The Academy Awards, Golden Globes, BAFTAs, Screen Actors Guild, the list of film awards goes on and on. Traditionally, once we enter September, Summer movie season is over and we begin the march toward the years’ end which acts as a deadline for Oscar consideration. Those lines have blurred over the past 20 years or so through several factors. There has been a widening gap between popular films and critically acclaimed films. If you look at the Best Picture Oscar Winners from the 1970s and 80s (The Godfather, Rain Man, and Rocky) many of them were the most popular movies of the year. I don’t know if we can trace it back to a particular film, but many have linked the beginning of this divide to Jaws in 1975.
Wherever the crack started, it has grown into a grand canyon. In 2015, Spotlight won the Best Picture Oscar, but it earned just over $45 million. That may sound like a lot, but it was the second lowest grossing Best Picture Winner in 38 years just behind Birdman in 2014 which made just over $42 million. Spotlight made over 20 times less than the top grossing film of the year, Star Wars: The Force Awakens, which hauled in a cool $936 million domestically. In fact, The Force Awakens made over 5 times as much as Spotlight in its opening weekend.
Obviously, these two films are very different. For instance, The Force Awakens had a $245 million budget and it was continuing an epic saga that millions of fans have adored for decades. I’m not out to condemn the blockbusters. I love them. I don’t even particularly mind that the top grossing films of this fall/winter season will probably be big budget blockbusters like Fantastic Beasts and Where to Find Them, Marvel’s Dr. Strange, or the one that my kids are clamoring for, the animated, Sing! We live in a different time than the late 60s when The Jungle Book was the 2nd highest grossing film with $73 million behind The Graduate with just over $100 million. Those years were not better than today, just different.
Perhaps the likes of the People Choice or MTV Movie awards could fill the gap and give some recognition to the films which have captivated the popular opinion. However, I don’t believe that those films need any awards. Most of them have traded their hopes for critical success for big bags full of money. Who knows, maybe there is a film just on the horizon that will be able to complete the trifecta: Entertain fickle audiences, delight cynical critics, and pad the pockets of greedy producers.
But, since the mountains have gotten higher and the valleys lower, it makes it more difficult to notice some of the films that are garnering Oscar attention. Some of the films are counting on that Oscar consideration to help them at the box-office as they will stretch their theatrical run through February in hopes of getting a bump. Over the next few weeks, I’m going to post a handful of guides to this season. I want to give you a roadmap so you can set your calendar and look out for some of the exciting releases that are coming soon. Are there any that stand out in your mind that you are particularly excited about? Let me know in the comments below.
I struggle with what to post on this website. I’m such a movie geek. I could easily blog about obscure movies, box office numbers, and formal analysis all day long. However, I want this to be a blog that people want to actually visit. Sadly, I don’t think the overwhelming number of people really care that much about those things. That is assuming that people actually care about movies in general anymore.
Every week, we get 3-4 more films that hit theaters and this constant barrage can be overwhelming. I would be happy to narrow it down for you and give you some suggestions for what to watch. But movies are like food and tastes vary wildly. A movie that I think looks laughable may be one of your favorites of the year. On the flipside, I enjoy films that are a little strange at times and that may not match more mainstream interest.
So I am left asking my readers for their input. I’ll give you a few examples in a list. Let me know which of these you crave. Don’t forget to let me know the ones you could care less about or would rather read elsewhere. You won’t hurt my feelings.
Coming Attractions – Movies that are more than a month away. Could feature trailers and production news.
Weekend Outlook – What movies are coming to theaters this weekend? Should I spend my money at the theater or just Netflix and chill?
New Movie Reviews – The staple that nearly every movie blog is centered around. Reviews of movies out in theaters now.
Classic Movie Reviews – Great older movies that you should find streaming or buy. These will generally be positive reviews. I’m not going to waste my time trashing a film that so many have trashed before.
Streaming Reviews – A look at movies currently streaming on Netflix, Amazon, or other streaming services. Since they are essentially free to watch I could definitely get a bomb from time to time.
