This movie is still a big question mark, since it's so obviously a complete tonal shift from most superhero movies. What's weird is that it's actually still wanting to be a part of the X-Men universe in spite of it- it looks exactly like the comic on which it's based, but will that brutally violent/simultaneously humorous tone work for audiences used to so many innocuous fast food comic book movies? I do give the movie all the credit in the world for at least trying something different, but that didn't exactly work out so well for Kick Ass, if I recall. It may have some devoted cult fans though.
REVIEW: "Spotlight" (2015) Michael Keaton, Mark Ruffalo. Dir. Tom McCarthy
2001 may have been the last year of a major investigative reporting story in American journalism. In the last 15 years we've seen massive changes regarding the newspaper business, with almost everything shifting online towards the bloggers, hackers and whistleblowers who embdy no real editorial responsibility for what they do or what they uncover. In that sense, Spotlight, which recalls the process the investigative team at the Boston Globe undertook to uncover the massive abuse and cover up scandal the Catholic Church had been involved in for decades, is like a period piece celebrating a bygone era.
It's also a riveting procedural, directed with an invisible and flawless eye by Tom McCarthy, the independent filmmaker whose past work includes The Station Agent and The Visitor. There's not a single wasted scene in Spotlight, named for the investigative team at the Globe, as it documents the frame by frame process that began in July of 2001, when new editor Marty Baron (a quietly outstanding Liev Schreiber) arrived in Boston and set to work ordering the Spotlight team to start digging around stories of child abuse by a Boston priest said to have molested 80 kids over the years. At Baron's orders, Spotlight editor Walter "Robbie" Robertson leads his team as they go step by step, interviewing lawyers for the church and the victims, uncovering more and more cases of abuse and eventually discovering how high up the scandal went, as the Archdiocese becomes implicated in the investigation. As we all now know, the church would pay off victims in under the table settlements and take the accused priests out of circulation, moving them from parish to parish in different cities, letting them abuse more and more kids before being transferred to their next residence.
The horror of the scandal is not really news however, since the Globe's revelations were worldwide headlines 15 years ago, and the film is more about the work it took to uncover the truth, as the Globe dug deeper and worked hard to get the facts right, waiting 6 months before going to print, a process that'd be unimaginable now. Much is made of the Globe's resources and ability to provide backing for such a long and detailed investigation, as subtle nods toward the encroaching ubiquity of the Internet is alluded to, while the reporters work in an old school, door to door fashion, traveling all over Boston to get at the heart of the city's penchant for protecting the Catholic Church. The ensemble cast is fantastic, all working in tandem with each other as every performance strikes the perfect note and is on the same level, with only Mark Ruffalo's excitable Mike Rezendes getting anything close to a scenery chewing moment. Rachel McAdams, John Slattery, Billy Crudup and Stanley Tucci are all in sync with the rhythm of the material, as McCarthy exhibits perfect control over every scene as they move seamlessly from one to another, in service of a near perfect script from McCarthy and Josh Singer.
Spotlight is such a good movie that a couple of small moments, minor as they are, threaten the impact as a whole in ways they would not in a lesser film overall- Schreiber gets a monologue near the end that tries to absolve the team from blame for burying pieces of the story ten years earlier, and he seems to be speaking more the audience than the other actors in the room. It's the only moment that feels the least bit preachy, and a small diversion into McAdams and Ruffalo's personal reactions towards the story as it reaches publication also feels a tad disruptive of the tightly dispassionate tone the film has so effortlessly produced thus far, but moments like that do not ultimately blunt the impact of the film as it barrels toward its conclusion. This is a great movie about process, and about a moment in recent American history before everything would change. Whether it was for the better or not is a question left up to us.
* * * 1/2
Ring in 2016 With 10 Movie Musicals
Happy New Year everybody! Just for the occasion, we've got ten great movie musicals to help you ring in 2016 with a song. One of my favorite genres of film, it's not for everyone, but for those who can appreciate them, musicals can give you more joy than so many other kinds of movies put together. Including classics like The Band Wagon, The Sound of Music, Beauty and the Beast, Love Me Tonight, Spinal Tap and many more, just head over to the Movies For Every Month page to read the description for January, and click on the January movie page to see the full list of ten musicals along with their complete trailers. Happy Movie Watching and Happy New Year!
