Sunday, December 18, 2016

TRAVELERS: Croatia/Slovenia Travelogue (Part 1 – Arrival)


The 2016 movie recap looms, so let us take the second in what I hope is a regular series of diversion travelogues to clear the palate and the mind.

Many people have asked what inspired me to go to Croatia and Slovenia.  It was never a bucket list location like Machu Picchu, but it has lurked for a number of years in the back of my mind.  I knew very little of the countries’ histories, and I suppose that was a significant part of the appeal.

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November 20-21, 2016 (Sunday and Monday)

My flight to Paris had been delayed 30 minutes, but I chose to keep my Super Shuttle reservation unchanged.  Better early than late in international travel.  The shuttle driver listened to KUSC (the public classical station), so the drive to LAX was pleasant.  On the plane I sat next to a very sweet Latin couple (though I couldn’t be sure if they were husband and wife or mother and son).  She watched Spanish language TV most of the trip and laughed heartily.  My baggage was checked through to Venice -- my final airline destination -- so I was able to make a tight connecting flight at Charles de Gaulle.  However, that flight was delayed because there were too many bags checked onto the plane.  After about an hour on the tarmac the pilot sheepishly came on the intercom to inform passengers that about a dozen pieces of luggage would not make it to Venice on this flight.  We finally took off after about a 1½ hour delay.  I checked my itinerary, and according to the paperwork my transfer to the first Croatia hotel was only obligated to wait one hour.  So I flew in suspense wondering whether I would have luggage when I arrived and/or whether I would have to find my own way to Opatija.

I arrived in Venice and both my luggage and my transfer were waiting for me.  I didn’t have to go through customs when I arrived, which was unexpected.  Perhaps that’s a perk of EU membership.  Several other members of my Gate 1 travel group were waiting as well (and had been for close to 2 hours).  Unfortunately, one of our number was among those whose luggage had been left in Paris, so we waited an additional hour while the couple filed their report before leaving the terminal.  Next was a 3½ hour drive to Opatija.  It was dark, so there was nothing to see scenery-wise.  More sleeping ensued.

We met our Tour Manager Elvis (yes, Elvis) at the Grand Hotel Adriatic and received the particulars of our stay, checked in, and enjoyed a welcome buffet dinner.  I was famished, as I had eaten little since around 13:00 (it was 21:00).  Though the dinner was meant to introduce group members to each other, everyone was so wasted from a day of travel that little socializing occurred.  Most went straight back to their rooms once the meal was finished, myself included.  It took a few minutes to figure out how to turn on the lights in my room.  You needed to insert your key card into a slot next to the door in order to activate the lights in the room.  I approve of the environmental efficiency.

There is an optional tour of the Istrian peninsula tomorrow, which I will forgo to decompress from 24 hours of travel and to stretch the old pins by walking around Opatija.

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Last night I dreamed that I lived with my Aunt Janet and Uncle Ralph in Arizona.  A person they just met needed help, so they decided that the family should relocate to help this person.  I tried to persuade them to visit the new town first before making this commitment.  They disagreed.  We grabbed something to eat from a local café, while I determined whether I had the correct currency to pay for it.  A traveler’s nightmare.
  
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November 22, 2016 (Tuesday)

Opatija is a quaint coastal town on the northeastern edge of the Istrian peninsula, like a more picaresque Cambria.  Today it is socked in with rain and clouds.  I woke up and did a full stretching routine in my hotel room – much needed after an entire day crammed into plane and bus seats -- then down to breakfast.  I arrived about an hour before the service ended but didn’t see any of my travel companions from the night before.  I had hoped to sit with some and chat.  Yesterday, I had no desire to talk, only to listen.  And even that had been exhausting.

Like Cambria there are no significant sights in Opatija.  However, there is the Lungomare, a seaside walk that weaves along the coast for several miles.  This would have been ideal on a less rainy day.  Instead I aborted the walk part way and began to look for places to eat back on the main drag of Marsala Tita -- filled with small shops, banks, restaurants, and coffee houses – that runs north (or is it east) to Volosko.

I found a recommended seafood place well off the beaten path in Volosko, a quintessential fishing village that itself feels off the beaten path.  I saw two fisherman walking the street in modified waders and felt momentarily transported to an earlier time.  Unfortunately, the restaurant didn’t open for another hour, and there was nothing to do in Volosko but wait.  It was cold, so I traipsed back the ½ mile to Opatijo.

