Reviews: My Big Fat Greek Wedding 1 and 2

Two Weddings, Many Greeks, and a Bottle of Windex

By Chris Sabga

My Big Fat Greek Wedding

When "My Big Fat Greek Wedding" came out in the late summer of 2002, it slowly built word-of-mouth, momentum, and goodwill that sustained it all the way through the winter. Audiences of all ages were talking about it – from grandparents to their grandkids and everyone in-between.

The premise: a Greek-American woman finds love with a man outside of her own ethnicity while dealing with her loud, colorful, and all-too-close family. (Outsiders might call them "overbearing.") The happy couple was Toula Portokalos (Nia Vardalos) and Ian Miller (John Corbett), and it was their "Big Fat Greek Wedding." But her boisterous family thought the wedding belonged to them – and they weren't necessarily wrong. Nothing a little Windex couldn't fix!

This Greek clan's wide range of eccentricities – including a father (played by the wonderful Michael Constantine) who thought Windex was the solution to all of life's problems – didn't alienate viewers at all. Instead, it had the opposite effect. People from all walks of life – whether they were Italian, Irish, Spanish, Mexican, Jewish, or Arab – were in complete agreement about the Portokalos family: "They're just like us. Our weddings are the exact same way!" That was the magic of "My Big Fat Greek Wedding" and the reason it became such a beloved phenomenon.

My Big Fat Greek Wedding 2

That was fourteen years ago. Everyone is older and grayer now. Salt and pepper adorn their hairlines. In some cases, new wrinkles line their faces. What the original "Greek Wedding" had going for it was the element of surprise. It could – and did – become a sleeper hit because it was such an unexpected treat. "My Big Fat Greek Wedding 2" has no such luxuries. It carries with it the love and heightened expectations people have from years of watching, re-watching, and endlessly quoting the first film.

But how could any sequel ever live up to such a lofty legacy?

It doesn't. It can't.

That's okay, though. There's no need for it to be as good as the first. Expectations can run in the opposite direction too. I couldn't possibly expect "Greek Wedding 2" to match the original. I just wanted to be entertained by this marvelous family once more – and I was. Keep in mind: this isn't "Star Wars" or James Bond," where a new installment is par for the course. There was never necessarily going to be a follow-up to "Greek Wedding." But here we are, almost a decade and a half later. That we have a sequel at all – and it's actually pretty good – is one of life's little delights.

As the recent "Fuller House" and "Girl Meets World" continuations prove, sometimes it's nice to see what your favorite characters are up to a decade or two later. The same is equally true of Toula, Ian, and the rest of their wacky relatives in "My Big Fat Greek Wedding 2."

Toula and Ian now have a daughter, Paris (Elena Kampouris). If you haven't seen the trailer, you might be mistaken in assuming this big, fat, Greek wedding will be for her. Instead, it's for Toula's parents, Gus and Maria (Michael Constantine and Lainie Kazan). Because of a minor technicality, their marriage 50 years earlier was never made official – the priest that presided over their nuptials never actually graduated from the seminary. I hate when that happens!

Everybody's favorite Greek, John Stamos, joins the cast in a small supporting role. Rita Wilson, who is one of the producers of both films (along with her real-life husband, Tom Hanks), appears on-camera this time as Stamos's wife.

As much fun as this "Wedding" is, there are times when these "big, fat Greeks" exhibit odd characteristics seemingly for the sake of it – and it can be a bit jarring. It sometimes feels like the script and actors are trying too hard and shouting from the rooftops, "We are characters in a comedy!" But that occasional lack of realism is balanced by many more quiet, personal, human moments that are genuinely funny.

This movie isn't going to cure your ailments or change your life – only Windex can do that – but I'm glad it exists.

Note from Silver Screen Lawyer: Windex does not actually have any healing, restorative, or mood-enhancing properties. Please do not spray it anywhere on your person, especially your private parts. Thank you!

Review: Little Boy

Standing Tall in a Time of War

By Chris Sabga

Release Date: April 24, 2015 – U.S.

Rating: PG-13

Genre: Drama, War

Running Time: 106 minutes

Director: Alejandro Monteverde

Writers: Alejandro Monteverde, 

Pepe Portillo

Cast: Jakob Salvati, Michael Rapaport, 

Emily Watson, Kevin James, Ted Levine, 

Cary-Hiroyuki Tagawa, David Henrie, 

Ben Chaplin, Tom Wilkinson, 

Abraham Benrubi

After "Little Boy" was recommended to me by three people of wildly different backgrounds and interests, I knew it was a movie I had to see. I initially dismissed it based on the trailer, which is one of the most misleading in recent memory. It really does this fine film a disservice, by erroneously portraying the boy's beliefs as a magic act that literally allows him to move a mountain. (The notoriously deceptive trailer for the otherwise good "Bridge to Terabithia" is almost more honest.) Yes, it's said that faith the size of a mustard scene can move mountains, but the actual movie is thankfully more grounded in reality. Don't get me wrong: "Little Boy" is about faith. But it's the kind of faith we all live with every day, where believing isn't necessarily seeing.