Movie Lists – Top 3, Top 5, or Top 10 of all kinds of different topics. These are fun to write and I hope that they will create some conversation since that is what this is all about.
Best Movie Bracket – This is a combination of classic reviews and movie lists. I’ve committed to finding the best movie of all time and I think the way to do it is through competition. I’m currently building my bracket by determining top movies for every year. Then the battles will begin.
If You Liked… – I haven’t done this one in a while, but I would take a well known film and suggest a handful of lesser known titles that are similar in some way.
Film/Scene Analysis – An in depth, sometimes shot by shot, look at a classic film to uncover what the director, cinematographer, and actors were doing and why it works. You get behind-the-scenes, film school knowledge without the student loans.
Box Office Predictions & News – How many millions is that new movie making (or losing) at the box office? I particularly enjoy predicting the top 5 for each weekend to see if I am understanding the trends and patterns that emerge.
Who did it Better? – With as many remakes and sequels that we are getting from Hollywood, I think that a side by side analysis of an original and a remake is fun to see who did it better and why?
Trivia – This can run the gamut from screenshot trivia, movie quotes, or interesting facts about actors or movie production. I’d love to make it a competition on the site, but it may be better to keep it confined to social media.
Discussion Guides – This is definitely more of a niche post, but as a pastor who loves movies I enjoy thinking of ways to use movies to provoke discussion on a variety of different topics. These could be used by families, youth groups, or even pastors as a way to launch into deeper things.
Podcast/Vodcast – I current co-host a podcast discussing a biblical passage each week called Biblical Trailers. I have thought about turning any number of these ideas into a video or audio version. This makes me a bit nervous, not because I’m ashamed of my voice (although I’m not sure anyone wants to see my receding hairline), but because I think of myself as a fairly scripted person and just having dead air to cover all by myself is a bit daunting.
I think that is enough for now, but if you think of any others that would be of interest to you, let me know. You can leave a comment here or on social media, or you can even email me at firstname.lastname@example.org. Thank you for your feedback.
P. S. – Notice that I didn’t include anything about celebrity news. That is because I find that garbage intolerable. I could care less who is sleeping with who or why they are fighting or what their baby bump looks like. They are people, like you and me and they don’t deserve to have their every waking minute scrutinized by the media.
As I look ahead to my Best Movie Bracket for 2005, I had to acknowledge a blind spot that I have missed over the years. Back when Brokeback Mountain was released in 2005, I was just beginning my stint as a youth minister after finishing my Bachelors of Theology. I was definitely into movies, but I was not watching them with the same eyes or frequency that I see them today. I would have likely been in the camp of Christians who followed their conscience and decided to completely abstain from the film and sadly to avoid even the discussion of its themes, happy to be cloistered away with other likeminded people.
I am a different person than I was then. Life as a pastor, manager, father and husband for over a decade has changed my perspective. I won’t say that it has changed for the better because I can certainly see where my conservative Christian brethren are coming from. However, I believe that I have the responsibility as a Christian to see the film and to offer my opinion on it from a biblical perspective. I’m afraid that most of the reviews that I read in those days were in two camps. Either reviewers loved the film and sang the praises of the cinematography, bucolic setting, and powerful performances, or they condemned the film as immoral or dirty with little explanation as to the reason behind their emotional response except for “the Bible says it’s wrong.”
As a Christian and a movie critic I have a set of lenses that I view every film through. But let’s not act like this is a unique scenario. Everyone who shares their opinion of a film sees it through the lenses of their life. Those lenses could be republican, democrat, liberal, conservative, racist, sexist, feminist, black, white, rich, poor, urban, or rural. The list is as long as the human experience. We don’t generally see movie critics come out sharing their particular lenses. Instead, we have to reverse engineer the way they see the world through the reviews they give. My point is that no one comes to a film as completely objective. We all have preconceptions, experiences, and beliefs that shape our opinions and color our world. How boring would things be if we were all cookie cutter copies of each other with the same passions, interests, and desires?
