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Sunday, February 26, 2017

The 89th Annual Academy Awards: Results and Reactions

The Most Shocking Ending in Oscar History?

By Chris Sabga

Oscar Sunday began with the shocking news of Bill Paxton's death at the young age of 61 after complications from surgery. He was one of my favorite actors and the highlight of too many classics to name, including "Weird Science," "Aliens," and my personal favorite of his, the incredible "Frailty."

There's only one way to begin writing about this year's Academy Awards, and that's at the end. "La La Land" was announced as Best Picture – and then it wasn't. In a stunning faux pas by presenters and "Bonnie and Clyde" stars Warren Beatty and Faye Dunaway, it turns out the wrong movie was named. (They were somehow mistakenly handed the envelope for Best Actress, which went to Emma Stone for "La La Land.") Their error was acknowledged – as the world collectively held their breath and gasped – and then the actual winner was announced: "Moonlight" scored Best Picture in one of the most surprising upsets in Oscar history.


Before the Show

I wrote (rather naively, in retrospect): "La La Land" is expected to sweep this year's votes. With fourteen nominations and thirteen potential wins (it's nominated twice for Best Original Song), it certainly has all the momentum going into tonight's ceremony. Will there be any surprises? (Oh yeah!)

Full results are listed at the end.

The Oscar Ceremony

The Host: Jimmy Kimmel was consistently funny and entertaining. The stunt with the tour bus passengers getting a surprise meet and greet at the Oscars was cute. His "feud" with Matt Damon also led to many hysterical moments, including a hilariously over-the-top tribute to "We Bought a Zoo." Kimmel may have been the best Oscar host in years. He was so good that I could see him comfortably assuming this role for the next 15 or 20 years.

Best Oscar Speech: Viola Davis with stirring words, so beautifully expressed, about lost dreams and living a life. "Viola's speeches," Silver Screen Sister gushed, "are as good as her acting."

Best Presenters: According to Silver Screen Sister, Mark Rylance's comment about women "opposing without hatred" was the best line of the night. I concur.

John Cho and Leslie Mann were also warm and witty in paying respect to film scientists and technologists – material that would have been dull in lesser hands.

Best Moments: The surprise appearance of the real-life Katherine Johnson, the NASA mathematician who was depicted by Taraji P. Henson in "Hidden Figures." Her ovation was heartwarming and well-deserved.

Another unexpected appearance came from Michael J. Fox as a presenter after Seth Rogen paid tribute to him and "Back to the Future." It was really nice to see him – and the famous DeLorean.

The winners of "White Helmets" led a rousing standing ovation in support of Syria.

Best Dressed: You're on the wrong site.

Biggest Surprise: Besides the unbelievable "twist ending"? "Hidden Figures" being shut out of every single category was a bit of an eyebrow-raiser.

Overall: To Jimmy Kimmel's credit, the lengthy ceremony raced by. This may be the most fun I've had watching the Oscars in years.

Full Results

Best Picture: La La Land Moonlight

Best Actor in a Leading Role: Casey Affleck, Manchester by the Sea

Best Actress in a Leading Role: Emma Stone, La La Land

Best Actor in a Supporting Role: Mahershala Ali, Moonlight

Best Actress in a Supporting Role: Viola Davis, Fences

Best Directing: Damien Chazelle, La La Land

Best Animated Feature: Zootopia

Best Adapted Screenplay: Moonlight

Best Original Screenplay: Manchester by the Sea

Best Foreign Language Film: The Salesman (Iran)

Best Documentary Feature: O.J.: Made in America

Best Original Song: “City of Stars,” La La Land

Best Original Score: La La Land

Best Cinematography: La La Land

Film Editing: Hacksaw Ridge

Costume Design: Fantastic Beasts and Where to Find Them

Makeup and Hairstyling: Suicide Squad

Production Design: La La Land

Sound Editing: Arrival

Sound Mixing: Hacksaw Ridge

Visual Effects: The Jungle Book

Best Documentary Short: The White Helmets

Best Animated Short: Piper

Best Live Action Short: Sing

Tuesday, January 24, 2017

The 89th Annual Academy Awards: Nominations and Notes

The Silver Screen Surprises of This Year's Oscars

By Chris Sabga

This year, I'm going to keep it simple and true to the theme of this site. I will list the nominees and then examine the "Silver Screen Surprises" for each of the main categories.

Which films and performers was I surprised to see on the list?

