Unbreakable

Not long after M. Night Shyamalan came out with The Sixth Sense, he filmed and released a movie in 2000 called Unbreakable. If you’ve seen The Sixth Sense, you will know that it has quite a reveal at the end of the film, and know that you never, ever, tell anyone the details leading up to the surprise ending. Unbreakable is like this. Don’t worry. No spoilers from me.

David Dunn (Bruce Willis) has been looking for a job in New York City, and is on the train on the way back home to Philadelphia to his estranged wife Audrey (Robin Wright), and his son Joseph (Spencer Treat Clark). The train derails in a tragic accident, and David is strangely uninjured, the only survivor.

Elijah Price (Samuel L. Jackson) is an art dealer, obsessed with comic books and all things in the superhero vein. He has a medical disorder that leaves him susceptible to serious bone fractures, and has had a physically excrutiating and miserable time his entire life because of it.

After the train crash is publicized and David identified as the sole survivor, Elijah contacts David and asks him if he has ever been sick. Thus begins the building of a tentative relationship between David and Elijah. As David remembers who he is through the questions that Elijah asks, and as he recalls unusual things that have happened to him in his life, his self-awareness builds. He lets Joseph in on his journey of self-discovery, and meanwhile Audrey decides she wants to make a go of it again with David, once so distant and untouchable.

What I liked a great deal about this film were the performances by Bruce Willis and Samuel L. Jackson. Bruce gives a nuanced performance as the depressed security guard searching for some meaning to his life, whereas, Samuel plays Elijah as a slightly crazed and frantic man almost stalking David around in desperation.

M. Night Shyamalan has come out with some interesting films since The Sixth Sense. I liked The Village. Lady in the Water was a little weird, but I appreciated it anyway, and reviewed the film on this blog, and Signs was absolutely terrifying. I heard Shyamalan has come out with a new film and wonder what he has in store for us this time. I have heard him interviewed, and he said Hitchcock was an inspiration to him. He takes the suspense and thrills in classic Hitchcock films even further, especially in the strong final reveal at the end of his films.

Unbreakable is rated PG-13 for mature thematic elements including some disturbing violent content, and for a crude sexual reference. I suggest that anyone who enjoys superhero Marvel comic films watch this subtle and engrossing mystery. Two men so opposite of each other that you will wonder what their connection is. Are they just ordinary men, or men with extraordinary gifts?

Have you seen Unbreakable, and what did you think of it? Comment below, and happy movie watching days.

Hancock

Hancock is not your typical superhero movie, but that is what made it so entertaining and charming.  John Hancock (Will Smith), is a dysfunctional superhero who terrorizes Los Angeles as much as he saves its citizens from the bad guys. I liked this film very much, especially as early on I knew there would be some kind of reveal happening midway, but I never predicted what the actual twist was.

Ray Embrey (Jason Bateman) is an ambitious public relations executive who wants to help change the world. His audacious suggestions to a pharmaceutical company for a branding campaign with a heart logo seems a bit over done, even to an optimist like me. The pharmaceutical company didn’t like it either. He has a son Aaron (Jae Head) and a wife Mary (Charlize Theron) and they live in a nice neighborhood somewhere in LA.

One typically busy California day, Ray gets stuck in horrible traffic, and making matters worse, on a railroad track. Hancock saves him from certain death from an oncoming train, and in the process causes a lot of damage to virtually everything close to the train and Ray’s car. Ray is now Hancock’s biggest fan, and explains to him how he can improve his reputation as a superhero. Citizens are as angry with Hancock as they are happy to receive his help. He drinks too much, is rude and vulgar, and causes a great deal of destruction to the city during his miraculous rescues. He needs a complete makeover.

Hancock ends up going to prison at Ray’s assurance that it will help in the long run in gaining the public’s confidence again. He actually begins to work on himself in therapy while incarcerated, and when the chief of police calls asking him to help them in a dangerous hostage situation, Hancock responds.

The film is rated PG-13 for some intense sequences of sci-fi action and violence, and language. Even superheroes have flaws is what this film seems to be saying, just like humans, and I knew we’d get to know where Hancock came from before the end of the film. It didn’t disappoint. Will Smith does a great job as always with his charm and the spot on comedic acting skills he’s delivered in so many films. Some of my favorites of his are Men In Black (1, 2 and 3), and Independence Day. He can play a good romantic lead too as in the very funny Hitch, and a more serious role as in The Pursuit of Happyness and Ali, both performances nominated for Best Actor at the Academy Awards. He’s one of the best actors of our day.

Jason Bateman is a good counter to Hancock’s dysfunction as he is one very upbeat person. And the mysterious Charlize Theron plays Mary as the sexy, yet restrained woman that Ray fell in love with, a good mother and wife.

Hancock is pure entertainment. I recommend it highly. I’ll be reviewing another atypical superhero film next time, Unbreakable.

2018 A to Z Challenge Theme Reveal

 

I’m excited to be participating in the Blogging from A to Z Challenge for a third year! This year I am continuing to review films that won Best Original Screenplay at the Academy Awards, with a few Best Adapted Screenplays thrown in, and even some that were nominated in the writing categories, but did not win. It’s really all about the alphabet when you do the Blogging from A to Z Challenge!

The list of films I’ll be reviewing include 14 films that won Best Original Screenplay, six that won Best Adapted Screenplay, one that was nominated for Best Original Screenplay, and five that were nominated for Best Adapted Screenplay. I’ll include links to trailers for these films for your viewing pleasure.

Check back on April 1^st for the beginning of the challenge and my first review!

Beauty and the Beast (2017)

Beauty and the Beast was nominated for two Academy Awards this year, but did not win. The nominations were for Best Costume Design, and Best Production Design. It lost to Phantom Thread and The Shape of Water respectively. The film is rated PG for some action violence, peril and frightening images.