However, we must also understand that many (if not all) dramatic filmmakers are trying to say something with their film, not just providing 2 hours of celluloid to entertain the audience. As a theology student and later as a pastor, I spent years studying the Bible for meaning and interpreting its words to teach believers how they should implement the words and lessons that they encountered. I approach films in much the same way. There is a lesson to be found. If I walk out of a film the same as I walked in, I feel cheated. It’s as if I dove into a pool only to find that there is no water.
However, film works almost imperceptibly at times. Because of the medium, the message comes through almost so well that it hits us directly at an unconscious level. This is unlike the Bible that is often shrouded in mystery because of thousands of years of changes in culture, location, and language. The Bible often takes time and study to uncover meaning. We have to pull the meaning out of the text. That is the same with film. However, in that case, we are pulling the meaning out of ourselves to see things through the eyes of the writer, the characters, and the filmmaker.
As a Christian, there are behaviors which I believe are sinful. However, if I limited my movie viewing only to this without portrayals of sin, I would never enter the theater or turn on the television. Because every person besides Jesus that enters the frame is a sinner in some form or fashion. So I have no trouble looking at this film and calling out the sinful behaviors that I see. However, the presence of these behaviors does not make the film any worse or any better. Whether it is the dishonest way that Aguirre is having them tend his sheep, the premarital sex that we see between Jack and Lureen, or the consistent lying that surrounds their illicit relationship, there is plenty of sin to go around. This film could have just as easily left out the homosexual relationship and had the two men destroy their relationships by being inattentive and selfish (which they are). But that would miss the message that Director Ang Lee is trying to communicate.
The basic premise is that two cowboys, Jack and Ennis, take a job tending to sheep in the Brokeback Mountains of Wyoming. The two grow close on the trip and on a particularly cold night they share a tent and things get physical. After this summer job they go their separate ways to their own lives. Ennis gets married to Alma as he planned before the summer and she has two girls rather quickly. Soon, four years have passed and Jack finds Ennis and they have a sordid reunion. Ennis insists that they cannot be together and Jack settles down with Lureen, a fellow rodeo professional, and they soon have a son. Jack and Ennis however keep up their relationship under that pretense of hunting and fishing trips. However, they retreat to the place where their relationship began and argue about whether or not they can leave all that they have tied themselves to in order to be together.
Brokeback Mountain is trying to say, if these two men were allowed by society and their own consciences to love (and consequently have sex with) whomever they chose, then they would have been happy and their wives would not have had to suffer through loveless marriages. But I have heard some who make it sound like the solution is to have them forget all about their one-time fling and go home to their marriages and focus on their wives and families. However, I would disagree with this as well. Sure it would be great for these men to treat their wives with love and respect and to care for their children, but doing these things would not be any more redemptive than their “fishing trips” which don’t feature any fishing. In fact, the natural setting of their very unnatural relationship is probably the most insidious and disturbing part of the film. The wives do not push their husbands away, yet home is seen as a trap while their “forbidden love” is shown as peaceful and natural.
Before I say anything else, I should say that I believe this film deserved the praise that it received. It was a difficult film to make, though Ang Lee never felt that until after it was released and started to gain traction. The performances specifically from Michelle Williams and Heath Ledger are spectacular. Ledger is so stoic in his portrayal that when he does peel back the layers to reveal emotion it is very effective. Williams crushes it with one scene in which she discovers that her husband’s fishing buddy is more than a friend. Her eyes show all the betrayal that she dare not utter. She knows it to be true but keeps it locked away hoping that maybe she was just seeing things. I think the biggest flaw of the film is that we don’t get to see enough of the families. We are so wrapped up in the affair of the two men that we are left guessing about what is going on at home. I would love to see the exact same story told through Alma and Lureen’s eyes. I believe that it would be an even more engaging and heartbreaking tale. From a technical standpoint I would give this film high marks but the story seems to be lacking.