Go Back to the 1980's in 'Everybody Wants Some' Trailer
Richard Linklater is back with his first film since Boyhood, and I really have no idea what this movie is about, except that maybe it's meant to be a similar kind of thing to Dazed and Confused, but set in the '80's. It's probably another look back on Linklater's own life in that sense, since these guys are college age, and the '70's were his teen years. It's coming out in April.
New Trailer for Disney's 'Zootopia'
The fact that this is the first film from Rich Moore, the Wreck-it Ralph guy, has me a little more optimistic about this new Disney movie. I wasn't a big fan of Big Hero 6, and though I liked Frozen, I found it to be insanely overrated, and I really think Ralph was the best of the new crop of Disney movies since they found their footing with CG. So hopefully this one, which wants to be a throwback to stuff like Robin Hood, is cleverer and funnier than their last couple. It's coming out March 4th.
Austin Film Critics Anoint 'Mad Max'
The Austin critics liked Mad Max for the top prize, along with Fassbender, Larson, Stallone and Vikander in the acting races. Everything looks pretty standard in terms of critics preferences this year. We are nearing the end of the seemingly endless critics awards, by the way. The National Society of Film Critics, the last of the big four alongside NY, LA and NBR, is set to finally weigh in on Saturday, while the last few regional groups come in next week. But next week will be focused on the deluge of industry awards, as the guild nominations all come in, which will tell us for sure what's really taking hold or not, with the Academy, which announces on Jan 21st.
AUSTIN CRITICS
Best Film:“Mad Max: Fury Road”
Best Director: George Miller, “Mad Max: Fury Road”
Best Actor: Michael Fassbender, Steve Jobs
Best Actress: Brie Larson, “Room”
Best Supporting Actor: Sylvester Stallone, “Creed”
Best Supporting Actress: Alicia Vikander, “Ex Machina”
Best Original Screenplay: Pete Docter, Meg LeFauve, Josh Cooley, “Inside Out”
Best Adapted Screenplay: Emma Donoghue, “Room”
Best Cinematography: Edward Lachman, “Carol”
Best Score: Ennio Morricone, “The Hateful Eight”
Best Foreign-Language Film: “Son of Saul”
Best Documentary: “The Look of Silence”
Best Animated Film: “Inside Out”
Best First Film: “Ex Machina”
First Look at Benedict Cumberbatch as 'Dr. Strange'
Entertainment Weekly has an early look at Benedict Cumberbatch as Marvel's Dr. Strange, the sorcerer hero whose movie is coming out next Thanksgiving. He looks pretty good in the flamboyant cape and everything- not familiar with the character but he does look like he fits the part perfectly.
BOX OFFICE 12/25-12/27: 'Star Wars' Crosses 1 Billion Mark in Record Speed
The Christmas weekend was all about The Force Awakens again, as Episode VII crossed 1 billion globally in just 12 days, making it the fastest movie to reach that milestone ever. Domestically is no less impressive, as the movie earned 153 million here in the states over the weekend, the second biggest weekend of all time, again beating Jurassic World's second week of 106 million. It has now earned 545 million, landing in the No. 5 spot of all time, in just 10 days. At this rate it seems fairly certain to beat Avatar's 750 million total, especially given the holiday box office pattern of high earning weekdays until the end of the year.
There were other new releases over Christmas that did well this weekend too, with second place going to Daddy's Home, the Will Ferrell/Mark Wahlberg comedy that earned 38 million, and the Jennifer Lawrence/David O. Russell dramedy Joy opening in third with 17 million. The holdovers in the top five included Sisters, which pulled in another 13 million, bringing its total to 37 million, and Alvin and the Chipmunks: The Road Trip, taking in another 12 million. Will Smith's Concussion fell flat, opening to just 11 million.
Top 5:
- Star Wars: The Force Awakens- 153.5 million
- Daddy's Home- 38.8 million
- Joy- 17.5 million
- Sisters- 13.9 million
- Alvin and the Chipmunks: The Road Trip- 12.7 million
Other new films released on less screens did spectacularly well this weekend too, all helping to make it the biggest Christmas weekend ever at the box office. Quentin Tarantino's The Hateful Eight opened on just 100 screens for its special 70mm run, and got into the top ten with 4.5 million and a fantastic PTA of 45k. Leo Dicaprio's The Revenant opened in 4 theaters for a 471k total and a stellar 117k PTA, the second best of the year, and The Big Short expanded to 1500 screens and earned 10.2 million. Tune in next week for New Year's weekend as most of these films will continue to do well over the holiday break.
