ego. His arc leads to a few questions. It seems a bit contrived that Quill is the only child out of the potentially hundreds, if not thousands, he's fathered that inherited Ego's specific genetic makeup.
As powerful as Ego is claimed to be, the fact he needs a child to fully harness his power and do whatever it is he wants to do raises the question of what's the bottleneck on his powers?
It seems the only reason he needs Quill is to manufacture a plot for the movie. This is overcome with the sub-plots mentioned before and a couple of well placed Baby Groot scenes. It has a few tongue in cheek references, but I wish we got more of those and less melodrama.
The soundtrack makes the great visuals all the better, setting the mood for the movie. While I like the first movie better, Volume 2 is still one of the best Marvel movies, avoiding cliches, and remaining fun for the most part.
Diana (2013)
Genres
Biography, Drama, Romance
Director
Oliver Hirschbiegel
Countries
UK, France, Sweden, Belgium
Cast
Naomi Watts, Naveen Andrews, Cas Anvar, Laurence Belcher, Harry Holland, Douglas Hodge, Geraldine James, Charles Edwards, Mary Stockley, Juliet Stevenson
Storyline
It follows Princess Diana (Naomi Watts) during the last two years of her life as she shares a secret love story with Pakistani surgeon Hasnat Khan (Naveen Andrews).
Opinion
Once upon a time, there was a stupid teenager, me, who thought to have the actor looking like the real-life character was the key to a great biopic. Well, if I only could go back to those innocent days, I'd say Diana is the best biopic I've seen recently. "Unfortunately", I'm not that superficial anymore, and Naomi Watts resembling Princess Diana isn't enough to save this pathetic excuse of a film.
I remember having quite high expectations when it came out, but it sure wasn't able to live up to them, and that's mainly because of the sloppy script. Since I didn't know this part of her life - I always thought Dodi Fayed was her lover, but apparently she only used him to make Hasnat Khan jealous, a very royal thing to do, by the way -, the storyline sounded very interesting to me. Too bad for me this turned out to be nothing but a soapy love story that never quite takes off and that it's utterly tedious.
The title character didn't get a better treatment. The character completely lacks in depth. This Diana is a shallow, naive and most of the time very stupid woman that has no sensibility whatsoever. Not to mention that she acts like a stalker. And there's not much Naomi Watts can do to save her. With such poor material, all she can do is looking like her. She is charming as usual but that doesn't help either.
The only slightly interesting thing about this film is the love interest, Hasnat Khan. The only thing that could have been interesting about this film since the writers once again didn't really bother writing a decent character. But they did give him some conflict. He is indeed divided between his faith and family and the woman he loves, and Naveen Andrews tries his best to make something out of that. But that's not enough either to redeem this film.
Monday, 29 May 2017
Also Watched - Silence, Live by Night, Sleepless, The Wizard of Lies, Rocky
Also watched - Silence, Live by Night, Sleepless, The Wizard of Lies, Rocky
Silence (2016)
In the 17th century, two Portuguese Jesuit priests travel to Japan in an attempt to locate their mentor, who is rumored to have committed apostasy, and to propagate Catholicism.
Live by Night (2016)
A group of Boston-bred gangsters set up shop in balmy Florida during the Prohibition era, facing off against the competition and the Ku Klux Klan.
Sleepless (2016)
A cop with a connection to the criminal underworld scours a nightclub in search of his kidnapped son.
The Wizard of Lies (2017)
A chronicle of Bernie Madoff's Ponzi scheme, which defrauded his clients of billions of dollars.
Rocky (1976)
Rocky Balboa, a small-time boxer, gets a supremely rare chance to fight heavy-weight champion Apollo Creed in a bout in which he strives to go the distance for his self-respect.
War Machine Netflix Movie Review
War Machine (2017)
Watch War Machine on Netflix / Read the book
Written by: Michael Hastings (book), David Michôd (screenplay)
Directed by: David Michôd
Starring: Brad Pitt, Anthony Michael Hall, Topher Grace, Will Poulter, Lakeith Standfield, RJ Cyler, Ben Kingsley, Tilda Swinton, Scoot McNairy, Russell Crowe
Rated:TV-MA
Plot
Inspired by the non-fiction book The Operators about a journalist's journey in Afghanistan with General McChrystal who experienced a meteoric rise to power before resigning after a magazine expose, this comedy war film follows Brad Pitt as fictional General Glen McMahon.
Verdict
This is on the cusp of something but never gets there. It wants to be both absurd and dramatic, but does neither. Brad Pitt's accent and facial contortions would fit perfectly in a comedy, but the content is too grounded. With a few tweaks this could be a a great comedy, or conversely a great drama. It's either trying to do both, or doesn't know what to do. Either way the end result doesn't quite work. This has great potential, but you can't rate a movie on what it could have or should have done.
It depends.
Review
I thought this was going to be a direct depiction of McChrystal, but the movie is just based on him, providing a lot of leeway, leeway that isn't used, to amplify the satire.
What is this movie? I'm not sure the creators knew. At various points this felt like it could skew towards comedy or drama, but it never embraces either one, treading water between the two. Brad Pitt could be great as a straight man in an absurd world, but this world is quite normal. Pitt's strange squinting and accent provides a lot of levity, but becomes just odd when it isn't used to comedic effect. The basis of the movie is that generals want to win, but they aren't given the resources to do that.
McMahon thinks he can win an unwinnable war. That's a great premise that isn't developed. The last scene is excellent. It's a mirror of the very first scene with a new general walking into the airport. The implication is that the process starts all over again with another general completely confidant he can win that war once and for all. In case you're wondering, the general in the final minute is indeed Russell Crowe.
There's no way to win. Everyone is pulling in a different direction, from the President, to politicians, to Generals. This even inhabits a soldier's point of view for a few minutes, but that felt strange in a movie focused on the general. It's a great scene that provides a look at a soldier's stake in the war, but it's a diversion in a movie that hadn't, to this point, been about that. It's a somber scene in a movie that bills itself as absurd.
Most of this movie is a comedy sketch show performance without the jokes. McMahon's team is a ragtag group of soldiers and a public relations contractor that should be a great comedic foundation that never takes off. This spotlights the problems with the war in Iraq but it isn't funny or interesting enough. I can think of many directors and writers I wish had tackled this movie that could do it the justice it deserves. This has incredible potential that isn't tapped. If this took just a few steps towards Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) it would improve drastically. It will never be that good, but it would certainly help. This is a missed opportunity that could have been a modern attempt at Doctor Strangelove.