About a ten minute walk from the hotel I found Ruzmarin, a restaurant which I had been looking for earlier in the wrong part of town.  (Sometimes losing your way actually pays off.)  I was hungry by then, so I went in.  My Croatian is pathetic, and the patient wait staff spoke English to me.  I ordered mushroom soup and what I thought was a monkfish sandwich.  The cabernet needed to breathe more but the soup was delicious.  When the monkfish arrived, it was a full dinner plate with sides.  It was very good but I had no idea how much it might cost.  The full fish dinners looked pricey on the menu, so I braced for the worst.  When the bill arrived all was fine.  It was more than I had originally expected to pay but less than I had feared.  According to Lonely Planet Guide there’s a service fee in Croatian restaurants, so you tip by rounding up.  It felt odd doing this, but the waiter didn’t run after me demanding more money.  So I guess it was fine.

After lunch it was still raining, so I walked around a nearby park then headed back to the hotel once I got too wet and cold.  After a refreshing nap/sleep I walked about 15 minutes for dinner at Roko, an Italian influenced restaurant.  I had a Greek salad and an excellent margherita pizza with a superior glass of cabernet.

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In both Ruzmarin and Roko I noticed the background music tended to be acoustic, easy listening versions of popular songs by the likes of the Rolling Stones, the Beatles, Coldplay and Dexys Midnight Runners (?!).  More often than not the singer was a woman (though I’m pretty sure I heard a man singing a cover of Madonna’s “Material Girl”).  You haven’t lived until you’ve experienced an acoustic version of “Honky Tonk Woman” performed by someone who sounds like Karen Carpenter.

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November 23, 2016 (Wednesday)

Alarm at 6:00.  Wake up call at 6:15.  No time for niceties. Luggage had to be out of the room by 7:00, so the porters could stow on the bus.  Down to breakfast.  Checked out and on the road by 8:00.  This was my first time having porters pick up my luggage outside the room; however, when I returned after breakfast my bag was still there.  Fearing a misunderstanding I took my bag downstairs and found a cache of Gate 1 bags waiting for loading.  Turns out it just took longer for the porters to collect bags than I had given them.

Elvis is a remarkable guide.  As we drove to Zadar he gave us a brief history of Croatia to set up the tragedy of the “War of Separation” that begin in 1991.  Contrary to media coverage it was less a war of religion or ethnicity than it was a fight over which of the provinces would control which parcels of land.  From the Venetians to the Ottomans to the Austro-Hungarian Empire, the stage had been set for a bitter and fractious separation of Yugoslavia into its various provinces – which had been held uneasily together by Josip Broz, better know as “Tito,” until his death in 1980.

We had lunch at a cafeteria-style restaurant.  I was still full from breakfast, so I stuck with the cheese sandwich, tomato soup, and some fresh fruit for dessert.  I need to have tomato soup more often.  It’s the perfect comfort food.

In Zadar we were left to our own devices for a couple of hours.  Zadar is a peninsula.  At the tip are the Sea Organ, which uses wind and waves to create an eerily soothing music, and the Sun Salutation, solar panels that collect sunlight during the day and emit a light show after dusk.  We arrived in the early afternoon, so no light show.  But the Sea Organ was impressive, especially when large boats churned past, stirring up the waves.

We arrived in Split and checked into the Radisson Blu.  As a surprise Gate 1 treated the group to dinner to make up for the rainy day suffered the day before in Opatija.  Since the hotel was out of the city center and finding a place to eat on my own would have been a chore, this worked out well.  We were offered the choice of a meat dinner, seafood dinner or vegetarian dinner.  I considered the seafood option but, as portions in Croatia were much larger than their European counterparts’ I went with the vegetarian option – a nice salad and tasty pasta with fresh vegetables, washed down with the house red wine.  Small samples of a dessert pancake and flan were brought out.  One of our number (Agnes) was celebrating her 57th birthday the next day, so there was off-key singing.  Also, an older couple (the husband was Serbian) celebrated an anniversary that very day, which led to a couples dance while two musicians wandered the room playing a guitar and an accordion.  I spent much of the meal talking travel with Sharon from Chicago, who was with her boisterous husband.  She persuaded me to make Vietnam and Cambodia my next travel destination.  Elvis had to herd the group out quickly in order to get out driver back by 21:00 – union rules.  We were just wrapping up when Sharon’s husband strong-armed the amenable wait staff into bringing him an additional dessert of tiramisu.

After dinner some of the group went to the hotel bar.  I needed rest, and I was not sure I wanted to see how more alcohol might affect members of our group.  Apparently old town Split is beautiful at night, but it would entail a taxi ride, so I opted out.  I will see it in daylight tomorrow.

Friday, February 26, 2016

THE POPE’S 2015 OSCAR® PREDICTIONS

It’s time once again to match wits with the Academy of Motion Picture Arts and Sciences.  Below are my predictions the 2015 Oscars® and my reasoning for the predictions.  However, for your ballot it’s always best to go with your own best instincts.  Heaven knows, I probably think more than the average voter when it comes to making my choices.  And there you have it.

