tag:blogger.com,1999:blog-26088658636805270812024-03-16T16:12:39.089-04:00Vic & Walter Thiessen - On Movies...Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.comBlogger886125tag:blogger.com,1999:blog-2608865863680527081.post-69252356752351805112024-03-16T15:23:00.002-04:002024-03-16T16:11:49.487-04:00The Zone of Interest and an Oscar Speech<p> First, a confession: I was appreciative but not a huge fan of <i>The Zone of Interest</i>. Most of the reasons that I was underwhelmed were unfair to its artistic intent. I partly was just not in the mood for a very slow, somewhat dull, film with terrible music. But those things <i>were</i> all intentional. And the fact that I love the director's heart for the film was demonstrated by the Oscar speech. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbrCYEPbWxTjk8FabumaVMMcboVwbcucyScXgYQdyu3W6zLHVnz0EZtWv1Cs9HSmVIzHTfpw7TZr_GT8t1QHYZ-ipsTLdEhOCBtmqJT1ZD9z73prpTg8E8CQdKTmEy0BrSzfkv8evXipCBi9dnGq_GJj3Kfo2zpMiYmSRWsrAhitdtqL06C6m6k81GXNU/s1094/Glazer2.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="711" data-original-width="1094" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbrCYEPbWxTjk8FabumaVMMcboVwbcucyScXgYQdyu3W6zLHVnz0EZtWv1Cs9HSmVIzHTfpw7TZr_GT8t1QHYZ-ipsTLdEhOCBtmqJT1ZD9z73prpTg8E8CQdKTmEy0BrSzfkv8evXipCBi9dnGq_GJj3Kfo2zpMiYmSRWsrAhitdtqL06C6m6k81GXNU/s320/Glazer2.png" width="320" /></a></div>A second confession: I am really only writing this review to draw your attention to <a href="https://www.theguardian.com/commentisfree/2024/mar/14/the-zone-of-interest-auschwitz-gaza-genocide?fbclid=IwAR0_Zk5b6JQmm5vqH2SCy7mSm2dbThcpOHmKxWAreK0HCgzeY_3RcQjDwgk" target="_blank">Naomi Klein's excellent and potent reflection on the movie and Glazer's speech</a> (and get around FB's blocking of news articles...). So good. Please, please read this. And share this. After reading this, my respect for the film was much increased. <p></p><br /><p><br /></p><p></p><p></p>Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-79165411308202450652024-01-27T11:32:00.002-04:002024-01-27T12:55:32.019-04:00Walter's Top Ten Films of 2023<p> If you’ve read my top ten lists over the past years, you may
recall recent struggles to find ten movies good enough to list. Thanks to a
west coast visit in which my son, Daniel, treated me to a VIFF pass, I didn’t
have any trouble finding ten films this year. We watched eight (and chose well!),
and half of them made it on my list. Thanks, Daniel!</p>
<p class="MsoNormal">Honourable Mentions: I won’t say anything about them here,
but two films <i>nearly</i> made my list: <i>My Sailor, My Love</i> and <i>Past Lives</i>. </p>
<p class="MsoNormal">10. <i>The Holdovers</i>: I’ve only seen this once, and I
know that there is a chance that one of my places of resistance to this film in
the first half might be different on second viewing – i.e. I felt the lead
student role was poorly acted and/or oddly scripted. But the second half may
well vindicate that it was done right all along. Haven’t decided. And I think
I’d hoped for funnier. But I liked lots about this film, particularly that it
made the main characters more human and likeable (without those characters
actually changing all that much). </p>
<p class="MsoNormal">9. <i>Oppenheimer</i>: It’s been quite a while now since I
saw this, and sometimes my memory is not fair. I know I expected to rank this
movie higher after I first saw it, but for some reason it hasn’t sat all that
well in my memory. I think the missed potential – to really reveal something
profound about the world-changing moment when human atomic potency became a
reality – stayed with me longer than what did work for some reason. But I felt
like the acting was brilliant all around, and it was a creative and interesting
– if too long – biopic about a fascinating person. If only biopics about
musicians could ever be made that were remotely as creative. (That is not a
reference to <i>Maestro</i>, which is certainly more creative than most, but
didn’t make my list.) </p>
<p class="MsoNormal"></p>8. <i>The Old Oak</i>: I loved this film. I loved the
setting and main character. In terms of simple enjoyment, I may have liked it
better than any Ken Loach film. Yet maybe I even missed the Loach knack of
drawing painful reality into full view. I wondered if, unusually, he felt like
he needed to add a heartwarming touch that felt good, but he made it just a tad
too much like other films. But I can’t say that I didn’t appreciate that touch
anyway!<p></p>
<p class="MsoNormal">7. <i>Evil Does Not Exist</i>: I suspect that few readers
will have had a chance to see this, though you may know the writer/director (Hamaguchi) from <i>Drive
My Car</i>. The Japanese rural setting was unique and added interest that got
me through the slow scenes. But what helped even more were the occasional
scenes of rich dialogue (like the town meeting) that were wonderful. And then
the ending…. Does it work? For me, not quite, but it’s certainly a thought-provoking
film.</p>
<p class="MsoNormal">6. <i>The Quiet Girl</i>: I think I’ll post a short review
that I started but didn’t finish in a week or two in which I’ll say more about
why this quiet and simple film rates this high. Coincidentally, (thanks to a
gift from my friend, Agnes!) I read the novella on which it's based, just a month
or two before seeing the film – and it’s a good adaptation. Some will find it
too simple and slow, but I felt like its main effect on me was powerful and
needed. Recommended for those who certainly don’t need action (and can handle
subtitles because most of it is in Irish). </p>
<p class="MsoNormal">5. <i>One Summer:</i> This Quebecois film felt like a film
festival bonus because we saw it on the plane on the way home. In some ways
this felt like the opposite of <i>The Old Oak</i> because this one started like
a more predictable film, but ended up with more richness and complexity. Highly
recommended for everyone.</p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFE0xdttVJczR5FNg3W2zxQjQ27ganOszmunusi3Q86O6LRmuTZIi-EGVWeaaexXxmuOWOiKUHVzvDbeSBmrekEFFeUvvON6SUc5d2wChOJQ5mFR1CSs_BmDL6gTSw2JzrbzafjzEJ1pdBtBqAMRb0Ai5nmaMSia23OBGWRcnzIeEqEhQNKGHIFHAhgao/s2600/ete.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="a group of friends enjoy an outdoor meal" border="0" data-original-height="1733" data-original-width="2600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFE0xdttVJczR5FNg3W2zxQjQ27ganOszmunusi3Q86O6LRmuTZIi-EGVWeaaexXxmuOWOiKUHVzvDbeSBmrekEFFeUvvON6SUc5d2wChOJQ5mFR1CSs_BmDL6gTSw2JzrbzafjzEJ1pdBtBqAMRb0Ai5nmaMSia23OBGWRcnzIeEqEhQNKGHIFHAhgao/w320-h213/ete.jpg" width="320" /></a></div><br /> <br /><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVfUcvGG0fiS6jiBiUsSSd_cye33Ip4A3JHRg6IsnjZK86JDKTmxK0rFmmP-ibKsqNIJgP8am8FznDDXszJLe01_v1fcn41UFIPF6yR08Hd8rbVpGRJoeypjucgsZ2x3pmMerg3x69uRwlvJ78Q22-y4rGY79XXsh0tDWKMjOJtzPF-n4DNCSBODZm0o/s768/leaves.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="man and woman outside a theatre" border="0" data-original-height="768" data-original-width="665" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVfUcvGG0fiS6jiBiUsSSd_cye33Ip4A3JHRg6IsnjZK86JDKTmxK0rFmmP-ibKsqNIJgP8am8FznDDXszJLe01_v1fcn41UFIPF6yR08Hd8rbVpGRJoeypjucgsZ2x3pmMerg3x69uRwlvJ78Q22-y4rGY79XXsh0tDWKMjOJtzPF-n4DNCSBODZm0o/w173-h200/leaves.jpg" width="173" /></a></div>4. Fallen Leaves: </i>The source of my affection for this
film are a bit unconscious, and I feel like I am only guessing at all the allusions. It’s a quirky
Finnish rom com with constant deadpan humour. It could be light teasing between
friends, sarcasm with some bite, or utterly serious boundary-setting, and it’s
all served with calm, emotionless statements. The protagonists are people
who’ve fallen between the cracks (fallen leaves?) of a depressing and lifeless
society reminiscent of Soviet era industrialism. Can a little love and
faithfulness restore some life? <p></p>
<p class="MsoNormal">3. <i>Anatomy of a Fall</i>: This is a very fascinating and
well-made French film that is unique and thought-provoking. Speculations about
guilt, both criminal and otherwise, can keep one reflecting on this film for
ages. The acting and directing is all brilliant. Deserves the Oscar nod for
best picture, though I doubt it will happen. Much more deserves to be said –
but tough without spoilers. When I re-watch this film, I might post a
spoiler-filled review to share some thoughts. </p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRz-Bhg2e2lXn4w1PrRT9Ax5RTVTh1dXEDHQIC8Eifnk0FpI5MYYFiMB16eF1qLQWuNxmNQZXwqfiajGJthLoGCzM2RFlXqOxYh5mYF_whwvOHWrrtD5rt8s2iXjxs-VEZ-zbl_-x-3iIT5OJ_iKrhpgYXPQx-_gwVO4yFvhOpvseN5REgeF42TMl67g0/s588/lehren.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="teacher screaming" border="0" data-original-height="588" data-original-width="512" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRz-Bhg2e2lXn4w1PrRT9Ax5RTVTh1dXEDHQIC8Eifnk0FpI5MYYFiMB16eF1qLQWuNxmNQZXwqfiajGJthLoGCzM2RFlXqOxYh5mYF_whwvOHWrrtD5rt8s2iXjxs-VEZ-zbl_-x-3iIT5OJ_iKrhpgYXPQx-_gwVO4yFvhOpvseN5REgeF42TMl67g0/w174-h200/lehren.jpg" width="174" /></a></div>2. <i>The Teacher’s Lounge</i>: My favourite pic from VIFF
is a German film that turns relatively ordinary school tensions into a gripping
drama as we’re invited into the frustrations of the protagonist who,
imperfectly, is trying to get things right among contemporary pressures and
expectations. The screaming pic often representing this film may not be a
natural draw to the film, but it depicts the most satisfying minute of the
whole film festival for me. The VIFF audience may not have screamed out loud,
but in our hearts we were. <p></p>
<p class="MsoNormal">1. <i>Living</i>: This was the earliest movie that I saw on
this list, and I knew it would stay on top. I loved the way it was crafted so
consistently. I loved the adaptation of Tolstoy’s <i>Death of Ivan Illich </i>(a
favourite), and if I was more familiar with Kurosawa, I probably would have
appreciated those roots. And, of course, I loved Bill Nighy as I usually do,
but this time more so. Meaningful and unique, creatively and beautifully done.
What more could you ask for? See this film. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUBWeCkEQJs48MLpryol_HcyqR3Z5PF7-44H1AyADFtR1Qg0xAGUGN8m18_1Yuz513cAcb7RGKwAsk1F0PSViyuvZz4tRHZ6xMZ4tav5l3hJhBsgpvA8cAr2AP-Nw7WVlOClZLX2YXfSLHseoEaxnccoU-OQshCBMOi5GhiQIlYoR2d0ASovC9F6mRVQA/s1581/living.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Bill Nighy sits alone in a diner near a beach" border="0" data-original-height="820" data-original-width="1581" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUBWeCkEQJs48MLpryol_HcyqR3Z5PF7-44H1AyADFtR1Qg0xAGUGN8m18_1Yuz513cAcb7RGKwAsk1F0PSViyuvZz4tRHZ6xMZ4tav5l3hJhBsgpvA8cAr2AP-Nw7WVlOClZLX2YXfSLHseoEaxnccoU-OQshCBMOi5GhiQIlYoR2d0ASovC9F6mRVQA/w320-h166/living.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal"> Traditionally, I’ve ended with a “spilled coffee list” – the
biggest disappointments of the year. For me, the two films – both highly
reputed by critics who clearly look for different things in films than I do –
were <i>EO </i>(a 2022 film about a donkey) and <i>Godland</i> (a film designed
to make you think that you don’t really want to live in Iceland no matter how
beautiful it might be). Clearly these films were both trying to do something
significant, but neither found any point of engagement in me to make me care or
believe. </p>
<p class="MsoNormal">And, finally, deserving of mention, is a film I missed in 2022: <i>A Man Called Otto</i>, the American re-make of the Swedish, <i>A
Man Called Ove, </i>which was a big favourite of mine. This isn't quite up to the original, but whether or not you’ve
seen the Swedish film already, it’s worth watching Tom Hanks reprise the role. </p>
Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com1tag:blogger.com,1999:blog-2608865863680527081.post-83825095525676527402024-01-24T07:19:00.000-04:002024-01-27T11:34:51.389-04:00Vic's Favourite Film of 2023: Spider-Man: Across the Spider-Verse<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvXZlAmc6cCaPafTslv9AYbqTHnLHnita0sAhKly7BK7E8DH1Cp5Hfo0df7RPHkdV0vgjWQHtsZZGoRLe5MD7tguhNWlYmVKS_ZAOJpSL1fwkmvNbMDbwfleYGKgD8iECmqvWxp4Qj_dV6FzbH9Xv26LD9TKWq8vGGvMl4CgycvEK-Dsm8pzl3bm-aN5qx/s1400/scross%202.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="1400" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvXZlAmc6cCaPafTslv9AYbqTHnLHnita0sAhKly7BK7E8DH1Cp5Hfo0df7RPHkdV0vgjWQHtsZZGoRLe5MD7tguhNWlYmVKS_ZAOJpSL1fwkmvNbMDbwfleYGKgD8iECmqvWxp4Qj_dV6FzbH9Xv26LD9TKWq8vGGvMl4CgycvEK-Dsm8pzl3bm-aN5qx/s320/scross%202.webp" width="320" /></a></div><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Who would ever have imagined that my favourite film of 2023 would be a MARVEL film? Not me. I don’t think any Marvel film has ever even made my list, let alone reached number one. A Hollywood blockbuster, no less, aimed at a young audience (that’s not me). An animated superhero film about high school kids! “How is this possible,” you ask? Well, in six words: <b><i>Spider-Man: Across the Spider-Verse</i></b> ‘is a sublime work of art!’ I was riveted, and blown away, from start to finish as I watched this amazing masterpiece unfold on the largest loudest screen in New Brunswick. No other film this year even came close. Such film-watching experiences are rare for me. I was reminded of how I felt after watching <b><i>Star Wars</i></b> in 1977 (the score of <b><i>Spider-Man: Across the Spider-Verse </i></b>got into my very bones, moving me the way the score of <b><i>Star Wars</i></b> moved me). Even last year’s incredible <b><i>Everything Everywhere All at Once </i></b>couldn’t compare. I left the theatre completely numb. THIS is what filmmaking is about. THIS is the kind of film that has the power to change the world, not least because it’s a blockbuster masterpiece aimed at a young audience.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b><i>Spider-Man: Across the Spider-Verse</i></b> offers the ‘marvel’ of watching the most breathtaking animation I’ve ever seen while listening to a brilliant, overwhelming (in the best way) dynamic score, both of which serve a top-notch story full of humour, intelligence, humanization, moving drama and action. Regular readers know that I’m generally not a fan of action, and most superhero films have far too much action, as if the story is just an excuse for the long action scenes. In <b><i>Across the Spider-Verse</i></b>, the action serves the story, not the other way around. And when that action is mixed with the glorious score and gorgeous animation, it takes my breath away instead of boring me the way action often does. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">I enjoyed <b><i>Spider-Man: Into the Spider-Verse</i></b>, but the story in <b><i>Across the Spider-Verse</i></b> feels much deeper, more thought-provoking and more mature to me. Critical to my appreciation is the fact that this film is not just the story of Miles Morales but also of Gwen. Gwen is a terrific character and Hailee Steinfeld does a wonderful job with her voice. The twenty-minute opening scene of <b><i>Across the Spider-Verse</i></b>, which is about Gwen, is a mind-blowing mini-film that highlights dark themes like loneliness and fear along with lighter themes like family and community. It’s much more heartfelt and compelling than the otherwise entertaining opening of <b><i>Into the Spider-Verse</i></b>. And while all <b><i>Spider-Man</i></b> films challenge redemptive violence in one way or another, <b><i>Across the Spider-Verse </i></b>does this in particularly unique ways.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Other major themes that resonated with me were diversity, connection, good and evil, the ‘hero’s journey’ and fathers. I’m not sure how big an influence the latter had on my enjoyment of the film, but as a father and grandfather, that major theme in the film might have found some resonance.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 13px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Final note: Was I annoyed by the fact that this film is PART ONE?? You bet I was. But even that couldn’t stop it from being my number one film of 2023.</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-8818312010544967012024-01-23T11:33:00.005-04:002024-01-27T12:56:08.991-04:00Vic's Top 17 (18) Films of 2023<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQY7XePZ4KJvYbeaEu_-caatmd-2q_jeGUzrUzAyaBWiZCk82OFmeqIZr7jEGzPjV3Sq5lgv5a__lE3fVSNGpDHb44koByXSMS-PFAsNOytzcdoN0P1PhzPHagRdv77wkW8rgHKjWSxOIEcTfoN_qmaruepwcoiPBESAXs6WABZO_Jy6ZCieqpAH30agzU/s1920/ENTER-OPPENHEIMER-MOVIE-REVIEW-2-MCT.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="874" data-original-width="1920" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQY7XePZ4KJvYbeaEu_-caatmd-2q_jeGUzrUzAyaBWiZCk82OFmeqIZr7jEGzPjV3Sq5lgv5a__lE3fVSNGpDHb44koByXSMS-PFAsNOytzcdoN0P1PhzPHagRdv77wkW8rgHKjWSxOIEcTfoN_qmaruepwcoiPBESAXs6WABZO_Jy6ZCieqpAH30agzU/s320/ENTER-OPPENHEIMER-MOVIE-REVIEW-2-MCT.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSUyNdPuC4wn5gMQAle3We-QQnxXQemK3VqoiEEXZG6TlrKQmgON2fcYvWXp1tg2OuoI2ysA3ifh_890lzVQwZR0RtpdjD0BsLt7d8jzIsPwPspZziQBxUYQrgaX6hpQutXbqvuTUp3VerGQkFNAsFR1kxnIkmTYPseKoCbVeZm6EpiqHoPMrEfAY-IG3F/s908/teacher's%20lounge%202.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="908" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSUyNdPuC4wn5gMQAle3We-QQnxXQemK3VqoiEEXZG6TlrKQmgON2fcYvWXp1tg2OuoI2ysA3ifh_890lzVQwZR0RtpdjD0BsLt7d8jzIsPwPspZziQBxUYQrgaX6hpQutXbqvuTUp3VerGQkFNAsFR1kxnIkmTYPseKoCbVeZm6EpiqHoPMrEfAY-IG3F/s320/teacher's%20lounge%202.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOxnkZyTD6ux7P4WUqcCHmIB2AT8QzqfAdyAEkRDe8SAZRLaNZ-oxMHXXjyhNteM_W_SStKBdkyWOjR8r12umFM2cxCsEBkvipHj3VcJAyT1H4E7suSpBuedJnq-VrLLuoErDjw2OnzrIhFbU0M8WD6dGZ0EPZocpMwP-4oMQpJRnwgmD18XAx5Cj9SxX1/s1000/Bill-Nighy-in-Living.jpeg.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOxnkZyTD6ux7P4WUqcCHmIB2AT8QzqfAdyAEkRDe8SAZRLaNZ-oxMHXXjyhNteM_W_SStKBdkyWOjR8r12umFM2cxCsEBkvipHj3VcJAyT1H4E7suSpBuedJnq-VrLLuoErDjw2OnzrIhFbU0M8WD6dGZ0EPZocpMwP-4oMQpJRnwgmD18XAx5Cj9SxX1/s320/Bill-Nighy-in-Living.jpeg.webp" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizOj-fM675lfvWV96c19HanZOFVHHVel9329e-ysjbsOYQGKLucqHO14TLisRHFctqbaZiMUnPA_D7doZqQiPr4dzcLq4F9Dt1YfY6rT7Ovi-uqHPwOLreb9j8tYJEWbOgmC9lxgfH6ZSi_keI-Lek-VT9qkzTZ69R9wPh0d8fQ3omJJwwaxNVSLL06-y2/s1296/Brother-Clement-Virgo-Film-TIFF-Publicity-H-2022.jpg.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizOj-fM675lfvWV96c19HanZOFVHHVel9329e-ysjbsOYQGKLucqHO14TLisRHFctqbaZiMUnPA_D7doZqQiPr4dzcLq4F9Dt1YfY6rT7Ovi-uqHPwOLreb9j8tYJEWbOgmC9lxgfH6ZSi_keI-Lek-VT9qkzTZ69R9wPh0d8fQ3omJJwwaxNVSLL06-y2/s320/Brother-Clement-Virgo-Film-TIFF-Publicity-H-2022.jpg.webp" width="320" /></a></div><br /><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Thanks to Cinéfest in Sudbury, where I watched 14 excellent films in five days, I feel that I’ve watched most of the 2023 films likely to be strong candidates for my list. Potential strong candidates I was not yet able to watch, and are therefore candidates for 2024, include <b><i>The Zone of Interest, All of Us Strangers, The Taste of Things </i></b>and<b><i> Evil Does Not Exist</i></b>. It’s been a pretty good year for films, highlighted by the <i>Barbenheimer</i> phenomenon, which I consider a positive contribution to the history of film (see our posts on <i>Barbenheimer</i> - written in August). The only honourable mention this year is Wes Anderson’s <b><i>Asteroid City,</i></b> a gorgeous and delightful film that just didn’t engage with me strongly enough to make the list.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 15px;"><b></b><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Some of the films listed below were released in the US in 2022 but not released in Canada until 2023, making them eligible for this list. Because of Cinéfest, which offers me advance screenings, some of these films will not be released in Canada until 2024. They still qualify because this is a list of new-release films I watched between January 22, 2023 and January 22, 2024. January 22 was yesterday and last night I watched <b><i>Fallen Leaves</i></b>, which comes in at number 9 (10) on the list below. Because I wrote this list prior to watching <b><i>Fallen Leaves</i></b>, it was just too much work to adjust the list other than to insert <b><i>Fallen Leaves</i></b> into the appropriate place. Thus the use of 17 (18). Sorry for any confusion.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">My previous post (on the 17th) mentions that my favourite film of 2023 (the big WOW film of the year for me) will be the subject of my next post (coming tomorrow). It has been suggested (by my oldest daughter, to whom any complaints should be directed) that I hold off revealing the name of that film until tomorrow’s post. Since that is in keeping with my quirky personality style, I shall do so. But I’ll provide a teaser: It will be a shocker. I can hardly believe it myself. From the studio to the production company to the style to the subject (both broad and specific) to the target demographic, this is NOT the kind of film one generally finds anywhere on my lists, let alone in the number one position.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Before I offer my list of sixteen of my top seventeen films of 2023, here are a few observations about the list: </p><ol>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Despite the relatively few number of women directors nominated for major awards this year, films directed by women continue to do well on my annual lists. Six of my top seventeen (eighteen) films (a third) were written and directed by women, and eight of the films feature a woman protagonist. </li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Four of these films feature people of colour in the lead role. </li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Three of the directors are gay and three of the protagonists are gay.</li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Five of the films are in languages other than English (two German, two French, one Finnish).</li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">Only two of my top eight films are American (two are Canadian, two are British, one is German and one is French).</li>
