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: November 4-10

LESSON #1: SOME FILMS DO NOT REQUIRE A REBOOT— Last week, the lesson was “Some films don’t require a sequel.”  This time, we have to clap that lesson back and trade the word “sequel” for “reboot.”  News spun across Variety this week that DreamWorks is planning to restart its Shrek and Puss in Boots franchises.  First, you need a true generational gap and eight years since its last chapter, Shrek Forever After, isn’t long enough, even for the rapid aging of its core audience demographic.  More importantly, I have to ask what I consider to be a necessary qualifying question when it comes to remakes and reboots.  Have the originals aged to the degree where they are obsolete?  Sure, Shrek was corny and dated as soon as the SmashMouth song comes on, but have the narrative fairy tale angles changed or the artistic technology that made the movie?  I say they haven’t and a new one will just retread over familiar ground and not be unique or worthwhile artistically.  I say let some films stay what they are as benchmarks and time capsules for their eras.  The ’00s have their Shrek the way the ’10s have their Despicable Me/Minions.  Let them stay there.  I’m at looking at you too, The Grinch.

LESSON #2: SAY HELLO TO DISNEY+ AND GET YOUR CREDIT CARD READY— After months of little here-and-there clues and rumored plans, Disney finally and formally announced the details for its vaunted new streaming service, Disney+, coming late next year.  Housing its entire artistic arsenal from Pixar to National Geographic with all of the heroic adventure in between, the lineup depth, including original films, is undeniably impressive.  The thing I’ve been waiting to hear this entire time is price point.  While that number isn’t defined exactly yet, the linked article references a $8-14 monthly price tag.  The closer that is to $8, the more successful it’s going to be.  Disney+ will be the test to see if a la carte single-studio entity services can work because the selling point of its Netflix and Hulu competitors is the ease of variety under one service roof.  If Disney+ succeeds, it will be like dedicated cable networks for single teams or schools like the New York Yankees.  Watch everything splinter because each studio will want to create and keep their own money.

LESSON #3: PARENTS NEED TO RESPECT AND FOLLOW FILM RATINGS— For fifty years now, the MPAA has championed the film rating system to warn, screen, and catalog film content for consumers.  They are proper and they have evolved to do their job better.  Whenever there is a breakdown of outrage over a film’s rating, like this recent story of content from A Star is Born triggering troubling reactions in New Zealand, it’s not the rating’s fault.  R is R for a reason and it was labeled correctly so.  The perceived outrage is the consumer’s fault.  They either didn’t listen to the rating or didn’t commit to the due diligence to properly screen or research a film before subjecting it to younger viewers. The loopholes of the MPAA are few and far between, whereas careless parenting is rampant.  This critic and school teacher implores all parents to see any questionable film for themselves before sharing it with their impressionable children.  That’s the bare minimum.  If you don’t do it, let some solid website like Common Sense and ScreenIt do it for you.

LESSON #4: TREAT YOURSELF TO “NOIR-VEMBER”— If you want to expand your film palette to one of the most interesting and entertaining film genres under the sun, scroll your way into some film noir.  Often imitated and rarely duplicated since its hey-day, experiencing film noir is essential understanding the full scope of the cinematic art form.  That and its comprised of simple damn good movies that can still put modern thrillers to shame.  Start with this list of ten essential noirs from the journal spot Oh Not They Didn’t.  They’re all gold bathed in stark black-and-white.


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: October 28-November 3

LESSON #1: NOVEMBER IS THE MOST EXPENSIVE MONTH OF THE MOVIEGOING YEAR— Three consumer stars align during this month that trigger the Futurama “take my money” GIF.  The first is the quality slate of films trying to peak for awards season and the holidays.  October started things early and more excellent films are on the way.  The second is Black Friday, where this lover of physical media adores the DVD/Blu-ray deals that stream across Best Buy, Amazon, Target, and more.  Yes, Best Buy, I will dive into your $2 bin covered in double-sided tape and buy everything that sticks to me.  Scope out the ads in advance as they leak.  Finally, for the refined cinephiles in the room, November is the month for the half-priced Criterion sale at Barnes & Noble.  Folks, it’s time to rack up that credit card debt before the actual holidays.

