It seemed that “Far from the Madding Crowd” was one 2015 film that came and went with practically no fanfare. That’s a shame because any movie with Carey Mulligan as its lead is worth talking about. Mulligan is one of the most emotionally earnest actresses working today which is strikingly clear in the two movies she released last year, “Suffragette” and this one.

The film is directed by Thomas Vinterberg whose last film was 2012’s stinging social indictment “The Hunt”. Here he takes the reins of this fresh, new adaptation of Thomas Hardy’s classic 1874 novel. It’s the third time the story has been turned into a feature film and the first since Julie Christie’s 1967 treatment. Vinterberg narrows his focus to give us a much more compact telling of Hardy’s romantic period drama.

It’s set in 19th century rural England and tells the story of a headstrong woman and the trio of men who pursue her hand in marriage. Mulligan plays Bathsheba Everdeen (the inspiration for “The Hunger Games” protagonist Katniss Everdeen). She’s an independent hard worker on her Aunt’s small farm when she meets Gabriel Oak (played by Matthias Schoenaerts). He has invested his savings in a healthy patch of land for his sheep farm. He is the first to fall in love with Bathsheba.

A reversal of fortune sees Gabriel selling his farm and hunting for work while Bathsheba leaves her Aunt to claim a huge profitable farm left to her by her uncle. The large farm next to her new property is ran by a wealthy bachelor (Michael Sheen) who is quickly smitten with her. Later a third admirer enters the picture in the form of a charismatic but weaselly soldier played by Tom Sturridge.

David Nicholls handled the screenplay duties and chose to put his focus on the key relationship between Bathsheba and one of her three suitors. It’s a decision that allows for Vinterberg to tell a tighter and more economical story that gives the central romance room to breath and develop. It also allows the actors the time to fully flesh out these characters particularly Mulligan.

There is a hypnotic quality to Mulligan’s acting. She has an effortless honesty that is seen in every detail of her performances. Here it’s found in the layers of humanity lying beneath her character’s tough, confident exterior. But she also shows those slight breaks of vulnerability which never compromise the character. It simply makes her human. Mulligan is the perfect actress to convey it all to us. She can say so much through a slight grin or a subtle roll of her eyes.

Matthias Schoenaerts is also an important part of the film’s success. The Belgian heartthrob is a believable mix of farmland physicality and humble, earnest subservience. You never doubt him. Michael Sheen is also very good giving us a character that undergoes a few subtle transformations. Sturridge gives the only performance that is a bit uneven. He’s not bad but his tendencies to go big doesn’t always serve the scene well.

As you watch “Far from the Madding Crowd” you’ll have a pretty good idea how things are going turn out. But that’s okay because the movie is so well made and the performances are top notch. There is just a great flow to Vinterberg’s version of the Hardy classic and its easy to fall into the beautiful period setting and the simple charm of the story. It also offers another example of Mulligan’s magic as an actress.

VERDICT – 4 STARS

Today marks the fourth year that I have put together this esteemed look back at the past year in movies. I simply call these The K&M Random Movie Awards. Even the name drips with prestige and importance. Now these awards aren’t for the regular routine stuff. These are completely random categories yanked out of the air and presented to you. Now, without further delay, the red carpet ceremony is over. Lets get to the awards…

Worst Sequel – “Terminator: Genisys”

And it started off really good. I thought this could really be a fun and nostalgic Terminator film. Unfortunately is spirals out of control. The new characters are flat. The story is ludicrous. The major plot twists are revealed in the trailers. At least the action was good.

Best Dinner Table Scene – “Sicario”

‘Best’ may not be the best way of putting it. If you’ve seen “Sicario” you know what I mean. I’m not going to spoil anything but Benicio Del Toro has a dinner table scene that will lodge in the back of your mind and stay there. It’s tense, mesmerizing, and unforgettable.

Worst Ending – “The Boy Next Door”

It kinda makes sense that the worst ending would come from one of 2015’s worst movies. “The Boy Next Door” ends with one of the stupidest finales I’ve seen in a while. A certain character goes all Michael Myers on us and the gaping plot holes the ending leaves behind  is baffling.