<li style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">One of the Canadian directors, Louise Archambault, made my favourite film of 2019 and continues to impress. Director Ken Loach and writer Paul Laverty have their third straight film on my lists. Christian Petzold has his third film on my list since 2015.</li></ol><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">And here is <i>most</i> of my list, counting down from 17:</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>17</b>. <b><i>Barbie</i></b> - I can’t leave Greta Gerwig’s very entertaining and thought-provoking film off my list. I have friends who think <b><i>Barbie</i></b> should be close to number one for the way it satirizes our patriarchal society and empowers young women. And I have friends who think <b><i>Barbie</i></b> should be nowhere near any such list because of its often-silly humour and lightweight plot, not to mention selling out to capitalism, consumerism and the toy industry. You can find my long review in an August post. While I believe there are flaws, I find <b><i>Barbie</i></b> thoroughly enjoyable and believe its heart is very much in the right place.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>16</b>. <b><i>How to Blow Up a Pipeline</i></b> - This unique thriller by Daniel Goldhaber is so realistic it feels like a documentary. It follows eight young environmental activists who decide to blow up an oil pipeline, carefully exploring their motivations, their stories and the moral implications of such an action (including subjects like ecoterrorism, property damage, etc.). It’s a well-made, defiant and suspenseful film that pulls no punches. I was very impressed. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>15</b>. <b><i>Blue Jean</i></b> - This British indie film, written and directed by Georgia Oakley, is entirely about women (hardly a man to be seen - how refreshing is that!). It’s the story of the challenges facing a lesbian teacher (newcomer Rosy McEwen is terrific) in north England in 1988 and it’s scarily relevant 35 years later (which is very sad). Masterful filmmaking.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>14</b>. <b><i>The Old Oak</i></b> - The latest and possibly final film from the writer/director team of Paul Laverty and Ken Loach, who made my favourite films of the year in 2016 (<b><i>I, Daniel Blake</i></b>) and 2020 (<b><i>Sorry We Missed You</i></b>). This film about a pub owner (played by Dave Turner) in northern England who befriends Syrian refugees, to the consternation of many of his regulars, is not as good as their last two films but is another humanizing and empathetic attempt to make the world a better place. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>13</b>. <b><i>War Pony</i></b> - The best Indigenous film of the year is a first-time-directing effort from two young white women (Riley Keough and Gina Gammell) who solicited the help of two Indigenous men (who inspired the story) to write what is clearly an authentic film about growing up on a Lakota reservation in South Dakota. Filmed on location, <b><i>War Pony</i></b> features only locals (almost entirely non-actors) who are all excellent. An amazing achievement.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>12</b>. <b><i>All the Beauty and the Bloodshed</i></b> - My favourite documentary of 2023 (made in 2022) comes from Laura Poitras, who made one of my favourite films of 2014 (<b><i>Citizenfour</i></b>). This film is about photographer/artist Nan Goldin, who supported people with AIDS in 1980s/90s New York City and more recently revealed the power of protest by helping to bring down the Sackler family, whose big Pharma company was responsible in large part for the opioid epidemic that has killed half a million Americans (so far). Very powerful well-made doc.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>11</b>. <b><i>Afire</i></b> - Christian Petzold’s latest film is a quiet but riveting and haunting drama about an insecure would-be writer (played by Thomas Schubert) who falls in love with a guest (played by Paula Beer) in his friend’s house. Beautifully acted by all concerned, with great cinematography and music. This subtle and thought-provoking film feels unusually natural and authentic.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>10</b>. <b><i>The Holdovers</i></b> - This may be Alexander Payne’s best film to date, though I needed to watch it twice (knowing where it was going) to feel the magic. Outstanding performance by Paul Giamatti as a depressed and crotchety New England boarding school teacher in 1970 who finds himself looking after stranded students during the Christmas break. A serious Christmas comedy with a wonderful period feel and a great supporting performance by Da’Vine Joy Randolph as the school’s cook. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>(9+)</b>. <b><i>Fallen Leaves</i></b> - This beautifully-filmed romantic comedy from Aki Kaurismäki is a slow, quiet, life-affirming and very funny film about two lonely and depressed people (one of whom is an alcoholic) living in Helsinki. With minimal dialogue, the two actors playing Ansa and Holappa (Alma Pöysti and Jussi Vatanen) manage to convey a wealth of emotion while the deadpan humour is used brilliantly in the film’s social and political commentary. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>9</b>. <b><i>Rustin</i></b> - George C. Wolfe’s underrated Netflix film stars Colman Domingo (who is superb) as Bayard Rustin, one of the most important figures in US history, who was relegated to the sidelines of the civil rights movement because he was gay, but still managed to organize the incredible March on Washington in 1963. It’s time people were introduced to this lifelong champion of peace and justice and I believe everyone should watch this inspiring and truthful film, which has been unfairly dismissed as a conventional biopic. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>8</b>. <b><i>Empire of Light</i></b> - Speaking of underrated films, this 2022 (released in Canada in 2023) British romantic drama by Sam Mendes is a gorgeous, thoughtful and poignant film about lonely hurting people working at an old cinema on the English coast in 1980. With its evocative setting, beautifully-drawn characters and amazing performances (Olivia Colman and Michael Ward have the lead roles), <b><i>Empire of Light</i></b> had me hooked from the first minute and I’m at a loss to understand why critics largely panned it. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>7</b>. <b><i>One Summer</i></b> - Louise Archambault is one of Canada’s finest filmmakers and this quiet French-Canadian comedy-drama provides another example of her skills. A parish priest in Montreal (played perfectly by Patrice Robitaille) takes a group of homeless people on a summer retreat in eastern Quebec. The results may not be unexpected, but the flawless presentation (beautiful cinematography, wonderful music and natural performances) make this humanizing film about community and relationships a must-see.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>6</b>. <b><i>Anatomy of a Fall</i></b> - Destined to become a classic, this French courtroom drama, written and directed by Justine Triet, concerns a German writer (Sandra, played brilliantly by Sandra Hüller) accused of murdering her French husband in their house in the French Alps. The long courtroom scenes are absolutely riveting. </p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>5</b>. <b><i>Oppenheimer</i></b> - Christopher Nolan’s best film to date (and that’s saying something) needs no introduction. Despite my disappointment with the lack of character development in the critical women’s roles (Emily Blunt and Florence Pugh were a highlight of the film) and the difficulty I had emotionally connecting with the protagonist, I consider <b><i>Oppenheimer</i></b> a magnificent achievement: The acting is flawless (Cillian Murphy and Robert Downey Jr. deserve Oscars for their roles), the cinematography is stunning, the plot structure and overall writing are amazing, the score is spot-on and I can find no fault with the direction. I’m amazed but pleased that such a long thoughtful film became a blockbuster.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>4</b>. <b><i>The Teacher’s Lounge </i></b>- This German drama, directed and co-written by Ilker Çatak, concerns a grade-six teacher (Carla Nowak, played perfectly by Leonie Benesch) who discovers the identity of the person responsible for a series of thefts. When she confronts the person, Carla’s life takes a dramatic turn as the school she loves becomes a nightmare. <b><i>The Teachers’ Lounge</i></b> is gripping and believable from the first minute to the last, with excellent performances from both children and adults and an exceptionally thought-provoking screenplay.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>3</b>. <b><i>Living</i></b> - Not released in Canada until 2023, this new British adaptation of the 1952 classic Japanese film Ikiru (which was directed by Akira Kurosawa) is that rare remake that succeeds in becoming a classic in its own right, thanks in large part to a sublime performance by Bill Nighy. Nighy plays a bureaucrat in the Public Works department of 1953 London who learns he has terminal cancer, forcing him to reconsider the meaning of his life and work. Living is a moving and inspiring drama written by Kazuo Ishiguro and directed by Oliver Hermanus.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b>2</b>. <b><i>Brother</i></b> - This largely-unknown Canadian film chronicles the experiences of two brothers growing up in the Scarborough district of Toronto in the early 1990s. Written and directed by Clement Virgo, Brother stars Aaron Pierre and Lamar Johnson (both are terrific) as Francis and Michael, sons of immigrants from Jamaica, who grow up in a neighbourhood prone to gang violence and police brutality. Breathtaking cinematography supplements this brilliant, poignant and haunting film about love and family.</p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 12px; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><b style="font-style: normal;">1</b>. <b><i>Spider-Man: Across the Spider-Verse</i></b> - See my next post (on the 24th) for why I loved this film.</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-44360533472396257132024-01-17T14:24:00.002-04:002024-01-20T17:14:39.086-04:00Vic’s Top 17 Films of 2023 - A Tale of Two Theatre Trips - Part One / AKA “Tell us how you REALLY feel, Vic!!”<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3rNYnv8Iy8SkoOhZAUU4Nc92HK9NEte-oaDSV6nvWEHBYcPWL1rDtxqgzEC-HNrVx1DlgpFsE5jZtkTFsLAfz66fXHjdedwmMiKf6egI1n5XuVPR6ymyAc2Q3nkSbJlwoZ9e6wF0nv8SCx5HaFmi35aQj75nqRr_oNrl4jpEgTjWoxKoAK1eDLQq_4Bo/s1864/killers%20two.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1049" data-original-width="1864" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3rNYnv8Iy8SkoOhZAUU4Nc92HK9NEte-oaDSV6nvWEHBYcPWL1rDtxqgzEC-HNrVx1DlgpFsE5jZtkTFsLAfz66fXHjdedwmMiKf6egI1n5XuVPR6ymyAc2Q3nkSbJlwoZ9e6wF0nv8SCx5HaFmi35aQj75nqRr_oNrl4jpEgTjWoxKoAK1eDLQq_4Bo/s320/killers%20two.png" width="320" /></a></div><p></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">This year’s list of my favourite films (NOTE: not the BEST films of 2023 but MY FAVOURITE films of 2023) requires a long introduction and postscript - too long to include in a post with the list itself. So I am dividing </span><b style="font-family: "Helvetica Neue"; font-size: 12px;">Vic’s Top 17 Films of 2023</b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> into three parts this year, with one part coming now, the list coming on the weekend, and the final part coming early next week.</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">The reason for this is two trips I made to the Saint John Cineplex in 2023. On one of these trips (in the spring), I was blown away by what I had just watched: a work of art, written and directed by six men I had never heard of, that was so sublime I was left breathless for hours, walking into the parking lot in a daze (something only the best films can induce). On a later trip (in the fall), I was profoundly disappointed by what I had just watched: a so-called masterpiece, by one of Hollywood's filmmaking giants, that was so infuriating I grumbled to myself all the way home and couldn’t write a review because I knew it would make me too angry and cause people to think the AKA quoted above.</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">The first film is easily my favourite film of 2023. It is the subject of the postscript coming early next week. The second film was the number one film of the year for many major film critics but didn’t even get close to my top seventeen. The purpose of this introduction is to let you know why that is.</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">I have always admired Martin Scorsese. Three of his films (</span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Hugo, The Last Temptation of Christ </i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;">and</span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i> The Departed)</i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> are on my all-time favourite list. And </span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Killers of the Flower Moon</i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> is clearly the work of a master filmmaker, aided by terrific performances from Lily Gladstone, Leonardo DiCaprio and Robert De Niro. </span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Killers</i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> contains many powerful scenes and I have no doubt that Scorsese is attempting to do something very commendable with his film as he exposes the horrors that white men can inflict on women and Indigenous people. Nevertheless, for me, </span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Killers</i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> is a seriously flawed film for two key reasons:</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">1) The character of Mollie (played by Gladstone). Gladstone has already received a number of major acting awards for this role and I expect her to receive more. Deservedly so - for me, she and Mollie are the highlight of the film. But also the lowlight. Back in the spring, I had no knowledge of the book on which </span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Killers</i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> is based, a book I now know was written from the perspective of Mollie. But as I watched the film, I knew without the book that this was a story that needed to be told from Mollie’s perspective. Mollie should have been the protagonist. This is HER story, and the horrific story about HER people (the Osage), one among many such stories that haunt the legacy of white patriarchal colonizers’ treatment of Indigenous communities across North America. As such, it’s a story that simply CANNOT BE TOLD FROM THE PERSPECTIVE OF A WHITE MAN. I had no interest whatsoever in the story of Ernest, the white protagonist - I wanted to see Mollie’s story! I recognize that </span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Killers</i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> made an effort to let Mollie speak (that’s where the film shone brightest), but that only highlighted the failure of making this film about Ernest. </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">2) Critics (including some Indigenous critics) have applauded the involvement of so many Indigenous people in the filmmaking process. Many Indigenous characters are portrayed and all of them are played by Indigenous actors (including greats like Canada’s Tantoo Cardinal). This is a major advance on how Indigenous people were portrayed in much of film’s history and is indeed laudable. But the character development of almost all of these Indigenous people is pathetic, especially when compared to the character development of the white characters (men). The story of the Osage people suffers from a similar lack of development. There is nowhere near enough context provided to tell this story conscientiously and no real mention of the big-picture systemic issues involved. Drawing our attention to an appalling example of the crimes committed against Indigenous people may be laudable, but it is inexcusable to then relegate Indigenous people to the sidelines of their own story, using that story as a backdrop to relate the tale of the white men who committed these nefarious deeds. I should add that the film also generally relegates women to the sidelines of a story in which they play a central role. </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">In my opinion, </span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Killers of the Flower Moon </i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;">is a film that should have been written and directed by Indigenous women telling the story of Indigenous women. Then it could indeed have been the masterpiece many critics claim it to be.</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">But Vic, you ask, given what you say, shouldn’t such a review come from Indigenous critics? Yes indeed, and after writing most of the above (in October) I sought out such critics. Their thoughts are mixed but I found more who shared my views than opposed them. I am providing a link to a recent article by a Native American journalist (Frank Hopper). I offer two quotes from Hopper’s article here, one of which quotes Christopher Cote, an Osage language consultant for the film who said (at the film’s premiere): “As an Osage, I really wanted this to be from the perspective of Mollie and what her family experienced.”</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">The second quote is from Hopper: “Hollywood films often guide public perception of important issues, and while a massive cinematic juggernaut like </span><b style="font-family: "Helvetica Neue"; font-size: 12px;"><i>Killers of the Flower Moon</i></b><span style="font-family: "Helvetica Neue"; font-size: 12px;"> can bring needed attention to issues of ongoing injustice on tribal lands, the film deserves scrutiny for how irresponsibly it treats the Native side of the narrative.”