"Wealth, Travel, Fame…I can take you to movies that have all of that." -Me and Orson Welles
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“1917” takes us on a desperate trip across the bleak landscape of World War I, following two British soldiers carrying a vitally important message. I sat down with director/writer Sam Mendes, co-writer Krysty Wilson-Cairns, and stars George Mackay and Dean-Charles Chapman to discuss the film.
“1917” opens in select theaters on December 25 and opens everywhere on January 10.
Do you remember the 2017 war film, “Dunkirk”? It was a chaotic mess that left us wondering “who were those characters we just met?” Well, Sam Mendes’ (American Beauty, Road to Perdition) new war/drama is the exact opposite of that.
In “1917” we follow two young British privates, Blake (Dean-Charles Chapman) and Schofield (George MacKay) during the First World War. They are given the impossible mission to deliver a message across enemy lines to stop 1,600 men from walking into a deadly trap. Among those men is Blake’s brother, which makes the journey to get there that much more intense.
The two soldiers make their way through seemingly empty trenches, tunnels, and bombed-out towns with no one but each other to rely on. Along the way, they encounter other men who have clearly been through their own struggles, a woman hiding in a basement, and some not so friendly Germans. But every new face is a mere acquaintance as the boys are on a ticking clock.
There’s tension between the pair, but also a sense of purpose. Scholfield is unhappy to have been chosen by Blake to tag along on this mission, yet they both know this is for a worthy and life-saving cause.
Mendes gives audiences an immersive cinematic experience, supported by cinematography from Roger Deakins, through the one-take display. It makes you truly feel as if you are right there with the soldiers walking behind every step they take. And as you hold your breath till the final scene, you yourself hope you will make it out alive.
Though the film is exciting and will keep you on the edge of your seat at times, this more of a technical achievement. This is far from an original story; it’s pretty basic. Which isn’t necessarily a bad thing. The filmmakers have taken a simple premise and gone with a “less is more” tactic. This allows for more focus on a beautifully shot film, and a highlight on the actors who give their all emotionally and physically in their spectacular performances. This also gives us the courtesy of understanding who we’re following and character development.
“1917” isn’t a groundbreaking war film, but it is a good one. It’s one you can appreciate and hooks you in from the start. Be sure to watch this one on the big screen!
Rating: 4/5
“1917” opens in Dallas and Plano on Christmas Day and opens in wide release on January 10, 2020.
The Dallas-Fort Worth Film Critics Association voted the war epic 1917 as the best film of 2019, according to the results of its 26th annual critics’ poll. Following is a complete list of award winners, with choices listed in order of votes received.
BEST PICTURE
Winner: 1917
Runners-up: MARRIAGE STORY (2); PARASITE (3); THE IRISHMAN (4); ONCE UPON A TIME IN HOLLYWOOD (5); JOJO RABBIT (6); LITTLE WOMEN (7); THE FAREWELL (8); THE TWO POPES (9); KNIVES OUT (10)
BEST ACTOR
Winner: Adam Driver, MARRIAGE STORY
Runners-up: Joaquin Phoenix, JOKER (2); Antonio Banderas, PAIN AND GLORY (3); Leonardo DiCaprio, ONCE UPON A TIME IN HOLLYWOOD (4); Robert De Niro, THE IRISHMAN (5)
BEST ACTRESS
Winner: Scarlett Johansson, MARRIAGE STORY
Runners-up: Renee Zellweger, JUDY (2); Charlize Theron, BOMBSHELL (3); Saoirse Ronan, LITTLE WOMEN (4); Awkwafina, THE FAREWELL (5, tie); Lupita Nyong’o, US (5, tie)
