What We Learned This Week: June 2-22

LESSON #1: PERCEIVED RECORDS AND DISTINCTIONS MAKE PEOPLE GREEDY— The corporate greed monster of Disney strikes again with a blatant turnaround re-release of Avengers: Endgame. The goal of tacking on “new footage,” a tribute reel, and an end credits scene is to get the blockbuster over the final $50 million hump between its gross and the Avatar’s cumulative worldwide record of $2.788 billion. Apparently, there’s shame for being in second place so bad they have to employ cheap double-dip tactics. It will work, but it will also take screens away from other smaller movies that deserve more attention and chances. In my eyes, and I’ve taken this stump in this column before, this remains a hollow and fake victory fueled by inflation and high ticket prices. Avengers: Endgame remains outside of the Top 15 in both inflation-adjusted gross and, the best and most universal indicator of all, total ticket sales. Wake me up when it catches anything in that Top 5 or even the Top 10.

LESSON #2: DON’T TAKE A MOVIE AWAY FROM A CAPABLE DIRECTOR— A week after its disappointing debut at the box office, word on creative strife behind the scenes of Men in Black: International is coming to light. Clashes of story direction and final cut between veteran producer Walter Parkes and hired and extremely capable director F. Gary Gray nearly caused Gray to leave the project. Gray touted something edgier and Parkes’ sillier affair won final cut. This is explains a great deal as to why this movie looks way off and feels discombobulated, even by MiB standards. Sony, you’ve made these screwups before (and it sounds like you’re doing them again with Bond 25).  Trust the talent you hire and let them do their thing.

LESSON #3: DON’T PAY THE SAME GUY TO SCREW UP TWICE— There are many things wrong with Fox’s X-Men “culmination” movie Dark Phoenix, and just about every one of them can leveled to the writer/director Simon Kinburg, who was respectful enough to take responsibility. Once the powers-that-be announced that the X-Men: Apocalypse sequel was going to tackle the “Phoenix/Dark Phoenix” for a second time after Brett Ratner’s reviled X-Men: The Last Stand, they had to know the scrutiny was coming.  If you’re actually trying for renewed success, you don’t hire the same writer who made the first dumpster fire and then also give him the power to direct.  I get familiarity and I get that Bryan Singer is radioactive to employ, but go find an actual upgrade for your $200 million tentpole and franchise swan song.

LESSON #4: THE FEELINGS OF FATIGUE AND BLANDNESS FOR BLOCKBUSTERS ARE REAL— I know Toy Story 4 is fail-proof this weekend from this lesson, but, other than April’s Avengers: Endgame, this has been a rough spring and summer for blockbusters. I read two articles this week that tackled this issue in different ways. Medium.com writer Samuel Lenz poses the question of franchise fatigue of bland blockbusters. IndieWire’s Tom Brueggemann went deeper into the collapse to cite size, frequency, the loss of MoviePass, streaming preferences, and higher quality TV options. I think both together encapsulate the majority of the factors we’re seeing. The top reason to me is quality. These have been bland movie offerings. Better movies get better audiences and returns. Better movies with verified must-see buzz climb over other entertainment options an open wallets. It will always start with quality.

LESSON #5: IT WILL ALWAYS BE ABOUT PRICE POINT— The posturing of the streaming wars continue with WarnerMedia announcing the proposed price of its upcoming streaming service. The sticker of $16-17 monthly would include HBO (which is $15 by itself currently), Cinemax, and the sizable WB library of content. That may be a fair price on paper, but in the eyes of customers, that’s more than double Disney Plus and higher than Netflix, Hulu, and even Apple. Other than hardcore HBO fans and folks that miss the WB bulk that used to be backbone of the closing Turner Classic Movies, people aren’t going to bite for this. Now, if that $16 included Warner’s current standalone DC Entertainment as a match to all the Marvel stuff under the Disney Plus umbrella, the temptation and value would be closer.