LESSON #2: SOME FILMS DO NOT REQUIRE A SEQUEL— Way back in 2012, I wrote an editorial on Every Movie Has a Lesson about the “most desired and long-awaited” sequels, a few of which have actually become reality in the six years since.  One movie that wasn’t on the list was Ridley Scott’s Gladiator.  It would have made the sub-list of “unnecessary” sequels, right there with The Shawshank Redemption and other movies that ended on perfect notes.  Lo and behold, Ridley Scott and his Paramount producers can’t seem to help themselves, because details have been updated on a future story being drafted by Top Gun: Maverick and The Town screenwriter Peter Craig.  I trust and enjoy Ridley’s talent work as much as the next fan, but has no serious chance of matching or topping the Oscar-winning original.  It’s only going to tarnish a legacy or two.  Add Bad Boys 3 to that same list.  

LESSON #3: CAN PARALLEL EDITIONS OF FILMS BECOME A NEW TREND?–Notice I didn’t say “will” in that lesson.  That’s assuming success that is already present.  Sure, the DVD era opened the storefront door for director’s cuts, unrated editions, and more of varying rating adjustments.  However, outside of something like Blade Runner (and maybe, to a milder degree, Batman V. Superman: Dawn of Justice), it’s hard to say many new post-theatrical cuts of films have go on to become definitive new standards.  They feel more like novelties for the sake of selling special features.  That’s what I see when I hear about the PG-13 cut coming for Deadpool 2.  It can brag about being a different experience with newly created scenes to be more “parallel” than “alternate,” but how many hardcore Deadpool fans or true completists are going to pay for a tamer second take?  

LESSON #4: TREAT YOURSELF TO A FOREIGN FILM— Feelin’ Film contributor Jacob Neff dropped the confessional challenge in our Facebook discussion group to ask how many of the BBC’s “100 Greatest Foreign Language Films” we have seen.  We had to fess up and some of us (myself including) got an Animal House-level GPA score from our lack of exposure, experience, or completion.  I recommend following Jacob’s “You Should Be Watching” column to see what titles from the list are available, especially with one month left of Filmstruck.  I recommend the huge depth of foreign films available on the Kanopy service connected to your everyday local library card.  In any case, don’t let Reverend Neff chastise you again.  If you need a shorter list, here are Martin Scorsese’s top 39 foreign language films.  Start there.  Get cracking, update the prescription of your glasses for the subtitles, and indulge in some of the classic and good stuff that world cinema has to offer.


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: October 14-27

LESSON #1: SUPPORT PHYSICAL MEDIA AND FILM PRESERVATION— The Friday announcement that the Filmstruck streaming service will close at the end of November is a blow to classic, international, and documentary films.  The vast Criterion Collection was previously occupying a shingle of Hulu Plus before Filmstruck can do be, and I’m sure that winning content will find a new home, likely something from its Warner Bros. parent looking to compete with Disney and Netflix.  Still, this is the equivalent of a museum loosing its walls boarding up its treasures.  Let this be a reminder call to support physical media, even if those Criterion discs are pricey.  I get that streaming is portable and convenient, but a top-shelf disc is worth every penny sometimes.  If discerning cinephiles should also look to local libraries for access to hard-to-find films.  I’ll echo fellow FF contributor Jacob Neff to promote the absolutely free Kanopy app that is connected to most library cards.  You can’t pass up free and make sure to follow Jacob’s “You Should Be Watching” column for recommended buried treasures.  If you need a checklist bigger than that, borrow Martin Scorsese’s.  

LESSON #2: FILMS MAY AGE, BUT THE MEMORIES AND IMPACT THEY CREATE WILL NOT— RogerEbert.com and New York magazine film critic extraordinaire Matt Zoller Seitz had a recent interview with The Last Picture Show filmmaker Peter Bogdanovich and the topic of superhero movies came up.  The respected armchair historian asserted that superhero movies (with few exceptions) are going to “date very badly.”  I think the guy enjoying the way-back machine can’t drive the way-forward machine with the same level of understanding.  It is almost a certainty, like every genre hey-day that has come before now, that comic book films cannot maintain their current market saturation level forever, but not before adding to the game-changing level of impact and entertainment that they have earned and enjoyed.  We’re going on 40 years since Superman: The Movie and nearly 20 years since their early-00s renaissance.  In that time, superhero movies have the fan following numbers that have already created multi-generational reach. That’s bigger than a phase or a fad. They have become too big to fade into forgotten nothingness.  Like western or noir, they will simply evolve with their times because even with tastes changing, we’re still making westerns and noirs too.

