Random Thoughts: The 2017 Oscars

February 27, 2017 by Keith Garlington

It’s hard to believe another year and another Oscars ceremony has come and gone. As expected a lot of things went the obvious route and there were very few surprises. The were some great speeches, some weird moments, and relentless political babbling from Jimmy Kimmel . But the 2017 Academy Awards will forever be remembered for its ridiculous goofup to end the night. As a whole it was a fun celebration of the past movie season. As I do every year, here are a few random thoughts.

Jimmy Kimmel had some decent moments. There were some good gags particularly his constant bit with Matt Damon and some of his political stuff hit the mark. Eventually politics got old yet Kimmel milked it dry. He ended up helping the show run about 40 minutes over. Overall not bad hosting but nothing special.
Let’s get right to it. Warren Beatty and Faye Dunaway’s Best Picture announcement is now etched in Oscar history. The win went to “La La Land”, they had time to walk up to the stage, they hugged and celebrated, gave acceptance speeches, and then someone magically got word that “Moonlight” was the actual winner? I’m not a conspiracy theorist but something seems a little fishy.
Beatty has gotten a lot of heat, but it’s pretty clear he and Dunaway aren’t to blame. The production team and PricewaterhouseCoopers are more responsible for the flub. Who knows the full truth, but it sure is a lot to swallow. Pretty embarrassing. It was a kind move by Kimmel to try and deflect the blame towards himself.

As for “Moonlight”, it remains my least favorite of the Best Picture nominees. I just don’t share the adoration. It’s a very okay movie that loses a ton of steam once Mahershala Ali leaves the screen. Aside from Ali and some striking camerawork, “Moonlight” takes a long time to say much of anything, but it does check several important boxes that will help Academy voters to feel better after last year’s drumming.
Hats off to Jordan Horowitz, producer for “La La Land”. In what had to be a major disappointment he was incredibly gracious is handing the trophies over to “Moonlight”. Wonderful appreciation shown back by Barry Jenkins. Both men showed a lot of class.
“La La Land” didn’t go home empty-handed. The film won six Oscars despite missing a well-deserved Best Picture win. There were hints it could lose the biggest award. For some reason many naturally rebel against movies that earn a lot of awards attention. Plus with so many people currently hellbent on division why would the Best Picture Oscar go to a nostalgic movie aimed at making us feel good and offering a cinematic and musical escape? Unfortunately the writing was on the wall.
Remember when “Hacksaw Ridge” won for Best Editing? Historically there’s a strong link between winners of Best Editing and Best Picture. I thought for a second that we might be blindsided at the end of the show. Actually we were but for much different reasons.
Predictably Casey Affleck won the Best Actor Oscar for “Manchester by the Sea”. Great performance but Denzel Washington was my hands-down favorite. I knew he was a long shot to win, but he gave a performance not to be forgotten. And what an amazing presence at the Oscars!

Speaking of Affleck, notice how he got a standing ovation yet many still treat Mel Gibson as a pariah? Another case of selective forgiveness?
And speaking of Mel, it looked like he was having a good time and took Kimmel’s ribbing like a champ. It was also nice to see his genuine joy for the others who won for “Hacksaw Ridge”.
My goodness, Viola Davis. Not only did she give one of the best performances in “Fences”, but she gave the best speech of the night. She was gracious and genuinely moved. Supporting Actress was a strong category but Davis was definitely the best. It was so good to hear her name called.
While we are on great speeches, the humility shown by Mahershala Ali was incredible. His Supporting Actor win clearly touched him which is always great to see. He gave three really good performances in 2016 and it’s good to see his work rewarded.
The parachuting candy thing – did they really need to do it THREE times?
On the other hand the tour bus bit was pretty funny. Imagine that surprise! And thanks to it #garyfromchicago became a thing!
One of the real treats of the night was seeing winners spread out among most of the Best Picture nominees. “La La Land”, “Moonlight”, “Hacksaw Ridge”, “Manchester by the Sea”, “Fences” and “Arrival” each took home statues.
Sunny Pawar was absolutely delightful. Kimmel looked a little goofy during their moment but how adorable was Pawar?