Watch War Machine on Netflix / Read the book
Written by: Michael Hastings (book), David Michôd (screenplay)
Directed by: David Michôd
Starring: Brad Pitt, Anthony Michael Hall, Topher Grace, Will Poulter, Lakeith Standfield, RJ Cyler, Ben Kingsley, Tilda Swinton, Scoot McNairy, Russell Crowe
Rated:TV-MA
Plot
Inspired by the non-fiction book The Operators about a journalist's journey in Afghanistan with General McChrystal who experienced a meteoric rise to power before resigning after a magazine expose, this comedy war film follows Brad Pitt as fictional General Glen McMahon.
Verdict
This is on the cusp of something but never gets there. It wants to be both absurd and dramatic, but does neither. Brad Pitt's accent and facial contortions would fit perfectly in a comedy, but the content is too grounded. With a few tweaks this could be a a great comedy, or conversely a great drama. It's either trying to do both, or doesn't know what to do. Either way the end result doesn't quite work. This has great potential, but you can't rate a movie on what it could have or should have done.
It depends.
Review
I thought this was going to be a direct depiction of McChrystal, but the movie is just based on him, providing a lot of leeway, leeway that isn't used, to amplify the satire.
What is this movie? I'm not sure the creators knew. At various points this felt like it could skew towards comedy or drama, but it never embraces either one, treading water between the two. Brad Pitt could be great as a straight man in an absurd world, but this world is quite normal. Pitt's strange squinting and accent provides a lot of levity, but becomes just odd when it isn't used to comedic effect. The basis of the movie is that generals want to win, but they aren't given the resources to do that.
McMahon thinks he can win an unwinnable war. That's a great premise that isn't developed. The last scene is excellent. It's a mirror of the very first scene with a new general walking into the airport. The implication is that the process starts all over again with another general completely confidant he can win that war once and for all. In case you're wondering, the general in the final minute is indeed Russell Crowe.
There's no way to win. Everyone is pulling in a different direction, from the President, to politicians, to Generals. This even inhabits a soldier's point of view for a few minutes, but that felt strange in a movie focused on the general. It's a great scene that provides a look at a soldier's stake in the war, but it's a diversion in a movie that hadn't, to this point, been about that. It's a somber scene in a movie that bills itself as absurd.
Most of this movie is a comedy sketch show performance without the jokes. McMahon's team is a ragtag group of soldiers and a public relations contractor that should be a great comedic foundation that never takes off. This spotlights the problems with the war in Iraq but it isn't funny or interesting enough. I can think of many directors and writers I wish had tackled this movie that could do it the justice it deserves. This has incredible potential that isn't tapped. If this took just a few steps towards Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) it would improve drastically. It will never be that good, but it would certainly help. This is a missed opportunity that could have been a modern attempt at Doctor Strangelove.
Sarah Silverman: A Speck of Dust Netflix Comedy Special Trailer
Sarah Silverman: A Speck of Dust (2017)
Sarah Silverman: A Speck of Dust premiered on May 30
American stand-up comedian, actress, producer, and writer Sarah Silverman addresses social taboos and controversial topics in her shows. Her 2013 HBO stand-up special netted her an Emmy award and a Grammy nomination.
For her work on television, she has won two Prime time Emmy Awards.
Silverman was a writer and performer on Saturday Night Live, and was nominated for a Prime time Emmy Award for Outstanding Lead Actress in a Comedy Series for The Sarah Silverman Show.
Sarah Silverman: A Speck of Dust premiered on May 30
American stand-up comedian, actress, producer, and writer Sarah Silverman addresses social taboos and controversial topics in her shows. Her 2013 HBO stand-up special netted her an Emmy award and a Grammy nomination.
For her work on television, she has won two Prime time Emmy Awards.
Silverman was a writer and performer on Saturday Night Live, and was nominated for a Prime time Emmy Award for Outstanding Lead Actress in a Comedy Series for The Sarah Silverman Show.
Frank Capra & Robert Riskin
When one thinks of famous Hollywood collaborations, the first thing to come to mind is a famous actor/actress team like William Powell and Myrna Loy or a director/actor pair like John Ford and John Wayne. A director/writer isn't something that springs to mind but if it does, then it is probably the directing and writing team of Frank Capra and Robert Riskin.
When you interview Capra, all he will talk about is Riskin, and when you interview Riskin, all he wants to talk about is Capra.
- 1936 feature by Dudly Early (McBride, 298)
The films of Frank Capra are instantly recognizable with their common themes of the common man from a small town with high ideals who meets and overcomes corruption out in the big world, whether it's politicians, business tycoons, or mean old men who own the town. It's a Wonderful Life, Meet John Doe, Mr. Smith Goes to Washington, Mr. Deeds Goes to Town: all of these share these themes (as well as a mostly familiar cast with either Jimmy Stewart or Gary Cooper at the helm). While these films have been called "Capra-corn" by some, they did and still do inspire the people of the world to fight evil and hope for a better future for mankind. They instill hope and patriotism and truly embody the spirit upon which America was founded.
But where did the words that inspire these feelings come from? Well, mostly from Robert Riskin.
If serendipity smiles, a writer may team up with a man who makes his own films. If the team-up is symbiotic and successful, the experience can be very rewarding: artistically, economically, and as lagniappe for the ego. Such was my long team-up with Robert Riskin (Capra, 147-148).While Capra is all praise for Riskin, it appears there was an Edith Head situation: Capra would take credit for some of the writing and play down Riskin's part in the same way that Head would accept the Oscar for Best Costume in Sabrina (1954) and not mention Givenchy, who had provided the majority of the wardrobe.
We worked together on scripts (Capra, 148).
He [the writer] puts so much into it, blows up a slim idea into a finished product, and then is dismissed with the ignominious credit line - dialogue writer (Riskin in a 1937 interview).Luckily for us, Riskin didn't let that get in the way of his collaborations with Capra, as they made nine movies together. Their first real collaboration was Platinum Blonde (1931), with Riskin credited with providing dialogue, even though the story came from a script Riskin had written earlier titled Gallagher (Loretta Young's character in the film. The title was changed to Platinum Blonde when the up-and-coming Jean Harlow was added to the cast).
