What We Learned This Week: July 23-29

LESSON #1: ARE CHRISTOPHER NOLAN’S FILMS EMOTIONLESS?— The prolific and cerebral director of Dunkirk recently answered critics who have called his films “emotionless.”  They must have missed the sharp revenge of Memento, the stirring heroic feels of his Batman trilogy, the seething jealousy of The Prestige, the suspenseful mental weight of Inception, and the familial anguish of Interstellar.  Emotionless, my ass.  I’m afraid Dunkirk will be the challenge.  I don’t think it has the necessary emotional anchors, but my Feelin’ Film peers will say otherwise.  See it for yourself (on the biggest and loudest screen possible) and let us know what you think.

LESSON #2: NETFLIX IS AN EVOLVING ENIGMA FOR THE MOVIE BUSINESS— Speaking of Christopher Nolan, he recently made negative comments on Netflix’s strategy of simultaneous streaming and release windows that take away from theatrical films.  GQ recently collected a roundtable of directors (included Ava DuVernay, Edgar Wright, Jeff Nichols, and James Gunn) who “blew up Hollywood.”  That led many, especially the Nolan disciplines, to raise those anti-Netflix pitchforks we’ve been back and forth on all year in this column.  A voice of contrast came out at much the same time from A Ghost Story director David Lowery calling the behemoth hub a “service to the industry,” especially for mid-range independent film who don’t have a chance in the theatrical marketplace (especially against the likes of Nolan’s films and their backing).  I side with Lowery, and what’s good enough for Martin Scorsese is good enough for me.  I see more help than harm, and it’s still too soon to see the growing effects, positive or negative.

LESSON #3: PRICE POINT IS THE NUMBER ONE ISSUE OF FILM VIEWERSHIP— Echoing the first two lessons this week and a great thread on the Feelin’ Film Facebook group, this whole audience problem comes down to money, plain and simple.  A family of four can get more content out of the recurring price of a Netflix subscription or more repeat viewing from the one-time-price DVD/Blu-ray disc purchase at Walmart than they would hauling everyone to the theater for tickets and concessions multiple times a year.  Add to that the substantially reduced prices for HD and Smart TVs compared to 10 or even 5 years ago.  While I fully endorse to the magic of the communal big screen experience, one would crazy not to see the price point logic and respect a smart household’s budgeting decisions.  It’s all about bang-for-your-buck and Netflix is winning that right now with content volume and ease of access.

LESSON #4: SOME FILMS DON’T BELONG IN SPACE— Bigger isn’t necessarily better, and how big is too big?  Space is too big.  I recently learned that answer when Fast and Furious series director F. Gary Gray said that a future sequel of the franchise that started with lowly car thieves in L.A. could be set in space.  WTF?!  Straining believability is fun and all, but that’s too much.  Has no one this century seen the Moonraker James Bond film?  Stop already.  Go back to Paul Walker’s sunset and be done.

LESSON #5: SOMEBODY TAKE JAMES CAMERON’S CRAZINESS AWAY— Apparently, James Cameron thinks he’s got another Terminator trilogy for the masses.  Come on, man.  While I respect the visual envelope-pushing and industry revolutionizing Cameron can perform, the man can be a quack as a writer.  That and, by the time he gets to this project for how slow he works, Arnold will be 100-years-old or we’ll all be dead.  Somebody shake this bad idea out of him and tell him to go finish Avatar 2 already.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

 

 

Episode 068: Dunkirk

War film? Rescue film? Horror film? Or all three? We tackle Christopher Nolan’s latest movie and discuss whether the film’s unique narrative structure and immersive sound were positives or negatives. We also try to answer what we think a Christopher Nolan movie is, which is no easy task. Nolan may be our favorite director but Dunkirk was an experience we had to linger on. We hope you enjoy as we talk our way through how the movie made us feel.

What We’ve Been Up To – 0:02:32

(Aaron –  Oats Studios)
(Patrick – 48-Hour Film Project Screenings)

Dunkirk Review – 0:19:14

The Connecting Point – 1:07:31

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What We Learned This Week: June 25-July 1

LESSON #1: DON’T BUY THE DOOM AND GLOOM PRETENTIOUS PEOPLE ARE PUTTING ON ROTTEN TOMATOES AND NETFLIX— It feels like every week someone wants to pit the fans versus the critics and forget that critics are fans too.  This week it was a piece in Forbes.  Let me put this as simple as I can.  Reviews don’t make people pull money out of their wallet.  Products of interest do.  The content always sells itself first.  The frosting of random measured approval is second.  I will continue to be in the “want a better RT score, make a better movie” camp.  As for Netflix, people are forgetting about the huge access it grants independent films and documentary films.  Films like Okja this week wouldn’t get a puncher’s chance at the crowded multiplexes in this country.  A platform like Netflix lets it be everywhere.  In addition to being that kind of pedestal, the ability for audience buzz through binge and repeat viewing is something a theater cannot improve for a film.

LESSON #2: IF YOU REALLY NEED A NEW PLACE TO READILY AND AFFORDABLY ACCESS FILMS, HEAD OVER TO YOUR LOCAL LIBRARY— I’m not an avid reader, but I still frequent my local library through my children.   Especially if your library is part of a larger county or state system of shared material, the completely free access to both popular and hard-to-find movies is outstanding.  Before you pay that Redbox price with a time limit, a 24-hour Video On Demand rental, or even a full subscription to something like Netflix, Hulu, or Filmstruck, consider what you can mine and discover for free.