The In Memoriam was particularly brutal this year. Many scoff at the Academy’s “death montage”. I actually appreciate the honoring of their memory. Fisher, Hurt, Kennedy, Riva, Reynolds, Wilder, Paxton, Yelchin, Kiarostami and so many more. Tough losses.
And Sara Bareilles’ singing of “Both Sides Now” during the In Memoriam – emotional and beautiful.
The Best Picture goof up wasn’t the Academy’s only mistake. During the In Memoriam costume designer and four-time Oscar nominee Janet Patterson was shown. She passed away last October. Here’s the problem, along with her name was a picture of Jan Chapman, a producer who is quite alive. Come on Academy, really?
Here’s a fun Oscar fact that may have went unnoticed. Kevin O’Connell won the Sound Mixing Oscar for “Hacksaw Ridge”. It was his 21st nomination without a single win…until last night!
Despite taking up a Best Actress spot from several more deserving women, they still found a way to give Meryl Streep a standing ovation. Yes, we get it, she’s great, move on.
I’m usually not that into the musical performances on Oscar night but a couple really stood out. I mentioned Bareilles, but how about young Auli’i Cravalho ? She hit the audience with a soaring rendition of “How Far I’ll Go” from “Moana”. It was fabulous despite her being hit with a flag. And then she ended it with a sweet genuine exhale. Her expression was priceless.

“Suicide Squad” is now an Oscar winner! Can DC now claim victory over Marvel in the superhero movie genre? Not even close.
Back to the Kimmel vs Damon bit, when Damon came out with Ben Affleck to present he was announced as “guest”. Any time Damon would try and speak Kimmel had the orchestra play him off. Everything about it worked. Hilarious.
Asghar Farhadi wins his second Foreign Language Oscar for “The Salesman”, a film that still hasn’t opened around me. He remains one of my favorite working directors and I love seeing him honored.

Those are just a few random thoughts on what was a really weird night. As usual the Academy had several hits and misses, but still the art took center stage. How about we do it again next year?

5 Phenomenal Movie Dogs

February 24, 2017 by Keith Garlington

Who doesn’t like dogs? Sure, some of us may be more of a cat person than a dog person, but it’s hard to deny the charms of cute canines. The same applies to the movies. Even the biggest sourpuss has to enjoy it when movies use dogs well within their stories. Today I’m looking at five of my favorite movie pups. Obviously there have been many so to cut down the choices I’ve left out some obvious ones. Benji, Old Yeller, Toto – some names too obvious to mention. I also ruled out dogs that were the stars of their movies. Because of that I wouldn’t call this the definitive list, but there’s no denying that these five movie dogs are absolutely phenomenal.

#5 – Pard (“High Sierra”)

In Humphrey Bogart’s fantastic crime thriller “High Sierra” the cute little puppy Pard was more mischievous than helpful. Funny thing is Pard was played by Bogie’s own dog Zero. Pard brings such a fun injection of energy but also plenty of heart. That’s especially evident in the film’s inevitable but moving final scene. That alone seals Pard’s place on this list.

#4 – Fred (“Smokey and the Bandit”)

The road comedy “Smokey and the Bandit” is fun for several reasons. One is Jerry Reed’s character Snowman and his Basset Hound best friend Fred. It’s said Burt Reynolds personally chose the dog to play Fred because of its unruly attitude. It was a key personality trait because Fred’s unruliness is part of his hilarious charm. And also the great chemistry he has with Reed.

#3 – Milo (“The Mask”)

While you may be able to argue against “The Mask” as a movie (I still happen to enjoy it), you can’t argue against the film’s little Jack Russell terrier named Milo. He’s cute, adorable, and one heck of a four-legged comedian. Look no further than the scene where helps his owner Stanley (Jim Carrey) bust out of prison. It’s a hysterical moment that by itself makes Milo worthy of this list.