</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">This is the link to Hopper’s article in </span><i style="font-family: "Helvetica Neue"; font-size: 12px;">Yes! Magazine:</i><span style="font-family: "Helvetica Neue"; font-size: 12px;"> </span><a href="https://www.yesmagazine.org/social-justice/2023/11/06/killers-flower-moon-indigenous-women?utm_medium=email&utm_campaign=YESDaily_20240109&utm_content=YESDaily_20240109+CID_59a59f0906cfdeca866c2e347c6b4b19&utm_source=CM&utm_term=Read" style="font-family: "Helvetica Neue"; font-size: 12px;"><span style="color: #3586ff;">https://www.yesmagazine.org/social-justice/2023/11/06/killers-flower-moon-indigenous-women?utm_medium=email&utm_campaign=YESDaily_20240109&utm_content=YESDaily_20240109+CID_59a59f0906cfdeca866c2e347c6b4b19&utm_source=CM&utm_term=Read</span></a><span style="font-family: "Helvetica Neue"; font-size: 12px;"> the full story here</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 12px;">The best book on the subject of making films about Indigenous people, and on the concept of narrative sovereignty, is </span><i style="font-family: "Helvetica Neue"; font-size: 12px;">Unreconciled</i><span style="font-family: "Helvetica Neue"; font-size: 12px;"> by Jesse Wente, a First Nations journalist and chairperson of the Canada Council for the Arts.</span></p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com2tag:blogger.com,1999:blog-2608865863680527081.post-46358955512499682892023-09-24T23:22:00.001-04:002023-09-24T23:22:11.864-04:00Cinéfest 2023 Highlights<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlDMHKxs9Opb-sCW_CmbtCoVg0c7ywYm7VA8DcDdvX6SK3EOCxvnTJTUipfsQOCSmAFfSnJ-Id8kOaWa3w2AACTfEp3A5tpSt3y2erK6r7dSsjSJPSRInULW716d96wKhKDlbI6q0b35vHZGjBrZWLUHwUJOHHkqhLF34rP67XLtYhwP2LXoMH-gruRB4/s973/Lehrerzimmer.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="973" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlDMHKxs9Opb-sCW_CmbtCoVg0c7ywYm7VA8DcDdvX6SK3EOCxvnTJTUipfsQOCSmAFfSnJ-Id8kOaWa3w2AACTfEp3A5tpSt3y2erK6r7dSsjSJPSRInULW716d96wKhKDlbI6q0b35vHZGjBrZWLUHwUJOHHkqhLF34rP67XLtYhwP2LXoMH-gruRB4/s320/Lehrerzimmer.jpeg" width="320" /></a></div><span style="font-family: "Times New Roman"; font-size: 15.3px;"><br /></span><p></p><p><span style="font-family: "Times New Roman"; font-size: 15.3px;">The Sudbury International Film Festival (Cinéfest) is one of the largest in Canada. I was able to watch 14 films this year with my close friend, Terri, who lives in Sudbury. An amazing nine of the films we chose to watch were written and directed by women and half of the films had a woman protagonist. Here are brief comments on my six favourite films at the festival.</span></p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">1. <b><i>The Teachers’ Lounge</i></b>, a German film directed and co-written by Ilker Çatak, concerns a grade-six teacher (Carla Nowak, played perfectly by Leonie Benesch) who discovers the identity of the person responsible for a series of thefts. When she confronts the person, Carla’s life takes a dramatic turn as the school she loves becomes a nightmare. I found <b><i>The Teachers’ Lounge</i></b> gripping and believable from the first minute to the last, with excellent performances from both children and adults and a brilliant, haunting and thought-provoking screenplay. ****</p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 18px;"><br /></p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">2. <b><i>Anatomy of a Fall</i></b>, a french film written and directed by Justine Triet, is a courtroom drama about a German writer (Sandra, played brilliantly by Sandra Hüller) accused of murdering her French husband in their house in the French Alps. The long courtroom scenes are riveting. A classic. ****</p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 18px;"><br /></p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">3. <b><i>One Summer</i></b>, a French-Canadian comedy-drama from Louise Archambault, who made my favourite film of the year in 2019 (<b><i>And the Birds Rained Down</i></b>). A parish priest in Montreal (played by Patrice Robitaille), who has been serving the homeless for years, takes a group of homeless people on a summer retreat in eastern Quebec. Trouble ensues. A beautiful humanizing film about community and relationships. ***+ - ****</p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 18px;"><br /></p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">4. <b><i>Femme</i></b>, an incredibly intense and gripping drama about what happens when a gay man who was viciously attacked meets one of his attackers in a gay sauna three months later. Set in London, this British film was written and directed by Sam H. freeman and Ng Choon Ping and features stunning performances by Nathan Stewart-Jarrett and George Mackay. ***+ - ****</p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 18px;"><span style="font-size: 15.3px;"><br /></span></p><p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 18px;"><span style="font-size: 15.3px;">5. </span><b style="font-size: 15.3px;"><i>The Old Oak</i></b><span style="font-size: 15.3px;">, the latest and possibly final film from the writer/director team of Paul Laverty and Ken Loach, who made my favourite films of the year in 2016 (</span><b style="font-size: 15.3px;"><i>I, Daniel Blake</i></b><span style="font-size: 15.3px;">) and 2020 (</span><b style="font-size: 15.3px;"><i>Sorry We Missed You</i></b><span style="font-size: 15.3px;">). This film about a pub owner (played by Dave Turner) in northern England who befriends Syrian refugees, to the consternation of many of his regulars, is not as good as their last two films (too many loose ends) but is another humanizing and empathetic attempt to make the world a better place. ***+ - ****</span></p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 18px;"><br /></p>
<p style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 15.3px; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;">6. <b style="font-style: normal;"><i>Hey, Victor!</i></b> is an absolutely hilarious Canadian Indigenous mockumentary directed by Cody Lightning, who plays himself. Having played the young Victor in the wonderful Indigenous film <b style="font-style: italic;">Smoke Signals </b>(back in 1998), and since fallen on hard times, Cody wants to make a sequel, bringing in all the actors of the first film. A little over-the-top at times, but I haven't laughed this much in a long time. ***+</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-44344327817319222102023-08-21T15:58:00.000-04:002023-08-21T15:58:59.528-04:00The Trans Mountain Pipeline: A Crime Against Humanity<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RrRJatSGtGg5FlsWNlDi-4qXa_T192LvY2TopBtNViWW5_gdcIGE4h53FyG_0TO6XtHUB9FgMNi_3rtgFvQZVaNokDRlp3dB41Ss-Iv9--g_EynwAbj_evYo__B4YHc8sm4OKqP1OD2_KE9rh8hGVcW1lk13DOlhKbD0IpRnUJMtTKqYqPgCNX5DimUM/s269/DA2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="269" data-original-width="187" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RrRJatSGtGg5FlsWNlDi-4qXa_T192LvY2TopBtNViWW5_gdcIGE4h53FyG_0TO6XtHUB9FgMNi_3rtgFvQZVaNokDRlp3dB41Ss-Iv9--g_EynwAbj_evYo__B4YHc8sm4OKqP1OD2_KE9rh8hGVcW1lk13DOlhKbD0IpRnUJMtTKqYqPgCNX5DimUM/s1600/DA2.jpeg" width="187" /></a></div><span style="font-family: "Helvetica Neue";"><p><span style="font-family: "Helvetica Neue";"><br /></span></p>As wildfires force thousands out of their homes just a short distance away, one of the most heinous crimes imaginable (namely contributing to the destruction of all life on our planet) is being committed by our Canadian government (both the PCs and the Liberals are responsible) - expanding the deadly Trans Mountain Pipeline. A 24-year-old Indigenous woman who was arrested and sentenced to three weeks in jail for peacefully protesting this dreadful crime has written an excellent article, for which I am not permitted to provide a link on Facebook.</span><span style="font-family: "Helvetica Neue";"> </span><p></p><p><span style="font-family: "Helvetica Neue";">How is it possible that the government of a country like Canada is still actively promoting our reliance on fossil fuels at a time when the world desperately needs to end such reliance? I don’t know the answer but we need to make our voices heard. Maya Laframboise is doing her part. Here’s the link to her article: </span><a href="https://breachmedia.ca/to-stop-a-pipeline-a-three-week-jail-sentence-was-a-small-price-to-pay/" style="font-family: "Helvetica Neue";">https://breachmedia.ca/to-stop-a-pipeline-a-three-week-jail-sentence-was-a-small-price-to-pay/</a></p><p><span style="font-family: "Helvetica Neue";">And here’s the link to the excellent 2018 documentary </span><b style="font-family: "Helvetica Neue";"><i>Directly Affected: Pipeline Under Pressure</i></b><span style="font-family: "Helvetica Neue";">. The film is a bit dated now but still relevant. </span><a href="https://vimeo.com/ondemand/directlyaffected" style="font-family: "Helvetica Neue";">https://vimeo.com/ondemand/directlyaffected</a></p><div><br /></div>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-71016370981347348442023-08-16T15:28:00.003-04:002023-08-17T00:31:41.649-04:00Barbenheimer Part 2 (Oppenheimer) - Additional Thoughts from Vic<p><span style="font-family: "Helvetica Neue"; font-size: 11px;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVz9cOrDrun-t3AezgaR6r_sPqvtVm8X5B3rpLqgXqyDz5nkIc5F3FzogrYuZBGUOpJ1hA8E7q3yHpC6_V_tPbBOZQHj8UynZIOXOzClt4u_kUeEBdFJNlonvvyHud12xrl4xZIHRvUwb1ooN7FY45qhy6VGxkn4hlnSjShMm5ZVbGCRM0zlLubsEO8FJm/s640/Oppenheimer-Emily-Blunt-Cillian-Murphy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVz9cOrDrun-t3AezgaR6r_sPqvtVm8X5B3rpLqgXqyDz5nkIc5F3FzogrYuZBGUOpJ1hA8E7q3yHpC6_V_tPbBOZQHj8UynZIOXOzClt4u_kUeEBdFJNlonvvyHud12xrl4xZIHRvUwb1ooN7FY45qhy6VGxkn4hlnSjShMm5ZVbGCRM0zlLubsEO8FJm/s320/Oppenheimer-Emily-Blunt-Cillian-Murphy.jpg" width="320" /></a></div><span style="font-family: "Helvetica Neue"; font-size: small;"><p><span style="font-family: "Helvetica Neue"; font-size: small;"><br /></span></p>I agree with most of Walter’s review and will try not to repeat very much.</span><p></p><p><span><span style="font-family: "Helvetica Neue";">Let me say at the outset that despite the negative comments that follow, and the flaws that Walter identified, I consider </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> to be a four-star classic, probably the best film Christopher Nolan has made and destined to win a fair number of Academy Awards. It will surely be in my top ten list.</span></span></p><p><span><span style="font-family: "Helvetica Neue";">Given that Nolan is considered one of the finest directors of our time, it is high praise indeed to suggest that </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> may be his best film. However, this achievement must be tempered with the fact that, for me, Nolan’s filmmaking quirks have caused considerable difficulty in evaluating his previous films. Years ago, I devoted a long blog post to this. Walter mentioned the issue with sound, something that ruined any chance of me enjoying Nolans’s last film, </span><b style="font-family: "Helvetica Neue";"><i>Tenet</i></b><span style="font-family: "Helvetica Neue";">. In the post I mentioned, I focus on the incredibly contrived nature of some of Nolan’s plots, a flaw that undermines some of his previous and best films, including </span><b style="font-family: "Helvetica Neue";"><i>The Dark Knight, Inception </i></b><span style="font-family: "Helvetica Neue";">and </span><b style="font-family: "Helvetica Neue";"><i>Interstellar</i></b><span style="font-family: "Helvetica Neue";">. One could argue that </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> also suffers from this flaw, but in a film based on actual events it didn’t bother me at all. On the contrary, the fact that </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> is meticulously structured from beginning to end is one of its highlights.</span></span></p><p><span><span style="font-family: "Helvetica Neue";">One of Nolan’s greatest flaws (IMO) is ironically highlighted by the </span><b style="font-family: "Helvetica Neue";">Barbenheimer</b><span style="font-family: "Helvetica Neue";"> phenomenon, namely the role of women in his films. Women rarely play significant roles in Nolan films. When women do have a role, they almost always suffer from a lack of sufficient character development. </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> is an example of this. The roles of Kitty Oppenheimer and Jean Tatlock (played wonderfully by Emily Blunt and Florence Pugh) are presented as key contributors to Robert Oppenheimer’s character development and to understanding who Oppenheimer is. But there is precious little character development when it comes to understanding who these women are. I am grateful that these two women figure as prominently as they do in a Nolan film - for me they are a highlight of the film - but it would have been a better film if we had gotten to know who Kitty and Jean were, not just how they impacted Oppenheimer’s life. </span></span></p><p><span><span style="font-family: "Helvetica Neue";">Another feature of Nolan films that may be a specific problem for me alone is the difficulty I have emotionally connecting to the characters and to the films overall. </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> is another an example of this. I can sense that Nolan is trying hard to make that connection and the pieces seem to be there (we are often given a clear sense of what is going on in Oppenheimer’s tortured mind), but something is always missing for me (something that can be found in most of my favourite films of any given year).</span></span></p><p><span><span style="font-family: "Helvetica Neue";">Some critics have complained that while the events in </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer </i></b><span style="font-family: "Helvetica Neue";">are accurately portrayed, Oppenheimer as a person is treated more sympathetically than he deserves (i.e. a number of his character flaws are minimized or omitted entirely). I don’t argue that it wouldn’t be nice to know everything about the man, but I certainly don’t expect it from a film like this. </span></span></p><p><span><span style="font-family: "Helvetica Neue";">Another complaint I have read is the way Nolan avoided showing the Japanese victims of Hiroshima and Nagasaki. When Nolan was asked about this, he seemed genuinely surprised, replying that he thought what he did instead (namely Oppenheimer’s graphic haunted visions) was more effective in conveying the horror Oppenheimer was experiencing as he faced the consequences of his successful work. I’m not saying I am entirely satisfied with how Nolan presented the moral questions and ethical dilemmas in the film, but I was watching for this and felt this was handled better than I might have expected. In no way (IMO) was </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> (the film) supporting the myth of redemptive violence. If anything, it presented a number of challenges to this myth, though, as Walter writes, the film doesn’t offer easy answers.</span></span></p><p><span><span style="font-family: "Helvetica Neue";">The plot structure, the writing, the cinematography, the music, the direction: all of these are close to flawless - a magnificent achievement overall. But the highlight for me was none of these; it was the acting (which Walter also highlighted). </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> has one of the best collections of flawless acting I have ever seen. Critics talk a lot about Robert Downey Jr.’s masterful performance as Strauss, and have already suggested he is a shoe-in for Best Supporting Actor. Downey Jr. is indeed amazing, and at this point in the year he would get my vote as well, but </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> would not be the masterpiece that it is without, first and foremost, the flawless performance of Cillian Murphy, who was forced to lose considerable weight to play this role. Time and again I would look into Murphy’s expressive face and read exactly what he was thinking. He also deserves an Oscar. </span></span></p><p><span><span style="font-family: "Helvetica Neue";">But there are many other wonderful performances to highlight: I have already mentioned Blunt and Pugh. Matt Damon is terrific as the general who gets Oppenheimer involved. Jason Clarke is perfect as Roger Robb, as is Benny Safdie as Edward Teller and Alden Ehrenreich as Strauss’s aide. In smaller roles, Tom Conti is fun to watch as Albert Einstein, Rami Malek effective as David Hill, Kenneth Branagh an amusing Niels Bohr, and the always-amazing Gary Oldman is perfect as Harry Truman. I could go on - such a joy to watch so many actors contributing to Nolan’s masterpiece. </span><b style="font-family: "Helvetica Neue";"><i>Oppenheimer</i></b><span style="font-family: "Helvetica Neue";"> gets an easy ****.</span></span></p>
<p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 12px;"><span>And now a comment about the <b>Barbenheimer</b> phenomenon. I will just add to what Walter wrote by noting that <b><i>Barbie</i></b> and <b><i>Oppenheimer</i></b> continue to do insanely well at the box office weeks after their release, breaking all kinds of records. As someone who, despite being a cinephile, has grown cynical of Hollywood, I can only be thrilled by the <b>Barbenheimer</b> phenomenon, whatever the cause, because these two films are thoughtful, discussion-worthy films with virtually no action. This is definitely NOT typical of summer blockbusters and I can only hope that Hollywood writers and filmmakers are taking note of this.</span></p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-22355920672302194622023-08-13T16:32:00.000-04:002023-08-13T16:32:14.373-04:00Barbenheimer - Part 2 (Oppenheimer)<p> So, first of all, let me just comment on the weirdness of
the whole “Barbenheimer” concept. What a fascinating study of what catches people’s
interest. And probably some intuitive marketing brilliance by someone. </p>
<p class="MsoNormal">Because the movies are, of course, poles apart. I suppose one
key element in common is that they are both far more creative film-making than
the sad tiredness of ever more superhero movies or other franchises. </p>
<p class="MsoNormal">But let’s get to <i>Oppenheimer</i>. This movie is serious and intense
and cerebral (and long!); it’s so hard to understand how it became so popular. </p>
<p class="MsoNormal">Don’t get me wrong; it is excellent. The acting, by a large
cast, is amazing. It doesn’t offer easy answers – or even particularly clear
questions. Is the moral question about making/dropping a bomb? Or about the scientist's responsibility for technology? Or about sharing
scientific knowledge internationally – even with enemies? Are we trying to think
about the conflicted psychology of Oppenheimer or of a nation at war (WW II or the
Cold War) with mind-numbing new Promethean powers? I did not know that three
hours of this kind of film would attract such a large audience! </p>
<p class="MsoNormal">But for those interested in the complexities, it holds your
interest and makes you think. </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGf8Q2M5Up20oqm4fr0ARKrduTkVMDmpCeP74XA41oNxuu19KXnHAI6MkcD8Y6Z2M3BWmoBfxYVAkhMaNVjAE6zet3Kcx2kUFFr7LiMlkCydrZY9obil-egnTjqAOvYL1z7g93_PnbN1_e-1BZW8QX_Q1xf6K7jci-0wE3KKJ1tFlbGIPwlyn7ZQTDjE/s2400/opp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2400" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGf8Q2M5Up20oqm4fr0ARKrduTkVMDmpCeP74XA41oNxuu19KXnHAI6MkcD8Y6Z2M3BWmoBfxYVAkhMaNVjAE6zet3Kcx2kUFFr7LiMlkCydrZY9obil-egnTjqAOvYL1z7g93_PnbN1_e-1BZW8QX_Q1xf6K7jci-0wE3KKJ1tFlbGIPwlyn7ZQTDjE/s320/opp.jpg" width="320" /></a></div><br /> I need also to make a comment on the fascinating, yet small,
role of Einstein in this film. I am curious whether it worked for everyone, but,
at least on first watching, it really worked for me. It strikes me that there’s
a bit of Gandalf in it or something – a wise and sad figure on the edge of the
story. <p></p>
<p class="MsoNormal">I ask myself whether I would have liked it more or less if
there were a clearer sense of what it was about. Or whether I would have
preferred less focus on Oppenheimer’s nemesis in the latter parts of the film.
Not sure. I think I will need to watch it again to have a better idea of those
questions.</p>
<p class="MsoNormal">But when I see it again, I’ll watch it with subtitles because: Christopher Nolan.
What the heck, Nolan?! Why can’t you learn how to manage sound in your films.
