Oscars

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Oscar Fallout and Recap 2015

(Hold on to your butts!)

Welcome one and all to Oscar Night 2015 when the Academy Awards will be doled out by Doogie Howser M.D. in an attempt to surpass Ellen’s “internet breaking” effort of last year.  As with every Oscar award season, perception, conjecture, and theories abound when it comes to who will actually win.  There are a few foregone conclusions, there are some tight races, but I can posit with some certainty that we will have at least one major surprise and plenty of controversy (I’m looking at you John Travolta!).

The Red Carpet Observations

1) Does it matter who Kevin Hart brings with him anywhere?  All women tower over him.

2) Boyhood’s director Richard Linklater and supporting actor Ethan Hawke get early featured love by interviewers, and Hawke shows much more excitement and charisma than his director.  Perhaps Linklater is bracing for disappointment?

3) Dakota Johnson and mommy dearest, Melanie Griffith, are shown video footage of her years ago as a little girl at the Oscars in what I’m sure was #50shadesofawkward.  Thanks for the reminder of young innocence turn softcore porn, Mr. red carpet coverage man.  Lara Spencer’s follow up to push Melanie into watching 50 Shades of Grey made it even worse.  Is there some kind of bounty on Johnson and Griffith tonight?

4) Andy Samberg got invited to the Oscars?  I guess he can thank Adam Sandler for the invite?

5) Did everyone remember how Steve Carell was nominated for best leading actor for Foxcatcher?

6) Marion Cotillard is a beautiful woman, but she wasn’t wearing a beautiful dress.  #plainjane

7) Michael Keaton and Birdman director Alejandro Iñárritu seem to have a bit more positive energy about being present.  Too bad Keaton is dwarfed by Lara Spencer.

8) Rosamund Pike looks killer in that hot red dress of hers! 

9) Nice guy Eddie Redmayne admits to bringing the wretched British weather over to LA.  I appreciate the honesty.

10) I really like Anna Kendrick’s dress, but really, her look overall because despite her youth, she tends to give off a much more seasoned class to public appearances like this.

11) Lady Gaga fake holding an Oscar – yeah right.  Well, maybe I shouldn’t mock her seeing how they gave Cher an Oscar.  #anythingispossible  BTW, does she plan on doing some dishes tonight with those rubber gloves?

12) Jimmy Kimmel is dressing down for the Oscars.  #mailingitin

13) Wow!  What kind of future-alternative dress is Naomi Watts wearing?  I guess I like it, but wouldn’t figure her to rock that kind of look.

14) Chris Pratt’s a cool dude, but there’s no way anyone should be rebooting Indiana Jones for any reason.

15) Reese Witherspoon wants more questions asked to her on the red carpet other than the designer she’s wearing.  I respect that.  But, that goes away if Legally Blonde 3 is ever announced.  

16) Jennifer Lopez wearing a remix of the only kind of dress she knows how to wear: plunging v-neck down to her belly button.  #pass

17) What did Scarlett Johansson do to her hair???

18) Adam Levine still needs a shave.  You know, I heard Gillette is the best a man can get.

19) Taya Kyle is present at the Oscars representing Chris and American Sniper.  She’s still not sharing any proceeds of her husband’s book with the families of fallen service men and women like Chris had reportedly requested prior to his death.  #anymorelawsuitsagainstthekyleestate?

20) Faith Hill and Tim McGraw don’t look like Faith Hill and Tim McGraw.

21) Kerry Washington looks really cute tonight.  We need to see her in some more movies so hopefully Scandal won’t Black Snake Moan her from the rest of Hollywood.

22) Robin Roberts making an embarrassing moment with Captain America himself Chris Evans regarding his date wasn’t horrible, but never presume anything regarding the relationship between stars and their +1’s at these events.

23) Patricia Arquette seems a frumpy hot mess.  Didn’t she learn anything from Jack?  You gotta wear sunglasses if you do a line before sitting through the Oscars.

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And Now, the Show …

Oooo, Neil Patrick Harris starting off right away referencing the “white-washing” of this year’s nominations before launching into his introductory song and dance.  His impromptu duet with Anna Kendrick as Cinderella was a nice little surprise, but Jack Black’s interruption representing the cynicism of Hollywood wasn’t as satisfying.  I get that they were going for the magic vs. mud, but as far as opening musical numbers go, Hugh Jackman’s remains the gold standard.  Also, Anna Kendrick is a much stronger singer than Neil, so it was good, but not great.