The brilliance of Riskin's contribution and of Capra's direction elevated Platinum Blonde from a formulaic comedy into a first rate film (McBride, 233).The film also set the tone for their future films together. It brought together the "essential character and thematic elements that would be present in the Capra-Riskin classics...that established Capra's reputation as the most important American director of the 1930s." The character of Stew Smith (Robert Williams in his best and final screen role. He died four days after the premiere from appendicitis) has several qualities that would show up again in various Capra films, the "prototype of the common man protagonist thrust into a situation of great wealth and tempted to forget his true allegiances" (McBride, 233).
Their third film together was Lady for a Day Although Riskin had already written three scripts for Capra prior to this film, it was the first in which the relationship between the two really came out, with Riskin writing the script, Capra making minor changes, and then taking credit for doing more than he did. While it's unfortunate that Capra failed to give credit where it was due, it was also a fact that together these men created something amazing.
Riskin had the faculty of putting the words down on paper the way Capra wanted to see them. Capra couldn't keep it all in his head. His idea of a story line was excellent...but he would not always know how to get there. In the technical aspects of putting it on paper, Riskin was better than Capra.
- Chet Sticht (McBride, 297)
Riskin, Robson, Capra
Riskin brought to Capra a slangy, down-to-earth humor, almost a cracker-barrel philosophy, which worked well with Capra's style. But Bob was a soloist...he could not take the fact that Capra was boss. Bob finally wanted to get out and be a celebrity on his own.
- Sidney Buchman (McBride, 294)
Starring May Robson in the title role, the film would bring Oscar nominations to both Capra and Riskin and seal Capra's status as a top director. This was followed with the five-time Oscar-winning It Happened One Night (1934) starring Clark Gable and Claudette Colbert (more on that here).
The story behind It Happened One Night is a story of a film that almost wasn't made and starred two people who didn't want to be in it. And it turned into one of the most beloved comedies of all time, setting the stage for the Screwball comedies that the 1930s were famous for.
However, Capra's Oscar win was a turning point in the relationship between Capra and those he worked with - mainly Riskin. In Joseph McBride's biography of Frank Capra: The Catastrophe of Success, he seeks to find the answer of what happened. Winning the Oscar "only deepened his [Capra's] self-doubt and insecurity...multiplied over his anxiety over the fact that he had to share his success with someone else." It was this fear of not knowing whether his success was his own or merely a fluke based off of someone else that led him to "appropriate credit belonging to his writers" (312).
It also affected his future decisions. "I chickened out. I didn't want to make any more pictures. Every story I thought of doing seemed very poor. How could I top this?" (313). Thankfully he did and some of his later films have topped It Happened One Night, notably It's a Wonderful Life (1946) will live forever.
One of the things I've noticed is that certain pictures will live forever, and they're beyond you. I look at 'em and they don't seem to be mine. It's difficult for me to understand (McBride, 312).Capra and Riskin next made Broadway Bill (1934) followed by Mr. Deeds Goes to Town (1936) starring Gary Cooper as Longfellow Deeds. The film told the story of a small town tuba player who inherits a lot of money and, after being brought to his senses by a farmer who reminds him about the poor, and tries to give it all away, only to be accused of insanity. It was Riskin's favorite film that he wrote for Capra and garnered him an Oscar nomination and another win for Capra.
While working on their next picture together, Lost Horizon (1937) starring Ronald Colman, Riskin decided it was time to split from Capra and direct his own films.
Within a year Riskin will be a better-known director than Capra and Capra will fade unless he hurries to discover another writing partner as smart as Bob Riskin.
- Columnist Cameron Shipp (McBride, 359)
After a lot of fighting with Columbia, Riskin finally directed one film, When You're in Love (1937) starring Cary Grant. It "applied to the letter all the ideas which had made his comedies famous. It had everything except that little something - and the film was a failure" (Sidney Buchman, McBride, 360). Capra meanwhile got Sidney Buchman to rewrite Riskin's script for Lost Horizon (Buchman wasn't credited). He also wrote a script for a film about Chopin that Capra was unable to make.
Riskin's next two credited films (he contributed to H.C. Potter's The Cowboy and the Lady) were again with Capra. You Can't Take It With You (1938) brought Capra his third Oscar and Riskin yet another nomination (he would be nominated a total of five times with one being his win for It Happened One Night. All were for Capra films).
The next film would be Meet John Doe (1941), but in the meantime, Riskin left Capra again to become Samuel Goldwyn's executive assistant, as well as "script-writer and script doctor."
From now on, nobody will need to wonder what Riskin wrote or didn't write. The 'Riskin Touch' is being publicized... As collaborators, Riskin [had] as much hand in the directing as Capra in the screen writing.
- Washington Daily News, Katherine Smith (McBride, 404)
During this time, Capra made Mr. Smith Goes to Washington (1939) and the 30 minute Cavalcade of the Academy Awards (1940).
Here is Capra, without the help of Riskin, back to his finest form - the form of Mr. Deeds. It has always been an interesting question, how much Capra owed to his faithful scenario writer. Now it is difficult to believe that Riskin's part was ever very important, for all the familiar qualities are here.
- Graham Greene (McBride, 409)
Less than a year after they had gone their separate ways, Riskin, dissatisfied with his contract with Goldwyn, accepted Capra's offer to become vice-president of the newly formed Frank Capra Productions, Inc. Their first film, Meet John Doe, was also the final film Riskin and Capra made before going their separate ways during WWII - Capra directing the famous "Why We Fight" series and "Know Your Enemy" documentaries (Capra also filmed Arsenic and Old Lace in 1941, which wasn't released until after the Broadway play's final run in 1944).
It took a war to break us up (Capra, 148).
Meet John Doe, like the post-war It's a Wonderful Life (1946), was not well received and the plans for a sequel were dropped. It also caused the Capra and Riskin to dissolve their newly-formed company. Riskin then left Hollywood to work on war propaganda films in London, which angered Capra (he felt abandoned) and ended the "friendship," though they would often see one another and keep up the pretense of being friends.
Even after they broke up, Bob never spoke critically to me about Frank. He wasn't that kind of guy.
- Tom Pryor (McBride, 441)
Although they had parted ways, each continued to impact the others career, both trying unsuccessfully to distance themselves from each other. Capra claimed that Mr. Smith Goes to Washington and It's a Wonderful Life were both successes made without Riskin when in fact they both used the successful Capra-Riskin formula (McBride, 520). After the war, Capra made two films based on Riskin material - Riding High (1950), a remake of Broadway Bill, and Here Comes the Groom (1951) from a story Riskin had sold to Paramount. While the latter film was in production, Riskin suffered a stroke that left him partially paralyzed and in a wheelchair. He died in 1955 (shortly before his death, he was awarded the Writer's Guild's Laurel Award). To the end, despite their arguments, each man still claimed that the other was his best friend.
