What We Learned This Week: January 1-13

LESSON #1: EITHER BUSINESS IS BAD OR PEOPLE ARE FINDING THEIR ENTERTAINMENT ELSEWHERE— I have found that in the box office business, trends rarely lie.  Looking past inflation and price changes, the reported actual ticket sale counts are alarming according to the year-end news reported in several places.  A six percent drop is telling but not drastic.  “Lowest in 25 years” is a whole other thing.  To me, as I’ve stated in this column frequently, it’s all about the price point for family dollars.  The wave of unlimited TV and streaming options available at high quality and far lower costs than it takes to bring the average family of four to the multiplex with refreshments is becoming a no-brainer for those cost-minded folks.

LESSON #2: SPEAKING OF BUSINESS, APPLE MIGHT HAVE A COUNTERPUNCH TO DISNEY— Once Disney bought 21st Century Fox, they gained controlling percentage of Hulu Plus at the same time as they’ve been positioning to launch their own dedicated streaming platforms.  The target was placed on Netflixes back, especially after the Mouse House pulled all of their content off the platform to bring under their own roof.  Netflix might have found a benefactor and powerful one.  According to reports sourced by Citi, Apple is angling to buy Netflix with a billion dollar price tag.  Throw Amazon’s power in there, and this WWE triple threat match in a streaming ring just got big

LESSON #3: SPEAKING OF BUSINESS, KEEPING ADVOCATING FOR EQUAL PAY ACROSS GENDERS— You can try to slice it, refocus the points, or pretend to justify the reasons however you want, but the Mark Wahlberg/Michelle Williams All the Money in the World compensation disparity story that broke this week is kind of sh-tty no matter which way you play it.  It just flat-out looks bad.  I’m glad it’s getting investigated by the union (Screen Actors Guild).  I keep the benefit of the doubt going that good faith is out there or that contracts are this and other contracts are that.  For that to remain, a positive outcome (with a rolled head or two) must arrive or this will only incite more from an already fractured female demographic, and rightfully so.

LESSON #4: WE HAVE TO CONSIDER THREE BILLBOARDS OUTSIDE EBBING, MISSOURI A FULL-FLEGED OSCAR CONTENDER NOW— To me, the Golden Globes have been a joke, are a joke, and will remain a joke with some of their category distinctions, silly nominees, and oddball choices.  That said, the Golden Globes aren’t the only awards Sam Rockwell, Frances McDormand, and Martin McDonagh’s film are sweeping up.  The two actors have been surging and now stand as legitimate co-frontrunners with Willem Dafoe (The Florida Project) and Sally Hawkins (The Shape of Water) who have dominated the Best Supporting Actor and Best Actress categories.  These dark horses aren’t so pitch black anymore.  By the way, you know which Golden Globe winner is not a real contender?  James Franco.  Via con dios, dude.

LESSON #5: THE STAR WARS: THE LAST JEDI HATERS ARE GOING TO BE BUTTHURT FOR A LONG TIME— …and it’s going to be agonizing to deal with them.  Most of the haters are just harmless snobs and sub-trolls.  Their rants and forgettable and carry weak traction, like silly petitions to remove the latest film from canon.  However, some of them take it too far.  This recent story of Kelly Marie Tran dealing with racist and sexist comments is a prime example.  That’s the kind of crap that goes too far and isn’t “fansmanship” nitpicking over water cooler talk anymore.  That’s the hurtful garbage that needs to go and get a life.

LESSON #6: CIRCLE BACK TO THE BEST OF 2017— Rotten Tomatoes closed the 2017 calendar with their list of 100% Tomatometer films.  Seven titles never received a bad review.  Use JustWatch to seek them out in this boring and empty annual moviegoing wasteland known as January.  Liam Neeson flicks can only keep your attention so long.  If you want more films after those seven, you’ve got five top-ten lists right here on Feelin’ Film from your hosts and contributors.


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.

 

Jeremy’s Top 10 Films of 2017

2017 was a great year for me as far as movies go. I was able to see more new movies than ever before, and thanks to Aaron and Patrick, I was also given the opportunity to write about them from time to time. I’m not a critic. I’m never going to talk about how the director’s use of color helped to invoke a sense of whimsy or anything like that, because I don’t know what that even means. I’m glad there are people out there who do know, because I like to listen to them talk about movies and hopefully get a little smarter while doing so. But I’m just a guy who likes movies and watches way too many of them. All in all, I was able to watch 107 movies that had release dates in the United States in 2017. The following are my ten favorite, not necessarily the ones that I thought were the best films. Enjoy!