Best Ensemble – “Spotlight”

Several 2015 movies put together stellar ensemble casts. But no ensemble worked together better than in Tom McCarthy’s “Spotlight”. Keaton, Ruffalo, McAdams, Tucci, Schreiber, James, and Slattery all put aside personal big moments and concentrate on making the story the true focal point. It’s superb work.

Best Documentary – “The Look of Silence”

While I did really like “Amy” and “Meru”, neither came close to “The Look of Silence”. Joshua Offenheimer’s powerful companion piece to “The Act of Killing” is more personal but just as piercing. It’s impossible to watch this documentary and not be effected.

Biggest Movie Surprise – “Creed”

I had absolutely no expectations for this thing at all. But Ryan Coogler showed that he is one of the best young filmmakers in the business. Add in a solid lead performance by Michael B. Jordan and Sly Stallone’s best work since the first Rocky film. What a surprise.

Best Cinematography – “The Revenant”

Again, lots of great options but what could possibly beat the spectacular work of Emmanuel Lubezki in “The Revenant”. The film gives us scene after scene of gorgeous visuals. Some simply captures the land’s natural beauty. Other times it’s the intensity of the action. And then there are the numerous scenes that left me saying “How did they do that?”

Biggest Movie Disappointment – “Spectre”

Sigh. This should have been good. It should have been REALLY good. Instead “Spectre” makes a number of significant mistakes that keep it from being anywhere near as entertaining as its predecessor. “Spectre” isn’t a terrible movie, but it’s nowhere near as brilliant as I thought it would be.

Funniest Comedy – “What We Do In the Shadows”

I’m a bit hard to please when it comes to comedy. I admit that. But after only a few minutes “What We Do in the Shadows” had me belly laughing and I knew it was something special. The absurdity is funny in itself, but despite that the humor is smart and perfectly presenting. I love it.

Most Shocking/Disturbing Scene – “Bone Tomahawk”

Yep….that scene. You know the one. If you have seen “Bone Tomahawk” you know exactly the scene I’m speaking of. Men will have an especially hard time sitting through it. In fact, I’m starting to squirm as I type this. Let’s move on to the next category please.

Most Thrilling Scene – “Sicario”

Fairly early in the “Sicario” a team crosses the United States/ Mexico border into Juárez to secretly extradite a prisoner back across the border. The sheer intensity built up through Villenueve’s direction and Deakins’ cinematography was unmatched in 2015.

Most Unfairly Maligned Film – “In the Heart of the Sea”

While it is far from a perfect film Ron Howard’s “In the Heart of the Sea” is far from the horrible slog that many portray it as. In fact, it’s actually quite good. As is often the case, the problem may have come from the advertising. It was portrayed as something different than what it actually was. That still doesn’t mean it’s a bad film.

Most Overly Praised Film – “The Hateful Eight“

Yes, I know I know. I’m wrong. I’m off my rocker. Still, I can’t help it. “The Hateful Eight” is a shining example of the obsession Quentin Tarantino has with his own style and formula. It also shows his propensity to overwrite nearly every line of dialogue. All of these things drag this film down and wastes a perfectly good concept.

Dullest Action Film – “The Gunman”

Armed with a chiseled physique, an assortment of weapons, and a constant sourpuss scowl, Sean Penn turned into an action star in “The Gunman”. Just not a very good one. While the action is kind of satisfying nothing else works in this boring forgettable mess.

Worst Villain – Balam (Eddie Redmayne) “Jupiter Ascending”

Ahem…pardon me as I regain my composure. You see, every time I think of Eddie Redmayne’s character and performance in “Jupiter Ascending” I start to crack up. He seems completely lost, talks like a 5 pack-a-day smoker, and doesn’t have an ounce of menacing presence. Now excuse me, I’m starting to laugh again.

Worst Movie of the Year – “Mortdecai”

I had a post dedicated to this a few weeks ago, but it’s worth mentioning (or warning people). “Mortdecai” is a horrible movie. Stupid and unfunny despite its slightly promising premise. Depp keeps shoveling out stinkers. When will his career start to suffer?

Best Movie Trailer – “The Revenant”

From the moment I first saw the trailer for Alejandro González Iñárritu’s “The Revenant” I was hooked. It gives a perfectly measured look at the film’s story, tone, intense cinematography, and haunting score. It builds and builds right up until a moment of silence featuring the title shot. Perfectly done!

