What We Learned This Week: March 19-25

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LESSON #1: SEE A MOVIE BEFORE YOUR JUDGE IT— I don’t know about you, but I sure don’t hear as many “Beauty and the Beast” ranters this week as I heard and read the week before the film came out.  Too many people can work themselves into a lather over the smallest sample size of an actual film generating by a film’s marketing.  It was very encouraging for me to see the film itself and its monster box office debut silence a large majority of its false haters who judged from clips and trailers before seeing the entire film.  I know we operate in a news cycle where stepping out with a hot take or being first in clickbait gets traffic and eyes, but so much of that buzz sours to silliness when a film finally comes out and proves people wrong (not everyone but most).

LESSON #2: WHEN A FILM DOESN’T SCREEN FOR PRESS, THAT IS NEVER A GOOD SIGN— Aaron and I, on this website, have active press credentials and get to see films ahead of time for review.  It’s rare when a film doesn’t screen for critics and it’s normally never a good sign.  Fire up the disaster siren warning for “CHIPS” this week.   Buyer beware and run for the hills!  Proceed at your own risk.

LESSON #3: PAY ATTENTION TO THE SXSW FILM FESTIVAL— I’ll echo advice I gave in January on the Sundance Film Festival and turn my spotlight to Austin, Texas.  The trendy SXSW Film Festival is quickly gaining attention, buzz, and notoriety as not just a good time with flashy red carpet premieres, but a legitimate film festival with quality offerings.  Keep an advance Oscar eye on the SXSW award winners, beginning with Grand Jury narrative winner “Most Beautiful Island” and documentary winner “The Work.”

LESSON #4: TERRANCE MALICK IS ONE OF THE MOST POLARIZING DIRECTORS WORKING TODAY— Speaking of SXSW, “Song to Song” arrives in theatrical release this week after its Austin premiere.  Any new Malick film brings out the worshippers and haters from all directions.  There are staunch critics who, more often than not, refuse to downgrade the man and his extremely experimental and non-traditional work.  Mark me down in the column of people that refuse to bow at his altar.  While I really do get what he’s doing, I find the man’s work lost and tirelessly repetitive even if it’s absolutely gorgeous from a visual style.  You get to be your own judge because there are not many film experiences more rigorous than a Terrance Malick film.  Best of luck.  Let’s compare notes afterwards.

LESSON #5: WOULD YOU PAY A LITTLE MORE MONEY TO SEE THEATRICAL NEW RELEASES AT HOME?— This lesson paraphrases a headline from a provocative topic presented by /Film this week that put a few fingernails to heads for itch-scratching.  Over the last 10-15 years of HD capabilities possible in home entertainment technology, this is not the first conversation from studios to consider digital access at home.  VOD platforms have continued to evolve, leaving price point as the one tricky and crucial factor in play.  How does $30 sound to watch, say, “Beauty and the Beast” at your leisure on the couch this weekend?  If movie tickets are $12 and you have a family of four, spending $30 compared to $48 before travel and concessions is beyond tempting.  You’re trading saving money for the incomparable experience of the big screen with a captive audience.  How do you feel about that?

 

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current President of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned This Week: March 12-18

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This week, it’s time to collectively put a firehose of truth and pragmatism to the flaming mountains of fake outrage that has been brewing for weeks on several fronts.  The targets today are remakes, reboots, and reimaginings.  A whole lot of fuss was made this week by the arrival of Disney’s reimagining of “Beauty and the Beast” (my full review) and the news of Warner Bros. eyeing a remake of “The Matrix.”  Sigh.  Pass the teacher’s chalk and let the rant begin.

LESSON #1: REMAKES ARE INEVITABLE— Old favorites are old favorites because they are exactly that: OLD.   New mediums and new art forms evolve with time.  Wikipedia will tell you that “La Belle et la Bete” has been adapted to film no less than 11 times.  Classic stories, whether in print or in film, have been retold by each generation for decades.   No one was bitching in 1991 when Disney made the fifth such film attempt, yet here are the butthurt today ranting about the 11th.  Guess what?  In another 10-25 years, you’ll see the 12th and maybe even the 13th version next.  I hate to tell you this, but in 50 years, some bloke is going to remake “Harry Potter” and “Star Wars.”