10- Logan

This is the first of two films on this list that were released last winter but managed to hang out in my top ten all year. I’ve long been a fan of Hugh Jackman and his portrayal of Wolverine in the X-Men films, but like many others, I had hated the individual Wolverine films up until Logan. So my expectations for this film were quite low. I was completely blown away when James Mangold managed to create the perfect send-off for not one, but two characters in the X-Men universe, all the while making an emotionally satisfying film about legacy and family.

9- The Greatest Showman

If you would’ve told me 10 years ago that I’d be getting super into musicals in my late 30’s, I never would have believed you. But here we are. I really like this movie, but I completely LOVE the soundtrack. I recently got a Google Home Mini for Christmas and thus far it’s basically been a Greatest Showman soundtrack playing machine. I could be nitpicky and talk about its faults, but I kind of just want to dance in my living room to This Is Me instead.

8- Dunkirk

I’m a pretty big Christopher Nolan fan (it’s one of the requirements to be a Feelin’ Film contributor) so I was pretty excited to see this one from the moment I heard about it. Its tension really puts you in the headspace of its characters and while some saw the timing differences in the three different story threads distracting, I thought it was brilliant and served to heighten the imminent danger in the film. It’s not my favorite Nolan, but it’s still really good.

7- Three Billboards Outside Ebbing, Missouri

This one hit me in all of the right places. I thought the story and dialogue were both funny and heartbreaking with excellent performances by the all-star cast, with Sam Rockwell standing out. This film is a lot darker than what I am usually into. but I really enjoyed the realistic way in which it portrayed positive change in its characters, even characters as unlikable as the ones that McDonough gives us.

6- Wonder Woman

I don’t have a whole bunch of words to say about Wonder Woman, I just really loved this movie. The scene where Diana emerges from the trench at No Man’s Land is one of my two or three favorite scenes of the year. Gal Godot perfectly brings the Amazon goddess to the screen, giving her a perfect amount of naivety, beauty and compassion without sacrificing her fierceness as a warrior. It immediately became my favorite entry into the DCEU even though I’m a guy who really likes all of the films in that universe (besides Suicide Squad, but that goes without saying).

5- The Big Sick

I went to see this one afternoon this summer after hearing Feelin’ Film contributor Don Shanahan gush about it for a few days. He wasn’t using hyperbole. I loved this film. It’s funny and sweet and heartbreaking and thought-provoking, often achieving all of those things in the same moment. Holly Hunter and Ray Romano give my two favorite supporting performances of the year in this stand-out film.

4- Star Wars Episode VIII: The Last Jedi

So my wife went and had a baby on the day I was to go to the 10:00 opening night show of SW, meaning we’d still be in the hospital when the second showing I had tickets to came around. The timing of the birth of my son (whom I love and with whom I hold no grudges about the time and date of his arrival) meant that I wouldn’t be able to see the film until almost a full week after its release. But I really think that this ended up being a good thing. I was somewhat careful to avoid spoilers, but I saw enough to know that the critics were loving it but that a lot of the fans were pretty upset. I think this helped my mindset going in as I started to expect the unexpected. Because of that, I came out of the theater completely in love. I think the story went places where it needed to go to move the universe beyond the family tree of the Skywalkers while also adding a satisfying chapter to Luke’s legend. The new characters continue to impress and the old ones have absolutely brought their A game to the new trilogy as well. This movie has already moved to number three in my Star Wars rankings and by this time next year, I wouldn’t be surprised to see it at the top. I can’t wait to see what Rian Johnson has in store for his new SW trilogy.

3- Lady Bird

Lady Bird is another movie that I wouldn’t have seen (at this point, anyway) if it weren’t for the relationships I’ve been able to build at Feelin’ Film. After spending a couple of hours chatting with Aaron and Patrick about Edge of Seventeen (episode 86 of the podcast), Aaron suggested to me that I’d like Lady Bird. He wasn’t wrong. Beautifully acted and casted and directed and performed, Lady Bird is one of the best coming of age stories I’ve seen on screen. What’s the opposite of a back-handed compliment? Like when you’re playfully bashing on something that you actually love? Is there a word? If there isn’t we need to invent one to accurately capture Lady Bird, Greta Gerwig’s funny and heartfelt love letter to her home.