I liked this mostly live version of the classic tale. I recall seeing the animated version of Beauty and the Beast way back in 1991 accompanied by a child who enjoyed it too. There were two teenage girls sitting nearby who were crying their eyes out at the end of the film. I thought it a little odd, as it wasn’t affecting me that way. But then I was an adult. The films were based on Jeanne-Marie Leprince de Beaumont’s 18^th century fairy tale.

Even though I am much older now, I thoroughly enjoyed this tale of a Beast under a wicked spell who cannot be changed until a lady loves him freely.

Belle (Emma Watson) is an independent young woman, living with her father Maurice (Kevin Kline). When Maurice leaves on business and does not return, Belle ventures out to find him. She happens upon the castle that holds the Beast (Dan Stevens) under his curse, along with all his servants who have been turned into normally inanimate objects that can now speak, as after all, they once were human.

The egotistical hunter and former soldier Gaston (Luke Evans) is intent on having Belle for his bride, and incites the villagers to go after the Beast with destruction on their minds.  The tension mounts as we wonder if the Beast will escape alive.

The sets and costumes were delightful, really well done and consistent to the era we are supposedly seeing in the countryside of France. It is a sweet love story after all, with Belle growing to like the ungainly beast, and he loving her in return. The music written by Alan Menken is really quite lovely, and the songs, lyrics by various writers, are sung well and add another dimension to the story.

Watching Emma Watson play Belle, I kept being reminded of Kristen Stewart who famously played Bella in The Twilight Saga films. Why this kept happening I’m not sure. Could be their looks, or perhaps their acting?

The ensemble cast that lent their voice talents to the servants cast under the spell along with the Beast included Emma Thompson, Ian McKellen, Ewan McGregor, and Stanley Tucci.

I watched Beauty and the Beast at home one evening when I needed something light and uplifting to raise my spirits, as there has been so much hate and negativity in the world lately. Maybe it is a fairy tale, and we all know just because a woman loves a flawed man he won’t miraculously turn into a nice guy for her affections. But then this is a fairy tale, a story that can give hope, and so for a couple hours that’s what we escape to. Hope.

Icarus

Icarus won Best Documentary Feature at the Academy Awards this year for producers Bryan Fogel and Dan Cogan. I found it an interesting title for a film that exposes the doping of Olympic athletes in Russia. (Icarus is the man in Greek mythology who flew too close to the sun, and plunged to his death.) The film is rated TV-MA, and I watched it on Netflix.

The film begins with a quote from George Orwell: “During times of universal deceit, telling the truth becomes a revolutionary act.”

Filmmaker Bryan Fogel has been an avid bicyclist for many years. He decided to see if his performance on a grueling cycling course through France would be improved by drugging up with testosterone and human growth hormone among other substances. He is subsequently referred to a Russian, head of the lab that tests for chemicals in athletes’ urine, Grigory Rodchenkov. He agrees to help Fogel with his project and the documentary is born.

Fogel and Rodchenkov develop a friendship while Rodchenkov gives him pointers on how to give himself injections and in what amounts to improve his athletic skills. Rodchenkov even tests his urine, as they would do in Russia. Sadly, all the drugs and training don’t seem to make a difference when Fogel competes in the race in France.

Rodchenkov though is willing to spill all about the systematic doping of Russian athletes, and thus continues this engrossing documentary. You need to sit through the early part where Fogel does his regime of therapies, and then the film turns into a sort of political thriller.

Interestingly, throughout the film Rodchenkov is reading George Orwell’s 1984 and referring to it as he describes his experience working for the Russian government. His role was to enhance athletes’ performance in a state supported doping program, and to then assist in a cover-up of what they were doing so that World Anti-Doping Agency (WADA) would not find out.

Icarus documents an expose of a program that has been in place for decades to enhance the performance of Olympic athletes of Russia. This ultimately led to Rodchenkov having to go into hiding at the recommendation of the United States Department of Justice.

I hope most athletes despise drug enhancements during competition. There should be an equal playing field just based on one’s strength and natural abilities. But when a political regime comes into the picture that wants to show superiority of their people, that’s when calculated deceit comes into play.

The documentary film itself was really well done. The cinematography and music in between actual interviews is beautiful, and keeps the viewer from becoming bored with straight question and answer sessions. I appreciated the film’s artistic quality that enhanced the entire experience.

The ending quote of the film is: “This film is dedicated to whistleblowers, who seek truth over consequences, and to clean athletes everywhere who choose to play by the rules.” I think you would find this an interesting documentary whether you follow sports or not.

Last Men in Aleppo

Last Men in Aleppo was nominated for Best Documentary Feature at the Academy Awards this year (lost to Icarus). The film is about the White Helmets, a group of men in Syria who scour the city searching for survivors after homes and buildings have been bombed. Unfortunately, they must also deal with fatalities, often of children and babies. The film was written and directed by Feras Fayyad of Syria, and co-directed by film editor Steen Johannessen of Denmark.

In 2017, a short film about this group of volunteer rescue workers called The White Helmets won an Academy Award for Best Documentary Short Subject. This recent award for a film about the group possibly contributed to why the feature film Last Men in Aleppo did not win this year. (Plus Icarus was an excellent film and deserved to win.)

Syria has been at war for over five years now, and the brave men searching for victims in the rubble at times despair of the West coming to help them. They face death and destruction by rebel shelling, and by Russian warplanes dropping bombs.

The motto of the Syria Civil Defense (White Helmets) is, “To save a life is to save all of humanity.” I don’t usually become political in my posts, but in this case I am going to provide a link to a website that will give you more information about the plight of the people in Syria. Here it is: Syria Civil Defense

I would be surprised if anyone could watch this film and not be deeply affected by seeing the death and fear on screen that these innocent victims live with on a daily basis. Humanitarian aide should not be dictated by politics or religion, but be given because we are all human. The White Helmets are unarmed and neutral and don’t see a difference between people. What some may label as an enemy is still a soul worth saving.

There is no sparing the viewer of Last Men in Aleppo of the death and injury sustained to civilians as their city is bombed. The men who seek to save them are relentless in removing rubble from the crumbling buildings to find even one survivor, while others choose to leave Syria, fleeing a war zone that grows more dangerous by the day.