LESSON #2: MANY FILMS YOU ALL LOVE ARE REMAKES, REBOOTS, OR REIMAGININGS— In case you have all forgotten, the endless likes of “Mutiny on the Bounty,” “The Dark Knight,” “Ocean’s 11,” “The Departed,” “The Fly,” “The Magnificent Seven,” “The Thing,” “True Lies,” “Scarface,” “True Grit,” “Some Like it Hot,” “The Ring,” “Cape Fear,” “A Fist Full of Dollars,” “The Maltese Falcon,” and f–king “The Wizard of Oz” are all either remakes, reboots, updates, or reimaginings of early film adaptations.   If you’re going to play the purist card, then go ahead and try to deny the elements of greatness that followed.  Enjoy that island.

LESSON #3: REMAKES ARE HARMLESS— No remake ever replaces a film that came before it, period.  They don’t burn all of the previous copies of the original and say that you have to only receive and like the new one now.    Both versions exist in perpetuity.  Both versions are perfectly accessible to enjoy.

LESSON #4: NO ONE IS FORCING YOU TO WATCH ANY FILM, REMAKE OR OTHERWISE— No childhoods are ruined by any film remake.  Divorces ruin childhoods, not movies played through a device that has an OFF button.  If you don’t want to see a remake or new version of something you love, then don’t see it.  Don’t waste your two hours.  Don’t waste your money.  Go get that unburned copy from Lesson #3 and enjoy the one you love.  No one is stopping you.  To go another angle, here’s a great quote from Arizona Republic film critic Bill Goodykoontz in his “Beauty and the Beast” review: “Does it need to exist? No, not really. Neither does ice cream, but you don’t hear many complaints about that. Don’t question it, or look for controversy where it doesn’t exist. Instead, do something better: enjoy it.”

LESSON #5: DON’T MAKE COMPARISONS— This is my best advice.  Let the original and remake be different, whether that’s better or worse, because they are different.  View them separately and independently.  Judge them separately and independently.  It’s that easy.  In the end, every audience has their own taste and that’s the whole point.  There is room for each person’s enjoyment and we all get to pick what we choose to enjoy.  Some teenager is going to adore the “Power Rangers” movie next week.  Let him or her have it.  You have yours.

LESSON #6: THIS HAS BECOME A BUSINESS FIRST, AND AN ART EXPOSITION SECOND— I can rant all day about “how” remakes, reboots, and reimaginings exist and thrive, but the question of “why” always remains after.  That answer is easy as well: MONEY.  “Beauty and the Beast,” “The Matrix,” and properties like Spider-Man and James Bond have name recognition and built-in audiences that sell movie tickets.  Why does Disney reimagine their animated classic films?  Because they can afford it and the results are supremely profitable.  Even if the films are not necessary, people will still pay to see them. Good luck stopping them from doing it and watch them laugh all the way to the bank.  The only way an audience can tell a studio how to do its business is by either giving them or not giving them your business.  If you don’t like it, go back to Lesson #4 and keep your money.

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current President of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned This Week: March 5-11

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LESSON #1: THE SUCCESS RATE OF INDIE DIRECTORS STEPPING TO BLOCKBUSTERS IS IMPROVING— Other than Marc Webb stepping up from “(500) Days of Summer” to the ill-fated “Amazing Spider-Man” double bill and “Moon” director Duncan Jones bombing on “Warcraft,” the recent push of larger studios’ farming of indie directors to helm blockbusters have gone pretty successfully.   All of the greats started small (take Christopher Nolan going from “Memento” to Batman), but the trend is swelling lately.   Colin Treverrow turned “Safety Not Guaranteed” into “Jurassic World” and J.A. Bayona will be moving from “The Impossible” and “A Monster Calls” into the dinotastic sequel.  “The Kings of Summer” director Jordan Vogt-Roberts cashed up to “Kong: Skull Island.”  This list goes on and on, and 2017 is full of more.  Rian Johnson flips “Looper” for “Star Wars: The Last Jedi” and Taika Waititi goes from “Hunt for the Wilderpeople” for “Thor: Ragnarok.”  Jon Watts of “Cop Car” hopes to not pull a Marc Webb with “Spider-Man: Homecoming.”