2- Get Out

This movie was the number one film on my list for more time than any other movie this year. I saw it because I’m a fan of Jordan Peele from Key and Peele and I thought that if he wrote a film, it would probably be pretty fun. As an experience, it was one of the most enjoyable times I had at the theater all year. As a film, I found its themes to be something that has challenged my thinking even more on repeat viewings. It’s one hell of a directorial debut and I’m looking forward to what he’s got up his sleeve next.

1- Brigsby Bear

Sometimes a movie comes along that just hits you in the right place at the right time. Brigsby Bear did that for me. It’s a quirky comedy (described by Filmspotting’s Adam Kempenaar as Be Kind, Rewind meets Room) that can be enjoyed on its surface, but that also has a lot to say about friendship, family, moving on from tragedy, the joy of creating art and what makes us love the things we love if you want to engage with it on a deeper level. I’ve seen it three times now and each time something new stands out for me to think on for a while. Kyle Mooney is perfect as our main character man-child James and Mark Hamill gives my favorite performance of his in 2017 in a supporting role. This will be a movie that I watch often and might just end up being one of my favorites of all-time.

The films that almost made this list but just didn’t quite make the cut are:

  1. War for the Planet of the Apes
  2. Baby Driver
  3. Justice League
  4. Spiderman: Homecoming
  5. Wonder

And if you want to see my ranking of all 107 movies that I’ve seen that were released this year, check out my Letterboxd list. Notable movies I haven’t had a chance to catch up with yet are Darkest Hour, I, Tonya, The Disaster Artist, Phantom Thread, and The Post. I look forward to many more movie conversations here in the new year. I appreciate you reading and hope that 2018 holds great things in store for you and yours.


Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 089: Star Wars: The Last Jedi

Star Wars: The Last Jedi has arrived, and it is proving to be extremely divisive, as critics laud Rian Johnson’s film despite many fans coming away disappointed. We enjoy this opportunity to talk about trilogy world-building and whether we like the directions Star Wars is heading. We also discuss the recently announced 2017 Seattle Film Critics Society Awards, of which Aaron is a voting member.

What We’ve Been Up To 0:01:05

(2017 Seattle Film Critics Society Awards)

Star Wars: The Last Jedi Review – 0:39:29

The Connecting Point – 1:46:30

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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.

 

 

MOVIE REVIEW: Star Wars: The Last Jedi

STAR WARS: THE LAST JEDI (2017)


GOING IN

In the two years since Star Wars: The Force Awakens was released, it’s been a bumpy ride for my fandom of this once beloved franchise. I thoroughly enjoyed the beginning of this new trilogy, but also found its use of nostalgia to be a bit off-putting. And then came Rogue One, which I did not enjoy much and resulted in me becoming very down on Star Wars and its cinematic future. Thankfully, a recent re-watch of The Force Awakens and the release of the first trailer for Star Wars: The Last Jedi snapped me back to attention and I am now properly excited once more.

So many questions exist that must be answered. How will Rian Johnson fare in the director’s chair and how will the treatment of recently deceased Carrie Fisher be handled? Where is Kylo Ren’s character arc heading and will he evolve into a villain on par with Darth Vader? And who, for the love of all that is holy, are Rey’s parents? The Last Jedi looks amazing, and expectations are sky high. Hopefully not so high that they’re bound to be let down.

2 Hours and 32 Minutes Later.


COMING OUT

A few weeks prior to the release of The Last Jedi, Disney announced that director Rian Johnson would be expanding Star Wars further with a new trilogy. This news sort of tipped Disney’s hand as to how they felt about The Last Jedi because they certainly weren’t going to give Johnson more work if they didn’t like what he’d done in Episode VIII. Well, it all makes sense now, and Johnson has proven that the franchise is in good hands.

