Episode 377: Barbenheimer

Posted on by Aaron White.

The movie event of the summer is here and we couldn’t just choose one of these great films to discuss, so we’re talking about both! Patrick is out on vacation this weekend but Meredith Loftus is filling on to discuss what made Barbenheimer such a phenomenon, what makes Greta Gerwig’s colorful satirical comedy so meaningful, and how unique and powerful of a biopic Christopher Nolan has crafted. It’s a celebration of great cinema, with a few criticisms here and there, and we hope you enjoy.

Barbie – 13:56

Oppenheimer – 49:30

* Note – full spoilers in effect for entire episode *

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Episode 318: Chef

Posted on by Aaron White.

Join us in the Feelin’ Film kitchen this week as we discuss the delicious food and heartwarming themes of Jon Favreau’s incredible film about an ambitious chef reinventing himself both as a cook and a father.

* Note – full spoilers in effect for entire episode *

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MOVIE REVIEW: Dolittle

Posted on by Aaron White.

Rating: PG / Runtime: 1 hour and 41 minutes

If someone had told me beforehand that this movie was essentially a kid-friendly combination of the Uncharted video game series mixed with “Pirates of the Caribbean”, where the human companions were animals and there’s a lot less combat, my teenagers wouldn’t have had to beg me to take them. That is to say, it turns out “Dolittle”, Robert Downey Jr.’s first post-MCU headliner, is actually a lot of fun and right in this adventure lover’s wheelhouse.

As much as “Dolittle” follows the titular doctor (Downey Jr.), who is a sort of super veterinarian that can communicate with animals by speaking their language, it equally is about a young boy named Tommy Stubbins (Harry Collett) who stumbles upon Dolittle’s overgrown estate in need of emergency animal medical support. Stubbins was out hunting with his uncle and cousin, and we quickly learn that he’s much too soft-hearted toward the cute woodland critters, which eventually makes it easy for he and Dr. Dolittle to relate. Dolittle has been a recluse up until their meeting, avoiding contact with humanity as he endlessly grieves over the loss of his wife. From there a young emissary of the Queen of England arrives, beckoning him to Buckingham Palace. The Queen has fallen ill and needs Dolittle’s help. Up until this point, the story feels pretty generic and uninteresting, but upon learning that the necessary cure lies in a magical fruit on a mythical undiscovered island that Dolittle’s wife died while searching for, the excitement rises considerably. 

The bulk of the film then plays out like a traditional adventure tale, with some highlights being a thrilling chase at-sea, the infiltration of an island of outlaws, and an ever-present over-the-top villainous rival determined to stop Dolittle and steal his praise. Along the way Dolittle must overcome his fear of opening up to others while Stubbins gets many (often amusing) life-changing lessons and discovers a passion for working with the animals. And it’s understandable why, because Dolittle’s animal friends are silly, sweet, and always entertaining.  Voicework by some big Hollywood stars is mostly a delight, with Kumail Nanjiani’s Plimpton the Emu, John Cena’s Yoshi the Polar Bear, and Ralph Fiennes’ Barry the Tiger being particular standouts. 

That’s not to say that everything comes up roses in this newest adaptation of the classic American children’s book. Downey Jr. chooses to use an odd, distracting accent and plays the character with an eccentricity that reminds of Captain Jack Sparrow. The animal banter is mostly great but there are definitely some dud jokes, too. And the CGI leaves a lot to be desired, getting increasingly more noticeably bad the more action that is taking place.

Still, even though it may not be particularly memorable, “Dolittle” ends up being a hilarious and wholesome mythical adventure that is fun for the entire family. Talking animals will always be a hit with kids and the added elements of high seas adventure and pirate-like action combined with the search for a magical item will keep teens and adults interested as well. Throw in some lovely relationship-building and a big dose of hope, and you’ve got a great option for a weekend family theater outing.

Rating:

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

What We Learned This Week: July 7-13

Posted on by everymoviehasalesson.

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

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

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

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

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

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

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

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

Episode 163: Avengers: Endgame

Posted on by Aaron White.

This week we are of course talking about the final chapter in a story 10 years and 22 films in the making. We break down our reaction to this once-in-generation event, while also taking a look back at the past and contemplating the future. This is a wonderful conversation that we both thoroughly enjoyed and think you will, too.

Avengers: Endgame Review – 0:02:55

The Connecting Point – 1:31:05


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MOVIE REVIEW: Avengers: Endgame

Posted on by Aaron White.