Last Men in Aleppo won the World Documentary Grand Jury Prize at the 2017 Sundance Film Festival. The film is not rated. I watched it on Netflix. The film is really a historical document, like news coverage you might see on a quality news station, only longer. It’s mainly about the search and rescues, even though we see and hear the bombs going off and dropping throughout the city. It also shows the admiration the people have for the White Helmets, and their own struggle to survive in a city where resources are scarce.

I really don’t have anything else to add to my review here. The film’s images speak for the people of Syria.

90th Academy Award After Thoughts

I watched the Academy Awards with a friend a couple of days after the original telecast. Unusual for me, as I’ve watched this awards show faithfully every year for over two decades. But I opted instead to go to a live blues performance and skipped the Sunday show. Apparently others skipped it too, as the numbers of viewers were lower than normal.

I found the show to be respectful and dignified, not without humor, but with a certain serious note to it. Jimmy Kimmel was fine as host, and I liked they went to a theater where a sneak preview of A Wrinkle in Time was showing to honor moviegoers. Sweet.

As far as the awards went, I did okay with a few of my predictions. They were really more of a wish list for me, and I was not really surprised over some of the winners, such as Costume Design for Phantom Thread. I have yet to see it, but it is after all about couture.

Sound Editing, Sound Mixing and Film Editing won for Dunkirk. As Adam of The Academy Award Project says, war movies typically score in these areas.

Four awards for The Shape of Water, including Best Picture of the year were well deserved. I was happy Jordan Peele won for Get Out as Best Original Screenplay. Haven’t seen Best Foreign Language Film, A Fantastic Woman yet, but will do so, and look forward to Daniela Vega’s performance. Also will be seeing Call Me by Your Name, winning Best Adapted Screenplay for James Ivory at the age of 89.

What disappointed me was Frances McDormand winning for Best Actress. Seriously, Sally Hawkins deserved it. I read someone stole McDormand’s Oscar from her that evening. She got it back that night, and I quipped on Facebook that he stole it intending it go to its rightful owner, Sally.

I was turned off from the start by the trailer for Three Billboards . . . and after reading about the flaws in the writing of the screenplay, chose not to see it. I may never watch it. Too much violence, and not a good role model for the change we need to see in the world.

Her speech was interesting. I am all for women’s stories and screenplays to be funded and filmed, and then she brought up inclusion rider. This is a stipulation in a contract requiring a certain level of diversity among cast and crew.

I think there would be no need for an inclusion rider if more screenplays were produced and written by women of all ethnicities and about women’s stories. I think that would pretty much solve the issue of inclusion right off the bat. Where crew is concerned could be a different story and may be necessary. What we need is fewer superhero movies or war movies, etc. and more real human stories some examples of which were showcased this year with nominations.

That’s my take on the festivities. What do you think?

Lonely Are the Brave

I first became aware of Lonely Are the Brave, a 1962 black and white film, at the Hollywood in New Mexico exhibit at the Albuquerque Museum (the exhibit is no longer on view). I was intrigued by the story of cowboy meets modern day southwest, and the fact that the screenplay was written by Dalton Trumbo, a screenwriter I admire. The screenplay was based on the book The Brave Cowboy by Edward Abbey, and was filmed in New Mexico.

Jack Burns (Kirk Douglas) is a cowboy making his living herding sheep, and in between jobs he travels across the high desert to Albuquerque on his horse Whiskey. He is unhappy to find fences where there used to be none as he crosses the vast desert landscape. His world is changing. When he shows up at the home of Paul Bondi (Michael Kane) and his wife Jerry (Gena Rowlands), he discovers that Paul is in jail for helping illegals gain access to the States.

Jack decides to break Paul out of prison. Not a man to be deterred, he picks a fight in a bar with a one-armed man and eventually makes it into jail where he finds Paul. (Carroll O’Connor has a role as a truck driver coming from Missouri to New Mexico. You don’t really know his part of this tale until the ending.)

Jack plans a jailbreak, and some of the other prisoners escape with him. A manhunt for Jack ensues headed by Sheriff Morey Johnson (Walter Matthau). Deputy Sheriff Gutierrez (George Kennedy) is not happy about Jack’s successful escape from his prison, and hunts Jack as he travels up the Sandia Mountains on his horse Whiskey. I especially enjoyed the scenery of Albuquerque, as the film focuses heavily on the foothills and steep cliffs of the Sandia Mountains. That was one of the best parts of the film, seeing the Rio Grande, the skyline of Albuquerque circa 1962, and the canyons and arroyos of New Mexico, often from a bird’s eye view.

A thoughtful tale of the old way colliding with the new, I appreciated how Trumbo wrote the character of Sheriff Johnson who was played so well by Walter Matthau. Matthau should have gotten an award for his performance. He shows a compassion for the predicament of Jack, and even some admiration for what the escapee is doing in fleeing straight up over the mountains.

I recommend Lonely Are the Brave if you know the Southwest, particularly Albuquerque, and if you like good storytelling. The filming was really superb and my husband and I both marveled at how they made the action so suspenseful, and how dangerous it must have been to the performers and to the horse Whiskey!

Kirk Douglas approached Dalton Trumbo to write the screenplay as he had worked with him previously on Spartacus. It was a good choice as Trumbo was able to infuse the storytelling with an understanding of this good man caught between worlds as the times changed around him.

Predictions (or more accurately, wish list) of winners at the 90th Academy Awards

Inspired by a fellow blogger who posted his as well as his wife’s predictions, I could not resist making a few of my own. I am only going to share my thoughts on categories where I’ve seen at least three of the five nominated films (or two of the three nominated in one category). It was difficult to pick in some cases, kind of like choosing apples or oranges. But here are my preferences for the win.

Original Screenplay: Get Out

Jordan Peele wrote a tight, well-constructed screenplay melding social commentary within a horror genre, with just the right amount of humor thrown in now and then to lighten up the darkest moments.