LESSON #3: THE FILM MEDIUM’S MIDDLE CLASS CONTINUES TO FADE— Speaking of blockbusters, tentpole films never used to be so big.  There was a time that a $100 million budget was seen as an excessive risk that could sink a studio.  Now, we’re talking about $200+ million films being too big to fail or overinflated comedies (like Adam Sandler flicks from a decade ago) that cost $80 million to make when they used to cost a tenth of that.  Many of the popular hits of the 1980s and 1990s that came before the gigantic budget price tags of today were these middle-budgeted studio programmers that cost between $25-$75 million.  They represented an entire economy of smart money staple.  They always had one or two big stars attached that ensured a loyal and steady audience across most any genre, from cop thrillers to romantic comedies.  Today, especially after the announced shuttering of Annapurna Pictures (excellent editorial piece from Next Best Picture), the “middle class” film nearly doesn’t exist.  Things are either huge or relegated or dismissed to indie fare.  For some parallel examples, Die Hard had a $28 million budget and Pretty Woman‘s was $14 million.  Today, one would be a Dwayne Johnson film with quadruple the sticker price and the other would be a low-level indie like The Big Sick with a scant budget of $5 million that has to beg for funding and distribution.  Like our own national economy, if you want a healthier marketplace and industry, boost the middle class.  Bring back the middle-budgeted programmers.

LESSON #4: TAYLOR SHERIDAN HAS EARNED THE CRED TO MAKE ANYTHING HE WANTS— Taylor Sheridan is one hell of a writer and emerging as a one hell of a filmmaker too.  He had me at Sicario‘s script.  If he didn’t impress you by the Oscar-nominated Hell or High Water, you’re dead to me.  Wind River spread his wings to director’s chair and now he’s preparing his follow-up under the Warner Bros. big top.  His thriller Fast, with franchise potential, is coming and it’s attracting the attention of Chris Pratt.  Make it happen, WB.  Make it happen.

LESSON #5: NO ONE IS GOING TO MISS A BOBA FETT MOVIE— LucasFilm producer Kathleen Kennedy declared Friday that James Mangold’s Boba Fett was dead in favor of Jon Favreau’s The Mandalorian TV series that will help open Disney’s exclusive streaming service.  I’ll be the guy that says it.  I never understood the fascination with the admittedly good-looking character after about four lines and faint presence in the original trilogy.  Fan fiction has made Boba Fett into a cult figure, but Solo shows that even legends can’t guaranteed a successful or profitable film.  The bounty hunter didn’t stand a chance on the biggest stage and James Mangold dodged a bullet.

LESSON #6: TALK TO YOUR KIDS ABOUT THE FILMS THEY WATCH— Notable semi-“granola” parent and actress Kristen Bell shared in an interview with Parent magazine that she’s not fully comfortable with some Disney animated classics.  She called out Snow White and the Seven Dwarves as one poor example, citing the failing to avoid taking food from strangers and, more astutely, the notion of consent when it comes to princes and their kisses to sleeping maidens.  Shrug all you want and dismiss Snow White and others as a harmless kids movies, but Bell is handling it right.  Bell shared in the interview how she makes sure to have discussions with her children after the movies they watch.  This school teacher over here writing this column highly approves of that parenting measure. Engaging in those talks elevates the experience from being time-killing entertainment into rich “teachable moments,” and they help correct misconceptions we might not even know kids had or picked up along the way.  The children will see your interpersonal example of the beginnings of critical thinking.  Make movies shared episodes of such enrichment and quality 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: October 7-13

LESSON #1: DAMIEN CHAZELLE IS A PRODIGY— We have seen young and fresh directors start out white hot and flame out.  For example, Orson Welles made Citizen Kane when he was 25 and never matched high creative mark with the rest of his career.  With First Man asserting itself as an entirely different scale, scope, and class of film compared to Whiplash and La La Land, no one can call Chazelle a one-hit wonder or a flash in the pan.  He is a mere 33 years old and is primed to possibly have his third consecutive film be nominated for Best Picture at the Academy Awards.  Wes Anderson can’t say that and neither can Christopher Nolan.  What Chazelle is doing with his craft and talent is quickly sprinting ahead of his peers and contemporaries.  It’s boggling to imagine what he can accomplish before he’s 43 or 53.  Projecting this guy’s career requires something stronger than the Hubble Telescope.