<i>Tenet</i> was virtually useless because the sound editing was so bad, and so much
dialogue was lost. And many of his films (<i>Interstellar, Dunkirk </i>are other examples) have way too much overwhelming
sound, including this one. My vow at present is never to see another Nolan film
in the theatre but to wait until it streams so that I can turn the volume down
and put the subtitles on. I may forget.<br /></p>
<p class="MsoNormal">That rant aside, the film is still not perfect, but I think
I’d give it **** (but still only recommending it to those who would like a serious,
intense, cerebral three-hour film). </p>
Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-73459620139132420872023-08-11T14:17:00.001-04:002023-08-12T11:20:15.245-04:00Barbenheimer Part 1 (Barbie): Vic and Monika Weigh In<p><span style="font-family: "Helvetica Neue"; font-size: 11px;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmpZD6fnZIfaOLxjRScMkx0R1LF1g0akku6euxibypdOLzb6lwyp06Zy5f7GzkbspJgS20NojdQK5MhalYz-IOEQteHK7P-H7LiqK8r-N0qnbMuI6O2dE8n8DSNUYlPVExL7Fd8Zwmu159CMsYQZh8fvnf9ZhOriDMts1moFS4365J0HryaH3v8APolEge/s1296/Barbie.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmpZD6fnZIfaOLxjRScMkx0R1LF1g0akku6euxibypdOLzb6lwyp06Zy5f7GzkbspJgS20NojdQK5MhalYz-IOEQteHK7P-H7LiqK8r-N0qnbMuI6O2dE8n8DSNUYlPVExL7Fd8Zwmu159CMsYQZh8fvnf9ZhOriDMts1moFS4365J0HryaH3v8APolEge/s320/Barbie.webp" width="320" /></a></div><span style="font-family: "Helvetica Neue"; font-size: 11px;"><p><span style="font-family: "Helvetica Neue"; font-size: 11px;"><br /></span></p>As you have seen (below), Walter and I went to see </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbenheimer</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> last week, taking the opportunity to watch the two films back-to-back in the largest, loudest and most comfortable theatre in the province (I think). I started writing my reviews of the two films a week ago but got distracted by other things and Walter posted his review of </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> first. I will try not to repeat too much of what he has already said.</span><span style="font-family: "Helvetica Neue"; font-size: 11px;"> </span><p></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">An important factor in our reviewing of </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> is something Walter already touched on, namely that Walter and I in no way represent the target demographic. Our shared frustration that Sasha’s initial challenge of the entire history of Barbie was not pursued further demonstrates this fact. Walter and I might have been hoping for the kind of critical social commentary we have come to expect from writers Greta Gerwig and Noah Baumbach and thus found that </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> was too soft/gentle in its critical analysis. This also applies to Gloria’s key speech on the treatment of women in our patriarchal society, a speech we thought was great but didn’t go far enough (“so tame”, as Walter says). But the film wasn’t made for us, so the real question is what the target audience expected and thought about these scenes. </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">Fortunately, one of our film-buff friends, a former student of ours at St. Stephen’s University and a regular at our weekly movie night for years, does represent a key target demographic (young women) and was willing to share her reflections on </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> with me (with permission to share them here). Monika adored this film and has already watched it a number of times. I will begin my review with her thoughts because I consider them more relevant than my own. Where I quote Monika directly, I will use italics.</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">To get a feel for how differently Monika viewed </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">, I will quote her response to my concerns about the scenes featuring Sasha and Gloria (daughter and mother: terrific central characters played very well by Ariana Greenblatt and America Ferrera) and her thoughts about the target demographic: </span><i style="font-family: "Helvetica Neue"; font-size: 11px;">Gloria's speech was absolutely spellbinding to me. I agree that it could have gone further and pushed more, but just to have the struggles that she mentioned recognized as something impossible and heavy that is placed on every woman and which we all understand, somehow, that we're not supposed to talk about? Well. I cried. And it felt so validating and empowering. I KNOW this movie didn't push ideas of feminism very far (at all). Anyone who's read any feminist theory will be well aware that these are the absolute basics, but then again a lot of the audience for this movie will not be familiar with it. We have to start from the bottom, and there are a LOT of people who are unfamiliar with these basic ideas. And truly, seeing something like this on a big screen with a big crowd was unexpectedly emotional. It's real! These struggles that we've had for years are REAL! Other people know about them! I can't describe to you the euphoria</i><span style="font-family: "Helvetica Neue"; font-size: 11px;">.</span></p><p><i style="font-family: "Helvetica Neue"; font-size: 11px;">I think that what Greta was exploring is the idea that Barbie's impact on the world wasn't her (Barbie’s) choice, and it also wasn't the intent of Barbie’s creator. There is a time and place for movies with a Sasha point of view, but I am SO thankful that this didn't turn out to be one of them. </i><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><i style="font-family: "Helvetica Neue"; font-size: 11px;">’s intended audience is not someone with a phd in gender studies. This is for ten-year-olds who are getting bullied at school, and the inner children of girls who were forced to grow up much more quickly than boys (and let go of their dreams, and try to fit in, and not be too much but not be too little). It has more than enough to get young girls asking questions, and also to maybe make a few men (who might not otherwise have given it any thought) think that there might be more to the female experience than they realize. I understand wanting the film to go deeper (and I share that desire) but I am SO happy with what it did. Feminism 101 is clearly needed with the state of the world today. </i></p><p><i style="font-family: "Helvetica Neue"; font-size: 11px;">I think </i><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><i style="font-family: "Helvetica Neue"; font-size: 11px;"> has a LOT of punch if you've ever been in Barbie's high-heeled, slippery shoes (which a lot of us have, metaphorically speaking). The part where she's in the real world for the first time and being catcalled and she's so confused - that happened to me. That happened to my best friend. That has happened to almost every woman I know, because there comes a day (and you're not sure what changed) when all of a sudden the world, which seemed like a great place to run around in the woods and have sleepovers and practice lipstick application, is suddenly horrifyingly unsafe. Everything Barbie did and said and saw resonated so deeply that I walked away feeling deeply seen and known and wholly, completely accepted and okay in a way that very few movies have made me feel.</i></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">After reading Monika’s reflections, I am more than ready to admit that I can’t provide a reliable review of </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> unless I make a serious effort to view the film from the perspective of a girl or young woman, for whom the doll and film mean something so much more personal than they could possibly mean for me (for my second viewing of </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">, I will make at least an attempt to do this). Nevertheless, I will offer a few of my own reflections on </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">.</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">First, </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> is full of magical movie moments that make it an absolute joy to watch. Those magic moments include the speeches mentioned above, the Mattel boardroom scene, an hilarious comment by the narrator and Walter’s least-favourite scene in the film (which was my </span><b style="font-family: "Helvetica Neue"; font-size: 11px;">favourite</b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> scene in the film, no doubt indicating a key way in which Walter and I differ in our film tastes), namely Ken’s song and dance number. I think that scene is brilliant for a number of reasons, though I can’t say why without spoilers. In general, however, the scenes featuring men are among my least-favourite in the film. This does </span><b style="font-family: "Helvetica Neue"; font-size: 11px;">not</b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> include the character of Allan (a perfectly-cast Michael Cera) but it does include the Kens and the board of Mattel. For me, the men represent a form of silliness I rarely appreciate. Monika suggests the Kens may be disrupting my comfort because I’m </span><i style="font-family: "Helvetica Neue"; font-size: 11px;">used to seeing men stuffed full of complexity and depth and greatness and PURPOSE and most of the men in this film didn't have a lot of any of those things. </i><span style="font-family: "Helvetica Neue"; font-size: 11px;">Perhaps there is something to that, though I often wish men were more frequently shown to be the way she describes. </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">Technically, </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> is a very well-made film, as I would expect from Gerwig, whose last two films were in my top ten lists. Margot Robbie is perfectly cast and brilliant throughout. Ryan Gosling is also excellent and Kate McKinnon is terrific as Weird Barbie. The cinematography is strong (I was not bothered by all the pink) and the music is great. </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">But the most wonderful thing about </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> is the sum of its parts. Here I am referring to the tone/atmosphere and message of the film, in which the dehumanization of both women and men is satirized throughout in a way that respects all of the characters. There’s even a unique challenge to the myth of redemptive violence. In other words, as Walter says, </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">’s heart is in the right place (i.e. it attempts to help make the world a better place). The word “stereotypical” is mentioned frequently in the film, with the obvious aim being to </span><i style="font-family: "Helvetica Neue"; font-size: 11px;">challenge</i><span style="font-family: "Helvetica Neue"; font-size: 11px;"> stereotypes. </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> provides a joyful and inclusive alternative vision of a world in which neither men nor women are treated as objects. For this reason, I can only applaud its popularity among the young and argue against anyone who claims Gerwig has ‘sold out’ by making a film for Mattel (and Warner Bros.). As Walter says, patriarchy still thrives. I welcome any film which challenges that false vision of the world. </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">For me, </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>Barbie</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> is an important, thoroughly-entertaining film that gets a solid ***+. A second viewing (coming soon) may send it into top-ten country. </span></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><i></i></p><p style="font-family: "Helvetica Neue"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 11px; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 13px;"><i></i></p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-26894763418571535352023-08-10T19:26:00.001-04:002023-08-13T15:22:14.578-04:00Barbenheimer - Part 1 (Barbie) <p>I caved. I went to see Barbenheimer (a double-header of <i>Barbie</i> followed by <i>Oppenheimer).</i> I had always planned to see <i>Oppenheimer</i>, but the insane (and insanely early) amount of marketing for the Barbie movie, fitting as that might be, had made me intend to avoid giving any of my dollars to Mattel (and others). But I caved, knowing that I would undoubtedly have mixed feelings about the film. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizfMGBdD1CD5vrlnLMcRa7KsMYX_7nNvZDfV0KuGvMrgg-Xymu-rYSAZnWFTImrPsXAHGbGzLBqfcSSjxFLSj90DKFAHwNLyDBqhjmfFkOrHHTlLO-F4jlOuRPCJepghLCxAlYo1ivzp7GwS0UmMJL1ppI8baRaqszf0uvkp4XbS1NR-YuO1PqGni9UhE/s2985/barb.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1679" data-original-width="2985" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizfMGBdD1CD5vrlnLMcRa7KsMYX_7nNvZDfV0KuGvMrgg-Xymu-rYSAZnWFTImrPsXAHGbGzLBqfcSSjxFLSj90DKFAHwNLyDBqhjmfFkOrHHTlLO-F4jlOuRPCJepghLCxAlYo1ivzp7GwS0UmMJL1ppI8baRaqszf0uvkp4XbS1NR-YuO1PqGni9UhE/s320/barb.jpg" width="320" /></a></div><br />And I did. The aesthetics of the movie, as expected, were so personally distasteful that they made me look forward to the grimmer realities of Oppenheimer coming up. But this was what I expected. <p></p><p>The ranting of some about the movie's "woke agenda" is, of course, correct. The movie clearly intends to subvert some themes associated with Barbie. But that agenda is, for the most part, so tame, it's disappointing that some still find it threatening. It's main target seems to be a stale and obsolete patriarchy, which still thrives, and its subversion still needs to make its contribution. I wish it success. </p><p>One of the highlights of the movie is a speech by Sasha, a cynical teen, relatively early in the movie. Sadly the film's failure - to my knowledge - to integrate that in a more satisfying way just underlines that they weren't making the movie for me. (I suspect that it would have been impossible to make it for me and for Mattel at the same time - though Mattel was willing to be made fun of at one level.) </p><p>Overall, the film had fun, creative moments that made it watchable, and Margot Robbie was magnificent and deserves the praise. It also had many disappointments and unfilled potentials to go deeper. But, again, it was not made for me. Ultimately, the only way for an older man like myself to assess a film like <i>Barbie</i> is to sit back patiently and observe it's (huge!) viewership and the possibility of an impact that it might make on cultural conversations and on individuals and families. May it be a good one. </p><p>And don't even get me started on the men's dance number... (but I'll still give the film *** for its heart in the right place). <br /></p>Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com1tag:blogger.com,1999:blog-2608865863680527081.post-58686353885912679802023-02-06T19:34:00.004-04:002024-01-27T12:56:24.657-04:00Walter's Top Film of 2022 (and a few more)<div class="separator"></div><p><!--[if gte mso 9]><xml>
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UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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</p><p class="MsoNormal">Before I saw what would become my favourite movie for 2022
(though technically it was only released in Canada in 2023), I’d already
decided that I <i>wouldn’t</i> do a “Top Ten” for 2022. For one thing, I’ve
tired of trying to compare apples and oranges, rating vastly different films
against each other. Plus, I’ve continued in my cantankerous direction of liking
fewer and fewer movies, especially those that are “critically acclaimed.”
Hardly any Oscar nominations, for example, are in my collection. </p>
<p class="MsoNormal">So, I had decided that I would just write about a collection
of top recommendations from last year and not rate them against each other at
all.</p>
<p class="MsoNormal">Then I saw <i>Women Talking</i>. I knew relatively early on
that this film touched what I look for in a great film in a way that nothing
else had come close to this past year. There are reasons why some of this
enthusiasm may be unique to me,* but I begin with a few words about this
powerful and important film. </p>
<p class="MsoNormal"></p><p class="MsoNormal" style="margin-left: 1em; margin-right: 1em;"> <img alt="Women Talking" height="160" src="https://images.ctfassets.net/22n7d68fswlw/2LFoXYN2PS976D18y2isRv/8c5887c904a7ee517ad576b1f99b620a/womentalking_01.jpg" width="320" /></p>In many other films that I liked but haven’t loved, it has
felt like a director’s decisions have frustrated me. With <i>Women Talking, </i>I
am overwhelmed with respect for Sarah Polley’s choices and skill. The decisions
to desaturate the film and distance the setting from its (tragically true)
historical context in an ultra-conservative Mennonite colony in Bolivia allow
the film to gain a universality and surreal tone – befitting the “thought
experiment” that Miriam Toews and then Polley imagine – while still grounding
it in the real experience of specific women. <p></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjVd4TjZk7i_7Hg_ewkbKXaAZ9ECKPsnwIkjbiMZrxdXsGjT5tzX44wEQ5PISn-vT8nxSSbxL7025nhWr9s7P4sXIjsLa51OjpvJES-fd7pjefE9hRwgetXRZEkOOLZ5Rb30S6L9VsJjgwPbdduQKEqyBdPH-yRARdx4XU7otmSWgCA6CRXNRyKf0c/s1200/women2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjVd4TjZk7i_7Hg_ewkbKXaAZ9ECKPsnwIkjbiMZrxdXsGjT5tzX44wEQ5PISn-vT8nxSSbxL7025nhWr9s7P4sXIjsLa51OjpvJES-fd7pjefE9hRwgetXRZEkOOLZ5Rb30S6L9VsJjgwPbdduQKEqyBdPH-yRARdx4XU7otmSWgCA6CRXNRyKf0c/s320/women2.jpg" width="320" /></a></div>In spite of the horrific situation, treated with all the
gravity it deserves, the film (and novel) manage to <br />integrate lighter moments.
The very human, relational struggles of the women, with their caring and their
stubbornness and their pushing through differences in spite of the time
pressure were all transformative. Toews and Polley alike portrayed the women’s
faith to be a source of strength instead of mockery, which was a crucial
decision for the quality of the film. Oh my goodness, so much could be said
about the dialogue on power, on hope, on forgiveness, on relationships, and on
the difference between the cruelty of individual men versus the deadening
violence of systemic patriarchy. <p></p>
<p class="MsoNormal">In the back of my mind during any good film is a constant
search for a teachable clip, and I stopped counting after about a dozen. This
movie is potent. By focusing the enemy as cultural and systemic, it enables any
viewer to be caught up in the universal dilemma: when do we stay and when do we
leave? Various leavings and stayings in my own life kept swirling in my mind. </p>
<p class="MsoNormal">So, without question, <i>Women Talking</i> was my top film. </p>
<p class="MsoNormal">Now the rest. The first cluster I’ll mention includes some of
the best films that I saw this year but were late viewings of films that are
usually treated as 2021 films. This includes: <i>The Mauritanian, Mass, CODA,
Dune </i>and<i> Drive My Car</i>. All of these are highly recommended and all are
incredibly different films. But since they’re a bit old now, I won’t say too
much about them. </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6tvCRgssg10UWxai4jtBqAHHG2dr458GcQSwlI0J9swBYiMZpXffWRKHAl9xxOmZv9zrF4nNo7VeaM8XJTrcJehAKh_IyjKzga7ndbkm3aGwB7GBJThFvIrSyM4cqhSZsZJa68xcxkyO_8flwqdXz7lDDLTfjQP5eqItYTAnU_TUJaWjNwSDcfXs/s1024/duke.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6tvCRgssg10UWxai4jtBqAHHG2dr458GcQSwlI0J9swBYiMZpXffWRKHAl9xxOmZv9zrF4nNo7VeaM8XJTrcJehAKh_IyjKzga7ndbkm3aGwB7GBJThFvIrSyM4cqhSZsZJa68xcxkyO_8flwqdXz7lDDLTfjQP5eqItYTAnU_TUJaWjNwSDcfXs/s320/duke.jpg" width="320" /></a></div><br />For pure movie watching entertainment in 2022, I would
single out <i>The Duke</i>. Based on a true story of an art heist by a 60 year
old taxi driver, this well crafted and well acted film is clever, funny and gives
you some valuable things to think about. If you haven’t seen this yet, grab
some friends and have a great evening together watching this (on Prime if you
have it). <p></p>
<p class="MsoNormal">Another fun film is the <i>The</i> <i>Glass Onion</i>. If
you’re like me and loved <i>Knives Out</i>, you were probably eagerly awaiting
this next Benoit Blanc adventure. I felt this lacked some of the panache of <i>Knives
Out</i>; in its exuberance, it overstepped in places and became silly or garish
(just <i>too much</i>, intentional or not). But the skewering of the so-called
“disruptors” (who are unveiled as those most embedded in all the evils of our
present systems) deserved all the pot-shots, and the theme of smashing things
felt awkward yet understandable at the same time. So, a notch down in the
franchise but still a recommended watch. </p>
<p class="MsoNormal">Now, mixing the humour with something more serious, we have <i>Vengeance.
</i>Like <i>The Glass Onion</i>, a key theme is waking up the pretentions of a
contemporary influencer – this time a wannabe top podcaster. Alternately
mocking and re-framing perceptions of Texas, this dark comedy-mystery is
fascinating and filled with the energy of B. J. Novak. As details unfold, so is
your thinking meant to get rearranged, even if you don’t like the way it is rearranging.
Great film for discussion. </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilDm1M6_z_aAb1Vvukn6vLFg4A3V5RUDMeE0xwojcBvyakN-xT86pSgYxIXUmSKqzM0V3Libv8GSxdqnM3q9dl0COHk6-JK1ULTZq6daSQ-bbx5jqg2NP-D_xU4uM64Mu88m7qjBYVvRwY00j4A7cx_TChp4lKly4m08tWoddv_9ef6691QJXnd_-r/s1200/veng.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilDm1M6_z_aAb1Vvukn6vLFg4A3V5RUDMeE0xwojcBvyakN-xT86pSgYxIXUmSKqzM0V3Libv8GSxdqnM3q9dl0COHk6-JK1ULTZq6daSQ-bbx5jqg2NP-D_xU4uM64Mu88m7qjBYVvRwY00j4A7cx_TChp4lKly4m08tWoddv_9ef6691QJXnd_-r/s320/veng.jpg" width="320" /></a></div> <br />Now, we’re into more serious territory. I didn’t see many
documentaries this year, but the best of the few I saw was <i>JFK Revisited</i>.