Best Supporting Actor– J.K. Simmons for Whiplash – First award of the night is not a surprise by any means.  He was the hot choice for this category and I really liked his acceptance speech even if he kind of threw his own kids under the bus a bit.  Also, I liked Neil Patrick Harris’ State Farm Commercial reference to this victory.

Liam Neeson’s aside regarding the nominated films this evening and their separation from the blockbusters like comic book films irked me a tad.  I understand that he didn’t necessarily write the lines, but he did agree to read them, and it was somewhat hypocritical seeing how American Sniper was one of this past year’s big studio blockbusters.  Excellence achieved in blockbusters is no less prolific than those “worthy” of recognition by the Academy because people don’t just go to see those cinematic adventures because they’re fanboys and girls.  They go because those films are great fun, well, at least the good blockbusters are.

Chris Pine and J-Lo present best costume design.  You must hand it to this show for always being able to pair some of the most random duos. 

Best Costume Design– Milena Canonero for The Grand Budapest Hotel – Another disciple of Wes Anderson’s reaping the rewards of art house film proximity.  This was the year for indie films and Wes Anderson is a marquee champion of the little guys.

Best Makeup and Hairstyling– Frances Hannon and Mark Coulier for The Grand Budapest Hotel – The only thing that you could bank on in this category was that it wasn’t going to Guardians of the Galaxy for every reason I mentioned above.

Best Foreign Language Film– Poland’s Ida – This victory was obviously a surprise for the winner, but he sure didn’t run out of people to thank as he went well over his wrap up time and kept going, and going, and going, and going …

Tegan and Sara and The Lonely Island perform Everything is Awesome.  This might have been a highlight of the show for some viewers out there, but I would have preferred the song exactly how it was performed from the movie, minus The Lonely Island.

Best Live Action Short Film– Mat Kirkby and James Lucas for The Phone Call – Foreigners will have their moment on Oscar night!  Orchestra be damned!

Best Documentary Short Film– Ellen Goosenberg Kent and Dana Perry for Crisis Hotline – An interesting black, pom pom dress selection for one of these ladies.  It DOES take a lot of balls to wear it!  I respect them for being aware of very brief time to speak their acceptance.

Neil Patrick Harris may be in need of a little life preserver with his joke tie-in with David Oyelowo.  David’s reaction may have salvaged it, but a tidal wave of meh seems to be rising at this point in the show … and to get the energy back up, he shows back up on stage in tighty– whiteys with what I presume is a well placed sock.  Yes, acting IS a noble profession.  Thank you, Neil.  

Best Sound Mixing– Craig Mann, Ben Wilkins and Thomas Curley for Whiplash – Even more indie love for perhaps the most indie film amongst all of this year’s nominees.  This may go down as the most awkward acceptance 

Best Sound Editing– Alan Robert Murray and Bub Asman for American Sniper – This is certainly my first surprise of the evening because the indies were really putting the petal to the metal.  Winning a category like this might be an indicator for bigger victories for American Sniper because having “Academy Award winner for best Sound Editing” as the only label on the cover of this movie when it releases on retail would be awkward.

Best Supporting Actress– Patricia Arquette for Boyhood – Not a surprise here as she was getting the love for this win well before NPH (Neil Patrick Harris) started rehearsing for the Oscar show.  Patricia had some important things to say about wage equality for women.  I’m pretty sure what the world, not just this country, needs is wage elevation for the poor. 

Best Visual Effects– Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher for Interstellar – I honestly thought this was going to Dawn of the Planet of the Apes just for the Andy Serkis factor, but Chris Nolan’s overlooked space adventure comes away with a little hardware.

Anna Kendrick and Kevin Hart actually made a very cool pairing to present an award.  And yes, Anna IS bigger than Kevin.

Best Animated Short– Patrick Osborne and Kristina Reed for Feast – This animated short really was a neat, entertaining tale of a pet’s perspective of its master’s relationship gone wrong.  Thank you Dipson theatres for letting me see it before learning about it for the first time during the Oscars.

Best Animated Feature– Don Hall, Chris Williams and Roy Conli for Big Hero Six – Was anyone surprised at Fall Out Boy’s big comeback platform taking this category?  The country of Japan sure wasn’t as this film enjoyed a 6 week reign as #1 at the box office.  There was plenty of love for the Mickey Mouse corporation in this acceptance speech.

