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10 CLOVERFIELD LANE: The Film Babble Blog Review

BATMAN V. SUPERMAN: DAWN OF JUSTICE: Yeah, no.

Now playing at a multiplex near you:

BATMAN V. SUPERMAN: DAWN OF JUSTICE

(Dir. Zach Snyder, 2016)

DC pitting their two biggest, most iconic superheroes – Batman and Superman - against each other in order to jumpstart their cinematic universe looked like a questionable premise right off the bat – pun intended.

Especially since I, and many others, hated the first installment of the DCEU (DC Extended Universe), Zach Snyder’s SUPERMAN series reboot MAN OF STEEL.

So I went in to Snyder’s follow-up/BATMAN reboot with exceedingly low expectations, but was still majorly disappointed.

For BATMAN V. SUPERMAN is another round of boring bombast surrounding a couple of dark dullards without a lick of compelling storytelling to be found. There’s also a severe lack of humor, and anything resembling a fresh style.

Henry Cavill, returning as the red caped crusader as well as giving us our first real taste of his Clark Kent persona (we only got a glimpse of him getting the job at The Daily Planet in MAN OF STEEL at the end), and Ben Affleck, making his debut as the Dark Knight/Bruce Wayne, both brood up a storm but there’s nothing really that intriguing about their characters. They’re just overly self serious, bland dudes is all.

The film tries to simultaneously function as a sequel and a origin story for Affleck’s incarnation of Batman, but it strongly appears that his/Snyder’s version of the character is a continuation of the Christopher Nolan/Christian Bale model as there are references to The Joker, an identical bat cave, and restagings of his parents’ murder and his being attacked by bats in a well as a child that attempt but fail to recreate the gravitas of Nolan’s work.

We learn that while Superman was battling General Zod and reaping mass destruction on Metropolis in MAN OF STEEL, Wayne was one of the many folks in the rubble building up a hated for Superman. Just like many in the audience.

Clark Kent, for his part, dislikes Batman, labeling him a “bat vigilante” and “a one man reign of terror” so the stage is set for what Lex Luther (Jesse Eisenberg) bills as “the greatest gladiator match in the history of the world.”

Eisenberg’s Luther is an unhinged, mad scientist who, of course, wants the two leads to fight and destroy each other so that he can…uh, I forget exactly what his plans were for after that but we’ll just go with world domination. Eisenberg locks in to the villain role with a lot of crazy conviction, but I never bought him as Luther. He reminded me of the Jon Cryer role in SUPERMAN IV – Luther’s (then played by the great Gene Hackman – now, there’s a Lex Luther!) newphew/flunky. He seems like the guy who’d be fetching stuff for Luther, not actually be Luther.

Whatever the case, this movie plays out exactly how you’d expect with no surprises. Batman and Superman fight, then bond together to fight a ginormous, grotesque creature that Luther created from Zod’s DNA, with the help of Wonder Woman (Gal Gadot), whose addition here feels like an afterthought.

David S. Goyer (MAN OF STEEL) and Chris Terrio’s (Oscar winner for the screenplay for Affleck’s ARGO) screenplay is full of pretentious dialogue about good, evil, “god versus man,” etc. but none of it comes together to form any meaningful theme. There are also a few incredibly weak plotpoints that would be a Spoiler to complain about, but I'll just say that in the worst one they make a connection between the feuding leads based on a coincidental name in their families. Man, that made me cringe.



So did the dream sequences - one a dream inside a dream deal - which were ultra unnecessary. 
Amy Adams, reprising Lois Lane, puts some genuine passion into her part, and her fellow returning cast members (Lawrence Fishburne as Editor Perry White, and Diane Lane and Kevin Costner (a dream-set cameo) as Superman’s earth parents) are all fine, but in the messy machinery of this movie they are little more than cardboard cogs.

Meanwhile, Jeremy Irons takes over from Michael Caine as Batman’s butler Alfred and has a few of the film’s only mildly amusing lines, and there’s a welcome turn by Holly Hunter as a senator who wants to hold Superman accountable for his actions in the previous film’s climax, but sadly a hearing scene in which Superman stands before congress is cut short before he gets to testify. Silly me for thinking that Superman could offer any plausible justification for the sins of MAN OF STEEL. Also Hunter’s role here may remind some folks that she was in a movie that dealt much better with the accountability of superheroes: THE INCREDIBLES.

Folks complained plenty when Affleck was cast, but he does an admirable job with the underwritten role. He mostly just has to grimace behind a mask while the special effects people rig things to explode around him and he can certainly pull that off. Affleck’s Bruce Wayne persona is basically just a collection of suave poses with flashes of his bedroom eyes and he hits the mark with that too. If only there was something more to flesh out there. I mean, Will Arnett’s Batman in THE LEGO MOVIE was more complex than this guy!

BATMAN V. SUPERMAN: DAWN OF JUSTICE (stiff, clunky title) is the first big, bad movie of the year – an awful, mess of a wannabe epic that casts a dark shadow on the future of both superhero franchises as well as the entire DCEU. The two JUSTICE LEAGUE movies that are set for 2017 and 2019, the next we’ll see these characters, really have to be something special to redeem the whole enterprise, but Snyder is set to direct those too so I’m not counting on that to happen.

Oh, and don’t worry about staying to the end of the credits because there is no stinger – that’s something they surprisingly haven’t stolen from Marvel. 

More later...

The Upcoming Superhero Showdown

A few weeks back while attending a movie at a multiplex, I saw posters for the two big superhero movies that are coming soon side by side: Zach Snyder's BATMAN V. SUPERMAN: DAWN OF JUSTICE (opening this week), and Anthony Russo and Joe Russo's CAPTAIN AMERICA: CIVIL WAR (opening May 6). It was funny how much the posters looked alike: superheros facing off in profile; one masked, one not; similar color scheme with bluish gray sky in the backbround. 



