It’s rare these days to not be able to predict the end of a movie, especially one that appears to be formulaic, but I can assure you, you won’t know...
Documentary Explores Legendary Dancer Who Ignited Flames of the 1960s Sexual Revolution; Dallas’s Top Burlesque Dancers With Minxe Mimieux As The Lead...
It disappoints me to say that not even the brilliant talents of Michelle Williams and Hong Chau help liven up the slow pace of the less than mildly entertaining new dramedy, “Showing Up”.
Directed/Co-written by Kelly Reichardt, the film follows Williams who plays Lizzy, an unfashionable sculptor who barely speaks and is desperately trying to finish her work that will soon be displayed at an art exhibition. She and her landlord/sort of friend, Jo (Chau) are both working on their art for separate shows.
When Lizzy does speak, it’s in a monotoned and dry voice. She’s bitter, whiny and unfriendly. The opposite of Jo. It seems the only thing that gets her a bit riled up is the fact that she has to repeatedly ask Jo to fix the hot water in her place. That is until the day that Jo finds an injured bird. Unexpectedly, the two of them begin to care of him. This is the first sign of compassion we see come from Lizzy. Though she acts very bitter towards Jo, when the birds fall into her care, she seems to be truly concerned for him.Continue reading
We already knew that Steven Spielberg hadn’t lost his touch after his remarkable remake of “West Side Story”. But in his newest drama, “The Fabelmans”, he pulls from his own personal experience as he digs at the family roots that helped shape him into the iconic filmmaker.
If I am being completely honest, as a little kid, the only director I knew of was Spielberg. His films are such a huge part of my upbringing. I don’t think I even understood completely what a director did until I put a face to the creator of “E.T.” and “Jaws”. As we all know, he has an amazing resume of monumental films. So, to get a chance to peep into what started his craft and an insight into his family, is a true honor.
In “The Fabelmans”, we follow Sammy Fabelman (Gabriel LaBelle) from a young boy through college as he navigates family drama while chasing his dream of making movies. Without giving too much away, the biggest drama stems from Sammy’s mother, Mitzi (Michelle Williams). She’s naturally the more melodramatic member of the family. She’s an artist/pianist who encourages Sammy to embrace his creativity. Her children adore her free-spirited, performative behavior, while also admiring their father’s (Paul Dano) intelligence. They actually come off as the perfect family, until Sammy takes a closer look through his lens and sees flaws in his parents’ marriage. This and other trials and tribulations will prove to mold Sammy into a stronger man and help him find solace in his films.
The story is told through fantastic performances by the entire cast. The standout is LaBelle, who I expect we will be seeing plenty more of after such an authentic and vulnerable portrayal of the young director. And easily one of the best performances of the year, Williams as Mitzi. Your feelings about her may be conflicting at first, but by the end, she’s the one you won’t be able to stop thinking about. Such a layered character we have the pleasure of diving into. Mitzi is a loving, and at times erratic mother whose behavior is “unique”. However, she’s absolutely mesmerizing. Williams deserves an obvious nomination, if not a win for this role.
Now, I may sound like a broken record with this one negative, but the film could have been about 30 minutes shorter and been just as effective. However, the characters are engaging enough to distract you from the runtime.
“The Fabelmans” serves as an ode to the power of filmmaking. Movies have the ability to make people feel what you want them to, and through that you can ignite emotions of laughter, fear, joy, love, and so much more. Spielberg was gifting us with his movie-magic, while also using his art as a therapeutic escape. “The Fabelmans” is a rare gem for movie buffs and an enjoyable film for the whole family.
NORTH TEXAS FILM CRITICS NAME “LA LA LAND” AS BEST FILM OF 2016
The North Texas Film Critics Association voted the romantic musical LA LA LAND as the best film of 2016, according to the results of its annual critics’ poll. Completing list of the top 10 films of the year were MANCHESTER BY THE SEA (2), MOONLIGHT (3), HACKSAW RIDGE (4), LOVING (5), ARRIVAL (6), CAPTAIN FANTASTIC (7), NOCTURNAL ANIMALS (8), JACKIE (9) and THE BIRTH OF A NATION (10).
For Best Actor, the association named Casey Affleck for MANCHESTER BY THE SEA. Runners-up included Ryan Gosling for LA LA LAND (2), Denzel Washington for FENCES (3), Andrew Garfield for HACKSAW RIDGE (4) and Don Cheadle for MILES AHEAD (5).