Best Use of Disco Music – “The Martian”

In one of the more serious categories of the awards, we look at 2015’s best use of disco music in the movies. Obviously there were a ton of candidates but “The Martian” gets the nod. While the movie does overuse the gag, it still offers up some pretty good laughs.

Most Fashion Conscience Film – “The Man From U.N.C.L.E.”

No one is opposed to looking good, right? That especially goes for the characters in Guy Ritchie’s “The Man From U.N.C.L.E.” Henry Cavill’s dapper suits, Armie Hammer’s stylish turtlenecks, and Alicia Vikander’s chic dresses and snazzy sunglasses. Of course they deserve an award.

Best Western – “Slow West”

In many ways 2015 was the year of the subversive western. My favorite of the bunch was John Maclean’s “Slow West”, an almost Coen brothers-esque tale featuring a small but strong cast and a truly great ending. More people need to see this one.

Biggest Slimeball Character – Michael Shannon (“99 Homes”)

Michael Shannon is a fabulous actor and the guy can play just about anything. In “99 Homes” he plays a crooked real estate operator who makes his money tossing debt-stricken people out of their homes. He is a thoroughly wretched individual and Shannon will have you hating him from his first scene until the end.

Best Action Film – “Mad Max: Fury Road”

How can you turn on “Mad Max: Fury Road” and not be hypnotized by its rolling carnival or vehicular carnage? George Miller pulls no punches in delivering one of the most eye-popping and energetic action romps of the last 10 years. You literally can’t take your eyes off of it.

Best Directorial Debut – Joel Edgerton (“The Gift”)

There were several really good directorial debuts in 2015. For me the most impressive one came from Joel Edgerton. He wrote, directed, and co-starred in “The Gift” which was a twisty and immersive thriller. Edgerton’s pacing is superb and his slow buildup throughout the film kept me on my toes. Can’t wait to see what he does next.

Worst Movie Title – “Get Hard”

Okay, do I really need to go into much detail here? Is it really necessary for me to explain why “Get Hard” wins this category? Didn’t think so.

Best Chase Sequence – “Mission: Impossible Rogue Nation”

It shouldn’t surprise anyone that a Mission: Impossible movie has a good chase scene. Actually this installment has a GREAT one. It starts as a car chase through the tight streets of Casablanca before turning into a wickedly thrilling high-speed motorcycle chase. It’s an incredibly shot adrenaline rush.

Best Couple – “Brooklyn”

One of the more pleasing elements of “Brooklyn” is the sweet romance at its center. Saoirse Ronan and Emory Cohen have such a charming chemistry that bubbles every time they are on the screen together. It isn’t corny or shallow. It simply works because of the great chemistry between the two.

Dumbest Plot Point – “Jurassic World”

You’ll always find some pretty dumb moments that stick with you through a full movie year. By far the dumbest of 2015 came in “Jurassic World” in the form of (wait for it…..) a sinister plot to train and weaponize velociraptors for military use. Yep, I don’t think I need to say anymore.

Breakout Performance (Male) – Abraham Attah and Jacob Tremblay

Call this a cheat but both of these young men deserve attention. It was a great year for child actors and at the top of the list is Abraham Attah (“Beasts of No Nation”) and Jacob Tremblay (“Room”). To see this type of authenticity from such young performers is mind-boggling.

Breakout Performance (Female) – Daisy Ridley

I was expecting a lot out of the new Star Wars film and I got a lot out of it. But one of the greatest discoveries was Daisy Ridley. It’s not only that she gave us a really great and fresh character, but she is also a very good young actress who instantly catches your attention.

Best Stagecoach Scene – “The Salvation”

You may think “The Hateful Eight” has this one in the bag but nope. “The Salvation” opens with an unnerving stagecoach scene that puts the whole story into motion. It’s a disturbing and immediate gut punch that instantly draws you into this revenge tale.

Stupidest Adam Sandler Movie – “The Ridiculous 6”

What’s the deal with this category you may ask? Well Sandler put out three crappy movies this year. Yes..THREE! You may think one would happen to be good. Nope. All were stinkers but “The Ridiculous 6” may be the worst of the bunch. And since he bludgeons our senses with his stupidity, he deserves a fitting award for doing so.