LESSON #6: APPLE WANTS TO BE AN OSCAR PLAYER—Many in the industry watched with impressiveness at Netflix’s Oscar campaigns for Roma and The Ballad of Buster Scruggs. They have broken the glass ceiling and Apple is looking to follow. News broke this week of their strategy to produce and back six modestly-budgeted films a year as sponsored Oscar hopefuls. This plan is independent from a recent multi-year agreement between Apple and indie darling A24 to make multiple features together, but you have to think that collaboration is a perfect source for this goal.  Watch out, folks. Fine apple wine is coming.


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.  (#104)

Oscar Locks

It’s an annual tradition in my house. I spend 9 months of the year trying to convince myself that I don’t care at all about movie awards. I don’t need fancy, self-important awards shows to tell me what’s good. Sure, I’m not a critic, but I’m a dude who watches a whole lot of movies. I can decide for myself what’s good. Then, once December rolls around, I’m a triggered, angry mess for 3 long months as the awards roll in for all of the movies that I didn’t end up seeing. Well, not this year. This year, I’ve seen more movies than ever before and I’m ready to not be disappointed come time for Oscar’s big night. So for your reading pleasure, here’s a list of a few of the awards I’m looking forward to with a film/actor or two that should’ve been nominated but wasn’t, the nominee I want to win, and the nominee that I believe will win.


Animated Feature

Spider-Man: Into the Spider-Verse, Incredibles 2, Mirai

Wreck-It Ralph 2: Ralph Breaks the Internet, Isle of Dogs

Should’ve been nominated: I’m going to start off here with a pretty boring opinion, but I think the nominations here were pretty good. I haven’t seen Ralph Breaks the Internet or Mirai, but all of the other three were great movies that I really enjoyed.

I want to win: Spider-Man: Into the Spider-Verse. This movie is a game changer in the world of animation. It’s funny, smart and gorgeous to look at. I can’t wait for my next opportunity to visit the Spider-Verse.

Will win: Spider-Man: Into the Spider-Verse

Supporting Actor

Sam Elliott, A Star Is Born; Richard E. Grant, Can You Ever Forgive Me?

Sam Rockwell, Vice; Mahershala Ali, Green Book; Adam Driver, BlacKkKlansman

Should’ve been nominated: Hugh Grant, Paddington 2. The Paddington sequel was one of the first 2018 films I saw and Grant’s performance as aging villainous stage actor Phoenix Buchanan has remained my favorite throughout the entire year.

I want to win: Sam Elliott and his glorious mustache or Adam Driver. Sam Elliott because I love Sam Elliot and the small amount of time he gets in A Star Is Born is very, very good. Adam Driver is just dynamite in BlacKkKlansman. I’m always impressed when someone plays a role of someone who is playing a role and Driver does it about as well as anyone I’ve seen.

Will win: Richard E. Grant. I haven’t seen Can You Ever Forgive Me?, but he seems to be winning everything else.

Supporting Actress

Regina King, If Beale Street Could Talk; Amy Adams, Vice; Rachel Weisz, The Favourite

Emma Stone, The Favourite; Marina de Tavira, Roma

Should’ve been nominated:Rachel McAdams, Game Night. She’s a total delight and boasts a comedic timing that is absolutely on point in the funniest movie of the year. “But she’s a lead, Jeremy,” you might say. And you’d be right, but so are Rachel Weisz and Emma Stone.

I want to win: Regina King. I haven’t seen the movie, but I hear she’s great and I think the Academy finally makes up for snubbing her work in Jerry Maguire in 1996.

Will win: Regina King

Actor in a Leading Role

Christian Bale, Vice; Bradley Cooper, A Star Is Born; Rami Malek, Bohemian Rhapsody

Viggo Mortensen, Green Book; Willem Dafoe, At Eternity’s Gate

Should’ve been nominated: Ethan Hawke, First Reformed. Paul Schrader’s film is criminally underrepresented in this year’s nominations. Sure it got a screenplay nod, but it very easily could have gotten a director and picture selection as well. Being left off of those lists is understandable. It was a strong year in film. What isn’t understandable is Ethan Hawke not being recognized for what is arguably the best work he’s done in a very long and storied career.

