edmundminoredinfilm

[edmundminoredinfilm]

Final rankings and a few sentences about every 2017 movie I saw...

1. THE SHAPE OF WATER - The Academy owes Guillermo del Toro big time after it overlooked his 2006 masterpiece Pan’s Labyrinth. Hopefully justice prevails and del Toro takes home both Best Picture and Best Director. This movie is a perfect fairy tale.

2. BABY DRIVER - I don’t even know how to say how good this movie was in just a sentence or two so instead I’ll throw a curveball: “Was He Slow?” should have been nominated for Best Original Song.

3. DUNKIRK - Never has a movie with such little dialogue emotionally moved me the way Dunkirk did. On top of that, the timeline structure is fantastic, Hans Zimmer kills it and all the sound is majorly on point in this one.

4. A GHOST STORY - Did it not get award season love because of its minuscule budget, summer release date or Casey Affleck? I’m sure it’s a combination of the three but it deserved several nominations and a win for its cinematography.

5. THE FLORIDA PROJECT - The most surprising snub in the Best Picture category. If Willem Dafoe wins for Supporting Actor, it isn’t just the Academy making up for Florida’s lack of nominations, he was really good.

6. CALL ME BY YOUR NAME - The cinematography and musical choices remind me a ton of The Graduate. The parallels to The Graduate don’t stop there though: thematically CMBYN is The Graduate for 2018 teenagers, despite being set in the 1980’s.

7. MUDBOUND - I’m opposed to nominating Netflix movies for Oscars but if you’re going to nominate them, this is the movie to nominate. Also, if there were an ensemble acting award this would definitely be in the top three of the year.

8. THREE BILLBOARDS OUTSIDE EBBING, MISSOURI - Frances McDormand is overwhelmingly good, as are Woody Harrelson and Sam Rockwell. The screenplay is great. I understand that some have ideological issues with the film, and I’m not say that I don’t, but regardless of the film’s worldview, it is still so well put together.

9. PHANTOM THREAD - The production design is wonderful. The Academy certainly nominated the wrong actress from this movie though, snubbing Vicky Krieps and nominating Lesley Manville, who wasn’t bad but I didn’t think was anything special.

10. THE DARKEST HOUR - My expectations were low but I was blown away by the cinematography and on the edge of my seat the whole movie. Also, I would say you can sign me up to watch any movie with Lily James, but she’s in the upcoming Mamma Mia sequel...

11. BLADE RUNNER 2049 - The best sci-fi movie since Mad Max and a worthy follow up to the original Blade Runner, one of the best science fiction movies ever.

12. COCO - I ugly cried in a way only Pixar can make me do.

13. LADY BIRD -  A strong script and a good movie. My hat is off to Greta Gerwig, who not only captured the Catholic high school environment so well, but also has made the first great period piece of the early 2000′s.

14. HOSTILES - Christian Bale’s performance in this definitely was top 5 for male leads this year. Even though it wasn’t seen by lots of people, I’m surprised by this snub since James Franco’s bid for a nomination fell short because of allegations.

15. GET OUT - One of the most original concepts of the year for a movie. More so than any other movie this year, Get Out has me excited for what its director and writer, Jordan Peele, might do next.

16. THE DISASTER ARTIST - The Franco allegations did this one in, but it certainly deserved that nomination for Adapted Screenplay, and probably a nomination for James Franco.

17. MOLLY’S GAME - The dialogue is fantastic, but I know that’s not going to get you to go out and see this. Here’s what will: Michael Cera plays a high stakes poker player in it.

18. LOVING VINCENT - The flawlessness of the animation isn’t just impressive because it’s beautiful, it’s also impressive because of the direction it must have taken to get the 125 painters that worked on it on the same page. Coco is fantastic and deserving of the Animated Picture Award, but it’s a bit sad such a unique movie won’t win Animated Picture this year.

19. I, TONYA - Margot Robbie is excellent and the movie is really funny. However, I think she is done a disservice by having to play both 23 year-old Tonya and 15 year-old Tonya; she just seemed to old to play the latter.

20. THE MEYEROWITZ STORIES - Adam Sandler is particularly good in this one. I also thought “Genius Girl” should have gotten some consideration for Original Song, if we’re nominating Netflix movies for Oscars.