Most Exciting Theater Experience – “Star Wars: The Force Awakens”

Opening night. People everywhere. Long lines. Enthusiastic fans. Star Wars shirts. The blue screen text. William’s blasting horns. Star Wars was back. And I mean real, true Star Wars. What an awesome experience it was to see Star Wars back on the big screen and to feel like a child again.

Best Fight Sequence – “Furious 7” (Statham vs. Diesel)

What do we expect from a Fast and Furious movie? Fast cars, big explosions, and of course a big league fight or two. Jason Statham took on Vin Diesel in this year’s installment and it didn’t disappoint. Their showdown on the top of a parking garage featured all of the punches, kicks, and slams you would expect. And it really delivers the fun.

Most surprising Performance – Paul Dano (“Love & Mercy”)

Paul Dano can be a very frustrating actor. He doesn’t know how to temper a performance and he requires very specific roles to be good. Something clicked in “Love & Mercy”. Dano shows a side I haven’t seen before. It’s exciting and it leads me to believe he is truly learning his craft. It is a fantastic performance.

Best Ending – “Phoenix”

Great endings aren’t required to feature big fights or huge explosions. Sometimes a quiet moment can carry twice the power. Such is the case in “Phoenix”. No spoilers here but the ending is such an perfect stroke that will leave you absolutely speechless.

That’s it for this year. Hope you enjoyed it. Let’s do it again next year.

They are two of the biggest and most talked about movies currently in theaters. They are both wildly ambitious, sprawling period epics. They are both made by directors with distinct flamboyant styles which are either loved or hated. I’m talking about Alejandro González Iñárritu’s “The Revenant” and Quentin Tarantino’s “The Hateful Eight”.

I have been fascinated by the responses to these two films. Both have evoked predominantly positive reactions, but the praises come in different forms and from different places. Tarantino diehards are arguably the biggest and most vocal fans and, despite a few critical misgivings and being shunned by the Oscars, most of them really went for “The Hateful Eight”. Iñárritu certainly doesn’t have the enthusiastic personal fanbase, but despite similar critical misgivings, “The Revenant” has struck a chord with audiences and the Academy where it is sitting on 12 Oscar nominations.

While I usually don’t see the point in comparing movies one-on-one, I found the subtle and obvious similarities between these two giant films combined with the many passionate positive and negative opinions too intriguing to pass up. It gave me a good reason to go back and re-examine both films and my initial takes on them. So for what it’s worth here are my thoughts on each and how they compare.

“The Hateful Eight” (FULL REVIEW)

I don’t know if there is another filmmaker more smitten with his style than Quentin Tarantino. Never before has this been more evident than in this film. I absolutely love the idea behind “The Hateful Eight”. It offered Tarantino the opportunity to truly expand himself as a filmmaker. It allowed him the chance to uniquely use his great talents for creating sublime visual presentations and fabulously entertaining characters. All he would need to do is dial back his impulsive style and get himself out of the way.

That proved to be something he just couldn’t do. In spite of all “The Hateful Eight” does right, it simply can’t overcome Tarantino’s compulsion to put his personal stamp on every inch of the film. It’s seen in the wildly overwritten script. It’s seen in the bursts of absurdly over-the-top graphic violence, some of which is distractingly stupid. It’s seen in the incessant and flippant use of the n-word without any meaningful commentary or the use of his one meaningful female character as nothing more than his physical and verbal punching bag.

I still firmly believe that a wonderful film lies somewhere inside of what we get with “The Hateful Eight”. A smarter and more focused approach could have resulted in something much more satisfying. But Tarantino relentlessly beats his own drum without an ounce of modulation. To be fair many people, particularly fans of his brash style, truly love the film and have eloquently defended it. But despite what I liked about “The Hateful Eight”, my experience is muddied by the frustration of knowing what could have been.

“The Revenant” (FULL REVIEW)

Like Tarantino, Alejandro G. Iñárritu is completely devoted to his particular style of filmmaking. In the past that has meant some pretty pretentious movies that often wallow in suffering, sadness, and misery. “The Revenant” certainly has some of those elements, but strangely enough Iñárritu is able to use these very same indulgences to create a truly mesmerizing cinematic experience.

“The Revenant” maintains a fairly simple narrative within its grand scale. But often times the simplest can be the most compelling. And unlike “The Hateful Eight”, Iñárritu’s focus is always clear and he never smothers his story with his own brand. It’s certainly not an easy watch. The pain and suffering is still there, but every ounce of it feels authentic. Iñárritu holds a tight-fisted control of his film which in the past has been cause for concern. Here it works masterfully.