LESSON #2: IF YOU CAN’T BEAT THEM, JOIN THEM— Following the lead of Disney, AT&T and Warner Bros. have announced their intention to launch WarnerMedia streaming service to compete with Disney’s new platform and the existing giants of Netflix, Hulu, and Amazon.  The strong business reason is there: skip paying a competitor licensing fees to host your content when you can do it yourself.  WB has the library depth to fill a service between their own brand and their HBO and Turner holdings.  As always, the success will depend on price point.  Make it competitive and attractive and people will come.  People like paying for one-stop-shop convenience and, by the time they pay up for access to Disney, will people want to add one more service and one more hassle?  I predict in a few years this column will have a future lesson that reads “The old adage of ‘if you can’t beat them, join them’ doesn’t always work” because either Disney or Warner Bros. (or both) will pull back because they are not making their desired subscription numbers.  Time will tell.

LESSON #3: MARVEL STILL KNOWS WHAT’S GOOD FOR THEM— Word just came through that Ryan Coogler officially put ink to paper to return to the director’s chair and writer’s desk for Black Panther 2.  It’s only fitting because anyone less than Coogler returning to what he championed and built would be a backwards step for the billion-dollar smash.  So far, as long as Marvel continues to allow Coogler to work with reasonable freedom, he will not be the next Joss Whedon to start strong and be burnt out by the micro-managing Marvel machine.

LESSON #4: JAMES GUNN WAS ALWAYS GOING TO BE FINE— Speaking of micro-managing, it didn’t matter to Disney, but James Gunn showed enough professionalism, contrition, and support from his peers to not have his career ruined for his old Twitter behavior that was revealed in bombshell headlines this past July.  Warner Bros. has tabbed him to write a Suicide Squad sequel with the possible opportunity to direct.  This counts as a positive rebound for Gunn and a coup of a hire for the DCEU.  If you remember last year, Gunn was a elevated to become an inner circle member of the MCU creative core under Kevin Feige.  He now brings that acumen and prowess to a place that could sure use more of both.

LESSON #5: TOM CRUISE DESERVES AN OSCAR SOMEDAY— IndieWire’s David Ehrlich put out quite a pitch this week say Tom Cruise deserves an Oscar nomination for Mission: Impossible – Fallout.  I enjoyed the grounds of Ehrlich’s argument and I do think there’s something special about the level of star power and superhuman accomplishment Tom Cruise has done.  Recognizing him for something that subverts his huge persona counts as honoring a departure from the norm, but when his “norm” is untouchably greater than anyone else’s, that greatness is the special achievement.  I’m with the others on the Feelin’ Film Discussion Group who chimed in on this story.  Maybe Tom doesn’t deserve an Oscar for this specific film or role, but, someday, his body of work and impact screams lifetime achievement.

LESSON #6: MOST CLASSICS DON’T NEED MODERN IMPROVEMENT— This week, Richard Dreyfus went on the record with Deadline’s Geoff Boucher to say that re-releasing a CGI-enhanced Jaws would rake in a ton of money and bring the classic to new audiences.  The production troubles of Steven Spielberg’s mechanical shark are well-documented.  I’m sure if he had the means then he has today, we would certainly see a different summer blockbuster.  Call me old-fashioned, but Jaws like all other films are products of their eras and should stay themselves.  It stands as a treasured time capsule for when practical effects, POV camerawork, and the stellar use of John Williams’s score could replace what couldn’t be done explicitly and still create a chilling effect.  Jaws still works, even if some parts could be pretty cool with a little more teeth, texture, and speed.  All I hear when Dreyfus talks though is a “cash grab.”  The royalty checks must be coming in a little slow this year.

LESSON #7: KEEP AN EYE ON THE BOYS FROM SEARCHING— You hear Aaron White and me raving every chance we get about the August family thriller Searching.  Both of us declared writer/Director Aneesh Chaganty and his writing partner Sev Ohanian as names to watch after their stunning debut.  We now know what’s next for them, namely the Sarah Paulson vehicle Run from Lionsgate that starts production this month.  Put me in the “can’t wait” line already.  I know I’ll have some friends join me soon.

LESSON #8: IT’S OCTOBER, SO TREAT YOURSELF TO A HORROR MOVIE— In a quick finish, take a gander at this list of the best horror films on Netflix right now.  The second one listed is an absolute must.  


