What We Learned this Week: New Year’s Resolutions for the Movie Industry in 2018

Plenty of regular everyday people make New Year’s Resolutions, but I think bigger entities, namely movie makers and movie moguls, need to make them too.  Annually, including this seventh edition, this is my absolute favorite editorial to write every year.  I have fun taking the movie industry to task for things they need to change.

Since last year, I feel like I’ve been writing a little bit of this every week all year over on the “What We Learned This Week” column contribution here on the Feelin’ Film Podcast website.  Readers and followers of that podcast and column will get my cadence.  I’m sarcastic, but I’m not the guy to take it to the false internet courage level of some Twitter troll.  This will be as forward as I get all year.

Some resolutions come true (a great deal of last year’s list is still relevant), while others get mentioned and reiterated every year. You would hope Hollywood would learn from those lessons going forward.  Alas, here we go again!  Enjoy!

1. Clean out your closets for good.

Without question, the most enormous and egregious issue to cross this industry this past year was the avalanche of sexual misconduct allegations leveled against big names, small names, and studio executives.  I know I’ve preached patience in a recent Feelin’ Film “soapbox” to plead with folks to be in the camp of “innocent until proven guilty” and not the other way around, in terms of letting these claims play out to proven guilt before burning careers to the ground.  That said, let these exposures continue to be moral napalm to clean out a dirty Hollywood.  Purge the skeletons from the closets in a string of ugly years, if that’s what it takes, to advance equality and fairness going forward.  Pass the matches.

2. Continue the “Year of the Woman” into the “Era of Women.”

Last year on this column, I celebrated female protagonists.  Despite the ugly headlines, 2017 was an incredible year for women going ever further to lead the charge in film behind the scenes as well.  If voters were vigilant enough, you could fill the upcoming Best Director Oscar field with 80% women, Patty Jenkins (Wonder Woman), Greta Gerwig (Lady Bird), Dee Rees (Mudbound), Sofia Coppola (The Beguiled), and the category wouldn’t lose an ounce of talent or respectability.  Much like #OscarsSoWhite sticking around through Moonlight last year, Hollywood has to do better than a one-year surge or knee-jerk olive branch.  Turn this banner year into a string of them worthy of being called an era.  These ladies and others have earned it.  Reward them as such with opportunity.

3. There is room for objective to go with the subjective.

I might be gunning fairly high-brow with this one where I might be wearing too much of my film critic hat to go with my movie fan t-shirt.  I get the general foundation where loving and enjoying movies will always be greatly subjective.  Too each their own, all day.  I get that.  However, maybe it’s the capacity of the school teacher in me, but if I’ve learned anything doing this film critic thing is that there is room for objective to go with the subjective when it comes to reacting to a film.  I’ve seen movies this year like A Ghost Story, mother!, and Call Me By Your Name that I do not find entertaining, per se, or contain content I don’t condone or agree with from the seat of my personal values.  When that occurs, I’ve learned to take a step back and recognize the goals those films and filmmakers were going for and find ways to respect them, and even commend them, even when I don’t like the finished products.  I think general audiences could try a form of this reflection on for size too.  I think if people took a breath, stepped back, and looked at something other than their own expectations for a film, they might see purposes other than some self-serving ones and we would have a whole bunch fewer rants and raves of negative hyperbole.

4. Make smarter trailers and less of them.

Stop giving away too much in a trailer.  There are films from this past year where the trailer gave away 80% of storylines.  Where’s the mystery?  Less is more.  Take Star Wars: The Last Jedi.  After Star Wars: The Force Awakens made over $900 million domestically two years ago, the sequel didn’t need the help of a lengthy trailer and could have sold itself on principle alone rather than a second trailer that even director Rian Johnson had to give a minor spoiler warning to.  Trailers like that aren’t worth it or necessary.  Between Star Wars: The Last Jedi and all the people who fussed about not getting an Avengers: Infinity War trailer until December, find some patience.  Trailer-makers, leave the audience wanting.  Make them wait.  Imagine the anticipation if there wasn’t a trailer for Star Wars: The Last Jedi or Avengers: Infinity War.  Imagine the frenzy and the payoff, not just on the screen, but on the bottom line of box office receipts.

5. Drown out the click bait with creativity.

One of my satisfactions from Star Wars: The Last Jedi was that it shook off two years worth of superfluous noise and the endless conjecture of silly fan theories and think pieces to surprise just about everyone by sticking to its creative guns to blaze its own trail, not one caving to unreasonable expectations.  How I know it worked is watching the butthurt backlash from the two weeks of people trying to disown the movie because it wasn’t what they thought it was going to be.  To the click bait crowd, Rian Johnson and company made THEIR movie, not YOUR movie.  That was the objective goal and it’s a shame people can’t respect that or the differences, and Star Wars: The Last Jedi was just one example of many.  Pushing anything else is entitlement and not anticipation.

6. Don’t let Disney’s head (or portfolio) get too big.

Last year on this annual editorial, one of my items read “Disney/Marvel, please pay Fox and Sony whatever they want to bring your universe under one roof.”  By golly, I didn’t think Disney was going to go even further that that to entirely buy 21st Century Fox.  Disney is playing Monopoly with more money and property than anyone else with a token on the game board.  Be wary and mindful of that power beyond the wish fulfillment of X-Men and Fantastic Four possibilities in the MCU.  Disney hasn’t been a saint this year with the blackout of critics from certain publications, shuffling and firing directors, price hikes for theater dividends, taking their ball to their own convention, pulling their content from Netflix (while buying controlling stake in Hulu Plus), arranging their own streaming service, and more.  Maintain healthy competition and watch out for that bullseye on your back, Sony.

7. While we’re talking about superheroes, scale them down a touch.

Superhero films are the hottest tickets in town.  You don’t have to necessarily have studios slow down the pace of the film releases, just the size of the films and stories.  The best superhero film this past year was Logan, which striped all the spectacle away and told essentially a modern western to become of the best-ever entries to the genre and further proof that R-rated options were viable as well.  Until the big swirling finale of special effects, Wonder Woman was nearly the same for leanness and importance.  The counterexamples are Justice League this year and X-Men: Apocalypse two years ago, where the storylines are becoming overstuffed and piling on in an effort to constantly top themselves.  Logan is proof you don’t need to do that.  Tell a single good story.  Lead up from small to big, instead of from big to bigger.  Build from small for a few films and then get to the massive Infinity War level events.  That rumored Matt Reeves Batman detective story can’t come soon enough instead of the next intergalactic throwdown.