Best Production Design– Adam Stockhausen and Anna Pinnock for The Grand Budapest Hotel – Yet another slam dunk for the art house, Wes Anderson and style over substance. 

Best Cinematography– Emmanuel Lubezki for Birdman – Finally, one of the so-called considered favorites of the evening actually wins an award.  When you have practically zero cuts in your film, all you have is framing and camera work and that’s all cinematography baby!

“In Memoriam” sequence presented by Meryl Streep.  This is always a difficult moment during the show which is important for its recognition, but I’ve never understood why anyone in the live audience would applaud for some of the bigger or more popular names as if their passing was more tragic than any other.  They are dead.  They have not won an award.  So please, take this moment to be somber and respectful and keep your inner fan boy or girl in its seatbelt.

Best Film Editing– Tom Cross for Whiplash – The little film that could keeps racking up the victories.  If there wasn’t full on confirmation of indie love tonight by now, we are officially there now.

Terrence Howard’s presentation of Whiplash, The Imitation Game and Selma is the first live train wreck of the evening.  Travolta may be in the clear.  Could it have been drugs, alcohol, overacting, or perhaps he actually was THAT emotionally moved by the films he was talking about?  Terrence is a good actor, but he’s not that good.  Maybe he’s still pissed about being replaced by Don Cheadle as Rhodie’s War Machine?

Best Documentary Feature– Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky for Citizenfour – A documentary about shadow government and praise for Edward Snowden in Hollywood?  Good thing I discovered it existed in the first place tonight.  #wherearethedocumentaryscreenings

NPH may have completely redeemed himself with the “Benedict Cumberbatch is what you get when you ask Travolta to pronounce Ben Affleck.”  And THEN Idina Menzel presents best song WITH John Travolta and the two have awkward fun at each other’s expense.  I wouldn’t exactly call it one of Tosh’s “web redemptions,” but it comes really close.

Best Song– “Glory” John Stephens (John Legend) and Lonnie Lynn for Selma – First of all, who knew Common’s real name was Lonnie Lynn?  Common and Legend make a great acceptance speech regarding social justice.  We ARE an over-incarcerated country, so whenever I hear stories about American money (private or government) being exported for ANY charity reason, I ask why can’t that money stay to help people HERE in THIS country: the homeless, the poor, the disenfranchised, the uneducated, the hungry. 

Lady Gaga performing My Favorite Things and other songs from The Sound of Music does the legacy of Julie Andrews proud.  She produced a clean operatic voice for every ballad and kept it classy the whole way.  I must say this was a big surprise, but an even BIGGER surprise was Julie Andrews herself coming on stage to congratulate her.  As powerful as the performance of “Glory” was, this moment was easily the warmest and most emotional of the evening.

Best Original Score– Alexandre Desplat for The Grand Budapest Hotel – Wes Anderson acolytes know how to suckle from the power teet as this fine little hotel continues to rack up the gold left and right.  I personally would have liked to see this award go to Hans Zimmer for Interstellar because even if the audience got confused by the plot or the theoretical science, there’s no denying the emotion of his score.  The Academy sees it otherwise.

Best Original Screenplay– Alejandro Iñárritu and company for Birdman – I’d like to note how the director thanked his cast entirely by first name, except for “Mr. Norton.”  Hollywood likes a shiny mirror put up in front of itself; even if it isn’t pretty; even if it isn’t nice.

Best Adapted Screenplay– Graham Moore for The Imitation Game – This is a HUGE shocker!  And historians are rolling up their sleeves right now as this script was maligned for its historical inaccuracies.  I feel bad that Graham wanted to kill himself when he was younger, but if he wanted to make Alan Turing’s story about his sexuality, then he should have done exactly that from the first frame of the film and NOT slide it in at the very end as a footnote.

Best Director– Alejandro Iñárritu for Birdman – Major score #2 for Iñárritu.  With two major victories in the bag, is Birdman set up for a clean sweep the rest of the way?  This kind of film needs a director on cue and on his cast at all times because quite frankly, they were on, at all times.

Best Actor– Eddie Redmayne for The Theory of Everything – Eddie is gleefully enjoyed to accept this award and regardless of whatever politics were at work, or whoever’s “time it was,” no one could deny the power of his performance in this film.  It was transformative.  It was undeniable.  I almost thought Birdman’s momentum was going to carry Michael Keaton through to the other side, but Redmayne was both the unstoppable force and the immoveable object. 

