What We Learned This Week: March 16-22

LESSON #1: THIS IS WHAT CUTTING ONE’S LOSSES LOOKS LIKE— This sweeping social distancing (and so to be full sheltering orders) due to the COVID-19 virus has studios buckling on what to do with their current and upcoming movie releases. Most that were slated for theaters are “delayed” or “postponed” for the time being, but the question becomes how long can they wait or hold. Rumor has it Warner Bros. is considering a streaming release for Wonder Woman 1984. Could Black Widow be far behind from Disney? As for the current movies that have been frozen by closed theaters, studios are dropping them on streaming and VOD platforms early, as is the case with Onward, The Invisible Man, Emma, and The Hunt. Being released already, trying to squeeze some VOD rental money is their best chance. Price point will be the challenge, but you know those families of four would likely be OK spending $20 for a night at home versus the full theater trip for $9+ tickets and concessions. We’ll see how these tests of marketing and head honcho hubris patience turn out.

LESSON #2: LEARN WHAT THE PARAMOUNT DECREES WERE— I’ll put my school teacher hat on since I’m stuck at home without a classroom for the foreseeable future. Here’s a quick dose of movie history that faded in November with implications that could loom large with a shuttered theater system right now. There was something called the Paramount Decrees. Back in 1948 in the case of United States v. Paramount Pictures, a decision was made that “studios couldn’t withhold films from certain theaters while granting exclusive rights to others or outright buy theaters of their own.” That has kept top-to-bottom control away from studios. Far forward to now with the AMCs and Regals of the world closing their doors indefinitely without business. I hinted at this last week in WWLTW. Imagine a scenario where Disney buys/builds their own movie theaters to exclusively release their products. That would create an outlet arms race and likely kill indie cinema getting theater space. With weakened theater chains, this kind of turn is possible. Stay tuned to how we recover or don’t from this time period.

LESSON #3: BRING BACK DRIVE-INS– In an effort to avoid the possible bacteria cesspools that are crowded and sticky movie theater seats (don’t lie, we’ve all had our “ewww” moments at a movie theater), could old school drive-in movie theaters (and the dirtiness of our own cars, again, don’t lie) be a new alternative in the post-social distancing era? I think so and it’s a lovely thought. There was a great optimistic read this week published by The Los Angeles Times on the topic that talks optimism and relief. Build some big screens, bring your own concessions, fill the seats, and pipe the sound through the Bose-powered infotainment systems in some of our modern cars and you’ve got a renewed and joyous movie experience.

LESSON #4: EXPAND YOUR HOME VIEWING TO SHARE WITH OTHERS— I love the news of Netflix’s new Netflix Party extension. Turning shared movies into chat room opportunities with friends you’re separated from sounds like a blast. I think we need a Netflix Party with our Feelers ASAP. Let’s get on that, fellow admins.

LESSON #5: SOME STARS END UP BEING GENUINELY NICE PEOPLE— As a school teacher, I can speak to this new hurdler of at-home “e-learning” and the challenges of not just planning it, but delivering it to my students and also my own children as a parent. Everyone I see in my professional community is doing their part, and I’m loving those outside of it that are coming to help. And it’s as easy as reading a book for others to hear. What started with Frozen star Josh Gad nightly on Twitter has expanded to dozens of celebrities chipping in to connect and entertain. Grab a device, bring the kids together on the couch or at bedtime, and enjoy a hearty tale from a familiar and kind face.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#126)

MOVIE REVIEW: A Shaun the Sheep Movie: Farmageddon

Rating: G / Runtime: 1 hour and 26 minutes

There is something I find sincerely appealing about stop-motion animation, be it in the style of Laika or Aardman, who utilizes a beautiful and detailed claymation technique. Both styles of animating take significantly longer than CGI or even hand-drawn technique and is a big reason why these studios can’t pump out new films at the rate Disney and Pixar do. The first “Shaun the Sheep” film came out over four years ago and grossed over $100 million at the box office. This sequel was inevitable, but crafting it took time. 

“Farmageddon” is, in a nutshell, a remake of Spielberg’s “E.T. the Extra-Terrestrial”, with a much cuter alien and an overwhelming amount of references to other famous science fiction films and television sprinkled throughout. The extra-terrestrial, in this case, is Lu-la, a small light blue and pink alien with telekinesis and a powerfully loud/forceful belch. Her space ship lands in a forest and while she’s out exploring, it’s not long before the government sends Agent Red and a team to examine the landing and seek out answers.

Back on the farm, Shaun and his sheep family are living their normal everyday lives, being trouble-makers and fighting with Bitzer the farmer’s sheepdog. When Lu-la stumbles across Shaun and the group, they embark on an adventure of discovery with the goal of ultimately hoping to find Lu-la’s ship so that she can return home. There’s not a lot more to be said about the plot, although Agent Red does have some backstory that provides a reason for why she is so driven. It culminates in one of the sweeter moments of the film and is a welcome character development choice to take her beyond just the typical cookie-cutter governmental baddie. 