The posters also pit DC against Marvel. DC is in the process of mounting their own Cinematic Universe to rival (and copy) Marvel's extremely successful business model with scores of movies in the pipeline, including two JUSTICE LEAGUE films, their equivalent of Marvel's AVENGERS movies. Between the two comic book companies' plans for world domination, we're not far off from a world in which a new superhero movie is released every weekend. But DC has a lot of catching up to do to get where Marvel is - CAPTAIN AMERICA: CIVIL WAR is the beginning of phase 3 of their Cinematic Universe - meaning that it'll be a decade before we get to whatever DC's equivalent of DEADPOOL is.



Now, I've enjoyed quite a few superhero movies. I think Marvel has a good thing going on for the most part and I've given good reviews to two out of the three IRON MAN movies (2 is the weak link), the previous CAPTAIN AMERICA entries, GUARDIANS OF THE GALAXY, ANT-MAN, and the two AVENGERS films. The THOR movies I'm not a fan of, but overall there's a lot of fun to be had within the interlocking continuity of the multiple franchises.



But, yeah, there is a saturation point and according to filmmaker Alejandro G. Iñárritu, whose BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) was about a former star of a comic book film series, we've reached it: 



“They (superhero movies) have been poison, this cultural genocide, because the audience is so overexposed to plot and explosions and shit that doesn’t mean nothing about the experience of being human.”

The new Dark Knight, Ben Affleck, recently responded to Iñárritu's remarks: 

“Alejandro is also given to over-statement. I wouldn’t call it cultural genocide, but he’s brilliant and his point is taken that you can’t just swallow up cinema with any kind of movie.”

The buzz for BATMAN V. SUPERMAN has been very mixed - the film is currently at 40% on Rotten Tomatoes, but it'll no doubt be a huge hit. Both characters have huge fan bases, or fanboy bases, and this weekend there's little in the way of competition - doubt MY BIG FAT GREEK WEDDING 2 will steal much or any of its audience.

CAPTAIN AMERICA: CIVIL WAR is going to clean up too as I predict it'll be better received and it has a ginormous cast of superheros with almost every Marvel character making an appearance including the much hyped re-introduction of SPIDER-MAN. 

So it really doesn't matter if we've reached, or gone past, the point of over saturation, because unless there's a series of bigtime flops in the genre, we are most likely going to have superhero movies coming at us for the rest of our lives. That may be depressing news to those who feel the way that Iñárritu does, and Affleck is right - he does have a point - but for those of us who used to be disgusted, but now try to be amused (to steal a line from Elvis Costello) it's just a given that these are incredibly profitable properties that are going to be around for a long time.

The posters above certainly won't be the last time that competing franchises look exactly like each other.

More later...

ZOOTOPIA: A Delightfully On Point Takedown Of Racial Profiling

ZOOTOPIA (Dir. Byron Howard, Rich Moore, and Jared Bush, 2016)

Earlier this week, I caught up with the #1 movie at the box office right now: ZOOTOPIA, the latest animated family feature from the Walt Disney Corporation. I had been initially dismissive of the film, having skipped an advance screening of it for a weird Neil Young double feature, but I heard that many critics were raving about it being a clever topical takedown of racial profiling so I just had to check it out.

ZOOTOPIA takes place in a world with no humans, only animals, who were once savage but have evolved, and formed a civilization in which they walk upright, wear clothes, and work regular jobs. Ginnifer Goodwin voices our plucky protagonist, a rabbit named Judy Hopps, who dreams of being the first bunny police officer. Thanks to the city of Zootopia’s new Mammal Inclusion Initiative, she gets her chance but is assigned to parking ticket duty by the chief of police, who’s an intimidating buffalo voiced by Idris Elba.

Because of a bias against foxes – we see her being bullied as a child by a fox in the opening sequence, and she carries “fox repellant” given to her by her parents – she follows one that looks suspicious to her into an ice cream store, but finds out it’s just a doting dad, named Nick Wilde (voiced by Jason Bateman) trying to buy a popsicle for his kid.

When the elephant run establishment refuses service to Nick and his offspring, Officer Judy steps in and calls out the store’s unsanitary conditions, which include an elephant employee scooping ice cream with his bare trunk – heavens! The situation is resolved with Judy buying an elephant-sized popsicle for the thankful father and son.

However, Judy soon finds out that she was hustled by Nick, who takes the huge popsicle and makes it into hundreds of tiny popsicles to sell to business suited rat population. Judy tries to arrest Nick, but finds that she can’t make any of the charges stick.

Defeated yet still trying to prove her worth, Judy gets into a chase after a crook named Duke Weaselton (Alan Tudyk), inside the segmented city within a ciry, Little Rodentia.

This gets Judy in trouble with the chief, but, via the surprise support of the Assistant Mayor Bellwether (Jenny Slate), it leads to the officer bunny getting put on a major case involving a series of missing animals. Turns out that Nick can help with a lead, and the duo hit the trail, which involves a cameo by Tommy Chong as a hippy yax who’s the “emotional life coach” at a naturalist commune, an arctic shrew crime boss named Mr. Big (Maurice Lamarche doing his best Marlon Brando), and, in one of the movie’s funniest scenes, the city’s DMV being run by sloths – get it? 



The well cast Bateman, at his cheeky best, and the equally Goodwin, giving it her all, play off each other well and do a lot towards making this the likable, yet appropriately apt, exercise that it is.