#2 – Flike (“Umberto D”)

Sure dogs can be cute and funny attention-getters. Many movies have used them that way. But in “Umberto D” by the great Vittorio De Sica, its dog is simply a companion – faithful, loving, and a true lifesaver. Flike certainly has his adorable moments, but what makes him so wonderful is his steady presence by his owner’s side even through difficult circumstances. Their relationship is sometimes heavy with sadness but it’s often tender and heartwarming which ultimately is what the owner desperately needs.

#1 – Jack (“The Artist”)

There is another Jack Russell terrier that absolutely had to make this list. Jack was not only adorable but was also a bona fide hero in the Best Picture winning “The Artist”. Jack was wonderfully played by Uggie and there was a campaign to get him recognized by the Academy. In the film Jack’s companionship proves to be vital and in the film’s big climactic scene Jack is a pivotal player. Sadly Uggie died in 2015, but I’ll always remember this energetic little scene-stealer.

There you have my picks for five of the best movie dogs. Obviously there are a number not included. What would have made your list? Please share your thoughts in the comment section below.

REVIEW: “Paterson”

February 21, 2017 by Keith Garlington

“Paterson”, the beguiling new film from Jim Jarmusch, is certain to be criticized by some as slow and mundane. They wouldn’t be wrong. But the great joy of the film lies in Jarmusch’s unfettered assurance in his story and in the way it should be told. And when a true craftsman is confident in what he’s creating, you can bet there is purpose and meaning hidden in the film’s every corner. So it becomes our duty to look deeper into the supposed minutia and see what he is trying to convey. That’s always been part of the allure of Jarmusch’s films.

“Paterson” is no different. It’s a cinematic poem about a poet and the everyday life that inspires his poetry. To understand the film we must understand the man. And to understand the man we must understand his life. To do that Jarmusch takes us through seven ordinary days for a man named Paterson (played by a perfectly subdued Adam Driver), a bus driver from (poetically) Paterson, New Jersey.

Paterson’s life is one of routine. Each morning he wakes up around 6:15, snuggles with his wife Laura (Golshifteh Farahani), and eats a bowl of cereal before walking to work. When he gets home they have dinner then he walks their cantankerous English bulldog Marvin (an absolute scene-stealer). While out, he stops at a corner bar where he treats himself to one beer. We usually leave him staring into his half-empty or half-full mug, depending on how his day went. The next morning this creature of habit gets up and does it all over again.

But it’s the spaces in between this daily routine that give the film life – the collections of seemingly small things that make even the most ordinary day unique. Jarmusch fills these spaces with an assortment of the simplest conversations, observations, and interactions. He never feels compelled to manufacture melodrama or conflict. Instead he allows life to happen without any dramatic prodding. And it’s these modestly presented moments that give Paterson his identity.

With his soulful face, tempered emotions and unassuming presence, Driver couldn’t be better suited for Jarmusch’s low-key vision. His Paterson eases through life, accepting and embracing what it has to offer. That mindset feeds into his poetry which he pieces together during the quiet moments of his day. I’m not the guy to say whether his poems are good or not, but where they come from and what they reveal about Paterson is far more important than their quality. His poetry is a window into one of Jarmusch’s running themes – appreciation for the little things. I mean he wrote an entire poem about a box of matches.

Even his relationship with Laura reflects a gentle, relaxed perspective. They delightfully compliment one another despite their noticeable differences. Look no further than their creativity. Paterson’s poetry is personal, and he keeps it tucked away in his notebook. Laura’s creative ambitions are flaky but earnest, and she doesn’t mind sharing it with anyone. Paterson is dedicated to poetry despite his lack of confidence. Laura goes with her artistic flavor of the moment. It may be cupcakes, interior design, or country music guitar. Yet both are equally supportive of the other. Some of the film’s sweetest moments have Paterson taking in Laura’s excitement and then offering encouragement. Again, no spectacular artificial tension. Just life.