Best Actress– Julianne Moore for Still Alice – One classy lady gives an equally graceful and humble acceptance speech.  She’s had an amazing career and gave an amazing performance in this film.  People had been talking up her victory for weeks

Best Picture– Birdman – And that’s all she wrote!  Check out my review right here if you possibly needed any additional reason to check this movie out.  It was fun, artsy, had social commentary and Michael Keaton maybe having real life super powers?  No one can be told.  You have to see it for yourself.

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Conclusion

Another successful evening of Hollywood showing the world how awesome it is all wrapped up and I must say that I was more surprised than not at the results.  I was surprised that The Grand Budapest Hotel and Whiplash won as many awards as they did, but I am absolutely stunned that pre-Oscar night darlings Boyhood and American Sniper took home only 1 award each!  Equally snubbed was Selma, but apparently the real reason for that was untimely logistics during the submission and campaigning process for the production.  Birdman deserved ultimate victory as it took a number of major categories, and it was just plain great in every aspect of filmmaking.  As for the Oscar show itself, yes it’s a LONG show, but Neil Patrick Harris did an adequate job as host with several moments of peaks and valleys throughout.  I wouldn’t say he surpassed Ellen in any regard, but I also wouldn’t say he is undeserving of a second opportunity next year or any other in the future.  I don’t disagree with any of the victors save for the firestorm that may culminate over The Theory of Everything’s victory for best adapted screenplay. 

As I’ve said in my reviews leading up to this night, this past year was an “indie” year and with that, “indie love” was certainly represented at the Academy Awards.  Despite this year being a down year in terms of tickets sold and money made, I felt this year’s nominees were superior to last year’s overall.  This coming year will be a big time comeback for Hollywood as The Avengers and Star Wars will almost exclusively make all the difference.  

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Yet, Another Wes Anderson Film

[Continuing our 2015 Academy Award Roundup]

A Film Review of The Grand Budapest Hotel

Hollywood is rife with reboots, remakes, adaptations and re-imaginations and despite some of these projects still making enough profit across the board to continue justifying that business model, audiences have all but fully accepted that originality in La La Land is dead.  This lack of originality cannot be said of Wes Anderson and his movies as this particular writer/director has effectively invented his own sub-genre of filmmaking that I would best describe as folk-comedy.  Of course, one only needs to watch but one Wes Anderson film to understand his style and eccentricity because it is carbon copied without fail in all of his pictures.  There isn’t a lot of action, there is plenty of narration, and there are whimsical selections of background music as well as a number of select Hollywood A-Listers that are apparently at Anderson’s beck and call whenever he’s written a new film.  Wes Anderson has made a career at crafting his own films, telling his own stories and essentially answers to no one and that’s the kind of autonomy most filmmakers in Hollywood secretly covet, yet are unwilling to make the compromises required to attain it.  The Grand Budapest Hotel is a Hollywood-ish production with the heart of an Indie, but viewers beware: Wes Anderson films are acquired tastes so if your idea of comedy is Will Ferrell, please look elsewhere.

The story of The Grand Budapest follows the exploits of Gustave H, the charming, womanizing concierge of the hotel whose dedication to his post would rival a clergyman’s.  He mentors and befriends the hotel’s lobby boy, Zero and the two proceed to get entangled in a murder mystery (of sorts) of an insanely wealthy and elderly woman whom Gustave was involved with sexually.  Mind you, this whole story is also being told as a flashback from the perspective of an elderly Zero who happens to be the current owner of the hotel in what is established as the present time of the film.  What starts off as a fairly mundane drama morphs into an absurd “whodunit” featuring some improbable twists of fate to further heighten the ridiculous series of events that appears to set Gustave up as the primary culprit.  This screen story isn’t some overdressed metaphor regarding today’s society nor is it some ambiguous commentary regarding the past.  There is no hidden agenda.  It is a simple, somewhat hilarious adventure that is about friendship and the special extended family that is the circle of premium hotels and their staffs.  This is a film that ultimately relies on telling the story to the audience through narration and dialogue as opposed to showing with action.  Prepare yourselves for this fact in addition to the eccentric formality of its delivery, further enhancing the overall absurdity which is never acknowledged by the film’s characters.