Those concerned about the silent nature of Shaun the Sheep films should honestly not be worried at all. I remember being incredibly surprised at how much I loved “Shaun the Sheep” back in 2015 despite the lack of dialogue and in “Farmageddon” I didn’t even miss it. The soundtrack and score show up perfectly, and sound effects are used to greatly enhance the already incredibly expressiveness of the claymation. Because this film is playing so heavily off of sci-fi films of the past, there are frequent musical cues that callback to famous themes, and it was a joy hearing one each and every time. Additionally, the aforementioned soundtrack does a wonderful job of occasionally letting the lyrics being sung help tell the story of what is happening on-screen at that moment. This tactic is used sparingly, but with great success.

References to favorite sci-fi properties are plentiful, and though the story of “Farmageddon” is tender, easy to follow, and full of hilarious goofy action, picking out these moments will be great for major fans of the genre. For one thing, there is the required mention of Area 51. Then the “Alien” tie-is done in a brilliant way that makes it kid-friendly. There are also “Close Encounters of the Third Kind”, “Signs”, “2001: A Space Odyssey”, “Dr. Who” references and more. Agent Red even has a sidekick robot named Muggins that looks like a combination of Wall*E and Johnny 5 and serves as equal parts investigative partner and filing cabinet. This robot will quickly win kids over and is easily one of the film’s highlights. 

“Farmageddon” may not possess the deepest of storylines but that makes it accessible for everyone. With plenty for older geeks to enjoy along the way, this is a rare G film that parents and kids can sit through and enjoy equally together. It moves at a breezy pace and the cute factor is off the charts. This cosmic adventure is all-ages entertainment at its best. Pull up Netflix, hit play, and enjoy.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: The Two Popes

Following the journey of Jorge Bergoglio’s ascendancy to the title of “Pope Francis”, “The Two Popes” plays out more like a documentary than a typical drama. Based on true events, this story is mostly told via continuing dialogue between Bergoglio (Jonathan Pryce) and Pope Benedict (Anthony Hopkins), who differ in what the future path should be for the Catholic Church. Will the religion stay stuck to outdated cultural and ideological truths or is it time for new progressive ideas that fit in with the changing times? Pryce and Hopkins both deliver the goods in acting quality; their dichotomy represented by scenes of verbal conflict and immense respect for one another. Flashbacks do well in fleshing out Bergoglio’s disposition prior to his current way of living, bringing levity to his unconditional dedication to the common people valued by Catholicism and events that shaped his new-age ideals for views centered on topics such as homosexuality, economic inequality, and religious practices.

Appreciation can be showered on the professionalism echoing from Fernando Meirelles’s direction and the steady writing Anthony McCarten puts together working with an expansive story such as this. The film’s issue lies in nothing truly standing out on its own. Its method of storytelling is not always compelling and can cause some viewers to lose focus. Most scenes centered on two men exchanging long anecdotes concerning religion and political ramifications will not be what most would call “entertaining”. The humor in this film feels very tough to latch onto, especially when the actors conveyed these scenes in a manner that feels far from enthusiastic.

Fernando Meirelles’s “The Two Popes” will find an audience with people who have deep knowledge of the long history of the Catholic Church and who have pledged their support for Pope Francis. Outside of that, it’s difficult to recommend a 2-hour film that uses long-running discussion between two men as its manner of narrative technique. Pryce and Hopkins are both prominent in dual leading roles and the topics they discuss do lend themselves to current societal issues around the world that are experienced by many. For me, this is an experience that can be praised for its polish but is not something worth a second viewing.


Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

What We Learned This Week: October 14-27

LESSON #1: THE PEANUT BUTTER FALCON MAY BECOME THE MOST IMPORTANT FILM OF 2019— Look at me writing a clickbait headline.  I, and many others, think the world of this film (5-star review), but it is now making an impact far bigger in the grand scheme of things than another Scorsese masterpiece entry or Marvel blockbuster. Thanks to its emerging star Zack Gottshagen, The Peanut Butter Falcon has started a groundswell of hiring and representation for performers with intellectual disabilities, as outlined in a recent article in The Hollywood Reporter. That is absolutely huge and a benefit far greater to the industry than hardware and money. This is, without a doubt, the best industry story I’ve seen this month and maybe this year. Folks, see this film for how special it is and not just because of the “special” people in it. 

LESSON #2: GET THE BIG MONEY OUT OF THE OSCARS— I wonder if casual fans notice as much of the “For Your Consideration” stuff as a film critic like myself does.  I’m guessing people see the extra language on marketing materials and maybe the occasional magazine ad. Folks, let me tell you, the studio-powered promotion machines to get their films front-and-center for awards season are unchecked and on the same level as all the wild political campaigning you see in public life.  While I’m happily inundated with screeners and materials during this time of year as a critic in two awards-voting bodies, I can do the math on the sheer volume of money being spent just to get a name or two mentioned and it’s completely too much. Sadly, these full-court press tactics work on the weak groupthink voters at all the levels of this industry.  Voters should be more discerning rather than easily fickle and the pushiness should stop. More people are finally standing up to say something about it and I’ll join them.  