Animated Feature: Loving Vincent

When an entire film is painted and then animated, well you can’t get better than that. And the story of the last days of Vincent Van Gogh was touching.

Production Design: Beauty and the Beast

For lavish and magical sets, this film wins hands down.

Makeup and Hairstyling: Darkest Hour

He looked like Churchill.

Film Editing: I, Tonya

That wasn’t really Margot Robbie doing those triple axels. But it sure looked like she was jumping and skating like Tonya.

Documentary Feature: Icarus

An interesting expose into the doping within sports, most notably Olympic athletes by the Russians, this is a well-done documentary that plays like a thriller.

Costume Design: Beauty and the Beast

Great costuming, and so many different styles of dress really helped tell the classic story.

Director: Guillermo del Toro, The Shape of Water

He made this monster movie that is so much more fit together perfectly.

Cinematography: The Shape of Water

Beautiful visuals, from the opening scene to the last.

Supporting Actress: Laurie Metcalf, Lady Bird

A nuanced performance of a demanding mother with heart not quite ready to let go.

Actress: Sally Hawkins, The Shape of Water

The range of emotion she gives in this superior film is extraordinary. And without talking. Wow.

Picture: The Shape of Water

This is the one that will be remembered for years to come, and watched again and again.

Who do you want to win in your favorite category?

Enjoy the Awards show, and I’ll post again later in the week.

Get Out

Although I had heard some things regarding the Academy Award nominated film Get Out, I wasn’t really all that well informed about what the movie was about. Described as horror-comedy and social thriller, it is everything this type of film should be: a knuckle biting, writhing in your chair experience, with you and your fellow moviegoers whispering, “Get Out” as the film progresses. The film is rated R for violence, bloody images, and language including sexual references.

Chris Washington (Daniel Kaluuya) is an African-American photographer who has been dating a white woman, Rose Armitage (Allison Williams) for four months. She insists on taking him to her parents’ home in the secluded countryside for a weekend.

Things are strange right from the start of Chris’s visit. Rose’s father Dean (Bradley Whitford) and mother Missy (Catherine Keener) seem typical parents, kind of clueless as to how their conversation and actions may be perceived by Chris. Their live-in help are even stranger: two African-Americans, Georgina (Betty Gabriel) and Walter (Marcus Henderson) who are just plain odd. Chris is an observant young man and notices the incongruent behavior immediately.

Chris has a friend who works for the TSA, Rod Williams (LilRel Howery), who had warned him prior to his leaving the city not to take this trip. The situation at the Armitage estate becomes crazier and crazier, and eventually the sheer terror of Chris’s situation takes hold of him. These people are up to no good.

Get Out has been nominated for four Academy Awards: Best Picture, Best Director for Jordan Peele, Best Actor for Daniel Kaluuya, and Best Original Screenplay, written by Jordan Peele. As a first time director, Mr. Peele did a fantastic job. He also did a fantastic job writing the screenplay; it is so tight and well thought out, and I really admired it. There is just the right amount of fear and comedic relief in this horror story. His vision to show what it is like for African-Americans, the stereotypes and the actual harm others can wish on them, is shown here along with the more sci-fi aspects of this very evil family Chris finds himself stuck with for the weekend.

The film had a kind of feel I recalled from seeing The Stepford Wives long ago. Walter and Georgina, and a guest at a party the Armitage’s host particularly had that same vacant expression on their faces, which really made me wonder what was going on. When it is revealed what this family is doing, it was truly horrific.

I saw Get Out in the theater and enjoyed my fellow movie lover’s reactions. We were all held glued to the screen by this story. All the actors did a marvelous job at their really quirky characters, and I especially enjoyed the performance of LilRel Howery who played TSA agent Rod. Will Chris get out okay? And will Jordan Peele or Daniel Kaluuya get out of the Academy Awards ceremony with a coveted award? Watch and see for yourself.

The Post

Nominated for Best Picture at the Academy Awards, The Post is a fine example of what film can be: educational, thought provoking, historical, entertaining, and all without gratuitous violence.

This film is based on the true story of the unfolding of events in the early 1970’s when The Washington Post received stolen government documents that had been laboriously photocopied and would come to be known as the Pentagon Papers. They were volumes of top-secret files outlining the deceit that occurred within the U.S. government to prolong the Vietnam War, a war that could not be won.

Over 50,000 American servicemen and women died during this ill-fated conflict, including a cousin of mine that is a bitter and traumatic memory still today for me. I had to witness his burial at the tender age of a high school freshman. It made me the anti-war/pro-peace person I am today. But enough about me.

The publisher of The Washington Post, Katharine Graham (Meryl Streep), came into her position after the untimely death of her husband. Her right hand man is Ben Bradlee (Tom Hanks), a rather irascible and keen editor who has the trust of both Katharine and his employees.

Journalist Ben Bagdikian (Bob Odenkirk) gets a lead on obtaining the government documents, and when The New York Times is censored by the Attorney General’s office from publishing them, the caretakers of the purloined papers, who believe it is necessary to make them public for the good of the country, contact Bagdikian.

The decision of whether to publish this information is not taken lightly. The press and national government are closely linked. They are shown celebrating each other’s birthdays and retirement, and dining at expensive restaurants together. They are friends and colleagues. Katharine really agonizes over this decision as she and others could be jailed for printing it.

She also has to overcome the distrust of male colleagues and superiors in the company, as this is after all the 1970’s, and she is the first woman to serve as CEO of a major newspaper.

I enjoyed seeing the actual newspaper come to print, including the focus on the typesetting procedures, something that is no longer used today. Technology has certainly advanced quite a lot in the last four plus decades.

Similar to Best Picture winner Spotlight (2015), journalism and its value to the public interest is a focus here. Steven Spielberg does a fantastic job keeping the forward motion of the story going. Meryl Streep is unlikely to win for Best Actress, as there are some great performances by women at the Academy Awards this year. Bob Odenkirk, from Breaking Bad and Better Call Saul fame, is cast well as Bagdikian and plays his role brilliantly. Liz Hannah and Josh Singer wrote the screenplay. Josh  co-wrote the screenplay for Spotlight, for which he won Best Original Screenplay at the Academy Awards. The Post is a great film and one I hope you’ll watch. It is rated PG-13 for language and brief war violence.