21. THE BEGUILED - A bit surprised that Sofia Coppola didn’t get any love during awards season but that doesn’t mean this movie wasn’t good. The movie has great ensemble acting and chilling cinematography.

22. LOGAN - The Academy got the nomination that this movie deserved wrong: while the screenplay didn’t deserve its nomination, Dafne Keen, who plays the young girl, X-23, ought have been nominated for supporting actress. The screenplay doesn’t deserve the nomination because the dialogue is nothing overwhelming and, while the movie may break barriers for super hero movies, so much of it has been seen before, especially an old guy that everyone used to love but now he’s a jerk who is addicted to boozing. I’ve seen it before.

23. KONG: SKULL ISLAND -  My favorite “popcorn movie” of the year. Explosions and monsters make for a fun movie here, and while the visuals effects are good, they aren’t Shape of Water level good (The Academy makes another mistake).

24. FILM STARS DON’T DIE IN LIVERPOOL - Good acting from Annette Bening and Jamie Bell is a bit wasted in this movie as the screenplay fails to really show why Gloria Graham’s last few years merit a feature length film.

25. GUARDIANS OF THE GALAXY: VOL 2 - Another good “popcorn movie.” Unsurprisingly good soundtrack and one of the best PG-13 Marvel movies since Tobey McGuire stopped being Spider-Man.

26. ALL THE MONEY IN THE WORLD - Christopher Plummer’s nomination is an absolute virtue signaling joke by the Academy. That said, it’s a decent movie if you’re looking for a thrill.

27. THE BIG SICK - It’s a great real life story and a good movie, but this was one of the most overrated pictures of 2017. Why would we start giving Judd Apatow-produced movies Oscar nominations now when we overlooked far better movies like Funny People and Forgetting Sarah Marshall?

28. LEGO BATMAN - I am so ****ing mad that Boss Baby is nominated for Animated Picture instead of this Batman movie, a movie we desperately needed after Batman v. Superman.

29. ROMAN J. ISRAEL ESQ. - Denzel’s acting is good, but not Oscar-nominated good in this movie. Also, the dialogue is fine but lacks what you might expect from a legal drama billing top talent like Denzel and Colin Farrell.

30. WONDER WOMAN - It has an OK story but I was underwhelmed by the special effects and I expect top notch ones from a movie like this.

31. SPIDER-MAN: HOMECOMING - It’s not Tobey McGuire, and that’s a bummer, but it’s also not Andrew Garfield, and that’s a good thing.

32. STAR WARS: THE LAST JEDI - Put great special effects and the Star Wars name on any average plot with pretty bad acting and watch the profits flow in.

33. WONDER WHEEL - It is a visually beautiful recreation of 1950’s Coney Island. Other than that, the film features a wide range of really good to pretty bad acting and Woody Allen’s most tone deaf screenplay to date (and I am a fan of lots of his movies).

34. THE POST - No one would accuse it of being All the President’s Men or Spotlight, but, given its nominations I guess some thought it was a good journalism movie? Yawn.

35. BEAUTY AND THE BEAST - It was pretty to look at?

36. BOSS BABY - See Lego Batman.

37. MURDER ON THE ORIENT EXPRESS - Michelle Pfeiffer really deserves a  Razzie for this one. The ending implied a sequel would be coming, but I don’t think anyone wants that.

38. PIRATES OF THE CARIBBEAN 5 - I didn’t even bother to Google what the real name of this movie was. I forget everything about this movie that I saw only about half a year ago; that is probably a good thing.

[edmundminoredinfilm]

My First Month with MoviePass

It is award season for movies and if there was an award for best movie app and service, it would have to go to MoviePass. One month ago today I got my MoviePass in the mail and since then I have used it 8 times. I have used it at a large AMC and at two smaller local theaters. I’ve seen approximately $90 worth of movies (if we are to say $11/ticket) for less than $10 since getting my MoviePass. I won’t say that I saved $80 because I likely would not have gone to 8 movies if I did not have it. That said, the three months prior to me getting MoviePass I saw at least 15 movies in theaters getting ready for the announcement of Oscar nominations, so the MoviePass is definitely saving me some cash.

MoviePass is $9.95/month and with it you can see all the movies you want (one per day). You probably know that and you probably are aware that there are a few catches - but NONE of those “catches” interfered with my plans to see any movies over this past month.