ZOOTOPIA may have made by committee – there are three directors and seven “story by” credits, but its sharp screenplay (credited to only two names - Jared Bush and Phil Johnston) that serves up a lot of on point social satire. Just about every joke lands, and there’s genuine feeling behind its message, which is basically ‘let’s recognize and put a stop to negative stereotyping and discrimination.’

It’s voice cast is energetically up to task throughout – though I could’ve done more with J.K. Simmons’ Leodore Lionheart, the lion mayor of Zootopia, and less with Shakira’s pop star gazelle (named Gazalle, of course), but I know they’ve got to work that teenybopper pop angle in order to sell some soundtracks (you just know that this one won’t push anywhere near as many units as FROZEN though).

A delightful family film that actually has as much depth as it does heart, ZOOTOPIA is a really good sign for the future of Disney’s Animated Classics division. With hope, other lesser animation studios will take note and start to tackle real, relatable issues more in their movies. I’m looking at you, Dreamworks!



More later...

10 CLOVERFIELD LANE: The Film Babble Blog Review

Now playing at a multiplex near you:

10 CLOVERFIELD LANE

(Dir. Dan Trachtenberg, 2016)

Warning: This review contains major Spoilers!

Forget about how, or if, this movie is supposed to be connected to the J.J. Abrams-produced 2008 fake found footage alien invasion flick CLOVERFIELD, Dan Trachtenberg’s directorial debut, 10 CLOVERFIELD LANE (also Abrams-produced), is a damn fine thriller that stands on its own.

It starts with a bang – or a bunch of bangs, really, as we witness a young woman named Michelle, played by N.C. native Mary Elizabeth Winstead, get in a nasty nighttime automobile accident out in the middle of nowhere (actually rural Louisiana) that leaves her car flipped over by the side of the road.

Michelle, who had just left her boyfriend (Bradley Cooper, in cellphone voice only), wakes up later in a windowless, concrete room with her leg handcuffed to a pipe. Her captor, or savior as he would say, is a large, gruff man named Howard (John Goodman), who tells her that there’s been an attack, by either the Russians or Martians, and the outside air is contaminated, but they’re safe in his well-stocked underground bunker, which he built just for such an occasion.

There’s one other person there, Emmett (The Newsroom’s John Gallagher, Jr.), who helped build the bunker and collaborates Howard’s story, saying that he saw the “flash” of light, and headed to Howard’s for shelter. However, Michelle, now unchained and free to move about, remains skeptical especially after she sees Howard’s truck through a window on the ground level and recognizes it as the vehicle that hit her car.

During a tense dinner scene, Michelle is able to steal Howard’s keys and runs to escape. She is halted in the airlock by a scary sickly woman (Suzanne Cryer) pounding on the glass to get in, while Howard screams “Don’t open that door!”

After that incident, things calm down and the three adjust to their life in the bunker via a montage – luckily there’s a jukebox in the recreation area and Tommy James & The Shondells’ “I Think We're Alone Now” gets a nicely used spin as Michelle, Howard, and Emmett watch movies *, read, and work on a jigsaw puzzle.

After he confesses that he accidentally crashed into her car, Michelle even begins to trust Howard, but his mentions of his daughter Megan who died mysteriously make her again give pause. So Michelle and Emmett start hatching a plan to escape involving making an airtight suit out of a shower curtain and a gas mask out of 2 liter bottles.

It would spill too much of the contents of what Abrams calls a “mystery box,” to go much further with the plot, but I’ll just say that the last third gets into WAR OF THE WORLDS territory (hey, I warned you about Spoilers!). This reveal will be divisive as some will think that it cheapens the pot boiler set up, but I found it to be an effective, and exciting finale. And I so much more enjoyed Winstead fighting aliens here than in that forgettable THE THING prequel.

Trachtenberg, working from Josh Campbell, Matt Stuecken, and Damien Chazelle’s clever screenplay, keeps an engaging pace – I can’t recall any part that dragged – and gets solid performances from all three leads. Howard is Goodman’s juiciest, and most layered role in ages, and he plays it to the hilt, convincingly inhabiting the skin of this very scary man, but one who’s not without warmth.

Winstead, who appears to be building quite a resume as a horror scream queen, does a great energetic job with making us feel and think alongside the character of Michelle, in all her desperate stress. Gallagher, Jr.’s Emmett could be seen as the comic relief at times as he gets in a few choice one-liners, but I believe Goodman got the film’s biggest laugh at the screening I saw when he said that he was a “reasonable man.”

10 CLOVERFIELD LANE is a genuinely scary, and intensely gripping experience that goes to show that franchise films don’t have to be sequels (or prequels); they can effectively be stand alone stories, from completely different corners of conflict, that take place in the same world.

Here’s hoping the same approach works for that ROGUE ONE: A STAR WARS STORY deal coming out later this year.



* In one scene, Goodman is watching PRETTY IN PINK, which he says was his daughter's favorite movie. It's a nice shout-out as the beloved '80s teen classic celebrated its 30th birhtday just last week (released: Feb. 28, 1986). Happy belated Birthday PRETTY IN PINK!

More later...

A Weird, Wild Neil Young Double Feature: HUMAN HIGHWAY & RUST NEVER SLEEPS

After spending over three hours on Sunday night watching the Oscars on the big screen at the Rialto Theater in Raleigh, I spent the next night watching over three hours of Neil Young at Crossroads 20 in Cary. The program, presented by Fathom Events (and AARP fittingly enough), was dubbed “An Evening With Neil Young” and it was a one-night-only theatrical release of two rare, newly remastered movies by the Canadian rocker, both directed under his pseudonym “Bernard Shakey”: HUMAN HIGHWAY (1982), and RUST NEVER SLEEPS (1978).