In an interview, when Ang Lee was asked if he practices any particular religion, he said,
No, my mother is a baptized Christian, so she made me go to church every Sunday, and I prayed four times a day until I was 14. And at lunchtime kids at school would giggle at my praying…I stopped praying. And two weeks later, nothing happened to me, so I didn’t pick it up again.
I am not particularly religious. But I think we do face the question of where God is, why we are created and where does life go, why we exist. That sort of thing. And it is very hard to talk about it these days, because it cannot be proven. It is hard to discuss it rationally.
Given his experience with organized religion, I’m surprised we don’t see it play more of a role in the film. We are given 3-4 hints of the religious culture of the late 60s and 70s that they are living in. On their first summer together Jack and Ennis discuss their upbringings. Jack speaks of the Pentecost as if it is the day of judgement, and Ennis is just as ignorant saying that his parents were Methodist. Alma and Ennis are married in a religious wedding and we hear of church events that Alma and the girls want to attend. Ennis calls them “that fire and brimstone crowd.” This tells us a lot about both Ennis and the religious people who surrounded him. He characterizes the church people as a judgmental group, but we have no way of knowing if this is because they truly are or because they don’t make him feel good about himself because of his behavior.
I will be wide open in saying that I believe homosexuality is a sin, but I also believe adultery and premarital sex are sins. However, none of these sins are unforgivable. That is the beauty of Christianity. It is not all about guilt and judgement, but grace and redemption. I believe that Brokeback Mountain is a harsh and stark image of sin in a fallen world. In Ang Lee’s world where God is an absentee landlord who makes threats but doesn’t really have the power to carry them out, this life is as good as it gets. If that is the truth then I would say that Jack and Ennis should run off together and live with passion and do everything they want because one day they will die and that will be the end.
That is where I believe Jack is coming from. That is why we see him going so hard after Ennis and holding onto dreams longer than he really should. But I think Ennis at least has some sense that this life isn’t all there is. He is fighting with the physical urges that he has. It seems that Ang Lee is trying to push us towards a societal solution, but that solution only solves a physical problem. If Ennis did not struggle with the fears and doubts and societal norms then he would have been the same as Jack and they would have probably both ended up dead. But if society were more tolerant towards their beliefs then perhaps they would have started their ranch together and lived there the remainder of their days. But the question that the Christian asks is but what happens after that?
If they are resolute in their belief that God does not exist or that their god is okay with their relationship then I am fine with them doing whatever their heart desires. Alma and Lureen would have been better off in the meantime. As a Christian, I don’t care about disrupting what is going on in their bedroom. I care about God disrupting what is going on in their hearts and souls. I want to see a realistic portrayal of that kind of faith in a film. I would have loved to see Alma broken by her husband’s sin. I wanted to see her confront him and tell him that she still loves him. I wanted her to share her faith with him. The realistic response would have been for him to curse at her and storm out and then we could see the divorce happen just as it did, but instead we get the bigotry and disgust without any of the real love that Jesus commands. The closest we get is Jack’s mother loving Ennis in their shared grief and asking to see him again. I want to think the best of her, maybe she thought better of sharing her beliefs about Jack and Ennis’ lifestyle at this time but planned to do so soon after fostering a relationship.
Lee is right that we live in a very complicated world where talking about religion is difficult to do rationally. But that is just what we are called to do. Jesus wanted us to be salt and light. Salt, as in the stuff that we put on meat to preserve it. We are called to come into contact with the dirty and corrupt things of the world in order to bring the preservation of life. And where does a light shine? Do you use a flashlight in the middle of the day? No, the light’s purpose is to reveal what is hidden in the darkness. But that means that we must first be in the darkness in order for our light to be seen. Is this easy? Is this safe? Is this the kind of life that fits a stereotype? No, but we are not promised a good and comfortable life with all that we could ask for here. We are pilgrims passing through. This world is not our home.