Florida Critics Choose 'Mad Max,' Daisy Ridley in Breakthrough
Rack up another one for Mad Max and George Miller here, while Brie Larson wins her 16th critics award, and Paul Dano gets one for Best Actor. He's won several across the board, because there's no real consensus for Best Actor this year, but I wonder what's going to happen with him at the Oscars. I have a feeling he could be overlooked entirely, due to category confusion and the fact that Love and Mercy isn't a contender in major categories besides him. Also, Daisy Ridley is suddenly showing up in these breakthrough awards now- maybe she can use this success to forge a career outside Star Wars.
FLORIDA FILM CRITICS
BEST PICTURE: Mad Max: Fury Road
(Runner-up: Spotlight)
BEST DIRECTOR: George Miller, Mad Max: Fury Road
(Runner-up: Todd Haynes, Carol)
BEST ACTRESS: Brie Larson, Room
(Runner-up: Charlotte Rampling, 45 Years)
BEST ACTOR: Paul Dano, Love & Mercy
(Runner-up: Leonardo DiCaprio, The Revenant)
BEST ENSEMBLE: Spotlight
(Runner-up: Tangerine)
BEST ORIGINAL SCREENPLAY: Spotlight
(Runner-up: Mistress America)
BEST ADAPTED SCREENPLAY: The Big Short
(Runner-up: Carol)
BEST SUPPORTING ACTOR: Oscar Isaac, Ex Machina
(Runner-up: Michael Shannon, 99 Homes)
BEST SUPPORTING ACTRESS: Kristen Stewart, Clouds of Sils Maria
(Runner-up: Jennifer Jason Leigh, The Hateful Eight)
BEST CINEMATOGRAPHY: Mad Max: Fury Road
(Runner-up: Carol)
BEST VISUAL EFFECTS: Mad Max: Fury Road
(Runner-up: Star Wars: The Force Awakens)
BEST ART DIRECTION/PRODUCTION DESIGN: Carol
(Runner-up: Mad Max: Fury Road)
BEST SCORE: Love & Mercy
(Runner-up: Carol)
BEST DOCUMENTARY: Amy
(Runner-up: Heart of a Dog)
BEST FOREIGN LANGUAGE FILM: The Assassin
(Runner-up: Mommy)
BEST ANIMATED FEATURE: Inside Out
(Runner-up: Anomalisa)
BREAKOUT AWARD: Daisy Ridley, Star Wars: The Force Awakens
(Runner-up: Alicia Vikander, Ex Machina & The Danish Girl)
REVIEW: "Brooklyn" (2015) Saoirse Ronan, Emory Cohen. Dir. John Crowley
At a time when immigrants are being disparaged and the leaders of one of our two major political parties are doing everything possible to insult and turn away those who strive to come here, it's worth remembering that the entire history of America is shaped by immigrants, all of whom came here to work and seek better live for themselves. Brooklyn is a look back on a time when it was the highest ambition to travel to America, to build a new life in a place that was open to anyone and seemed to offer every opportunity, no matter what your background.
This film is partly a celebration of immigration and the American dream, but only subtly, as it is entirely the story of Eilis, a young Irish woman whose sister Rose procures a place for her at a boarding house in New York City, and a job at a department store in 1952. Rose wants Eilis to have the life she never could, and Eilis seizes the chance, sensing there is nothing for her in her small Irish town that feels as sleepy as it is familiar. Saoirse Ronan plays Eilis, and the child actress from Atonement and Hanna has grown into a sensitive, luminous presence, capable of holding every frame of the screen in this film, which she carries from beginning to end, as there's scarcely a scene she's not in.
We follow Eilis on her journey across the Atlantic, from her troubles with sea travel to her stay at Julie Walter's boarding house for young women, as she makes do with the help she receives from the good priest who secured her position (Jim Broadbent) and the women who help each other along the way, from her fellow boarders to her boss at Bottaccis, as she struggles with homesickness and slowly starts to blossom as she makes her way in the world and forms a new life for herself. Ronan conveys the transformation of Eilis in subtle, transcendent fashion, and director John Crowley employs an old-fashioned, classical style of filmmaking as we soak in the rich details of New York in the 1950's, down to the umbrellas, bathing "costumes," lessons in how to eat spaghetti, church dances and Brooklyn Dodgers fans. In many ways, this sumptuous film is like looking at a postcard from another era, or hearing the stories of grandparents recollecting their youth and how they started their lives here- lives that would go on to build what this country became.