Best Picture:

THE BIG SHORT
BRIDGE OF SPIES
BROOKLYN
MAD MAX: FURY ROAD
THE MARTIAN
THE REVENANT
ROOM
SPOTLIGHT

If you use other awards as a guide, this year’s Best Picture appears to be a 3-way race.  THE BIG SHORT won the Producers Guild Award, SPOTLIGHT won the Screen Actors Guild ensemble award (the SAG equivalent of Best Picture), and THE REVENANT won the BAFTA (the British Oscar®) and the Golden Globe for drama.  (Yes, THE MARTIAN won the Golden Globe for comedy.  But it’s not a comedy, and that was a consolation prize.)  BROOKLYN and ROOM, both worthy nominees, are too small to win.  BRIDGE OF SPIES, a smart, sober drama, got the nod over other equally good films like CAROL and CREED because Steven Spielberg.

MAD MAX: FURY ROAD would be my choice for Best Picture.  It’s an adrenaline rush of pure cinema that works as an action movie and an allegory while playfully tweaking our archetypical gender expectations.  It’s gloriously gonzo, and it’s George Miller’s best film.  And it will not win.  Sigh.

Of the remaining films that are in serious contention, SPOTLIGHT -- a tense, economical drama about the Catholic Church scandal of the early 2000s -- would be my next choice.  This is the kind of topical tale Hollywood once did better than anyone.  However, it will likely split its votes with THE BIG SHORT – a funny, furious recounting of the financial crisis of 2008 – which would be my next favorite of the contenders.  And that leaves THE REVENANT, a beautifully shot two-and-a-half hour UFC grudge match with fur trappers and muskets.  Watching Leonardo DiCaprio grunt and crawl his way to Oscar® glory (his grizzled character’s sole motivation from where I sat) seems to be sufficient reason for voters to hand Alejandro G. Iñarritu his second Best Picture award in as many years.  However, if you’re looking for a sensible contrarian pick, you could do worse than THE BIG SHORT.

Should Win:     MAD MAX: FURY ROAD
Will Win:          THE REVENANT
Overlooked:    CAROL
                        CREED

Best Director:

Lenny Abrahamson, ROOM
Alejandro G. Iñarritu, THE REVENANT
Tom McCarthy, SPOTLIGHT
Adam McKay, THE BIG SHORT
George Miller, MAD MAX: FURY ROAD

Will voters award Iñarritu his second Best Director in a row?  The DGA did.  But then again the DGA nominated Tom Hooper for the garbage fire LES MISÉRABLES a couple years back, so their taste can be reasonably called into question.  Personally I would have preferred a Todd Haynes nomination for CAROL and give Iñarritu a rest, but no one listens to me.  This year there’s a chance (perhaps worth taking for the Oscar® pool contrarian) that the Academy will balk at giving so much love to Iñarritu in so short a time span.  Abrahamson snuck in (deservedly so) under the wire and is the longest shot.  McKay has the advantage of his film being topical and the disadvantage of his film being (essentially) a comedy.  That leaves McCarthy for SPOTLIGHT and Miller for MAD MAX as contrarian picks.  Of the two I’d give the edge to Miller.  He’s in his 70s, made a physically and logistically difficult movie, and is unlikely to be nominated again.  The safe money would be on Iñarritu and THE REVENANT, but I’m feeling contrarian.

Should and Will Win:   George Miller, MAD MAX: FURY ROAD
Overlooked:                Todd Haynes, CAROL

Best Actress:

Cate Blanchett, CAROL
Brie Larson, ROOM
Jennifer Lawrence, JOY
Charlotte Rampling, 45 YEARS
Saoirse Ronan, BROOKLYN

Based solely on the three nominated performances I saw, Best Actress is one of the strongest categories this year.  Since her nominated performance in ATONEMENT Ronin has proven to be one of the finest actresses of her generation, but her performance in BROOKLYN may be too subtle for a win.  Lawrence and Blanchett have each won recently.  JOY received mixed reviews and CAROL proved elusive to Academy voters, so neither actress is likely to repeat.  Larson has been on a streak, with her performance in ROOM winning the Golden Globe for Actress in a drama and the SAG Award.  Her performance is devastating, and I see no reason for her streak to end.  Despite her storied career, Rampling has never been nominated until now.  There’s a remote chance voters will give her the win for 45 YEARS as a lifetime achievement, but I wouldn’t bet on it.