For the rest of the 1950s, Capra made education documentaries followed by two final films, A Hole in the Head (1959) written by Arnold Schulman and Pocketful of Miracles (1961), a remake of Lady for a Day. The rest of Capra's life was spent writing his autobiography and appearing in television specials. He died in 1991 at the age of 94.
Frank Capra's films stirred the moral and political conscience of American moviegoers, and his movies will forever be revered as American classics.
- Ronald Reagan
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The following Capra-Riskin films are available on YouTube:
This post is part of The Favorite Director Blogathon hosted by myself and The Midnite Drive-In. Be sure to check out everyone else's favorite directors!
Sources
Frank Capra: The Catastrophe of Success. Joseph McBride. Simon & Schuster. 1992.
Frank Capra: The Name Above the Title. An autobiography. Frank Capra. MacMillan Co. 1971.
Transformers: Age of Extinction (2014)
Genres
Action, Adventure, Sci-Fi
Director
Michael Bay
Countries
USA, China
Cast
Mark Wahlberg, Stanley Tucci, Kelsey Grammer, Nicola Peltz, Jack Reynor, Titus Welliver, Sophia Myles, T.J. Miller, Peter Culler, Mark Ryan, John Goodman, Ken Watanabe, John DiMaggio, Frank Welker
Storyline
Five years after the battle in Chicago, the Autobots are hunted down by retired CIA Harold Attinger (Kelsey Grammer), and Optimus Prince turns to a mechanic (Mark Wahlberg) for help.
Opinion
I remember being pretty excited when Age of Extinction hit the teachers because of the dinosaurs. So you can imagine my disappointment after watching a two and forty-five minute (too) long film that barely had any robotic dinosaur in it. Three years ago, that was my only complaint. Today, well, that's what bothered me the lesser.
This poor excuse of a film has a very straightforward yet exhaustingly confusing plot that makes no sense whatsoever, it is filled with holes, it is tremendously boring and, to be honest, this is the second time I see this and I'm still not quite sure what's going on and who's the villain.
No, actually that's not true. I know who the villain is. Wrong, I know who the villains are. There's so much of them is hard to keep the score. What's even worst is that in almost 3 hours, the filmmakers weren't able to properly develop any of them. They tried to provide some backstory but they failed miserably.
And can we please talk about the good guys? I would have never thought I'd miss Shia LaBeauf and Sam Witwiki, but then Mark Wahlberg and his mechanic happened, a weak character that's impossible to root for, and that's pretty much the guy Wahlberg always plays with the exception this time he is the father of the hot girl. Which brings me to the next point, the hot girl. An utterly annoying character whose only purpose is to... I bet you can guess that. And the level of racism and sexism showed overall with the characters is beyond ridiculous.
Being offensive isn't the only thing Age of Extinction is good at; it also pretty good at failing as a dumb action flick. The fight scenes are messy and dull. And let's not even talk about the CGI, simply horrendous.
This poor excuse of a film has a very straightforward yet exhaustingly confusing plot that makes no sense whatsoever, it is filled with holes, it is tremendously boring and, to be honest, this is the second time I see this and I'm still not quite sure what's going on and who's the villain.
No, actually that's not true. I know who the villain is. Wrong, I know who the villains are. There's so much of them is hard to keep the score. What's even worst is that in almost 3 hours, the filmmakers weren't able to properly develop any of them. They tried to provide some backstory but they failed miserably.
And can we please talk about the good guys? I would have never thought I'd miss Shia LaBeauf and Sam Witwiki, but then Mark Wahlberg and his mechanic happened, a weak character that's impossible to root for, and that's pretty much the guy Wahlberg always plays with the exception this time he is the father of the hot girl. Which brings me to the next point, the hot girl. An utterly annoying character whose only purpose is to... I bet you can guess that. And the level of racism and sexism showed overall with the characters is beyond ridiculous.
Being offensive isn't the only thing Age of Extinction is good at; it also pretty good at failing as a dumb action flick. The fight scenes are messy and dull. And let's not even talk about the CGI, simply horrendous.
Sunday, 28 May 2017
70th Festival de Cannes Award Winners
Suddenly, Cannes is over. Once Again. Feel kind of sad. Very glad there are great movies in this year edition that hope to see sooner than later.
Regret that jury didn't wanted to make history, didn't wanted to be remembered forever, didn't wanted to give for the very first time EVER the Palme d'Or to a two-time-winner director and make him the ONLY three-time winner. Sigh.
Instead they opted for a Swedish film in English by a great Swedish director debut in not-his-mother-tongue film. The good news is that film could be good as not many directors have succeed when they do films in other languages; so, good for him (!) and also, for us -the audience.
Still, these days have been fun and now will have to adjust to calm, which is not what Ruben Östlund is having today and will have for a while -just check photo.
Then there is a record for Coppola as she's the first woman to ever win a screenwriting Oscar and the second woman to win in Cannes directing prize. But undoubtedly the biggest surprise is Cannes giving the 70th Anniversary Award NOT to a director but to an actress!!! Yes, Nicole Kidman wins the anniversary award.
Many predicted that BPM by Campillo was going to be the Toni Erdmann of last year and, well, perhaps they're right. Winning the Grand Prix is no small accolade but let's hope film continues to recollect awards and perhaps France makes a great decision and sends film to Oscars foreign language category at least.
Usually do not watch the jury press conference but this time will watch, as a matter of fact I'm watching right now. "No corrió sangre" Almodovar says. Besides being a bit funny, there was nothing interesting in press conference.
One more photo for our pleasure. Enjoy!!!