8. Put more depth of heart and less dumb antics in family films.

I’m bringing this resolution back verbatim as a repeat from last year.  I hear people (one of them sounds like me) all the time saying how annoying and unintelligent the movie options are for kids and families, particularly in the live-action department.   In 2016, Pete’s Dragon and Queen of Katwe showed audiences that not everything had to be 90 minutes of animated noise, but neither took off as big hits.  This year, Beauty and the Beast was a ready-made blockbuster and Wonder is doing great this holiday season.  They give me hope.  I just wish more folks could have seen and discovered the heart of Wonderstruck this year like I did.  Keep the efforts coming.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  He is a proud member and one of the founders of the Chicago Independent Film Critics Circle.  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 FacebookTwitterMedium, and Creators Media.

 

 

Don’s Top 10 Films of 2017

The end of the year brings grading and reflection points for both the school teacher in me and the film critic.  Looking at the online Trapper Keeper portfolio called Every Movie has a Lesson, I published 126 full film reviews in 2017, topping last year’s 114 and setting a new high mark.  When I did my website’s first “10 Best” year-end list in 2011, that number was 53.  Humming along with press credentials, festival access, and being part of the Chicago Independent Film Critics Circle as a recognized awards-voting body, I can’t even remember what 53 feels like.

Even at 126, I feel like I left plenty of opportunities on the table living in a big market with a great reach of films.  For the purposes of a proper “10 Best” list, short of not making it to The Disaster ArtistMudbound, and Molly’s Game quite yet, I feel sound about 2017 and have no problem calling it a fair to middling year.  By this teacher’s math and reflection, 2017 < 2016 < 2015.  Give me the likes of SicarioCreedBrooklynSpotlightRoomLa La LandJackieMoonlightA Monster Calls, and more compared to most of the 20 films listed below.

Focusing back to now, only three of my “so far” picks from this past June made the final ten this year.  Here’s my definitive list.  True to my website’s specialty, each film will be paired with its best life lesson.  Enjoy!

THE 10 BEST FILMS OF 2017 AND THEIR LESSONS

1. LADY BIRD

This was like watching a no-doubt home run off the bat of a muscle-bound slugger fly over the stands and out of the park.  Like that home run crack, Lady Bird’s effect was unmistakable.  I knew it as soon as film made contact.  From that opening car ride argument between surefire future Oscar nominees (if not eventual winners) Saoirse Ronan and Laurie Metcalf, Lady Bird was going for something reinvigorated conventions and oxymoronic cadences with the coming-of-age film framework.  (full review)

BEST LESSON: PUNCHY WHIMSY— All of Lady Bird’s conflicts and clashes build to swelling peaks of emotion and legitimate feels.  Gerwig’s film is one heck of a debut and shows that a good cry and awkward laughs do go together when assembled with truth and care.  When it hits, my goodness, it hits.  When it charms, by golly, it charms.  Few films this year can tout such towering achievements of writing and performance to create such a genuinely satisfying experience.


2. I, TONYA

In a fierce performance, Margot Robbie proves without a shadow of a doubt that she is a talented actress beyond her bombshell looks.  From the director of Lars and the Real Girl and the writer of Stepmom (I know right?), the dark comedy, pushed often by Allison Janney’s Oscar-worthy rants, fuels an unconventional sports film and true story American dream saga with kinetic sizzle.  It’s the wildest and brashest film I saw this year.  (full review)

BEST LESSON: EVERYONE MIGHT BE TELLING THEIR TRUTH, BUT NO ONE IS TELLING THE REAL TRUTH–The true merriment of I, Tonya is the trying to sniff out the bullsh-it.  Many of us remember witnessing the tabloid history unfold on television before our very shocked and captivated eyes in a era before the 24-hour news cycle.  Even know the fate of the characters, this film’s spin of such events will glue you to the screen preparing for the suspense of possibly observing a few chapters of “what really happened.”  Who’s right and who is full of it?


3. WONDERSTRUCK

From what I can tell viewing the year-end lists of fellow critics, this one is going to be a unconventional choice and I don’t care.  I see a great deal of perfection in the whimsy and introspection of Wonderstruck.  Artful to no end, I cannot help but compliment the care and consideration given to the Brain Selznick source material from a skilled filmmaker like Todd Haynes stepping into PG material in a manner as impressive as Scorsese doing Hugo.  In a landscape where people are craving rich and compelling films for family audiences instead of mindless animated entertainment, I adored what this film accomplished. (full review)

BEST LESSON: THE MAJESTY OF MUSEUMS— Both in the novel and in film form, Wonderstruck is a love letter to museums, their history, and their continuing presence as authentic experiences.  It starts with one person gathering a collection of interest, a “cabinet of wonder” if you will be that in a single room or an expansive complex, and deciding to share it with a larger audience.  In the present-day of Google, Wikipedia, content apps, and innumerable virtual experiences, there should always be a place for the tangible and real wonders right before our eyes in museums.  Calling them magical is not enough and calling them antiquated should be a compliment and not a slight.


4. WAR FOR THE PLANET OF THE APES

The closing chapter of what has quietly become one of the best film trilogies of all-time (it’s that good as a sum total) elevated the impressive soaring themes, blockbuster action, and the performance-capture brilliance of Andy Serkis that have enraptured myself and many others.  Serkis, present and emoting in every scene behind the finished special effects, deserves the Oscar for Best Actor even if he doesn’t stand a chance against the stigmas towards the technology.  No film this year hit me the full roller coaster of feels like this one, from heart-stopping thrills to blubbering tears.  (full review)

BEST LESSON: APES AND HUMANS HAVE MORE SIMILARITIES THAN WE ALL REALIZE— Due to the increases in peril and consequences, this is a repeated lesson from Dawn of the Planet of the Apes that is cemented even further in this third film.  Both primate species love their families, cling to their homes, and possess tangible feelings and emotions that drive their actions and personalities.  “Humanity” doesn’t have exclusivity to those behaviors in this fictional world anymore.