Were there any surprising omissions?

And the Oscar goes to...



Best Picture

Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land
Lion
Manchester by the Sea
Moonlight

Surprises: "Arrival" has gotten rave reviews from critics and audiences alike, but I never expected an "alien" movie to get nominated for Best Picture. After all, the Oscars tend to be rather exclusionary and snooty about such things – at least in the main categories. There are exceptions, of course – especially in the years since the Best Picture category has expanded from five movies to a maximum of ten (there are nine this year) – but it's still a surprise.

"Hacksaw Ridge" also received strong acclaim, but I'm still surprised to see it here. This nomination represents Mel Gibson's return to Hollywood's embrace after a decade of turmoil with himself, others, and the film industry at large.

"Lion" also came out of nowhere, but Dev Patel should be familiar to most audiences from past Best Picture victor "Slumdog Millionaire."

Nowhere to be found is the troubled "The Birth of a Nation," which some predicted as early as last year's Academy Awards to be a lock for this year's. Mixed critical reception and ugly rape allegations for its writer, director, and star, Nate Parker, have seemingly shut it out of the Oscar race.

Best Actor in a Leading Role

Casey Affleck, Manchester by the Sea
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences

Surprises: Because I wasn't expecting to see "Hacksaw Ridge" nominated for Best Picture, I also wasn't expecting to see its star, Andrew Garfield, nominated in this category.

"Captain Fantastic" didn't have the hype or buzz of some of the other predicted Oscar front-runners, but I'm happy the Academy is mixing it up and making it more interesting this year with the inclusion of Viggo Mortensen.

The omission of Tom Hanks for "Sully," I suppose, is somewhat of a surprise.

Best Actress in a Leading Role

Isablle Huppert, Elle
Ruth Negga, Loving
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

Surprises: French actress Isabelle Huppert has gotten some of the best reviews of her career for Paul Verhoeven's "Elle," so I'm not entirely surprised to see her nominated, but I wouldn't have been surprised if she wasn't because of the film's controversial subject matter: A woman who was sexually assaulted doesn't report the crime to the police but instead seeks out her rapist.

Ruth Negga has gone from "Agents of S.H.I.E.L.D." recurring guest star to Oscar nominee. No surprise, though, for anyone who knows the quality of her work. She draws people to her. Her soulful and enigmatic eyes and expressions are impossible to look away from.

While I wasn't expecting it to happen, I'm downright upset by the snub of Rachel Weisz for "Denial." It was an incredible performance and unjustly overlooked.

Silver Screen Surprises reader Lauri has more than a few problems with the nomination of Meryl Streep and the omission of another actress. Warning: Most of her rant was unfit for publication. "*BLEEP*... Meryl *BLEEP* Streep over Amy Adams in Arrival????????????????????" she screamed. "Who the *BLEEP* is she *BLEEP*-ing with this year? Amy Adams was so robbed. GRRRRRRRRRRRRRRRRRRRRR! *BLEEP*"

Best Actor in a Supporting Role

Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Lucas Hedges, Manchester by the Sea
Dev Patel, Lion
Michael Shannon, Nocturnal Animals

Surprises: Chris Pine garnered the best reviews of his career for "Hell or High Water" but Oscar mainstay Jeff Bridges received the nomination instead – his 7th since 1972. It's hard to argue with that level of quality.

The inclusion of Dev Patel surprises me the same way "Lion" surprised me in the Best Picture category.

While Meryl Streep was recognized for "Florence Foster Jenkins," Hugh Grant was completely shut out of both the Leading and Supporting Actor categories. That's especially surprising considering that he has received the best reviews of his career for this film.

Best Actress in a Supporting Role

Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea

Surprises: The parts played by Viola Davis and Octavia Spencer struck me as leading roles, not supporting, but the Academy has a history of playing fast and loose with this designation if it gives the actor a better chance of winning.

There is no sign of Spencer's co-stars, Taraji P. Henson and Janelle Monáe, in either of the Acting categories. That's surprising to me.

Could this be Viola Davis's year? I would have mixed feelings about that. She's so incredible as an actress than anything less than a Leading Role Oscar seems like almost a snub.

I'll also take this opportunity to sound the trumpet again about Rachel Weisz, who should have been nominated for "Denial." That was definitely a leading role, but what the hell, I would have accepted her here too.