BEST SUPPORTING ACTOR
Winner: Brad Pitt, ONCE UPON A TIME IN HOLLYWOOD
Runners-up: Willem Dafoe, THE LIGHTHOUSE (2); Joe Pesci, THE IRISHMAN (3); Al Pacino, THE IRISHMAN (4); Shia LaBeouf, HONEY BOY (5)
BEST SUPPORTING ACTRESS
Winner: Laura Dern, MARRIAGE STORY
Runners-up: Margot Robbie, BOMBSHELL (2); Florence Pugh, LITTLE WOMEN (3); Jennifer Lopez, HUSTLERS (4); Annette Bening, THE REPORT (5)
BEST DIRECTOR
Winner: Sam Mendes, 1917
Runners-up: Bong Joon-ho, PARASITE (2); Martin Scorsese, THE IRISHMAN (3); Quentin Tarantino, ONCE UPON A TIME IN HOLLYWOOD (4); Noah Baumbach, MARRIAGE STORY (5)
BEST FOREIGN LANGUAGE FILM
Winner: PARASITE
Runners-up: PAIN AND GLORY (2); THE FAREWELL (3); LES MISERABLES (4); PORTRAIT OF A LADY ON FIRE (5)
BEST DOCUMENTARY
Winner: APOLLO 11
Runners-up: ONE CHILD NATION (2); AMERICAN FACTORY (3); HONEYLAND (4); FOR SAMA (5)
BEST ANIMATED FILM
Winner: TOY STORY 4
Runner-up: I LOST MY BODY
BEST SCREENPLAY
Winner: Noah Baumbach, MARRIAGE STORY
Runner-up: Steven Zaillian, THE IRISHMAN
BEST CINEMATOGRAPHY
Winner: Roger Deakins, 1917
Runner-up: Hong Kyung-pyo, PARASITE
BEST MUSICAL SCORE
Winner: Thomas Newman, 1917
Runner-up: Alexandre Desplat, LITTLE WOMEN
RUSSELL SMITH AWARD (best low-budget or cutting-edge independent film)
Winner: THE LIGHTHOUSE
The Dallas-Fort Worth Film Critics Association consists of 32 broadcast, print and online journalists from throughout North Texas. For more information, visit dfwcritics.com or follow us on Facebook or Twitter @dfwfilmcritics.
“Little Women” returns to the screen, this time compliments of Greta Gerwig. The cast is top notch and the production elements, writing and cinematography are stellar, so you won’t go wrong if you choose this one for your holiday break.
Check out the video below to see my full review of the film!
“Little Women” opens in theaters December 25.
“Waves” goes from bad to unbearable within the first hour; however, the second half of the film remarkably heals itself.
Director/writer Trey Edward Shults wrote “Waves” after his critically acclaimed thriller, “It Comes At Night”. He continues to keep our tensions high with his new family drama. It’s a story he explained that, “was inspired from a number of real life experiences, including meeting my girlfriend and Kelvin Harrison Jr.”
As the film begins we meet Tyler (Kelvin Harrison Jr.). He’s a senior in high school who as it all: Popularity, a hot girlfriend (Alexa Demie), and star wrestler. Life at home isn’t too shabby either. His father Ronald (Sterling K. Brown) owns his own construction business, his mother Catharine (Renée Elise Goldsberry) is a counselor, and his sister Emily (Taylor Russell) is quiet and reserved, hiding in the shadow of her brother.
Though Tyler is pretty well off, we come to discover his father is constantly pushing him both physically and mentally. He puts a lot of pressure on Tyler to be the best; pointing out that because the family is African American they don’t have the luxury of being average. So when Tyler learns of his shoulder injury, which would end his wrestling career, he decides to hide it and self-medicate. Matters only get worse when his girlfriend reveals she is pregnant.
You might think you know what happens from there, but you don’t. And you’re going to find out here.
By the second half of the film the family is barely keeping it together, and suddenly we’ve gone from Tyler’s movie to Emily’s. She is even more introverted, and doesn’t seem to have any friends at school. That is until she meets Luke (Lucas Hedges), an awkward, but nice boy who also wrestles. The film completely shifts in tone as we see love blossom in a steady and beautiful manner. Emily and Luke’s relationship is the cure we need after an unnerving first half.