The Grand Budapest Hotel is not a film one could easily argue for as being “seminal” and if that is the case, one could also easily ask why this film is even in the final 8.  What I said in my review of Boyhood regarding this year’s Indie love applies to this film as well.  Big studio losses yield smaller films’ gain and although Wes Anderson films retain the spirit of true independence, there are a number of factors that clearly elevate their status to established studio productions.  A $30 million dollar budget, distribution through Fox Searchlight and a cast that includes Ray Fiennes, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Ed Norton, Tilda Swinton, Tom Wilkinson and even Owen Wilson – well, let’s just say that any Indie film would kill to have any one of these individuals, budget or distribution as part of its production.  Beyond these factors, The Grand Budapest Hotel belongs with the other nominees thanks to exceptional set design, cinematography, performances and ability to entertain.  Even if the scope of the film in question doesn’t have monumental questions about life to challenge, it doesn’t mean that simpler ideas cannot have an equally moving effect on the audience.

I mentioned earlier how the audience is in on the absurdity of this series of unfortunate events despite the ignorance of all its characters.  That’s where Wes Anderson’s sense of comedy originates, but the fact that his cast plays these events as seriously as a WW II drama (or thereabouts) is what allows the sophisticated banter throughout to not be misconstrued as a dainty passing of mere poop jokes.   Fully engaged and interested performances are had by all (including the previously mentioned A-Listers) which is essential to a Wes Anderson film.  Without this level of dedication, his movies become sub-pedestrian.  Unfortunately, the volume of big names afford little opportunity for most of them to shine within this narrative as Gustave and Zero hog most of the screen time. 

Tony Revolori generates a fine performance as the eager to learn and underappreciated lobby boy, Zero.  The audience certainly is introduced to the world of The Grand Budapest through his eyes as we learn what being a true professional in the hotel business is all about, along with some helpful tips to navigate some of the other tumultuous waters in life.  His character certainly starts off being very sheepish in relation to Gustave, but his character grows and the audience can appreciate his evolution into that of a peer.  The key to Revolori’s performance is maintaining a certain level of innocence about Zero, despite his experiences and moments of self incrimination.  After all, a lobby boy must know and learn at the same time so innocence in the face of intimidation is something we can all identify with.

This film, however, is all about Ray Fiennes and his quest for Oscar vindication.  Well, perhaps that’s being a tad overzealous because if Voldemort wanted such praise, he would command it via the cruciatus curse.  Seriously though, Fiennes approaches the role of Gustave with the same level of professionalism he applied at the Royal National Theatre.  Although this character isn’t nearly as appalling as a Nazi War criminal or as intriguing as a Count desiring to be euthanized (both roles he was nominated for in Schindler’s List and The English Patient respectively), Gustave allows Fiennes an opportunity to fully engage his own, personal charm.  Gustave’s arrogance isn’t too domineering, his attention to detail isn’t too obsessive and his appetite for wealthy hags isn’t too disgusting.  They are all just enough before crossing the line into the realm of the anti-hero with the help of one other area of motivation: his religious care and dedication for the hotel establishment in his charge.  Love for one’s job or profession engenders dignity and exemplary self-worth and this elevated demeanor is masterfully maintained throughout by Fiennes and it generates a healthy amount of charisma about him.  Gustave may have invited the negative attention he receives for sticking his nose where it doesn’t belong, but the audience cannot help but sympathize for him because he really doesn’t deserve it. 

Every scene in a Wes Anderson film is like a rectangle of framed art with live motion within.  Characters are constantly looking through the screen and at its audience.  Close ups are very intimate.  These scenes leave the infusion of meaning and beauty entirely in the eyes of the viewer.  This is the style of The Grand Budapest Hotel and although this film is entertaining enough featuring some excellent performances, I don’t expect this film to be a serious contender on Oscar night.  Ray Fiennes certainly has better odds at winning that elusive Oscar gold, but with very serious competition in the best leading male category from the likes of Bradley Cooper and Benedict Cumberbatch, it’s far too difficult to predict. 