Catch #1 is that you cannot use MoviePass for 3D movies or IMAX movies. I wear glasses so 3D movies aren’t really my cup of tea. Even before I started wearing glasses, 3D movies have always given me a headache, so this “catch” poses no problem to me. I do enjoy IMAX movies, but go to those very rarely. Of the roughly 30 times I’ve gone to see a picture since the beginning of 2017, I only saw one IMAX movie (Dunkirk).

Catch #2 is that you can only buy tickets the day of the showing you are going to and you have to be at the theater when you buy them, meaning no advanced online tickets. Despite this, I was able to see both Black Panther and Annihilation on their opening nights. The trick here is checking online the morning you plan to go to the movies. For Black Panther I knew all showings on its first night (Thursday night) would be sold out at the AMC by my apartment. There were many showings though, so I figured not all would be sold out that morning. I checked for tickets around 11 AM for one of the several showings in the 7pm hour. There were tickets available to all, including the standard showing format. I took an early lunch break, walked to the theater and bought my ticket then, about 7 hours before showtime. The movie was sold out within the next hour, but I game planned well by checking the AMC app for available seats and knew when to go to the theater. I didn’t even have to sit in the first 2 rows! Annihilation was a different story - there was only one 7pm screening and I couldn’t make it to the theater on my lunch break. I lucked out and there were several seats outside of the front two rows still open when I arrived shortly before 7pm.

Another reason lack of advanced tickets do not bother me is that I often go to movies by myself (not embarrassing - it’s actually super enjoyable and convenient!) and finding one open seat is far easier than finding multiple.

Another catch, I suppose, is that you can only see one movie per day, but I can’t imagine that would be too bothersome to anyone.

All things considered, if you see 1 movie a month its worth it; you won’t only save money, you will also end up seeing far more movies than you normally do! My favorite thing about this service, other than the exceptional price, is that it is accepted by such a wide range of theaters. I use it regularly at small local theaters but it is also accepted by the large chain theaters. MoviePass is 10/10.

Also here is what I was able to see with my MoviePass over the last 30 days: Call Me By Your Name, The Darkest Hour, Hostiles, a screening of the Animated Shorts nominated for Oscars, a screening of the Live Action Shorts nominated for Oscars, Film Stars Don’t Die in Liverpool, Black Panther and Annihilation.

PS - Annihilation really is something special - go see it while it’s still in theaters!

[edmundminoredinfilm]

The Oscar Nominations I Want

Tomorrow the Academy’s nominations for the Oscars come out and I am excited, but I am also prepared for the inevitable punch to the stomach I will feel when I see what movies the Academy left out in their nominations and when I see what movies they thought were worthy, when I could not agree less. Here I am going to list the movies, performances, directors, scripts and more that I feel most passionately should be nominated. At the bottom I have listed out my rankings for what I think is worthy of Best Picture, Lead Actress, Lead Actor, Actress in a Supporting Role, Actor in a Supporting Role, Original Screenplay, Adapted Screenplay, Original Score, Production Design and Cinematography. These are not predictions, just what I personally think and feel about these movies. I wish more people would write pieces about their opinions as opposed to predictions, because all those pieces become so similar to each other.

BABY DRIVER - Win for Director, Nominations for Best Picture, Supporting Actor+

Baby Driver will not be nominated for a lot of awards. I think that is unfair. Perhaps it will not win (or be nominated) for many awards because of the Academy’s war on fun movies. I say this jokingly, but it seems that movies that are fun have problems winning Oscars, especially Best Picture. La La Land was very fun last year and lost to Moonlight, a great movie but a heavy one. The year before Mad Max, an adrenaline-fueled and fun, technical masterpiece, was robbed by the good and important, Spotlight, which although good and important, was not very fun (sex abuse by religious figures – not fun). The years before that you have Birdman (suicide, drug abuse – not fun), 12 Years a Slave (slavery – not fun), Argo (Iranian hostage crisis – not fun). Baby Driver, perhaps to its own demise, is unapologetically fun. With great acting, editing and perfect sounds (effects and the soundtrack of the year), Baby Driver should be nominated for Best Picture.

