Movies Spotlight – 2016 Movies – May 2016

So what have I seen so far in 2016? The answer is not much, really. Most of my movie-watching time has been spent on the endless catching up on the classics of the past (and revisiting my favorites). There is seemingly an infinite amount of films from the past I am curious to see. Also, my desire to go to the movies has waned a bit. Watching most things at home is just as pleasurable, basically because it is easy. (Here is a link to all my reviews for reference).

But what have I seen – well… twelve films. That is it. Let me just go through them quickly: Loved Captain America: Civil War. We do not get too many massive blockbusters that have characters and story arcs that resonate emotionally while also keeping the promise of fun and entertainment. The airport fight scene is wonderfully joyous. Suddenly, I am just as interested in the new Spider-Man and Black Panther films as I am Thor 3 and Guardians of the Galaxy 2. Marvel, once again, hit homeruns with their casting for these new characters. Deadpool is a riot. Ryan Reynolds does the best work of his career. Batman v Superman: Dawn of Justice is disappointing (big surprise). Zack Snyder has so much visual talent; he just struggles with story and character. He really needs to bring on people to help him craft and structure his future DC films. I am, however, interested to see what Ben Affleck does with his solo Batman film.

The Jungle Book was far better than I would have ever imagined it could be. I even enjoyed its use of 3D. Disney’s other early release, Zootopia was also surprisingly good. I thought it was there “B” animiated project for 2016, with Moana being their “A”; but, Zootopia is funny, sweet and has a good message for children. It is a very good family film.

My favorite indie film so far this year is The Witch, Robert Eggers’s period horror film. It is a beautifully made and acted film that is scary and hits all the right aesthetic beats. I doubt there will be a better horror film this year. Anya Taylor-Joy is a star in the making. I also really enjoyed Hush on Netflix. It is a great horror/thriller from Mike Flanagan (who also made Oculus). 10 Cloverfield Lane was a fun thriller highlighted by Mary Elizabeth Winstead. Making something work when in most takes place in one room is very tough. Midnight Special, from Jeff Nichols, is also a thematically interesting sci-fi drama. Very strong performances from his cast.

All the Way, which just debuted on HBO, is a good period drama about LBJ’s first year as President of the United States following President Kennedy’s assassination. Wonderful performances from Anthony Mackie and Bryan Cranston. Hail, Caesar! the new quirky comedy from the Coen Brothers is good, but probably one of their weaker efforts. It reminds me of A Serious Man (which I liked a lot more). And finally, Ricky Gervais’s new comedy on Netflix Special Correspondents is probably his worst project to date. Even his biggest fans can skip it.

There three films I missed in theaters earlier this year that I am very much looking forward to seeing at home. First, Sing Street, the new musical from John Carney about a young boy who forms a band to impress a girl in 1980s Ireland. I loved Once and also enjoyed Begin Again (more the second time I saw it). Second, Everybody Wants Some, the seemingly thematic follow-up to Dazed and Confused from Richard Linklater. The film looks like a fun, cool hangout which a bunch a guys playing college baseball. And third, Green Room, the new horror/thriller from Jeremy Saulnier (who also made the intense Blue Ruin). Saulnier, along with Mike Flanagan, Adam Wingard and Ti West, has really rejuvenated the American indie horror film.

Now, what am I most excited to see for the rest of 2016? Let me start with the blockbusters. Rogue One, the new Star Wars one-off from Gareth Edwards (who also made Monsters and Godzilla), looks fantastic. I really enjoyed The Force Awakens, but it is still somewhat bogged down in being an origin story for its new characters and paying so much fan service (I think Episode VIII is going to be much stronger). Rogue One may fall into the same trappings, having to introduce us to a bunch of new characters and hopefully it will not fall back on characters we do know (like Darth Vader, Han Solo and so on) too much (or at all), but it looks like a great action thriller. Ben Mendelsohn as the villain is going to be incredible; he very well might be our best character actor right now. I love the Harry Potter films; they are among my very favorite adventure genre films. That said, I was out on Fantastic Beasts and Where to Find Them for most of its preproduction. I just was not into the casting choices and I feel like it is generally a mistake to go back in time (because, ultimately we know what happens in the end, which reduces the stakes – I mean, how bad can the events of this new series be if we have never heard about them once during Harry Potter?). But the latest trailer has me all the way back in. It looks good. Doctor Strange has a phenomenal cast, but the teaser trailer did not grab me at all. In fact, the Inception-like elements of it felt like a big letdown, lazy. I hope it turns out well in the end. I imagine D23 will give us a new, and hopefully better, trailer. Suicide Squad has had a few great trailers and Margot Robbie looks brilliant as Harley Quinn. Will DC and Warner Bros. get this one right? Matt Damon and Paul Greengrass are both back for Jason Bourne the Bourne sequel that no one knew they wanted until they saw the teaser. I hope Alicia Vikander has more to do they talk at monitors though.