LESSON #2: BIGGER IS BETTER— Speaking of “Kong: Skull Island,” the head honchos at Legendary Entertainment found the easiest and most irresistible route to selling a new Kong film: Make him bigger.   The powers that be have smacked an invisible label on the cinematic Cheez Whiz jar that reads “now bigger than ever,” jacking up the normally and plenty-imposing 25-foot gorilla into a gigantic 100-foot bipedal behemoth.  That changes everything when it comes to the monster’s capacity for destruction and man’s impossible chances of opposition.  Go see the film.  It’s a blast.

LESSON #3: KEEP AN EYE ON THE SXSW FILM FESTIVAL— For nine days and 125 features this month, Austin, Texas becomes the center of the independent film scene with the annual South by Southwest Film Festival that is starting to rival January’s Sundance Film Festival for exclusive films and a Hollywood-level red carpet.  This year, you’ll get the premieres of the latest films from Edgar Wright (“Baby Driver”), Terrance Malick (“Song to Song”), and Ben Wheatley (“Free Fire”).   SXSW’s merger of the arts is becoming a hot ticket with good gets.

LESSON #4: THE WHITEWASHED CASTING OUTRAGE IS STARTING TO SMARTEN STUDIOS UP— I think the combination of warranted complaints,  butthurt rants, and internet courage-fueled protests are starting to work.   Movie news reported this week that director Guy Ritchie will seek Middle Eastern lead performers for Disney’s live-action “Aladdin” re-imagining and Niki Caro looks to be doing the same for “Mulan.”   If you look past the animated curtain and beyond all of its inherent entertainment value, “Aladdin” is one of the worst perpetrators in film history for white-washing.  I’m intrigued to see something different and call these active attempts an initial victory towards improved diversity.

LESSON #5: LET’S MAKE UP A NEW WORD: “BRITWASHING”— Piggybacking from Lesson #4, race relations also have a national vs. international bend to them from time to time.  Samuel L. Jackson just stepped out in an interview to criticize the casting of black British actor Daniel Kaluuya to play an American African-American guy in “Get Out” and wonders about missed opportunities.  Honestly, the man isn’t wrong and, as I coin the term, “Britwashing” has been a quietly unsettling trend when you see the likes of Daniel Day-Lewis, Christian Bale, Henry Cavill, Andrew Garfield, Tom Holland, Benedict Cumberbatch, and David Oyelow playing real and fictional American heroes.  One has to wonder if there is a talent gap between the Brits and the Americans.  What do you think?  How do you feel about foreigners playing American figures and heroes?

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current President of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned This Week: February 19-25

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LESSON #1: THERE IS NOTHING WRONG WITH GOING TO NETFLIX— I don’t know where the stigma came that Netflix is where losers go to get work.  It’s probably because of the current career chapter of Adam Sandler being housed there.  Many auteur feathers were ruffled by the news that Martin Scorsese’s long-awaited reunion film “The Irishman,” starring Robert De Niro, Al Pacino, Harvey Keitel, and the long-lost Joe Pesci, was heading to Netflix instead of a wide theatrical release via Paramount Pictures.  This is a business decision, plain and simple, and Netflix has come to play.  They want to get into the prestige film business and have the resources to do it and exclusivity to offer.  I can completely see Paramount’s end of it too.  As deeply loved and respected (to death) as “Silence” was, the opus was a flop for Paramount’s bottom line, earning back a scant $7 million and change against a $40 million budget.  Also, let’s look at marketability.  What was the last marque hit headlined by De Niro or Pacino as legit leads?  Face it, they are legends mired in decline.  I don’t care how many people love the old days of “Goodfellas.”  If the modern stars of “The Wolf of Wall Street” can only mildly top the $100 million plateau after an Oscar push on a $100 million budget, “The Irishman,” bearing the same $100 budget and likely R-rated genre, doesn’t stand much of a better chance with old has-beens above the title.  Any junior marketing intern can show Paramount that math.