Pepper Flynt Busbee (Jakob Salvati) – who already has an uphill battle ahead of him with a name like that – is known as "Little Boy" around the small town of O'Hare, Texas, for various reasons: his young age (he's only 8), his short height and small stature, and – worst of all – it's an insult the local bullies shout at him when they aren't calling him a "midget" or trying to push him around.

Dr. Fox (Kevin James, in a rare and surprising dramatic role) reassures him that the term "midget" is just a mean name for folks with dwarfism, but more time is needed before an official diagnosis can be made. This is really a ploy for him to get closer to Little Boy's mother, Emma (Emily Watson).

The other members of Little Boy's family are his father, James (Michael Rapaport), and brother, London (David Henrie) – they really know how to name them in this family! His brother tries to enlist in the army, but his application is denied because he has flat feet – yet another reason I wouldn't be able to join the military! Because of that, his dad feels duty-bound to fight the good fight against the "Japs" – as they were disdainfully referred to back then. Little Boy's best – and only – friend is his dad, so the separation is devastating.

Little Boy is easily influenced, as little boys sometimes are: he parrots hateful terms like "Jap" without understanding the full ramifications of what he's saying, and he feels conflicted by the "honor" of the atomic bomb being "named after him." At the behest of his older – but certainly not wiser – brother, Little Boy assists in vandalizing an older "Jap's" house. The "enemy's" name is Hashimoto (Cary-Hiroyuki Tagawa), but he's far from the "fresh off the boat" foreigner he's wrongfully perceived to be. As it turns out, he has actually lived in the United States for over forty years.

Hashimoto is good friends with the local priest, Fr. Oliver (an endearing Tom Wilkinson). Little Boy eventually ends up in front of the wise clergyman, who hands him a piece of paper and instructs him to complete several tasks. The final – and most important – item on that list: "Befriend Hashimoto."

Little Boy takes his mission seriously and does it dutifully, but progress with the older Japanese man is slow and unsteady at first. As their friendship tentatively progresses, they share an ice cream together outside the parlour. It's a scene that will both touch your heart and tickle your funny bone. Their growing bond is one of the most heartwarming aspects of this film.

Unfortunately, trouble is always right around the corner. The tragedies of war have fueled irrational fear, hatred, and mistrust for Hashimoto in some of the townsfolk. Little Boy's brother misses their father, while the much older Sam (Ted Levine, who memorably played Captain Stottlemeyer on "Monk") is grieving for his son. They come together because they both have a bone to pick with "the Jap" – and they're not willing to make their point quietly. It's a twisted and toxic mirror image of the purer kinship shared by Hashimoto and Little Boy.

What surprised me the most: "Little Boy's" wonderful visual flourishes. This is a stunning movie to look at! Early on, a person is shown siting on a bench holding up a magazine with Adolf Hitler on the cover – positioned in such a way that it almost looks like the Fuhrer's head is attached to the reader's body. It's a very clever sight gag. Later, we see a samurai sword-fight, which unfolds dramatically as Hashimoto reads a Japanese storybook to Little Boy. There's also a spectacular black-and-white dream sequence highlighted by bold red imagery.

But the real reason the film works so well is because it's filled with great story and character details. In one scene, Little Boy has his height measured at home, with pencil markings on the wall to indicate his growth. It's a quiet little moment of great power that transported me right back to my own childhood.

The 88th Annual Academy Awards: Results and Reactions

Will "Spotlight" Get the Spotlight or Will the Academy Revere "The Revenant"?

By Chris Sabga

Before the Show

Chris Rock is tonight's host. I am hoping he's hilarious and skewers the hell out of everyone. He was probably the best of the hosts we've seen in the last decade. Let's hope that streak continues tonight.

Am I horrible for wanting him to find some way to offend Sean Penn again? Penn's sour, humorless reaction to Rock's Jude Law joke was hysterical to me. Then again, Jude Law's career did take somewhat of a hit after that.

I'm here with both Silver Screen Sisters and a delicious plate of Chinese food – yum, yum!

The Red Carpet

Robin Roberts looks nice. That's all I have.

The Oscar Ceremony

Full results are listed at the end.

Chris Rock's opening monologue is great. I loved his Rocky and Paul Giamatti jokes. Comparing Rocky to science fiction because white athletes are better than black athletes – brilliant!

Here comes Emily Blunt and "Charize" Theron! A "Travolta moment" early in the evening for Chris Rock. Intentional?