I was most anxious to see HUMAN HIGHWAY, having heard a lot about it over the years. It has quite a reputation as being known as that weird movie Young made with Devo, Dean Stockwell, Sally Kirkland, and Dennis Hopper about the end of the world that never got a proper release. It had a release on VHS in the ‘90s, and Young boasts about a laserdisc version coming out in the ‘80s in his book “Waging Heavy Peace,” but it’s been a pretty hard to find curio otherwise. 

Right off the bat, HUMAN HIGHWAY is weirder than I came close to imagining. Young stars as Lionel Switch, a dorky mechanic at a gas station/diner in the fictional Linear Valley, which, with its purposely fake looking scenery, is depicted like a full-size recreation of a model train set. Stockwell, who co-directed and co-wrote with Young, plays Young Otto, the new owner of the crickety, run down establishment, who’s taking over after the death of his father, Old Otto, whose old timey picture on the wall keeps getting creepy close-ups.

A very hammy Russ Tamblyn plays Lionel’s pal, Fred Kelly, who’s vying for a job at the joint, Dennis Hopper is the short order cook, and Kirkland, Charlotte Stewart, and Geraldine Baron play a trio of waitresses also adding to the ALICE DOESN’T LIVE HERE ANYMORE/COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN vibe.

With its nuclear glow sight gags, and its spare surreal settings, there's also a REPO MAN meets ONE FROM THE HEART thing going on too.

The seminal Ohio art rock band Devo – Mark Mothersbaugh, Gerald Casale, Bob Casale, Bob Mothersbaugh, and Alan Myers - appear as nuclear waste disposal workers, who we meet in this scene, which I’ve been long familiar with as it also appears on their video compilation “Devo: The Complete Truth About De-Evolution,” in which they mime to a tongue-in-cheek version of the Kingston Trio's “It Takes a Worried Man”:

Actually, this appears differently in the film, which has Young cutting back every so often to Devo in the truck, who are seemingly driving around the whole day with barrels of nuclear waste. Maybe it wasn’t just a joke one of them made earlier that they need to get to fortifying the water supply.

There really isn’t much of a plot, just a string of scenes centering around a talent show coming up that Stewart, as the waitresses that Lionel has a crush on, is performing in, and the arrival in a limo of Frankie Fontaine, a rock star that Lionel worships...maybe because he’s also played by Young.



Young’s Lionel, who exhibits every goofy facial expression that the actor/director can muster, gets hit on the head and has a crazy dream about being a big rock star himself.


This crazy, hazy sequence, which includes a bonfire of cigar store Indians, features Young’s “Goin’ Back” from his 1978 album Comes a Time, and the film’s centerpiece: a jam with Devo on “Hey Hey, My My (Into the Black)” sung by the band’s mascot character Booji Boy (playing a MOOG synthesizer in a baby crib, mind you), portrayed in a creepy mask by Devo front man Mark Mothersbaugh. It must be seen to be believed:

One Youtube commenter said that this clip is “like sticking your head in a blender from another dimension.”

The largely improvised HUMAN HIGHWAY is a wonderfully strange experience that made me laugh with giddiness a lot throughout. It’s a gloriously campy ride that reminded me of that last wacko episode of the ‘60s show The Prisoner in the “what the f*** am I watching?” department, especially in a concluding zany dance number that has the whole cast dancing with with helmets and radioactive-waste shovels preparing to ascend a staircase to heaven (that's right).

The highlight is absolutely the “Hey Hey, My My” jam with Devo, and it’s a moment that foreshadows Young’s later being dubbed the Godfather of Grunge for his tours with Sonic Youth and Social Distortion; his collaboration with Pearl Jam, and his forays into feedbacky distortion like his seriously odd early '90s live album Arc, which was made up of a collage of nosiy song fragments *.

In the performance with Devo in HH, Booji Boy changes one of Young’s lyrics from “it’s better to burn out than to fade away” to “it’s better to burn out than to rust” (he also changes Johnny Rotten to Johnny Spud). This hugely influenced Young as he explained in bio: “One of the Devo members later told me that there was a sign on a shop in Akron, Ohio, where Devo originated, that read RUST NEVER SLEEPS. It was a maintenance and rust prevention service.”

Young kept the rust change in the song, and named his next album and the resulting concert film of the tour supporting the record, RUST NEVER SLEEPS. The concert movie made up the second half of the double feature but between the films was a Q & A broadcast live from the Regal movie theater in Los Angeles featuring Young, Tamblyn, Stewart, and Devo’s Gerald Casale moderated by Cameron Crowe. 

Crowe revealed that he visited the set of HUMAN HIGHWAY back in his teenage reporter heyday that was celebrated in his autobiographical 2000 film ALMOST FAMOUS. It was a brief, but lively conversation about the making of the film with Young appearing very amused that it was getting this attention. It was funny to hear Casale recall that he and the others in Devo expected Young to be the grandfather of granola, but when they met him they realized how wrong their preconceptions were.

Following that was RUST NEVER SLEEPS, which I’d seen before (even own the out-of-print DVD), but had never seen on the big screen. It’s a great concert film that captures Young at one of his many peaks, but sadly this particular digital presentation of it looked horrible. Originally shot in 16mm , the film’s image is washed out, and overly grainy and extremely blurry in patches. Despite this, it’s still an enjoyable watch of Young and his band Crazy Horse’s October 22, 1978 performance at the Cow Palace in San Francisco. 