But there is also the huge importance of the visual presentation. Iñárritu and the great cinematographer Emmanuel Lubezki give us some of the most spectacular images of the year. Some spotlight nature’s untamed beauty. Others contrast that with the ugliness of humanity. Some simply capture action scenes with intense artistry. Both filmmakers are visual masters, but its Iñárritu who uses his cameras better to serve his story and themes.

VERDICT

For me “The Revenant” tops “The Hateful Eight” in nearly every meaningful category. Between the two, it’s the one that has stuck with me the most and that impressed me enough to see it a second time. Again I want to stress that in “The Hateful Eight” Tarantino fans will undoubtedly see many of the creative strokes that make them Tarantino fans. Me, I saw many of the things that frustrates me about his filmmaking amplified x10.

For what it’s worth those are my thoughts. But what say you? What are your thoughts on these two movies and the two unique, stylized filmmakers behind them? I’ve shared my perspective. Now I would love to hear yours.

The final stop in my look back at the best performances from 2015 in the Lead Actor category. While I believe the women were the highlight of the year, there were still several top-notch performances from the gents. Once again they represent a wide and diverse range but each are deserving of recognition. So here are my five favorite lead actor performances of 2015.

#5 –  Tom Hanks (“Bridge of Spies”)

Regardless of the movie, regardless of the genre, regardless of the role, Tom Hanks is always going to give a good performance. This year he once again teams up with Steven Spielberg to play a character so perfect for him. His performance in “Bridge of Spies” could be called expected, maybe even a bit routine for him, but that doesn’t mean it wasn’t fantastic work. Hanks is able to take the common man approach that he is so perfectly in tune with. He doesn’t hit a single false note and every conversation and interaction feels incredibly true. That’s one of the great things Hanks brings to every role he takes on.

#4 – Jean Dujardin (“The Connection”)

Jean Dujardin earned global attention back in 2011 for his phenomenal Oscar-winning work in “The Artist”. But prior to that and since then he has starred in a wide assortment of roles mainly in his home country of France. His latest came in “The Connection”, a wonderfully dense period crime thriller. Dujardin is superb as a naïve and enthusiastic head of an organized crime task force who is eventually burdened by the weight of his mission. The Frenchman is suave and confident but his performance isn’t one-sided. He also reveals a frailty and vulnerability that I absolutely loved.

#3 – Mark Ruffalo (“Infinitely Polar Bear”)

Mark Ruffalo is such an intriguing actor. He is always solid and dependable, but his performances are often recognized as relaxed and fairly safe. “Infinitely Polar Bear” offered Ruffalo a deep meaty role that required him to expand himself beyond what he has been known for. It’s tricky material that could have been completely undone if the performance was too big or too small. What we get is a perfectly modulated performance from Ruffalo. One moment it’s energetic and aggressive while being charming and gentle the next. And it is all done while capturing just the right tone for his character. Such strong and versatile work from Ruffalo.

#2 – Abraham Attah – “Beasts of No Nation”

There has been a long-standing debate when it comes to child actors. How much of their performance is true acting talent and how much is step-by-step directions from the filmmakers? It’s a valid question but by no means does it lessen the impact of what many of them do on screen. That’s why I have no problem putting Abraham Attah on this list. Attah was only 14 years-old when making “Beasts of No Nation” and he had no prior acting experience. That’s hard to believe after watching his gripping performance. The subject matter is incredibly intense and he’s asked to convey a brutally disturbing transformation from a young, innocent boy to a scarred, indoctrinated child soldier. He does so flawlessly.

#1 – Leonardo DiCaprio (“The Revenant”)

Leo’s quest to get that elusive Oscar is hard to wrap my mind around. In a career plump with fine performances its surprising that he still hasn’t taken home a statue. I think that streak ends thanks to “The Revenant”.  In what was his most physically demanding role, DiCaprio dives headfirst into the blood, mud, and muck of Alejandro González Iñárritu’s violent frontier western. The amount of intensity Leo brings to his character is astonishing and watching him make his way through Iñárritu’s violent and depressing world clearly reminds us of the type of actor we are talking about. Leo could have easily won a couple of Oscar’s by now. But that aside, the Oscar should be his for the taking after this riveting performance.