Disney has some great animated films upcoming too (and their remake of Pete’s Dragon, which is totally random. I grew up with that film on a VHS my mom made recording Marry Poppins and Pete’s Dragon off the TV, but I never thought anyone saw it as essential or a major Disney project. Disney is also remaking Mary Poppins incidentally). Their Walt Disney Animation Studio release is Hawaii-set Moana, from Ron Clements and John Musker (who also directed/wrote The Great Mouse Detective, The Little Mermaid, Aladdin, and Hercules). The voice cast features Hawaii’s own Auli’I Cravalho and Dwayne Johnson. Their Pixar release is Finding Dory, which is both awesome and disappointing. Awesome because everyone like Finding Nemo and the same creative team is making this sequel. Disappointing because I think we all want Pixar to focus on original projects like last year’s fantastic Inside Out (although, their “B” film The Good Dinosaur was poor by Pixar standards).

Hollywood has a few very good looking films as well this Fall/Winter. Passengers sounds amazing on paper. A sci-fi film from Morten Tyldum (who also made Headhunters and The Imitation Game) starring Jennifer Lawrence and Chris Pratt (who will hopefully have the best chemistry of all, as they are maybe our two most likable stars right now). It is about a man who prematurely wakes up from cryogenic sleep, years too early, during space travel. Instead of facing his life alone, he decides to wake up another passenger. I like everything about this film. I hope it is great. Robert Zemekis is back with a new film, which is generally a good thing, a very good thing. Allied stars Brad Pitt and Marion Cotillard and is about spies during WWII (I am 100% in). The Girl on the Train looks like a potentially superb thriller (even if Tate Taylor is doing his best David Fincher impression). This also has a great cast, highlighted by Emily Blunt and Rebecca Ferguson. Out right now is Shane Black’s The Nice Guys. I am a big fan of Black’s films (as a writer: Lethal Weapon and The Last Boyscout; as writer/director: Kiss Kiss Bang Bang, Iron Man 3 and now The Nice Guys). He really just makes the same film over and over, but I am not tired of it yet. His LA detective stories, his plots that are really about something else, his great dialog, and his very funny humor.

The best films from 2016, however, seem to be the prestige indies coming this Fall/Winter. The Light Between Oceans, the new drama from Derek Cianfrance starring Alicia Vikander, Michael Fassbender and Rachel Weisz, feels like the way-too-early frontrunner for best film of 2016. The trailer showcases the heartbreaking drama and incredible performances of the film. Ang Lee’s new drama, Billy Lynn’s Long Halftime Walk, very much looks to take its place as a definitive narrative on the Iraq/Afghanistan War and the soldiers who come home from the horror faced over there. Sundance favorite The Birth of a Nation (I assume very specifically titled as a comment on the D.W. Griffith film) should make a big awards season impact. Nate Parker, who writes, directs and stars in the film, seems to have emerged as 2016’s brightest new talent. J.A. Bayona’s family film A Monster Calls also promises to be aesthetically and thematically just right (like a better version of Steven Spielberg’s summer release The BFG), feeling akin to Pan’s Labyrinth.

There are also a number of films that do not yet have trailer that sound potentially great. James Ponsoldt (director of Smashed, The Spectacular Now and The End of the Tour) has a new sci-fi drama due out starring Emma Watson and Tom Hanks. Martin Scorsese has long been working on a period drama called Silence about priests in Japan. It stars Andrew Garfield, Liam Neeson and Adam Driver. Terry George (director of Hotel Rwanda) is finally making a new film, the drama The Promise with Christian Bale and Oscar Isaac. Denis Villeneuve (director of Incendies, Prisoners and Sicario) has a new drama called Story of Your Life with Amy Adams. Damien Chazelle (director of Whiplash) returns with a musical called La La Land, starring Ryan Gosling, Emma Stone and J.K. Simmons. Jeff Nichols (releasing another film this year) just won a ton of acclaim at Cannes for his new romance drama Loving. And, Kenneth Lonergan’s new drama Manchester by the Sea was also a darling of Sundance, many naming Casey Affleck’s performance as an awards season must.