The stage consisted of gigantic amps and microphones, and the roadies on the tour were dressed like the Jawas from STAR WARS (the huge sci-fi hit had been released the previous year). It’s fun to watch the roadies with their cloaks and lights for eyes scurrying around throughout - a roadie wearing a yellow Devo radiation suit can also be seen - but the real attraction is Young’s often definitive renditions of some of his best songs including “Thrasher,” “After the God Rush,” “Powderfinger,” and “Cinnamon Girl.” 

I was highly reminded of the first time I saw Young live, on the Ragged Glory tour in '91 at the Dean Dome in Chapel Hill, N.C., as he reused the oversized amps and mikes, and a lot of the same setlist (I saw him only one other time, at Walnut Creek Amphitheater in Raleigh in 2000). 

Both HUMAN HIGHWAY and RUST NEVER SLEEPS are both due to be re-released on DVD on April 22nd via Reprise, Young’s long-time label. I'm not sure if I'll actually purchase HUMAN HIGHWAY for my collection (I'm a NY fan, but not hardcore), but I am happy after all these years to finally see it. 



* While writing this piece I found a clip on Youtube of somebody putting a CD of the album Arc into the microwave. Now, that's an incredibly odd, yet perhaps apt, reaction to an incredibly odd album.


More later…

Oscars 2016: My Worst Score In Five Years

Last night, I watched the 88th Academy® Awards broadcast with friends and over 150 people at the Rialto Theater in Raleigh. There was a lot of laughter, and some gasps, at host Chris Rock’s hilarious opening monologue, which, of course, was completely about the whole #oscarsowhite controversy. You knew it was coming way before he walked out on stage to Public Enemy’s “Fight the Power,” but that didn’t lessen the impact of such lines as: “This year, in the In Memoriam package, it’s just going to be black people that were shot by the cops on their way to the movies.”

I’ve read that some folks think Rock went too far with some of his material, but I found it to be maybe the best Oscars opening monologue ever – at least the funniest. So were appearances by Louis CK, Sarah Silverman, and Sacha Baron Cohen as Ali G, but there were, as always, some bits that bombed like when CLUELESS actress Stacey Dash came onstage as the supposed new “director of the minority outreach program” and wished everyone a happy Black History Month to zero laughter, and Rock bringing his daughters out to sell girl scout cookies was pretty lame too.

Was happy to see Leonardo DiCaprio win for THE REVENANT - the lock of the night. Naysayers complain that his acting was just angry grunting, but I thought he put in a intensely passionate performance. Of course, in the Oscar tradition, this also majorly a win for his previously nominated work, so you got to factor in his terrific turns in THE WOLF OF WALL STREET, and THE AVIATOR among others. DiCaprio had a nice eloquent speech too.

Anyway, on to the actual awards. My predictions were really off as I had my worst score in five years: 16 out of 24. In 2012, my score was 15/24 (My best score was in 2014: 21/24). I had THE REVENANT down for Best Picture, it went to SPOTLIGHT, which I came very close to going with as it was my favorite film of 2015. THE REVENANT did win all the other categories that I predicted, including Alejandro G. Iñárritu for Best Director, making him the first person in 66 years to win the award two years in a row. With SPOTLIGHT and BIRDMAN’s wins last year, I guess I’ll know to vote for the Michael Keaton movie that is up for Best Picture next year.

Here are the eight predictions I got wrong:

BEST PICTURE: SPOTLIGHT (I picked THE REVENANT)

BEST SUPPORTING ACTOR: Mark Rylance for BRIDGE OF SPIES (I picked Sylvester Stallone for CREED)

ORIGINAL SONG: “Writing’s on the Wall” – Sam Smith from SPECTRE (I picked: “Til It Happens to You” from THE HUNTING GROUND)

BEST LIVE ACTION SHORT: STUTTERER ( I had SHOK down for this, I thought it would lose to AVE MARIA).

BEST DOCUMENTARY SHORT: A GIRL IN THE RIVER: THE PRICE OF FORGIVENESS (I took a stab in the dark with BODY TEAM 12)

BEST ANIMATED SHORT: BEAR STORY I missed all three of Best Short Film nominees, even though I’ve actually seen all of the Live Action and Animated ones. I guessed with my heart on these for sure.

VISUAL EFFECTS: EX MACHINA (I thought the Academy would throw a bone to the hugely successful STAR WARS: THE FORCE AWAKENS. My second choice would’ve been MAD MAX: FURY ROAD so I was going to lose this one either way.

COSTUME DESIGN: MAD MAX: FURY ROAD (I had picked Sandy Powell for CINDERELLA; my second choice was Powell for CAROL, so I really underestimated MAD MAX, which won 6 Oscars). I loved how Jenny Beavan, MAD MAX Costume Designer, looked like she could've been in the movie with her outfit:

So that's Oscars 2016. Despite my poor score, I had fun and I'm glad there were a few surprises.

More later...

Film Babble Blog’s Top 5 Oscar Best Picture Beefs

Just like every year, in anticipation for the latest Academy Awards ceremony (this year's, the 88th, airing tonight on ABC), film buffs/blowhards like me can't help bitching about the great movies that didn't win Best Picture in previous years while some incredibly undeserving film took home the gold. 



I've had these conversations many times, especially when I worked at a video store (remember those?), about how a favorite movie, like, say PULP FICTION, got passed over for some forgettable piece of fluff, like, say, FORREST GUMP, that was nowhere as influential and hasn't held up in the long run.



So these Top 5 picks are pretty f-in' obvious, and predictable if you know me (2 Scorsese films are on the list), but they stand as the five instances where I most thought the Oscars got it dead wrong.