In the end, Brokeback Mountain is a painful reminder that this world is broken and that sin is rampant. I wish we could have seen our protagonists have an opportunity for redemption, but in our nearly post-christian society perhaps the absence of a coherent voice of faith was the most realistic aspect of the film. It features some beautiful cinematography, and most likely some of the best acting of the year. However, I doubt that you will see it on my Best Movie Bracket for 2005. I hope that you can see that it isn’t because I’m a religious wing-nut or because I think God hates gays, but because I feel like there is so much missed potential in the film.
From the insanely creative mind of Charlie Kaufman comes a film that I’ve seen labeled as the saddest of all time. This utterly unique filmmaker has given us Adaptation, Being John Malkovich, The Eternal Sunshine of the Spotless Mind, and Anomalisa. He is creative in a way that most filmmakers can only imagine and all of his stories are so deep and personal.
Synecdoche is not exception to that rule. This movie defies explanation, but it is the story of the life and love of a theater director. He is so absorbed in his own story that he keeps missing the stores of everyone else around him. Upon recieving a grant he decides to create a huge stage play upon which he attempts to tell the twisted story of his own sad life.
There are glimpses of genius on the part of Kaufman, the character which seems to be playing a version of him, and the actor playing that character (Phillip Seymour Hoffman). He was such a sad loss for Hollywood as you could feel the emotion dripping off of him in this film.
This is not a movie that you will be able to “explain” or tie up in a neat little bow, it is beautifully melancholic, and emotionally rich. You don’t see movies like this everyday and it is amazing that we have one here.
There are nearly 13 million people in the world, none of them are an extra. They all play the leads in their own story.
Kaufman is here telling his own sad story and the only hope is that the play goes on and someone else takes the lead. That is a very dark silver lining. This film reminded me of the depths of sadness of King Solomon in Ecclesiastes who spoke of the futility of life under the sun, specifically life without God.
Kaufman is known for this bleak hopeless storytelling. It will force you to look for hope if you can find it or into despair if you can’t. Either way, it is a great film from a master of the medium.
“Good Night, and Good Luck” feels almost like a documentary of real events from the 1950s. How stunning it must have been to watch TV journalist Edward Murrow and his confrontation with Senator Joseph McCarthy. It is a political film, but it doesn’t feel preachy. It is a spectacular movie about television and the role of media in the communication of the news. It should stand side by side with other classics like “All the President’s Men”, and “Network”.
Murrow, played chillingly by David Strathairn, was there at the dawn of television journalism and he cast a mold that all serious news reporters have tried to fill ever since. This film was nominated for Best Picture in 2006, and received five other nominations but criminally went home with nothing. George Clooney was Oscar nominated for his co-writing and direction, his portrayal of the CBS studio is made even more realistic by the film being entirely in black and white.
I am a skeptic by nature and I agree with the film’s premise that we must learn to question things. Television can be a tool in this cultural skepticism when real journalism is taking place, but everything from advertising to our own shrinking attention spans has turned television into just another entertainment device. As Murrow says at the end of the film, “There is a great and perhaps decisive battle to be fought against ignorance, intolerance and indifference. This weapon of television could be useful. The instrument can teach, it can illuminate. Yes, and it can even inspire. But it can do so only to the extent that humans are determined to use it to those ends. Otherwise, it is merely lights and wires in a box.” The same could be said of the silver screen and the films that are produced by Hollywood. I’m glad that movies like “Good Night and Good Luck” still exist to do more than entertain but educate and enlighten.
What was the best movie of 2006? I’m going to change the way I do this a little bit. Normally I would share some information about the year and other movies that are honorable mentions in the first few paragraphs. However, I’m afraid that most of you are clicking away before you even get to the #1 pick. So, I’m going to start with my top picks and I’ll try to pepper in more information about the year and other possible choices throughout my reviews.