Much like last year, the blockbuster season/summer releases feel a little disappointing and all the best stuff will come out in the Fall/Winter – even the best blockbusters still to come do not come out until November (Fantastic Beasts and Where to Find Them) and December (Rogue One).

The Spectacular Now (2013) – Review

Review: The Spectacular Now is a charming, yet affecting teen drama that escapes the typical genre troupes. The film is about a high school senior Sutter who, living in the shadow of growing up with an absent father, seemingly is content to just live in the moment with no thought for the future. After his girlfriend leaves him due to his attitude towards life, Sutter meets Aimee, a nice-girl who lives what could be called a sheltered life. Though they are quite different, they quickly form a kindred bond. The question is: can Sutter grow into the man Aimee deserves or is he just using her in the moment?

Something that is immediately noticeable in director James Ponsoldt’s film is Sutter’s apparent rampant alcoholism. He is high functioning enough to coast through life perpetually buzzed. But what is interesting in the film is that no one seems to really be that concerned. Either Sutter has been written off as ever being a productive member of the community (which is a sad statement about how society often views individuals with substance abuse issues) or everyone else in Sutter’s life is too focused on their own stuff to really notice. There is probably a little bit of both at play – plus, his generally inebriated state is such a part of his personality that it is just accepted as being normal, which speaks to how alcoholism is very often pushed to the dark corners within society, a dark secret that no one wants to talk about until something drastically goes wrong.

What is most striking/shocking is that Sutter’s relationship with Aimee seems to greatly benefit him in terms of his own personal growth, and yet she also enables him and his bad habits. Essentially, Sutter starts out treating Aimee as a backup plan and encourages her to drink as heavily as he does (which is alarming, especially in her compliance). She is different than the girls Sutter has typically dated. She is completely innocent and kind, without any snark or cynicism (which in itself is refreshing). She needs him, in a sense, and that gives him a sense of purpose that he likes. They help each other emotionally (he helps her stand up to her mom, and she helps him come to terms with who his father really is). But, Aimee also lives in a fantasy world and cannot see Sutter for who he really is, a deeply troubled young man who is struggling to keep it together. She does not call him on his drinking or on how he is fairly dismissive of her (in that it is clear that he still wants to be with Cassidy, his ex-girlfriend). She never directly challenges him to become the man she deserves, rather she seems to settle for the disaster that he is because she has been alone until she meets him (and thus he has become her whole world – as is often the case with first loves, or love in general). While Aimee allows Sutter to feel a sense of purpose that has been lacking in his life, she is still complicit in his self-destructive behaviors. But the audience is right there with her – Sutter is utterly charming. It is easy to dismiss the cliff he is teetering on.

However, this is one of the strongest narrative aspects of the film. Aimee is not some whimsical fantasy girl (the ‘manic pixie dream-girl’) who knocks Sutter out of his stupor with her cute strangeness. She is just a shy girl who has thrown herself (a bit haphazardly) into her first relationship. Though, she has probably come out of it stronger. Sutter must decide to change on his own, for him not for her. In this way, the film works much more as a character drama than a teen romance, which is why it is ultimately so effective dramatically. Ponsoldt is much more interested in the dramatic arcs of Sutter and Aimee than hitting all the typical romantic comedy notes (though, they film does have a fairly standard structure). Aimee is the catalyst that shakes things up by actually deeply caring about him, but the heavy lifting has to be done by Sutter (addressing his alcoholism and his father issues).

Another aspect of the film that works very well is Ponsoldt’s directing. He clearly values the characters above everything else – their emotional moments, struggles, moments of joy, and so on. Thus, the film is very stripped down stylistically. Ponsoldt basically just allows the performances (which are very strong) to play without really using the camera to add additional meaning or depth. That is not to say that his placement of the camera does not add something, because it does and the framing is often very good, but the camera does not seem to play an influential or dramatic role in the perception or interpretation of the characters. Again, Ponsoldt leaves that to the actors and their wonderful work. The lighting and production design also adds a lot to this stylistic choice, as everything feels very realistic and intimate.