Abacus: Small Enough to Jail

Abacus: Small Enough to Jail is nominated for Best Documentary Feature at the Academy Awards. Remember that financial crisis that happened back in 2008? When the financial institutions committed financial crimes and mortgage fraud that affected an astounding number of people in America? And how not one of the banks or its employees were brought to a reckoning for what they perpetrated, much less had to face consequences for the crimes?

Ah, but there was one bank that was prosecuted: Abacus Federal Savings Bank in Manhattan’s Chinatown, New York City. This film is the story of that trial and subsequent outcome.

Thomas Sung came to America as an immigrant, as did many Chinese who settled in this case in New York City, making a community for themselves not unlike what was the norm in their villages in China. Mr. Sung was a well-educated attorney, and decided that in order to help his community, he will open a financial institution, Abacus Federal Savings Bank. (An abacus is a type of calculator that was used in China before the advent of computers.)

Unfortunately, Mr. Sung has a few employees, and one in particular, who is unethical and is seeing to it that those applying for home loans are approved even if they are not really qualified. Just like all the other banks are doing during the same time period. The difference is, Mr. Sung doesn’t know about it. When he and his daughters, Jill Sung and Vera Sung, who both work at the bank, discover it, the employee is promptly fired.

But the District Attorney’s office brings them to trial anyway, in a blatant racist move. Coincidentally, his third daughter has been working for the DA’s office and resigns when the conflict of interest becomes evident.

I thought that the filmmaker, Steve James, did a good job of explaining complicated financial matters in an engrossing manner, as well as showing the trial progress through artist drawings sketched after the fact. Mr. Sung, his wife Hwei Lin, and his daughters appear in the film, as well as people from the DA’s office, which was surprising. Guess that office hoped to vindicate themselves for actions taken.

Why should you watch this film you may ask? Just to get incensed all over again about the way financial institutions gutted the savings and foreclosed homes of people they never should have approved in the first place? Not just that. Abacus: Small Enough to Jail is a fascinating look at a part of New York City where hard working immigrants do their best to survive in a community that is perhaps more closely knit than any other you may find in America. Everyone knows everyone else here it seems, and you can’t say that for most people living in bedroom communities across America.

Still the prejudice and labeling that went down in this investigation and subsequent court trial when no other banks were prosecuted is shameful. America has a long way to go. Start with your vote.

The Breadwinner

The Breadwinner has been nominated for Best Animated Feature Film at the Academy Awards. The screenplay was written by Anita Doron and Deborah Ellis, and is based on the children’s novel, The Breadwinner, by Deborah Ellis. The film is rated PG-13 for thematic material including some violent images. The dialogue is in English. Angelina Jolie was executive producer for this thought provoking and visually striking film. An engaging story, it is about the life of a young girl, Parvana, living with her family in Afghanistan.

Parvana is an 11-year-old girl growing up under the Taliban in 2001. Her father is wrongfully arrested and taken to prison, and this places her mother Fattema, sister Soraya, and baby brother in peril without a man to provide for them. Parvana is ridiculed and threatened by neighbor boys, especially after her father is taken away. She serendipitously meets a friend, Shauzia, who has changed her identity to that of a boy and has become streetwise. Shauzia is willing to help Parvana with a similar deception. Women are not to appear in public without a male, and Parvana finds a way to navigate the job she takes on as breadwinner by cutting her hair and dressing as a boy. She is emboldened by the freedom this gives her.

Within the film is a mythical tale running parallel to Parvana’s story. She tells this story in pieces to her baby brother. Filled with beautiful, evocative imagery, the story Parvana tells her brother and really herself, adds richness to the very real situation that she encounters with no father to care for them. The mythology is really about childhood empowerment, and is a tale she had heard from her father about a boy who seeks to recover the stolen seeds of his village from the Elephant King. There is much danger along the path of this boy’s journey as he tries to retrieve what are rightfully the village’s seeds for the future, much like it is for Parvana, who decides to go to the prison where her father is held and ask for his release.

The story brought to mind another film where a female impersonates a male. A woman yearning for knowledge in a culture that does not support education for women, Yentl dresses as a man in order to study with other scholars and experience a freedom women could not. The film is Yentl with Barbara Streisand in the leading role, and is a tale that takes place in Jewish culture.

The Breadwinner is also in another culture that you might say is quite different from American culture and Christianity. I think it is good to hear these types of stories as it helps us understand other cultures and shows the similarities especially in women’s lives under the subjugation of men, and the discrimination that occurs. Also significant is the part of the story about people just trying to live as a family caught between empires fighting for dominance. I recommend The Breadwinner to you.

Victoria & Abdul

Victoria & Abdul is a historical and biographical drama about Queen Victoria and her friendship with a young Indian clerk, Abdul Karim. It was nominated for two Academy Awards for Best Costume Design, and Best Makeup and Hairstyling. The film is rated PG-13 for some thematic elements and language.

Queen Victoria (Judi Dench) is in her 80’s, and has recently become Empress of India as her empire continues to expand. In 1887, two Indians from Agra are summoned to England to present the Queen with a mohur, which is a gold coin that has been minted in India to honor the Empress. Abdul Karim (Ali Fazal) is excited to be sailing the oceans on an adventure, whereas his companion Mohammed (Adeel Akhtar) is less than thrilled.

The subsequent ceremony to present the Queen with the mohur is really something to be seen. Victoria is charmed by Abdul’s innocence and allegiance to her, and they become friends at her insistence. She asks him to remain in England to teach her Hindi and the Qur’an. He insists that to learn Urdu is more suited to someone of her standing, and the Queen proves to be an apt pupil, to the consternation of her staff, advisors, and son Bertie, Prince of Wales (Eddie Izzard). She practices penmanship, speaking the Urdu language, and reading the Qur’an. She refers to Abdul as her Munshi, a term used for native language teachers at that time.