I want to win: Bradley Cooper

Will win: Christian Bale. Rami Malek does have momentum in this race, but for some reason, Hollywood is really keen on Vice. And Bale’s transformation just to get in character is easily the best part of Vice.

Actress in a Leading Role 

Lady Gaga, A Star Is Born; Glenn Close, The Wife; Olivia Colman, The Favourite

Melissa McCarthy, Can You Ever Forgive Me?; Yalitza Aparicio, Roma

Should’ve been nominated: The list here is really long. Regina Hall (Support The Girls) and Amandla Stenberg (The Hate U Give) both have strong arguments. But if you would’ve told me that Bo Burnham’s Eighth Grade was simply video of an awkward teenage girl being filmed without her knowledge, first I would’ve thought that was super creepy, but second I totally would’ve believed you. That’s how amazing Elsie Fisher is in that film.

I want to win: Lady Gaga

Will win: Glenn Close. Because no one has seen The Wife and the Academy hates me.

Director 

Spike Lee, BlacKkKlansman; Alfonso Cuarón, Roma; Adam McKay, Vice

Yorgos Lanthimos, The Favourite; Pawel Pawlikowski, Cold War

Should’ve been nominated: Bradley Cooper, A Star Is Born. I don’t understand how Adam McKay got a nomination over Cooper in this race. Vice is fiercely adequate as a film, but from Adam McKay it’s hardly a stand-out. It’s an angrier The Big Short with the smugness turned up to 11. I don’t think it should’ve been shut out, there are some legitimately great performances that deserve to be recognized, but it doesn’t belong anywhere in the vicinity of this category or Best Picture.

I want to win: Spike Lee, BlacKkKlansman. Some people might call a win for Lee a career achievement award. I think those people would be wrong. BlacKkKlansman is one of the most important films of the year and Lee presents it in a package that is funny, intriguing, intense, and uncompromising.

Probably will win: Alfonso Cuarón, Roma. I’m not sure if it’s the dog crap or the naked martial arts, but people are super into Roma. In all seriousness, it is a beautiful film and every moment feels crafted with love. I wouldn’t at all be upset to see Cuarón go home with the statue.

 

Best Picture

Black Panther, Green Book, BlacKkKlansman, Roma, A Star Is Born

Vice, Bohemian Rhapsody, The Favourite

Should’ve been nominated: Blindspotting. It’s better than anything else on this list. Full stop. No snark, no quips, it’s better than anything else on this list.

I want to win: A Star Is Born is my favorite movie nominated, but as an unashamed lover of superhero movies, I’d love to see Black Panther go home a winner.

Probably will win: Roma. If I’m being honest, picture is the only category where I really don’t have any idea what’s going to win. I’d love to think that A Star Is Born would have a good chance because of how well it’s performed at the box office since it’s release in October, however that’s hardly an indicator of awards success. Roma is currently the odds on favorite, most likely due to it nearly sweeping the critic awards so far this year. But I think this is looking like a pretty tight race, so I’d keep checking in over there until you have to turn in your picks for the office Oscar pool.

 

There you have it. Those are my picks. Get your bets in on time. I’ll take 60% of your winnings and you can cover any losses (there won’t be any). And as a bonus for making it this far, I’ll give you one more quickie: I don’t want to be over-dramatic, but if “Shallow” doesn’t win Best Original Song, I’ll light myself on fire. Your move, Academy.


Jeremy Calcara is a contributing member of the Feelin’ Film team. Follow him on Facebook and Twitter to be notified when new content is posted.