Teen dramas and romances often fall into the trap of being very formulaic, but The Spectacular Now breaths a much needed breath of fresh air into the genre (much like last year’s The Perks of Being a Wallflower). It does not shy away from powerful dramatic moments and ultimately tells a meaningful story of a young man who is lost that finds his way, utilizing genuine emotions and dynamic, dramatically engaging characters.

Technical, aesthetic & acting achievements: James Ponsoldt seems to certainly have an interest in telling stories about how alcoholism ruins lives, but in a hopeful manner as his characters emerge on the other side better off in the end. The Spectacular Now is not as focused on alcoholism as his last feature Smashed (though both exhibit very strong performances from their leads). For Sutter, his drinking is a symptom more so of his issues with his mother and father resulting from his father not being there. What scares me about the film, and what I found so powerful, is that his drinking is just a part of who he is in the eyes of his friends, family, and teachers. No one tries to help him. It speaks to how we are all often complicit in the bad and damaging habits of others, turning a blind eye in lieu of confrontation. Also, that is not the story Ponsoldt wanted to tell with this film. This is much more about Sutter growing up, and the same can be said for Aimee too. I really look forward to seeing what Ponsoldt does next as he is a great emerging talent who took a big step forward with this film.

Aesthetically, The Spectacular Now has an extremely intimate feel (showcased in Sutter and Aimee’s love scene) with the score, lighting, directing, and design all presenting the narrative in a very realistic manner. Composer Rob Simonsen’s score feels delicate as it plays a supporting role to the dramatic moments, never stepping on the performances. The soundtrack is also strong and fits well. Jess Hall’s cinematography is wonderful. It has a beauty to it, often using very soft and natural light. Linda Sena’s production design is also very good, creating a world that both feels very real but also speaks to who these characters are (especially in the juxtaposition of their bedrooms).

The performances carry this film. Mary Elizabeth Winstead, Bob Odenkirk, and Jennifer Jason Leigh are all good in small supporting roles. Kyle Chandler is fantastic in his small role as Sutter’s father, playing completely off-type. Brie Larson is also great as Cassidy, bringing a lot to what would have been a throwaway role in most films. However, the film is primarily a showcase for Miles Teller and Shailene Woodley. Teller gives a breakthrough performance as Sutter. He is completely likably, when he probably should not be. He also carries Sutter’s internal pain wonderfully. He hides it, pushing it deep down, by being fun and upbeat, but the audience can see the toil it is taking. It is one of 2013’s great performances. Woodley plays a character that feels like she is from a generation long past, and in that way has a nostalgic charm. Aimee has not been disillusioned by the world, and probably never will be. Her innocence is not so much a statement on her inexperience, but a testament to the sweetness of her spirit and kindness of her heart. Building off her great work in The Descendants, Woodley is really establishing herself as an elite young talent.

Summary & score: The Spectacular Now is an excellent character drama, built on the brilliant performances from its cast, especially Miles Teller and Shailene Woodley. 8/10

At the Movies – August 2013 – Part 3: Most Anticipated Films

Must-See of the Month:

The World’s End (Edgar Wright) – Sci-Fi Action Comedy – Aug 23

Plot Summary: As youths, five friends tried but failed to complete their epic pub crawl. Now twenty years later, the friends reunite to try again. Only one problem – this time completing the pub crawl might actually be mankind’s only chance for survival. Filmmakers: The World’s End is the final chapter of writer-director Edgar Wright’s Blood and Ice Cream Trilogy (Shaun of the Dead and Hot Fuzz being the first two films) with Simon Pegg and Nick Frost. He is working again with composer Steven Price (Attack the Block), production designer Marcus Rowland (who has worked on all Wright’s films) and fantastic cinematographer Bill Pope (Scott Pilgrim vs the World). Cast: In addition to Pegg and Frost, Martin Freeman, Eddie Marsan, and Paddy Considine star. Rosamund Pike co-stars, and Bill Nighy, Pierce Brosnan, and David Bradley feature in support. Expectations: The World’s End looks like it is going to be brilliantly funny with entertaining sci-fi action. Wright wonderfully mixes genre aspects in his films with comedy (the horror/zombie genre with Shaun of the Dead and the Hollywood action genre with Hot Fuzz for example). I am very excited to see his version of an alien invasion movie. August might be this summer's most prolific month for great films. Trailer: Here. Review: Here.