That wraps up this year’s look at the best acting of 2015. Anything glaringly missing from this list? Agree or disagree? Please take time to share your thoughts in the comments section below.

Another year, another Oscar controversy. Despite the frivolous nature of the whole thing I do love the Oscars. But without fail the Academy always manage to spark controversy either with their nominations or with their snubs. This year it comes in the form of diversity, or more accurately the lack of it in all of the major categories. This has given birth to a vocal Twitter protest movement called #OscarsSoWhite.

While the movement may be noble in purpose, some of the uses of it are ridiculous. Some have used it as a springboard for accusations of racism, boycotts, and all sorts of toxic rhetoric. Careless terms like “Whiteout” have been thrown around with no regard for the divisive nature of them. Some people have shown a much more intelligent but no less passionate approach to the lack of diversity. Their concerns are certainly rooted in the right place, but both responses have placed their sights on the wrong target. 

First there is no doubt that the lack of diversity among this year’s Oscar nominees is a worthy cause of concern. I’ll also say that I disagree with several of Oscar’s omissions. When listing my personal picks for the four major acting categories I chose three African Americans and one Puerto Rican who I believe gave fabulous nomination-worthy performances. There were definitely diverse performances that deserved recognition.

But here’s the problem. It could be said #OscarsSoWhite insinuates racism from the Academy. Often times fingers point to the “whiteness” of the Academy voters, a worthy topic for discussion but not an indicator of racism. Taco am is deplorable and any accusation or insinuation should be always be rooted in fact. This year’s lack of diversity in the Oscar field does not offer any factual basis for insinuations of racism.

Let’s examine that a little closer. Look at the names being mentioned as proof of an existing racial insensitivity. “Creed” seems to be film mentioned most. I loved “Creed”. The best movie surprise of the year. But does its omission from Best Picture point to a white-leaning Academy? As much as I love the film it finished just outside of my Top 10. The Academy chose 8 movies for Best Picture consideration. Therefore I (and many others) can name at least 10 films I believe to be better than “Creed”. And then there is this – I have seen seven of the eight films and there are no glaringly bad movies in the category. Therefore nothing looks intentionally biased in the Best Picture race.

What about Best Director? I love Ryan Coogler and I believe he is one of the best young voices in filmmaking. His work on “Creed” was astonishing. But does his omission from the Best Director category point to a white-leaning Academy? Just think of the other names that didn’t get nominated – Ridley Scott, Steven Spielberg, Todd Haynes, Quentin Tarantino. Truth is this was an incredibly loaded category and good, compelling arguments could be made for each nominee and several others that didn’t make it.

What about the acting categories. Michael B. Jordan was excellent in “Creed” but does that invalidate the other tremendous performance by those nominated. Many have mentioned Samuel L. Jackson in “The Hateful Eight”, a good performance but similar to every other role he plays for Tarantino. Will Smith for “Concussion”? Remember when so many were shocked that he even got a Golden Globe nomination? There have been several criticisms of his performance particularly his odd accent. All reasonable reactions and none that point to a white lean.

What about other omitted films like “Straight Outta Compton”, what many call about 40 minutes of good movie. What about films like “Beasts of No Nation” (one of my favorites of the year), “Tangerine”, or “Chi-Raq”? All have good arguments but are they truly Oscar-type films? Does it surprise anyone to see them not receive nominations? If anything it points to an independent void in the Oscars, not an intentional racial one.

In the end you will still have folks like Spike Lee (who has already ignorantly called this year’s Oscars “Lilly White”) using the opportunity for self promotion and Jada Pinckett Smith calling for a full Oscar boycott by minorities. But neither of these approaches are aiming at the right target. Neither are looking in the right direction. They are too linear and reactionary. They failed to recognize or address where the true problem lies – HOLLYWOOD.

It’s easy to see a number of white faces and assume something nefarious is at play. It’s just as easy to look deeper for the true reason for the lack of Oscar-worthy diversity. That’s when true weighty questions arise. Are minority voices being giving the same platforms to express themselves? Are minority performers getting the same opportunities? Are minority writers getting the same considerations. Are studios putting these rich projects in the hands of minority talent? These are the questions that need to be discussed. These are the things that truly lead to diversity on Oscar night.