Baby Driver features wonderful performances by its male lead (Ansel Elgort) and his lady friend (Lily James). It also has great supporting acting by Kevin Spacey (yuck), Jon Hamm and Jamie Foxx. The best acting of the movie, I believe, comes from CJ Jones, an actor, who happens to be deaf, who plays Baby’s foster father. Jones manages to be both laugh out loud funny and touch the viewer emotionally by perfectly portraying the concern and worry he has, not for his own life, but for Baby’s. On top of this, he manages to do it all without speaking a single word. Jones should receive a nomination for Supporting Actor.

The film’s stylized action, speed and over-the-top violence will remind viewers of Edgar Wright’s Hot Fuzz. The action being strung together by a wonderful playlist that accompanies the film will remind viewers of Scott Pilgrim vs. the World (also directed by Edgar Wright); the title sequence of Scott Pilgrim may jump into viewer’s minds during the masterfully crafted “Harlem Shuffle” sequence during the beginning of Baby Driver – probably the best 3 minutes of movie from all of 2017. Wright, whose style is stamped all over this movie, should win for Director.

It should also at least receive nominations in film editing, sound editing and sound mixing. This gives Baby Driver 1 win and 6 nominations.

A GHOST STORY - Win for Cinematography, Nominations for Best Picture, Original Score 

Not only do I think that David Lowery’s movie, which was made on a $100,000 budget, should be nominated for Best Picture, I think it should be nominated for Best Picture even if we were doing the old school, pre-King’s Speech format where only five movies were nominated. It is a top 5 flick from this past year and a darn shame that it will likely not see a single nomination. It is doomed by many things: a low budget, Casey Affleck as the lead role and the backlash he has faced with #MeToo and the backlash the Academy faced giving him a major award last year (I think Casey Affleck is yucky, don’t get me wrong), a summer release date and the fact that no one saw it – it made just $1.9 million (good when considering its budget, but that is not a lot of people). The film’s score is just the right amount of melancholy for it, the camera work is stunning and Rooney Mara is haunting as a young widow. If Mara had just a few more minutes on screen OR if the lead actress field was not so strong this year, I would be petitioning for her to receive an acting nomination. This totals up to a movie that should receive a nomination for Best Picture.

For those unfamiliar, the film follows a dead man (Casey Affleck) in his afterlife. Affleck has a sheet draped over himself for almost the entirety of the movie, so an acting nomination seems out of the question for him. But his ghost, the way he moves and what he looks at, paints a vivid picture of the longing that he feels in this sort-of-purgatorial afterlife. The camera does the talking for the ghost, and it does so quite effectively. Simple shots, while no words are being spoken, bring an emotional response from the viewer. With minimalist dialogue, the film successfully explores themes of death, loss, the afterlife, purpose, love and determination. It does so through masterful cinematography and that is why Andrew Droz Palermo (the film’s cinematographer) should win the Oscar for Cinematography.

It should also be nominated for original score. This gives A Ghost Story 1 win and 3 nominations.

THE FLORIDA PROJECT - Win for Actress in a Lead Role+

The Florida Project is getting a lot of buzz. Willem Dafoe is getting talked about for Supporting Actor (I have him as one of my nominees); Sean Michael Baker is getting talked about for Director (he’s up there on my list, too). But, why is no one talking about Brooklynn Prince who plays six-year old Moonee? No actor has impressed me more this than this young actress. Moonee is a complex character that goes through so much in this movie; neglect, loss of friends, moving, no stable family life or income, and more that I will avoid saying so as I do not give away the plot. The fact that this young actress, or any actress of any age, can do this so well is a credit to her and director Sean Baker. Someone is going to need to make this girl a Wikipedia page because she deserves to win Best Actress in a Lead Role.

The Florida Project also deserves nominations for Best Picture, Actor in a Supporting Role (Willem Dafoe), and Director (Sean Baker). It should win 1 Oscar and receive 4 nominations.

MOLLY’S GAME - Win for Adapted Screenplay

I feel bad for Jessica Chastain. She absolutely kills it in this movie as an injured skier turned poker organizer. I feel so bad for her, because I cannot put her in my top 5 lead actresses for the year (I’m sure somehow Jessica Chastain will get over me not giving her my fictional tumblr vote). It is too strong a field. Her and Rooney Mara (A Ghost Story) would have both received votes from me if there movie came out in any one of the past handful of years, but not in 2017. I also feel bad for Molly’s Game because it just narrowly misses my Best Picture list (it comes in at #11, and you gotta make top 10). That said, the screenplay, based on Molly Bloom’s memoir is what I have winning Adapted Screenplay. Sharp dialogue is a standout component of this Aaron Sorkin screenplay that takes a look at our justice system and patriarchy. Sorkin cleverly ties poker into Arthur Miller’s The Crucible and shows that no matter if it is during the Salem Witch Trials, or in 1953 when Miller wrote the play, or in 21st century America, somethings seem to never change.