LESSON #3: SOUNDTRACKS CAN MAKE A MOVIE— There are films with cool soundtracks and then there are cool films with cool soundtracks.  The trick is not just having a cool soundtrack but using it to its fullest extent as a supporting layer of a film.  No movie in recent memory does that better than Edgar Wright’s Baby Driver.  That film isn’t throwing obscure tracks and deep cuts in there for indie cred.  Each song is purposely piece of the storytelling and the effect is genius.  See and hear Baby Driver at your earliest convenience on the loudest movie screen you can find.

LESSON #4: LET DIRECTORS DIRECT— I encountered a great deal of double talk this week on many fronts that all talked about directors and led me to this lesson’s title.  First, The Beguiled‘s Sofia Coppola is getting flack for not including a slave character or addressing the politics of the Civil War in her auspicious remake landing in theaters this weekend.  Right off the bat, she’s the writer and director and deserves to make those calls for the vision she wants to create, period.  I’ve seen the film.  The slavery angle or more men are not what the film is missing.  Look at the material.  The “whiteness” is the part of the point.  Next, I don’t know what to make of the coming new direction of Warner Bros. under Toby Emmerich when it wants to avoid hiring “auteur directors who want final cut.”  Do they realize they just hired and leaned on Joss Whedon, who had that final cut trouble with Marvel, to save one of their films?  Do they not look back at their biggest critical successes this century and not see names like Clint Eastwood, Ben Affleck, and Christopher Nolan attached the end of the credits?  I get trimming budgets, but don’t clip the wings of the incredible people you’ve hired.  Tinker as a studio too far and people like Eastwood and Nolan are going to stop working with you and then you’ll get the “bad for business” label, Toby.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

 

What We Learned This Week: March 5-11

LESSON #1: THE SUCCESS RATE OF INDIE DIRECTORS STEPPING TO BLOCKBUSTERS IS IMPROVING— Other than Marc Webb stepping up from “(500) Days of Summer” to the ill-fated “Amazing Spider-Man” double bill and “Moon” director Duncan Jones bombing on “Warcraft,” the recent push of larger studios’ farming of indie directors to helm blockbusters have gone pretty successfully.   All of the greats started small (take Christopher Nolan going from “Memento” to Batman), but the trend is swelling lately.   Colin Treverrow turned “Safety Not Guaranteed” into “Jurassic World” and J.A. Bayona will be moving from “The Impossible” and “A Monster Calls” into the dinotastic sequel.  “The Kings of Summer” director Jordan Vogt-Roberts cashed up to “Kong: Skull Island.”  This list goes on and on, and 2017 is full of more.  Rian Johnson flips “Looper” for “Star Wars: The Last Jedi” and Taika Waititi goes from “Hunt for the Wilderpeople” for “Thor: Ragnarok.”  Jon Watts of “Cop Car” hopes to not pull a Marc Webb with “Spider-Man: Homecoming.”

LESSON #2: BIGGER IS BETTER— Speaking of “Kong: Skull Island,” the head honchos at Legendary Entertainment found the easiest and most irresistible route to selling a new Kong film: Make him bigger.   The powers that be have smacked an invisible label on the cinematic Cheez Whiz jar that reads “now bigger than ever,” jacking up the normally and plenty-imposing 25-foot gorilla into a gigantic 100-foot bipedal behemoth.  That changes everything when it comes to the monster’s capacity for destruction and man’s impossible chances of opposition.  Go see the film.  It’s a blast.

LESSON #3: KEEP AN EYE ON THE SXSW FILM FESTIVAL— For nine days and 125 features this month, Austin, Texas becomes the center of the independent film scene with the annual South by Southwest Film Festival that is starting to rival January’s Sundance Film Festival for exclusive films and a Hollywood-level red carpet.  This year, you’ll get the premieres of the latest films from Edgar Wright (“Baby Driver”), Terrance Malick (“Song to Song”), and Ben Wheatley (“Free Fire”).   SXSW’s merger of the arts is becoming a hot ticket with good gets.

LESSON #4: THE WHITEWASHED CASTING OUTRAGE IS STARTING TO SMARTEN STUDIOS UP— I think the combination of warranted complaints,  butthurt rants, and internet courage-fueled protests are starting to work.   Movie news reported this week that director Guy Ritchie will seek Middle Eastern lead performers for Disney’s live-action “Aladdin” re-imagining and Niki Caro looks to be doing the same for “Mulan.”   If you look past the animated curtain and beyond all of its inherent entertainment value, “Aladdin” is one of the worst perpetrators in film history for white-washing.  I’m intrigued to see something different and call these active attempts an initial victory towards improved diversity.

LESSON #5: LET’S MAKE UP A NEW WORD: “BRITWASHING”— Piggybacking from Lesson #4, race relations also have a national vs. international bend to them from time to time.  Samuel L. Jackson just stepped out in an interview to criticize the casting of black British actor Daniel Kaluuya to play an American African-American guy in “Get Out” and wonders about missed opportunities.  Honestly, the man isn’t wrong and, as I coin the term, “Britwashing” has been a quietly unsettling trend when you see the likes of Daniel Day-Lewis, Christian Bale, Henry Cavill, Andrew Garfield, Tom Holland, Benedict Cumberbatch, and David Oyelow playing real and fictional American heroes.  One has to wonder if there is a talent gap between the Brits and the Americans.  What do you think?  How do you feel about foreigners playing American figures and heroes?

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current President of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.