 

What We Learned This Week: January 19-February 2

LESSON #1: YOUNGER IS BETTER AND LONGER LASTING— Before you say “that’s what she said,” let me explain that I’m are talking about Batman.  Word hit hard that Ben Affleck is retiring (i.e. passed over and forced out) from the role of the Caped Crusader, one he already entered while in his 40s (granted, they sought a veteran intentionally).  Warner Bros. moves forward with the Matt Reeves-helmed The Batman for 2021 and I’m begging they go younger.  Don’t do another guy over 40 and don’t even do another actor in their mid-to-late 30s.  Lock in a steady Batman in his prime and past his overly-told origin story in the starting age range of 25-29.  Let that guy own the role for a decade instead of being interchangeable like bad underwear.

LESSON #2: THE INDEPENDENT SPIRIT AWARDS ARE LOOKING BETTER THAN THE OSCARS RIGHT NOW— Between the many harebrained decisions and non-decisions being made by the Academy and their show producers (awards during commercial breaks, go/no-go on song nominees) and their semi-questionable nominees, the Oscars are looking like a, pardon my French, a s–tshow right now.  I look the day before the Oscars at the slate and schedule for the Independent Spirit Awards and I’m duly impressed.  Those are true nominees of the best of film.  That’s a red carpet and party I’d rather be at.  

LESSON #3: NETFLIX KNOWS WHAT’S GOOD FOR THEM— Speaking of the Oscars, there has been an anti-Netflix sentiment for the last few years.  This simmering industry stench of haters surrounds how Netflix’s streaming service does not commonly include theatrical distribution.  One of the Academy’s rules for awards qualification is to have at least a soft theatrical release somewhere. Netflix has bent to that in small ways (Mudbound) and big ways (Roma).  Well, their biggest bend of all dropped soon after Netflix snagged 15 total nominations when they agreed to join the MPAA.  It’s an olive branch of commitment to make nice and do good by the industry that they are steadily part of reforming every year.

LESSON #4: NETFLIX KEEPS REMINDING US HOW AMBITIOUS THEY ARE— At the same time the streaming giant shows industry savvy, Netflix continues to stoke its hubris fires with the burning of subscription dollars (thanks, price increases!).  Back at the end of December, Netflix announced its intentions of pacing to churn out 90 films a year with budgets as high as $200 million.  That’s beyond huge.  That’s bigger than Disney’s output.  With every high profile acquisition, every word-of-mouth hit, and, more importantly, every influx of subscribers, Netflix becomes a bigger player.  A critic like me or Aaron and Patch on Feelin’ Film could cover only Netflix films and fill a year’s worth of review quota.

YOU CAN’T BEAT FREE— Marvel is partnering with AMC Theatres to re-release Black Panther for FREE at several locations during Black History Month.  Folks, you won’t find a better price to see an Oscar nominee short of some library screening or summer kids club event at a daycare center.  You get Ryan Coogler’s gem with all the bells and whistles of a real big screen. Go catch it again or for the first time.


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 a year, 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 special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

What We Learned This Week: New Year’s Resolutions for the Film Industry for 2019

Image by Muharrem Aner for Getty via The Daily Beast

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 eighth edition, have fun taking the movie industry to task for things they need to change, even if I get to do it every week in a different ranting way on “What We Learned This Week.” My cadence hasn’t changed.  I have no false internet courage to be a Twitter troll. As always, some resolutions come true while others get mentioned and reiterated every year. A great deal of last year’s list is still relevant.  Enjoy this year’s hopes and dreams.

#1: Don’t stop supporting minority voices.

2018 has been a banner year for indie film featuring themes, stars, and filmmakers of gender and racial diversity.  This list is impressive: Searching, If Beale Street Could Talk, Blindspotting, The Hate U Give, Sorry to Bother You, Roma, The Rider, Revenge, Crazy Rich Asians, Madeline’s Madeline, BlacKkKlansman, Burning, Roxanne Roxanne, Nappily Ever After, We the Animals, Private Life, Widows, You Were Never Really Here, Can You Ever Forgive Me?, Border, Support the Girls, Minding the Gap, Shoplifters, Destroyer, RBG, Hearts Beat Loud, Boy Erased, The Favourite, Bohemian Rhapsody, Collette, The Miseducation of Cameron Post, Love Simon, Disobedience, Blockers, and many many more.  Upvote your favorite films directed by women in 2018 on this Ranker.  Hollywood, keep these doors opening.  Don’t just do this for tokenism. The audiences will come.