Best Original Screenplay: Spotlight

Could this be an early precursor to Best Picture? We shall see.

Ryan Gosling and Russell Crowe are awesome together.

Gosling: "We have two Academy Awards between us." (Crowe has both. Ha!)

Best Adapted Screenplay: The Big Short

Nice to see someone acknowledge the book and thank the original writer. I could have done without the bizarre political rant afterward, but I guess it makes some sense considering the subject matter of the movie.

The clips interspersing black actors like Whoopi Goldberg, Chris Rock, and especially Tracy Morgan into Oscar nominated films were a riot!

Henry Cavill is out now. Is it really pronounced Cah-vul?

Best Supporting Actress: Alicia Vikander, The Danish Girl

Silver Screen Sister 1 predicted Brie Larson – who wasn't in this category.

Before the winner was announced, Silver Screen Sister 2 went on a rant about Kate Winslet. "Anyone could've played that!" I disagree and adored Kate's performance, but she is streeping up there in the amount of nominations she's racked up. Yes, I meant to type streeping instead of creeping.

Alicia Vikander's co-star Eddie Redmayne appeared rather touched by her speech. "She seems very humble," according to Silver Screen Sister 2.

Chris Rock: "Now we're black" (pretending to trip over the word "back") – cute.

Best Costume Design: Mad Max: Fury Road

Jenny Beavan's list of people to thank – shown on a scrolling sidebar on the bottom of the screen – is enormous. I'm glad they're handling it this way, allowing her to make a more heartfelt, personal speech. Of course, music just had to cut her off. How rude!

Best Production Design: Mad Max: Fury Road

"The first Oscar for diversity." Nice!

Best Makeup and Hairstyling: Mad Max: Fury Road

Three straight for "Mad Max." Will this be it?

I hate when one winner interrupts another, especially at the end when there's barely any time left to speak.

Best Cinematography: The Revenant

A nice speech overtaken by emotion.

Best Film Editing: Mad Max: Fury Road

"Mad Max" wins its 4th Academy Award tonight – and the music cuts off the speaker again.

A serious, stone-faced Angela Bassett with a satirical Black History Month tribute to Will Smith – amazing!

Best Sound Editing: Mad Max: Fury Road

#5 for "Max."

Silver Screen Sister 2: "Why are they putting 'Mad Max' on the balcony if it's going to win everything?"

Best Sound Mixing: Mad Max: Fury Road

And here comes #6.

"Come on!" screamed Silver Screen Sister 2. "I don't even know what the movie is about. Is it a continuation?"

Best Visual Effects: Ex Machina

And the "Mad Max" streak is broken!

In poor taste: A close-up of actors looking bored during the speech, and only one of the four winners being allowed to speak.

Even a Star Wars segment couldn't cheer up a livid Silver Screen Sister 2: "How much time has passed? It's 10 o'clock already?! They've given out one good award. I hope they speed it up now."

Chris Rock and his daughters selling Girl Scout cookies to the billionaire actors in the audience – I love it!

Best Animated Short Film: Bear Story

I don't think I picked this in my Oscar pool. Damn it!

The first award for Chile. The Oscar-recipients feel so honored. I'm happy for them.

Best Animated Feature Film: Inside Out

"Regardless of a gold man, we get to make stuff!" Can't help but love that kind of passion.

"I have to see it!" begs Silver Screen Sister 2 about "Inside Out."

Funnyman Kevin Hart with a surprisingly serious and superb speech about black actors and their craft.

The Weeknd – that's the singer's name, apparently – "has the most creative hairdo on the planet," says Silver Screen Sister 1.

Ten awards left.

Silver Screen Sister 2: "There's an hour left" – so she thinks – "and they haven't given out one decent award yet! Thank God for Facebook."

The Silver Screen Sisters are more entertaining than this ceremony. Host Chris Rock has had some fun moments, but they're drowned out by the sheer length of this show.

Rock asking random black moviegoers about the hoity toity Oscar-nominated movies is a hoot! "Spotlight? What the hell is that?!"

"There's so much talent out there – of all races," says another fan. Amen!

Best Supporting Actor: Mark Rylance, Bridge of Spies

A major upset.

"That's cruel!" laments Silver Screen Sister 2. "There are two Marks."

She has a point. I was predicting that the other Mark – Ruffalo – would get the upset over Sylvester Stallone, who many thought was a shoo-in.

Louis CK gives a wonderful and amusing speech about the importance of the Best Documentary Short Subject category.

Best Documentary Short Subject: A Girl in the River: The Price of Forgiveness

"That's the best speech so far!" raves Silver Screen Sister 2. "It has some meaning to it."

Best Documentary Feature: Amy

Eight awards left – and with that, Silver Screen Sister 2 has gotten up and gone home.