Worth Checking Out:

The Spectacular Now (James Ponsoldt) – Dramedy – Aug 2

Plot Summary: High school senior Sutter Keely thinks that there is nothing better than spending his days partying and enjoying his youth, with no further aspirations for the future, however that all changes when he meets sheepish nice-girl Aimee Finicky. Filmmakers: Director James Ponsoldt is back with his third feature, coming off the breakout success of his great indie drama about alcoholism Smashed. He is working with composer Rob Simonsen (Seeking a Friend for the End of the World), cinematographer Jess Hall (Hot Fuzz), and production designer Linda Sena (who also worked on Smashed). Cast: The film stars Miles Teller and Shailene Woodley, and features Mary Elizabeth Winstead (also a holdover from Smashed), Brie Larson, Jennifer Jason Leigh, Bob Odenkirk, Kyle Chandler, Kaitlyn Dever, and Andre Royo in support. Expectations: The Spectacular Now looks like a fantastic indie dramedy/romance. It won this year’s Sundance Film Festival Special Jury Prize for Dramatic Acting, going to its two leads. It was also nominated for the Grand Jury Prize. In addition to having a wonderful supporting group of actors, I am interested to see Shailene Woodley in her follow up to The Descendants (in which she gave my favorite supporting female performance of 2011) – especially working with James Ponsoldt who gets a lot out of his actors. I think this is a must-see for fans of nostalgic high school romance films (as this is probably 2013’s The Perks of Being a Wallflower, a film I very much like). Trailer: Here. Review: Here.

Elysium (Neill Blomkamp) – Sci-Fi Action Thriller – Aug 9

Plot Summary: Set in the year 2154, the population has been divided further by wealth. The rich live in a beautiful space station orbiting Earth called Elysium, free from disease and pollution, while the poor are left behind on the dying, ravaged planet. Max De Costa is just an average inhabitant of Earth. He goes about his day as a factory worker, as well as dabbling in car thievery. One day, though, things change for Max. He is mortally wounded during an accident at the factory, absorbing a fatal dose of radiation only having a few days to live. His only hope is to get to Elysium for treatment, but to do that he must break in guns blazing. Filmmakers: Finally, writer-director Neill Blomkamp is back with a follow up to his great political action sci-fi film District 9. He is working again with cinematographer Trent Opaloch and production designer Philip Ivey. New to the team is first-time composer Ryan Amon. Cast: The film stars Matt Damon, with William Fichtner, Jodie Foster, Sharlto Copley (who starred in District 9), Alice Braga, and Diego Luna in support. Expectations: District 9 is beloved by many making the anticipation and expectations for Elysium sky high (maybe too high). That said, it looks to be another great mix of political awareness (especially given today’s more public begrudging of the wealthy) and intense sci-fi action, which is just what fans want. The film is visually ambitious, and if it all comes together might be the summer’s best action film (given the overall weakness of this summer – as it stands, Iron Man 3 is probably my favorite blockbuster so far). This is one I have been looking forward to for a long time. Trailer: Here. Review: Here.

Ain’t Them Bodies Saints (David Lowery) – Drama – Aug 16

Plot Summary: Ruth Guthrie and Bob Muldoon find themselves surrounded by cops, holed up in a remote cabin in Texas. They try to shoot their way out but are captured. Bob takes the fall for his love and goes off to prison, while Ruth returns to normal society to raise their daughter. Years pass. Bob breaks out of prison to reunite with his family, but Ruth has moved on living with a local sheriff Patrick Wheeler. Bob's return can only bring death and destruction into her life now. Filmmakers: Ardent fan of Terrence Malick, writer-director David Lowery makes his first feature to receive major theatrical distribution with Ain’t Them Bodies Saints (and fourth overall). He also edited Shane Carruth’s Upstream Color. He is working with composer Daniel Hart, cinematographer Bradford Young, and production designer Jade Healy (The Innkeepers). Cast: The film stars Rooney Mara, Casey Affleck, and Ben Foster. Rami Malek and Keith Carradine feature in support. Expectations: Ain’t Them Bodies Saints won this year’s Sundance Film Festival Cinematography Award and Indian Paintbrush Producer’s Award, while also being nominated for the Grand Jury Prize. It looks like a great artistic drama, very much in the style of Terrence Malick. Rooney Mara, Casey Affleck, and Ben Foster are all brilliant character actors capable of giving powerful performances. If nothing else, this will be extremely well shot and acted. It is a must-see for fans of more artistically-minded cinema. Trailer: Here. Review: Here.