#2: Disney, take your time with Fox properties you bought from Marvel.

A recent Kevin Feige interview became click bait when he said that Fox’s Marvel properties, mostly the Fantastic Four and X-Men universes, could be in their control within six months.  Everyone (well, expect me) got out their abacuses and calendars to calculate how fast those new incarnations would arrive. My advice and resolution preached patience. Don’t just make these films because you can.  Take your time and get them right. Fantastic Four has had two failed attempts. X-Men has had its soft reboot too and is already slipping. I have no doubt those characters are in the right place, but Marvel needs to hold off.

#3: Speaking of Disney, slow down with your own releases.

Have you seen the Disney release calendar for 2019?  It’s insane. Their dominance, as if we already didn’t know, is unquestioned and it shows.  I think it’s too much. When big releases are on top of each other like this, they feel more run-of-the-mill instead of special.  I remember a time when there was only animated Disney film a year. It was huge, important, and it mattered. It’s hard to multiply care when there are a half-dozen or more between Pixar, Marvel, Star Wars, and their own house brand choices.  Space them out. Build them up. Make them matter because they don’t come around all that often.

#4: Don’t show us another second of Avengers: Endgame

Those of you who follow my weekly column and the “soapbox specials” know that I’ve sworn off of trailers and have been encouraging people like a cinematic cult leader to do the same. I’ve simply seen too many and oversell their products and create unreasonable expectations which create the butthurt fans we have come to hate. Avengers: Endgame would be the perfect trailblazer. That movie doesn’t need a second of marketing to get our money. How awesome would it be if they stopped cold right now after the first trailer? Our frenzy of anticipation off of the small sample would create more buzz than any new footage. At the same time, the studio could pad their bottom with the reduced need to throw money into marketing, as well as merchandise too. Don’t even release an action figure until after the screaming and parent-tugging kids see the movie in April. Don’t hope for a frenzy. Create one.

#5: Vet your hosts and spokespeople

In the Twitter meltdown wake of James Gunn, Louis CK, Kevin Hart and more this past year, studio heads and showrunners need to do a better job background checking their hires. It shouldn’t matter as much as it turns out, but we’re seeing it does. Big outfits and corporations have too many PR employees and interns at their disposal to miss the large problems they have this year. When those flags come up, talk it out and have a plan before making final decisions and public comments.

#6: If you’re a celebrity, it’s time to get off Twitter

I think we’ve reached a point where we have to ask what the gain is from Twitter. Sure, it’s fun to see trends and maybe catch breaking news, but that’s for us anonymous people of the general public. If you’re a big star, do you really need the scrutiny just for a small PR and promotional bump that comes from social media accessibility? I don’t see the value if you’re an established celebrity or brand.

#7: Repackage the Oscars a better way

Speaking if Kevin Hart, the embarrassing panhandling for a new host and poor attempts to shoehorn new and silly categories creates the need for this resolution.  I say don’t do even have a host at this point. Reduce the bits and focus on the awards. Here’s some perfect and generous math even with a host. Give the 24 categories 5 minutes each (3 to introduce it gracefully with deeper montages than mere quick mentions and 2 full minutes for each winner’s speeches) and that’s 120 minutes. Tack on 5 minutes to open with a welcoming monologue, 5 minutes to close with a thankful prologue, 3 minutes for the annual dead people roll call, and 30 minutes for required commercials to pay the bills.  Easy peasy! You’re well under three hours, the awards are given rich room to operate, and nothing is forgotten except another hare-brained skit. As far as categories go, Best Casting and Best Stunt Work deserve inclusion. If you want to trade those for some technical awards being moved to the separate Science awards night, so be it, but don’t even try to devalue the whole show with a dumb and patronizing Popular Film award. Leave those awards for MTV.