LESSON #2: DIRECTOR GORE VERBINSKI IS BROKEN AND NEEDS FIXING— Discerning movie audiences were stoked at the proposition of director Gore Verbinski going back to his “The Ring”-esque horror/thriller roots with “A Cure for Wellness” after five Johnny Depp films (three “Pirates” movies, “Rango,” and “The Lone Ranger”).  Gaudy results or not, the man has talent.  Audiences didn’t bite and the film debuted in a distant 11th place.  “A Cure for Wellness” should have been just what the doctor ordered.  He needs some career rehab now.  He needs something different and has to resist the temptation to go back to the Depp well for a weak commercial hit to stay on the radar.

LESSON #3: AWARD WINNERS ARE ALLOWED TO GET AS POLITICAL AS THEY WANT IN ACCEPTANCE SPEECHES— I’m going to put this out there in advance.  It’s called freedom of speech.  They earned their 45 seconds of mic time before the orchestra plays them off and it’s their choice to use it however they want.  If you don’t like it, turn the channel.  Go to the kitchen for a snack.  Take a bathroom break.  Problem solved.  It’s that easy.  I’ll forward the internet meme rant here: You lost the right to bitch about this when you elected an unqualified reality TV show host as the President of the United States of America.  Enjoy your TV dinner of hypocrisy and butthurt feelings.

LESSON #4: FOR EVERY OSCAR-WINNING FILM THIS WEEKEND, THERE ARE 10 OTHER NON-NOMINATED FILMS OF BURIED TREASURE WAITING FOR YOUR ENJOYMENT— Let’s say this too in advance before Sunday’s 89th Academy Awards.  The Oscars are a pinnacle for a politically-voted process of taste and preference.  Their taste can inform, but will never replace and should not solely dictate your taste or your barometer of preferences.  You get to like and shower the films you love with praise.  Fly your own flag and love the movies you love.  The amount of excellent films that will never win an Oscar is larger than those that will.  Dig deeper and find your own buried treasure.  If you need some picks from last year, here’s a list of 16 hidden gems from 2016, all making under $1 million at the box office.  Only one of them, the documentary “Life, Animated” was nominated for Sunday.

 

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current President of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned This Week: February 11-18

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LESSON #1: BATMAN IS THE BEST CHARACTER CREATION TO COME OUT OF THE WORLD OF COMIC BOOKS— When done with gusto, what makes Batman unique and special is that he works in any tone.  No one else can match his range of iconic interpretation.  Not Superman and not a soul over at Marvel Comics. He is, unequivocally, the Dark Knight with nearly 80 years worth of tomes written and drawn with infinite conflict, mood, and darkness.  At the same time, when necessary he is, as TV star Adam West dubbed, the Bright Knight of zest, color, and camp, because he is still a regular man with no superpowers dressed up as a bat.  Batman works in either setting because the human fortitude at the core of the character, his drive to right wrongs after personal tragedy, can be employed equally for heroic and virtuous causes and also for the vigilante and urban myth that takes matters into his own hands.  “The LEGO Batman Movie” checks all the Batman boxes.

LESSON #2: “FIFTY SHADES” WORE OUT ITS WELCOME IN ONE MOVIE— Don’t get me wrong, there will always be an audience for kink and the tawdry novel has a built-in audience of die-hards.  A second place box office finish pulling in over $46 million over the big holiday weekend proves enough of that.  But $46 million is a long way from the $85 million and change the first film drew in its debut frame.  The buzz was as cold as the sex this time around compared to last year’s must-see fever pitch.  I expect a 70+% drop off and the film failing to crack $100 million domestically.  The third film of the trilogy is going to be a tough sell.