LESSON #3: THERE ALMOST ALWAYS COMES A POINT WHERE A FREE GOOD THING WILL SOMEDAY COST MONEY— I was as surprised and bummed as any other casual box office statistics fan when levels of the Box Office Mojo site where absorbed by the subscription-required IMDb Pro site. Amazon has owned Box Office Mojo since 2008, where I’m surprised it took this long for such a switch.  The basics are there, but the original site was so much tighter and immersive with its data. The new one is very watered down. Let’s see if it can evolve back into an industry leader.

LESSON #4: EASY ON THE INFLATED TROPHIES, HOLLYWOOD BEAN COUNTERS— Speaking of Box Office Mojo, the congratulatory headlines were inescapable this week that Joker will “officially” become the highest grossing R-rated film of all-time.  Child, please.  I do this often, but go to the inflation-adjusted numbers and slow your roll, folks.  Joker has earned over $250 million domestically and triple that overseas and deserves every success, no doubt.  But wake me up when it touches (let alone climbs near the top of) the Top 200 on the all-time inflation-adjusted list before you start handing out those title belts. It’s not catching The Exorcist at #9 or many more of the R-rated films on that list.  Dream on, Warner Bros.

LESSON #5: EVERYONE NEEDS A BREAK AND SHOULD TAKE ONE— I applaud 23-year-old Timothee Chalamat who spoke to Vogue about desperately needing to take a break from acting after a solid few years of constant work. Other actors have done it for years and it’s always a smart play for physical, mental, and emotional recharge and renewal.  As they say, “absence away makes the heart grow fonder.” Expect a committed and improved Chalamat when you see him after. More actors should do this, if even for the fact of not becoming overused and overexposed, let alone to recuperation.

LESSON #6: DON’T BEAT DEAD HORSES— In the latest log on the fire stoked by many of Hollywood’s creative bankruptcy, something that was ran into the ground will now be dusted off and run into the ground again.  Disney has tabbed Chernobyl creator Craig Mazin to join franchise writers Ted Elliott and Terry Rossio to reboot the Pirates of the Caribbean franchise.  I know I’ve said it somewhere before in this column, but put some time between death and rebirth.  Sure, when you go all the way back to 2003, it will be nearly 20 years since the first movie, but it’s only been two years since its last one.  Wait twenty years after that instead and then dazzle us with a new take in 2037. Go away and try your own “absence makes the heart grow fonder.” We still freshly remember the s–t show.

LESSON #7: SLOW THE F–K DOWN, YOU BINGER— Speaking of taking a break, the entertainment you consume is supposed to be rich and entertaining experience.  Why would you speed it up just to get more? Word around the campfire is Netflix is experimenting with the possible setting of showing its content at 1.5x speed.  Come on, man.  Have some patience.  Part of the magic of film and TV shows is the editing of pace and timing.  Those are crucial and deliberate creative traits. Don’t ruin that because of your impatience.  

LESSON #8: IF YOU WANT CUSTOMERS, GIVE SOMETHING EXCITED AWAY— Verizon isn’t hurting for business or customers, but you know they’ve dropped the swag of swag in offering full-year Disney+ subscriptions to new and existing unlimited data home and wireless customers.  That sure beats a toaster or set of steak knives. Good luck topping that, Sprint and T-Mobile. Well played, Verizon.  

LESSON #9: TURN UP THE BRIGHTNESS ON THE THEATRICAL EXPERIENCE— I won’t jump to the alarmist “ruining the the theatrical experience” level that Edward Norton in implying in a recent interview in The Daily Beast, but the firebrand actor that never minces his words is right.  Improper brightness and poor sound in cheap and untrained theater chains can make a bad enough viewing experience to turn off ticket-paying moviegoers.  If you’re going to pay today’s full prices on the promises of a superior experience to the 4K and HD stuff capable from your couch, you should get it. The luminosity talk in his interview was fascinating.  I notice it too and he isn’t wrong.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#119)

What We Learned This Week: September 1-14

LESSON #1: MY FELLOW FILM CRITICS, CHECK YOUR PRIVILEGE— As a press credentialed and Rotten Tomatoes-approved film critic myself, I’m sorry in advance, but I need to partially call out a one of my own. The first is Alex Billington of First Showing for being too much about being F1RST.  His work is solid and his site is one of the more dependable websites for actual movie news and less click bait, but, simply put, he broke the rules he agreed upon when he put on the Venice Film Festival press badge.  He was upset when one of his reviews broke embargo rules.