“Paterson” is indeed about appreciating the little things. It’s also about the convergence of art and everyday life. It’s even a tender story of love and contentment. As in his previous films, Jarmusch’s approach is minimalist yet subtly robust. His structure resembles stanzas of a poem, and they are filled with relaxed easygoing rhythms that sweep you through from start to finish. You’ll notice other Jarmusch signatures – his quiet off-beat sense of humor, his compelling use of location, and the fascinating mellow harmony with which he works. If you are a fan of his films like I am, “Paterson” will be an absolute delight.

VERDICT – 4.5 STARS

R.I.P. Nellie, an absolute scene-stealer as Marvin.

REVIEW: “John Wick: Chapter 2”

February 20, 2017 by Keith Garlington

“John Wick” was a fun, fresh 2014 action thriller that added its own little twist to the “boy and his dog” story. Okay, perhaps that’s a tad misleading. Instead let’s say it was a stylized shoot-em-up heavily influenced by Hong Kong cinema and the 1980s action genre. Personally speaking that is a tantalizing recipe and “John Wick” used it to violent bloody near perfection.

The surprising success of the film and eventual cult status lead to a sequel simply titled “John Wick: Chapter 2”. Former stuntman Chad Stahelski returns to direct and Derek Kolstad is back as screenwriter. Most importantly 52 year-old Keanu Reeves (yes, I said 52 years-old) reprises his role as the hard-boiled and well-dressed hitman John Wick. If you weren’t fully convinced of his tough guy status after the first film wait till you see him here.

“John Wick 2” ties up a few loose ends before launching into its own bullet-riddled story. Wick once again finds himself trying to get out of the hitman business, but an old blood oath comes back to haunt him. Weaselly crime boss Santino D’Antonio (Riccardo Scamarcio) violently rejects Wick’s unwillingness to honor their pact which catapults John right back into the life he desperately wants to leave.

One of the real treats of “John Wick 2” is how it expands on its wild global underworld network of assassins which lies just under the crust of the world’s biggest cities (in this case New York City, Rome, and then back to the Big Apple). It’s an interconnected outfit with its own rules and codes many of which are shared by the delightfully droll Ian McShane. He returns as Winston, the “manager” of the Continental Hotel which is actually the network’s New York City kill-free headquarters. Other fun characters return including Lance Reddick as the hotel’s concierge and John Leguizamo as Wick’s chop-shop buddy.

There are some lively new faces as well. Lawrence Fishbourne is introduced as an underground crime lord hilariously called The Bowery King. Common plays a quiet yet lethal fellow assassin who shares some fantastic scenes with Reeves. There is also Ruby Rose (“Orange is the New Black”) as D’Antonio’s cartoonish but perfectly fitting mute enforcer.

In addition to the cool mythology and world-building is the energetic gun-fu action which sports a hypnotic choreography as elegantly composed as some of the best musicals. Here killing takes the place of dance and you have Keanu Reeves with a Glock instead of Gene Kelly with an umbrella. As silly as that sounds it’s actually pretty accurate. Stahelski’s stunt coordinator muscle never subverts his storytelling, but it does give us some spectacular set pieces. He also know Reeves well, having served as his stunt double on the “Matrix” trilogy. To make the action as authentic as possible Stahelski put Reeves through an extensive boot camp featuring martial arts, gun training, and driving. The payoff is a hoot.

I’ll be the first to admit that the “John Wick” movies have surprised me. They could have easily been your standard throw-away dreck. Instead they are films that meld a fresh new style with and old-school action nostalgia. “Chapter 2” has a fun time expanding on the first movie and being completely comfortable in the world it has created. There is a beautiful rhythm to the violence and the film never loses its self-awareness or tongue-in-cheek wit. All of that said “John Wick: Chapter 2” isn’t some groundbreaking piece of cinema, but it’s remarkably unique and it operates by its own rules at every turn. I really like that about it.