LESSON #3: KEANU REEVES STILL HAS IT— “John Wick: Chapter 2” doubled everything about the cult hit 2014 first film, from squib budgets to box office earnings.  For the first time in a long time, Captain Whoa, Keanu Reeves, has a hit on his hands.  I’m not calling the comeback complete yet.  After all, this was still third place and behind a crappy “Fifty Shades Darker.”  Before we vault him back to the A-list, let’s see him successfully open a film not named “John Wick.”

LESSON #4: TAKE SOME ADVICE FROM THE BRITISH ACROSS THE POND.  YOU NEED TO SEE “LION”— This week’s BAFTA Awards, the U.K.’s equivalent to the Oscars, the underdog film of “Lion” pulled off a pair of high-profile upsets in Best Adapted Screenplay over “Moonlight” and Best Supporting Actor for Dev Patel over Mahershala Ali of “Moonlight.”  While “Lion” isn’t going to steamroll anything on Oscar night, take it from me, the film is worth your time.  It’s palpable true story of heartstrings that avoids more of the Oscar bait cliches than it exploits.

LESSON #5: SOMEBODY TAKE THE STICK FROM HARRISON FORD— Just short of two years after a self-piloted plane crash seriously injured the beloved actor, Harrison Ford nearly collided this week with a passenger plane on a taxiway while landing at John Wayne Airport in Orange County.  Harrison, you’re 74.  We know Paul Newman raced cars into his 80s and you’re doing what you love.  We get the appeal, but GET OFF THAT PLANE!  We still need you.

LESSON #6: WHAT’S YOUR FORGIVENESS LEVEL FOR MEL GIBSON?— Clickbait spun this week about “Hacksaw Ridge” Oscar nominee Mel Gibson being courted by Warner Bros. to direct a “Suicide Squad” sequel.  Even his inclusion of being considered brought out the “how could you hire this ___ (take your pick: philanderer, misogynist, homophobe, anti-Semite)” outrage, searing social media feeds.  You would think he was selected to be the next Secretary of Education.  Personally, I don’t think he even takes the offer, not after his public thoughts on “Batman v. Superman: Dawn of Justice” five months ago.  Still, swallowing the rainbow of opinions on your news feed begs this lesson’s question.  Has he paid for his past misdeeds?  Has his conduct improved?  Do you boycott his work? Does he deserve the chances he’s getting?

LESSON #7: BE CAREFUL HOW YOU THROW AROUND THE LABELS OF “WHITE-WASHING” AND “WHITE SAVIOR”— Months of silly and misguided speculation on Matt Damon and Zhang Yimou’s “The Great Wall” finally get answered this weekend when the film makes its North American debut.  I don’t mean to mirror Bill Maher, but here’s a new rule: See the film before you judge it.  Until then, you just add to the noise of internet trolls and alternative facts.  Point of fact, the film is a fantasy epic closer to “The Lord of the Rings” than a revisionist historical drama.   Honestly, the only opinions of integrity that matter are the people making the film.  Read Zhang Yimou’s strong words on the controversy and put your false argument to bed.

 

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned This Week: February 4-10

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LESSON #1: 2016 WAS A BANNER YEAR FOR FEATURE DOCUMENTARIES— If you haven’t sought out the five Oscar nominees for Best Documentary Feature, do you yourself a favor and remedy that.  The multi-hour/multi-part “O.J.: Made in America” is going to win the Oscar and is available on Netflix.  The streaming powerhouse also offers Ava DuVernay’s powerful and comprehensive nominee”13th,” as well as the Oscar-snubbed Werner Herzog musing “Lo and Behold, Reveries of the Connected World,” and “Norman Lear: Just Another Version of You.”  My winning vote would be “Life, Animated” was my #3 film of the year and is available on Amazon Prime Video along with “De Palma.”  If you can make it to the theaters, “I Am Not Your Negro” just opened and is expanding.