Here’s the link to the “open letter” editorial that followed. For those of you playing at home, we critics are bound to something like reverse deadlines, namely firm times requested by the studios that are the earliest reactions and reviews are allowed to run.  I don’t like them anymore than Alex does, but they are the rules and the studios or festivals have the right to control thier message and product.  Abiding by embargoes are part of the deal of being so damn lucky enough to be in Venice, Telluride, Cannes, or Toronto seeing a huge movie for free before everyone else.  Access is the reward before your page clicks.  Be happy you have it in the first place.  We are spoiled every week by an embarassment of riches for shiny pieces of entertainment.  Besides, we critics get to cheat with social media before full reviews:

This is where I can agree with Alex.  However, that small shout-out should be enough to keep business and attention going.  Harmony and health take patience.  I don’t like it, but I respect the rules.  People that break them can ruin things for the rest of us lower down the ladder.

LESSON #2: THE ASSIGNED DESCRIPTORS OF “GARBAGE” OR “TRASH” IS NOT PROFESSIONAL FILM CRITICISM— I’ll take another shot at my own kind, but I’ll leave the name out this time.  Call this a general warning for anyone who sounds even close to this, even at at the Letterboxd level.  If, as a supposedly professional film critic, all of your learned expertise, curated reflection, and skillfull high-mindedness within the medium of film, lead you to the molehill peak of calling a film “trash” or “garbage,” then, I’m sorry, you’re not a professional film critic.  You are BS artist of hyperbole and click bait.  You haven’t learned tact.  You haven’t met a thesaurus.  You haven’t learned creativity in putting substance into opinions.  Using that poorly formed wording in what is supposed to be a professional piece is a careless and irresponsible trigger.  And when you don’t back it up, you’re just asking for folks to call into question the quality of your writing, if not the quality of your personal character as well.  Aim higher.  Write better.

LESSON #3: STREAMING SERVICES DESERVE BETTER— Just when I thought the Academy of Motion Picture Arts and Sciences put a positive public gavel down for the inclusion of films from streaming services in year-end awards for the whole industry to follow, we digress to a story like what came out of the prestigious Toronto International Film Festival this week.  Certain theater vendors would not welcome Netflix or Amazon-backed films to screen for competition during the festival.  This has been silly and elitist for too long.  Have the likes of Roma taught us nothing? Let the art compete.  Source shouldn’t matter.

LESSON #4: YOU NEED TO BE TAKING ADVANTAGE OF IMDB TV— In the recommendation slot of this week’s column, I, a new Amazon Fire Stick owner, have discovered the IMDb TV app.  Their selection of streamable films and shows, which includes award winners like La La Land and Silver Linings Playbook and classics like Dune, High Noon, and The Karate Kid, is outstanding for the free price of sitting through some occasional ads.  Seek it out on your devices and players at home.


 

DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#115)

What We Learned This Week: August 11-17

LESSON #1: “YOU KEEP USING THAT WORD. I DO NOT THINK IT MEANS WHAT YOU THINK IT MEANS”— No, I’m not calling on Inigo Montoya from The Princess Bride to talk about “masterpiece” again.  The word this week that is coming out all wrong from too many people is “monopoly,” as in “Disney is/has a monopoly and needs to be broken up.”  Let me boldface pieces of three variations of the word’s definition from the Merriam-Webster Dictionary:exclusive ownership through legal privilege, command of supply, or concerted action,” “exclusive possession or control,” and “a commodity controlled by one party.”  Look, I’m not a fan of Disney’s dominance any more than the next discerning consumer, but what’s happening isn’t a monopoly.  No matter how many brands they own or manage, Disney not the exclusive or singular entity dictating any possession or control beyond their own property.  There are plenty of other entertainment providers, movie studios, merchandise makers, and whatnot. What’s really going on is sustained success. Monopolies of success aren’t illegal.  The competitors are just aren’t doing as good of business as Disney. If you want to beat Disney, make better products and do better business, plain and simple. So, until Disney buys Sony, Comcast (Universal), Warner Bros., Viacom (Paramount), Netflix, Amazon, and about a dozen smaller shingles where they are the only store on the block, stop calling what them a monopoly.  

 

LESSON #2: JUST MAKE A NEW OR REPACKAGED SPECIALTY BRAND ALREADY— Speaking of Disney and their monstrous image, their larger flaw of vanity is thinking everything with their logo on it has to be family-friendly.  Word around the campfire is that Disney investers are “worried” about the farcical and crude Nazi content of Taika Waititi’s awards season contender Jojo Rabbit and the negative optics it would bring to the brand.  Combine that with the Fox cuts listed in this column space last week and we’re seeing more buyer’s remorse than creative courage. Come on, Disney. You’ve reached a point where your brand is nearly untouchable.  And, if you’re so worried, take a page out of your own playbook from decades ago and revive/create a new brand or branch to launch the non-kiddie stuff that has potential. Disney used to start and own distributor hubs like Touchstone Pictures, Hollywood Pictures, Dimension Films, and, for a time, Miramax.  Bring one of those back or, hell, call it 20th Century Fox. Problem solved and the creators and audiences don’t lose out to the prudes.

