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Pedro for So It Goes (09-16/16)

By David Benioff • Photographer: Victoria Stevens • Styling: Ashley Pruitt • Grooming: KC Fee  Related: photoshoot / list of articles 

We jumped at the chance to listen in as Game of Thrones co-creator David Benioff got the low-down from actor Pedro Pascal ahead of the launch of Season 2 of Narcos on Netflix. The pair let us in on how Pascal ended up on Game of Thrones, walking the line between reality and fiction in Narcos and working on upcoming Chinese epic The Great Wall.

DAVID: Hi Pedro. So what’s the best way for us to destroy your career once and for all?

PEDRO: I figured you would know, that’s why I asked you to do this interview.

DAVID: I feel like some good anti-semitic commentary could do it.

PEDRO: I’ll leave that to you.

DAVID: I can’t do it, I’m Jewish! Shall we begin at the beginning, Pedro? Tell me – how did you escape from Orange County?

PEDRO: Well we moved there in ’86 or’ 87, I was turning 12 and I had to attend Corona del Mar High School from 7th to 12th grade. I don’t know how else to tell it other than the 7th and 8th grade being truly dark years in sunny Orange County –  which inspired a blossoming drama nerd. After the 8th grade, I just didn’t fit in. My sister did though.

DAVID: I know your sister, she’s really fun and cool.

PEDRO: I wasn’t fun and cool. Or I just didn’t know how to fake it yet.

DAVID: I’m picturing one of those California schools where everyone’s beautiful, and everyone’s tanned and you – were you a punk rocker back then?

PEDRO: No, I was just the kid crying because, like, Empire of The Sun didn’t get nominated for Best Picture… everyone was like, ‘What the fuck is wrong with you?’

DAVID: Which is a crime, by the way, it’s one of Spielberg’s best movies.

PEDRO: I was the one buying the soundtrack, and people would catch me on my walkman listening to that weird Danish song from Empire of The Sun. So my mom found out about a performing arts programme – Orange County School of the Arts – that you had to audition to get in. I ended up going to high school in Long Beach and commuting like 40 minutes every day and essentially spending four years outside of Newport Beach in a more middle-class kind of environment. I got into NYU – I begged my parents to let me go, and I won that fight so I ended up in New York in ’93 and sort of got stuck here.

DAVID: So what happened in ’93? You started getting jobs, did you get an agent quickly? What was the path?

PEDRO: I started auditioning right away and I signed with some representation while I was in school. I graduated and I didn’t get hired for anything at all – I was a waiter, I was getting fired left and right. Despite not fitting in in Orange County, it had definitely made me quite sheltered. Seriously, I got fired from maybe 17 places in about a year and a half.

DAVID: All restaurants?

PEDRO: Restaurants, cafés, coffee shops…

DAVID: Was it incompetence, or being rude to management, or showing up late? What got you canned?

PEDRO: All of the above. Incompetence mostly.

DAVID: And was it around this time that you met Sarah Paulson [American Horror Story]?

PEDRO: Yeah, she was one of my first friends in New York. That’s where I was really lucky, in New York I made a sort of family of friends right away. It definitely built a great foundation in New York City and they’re still my friends to this day.

DAVID: So, aside from Christian Bale in Empire, who were the people you were watching and thinking, ‘Fuck, I wanna be like that guy?’

PEDRO: I was watching everything. I started to consume voraciously very early as a viewer and a reader. It’s funny, as an actor, once you get some exposure people ask you what are your interests? What do you do? And you feel like such a loser, because you’re like I don’t do anything! I’m not athletic, I haven’t developed any intense interest in, like, scuba diving, or spelunking – I still just watch TV and read books and that’s how I was as a kid. When I couldn’t make friends in Orange County, I started reading and renting videos voraciously. And I got into the classics, I had an early obsession with Marlon Brando, James Dean, and reading American and English playwrights, like Pinter. Which, come on, I didn’t understand at all. But it was still very entertaining to imagine myself as one of the characters on the stage. So Empire of the Sun was only one of a basket of Spielberg movies that totally shaped my imagination.