The Last Jedi follows a similar path to The Empire Strikes Back, with dual storylines following Rey (who we last saw tracking down Luke Skywalker at his secret hiding place) and the rest of the Resistance separately. But if you’re worried about the film being a beat-for-beat remake of the hallowed Episode V, you can rest easy knowing that it does not do so and instead offers many surprises. It is telling that Luke says, “This not going to go the way you think,” because for (mostly) better and (a few times) worse Johnson twists and turns this tale all over the place, which creates the exhilaration that comes with having no idea what is coming next. After its typical over-the-top opening sequence, Johnson’s film does lag a bit, though, and I felt the overall length more-so than I have in other epics. It’s not that the character development and plotting aren’t important, but it is noticeable compared to the high octane pacing of the film in its second half. And in that second half is where things really shine the brightest as everything and anything can and does happen. The final third of The Last Jedi is as emotionally affecting, gorgeous to behold, and fun to experience as any Star Wars film has ever been.

One thing that really stuck out the most in The Last Jedi was Johnson’s ability to challenge the moral choices of characters both “good” and “bad.” Poe Dameron has to actually deal with the repercussions of his Maverick-esque personality and Finn struggles with being considered a hero. Even Chewie deals with moving on after the loss of his best friend, albeit with a pretty adorable outcome. Many characters are faced with dilemmas that seem easy to solve on the surface but prove to be so much more. I’m not even going to address Rey and Kylo Ren’s arcs because those need to be seen firsthand with no prior knowledge, but I will say that I appreciated where the former ended up more than the latter. One of my disappointments with the film was being left with the feeling that Ren still isn’t a villain worth fearing like Darth Vader. That being said, this is a different story with different relationships in play, and there is much I do like about the complex Kylo Ren.

Acting is solid across the board with Hamill standing out the most. His grizzled, regretful Luke feels very real and sincere. We do finally get to see Supreme Leader Snoke up close and Andy Serkis does his typical great motion-capture work, however the voicing of Snoke sounds a little too reminiscent of Gollum at times and that can be distracting. Also, thankfully, Carrie Fisher’s appearance is handled with the utmost care and respect. She’s not just a side character either, but a very integral part of the the entire film’s plot. One final small criticism would be that the characters are sometimes forced to use very modern dialogue, specifically when the film is being humorous. Many laughed, but I found some lines to just be more eye-roll worthy instead. Luckily these moments are few and far between, nothing that derails the cerebral and intriguing plot.

VERDICT

Star Wars: The Last Jedi is a wonderful next step in this new trilogy and one of most epic cinematic space operas since The Empire Strikes Back. Its unexpected plot choices will have fans gasping in surprise, and many emotional moments will cause a lump in the throat or tears in the eye. As Star Wars has always told us, the Resistance (and Rebellion) operate on HOPE. The story here is no different, but our HOPE in Rian Johnson has also been pleasantly rewarded. Whether you like every choice or not, it’s impossible not to respect the filmmaker’s talent, ambition, and passion, especially as the film’s momentum builds and races home to its incredible conclusion. The Last Jedi is a must-see for fans and should be taken in at the biggest theater possible for full effect. See it soon to avoid spoilers, and may the force be with you always.

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 how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 088: Star Wars: The Force Awakens

With the upcoming release of Star Wars: The Last Jedi right around the corner, we take a look back at the first film in this newest trilogy. Star Wars: The Force Awakens was met with great critical acclaim and yet a number of fans also loudly complained that it might just be too nostalgic. We discuss our first experience with the film and how it’s aged for us, now two years later, and get ourselves (and hopefully you) ready for Episode VIII.

Star Wars: The Force Awakens Review – 0:00:01

The Connecting Point – 0:55:40

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What We Learned This Week: December 3-9

LESSON #1: IF YOU CAN’T BEAT THEM, BUY THEM— Barring any final hang-ups, big media will be getting bigger.   The entertainment universe is abuzz with the prospect of Walt Disney buying 21st Century Fox (more than just parts or assets of it as initially rumored), a $60 billion deal that could be done as early as next week.  Word is Fox would retain its sports and news properties (dammit), but the film wing is what has folks dreaming.  Fanboys go straight to the fantasies of seeing the X-Men/Fantastic Four worlds merged with the Marvel Cinematic Universe, and I cannot blame them for those tingles. I have them too, but circle back to some of the little things we’ve seen Disney do over the course of the year (many reported in this column): the blackout of critics from certain publications, the price hikes for theater dividends, taking their ball to their own convention and streaming service, and more.  There is something to be said for healthy competition and not a one-stop shop that is the size of an empire.  For example (and I bet you didn’t know this one), buying 21st Century Fox would give Disney controlling interest in Hulu.   Combine that potential with Disney’s ESPN service and their own streaming platform coming in 2019 and Disney could have the power to squeeze the life out of Netflix like a corporate anaconda.  Plainly put, I hope the deal doesn’t go through.  If Disney wants to use X-Men and the Fantastic Four, broker a sharing deal with Fox the way they did with Sony for Spider-Man until the rights run out and the properties are free agents again.  Share and play nice together instead of bully with a takeover.