Should and Will Win:   Brie Larson, ROOM
Overlooked:                Charlize Theron, MAD MAX: FURY ROAD

Best Actor:

Bryan Cranston, TRUMBO
Matt Damon, THE MARTIAN
Leonardo DiCaprio, THE REVENANT
Michael Fassbender, STEVE JOBS
Eddie Redmayne, THE DANISH GIRL

On the flip side of Best Actress, the Best Actor category feels lightweight.  So much so that with barely any effort I could name Tom Hanks in BRIDGE OF SPIES and Michael B. Jordan in CREED as performances more worthy than some.  Cranston’s TRUMBO is a very good performance in a mediocre movie.  Damon goes through his paces in THE MARTIAN but doesn’t connect emotionally until the final rescue attempt.  Last year’s Best Actor winner Redmayne is too mannered in THE DANISH GIRL for my taste (and I’m happy to blame the director Tom Hooper here).  Fassbender’s STEVE JOBS is the only performance that comes close to matching the material, but he will not win.  That honor belongs to DiCaprio in THE REVENANT.  Although his character is the film’s least interesting, voters seem more impressed with the actor’s hard work and less so with the performance’s artistic merit.  A modest proposal:  Institute a Tom Cruise Hardest Working Actor of the Year Award, so an Oscar® can be about the end result and not the process.

Should Win:     Michael Fassbender, STEVE JOBS
Will Win:          Leonardo DiCaprio, THE REVENANT
Overlooked:    Tom Hanks, BRIDGE OF SPIES
                        Michael B. Jordan, CREED

Best Supporting Actress:

Jennifer Jason Leigh, THE HATEFUL EIGHT
Rooney Mara, CAROL
Rachel McAdams, SPOTLIGHT
Alicia Vikander, THE DANISH GIRL
Kate Winslet, STEVE JOBS

The actresses in the Supporting category are uniformly excellent.  It’s a shame that only three are genuinely supporting.  Tessa Thompson in CREED and Julie Walters in BROOKLYN would have been more appropriate choices, just to name two.  Leigh’s fearless performance in THE HATEFUL EIGHT is truly hateful (as it should be), and its unpleasantness may turn many voters off.  Oscar® darling Winslet won the Golden Globe for STEVE JOBS but is unlikely to win here.  McAdams has the best shot of the legitimately supporting actresses, but SPOTLIGHT is such a strong ensemble that it may be hard for voters to single out any one actor.  Mara is the co-lead in CAROL and should have been nominated alongside Blanchett, whom she matches beat for beat.  All things being equal (though they are not) hers is my favorite performance in this category.  However, another wrongly categorized performance is more likely to win.  Vikander is certainly the leading actress in THE DANISH GIRL and carries much of the movie.  For this reason, and because she was marvelous (in a supporting role) in EX MACHINA, voters will recognize her exceptional year here.

Should Win:     Rooney Mara, CAROL
Will Win:          Alicia Vikander, THE DANISH GIRL
Overlooked:    Tessa Thompson, CREED
                        Alicia Vikander, EX MACHINA
                        Julie Walters, BROOKLYN

Best Supporting Actor:

Christian Bale, THE BIG SHORT
Tom Hardy, THE REVENANT
Mark Ruffalo, SPOTLIGHT
Mark Ryland, BRIDGE OF SPIES
Sylvester Stallone, CREED

There is also an abundance of riches in the Supporting Actor category (and here at least each nominee is genuinely supporting).  So much so that I would be remiss if I didn’t bemoan the absence of Steve Carell in THE BIG SHORT, Benicio Del Toro in SICARIO, and Idris Elba in BEASTS OF NO NATION from the nominee list.  Bale’s quirky turn in THE BIG SHORT will likely be lost in the film’s strong ensemble.  Likewise Ruffalo in SPOTLIGHT (unless voters feel they slighted him in FOXCATCHER some years back).  Hardy’s performance in THE REVENANT is the film’s most interesting but will be unfairly overshadowed by DiCaprio.  My favorite is the subtle, sympathetic work of Ryland in BRIDGE OF SPIES.  He will lose to Stallone, however, for Sly’s sly, understated return as Rocky Balboa in CREED.