LESSON #2: HOLLYWOOD STILL CAN’T HELP ITSELF WITH THEIR OWN REMAKES OF FOREIGN FILMS— Germany’s “Toni Erdmann” from Maren Ade is the front-runner for the Best Foreign Language Film Oscar.  Word dropped on Wednesday that Jack Nicholson wants to come out retirement to star in an American version with Kristin Wiig.  Adam McKay (“The Big Short”) is executive producing and the speculative fantasy casting and hiring has already begun.  Sure, I’d love to see wily Jack in the title role, but many cinephile fans of Ade’s original film are up in arms, and dutifully so, that Hollywood is going to water down and ruin a good thing for sake of fewer subtitles.  Little to no one is standing on the “this is a great idea” side of the line.

LESSON #3: HOLLYWOOD IS NO BETTER WITH REBOOTS— In movie news, get ready for “Pineapple Express” director David Gordon Green for “Halloween,” Kevin Smith stirring up his own redux of “Jay and Silent Bob,” “Arrival” screenwriter Eric Heisserer teaming with “Passengers” screenwriter Jon Spaihts on “Van Helsing,” “John Wick” steward Chad Stahelski next up on “Highlander, and, last but not least, a Coen brothers rewrite of “Scarface” for an unfilled director.  As always, ask yourself which ones of these you actually want to see.

 

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned this Week: January 28-February 3

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LESSON #1: THE LOCKS TO THE OSCAR DOORS FOR LEAD PERFORMANCES HAVE BEEN BLOWN OFF— The Screen Actors Guild Awards this past on Sunday shook up the Best Actor and Best Actress Oscar races in unexpected ways.  “Manchester by the Sea” star Casey Affleck has won virtually ever major and minor lead-up award (go look at the data here), yet here comes Denzel Washington for “Fences.”  Is a comeuppance coming (one that I hinted at last week) for Affleck?  Only three times in 21 years of the SAG Awards, and not since 2003, has the Best Actor SAG winner NOT gone on to win the Oscar.  Over in Best Actress, Natalie Portman and Isabelle Huppert have been deadlocked and trading wins all awards season.  In comes Golden Globe winner Emma Stone and the rush of “La La Land” to take the SAG.  Their category just became the hardest one to predict for February 25.  The SAG-to-Oscsar correlation in Best Actress is looser than Best Actor, but not by much with only five departures out of 21.

LESSON #2: THE SUNDANCE FILM FESTIVAL CONTINUES TO SET THE TONE EVERY YEAR FOR INDEPENDENT FILM— Robert Redford’s Utah-based festival always offers a first look at strong independent films that will be bouncing around the scene all year and gaining acclaim.  Last year it was “Swiss Army Man” and “The Birth of a Nation.”  Discovery for 2017 starts with the Grand Jury Prize winner “I Don’t Feel at Home in this World Anymore”from director Macon Blair and starring Melanie Lynskey and Elijah Wood.  It debuts on Netflix on February 24th.  Continue your checklist with audience award winner “Crown Heights,” directing winner “Beach Rats,” screenwriting winner “Ingrid Goes West,” breakthrough performance winner “Roxanne Roxanne,” and the documentary winner “Dina.”

LESSON #3: SUPER BOWL MOVIE TRAILERS AREN’T SURPRISES ANYMORE— Name the last time you were blown away by a surprise teaser trailer that aired during the big NFL championship game.  Mine might have been 14 years ago (which itself pales in comparison to its true first teaser).  I’m betting yours was a while back too. These formerly excellent 30-60 second spots used to be special.  They were unannounced, aired only once before the days of YouTube replays, and part of the thrill of the commercials being as must-see as the game itself.  Now, because of oneupmanship and drumming up supposed additional hype, we know which movie teasers are coming a week or two before the game.  Even worse, some studios (just like the product commercials too) have started to post them online ahead of Super Bowl Sunday, defeating any need or thrill to watch them on game night.  Overambitious and impatient marketing departments have made my bathroom breaks during the Super Bowl even easier.