The film shows us the prejudice and racism that prevailed at the time of the occupation of India by British troops. Abdul is not just Indian, he is a Muslim, and is scorned, plotted against, and the Queen’s staff threatens to walk out if he remains on site. Her advisors would like to prove she is insane, which she most definitely is not. Abdul remains devoted to the aged queen until her death.

Stephen Frears, who also directed Philomena, The Queen, and Dangerous Liaisons, directed Victoria & Abdul. The screenplay was written by Lee Hall, and was based on the book by Shrabani Basu. Ms. Basu discovered the hidden friendship between the two unlikely companions during a visit to the Isle of Wight’s Osborne House, where she noticed a portrait of an Indian servant in the Durbar Room that did not appear to be the likeness of a servant. She began research into who Abdul Karim really was, and what he meant to the Queen. She wrote Victoria and Abdul: The True Story of the Queen’s Closest Confidant after four years of extensive research.

These stories are essential to tell as we come to terms with empire, and the accompanying subjugation of native peoples that has occurred throughout recorded time. I enjoyed this film, and learning about Ms. Basu’s dedicated search for the truth about Victoria and Abdul. Here is a link to an excellent article about her search for the truth: http://time.com/4941313/victoria-and-abdul-true-story-shrabani-basu/ I hope you enjoy Victoria & Abdul and the history behind the film as much as I did.

Dunkirk

Dunkirk has been nominated for Best Picture, Director, Cinematography, Film Editing, Original Score, Production Design, Sound Editing, and Sound Mixing at the Academy Awards. There are no acting nominations among these, and that’s because this is a war movie with lots of action and sometimes long drawn out scenes of waiting. Waiting to see if a soldier will escape detection by the enemy, waiting to see if the boats sailing across the English Channel will arrive in time to save the Allied troops, and waiting to see if any RAF pilots will prevail in the skies over the Germans. The historic evacuation of Allied soldiers from certain death by the Nazis, who have them surrounded and pinned in on the beach, occurs in May 1940.

The film is rated PG-13 for intense war experience and some language. I will first provide you with a few pointers to make your viewing of Dunkirk, if you haven’t already seen it, more enjoyable and less frustrating for you.

Number one: Turn on the subtitles on your TV. I am shamefaced to admit that I have difficulty hearing what British actors are saying due to their accents. Additionally, with the near constant drone of airplanes, boat engines, and screaming men, I had trouble hearing the dialogue. You will thank me for this tip if you’re watching the film at home.

Number two: At the beginning of the movie, the “Mole” is referred to. I looked this up and the mole is a long concrete jetty that protects a beach. It is not referring to a spy. Knowing this helps you understand what Commander Bolton (Kenneth Branagh) is talking about when he describes the difficulty of getting any large craft close enough to shore to take on any men. The Nazi bombing had rendered the harbor useless, and the only way large ships could get close enough to shore to rescue anyone was by sidling up to one of the two moles.

Number three: The film alternates between three points of view during the relatively short time of the Dunkirk rescues. These are labeled at the beginning of the film. The “Mole” scenes on the beaches of France take place over the space of one week. The scenes at sea where the British civilian craft are deployed to rescue the troops encompasses one day. The planes flying overhead take one hour. If you understand this when you watch, you can see how these three points of view move forward to meet near the end of the film.

I liked Dunkirk. The writer/director Christopher Nolan did a good job showing what it may have been like for the three groups of men, and a few women who were nurses or were on board some of the ships that came for the rescue. The musical score with its percussive tones, composed by Hans Zimmer, accompanied the film’s action well. It is a different type of war movie, in a good way. I recommend that you see Dunkirk.

Journey to the Center of the Earth (2008)

My husband and I watched Journey to the Center of the Earth (2008) recently. It was such a fun movie! I enjoyed that this was a film virtually without violence, and especially that there was no violence perpetrated from human to human. It is rated PG for intense adventure action and some scary moments.

Trevor Anderson (Brendan Fraser) is in charge of his 13-year-old nephew Sean (Josh Hutcherson) for ten days while his sister-in-law Elizabeth (Jane Wheeler) prepares to move to Canada. Trevor is a scientist and volcanologist, and his brother Max (Jean Michel Paré), Sean’s father, disappeared when Sean was three years old, presumed dead.

His lab on the chopping block due to reduced funding, Trevor is none too happy about it. He is tracking seismic activity and when Sean notices that there are four locations around the world where the seismic sensors are still working, coupled with Trevor discovering the book Journey to the Center of the Earth by Jules Verne in a box of Max’s things that Elizabeth gave him, he decides to fly to Iceland to investigate. Sean insists on accompanying his uncle.

They are in search of a Professor Ásgeirsson who is also a volcanologist. Instead, they meet the professor’s daughter Hannah (Anita Briem) who is a mountain guide. She clues them in to the fact that Max was a Vernian, as was her father. A Vernian is someone who believes Jules Verne’s world as depicted in Journey to the Center of the Earth was fact and not fiction. An accident involving lightening and the collapse of a cave leads the trio eventually to a fissure in the cave where they fall seemingly endlessly into the center of the earth.

This film is a good one for tying up the loose ends when a family member, especially a brother and a father, is lost. Grief is an issue that is dealt with, and moving on, finding one’s strength and destiny is another. All three of the travelers must work together and come up with ideas to rescue them from certain death in the center of the earth. When the temperature gets too high, they will suffer from dehydration and never return to the surface. This is where the action adventure really gets intensely underway, and it is immensely entertaining. I especially enjoyed the ingenuity of each of the characters to find a solution and a way out when it appears next to impossible.

I enjoyed this world inside the earth. Such a fantasy with dangers around every corner, and some of it was depicted as truly beautiful. There’s humor too as the journey progresses, but also heart stopping action adventure. It’s a very pleasurable film to watch.