Counting down:


5. Robert Benton's (who?) KRAMER VS. KRAMER winning over Francis Ford Coppola's APOCALYPSE NOW. (1979) 



That's right, this:

won over this:

Crazy, huh?



4. THE ENGLISH PATIENT winning instead of the Coen brothers' crime comedy drama masterpiece FARGO! (1996) Yeah, I mean who even mentions Anthony Minghella's weepy war rom drama THE ENGLISH PATIENT now? It's probably better remembered as a reference point on a episode of Seinfeld than as an actual film that people saw and liked. At least Frances McDormand won Best Actress for her peppy portrayal of police woman Marge Gunderson, one of the greatest movie characters of all time.



3. Robert Redford's ORDINARY PEOPLE winning instead of Martin Scorsese's RAGING BULL. (1980) This is just silly. However, I did appreciate ORDINARY PEOPLE, but just thought it came nowhere near the majesty that was Scorsese's fourth film with Robert De Niro.


2. John Ford's HOW GREEN WAS MY VALLEY won over Orson Welles' CITIZEN KANE! (1941)

Now I obviously wasn't around when this happened, but I can sure feel the 7 decades plus ripple effect from what many consider the greatest film of all time losing out to a movie that has been pretty much left in the dust bin of history. Actually, HGWMV isn't a bad film - I watched it a few years back and found it be a well made drama. And it's much better than the next film for sure:

1. Kevin f-in' Costner's DANCES WITH WOLVES winning over Martin Scorsese's mangum opus mob epic GOODFELLAS. (1990). This one still kills me. Scorsese makes two of his greatest movies and they both lose to pretty boy actor's directorial debuts. I'd like to think that Marty and co.'s reaction to the announcement looked like the picture above. At least Joe Pesci won the Best Supporting Actor award, and Scorsese went on to grab the gold with 2005's THE DEPARTED. That one was one of the biggest example's of payback in the entire history of Oscar.



#5 on this list also has to do with my biggest Best Actor beef ever, that Peter Sellers' brilliant work in Hal Ashby's BEING THERE, one of my all time favorite films, was passed over.

Sellers could walk on water, but he still lost to Dustin Hoffman in that damn divorce drama.



Anyway, let's see what beefs tonight's Oscars show will give me. You'll know immediately as I'll be live tweeting the event (follow @filmbabble).



More later...

TRIPLE 9: A Serviceable Off Season Heist Thriller

Now playing at a multiplex near you:

TRIPLE 9 (Dir. John Hillcoat, 2016)

A “triple 9” is slang for the police code 999, which means “officer down.” In this heavy on the grit heist thriller, it’s what a group of corrupt cops and a few criminal partners are counting on in order to pull off a dangerous job involving breaking into a heavily guarded government facility.

Sure, it sounds like a pretty standard issue premise for the February dumping ground (especially to be released on Oscar weekend), but hear me out as I had a bit of fun with it.

We are introduced to the crime busting/crime creating crew, made up of Chiwetel Ejiofor, Anthony Mackie, Clifton Collins, Jr., Aaron Paul, and Norman Reedus, in an opening sequence bank heist in downtown Atlanta. You know the drill - menacing thugs in black masks shouting at tellers, and customers to get on the ground, a look-out in a white van outside monitoring police scanners, frazzled bank manager being forced to open the vault, etc.

Yet all these routine elements are efficiently handled and there are some genuine thrills along the way as the gang’s getaway hits a snag in the form of a red smoke bomb that goes off in one of the cash bags, which leads to a freeway bridge shoot-out (you know, sort of like in DEADPOOL!).

After the smoke clears and our gang escapes scot free, they are refused payment for the bank job by the Russian mob headed by an initially unrecognizable Kate Winslet (it’s the big, brassy blonde hair that threw me off). Winslet’s Irina Vlaslov (great name) demands that the crew do the aforementioned break-in so that they can steal computer files that will get her husband released from a Russian prison.

Their plan to manufacture a 999 has a mark in good cop Casey Affleck as Mackie’s new partner. Affleck, whose presence here recalls his roles in the OCEAN’S ELEVEN movies, and TOWER HEIST, and also brings to mind his brother’s THE TOWN, is the nephew of the detective (Woody Harrelson) investigating the first robbery, so he may be able to figure out who the bad apples on the force are before he’s targeted.

There’s not a lot to Affleck’s character, but the sweaty, boozing Harrelson, in a part that’s shaky, where his True Detective persona was smooth, may be the film’s saving grace. He certainly steals the movie with lines like “be careful what you insta-face-tweet,” and (to Affleck) “your job is to out-monster the monster and make it home at the end of the night.”

Winslet, who’s up for an Oscar on Sunday night for STEVE JOBS, also stands out with her not bad Russian accent, garish outfits, and big hair. It’s way against type but she successfully disappears into the evil Irina. It would be fascinating to see what Cate Blanchett, who was originally cast in the part, would do with it, but I’m glad Winslet got this chance to show us yet another layer.

Despite their underwritten roles, Mackie deftly proves he can be a dark dude when not dolled up in a Marvel suit, Ejiofor gets some steely stoical moments in, and Paul, of course echoing Breaking Bad’s Jesse, basically just goes through the movie as if he’s on a really bad trip.

TRIPLE 9 is a serviceable off season thriller. Its workmanlike screenplay by first-timer Matt Cook holds it back somewhat, but its committed cast, and its flashes of craft by director Hillcoat ensure that it’s at least a notch above the generic genre exercise that most critics will accuse it of being.


























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Hey Kids! Funtime 2016 Oscar Predictions!