LESSON #2: SPEAKING OF BIG BUSINESS, LET THE JUSTICE LEAGUE AFTERMATH BEGIN AT DC/WARNER BROS.— I have been one of the vocal minority to tip my hat at Warner Bros. going the bolder and more adult direction with their superhero properties as an antithesis to the sunny and safe market cornered by Disney’s MCU.  They had the balls to be different.  The bottom line, unfortunately, is that even the cajones have to sell.  I wouldn’t say Warner Bros. is losing money from its DC films, but you can tell a boardroom somewhere looks at their receipt and then looks at Marvel’s receipts and sees lost earning potential.  They’re making money, but they think they should be making even more money.  Go figure.  Justice League is being seen as a business failure and a rumored producer and operational shake-up made headlines this week.  Adding salt to the wound for many (even though I saw this coming as soon as the Flash solo film was titled Flashpoint, implying the out clause for a reboot), there is strong desire to recast Ben Affleck as Batman in the future Matt Reeves-directed film.  You had to know they were going to need to go younger at some point and it’s reading this was according to plan for Affleck too.  As much as I admire their attempt to be different, I’m fine with a shake-up and some changes to normalize these characters and their potentials.

LESSON #2: “STANDARDS OF CONDUCT” ARE NOW NECESSARY TERMS TO HAVE ON THE BOOKS— The Academy of Motion Picture Arts and Sciences, the governing and voting body of the Oscars, have enacted a “standards of conduct” requiring members to “behave ethically by upholding the Academy’s values of respect for human dignity, inclusion, and a supportive environment that fosters creativity.”  In this day and age, what should be common sense for personal behavior now has to be spelled out in specifics and put into print because of how flippant and rampant those unwritten rules have been broken.  It’s never pretty to need this measure, but it’s one that should be applauded.

LESSON #3: LOS ANGELEANS ARE DIFFERENT THAN NEW YORKERS— The critics’ groups from the two largest and leading cities have spoken with their year-end award picks.   Both are trendsetters, yet both are different.  As reported here last week, the New York Film Critics Circle stumped for Lady Bird for Best Picture and Best Actress.  This week, the Los Angeles Film Critics Association went in the direction of Call Me By Your Name for Best Picture and Best Actor with equal love shown to The Shape of Water for Best Director and Best Actress.  If those three non-conformist films are your Oscar frontrunners, this is going to be a feather-rustling awards season with bold independent film leading the way.

LESSON #4: RYAN REYNOLDS HAS NOT TURNED THE CORNER FROM MAKING BAD DECISIONS–Before Deadpool resurrected his career, Ryan Reynolds could not have put together a trashier resume if he tried.  Just when you thought being enlivened striking gold with the “Merc with a Mouth,” here he goes signing on to be the lead voice in a Pokemon movie named Detective Pikachu.  Come on, man.   You’re back.  You’re better than that crap now.  Did you not learn your lesson? Stick to the good stuff, Ryan.

LESSON #5: QUENTIN TARANTINO’S INVOLVEMENT WILL EITHER BE FUN OR A HOT MESS— News bounced around this week that J.J. Abrams and Quentin Tarantino are meeting to hash out some ideas for a Star Trek film.  Word around the campfire is Tarantino pitched an idea to Paramount and Abrams they thought was awesome and now the two filmmakers are putting together a team of writers to develop the screenplay.  If all goes well, Tarantino, a self-professed Trekkie since the original TV show, could also direct.  Follow-up word says that an R-rating has been given a green light.  I don’t know what to think about that potential.  I don’t think you need profanity and R-rated violence in a Star Trek film, in any shape or firm.  Would it spice things up?  Sure, but it’s out of character, even for this rebooted universe.  I’ll grant that Tarantino has panache like no other.  He could take an old TV episode premise like “City on the Edge of Forever” and jazz it up well for the big screen.  However, unchecked Tarantino is silly and excessive when not reined in.  I’m glad other screenwriters are involved to keep the chatty Cathy Tarantino grounded.  Hire a crack editor while they’re at it to keep it from being a 170-minute yak-fest.  I don’t see a middle ground between awesome and disaster when it comes to a guy like Quentin.