5. THE BIG SICK

The Big Sick, written and inspired by the real-life duo of Emily V. Gordon and leading man Kumail Nanjiani, offers wide hopes that smart romantic comedies are still possible since their 1990s hey-day and that they don’t require man-child actors and full-on toilet humor.  When people have asked me this past year for a no-doubt winning movie suggestion or hidden gem to entertain them for any occasion, The Big Sick has been my top recommendation for its maturity and humor while still carrying the right heft of drama to keep it honest.  In my eyes, this was the best screenplay of the year and I hope the Oscars notice.  (full review)

BEST LESSON: FIND SOMEONE YOU CAN BE OVERWHELMED BY— This lesson is going to sound like one of those “find someone who looks at you the way so-and-so looks at such-and-such” memes, but captivating ga-ga devotion is a real draw.  The film uses the word “overwhelm” when it talks about measuring such love and it couldn’t be more spot-on advice.  Love has its own rules and it’s just as hard to keep as it is to earn.


6. LUCKY

The directorial debut of character actor John Carroll Lynch stands on this list as the “Little Engine That Could.”  Far from a blockbuster and puffed with zero muscles for Oscar bait on the 90-year-old frame of its star Harry Dean Stanton, Lucky is a straight-shooter of writing and performance brilliance to make cantankerous endearing.  In different hands, this would be a Coen brothers quirk-fest or a Grumpy Old Men farce.  Instead, Lucky plainly might have the most heart of any film on this list, and that’s saying something.  (full review)

BEST LESSON: ACCEPTING MORTALITY— Nothing is permanent and the biggest truth to be told is the finality of the human condition.  No matter the level of your faith or depth of character, misgivings about your own ephemerality are inevitable feelings we all share.  We would all be so “lucky” to reach our nineties to have that revelation.


DF-13002 – Hugh Jackman stars as Logan/Wolverine in LOGAN. Photo Credit: Ben Rothstein.

7. LOGAN

Sharply shrinking the comic book genre’s towering current scale down to the marrow inside of its bones, James Mangold’s Logan nails the western motifs to make one of the best comic book films of all-time.  For me, this movie is like what young songstress Ella Mae Brown did to slow down with Bonnie Tyler’s 80s classic “Holding Out for a Hero” a few years ago.  This is energy boiled down to bold substance, making something rightly stoic as the conclusion for Hugh Jackman’s lovable anti-hero.  (full review)

BEST LESSON: THE POWERFUL NEED FOR FATHER FIGURES— Loganopenly creates a parallel with 1953’s seminal western classic Shane and it is an ideal thematic pairing.  Alan Ladd’s reluctant gunfighter and Jackman’s Wolverine embody the fight for the defenseless as well as the influential father figure role of this lesson.  Laura is another Little Joe and but one more person Logan leaves a positive mark on in his world.  Tales may be written on the actions of heroes, but the personal connections they build and leave behind are where the real legend lies.


8. THE FLORIDA PROJECT

Sean Baker’s sprightly dose of youthful fantasy mixing with socioeconomic reality was one of the few times I’ve ever gone back to a review and changed my rating after some thoughtful reflection.  This film went from a four-star film to a five-star one on the strength of the impact of that aforementioned storytelling and emotional mix.  The level of empathy stoked by this film’s fire is off the charts and I cannot help but respect that.  (full review)

BEST LESSON: THE CAPACITY TO FEEL EMPATHY— The crucial emotional response The Florida Project demands of its viewers is empathy.  If you can’t find that, if you turn your nose, close your eyes, and refuse to accept that this kind of American lifestyle exists, you are missing the hard truths, the teachable moments, and the larger points being presented.  Become compassionate enough to remove the negative prefixes from Mother Teresa’s quote of “unwanted, unloved and uncared for” when it comes to addressing poverty.  Take her advice and start in your own home and community.


9. PHANTOM THREAD

Five years ago, after beating my head senseless over the pretentiousness of The Master, if you would have told me I would have a Paul Thomas Anderson film in my “10 Best,” I would have said you were nuts and wondered how the sequel to Boogie Nights could have been achieved.  Yet, here we are and Phantom Thread is the real deal.  Exquisitely crafted and intensely nuanced, I was impressed like I’ve rarely been.  If this the last ride of Daniel Day-Lewis, he leaves us with a gem. (full review)

BEST LESSON: “WHATEVER YOU DO, DO IT CAREFULLY”— This quote from Lewis’s Reynolds, the peak of the film’s trailer, sent in the direction of his new muse could be echoed in dozens of aspects of one’s life.  Mundane activities could become effective and even artful with an extra level of paid care and consideration.  At the same time, there is an unsettling level to that rigidity.  Often there is a missing flexibility to perfectionist who cannot get over themselves or adjust their idiosyncrasies.


10. LOVING VINCENT

In terms of sheer creation of a finished piece, Loving Vincent might be the most miraculous film of the year and greatest technical achievement as the first entire oil-painted feature-length animated film.  125 painters combined their efforts on over 65,000 canvases shot on film to create this incredible achievement.  Beyond the art, the enriching whodunit drama of investigating the final days of Vincent Van Gogh backed by Clint Mansell’s rich musical score create storytelling worthy of all the work. (full review)

BEST LESSON: INTERPRETING AN ARTIST— Subjected to ridicule and criticism from a young age to his last, Van Gogh’s talent and purpose were always questioned before the established reverence that followed his death.  Another Van Gogh quote in the film reads “We cannot speak other than by our paintings.” Sometimes artists are not peaceful souls.  The few people that did realize his greatness in the moment were not enough to save his.


HONORABLE MENTION:

NOT YET

When I can, I dip my toe into the world of short films and I’m beginning to love the art form and the efficiency of its skill.  Merely scratching the surface of this form of film medium, among the handful I saw and reviewed this year, Not Yet was a five-star gem.  Picture one of those expressive and imaginary Pixar shorts that open their films and apply live-action human emotion to it  That will give you a taste of Not Yet.  My full review has a link to the short for you to see for yourself.  I promise nothing but smiles.