LESSON #3: SMOKING SHOULD NOT BE PUT ON THE SAME LEVEL AS SEX AND VIOLENCE— Here’s a taller soapbox then Lesson #1.  Forty-three attorney generals from our nation of fifty recently composed a letter addressed to the major entertainment companies (including Disney, Amazon, and Netflix) urging a so-called “open dialogue” about the steps to “eliminate or exclude tobacco imagery in all future original streamed content for young viewers” and demanding “content with tobacco imagery should be rated R or TV-MA and be recommended only to adult viewers.”  Yes, tobacco is a national health problem, but not to this degree. Doing so would penalize many classic movies rather than make those films teachable moments with smoking’s inclusion.   The editorial staff from the Chicago area’s Daily Herald outlined several examples of movies, from Casablanca to Ghostbusters, whose value and messages supercede the superficially visible tobacco use.  I feel like the mistake in this, isn’t the movies. It’s the parenting that throws any movie on and doesn’t take interest or talk out what is being shown for entertainment or enlightenment.  Parents, this should be on us and not new ratings.

LESSON #4: BOX OFFICE DATA IS ANOTHER PIECE OF EVIDENCE THAT 2019 HAS BEEN A DOWN YEAR FOR BLOCKBUSTERS— Back in the day, a movie hitting $100 million domestically was considered a splashy hit.  Today, with inflation and bigger budgets being thrown around, that magic number feels more like $300 million.  According to data posted in The Hollywood Reporter for a story entitled “The Vanishing $200 Million Blockbuster” by Stephen Galloway, six movies so far in 2019 have topped $300 million stateside (some have of those have doubled it).  Oddly though, no movie has finished between $200-$300 million in their final tally after eight movies did a year ago.  Now you see where the story title comes from and the feast-or-flop vibe feels spot-on when you look beyond the top dogs to the rest of the 2019 spring and summer earning performances.   The duds outnumber the studs by a large margin. These are just the big totals, though. This has nothing to do with profit. There’s still a whole cottage industry of horror and genre films that triple their shoestring budgets in their opening weekends, let alone their entire run.  Still take this as a temperature check of box office health for this down year.

LESSON #5: SPIKE LEE HAS DAMN GOOD TASTE— In the recommendation slot, we go from Christopher Nolan last week to Spike Lee this week.  On his Kickstarter page, the BlacKKKlansman Oscar winner has a famed list of 100 essential films for every aspiring director.  It’s a doozy of a roster with wide representation and solid tastes. Make it your own college course at home like you’re online undergrad enrolled at NYU and let streaming services and library rentals take care of the rest.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#111)

What We Learned This Week: July 28-August 10

LESSON #1: PRICE POINT ALWAYS WINS— I’ve brought out this lesson often over the years here on WWLTW because it’s continuously true.  The latest case is the ocean of drool and the shipwrecks of dropped jaws this week when Disney revealed the initial bundled price to add ESPN+ and Hulu to their upcoming Disney+ streaming service.  As if the bulk year price of $69.99 or $5.83 per month wasn’t already amazing (and with this opening lineup menu), the triple-service package will only cost $12.99.  That’s the wealth of Disney, the range of Hulu, and the top network for all-things sports for LESS than the price of just Netflix.  Sure, Disney might (and certainly will) raise that price within the first year or two, but, by golly, they are playing hardball with price point and competition.  $13 for all that will make digital lines around the download block come November 12th.  Your move, Amazon (who re-upped with Bleecker Street’s content) and Netflix, especially for the latter which just had its first drop of subscribers in company history and a recent $26 billion fall in market value.  Yikes!

LESSON #2: WHEN ONE DOOR OPENS, ANOTHER ONE CLOSES, AND THEN ANOTHER ONE GETS REPAIRED— Before Disney becomes even more flush with steady cash this November, the Mouse House did announce what they consider a business loss this week.  According to reports, the Fox movies they acquired from their buyout under-performed to a $170 million quarterly loss.  Even for a profitable place like Disney, that’s haircut that still stings.  The Disney brass announced they will scale back film development under the Fox label while rebooting/remaking key properties and franchises like Home AloneNight at the MuseumDiary of a Wimpy KidCheaper by the Dozen, Planet of the Apes, and giving the Marvel titles to Kevin Feige.  I can’t say I’m surprised by Disney’s lack of effort to support their Fox wing.  I think we all knew an eventual and full dissolution was possible.  Some of that starts here.