It would take a lot of gullibility to believe that the CIA wasn’t involved in
the death of JFK, and this doc adds newly available evidence to deepen the
case. (My number one rule for assessing conspiracy theories: if the conspiracy
involves the CIA defending American corporations or the military-industrial
complex, it’s likely to be true since there is such overwhelming evidence that
Dulles and crew were involved in so many violent conspiracies.) If you’re a
skeptic, you still may not be convinced, but seriously…<p></p>
<p class="MsoNormal">The final two cases are ones that were clearly proven in
court. First, <i>Argentina, 1985</i> tells the story of the civilian court that
put the military dictators behind the “disappearances” that plagued Argentina
in the 70s on trial. It’s an interesting and well made film that tells a story
that few of us know well enough, and I recommend it. In a somewhat similar way,
<i>She Said </i>tells a more familiar story – in this case that of the
journalists (and the victims who felt able to go public) who broke the story of
Harvey Weinstein’s sexual assaults and harassments. Both of these last two
films give portrayals of what true heroes actually look like in a way so-called
superhero movies never can. Part of that heroism is determination and quiet
courage that is not flashy on screen – but that is exactly the point. So much
of what changes the world is not violent battle or even high drama, but people
doing their job for the sake of justice. </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge5RcN1ulQXWfZZiDuYtTe6RA246Xh-ujOKNOgM2SGmYWudixi6bz5KDMPT8otXKPEM3RzoPYIeZYFrboeF-t6yWIEc7ZL-ztwoqhsXk9e2FENXrExz7KGUbotD4U-YYSMmE0TKnkQlSVTZK2ITiFS4FNa0CzHgn5SXac-KCvuK3Qa8-fl0RMso3uL/s740/she.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="740" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge5RcN1ulQXWfZZiDuYtTe6RA246Xh-ujOKNOgM2SGmYWudixi6bz5KDMPT8otXKPEM3RzoPYIeZYFrboeF-t6yWIEc7ZL-ztwoqhsXk9e2FENXrExz7KGUbotD4U-YYSMmE0TKnkQlSVTZK2ITiFS4FNa0CzHgn5SXac-KCvuK3Qa8-fl0RMso3uL/s320/she.jpg" width="320" /></a></div> <br />I will follow this up with a post in which I try to get my
head (and my words) around why quality films like <i>T</i><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">ár</span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">, <i>Banshees
of Inisherin, </i>and <i>Triangle of Sadness</i> do not make it in my
collection. Stay tuned.<br /></span><p></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><br />
*I think there are some personal reasons why <i>Women Talking</i>, based on a novel by
Miriam Toews that I read a couple of years ago, may mean more to me than some
viewers. The truly tragic reality (insanely maddening because there are reports of continuing, similar
assaults) took place more than ten years ago in an ultra-conservative
Mennonite colony in Bolivia. This is a community with the same narrow ethnic
roots as my own. In fact, Vic and I “did the math” and figured out that we may
well have 3<sup>rd</sup> cousins among the victims or perpetrators. Fortunately,
my more recent ancestors did not make the increasingly isolating and
fundamentalist decisions that led that particular community to flee worldliness
by travelling from Manitoba to Mexico to Bolivia over 3 generations. Anyway,
the point is that these are kind of my people – but I’m surely glad I was not born
among them. And my point here is – I know my connections with this film
may run deeper than others. </p>
<p class="MsoNormal">Another personal reason for me to love this film is that I’ve
always been drawn to dialogue-rich films that are set (like theatre) in very
constrained contexts of time and space. The right dialogue draws me in
emotionally in ways that visuals (and certainly “action”) do not. </p>
<p class="MsoNormal">Finally, the day before watching the film was a challenging
and emotional day, and that meant I entered the theatre already vulnerable so
that the film had me on the verge of tears most of the way through. That teariness
was also because I kept seeing the women on screen and feeling very much aware
that they represented real women’s recent experiences in Bolivia and, less
directly but quite intentionally, <i>all the so, so many women</i> who experience unthinkable assaults
and deprivations.This is an important film; I advocate much watching and discussing. <br /></p>
<p></p>Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-4282048948936265872023-02-01T13:05:00.003-04:002024-01-27T12:56:33.294-04:00Vic's Top 15 Films of 2022<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3PlwXmNn5zNe4PbdBAxxcUBXFGewMnLv67BPWtzrAR2c3qdPlR0O1Cq7m6VRIlEvukfa5c7aiz5hXf9Rk0IKE1ClO9PQ5f8u23QalY6HOvrrDEM42jhki70UZbUKXwh58XJmAEw6H-jOSLLtFrIQINVbbw_qeyKursFOOYrjyFfjMT1urzRwB8krSVQ/s300/Everything%20Everywhere.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3PlwXmNn5zNe4PbdBAxxcUBXFGewMnLv67BPWtzrAR2c3qdPlR0O1Cq7m6VRIlEvukfa5c7aiz5hXf9Rk0IKE1ClO9PQ5f8u23QalY6HOvrrDEM42jhki70UZbUKXwh58XJmAEw6H-jOSLLtFrIQINVbbw_qeyKursFOOYrjyFfjMT1urzRwB8krSVQ/s1600/Everything%20Everywhere.jpeg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulvgotRW3Kua0972igr4DwUrEAqiVJLZAvUW_pPEo7gZDZgSYxZWeKMuX-cNm_04lXGa9lLIyy6OlDX_rwv-zfA0G44E_07riPhk99YEz4EYA0rD_7fab5WNDN9Du3dLpxwVqAhM2IkW-rTTIr8r0zwaskmI7M5rd703g2mCcsPMNinGdu536ULkDpA/s300/After%20Yang.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulvgotRW3Kua0972igr4DwUrEAqiVJLZAvUW_pPEo7gZDZgSYxZWeKMuX-cNm_04lXGa9lLIyy6OlDX_rwv-zfA0G44E_07riPhk99YEz4EYA0rD_7fab5WNDN9Du3dLpxwVqAhM2IkW-rTTIr8r0zwaskmI7M5rd703g2mCcsPMNinGdu536ULkDpA/s1600/After%20Yang.jpeg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveyuAjRN2WTwHGRkroVAgQj-vJLCYLu2nrX9HOahm5t3TmhQbZ-8PFQN6v6KyIhM6yyoFh0Vnj7fq0AgPn9SsjtZKatAo_pOoZRV48cvH2tg4jFZgyKHeTvZn-3yZcgmPpN0MCE-PTql6H-CQbiK-FXIqzMmAAkLzR_RApQzcKT-X55n1id2KmYx3dw/s1280/women-talking-ivey-foy-r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveyuAjRN2WTwHGRkroVAgQj-vJLCYLu2nrX9HOahm5t3TmhQbZ-8PFQN6v6KyIhM6yyoFh0Vnj7fq0AgPn9SsjtZKatAo_pOoZRV48cvH2tg4jFZgyKHeTvZn-3yZcgmPpN0MCE-PTql6H-CQbiK-FXIqzMmAAkLzR_RApQzcKT-X55n1id2KmYx3dw/s320/women-talking-ivey-foy-r.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: "Helvetica Neue"; font-size: 11px;">Despite having a very busy year, I managed to watch more films in 2022 than in the previous few years. It wasn’t a particularly good year for film (thus the shorter list again), but it was a great year for women and diversity in the film industry, as reflected in my observations below. As always, some of these films may have been released in the US in 2021 and some may not have been released in Canada until 2023 (some are still awaiting a release), but these are all films I was able to watch between January 2022 and January 2023.</span><p></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">Honourable mentions go to Darren Aronofsky’s brilliant </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Whale</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">, which offended fat people in an ill-conceived attempt to do the opposite, and Noah Baumbach’s </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>White Noise</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">, which started extremely well but ended badly. </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">Here are a few observations about my list:</span></p>
<ol>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Not only were four of my top ten films directed by women, they were directed by <b>Canadian</b> women, two of them Indigenous. This is phenomenal and a sign of major progress in the Canadian film industry (there are three Canadian films in my top ten, all made by women) and in the film industry as a whole.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Six of my top ten films were written or co-written by women.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Seven of my top thirteen films feature a woman protagonist.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Seven of my top ten films, and 11 of my top 15 films, featured people of colour in lead roles. Wow!</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Six of my top thirteen films featured LGBTQ+ characters and two of my top seven films had LGBTQ directors.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">All but one of the films on my list were at least co-written by the director (most were written by the director alone). I think this might reveal something about the kinds of films that appeal to me.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Colin Farrell appears in an incredible three of my top twelve films (playing the lead role in two of the films). What a year for Colin, who was terrific in all three roles!</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Martin McDonagh and James Gray both have their second straight films on my list.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">A remarkable number of these films are about people dealing with trauma and loss - a coincidence?</li></ol>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">And here’s my list, counting down from 15:</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>15</b>. <b><i>Amsterdam</i></b> - Gareth’s favourite film of 2022 gets a spot on my list because I agree with Gareth that David O. Russell’s film is hugely underrated. This quirky period thriller is almost as wild as my favourite film of the year (and even has the protagonist delivering the line “Everything all at once.”). <b><i>Amsterdam</i></b> has wonderful characters, an amazing performance by Christian Bale, gorgeous cinematography, a beautiful score, a clever plot, and much thoughtful and often funny dialogue. What’s not to like? </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>14</b>. <b><i>Armageddon Time</i></b> - An autobiographical coming-of-age story, like Spielberg’s <b><i>The Fabelmans</i></b>. But while <b><i>The Fabelmans</i></b> is a stunning film full of that Spielberg magic, it doesn’t come close to touching me the way James Gray’s film does. Anne Hathaway and Jeremy Strong are excellent as the parents, but it’s Anthony Hopkins as Grandpa, and the boys, played by Banks Repeta and Jaylin Webb, who steal the show. Growing up in NYC in 1980 - great stuff.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>13</b>. <b><i>Tár</i></b> - As a psychological drama, Todd Field’s beautiful film about an abusive conductor doesn’t quite work - too many unanswered questions and confusing scenes. But as a ghost-story horror film (who knew?), it works much better. Cate Blanchett’s performance is sublime.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>12</b>. <b><i>The Banshees of Inisherin </i></b>- Martin McDonagh’s film is so gorgeous to watch and features such extraordinary acting by all concerned (Colin Farrell, Brendan Gleeson, Kerry Condon and Barry Keoghan, to name the primary actors), not to mention the flawless and often funny dialogue, that it could easily be among my top two or three films of the year. But regardless of the allegorical intent, I couldn’t handle the fingers.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>11</b>.<b><i> The Batman</i></b> - One of the darkest films ever made (literally and figuratively), in which I somehow found repeated glimpses of light that nourished my soul (like Batman’s recognition that violence only begets more violence and that vengeance is not the way to a better world), this gothic superhero film (Batman has always been my favourite superhero) by Matt Reeves features a masterful haunting score, gorgeous cinematography, excellent acting and some spot-on political commentary. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>10</b>. <b><i>Bones of Crows</i></b> - The journey of a woman from her childhood in a Canadian residential school to her work as a code talker in the Air Force in WWII is beautifully filmed by Marie Clements. Despite the missing pieces (it’s condensed from an upcoming mini-series), <b><i>Bones of Crows</i></b> is a haunting and powerful film which features a great performance by Grace Dove. It’s the kind of story we can’t hear too often and a must-watch for Canadians.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"> <b>9</b>. <b><i>To Leslie </i></b>- Andrea Riseborough delivers an awesome Oscar-worthy performance as a single mother who becomes an alcoholic after quickly using up her $190,000 lottery winnings. This directorial debut from Michael Morris is a perfect study in empathetic filmmaking. I was engaged from start to finish, thanks in large part to the character of Sweeney (wonderfully played by Marc Maron), who tries so hard give Leslie a chance.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>8</b>. <b><i>The Fallout</i></b> - Another empathetic directorial debut, this one by Megan Park (a Canadian filmmaker), tells the story of three high school students in the aftermath of a school shooting. Jenna Ortega, Maddie Ziegler and Niles Fitch were all terrific in the lead roles (Ortega was amazing), playing students trying to deal with tragedy and grief. Gut-wrenching. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>7</b>. <b><i>Rosie</i></b> - My favourite film at Cinéfest (Sudbury film festival) is yet another directorial debut. Canadian Indigenous actor and filmmaker Gail Maurice (who refused to play Indigenous stereotypes and began writing her own screenplays) has crafted a wonderful heart-warming comedy drama about a six-year-old adopted Indigenous girl in 1984 Montreal who is taken by child services to live with her adopted aunt after her adopted Indigenous mother (Sixties scoop) dies. Doesn’t sound like a comedy, and Maurice was pressured to make it a dark film about being gay and Indigenous in 1984, but she wisely stood her ground. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>6</b>. <b><i>All Quiet on the Western Front</i></b> - It’s risky to adapt a novel that was, in 1930, made into one of the greatest films ever made, but Edward Berger succeeds admirably, giving us a more authentic German-language version of the story, with its own unique emphases (which I applaud). Felix Kammerer, who plays our 17/18-year-old protagonist, through whose eyes we see the insanity of WWI, is terrific, as is the cinematography and minimalist score. A film about a war that ended 105 year ago shouldn’t be timely, but it is. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>5</b>. <b><i>Benediction</i></b> - Coincidentally we have back-to-back films relating to WWI. This Terence Davies film is based on the life of British poet Siegfried Sassoon, who became a conscientious objector in WWI and then struggled with being a gay man in 1920’s Britain. A gorgeous, profound and moving film with a terrific performance by Jack Lowden as Sassoon. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>4</b>. <b><i>Cyrano</i></b> - A marvellous period musical by Joe Wright (music by Aaron and Bryce Dessner) that somehow flew under the radar (i.e. it bombed at the box office and got no attention from critics). A travesty, as the music is divine, the cinematography is sublime and the story is well-told. As for the acting, Peter Dinklage is perfect (Oscar-worthy) as Cyrano, with Haley Bennett and Kelvin Harrison Jr. offering outstanding support as Roxanne and Christian. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>3</b>.<b><i> Women Talking</i></b> - Sarah Polley’s adaptation of Miriam Toews’s 2018 novel is a work of art in every way: the desaturated cinematography is extraordinary, the score is excellent, the ensemble cast (including Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey and Sheila McCarthy, with Ben Whishaw as the only man in the film) is amazing, Polley’s writing and direction are impeccable, and the story of women responding to severe trauma while trying to remain true to their faith is vital and heart-wrenching.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>2</b>. <b><i>After Yang</i></b> - It’s time to bring out the sci-fi films. Kogonada is an extraordinary filmmaker, with a gift for creating gorgeous films that is second to none. This slow-moving, subtle and poetic story of the not-too-distant future concerns an AI that has stopped functioning, allowing its owner (Colin Farrell in another flawless understated performance) to discover hidden truths about the AI. <b><i>After Yang</i></b> asks what it means to be human and to be alive. </p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>1</b>. <b><i>Everything Everywhere All at Once</i></b> - A low-budget Indie blockbuster is rare enough, but this wildly original, and outrageously wild, film about a Chinese family in the US getting caught up in parallel universes is also the favourite film of the year for most critics as well as for me (everyone seems to love this film - except those who hate it). Eighty minutes into my first viewing (I’ve seen it four times now), I was thinking: “Why am I wasting my time watching this mess?” And then came one of the most sublime hours of filmmaking I have ever seen. When followed by a second viewing, the pieces of the first hour fall into place and <b><i>Everything Everywhere All at Once</i></b> becomes a masterpiece of madness. Made by the Daniels (Daniel Kwan & Daniel Scheinert), with wonderful performances by Michelle Yeoh, Ke Huy Quan and Stephanie Hsu (all deservedly Oscar-nominated), <b><i>Everything Everywhere All at Once </i></b>features my favourite character of 2022 (Waymond Wang) and the timely message that, in a world which doesn’t make sense, we need to fight back with kindness, love and compassion.</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com1tag:blogger.com,1999:blog-2608865863680527081.post-61373314947673899772022-12-24T09:27:00.001-04:002022-12-24T09:27:18.968-04:00The Muppet Christmas Carol Original Version<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN7Wseabqq658JaHD0P6Q9wSv5nWKL_G83JxHKCCq2Z-LeVSH_rN8mvS9p0eDjQcyd16QnkstV8OU4lvCmW6JJFCtSmI4PNMqdnCMzp66qp90zmEnIg5wv8eViUcDK9V8jVjW9fqSWsnUnjhTaiWSVJCuFqfktU4Rt3T3oTrMc6LIaBELblawaq00G4g/s2240/muppet%20christmas.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2240" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN7Wseabqq658JaHD0P6Q9wSv5nWKL_G83JxHKCCq2Z-LeVSH_rN8mvS9p0eDjQcyd16QnkstV8OU4lvCmW6JJFCtSmI4PNMqdnCMzp66qp90zmEnIg5wv8eViUcDK9V8jVjW9fqSWsnUnjhTaiWSVJCuFqfktU4Rt3T3oTrMc6LIaBELblawaq00G4g/s320/muppet%20christmas.webp" width="229" /></a></div><span style="font-family: "Helvetica Neue"; font-size: 11px;"><p><span style="font-family: "Helvetica Neue"; font-size: 11px;"><br /></span></p>While discussing the many film versions of Dickens’s marvellous </span><i style="font-family: "Helvetica Neue"; font-size: 11px;">A Christmas Carol</i><span style="font-family: "Helvetica Neue"; font-size: 11px;">, my film course students hinted at the possibility that not only is </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Muppet Christmas Carol</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> (1992) the best of these films, it may be the best Christmas film ever made. The thing is, though, that it’s quite likely that none of my students has actually ever seen </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Muppet Christmas Carol</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">. The way it was MEANT to be seen, that is. Decades ago (before DVDs and before most of my students were born), my favourite scene (and arguably the most important scene) in </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Muppet Christmas Carol</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> was left out of the theatrical and video releases of the film and then lost. I was so upset by this loss that to this day I own a working VCR just so I can watch my old VHS tape of </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Muppet Christmas Carol</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">, which still contains that most critical scene (the one where Belle sings to Ebenezer).</span><span style="font-family: "Helvetica Neue"; font-size: 11px;"> </span><p></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">But now a Christmas miracle has occurred! The scene has been recovered and restored in wonderful HD glory and anyone who has Disneyplus can watch it (it’s worth a trial-rental just for this, and no, I am not being paid for this ad). Click on the film, then click on ‘Extras’ and then click on ‘Full-length version’ and there it is (why this wouldn’t be the default version is beyond my understanding, though rumour has it that the scene was originally deleted because it was too depressing for the kids - a travesty). So if you’re still looking for that perfect Christmas film for the whole family to watch this Christmas, here it is, looking and sounding better than ever before. And the more often I watch </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Muppet Christmas Carol</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> (I have watched it between 20 and 25 times), the more I am inclined to agree with my students: it doesn’t get much better than this. You’ve got the wonderful songs of Paul Williams, the brilliant performance of Michael Caine as Scrooge (whose vulnerability in this version’s ghost scenes is quite unique), The Great Gonzo as Charles Dickens, and of course Kermit and Miss Piggy as Bob and Emily Cratchit (with Robin the Frog as Tiny Tim). “It’s true: Wherever you find love, it feels like Christmas”.</span></p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com1tag:blogger.com,1999:blog-2608865863680527081.post-63479688124300066682022-12-04T09:32:00.001-04:002022-12-04T09:32:53.532-04:00The Wonder<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal">After a very long hiatus, I felt that this was a review that
I needed to write since I have such contradictory feelings about the movie.
First of all, I had very much appreciated the novel by Emma Donoghue on which
it’s based; so that always makes it tricky. </p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdskSmGDUzAzeauCAwc_lu1TkG3XxWMp6DkY_1B5AOODm8D3E4qQ5q5MslVG0LlOMM4JlcpfLh4nlMFfg9mC4so9ICH7VNesJuD4eEEj3ZL0bai0NvefYj3llRps1JkS6H_sh5exq-pehpd2iflblb7ibUX4LNZs6psIUP7t6CgoL3MZGKEE4NKud/s600/won.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdskSmGDUzAzeauCAwc_lu1TkG3XxWMp6DkY_1B5AOODm8D3E4qQ5q5MslVG0LlOMM4JlcpfLh4nlMFfg9mC4so9ICH7VNesJuD4eEEj3ZL0bai0NvefYj3llRps1JkS6H_sh5exq-pehpd2iflblb7ibUX4LNZs6psIUP7t6CgoL3MZGKEE4NKud/s320/won.jpg" width="320" /></a></div>Then the filmmakers make an odd choice to open with a weird
bit on a contemporary sound stage. I can accept their gamble that it <i>could have</i>
added to the experience (it didn’t), but the only value was drawing unnecessary
attention to the role of people’s beliefs in and need for stories – unnecessary
because the film accomplished that on its own without distracting choices. <span style="mso-spacerun: yes;"> </span><p></p>
<p class="MsoNormal">The cinematography and acting were quite good, though there
was something about the inside details of the sets that didn’t seem completely
convincing (but that’s just being nitpicky). Far more serious, is that it soon
becomes clear that the soundtrack represented an even greater gamble, and in my
view it was a complete and utter failure. I don’t think it’s an exaggeration to
say that it was the most ill-matched soundtrack I’ve ever heard, and it was a
huge distraction for me. I found that frustrating because I would love to have
overlooked some of the other weaknesses and recommended the film, but I just
don’t think I can. If you do watch, I would seriously consider watching with
the volume very low and the subtitles on. </p>
<p class="MsoNormal">There were other weaknesses. The relationship between Lib
and Anna and between Anna and Will both contain none of the depth of what was
possible in the book. Partly that could be inevitable. There were moments
between Lib and Anna that nearly broke through but not quite. I don’t think the
screenplay helped. And weirdly played scenes with Lib’s private nightly ritual
and Kitty’s half-hearted attempts to break the 4<sup>th</sup> wall left me
feeling like this was simply not the film to hand to a director like Lelio; it
was just a poor fit. </p>
<p class="MsoNormal">The sad thing was that the potential was significant,
especially in the last half hour. There we see the danger and the power of
narrative – ideas that are very important to me. The night I watched, I nearly
wrote off the film because I was disappointed by much and horrified by the
soundtrack. But the potency of its understanding of narrative and release and
inspiration stuck with me and rebounded with energy the next day. I wonder
whether excerpts could have their effect without bothering with the whole film…</p>
<p class="MsoNormal">In the end, I give it *** with too much that was precious
spilled on bad decisions. </p>
<p></p>Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-7841464458017025692022-10-29T13:50:00.001-04:002022-10-30T05:27:14.479-04:00All Quiet on the Western Front<div class="separator"><p style="margin-left: 1em; margin-right: 1em;"><img alt="All Quiet on the Western Front' Review: War Is Still Hell in Remake | IndieWire" class="n3VNCb KAlRDb" data-noaft="1" height="289" jsaction="load:XAeZkd;" jsname="HiaYvf" src="https://www.indiewire.com/wp-content/uploads/2022/09/All-Quiet-On-the-Western-Front_Reiner-Bajo-e1663125424432.jpg" style="height: 289.275px; margin: 0px; width: 435px;" width="634" /></p></div><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">Just released on Netflix is a new remake of one of the greatest films ever made. I’m not generally a fan of remakes, but this film adds unique touches that make it worth the watch for those who can handle the incredibly graphic violence and the relentlessly bleak and brutal story.</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">In 1928, German novelist Erich Maria Remarque wrote an anti-war novel about the horror of trench warfare in WWI. It was called </span><i style="font-family: "Helvetica Neue"; font-size: 11px;">Im Westen nichts Neues</i><span style="font-family: "Helvetica Neue"; font-size: 11px;">. The English title was </span><i style="font-family: "Helvetica Neue"; font-size: 11px;">All Quiet on the Western Front</i><span style="font-family: "Helvetica Neue"; font-size: 11px;"> and, in 1930, Lewis Milestone made it into the definitive anti-war film. The remake by Edward Berger is not as good or powerful as the original (how could it be?), but it’s made by Germans this time, which I think is important, and it uses gorgeous (if often ghastly) cinematography to highlight the insanity and futility of war in juxtaposition to a beautiful world that lies all around it and will (we can only hope) continue beyond whatever horrors humanity inflicts upon itself.</span><span style="font-family: "Helvetica Neue"; font-size: 11px;"> </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">The acting by newcomer Felix Kammerer, as the 17/18-year-old protagonist through whom we witness the madness of war, is terrific; all of the acting in the film is good. The minimalist soundtrack is dark and effective. The battle scenes are brilliantly done, if also awful to watch. </span></p><p><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>All Quiet on the Western Front </i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">is, unfortunately, still a timely horror story. For reasons that, for me, defy explanation, the 1930 film did not persuade the nations of the world that war is always always bad and always always wrong, no matter what the excuse. And so less than ten years later we had the horror of WWII, followed by many smaller wars. Today there is another pointless war being fought on European soil, with commanders sitting behind walls and ordering their soldiers into battle like plastic pawns on a chessboard. Will this new film change that? No. But if it can persuade even a few that nothing is worth the cost of war and that nationalism is one of the world’s greatest evils, then it is a worthwhile endeavour. </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>All Quiet on the Western Front</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;"> gets a solid ****. My mug is up.</span></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;">P.S. Most film critics don’t agree with my generous assessment of the film, giving it an average of three stars out of four. This confused me, so I read some of their reviews. I was surprised and disappointed by the number of reviews that complained about trivial things and didn’t seem to understand what makes this film and its message different from, and superior to, films like <b><i>1917</i></b> and <b><i>Saving Private Ryan</i></b>. Sigh.</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-53966236580428707052022-03-14T07:18:00.002-04:002022-03-14T07:18:50.636-04:00In Memory of William Hurt<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiThT0srZkwTt6qF9wMShZCNxPxbX5zWwu1UR6wohxfjYJpFRkfi1mVX4AYHQ-MpdsxCRWZA4rSlUyVql7H9TgsYtsdFml0NhslYTeqQv7R9vq70Lsw5K_wBQG4WXbjz36I0bDsJZJZH2Tl993JQbNARZGmg4O5IhFWxVDKhcwaYuDW4V5GcbdaE5k9GA=s300" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/a/AVvXsEiThT0srZkwTt6qF9wMShZCNxPxbX5zWwu1UR6wohxfjYJpFRkfi1mVX4AYHQ-MpdsxCRWZA4rSlUyVql7H9TgsYtsdFml0NhslYTeqQv7R9vq70Lsw5K_wBQG4WXbjz36I0bDsJZJZH2Tl993JQbNARZGmg4O5IhFWxVDKhcwaYuDW4V5GcbdaE5k9GA" width="300" /></a></div><p></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;">There was something about William Hurt that made me want to watch every film in which he had a role, however small. I particularly admired his laid-back style and his voice. Even Hurt’s smaller roles helped lift films like <b><i>Dark City </i></b>and <b><i>A.I.</i></b> into my list of all-time favourite films.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Of the films in which Hurt had a major role, my favourites were (in chronological order): <b><i>Body Heat, The Big Chill, Gorky Park, The Accidental Tourist </i></b>and<b><i> Until the End of the World</i></b>, though I recognize that his performances in <b><i>Kiss of the Spider Woman </i></b>and <b><i>Broadcast News</i></b> were probably his best work.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;">I will miss him.</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-84709922768365531182022-03-10T11:57:00.002-04:002022-03-10T11:57:21.196-04:00The Mauritanian and The Report – 2 Reviews and a Mystery<p>
</p>
<p class="MsoNormal">When I recently prioritized watching the films that could make it
onto my top ten list for 2021, I did not include <i>The Mauritanian</i>. The critics did not seem to be impressed, and I’d heard little buzz.