Shults wanted to essentially split the film in two and show the dichotomy of our lives. “I wanted audiences to see, in it’s structure, separate views from a male and female. How different they handle conflict, and what are their highs and lows,” Shults elaborates.
Both Tyler and Emily continuously use Instagram in a way that make us question our own use of the app. It’s a way to track a significant other’s location, stalk a crush and, of course post lots of pictures. “I was trying to make it real and honest. I don’t have social media anymore, but I can imagine how it would feel to have one. I’ve even followed crushes, but in an appropriate way (Laughs).” explains Shults.
At the core, “Waves” is a film about family. The parents are connected to both Tyler and Emily’s stories, especially their father. Ronald is more invasive in Tyler’s life and almost absent in Emily’s. This raises the question, what is the right balance of a parent’s involvement in there children’s lives? Shults went on to answer, “It’s hard to say what’s the right amount of involvement, but for this movie communication is big. It’s important that parents make their kids feel like they can always come to them for anything. It sounds easy, but it isn’t.”
As the film comes to an end, a shattered family struggles to put themselves back together. What you witness will make you want to embrace your own family and loved ones. Shults’ hope is that audiences will “connect with the complex characters, and have a lot to think about. And maybe even give them hope in their own lives”
“Waves” is a tough start. But if you allow yourself to stay on this emotional roller coaster, it will be a ride worth taking.
Rating: 4/5
“Waves” opens in select theater November 27 (Playing at Landmark Magnolia)
Check out my reviews of two fall films that just might show up during Oscar season: “Knives Out” and “Honey Boy.” “Knives Out” is a whodunit with even more twists than a Bavarian pretzel and “Honey Boy” is Shia LeBeouf’s compelling revisit of his years as a child/teen star with a problematic father.
“Knives Out” is currently in theaters.
“Honey Boy” hits theaters December 6.
Fourth Annual Critics’ Choice Documentary Award Winners Revealed
Apollo 11 Named Best Documentary Feature
Peter Jackson (They Shall Not Grow Old) Ties with Julia Reichert and Steven Bognar (American Factory) for Best Director
Apollo 11 Takes Home Five Awards
(Brooklyn, NY – November 10, 2019) – The Critics Choice Association (CCA) announced the winners of the fourth annual Critics’ Choice Documentary Awards tonight at a gala event, hosted by HGTV’s Property Brothers Jonathan Scott at BRIC in Brooklyn.
Apollo 11 took home the evening’s most prestigious award for Best Documentary Feature as well as Best Editing for Todd Douglas Miller, Best Score for Matt Morton, Best Archival Documentary, and Best Science/Nature Documentary.
There was a tie for Best Director between Peter Jackson for They Shall Not Grow Old, and Julia Reichert and Steven Bognar for American Factory. They Shall Not Grow Old also brought home the award for Most Innovative Documentary. American Factory also won the award for Best Political Documentary.
“Once again, we are thrilled to celebrate and support the vibrant and groundbreaking work of these talented documentarians. We are proud that our yearly gala event has become an informed and valuable way for people to find the best films out there and for the work of these filmmakers to find their audiences,” said CCA CEO Joey Berlin. “It was a great night of lauding the greats in the documentary field as well as some outstanding newcomers.”
At the ceremony a special new honor, The D A Pennebaker Award, was presented to legendary documentarian Frederick Wiseman. The award, formerly known as the Critics’ Choice Lifetime Achievement Award, is named for prior winner D A Pennebaker, who passed away last summer. It was presented by filmmaker Chris Hegedus, Pennebaker’s long-time collaborator and widow.
Acclaimed filmmaker Michael Apted was presented with The Landmark Award, an honor bestowed upon him for his extraordinary and unparalleled achievement with the Up series, which has just added 63 Up, distributed by BritBox,to this historic work. The award was presented by Michael Moore, who was honored with the Critics’ Choice Lifetime Achievement Award last year.