LESSON #3: INTERNATIONAL BUSINESS REQUIRES INTERNATIONAL FLAVOR— Speaking of streaming services, I discovered this little story that may cause potential hazards for the likes of Netflix, Hulu, Amazon, Apple, and Disney.  Last year, the European Union passed a ruling requiring that VOD services have 30% of their content sourced in Europe, with Australian interested in a similar measure.  That’s a bold “buy local”-ish mandate that may have those streaming companies scrambling to stay within new requirements.  I think that counts as a powerful effort to retain and promote homegrown products next to the shiny imports.  This is a fascinating and fortunate victory for foreign filmmakers and entertainment entities.

LESSON #4: BELIEVE THAT SHIA LEBEOUF IS A NEW MAN— How many of us wrote off Shia LeBeouf in the last five to ten years?  Between social media rants, odd acting choices, and a tail-spinning personal life, the Transformers star hit rock bottom.  I am pleased to announce that he is back and has come through wise beyond his 33-years.  Variety has an excellent interview where the LeBeouf calls himself “softer.”  If you need evidence, seek out The Peanut Butter Falcon debuting this coming week in limited release.

It might be the best I’ve ever seen Shia LeBeouf act.  Yet, he looks like he’ll top himself in the semi-autobiographical film Honey Boy coming this fall that outlines a child actors tragic ups-and-downs with Noah Jupe and Lucas Hedges ostensibly playing Shia while LeBeouf plays the hard father.

The guy is showing his talent and laying his soul bare.  Come and witness this because we don’t see resurrections like this often and I couldn’t be happier for him.

LESSON #5: CHRISTOPHER NOLAN HAS DAMN GOOD TASTE— In the closing recommendation slot, the verbiage of this lesson shouldn’t be a surprise among those here in the Feelin’ Film circle of Christopher Nolan worshipers.  While you all wait and over-analyze every shred of possibility for his upcoming Tenet before it arrives next year, build a playlist of thirty Nolan-recommended favorites and improve your palette and nose for damn good movies.  Compiled by Indiewire from interview quotes over the years, this list could fill a one-a-week education between now and Tenet.  Enjoy!

 


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#110)

What We Learned This Week: July 21-27

LESSON #1: IT’S TIME TO ACCEPT FAN SERVICE AT ALL LEVELS— I’m finding, more often than not no matter the size and prestige of the film in question, that nods, homages, and little shout outs work 90% of the time.  It’s time to stop frowning upon them unless it’s really, really fruitless. I’m borrowing a paragraph from my Once Upon a Time… In Hollywood review on the topic: 

“Do this critic a favor. If you read one pretentious person bitching about the so-called “fan service” of a popcorn Star Wars movie in one place while praising the throwback accuracy, endless references, and the buffet of cultural callbacks of this or other Tarantino movies, punch them in the face for being a hypocrite (or write them a mean tweet, either one). Once Upon a Time… In Hollywood has massive nostalgia for fan service aimed a different generation at quadruple the rate of the younger genre fare those cinephiles frown upon. Geeky, blatant homage has always been the part of the hodgepodge of Tarantino. It’s an expected calling card, a borrowed ladder, and part of what makes him brilliant. If it’s standing ovation praiseworthy for a so-called auteur like Quentin, then it should be for other filmmakers.”

LESSON #2: BECOME A BETTER MOVIE FAN— Seeing the splashy mix of pop culture and auteur chops dropping from Quentin Tarantino reminds me of this recent short, encouraging article from Matt Goldberg in Collider in Collider pleading “How to Graduate to Being a Better Movie Fan” and another from Tim Dirks called “Tips on Film Viewing” on AMC’s Filmsite  You can’t come into Once Upon a Time.. In Hollywood without a little homework and a wider eyes compared to just another popcorn blockbuster with low, spoon-fed stakes and basic style.  His whole filmography is a great entry-level course in being a better fan and viewer. The more attuned and learned you are to the craft at hand, the more you will notice and appreciate, especially in an epic like the new Tarantino film.  Goldberg’s article gives the modern, social media-connected crowd of today accessible starting steps that don’t require taking some college film class, and Dirks’ column gives easy nuts-and-bolts steps to follow as well. Give both short articles a look.  In Tarantino is too hard, take a step to channel your newfound advice of watching bad films right on over to Patrick Willem’s new reflection on the Joel Schumacher Batman films from his latest video piece:

 

LESSON #3: ADJUST YOUR TECHNICAL SETTINGS ALONG WITH YOUR VIEWING EXPERIENCE— If you’re going to start watching movies better, make sure they look and sound right.  Renowned Willems-recommend film critic Bilge Ebiri wrote an outstanding column entitled “Motion Smoothing is Ruining Cinema” for Vulture.  This echoes Tom Cruise and Christopher McQuarrie’s PSA hoping viewers see their newest Mission: Impossible film properly last summer.  Ebiri and Cruise offer the “why” and the article and embedded video tutorials offer the how.  Follow the tips, especially if you have newer televisions. Do right by the experiences you’re absorbing.  