LESSON #7: THIS IS YOUR LAST WARNING FOR STAR WARS: THE LAST JEDI SPOILERS— Folks, next week is the week.  It’s finally here!  Star Wars: The Last Jedi!  I humblebragged this week that I have yet to watch the supposedly spoiler-ish final trailer and I’m pleased as punch that I made it this long.  If you’re avoiding stuff like me, be ready for radio silence next week right around Tuesday morning (hint, hint).  Be cool.  Don’t be a troll.  Don’t ruin it for people.  I promise a spoiler-free review, as always.


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 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: September 10-16

LESSON #1: DARREN ARONOFSKY IS AS AUDACIOUS AS THEY COME— Love or hate his films (and there is a lot there for both emotions), but Darren Aronofsky has cajones, talent, and personal integrity to make bold films his way and for his own artistic expression.  mother! is the latest chapter of a brazen filmography of NoahBlack SwanThe Wrestler, Fountain, Requiem for a Dream, and Pi.  The guy is operating at another level and uses a different elevator of crazy.  Recognize the skill through any love or hate you harbor to his films.

LESSON #2: GUILLERMO DEL TORO’S THE SHAPE OF WATER IS YOUR FIRST OSCAR CONTENDER— The master of creature creation’s romantic fantasy film won the prestigious Golden Lion award as the top film of the Venice Film Festival.  Put it at the top of the standings while it also competes at the ongoing Toronto International Film Festival.  If The Shape of Water were to win at TIFF, hot damn, you can switch the word from “contender” to “frontrunner.”  In other categories, Venice awarded its acting prizes to Kamel El Basha for The Insult and Charlotte Rampling for Hannah, its screenplay award to Martin McDonagh for Three Billboards Outside of Ebbing, Missouri, and the best director prize to Xavier Legrand for Custody.  Within the next week or two, I will report the TIFF winners in this very column.

LESSON #3: “WHITE PRIVILEGE” WILL BE THE MOST POLARIZING SUBJECT MATTER AND NARRATIVE THIS AWARDS SEASON— I screened and reviewed the Ben Stiller vehicle Brad’s Status this week and if I had to retitle the film, it would be White Privilege: The Wake-Up Call.  The movie has a strong introspective quality about it, but its message is going to fall on so many deaf ears to any demographic that’s not a middle-aged white male.  Consider that a crutch and a hindrance, even if the film was good.  I fear the same thing will happen to an even higher profile film this awards season, namely George Clooney’s Coen brothers collaboration Suburbicon.  Clooney was stumping for the film and Venice and found himself answering the sticky white privilege labels and questions.  To his great credit, he’s sticking to his guns about the purposeful satire and commentary of this film.  The film may work, but does that mean it will play that way to general or even voting audiences?  I’m betting the white privilege labels aren’t far behind for Alexander Payne’s Downsizing and even mother! too.

LESSON #4: PATTY JENKINS DESERVES THE SUCCESS COMING HER WAY— Warner Bros. made it official this week signing Patty Jenkins to return as the director of the Wonder Woman sequel.  The first film’s runaway success netted her a $7-9 million payday, the highest ever for a woman director, and a little percentage of the back-end profits for good measure.   Slowly but surely, the pay gap can and should close.  Patty Jenkins deserves this reward and I’m glad she’s one of the leaders for equal professional standards.  Kudos!

LESSON #5: THE IMPORTANT THING IS TO GET A FILM DONE RIGHT— I’ve talked in this column over the summer about the many news items of production ups-and-downs.  Instances include when Justice League called on Joss Whedon to step in for extensive reshoots or the dismissals of two different Star Wars directors.  This week, all signs point to J.J. Abrams returning to the director’s chair for Episode IX and delaying the film an additional seven months to reshuffle the deck.  On the smaller side, ace composer Johann Johannsson is leaving Blade Runner 2049 less than a month before its release.  We take those breaking stories as signs of trouble and possible evidence of a lemon to come.  We’ve been doing it in the internet age since Titanic was delayed from a July 4th weekend opening to Christmas in 1997.  Sometimes those fears become justified.  Maybe, just maybe though, the delays are the right moves to ensure a proper finished product.  Maybe a little more patience and extra time used to fine tune a film can finally win in the age of instant gratification, manic buzz, and “what have you done for me lately.”  We are a voracious audience sometimes, myself included, but maybe we can soften our Chicken Little-level overreactions.  Call this an early New Year’s resolution for this writer.