Chris Rock with a major announcement: Over $65,000 in Girl Scout cookies sold. Not too shabby!

In Memoriam was touching, but where were Abe Vigoda and Roddy Piper? If "The Godfather" and "They Live" aren't good enough to make this list, what the hell is?

There are still eight awards left. I say this every year, but the Oscars are too damn long!

"They deliberately make it this long," Silver Screen Sister 1 points out. "What could they cut out?" I wonder. Then she lists a bunch of pointless skits.

Best Live Action Short Film: Stutterer

Best Foreign Language Film is next. Am I horrible for hoping that John Travolta would announce these nominees?

Best Foreign Language Film: Son of Saul

I'm so tired that I barely recognized Vice President Joe Biden. His speech decrying sexual abuse seems a hell of a lot more important to me than Will Smith and Jade Pinkett-Smith boycotting the Oscars. While there is certainly room for improvement when it comes to Hollywood and diversity, I do think there has been encouraging progress over the past ten years.

Best Original Score: The Hateful Eight

Best Original Song: "Writing's on the Wall" – Spectre

"No openly gay man has ever won an Oscar." Dustin Lance Black won it a few years ago for "Milk."

Sacha Baron Cohen is great!

Only four awards left. "I mean, that's another two hours, really," Silver Screen Sister 1 quipped.

Best Director: Alejandro González Iñárritu, The Revenant

Iñárritu wins this Oscar for the second year in a row, and they still try to cut him off with music – shameful! I know the show is already too long, but come on.

"They've been cutting everybody off with music," Silver Screen Sister 1 rightly notices.

Chris Rock: "It's late. It's infomercial late."

"That child is going to be traumatized for something that didn't even happen in his life!" Silver Screen Sister 1 says about "Joy's" husband and wife shouting scene in which a baby is held and shaken.

Best Actress: Brie Larson, Room

Nice of her to thank the average Joe moviegoers who paid money for a ticket to see her film. The fans are important too, and it seems that Hollywood sometimes forgets that.

Julianne Moore about "The Danish Girl": "One of the first people to undergo gender confirmation surgery." I thought that was a slip of the tongue, but Dr. Google says it's a legitimate phrase.

Best Actor: Leonardo DiCaprio, The Revenant

Silver Screen Sister 2 just texted me a million clapping emojis. She's obviously very happy with this result.

Leonardo DiCaprio's climate change spiel might have been more persuasive if he wasn't smirking throughout it.

Then again, another text from Silver Screen Sister 2: "That speech was worth the prior four hours of drivel."

Leo really is the king of the world!

Best Picture: Spotlight

Most of the experts pegged "The Revenant" but I had a feeling "Spotlight" would win, so I went against the grain and picked it in the Oscar pool I'm in. Congratulations!

Full Results

Best Picture: Spotlight

Best Actor: Leonardo DiCaprio, The Revenant

Best Actress: Brie Larson, Room

Best Supporting Actor: Mark Rylance, Bridge of Spies

Best Supporting Actress: Alicia Vikander, The Danish Girl

Best Director: Alejandro González Iñárritu, The Revenant

Best Adapted Screenplay: The Big Short

Best Original Screenplay: Spotlight

Best Animated Feature Film: Inside Out

Best Cinematography: The Revenant

Best Documentary Feature: Amy

Best Documentary Short Subject: A Girl in the River: The Price of Forgiveness

Best Film Editing: Mad Max: Fury Road

Best Foreign Language Film: Son of Saul

Best Makeup and Hairstyling: Mad Max: Fury Road

Best Original Score: The Hateful Eight

Best Original Song: "Writing's on the Wall" – Spectre

Best Production Design: Mad Max: Fury Road

Best Costume Design: Mad Max: Fury Road

Best Live Action Short Film: Stutterer

Best Animated Short Film: Bear Story

Best Visual Effects: Ex Machina

Best Sound Editing: Mad Max: Fury Road

Best Sound Mixing: Mad Max: Fury Road

Remembering Alan Rickman

No Awards Needed

By Chris Sabga

The news broke of Alan Rickman's death – from cancer at the age of 69 – around the same time the Oscar nominations were announced.

The ultimate irony in that: Alan Rickman has never been nominated for an Academy Award.

I just about gasped at that shocking tidbit. But Rickman's passing so thoroughly overshadowed the awards announcement that it's safe to say his incredible career more than transcended those empty accolades.

In a 2008 interview with IFC, Rickman expressed a British workingman's sensibility about the Oscar rat race: "Parts win prizes, not actors. You always know a part that’s got ‘prize winner’ written all over it, and it’s almost like anybody could say those lines and somebody will hand them a piece of metal."