BEST LESSON: THE IMMENSE CHALLENGES OF CHEERING SOMEONE UP— Some folks are tough nuts to crack in the cheer department.  Add the physical drain and toll of illness into that equation of happiness and the challenge is even greater.  Self-deprecating humor in this situation often works in spades, but there’s one action that’s even better: Love.  In Not Yet, you have a man that unabashedly loves his wife with every ounce of willingness and companionship.  Love always wins the best cheers.


THE NEXT BEST TEN:

11. Wonder

12. All the Money in the World

13. Get Out

14. The Shape of Water

15. Princess Cyd

16. Baby Driver

17. Wind River

18. Battle of the Sexes

19. Stronger

20. Darkest Hour


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  He is a proud member and one of the founders of the Chicago Independent Film Critics Circle.  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 FacebookTwitterMedium, and Creators Media.

What We Learned This Week: December 10-16

LESSON #1: $54 BILLION DOLLARS IS AN ASTRONOMICAL AMOUNT OF MONEY— The huge Disney/Fox deal that has been rumored finally became official on Thursday.  If you thought the two $4 billion deals Disney paid years ago for Marvel Comics and LucasFilm properties was high, the price tag on this one is enormous, but consider the prizes being the list of holdings coming over in this merger (see the article).  As before in this column, I get the fanboy dreams possible with this (see the character rights breakdown picture below), but I am going to miss the separation of history.  Here’s a good article of the 102-history of Fox.  I remain questioning whether this really is a good thing.

LESSON #2: YOUR R-RATED DEADPOOL WILL BE FINE UNDER THE DISNEY UMBRELLA— Disney CEO Bob Iger already answered one fan uproar after the merger with a statement on the fate of R-rated content like Deadpool coming over form Fox.  His final line was “As long as we let the audiences know what’s coming, we think we can manage that fine.”  People forget Walt Disney used to own the Dimension Films brand from 1993-1999 responsible for films like From Dusk Till Dawn and the Scream franchise.  All Iger and company have to do is create another production shingle under another name just like Dimension.  Hell, just call it 20th Century Fox.  Easy peasy!  Disney’s not going to say no to hit-making money.

LESSON #3: THE GOLDEN GLOBE AWARDS REMAIN AN ABSOLUTE JOKE— This is becoming a yearly rant, but so many of the Golden Globe nominations announced Monday reek of questionable voting, taste, and any semblance of intelligence.  Snubs happen with any awards, but there’s are always more dumbfounding.    The Hollywood Foreign Press never seem to get the category split between comedy and drama right in a believable way.  Zero comedy love for The Big Sick?  No women directors?  Come on.  We’ve always heard the hints that this is a pay-for-play popularity contest for foreign press to throw a party to see and be seen.  I’ve just about stopped watching them altogether.  Still, as always, their winners senselessly affect Oscar races and it stinks.

LESSON #4: SOME FILMS HAVE NOT AGED WELL— I’ve been meaning to do some retrospectives this year since this is the 20th year since I graduated high school in 1997.  This past week, I charted my reflective “10 Best” of 1997 and several other lists and categories on Every Movie Has a Lesson.  The topic came to mind of what films have aged well or poorly over time.  I certainly had some films from 1997 that went down in love and appreciation for me in twenty years.  ScreenRant recently did a piece on the topic and made some great picks.  What are some films that have not aged well for you?  What are some films you liked long ago but have changed your mind on now?  Comment and let’s hear some thoughts and titles.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  He is a proud member and one of the founders of the Chicago Independent Film Critics Circle.  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 FacebookTwitterMedium, and Creators Media.

 

 

What We Learned This Week: December 7th “Soapbox Special”

THIS SPECIAL “SOAPBOX SPECIAL” IS A LESSON TOPIC THAT IS LENGTHY ENOUGH TO BE ITS OWN EDITORIAL.  THIS ONE IS GOING TO TAKE A BIT TO SPELL OUT.  HERE GOES.  COME AT ME, BRO!

LESSON #1: IF YOU MADE A LIST OF ALL THE FILMS TO BOYCOTT BECAUSE OF PEOPLE WITH UNCLEAN RECORDS AND REPUTATIONS (FOR WHATEVER REASON), YOU WOULDN’T HAVE MANY FILMS LEFT TO WATCH— The arrival of Woody Allen’s latest film Wonder Wheel brought on an editorial over on RogerEbert.com written by Olivia Collette entitled “Why I Stopped Watching Woody Allen Movies.”  I feel like this sentiment comes around each year and with each new Allen film, yet the narrative doesn’t change.  People talk of boycotting his films, yet here he is still making films on an annual basis in his 80s.   Maybe his checkered history is amplified even more this time around by the recent epidemic wave of attention being given to the seemingly endless sexually-centered wrongdoings in Hollywood.

Even so, I hate to tell you this, but Woody Allen’s talent is not moot or erased by his transgressions.  His films still exist and are worthy of their regard.  He still wins awards and people flock to work with him because, bad person or not, the man is one of the greatest to ever gaze through a camera and yell “action” and “cut.”  This isn’t old baseball record book behaviors.  Annie Hall, Midnight in Paris, and any other respected Woody Allen film don’t carry asterisks because they were made by “he who must not be named or celebrated.”  The work should and does speak for itself.

The very same goes for any of the names that have been mentioned this year or those from decades past that didn’t get the ferocity of today’s news cycle headlines. Go look up the skeletons in the closet of Errol Flynn, Clark Gable, Cary Grant, Alfred Hitchcock, or any other of the forgotten scandals from this Ranker list.  They did plenty that would break the internet if it happened today.  Formerly recent names like Allen, Bill Cosby, Tom Cruise, Sean Penn, Roman Polanski, Mel Gibson, and more have well-documented histories that have had their attached hate subside to some degree with time.  Hell, Gibson was a multiple Oscar nominee last year with Hacksaw Ridge.  Ignoring how many of this new rumors ever end up with guilty sentences and substantiated claims and how many don’t, will time soothe the reputations of new names like Harvey Weinstein, Casey Affleck, Kevin Spacey, Louis C.K., and others?