#8: Respect Netflix

Speaking of the Oscars, much is being talked about on a perceived bias and beef the Academy has with Netflix films. They need to put it aside with tolerance for a new and viable distribution outlet that isn’t going away, especially if they keep landing high pedigree films like Roma and The Irishman. Movie moguls need to arrive at the learning curve television and their Emmy Awards have already put behind them where cable and streaming shows have equal footing and respect as network shows. Welcome the new guy better than you are.

#9: Netflix, please choose quality over quantity

Speaking of Netflix, you might need the same resolution as the one Disney got earlier. We get it. You have money and are spending it. You can freely drop films and splash any and every pot with them. The trouble is you have more bombs than winners. For every Roma and Bird Box, you have a dozen that never get attention because there are too many choices. I know, right? Who would have ever thought too many choices was a bad thing. Netflix, I see your strengths. You are revitalizing the midrange budget film market studios haven’t been making since the 1990s. You give indie films wider and better chances for visibility than they would at the shrinking number of arthouse screens. You have long championed documentaries. Do all that with a discerning eye and refined taste.

#10: Keep repackaging Adam Sandler

Speaking of quality over quantity, if you don’t count his voice work in Hotel Transylvania 3, 2018 was the first year in a long time without a theatrical release from Adam Sandler.  That alone made 2018 a glorious year answering one of this column’s longest repeating annual resolutions to stop that man’s redundantly bad career.  I say that while still being happy Adam Sandler’s recent unbound and R-rated Netflix comedy special has done so well. Give us that grown-up Adam Sandler.  Bury the man child. Since Netflix is writing him checks, it’s up to them to remake Adam Sandler. Someday, we’ll be glad he’s back in the spotlight as a new man.  The fear will always be him slipping back to the boorish slacker type that made him rich.

#11: Price point will always be the greatest trigger and hurdle simultaneously

This goes for all of the current streaming services out there and all of the ones still coming, especially Disney+.  Each streaming service’s standalone price makes it highly affordable compared to the price of theater tickets for the whole family year-round or a bloated cable TV subscription.  The devices like AppleTV, Roku, Google Chromecast, Amazon Fire, and more are all wonderfully affordable too. The hard part is if/when you feel like you need to have 4-5 streaming services in addition to the steadily increasing costs of high speed internet to make it all work.  Then that number balloons. At some point, the overabundance of services and higher prices will break a common person’s budget. The services have to make sure they don’t reach that point.


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 a year, 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 special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

What We Learned This Week: December 7-29

My apologies for the December sabbatical.  Work, holidays, and the awards season are spare time killers…

LESSON #1: WE’VE LOST KEVIN SPACEY— Wow. Just wow. How weird was that “Let Me Be Frank” video this past week? How miscalculated was it, especially on top of the newest charges against him? Contrition instead of glamor would have went a long way. I don’t see how he comes back from this any time soon. Man, I’m going to miss Kevin Spacey.  He was one if the best. Now if we could just lose Johnny Depp next, that would be super. He’s already off the next Pirates of the Caribbean movie.  I’d call that a start.

LESSON #2: STOP MANUFACTURING CONFLICT WHERE IT DOESN’T EXIST— Dramatic license is necessary to make a marketable and entertaining film, but it should be used carefully and even as a last resort. Every time that card is cashed, it chips away at the story’s core and truths. Do that too much and it’s either manipulation or disservice. What was nearly done in On the Basis of Sex is a disconcerting example of forcing strife just to have strife. It’s unnecessary and could have turned things negative.  I’ll never understand how “good for goodness sake” can’t sell on its own.