Like most of you reading this, my first exposure to Rickman's immense talents was as the charismatically villainous Hans Gruber in 1988's "Die Hard." It was an incredible performance that elevated the entire film and helped launch Bruce Willis's career as a major movie star. "Die Hard" is now considered one of the greatest action extravaganzas of the already excessive and explosive 1980s, and Rickman's character is universally recognized as one of the best bad guys ever.

My next glimpse of Rickman probably came three years later – in 1991's "Robin Hood: Prince of Thieves." I despised the movie – I think I'm the only one – but Rickman was great in it. He always is.

Many years would pass before I would see Rickman again on-screen. I'll admit that I didn't particularly care for "Michael Collins," but Rickman was mesmerizing in it as Eamon de Valera, the real-life political figure who opposed the Irish resistance against the UK. Truthfully, I had no idea at the time that it was Rickman playing the part. He was such a chameleon as an actor that he completely disappeared into the role. It wasn't the only time I was fooled by one of his performances – even when I definitely should have known better.

The character he's perhaps most associated with is the complex and conflicted Severus Snape from the "Harry Potter" series. Yet, it took two or three movies before it finally clicked in my mind who was behind the sneering professor's raven hair. It was Rickman! Once again, the actor had vanished entirely in service of the character he was portraying.

I hate "Love Actually," and Rickman is actually to thank for that. He was such a downright cad that it spoiled my enjoyment of the movie and I remain upset on poor Emma Thompson's behalf to this day. That's how good he was as an actor.

His characters could be dark and dangerous, sneaky and shifty, but he was also an incredibly gifted comedic actor. His roles in "Dogma" and especially "Galaxy Quest" are proof of that. If you somehow haven't seen "Galaxy Quest," it's a fantastic satire on the "Star Trek" and sci-fi movies and culture – and Rickman was superb in it.

A legend of the screen and stage, was there anything Alan Rickman couldn't do?

Well, maybe get nominated for an Academy Award.

But that's a reflection of the broken Oscar system, not of Rickman's immeasurable gifts as an actor. He never needed "a piece of metal" to affirm his greatness. 

The 88th Annual Academy Awards: Nominations and Analysis

Thoughts, Snubs, and Probably Wrong Predictions

By Chris Sabga

With the news breaking this morning that Alan Rickman has died of cancer at the age of 69, I'm not really in the mood to look through the Oscar nominations. It doesn't help that I'm completely bored with the Academy Awards, as I wrote a mere few days ago. The only reason I'm even bothering with this right now is because I wrote about the Oscar nominations last year and the year before and...well, you get the idea. So, in the interest of OCD, I have to continue the pattern this year.

Here are my views (probably more abbreviated this year than usual), broken down into three categories.

Thoughts: Just my general take on the various nominations.

Snubs: What I feel got left out. I knew certain movies wouldn't make it to the Oscars, but that doesn't mean I can't personally champion them myself.

Early (and Probably Wrong) Prediction: Don't make your Oscar pool picks based on my thoughts.

And the Oscar goes to...

Best Picture

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

Spotlight

Thoughts: I'm surprised to see "Mad Max" on this list. It has been widely acclaimed by both critics and audiences, but action films are usually shunned by the sometimes snooty Oscars.

Snubs: Because I think the Academy should automatically love the movies I love, I'm going to say "Mr. Holmes," "The Intern," "Predestination," and "Steve Jobs," because why not. And I'm assuming "Straight Outta Compton," "Ex Machina," and "Sicario" will end up on several of these lists as well.

Early (and Probably Wrong) Prediction: "The Revenant" has the most nominations this year.

Best Actor

Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revenant

Michael Fassbender, Steve Jobs

Eddie Redmayne, The Danish Girl

Thoughts: Maybe I shouldn't be, but I'm somewhat surprised to see Michael Fassbender here, even though "Steve Jobs" was a notorious flop at the box office.

Snubs: As Harvey Weinstein pointed out, no love for Ian McKellen in "Mr. Holmes." I haven't seen "Concussion" yet, but Will Smith's acting was incredible in the trailer.

Early (and Probably Wrong) Prediction: This has to be Leo's year – right?

Best Actress

Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

Thoughts: Is Saoirse Ronan a surprise, or was she expected? I'm honestly not sure.

Snubs: Helen Mirren was great in "The Woman in Gold." Sarah Snook was amazing in "Predestination." I liked Anne Hathaway in "The Intern" – but Oscar never shines a spotlight on such light, breezy, enjoyable performances. Women (and men) have to suffer for their art to gain recognition by the Academy.

Early (and Probably Wrong) Prediction: Brie Larson, who has been gaining recognition since her great performance in the powerful but problematic "Short Term 12."

Best Supporting Actor

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Thoughts: Always glad to see Sly take the Oscar stage.