LESSON #4: TURN UP THE HEAT ON YOUR “NETFLIX AND CHILL” MOVES— Before or after adjusting your TV set, here in the recommendation slot of my weekly column, I got a hearty kick out an article discovery this week from Bustle magazine that floated across the social media currents on the number of “dirty movies” that are on Netflix.  Writer Katherine Cusumano highlights eleven top picks that are kinky and steamy enough versus the streaming service’s porn-free policy.  From Magic Mike (aw yeah!) to Gaspar Noe’s Love (yowzers!), the steam is waiting for your rising thermostat.  Raise your game, couch gymnasts, with some titillating cinematic inspiration.  

 


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#109)

What We Learned This Week: July 7-13

LESSON #1: DECORUM AND CIVILITY HAVE SLIPPED AT THE COMMUNAL THEATRE EXPERIENCE— I think every single one of us has more than one story of a crappy theater patron that we’ve had to share a movie with.  I bet, combined, we’re seen it all across any and all possible loud, messy, and disrespectful behavior. I ran into a sharp column from Rebel Without a Pause Button blogger Robert Salusbury on this topic entitled “Cinema Slobs.”  Reading it (nice media inserts, by the way) makes me wonder not just the extent, which we all know is too much, but the causes of how there is more of this that what many of us remember from past generations.  It can’t all be cell phones. A spoiled culture of entitlement, born from increased costs and a negative shift of personal discipline and accountability, has to be in there somewhere. Am I right? Don’t be one of the people we all hate when you go to the movie.  Be cool and a good neighbor.

LESSON #2: SONY ISN’T STUPID AND DISNEY IS OVERCONFIDENT— With the same fervor as rooting for the chaos of NBA free agency, I got a kick out of hearing that Marvel could love its MCU rights to the Sony-controlled Spider-Man character if Spider-Man: Far From Home does not crack $1 billion of global box office.  I mean, go figure that this is even a risk, but it’s going to be closer than you think.  Spider-Man: Homecoming fell far short of a billion at about $880 million, so Disney is gambling on big growth.  This makes me laugh for two reasons. The first is the shared horror we all have knowing Sony would f–k up this character for a third time without Marvel’s champion support.  The second is how Disney might be shooting its own foot with this necessary milestone by putting The Lion King in theaters right in Spider-Man’s wake in third week.  That’s careless hubris right there.

LESSON #3: THERE IS A DIFFERENCE BETWEEN A REMAKE AND A REIMAGINING— Speaking of The Lion King, folks, I know I wrote about 1100 words on the movie, but I honestly don’t know what to truly tell you about The Lion King.  Disney calls these reimaginings, but, to me, that term means updates, modifications, and new infusions.  Jon Favreau’s has that on the outside with the stunning photo-real animation, but that’s it. There is an awful lot of shot-for-shot replication after that, which feels more remake than reimagining.  Granted, if that’s the goal, then mission accomplished because the music is there and the nostalgia is there to make a zillion dollars. Creatively, I still think it’s a shame and a missed opportunity to evolve more than the exterior.

LESSON #4: IT PAYS TO BE AN AVENGER— Here’s one more thing on Disney money.  We’ve seen Robert Downey, Jr. score fat paydays for being Tony Stark, but, goddamn, was Avenger: Endgame a golden parachute.  The top dog got $20 million up front, which is lucrative and more than the $15 million given to Chris Evans, Scarlet Johansson, and Chris Hemsworth.  For RDJ, it’s the 8% back-end deal that fills his vault with another $55 million.  That’s a handsome jump from the $500K paycheck from the first Iron Man movie.  Studs and studettes, back-end deals are where it’s at (“that’s what she said”) and they’ve been a part of the business for a long time.  Jack Nicholson’s Batman deal from 30 years ago scored like RDJ did.  Even Bradley Cooper doing just a voice took a 1% deal and walks away from Avengers: Endgame with $7 million.

LESSON #5: NETFLIX MIGHT BE GETTING SMARTER— Frequent WWLTW readers and followers have seen in this column the many instances where Netflix really throws money around (click on the tag and you’ll see).  Well, I think the teenager finally maxed out mommy and daddy’s credit card and have learned to live and spend a little leaner. Reports say the streaming giant will be more “cautious” with budgets after dropping nine figures on projects like Ben Affleck’s Triple Frontier and Martin Scorsese’s The Irishman.  Welcome to big studio problems, Netflix.  It’s the paychecks they’re writing to talent, not the production costs.  Unlike an MCU film, they aren’t getting ticket sales. As renewable and reliable as the monthly subscription rake can provide, Netflix will always have a growth cap.  Heaven forbid, they lose customers.