Eilis falls in love of course, with Tony (Emory Cohen), a sweet and kind Italian who can't wait to take their kids to baseball games and is excited about his future plumbing business that he wants to start with his brothers. He's also supportive of Eilis's goals of becoming a bookkeeper and waits for her outside her college accounting classes at night school. This guy seems like a keeper for sure, but when tragedy strikes back home, Eilis must return to Ireland for a while, to a place she misses in theory but perhaps no longer fits in, and is presented with a whole new set of choices that she must internalize in her struggle to figure out who she is and what she wants.
Brooklyn is many things and deceptively simple about all of them- it's a nostalgic glance back at the past, a celebration of the rich history of the immigrants who shaped America, and the exploration of young girl's journey of self-discovery as she makes up her mind, not just between two suitors but of what she wants her life to be about. This is no story of false sentimentality, but of genuine emotional struggle and coming of age, of the kind that is often most difficult to dramatize effectively. Saoirse Ronan envelopes it all and gives us a performance and a film that feels absolutely timeless in its messages and heartfelt feelings. It's a rare gem that cannot be missed.
* * * *
Both Phoenix Groups Go For 'Spotlight,' Dublin Critics Circle Likes 'Inside Out'
PHOENIX FILM CRITICS SOCIETY
Phoenix has two critics groups, and like Boston and New York, one is their new online group, but these guys are the "real" ones, if you like. And funny, just as I mentioned it earlier, they finally give Vikander the award for The Danish Girl, the film she'll likely be nominated for. Otherwise these are becoming routine choices, except for Ridley Scott in director. No real consensus there obviously, but the DGA will tell the story in that category.
BEST PICTURE: "Spotlight"
BEST DIRECTOR: Ridley Scott, "The Martian"
BEST ACTOR IN A LEADING ROLE: Leonardo Dicaprio, "The Revenant"
BEST ACTRESS IN A LEADING ROLE: Brie Larson, "Room"
BEST ACTOR IN A SUPPORTING ROLE: Mark Rylance, "Bridge of Spies"
BEST ACTRESS IN A SUPPORTING ROLE: Alicia Vikander, "The Danish Girl"
BEST ENSEMBLE ACTING: "Spotlight"
BEST ORIGINAL SCREENPLAY: "Inside Out"
BEST SCREENPLAY ADAPTED FROM OTHER MATERIAL: "The Big Short"
THE OVERLOOKED FILM OF THE YEAR: "Me and Earl and the Dying Girl"
BEST ANIMATED FILM: "Inside Out"
BEST FOREIGN LANGUAGE FILM: "Son of Saul"
BEST DOCUMENTARY: "He Named Me Malala"
BEST ORIGINAL SCORE: "Bridge of Spies"
BEST ORIGINAL SONG: "See You Again" from "Furious 7"
BEST CINEMATOGRAPHY: "The Revenant"
BEST FILM EDITING: "Mad Max: Fury Road"
BEST PRODUCTION DESIGN: "Mad Max: Fury Road"
BEST COSTUME DESIGN: "Mad Max: Fury Road"
BEST VISUAL EFFECTS: "Mad Max: Fury Road"
BREAKTHROUGH PERFORMANCE: Alicia Vikander. "Ex Machina"
BEST PERFORMANCE BY A YOUTH: Jacob Tremblay, "Room"
PHOENIX CRITICS CIRCLE
The online group weighs in now, some slight variation- Miller in director, Stallone instead of Rylance, and Fassbender instead of Dicaprio. We can see who the alternate choices could be here in races where an overwhelming frontrunner hasn't emerged.
Best Picture: Spotlight
Best Director: George Miller (Mad Max: Fury Road)
Best Actor: Michael Fassbender (Steve Jobs)
Best Actress: Brie Larson (Room)
Best Supporting Actor: Sylvester Stallone (Creed)
Best Supporting Actress: Alicia Vikander (Ex Machina)
Best Screenplay: Tom McCarthy and Josh Singer (Spotlight)
Best Score: Tom Holkenborg (Mad Max: Fury Road)
Best Animated Film: Inside Out
Best Documentary: Amy
Best International Film: Youth
Best Comedy Film: The Big Short
Best Horror Film: It Follows
Best Musical: Straight Outta Compton
Best Mystery or Thriller Film: Sicario
Best Science Fiction Film: Ex Machina
DUBLIN CRITICS CIRCLE
Okay, so I know these guys are delayed by a year for when films get to Ireland, but the lack of support for Brooklyn here is a bit concerning. If anybody likes it it should be these guys, right? But they only gave it a shared Best Irish Feature award, and not even hometown girl Saoirse for Best Actress? Huh- I hope the guilds will announce more support for this one, but it looks a little dire all of a sudden, after a strong start.
