What We Learned This Week: January 20-February 16

Posted on by everymoviehasalesson.

LESSON #1: IF YOU WANT TO LAUGH AT A FILM SNOB HISSY FIT, COME SEE THIS— If you think a few of my Feelin’ Film group social media posts about the work myself and others do is a big heap of #firstworldproblems and #whitepeopleproblems, groovy and uptight Californians have me beat. You have to see this and laugh. The Hollywood Reporter headline reads “Hollywood Critics’ Groups Squabble Over Who Is a Hollywood Critic.” The story here is the former Los Angeles Online Film Critics Society has recently re-branded into the less-of-a-mouthful Hollywood Critics Association and the Critic’s Choice Association, who run the popular awards show of the same name are upset about confusing or inaccurate representation and potential dual membership. Lawyers are involved and everything. Face, meet palm. Inclusion should be the winner here, not selfishness. This is the kind of tiff and behavior that gives the rest of us critics a bad name. Let this Chicago Indie Critics founder and director guy over here tell you. There is room for two groups. There is room for a dozen groups. This should be “the more the merrier” for access, audience, and enjoyment and not a playground finger-pointing throwdown. Clean it up, Los Angeles, and unbunch your drawers.

LESSON #2: WE NEED MORE GENUINE BLACK STORIES— Folks, I have to open with a huge shout-out to the work of Feelin’ Film’s new “Black Label” podcast to bolster this lesson. The roundtable of Kolby Mac, Erynne Hundley, Caless Davis, and Emmanuel Noisette are two episodes into their presentation run and their conversations about representation, black voices, and overcoming tropes is essential listening. A victory of what they clamor for arrives in theaters this Valentine’s Day weekend in the form of The Photograph.  Starring Issa Rae and Lakeith Stanfield, we have a mature and honest ethnic romance free of the forced flaws of baited debates and hammy theatrics too often saddled on this demographic by mismatched voices.  See this movie immediately and give the new podcast a hearty listen. Demand more and we might just get more. We’ve got four vivacious critics doing that here. Join them!

LESSON #3: SAVE A LITTLE SOMETHING FOR THE MOVIE— For the last two years after the Super Bowl, I’ve used this “What We Learned This Week” space for a “No More Trailers” challenge and soapbox.  I’ll link those previous rants and shorten the sermon this year to this lesson.  Less is always more. When I watch the trailer for F9, I feel like I’ve already seen too much of the movie, surprises and all.  It’s the exact example why I advocate not watching trailers to things you know you’re already sold to see.  Save something for the movie. Likewise, Sony has already released Billie Eilish’s James Bond theme song “No Time to Die” nearly two months in advance of the film’s premiere. I understand the promotional aims and needs, but, sheesh, do that two weeks before the movie, not two months.  You’re going to overplay this song before it even gets its proper placement. Save something for the movie. The best tease of the week on the positive end was Matt Reeves’ “camera test” peek of Robert Pattinson in costume for The Batman. Imagine if that Michael Giacchino noir music taste and its scarlet-glow reveal comprised the ONLY teaser/trailer we would ever get for the future blockbuster. Mission f’n accomplished for tone setting and frenzied anticipation.  Your triggered curiosity alone destroys your wallet for the future $9. That would be amazing, but, sadly, we know more and likely too much is coming.

LESSON #4: LET’S SEE HISTORY MAKE A NEW FUTURE— It’s not too late to react to Parasite’s historic Oscar night victories. As the first foreign language film to win Best Picture, it’s name is now forever etched in movie history and trivia game cards.  The challenge to have this historic success actually forge a new direction going forward in the industry. If Parasite becomes a one-year wonder and a thrown bouquet outlier for the rest of the decade, the excitement, good will, and growth possible all fade. Let Parasite be your gateway to more independent and foreign cinema. Don’t be scared of subtitles whatsoever when there is a cognitive benefit to be had. There is a wealth to discover and love. Find it. Celebrate it. Let it make you a better lover of movies. If you need help with that, we’ve got friendly aficionados all over the Feelin’ Film Facebook group.

LESSON #5: THERE IS MORE BEYOND THE OSCARS— For true fans of movies, this was a very good year at the Oscars led by Parasite. Good films, wonderful performances, and eclectic talents were given their due by the Academy and our own Feeler’s Choice Awards that matched the Oscars frequently (Excellent recap show, Aaron and Patch!). But, there’s even more. Before 2019 fades more with the advancing calendar, look back to the Independent Spirit Award winners given the night before the Oscars. In many ways, the likes of The Farewell and Uncut Gems are honored films equal or better than the Oscar winners. Fill your watch list and future queue from the Spirit Award winners before the Academy’s and you’ll get some really good stuff. 