Main Competition
Palme d'Or: The Square, Ruben Östlund, Sweden, Germany, France and Denmark
Grand Prix: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Jury Award: Нелюбовь Nelyubov (Loveless), Andrey Zvyagintsev, Russia, Belgium, Germany and France
Best Director: Sofia Coppola for The Beguiled, USA
Best Screenplay (tie)
Yorgos Lanthimos for The Killing of a Sacred Deer, Ireland, UK and USA
Lynne Ramsay for You Were Never Really Here, France and UK
Best Actress: Diane Kruger in Aus dem Nichts (In The Fade), Fatih Akin, France and Germany
Best Actor: Joaquin Phoenix in You Were Never Really Here, Lynne Ramsay, France and UK
Camera d'Or: Jeune Femme, (Montparnasse Bienvenue) Léonor Serraille, France and Belgium
Short Films
Palme d'Or: 小城二月 Xiao Cheng Er Yue (A Gentle Night), Qiu Yang, China, 15'
Special Mention: Katto (The Ceiling), Teppo Airaksinen, Finland, 15'
70th Anniversary Award: Nicole Kidman
Un Certain Regard
Un Certain Regard Award: لِرد Lerd (A Man of Integrity), Mohammad Rasoulof, Iran
Jury Prize: Las Hijas de Abril (April's Daughter), Michel Franco, Mexico
Award for Best Director: Taylor Sheridan for Wind River, UK, Canada and USA
Award for Best Actress: Jasmine Trinca in Fortunata (Lucky), Sergio Castellitto, Italy
Prize for the Best Poetic Narrative: Barbara, Mathieu Amalric, France
Quinzaine des Réalisateurs (Directors' Fortnight)
Feature Films
SACD Award (tie):
Un Beau Soleil Intérieur (Let The Sunshine In), Claire Denis, France
L'Amant d'un Jour (Lover for a Day), Philippe Garrel, France
CICAE Arte Cinema Prize: The Rider, Chloé Zhao, USA
Label Europa Cinemas Prize: A Ciambra, Jonas Carpignano, Italy, France and Germany
Short Films
Illy Prize: Retour à Genoa City, Benoit Grimalt, France, 28' (documentary)
Carrose d'Or: Werner Herzog
Semaine de la Critique (Critics' Week)
Feature Films
Grand Prix: Makala, Emmanuel Gras, France
Visionary Award: Gabriel e a montanha (Gabriel and the Mountain), Fellipe Gamarano Barbosa, Brazil and France
SACD Award: Ava, Léa Mysius, France
GAN Foundation Support for Distribution Award: Gabriel e a montanha (Gabriel and the Mountain), Fellipe Gamarano Barbosa, Brazil and France
Short Films
Canal+ Award: Najpiękniejsze fajerwerki ever (The Best Fireworks Ever), Aleksandra Terpińska, Poland, 30'
Cine Discovery Prize: Los Desheredados, Laura Ferrés, Spain, 18'
Cinéfondation
First Prize: Paul est là (Paul is Here), Valentina Maurel, INSAS, Belgium, 24'
Second Prize: حیوان Heyvan (Animal), Bahman Ark, Iranian School of Cinema, Iran, 15'
Third Prize: Deux égarés sont morts, Tommaso Usberti, La Fémis, France, 27'
L'Atelier
Prix Arte International: The Translator, Rana Kazkaz and Anas Khalaf, Syria
Collateral Awards
FIPRESCI
Main Competition: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Un Certain Regard: Теснота Tesnota (Closeness), Kantemir Balagov, Russia
Quinzaine des Réalisateurs: A Fábrica de Nada (The Nothing Factory), Pedro Pinho, Portugal
Ecumenical Jury Award: 光 Hikari (Radiance), Naomi Kawase, France and Japan
L’Œil d’Or Documentary Award: Visages Villages, Agnès Varda and JR, France
Queer Palm
Feature Film: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Short Film: Les îles (Islands), Yann Gonzalez, France
Prix François Chalais: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Prix Vulcain de l’Artiste Technicien: Josefin Asberg for Production Design in The Square Ruben Östlund, Sweden, Germany, France and Denmark
Cannes Soundtrack Awards
Best Composer: Oneohtrix Point Never (Daniel Lopatin) for original soundtrack in Good Time, Josh and Benny Safdie, USA
Special Mention: Arnaud Rebotini for 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Prix de la meilleure création sonore: على كف عفريت Aala Kaf Ifrit (Beauty and the Dogs), Kaouther Ben Hania, Tunisia, France, Sweden, Norway, Lebanon and Switzerland
15th Prix UniFrance Short Films
Grand Prix: Marlon, Jessica Palud, Belgium and France, 20'
Special Jury Prize: Les Bigorneaux, Alice Vial, France, 25'
Prix Coup de Coeur RTI: Marlon, Jessica Palud, Belgium and France, 20'
Prix Coup de Coeur Movistar+: Negative Space, Max Poter and Ru Kuwahata, France, 4' (animation)
Prix Coup de Coeur Grand Action: Marlon, Jessica Palud, Belgium and France, 20'
Rail d'Or Short Film Award: Najpiękniejsze fajerwerki ever (The Best Fireworks Ever), Aleksandra Terpińska, Poland, 30'
Prix France Culture
Prix France Culture Consécration: Costa-Gavras
Prix France Culture Cinéma des Etudiants: Sébastien Laudenbach
Prix International Students Award: Rudi Rosenberg
Pierre Angénieux ExcelLens in Cinematography: Christopher Doyle
Palm Dog Awards
Palm Dog: Bruno in The Meyerowitz Stories by Noah Baumbach
Grand Prix du Jury: Lupo in Ava by Léa Mysius
Dogumanitarian Award: Leslie Caron with Tchi Tchi in ITV drama The Durrells
Special Jury Award: Three security dogs, Lilou, Glock and Even.
Women in Motion Award: Isabelle Huppert
Women in Motion Young Talents Award: Maysaloun Hamoud, director and scriptwriter, Palestine
Choppard Trophy for up-and-coming talent
Anya Taylor-Joy
George MacKay
---///---
5/25/17
Awards started to be announced today and will update post as soon as awards are announced.
Post will be in progress until after the Official Awards Ceremony Today.
Yes, watching the red carpet arrivals and "guessing" films that will win something because directors are Happy walking the red carpet!!! LOL
Regret that jury didn't wanted to make history, didn't wanted to be remembered forever, didn't wanted to give for the very first time EVER the Palme d'Or to a two-time-winner director and make him the ONLY three-time winner. Sigh.
Instead they opted for a Swedish film in English by a great Swedish director debut in not-his-mother-tongue film. The good news is that film could be good as not many directors have succeed when they do films in other languages; so, good for him (!) and also, for us -the audience.
Still, these days have been fun and now will have to adjust to calm, which is not what Ruben Östlund is having today and will have for a while -just check photo.
Then there is a record for Coppola as she's the first woman to ever win a screenwriting Oscar and the second woman to win in Cannes directing prize. But undoubtedly the biggest surprise is Cannes giving the 70th Anniversary Award NOT to a director but to an actress!!! Yes, Nicole Kidman wins the anniversary award.