Presenters at the star-studded event included Jim Gaffigan (The Pale Tourist Comedy Tour), Zooey Deschanel, Rose McGowan (Citizen Rose), Dr. Ruth Westheimer, Wyatt Cenac (Wyatt Cenac’s Problem Areas), Lou Diamond Phillips, Gloria Reuben (Mr. Robot), Erich Bergen (Madam Secretary), Nicole J. Butler and Reggie Currelley (She Shed State Farm commercial), Aasif Mandvi (The Daily Show), Ryan Serhant (Million Dollar Listing New York), and Amir Arison (The Blacklist).
The award for Best Cinematography went to John Chester for The Biggest Little Farm.
Best Narration went to Bruce Springsteen for Western Stars.
Honeyland took home the award for Best First Documentary Feature for directors Tamara Kotevska an Ljubomir Stefanov.
The award for Best Biographical Documentary went to Toni Morrison: The Pieces I Am.
The Best Music Documentary award went to Linda Ronstadt: The Sound of My Voice.
Maiden won the Best Sports Documentary award.
The Best Short Documentary Award was given to Period. End of Sentence.
This year’s honorees for Most Compelling Living Subject of a Documentary are Dr. Amani Ballor (The Cave), David Crosby (David Crosby: Remember My Name), Tracy Edwards (Maiden), Imelda Marcos (The Kingmaker), Hatidze Muratova (Honeyland), Alexandria Ocasio-Cortez, Amy Vilela, Cori Bush, and Paula Jean Swearengin (Knock Down the House), Linda Ronstadt (Linda Ronstadt: The Sound of My Voice), and Dr. Ruth Westheimer (Ask Dr. Ruth).
Last year, the Critics’ Choice Documentary Awards introduced the Catalyst Sponsorship, a program for industry leaders to support the event. The 2019 sponsors include National Geographic Documentary Films, Netflix and Showtime Documentary Films..
About CRITICS’ CHOICE DOCUMENTARY AWARDS
The fourth annual awards ceremony took place Sunday, November 10, 2019 at BRIC in Brooklyn, New York. The Critics’ Choice Documentary Awards was again produced by Bob Bain Productions.
About CRITICS’ CHOICE AWARDS
The Critics’ Choice Documentary Awards are an off-shoot of The Critics’ Choice Awards, which are bestowed annually by CCA to honor the finest in cinematic and television achievement. Historically, the Critics’ Choice Awards are the most accurate predictor of the Academy Award nominations.
The CW Television Network will again partner with CCA as the exclusive broadcast home for the 25th annual Critics’ Choice Awards, honoring the finest achievements in both movies and television as part of a three-hour special on The CW on January 12, 2020. For more information, visit: www.CriticsChoice.com
“Jojo Rabbit” is one of the best films of the year. I was thrilled to sit down with one of the stars, Thomasin McKenzie (Elsa) to discuss how adults should teach children to be kind to others, how she likes to pass the time and we play a fun rapid fire game!
“Jojo Rabbit” opens in theaters November 1.
In “Maleficent: Mistress of Evil” Aurora get engaged to Prince Philip and Maleficent (Angelina Jolie) isn’t happy. And in “Dolemite is My Name” Rudy Ray Moore (Eddie Murphy) wants to be on the big screen and make a movie, but has no clue how to go about it. Check out my full review of both these films in the video below!
“Maleficent: Mistress of Evil” in theaters October 18 & “Dolemite is My Name” is available on Netflix October 25.
The Critics Choice Association (CCA) has announced the nominees for the fourth annual Critics’ Choice Documentary Awards (CCDA). The winners will be presented their awards at a gala event, hosted by Property Brothers’ Jonathan Scott, on Sunday, November 10, at BRIC in Brooklyn, New York.
The Critics Choice Association will once again be honoring the finest achievements in documentaries released in theaters, on TV and on major digital platforms, as determined by the voting of qualified CCA members.