I know some folks are boycotting The 88th Academy Awards Ceremony, which is broadcasting this Sunday, February 28th, because of the #oscarsowhite thing, but I bet most of those people will still watch Chris Rock’s opening monologue (at least a clip of it the next day). I’m anxious myself to see what the guy has to say about the lack of diversity controversy, as you just know he’s going to kill on the subject.

As for the rest, this year's Oscars appears to be harder to predict than most years as THE REVENANT and SPOTLIGHT seem to be head to head, with THE BIG SHORT being a possible upset. I’ve even seen some folks predicting ROOM but that’s even a wilder card. It so seems to be Leonardo DiCaprio's (and his film's) year and I'm cool with that, and MAD MAX: FURY ROAD looks to sweep the technical awards, but, as always, here's hoping for some surprises.

My predictions:

1. BEST PICTURE: THE REVENANT

2. BEST DIRECTOR: Alejandro G. Iñárritu for THE REVENANT

3. BEST ACTOR: Leonardo DiCaprio. It will truly be a shocker if he doesn't get the gold this year.

4. BEST ACTRESS: Brie Larson for ROOM.

5. BEST SUPPORTING ACTOR: Sylvester Stallone for CREED

6. BEST SUPPORTING ACTRESS: Alicia Vikander for THE DANISH GIRL

And the rest:


7. PRODUCTION DESIGN: MAD MAX: FURY ROAD

8. CINEMATOGRAPHY: Emmanuel Lubezki for THE REVENANT

9. COSTUME DESIGN: Sandy Powell for CINDERELLA. Powell is also up for CAROL, which may have the edge.


10. DOCUMENTARY FEATURE: AMY

11. DOCUMENTARY SHORT: BODY TEAM 12

12. FILM EDITING: MAD MAX: FURY ROAD

13. MAKEUP: MAD MAX: FURY ROAD

14. VISUAL EFFECTS: STAR WARS: THE FORCE AWAKENS


15. ORIGINAL SCORE: Ennio Morricone, THE HATEFUL EIGHT

16. ORIGINAL SONG: “Til It Happens to You” from THE HUNTING GROUND

17. ANIMATED SHORT: Most critics are predicting Pixar's SANJAY'S SUPER TEAM, and I won't be surprised if that wins, but I'm gonna go with THE WORLD OF TOMORROW, which has a lot more food for the thought than all of the other shorts.

18. LIVE ACTION SHORT: SHOK

19. SOUND EDITING: MAD MAX: FURY ROAD

20. SOUND MIXING: MAD MAX: FURY ROAD

21. ORIGINAL SCREENPLAY: Josh Singer & Tom McCarthy, SPOTLIGHT

22. ADAPTED SCREENPLAY: Charles Randolph and Adam McKay, THE BIG SHORT

23. ANIMATED FEATURE FILM: INSIDE OUT

24. BEST FOREIGN FILM: SON OF SAUL

As I always say, tune in Monday to see how many I got wrong.

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A Bunch Of Blu Ray Blurbs For February

It’s time once again to tackle the growing stack of new release Blu rays that are cluttering up my desk. With a few exceptions, these are mostly titles that had a limited theatrical release accompanying their availability on VOD. These are films that slipped through the cracks of 2015, and mostly for good reason, but I enjoyed a few of them. One of them I liked quite a bit. Read on to find out which.

First up, I saw Peter Sollett’s sincere piece of Oscar bait, FREEHELD, when it played briefly at the Rialto in Raleigh last fall. It didn’t make much of an impact on me or audiences apparently so it came and went pretty quickly. Maybe it was too soon after seeing Julianne Moore deteriorate from Alzheimers in STILL ALICE, which she deservedly won an Oscar for, to see her grapple with another disease – this time cancer.

Anyway, in this well meaning drama based on real events, Moore plays Laurel Hester, a New Jersey cop who fights the Ocean County Board of Freeholders to have her partner of five years, Stacie Andree (Ellen Page), inherit her pension after she dies. A no nonsense Michael Shannon plays Moore’s supportive longtime police-force partner, a flamboyant Steve Carrell joins in as a gay rights sctivist, and Josh Charles rounds out the cast as one of the conflicted board members.

FREEHELD isn’t a terrible movie, it’s just like a Lifetime TV movie but with big names. The cast is good (Shannon stands out but then he always does) and it’s certainly a noble effort, but it’s a bit bland and forgettable. However, what is notable is that Cynthia Wade’s 2007 Oscar-winning documentary short (also with the same name) that it was based on is included on the Blu ray/DVD edition of the film. In 38 minutes, the doc sums up everything much better than the full length feature and serves as a better tribute to Hester, who died in 2006.

Next up, horror meister Eli Roth brings us KNOCK KNOCK, which has been billed as a “erotic thriller,” concerning Keanu Reeves as a nice guy family man architect who makes a sexy mistake. That is, he is seduced then terrorized by a couple of young girls (Lorenza Izzo and Ana de Armas) who show up out of the blue when his wife and kids are out of town for the weekend. The film is a remake of a schlocky ‘70s exploitation flick called DEATH GAME, which had Seymour Cassell getting seduced then terrorized by Sandra Locke and Colleen Camp (Camp is one of the remake’s producers and puts in a cameo).

Roth’s take on the material is initially intriguing but becomes tiresome and as tortuous as the situation Reeves is enduring. Izzo and De Armas are more annoying than scary or sexy for that matter, and their moralizing motives for ruining Reeves’ life, and destroying his posh Hollywood house, are hardly convincing, particularly their taunts that he’s a one-percenter that needs to be taken down. I simply could not see the point of any of this ordeal. Also the movie gets major marks off for using the Pixies’ “Where is My Mind” for the climax. It’s such a lame steal as the song was so definitively used as the ending of FIGHT CLUB that when it started up in this I was expecting to see buildings fall down. Maybe this is the film that confirms what I’ve suspected before – Eli Roth’s films just aren’t for me.