Best Directing

Denis Villeneuve, Arrival
Mel Gibson, Hacksaw Ridge
Damien Chazelle, La La Land
Kenneth Lonergan, Manchester by the Sea
Barry Jenkins, Moonlight

Surprises: Whether accurate or not, it is commonly believed that the movies recognized in the Best Directing category are the five "true" Best Picture nominees – a throwback to when only five films were considered for the Academy's top award. If that's truly the case, "Arrival" being on this prestigious list is definitely unexpected.

Best Animated Feature

Kubo and the Two Strings
Moana
My Life as a Zucchini
The Red Turtle
Zootopia

Surprises: No "Batman: Return of the Caped Crusaders"? Okay, I wasn't really expecting it, but it's some of the most fun I've had all year.

Best Adapted Screenplay

Arrival
Fences
Hidden Figures
Lion
Moonlight

Surprises: It would be silly to be surprised by "Arrival" at this point after all of its other nominations, but if you had asked me yesterday, I wouldn't have predicted its inclusion in this category – simply based on past Oscar history.

Best Original Screenplay

Hell or High Water
La La Land
The Lobster
Manchester by the Sea
20th Century Women

Surprises: "The Lobster" receives its one and only nomination in this category.

Best Foreign Language Film

Land of Mine (Denmark)
A Man Called Ove (Sweden)
The Salesman (Iran)
Tanna (Australia)
Toni Erdmann (Germany)

Surprises: After Isablle Huppert's somewhat surprising Best Actress nomination for "Elle," I almost expected the film to show up here too. Alas, it didn't.
_____

Other thoughts: "La La Land" has scored a record 14 Oscar nominations, a feat achieved by only "All About Eve" and "Titanic." If it wins all or most of the Academy Awards, that would make for a very dull and predictable show. The Oscars have become better about that in recent years, so we'll see. This does appear to make "La La" a front-runner for Best Picture though.
_____

The rest of the categories and nominees are:

Best Documentary Feature

Fire at Sea
I Am Not Your Negro
Life, Animated
O.J.: Made in America
13th

Best Original Song

“Audition (The Fools Who Dream),” La La Land
“Can’t Stop the Feeling,” Trolls
“City of Stars,” La La Land
“The Empty Chair,” Jim: the James Foley Story
“How Far I’ll Go,” Moana

Best Original Score

Jackie
La La Land
Lion
Moonlight
Passengers

Best Cinematography

Arrival
La La Land
Lion
Moonlight
Silence

Film Editing

Arrival
Hacksaw Ridge
Hell or High Water
La La Land
Moonlight

Costume Design

Allied
Fantastic Beasts and Where to Find Them
Florence Foster Jenkins
Jackie
La La Land

Makeup and Hairstyling

A Man Called Ove
Star Trek Beyond
Suicide Squad

Production Design

Arrival
Fantastic Beasts and Where to Find Them
Hail, Caesar!
La La Land
Passengers

Sound Editing

Arrival
Deepwater Horizon
Hacksaw Ridge
La La Land
Sully

Sound Mixing

Arrival
Hacksaw Ridge
La La Land
Rogue One: A Star Wars Story
13 Hours: The Secret Soldiers of Benghazi

Visual Effects

Deepwater Horizon
Doctor Strange
The Jungle Book
Kubo and the Two Strings
Rogue One: A Star Wars Story

Best Documentary Short

Extremis
4.1 Miles
Joe’s Violin
Watani: My Homeland
The White Helmets

Best Animated Short

Blind Vaysha
Borrowed Time
Pear Cider and Cigarettes
Pearl
Piper

Best Live Action Short

Ennemis Intériuers
La Femme et le TGV
Silent Nights
Sing
Timecode

Friday, January 13, 2017

Review: Collateral Beauty

Love. Time. Death.

By Chris Sabga



Release Date: December 16th, 2016 – U.S.
Rating: PG-13
Genre: Drama
Running Time: 97 minutes
Director: David Frankel
Writers: Allan Loeb
Cast: Will Smith, Edward Norton, 
Kate Winslet, Michael Peña, 
Naomie Harris, Keira Knightley, 
Jacob Latimore, Ann Dowd, 
Kylie Rogers


Can there be anything worse than losing a child? "Collateral Beauty" examines the raw depths of that pain. 