Should Win:     Mark Rylance, BRIDGE OF SPIES
Will Win:          Sylvester Stallone, CREED
Overlooked:    Steve Carell, THE BIG SHORT
                        Benicio Del Toro, SICARIO
                        Idris Elba, BEASTS OF NO NATION

Best Adapted Screenplay:

Emma Donoghue, ROOM
Drew Goddard, THE MARTIAN
Nick Hornby, BROOKLYN
Phyllis Nagy, CAROL
Charles Randolph and Adam McKay, THE BIG SHORT

Of the five nominees only Goddard’s THE MARTIAN seems a weak choice (not a bad choice, just weak).  How often can a problem be solved by science within a couple of screen minutes of said problem’s arrival?  Too often for my taste.  A better choice would have been Ryan Coogler & Aaron Covington’s CREED, a terrific reboot of the ROCKY franchise that stands fine on its own.  Donoghue’s harrowing and exhilarating adaptation of her novel ROOM may be too upsetting to win.  Hornby’s graceful BROOKLYN and Nagy’s quietly revolutionary CAROL are likely too subtle and may split each other’s vote.  The WGA just gave Randolph and McKay the award for THE BIG SHORT, and I couldn’t agree more.  Turning Michael Lewis’ book of the 2008 financial crisis (filled with esoteric financial terminology and transactions) into an entertaining and infuriating film is a minor miracle.

Should and Will Win:   Charles Randolph and Adam McKay, THE BIG SHORT
Overlooked:                Ryan Coogler & Aaron Covington, CREED

Best Original Screenplay:

Matt Charman and Ethan Coen & Joel Coen, BRIDGE OF SPIES
Alex Garland, EX MACHINA
Jonathan Herman and Andrea Berloff, STRAIGHT OUTTA COMPTON
Meg LeFauve, Josh Cooley, Pete Docter, INSIDE OUT
Josh Singer & Tom McCarthy, SPOTLIGHT

The biggest surprise in this exceptional crop of scripts was Herman and Berloff’s STRAIGHT OUTTA COMPTON, an energetic and vital biopic about the iconic rappers of N.W.A. which puts their music in a context that allows understanding and engenders respect.  Charman and the Coen brother’s BRIDGE OF SPIES is less surprising, but a solid and noble effort nonetheless.  In EX MACHINA Garland updates the mad scientist’s monster for the cyber era and creates the most cerebral of horror movies.  With the help of Pixar magicians, LeFauve & Cooley and Docter hit another animated home run with this wistful tale about a young girl’s coming to terms with sadness.  Yet my favorite of the bunch is Singer & McCarthy’s singular SPOTLIGHT, the economical and gripping story of the Boston Globe reporters who in 2002 uncovered widespread corruption at the Catholic Church.  The WGA honored it, and I’m confident the Academy will, too.

Should and Will Win:   Josh Singer & Tom McCarthy, SPOTLIGHT

Best Animated Film

ANOMALISA
BOY AND THE WORLD
INSIDE OUT
SHAUN THE SHEEP MOVIE
WHEN MARNIE WAS THERE

I only saw two of the nominated animated films this year and am frankly surprised the charming and faithful THE PEANUTS MOVIE didn’t make the cut.  Of those I did see Charlie Kaufman’s ANOMALISA, a brilliant but depressing tale of alienation, is far too much of a downer to win.  On the other hand INSIDE OUT, despite being tinged with melancholy, makes for a near perfect blend of kid friendly fun and grown up whimsy.  I would be very surprised if it didn’t take home the statue.

Should and Will Win:   INSIDE OUT
Overlooked:                THE PEANUTS MOVIE

Best Foreign Language Film

EMBRACE OF THE SERPENT (Columbia)
MUSTANG (France)
SON OF SAUL (Hungary)
THEEB (Jordan)
A WAR (Denmark)

I didn’t see any of the nominees this year, so I’m going with conventional wisdom and pick the Holocaust drama SON OF SAUL.  I understand a good upset pick could be MUSTANG.

Will Win:          SON OF SAUL (Hungary)

Best Documentary Feature

AMY
CARTEL LAND
THE LOOK OF SILENCE
WHAT HAPPENED, MISS SIMONE?
WINTER ON FIRE: UKRAINE’S FIGHT FOR FREEDOM

I only saw two of the nominees.  Joshua Oppenheimer’s bracing companion piece to THE ACT OF KILLING follows the brother of a victims of the mid-1960s Indonesian massacres as he confronts perpetrators (some still in political power) and their families.  THE LOOK OF SILENCE is one of the best films of the year.  However, the likely winner will be Asif Kapadia’s AMY, a loosely structured look at the tragedy of singer Amy Winehouse.

Should Win:     THE LOOK OF SILENCE
Will Win:          AMY

Best Cinematography

Roger Deakins, SICARIO
Edward Lachman, CAROL
Emmanuel Lubezki, THE REVENANT
Robert Richardson, THE HATEFUL EIGHT
John Seale, MAD MAX: FURY ROAD

A year in which Robert Richardson is my least favorite option is a strong year indeed.  Deakins is long overdue but an unlikely winner for SICARIO.  Seale’s oversaturated dystopia in MAD MAX: FURY ROAD works like gangbusters but feels like a long shot.  Lubezki has won the last two years and with THE REVENANT is the frontrunner this year.  If the Academy balks at a three-peat for Lubezki I might suggest the contrarian pick of Ed Lachman for CAROL.  His work was the year’s strongest, telling his story through framing, texturing and lighting better than any of the other nominees.