LESSON #4: THERE IS ROOM FOR HUMAN HEART IN SCIENCE FICTION— Call me a softy or a sunny optimist, but I’m not afraid be in the minority to say that I greatly enjoyed “The Space Between Us,” currently getting blasted to the teens on Rotten Tomatoes.  Yes, it’s cheesy, corny, and light, but I’ll take “The Space Between Us” over the next “Percy Jackson and the Hunger Maze Runner City of Bones Games with the 5th Wave of Divergent Mortal Instruments.”  To me, the YA movie marketplace is overfilled with militarized kid-on-kid peril.  For as much as their is room for heavy, there should be room for sweet too.  I’ll take the cute and heartfelt teen romance for a change.

 

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

 

What We Learned this Week: January 21-27

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LESSON #1: FAITHLESS HOLLYWOOD FORGIVES BAD PEOPLE— How’s this for irony?  The frighteningly devout and conservative Catholic who was ostracized from liberal Hollywood for anti-Semitic hate got himself and his gaudy, violent, and cheesy war film nominated over the most respected legend in the game who completed a passion project expressing, get this, frighteningly devout Christian beliefs.  That’s what’s going on when Mel Gibson and “Hacksaw Ridge” are recognized with Oscar nominations for Best Picture and Best Director ahead of Martin Scorsese and “Silence.”  Break out the SMH memes.

LESSON #2: I’M NOT SAYING THERE’S A DOUBLE STANDARD, BUT THERE MIGHT BE A DOUBLE STANDARD— While we’re on the topic of labeling “bad people,” the more Casey Affleck is showered with awards and frontrunner praise as the eventual Best Actor Oscar winner, the more his past allegations of sexual harassment and verbal abuse aren’t going away.  Piggybacking from the fickle forgiveness of Lesson #1, when Brie Larson reads Affleck’s name to come and accept his Oscar, the cheers are going to drown out the boos and shade.  I’ll be the one to ask it.  Where is that same blind forgiveness for Nate Parker? I’ll grant the criminal charges were different, but his transgressions are ancient and the man was acquitted a long time ago.  However, Affleck is looking at a place in history while Parker is going to have a hard time finding work.  Either forgive them both or hate them both.  Don’t create a double standard.

LESSON #3: AMY ADAMS IS BECOMING THE AMERICAN KATE WINSLET–Kate Winslet was nominated for an Oscar five times before winning on her sixth try in 2009 for “The Reader.”  She was 34 years old at the time.  Parallel to her, Amy Adams has been nominated five times and should have received her sixth nomination this week for “Arrival” (hell, even a seventh double nomination with “Nocturnal Animals”).  What if I told you Amy Adams is a year older than Kate Winslet?  She is.  Amy turns 43 this year and still waits.  She doesn’t deserve to be reach the casting death cliff of women 50+ without an Oscar.  I don’t know what the woman has to do more.

LESSON #4: THE PUSH FOR DIVERSITY AT THE OSCARS IS NOT OVER— It’s wonderful to see 35% of the acting nominations (seven total) go to performers of diversity.  Two of those, Mahershala Ali and Viola Davis, are near locks to win.  “Moonlight” filmmaker Barry Jenkins hit the trifecta as a nominee for Best Picture, Director, and Best Adapted Screenplay and Joi McMillion, one of his editors, became the first minority woman ever to be nominated in that category.  For one year, the #OscarsSoWhite pitchforks can be put away, but the playing field is still far from level.  Diversity doesn’t just mean black.  There is still a enormous dearth of Asian, Latino, Indian, and LGBT actors and actresses that are never recognized or even in positions for awards contention.  Only two female directors (Sofia Coppola and Kathryn Bigelow) have been nominated for Best Director in the 16 years of this young century.  Advocate for and improve diversity further after this good year.