It should receive 1 win on 1 nomination.

PHANTOM THREAD - Win for Production Design & Costume Design, Nominations for Best Picture+

Phantom Thread should receive quite a few Oscar nominations tomorrow morning, including for Best Picture, Actor in a Lead Role (could win), Score, Production Design, Costume Design. It could also easily take in nominations for Director, Supporting Actress and Original Screenplay. 

When I saw Phantom Thread, I knew absolutely nothing going into it. It is darker than one might guess from its rather vague trailer. If you have seen the trailer you may have absolutely no idea what Phantom Thread is about, but you will surely see that it looks beautiful and that each scene is meticulously composed by artists and an obsessive director. No movie has the attention to deal that must have been required to create Phantom Thread, other than Phantom Thread, which is why it should win for Production Design and Costume Design.

Phantom Thread is deserving of 2 wins on at least 6 nominations.

THE SHAPE OF WATER - Win for Best Picture and Much More

While Baby Driver was my favorite movie of the year, it was not the best movie to hit the big screen this year. That title belongs to Guillermo del Toro’s masterpiece: The Shape of Water. The visual effects top any other movie this year. When you watch it and another movie with high budget effects, for example Wonder Woman, it is shocking how much more was spent on other movies than Shape of Water (for example, Wonder Woman’s budget exceeded Shape of Water’s by $130 million). The film blends the central plot, the romance between a mute janitor (Sally Hawkins) and an aquatic humanoid, with well executed subplots that make the movie more exciting (Russian spies!), more intense (Michael Shannon’s power), and more relatable (Richard Jenkins’ and Sally Hawkins’ characters striving for companionship). The themes brought to the forefront of discussion by del Toro include repressed sexuality and masculinity’s relationship with power.

Shape should win Best Picture, Supporting Actor (Michael Shannon), and Original Score. I would tack on nominations for Actress in a Lead Role (Sally Hawkins), Supporting Actress (Octavia Spencer), Original Screenplay, Cinematography, Production Design and Visual Effects. Shape should win 3 Oscars and be nominated for at least 9 awards.

BEST PICTURE:

Winner: The Shape of Water

Nominees (in order of how I’d vote): Baby Driver, Three Billboards Outside Ebbing, Missouri, A Ghost Story, The Florida Project, Dunkirk, Call Me By Your Name, Phantom Thread, Lady Bird, Get Out

DIRECTOR

Winner: Edgar Wright (Baby Driver)

Nominees (in order of how I’d vote): Guillermo del Toro (The Shape of Water), Sean Baker (The Florida Project), Greta Gerwig (Lady Bird), Christopher Nolan (Dunkirk)

ACTRESS IN A LEAD ROLE

Winner: Brooklynn Prince (The Florida Project)

Nominees (in order of how I’d vote): Frances McDormand (Three Billboards), Sally Hawkins (The Shape of Water), Margot Robbie (I, Tonya), Saoirse Ronan (Lady Bird)

ACTOR IN A LEAD ROLE

Winner: Timothee Chalamet (Call Me By Your Name)

Nominees (in order of how I’d vote): Daniel Day-Lewis (Phantom Thread), James Franco (The Disaster Artist), Daniel Kaluuya (Get Out), empty space here until I see The Darkest Hour

ACTRESS IN A SUPPORTING ROLE

Winner: Vicky Krieps (Phantom Thread)

Nominees (in order of how I’d vote): Laurie Metcalf (Lady Bird), Octavia Spencer (The Shape of Water), Allison Janney (I, Tonya), Holly Hunter (The Big Sick)

ACTOR IN A SUPPORTING ROLE

Winner: Michael Shannon (The Shape of Water)

Nominees (in order of how I’d vote): Sam Rockwell (Three Billboards), Willem Dafoe (The Florida Project), Woody Harrelson (Three Billboards), CJ Jones (Baby Driver)