Natalie Portman was voted Best Actress for JACKIE. Next in the voting were Emma Stone forLA LA LAND(2), Amy Adams for ARRIVAL(3), Emily Blunt for THE GIRL ON THE TRAIN (4) and Ruth Negga for LOVING (5).
In the Best Supporting Actor category, the winner was Michael Shannon for NOCTURNAL ANIMALS. He was followed by Mahershala Ali for MOONLIGHT (2), Dev Patel for LION (3), Jeff Bridges for HELL OR HIGH WATER (4) and Lucas Hedges for MANCHESTER BY THE SEA (5).
For Best Supporting Actress, the association named Michelle Williams for MANCHESTER BY THE SEA. Runners-up included Viola Davis for FENCES (2), Naomie Harris for MOONLIGHT (3), Octavia Spencer for HIDDEN FIGURES (4) and Janelle Monáe for HIDDEN FIGURES (5).
Damien Chazelle was voted Best Director for LA LA LAND. Next in the voting were Barry Jenkins for MOONLIGHT (2), Mel Gibson for HACKSAW RIDGE (3), Denis Villeneuve for ARRIVAL (4) and Kenneth Lonergan for MANCHESTER BY THE SEA (5).
The association voted ELLE as the Best Foreign Language film of the year. Runners-up were THE HANDMAIDEN (2), THE HUNT FOR THE WILDERPEOPLE (3), TONI ERDMANN and THE SALESMAN tied for the last spot (4).
GLEASON won for Best Documentary over 13th (2), TOWER (3), WEINER (4) and THE EAGLE HUNTRESS (5).
ZOOTOPIA was named the Best Animated film of 2016, over KUBO AND THE TWO STRINGS (2) and SING (3).
The award for Best Cinematography went to Linus Sandgren for LA LA LAND, followed by James Laxton for MOONLIGHT (2), Bradford Young for ARRIVAL and Simon Duggan for HACKSAW RIDGE tied for the next spot (3) and Stéphane Fontaine for JACKIE (5).
This year’s awards were dedicated to the memory of our past president, Gary Murray. In his honor, next year we will designate an award in perpetuity. The Gary Murray Award will honor the Best Newcomer in a film.
There is beauty in simplicity, but there is also simply boring. I may come off a little harsh with Kelly Reichardt’s latest film, “Certain Women”, but unfortunately it’s hard to get captivated by the slow pace of each story-line and the dull main characters.
The film is essentially broken up into three parts as we follow three women whose lives intersect. They are adapted from several short stories by Montana writer Maile Meloy.
In the first story we meet Laura Wells (Laura Dern), a small town lawyer who’s having an affair with a married man. She is dealing with a frustrating client (Jared Harris), who was injured on the job and wants to pursue a case against his employer.
After that we are introduced to Gina (Michelle Williams) and her husband (James Le Gros), who was seen in the previous segment. The two have just finished a camping trip with their teenage daughter Guthrie (Sara Rodier). They visit their elderly neighbor, Albert (Rene Auberjonois) to purchase a pile of sandstone that’s been sitting in his front yard for years. Gina wants to use it for a getaway cottage she plans to build. This is by far, the most uninteresting part of the film.
Finally, the more intriguing moment of the movie is when we see Jamie (Lily Gladstone), a rancher; randomly walk into a night class she’s not registered for. The class is intended to teach the history of public education policy in the U.S. But it’s not the subject that fascinates Jamie; it’s the nervous young lawyer, Beth (Kristen Stewart), who’s the unfortunate instructor. Basically, she is forced to teach the class and has to endure a four hour commute. Soon enough, she befriends Jamie and after class they routinely go to a local diner for a quick dinner as Jamie just watches her eat. For Jamie, seeing Beth is the highlight of her week, however, Beth does not value their time together nearly as much.
By the time the film concludes, we have seen the very minor ways these three women’s lives intertwine. Ultimately, Reichardt does a good job of portraying the overdone, general theme of isolation and the difficulty of communication. But it’s the actual stories that don’t give you enough meat to bite into. Hardly anything pulls you in; with the exception of Jamie’s borderline stalking of Beth (maybe a full story on her might have been more satisfying).
On the positive side, the performances are strong and Christopher Blauvelt’s cinematography is about the only thing that truly shines in “Certain Women”.