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: September 30-October 6

LESSON #1: NOT WATCHING TRAILERS HAS BEEN WORTH IT— When I presented my no-more-trailers challenge to the Feelin’ Film group after the Super Bowl in February, I took it upon myself to lead that charge.  Even as a busy critic consuming an insane volume of films, I have my personal anticipation list too just like any fan.  Damien Chazelle’s First Man topped that list for 2018, and I avoided every piece of footage before seeing it early this past week.  I have to say seeing it fresh as possible made for an incredibly rich experience, a fulfilling sensation I’ve grown to enjoy with all films since quitting the trailer habit.  I’ll echo the challenge again to say pick one film and try it. You won’t be sorry.

LESSON #2: YOU CAN’T HAVE VENOM WITHOUT SPIDER-MAN— I’m going to sound like the Comic Guy on The Simpsons wearing his flag of toxic fandom, but if you’re going to make a Venom movie to introduce the Eddie Brock villain starring a beefy Tom Hardy that looks and moves like the monstrous Spider-Man opposition he should be, you have to start with Spider-Man as well, period. Thanks to blind studio and creative hubris, an incredible character is being pushed down audience throats too soon and with zero connection.  The new film fails is a disservice to a minor icon, a missed corrective opportunity, and a damn shame for the present and future of Sony’s Spider-Man franchise potential.

LESSON #3: BRADLEY COOPER CAN DO ANYTHING— The stories behind the many talents and performances of Bradley Cooper are going to fill books one day.  The four-time Oscar nominee and Master of Arts graduate from the Actors Studio Drama School has abstained from alcohol for 14 years and counting speaks fluent French.  Those are mere footnote nuggets compared to role preparation stories of workouts and training for The A-Team and American Sniper, dance lessons for Silver Linings Playbook, and character embodiment for The Elephant Man on stage.  His latest career chapter of A Star is Born might be his most impressive effort yet, directing for the first time and diving into 18 months of vocal training and guitar lessons.  The guy’s commitment and craft are becoming off the charts.  Someday soon with some successful arm-twisting and endearment, I have a feeling we’re going to call him the best active American actor working.

LESSON #4: FAKE REVIEWS DO NOT WORK TO DETER AUDIENCES— Two oddball stories about fake film reviews floated across the wire this week.  The first goes with A Star is Born where there are reports of Lady Gaga fans pushing fake negative reviews of Venom to chop down its box office competition.  The second is even stranger with the findings of an academic study suggesting that 50% of the online hate traffic for Star Wars: The Last Jedi originated from Russian trolls and non-human bots.  I know I probably shouldn’t, but I find both of these stories to be absolutely hilarious for two reasons.  First, the lengths people will go for their fandom is staggeringly silly.  Second, it’s funny that those participants actually think these schemes will work.  If anything, the opposing diehard fans against them will only work harder to clear their good names and prove the hate wrong.  In the end, all you get is a whole bunch of digital squawking and dumb hashtags.  


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: September 23-29

LESSON #1: WE CAN THANK ETHAN HAWKE FOR BEING HONEST, BUT HE’S WRONG— In this column’s September absence until last week, First Reformed actor Ethan Hawke has twice pinched his nose at blockbuster filmmaking.  First, he comes off high-brow and still pretentious calling superhero films overrated and not worthy of higher class. Next, he revealed his personal story about turning down and throwing out Independence Day with an ardent and profane dismissal. Thanks for sharing, Ethan. Your opinion is welcome, but you’re still wrong though too.

LESSON #2: BRAD BIRD IS RIGHT TO LAMENT THE BUSINESS END OF MOVIES— I’m a little late to report this, but Incredibles 2 director Brad Bird sounded off mightily on Twitter at the end of August with a string of warnings directed at the sequel trend and the lack of backing for original works at the blockbuster level.  He praised Christopher Nolan’s Dunkirk as a truly original tentpole and how size and ambition deserve support equal to big money sequels and franchise.  He added more to that in a second interview for Science Fiction. The hard part is the business is going to flock to where the money is being made.  That said, Bird sure ain’t wrong. Give a few original films a chance to become their own big business.

LESSON #3: FOLKS CAN TAKE OR LEAVE THE BIG SCREEN EXPERIENCE— If you haven’t been noticing, and I don’t know you haven’t, but the communal theater experience is trickling away with the greater availability of streaming options, their competitive price points, and the affordability of home theater equipment compared to generations past.  Dueling sensibilities came down on that slow shift recently. 12 Years a Slave and upcoming Widows director Steve McQueen stepped up in an interview with Uproxx to declare his love and intent to seek out and add to the big screen experience.  Citing the big emotions and thrills, he said there’s “no point looking at a movie on your laptop on your own at home.”  On the other side of the coin in an interview with Indiewire, Mandy actor Nicolas Cage has begun to see the VOD viewership numbers for his films and sees money and success to be had in that format.  I, for one, admit to being completely on the fence. For the right movie, nothing beats the big screen experience, but it gets expensive and I have to enjoy the buried treasure and convenience of the VOD and streaming markets.  This looks like a place to have that adorable “why not both” internet GIF.