Howard (Will Smith) runs a successful advertising agency. He and his methods are described as "fearless." Then his daughter dies. She was only six years old. Overwhelmed by grief, Howard becomes a shell and retreats into himself. The day-to-day details of his work no longer interest him. He still shows up to the office, but he now spends his time there building elaborate structures using dominoes – only to knock them right back down after he's finished, tile by tile by agonizing tile. Then he starts the frustrating process all over again. After years of this, business is – needless to say – suffering badly.

It's up to his overburdened and overstressed co-workers to pick up the slack. His partner and best friend, Whit (Edward Norton), is kind of a twit. He got caught with his pants down, was forced into a divorce, and had to sell 10% of his shares in the company to pay for it. Howard, he explains, did him a great favor by buying him out. But that's also why the company is currently in the predicament it's in. Because Whit is no longer a 50-50 partner, nothing can move forward without Howard – who is inadvertently holding the business hostage by not being mentally or emotionally present. He has stubbornly closed himself off from the world and refuses to talk to even his closest friends and associates. Claire (Kate Winslet) is terrified that everything they've worked a decade for will suddenly "evaporate." Simon (Michael Peña) has his own personal, private reasons for wanting the agency to get back on its feet. His family's future is at stake. Meanwhile, Whit has family problems of his own. His daughter (Kylie Rogers, "Miracles from Heaven") says she hates him because he's a "philanthropist." She means "philanderer," of course – cute!

Whit, Claire, and Simon get together and attempt to orchestrate what is essentially a hostile takeover of their friend's organization. As understandable as their motives may be, their methods seem reprehensible on the surface. This is where "Collateral Beauty" almost lost me. Almost.

They hire a private investigator (Ann Dowd) to look for the "smoking gun" that will allow them to question Howard's competency in running the firm. She breaks into a public mailbox – a federal offense – and discovers that he has been writing angry letters. But they're not addressed to people. Without revealing too much, it isn't long before he receives a personal response to his heated messages – from Death (Helen Mirren), Love (Keira Knightley), and Time (Jacob Latimore). All of them, he rages, conspired to take his daughter away from him.

Would you believe it if Death, for example, visited you in the form of an elderly white woman? Howard does, and that's enough to motivate him to finally attend a grief counseling session. It's led by Madeleine (Naomie Harris), who noticed him standing outside and staring into the window during previous meetings. He is very reluctant to open up but responds positively to her patience and kindness. She lost a child too, so she understands. After her daughter died, she was approached in the hospital and advised to recognize the collateral beauty all around her. It took her a long time before she comprehended the meaning of those words, and he certainly isn't ready to hear that message yet.

"Collateral Beauty" is the kind of movie that you will either love or hate – there is no middle ground. It's getting ugly reviews by critics. Part of me can understand why. The trailer misleadingly depicts the movie as light and whimsical when it's actually anything but. Will Smith's character is maddeningly obstinate, his co-workers come across initially as unlikeable and opportunistic, and even Death, Love, and Time aren't given clear motivations at first. I spent the early portion of the film angered by its apparent bait-and-switch and dark, depressing, unexpectedly all-too-realistic tone.

But then, slowly but surely, the story sucked me in and the incredible cast won me over. After all, losing a child isn't supposed to be fluffy and full of rainbows. If the film had depicted a tragedy of that magnitude as airily and marshmallowy as the preview did, reactions would be even more negative than they already are. So much could have gone wrong with this concept logically, but the screenplay does a fairly decent job of explaining and adhering to all of the "rules" it sets up.

Whether you will be moved by the movie's message, I suppose, depends on how cynical you are. This, I think, requires a certain soft spot in your heart. It ultimately worked for me, even though it did take a while for me to soften up to it.

The film is simultaneously ugly and beautiful, anger-inducing and serenely moving, heartbreaking and heartwarming – much like collateral beauty itself.

Side Note from Silver Screen Sister:
"This is the best movie she's ever seen!" she gushed. Then again, she says that after every movie. Clearly, she doesn't go to too many, but her picks are always top-notch ("Chef," "Steve Jobs," "Boyhood." The less said about watching "Black Swan" with her, the better.)

"Edward Norton was great," she gushed. "Has he done anything else? He now has a new fan!"

"What else has Helen Mirren been in?"

I'm sure these two up-and-coming youngsters will greatly appreciate her support. 