So, even though I’d had it earmarked for some time, I decided to wait until my
top ten were done. Mistake. </p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjAAeHuK_LE5Hyt9qgyUHBiXeOimimPUmEr69dro6Y7TxaRxP1vqSFnGIdXKrjgncBnb_vqfSRlNhFsj7Ry1ZbWSOhtu1cw8uVj3h9R41Y4CCEaAp9mWPBai7qavV0eelbOXm9Pr39T1HI3RNVGEkhjlefozFyA8NLi0ufG7sPibMHFPT2mJU1Q85Sp=s2500" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1667" data-original-width="2500" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEjAAeHuK_LE5Hyt9qgyUHBiXeOimimPUmEr69dro6Y7TxaRxP1vqSFnGIdXKrjgncBnb_vqfSRlNhFsj7Ry1ZbWSOhtu1cw8uVj3h9R41Y4CCEaAp9mWPBai7qavV0eelbOXm9Pr39T1HI3RNVGEkhjlefozFyA8NLi0ufG7sPibMHFPT2mJU1Q85Sp=s320" width="320" /></a></div>I believe <i>The Mauritanian</i> to be impressively made while
telling a very important story, and it would easily have made my top ten list
for 2021. The story is that of Mohamedou Slahi, imprisoned without charge at Guantanamo
Bay following 9/11 and represented in court by pro bono crusader, Nancy
Hollander. The acting is excellent, especially performances by Jodie Foster, Tahar
Rahim and Benedict Cumberbatch. I thought the style of storytelling was artistically shaped
and made the right impact (and this is not an easy impact). And I thought it
was <i>fair</i> storytelling; this <i>should </i>be a film for everyone, whatever
one’s politics. <p></p>
<p class="MsoNormal">I followed up my viewing by watching <i>The Report</i>, which deals
with a similar theme – the torture that was government sanctioned at Guantanamo.
It’s an excellent complement to <i>The Mauritanian</i>, filling in many details from a
different point of view – in this case, it’s the story of Daniel Jones as he
persevered in investigating, writing and insisting on the public communication of
the Senate investigation into CIA torture. </p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgn6j-7rvDW7sWV8YQzxajhws6nvXOhe0kV8DCTu2ULogerndr-bjfYhHLG7yrhEPM9Bivt5k3DEkTs2ObdSSdl49ZuABFuZgSkm9W0vCzl5Z0rjC-Yv0JlgpR3p8-sQkDmBJQr2R8smOg7fRe3b_Q15wpmvxkGIVuppPjUeGsi9DuPRc8HS_QAXWJF=s474" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="474" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEgn6j-7rvDW7sWV8YQzxajhws6nvXOhe0kV8DCTu2ULogerndr-bjfYhHLG7yrhEPM9Bivt5k3DEkTs2ObdSSdl49ZuABFuZgSkm9W0vCzl5Z0rjC-Yv0JlgpR3p8-sQkDmBJQr2R8smOg7fRe3b_Q15wpmvxkGIVuppPjUeGsi9DuPRc8HS_QAXWJF=s320" width="320" /></a></div>Before I compare them (to make a point), I want to be quite
clear that I recommend both films. These are important films; watching them
should be somewhat parallel to Germans being made to see images of the
concentration camps. This is history that we <i>must know and feel </i>or we will
make the same mistakes again. And the films are not just stories of moral outrage,
but they clearly demonstrate why Guantanamo should be seen as a huge mistake from
all sides. <p></p>
<p class="MsoNormal">But here’s the mystery: <i>The Mauritanian </i>was relatively panned
by critics (53 on Metacritic) and completely snubbed by the Oscars (though not by BAFTA). <i>The Report</i>
was, appropriately, not a huge critical favourite, but it did score a significantly
higher 66 on Metacritic. And yet, I can’t help but believe that <i>The Mauritanian</i>
was a far better film than <i>The Report</i>. What’s going on here? </p>
<p class="MsoNormal">Both films are quite “earnest” in approach; these are
serious dramas based on true stories. But <i>The Mauritanian</i> feels human and
framed in a powerful and effective way; whereas <i>The Report</i> feels nearly like a
documentary that is heavy-handed and dry. One frustrates you in way that you
feel deep in your gut and the other in a way that is more intellectual. The
acting is probably ok in <i>The Report</i>, but it’s hampered by mediocre writing that
gets downright caricatured and cliched when it’s the dialogue of the film’s
villains (especially the psychologists, Mitchell and Jessen, who are like evil
clowns). </p>
<p class="MsoNormal">But my point is this: <i>The Mauritanian</i> seems like a better
quality film on all counts and yet the critics overlooked it and evaluate it
notably lower than a comparable, but inferior, film. Why could this be? </p>
<p class="MsoNormal">Of course, I speculate. But it seems to me that the key
difference is that <i>The Mauritanian </i>humanizes a devoted Muslim associated with
Al Qaeda. This is its strength, but I’m not sure the critics could handle it. I’m
not sure they could handle a Muslim Guantanamo detainee talking about his God’s
invitation to forgive his American torturers. Maybe there are other reasons,
but this is all that I can see. </p>
<p class="MsoNormal">If you can stomach some scenes of torture (or work your fast
forward button), I’d urge you to check out <i>The Mauritanian</i>; then if you want to understand more, follow it up with <i>The Report</i>. </p>
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<![endif]--></p>Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-76049625619529738332022-03-08T09:01:00.005-04:002022-03-10T08:14:34.168-04:00International Women's Day<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgFb1CZNPHJoLImh5iRsjqAfT4zlLW7ZUTkm_hE9zf0kQgrM0gYp_McDj9u8n52GI4eG7afD-q9iqcW-7v4XYECBSn252sqAo98cUVgbJ_yRWzE5AFnmPV7_PN_Yjb63ckEDB49WCLe3SAs0gYMXgsv7I2qptleDM0qqvHdMEehQwRq3XtsqK5EqBA1jA=s912" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="912" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgFb1CZNPHJoLImh5iRsjqAfT4zlLW7ZUTkm_hE9zf0kQgrM0gYp_McDj9u8n52GI4eG7afD-q9iqcW-7v4XYECBSn252sqAo98cUVgbJ_yRWzE5AFnmPV7_PN_Yjb63ckEDB49WCLe3SAs0gYMXgsv7I2qptleDM0qqvHdMEehQwRq3XtsqK5EqBA1jA=s320" width="211" /></a></div><p> <span style="font-family: "Helvetica Neue"; font-size: 11px;">Would you believe I enjoy reading fiction even more than watching films? In honour of </span><b style="font-family: "Helvetica Neue"; font-size: 11px;">International Women’s Day</b><span style="font-family: "Helvetica Neue"; font-size: 11px;">, I thought I would highlight the fact that 80% of the ‘four-star’ novels I read during the past few years were written by women.</span><span style="font-family: "Helvetica Neue"; font-size: 11px;"> </span></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Most surprising is that this number also applies to my favourite genre, science fiction, which until recently has been overwhelmingly dominated by men (though one of my all-time favourite novels, <b>Mary Shelley</b>’s <i>Frankenstein</i> - 1818 - may be the first true sci-fi novel ever written, and in 2020 I read Shelley’s lesser-known, but also excellent, <i>The Last Man - </i>1826, a post-apocalyptic novel about a global pandemic - as if). </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Other favourite sci-fi novels I read in the past few years include:</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>Ada Palmer</b>’s magnificent <i>Terra Ignota</i> series:</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Too Like the Lightning</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Seven Surrenders</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Will to Battle</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Perhaps the Stars</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>N.K. Jemisin</b>’s marvellous <i>Broken Earth</i> trilogy (note that Jemisin’s <i>Emergency Skin</i> is the best short story I read in the last ten years):</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Fifth Season</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Obelisk Gate</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Stone Sky</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><i></i><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>Octavia E. Butler</b>’s Xenogenesis series:</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Dawn</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Adulthood Rites</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Imago</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>Ann Leckie</b>’s <i>Ancillary</i> trilogy:</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Ancillary Justice</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Ancillary Sword</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Ancillary Mercy</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>Becky Chambers</b>’ <i>Wayfarers</i> series:</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Long Way to a Small, Angry Planet</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>A Closed and Common Orbit</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Record of a Spaceborn Few</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Galaxy, and the Ground Within</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b>Lois McMaster Bujold</b>’s Vorkosigan Saga books</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">The entire series (16 books) is must reading for sci-fi fans (I read five in the past three years)</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Testaments</i> by <b>Margaret Atwood</b>, sequel to her classic <i>The Handmaid’s Tale</i></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The City in the Middle of the Night</i> by <b>Charlie Jane Anders</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Binti</i> and <i>Noor</i> by <b>Nnedi Okorafor</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Space Between Worlds</i> by <b>Micaiah Johnson</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Book of the Unnamed Midwife</i><b> </b>by<b> Meg Elison</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>China Mountain Zhang</i> by<b> Maureen F. McHugh</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>This Is How You Lose the Time War </i>by <b>Amal El-Mohtar</b> and Max Gladstone</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>The Found and the Lost </i>(collection of novellas) by <b>Ursula K. Le Guin </b>(also reread one of my all-time favourite novels, written by Le Guin: <i>The Dispossessed)</i>.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Turning away from sci-fi, my favourite fiction novel of the past few years was <i>The Weight of Ink</i> by <b>Rachel Kadish</b> (my favourite fiction novel of the past decade was also written by a woman: <b>Donna Tartt</b>’s <i>The Goldfinch</i>). </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Other favourite fiction read during this period includes:</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Shadow Tag, The Round House</i> and <i>The Night Watchman</i> by <b>Louise Erdrich</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Where the Crawdads Sing</i> by <b>Delia Owens</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>Milkman</i> by<b> Anna Burns</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><i>All My Puny Sorrows</i><b> </b>and <i>Women Talking </i>by<b> Miriam Toews</b></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;">Since this is a film blog, I will end with a nod to a largely unknown and under-appreciated French-Canadian filmmaker who made my favourite film of 2019 (<b><i>And the Birds Rained Down</i></b>) and has made three other films (<b><i>Familia, Gabrielle, Merci Pour Tout</i></b>), all of which are very well-made and deserve a viewing, though few readers will have heard of them. In my opinion, <b>Louise Archambault</b> is one of the very best film directors in Canada.<b></b></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><b></b></p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-882578765638202362022-03-04T22:53:00.006-04:002022-03-10T08:14:57.902-04:00The Batman<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhLj5Ylyhbk1zgxhmU54SiejieZLDt-kBTR_DTAI3oOstBhR4iwUmC3ZHrfbiPFpA3ceJWJMYxiZU7r47rBL52zGlLNWOG7x9Wv__MKeLSivuYOZrCpDMvNaH8JzQyoF6kfBEWbeVxbJgriYZuUsoAqkR6IUlWNx32prRLSTYdgIFa6B0DKtUPkQ-G6Kg=s300" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="168" src="https://blogger.googleusercontent.com/img/a/AVvXsEhLj5Ylyhbk1zgxhmU54SiejieZLDt-kBTR_DTAI3oOstBhR4iwUmC3ZHrfbiPFpA3ceJWJMYxiZU7r47rBL52zGlLNWOG7x9Wv__MKeLSivuYOZrCpDMvNaH8JzQyoF6kfBEWbeVxbJgriYZuUsoAqkR6IUlWNx32prRLSTYdgIFa6B0DKtUPkQ-G6Kg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: "Helvetica Neue"; font-size: 11px;">I can’t remember the last time I saw the opening screening of a film, but I did so yesterday (Thursday) to see </span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Batman</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">. My expectations weren’t high, as I had heard it was very violent and featured a serial killer at the centre of its plot, neither of which I appreciate. But Batman has always (since I was a boy) been by far my favourite superhero and critics were generally positive, so I thought I had better watch it.</span><p></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Wow!</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">I liked Tim Burton’s <b><i>Batman</i></b> films and I liked Michael Keaton as Batman. Same with the Christopher Nolan trilogy and Christian Bale as Batman. <b><i>Batman Begins</i></b> (2005) was, until now, my favourite superhero film. But …</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Wow!</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b><i>The Batman</i></b>. Literally and figuratively one of the darkest films ever made. The use of music to help create that darkness is masterful - the pounding soundtrack is a highlight for me. The Batman/Bruce Wayne himself is dark in every way, his face and dour expression as dark as his clothes and his gothic-style mansion. I won’t say his performance was extraordinary (it was very good), but Robert Pattinson was certainly the right choice for this dark Batman.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Or <i>is</i> he Batman? He is referred to as ‘the’ Batman, not Batman, and when, early in the film, one of Gotham City’s seedier characters asks him who he is, the reply is not “I am Batman” or even “I am The Batman”, but “I am vengeance.”</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Vengeance. This is also what Catwoman Selina Kyle (a terrific Zoë Kravitz) might call herself if asked, as vengeance lies at the heart of her motives. But more interestingly, vengeance is also what the film’s villain would call himself. <b><i>The Batman</i></b>’s serial killer (the Riddler, played scarily well by Paul Dano) is all about exposing the corruption in the city’s governance and police force and exacting vengeance. So the three characters at the heart of <b><i>The Batman</i></b>: “I am vengeance.” And yet this film bears no resemblance to <b><i>The Avengers</i></b>.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Wow!</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">When Gotham’s mayor is brutally murdered, Lieutenant James Gordon (a wonderful understated performance by Jeffrey Wright) finds a card addressed to the Batman left behind by the killer. Gordon turns on the bat-signal, which looks as sinister as the rest of this dark (and darkly beautiful) city. The card provides clues to lead the Batman (with the help of Alfred, Wayne’s butler, played by Andy Serkis) to evidence of the mayor’s corruption. Cards are also left behind at the scenes of the subsequent brutal murders (of more corrupt leaders). Gordon and the Batman (and Alfred) must solve the riddles in a film that highlights the detective skills of our hero rather than his fighting skills. This fits in well with the film noir atmosphere of <b><i>The Batman</i></b>.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Following the clues, the Batman visits a nightclub where he meets the Penguin (an unrecognizable Colin Farrell), a mobster working for crime boss Carmine Falcone (John Turturro). Selina also works at the club. The Batman suspects she knows something and follows her home, discovering who she is and enlisting her help. There is a great chemistry between them throughout the film, though Selina’s character is not as well developed as it could be. </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">To avoid spoilers, I won’t say any more about the plot (there’s a fair bit going on here, as this is a three-hour film). But I will say a little more about Pattinson’s Bruce Wayne. This is not the charming playboy of previous films. Wayne is a sad intense figure who exudes pain throughout (I particularly appreciated the way I could read Pattinson’s expression even behind the mask). Wayne’s troubled character lends weight to questions like: Is The Batman a hero or an antihero? If the hero and the villain are both after the same thing, how different are they? Is this really a superhero film at all, since there are no unusual powers on display and nothing formulaic about the film? </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b><i>The Batman</i></b> was written and directed by Matt Reeves, whose previous films (<b><i>War for the Planet of the Apes, Cloverfield, Let Me In</i></b>) have impressed me, so it’s not a big surprise that he has created a thoughtful, if bleak, film featuring excellent acting, gorgeous cinematography and a haunting score. There were, however, a couple of things I didn’t like about <b><i>The Batman</i></b>: 1) The lengthy car chase scene; the critics loved it, but I found it an utterly pointless waste of time (I’ve always hated car chases); 2) I have nothing against long films, but there were a few unnecessary scenes in the middle that could have shaved off about fifteen minutes and helped with the pacing of the film. And of course I did not enjoy the violence or the serial killer elements.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Nevertheless, I must confess (as the wows have revealed) that <b><i>The Batman</i></b> blew me away. What can I say? I’ve always liked dark films (as long as there is a character at the centre I can engage with). In the case of <b><i>The Batman</i></b>, well, I’ve listed most of the things that I liked about the film, to which I will add my appreciation for the political commentary, but I can’t tell you the biggest reasons why I loved it without spoilers, so … </p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><b><i><br /></i></b></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><b><i>The Batman</i></b> is maybe just a little too violent for me to give it an easy four stars, so for now I’ll say ***+ - ****. My mug is up.</p><div><br /></div>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-30401070132180799112022-02-19T16:49:00.001-04:002024-01-27T12:56:45.592-04:00Walter's Top Ten Films of 2021<p> </p><p class="MsoNormal">Last year, I complained (honestly) that I’d barely even seen
ten 2020 films, let alone felt able to choose a top ten list. This year, thanks
to many movie night invitations from Vic, including some TIFF views, I saw enough
2021 films to choose a top ten (almost – 10th spot is actually shared between 2 honourable mentions). I still had to
include a few that are reaching a bit back into 2020 – forgive me, film purists.
<o:p></o:p></p>
<p class="MsoNormal">Increasingly, I have felt that my taste or my film-watching
experience of movies has diverged from those of “the critics.” Obviously, this
is a gross generalization as, thankfully, film critics do still have quite
diverse views. But less than ever have I felt that high Metacritic averages
have steered me to reliable choices (none of the top seven made my list). Is
this because I am becoming an old curmudgeon (and I confess that at times this
is an odd aspiration of mine) in a way that is also linked to my utter disbelief at the
grotesque ugliness of NFL uniforms these days? Seriously? Do people actually
think that those are pleasant colours to watch on a playing field!! <o:p></o:p></p>
<p class="MsoNormal">I digress. Let’s get to it. I’ll just add that since Vic and
I wrote almost no reviews during the year, I have virtually no notes to look
back on, and my memory fails me on those movies I saw many months ago. But I
trust my ratings and my gut feelings as I recall them. <o:p></o:p></p>
<p class="MsoNormal">10. (Honourable Mention) – <i>The Dig </i>and <i>Passing</i>.
I didn’t rate either of these high enough to warrant my top ten list,
and so I place them here more as honourable mentions than fully in 10<sup>th</sup>
place. They are both very well-made films, and I have no qualms about
recommending either of them. They are also both “period films” that are done very
effectively while something is slightly lacking that prevents me from being
able to connect deeply with them – almost like the historical distance leaves
them feeling a bit muted. <o:p></o:p></p>
<p class="MsoNormal">9. <i>Don’t Look Up</i> – Yes, this film had many problems.