BEST DOCUMENTARY FEATURE
American Factory (Netflix)
Apollo 11 (Neon)
The Biggest Little Farm (Neon)
The Cave (National Geographic)
Honeyland (Neon)
The Kingmaker (Showtime)
Knock Down the House (Netflix)
Leaving Neverland (HBO)
Maiden (Sony Pictures Classics)
One Child Nation (Amazon Studios)
They Shall Not Grow Old (Warner Bros.)
BEST DIRECTOR
Waad Al-Kateab and Edward Watts, For Sama (PBS)
Steven Bognar and Julia Reichert, American Factory (Netflix)
John Chester, The Biggest Little Farm (Neon)
Feras Fayyad, The Cave (National Geographic)
Peter Jackson, They Shall Not Grow Old (Warner Bros.)
Todd Douglas Miller, Apollo 11 (Neon)
Nanfu Wang and Jialing Zhang, One Child Nation (Amazon Studios)
BEST CINEMATOGRAPHY
Ben Bernhard and Viktor Kossakovsky, Aquarela (Sony Pictures Classics)
John Chester, The Biggest Little Farm (Neon)
Fejmi Daut and Samir Ljuma, Honeyland (Neon)
Nicholas de Pencier, Anthropocene: The Human Epoch (Kino Lorber)
Muhammed Khair Al Shami, Ammar Suleiman, and Mohammad Eyad, The Cave (National Geographic)
Richard Ladkani, Sea of Shadows (National Geographic)
BEST EDITING
Georg Michael Fischer and Verena Schönauer, Sea of Shadows (National Geographic)
Todd Douglas Miller, Apollo 11 (Neon)
Jabez Olssen, They Shall Not Grow Old (Warner Bros.)
Amy Overbeck, The Biggest Little Farm (Neon)
Lindsay Utz, American Factory (Netflix)
Nanfu Wang, One Child Nation (Amazon Studios)
BEST SCORE
Jeff Beal, The Biggest Little Farm (Neon)
Matthew Herbert, The Cave (National Geographic)
Matt Morton, Apollo 11 (Neon)
Plan 9, They Shall Not Grow Old (Warner Bros.)
H. Scott Salinas, Sea of Shadows (National Geographic)
Eicca Toppinen, Aquarela (Sony Pictures Classics)
BEST NARRATION
Anthropocene: The Human Epoch (Kino Lorber)
Alicia Vikander, narrator
Jennifer Baichwal, writer
The Biggest Little Farm (Neon)
John Chester and Molly Chester, narrators
John Chester, writer
The Edge of Democracy (Netflix)
Petra Costa, narrator
Petra Costa, Carol Pires, David Barker and Moara Passoni, writers
The Elephant Queen (Apple)
Chiwetel Ejiofor, narrator
Mark Deeble, writer
For Sama (PBS)
Waad Al-Kateab, narrator
Waad Al-Kateab, writer
Joseph Pulitzer: Voice of the People (First Run)
Adam Driver, narrator
Oren Rudavsky and Bob Seidman, writers
One Child Nation (Amazon Studios)
Nanfu Wang, narrator
Nanfu Wang, writer
Western Stars (Warner Bros.)
Bruce Springsteen, narrator
Bruce Springsteen, writer
BEST FIRST DOCUMENTARY FEATURE
Midge Costin, Making Waves: The Art of Cinematic Sound (Matson Films)
A.J. Eaton, David Crosby: Remember My Name (Sony Pictures Classics)
Pamela B. Green, Be Natural: The Untold Story of Alice Guy-Blaché (Kino Lorber/Zeitgeist Films)
Tamara Kotevska and Ljubomir Stefanov, Honeyland (Neon)
Richard Miron, For the Birds (Dogwoof)
Garret Price, Love, Antosha (Lurker Films)
BEST ARCHIVAL DOCUMENTARY
Amazing Grace (Neon)
Apollo 11 (Neon)
Maiden (Sony Pictures Classics)
Mike Wallace is Here (Magnolia)
Pavarotti (CBS Films)
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (Netflix)
They Shall Not Grow Old (Warner Bros.)