Many predicted that BPM by Campillo was going to be the Toni Erdmann of last year and, well, perhaps they're right. Winning the Grand Prix is no small accolade but let's hope film continues to recollect awards and perhaps France makes a great decision and sends film to Oscars foreign language category at least.
Usually do not watch the jury press conference but this time will watch, as a matter of fact I'm watching right now. "No corrió sangre" Almodovar says. Besides being a bit funny, there was nothing interesting in press conference.
One more photo for our pleasure. Enjoy!!!
Main Competition
Palme d'Or: The Square, Ruben Östlund, Sweden, Germany, France and Denmark
Grand Prix: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Jury Award: Нелюбовь Nelyubov (Loveless), Andrey Zvyagintsev, Russia, Belgium, Germany and France
Best Director: Sofia Coppola for The Beguiled, USA
Best Screenplay (tie)
Yorgos Lanthimos for The Killing of a Sacred Deer, Ireland, UK and USA
Lynne Ramsay for You Were Never Really Here, France and UK
Best Actress: Diane Kruger in Aus dem Nichts (In The Fade), Fatih Akin, France and Germany
Best Actor: Joaquin Phoenix in You Were Never Really Here, Lynne Ramsay, France and UK
Camera d'Or: Jeune Femme, (Montparnasse Bienvenue) Léonor Serraille, France and Belgium
Short Films
Palme d'Or: 小城二月 Xiao Cheng Er Yue (A Gentle Night), Qiu Yang, China, 15'
Special Mention: Katto (The Ceiling), Teppo Airaksinen, Finland, 15'
70th Anniversary Award: Nicole Kidman
Un Certain Regard
Un Certain Regard Award: لِرد Lerd (A Man of Integrity), Mohammad Rasoulof, Iran
Jury Prize: Las Hijas de Abril (April's Daughter), Michel Franco, Mexico
Award for Best Director: Taylor Sheridan for Wind River, UK, Canada and USA
Award for Best Actress: Jasmine Trinca in Fortunata (Lucky), Sergio Castellitto, Italy
Prize for the Best Poetic Narrative: Barbara, Mathieu Amalric, France
Quinzaine des Réalisateurs (Directors' Fortnight)
Feature Films
SACD Award (tie):
Un Beau Soleil Intérieur (Let The Sunshine In), Claire Denis, France
L'Amant d'un Jour (Lover for a Day), Philippe Garrel, France
CICAE Arte Cinema Prize: The Rider, Chloé Zhao, USA
Label Europa Cinemas Prize: A Ciambra, Jonas Carpignano, Italy, France and Germany
Short Films
Illy Prize: Retour à Genoa City, Benoit Grimalt, France, 28' (documentary)
Carrose d'Or: Werner Herzog
Semaine de la Critique (Critics' Week)
Feature Films
Grand Prix: Makala, Emmanuel Gras, France
Visionary Award: Gabriel e a montanha (Gabriel and the Mountain), Fellipe Gamarano Barbosa, Brazil and France
SACD Award: Ava, Léa Mysius, France
GAN Foundation Support for Distribution Award: Gabriel e a montanha (Gabriel and the Mountain), Fellipe Gamarano Barbosa, Brazil and France
Short Films
Canal+ Award: Najpiękniejsze fajerwerki ever (The Best Fireworks Ever), Aleksandra Terpińska, Poland, 30'
Cine Discovery Prize: Los Desheredados, Laura Ferrés, Spain, 18'
Cinéfondation
First Prize: Paul est là (Paul is Here), Valentina Maurel, INSAS, Belgium, 24'
Second Prize: حیوان Heyvan (Animal), Bahman Ark, Iranian School of Cinema, Iran, 15'
Third Prize: Deux égarés sont morts, Tommaso Usberti, La Fémis, France, 27'
L'Atelier
Prix Arte International: The Translator, Rana Kazkaz and Anas Khalaf, Syria
Collateral Awards
FIPRESCI
Main Competition: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Un Certain Regard: Теснота Tesnota (Closeness), Kantemir Balagov, Russia
Quinzaine des Réalisateurs: A Fábrica de Nada (The Nothing Factory), Pedro Pinho, Portugal
Ecumenical Jury Award: 光 Hikari (Radiance), Naomi Kawase, France and Japan
L’Œil d’Or Documentary Award: Visages Villages, Agnès Varda and JR, France
Queer Palm
Feature Film: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Short Film: Les îles (Islands), Yann Gonzalez, France
Prix François Chalais: 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Prix Vulcain de l’Artiste Technicien: Josefin Asberg for Production Design in The Square Ruben Östlund, Sweden, Germany, France and Denmark
Cannes Soundtrack Awards
Best Composer: Oneohtrix Point Never (Daniel Lopatin) for original soundtrack in Good Time, Josh and Benny Safdie, USA
Special Mention: Arnaud Rebotini for 120 Battements par minute (BMP-Beats Per Minute), Robin Campillo, France
Prix de la meilleure création sonore: على كف عفريت Aala Kaf Ifrit (Beauty and the Dogs), Kaouther Ben Hania, Tunisia, France, Sweden, Norway, Lebanon and Switzerland
15th Prix UniFrance Short Films
Grand Prix: Marlon, Jessica Palud, Belgium and France, 20'
Special Jury Prize: Les Bigorneaux, Alice Vial, France, 25'
Prix Coup de Coeur RTI: Marlon, Jessica Palud, Belgium and France, 20'
Prix Coup de Coeur Movistar+: Negative Space, Max Poter and Ru Kuwahata, France, 4' (animation)
Prix Coup de Coeur Grand Action: Marlon, Jessica Palud, Belgium and France, 20'
Rail d'Or Short Film Award: Najpiękniejsze fajerwerki ever (The Best Fireworks Ever), Aleksandra Terpińska, Poland, 30'
Prix France Culture
Prix France Culture Consécration: Costa-Gavras
Prix France Culture Cinéma des Etudiants: Sébastien Laudenbach
Prix International Students Award: Rudi Rosenberg
Pierre Angénieux ExcelLens in Cinematography: Christopher Doyle
Palm Dog Awards
Palm Dog: Bruno in The Meyerowitz Stories by Noah Baumbach
Grand Prix du Jury: Lupo in Ava by Léa Mysius
Dogumanitarian Award: Leslie Caron with Tchi Tchi in ITV drama The Durrells
Special Jury Award: Three security dogs, Lilou, Glock and Even.