100% spoiler-free with no plot points even hinted at! AVENGERS: ENDGAME closes the book on one of the greatest film franchise achievements in history on a very high note. It is every bit the emotional experience you expect & a gratifying finale. Also, for the first time in 10+ years there is no post-credit scene so feel free to rush to the bathroom as required.

 

 

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

You Should Be Watching: May 3-9

Posted on by Jacob Neff.

Welcome to You Should Be Watching, my weekly opportunity to introduce you to a variety of great films, gems of the past and present, available for you to stream from Netflix, Amazon Prime, Filmstruck, and anywhere else streams are found. I highlight films that come with my personal recommendation as well as provide a list of notable titles that are coming and going so you’re sure not to miss out on the good stuff. Alright? Let’s get started.

 

STREAMING PICKS OF THE WEEK

Chaplin

      

Year: 1992

Director: Richard Attenborough

Genre:  Biography, Comedy, Drama

Cast: Robert Downey Jr., Geraldine Chaplin, Paul Rhys, John Thaw, Moira Kelly, Anthony Hopkins, Dan Aykroyd, Marisa Tomei, Penelope Ann Miller, Kevin Kline, Matthew Cottle, Maria Pitillo, Milla Jovovich, Kevin Dunn, Deborah Moore, Diane Lane, Nancy Travis, James Woods, David Duchovny, Michael Cade, P.H. Moriarty, Howard Lew Lewis, John Standing 

 

Long before Robert Downey Jr. put on the mantle of the iconic Tony Stark in the Marvel Cinematic Universe (MCU), he wowed audiences with his Oscar-nominated, BAFTA-winning performance as the king of silent film comedy–Charlie Chaplin. It’s fascinating to watch him become the character synonymous with Chaplin, that is The Tramp. But many people don’t even realize that mustachioed fellow with the cane and the funny gait did not represent Chaplin’s normal self. Charles Chaplin was a real person behind the mustache and wig. He was a complicated man who led a complicated life, and he was far from perfect. But like any man, he had hopes and dreams, and he wanted to make the world laugh, and laugh they did. It’s a special experience to see Downey Jr. bring this man to life, giving us viewers a window into the life of such an important figure in the history of film. Hopefully, afterwards, you’ll have the push needed to go explore the real Charlie Chaplin’s work.

 

The Negotiator

Year: 1998

Director: F. Gary Gray

Genre: Action, Crime, Adventure, Mystery, Drama, Thriller

Cast: Samuel L. Jackson, Kevin Spacey, David Morse, Ron Rifkin, John Spencer, J.T. Walsh, Siobhan Fallon, Paul Giamatti, Regina Taylor, Bruce Beatty, Michael Cudlitz, Carlos Gómez, Tim Kelleher, Dean Norris, Nestor Serrano, Doug Spinuzza, Leonard L. Thomas, Stephen Lee, Lily Nicksay, Lauri Johnson, Sabi Dorr, Gene Wolande, Rhonda Dotson, John Lordan, Jack Shearer, Donna Ponterotto, Michael Shamus Wiles, Mik Scriba, Joey Perillo

 

While we’re on the subject of earlier work by actors who are part of the MCU, let’s move on to this tense but highly entertaining 90s crime thriller starring Samuel L. Jackson playing classic Samuel L. Jackson. His character is Danny Roman, a hostage negotiator turned desperate hostage taker after he’s accused of murder and corruption. Yep, Kevin Spacey stars too. If that’s a problem for you, I’m sorry, but I’m recommending art here. Performances not people. Spacey is brilliant as fellow negotiator Chris Sabian, as he so often is in roles that give him the opportunity to play out a mental chess match with the other guy. It’s an edge-of-your-seat guessing game throughout as to what’s actually going on and who’s going to get the upper hand. If you like fast-paced 90s thrillers, you can’t go wrong seeing these two go head to head. The Negotiator is a blast.

 

In The Mood For Love

  

 

Year: 2000

Director: Wong Kar-Wai

Genre: Romance, Drama

Cast: Tony Leung Chiu-Wai, Maggie Cheung, Rebecca Pan, Kelly Lai Chen, Siu Ping-Lam, Mama Hung, Joe Cheung, Koo Kam-Wah, Chan Man-Lei, Pauline Suen, Roy Cheung

 

Now let’s take a hard right and head into foreign film territory. There are so many ways that a story about adultery can go badly. Adultery is often trivialized or overly sexualized. Wong Kar-Wai avoids every single potential pitfall by emphasizing emotion and longing rather than lust. With artistic values that are quite simply off-the-charts and while avoiding salaciousness, he presents an all too real story about the pain of isolation from those we love and the subtle seeds from which affairs grow, the temporary happiness they promise, and how they affect the unseen future. The emotion of the story is enhanced even more by the backdrop of incredible shots full of creative camera angles, straight lines, bold color, so much elegance and an amazing musical landscape that accompanies the visuals highlighted by the oh so beautiful recurring Yumeji’s Theme, a dark violin-led waltz.