From the innovative mind of Guillermo del Toro comes Pan’s Labyrinth. It is a coming of age tale of innocence and imagination. It is a story about a young girl who is other worldly. Like a crystal vase in a sea of tupperware, she doesn’t match her surroundings. Del Toro creates a fantasy world that is draws us in and leaves us feeling like a child who just heard a fairy tale for the first time.
A warning to my more language challenged readers, this film is in Spanish. It is subtitled. I don’t see that as a problem. I would like to hear why you do if you do. The story is set in Spain in 1944 following the Spanish Civil War. So really any language besides Spanish would feel forced and inauthentic. If you claim that you don’t go to the movies to read, then that is just laziness and you need to get over it. The story centers around Ofelia who is traveling with her pregnant mother. They are moving to a fascist command centre in rural Spain led by the fiendish Captain Vidal who happens to be the father of the mother’s unborn child. Ofelia is the type of child whose imagination feeds her energy. Unfortunately, it is also her imagination that causes Ofelia’s disconnect with the real world.
Ofelia’s exploring leads her to meet a faun. This is the Pan of the English title of the film (del Toro has told us that that is not actually the faun’s name). The first interaction between Ofelia and the faun is revealing because Ofelia doesn’t draw back in horror at the sight of this creature, in fact she seems more comfortable in his presence that with her own mother. This fantasy is her reality and it becomes ours. Ofelia learns the fact that every little girl steeped in fairy tales has yearned to hear, that she is a long lost princess separated from her kingdom.
Half of the story plays out in this ominous and sometimes frightening dreamland. However, del Toro is using the other half of the story to give us a picture of good and evil. The real monster of the film is Captain Vidal despite his normal outward appearance. Let me be quick to say that this is not a kids movie. With the young protagonist and presence of fairy tale creatures it might be tempting to present this to a child, but violence play an important part in this film showing the harsh, unwanted situation that Ofelia’s real life presents her with and blood, guts, and broken bones are all present in this reality.
Children of Men is a near future science fiction film based on a 1992 P.D. James novel and directed by the ever versatile Alfonso Cuarón (Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban, and Gravity). It is set in 2027, but there is nothing special about that date. It could just as easily be 2050, or 2019. It feels like it is just a breath away. Forget giant asteroids or alien invasions, Children of Men conveys a doomsday scenario that is realistically frightening and contemporary.
Mankind has become infertile, there has not been a new birth recorded for over 18 years. Devolving into chaos from the ticking clock facing everyone, the world has resorted to violence. Britain, the only country that still “soldiers on,” has closed its borders to the swarms of refugees (sound familiar?) Those that make it through the cracks, called “fugees,” are captured and deported. The country is now a completely totalitarian state with state police and surveillance cameras everywhere.
Theo (Clive Owen), a former political activist, is roped into a rescue mission by his ex-lover Julian (Julianne Moore), an outlaw fighting for refugee rights. The job she commandeered him into is to help Kee, an African woman, escape the country. We soon discover that she is pregnant.
The war-torn atmosphere and the mayhem that seems to erupt out of nowhere convey the urgency and danger of the situation. All of it is captured brilliantly by Alfonso Cuarón and the incomparable Emmanuel Lubetzki. Without hope, people are resorting to their base instincts ad lust for survival. Theo’s quest to protect Kee becomes the only thing that matters. The revelation that she is pregnant means that she is fighting for the future of all mankind.
Clive Owen plays Theo as a very ordinary man. With the action in this film, he could have easily become a 007 knockoff, but instead we are left in the frightening mess with him and allowed to feel his fear. In the same way, it would have been easy to write the appearance of this pregnant woman as a miracle, but Cuarón never makes that mistake. It’s hard to categorize this film as either a rich thematic drama when it elevates into a high-octane action film. That is one of the best things about it. It is a great dystopian thriller that is one of the best things that we have seen from a talented young director.
This is why remakes shouldn’t be dismissed out of hand. The legendary Martin Scorsese with his screenwriter William Monahan have taken an okay Chinese film, Infernal Affairs, and breathed new life into it, framing it as an American epic crime drama. This is Scorcese’s best since Goodfellas and it deserves mention alongside Scorsese’s other most celebrated films Taxi DriverandRaging Bull.