Current and short-sighted torch-carrying folks, fueled by all of this news cycle and Twitterverse of newly surfaced rumors and claims, seem to want to ignore and/or remove all of the work done by these new names.  Just look at what’s happening to Kevin Spacey.  When the current generation does that to Spacey and does not do the same to any of those aforementioned names of yesteryear who did more and plenty worse, I find them to be absolute hypocrites.  If you’re going to feign concern for social justice and make those selective lists to boycott, be complete about it.  Execute real integrity.   Turn back the hands of time and add everyone.  If you’re not going to do that, then don’t make the list at all, because a selective one just looks preachy and petty.

This is where the title of the lesson/rant comes in.  If you took away every actor or actress that (*pick the laundry list sin item that irks your armchair sensibilities*) ever used illegal drugs, got a DUI, committed homosexual or heterosexual adultery, had a child out of wedlock, had an abortion, married multiple times with or without proper annulment or divorce, committed a crime of physical or verbal assault/abuse, or acted in a derogatory way to a person of differing race, gender, or orientation, you wouldn’t have many people left, period.  If you truly don’t condone all of that, then you shouldn’t be watching movies or TV shows.  This lesson applies to athletes too.  They makes millions because people pay millions for their work.  That doesn’t mean they are better or worth idolizing in a warped way.

I, for one, have made it a point, going back to the beginning of my love and work with movies two decades ago, to strongly and consistently separate the public persona from their work and craft.  They are two entirely different things to judge.  The films are inanimate and subjective pieces of art and entertainment to judge.  The same cannot be done with people.  Those are different judgments that, frankly, are rarely ours to pass.

We hardly ever hear or learn of the whole story behind any of these rumors, so any definitive judgment from us would be incomplete and irrational.  That said, audiences and fans are allowed to make choices and preferences from the information they know or think they know.  That’s fine.  Be a selective consumer.  Be an informed fan as best that you can.  Have discerning taste suitable for your comfort levels.  All of that is fair, but we are not in charge of their courtrooms, boardrooms, bedrooms, spouses, or places of worship where real judgment takes place.  We’re outside of that and we should stay outside of that.  You wouldn’t want someone passing incomplete judgment on you, so don’t do it to strangers you blindly placed on entertainment pedestals.

To outline examples of my mentality, I can dislike Tom Cruise’s beliefs and still enjoy a Tom Cruise film with no reservations because it’s about the work and not the person when the lights go down and the movie starts.  I can never remove Kevin Spacey or O.J. Simpson from the movies I watch and enjoy.  I will have Alfred Hitchcock films on my all-time best lists without hesitation or a second thought because the films deserve those merits even if the man behind them doesn’t.  If anything, their places and appearances become a reminder and a time capsule for a woulda-coulda-shoulda cautionary tale.  If we are really going to reflect on the individual acts of wrong, learn something, grow from observing these mistakes, that’s how those defamed people should be looked at and remain in Hollywood history.

I highly encourage others to seek or at least entertain the same.  Separate the person from the art.  Open your mind to more objective rationales.  If you can’t, then you can’t.  Everyone has their limits and I get that, but there is a point where you’re doing the medium a disservice to think you can ignore talent and achievement.

Where do we go with this?  Last month on this column, I shared that sadness and disappointment should be among the first emotions that arrive well before outrage and judgment when these shocking claims and stories come to light.  I made that my universal stance statement to purposefully choose to stand on a shorter and calmer soapbox.  In that same column, I expanded on Feelin’ Film co-founder Aaron White’s discussion thread question of “at what point do we require more than just an allegation to ruin someone’s life forever?”  I echoed his mentality to properly practice “innocent until proven guilty” and not the other way around.

Empathy and patience need to be preached, especially if those accused and even those that have been proven guilty have sought contrition or have paid whatever proper price was assigned for their mistakes and/or crimes.  A way to do that concretely and consistently is to separate the person from the work.  You then bring the right respect and reflection to the art and become part of the healing, not the hurt.  Try it.  I think you’ll feel better.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  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 FacebookTwitterMedium, and Creators Media.

What We Learned This Week: November 19-27- Thanksgiving Hangover Edition

Folks, holidays off of work will derail any routines you have, be it parenting or writing and publishing film reviews and online content.  I had a week and my world went lazy in a happy and welcome hurry.  Super-sized to match our post-Thanksgiving “muffintop” bellies, here’s a late edition of “What We Learned This Week!”


LESSON #1: YOU REALLY NEED TO SEE LADY BIRD— There is a five-star and potential best-of-2017 film sitting right under your noses with Greta Gerwig’s Lady Bird.  My review glows like the California sun and you will find much more like it from my peers on Feelin’ Film and the pros on Rotten Tomatoes. In fact, take a look at this distinction, one even greater than the RT buzz given to Get Out‘s high score earlier this year:

LESSON #2: WHILE YOU’RE AT IT, GO SEE WONDER TOO— So often, we ask where are the quality family films in this current Hollywood marketplace.  I can’t be the only parent out there who asks for something better than made-for-TV ABC Family and Hallmark channel movies and the endless string of mindless noise coming out of blockbusters like MinionsSing, and etc.  Disney scaling things down with Pete’s Dragon and The Queen of Katwe last year gave me hope that a legitimate live-action family film could still be made and be mildly successful.  Wonder is that exceeding hope this year.  Its messages are virtuous and heartwarming.  Add Stephen Chbosky’s film to your shortlist for holiday viewing.  It’s a keeper.

LESSON #3: SPEND EXTRA TIME IN THE LOBBY, BATHROOM, TRAFFIC, OR AT DINNER BEFORE SEEING COCO (BUT DON’T FORGET TO STILL SEE COCO)— Disney/Pixar’s Coco is another family-friendly keeper right there with Wonder, but the animated “short” before it the opposite.  I don’t know about you, but I was done with Frozen when it came out.  Subjecting a (hopefully) diverse family audience to 21 minutes of repetitive Olaf silliness on top of previews and other advertisements before a hearty and heavy 109-minute film is too much.  Dear Disney, save that crap for your own TV channel and future streaming service.  Dear Pixar, we come to a Pixar film for your brand of superior original shorts, not Disney’s extra product placement.  Future Coco audiences, use article guide from Slate to calculate how much time to stall and cut right to the feature.