LESSON #3: EVEN BIG STARS DON’T KNOW HOW TO USE IMDB— To read this recent story of actor Seth Rogen’s (and his famous peers) monumental “discovery” that that gangster film, Angels with Filthy Souls, in Home Alone was a fake movie and not a real one makes me miss Jay Leno’s “Jay-Walking” segments on his old late night talk shows where this kind of lack of reasonable intelligence lives and breathes.  It’s title is likely a homage to the Michael Curtiz’s James Cagney vehicle Angels with Dirty Faces.  Sure, I get how small and inconsequential of a detail it is, but it’s a straight facepalm for me when tools of knowledge are readily available.  It doesn’t take a genius to go on IMDb and see Ralph Foody and Michael Guido’s name in the cast playing Johnny and Snakes.  Home Alone came out in 1990, the same year IMDb began though the noted database didn’t hit the web until 1993.  That’s only really three years of head-scratching, but I guess it’s 28 years of haze and missed problem-solving synapses for Rogen and company.  Alas, this counts as hot topic clickbait in 2018. Any time a celebrity farts with sprinkles, it gets a column and 400 words.

LESSON #4: ROMA IS GOING TO KEEP WINNING— Shine up the “Critical Darling” plaque and start printing the t-shirts.  Alfonso Cuaron’s 1970s domestic drama from his home country of Mexico is winning all of the shiny things that say Best Picture, Best Director, and Best Cinematography on them.  My website’s Awards Tracker shows it running away and hiding in this categories during this main stretch of regional critics groups handing out their annual awards. Sometimes, especially for a foreign film, it is hard to project all of this critical love into audience success and Oscar glory.  It’s not too often the regular, ordinary domestic viewing audience will drop an audible “Huh?” at Best Picture winners. This may be one of those years. The test will be the Golden Globes. Let’s see if Netflix can do its job and give Roma a wider audience, which is its own testy saga to read about.

LESSON #5: YOU KNOW YOUR FILM IS CRAP WHEN EVEN NETFLIX SAYS NO— The newest Will Ferrell-John C. Reilly teamup Holmes & Watson had bomb written all over it from the start.  First, the marketing didn’t help the effort, looking like one of those struggling comedies where all of the good jokes are in the trailer and not in the two-hour movie.  Once Sony decided not to screen the film for critics, that should have been the real warning. In a damning second warning, Netflix, which prides itself as the service that will take anything and spend frivolously, actually turned down buying Holmes & Watson from Sony.  Gosh, that’s when you know it’s bad.  That’s like a baseball team trying to trade a pair of pitchers for a bag of balls and getting turned down for even balls.  Good Lord, that’s a bad movie.

LESSON #6: LOOK AHEAD TO SUNDANCE TO THE SUNDANCE FILM FESTIVAL— Robert Redford’s baby turns Park City, Utah into Mecca. We may be looking at the 2019 Oscars, but, without fail, at least one or more future contenders for 2020 will debut there. Here’s the full lineup. From the competition films, keep an eye on Native Son and The Farewell.  Of the bigger-named gala premieres watch for Jake Gyllenhaal’s Velvet Buzzsaw (a new collaboration with his Nightcrawler director Dan Gilroy)Julianne Moore and Michelle Williams in After the Wedding from Moore’s husband Bart Freundlichand The Report with Adam Driver and Jon Hamm from Soderbergh writing partner-turned-director Scott Z. Burns.  You’ll sound cool if you can say you’ve heard of these films next year.


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 a year, 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 special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

What We Learned This Week: 2019 Golden Globes Nominations Special

2019 GOLDEN GLOBE NOMINATIONS REACTION SPECIAL

LESSON #1: DON’T TAKE THESE AWARDS AND NOMINATIONS TOO SERIOUSLY— This has to be said every year.  The Hollywood Foreign Press Association is a very divergent organization of random different tastes.  The headscratchers you will read about from the full list of nominees is one-part limited scope and two parts popularity contest.  They have money and throw a heck of a party.  That’s it.  Honestly, this awards group and show has no business being the second most-touted and most-promoted awards show of the annual season.  It’s not a good bellwether anymore for prognostication either.  The Screen Actors Guild or Independent Spirit Awards deserve this level of primetime TV stage and attention.  