 

Lawrence of Arabia

Year: 1962

Director: David Lean

Genre:  Adventure, Biography, Drama

Cast: Peter O’Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Omar Sharif, Claude Rains, Anthony Quayle, José Ferrer, Arthur Kennedy, Donald Wolfit, Zia Mohyeddin, I.S. Johar, Gamil Ratib, Michel Ray, John Dimech, Howard Marion-Crawford, Jack Gwillim, Hugh Miller, Robert Rietty, John Barry, Bruce Beeby, John Bennett, Steve Birtles, David Lean, Robert Bolt, Daniel Moynihan, Peter Burton, James Hayter, Barry Warren

 

Finally, we come to David Lean’s time-tested historical epic, our second biopic and winner of seven Academy Awards, this one based on the life and writings of British officer T. E. Lawrence, who came to care for a country not his own. As a result, he sought to assist the Arabs in World War I in their battle against the Turks, using the skills, strategy, and leadership qualities he’d gained through his military experience. This is a film filled with fascinating characters and detail and exciting large-scale action. David Lean’s filmmaking in conjunction with Freddie Young’s cinematography is exquisite, always enchanting. Never has a desert landscape looked more gorgeous and combined with Peter O’Toole’s arresting performance as the titular and ever-present Lawrence, the nearly four-hour runtime is not only earned, it breezes by, so don’t let it keep you from experiencing this masterpiece.

 

 

COMING AND GOING

LAST CHANCE (last date to watch)

NETFLIX

May 4
Bernie (2011)

May 8
Sing Street (2016)

May 11
Fruitvale Station (2013)
Talladega Nights: The Ballad of Ricky Bobby (2006)

May 29
The Jungle Book (2016)

 

AMAZON PRIME

None announced

 

FILMSTRUCK

May 11
Forbidden Planet (1956)

Werner Herzog:

Aguirre: The Wrath of God (1972)
Fitzcarraldo (1982)
Nosferatu the Vampyre (1979)

May 16
Glengarry Glen Ross (1992)

May 18
Luchino Visconti:

La Terra Trema (1948)
The Leopard (1963)
Rocco and His Brothers (1960)

May 25
Carol Reed:

The Fallen Idol (1948)
The Third Man (1949)

May 31
High Noon (1952)

June 1
House of Flying Daggers (2004)
A Night At The Opera (1935)

 

JUST ARRIVED

NETFLIX

Amélie (2001)
Beautiful Girls (1996)
The Bourne Ultimatum (2007)
Hachi: A Dog’s Tale (2009)
Hellboy II: The Golden Army (2008)
Red Dragon (2002)
Scream 2 (1997)
Shrek (2001)

 

AMAZON PRIME

A.I. Artificial Intelligence (2001)
Bull Durham (1988)
The Crow (1994)
Eight Men Out (1988)
The Elephant Man (1980)
Frailty (2001)
The Hurt Locker (2008)
Insomnia (2002)
Manhunter (1986)
Thief (1981)
Wonder Boys (2000)

From the James Bond Collection:

Dr. No (1962)
From Russia With Love (1963)
Goldfinger (1964)

From the Rocky Collection:

Rocky (1976)
Rocky II (1979)

 

FILMSTRUCK

Gold Diggers of 1933 (1933)
High Noon (1952)
A Streetcar Named Desire (1951)

 

COMING THIS WEEK

NETFLIX

May 4
Anon — Netflix Original (2018)

May 5
Faces Places (2017)

 

AMAZON PRIME

May 4
Last Flag Flying — Amazon Original (2017)

May 5
Warrior (2011)

 

Jacob Neff is a film enthusiast living east of Sacramento. In addition to his contributions as an admin of the Feelin’ Film Facebook group and website, he is an active participant in the Letterboxd community, where his film reviews can be found. Follow him on Facebook and Twitter to keep up with his latest thoughts and shared content.

Episode 107: Avengers Infinity War

Posted on by thisispatch.

After 10 years and 18 films, Marvel’s ambitious, unique interconnected world of superhero films comes to this, a team-up movie the likes of which we have never seen before. Historic in its scope and in its box office success, Avengers: Infinity War is a special blockbuster and one that provides plenty to discuss. We’ve been chomping at the bit to talk about this one, its place in the MCU, and where Marvel goes from here.