Jules Verne published the science fiction novel, Journey to the Center of the Earth, in 1864. It captured the public’s imagination quickly. There have been films made in 1959 and 1989 based loosely on the book. This version is not a sequel, but rather stands on its own.

The Boss Baby

The Boss Baby is nominated for Best Animated Feature Film at the Academy Awards. I enjoy a good animated film from time to time and watched it one night when I just wanted to be entertained and not think too much about anything.

This was a good story, and one that both adults and children may relate to. It is rated PG for some mild rude humor. How babies arrive on earth in this story is not quite as crazy as the stork bringing them in a folded diaper, but it is still of course a far-fetched scenario, updated for today’s technology inundated public. Babies are sent to earth if they are deemed to be family types, and the ones who are not become “management.” Such is the fate of Boss Baby (Alec Baldwin) who arrives in a taxi at the doorstep of the home of the Templeton’s: Dad (Jimmy Kimmel), Mom (Lisa Kudrow), and Tim (Miles Bakshi). (Tobey Maguire is the voice of adult Tim and the narrator of the story.)

Tim has had his doting parents all to himself for seven years, and is not exactly excited about having a little brother, especially one who is as demanding and time consuming as indeed all babies are to start with. He discovers that his brother is a baby when Mom and Dad are around, but the Boss Baby comes out when they aren’t looking, complete with a mission to execute on earth along with the help of five other babies living nearby.

The evil CEO Francis (Steve Buscemi) of Puppy Co, coincidentally where both Mom and Dad work, has a dastardly plan to scientifically give a formula to puppies so that they will never become adult dogs! Horrors! That way, babies will become obsolete, because who doesn’t love a puppy? Forget babies! I told my husband about this plot twist and he also thought it very funny (although he did not watch the film with me). Babies on one side of the scale, puppies on the other side? Which would win out? Really close call here.

So it is up to Boss Baby, his five cohorts and Tim to save the day and make sure that the puppies don’t get that magic formula. Otherwise babies on earth are a thing of the past. Oh no!

You can probably tell that I am amused by this story line, but what is really poignant is what both Tim and Boss Baby learn about themselves through this shared experience. Being brothers is not easy, being sisters is not easy, and I think that children may empathize with these characters, as they are parts of a typical family, one that grows and works together.

It was really a sweet story, the casting of the voices for the characters was spot on, and the magical fantasy nature of the film really worked. Allow the inner child in you to have some fun with The Boss Baby, and watch it while it’s still readily available.

Breakfast at Tiffany's

I recently watched a documentary called Crazy About Tiffany’s. It was about the history of the famous jeweler in New York City. The film featured a few clips from the 1961 film Breakfast at Tiffany’s. If I had previously seen the film, I didn’t remember much about it, other than Audrey Hepburn is impossibly skinny and beautiful and has a cute accent.

So I watched Breakfast at Tiffany’s late one night. Holly Golightly (Audrey Hepburn) is a free spirit living in New York City, set on landing a rich husband. She appears to get most of her money for her modest apartment from escorting wealthy men about town.

Paul Varjak (George Peppard), a writer, moves into her building and they immediately strike up a friendship, mostly on behalf of Holly, but Paul soon falls in love with her. I think that if the movie was made today, it could lose some of its charm. There is no sexual activity in this beautiful film, other than oblique references. Paul also makes his money off of hiring himself out you might say, and his patron, Mrs. Failenson (Patricia Neal) pays him generously. She believes in his abilities as a writer, and he has even had something published, which he shows off to Holly during a trip to the library.

Holly has a past that becomes clear when her husband Doc (Buddy Ebsen) arrives and asks her to come home. Holly will have none of this, preferring to live day-to-day with her cat, and hosting crowded parties for a jet set she has inserted her way into. One of the funniest scenes is a party in her tiny apartment. Seeing how many people can drink and dance in such a small space is priceless.

Something I took offense to, however, is Mickey Rooney playing Mr. Yunioshi, a neighbor in Holly’s building. They should have had an Asian play this role. It was insulting to watch.

Paul and Holly are alike in that they are dreamers of a better day each in their own way. Breakfast at Tiffany’s is based on a story by Truman Capote and directed by Blake Edwards. It won two Academy Awards: Best Musical Score and Best Original Song, Moon River, for Henry Mancini (lyrics by Johnny Mercer).

Getting back to that glittering documentary Crazy About Tiffany’s, the history of this jeweler is fascinating. The marketing that was mounted was extremely successful, largely due to the designers, especially one who did the display windows on the street. At one point, a current designer sits next to a worker assembling the priceless jewels that sell for literally thousands and hundreds of thousands of dollars. She focuses on asking him about the pride he takes in his work. It is not mentioned what this man’s salary is, or what his benefits are, etc. Probably not very good. I’m cynical I guess. Despite all that, when I travel to New York City, I will waltz into Tiffany’s for a look around, just because.

Corrina, Corrina

Corrina, Corrina is a lovely comedy drama romance from 1994 that my sister shared with me while I was visiting her. It is one of her favorite films, and I now understand why. The film can be considered a period piece, as the setting is Los Angeles in 1959. It is rated PG for thematic material.

Manny Singer (Ray Liotta) is a working father attempting to raise his only daughter Molly (Tina Majorino) after his wife unexpectedly passes away. He is forced to hire someone to look after his little seven-year-old girl who has understandably taken her mother’s passing very hard and is refusing to speak. After interviewing several candidates who are unsuitable for the important job, and burning through trial runs from some really horrendous women, most notably Jonesy (Joan Cusack), Corrina Washington (Whoopi Goldberg) arrives on the scene for her chance at the job.

Initially unimpressed, Manny notices that she has a way with Molly that the little girl responds to. No one else has been able to begin to penetrate the grief that Molly remains in, and Corrina is hired.

Now 1959 is squarely in the beginnings of the civil rights movement, and unfortunately, there is still a lot of prejudice in the city of angels. Despite the odds, Manny and Corrina develop some affection for each other, feelings they are mightily trying to avoid, as the days turn into weeks with her daily presence in the home.