So no, I don’t condemn this year’s Oscars. No, I don’t see any cause to insinuate even the slightest bit of racism with this year’s nominees. No, I don’t think boycotts of this particular awards show have any merit. But I do think this year’s Oscars are simply a reflection. And just like when looking in a mirror, nothing is accomplished when pointing fingers at the reflection. True change comes when you deal with the caster of that reflection. Hollywood, I’m looking at you.

Call me paranoid. Call me a cynic. But something about ‘Michael Bay does Benghazi’ never sounded right. While the subject interested me and the trailer looked pretty exciting, that small tinge of doubt has lingered in the back of my mind. After all we are talking about the purveyor of the relentlessly dopey Transformers films. I wasn’t sure Bay could offer the right sensibility and perspective on such a real-life controversial tragedy still fresh in America’s conscience.

But a couple of things allowed me a little room for optimism. First were some casting choices that I really liked. James Badge Dale is an underappreciated actor who I’ve always enjoyed and John Krasinski is an intriguing bit of casting despite his mediocre filmography. Second was that the film is based on Mitchell Zuckoff’s book which interestingly looked at the Benghazi attack from the defender’s point of view. If handled correctly it offers a perspective that could go in a number of thought-provoking directions.

I get a kick out of watching critics project their politics onto movies like this. Regardless of which side of the aisle they stand, some simply can’t judge the movie without being influenced by their ideology. In this case some of the silliest examples are “[13 Hours] wraps heroic stories in a thick layer of Fox News-endorsed bullcrap”, or “[13 Hours] is simply and completely an indictment [of Hillary Clinton].”

But here’s the thing, neither of those viewpoints are completely accurate. Michael Bay actually goes to great lengths to steer clear of the political mire and keeps his focus on the soldiers. A major component of the story involves the US State Department’s failure to provide increased security as well as the government’s slow response time once the attacks were underway. These are facts which only hardcore partisans would deny. But that is as far as Bay and writer Chuck Hogan go in addressing the controversies. There is no firm stand or clear voice except when proclaiming the heroism of these soldiers.

Bay spends his first 40 minutes setting up the danger and instability of Benghazi, Libya. The embassy has closed but the United States maintains a presence through an American diplomatic compound. One mile away is a covert CIA Annex which is protected by a small group of security contractors made up of special forces veterans. Krasinski arrives for his 12th stint of security duty. There he meets Badge Dale, an old friend who leads the soldiers but who answers to a naïve and petulant CIA chief (David Costabile).

Between scenes of setting up the danger, highlighting the lax security, and emphasizing their vulnerability, we get several moments of bro-bonding. A lot of it feels pretty familiar – the banter, beards, and biceps. And we get those emotional calls home which are always movie precursors to something bad. But surprisingly these scenes mostly work mainly on the backs of Krasinski and Badge Dale. Both are likable, believable, and make even the cheesiest dialogue work.

Things ratchet up once the attacks begin and Michael Bay slips into his true comfort zone. There isn’t an ounce of subtlety or nuance to Bay’s filmmaking but there is a lot of style. In his Transformers movies Bay offers no hint of restraint. Like a kid on a sugar rush his scenes would often be hyperactive and frantically incoherent. Here he slightly dials it back allowing us to understand what we are seeing on screen. It is an appreciated reminder that Bay does know how to film a good action sequence.

He also has the ability to wring out every drop of intensity from a scene. Even when you know what’s coming, Bay has a knack for building up and building up until the tension is at a boil. That works both for and against the movie. The same could be said for the action. It’s fierce and visceral but also fairly relentless once it starts. At the same time its thrilling, adrenaline-fueled entertainment that manages to be sincere and respectful even among the impressive spectacle.

Despite the bullets, big explosions, and occasional corny dialogue (especially at the end), the film is more focused than many of Bay’s previous slogs. It maintains a surprising emotional honesty and it doesn’t trivialize what is still a sensitive subject. At its core “13 Hours” is a Michael Bay action flick and it may disappoint those looking for a deeper exploration of the Benghazi attacks. But despite its flaws I still found myself glued to the story of six heroic men putting their all into protecting 36 others. In the end that is the story Michael Bay is telling and he does a pretty good job telling it.

VERDICT – 3.5 STARS