And it wasn’t made nearly as well as those that I’ve just barely placed in the
10<sup>th</sup> spot. But I really think it should be viewed and discussed and
argued about. The low points for me are the jerky editing and strangely chosen
relational twists (if it was for humour, they missed). But some of the satire
was highly effective (and I have no idea why I liked the matter of snacks in
the White House so much, but I did). And I loved the meal around the Mindy
table a lot.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjqcuoVYzcqV6TkTVN0sy6CzIHzskn-bGMsqBVtrtoXsOT5qGQomvgSqjUC8tjQo4NlcE7vCzUq6XxyEXXPMJk_Wym2OgWZmVdMyXeHsDiV8sqj2vdPCE9DXGK6h9vDaMCDippQkixhxclZ9iGArsLg11w-3l6iUlwPMMOWBJ_lJHDcplU_q8ZCv6vH=s1280" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1280" height="171" src="https://blogger.googleusercontent.com/img/a/AVvXsEjqcuoVYzcqV6TkTVN0sy6CzIHzskn-bGMsqBVtrtoXsOT5qGQomvgSqjUC8tjQo4NlcE7vCzUq6XxyEXXPMJk_Wym2OgWZmVdMyXeHsDiV8sqj2vdPCE9DXGK6h9vDaMCDippQkixhxclZ9iGArsLg11w-3l6iUlwPMMOWBJ_lJHDcplU_q8ZCv6vH=s320" width="320" /></a></div><br /> <o:p></o:p><p></p>
<p class="MsoNormal">8. <i>The Worst Person in the World</i> – I believe this is
the first time that I saw a Joachim Trier film, and I like the tone that he
adds to this type of indie rom-com in comparison to the artsier edge of this
genre. It’s like there is some attitudinal shift that made it more relatable,
warm and human. There is something in the very brief ending scene that was
quite disappointing to me, but by then I’d already committed to being a fan. <o:p></o:p></p>
<p class="MsoNormal">7. <i>Percy</i> - This is one of those that is probably a
stretch to include in 2021, but I didn’t see it in time for last year and it
was close. I am quite passionate about this issue. My emotional self sees Monsanto
as one of the clearer examples of the kind of evil that is destroying the earth
and humanity. (My rational self is a little less extreme, but not a lot.) I
believe that the film does a good job of depicting the issue and Christopher
Walken seemed a good choice to depict the titular character. <span style="mso-spacerun: yes;"> </span><o:p></o:p></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjrnH6-yM8ErnsrQwGwlzSvqWA5yjN9ndk0-YwwDj-yrZHT_hJyqPgvfVomzHdsEYVKRXCn-wkoIqwgLHJO9PBBX7ZCFgj2S_rP__qbWQY3LpgEyH9KrN0378Q_U1FyBtGNpnw_kUkPAzOBTCWev8U6qj7y52dBmG7VICa3Brv03mtujm-5Ih706gua=s1200" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEjrnH6-yM8ErnsrQwGwlzSvqWA5yjN9ndk0-YwwDj-yrZHT_hJyqPgvfVomzHdsEYVKRXCn-wkoIqwgLHJO9PBBX7ZCFgj2S_rP__qbWQY3LpgEyH9KrN0378Q_U1FyBtGNpnw_kUkPAzOBTCWev8U6qj7y52dBmG7VICa3Brv03mtujm-5Ih706gua=s320" width="320" /></a></div>6. <i>One Night in Miami</i> – The idea and structure of the
film was novel (speculative fiction about an actual meeting) and worked well for me. By adding the element of relationships
between these four fascinating historical characters and their different ways
of interacting with the context of race in America in the 60s, they invite the viewer to
watch and learn and re-think from a different point of view. Highly
recommended.<p></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">5. <i>The Matrix: Resurrections</i> – I’m not naturally
inclined toward sequels. I loved the first and enjoyed the 2<sup>nd</sup> and 3<sup>rd</sup>
more than some, but I wasn’t optimistic for how I’d feel about this. But
Wachowski really had me hooked fairly early in this “resurrection” with her
meta-twists on the franchise, especially after what I’d heard (I presume
accurate) about her own wrangles with Warner Bros. There were still far too
many shoot-em-up scenes and other scenarios that make no great logical
sense. It’s not a classic like the original, but it was funny, clever,
thought-provoking and entertaining. <o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhEBzBM2LE4kbxVwqyiKP4N7K5Cm9tV6dqRSVN1bn2vCqDt6ZGW3KiH9jIzkz9wfAz8BybkEeP7oP0NgpFQ6xBFc0uX2PW4pPVool5r3RBmz-YmoGfH4HvSKDTI4tK7Q1Fpac_1JqkqpM8wfRNQ3RqSIqXg8Am0N9g6MxFY2Kc5AGEf7n8ISdTZk1rB=s637" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="461" data-original-width="637" height="232" src="https://blogger.googleusercontent.com/img/a/AVvXsEhEBzBM2LE4kbxVwqyiKP4N7K5Cm9tV6dqRSVN1bn2vCqDt6ZGW3KiH9jIzkz9wfAz8BybkEeP7oP0NgpFQ6xBFc0uX2PW4pPVool5r3RBmz-YmoGfH4HvSKDTI4tK7Q1Fpac_1JqkqpM8wfRNQ3RqSIqXg8Am0N9g6MxFY2Kc5AGEf7n8ISdTZk1rB=s320" width="320" /></a></div><p class="MsoNormal">4. <i>The Man in the Hat </i>– I stumbled onto this one a
few months after similarly stumbling on the old French classic, <i>Mon Oncle </i>(1958),
by Jacques Tati. Not being particular fans of old films, let alone silent films
(or nearly silent films in these cases), Carol and I watched <i>Mon Oncle </i>with few
expectations. It was a surprising delight and a fascinating glimpse into
perceptions of modernity in post-war Europe. <i>The Man in the Hat</i> felt
like it reprised all that was delightful in the Tati film, with a bunch of new
delights. One of those delights was Ciaran Hinds, who is just magnificent, and a
few musical moments (as I said, not quite silent) add some of the other
highlights. If you want something different, look this one up.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">3. <i>Judas and the Black Messiah</i> – There was so much
that was rich and rewarding about this. It’s an important complement to <i>The
Trial of the Chicago 7</i> that made my list last year and tells the story of
Fred Hampton, whose death plays a key role in both films. It’s historically illuminating,
and the “Judas” theme adds an important layer. I’ve been used to writing off the
Black Panthers as the violent side of the coin (as opposed to MLK’s emphasis), and
it felt important to appreciate many aspects of their experience. <o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6GTrPG0TOZ1UfkawOGf7ATeA42RMcwrdqDPx1sh8ey8wBJfY8EtDJiDGVNLBcke04750MuR_hfpuCpR-0GOx5JsNvaJK0WmB9UmnD-XvqaJHoEyBECQeM6oCmDnr_e8Ho66UNYBQLsiHx1OV9J1F9uMWHBUuq1fMl_TbYWy3TQ6qPpv6Ly4QodbxY=s768" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="family in 60s theatre" border="0" data-original-height="500" data-original-width="768" height="208" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6GTrPG0TOZ1UfkawOGf7ATeA42RMcwrdqDPx1sh8ey8wBJfY8EtDJiDGVNLBcke04750MuR_hfpuCpR-0GOx5JsNvaJK0WmB9UmnD-XvqaJHoEyBECQeM6oCmDnr_e8Ho66UNYBQLsiHx1OV9J1F9uMWHBUuq1fMl_TbYWy3TQ6qPpv6Ly4QodbxY=w320-h208" width="320" /></a></div><p class="MsoNormal">2. <i>Belfast </i>– This felt like the first time I’d loved a
film in the theatre for a long time – so much so that I saw it twice. I literally
can’t remember the last time I’ve done that. I think it had a special element
for me in that the young boy at the centre of the story (largely a year in Kenneth
Branagh’s Belfast childhood during the Troubles) was born only a year before me,
making it easy to relate to his experience even though his life was so
different from mine. I loved the play-like set of his closely relational
neighbourhood, and the juxtaposition of its sense of safety that was thrown
into turmoil and violence. It brings up questions about the loss of
community and external forces that have destroyed the fabric of neighbourhoods like
this.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">1. <i>The Father</i> – This film both intrigues and takes
you for a painful but worthwhile emotional ride. My mom is a couple of thousand
km away in a long term care home that leaves her with almost no personal visits
(because of vaccination issues). Phone calls are not an easy form of connection
when dementia has entered the picture, and the pain and frustration of this
were very present as I watched <i>The Father</i>. The film was hard but helped.
It’s a brilliantly realised concept thanks to great acting and directing. Watch
this film. <o:p></o:p></p>
<p class="MsoNormal">My annual “spilled coffee” award goes to <i>Wonder Woman
1984</i>. It wasn’t the worst movie that I wasted my time on, but it was the
biggest disappointment. <o:p></o:p></p>
<p class="MsoNormal">And the best of the older films that I saw this year was <i>Sorry
We Missed You </i>(no surprise as it was Vic’s #1 last year), and it helped choose alternatives
to Amazon at least a few times. Still trying. I have high expectations that <i>Mass</i> and <i>CODA </i>(Carol and I loved the French original) would have made my list this year if I'd had a chance to see them.<o:p></o:p></p><p class="MsoNormal">Here's to hoping for more theatrical visits in the slightly less pandemicky year ahead. </p>Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-32688642808318797592022-02-14T16:41:00.002-04:002024-01-27T12:56:53.352-04:00Vic's Top 20 Films of 2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiKV5YF5iwUgvKYsRMobg9WLcz8tz55NUjFWHRGEkuJ2gMrbIYVNCjZyOi3FXr8dX7tWgfySfuQ1_Yq7qwWq0fkLBB6hzTf3cPgGdiSj8h_pdq-ZXbTVZnbHJYoUVN_StuIcSrKC6weCamnJGOY02fp2o_MyR4TQj6xwu9SwtFNPfhXeF8I4L1rqxMS2w=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEiKV5YF5iwUgvKYsRMobg9WLcz8tz55NUjFWHRGEkuJ2gMrbIYVNCjZyOi3FXr8dX7tWgfySfuQ1_Yq7qwWq0fkLBB6hzTf3cPgGdiSj8h_pdq-ZXbTVZnbHJYoUVN_StuIcSrKC6weCamnJGOY02fp2o_MyR4TQj6xwu9SwtFNPfhXeF8I4L1rqxMS2w=s320" width="320" /></a></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh62UUtVXpx4QY6qmz65v0nAdZvfihlLO_wFoloMWkffCXgU0ONRe_oTzvFPts2Rxj2Ej7M1Y-RUtb_DHEZ-vmZVBg2ER_FPP4Fy07n8WxqSkltjVtqaT7ZK34-y7tZ6EtBft9sZsfPZ-v-Mfe7ilyKNqyT-meVygtTYXMcO7IkWHzPxdOr0p03kbk5qw=s275" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/a/AVvXsEh62UUtVXpx4QY6qmz65v0nAdZvfihlLO_wFoloMWkffCXgU0ONRe_oTzvFPts2Rxj2Ej7M1Y-RUtb_DHEZ-vmZVBg2ER_FPP4Fy07n8WxqSkltjVtqaT7ZK34-y7tZ6EtBft9sZsfPZ-v-Mfe7ilyKNqyT-meVygtTYXMcO7IkWHzPxdOr0p03kbk5qw" width="275" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgirnx3MCxkKTg42QTtJZWQYJV5LfPL5WXAX2fGNNEVyYMouuT86G3e2MQoOGG-W_ZHQYiz5zj4fjwcBo10MlJiGdtVdLdUD65OZT62Jm5feeV4FA8V9dqnmSv4pQPtM7DCLcPdApCcVXCqpPggz_UadaMBry_WZLGIy6za3FSPIKlhjL7Tsl6OwDSByA=s337" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="337" height="142" src="https://blogger.googleusercontent.com/img/a/AVvXsEgirnx3MCxkKTg42QTtJZWQYJV5LfPL5WXAX2fGNNEVyYMouuT86G3e2MQoOGG-W_ZHQYiz5zj4fjwcBo10MlJiGdtVdLdUD65OZT62Jm5feeV4FA8V9dqnmSv4pQPtM7DCLcPdApCcVXCqpPggz_UadaMBry_WZLGIy6za3FSPIKlhjL7Tsl6OwDSByA=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: "Helvetica Neue"; font-size: 11px;">For reasons that many readers will know, the past year has been a difficult one for me. One consequence of this is that I haven’t posted on this blog for a very long time. But thanks to the Toronto International Film Festival allowing me to watch films online, I’ve actually seen more excellent films in the past year than in almost any previous year, though very few of them were seen at the cinema. So not only is it time to post my list of </span><b style="font-family: "Helvetica Neue"; font-size: 11px;">Top 15 Films of 2021</b><span style="font-family: "Helvetica Neue"; font-size: 11px;">, I decided I needed to expand my list to twenty films this year.</span><p></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">A number of the films on my list are either still playing in Canada or not yet released, but since they are considered 2021 films and I have watched them already, they are included here. Despite seeing many excellent films in the past year, I would not say that 2021 was an exceptional year for film (i.e. relatively few films from this list will make my list of top films of the decade), but it was better than 2020.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Here are a few observations about my list:</p>
<ol>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">My top three films, in order, were also (coincidentally) the top three films of my film-critic friend, Gareth Higgins (and five of his top ten and are in my top ten). We share very similar tastes in film, but no previous lists compare.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Three of the films on my list were directed by women, six were written by women and five have a female protagonist.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Five of the films on my list are foreign language films (up from one last year).</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">The trend toward more Netflix films continues, with five Netflix originals on my list below (indicated by an (N)).</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Denis Villeneuve continues his incredible streak with four straight films on my top film lists.</li>
<li style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Willem Dafoe appears in four of the films mentioned below (two in my top 20). Oscar Isaac, Timothée Chalamet and Ralph Fiennes also appear twice. </li></ol>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Before I start counting down, I have three honourable mentions: 1) I’ve always liked <b><i>Spider-Man</i></b> and I’m a big fan of the Tobey Maguire <b><i>Spider-Man</i></b> films. I have not, however, been impressed by the live-action <b><i>Spider-Man </i></b>films that followed, so to say I was pleasantly surprised by <b><i>Spider-Man: No Way Home</i></b> would be an understatement. I somehow avoided spoilers (and won’t supply any here), and I have missed a number of recent relevant Marvel films, so the film surprised me in many ways, all of them good. If I had found the ending a little less confusing, this film might even have made my list.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">2) Then there’s <b><i>The Matrix Resurrections</i></b>. I’m also a big fan of the <b><i>Matrix</i></b> films and Lana Wachowski’s <b><i>The Matrix Resurrections </i></b>may be my favourite. It was brilliantly-written (Lana was joined by David Mitchell, with whom she had worked on <b><i>Cloud Atlas</i></b>, one of my all-time favourite films), beautifully filmed, well-acted, thought-provoking, clever and funny. The only thing that kept this film off my list was one unforgivable (for me) scene involving people jumping out of windows. Whatever the reasoning behind it, this scene sucked away my enjoyment of the film enough to keep it off my list.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">3) Guillermo del Toro’s <b><i>Nightmare Alley</i></b> was the most beautiful film I watched this past year. If the characters had been more sympathetic, this dark and extraordinary film would have made it on my list.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">And here’s my list, counting down from 20:</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">20. <b><i>Judas and the Black Messiah</i></b> - Shaka King’s film was one of the earliest to appear on my list. With its unique structure, well-written story and great acting (esp. Daniel Kaluuya and Lakeith Stanfield), I thought it was an extraordinary film. Unfortunately, the questionable methods of the Black Panthers kept me from being engaged enough to place it higher on my list.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">19. <b><i>The Card Counter</i></b> - Paul Schrader’s previous film (<b><i>First Reformed</i></b>) was my favourite film of 2017. <b><i>The Card Counter</i></b> is not up to the same level, but it’s an intense, haunting, brilliantly-acted (Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem Dafoe) and well-directed film about the impact of torture on the soldiers responsible for carrying it out. The ending feels a little rushed and counter-intuitive, though it may be consistent with the film. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">18. <b><i>West Side Story</i></b> - I love musicals, so the presence of Steven Spielberg’s <b><i>West Side Story </i></b>on my list is not as surprising as the fact that it’s not in my top five. This is a gorgeous, beautifully-acted, thought-provoking and much more authentic remake of the 1961 classic. I liked it better than that classic, but the problem is I’ve never been a fan of the stage musical on which both films are based. What can I say? I like <i>Romeo and Juliet</i>, but this version of the story, together with its music, just doesn’t engage me as much as it should.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">17. <b><i>Dune</i></b>:<i> Part One</i> - Unlike David Lynch, Denis Villeneuve has crafted an almost flawless version of one of my all-time favourite novels, with a gloriously dark, haunting and paranoid atmosphere (as it should be). Timothée Chalamet, Rebecca Ferguson and Oscar Isaac are very good, the cinematography is astonishing and Hans Zimmer supplies an appropriate score. I suspect that once <i>Part Two</i> is released (and I treat the two parts as one film), <b><i>Dune</i></b> will be much higher on my list, as the first half of <i>Dune</i> is not my favourite part of the novel.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">16. <b><i>Seaspiracy</i></b> (N) - The only documentary on my list this year (I’ve decided to leave the extraordinary <b><i>Flee</i></b> to next year, since it hasn’t been released here yet and I may have viewed it illegally), this Netflix original by Ali Tabrizi is a riveting and scathing exposé of the commercial fishing industry that needs to be watched regardless of the film’s flaws (e.g. the focus on Tabrizi, some unnecessary sensationalizing, a few inaccuracies). </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">15. <b><i>The Worst Person in the World </i></b>- This highly original and entertaining rom-com from Norway is much higher on Walter’s list. Directed and co-written by Joachim Trier, whose film festival introduction revealed him to be a humble and very likeable director, this film is funny and sad and sometimes dark, featuring a terrific performance by Renate Reinsve as the protagonist struggling with her romantic relationships. Would have been higher on my list if it had connected with me a little more.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">14. <b><i>About Endlessness</i></b> - Roy Andersson’s films are a never-ending delight to me, but the average viewer will find them odd and probably quite boring, as they have no plot and feature a static camera taking long shots of brief vignettes that tell us something about our lives. This film (work of art) is a brilliant reflection on the meaning/meaninglessness of life, full of scenes of despair and hope that ask us what we have done with our lives.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">13. <b><i>The Power of the Dog</i></b> (N) - This critical favourite by Jane Campion is an unusual Western, focusing on what goes on in the minds of two ranch-owning brothers in 1925 Montana. Benedict Cumberbatch, Kirsten Dunst, Jess Plemons and Kodi Smit-McPhee are all terrific, as are the cinematography and music. But it was all just a little too cold and dark to get higher on my list. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">12. <b><i>Passing</i></b> (N) - Based on a famous 1929 novel by Nella Larsen, and written and directed by Rebecca Hall (her first film), <b><i>Passing</i></b> is a gorgeous black & white film about African Americans passing for white in 1920’s New York City. Outstanding performances by Tessa Thompson and Ruth Negga provide the foundation for this quiet but tense and carefully nuanced film, with its multiple meanings of the title.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">11. <b><i>The Forgiven</i></b> - John Michael McDonagh made my favourite film of the past decade (<b><i>Calvary</i></b>), so I think he may be one of those directors (like Tom Tykwer) whose thoughtful films always find a way to connect with me, even if most critics aren’t that impressed, as is the case with <b><i>The Forgiven</i></b>. Ralph Fiennes is wonderful as an arrogant man visiting Morocco whose life starts to unravel after a random accident. Jessica Chastain provides solid support as his wife, though the wife’s part of the story had nowhere near the power of her husband’s part.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">10. <b><i>The Dig</i></b> (N) - Ralph Fiennes once again, this time paired with Carey Mulligan, who stars as British landowner Edith Pretty, a woman who wants to know what’s under the mysterious burial mounds on her property. I believe it was Kathy’s favourite new film during the last year of her life, which may have impacted my own enjoyment of the film. Mulligan and Fiennes are terrific, the screenplay is intelligent and the cinematography is beautiful. <b><i>The Dig</i></b> was directed by Simon Stone and written by Moira Buffini.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">9. <b><i>The French Dispatch </i></b>- Perhaps the most purely entertaining film of the year (I was riveted and smiling during every minute of it), Wes Anderson’s latest film tells three very different stories using his familiar eccentric style, and features a large number of great actors whom I won’t name here. If you liked <b><i>The Grand Budapest Hotel </i></b>and <b><i>Moonrise Kingdom</i></b> (as I did - both made my top ten lists), then you won’t want to miss this. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">8. <b><i>A Hero</i></b> - Asghar Farhadi does it again (most of his films have made my top film lists) with this beautifully nuanced film about moral dilemmas in present day Teheran. Amir Jadidi delivers a spot-on performance as a man caught out of his depth from the moment he tries to do the right thing. This intense suspenseful drama creates deep empathy for the protagonist, a man who has been imprisoned for being unable to pay his debts.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">7. <b><i>Quo Vadis, Aida?</i></b> - Written and directed by Jasmila Žbanić, this Bosnian film tells the story of the 1995 Srebrenica massacre from the perspective of Aida (brilliantly played by Jasna Duričić), a woman trying to protect her sons and husband. This flawlessly-made film provides much to think about and the ending is especially provocative.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">6.