Women in Motion Award: Isabelle Huppert
Women in Motion Young Talents Award: Maysaloun Hamoud, director and scriptwriter, Palestine
Choppard Trophy for up-and-coming talent
Anya Taylor-Joy
George MacKay
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5/25/17
Awards started to be announced today and will update post as soon as awards are announced.
Post will be in progress until after the Official Awards Ceremony Today.
Yes, watching the red carpet arrivals and "guessing" films that will win something because directors are Happy walking the red carpet!!! LOL
Closing Ceremony Live TV #Cannes2017
Today's Agenda - Sunday May 28th
06:00pm : Red carpet of closing ceremony
08:30pm : Press conference of the jury
09:30pm : Photocall of winners
09:45pm : Press conference of winners
Youtube
Use link to watch closing ceremony
LINK
Cannes 2017: Suivez en live la cérémonie de... par CinemaCanalPlus
3rd L’Œil d’Or Award Winner
Will not deny that I'm very pleased with this edition of the documentary award as believe winner is undoubtedly the most interesting doc in the festival as surely has awesome visuals, definitively must be a great cinema experience and most of all, the idea behind film is truly outstanding, one that should be emulated (copied!) everywhere in the world, especially in smaller towns.
The Golden Eye (as is called in English) this year goes to Visages, Villages (Faces, Places) by Agnès Varda and JR.
The jury’s justification was the following: "Our jury has been deeply moved by Agnès and JR’s decision to meet local, so-called ‘little’ people, and our hearts have been touched by this movie-tale about consideration for the other through art. These combined perspectives are both delicate and generous."
Agnès Varda daughter, Rosalie Varda, received the award yesterday and here is a nice photo of the award ceremony.
We know about Agnès Varda monumental filmmography, so let's learn a bit about JR. Street-artist JR work is breathtaking to put it simply as has many giant-size photos that could blew anybody's mind. Among his work there is one 150 m2 monumental fresco that recently opened at Palais de Tokyo, forming a singular portrait of the inhabitants of Clichy-Montfermeil (Seine-Saint-Denis), suburbs where the popular rebellions that shook France in 2005 began. If wish to learn more go here. The following photo shows an excerpt of this work.
JR lives in France and New York, so there is work done in USA, like The Wrinkles of the City, Los Angeles, Lovers on the Roof, USA, 2012 a giant-sized print installed in a what looks like a warehouse roof. Fabulous! Then there is the installation of Giants in Rio de Janeiro for the Olympics and so many more that could spend hours looking to his marvelous work, but believe we already got the idea of how great JR is and if you wish to learn more go to Artist website here.
As we know, the documentary follows the two artists as they travel through rural France in JR's van, which doubles as a photographic studio and laboratory that can produce giant-sized prints. On their journey they photograph some of the people they meet and then paste billboard-sized images on the walls of their community houses and workplaces.
But let's check the doc synopsis.
Agnès Varda and JR have things in common: their passion for images in general and more particulary questioning the places where they are showed, how they are shared, exposed. Agnès chose cinema. JR chose to create open-air photographic galleries. When Agnès and JR met in 2015, they immediately wanted to work together, shoot a film in France, far from the cities. Random encounters or prepared projects, they will go towards the others and get them to follow them on their trip with JR's photographic truck. The film is also about their friendship that grows during the shooting, between surprises and malice, laughing of their differences.
Most interesting is American press already talking about doc going to the Oscars and well, this time absolutely agree even when we know is too-early; but, let's hope doc momentum stays up until Oscars nominations time.
Film is must-be-seen for me and many will be able to watch it from June 28 when opens in France theaters. Cohen Media Group handles international sales.
Winner is in *BLUE. Check the film poster.
---///---
5/3/17
For the third consecutive year the SCAM (Société civile des auteurs multimedia) will honor documentaries with the award L’Œil d’or and this morning organizers had their press conference where they announced the members of the jury and the films that will be considered for the 2017 award.
A little background from the official site about the award for our recall benefit. Cinema has its roots in documentary film. This unique depiction of the world is becoming increasingly popular on the big screen and among the public. It is garnering more critical recognition and becoming more visible at festivals. As such, it deserves to be acknowledged at Cannes.
The L'Œil d’Or - Documentary Award was created in 2015 by LaScam (The French civil society for multimedia authors), in collaboration with the Cannes Festival and its General Delegate Thierry Frémaux, with the support of the INA (the French national audiovisual Institute). It will be awarded to a documentary screened in one of the Cannes Festival sections: Official Selection, Un Certain Regard, Cannes Classics, Directors' Fortnight, Semaine de la Critique, Special Screenings & Out of Competition and Short & Feature-Length Films.
On May 23 organizers will held the Doc Day 2017 that this year includes a conversation with Amos Gitaï plus more events where the documentary has the center stage. The Doc Day is organized by Cannes Marché du Film with the support of the Ford Foundation and the partnership of the CNC and the organizers of L’Œil d’or.
The following are the films that will be considered for the award and do include the documentaries in Cannes Classics as we learned them just a few minutes ago.
Official Selection
12 Jours (12 Days), Raymond Depardon, France
An Inconvenient Sequel: Truth to Power, Bonni Cohen and Jon Shenk, USA
Carré 35, Eric Caravaca, France
Demons in Paradise, Jude Ratman, Sri Lanka and France
Le Vénérable W., Barbet Schroeder, France and Switzerland
Napalm, Claude Lanzmann, France
Promised Land, Eugene Jarecki, USA
Sea Sorrow, Vanessa Redgrave, UK
*Visages, Villages, Agnès Varda and JR, France
Quinzaine des réalisateurs
Alive in France, Abel Ferrara, USA and France
Nothingwood, Sonia Kronlund, France
Retour à Genoa City, Benoit Grimalt, France, 28'
West of the Jordan River (Field Diary Revisited), Amos Gitaï, France and Israel
Semaine de la Critique
Los Desheredados, Laura Ferres, Spain, 18'
Makala, Emmanuel Gras, France
Cannes Classics
Cary Grant - De l’autre côté du miroir (Becoming Cary Grant), Mark Kidel, France
David Stratton-A Cinematic Life, Sally Aitken, Australia
Filmworker, Tony Zierra, USA
Jean Douchet, l’enfant agité, Fabien Hagège, Guillaume Namur and Vincent Haasser, France
La belge histoire du festival de Cannes (The Belgian’s Road to Cannes), Henri de Gerlache, Belgium
Earlier April organizers announced that Sandrine Bonnaire will be the president of the jury but today we learn that none other than outstanding filmmaker Lucy Walker is also in the jury along with Lorenzo Codelli, Dror Moreh and Thom Powers.