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Growing Up Is Hard To Do

A Film Review of Boyhood

Greetings readers!  Hopefully you all had a good holiday season, but this is a new year and that means the Hollywood Award circuit is in full effect.  The Academy released its Oscar nominees few days ago to what seems like an absolute love fest for Indie films.  The bigger films starring bigger stars are low on this past year’s totem which can mean whatever you want it to mean, but when you look at the dollars and cents, it means 2014 was an off year for Hollywood.  According to boxofficemojo.com 2014’s domestic take saw 5.2% less gross than 2013 and about the same percentage was down from the number of tickets sold.  To be honest it’s not all about the money either.  There was no “absolute must-see for everyone;” no true juggernaut that people should be aware of.  So why not make it a year for the Indies to regain some prominence?  8 Films are nominated for Best Picture, and I will be reviewing them all for you right here at Cosmic Book News.  I’ve already done one for American Sniper, up next is Richard Linklater’s experimental drama Boyhood.

Right away, if you note some sort of a stomach turning sensation with the term “experimental” being connected to a movie then rest easy; it’s a natural response.  Thankfully this isn’t a film where the experiment at work isn’t self indulgence, hyper abstract imagery, elusive content or a mind-numbing thematic onslaught.  Linklater directs the same cast over the course of 12 years in blocks of real time to capture his characters’ evolution, but also the physical growth of his cast to further enhance the realism.  The narrative features a (surprise, surprise) coming of age tale of a young boy and his family amidst a bevy real life problems such as divorce, geographic displacement, alcoholism, bullying, peer pressure and parents trying their best to stay connected to their kids despite it all.  Although this film is billed as charting new territory in the depiction of childhood, it also happens to be a calculated examination that pays much credence to the perspective of parents.  Having also been written by Linklater, a personal touch of constant self reflection is apparent for most characters in every scene.  The pacing is deliberate to present some of the most sincere vignettes of family life caught on camera despite the film being a fictional narrative.  Like real life, this film isn’t always beautiful.  In fact, it’s mostly ugly and awkward, but at least it doesn’t look bad on the screen.  Worry not about home video style, handheld camera juggling.  The cinematography is smooth, classic and dramatic.  It prevents the dialogue from stealing the entire story, thus turning Boyhood into a really elaborate audio book. 

12 years is a long time to keep a film in production for, even at a part time rate.  Linklater and co. probably amassed a healthy amount of footage over that time period and this brings us to the first hurdle for the audience.  This film has a runtime of 165 minutes and you will feel that time pass all too well.  There are several moments in the plot where it felt like the drama would turn to heighten the danger as well as the tempo, but it never happens.  Perhaps this was done to mimic mundane life too closely.  There’s no question that a multitude of traps exist in life that can easily get small kids into big trouble, but to paraphrase Star Lord, if the kid really isn’t a complete dick (thank you parents), chances are they will veer from that kind of trouble.  The lack of any defined or constant threat to any protagonist will defang any plot and the reality of Boyhood as a cinematic journey is that it reaches a certain level of intimacy and intrigue early on and then plateaus. 

The various family crisis that are depicted in Boyhood never shows the audience any full and raw emotional outburst from anyone in the cast which further adds to the film’s overall monotone pacing handicap.  The reason for this is that the story is actually being narrated to the audience through passive observations by the main character: Mason Jr. played by Ellar Coltrane.  Right now, young master Coltrane is receiving much Hollywood love as his contributions are being hailed as “a breakthrough performance” and that would be correct if that description simply meant having a feature role in a film nobody saw coming.  His performance exists, but is exceptional in no way other than having one of those “different” Hollywood looks that is neither overly pretty nor unattractive to justify him being there in the first place. 

One of two explanations can account for this.  First, Linklater specifically directed Coltrane to just pretend his scenes and remember his lines (which is fine for him as a young child, but doesn’t fly at all when he gets older) or two, Coltrane doesn’t really have it; i.e. the screen presence, the charisma, the “it” factor.  Either way, Mason Jr. is our main character and he literally grows up for the audience onscreen from childhood to adolescence to young adulthood and the only thing he delivers is … the air of indifference.  Unless a child is being fed mescaline, there is no way any realistic coming of age tale can feature the absolute absence of anger, bliss or any other possible emotion between the two.  There is far too much neutered “whatever” attitude from Coltrane at every age that I simply stopped believing him as an actual participant in his own journey.  There are far too many opportunities for Coltrane to unleash some very real angst as his character is put through more than enough trials to justify a clear path to becoming a sociopath.  All things being equal, Mason is a pretty damn decent kid despite the circumstances and it actually feels weird.  The only rationalization the audience has for Mason Jr.’s relative sainthood is the imperfect, yet sincere and constant parenting at work during his life.