Snubs: Little Milo Parker was phenomenal in "Mr. Holmes." I realize it was more of a lead role, but since kids aren't always seen as real people, he probably would've been bounced down to Supporting anyway. Ryan Reynolds' performance in "The Woman in Gold" was underrated, and he went through the type of physical transformation Oscar usually loves. Robert De Niro was terrific in "The Intern" but that's not the type of performance or movie that the Academy tends to reward.

Early (and Probably Wrong) Prediction: Sylvester Stallone or Tom Hardy.

Best Supporting Actress

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Thoughts: I wasn't sure Kate would make it, but I'm glad she did. Her ascent as the Academy's "modern Meryl" continues.

Snubs: Probably.

Early (and Probably Wrong) Prediction: Kate Winslet. Hey, she made it this far already!

Best Director

Adam McKay, The Big Short

George Miller, Mad Max: Fury Road

Alejandro González Iñárritu, The Revenant

Lenny Abrahamson, Room

Tom McCarthy, Spotlight

Thoughts: Can Alejandro González Iñárritu win for a second year in a row?

Snubs: Maybe Danny Boyle for "Steve Jobs" – not that anyone was expecting too much Oscar love for that movie.

Early (and Probably Wrong) Prediction: I'll be bold and say Iñárritu gets it again.

Best Adapted Screenplay

The Big Short

Brooklyn

Carol

The Martian

Room

Thoughts: See below.

Snubs: I'm assuming "Steve Jobs" would count as as an Adapted screenplay because it was inspired by several sources. But if everyone in the Academy was as confused as I am, that could be why it's not here. Or maybe everyone is taking Aaron Sorkin's great writing for granted at this point. "Mr. Holmes" realistically had no chance in hell to begin with, but I'll list it anyway. "Predestination" somehow took a story that was only a few pages along (Robert A. Heinlein's "All You Zombies") and turned it into a two-hour film, all while remaining true to the source material. That's impressive to me!

Early (and Probably Wrong) Prediction: The Big Short.

Best Original Screenplay

Bridge of Spies

Ex Machina

Inside Out

Spotlight

Straight Outta Compton

Thoughts: "Straight Outta Compton" gets its sole nomination in this category. Has an animated film ("Inside Out") ever been nominated for Best Original Screenplay before?

Snubs: "What We Do in the Shadows" was pretty clever, but good luck getting a vampire movie nominated for anything!

Early (and Probably Wrong) Prediction: Could "Compton" win its only nomination? Nah. I'm guessing the spotlight will go to … drumroll … "Spotlight."

_____

Other thoughts: I definitely sound like a broken record about "Steve Jobs" at this point, but I'm wondering if it deserved a Cinematography nomination too. The film somehow managed to turn sterile corporate environments and bland backstage areas into beautiful setpieces. As I wrote in my review: For a film that essentially consists of nonstop dialogue and people walking into different rooms, it is subtly stylish. The three time periods are each filmed differently: 1984 is grainy with a dark and drab color scheme, 1988 feels more open with a richer palette but retains a traditional film look, and 2008 is shot digitally and looks clear and bright. There are also other visual flourishes, such as a nighttime board meeting with rain pouring behind a glass window – a dazzling backdrop. 

_____

The rest of the categories and nominees are:

Best Animated Feature Film

Anomalisa

Boy and the World

Inside Out

Shaun the Sheep Movie

When Marnie Was There

Best Cinematography

Carol

The Hateful Eight

Mad Max: Fury Road

The Revenant

Sicario

Best Documentary Feature

Amy

Cartel Land

The Look of Silence

What Happened, Miss Simone?

Winter on Fire: Ukraine's Fight for Freedom

Best Documentary Short Subject

Body Team 12

Chau, Beyond the Lines

Claude Lanzmann: Spectres of the Shoah

A Girl in the River: The Price of Forgiveness

Last Day of Freedom

Best Film Editing

The Big Short

Mad Max: Fury Road

The Revenant

Spotlight

Star Wars: The Force Awakens

Best Foreign Language Film

Embrace of the Serpent

Mustang

Son of Saul

Theeb

A War

Best Makeup and Hairstyling

Mad Max: Fury Road

The 100-Year Old Man Who Climbed Out a Window and Disappeared

The Revenant

Best Original Score

Bridge of Spies

Carol

The Hateful Eight

Sicario

Star Wars: The Force Awakens

Best Original Song

"Earned It"

"Manta Ray"

"Simple Song No. 3"

"Till It Happens to You"

"Writing's on the Wall"

Best Production Design

Bridge of Spies

The Danish Girl

Mad Max: Fury Road

The Martian

The Revenant

Best Costume Design

Carol

Cinderella

The Danish Girl

Mad Max: Fury Road

The Revenant

Best Live Action Short Film

Ave Maria

Day One

Everything Will Be Okay (Alles Wird Gut)

Shok

Stutterer

Best Animated Short Film

Bear Story

Prologue

Sanjay's Super Team

We Can't Live Without Cosmos

World of Tomorrow

Best Visual Effects

Ex Machina

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

Best Sound Editing

Mad Max: Fury Road

The Martian

The Revenant

Sicario

Star Wars: The Force Awakens

Best Sound Mixing

Bridge of Spies

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

Review: Goodnight Mommy (Ich seh, ich seh)

Why is Mommy Wearing Bandages?