LESSON #4: THE 1990S ARE BECOMING A TIME CAPSULE— This lesson is spurred from two places, Feelin’ Film host Aaron White’s recent rewatch of Varsity Blues and a recent Unilad piece citing Millennial reactions to watching American Pie.  When you look back at popular teen-centric films like those two titles and compare them to the likes of Eighth Grade or The Edge of Seventeen now, the sentiments and tones couldn’t feel more antiquated or out of place.  People are actually getting offended by the sexist and male horndog tones of those films.  I get it, but I also call that par for the course akin to watching Blazing Saddles and taking the pause to understand its place in time.  I can’t get mad at out-of-touch films from out-of-touch times because their context fits its background.  Are the 2000s next? How will this list of that decade’s best from the Washington Post age? 


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson and also on Medium.com where he is one of the 50 “Top Writers” in the Movies category.  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: September 2-22

LESSON #1: IF YOU CAN’T BEAT THEM, BUY THEM— We read a great deal about how Netflix, for example, will dabble with theatrical debuts of their original movies and how it’s a bit of a struggle to get screens and self-distribute to the theatrical level.  Amazon, who is no slouch in the original film department, might be finding their own power move around that. They’re angling for suitors to buy the Landmark Theatres chain. When you own the theater, you set the terms and get the screens.  I think that’s ballsy and kind of genius, if you have the money, which Amazon sure does. Disney is making their own exclusive streaming service. Could you see them building their own exclusive theaters and keeping those dollars for themselves and not splitting with the AMCs and Regals of the world?  I sure could. Let’s see how it works for Amazon if it comes to pass. This could be the start of a tectonic shift in distribution and rest of the film biz.

LESSON #2: MORE OFTEN THAN NOT, IT’S THE FILMS THAT ARE BROKEN, NOT THE CRITICISM— Leave it to warm-hearted and successful This Is Us showrunner Dan Fogelman to show what boiling over looks like when it comes to starting another Artists vs. Critics vs. Audiences throwdown.  His film foray Life Itself is getting panned to the tune of 14% and still moving on Rotten Tomatoes) and his quoted reaction begins “something is inherently a little bit broken in our film criticism right now.”  If all he said was that, he’d be making a fair statement for discussion since the landscape has flaws, ones it is doing a decent job of working through for inclusion and representation in my opinion.  However, Dan aimed a little more sharply with “There’s a disconnect between something that is happening between our primarily white male critics who don’t like anything that has any emotion.”  Ain’t that a broad brush from a broad brush of the same color!  Watch him become the next Colin Trevorrow with that kind of flippant opinion.   If he looked deeper he would see that plenty of other critics that aren’t male or white don’t like his movie either.  If he looked deeper than the headliners, he would also find many white male critics who absolutely love emotion in movies.  Am I right, Aaron, Patrick, Jacob, Steve, and Jeremy?

LESSON #3: THE PREDATOR WAS AND IS A MESS— As fun as it was at times, I’m one of many critics who shook his head at the silliness brought forth by Shane Black’s The Predator, one of the most uneven films I’ve seen in a long time.  I couldn’t believe the mess (and then add the sex offender hiring snafu as well).  When I read the story of its reshoots (spoilers inside), all was explained to me and it sounds ridiculous.  The movie was dead on arrival. No wonder why it wasn’t good enough for a summer opening or scary enough for a Halloween weekend.

LESSON #4: NO MATTER WHAT, HENRY CAVILL’S DAYS AS SUPERMAN ARE NUMBERED— A great deal of fuss and backlash was made to the published rumors of Warner Bros. cutting ties with Henry Cavill in their DCEU.  The outrage and disbelief was off the charts, but when it’s being reported in The Hollywood Reporter, that’s not click bait anymore.  That is sourced news for this industry.  Beans may have been spilled early for all we know, leading to all of the walkback apologies since.  Still, I don’t see a good ending to this. For how maligned the DCEU films are and how strained fan interest/disinterest has become where the studio is quietly blowing up and disassembling its current course, too many signs are pointing to a necessary change.  My money is on Cavill being replaced by someone or something else within five years. There’s too much smoke here, rumors be damned.  Besides, there are greener pastures.