LESSON #6: REEVALUATING THE POLITICS OF A MOVIE IS ALMOST ALWAYS PROBLEMATIC— In my short 39 years in this world, I am fully educated and aware that some movies are not going to age well and that, matching my own website of Every Movie Has a Lesson, I believe every movie has a bias or political root of some size.  Zero is impossible. To me, each movie becomes a time capsule for the era in which is was made (double if it’s a period piece), slant and all. I get the feeling IndieWire’s Eric Kohn doesn’t see things the same way. For Forrest Gump’s 25th anniversary, the journalist wrote a takedown article heaping a whole lot of conjecture and reaching political blame.  I don’t know about you, but I can’t go there. Forrest Gump was always neutral to me because it’s steep realistic fiction.  Aging is aging. I get that some movies will fit and fall with the times, but it’s not worth burning things to the ground.

LESSON #7: GUILLERMO DEL TORO HAS GOOD TASTE— For the finishing recommendation slot, enjoy this list of The Shape of Water Oscar winner’s 25 favorite films.  It’s an outstanding balance of cinema history and modern cornerstones.  Build that Letterboxd checklist from this and begin a little journey of appreciation and education.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#107)

What We Learned This Week: May 19-June 1

LESSON #1: GEORGIA DOESN’T REALIZE THE BUSINESS INFLUENCE OF HOLLYWOOD— The fine Peach State has been near the top or at the top of the list of most popular movie filming locations annually for over a decade.  A ton of business comes to them and it has been a boom of tax credits and employment all the way down the list of credits you see at the end of a movie.  The golden gravy train is being threatened by unpopular politics due in part to Georgia’s recent anti-abortion “heartbeat bill” legislation. The same is happening on a smaller level in Alabama and Missouri where similar laws are in place.  Disney, Netflix, several production shingles, and many performers are rethinking, threatening, or have already ceased production or engagement plans in those states.  Gripe about celebrity agendas mixing with political agendas all you want, but this is business and people are prepared to punch wallets where it hurts.  Georgia and those other states can stand on their principles all they want, but the prospective customers are equally allowed to take their business elsewhere.  The true business victims here are the under-the-title workers from craftsman to craft services who could see a precipitous drop of employment opportunities. They are citizens and they need to let their voices heard at the ballot box during the next election.  Both sides will be voting their interests, but let’s see how far money talks.

LESSON #2: ROTTEN TOMATOES WILL IMPROVE ITS CREDIBILITY— Last year, Rotten Tomatoes widened its collective of film critics for its vaunted Tomatometer with new standards that welcomed product and personal diversity (myself included) beyond the field solely print journalism.  The bigger pool has helped make its ratings more aligned to the masses, and now its the mass’s turn for accountability.  In a story released this week, RT is seeking to change its method for the Audience Score part of its ratings to focus on verified ticket buyers and not just “reviewing bombing” internet trolls and haters.  I highly applaud this effort for more actionable accountability and credibility, the latter of which stands to improve greatly. We can clap all we want, but the smartest among us still know that MetaCritic is statistically better (thanks Quartzy).

LESSON #3: PORTRAYAL AND PERFORMANCE NEED TO GO FARTHER THAN REPRESENTATION— From my Aladdin review on Every Movie Has a Lesson: Yes, it is wonderful Disney sought people of color for this ethnic fairy tale, but the clout of their portrayals and the substance of their actions are not improvements. If you’re going to do the right thing by diversity, go all the way, not just halfway or selectively. Dare to combat stereotypes completely. For extensive look into the troublesome history of Arab representation in film, check out Omar Mouallem’s piece in The Ringer.

LESSON #4: EVERYTHING CAN BE RECAST— Less urgent or important than the stakes of Lesson #3 but in the same ballpark of casting is Harrison Ford’s recent assertion that Indiana Jones will die with him claiming no one will fill the role after him.  Hollywood is a place where remake and reinvention are ever-moving cogs of evolution.  Someday, even if no one wants it, someone is going to remake the Indiana Jones films or tell new stories of the character.  Disney didn’t buy LucasFilm just for Star Wars and they see another cash cow of name recognition. Within our lifetimes, we will see another fedora-clad archaeologist cracking a whip.

LESSON #5: CLEARLY, OLD PEOPLE ARE SLOW AND TAKE MORE TIME TO DO THINGS— Boy, this lesson is mean and vague, even when following the 76-year-old Harrison Ford.  Well, we have another delay on Martin Scorsese’s The Irishman, the filmmaker’s hotly anticipated Netflix crime epic.  Apparently, the VFX to de-age the senior actors needs more time to refine its look without losing the facial expressions of performance underneath.  No date has been given, but let’s hope nobody dies before this film sees the light of a streaming device day.  

LESSON #6: INDULGE YOUR AUDITORY SENSES AT THE MOVIES— In the final lesson suggestion spot, allow me to share with you this top-notch research list from IndieWire’s Chris O’Falt.  He gathered the 23 films cited by the new documentary Making Waves that chronicled the art of sound design.  Nothing but choice content here. Impress your ears with some of these winners if you need a casual viewing experience this week.  Every one of these movie choices would be better than the cluttered noise of Godzilla: King of the Monsters this weekend.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#103)