By Chris Sabga

Release Date: September 11, 2015 – U.S.

Rating: R

Genre: Horror, Drama, Thriller, Mystery

Running Time: 99 minutes

Directors: Severin Fiala, Veronika Franz

Writers: Veronika Franz, Severin Fiala

Cast: Elias Schwarz, Lukas Schwarz, 

Susanne Wuest  

I figured out a major plot development in "Goodnight Mommy" within seconds – assuming it was supposed to be a surprise, that is, because it was immediately obvious to me. Then it was just a matter of getting to that point in the film.

The movie begins with two twin brothers at play (Elias and Lukas Schwarz, whose characters are also named Elias and Lukas). They are about 8 or 9, and they live with their mother (Susanne Wuest) in a big house. There has been an accident of some kind. That much is obvious because their mother's face is completely wrapped in suitably creepy bandages. But the details of what happened are never really made clear.

It has been a rough road for this little family. The mother is impatient, sensitive to sunlight, and doesn't hesitate to raise her hand in discipline if her demands are not met: play very quietly and don't bring animals into the house. Have you ever known a little boy who could follow such unreasonable restrictions?

Elias and Lukas begin to fear that this strange, angry woman whose face is wrapped like a mummy isn't, well, their mummy.

From there, let's just say she's forced to prove herself.

I didn't quite see the third act going in the direction it did – that was somewhat of a surprise, at least – but I found it difficult to watch and deeply unpleasant. Look, I get it: this is a horror movie and it has to be sick and cringe-inducing. I also realize what happens later in the film is a reaction to, and reflection of, earlier actions and events – a mirror image, almost. Even though the story and dialogue don't reveal much overtly, it was obvious to me that grief weighs heavily on this family – and that emotion is what influences their behavior, especially at the end.

Still, despite the careful craftsmanship of the plotting, what was the point being made? "Goodnight Mommy" feels almost irresponsible – nauseating for the sake of it, just to produce a few thrills and chills – with any significant meaning or lesson blunted by gross-out shock tactics.

It doesn't help, either, that these characters and their behaviors are not entirely believable at times. There is one scene, in particular, that is superbly suspenseful but otherwise ridiculous. It involves a pair of elderly Red Cross workers who come to the door looking for a donation.

I will give this German-language import from Austria credit where it's due – it is beautifully shot, well-acted, moody and eerie – but I can't say I ever enjoyed it. There are children's books with more dialogue. That isn't necessarily a bad thing – there's nothing wrong with storytelling that's stripped to the barest essentials – but for something so minimal, this takes a little too long to get to the point.

2015: A Year of Two Great Actors Working Together

Will Oscar Shine a Spotlight on These Fine Films and Performances?

By Chris Sabga

The Weinstein Company studio co-chief Harvey Weinstein wrote an editorial for "The Hollywood Reporter" lamenting that several worthy films and performances will probably end up being snubbed by the Academy when it comes time to hand out Oscar nominations. Among those he cites are Ian McKellen in "Mr. Holmes" and Helen Mirren in "The Woman in Gold." Both are indeed wonderful performances. Weinstein also carries a torch for "Burnt," which I did not enjoy nearly as much as he apparently did. Of course, his motives are probably not entirely magnanimous – he is obligated to promote and defend his own studio's films, after all – but that doesn't mean he has any less of a point.

It's blasphemy to say in some cinematic circles, but I'm completely bored with the Oscars. Even though the Best Picture award now includes up to ten films, there are always ridiculous omissions. It's worse in the other categories, which still contain only five nominees – not that I'm advocating for an increase, because I'm definitely not. Don't get me wrong: I still love the excitement and frustration that accompanies every Oscar season, but the show itself is usually a bloated bore.

I don't have a crystal ball, but I am going to assume that most of these – but perhaps not all – will be absent when the Oscar nominations are announced. I'll be happy if I'm wrong.

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My favorite Silver Screen Surprise of 2015 – "Predestination": I went back and forth on this one, but ultimately, this movie checked all the right boxes for me: Ethan Hawke, time travel, a great story (adapted from Robert A. Heinlein) with an authentic retro feel that kept me hooked, and fantastic performances (especially from Hawke and Sarah Snook). The Blu-ray is routinely $5 or $10, so you owe it to yourself to check it out. It's likely not for everyone, and it probably won't be on too many other lists, but keep an open mind and sample this mind-bending sci-fi treat.