Anyone can notice the effect of a veteran actor that’s engaged with his or her character in just about any kind of film.  Such an effect is even more noticeable when veterans are matched up with complete novices as is the case between the adult and child cast members of Boyhood.  Not enough credit can be given to both Patricia Arquette and Ethan Hawke for their work as the mother and father in this production for it is every scene they share with their children (Mason and Samantha) that completely blows away every other.  These scenes make this film worth watching, period.  Any actor will tell you that a performance is based on a give and take relationship with fellow cast members.  Neither Arquette nor Hawke get much of anything from either Coltrane or Lorelei Linklater (Samantha) which requires them to “be the parent” for the film’s content as well as its context, but at least they take full advantage of their heavy lifting in each scene.  Arquette as the mom is the disciplinarian so there is a certain stern responsibility that goes into her character, but she accomplishes this without becoming a dictator which is thanks to her tempered balance with maternal concern.  This sincere balance is capable of masking both kids’ “deer in the headlights” demeanor as genuine moments of learning their lessons.  Hawke as the every other weekend father is the cool jokester who wants to befriend his kids as much as he wants to dish out legitimate street smarts.  His tact lulls the kids into pleasant comfort while still finding several moments to deliver important messages that transcend his own cavalier attitude and lifestyle. 

Boyhood is an exceptional family film despite being rated R for language and adult situations, but even those never get graphic (no nudity) or violent (no onscreen striking).  The content of the scenarios and the parenting dialogue take great pains to reproduce realistic situations that today’s families have to deal with.  Watching this can be as rewarding to children with the appropriate adult supervision as it obviously will be for adults.  The real trick is keeping everyone in the family in front of the screen before the credits roll because it is a slow moving picture.  If you are up to the challenge, you will be rewarded with an education into the modern family featuring a unique, real life development of its cast that is seamless in its transition between ages.  Perhaps this unique experiment regarding its production will be enough to win Oscar gold as the Best Picture, but limitations regarding its pacing and performances couldn’t make its chances better than any other for the win.  

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War.  War Never Changes.

It is Now; Always Has Been and Always Will Be Hell.

A Film Review of American Sniper

American Sniper, directed by Clint Eastwood, is a work of fiction despite being based on true events as described by the “American Sniper” himself, Chris Kyle, in his autobiography.  Characters will be treated as characters in this review, and any commentary regarding individuals does not refer to their real life counterparts.  The very real issues regarding modern warfare and society will be commented upon and taken as seriously as the film itself presents them.  I have not read Kyle’s autobiography so I will not comment on screenwriter Jason Hall’s reported “loose” adaptation of a book about someone else’s personal observations of their own life.  This film uses the iconic status of Chris Kyle as the deadliest sniper in American history to make some important commentary regarding any war’s effect on any soldier (even exceptional ones) and their families.  No soldier is immune from the harmful touch of war; not even “The Legend.”

The concept of “the hero” is as important to military recruiters as it is to movie makers as this film certainly lays the groundwork early for establishing Kyle as a gifted warrior for the sake of good (the sheep dog) and continues to build his “Achillean” altruism at various moments describing how he transitioned from civilian to soldier.  Hawks will love how this story makes the motivation for the soldier and potential soldier simple and uncompromising.  Someone sees something on the news or reads something online and it becomes personal, so much so that anger inspires vengeance and that leads to enlistment.  Such is the case for Kyle as his journey to weaponize himself in SEAL training is insanely difficult, but despite the adversity, he stares it down with another signature of the classic hero: a never give up, never surrender code of conduct.  But this screen story doesn’t sell out completely by romanticizing Kyle as the golden calf that belongs on everyone’s altar of American glory.  Every sequence where “The Legend,” Chris Kyle, aces terrorists in Iraq is followed up by “Lesser than the Legend,” Chris Kyle as he struggles to keep it together back home in between tours.  He’s despondent, disinterested, paranoid and losing every personal connection he has to his family.  This is the kind of balance that Doves would appreciate because as simple as the motives and rationale may be for going to war, the psychological fallout of such an experience is layered with complexity.  Kyle isn’t the sharp, charismatic, collected and concerned warrior/brother he was in Iraq.  He’s a man that has seen and done horrific things and slapping labels like “patriotism” and “freedom” to cover it up becomes a less and less effective means of compartmentalizing.