The Jury
President: Sandrine Bonnaire, actress, director and screenwriter, France
Lucy Walker, director, UK
Dror Moreh, director, Israel
Lorenzo Codelli, film critic, Italy
Thom Powers, film programmer, USA
This year the award will be presented on Saturday May 17 at 12:00 at the Palais des Festivals. To read more about the award go official site here, available with some info in English but most data is in French.
The Press Conference
The Jury
The Golden Eye (as is called in English) this year goes to Visages, Villages (Faces, Places) by Agnès Varda and JR.
The jury’s justification was the following: "Our jury has been deeply moved by Agnès and JR’s decision to meet local, so-called ‘little’ people, and our hearts have been touched by this movie-tale about consideration for the other through art. These combined perspectives are both delicate and generous."
Agnès Varda daughter, Rosalie Varda, received the award yesterday and here is a nice photo of the award ceremony.
We know about Agnès Varda monumental filmmography, so let's learn a bit about JR. Street-artist JR work is breathtaking to put it simply as has many giant-size photos that could blew anybody's mind. Among his work there is one 150 m2 monumental fresco that recently opened at Palais de Tokyo, forming a singular portrait of the inhabitants of Clichy-Montfermeil (Seine-Saint-Denis), suburbs where the popular rebellions that shook France in 2005 began. If wish to learn more go here. The following photo shows an excerpt of this work.
JR lives in France and New York, so there is work done in USA, like The Wrinkles of the City, Los Angeles, Lovers on the Roof, USA, 2012 a giant-sized print installed in a what looks like a warehouse roof. Fabulous! Then there is the installation of Giants in Rio de Janeiro for the Olympics and so many more that could spend hours looking to his marvelous work, but believe we already got the idea of how great JR is and if you wish to learn more go to Artist website here.
As we know, the documentary follows the two artists as they travel through rural France in JR's van, which doubles as a photographic studio and laboratory that can produce giant-sized prints. On their journey they photograph some of the people they meet and then paste billboard-sized images on the walls of their community houses and workplaces.
But let's check the doc synopsis.
Agnès Varda and JR have things in common: their passion for images in general and more particulary questioning the places where they are showed, how they are shared, exposed. Agnès chose cinema. JR chose to create open-air photographic galleries. When Agnès and JR met in 2015, they immediately wanted to work together, shoot a film in France, far from the cities. Random encounters or prepared projects, they will go towards the others and get them to follow them on their trip with JR's photographic truck. The film is also about their friendship that grows during the shooting, between surprises and malice, laughing of their differences.
Most interesting is American press already talking about doc going to the Oscars and well, this time absolutely agree even when we know is too-early; but, let's hope doc momentum stays up until Oscars nominations time.
Film is must-be-seen for me and many will be able to watch it from June 28 when opens in France theaters. Cohen Media Group handles international sales.
Winner is in *BLUE. Check the film poster.
---///---
5/3/17
For the third consecutive year the SCAM (Société civile des auteurs multimedia) will honor documentaries with the award L’Œil d’or and this morning organizers had their press conference where they announced the members of the jury and the films that will be considered for the 2017 award.
A little background from the official site about the award for our recall benefit. Cinema has its roots in documentary film. This unique depiction of the world is becoming increasingly popular on the big screen and among the public. It is garnering more critical recognition and becoming more visible at festivals. As such, it deserves to be acknowledged at Cannes.
The L'Œil d’Or - Documentary Award was created in 2015 by LaScam (The French civil society for multimedia authors), in collaboration with the Cannes Festival and its General Delegate Thierry Frémaux, with the support of the INA (the French national audiovisual Institute). It will be awarded to a documentary screened in one of the Cannes Festival sections: Official Selection, Un Certain Regard, Cannes Classics, Directors' Fortnight, Semaine de la Critique, Special Screenings & Out of Competition and Short & Feature-Length Films.
On May 23 organizers will held the Doc Day 2017 that this year includes a conversation with Amos Gitaï plus more events where the documentary has the center stage. The Doc Day is organized by Cannes Marché du Film with the support of the Ford Foundation and the partnership of the CNC and the organizers of L’Œil d’or.
The following are the films that will be considered for the award and do include the documentaries in Cannes Classics as we learned them just a few minutes ago.
Official Selection
12 Jours (12 Days), Raymond Depardon, France
An Inconvenient Sequel: Truth to Power, Bonni Cohen and Jon Shenk, USA
Carré 35, Eric Caravaca, France
Demons in Paradise, Jude Ratman, Sri Lanka and France
Le Vénérable W., Barbet Schroeder, France and Switzerland
Napalm, Claude Lanzmann, France
Promised Land, Eugene Jarecki, USA
Sea Sorrow, Vanessa Redgrave, UK
*Visages, Villages, Agnès Varda and JR, France
Quinzaine des réalisateurs
Alive in France, Abel Ferrara, USA and France
Nothingwood, Sonia Kronlund, France
Retour à Genoa City, Benoit Grimalt, France, 28'
West of the Jordan River (Field Diary Revisited), Amos Gitaï, France and Israel
Semaine de la Critique
Los Desheredados, Laura Ferres, Spain, 18'
Makala, Emmanuel Gras, France
Cannes Classics
Cary Grant - De l’autre côté du miroir (Becoming Cary Grant), Mark Kidel, France
David Stratton-A Cinematic Life, Sally Aitken, Australia
Filmworker, Tony Zierra, USA
Jean Douchet, l’enfant agité, Fabien Hagège, Guillaume Namur and Vincent Haasser, France
La belge histoire du festival de Cannes (The Belgian’s Road to Cannes), Henri de Gerlache, Belgium
Earlier April organizers announced that Sandrine Bonnaire will be the president of the jury but today we learn that none other than outstanding filmmaker Lucy Walker is also in the jury along with Lorenzo Codelli, Dror Moreh and Thom Powers.
The Jury
President: Sandrine Bonnaire, actress, director and screenwriter, France
Lucy Walker, director, UK
Dror Moreh, director, Israel
Lorenzo Codelli, film critic, Italy
Thom Powers, film programmer, USA
This year the award will be presented on Saturday May 17 at 12:00 at the Palais des Festivals. To read more about the award go official site here, available with some info in English but most data is in French.
The Press Conference
The Jury
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