LESSON #6: THERE IS NO SHAME IN SOLITUDE— Lastly, this is Valentine’s Day weekend where it’s also “Singles Awareness Day” because you’re never more aware that you are single than on a cheesy holiday like this one alone. There’s no shame in that. In fact, there’s comfort to be found. Last year, I really enjoyed this piece by the blog Lucy Goes to Hollywood addressing the stigma of going to movies alone. No one who does that is a loser and the experience actually has its own strength and catharsis. I call it an occupational hazard, but it also counts a “me time.” An excellent article on The Stylist by Kayleigh Dray continues the idea of self-care that comes from going solo. Keep that in mind while chasing your couple-dom. You’re doing fine without that extra significant other.

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.  (#122)

What We Learned This Week: February 10-16

Posted on by everymoviehasalesson.

LESSON #1: THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES WAS (AND STILL KIND OF IS) CARELESS, UNINTELLIGIBLE, AND DISRESPECTFUL TOWARDS THEIR OWN INDUSTRY— On Monday, Academy president John Bailey revealed that rumors were true.  In an effort to shorten a bloated show and improve ratings, four categories were announced to become relegated to commercial breaks.  At the last minute before the publishing of this post, they relented. The four that were getting the cold shoulder were Best Cinematography, Best Editing, Best Makeup and Hair-Styling, and Best Live Action Short.  The damage is done and they still deserve the lecture.  Let’s start a train of “to say it simply” sentences.  Begin with careful use of time.  You can’t tell me there weren’t smarter cuts of time possible in a hostless telecast.  Trim the gags, bits, montages, and other weak joke fluff.  Cut the half-hour red carpet show and just leave that to E! where it belongs.  How hard would that have been? Maybe they needed to consult an editor… oh wait… Second, look at optics. I was astonished that in the room of AMPAS decision-makers, a team of artists and industry professional peers, there was a lack of perception of what this kind of move looked like.  Did they not just get slammed this past year for the silly Popular Film category suggestion?  Does no one internally pay attention?  This became a double defeat in the court of public opinion before the awards even arrive and they stood down Friday.  The AMPAA looked like they can’t handle or put on their own show after 90 years and the subtraction immediately looked like disrespect.  Doing this wasn’t appeasing casual fans who are impatient with award shows more than it alienated the base of true fans.  It’s the cinephiles and movie lovers that bring in the casual fans, not the other way around.  Alienate them because you dumbfoundedly admonish your own people and you ruin the whole thing with bad press and social media outrage. 

LESSON #2: PUBLIC PRESSURE WINS BECAUSE IT CAME FROM THE RIGHT LEVEL OF PEOPLE— The pressure it took on the Academy to properly honor the people below the title was to rally people above the title.  I’m not the type to boycott anything, but I get why people weren’t going to watch the Oscars (and they still might not).  The group fixed it are the precious people the TV cameras beg to see: ACTORS.  They are the largest voting body in the Academy. If the #MeToo movement has taught us anything, they had clout and these were fitting politics to flex.  They look great and unselfish today to honor their fellow artists. The preening performers rallied get behind the craftspeople that make them look good and insisted on their proper inclusion. The Academy rightfully blinked.

LESSON #3: BAD CGI CAN KILL A MOVIE BEFORE IT STARTS— The latest new teaser of Disney’s Aladdin re-imagining gave viewers our highly anticipated first look of the special effects being used to morph the jovial Will Smith into the famed blue genie.  And holy cow did the internet react.  Memes for days!  The fallout calls to mind so many frequent and intersecting WWLTW lessons.  I could bring back my frequent plea for Disney corporate patience where the studio can avoid rushing these projects, but this one’s been in development with director Guy Ritchie for three years.  That’s more than enough time to spend money, go back to however many drawing boards, and get something to look right, especially with Disney’s deep pockets.  I could spout off about excessive and unnecessary marketing, but this trailer is actually the smallest amount of peek compared to other teasers.  It just looks like crap at this point and is going to need tricks under its sleeves.  I could try to preach to let Will Smith and this Aladdin incarnation be its own thing without comparisons to Robin Williams and etc, but that’s not possible when one its objectives and reasons for being is to blend and update the animated original.  I could try to stump for patience to see the full film before judgment, but the damage is done, echoing similar a unfinished-effects-buzzkill 2003 gave us for Ang Lee’s Hulk.  I’m calling it now.  This will be your Solo-level box office “underperformer” (I won’t say “bomb” because all of these movies are too big to fail) for the Mouse House in 2019.  This will set off a momentary pause button that makes the studio question how and why they do these re-imaginings in the same way they gave Star Wars some reorganization last year.  I say temporary because that feeling will only last 56 days, the amount of time between Aladdin‘s box office debut and the arrival of The Lion King on July 19, which has played its cards far better to make an absolute killing.

LESSON #4: SEE SOMETHING PRETTY— In honor of Valentine’s Day and as a celebration of the art of cinematography before Oscar bounces them like a football timeout, treat yourself to some of the finest artistic visual beauty that exists in cinema.  The American Society of Cinematographers recently published this list of the 100 best shot films of all-time.  Topping the list are Lawrence of Arabia, Blade Runner, and Apocalypse Now!, three damn worthy champions of cinematography.  Spanning vistas and shadows to color and monochrome, this films on this ASC list are sterling examples of why this art is important.  Create a new checklist for yourself with this one.

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.