Should Win:     Ed Lachman, CAROL
Will Win:          Emmanuel Lubezki, THE REVENANT

Best Film Editing

Maryann Brandon, Mary Jo Markey, STAR WARS: THE FORCE AWAKENS
Hank Corwin, THE BIG SHORT
Tom McArdle, SPOTLIGHT
Stephen Mirrione, THE REVENANT
Margaret Sixel, MAD MAX: FURY ROAD

THE REVENANT felt like a slog, so Mirrione does not belong on this list.  Brandon and Markey did what needed to be done on STAR WARS: THE FORCE AWAKENS, but it’s not really Oscar® caliber.  McArdle’s work on SPOTLIGHT is classic and subtle.  In any other year Corwin would deserve the prize for his clever cutting on THE BIG SHORT.  This year Sixel deserves every accolade she receives for MAD MAX: FURY ROAD, essentially a two hour chase that knows when to speed up and when to slow down.

Should and Will Win:   Margaret Sixel, MAD MAX: FURY ROAD

Best Costume Design

Jenny Beavan, MAD MAX: FURY ROAD
Paco Delgado, THE DANISH GIRL
Sandy Powell, CAROL
Sandy Powell, CINDERELLA
Jacqueline West, THE REVENANT

Under normal circumstances Delgado’s costumes for THE DANISH GIRL or Powell’s for CINDERELLA would be the most likely winner.  I’m guessing (hoping?) that they’ll split the vote and pave the way for Beavan’s post-apocalypse fashion in MAD MAX: FURY ROAD.

Should and Will Win:   Jenny Beavan, MAD MAX: FURY ROAD

Best Production Design

BRIDGE OF SPIES
THE DANISH GIRL
MAD MAX: FURY ROAD
THE MARTIAN
THE REVENANT

MAD MAX: FURY ROAD has the most comprehensive world building since THE LORD OF THE RINGS and should win easily.  Unless it doesn’t.

Should and Will Win:   MAD MAX: FURY ROAD

Best Original Score

Carter Burwell, CAROL
Johann Johannsson, SICARIO
Ennio Morricone, THE HATEFUL EIGHT
Thomas Newman, BRIDGE OF SPIES
John Williams, STAR WARS: THE FORCE AWAKENS

Johannsson’s SICARIO score is the most anxiety inducing of the year – after Morricone’s THE HATEFUL EIGHT, that is.  Morricone has never won an Oscar®.  I think that’s going to change this year.

Should and Will Win:   Ennio Morricone, THE HATEFUL EIGHT

Best Original Song

“Earned It,” FIFTY SHADES OF GREY
“Manta Ray,” RACING EXTINCTION
“Simple Song #3,” YOUTH
“Til It Happens To You,” THE HUNTING GROUND
“Writing’s On The Wall,” SPECTRE

Conventional wisdom claims that Lady Gaga has been making enough public appearances lately to put “Til It Happens To You” on top.  Me?  I don’t know.  And I don’t care.  I’m also told that if any song has the potential to beat it out, that would be “Writing’s On The Wall” from SPECTRE, a movie I saw but couldn’t remember the song if you put a gun to my head.

Should Win:     Who cares?
Will Win:          “Til It Happens To You,” THE HUNTING GROUND

Best Sound Mixing

BRIDGE OF SPIES
MAD MAX: FURY ROAD
THE MARTIAN
THE REVENANT
STAR WARS: THE FORCE AWAKENS

If it were up to me I’d give this to MAD MAX: FURY ROAD.  But it isn’t, and the other likely winners are THE REVENANT and STAR WARS: THE FORCE AWAKENS.  If nominated, often the Best Picture winner matches the winner in this category, so I’ll go with THE REVENANT.  STAR WARS wouldn’t be a bad contrarian pick, however.

Should Win:     MAD MAX: FURY ROAD
Will Win:          THE REVENANT

Best Sound Editing

MAD MAX: FURY ROAD
THE MARTIAN
THE REVENANT
SICARIO
STAR WARS: THE FORCE AWAKENS

Movies with a goodly amount of action tend to win in this category, so you’d think MAD MAX: FURY ROAD would be a lock.  I’m not so sure in this case.  The Academy may not want to over reward a movie that is not expected to win Best Picture.  So, as in Sound Mixing, I’m going to go with THE REVENANT.  And, once again, STAR WARS: THE FORCE AWAKENS would be a decent contrarian pick.