<b><i> The Green Knight</i></b> - The biggest <i>Wow! </i>film of the year. David Lowery has created a gorgeous poetic masterpiece, based (somewhat loosely) on the old Arthurian tale of <i>Sir Gawain and the Green Knight).</i> I was mesmerized from start to finish (it doesn’t hurt that I’ve always been a huge fan of all things Arthurian). Dev Patel is wonderful as Gawain, the music is awesome and the eerie scenes provide endless food for discussion.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">5. <b><i>Tick Tick … Boom! </i></b>(N) - A musical that engaged me much more deeply than <b><i>West Side Story</i></b>, Lin-Manuel Miranda’s film is based on the semi-autobiographical stage musical by Jonathan Larson (who made <b><i>Rent</i></b>). The music is great, Andrew Garfield (in the lead role) is sublime, the story is sad and funny and real, and I loved every minute of it. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">4. <b><i>Belfast</i></b> - This lighter look at The Troubles in Northern Ireland in 1969 was written and directed by Kenneth Branagh, based on his personal experiences as a boy growing up in Belfast. The black & white cinematography is beautiful, the acting is excellent (Ciaran Hinds and Judi Dench stand out in supporting roles), the writing feels original and the direction is in sure hands. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">3. <b><i>Mass</i></b> - Written and directed by first-time director Fran Kranz, <b><i>Mass</i></b> stars Jason Isaacs, Ann Dowd, Reed Birney and Martha Plimpton as two couples in unimaginable pain sitting around a table in a church talking about an horrific tragedy that changed their lives (six years before). This small indie film was shot in only twelve days, and it feels like a play (not a bad thing), but the superb ensemble cast and careful cinematography make it a riveting emotional experience that left me shaking. With a film that highlights the power of human connection, this is humanizing filmmaking at its best.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">2. <b><i>The Father</i></b> - Anthony Hopkins certainly deserved his best actor Oscar for his incredible portrayal of a man with dementia. Olivia Colman is almost as good as his daughter. Florian Zeller directed and co-wrote the film (based on his play - this is another film that feels like a play) and the writing is brilliant, giving us a story that takes us deeply and empathetically (and uniquely) into the mind of someone experiencing dementia. It’s a magnificent achievement and a true masterpiece. </p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">1. <b><i>Drive My Car</i></b> - No Japanese film has made my top film lists until now (though <b><i>Shoplifters</i></b> came close in 2018) but this masterpiece soars right up to number one. Ryusuke Hamaguchi’s film pushed all the right buttons for me, with its flawless acting and direction and its intelligent thoughtful screenplay, which is based on a story by Haruki Murakami, one of my favourite writers. This long, quiet and wise film, which involves a production of Chekov’s Uncle Vanya, is about many things, including grief, regret and, once again, the importance of human connection. I watched this film while sitting beside Kathy on the second-last day of her life. It might have had an impact on my appreciation of the film, but many critics, including Gareth, seem to agree with my assessment.</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-78597513766319490602021-03-25T12:38:00.004-04:002021-03-25T12:38:50.455-04:00Two four-star films you need to watch: The Father and Seaspiracy<p><span style="font-family: "Helvetica Neue"; font-size: 11px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-9Xzl2PCgp2Y/YFy8Dm82PuI/AAAAAAAAEPc/w4FUZYjAutcDLbeNc7oKIhw5nWOPD8ingCNcBGAsYHQ/image.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="829" data-original-width="1105" height="240" src="https://lh3.googleusercontent.com/-9Xzl2PCgp2Y/YFy8Dm82PuI/AAAAAAAAEPc/w4FUZYjAutcDLbeNc7oKIhw5nWOPD8ingCNcBGAsYHQ/image.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-EDmSXkiCvMM/YFy8RQSwq_I/AAAAAAAAEPg/tl5YOFVLGBwbFFiz-_tn3XFR7NZ5PamawCNcBGAsYHQ/image.jpeg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="240" src="https://lh3.googleusercontent.com/-EDmSXkiCvMM/YFy8RQSwq_I/AAAAAAAAEPg/tl5YOFVLGBwbFFiz-_tn3XFR7NZ5PamawCNcBGAsYHQ/image.jpeg" width="240" /></a></div><p></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">In a rather unlikely coincidence, I watched my first two four-star films of 2021 on the same day - March 24. I got to see one of them (</span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i>The Father</i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">) at the cinema (my first visit to the cinema this year), which may have given it an unfair advantage.</span></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b><i>The Father </i></b>was technically released in 2020 (thus eligible for the Academy Awards), but it wasn’t released in cinemas until 2021, so it qualifies as a 2021 film for my annual top-15 lists (and will certainly appear on that list).</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b><i>The Father</i></b> was directed and co-written by Florian Zeller and is based on his 2012 play. It feels and looks like a play, but that’s not a bad thing as far as I am concerned (my second-favourite film of 2020 also felt like a play). Anthony Hopkins stars as Anthony, an 80-something man suffering from dementia. The film’s unique filming structure/vision allows us to view events as Anthony is experiencing them, which is hugely disconcerting and powerful. There were times during the film when I began to wonder whether I was suffering from a form of dementia (maybe it was the fact that I had just been sitting in a dentist’s chair for 75 minutes). </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Olivia Colman plays Anthony’s daughter, Anne, and Rufus Sewell, Olivia Williams, Imogen Poots and Mark Gatiss play the rest of the film’s characters. All of the performances are excellent, but Hopkins’s performance is sublime, with Colman close behind. They very much deserve their Oscar nominations.The writing is intelligent, the direction tight and the score and use of music are outstanding. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">I am not generally a fan of films about dementia (there have been quite a number of such films in recent years), but the way dementia is presented in <b><i>The Father,</i></b> taking us deeply and empathetically into the mind of someone with dementia, is absolutely brilliant. <b><i>The Father</i></b> is nothing short of a classic and should not be missed. An easy **** and my favourite film of 2021, so far. My mug is up.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">My second four-star film of March 24 is <b><i>Seaspiracy</i></b>, a documentary released on that day by Netflix. Netflix has been presenting some amazing and important documentaries recently, including <b><i>Disclosure, The Social Dilemma, A Life on our Planet, Collective </i></b>and<b><i> My Octopus Teacher</i></b>. Hats off to Netflix!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b><i>Seaspiracy</i></b> pretends to be an exposé of the commercial fishing industry, but really it’s an 89-minute ad for the plant-based meat-substitute industry. A very effective ad! Seriously, if <b><i>Seaspiracy</i></b> was somehow connected to that industry, I would only applaud such a brilliant campaign (though I daresay that industry also needs some close scrutiny). </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">I won’t try to go through the many horrific discoveries made by the filmmakers (Ali and Lucy Tabrizi) in the course of their investigations, because they need to be seen to be believed. I will say the filming and presentation are extraordinarily effective. The 89 minutes fly by, though not without a growing sense of despair (there are some hopeful comments, but they are few). I will also note that it’s not just the fishing industry that’s exposed - so are some non-profit environmental organizations. Devastating stuff!</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b><i>Seaspiracy</i></b> isn’t perfect. Ali Tabrizi focuses too often on himself and his incredible bravery and skill, which isn’t great for a documentary-maker, but it’s not enough to be distracting. And the film’s content is just too important to quibble about such flaws. **** My mug is up.</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;">P.S. I love eating fish - by far my favourite meat - but I may never eat it again. Indeed, being a vegetarian (like my daughters, son-in-law) really seems to be the only sustainable life-affirming option out there, unless you are catching/raising/killing your own meat. </p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-28766403993304764392021-02-20T12:19:00.002-04:002021-02-20T12:19:16.781-04:00I Care a Lot<p><span style="font-family: "Helvetica Neue"; font-size: 11px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-1nDxp2mBX34/YDE2V0kv3pI/AAAAAAAAEOA/Wj1Gf8MdwCQhj-a3I9LWq7q3vbkd7NUKACNcBGAsYHQ/image.jpeg" style="margin-left: 1em; margin-right: 1em;"><br /><img alt="" data-original-height="647" data-original-width="1222" height="169" src="https://lh3.googleusercontent.com/-1nDxp2mBX34/YDE2V0kv3pI/AAAAAAAAEOA/Wj1Gf8MdwCQhj-a3I9LWq7q3vbkd7NUKACNcBGAsYHQ/image.jpeg" width="320" /></a></div><p></p><p><span style="font-family: "Helvetica Neue"; font-size: 11px;">I love watching Rosamund Pike and Peter Dinklage act, so I couldn’t resist watching their new film,</span><b style="font-family: "Helvetica Neue"; font-size: 11px;"><i> I Care a Lot, </i></b><span style="font-family: "Helvetica Neue"; font-size: 11px;">on the day it was released (on Amazon Prime - a company I do not promote but have not yet succeeded in completely boycotting).</span></p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;"><b><i>I Care a Lot</i></b>, written and directed by J Blakeson, concerns the timely subject of guardianship, a growing industry that focuses on providing court-appointed guardians for older people deemed unable to take care of themselves. In<b><i> I Care a Lot</i></b>, Marla Grayson (Pike) runs a guardianship company that ‘specializes’ in providing the court with embellished medical reports on wealthy older people with no family or relatives, resulting in Grayson becoming their legal guardian. Grayson places these older people in a specific care home (where she can control them), sells off their estates and ‘legally’ makes a lot of money (the goal of her life). However, Grayson doesn’t realize what she’s let herself in for when Jennifer Peterson (Dianne Wiest) becomes her latest victim.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">To avoid spoilers, I won’t say more about the plot, though I am by no means recommending that you endanger your soul by watching this cold dark psychological thriller-‘comedy’. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">The acting of Pike and Dinklage was everything I had hoped for and expected: brilliant. But the characters they play (indeed, all of the characters in the film) are hollow and shallow, by which I mean they are lacking in both a moral compass and in any meaningful character development. They are thus incapable of eliciting an ounce of sympathy. Apparently this is forgivable in a dark comedy. </p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Critics, who generally like the film, write things like: “The core conceit … is upsetting and infuriating, but Blakeson puts such a colourful over-the-top sheen on it … that you can’t help but be entertained by the criminal carnage and extreme shenanigans” (Truitt) and “a vicious and cheerfully twisted psychological thriller dripping in deception and dread” (Roeper) and “for those who prefer their pulp to carry the faint aroma of moral rot, this movie is a real treat” (Murray). I agree that <b><i>I Care a Lot</i></b> is vicious, upsetting and full of moral rot, and even that the film is entertaining, but I felt my soul being drained with every passing minute and that’s a steep price to pay for entertainment.</p>
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<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px;">Critics also describe <b><i>I Care a Lot</i></b> as a satire of capitalism and the guardianship industry. That sounds like a good thing and I love good satire. This isn’t it. Besides the flawed moral compass (revealed throughout but especially in the violent ending), the film suffers from some massive plot holes (apparently also forgivable in a dark comedy).</p>
<p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><b><i><br /></i></b></p><p style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><b><i>I Care a Lot</i></b> has no heart and deserves no stars at all, but I’ll give it one star for the great acting, especially by Pike. * My mug is down.</p>Vichttp://www.blogger.com/profile/12090966032076073337noreply@blogger.com0tag:blogger.com,1999:blog-2608865863680527081.post-22821741499607045852021-02-06T09:31:00.001-04:002024-01-27T12:57:05.933-04:00Walter's Top Films of 2020<p>I made it to the theatre once in 2020. (And that was a
dud – more later.) The bottom line is that I barely saw ten 2020 releases, let alone choosing ten for "top ten" list.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">What I will do instead is write about seven impressive films
from this past year in a non-ranked order. And, as usual, I will also suggest a
couple of honourable mentions and a few older films I saw this year that are worth recommending.
<o:p></o:p></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-flt5PYtW4E8/YB6PIFQ_dzI/AAAAAAAAIjQ/52nOOGXeZ4c5CldDIp4wj7ZuRgDgWtknQCLcBGAsYHQ/s739/oct.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="415" data-original-width="739" src="https://1.bp.blogspot.com/-flt5PYtW4E8/YB6PIFQ_dzI/AAAAAAAAIjQ/52nOOGXeZ4c5CldDIp4wj7ZuRgDgWtknQCLcBGAsYHQ/s320/oct.jpg" width="320" /></a></div>Three of the most notable films were documentaries. One of those was <i>My<br /> Octopus Teacher</i>, one of the few
films that I reviewed earlier this year. It’s utterly unique, combining a beautifully
shot underwater world with subtly luminous moments of contemplative insight. In
a year filled with strange stresses and tensions, it was a perfect counterpoint
and is much recommended. <o:p></o:p><p></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xlZl0f4sAdM/YB6P2Id2DdI/AAAAAAAAIjY/0q-VgvprGBY98QL6_2JkMJceFE9AaREkwCLcBGAsYHQ/s303/new%2Bcorp.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="303" data-original-width="256" src="https://1.bp.blogspot.com/-xlZl0f4sAdM/YB6P2Id2DdI/AAAAAAAAIjY/0q-VgvprGBY98QL6_2JkMJceFE9AaREkwCLcBGAsYHQ/s0/new%2Bcorp.jpg" /></a></div><br />The other documentary that I’ll mention is <i>The New
Corporation</i>. This team’s first documentary, <i>The Corporation</i>, was the
film that effectively called out the psychopathic nature (by practice and by
legal necessity) of corporations. Now, they update their message by
demonstrating the new face of the same old psychopathy among the “new
corporations.” The new corporate emphasis on dangerously disingenuous charm, posing
as though they are the best hope for the world, is surprisingly consistent with the psychopath
diagnosis. Greenwashing and the myth of “corporate social responsibility” are just
the surface; the corporate takeover of education in the developing world felt
the most chilling. This isn’t the most scintillating entertainment in the
world, but it’s solid quality and necessary education for all. <o:p></o:p><p></p><p class="MsoNormal">In between these two documentaries is David Attenborough’s <i>A
Life on Our Planet.</i> The autobiographical form of this documentary gives it
some of the personal appeal of <i>My Octopus Teacher</i> and adds a moving and
effective urgency that is different from numbers alone, as we see the changes
that have taken place during one attentive lifetime. The central portion of
this film is hard-hitting - not for the faint of heart - but the ending,
thankfully, adds some hope and optimism.</p><p class="MsoNormal"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-UWOetKk8qbI/YB6QVEtplDI/AAAAAAAAIjg/Nhy-AxBdnx0ul1riwGcq9hFnXiSiCu2hgCLcBGAsYHQ/s1050/dav.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="1050" src="https://1.bp.blogspot.com/-UWOetKk8qbI/YB6QVEtplDI/AAAAAAAAIjg/Nhy-AxBdnx0ul1riwGcq9hFnXiSiCu2hgCLcBGAsYHQ/s320/dav.jpg" width="320" /></a></div><p class="MsoNormal">A couple of other very impressive films focused on court
cases involving the fight for justice. The energetic and witty script of <i>The
Trial of the Chicago 7</i> saw Aaron Sorkin’s magic make an intense film (based
on the trial of those falsely accused of conspiring to make the demonstrations
violent at the 1968 Democratic National Convention) very watchable and
entertaining. Of course, it also reflects Sorkin’s tendency to make a radical
message more palatable to the mainstream, but I think there is some value in
that – especially when others portray the grittier realities.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-pBxqZbOqzzs/YB6Qt91uMXI/AAAAAAAAIjs/vit1Jn1q9zUVbT1mgvAQ7g4Z7vdR1ZBAwCLcBGAsYHQ/s700/mang.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="394" data-original-width="700" src="https://1.bp.blogspot.com/-pBxqZbOqzzs/YB6Qt91uMXI/AAAAAAAAIjs/vit1Jn1q9zUVbT1mgvAQ7g4Z7vdR1ZBAwCLcBGAsYHQ/s320/mang.jpg" width="320" /></a></div><p class="MsoNormal">And <i>Mangrove </i>(part of the <i>Small Axe</i> film
anthology by Steve McQueen) steps into this gap perfectly. This film depicts
the struggle of the West Indian community in London to stand up against police
harassment in 1970. While in many ways this depicts a similar court struggle, <i>Mangrove
</i>centres racial hypocrisy (the West Indian community had been specifically
invited to immigrate post-war) and the growing urgency for this community to
come together and find their voice. In <i>Mangrove, </i>the energy comes less
from fast and witty dialogue (though it is still a strong script) and more from
the various life-giving threads within the West Indian community being woven
together around a centre of food, music and socializing at the <i>Mangrove </i>restaurant.
Watching the film, I couldn’t help but recall some recent wandering (in 2016
and 2018), when Carol and I saw the life of recent immigrant communities spill
out into the streets of Paris (in edges of Montmartre and Belleville). I wonder
about their struggles with police and other authorities.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-yjRxCFkPDOo/YB6RJPxFrnI/AAAAAAAAIj0/I7V1OBl8oz8j1OY9GRTD3P2XVblkkdS3ACLcBGAsYHQ/s1100/prom.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="455" data-original-width="1100" src="https://1.bp.blogspot.com/-yjRxCFkPDOo/YB6RJPxFrnI/AAAAAAAAIj0/I7V1OBl8oz8j1OY9GRTD3P2XVblkkdS3ACLcBGAsYHQ/s320/prom.jpg" width="320" /></a></div><p class="MsoNormal">Then there are two films worth recommending that star Carey
Mulligan (they couldn’t be more different from each other, underlining
Mulligan’s incredible acting range – though apparently <i>the Dig</i> has to
wait until next year’s list). This year’s film is <i>Promising Young Woman</i>,
a highly unique film that hits hard. I feel that even subtle spoilers are
sensitive here, and so I won’t say why (though I wish I could – maybe I’ll
write a spoiler-filled review at some point). Let’s just say that the film is
quite effective in doing what it sets out to do, and it is a syrupy sweet (at
times) gut-punch if that makes any sense. I understand there are some flaws,
though if one accepts it as a contrived moral tale, I think it works.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ZK0ibg_Y9fM/YB6StcndgLI/AAAAAAAAIkQ/thcHOuB5GN8BJiDixVhuJZNjL332pSuCwCLcBGAsYHQ/s1157/ma.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="719" data-original-width="1157" src="https://1.bp.blogspot.com/-ZK0ibg_Y9fM/YB6StcndgLI/AAAAAAAAIkQ/thcHOuB5GN8BJiDixVhuJZNjL332pSuCwCLcBGAsYHQ/s320/ma.jpg" width="320" /></a></div><br /></div>Finally, Ma Rainey’s Black Bottom is a powerful drama that
gives us Chadwick Boseman’s final, <br />and magnificent, performance with some
highly memorable monologues. I appreciate it when a filmmaker crafts a film that
maintains the feel of a play.<div><br /></div><div>Honourable mentions for the year include <i>End of Sentence </i>and
<i>Blow the Man Down</i>, two indie dramedies that are well worth watching,
giving us the depiction of characters and tales different from the mainstream
as good indie flicks should. And as I watched the first half of <i>Nomadland</i>,
I thought it would make my top list for sure, but then it just kind of wandered
away and lost me. But it still deserves an honourable mention.<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Over this year, I caught up on a few older films that I’d
like to recommend: <i>Just Mercy, And the Birds Rained Down, </i>and from
several years back a film that I never got around to, but clearly should have: <i>Departures.
<o:p></o:p></i></p>
<p class="MsoNormal">And this wouldn’t be complete without pointing out at least
one disappointment: <i>Tenet </i>was a better film than those I usually add to
my “spilled coffee list,” but it was such a disappointment, especially since it
was the one film that I saw in a theatre. On top of serious plot problems, the
pathetic sound editing (unforgivably) made me feel like an old man who couldn’t
handle movie theatres anymore, until I heard Vic and others complain that
the sound was indeed a serious problem. How on earth does that kind of mistake happen when so many
millions are invested in a movie?? </p><p class="MsoNormal">And now we brace for another year of the small screen...<o:p></o:p></p></div>Walterhttp://www.blogger.com/profile/16391426206936180224noreply@blogger.com0