I don’t want to go into the plot too far. The trailer goes a bit too deep in my opinion. I will just say that it is a high stakes game of lies, secrets, and hidden identities. This is among the greatest of ensemble casts of all time. We have headliners like Martin Sheen, Mark Wahlberg (Oscar nominated), and Alec Baldwin turning in superb supporting roles while Leonardo DiCaprio and Matt Damon shine under the leadership of a premier director. This was the role that skyrocketed DiCaprio into the stratosphere. He and Scorsese work so brilliantly together, this was the best work he had done at the time. This is an amazing return to form for Jack Nicholson. He relishes every moment before the camera with this diabolical confidence and intensity. I think it was criminal that he wasn’t even nominated for an Oscar.
Speaking of Oscars, The Departed did go home with four awards on that night. Best Picture, Best Director, Best Adapted Screenplay, and Best Editing. As far as crime dramas go, this is one of the best. Take note, this is a gangster film by Scorsese so there is a fair amount of violence and profanity. However, The Departed is somewhat tame in comparison to some of the director’s other films. It is entangling and highly entertaining, truly the best of 2006.
These posts are getting pretty long as I can’t help but write a full review for the film instead of just a quick snippet, so to help with this, starting with 2005, I will be posting my reviews separately and the Best Movie Bracket post will fairly short. It will link to my full reviews and will help explain why I chose one film over another.
This is such a great movie with its stark contrasts and dark themes. It is perfect Tim Burton. This was Johnny Depp before his downward slide. I hadn’t seen this film in years and thought it would be a good watch for a family movie night. I had forgotten quite how dark it is.
I’m not sure how he did it, but Burton managed to make a beautiful allegory of an autistic man and his attempts to integrate into a harsh society. This was before anyone had published any works on or formally studied autism. I can only think that Tim Burton either is or is very close to someone who suffers on the spectrum. Let’s think about it…
He is very mechanical and somewhat cold in his interactions with people. The inventor teaches him social etiquette and encourages him to smile. He shows particular skill which astounds others similar to a savant. Despite his best efforts he hurts others and those mistakes haunt him like scars. He has an amazing capacity to love but society pushes him away because of his differences.
It really is an amazing story, but I’ve always felt like the characters are overly exaggerated and with this allegory in mind it makes sense. The characters are as Edward sees them, brightly colored symbols of the things that he cannot be. He expresses the desire several times through the film to be introduced to this absent doctor whom people are sure could help him. He wants to be a part of society but like the dark castle on top of the hill all he can do is sit in his childlike state and look out over the world wishing he could join them but forever trapped by the society them at the same time.
We are encouraged to be like the Boggs who loved Edward for who he was. They embraced his differences and loved him for who he was, and their world was forever changed because of him.
I’m sure I’m stretching this a bit, but I can’t help but think of Tim Burton placing himself in Edward’s shoes as he makes this film as a brilliant creative man who would be misunderstood.
I have mixed feelings about The Witch, directed by newcomer Robert Eggers. It is an extremely well made 17th century period piece, with dialogue pulled directly from period documents, there is a sense of realism to the film. I don’t know where they found these child actors, but they absolutely nailed the dialogue. It seems as if they had been speaking old English their entire lives. The cinematography is quite good as well. The atmosphere was so natural and creepy.
Despite the technical proficiency and the rich atmosphere of the film, there were some problems that plagued the film for me. First, the mother is in hysterics throughout the film and berates every member of the family, including her husband. At one point, I wanted it to be her that made the deal with the devil? It didn’t seem natural for a wife in the Puritan setting to treat her husband like she does. Secondly, I think the witch was revealed to early in the film (even for a movie called The Witch). It could have built so much suspicion and tension as they begin to turn on one another. Finally, the last ten minutes was far too on the nose. I would have preferred a more ambiguous ending. instead, we got cheesy special effects and an interaction that was completely unnecessary. I have heard lots of good reviews but I’m just not seeing how it is that special.