Should Win:     MAD MAX: FURY ROAD
Will Win:          THE REVENANT

Best Visual Effects

EX MACHINA
MAD MAX: FURY ROAD
THE MARTIAN
THE REVENANT
STAR WARS: THE FORCE AWAKENS

These are all good choices.  And though MAD MAX: FURY ROAD did a more impressive job combining practical effects with CG, the Academy will want to give STAR WARS: THE FORCE AWAKENS an award because it made so much money and because STAR WARS.

Should Win:     MAD MAX: FURY ROAD
Will Win:          STAR WARS: THE FORCE AWAKENS

Best Makeup

MAD MAX: FURY ROAD
THE 100-YEAR-OLD MAN WHO CLIMBED OUT THE WINDOW AND DISAPPEARED
THE REVENANT

The Makeup and Hairstylists Guild gave this award to MAD MAX: FURY ROAD.  I think the Academy will, too.

Should and Will Win:   MAD MAX: FURY ROAD

Best Documentary Short Subject

BODY TEAM 12
CHAU, BEYOND THE LINES
CLAUDE LANZMANN: SPECTRES OF THE SHOAH
A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS
LAST DAY OF FREEDOM

Sounds like a Holocaust-related picture, so I’m going with CLAUDE LANZMANN.

Will Win:          CLAUDE LANZMANN: SPECTRES OF THE SHOAH

Best Animated Short Subject

BEAR STORY
PROLOGUE
SANJAY’S SUPER TEAM
WE CAN’T LIVE WITHOUT COSMOS
WORLD OF TOMORROW

I’m guessing.

Will Win:          WE CAN’T LIVE WITHOUT COSMOS

Best Live Action Short Subject

AVE MARIA
DAY ONE
EVERYTHING WILL BE OKAY (ALLES WIRD GUT)
SHOK
STUTTERER

I’m guessing again.

Will Win:          EVERYTHING WILL BE OKAY (ALLES WIRD GUT)

THE BEST AND LAMEST OF 2015: IT TAKES A VILLAGE 2...

“…if it takes a village to raise a child, it takes a village to abuse one.”
--“Mitch Garabedian,” SPOTLIGHT

Halfway through SPOTLIGHT, Tom McCarthy’s terrific film (co-written with Josh Singer) about the uncovering of a decades-long abuse scandal at the Catholic Church, lawyer Mitch Garabedian makes the above statement to Boston Globe reporter Mike Rezendes.  Those words haunt the film and many of the other great films of 2015.  Who should be held responsible for a particular crime or social ill?  Even if we can point the figure at this person or that thing, are we no less to blame if we tacitly allowed the crime to happen, if we said or did nothing while the social ill took hold?  If we witness or suspect wrongdoing but turn away out of convenience or discomfort, are we no less complicit?

Adam McKay and co-writer Charles Randolph take a less direct, but no less effective, approach in THE BIG SHORT, their adaptation of Michael Lewis’ examination of the 2008 housing financial crisis.  They go for laughs, at least initially, until the world economy becomes the butt of the joke.  Who to blame, who to blame?  The mortgage lenders for approving toxic loans?  The borrowers for accepting loans they could never pay back?  The fund raters for handing out AAA ratings because, if they don’t, the toxic fund peddlers will just go to their competitor?  Can we really wag our fingers as a society when we balk at funding needed social programs and necessary infrastructure but freely spend money on lottery tickets in the hopes of making something for next to nothing?

In THE LOOK OF SILENCE we follow an Indonesian man trying to learn the truth about the brutal killing of his brother in the political massacres 50 years before.  No one wants to bring up the atrocities of the past.  The perpetrators don’t out of fear of losing political power.  The victims’ families won’t out of fear of reprisal.  And these people are neighbors to each other.  It takes a village indeed.

In MAD MAX: FURY ROAD we have a two hour chase in which our protagonists realize that they cannot run away from their past but must return to their village to create a better future.  In CAROL we have two women in the 1950s who are asked by society to be something they’re not.  Is that an edict society should make?  Or as a village should we endeavor to be more accepting and inclusive?

Some questions have more obvious answers than others, but most seem to be on the minds of many filmmakers this year.  I suspect they’re on a lot of people’s minds.  Below are a list of my favorite movies from 2015 and in some cases a brief explanation of what draws me to those films.  It goes without saying I recommend them all.  There is not one film on this list that left me unchanged.  And that is the most one can hope for.

There are many people to thank, but I won’t bore you with all that here.  If you’re reading this, please accept my thanks.  I’m grateful to all of you for different reasons and in different ways.  But I can safely say that your presence in my life has not left me unchanged.  I mean that in a good way.