Friday, January 6, 2017

Review: A Monster Calls

Life is No Fairy Tale

By Chris Sabga



Release Date: January 6th, 2017 – U.S.
Rating: PG-13
Genre: Drama, Fantasy
Running Time: 108 minutes
Director: J.A. Bayona
Writers: Patrick Ness (screenplay and novel), 
Siobhan Dowd (idea)
Cast: Lewis MacDougall, Sigourney Weaver, 
Felicity Jones, Toby Kebbell, Liam Neeson


A bullied little English boy, Conor (Lewis MacDougall), lives alone with his mum (Felicity Jones), who is very ill and isn't getting any better. He has a grandmother (Sigourney Weaver) who appears to be stern and distant, and a deadbeat dad (Toby Kebbell) who moved to L.A. and started a new family of his own there – one that doesn't include Conor. If all of that wasn't difficult enough, when the clock strikes and the hand moves from 12:06 to 12:07, the lad is besieged by nightmares – or are they visits? – from a monster (voiced by Liam Neeson).

The monster, which takes the form of a giant yew tree, promises to tell Conor three tales and then expects to hear one from the boy in return. The tales are narrated by the monster and animated to look like hand-drawn paintings. Their grim beauty lets us know we're not in Disneyland this time.

The first tale is about an evil queen, a poisoned king, and a young prince. The second tale focuses on a disgraced apothecary (pharmacist) and progressive preacher. Neither ends the way you'd expect. Both frustrate and befuddle the anguished child. All of them contain verbal and visual clues that call back to the boy's real-life troubles.

As the second tale suddenly segues from fantasy to reality, its dazzling destructiveness is sure to elicit gasps. I certainly had my hand over my mouth.

I know what you must be thinking: "Fairy tales?" "A tree monster?" But it's never silly. It's serious and sad. It works. I credit that its superb combination of acting, writing, directing, cinematography, and artistry.

Director J.A. Bayona and Cinematographer Oscar Faura went through "The Impossible" together and deliver a visual tsunami of a different kind in "A Monster Calls."

Liam Neeson is such an extraordinarily gifted actor that he's able to bring credibility to a living, breathing tree.

Sigourney Weaver's English accent is never distracting, which is all you can ask for, and her character arc and performance encompasses a wide range of attitudes and emotions. In another actor's hand, the temptation would have been strong to chew the scenery and play up the accent to the hilt, but Weaver wisely delivers a lovely and understated performance.

Felicity Jones's role as a gravely sick mum could have easily devolved into tearjerking overacting. Instead, it's genuine, heartfelt, and never manipulative. Her speech to Conor late in the film is wonderfully written and acted.

As skilled as the cast is, the real standout is 12-year-old Lewis MacDougall, whose wounded portrayal of Conor never hits a false note. Scene by scene, frame by frame, this is a real kid, not a cloying child-actor. He has been tasked with the monumental responsibility of carrying the movie on his back – without the right person in his position, everything else would fall apart – and he succeeds.


The screenplay and book of the same name were written by Patrick Ness. Its origin is a sad one. The idea for the story is credited to Siobhan Dowd. Before she died of breast cancer at the too-young age of 47, she came up with "A Monster Calls." In the Author's Note, Ness explained: "This would have been her fifth book. She had the characters, a premise, and a beginning. What did she didn't have, unfortunately, was time." His only guideline, he felt, was "to write a book I think Siobhan would have liked. No other criteria could really matter." Siobhan Dowd's personal story seems intertwined with every page Ness penned.

The film can be depressing. Parts of it feel like a storybook come to life but never a whimsical one. Children are likely the target audience and there are certainly lessons here they can learn, but is this really suited to them? I'm struggling to say for sure.

"A Monster Calls" is a beautifully-realized parable about a young boy's grief, anger, pain, and doubt, and all the messy ways in which those conflicting emotions can manifest themselves. The story will take you on a journey to very center of his soul. 

Friday, November 11, 2016

Review: The Accountant

Convoluted But Compelling

By Chris Sabga



Release Date: October 14th, 2016 – U.S.
Rating: R
Genre: Action, Crime, Drama
Running Time: 128 minutes
Director: Gavin O'Connor
Writer: Bill Dubuque
Cast: Ben Affleck, Anna Kendrick, 
J.K. Simmons, Jon Bernthal, 
Jeffrey Tambor, Cynthia Addai-Robinson, 
John Lithgow  


Chris Wolff (Ben Affleck) is "supernatural" at crunching numbers and even more adept at crunching skulls. Companies bring him in to look over the books – he is, after all, "The Accountant" – but he's willing to get his hands dirty with more than just ink if necessary.