LESSON #2: A STAR IS BORN WANTS TO BE TAKEN SERIOUSLY— Much annual buzz is made about the Golden Globes’ loose split of drama and comedy/musical categories that doubles the names of a Best Picture field.  That division does tend to elevate things that probably shouldn’t be there in the first place just because it checks a comedy or musical box.  One clear frontrunner is A Star is Born and it is slotted right where it belongs as a drama.  The easy and lazy thing to do would have been for it to compete (and rake) in the comedy/musical half, but Warner Bros. wanted its prize possession in the drama field.  It’s nominations in the top categories for Best Picture, Best Director, Best Actor, and Best Actress show its strength and respect.

LESSON #3: BOHEMIAN RHAPSODY CAN’T BE TAKEN SERIOUSLY— This is the absolute counterexample from Lesson #2.  Bohemian Rhapsody, a higher audience hit than critical favorite, is going to get crushed in the drama side of the categories.  It is completely outclassed by the other four nominees.  That is the exact kind of movie that should have taken the easier road in the comedy/musical category.  Rami Malek deserves the Best Actor nod he received, not matter which place he got it.  Admittedly, the competition for Malek against Bradley Cooper and Willem Dafoe in drama is probably a tad easier than Christian Bale, Robert Redford, and Viggo Mortensen in comedy, but he’s going to need quite the sentiment to win that popularity contest.

LESSON #4: AMERICAN INDEPENDENT FILMS DON’T PLAY WELL OVERSEAS— In order to be an American indie film that gets Golden Globe nominations, the film needs to play more of the festival circuits overseas.  Cannes Grand Prix winner BlacKkKlansman and Toronto darling If Beale Street Could Talk each Best Picture- Drama nominations and had connected acting nominations (John David Washington, Adam Driver, Regina King).  First Reformed with Best Actor frontrunner Ethan Hawke was shut out entirely.  Even though I look at Lesson #1 and say it’s OK, a film like that still needed a little bit of this TV stage to garner a few more voters for the future Oscar stage.

LESSON #5: VICE AND ROMA ARE POSITIONING THEMSELVES AS SLEEPING GIANTS— A Star is Born has reigned as a big public hit since October, but Adam McKay’s Vice is going to hit us like a ton of bricks come later this month.  Most people haven’t seen it yet, but it’s coming. Annapurna is slow-playing its ace-in-the-hole and the political dramedy leads all film nominees with six total Golden Globe nominations.  Watch out.  It will be interesting to see how this humor plays in red state USA.  On the softer end, Netflix’s Roma crossed over from Best Foreign Language Film to score strong mainstream nominations for Best Director and Best Screenplay.  The film is legitimately a dual-category threat for the future Oscars.  Let’s see how well general audiences embrace its heavy drama once it debuts on its streaming service.

LESSON #6: BEFORE OR AFTER THE OSCARS, WE NEED TO TALK ABOUT TOKENISM— I’m as happy as the next movie fan to see Black Panther getting its due respect as a Best Picture- Drama nominee at the Golden Globes.  It represents genre film and diversity on many levels.  We should celebrate that it has transcended stigmas to earn that seat at the table.  Unfortunately, the cliche is coming that the “nomination is its reward.”  It’s there, but it’s not going to win.  Casual fans need to come to terms with that in a few ways.  One, the film has its flaws that objectively keep it from being the outright Best Picture of the year.  Some folks can’t see that.  Second, until a genre film not named The Lord of the Rings can break the glass ceiling to win, these inclusions are going to pile up and feel like thrown bones to fans just for ratings.  They are going to feel like tokenism to appease people and, unfortunately, specific demographics.  Someday, the right film is going to surge, fantasy elements be damned, to a level of quality and critical praise that can’t be denied.  Black Panther isn’t that film, but it’s a huge step in the right direction.  That said, until a true victory comes, these can feel like steps on an unnecessarily endless ladder.


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 a year, 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 special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.