LESSON #4: BE MINDFUL OF WHO IS IN BED WITH WHO WHEN IT COMES TO THE BUSINESS OF HOLLYWOOD— Rotten Tomatoes was applauded before the release of Justice League for its stance to hold its first official rating designation until the opening day of Friday, four days after publication embargoes for critics ended that Tuesday.  It was seen as a move of patience and a step in the right direction away from the immediacy of rash judgment.  When you learn Warner Bros. owns Flixster, the parent company of Rotten Tomatoes, you might realize it was a selfish move of shielding flack instead of championing temperance.  Let me continue to join many other voices, including this great piece from Hype, begging for the general public to loosen their obsession with the broken math of Rotten Tomatoes.  Find critics you trust and appreciate and separate from the pack mentality of pitchforks and/or circle jerks.

LESSON #5: YOU GET WHAT YOU GET WITH JUSTICE LEAGUE— I’d love a Zach Snyder or Joss Whedon “director’s cut” (hell, even both) of Justice League, but conflicting reports make it sound like it can’t or won’t happen.  No matter what, too many folks play amateur armchair film editors.  If we get a bonus, that’s great.  If we don’t, take what the film gives you.

LESSON #6: SPEAKING OF SUPERHEROES, IT’S TIME FOR EVEN MORE DIVERSITY REPRESENTATION— Seeing the strength of the Amazons in Wonder Woman and Justice League as well as the badassery of Tessa Thompson’s Valkyrie in Thor: Ragnarok, it’s time additional diversity in comic book films.  This Collider column and list lay out six places inclusion of LGBTQ characters could have been made and it’s a good blueprint for more.  Heck, just start with women in general, let alone the other special demographics of the acronym.  The Guardian recently outlined a primer for a full “women’s canon” foundation.  It’s impressive.    Let’s see Hollywood continue to get progressive and build on the good starts and new energy.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  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: November 5-11

LESSON #1: SADNESS AND DISAPPOINTMENT SHOULD BE AMONG THE FIRST EMOTIONS EMERGING FROM UNEARTHED SECRETS— Let me just start this whirlwind week to state what will be my universal stance.   I choose to stand on a shorter and calmer soapbox than others on the topic of revealed allegations of sexual misconduct that are popping up all over.   I choose to speak to something different than the immediate damning outrage and knee-jerk reactions that are becoming the norm with these headlines.  When these headlines arrive, from Kevin Spacey to George Takei, my first emotions are not anger.  They are sadness and disappointment.  I am sad that a person whose talent I recognize and work I admire and respect is now being torn down by their potential mistakes.  Even larger than the sadness is my disappointment in common people and their uninformed hot-takes that pile on top of allegations and not facts.  More on that comes in Lesson #2.

LESSON #2: WHERE ARE THE LIMITS?— A great deal of Lesson #1 echoes a fantastic Facebook discussion thread started by Feelin’ Film co-founder Aaron White this week.  It asked the essential question: “…at what point do we require more than just an allegation to ruin someone’s life forever?”  I will always be an “innocent until proven guilty” believer.  I don’t condone the content of the claims, but I refuse to label people until the label is proven to be proper.  However, I fear we have a majority society that reverses it to “guilty until proven innocent” with no basis, conscience, or respect.  I’m beginning to hate that lack of empathy and patience in people, from the clickbait press on down to trolls on Twitter.  When someone is found to be innocent, how willing will a public be to move on and let that previous hate and disdain go?

LESSON #3: THERE MAY NOT BE A BOTTOM TO THIS PIT— This might sound overly obtuse, but sexual harassment and misconduct is nothing new.  Expect more names and confessions for years.  That’s how alarmingly pervasive the behaviors have been.  For example (forgive the Fox News link) actress Maureen O’Hara was brave enough 70 years ago to try and get her story and voice heard on potential crimes committed and it created career consequences.  If you talked, even in truth, you lost your standing.  What is new is the ability of the public to listen and the landscape becoming more progressive to seek the proper justice, and that remains a very good global change.  The guilty deserve the consequences coming to them, but, again, let’s establish that guilt first.

LESSON #4: RESPECT AND SEEK CONTRITION—  Circle back to Lesson #2 for a seed in this next lesson.  Is there ever a good way to admit or reveal these mistakes?  What would happen if an actor or actress came forward on their own and admitted past mistakes before a story of allegations broke?  How much of a career suicide would that be?  More importantly, would you respect such honesty?  That’s where my sadness and disappointment and patience for innocence becomes a heart that respects those that seek contrition.  I think that’s huge and a step to a level of forgiveness that other folks aren’t willing to seek while they tweet and judge. Of all people, Louis C.K.’s admissions this week were really something.  Again, I can’t condone the behavior he admits, but I can respect his honesty and attempt at contrition.  I call that more positive than most of the ways these stories are spiraling out of control and temperament.

LESSON #5: THE BOTTOM LINE STILL MATTERS MORE THAN IT SHOULD— Social media can have their flag-waving moments of championing this entire cause of stomping out the atmosphere where harassment and misconduct are no longer accepted.  But make no mistake, the studios and corporations care about that flag-waving unity a distant second to the almighty bottom line.  They can say replacing Kevin Spacey with Christopher Plummer in Ridley Scott’s All the Money in the World is for the right reasons, but what they are really trying to do is save a costly project from getting a bloodbath haircut from box office protests.  They’re willing to spend millions in order to renew attention, save face, and, more selfishly important, save more millions.

LESSON #6: DISNEY IS NOT AFRAID TO THROW MONEY AND CLOUT AROUND— Disney has spent billions in the past to buy the worlds of Marvel and LucasFilm and has banked even more billions because of those properties.  With an air of “if you can’t beat them, buy them,” Disney has engaged business talks to flat out buy the majority of 21st Century Fox.  Fanboys go straight the dream of seeing the worlds of X-Men and The Fantastic Four welcomed into the MCU.  They miss what could lead to the erasure of 80+ years of proud studio history.  Put caution with the coolness of this.