LESSON #5: AN AMERICAN IS GOING TO FROLIC IN A SACRED BRITISH GARDEN AGAIN— Word just broke this week that American director Cary Fukunaga (True Detective, Beasts of No Nation) is now the new director of the 25th James Bond film after Trainspotting series director Danny Boyle exited the franchise last month.  Fukunaga, a Netflix admirer, has swam in this foreign pond before directing Jane Eyre in 2010.  I think he continues the more serious tone Sam Mendes has brought to the MI-6 spy.  The next shoe to drop will be Daniel Craig staying or going especially if some Man of Steel is all of a sudden available and rumored to take his place.

LESSON #6: KEVIN FEIGE IS THE RIGHT MAN FOR HIS NEXT JOB— With Fox deal now done, the Marvel dream fulfillment of mergers and combinations begins.  The largest acquisition is the X-Men franchise and Disney CEO Bob Iger confirmed that head Marvel Films producer Kevin Feige will oversee all future X-Men films.  That’s great news and the perfect landing place.  Some X-Men films have been very good and even great, but they have always had room for more fulfilled potential.  If Kevin Feige can sprinkle the dust he’s given to the likes of Iron Man, Guardians of the Galaxy, and more, the X-Men go back to the A-list.

LESSON #7: BOB IGER FINALLY FOUND THE BRAKE PEDAL ON THE BLOCKBUSTER ROLLER COASTER— Speaking of Mr. Iger, news broke Thursday that “some slowdown” is happening at Disney when it comes to saturating the market with the cash cow Star Wars films.  That’s fantastic news because there is such as thing as overdoing it (Marvel’s three-films-a-year is already quite a test).  Like many have said, there is more mystique and anticipation when there is more special rarity to their infrequency.  Force the patience and people will still come. 

LESSON #8: THE ACADEMY FINALLY LISTENED IN THE RIGHT DIRECTION— Finally, all is back to being right in the world with the news that the Academy of Motion Picture Arts and Sciences is postponing their plans to have a “Popular Film” category on the grounds of being too late in the year to start a new initiative and how more study is necessary to understand its purpose or implication.  Forbes columnist Scott Mendelson adds more logs to that fire of reasoning.  Bring out the Madea “hallejuler” Tyler Perry memes.  I can put my previous soapbox column away, but I sure won’t delete it.  “Postpone” only means temporary. They’re bound to pull this nonsense again.  


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson and also on Medium.com where he is one of the 50 “Top Writers” in the Movies category.  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: August 26-September 1

LESSON #1: SEARCHING SHOULD BE REQUIRED VIEWING FOR TEENS AND THEIR PARENTS EQUAL TO EIGHTH GRADE EARLIER THIS SUMMER— Standing as another dramatic dose of the perils of being a teenager and raising a teenager in this current times, Aneesh Chaganty’s electric Searching would make a heck of a twin-bill with Bo Burnham’s startling slice of truths from July.  If you have a son or daughter with a connected device and a digital footprint of apps and engagement, you need to be floored by this film’s stance as one-part cautionary tale and one-part family feels.  You’ll be diving to Protect Young Eyes and similar sites in a hurry afterwards.  Hear Aaron and I gush over this film in a recent Feelin’ Film minisode.  It’s my #1 film so far this year.  You NEED to see this one!

LESSON #2: WAIT AND SEE A FILM BEFORE PASSING JUDGMENT— Advance reviews, hot takes, and click bait web articles that stir up angles, tangents, and nonsensical conversations before a movie makes it to the general public are the wrong place to form an opinion on a film.  This lesson rears its ugly head today on the heels of the world premiere reviews for Damien Chazelle’s First Man and a Business Insider piece about whether or not the planting of the American flag during the Apollo 11 mission is shown or not.  People are already circling their wagons to either defend the assumed choice as an artistic or narrative decision or start lighting up the puff-chested patriotism-fueled “how dare you” revisionist opposition pitchforks.  First Man is not the first film to be bitten by this stuff and it won’t be the last.  Simply put, wait and see the film for yourself before falling for rumors and rants. 

LESSON #3: AWARDS SEASON STARTS RIGHT NOW— Speaking of all that early buzz, First Man is sounding pretty darn legit.  I’m remain on my “No Trailers Diet” to remain unspoiled and untarnished which includes reading advance reviews, especially for First Man which has been my #1 anticipated film all year.  It sounds like I’m going to like what I see in October.