My favorite television show of 2015 was "Wayward Pines." I am a sucker for these "special events": self-contained shows that are ten episodes or under ("Gracepoint" – which was my favorite in 2014 – was the same way). "Pines" was destination television for several weeks and the source of constant discussion. Terrence Howard, in particular, was memorable as the rum-raisin ice cream-gobbling sheriff facing off against Matt Dillon's frustrated gumshoe. As it turns out, a surprise season 2 is coming for "Wayward." Without spoiling anything, I'm not quite sure how that's going to work. I was excited when I first heard the news, but now I'm nervous.

My favorite performances of the year all featured two great actors working together and bouncing off each other. In "Mr. Holmes," Ian McKellen as an aging Sherlock Holmes and Milo Parker as his young apprentice made for a delightful duo From my review: At the heart and soul of the movie is the tender mentor-student relationship between Holmes and the boy. As Roger, newcomer Milo Parker delivers an outstanding performance that is every bit the equal of Ian McKellen's. That's no easy feat, because McKellen himself is fantastic as he switches between the great man with a gleam in his eye to the aging, fading legend who can barely get out of his own bed. He makes his incredible acting appear effortless – but it isn't, of course.

It shouldn't surprise anyone for Kate Winslet to turn in yet another stellar performance, as she did in "Steve Jobs" opposite Michael Fassbender, who was absorbing to watch as Jobs. What I wasn't expecting was for Winslet to almost take the movie for herself with her riveting portrait of Jobs lieutenant Joanna Hoffman. As I wrote at the time: The best supporting roles make you want to see a movie about them. Just as Tommy Lee Jones accomplished that as Thaddeus Stevens in "Lincoln," so does Winslet as Joanna Hoffman in "Steve Jobs."

I have a soft spot in my heart for Anne Hathaway and Robert De Niro in "The Intern." Was there a cuter "couple" in 2015 than these two? They make it look so effortless that it's easy to forget they're really two acting heavyweights volleying back and forth.

And, of course, Ethan Hawke and Sarah Snook take up most of the screen-time in "Predestination" – and they're spellbinding together.

I saw several older films too, and the most memorable was undoubtedly 1985's "The Last Dragon." In 2015, "racebending" – changing the race of an established character or archetype – became a major point of contention in movies, comics, and other forms of entertainment. Yet, "The Last Dragon" did exactly that with almost every character – and it worked. It helps, though, that its intentions were purer. The movie never felt like it was trying to be "progressive" for the sake of it. All anyone involved in this project wanted, it seems, was to have some fun and create an homage to the type of films they loved. Even though a black teenager is playing a martial arts master, Taimak still manages to give the role heart and authenticity.

A surprisingly great year for horror: I am not a big fan of the genre – that's what I don't pay Matt Wintz to write about – but I saw several great ones over the past twelve months. From 2015: "The Atticus Institute," "What We Do in the Shadows," and "Maggie." From earlier: "Trick 'r Treat," "The Babadook," and "Horns."

The best $1 DVD I bought all year: "Nothing But the Truth" – inspired by the real-life incidents involving CIA agent Valerie Plame and New York Times writer Judith Miller – is a fictional drama about a reporter who refuses to give up her source, despite mounting legal pressure. It features an incredible cast: Kate Beckinsale, Matt Dillon, Angela Bassett, Alan Alda, Vera Farmiga, David Schwimmer, Courtney B. Vance, and Noah Wyle. It would be easy to credit "Wayward Pines" as the reason I thought so highly of "Nothing But the Truth" – Matt Dillion plays very similar roles in both – but that would be shortchanging just how good this is. I have no idea how Alan Alda, especially, was passed over for an Oscar nomination. I'm glad I found it for a buck, but this is worth seeking out at any price. I loved it so much that I even bought extra copies to hand out as gifts.

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The jury is still out on the Oscars. For all we know, Ian McKellen, Kate Winslet, and all of my other personal favorites from 2015 will sweep the nominations. It could actually happen for Winslet – she is an Oscar darling who is seemingly being positioned by the Academy as the modern Meryl Streep – but "Steve Jobs" was a commercial flop, and the Academy of Motion Picture Arts and Sciences (what an earful) sometimes tends to shy away from those. Any nomination for "Steve Jobs" would probably be enough of an excuse for its studio, Universal, to re-release it in theaters in the hopes of capturing the audience that wasn't there the first time.

No matter what the Academy recognizes or doesn't, there will be plenty to talk about – and plenty more to see. I can't wait!

Today marks the third anniversary of Silver Screen Surprises. Whether this is your first time on the site or you've been here all along, thank you for reading!