LESSON #7: IN ADDITION, DISNEY IS GREEDY— As mentioned in this column earlier this year, theater companies are reeling.  AMC is losing a fortune and Regal is desperate to raise prices to cover box office bombs.  Yet, here comes Disney with an unprecedented profit grab focused on securing their take of Star Wars: The Last Jedi.  Read the details here.  Sure, Disney has the product everyone wants, but it’s the theaters that bring them in and sell the tickets.  This should be a partnership, not a dictatorship.

LESSON #8: DON’T F–K WITH JOURNALISTS— Speaking of studio bullying and big-wig hubris, even the supposedly unstoppable and untouchable Walt Disney Company can lose a staring contest with the First Amendment and public pressure.  After blacking out L.A. Weekly from screenings in retaliation to some previous bad press, several critics groups united to disqualify Disney properties from their upcoming year-end awards to back their fellow journalists.  The display of justified critical brotherhood drummed up the right public support.  Disney blinked and lifted its sanctions.  I guess like Midas, they can’t resist the urge for gold. Let that be a lesson to the big-wigs.  You can’t silence the newsmakers.

LESSON #9: DON’T COUNT YOUR CHICKENS BEFORE THEY ARE HATCHED— Universal Studios threw a whole of bunch of money and hullabaloo at their “Dark Universe.”  They secured high-end talent and made big plans, but forgot one thing we mentioned earlier: the almighty bottom line.  These plans and projects have to sell.  Tom Cruise’s The Mummy vehicle bombed at the box office and was ravaged with bad reviews.  Now, mutiple levels of sunk costs are lost and Universal has pulled the plug.  Studios, take your time and let connections grow organically.  Start small and pace yourself.

LESSON #10: LUCKILY, RIAN JOHNSON MADE OUR WEEK— This week has seen plenty of hate sent in Disney’s direction and endless scandal.  One really nice story of good news to come out of Disney, especially considering their recent string of disposable directors, was to hear that they are empowering Star War: The Last Jedi and Looper director Rian Johnson to create a new Star Wars series trilogy with original stories and characters away from the Skywalker/Solo universe.  In a day and age where many of us call out all of the sequels and remakes, something fresh applied to a big property is an exciting step.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  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: October 8-14

LESSON #1: THE PREVALENCE OF HARASSMENT IS WORSE THAN WE THINK IT IS— The Harvey Weinstein allegations just keep getting worse with every new name that comes forward and every new story that comes to life.  The word “rape” is now being dropped and that’s a new level of seriousness.  I’m reading many comments on threads that will state “I’m not surprised,” but saying that (and I’m guilty too) slightly lowers the level of necessary outrage.  This stuff has been tossed aside too long.  It’s not the time for more dismissiveness or shoulder shrugs.  It’s time to expose this in each place (including Screen Junkies) and stomp it out.

LESSON #2: OUR FOUNDER/HOST AARON WHITE SPEAKS FOR ME AND OTHER FATHERS ON THIS TOPIC— I had to get my “preach” emoji out for Aaron yesterday on Facebook.  I’m going to quote his post verbatim:

Apparently, it’s not okay for a Dad to reference his daughters when condemning sexual abuse. Newsflash: people will ALWAYS relate to something through that which is closest to them. We’re not somehow less against sexual abuse because having a daughter made it more real for us. Sick of the generalizing and judging going on.

Aaron, I couldn’t agree more and guys like Matt Damon don’t deserve the crap they’re getting in the wake of Weinstein.  Bravo, boss!

LESSON #3: MANY CLASSICS BEGAN AS FLOPS.  WILL THAT BE BLADE RUNNER 2049 OR MOTHER! WHEN WE LOOK BACK AT 2017— Martin Scorsese recently celebrated Darren Aronofsky’s mother! and referenced it next to classics like The Wizard of Oz, It’s a Wonderful Life, and Vertigo that started as misunderstand and maligned disappointments.  The much-hyped Blade Runner 2049 is looking like it’s going to follow the trajectory of its predecessor as a niche favorite and not an instant blockbuster.  As the expression goes, time will tell and it happens every year.  Big hits can become more like also-rans as they age and devoted fans and experts can come to create a cult classic.  Which 2017 films will pass the test of time and become classics?


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: October 1-7

LESSON #1: THERE ARE LIKELY MORE SKELETONS IN MORE CLOSETS THAN WE WILL EVER KNOW— Last year, it was the allegations surrounding Casey Affleck.  Last week was the culmination of old indiscretions from Ain’t It Cool News and Alamo Drafthouse.  This week, it’s the unearthed disgusting behavior from mega-producer Harvey Weinstein.  I wish this story would be the last on the topic of unchecked sexual harassment, but I think any law of averages from any statistical measure will tell us this is the tip of an iceberg and not the finale.  I’ll repeat my plea from last week to remove the silence and dish out the overdue consequences.

LESSON #2: HARRY DEAN STANTON DESERVES TO WIN THE THIRD POSTHUMOUS ACTING OSCAR EVER AWARDED— You can call Lucky a capstone, a eulogy, or whatever you want, but the late Harry Dean Stanton deserved serious Oscar consideration for Best Actor even before his death.  His legend will only grow with the public seeing the film. Starkly present in both the character and the actor himself, every wrinkle hides a layer, a story to be told, or a touchstone to an unseen memory. You cannot stare deep enough into his sullen eyes without being captivated by his plight.

LESSON #3: THE MONEY PEOPLE EARN MAKING A MOVIE— Mark me down as a guy who never knew how much the folks you see listed in the end credits of a film got paid.  We hear about the big paychecks of actors and directors, but rarely the “little people.”  Check out this article from TIME magazine. File this under the “You Learn Something Every Day” department.

LESSON #4: IS THE THEATRICAL PRODUCT GETTING SLOPPY?— I recently enjoyed the perspective written up by Sonny Bunch in The Washington Post.  I found the technical details behind projection, sound, and lights to be fascinating.  The more I think about my theatrical experiences every week, the more I see what Bunch is referring to.  Calling it a “scapegoat” to attendance I think is a little too strong, but discerning fans are right to expect and want better from their premium ticket prices.