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 3-9

LESSON #1: HOW MANY COOKS WITH HUBRIS APRONS ARE IN THE DISNEY KITCHEN?— My guess is too many and it’s time to wonder who’s running the show and why they can’t keep talent around.  The dismissal this week of director Colin Trevorrow from Star Wars: Episode IX comes less than three months after a similar parting-of-ways between the Mouse House and the directing team of Christopher Miller and Phil Lord on Han Solo (coupled with acting coach rumors needed for its star Alden Ehrenreich and the swift hire of Ron Howard to finish the film).  Dig back farther and the storied Tony Gilroy-led reshoots of Rogue One now ring a louder alarm.  Across the office, plenty of directors (Edgar Wright, Joss Whedon, Jon Favreau) have also butted heads with the Marvel end of the Disney empire on the grounds of creative differences.  To use an NFL analogy in honor of the opening week of the new season, this reeks of Jerry Jones/Al Davis-style meddling from the front office that prevents the coaches, executives, and players underneath them from doing their job.  Treverrow haters (and there are many after Jurassic World and The Book of Henry) celebrated the axing and formed bandwagons for desirable replacements (#bringbackJJ), but somewhere up the ladder, someone is power-tripping at Disney enough to make dedicated and non-hack people walk, and, unlike the past, it’s not George Lucas’ hubris messing things up.  Keep an eye on all this.

LESSON #2: CASTING FOR DIVERSITY IS MORE THAN JUST LEADS— Opportunity is everything in the moviemaking business and too many of those doors have been locked or lost for too many minorities.  It’s wonderful to see more awareness on the topic, especially self-awareness as was the case with the outcry/applause in Ed Skrein’s recent departure from the Hellboy reboot.  Every step counts as progress.  Prolific reviewer/writer extraordinaire (and a peer of mine) Nick Clement earned a rousing by-line from Variety recently in a dynamite piece talking with casting directors about filling roles with diversity deeper than the only the principal leads, especially if those roles break racial and ethnic stereotypes.  It’s a great read and spot on to truly heavy lifting of those doors.  It starts at the bottom more than only at the top.

LESSON #3: WHAT IS THE PROPER PLACE FOR STORY-EXTENDED SHORT FILMS?— Two Ridley Scott-connected films, Alien: Covenant and Blade Runner 2049, have employed short film vignettes via YouTube as a prequel-like means of catching audiences up on time and providing background information for a coming full feature.  I, for one, don’t know how I feel about them.  I’m all for expanding the medium of short films and adding context, but do these extended scenes (like this one of an upcoming three for Blade Runner 2049) play like spoilers?  Shouldn’t a feature film be edited and tuned enough to stand on its own with the extras?  Should these kinds of scenes be saved for home media special features?  I’m undecided.  What are your thoughts?  Add a comment below.

LESSON #4: LOOK TO TORONTO AS THE OSCAR SEASON TAKES ANOTHER STEP— The prestigious Venice Film Festival will be naming their Golden Lion and other winners on September 9th, but, two days before, the spotlight shifts to the Toronto International Film Festival.  TIFF has arguably usurped Cannes as the most elite film festival in the business.  The must-see list of Oscar contenders coming from TIFF 2017 includes Mother, Molly’s Game, The Florida Project, Three Billboards Outside of Ebbing, MN, The Shape of Water, Darkest Hour, The Current War, Downsizing, Bodied, Surburbicon, Hostiles, Battle of the Sexes, Mary Shelley, Lean on Pete, The Killing of a Sacred Deer, Brawl in Cell Block 99, The Death of Stalin, and The Disaster Artist.  Eight of the last ten TIFF People’s Choice Award winners have gone on to Best Picture Academy Award nominations, including two eventual winners (The King’s Speech and 12 Years a Slave).


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.