The costumes and settings for this era are very well done, and the acting is great, with good chemistry between Corrina and Molly and between Corrina and Manny. Ray Liotta plays his role well, and really, who could resist those blue eyes and that shy smile he is known for?

Molly gets a glimpse into the lives of black families in LA as Corrina totes her around with her instead of going to school, a choice that ends up placing her in estrangement from Manny, who was not consulted on this important decision.

The dialogue is spot on and makes the story believable. Manny and Corrina like a little bit of jazz, and this makes the selections for the soundtrack wonderful. The film was written and directed by Jessie Nelson. I’d like to see other films by her, one of which is Stepmom that I’m told is quite good. Don Ameche has a small turn as Grandpa Harry. It was the Oscar winner’s final film prior to his death.

This is a heartwarming film, one that I think you would find entertaining and thought provoking. How far have we really come in these last nearly six decades in terms of race relations in America? I think not quite far enough; there always seem to be more steps to take for equality and understanding to really develop and take hold. Corrina, Corrina is an example for how to treat people and mend bridges, a fine example for our present days, and a sweet romantic comedy for a night at home.

The Big Sick

The Big Sick is a semi autobiographical film written by stand up comedian Kumail Nanjiani and his wife Emily Gordon. The film is rated R for language including some sexual references. The Big Sick received an Academy Award nomination for Best Original Screenplay, a well-deserved honor.

Kumail (Kumail Nanjiani) is a Pakistani man driving for Uber in Chicago and doing stand up comedy at night. He has a close knit family, direct from Pakistan, and a circle of comedian friends. He meets Emily (Zoe Kazan) one night at the comedy club, and they are quickly attracted to one another.

Kumail is reluctant to tell his parents that he is dating a white woman, as they are intent on marrying him off in an arranged marriage that is the Pakistani way. Kumail wants nothing to do with this, not even before he has met Emily. Despite their growing affection for each other, Emily realizes that Kumail will not be in her future plans, as he simply cannot see himself ever introducing her to his family.

A turn for the worse occurs when Emily falls ill and is hospitalized. Her condition is very grave and she is placed in a medically induced coma. Kumail was there when this all occurred, and summons her parents to Chicago.

Terry (Ray Romano) and Beth (Holly Hunter) have heard all about Kumail from their daughter, who apparently keeps nothing from them. They are initially mistrustful and dismissive of Kumail, but he sticks around, realizing that he deeply cares for Emily and cannot leave her when possibly at the verge of death.

The three develop some respect for one another as their vigil continues, and eventually Emily’s parents disclose all sorts of intimate details of their life to the captive Kumail. Ray Romano and Holly Hunter are well cast for their roles as the distraught parents not knowing when their daughter may make a recovery and be healed.

The film reminded me of My Big Fat Greek Wedding in that there are cultural differences between the families depicted within both films. Both were created and filmed on fairly low budgets, and both did fantastically well financially at the box office. These little films, based on the realities of families from different cultures, resulted in big draws for moviegoers who want real stories about really serious issues, but delivered with some comedy now and then for a breath of fresh air.

I really liked this film. It held a taunt line between the scariness of Emily’s mysterious illness, comedic moments (as a crisis tends to make people kind of crazy), and really heart wrenching drama between Kumail and his parents.

Kumail is particularly aggrieved at the prospects of his family disowning him should he not toe the line and marry a woman who is also Pakistani. How he makes his decision, and whether Emily will live through her illness are something you will have to see for yourselves. I highly recommend The Big Sick. Have a tissue handy.

I, Tonya

Child abuse, domestic violence, mental illness, personality disorder, and a gift. This is the subject matter of I, Tonya. I watched with fascination as the dysfunctional life of Tonya Harding unfolded on the big screen. Once upon a time I was a therapist, and I guess I still hold some sympathy for those poor souls who have a harder than usual time with life. Tonya Harding is perhaps best remembered for having some part in the infamous incident with Nancy Kerrigan who unfairly and cruelly was bashed in the knee before the Olympics by a then unknown perpetrator.

It is sad that Tonya (Margot Robbie) is not remembered as much for the brilliant and gifted figure skater she was, and instead for the incident that essentially ended her career. She grew up poor in Portland, Oregon, ice-skating her passion. Her mother LaVona Golden (Allison Janney) makes the mother in Lady Bird look like a good mom. Abusive and belittling to her daughter, it is no wonder Tonya grew up to be the punching bag for a no good man, Jeff Gillooly (Sebastian Stan), who would eventually become her husband.

What is even more unfortunate is Jeff’s choice of best friends, as he hangs with the seriously delusional, and mentally ill Shawn Eckhardt (Paul Walter Hauser). Shawn later puts into play the horrible assault on Nancy Kerrigan. (Nancy barely shows up in this film.)

What I liked about I, Tonya was the way it was put together, including interviews with the important players in Tonya’s life that were based on real life interviews. Allison Janney won a Golden Globe for Best Supporting Actress in a Comedy for her role as Tonya’s mother. Even though there are comedic moments because of how the film is put together, there are plenty of heart wrenching scenes, and other moments where you’ll physically flinch in your seat due to the abuse and the sad circumstances that Tonya grew up in. The poverty and being from the wrong side of the tracks didn’t give her a chance at the career in figure skating she should have been afforded. Her history remains that in 1991, she was the first woman to complete a triple axel in competition. This is very difficult, and she was apparently fearless out there on the ice.

The ending of I, Tonya was interesting in that it coincided with the media latching onto O. J. Simpson and his fleeing down an LA freeway in his Ford Bronco. Already the fickle public was turning their attention to the next big scandal, Tonya forgotten in the wings.

The film is rated R for pervasive language, violence, and some sexual content/nudity. I recommend it for you, particularly if you are interested in human psychology as I am. The skating scenes are really well filmed, and I wondered how they could do them. Margot Robbie certainly couldn’t do a triple axel like Tonya could, but it looks like she is actually jumping and skating like Tonya did.