Finally, thanks to my supportive family.  I’m lucky to have you.

  
Brian Pope
February 26, 2016


THE BEST OF 2015
THE TOP THREE
(in alphabetical order)
THE LOOK OF SILENCE  This stunning companion documentary to THE ACT OF KILLING (2013) follows Adi Rukun, the brother of a victim of the brutal Indonesian massacres of the mid-1960s, as he questions and confronts surviving collaborators, perpetrators (some of whom are still in power) and their families in a personal quest for truth and reconciliation.  Heartbreaking, horrifying and bracing, Joshua Oppenheimer’s film examines the terror of silence and the courageous power of seeing the past and present with clear and open eyes.
MAD MAX: FURY ROAD  Thirty years after the iconic road warrior last graced the big screen, director George Miller brings him back with a vengeance and makes the last three decades of action movies look like weak tea.  Miller drops us into a fully-realized post-apocalyptic wasteland and sends its denizens (and us) barreling through it at full throttle.  Much has been made of the film’s feminism (most of the women are as tough as or tougher than the men), but it is the film’s humanism that lingers after the memory of the harrowing stunts and explosions fade.
SPOTLIGHT  In an era where cable news has dumbed down journalism to the point of near irrelevance, it is easy to forget the awesome power of the press.  In 2001 the investigate wing of The Boston Globe dug into past reporting of pedophile priests in the Catholic Church and, with tireless research and dogged follow up, uncovered system wide abuse and a decades long cover up by the institutional hierarchy.  Director Tom McCarthy relies on simplicity and clarity to give his drama all the suspense and indignation of the best political thrillers of the 1970s.
THE BEST OF THE REST OF THE TOP TEN
(in alphabetical order)
THE BIG SHORT  Adam McKay’s hilarious and infuriating film makes us, at least for two hours, complicit bystanders in the financial catastrophe of 2008, as we hope for comeuppance but realize the jokes is on us.
BRIDGE OF SPIES  This elegant, thoughtful argument for diplomacy and constructive engagement boasts restrained direction by Steven Spielberg and topnotch performances from Tom Hanks and Mark Ryland.
CAROL  Todd Haynes explores the dangers of sexual and emotional repression in the 1950s as we watch a suburban housewife and department store clerk (Cate Blanchett and Rooney Mara -- both excellent) fall in love.
EX MACHINA  The mad scientist monster movie gets a 21st Century cyber twist in writer/director Alex Garland’s thought-provoking, claustrophobic thriller about an android who may be smarter than her maker.
INSIDE OUT  Using clever personifications of Fear, Joy, Anger and Sadness, this animated gem from Pixar follows a young girl as she learns how to deal with difficult emotions in this sparkling, wistful comedy.
ROOM  Brie Larson and Jacob Tremblay are heart-wrenching in this harrowing and exhilarating drama about physical and emotional survival.  Lenny Abrahamson sensitively directs Emma Donoghue’s beautiful script.
STRAIGHT OUTTA COMPTON  A spirited, muscular history of the iconic rap group N.W.A. that provides context and gives respect to the most influential and maligned musical movement of the last twenty-five years.
Runners-Up of 2015
(in alphabetical order)
BEASTS OF NO NATION
BROOKLYN
CREED
IT FOLLOWS
SPY
Honorable Mentions: AMY; EVERY SECRET THING; THE HATEFUL EIGHT; THE MARTIAN; THE PEANUTS MOVIE; SICARIO; STAR WARS: THE FORCE AWAKENS; STEVE JOBS
THE LAMEST of 2015
(in alphabetical order)
THE DANISH GIRL  Director Tom Hooper’s latest Oscar® bait features a mannered performance by Eddie Redmayne but is nearly salvaged by the grounded Alicia Vikander.
ME AND EARL AND THE DYING GIRL  A precious piece of sentimental pap masquerading as ironic quirk.  But for Ronald Cyler II (as Earl) and Olivia Cooke (as The Dying Girl) the cast is poorly used.
TOMORROWLAND  The usually reliable Brad Bird goes “full Disney,” and the results are overproduced and ingratiating.  Raffey Cassidy (as Athena) is a find, but everyone else is trying way too hard.

Friday, February 19, 2016

THE POPE'S PICKS AT ON THE PAGE

Michael Musa and I join noted screenwriting teacher Pilar Alessandra at her On the Page podcast to discuss the 2015 Oscar-nominated screenplays.  Pat Francis, host of the popular Rock Solid podcast, joins the fray as critic and podcast producer.

Just copy the below link into your browser and click on the Oscar podcast (#441).

https://itunes.apple.com/us/podcast/on-the-page-screenwriting/id262077408

Enjoy.