Best Film: Inside Out
Best Irish Feature: Queen of Ireland / Brooklyn
Best Documentary: Queen of Ireland
Best Actress: Julianne Moore, Still Alice
Best Actor: Michael Fassbender, Steve Jobs
Best Director: Alejandro Inarritu, Birdman
Breakthrough International: Daisy Ridley, Star Wars: The Force Awakens / Kitana Kiki Rodriguez and Mya Taylor, Tangerine
Utah and Kansas City Critics like 'Mad Max;' Black Film Critics Circle Awards 'Creed'
BLACK FILM CRITICS CIRCLE
The Black Film Critics Circle embraced one of my favorite movies of the year, Creed, wholeheartedly, giving it every acting honor except Best Actress, which even they now cannot deny to Brie Larson. They also like George Miller in director instead of Ryan Coogler, which interesting.
Best Picture: Creed
Best Directing: George Miller, Mad Max: Fury Road
Best Actor: Michael B. Jordan, Creed
Best Actress: Brie Larson, Room
Best Supporting Actor: Sylvester Stallone, Creed
Best Supporting Actress: Tessa Thompson, Creed
Best Screenwriting (Original Screenplay): Straight Outta Compton
Best Screenwriting (Adapted Screenplay): The Martian
Best Cinematography: Mad Max: Fury Road
Best Foreign Language Film: Son of Saul
Best Documentary Feature: What Happened, Miss Simone?
Best Animated Feature: Inside Out
Best Ensemble Performance: Straight Outta Compton
UTAH
Meanwhile, these guys prefer Mad Max down the line, but they also like Stallone, and look at that Rose Byrne win for Spy in supporting- now that's creative. I also like seeing an acknowledgment of The Hunting Ground in documentary- one of the most important films of the year.
Best Picture: MAD MAX: FURY ROAD
(Runner-up: THE MARTIAN)
Best Director: George Miller, MAD MAX: FURY ROAD
(Runner-up: Ridley Scott, THE MARTIAN)
Best Actress: Brie Larson, ROOM
(Runner-up: Saoirse Ronan, BROOKLYN)
Best Actor: Leonardo DiCaprio, THE REVENANT
(Runner-up: Matt Damon, THE MARTIAN)
Best Supporting Actress: Rose Byrne, SPY
(Runner-up: Alicia Vikander, EX MACHINA)
Best Supporting Actor: Sylvester Stallone, CREED
(Runner-up: Oscar Isaac, EX MACHINA)
Best Original Screenplay: Pete Docter, Meg LeFauve & Josh Cooley, INSIDE OUT
(Runner-up: SPOTLIGHT)
Best Adapted Screenplay: Drew Goddard, THE MARTIAN
(Runner-up: Nick Hornby, BROOKLYN)
Best Cinematography: John Seale, MAD MAX: FURY ROAD
(Runner-up: Emmanuel Lubezki, THE REVENANT)
Best Documentary: THE HUNTING GROUND
(Runner-up: AMY)
Best Foreign Language Film: TIMBUKTU
(Runner-up: SON OF SAUL)
Best Animated Feature:INSIDE OUT
(Runner-up: SHAUN THE SHEEP MOVIE)
KANSAS CITY
The KC guys went for Mad Max too, and awesomely, Charlize Theron in Actress, which I really hope happens at the Oscars, at least for a nod. And there's no way that Alicia Vikander is getting into supporting actress for Ex Machina, so the critics continual refusal to acknowledge The Danish Girl's existence is kind of amusing.
Best Picture: Mad Max: Fury Road
Best Director: George Miller, Mad Max: Fury Road
Best Actress: Charlize Theron, Mad Max: Fury Road
Best Actor: Leonardo DiCaprio, The Revenant
Best Suppt Actress: Alicia Vikander, Ex Machina
Best Suppt Actor: Michael Shannon, 99 Homes
Best Original Screenplay: Spotlight
Best Adapted Screenplay: The Big Short
Best Documentary: Amy
Best Foreign Language Film: Phoenix
Best Animated Feature: Inside Out
Best Scifi, Fantasy, Horror: Ex Machina