What’s My Name: Muhammad Ali (HBO)
BEST BIOGRAPHICAL DOCUMENTARY
David Crosby: Remember My Name (Sony Pictures Classics)
The Kingmaker (Showtime)
Linda Ronstadt: The Sound of My Voice (Greenwich)
Love, Antosha (Lurker Films)
Mike Wallace is Here (Magnolia)
Pavarotti (CBS Films)
Toni Morrison: The Pieces I Am (Magnolia)
BEST MUSIC DOCUMENTARY
Amazing Grace (Neon)
David Crosby: Remember My Name (Sony Pictures Classics)
Linda Ronstadt: The Sound of My Voice (Greenwich)
Miles Davis: Birth of the Cool (Abramorama)
Pavarotti (CBS Films)
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (Netflix)
Western Stars (Warner Bros.)
BEST POLITICAL DOCUMENTARY
American Factory (Netflix)
The Edge of Democracy (Netflix)
Hail Satan? (Magnolia)
The Kingmaker (Showtime)
Knock Down the House (Netflix)
One Child Nation (Amazon Studios)
BEST SCIENCE/NATURE DOCUMENTARY
Anthropocene: The Human Epoch (Kino Lorber)
Apollo 11 (Neon)
Aquarela (Sony Pictures Classic)
The Biggest Little Farm (Neon)
The Elephant Queen (Apple)
Honeyland (Neon)
Penguins (Disney)
Sea of Shadows (National Geographic)
BEST SPORTS DOCUMENTARY
Bethany Hamilton: Unstoppable (Entertainment Studios)
Diego Maradona (HBO)
Maiden (Sony Pictures Classics)
Rodman: For Better or Worse (ESPN)
The Spy Behind Home Plate (Ciesla Foundation)
What’s My Name: Muhammad Ali (HBO)
MOST INNOVATIVE DOCUMENTARY
Aquarela (Sony Pictures Classics)
Cold Case Hammarskjöld (Magnolia)
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (Netflix)
Screwball (Greenwich)
Serendipity (Cohen Media)
They Shall Not Grow Old (Warner Bros.)
BEST SHORT DOCUMENTARY
The Chapel at the Border (Atlantic Documentaries)
(Director and Producer: Jeremy Raff)
Death Row Doctor (The New York Times Op-Docs)
(Director: Lauren Knapp)
In the Absence (Field of Vision)
(Director: Yi Seung-Jun. Producer: Gary Byung-Seok Kam)
Lost World
(Director and Producer: Kalyanee Mam. Producers: Adam Loften and Emmanuel Vaughan-Lee)
Mack Wrestles (ESPN)
(Directors and Producers: Taylor Hess and Erin Sanger. Producers: Erin Leyden and Gentry Kirby)
Period. End of Sentence. (Netflix)
(Director: Rayka Zehtabchi. Producers: Melissa Berton, Garrett K. Schiff and Lisa Taback)
The Polaroid Job (The New York Times Op-Docs)
(Director: Mike Plante)
Sam and the Plant Next Door (The Guardian)
(Director and Producer: Ömer Sami)
The Unconditional
(Director and Producer: Dave Adams. Producers: Adam Soltis, Renee Woodruff Adams, Josie Swantek Heitz, and Chris Tuss)
The Waiting Room (The Guardian)
(Director and Producer: Victoria Mapplebeck)
MOST COMPELLING LIVING SUBJECTS OF A DOCUMENTARY
Dr. Amani Ballor – The Cave (National Geographic)
David Crosby – David Crosby: Remember My Name (Sony Pictures Classics)
Tracy Edwards – Maiden (Sony Pictures Classics)
Imelda Marcos – The Kingmaker (Showtime)
Hatidze Muratova – Honeyland (Neon)
Alexandria Ocasio-Cortez, Amy Vilela, Cori Bush, and Paula Jean Swearengin – Knock Down the House (Netflix)
Linda Ronstadt – Linda Ronstadt: The Sound of My Voice (Greenwich)
Dr. Ruth Westheimer – Ask Dr. Ruth (Hulu)