Avengers: Infinity War Review – 0:02:33

The Connecting Point – 01:27:30


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MOVIE REVIEW: Avengers: Infinity War

Posted on by Aaron White.

AVENGERS: INFINITY WAR (2018)

2 Hours and 29 Minutes (PG-13)

Marvel and The Russo Brothers had a very daunting task before them. Paying off the culmination of a decade of build-up and backstory, stretching over 18 films, is a challenge unlike any studio or director in Hollywood had ever faced. And to accomplish this feat, they worked with what has to be the largest cast of known stars ever assembled for a movie. The ambition of Marvel and its commitment to the cinematic universe it pioneered is worthy of praise and respect.

If there’s one thing I was looking for in Avengers: Infinity War, it was raised stakes. Much like the comic books these films are based on (in which characters rarely die and cities are destroyed without much afterthought), Marvel films have not fully dealt with loss in a way that seems realistic. Right from the start of Infinity War, though, Marvel makes it very clear that has changed. The potential consequences of a Thanos (Josh Brolin) victory are evident and the film progresses with an emotional weight and sense of urgency that it could not have attained if the studio followed its same old formula. This also creates much more investment in characters and the worlds they inhabit, and thus pays off quite a few very moving scenes in a much bigger way. If you haven’t cried in a Marvel movie before, you’re not alone, but this may be your first. I had genuine chills a few different times. But don’t worry, that trademark Marvel humor and witty one-liners are still there and won’t have you depressed for too long at a time.

Another area that Marvel outdoes previous films in their own franchise is with Thanos himself. Make no mistake, this is his film and his story. He is a fully developed villain with more screen time than any before him, and it helps to create a character with whom the audience can both despise and yet struggle with feelings of empathy for. Brolin’s talent is very obvious in this performance despite the incredible looking CGI that encompasses him. His Thanos is not just some loud, angry, destructive villain. He is intelligent and calculating. He is nuanced. He is cold, yes, but when he gives his reasons for what he wants to do with the Infinity Stones and why, in a very warped way it makes some sense. His presence as the foil to the Avengers and Guardians gives this film something unique and memorable.

With a cast this large it is inevitable that not everyone’s favorite will have the responsibility or amount of action they hope for. The Russo’s do an admirable job of balancing these heroes, however, and somehow left me feeling satisfied. Sure, a little more backstory or deeper character moments for them all would be nice, but it’s also unrealistic to expect in a single film of this length. By managing to give everyone at least one small moment in the sun, the Russo’s succeed where I believe many would have failed. Another result of keeping most character development small is that the film moves fast, pausing a few times for majorly impactful storyline beats, but mostly cutting between different groups of heroes working to accomplish different tasks. By keeping the heroes in smaller groups, we get to feel more focused when we’re with them, and enjoy the new forms of dialogue that emerge between characters who previously had not interacted.

The action in Avengers: Infinity War is, as expected, fantastic. Seeing heroes fight together with new gear and weapons, or teaming up in ways never experienced by movie goers before, was a huge treat. In one major battle that involves a host of heroes and countless alien attackers, the Silvestri score and rising stakes create a feeling similar to that in the Battle of the Pelennor Field from The Return of the King. While Avengers: Infinity War never quite reaches that level of epic, it comes much closer than many (myself included) ever thought possible.

VERDICT

If you’re thinking that this review is a but vague, please know that is by design. Fans have waited 10 years for this and going in with as little information possible is going to result in the best viewing experience. Avengers: Infinity War isn’t entirely unpredictable, but it’s got some surprises too. The historic puzzle that the Russo Brothers have put together is nothing short of amazing and will lend itself to multiple viewings. Perhaps that’s the highest praise possible for a film of this kind, that after it finished I immediately would have sat through those 2.5+ hours again. To sum it all up, Avengers: Infinity War lived up to the hype by being both entertaining and emotional. Well done, Marvel. Well done.

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 066: Spider-Man: Homecoming

Posted on by thisispatch.

This week we’re excited to be talking about our friendly neighborhood web-slinger and his triumphant return to Marvel storytelling control. Spider-Man: Homecoming is fun, fun, fun. We discuss new tech, getting the high school setting right, and who our favorite Spider-Man of the past 20 years is.

What We’ve Been Up To – 001:15

(Aaron –  Board Games/Pandemic Legacy: Season 1)
(Patrick – The 48-Hour Film Project)

Spider-Man: Homecoming Review – 0:23:59

The Connecting Point – 1:12:47

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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