Still, this film favors the heroic Chris Kyle overall because it isn’t concerned with being critical of war as much as it is about being critical about how war changes soldiers.  It’s a shame that Eastwood did not take a more significant moment to make some commentary regarding an important part in the process of a soldier returning to civilian life whether it is permanent or in between multiple tours: psychological debriefing.  Every soldier goes through this process to some extent when coming home and most people don’t know much about it.  Soldiers who obviously needed more critical attention and therapy are the ones who come back and beat their wives, shoot their friends or commit suicide.  If we are to take this country’s less than stellar record regarding the physical care of its veterans as a measuring stick, one can presume that the resources available for helping soldiers work out the psychological hell they went through is equally lacking.  Chris Kyle is clearly depicted as a soldier who would have greatly benefited from more thorough debriefing, but this classic hero is capable of willful, self-healing as he gives back by helping other wounded and maimed warriors of the VA.  Please note: This is not an easy, sure-fire fix that works for every soldier.

Despite this film being a drama, it shows off a number of expertly shot and visually satisfying action segments.  The film begins with a number of tension building sniper sequences where Kyle stalks his prey through a magnified scope which are quite adept at allowing the audience to identify with Kyle’s inner turmoil over taking human life, especially for the first time.  However, the audience will not be kept in the bell tower for the duration of the film as Kyle gets down and dirty on the ground floor with Marines charged with clearing buildings, one of the most dangerous jobs for soldiers in an urban warfare environment.  Gunplay sequences are procedural, but acute, demonstrative and indicative of films more strictly devoted to explosions and body counts.  I won’t go so far as to say this film could teach the likes of Black Hawk Down a few lessons, but it certainly gets across the lethality of Navy SEALs as well as the contemporary American soldier in general.

Most of the cast puts forth very adequate performances to support the main character’s evolution and journey.  Sienna Miller as Taya delivers every wife of a soldier’s worst nightmare regarding the safety and return of their husbands from the brink of disaster.  However, this film makes no mistake regarding the singularity of its focus and it is all about Chris Kyle, or rather Bradley Cooper as Chris Kyle.  Cooper undergoes a significant physical transformation favoring a wider and buffer frame than the trim and defined body type he regularly sports.  He assimilates a Texan accent with acceptable fluency and does not break for the film’s duration.  As physical as Cooper is in his embodiment of Chris Kyle, it is his facial expressions that sell his performance.  The audience shares in Kyle’s horror at watching the Towers fall on the news.  We grate our teeth in his determination to become a SEAL.  We hold our breaths before he pulls the trigger.  And we are completely lost when he is unable to reconnect to anything real in his civilian life.  Bradley Cooper is an actor who has developed a reputation for really getting into and emotionally selling out his characters with consistency, reliability and superiority.  His interpretation of Chris Kyle is no different.  Whether “The Legend” is as close to “the reality” this film presents, Cooper’s Chris Kyle is a sympathetic character whose devotion to his personal mission of protecting his brothers in arms is as admirable as his complete disregard for his own family stateside is deplorable.  This is where Cooper’s acumen really shines through because he’s as devoted to showing a man being disintegrated by war as he is at producing G.I. Joe.  Bradley Cooper is every bit as classic as any other Hollywood leading man in history and his performance in American Sniper is a continued testament to that fact.

Clint Eastwood may be turning 85 years old this year, but his ability to direct a poignant and entertaining film is defying the physics of father time.  I have enjoyed a number of the films he has directed, but this is easily my favorite.  It’s got intellectual meat, visual eye candy and cultural significance.  All these things combined make it the clear cut leader for Best Picture at the Academy Awards, right?  Hold the phone.  There’s still a ton of Indie love for the rest of the nominees and in an off year for Hollywood, it might be too much of a taboo for a big budget studio film to walk away with the gold, especially when most of the contenders in every category is being maligned for what one could describe as a vanilla sky of alternatives.  American Sniper is not an easy film to watch because no matter how romanticized war can be, it’s still hell and this film has a number of absolutely gut-wrenching moments.  A number of films this year are worthy of my personal recommendation, but few are as accessible as this one.  Regardless of where your personal politics regarding the state of current American warfare stand, everyone can come together to acknowledge its brutal nature as well as its human cost.