LESSON #5: GEORGE CLOONEY IS TOO YOUNG TO BE GETTING LIFETIME ACHIEVEMENT AWARDS— The American Film Institute announced that George Clooney will be receiving their 46th Lifetime Achievement Award next June.  Mr. Clooney is only 56-years-old.  I don’t want to turn into Don “TMasterpiece” Shanahan, but George’s career is far from full or even complete.  Let’s put the “lifetime” in lifetime achievement awards.  The guy could work at the top of his game for another quarter-century.  Come back when the guy is 76 instead of 56.  Next thing you know, Jennifer Lawrence is going to win the thing before she turns 30.  Jeez!


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: September 24-30

LESSON #1: HARASSMENT SHOULD NOT BE TOLERATED AT ANY LEVEL IN THIS INDUSTRY— This lesson could also read “PERPETRATORS GET THEY DESERVE.”  The recent allegations surrounding the Austin-based Alamo Drafthouse and Ain’t It Cool News website are disturbing and troublesome.  I couldn’t be more pleased to see workplaces all around several industries clean up their acts and seek greater integrity.  These inequalities shouldn’t be silenced anymore.

LESSON #2: AMBIGUITY IS A POWERFUL DISCUSSION STARTER— I’ve seen Blade Runner 2049 and I can say that it hits with the same mystery and rich uncertainty that surrounds the 1982 original. When it’s silent, Blade Runner 2049 can infer volumes of connotations. When it speaks in its guarded circles of exposition, it conversely shields and misdirects its real secrets.  Diving into all of the possible interpretations is brilliance and fun.  In many ways, mother! did the same a few weeks ago.  While I’m here, Denis Villeneuve has become the modern artistic authority on cinematic intensity.  There’s nothing flat or flimsy about his work.

LESSON #3: TOM CRUISE IS STILL TOM CRUISE— I know plenty of people that won’t watch the man anymore because they disagree with who he is and what he values off-screen, but, at his workplace, Tom Cruise still has gung-ho charisma.  He’s 100% committed to his roles from pre-production to selling the hell out of them with exhausting international press coverage and public appearances.  American Made has a candor and sizzle that fits him perfectly without turning him into an indestructible superstar.  Bonus points go to Cruise being credited as a stunt pilot in the film.  Often, that’s him on the stick and that POV authenticity adds to the film.

LESSON #4: IS THE HONEYMOON PERIOD OVER FOR THE LEGO MOVIE FRANCHISE?— Plenty of films would kill for a $20 million dollar opening weekend frame, but when you’re sailing for the Warner Bros. flagship and bearing The LEGO Movie name, you have to do better than $20 million and a distant third place finish.  Is The LEGO Ninjago Movie an outlier or the first sign of ho-hum market over-saturation.  Is all forgotten if Chris Pratt’s Emmet or Will Arnett’s Batman come back with monster sequels to their blockbusters?  Probably, but the lesson is worth asking.


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: September 17-23

LESSON #1: FOR AT LEAST ONE FILM, DEFENDING OF INTEGRITY STILL EXISTS— I absolutely love Paramount Pictures’ statement of support for Darren Aronofsky’s mother! after its low box office debut and an “F” CinemaScore.  Here it is:

This movie is very audacious and brave. You are talking about a director at the top of his game, and an actress at the top her game. They made a movie that was intended to be bold. Everyone wants original filmmaking, and everyone celebrates Netflix when they tell a story no one else wants to tell. This is our version. We don’t want all movies to be safe. And it’s okay if some people don’t like it.

Other studios in other situations could have gotten in the bus driver’s seat, made up excuses, or assigned blame to everyone but themselves.  Love or hate the film (and plenty feel both), mother! deserves its chance for success and an audience no matter how large or small those results add up to be.  Bravo to the balls on Paramount brass!  That’s as forward an example of integrity as you’re going to see in a profit-driven business where art is secondary.

LESSON #2: BARRING HUGE UPHEAVAL, YOU CAN LOCK IN THREE BILLBOARDS OUTSIDE EBBING, MISSOURI AS ONE OF THE NOMINEES FOR BEST PICTURE AT THE UPCOMING 90TH ACADEMY AWARDS— Every year since 2008, the winner of the Grolsch People’s Choice Award at the Toronto International Film Festival has gone on to be nominated for Best Picture at the Oscars.  Three eventual Best Picture winners since 2006 were TIFF champs.  Go ahead and write in permanent marker the title of Martin McDonagh’s newest film to the field.  I think you’ll also see star Francis McDormand’s name on the Best Actress short list as well.  Any and all Oscar buzz will float through this column all season.

LESSON #3: STRONGER IS THE BOSTON MOVIE WE DESERVED MORE THAN PATRIOTS DAY A YEAR AGO— The resonance surrounding the 2013 Boston Marathon bombing has always been more about the people than the bravura.  We deserved the real thing, not an overly convenient composite character in a Mark Wahlberg glamour project.  The most and maybe only genuine portion of Peter Berg’s film came in its extended epilogue of testimonials given by the actual citizens and participants.  Real respect and passion showed up after two hours of exploitative action.  David Gordon Green’s Stronger flips that ratio to deliver and demonstrate true dignity and tribute.  His film is outstanding.

LESSON #4: RESPECT WOMEN, PERIOD— On the heels of the metaphorical misogyny found in mother! arrives a debate-filled dramedy of a real-life climate of misogyny in Battle of the Sexes.  The Emma Stone/Steve Carell duel is an unabashed crowd-pleaser and stand-up message film that inspires and challenges gender equality then and now.  Someday, a time will come when the blazed trails of women like Billie Jean King will lead to a true level field.  Until then, every measure of respect paid to women is a step toward an acceptance and understanding that should be commonplace.  Make a greater effort, period.  If you’re part of the problem, change your ways.  Teach not only our daughters better, but our sons as well.  The old Lauren Barnholdt axiom says “you have to give respect to get respect.”  Women have been giving of themselves for far too long.  It’s time to pay the respect back.


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.