LESSON #4: PUSHING BACK A RELEASE DATE TO MAKE A FILM BETTER SHOULD ALWAYS BE A WELCOME DECISION— Much like Lesson #2, other decisions shouldn’t always be met with gasps, groans, and uninformed opinions.  Release dates are one of them.  Too often, when a film has to blink from a planned release date to a later one, the first flags flying are the “lemon on their hands,” “it’s going to be a bomb,” and “obvious production troubles” ones from all the haters and doubters.  You know what, if a studio is actually stable enough and smart enough to not rush brilliance, they might just get rewarded with brilliance.  It was announced this week that the hotly-anticipated Top Gun sequel, which is still in pre-production before shooting, is going to delay a year from July 2019 to July 2020 to improve planned action sequences.  Like our own founder Aaron White said on this news in the Facebook group, it’s better to get it right than anything else.  I remember the boo-birds making all kinds of noise 20+ years ago when Titanic moved from a July 4th release to a holiday one.  I’d say that turned out pretty well.  I’ll take patience over hubris every time.

LESSON #5: LEVEL OF DIFFICULTY SHOULD BE TAKEN INTO ACCOUNT WHEN RANKING AND VOTING ON THE BEST FILMS OF ANY GIVEN YEAR— I’ve ranted on the “popular film” Oscar at length once already, but the reactions from within the industry are starting to develop in really strong and rightfully righteous directions.  This new category feels like a shorter hurdler being put on the race course for fluff films to clear.  Because of the comic film landscape and the Disney puppet strings behind-the-scenes, Black Panther is being labeled as a beneficiary of such a new award.  Don’t tell that to Black Panther star Chadwick Boseman.  Relayed by friend-of-the-podcast Emmanuel Noisette of The Movie Blog through LA Times and Hollywood Reporter sources, Marvel czar Kevin Feige and Boseman support the studio’s efforts to aim for the top prize and not the popular one.  Bozeman outlines a challenge for voters expressing: 

What is the difficulty of the thing that you did? And do people appreciate what you did; the quality of it, the difficulty of it. What we did was very difficult. Because we created a world. We created a culture. It doesn’t exist in a world that you already know. It’s a world that we had to completely…we had to create a religion, a spirituality, a politics.  We had to create an accent. We had to pull from different cultures to create clothing styles and hair styles. It’s very much like a period piece[…] So you can’t honor any period piece that you ever did, technically, more than you can this one. So as far as that’s concerned, I dare any movie to try to compare to the difficulty of this one.

I absolutely love that statement. You’ll hear Emmanuel and I talk about this within the Feelin’ Film Discussion Group on Facebook, but, more and more, we see room for the objective to be valued equal, if not higher, to the subjective when it comes to rating, ranking, and scoring films for review or awards contention.  I support that notion 100%.

LESSON #6: SPEAKING OF RECOGNIZING DIFFICULTY, MAYBE IT’S TIME WE CALL GENRES “DISCIPLINES” INSTEAD OF THE ORIGINAL TERM THAT HAS BECOME ATTACHED TO STIGMAS— Despite matching the definition of being of a different story type, the adjective of “genre” and term “genre film” have acquired negative connotations over these decades of blockbuster filmmaking.  It’s become a scarlet letter of supposedly fantasy and childish things that get looked down upon as lesser than some gilded ideal of theatrical drama and thespian brilliance.  This is where a guy like Ethan Hawke can be seen as the opposite of Chadwick Boseman from Lesson #5.  Instead of seeing what most of the masses see as the genre label pigeonholing superhero films, the First Reformed actor came out to call them “overpraised.”  I’m a firm believer that there is indeed true art to be found in ANY film genre, even the comfort food and dream fulfillment of comic book films.  Like Boseman alluded to, genre films like superhero films have their own unique degree of difficulty, one worthy of respect and admiration.  For me, I beginning to think of different “genres” of films to be more like martial arts disciplines.  Think of defensive karate versus the whirl of kung-fu or submissions of Brazilian jiu-jitsu.  Each are unique for their movement, execution, and overall purpose.  Each take a different degree of difficulty, skill sets, and work effort.  I think it’s time to put different film genres on that kind of plane.  I’m going to add “genre” to my personal list of “banned” words in film reviews, joining words like “great” and “masterpiece.”  I want to value what I’m talking about higher.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson and also on Medium.com where he is one of the 50 “Top Writers” in the Movies category.  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.  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.