ORIGINAL SCREENPLAY

Winner: Three Billboards Outside Ebbing, Missouri

Nominees (in order of how I’d vote): Get Out, The Shape of Water, Lady Bird, Phantom Thread

ADAPTED SCREENPLAY:

Winner: Molly’s Game

Nominees (in order of how I’d vote): Call Me By Your Name, The Disaster Artist, Blade Runner: 2049, The Beguiled

ORIGINAL SCORE:

Winner: The Shape of Water

Nominees (in order of how I’d vote): A Ghost Story, Dunkirk, Call Me By Your Name, Phantom Thread

CINEMATOGRAPHY 

Winner: A Ghost Story 

Nominees (in order of how I’d vote): Blade Runner: 2049, The Shape of Water, Dunkirk, The Beguiled

PRODUCTION DESIGN

Winner: Phantom Thread

Nominees (in order of how I’d vote): The Shape of Water, Blade Runner: 2049, Dunkirk, Wonder Wheel

Thanks for reading, everyone!

[edmundminoredinfilm]

The Problem with Wonder Wheel

Woody Allen’s latest film, Wonder Wheel, features a fine score and beautiful visuals of 1950′s Coney Island. Other than that, and a screenplay with occasionally clever dialogue, it is a bothersome work that leaves viewers longing for some of Allen’s previous works.

Ginny (Kate Winslet) works long hours at a seafood restaurant on the boardwalk. Her husband, Humpty (Jim Belushi), works at the carousel. They live above a shooting gallery with Ginny’s pyromaniac son, Richie (Jack Gore), who skips summer school throughout the movie to go to the theater and to set fires throughout the city. Humpty, a (slowly) recovering alcoholic, has a history of violence with Ginny, her son, and “everybody.” Ginny needs to be saved. That’s where the young, romantic, aspiring playwright and NYU grad student Mickey (Justin Timberlake) comes in. An affair ensues. Complicating their adulterous relationship is Carolina (Juno Temple), Humpty’s daughter from his first marriage, which left him a widower. Carolina, who is hiding from her mafia ex-husband, seeks refuge with Humpty and his new family. She also happens to start having feelings for Mickey, unaware of her stepmother’s relationship with him.

I will not delve any further into the plot to spare you spoilers; this is enough background on the film to begin to understand the problematic nature of this Allen’s latest flick. In the early 1990′s Woody Allen was accused of molesting Mia Farrow’s 7-year old daughter. Allen, also, is married to Soon-Yi Previn, who is 35 years younger than Allen and an adopted daughter of Farrow’s. By some accounts, when Soon-Yi was young, Allen was a paternal figure in her life. While nothing illegal about this second bit of information (clearly child molestation is illegal and horrifically unethical), his personal life does play a roll in how the viewer intakes Wonder Wheel.

Mickey, a character Allen would certainly have played himself if the movie was released in the 70′s or 80′s, has a relationship with an older woman and then later chooses to be with her younger stepdaughter. That is just a little too similar to Allen’s personal life to make the viewer feel at ease. On top of this, Mickey, an egotistical intellectual reminiscent of Michael Sheen’s character in Midnight in Paris, though not as well written, and Humpty, an abusive alcoholic, mistreat Ginny (and her son, in Humpty’s case), throughout the movie. However, in the end of the movie, they are not held accountable. When Ginny does something truly awful as the movie comes to an end, she is 100% to blame. She does these horrible things to herself; Allen emphatically points that out throughout the movie, including by showing her unfaithfulness to her first husband. Her son, who constantly sets fires and gets himself trouble, is a reflection of herself; (s)he chooses to set these fires despite knowing better.

I am not trying to defend Ginny; at the end of the movie, she does horrible things that might make her a horrible person. But why does Woody Allen write the movie that way? Why does he choose to make the older woman in the movie the horrible, irredeemable character? Why does he write the movie in a way that makes these flawed men, Mickey and Humpty, understandable in the end and makes you feel sympathetic for the young, beautiful Carolina? Maybe Allen’s intent was not to depict older woman in a negative way, but given his life and his accusations, his tone-deafness is inexcusable. At best, Woody Allen cannot read a room and cannot realize that he should not make a movie like this. At worst, it’s a sexist and problematic piece, where he feels the need to make one character, and one character alone the bad guy: the older woman.

There are a ton of great movies in theaters right now, feel free to skip Wonder Wheel.