VERDICT – 4 STARS

Remember this trailer? #3 – “The Lost Boys” (1987)

February 13, 2017 by Keith Garlington

Classic Trailer Flashback – “The Lost Boys” (1987)

I was a teenager during the 1980s and even then movies were a big part of my life. On July 31, 1987 a witty little horror picture from director Joel Schumacher hit theaters. It was “The Lost Boys”. It featured a fantastic blend of horror, humor, great songs and style. And then there was they cast featuring an assortment of young 80s talent. The trailer highlighted all of these elements and did its job of making this a must-see for me. Over the years I’ve come to appreciate it for a number of things it does well, but at the time I remember thinking “vampires, cool music, and Jamie Gertz”. That was enough for me.

So, do you remember the trailer for “The Lost Boys”? What do you think?

REVIEW: “The Edge of Seventeen”

February 12, 2017 by Keith Garlington

I can’t help but have a cautious approach to any movie described as “a high school coming-of-age story”. Just think of the stale, uninspired sludge Hollywood has churned out that fits that billing. “The Edge of Seventeen” from first time writer-director Kelly Fremon Craig is a welcomed antithesis to the conventional norm. It’s a clear-eyed movie that looks at teen anxiety without an ounce of glamour and with a refreshing bite to it.

The film stars Hailee Steinfeld, a young talent I’ve admired since her Oscar-nominated debut in the Coen brothers western remake “True Grit”. The story opens with her character, a frantic 17 year-old Nadine, bursting into her history teacher Mr. Bruner’s classroom and proclaiming she is going to kill herself. It’s a startling statement met with an even more startling response from her teacher (played by a snarky deadpan Woody Harrelson).

The film takes a few steps back to show what brought Nadine to this point. You have her contentious relationship with her disconnected mother (Kyra Sedgwick). Then you have her animosity towards her brother Darian (Blake Jenner), a super popular jock at school and a mama’s boy at home. But at least she has her one true friend Krista (Haley Lu Richardson), a fellow outsider and her emotional outlet. But even that sacred relationship runs into its own bit of trouble.

At first glance Nadine’s situation seems obvious – she’s surrounded by uncaring people who are consumed with their own perfect lives. But Craig’s screenplay isn’t that transparent. Through a handful of clever and subtle changes of perspective we begin to see some things differently. Nadine’s self-loathing comes more into focus and its effects on her relationships becomes more profound.

Through all of this Craig shows off a biting sense of humor. Some of the very best scenes are the empty classroom sessions between Steinfeld and Harrelson. They are often uncomfortably funny and I say that as a compliment. Mr. Bruner comes across as dismissive and insulting, at one point calling her the worst dressed student in the school and sometimes worse. Nadine keeps engaging him because he legitimizes her low opinions of herself. Their darkly funny back-and-forths highlight a keen acidic wit that fits wonderfully with their chemistry.

There are a couple of other performances I need to mention. Blake Jenner (who also starred in 2016’s “Everybody Wants Some”) is very good playing different shades of the Darian character. And I really liked Hayden Szeto who plays Nadine’s equally awkward love-struck classmate Erwin. This is Szeto’s film debut and he has a fairly small part, but he is such a fresh and funny presence.

There are a handful of moments where it’s too easy for us to get ahead of the story. These few predictable scenes are some of the biggest turning points in the story. But they are small blemishes on an otherwise refreshing take on teen life. “The Edge of Seventeen” isn’t some cliched nostalgic trip down memory lane. Instead it reminds us that for some kids high school wasn’t parties and pageantry. It’s also a great showcase for Hailee Steinfeld and a wonderful introduction to Kelly Fremon Craig, an exciting young cinematic voice.