Laika studios has brought us the best animated film of the year, and easily one of the best films of the summer. The stop motion and CGI animation is technical and beautiful. It’s easy to get lost in just the spectacle of the technical achievement. Never mind the characters, story and action which are also so great, this film feels like a wealth of riches. I can’t wait for my next opportunity to see the film.
If Laika continues to produce films of this quality, they could give Pixar a run for their money at being the best animation house. Kubo is definitely worth seeing this in the theater. I hate that it’s probably going to be overlooked for garbage like an unwanted Ben Hur remake and a movie about those rainbow haired trolls.
This weekend I will be seeing Life, Animated in a limited engagement at the Hippodrome Theater. It is only playing for 1 week so if you are here in the Gainesville area, you need to act fast. Unfortunately, I have to work on Saturday, but I may be able to check out another movie on Sunday afternoon. Let’s look at the new films hitting theaters and see if they stand a chance of passing Suicide Squad in its second week.
I kind of see this weekend as the unofficial end of the summer movie season. Very quickly studios are shifting to their fall releases which are typically more dramatic and geared towards adults and particularly Academy members. But the three new wide releases compete for second place this week because Suicide Squad, though it is still receiving less than stellar reviews, is almost certainly going to top the box office during its second weekend. I find it funny that all six of the new movies coming this weekend beat Suicide Squad on Rotten Tomatoes. I’m just saying, you can probably skip Suicide Squad this weekend and see a better movie.
First up is Disney’s Pete’s Dragon, the name might sound vaguely familiar because it is a remake of the 1977 film of the same name. Disney is looking to push even further out in front in the box office this year with another big family hit to add to Finding Dory, Jungle Book, and Zootopia. Last month they released The BFG, which I enjoyed and which received good reviews overall but which failed to attract the public at the box office grossing on $52 million.
It is hard to find a film to compare to Pete’s Dragonbecause the source property isn’t nearly as popular as Jungle Book or Cinderella. It is coming out in late August just as school is back in session across the country so it isn’t fair to compare it with others that came in the summer. The reviews are saying that it is great, and it currently holds an 85% on Rotten Tomatoes. I’m going to say that it will open somewhere in the neighborhood ofEnchanted or The Good Dinosaurwhich opened at $34 and $39 million respectively.
If Sausage Party taps into the same audience thatNeighbors andTed had then we could be looking at a tight race for the top 3. Those two opened to $49 and $54 million respectively. Amazingly, despite the extremely foul content and crude 3D animation Sausage Party is currently looking at an 83% on Rotten Tomatoes, so it could have a very strong showing. On the other hand, it could go the way of This is the End and Pineapple Express. Those were both also Sony pictures and opened to $20 and $23 million.
Seth Rogen and his troupe hope are hoping that Sausage Party’s unprecedented combination of 3D animation and crude humor will connect with fans worldwide. Part of me hopes it doesn’t because I have three kids and they already want to see it and it’s hard to explain to children why they can’t see a cartoon because it was made for adults only.
Meryl Streep is bankable talent for older audiences. It’s been a while since we had a film appealing to older audiences. It could possibly do very well as counter-programming, but a couple of other films have tried this summer and haven’t taken off. Florence is getting very good reviews though. It is currently sitting at 88% on Rotten Tomatoes. I think that this should do better than Ricki and the Flash which she released last August to $6 million, but not as well as Hope Springs which opened in a much less crowded August in 2012 and brought in $14 million.
There are also a handful of Independent films that are worth watching that are premiering this weekend. I hope that if you see them here it might peak your interest and you can keep your eyes open for when they come to your theaters. Also, get to know your local theater managers and try to encourage them to bring more independent films to market or seek out smaller venues that might be more willing to show eclectic films or documentaries that others pass over with a yawn.