Funnily enough, “Where is My Mind” is also used in the next film I’ll be babbling about, Ben Palmer’s MAN UP, but it’s a distinctly different version – a piano instrumental – so doesn’t take you out of the movie as much. MAN UP is an affable British rom com that pairs Lake Bell, doing a fairly decent English accent, up with Simon Pegg, for a blind date. The thing is, the date was supposed to be Pegg being set up by his friends with another woman (Ophelia Lovibond), but Bell, happening upon their meeting place at Waterloo Station, is mistaken by Pegg for Lovibond, and Bell decides in the moment to go along with it. The couple hit it off over beers and bowling, but a run in with one of Bell’s old schoolmates (Rory Kinnear) threatens to blow her cover. Bell agrees to kiss Kinnear so that he won’t tell her stolen date, but when Pegg catches them (in the ladie’s room no less), the gig is up and Bell comes clean.

That’s not as much of a spoiler as you would think because it comes shortly after the half hour mark. So whereas usually the leads in these type movies start out hating each other and then gradually fall in love, this has them bickering and getting all competitive after the setup of them actually liking one another. Bell and Pegg have ample chemistry and although you know after some wacky mishaps they are going to finally come together at Bell’s parents’ (Ken Stott and Harriet Walter) 40th anniversary party that the film has been not too slyly building towards, it doesn’t take anything away from the movie’s abundance of charm. Kinnear’s hammy shenanigans did grate on me a little, but overall this is the rare rom com keeper.

At my first glance at the Blu ray box, I was like, didn’t Robert De Niro already make a movie called HEIST? Turns out, I was thinking about THE SCORE, a heist movie that De Niro made back in 2001, the same year that Gene Hackman starred in a similar film that was also named HEIST that I would mix up back then. As I see on IMDb, there have been a lot of movies called HEIST or THE HEIST throughout the years and I guess it’s fitting that this one uses the title because it’s such a generic by-the-numbers exercise that it really doesn’t deserve anything more original.

Despite that De Niro is prominently featured on the front and the spine of the Blu ray cover, the real star of Scott Mann’s HEIST is Jeffrey Dean Morgan who plays a casino card dealer who takes part in the robbery of a riverboat casino run by De Niro as a tough mob boss. Morgan reluctantly joins in the heist with his co-worker partners, headed by Dave Bautista, because his daughter is sick and needs expensive surgery. The plan doesn’t go off very smoothly and the crew are forced to hijack a city bus and take the passengers hostage. It’s pretty routine formulaic stuff, but it’s watchable enough I suppose for a C grade thriller.

Fairing much better is the horror comedy COOTIES, the directorial debut of Cary Murnion and Jonathan Milott, mainly because of its extremely capable comic cast. Elijah Wood heads the ensemble as a substitute teacher who on first day on the job at his hometown elementary school finds that the students are turning into zombies because of tainted cafeteria chicken nuggets. Wood took the position to get close to his old high school crush (Alison Pill), but she’s dating Rainn Wilson as the creepy PE teacher. 

The teachers, including Jack McBrayer, Nasim Pedrad, and Leigh Whannell (SAW co-creator who co-wrote this movie with Glee co-creator Ian Brennan, who also appears as the Vice Principal) are stranded inside the school and have to band together to fight the infected children. It’s a often violent and gory experience but it’s delivered with a goofball charm that’s pretty infectious (sorry). If you like the cast and have a thing for zombies, it’s a good bet. 

Elijah Wood also appears in Breck Eisner’s THE LAST WITCH HUNTER, a Vin Diesel vehicle that really bored me silly. Diesel potrays the immortal protagonist, who carries on his centuries old legacy of killing witches in modern day New York City, with the aid of Wood as the newest in a long line of Dolans (helper priests). Wood is replacing the retiring Dolan (Michael Caine, a welcome sight since I was unaware he was in the movie), but after Caine is mysteriously murdered the same day, Diesel and Wood, along with a friendly witch (Rosa Leslie) begin to unravel a plot by a squadron of supernatural witches to resurrect the Witch Queen or some such (my mind wandered). 

It’s a slickly made piece of horribly paced dreck, with no discernible spark to speak of. It also appears to take itself entirely too seriously in its misguided effort to form a franchise worthy mythology. Admittedly, Diesel isn’t my cup of tea (see my review of RIDDICK), but I’ll take another FAST AND FURIOUS sequel over this any day.

Finally, Jessie Nelson’s LOVE THE COOPERS, a Christmas ensemble comedy that made me cringe instead of crack up. It’s one of those all star dysfunctional family films, like the previous year’s THIS IS WHERE I LEAVE YOU, that failed to make much of a splash in its theatrical release last November, and it’s not very far into it that you can see why. John Goodman and Diane Keaton play the parents whose Pittsburgh house the family, including Ed Helms, Olivia Wilde, June Squibb, Alan Arkin, and Marissa Tomei, gathers at on Christmas eve, but this year everybody has their own kooky issues that get in the way of the holiday cheer. 

It’s narrated by Steve Martin, in a sincere effort to add some zing but that sadly doesn’t help generate any laughs. Neither does any of the other dialogue which feels strained or cutesy (or both) throughout. So, yeah, I really didn’t LOVE THE COOPERS. It’s a mishmash of overly sentimental and tired rom com tropes, but since it was scripted by Steve Rogers responsible for such mush as HOPE FLOATS, KATE & LEOPOLD, and P.S. I LOVE YOU, that’s hardly a surprise.

More later…