He's also on the autism spectrum. This aspect of his character instantly elevates the film and makes it endlessly fascinating. I have no idea how accurate Ben Affleck's portrayal is – I'm no expert on autism – but it seems like a great performance to me. He dials down his natural charisma and charm without ever appearing robotic or losing his humanity.

I'm surprised there hasn't been more of an "uproar" about the movie and this character from various "rights" groups. Portraying someone with autism as an efficient killing machine has to be controversial to someone, right? But I think the film earns goodwill and a free pass because the main character's autism isn't ever just a one-note gimmick. You see his quirks (parking a certain way every time – diagonally, a compulsion to finish everything he starts, his lack of sarcasm), his strengths (numbers, efficiency, shooting), and the drastic steps he takes to function in the world as a person with autism (a long routine involving loud music and bright lights – a sensory overload nightmare). It also helps that his past history is explored and explained in great detail.

Chris's father (Robert C. Treveiler) realizes his son is "different" and forces him and his little brother (played as kids by Seth Lee and Jake Presley) to learn military-grade fighting techniques so they can eventually face the unforgiving world and defend themselves and each other if they have to. Again, whether this is plausible, I wouldn't know. Probably not, but it works for this particular story.

After a stint in the military, Chris ends up in prison, where he is mentored by an older inmate (Jeffrey Tambor), who furthers his training in a different way – by teaching him social cues and other basic human nuances.

Ray King (J.K. Simmons) is the head of the Treasury Department's Crime Enforcement Division. He recruits Medina (Cynthia Addai-Robinson) and strong-arms her taking a job as his assistant by revealing that he knows about her past criminal record. That information is supposed to be sealed, she points out with outrage, but King obviously has his ways. He needs her help, her tells her, in locating The Accountant.

Meanwhile, a robotics firm run by Lamar Black (John Lithgow) hires Chris to inspect their finances. While there, he meets a pretty young co-worker, Dana (Anna Kendrick), who takes a liking to him despite his unorthodox demeanor.

Brax (Jon Bernthal) is a dangerous hitman with an intense dislike for fraudulent corporate activity. Through various twists and turns, he soon finds himself pitted against Chris.

All of these different characters and situations eventually come together in a frenzied finale.

"The Accountant" is a great blend of action, drama, and even some very well-timed black humor that had the entire theater chuckling almost inappropriately. Good luck trying to explain the finer details of the story to anyone afterward, though. The plot can be convoluted and the film feels overlong, but it's also undeniably compelling to watch. That's primarily because of Ben Affleck. An "accountant" with autism is undoubtedly one of the most original and interesting characters I've come across in a very long time.

Thursday, November 3, 2016

Review: Denial

The Shocking True Story of the Court Case That Put the Holocaust on Trial

By Chris Sabga



Release Date: October 21, 2016 – U.S.
Rating: PG-13
Genre: Biography, Drama, History
Running Time: 110 minutes
Director: Mick Jackson
Writers: David Hare (screenplay), 
Deborah Lipstadt (book)
Cast: Rachel Weisz, Timothy Spall, 
Andrew Scott, Tom Wilkinson


Attention, Academy: Give Rachel Weisz the Oscar! The London-born actress's startling transformation into a tough-talking teacher from Queens, New York, is nothing short of extraordinary.

I'll be honest: It's a pet peeve of mine whenever a performer attempts an accent that isn't their own. Let's face it: it doesn't always work – at least not 100% effectively. Oftentimes, you can almost see the gears grinding in their head as they concentrate on adjusting their vocal chords while simultaneously remembering and reciting their dialogue. Every word out of their mouth usually feels strained and unnatural. That's not the case here. If I had never seen Weisz before, I would swear she was born and raised in New York. She's that good in "Denial."

In 1996, historian and writer Deborah Lipstadt (Weisz) was sued for libel by Third Reich sentimentalist David Irving (Timothy Spall) because she characterized his beliefs as "Holocaust denial." His actual views: the Holocaust never took place. His argument: that "denier" has become a defamatory term with negative connotations – similar to "racist" and other such words.

The trial was lengthy and cost millions of pounds. Yes, pounds. Apparently, America isn't the only country that gets itself tied up in frivolous litigation.

But there is one very important difference to note: The American judicial system of "innocent until proven guilty" does not apply in England. Instead, it is up to the accused party to prove his or her innocence. In this case, that meant Deborah – and the Holocaust, by extension – was put on trial, even though the lawsuit was filed against her.