LESSON #5: M. NIGHT SHYMALAN IS A CHEATER— In full disclosure, I’ve avoided M. Night Shyamalan’s films since “The Last Airbender.”  I’ve been done and I’m in the camp of not buying the comeback fires that were kindled by “The Visit” last year and spiked with gasoline this week by “Split” and its box office success.  To me, he’s still a one-trick pony where the “third act twist” is his only creative move.  He’ll meander unevenly through two hours and then dazzle you for five minutes at the end.  To me, that’s not enough anymore because it’s overused.  Now, he can’t even make an original twist anymore, as evident by the stinger of “Split.”  For more spoilers and more detail of similar feelings, check out this editorial piece from Mike Vanderbilt of Daily Grindhouse.  He nails it.

 

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned this Week: January 14-20

Posted on by everymoviehasalesson.

LESSON #1: BLACK GIRLS RULE— Want to get a slice of minority history to reach a general audience and make a few bucks?  Cast it, package it, write it, and market it smartly as a PG-rated family film capable of netting the widest audience possible.  “Hidden Figures” isn’t breaking any new ground with filmmaking, but it’s playing all its cards right.  It debuted in time for Oscar consideration, then waited for the dead of January after the Christmas releases and “Rogue One” were fading, borrowed the MLK holiday and the departing President Obama for a boost of social parallels, and let the story do the talking.

LESSON #2: MERYL STREEP IS AS FAR FROM OVERRATED AS POSSIBLE— While Scott Baio might be sort of right-wing-rootin-tootin’-correct to cite celebrity status as “the best life of everybody,” he and the President Elect have no room to compare resumes and ratings.  She has won more awards (157 by Wikipedia’s count) than Scott had episodes of “Charles in Charge” (126).

LESSON #3: THE WINNING STREAK OF BEN AFFLECK AS A DIRECTOR IS OVER— Every hot streak has to end some time.  “Live by Night” is Affleck’s first miss as a director in four tries, including climbing the top of the Oscar mountain with “Argo.”  One can argue that there was nowhere to go but down after “Argo,” but “Live by Night,” a sleepy and exhausting gangster film, goes lower than step down.

LESSON #4: MARK WAHLBERG IS A RICH MAN’S JASON STATHAM— I am one of those critics who has stopped going to Jason Statham movies because they are all the same.  Other than when he was aping himself in “Spy,” there is no variety to his tough guy, man-of-action act.  Like a bad drink at the bar, the quality just gets thinner the more it’s refilled and watered down from the same ice.  It’s been gestating for a long time but, after “Patriots Day,” I’m prepared to close the same book on Mark Wahlberg.  It’s been a long time since “The Fighter” and even longer since “Boogie Nights.”  He plays the same cussing and invincible Bostonian good guy every time.  Sure, he’s wildly successful playing that type, and I won’t fault a guy for making money, but he’s becoming a ball hog doing it.  A stellar ensemble was wasted in “Patriots Day” for “The Mark Wahlberg Show.”  What should have been a poignant observation of history (See: Lesson #1) turned into a vanity project.

LESSON #5: “SILENCE” WAS THE POLARIZING FILM OF 2016.  ALL OTHERS NEED NOT APPLY— The critics might tell you this label belongs to growing gap between the soaring high praise for “La La Land” and its growing contrarian backlash.  Damien Chazelle’s film is going to keep wowing audiences and raking awards all the way to the Oscars.  The film that won’t is “Silence.”  Martin Scorsese’s passion project should be justifiably inspiring the Christian crowd with the power of a 1,000 “God is Not Dead” sequels.  Instead, it’s dying a death of apathy at the box office and no one loud enough to matter is stumping for it.  Could audiences be just as guilt-ridden as the characters in the film?

 

DON SHANAHAN is a Chicago-based, press-credentialed film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.