Sounds ridiculous, doesn't it? But it actually happened.

Anthony Julius (Andrew Scott) agrees to take the case. He was previously Princess Diana's lawyer, which means Deborah's defense is being handled by an elite legal team. The stakes are too high for anything less, and the ramifications of a loss would be devastating.

In another difference from the American judicial system, it isn't Julius himself who will argue the case in court. Instead, that important duty is given to a different lawyer entirely, Richard Rampton (Tom Wilkinson, who delivers yet another solid, reliable performance in a career filled with them).

Within the first few seconds of hearing David Irving speak out against the Holocaust, Silver Screen Sister shouted at the screen: "I'm already offended on behalf of all Jewish people."

That offense turned to grief as Deborah and Richard travel to Auschwitz on a "research mission." In a stunning scene, what at first seems like air in the sky ends up being a faded montage of concentration camp prisoners descending the stairs of Auschwitz to their impending doom.

Watching the intricacies of the English legal process unfold is fascinating. In a big American trial, you would expect Deborah to passionately take the stand, and for Holocaust survivors to do the same. Neither happens in "Denial" – for very good reasons I'll leave you to discover.

This film does a great job of creating suspense for what is otherwise a forgone conclusion.

Is a court of law the right place to decide the legitimacy of the Holocaust? That's the question I raised during the movie and one the people involved in the case struggled with as well. There are no easy answers, but what cannot be debated is just how important – crucial – it is to discuss a historical event of this magnitude. Perhaps the formality of a courtroom setting is as good a venue as any. 

Monday, October 31, 2016

Review: The Wailing (Goksung)

One of the Best Horror Films I've Seen in Years

By Chris Sabga



Release Date: June 3rd, 2016 – U.S.
Rating: Not Rated
Genre: Horror, Drama, Fantasy
Running Time: 156 minutes
Director: Hong-jin Na
Writer: Hong-jin Na
Cast: Do Won Kwak, Woo-hee Chun, 
Jeong-min Hwang, So-yeon Jang, 
Han-Cheol Jo, Jun Kunimura


"The Wailing" is an electrifying mixture of horror, mystery, and family drama; a whodunnit police story set in a small South Korean town; a bizarre blend of ghosts, zombies, religion, the occult, demonic repossession, and exorcism; a wild meshing of genres that will keep you guessing until the very end – and even beyond that.

It begins with a police sergeant, Jong-Goo (Do Won Kwak), investigating a series of bizarre incidents. The townspeople are picking up what appears to be a mysterious illness or infection. The side-effect: they violently turn on their own family and friends. The result: bloodshed and murder. The unwanted presence of an enigmatic Japanese outsider (played by Jun Kunimura) is blamed for the carnage.

The policeman initially comes across as a pudgy, goofy "Keystone Kop." He trips and blusters, screams and sputters. Tasked to solve the mystery and protect the villagers, he is clearly in over his head and ill-equipped. He wakes up from frightful dreams wailing like a small child. However, it isn't long before the situation impacts him directly – his own daughter eventually begins showing signs of the "disease."
When the cause is deemed to be more mystical than medical, a shaman (Jung-min Hwang) is called in. His rituals are a sight to behold. They are wondrously outrageous and over-the-top.

As the horror hits closer to home, the police sergeant's transformation is startling. He morphs from an absurd comedy character to a fearful but focused father who will stop at nothing to find answers and save his little girl from whatever – or whoever – has taken over her body and mind.

In contrast to the madness permeating most of "The Wailing," there's a quiet beauty to its lush but simple village scenery and ordinary but slightly rundown city buildings.

At 156 minutes, this is a long movie – but I was glued to the screen the entire time.

The ending, which I won't spoil, is the only aspect of the film that gives me pause. It feels like almost an anticlimax after two-and-a-half hours of frenzied hysteria. "That's it?" might be your first reaction. Yet, I haven't been able to stop thinking about it. According to the description on the back of the Blu-ray case, "fans made many return viewings in order to catch new clues and debate what’s sure to be the most talked-about ending of 2016." While that's partly marketing, there's a ring of truth to it too – you will undoubtedly want to seek out others who have seen the movie and look up what's being posted about its final moments.

I'm certainly anxious to start several conversations about "The Wailing" myself. That's the sign of a great film.