DAVID: Are you campaigning for a job with Stephen Spielberg right now, or…?

PEDRO: (laughs) Definitely

DAVID: Nah, after he hears the anti-Jewish stuff, it’s over. Not gonna happen dude.

PEDRO: Just keep trying to force anti-semitism on me.

DAVID: So now, you’re in New York, getting fired from 17 different restaurants. What was your first big acting break?

PEDRO: That’s what’s funny, I never got a big acting break I guess, in the way that that seems to be understood by the general public. I stuck it out in the theatre and wanted to follow in the footsteps of the people I was inspired by. I was attached to the idea of someone who came from New York theatre – Al Pacino, Meryl Streep, Robert DeNiro, that whole crew. Unfortunately that romanticism kept me in New York, killing myself trying to pay rent. Finally I got an off Broadway play at Theatre Club – where your wife, Amanda Peet, had her play introduced. I’d say that I stopped waiting tables by the time I was 30? Kept things going, did all the Law & Orders, all the cop shows, The Good Wife, and managed with cheap rent to keep the theatre thing going.

Listen, David, I become very inarticulate talking to you because I know you’re smarter than me. It was a big mistake to have this interview. In fact I’d like to cancel it right now and get someone else. Can we get Dan [Weiss, Game of Thrones]? Wait no, get me one of the kids. (laughs)

DAVID: Anyway, as this is happening… do you have some friends who are starting to succeed or fall by the wayside?

PEDRO: Well, Sarah [Paulson] was one. She got her first job and she never really stopped. She got a guest spot on Law & Order which amazed all of us – we couldn’t believe it. To me that was a very early success that I envied and that inspired me, but I bet if you talked to her she’d say things are finally coming together this year. Which is insane, but I bet that’s how it feels. My first off Broadway play in New York was with Oscar Isaac, freshly out of Juilliard. He seemed like a comet to me, totally leaving me behind. Shooting with Leo DiCaprio, Ridley Scott, then you talk to him now as well and he’s like, ‘Yeah, this year things are coming together.’ This is going to sound so corny but it’s extremely comforting when people you care about are successful. Whether it’s happening to you or not, it feels good when it’s happening for someone you love and respect.

DAVID: Gore Vidal said, ‘A little part of me dies every time a friend succeeds.’

PEDRO: Yeah, but not the two friends I mentioned. (laughs)

DAVID: Did you ever have doubts? Did you think about going and doing something else?

PEDRO: I think it came down to a very simple thing – realising that I’d stuck at something for so long, I’d made the grind and the uncertainty into a familiar thing and it wasn’t too scary any more. The desire to do it started to shape my identity at such an early age, starting with that childhood fantasy of wanting to be in a Spielberg movie – literally lying and telling people that I was the silhouette of Christian Bale in the Empire of the Sun poster. Which is part of why I didn’t make friends.

I started to realise that I didn’t know how to do anything else… That I was fated to be that 73-year-old in the Law & Order casting room furiously trying to remember the words for a 4-line role. That still very well could be me.

DAVID: How did this Game of Thrones thing come about? The people want to know. It’s an interesting story.

PEDRO: I was helping this kid that I was mentoring, and he put himself on tape for this amazing part on your show, which I was already watching. I was initially curious because the script contained one of the most important spoilers for most of us. Some of us kept punishing ourselves by watching your show to see if something terrible would happen to Joffrey. But I had that satisfaction ripped away from me when I was helping this kid tape and reading for Oberyn. As I kept reading, it’s embarrassing to admit, but I connected to it so completely that it lit this crazy fire in me. I felt instantly attached to the character so I was totally focussed on my representatives getting me the material and taping an audition. I was pretty convinced that because I wasn’t known and didn’t have a European passport, that there was no chance. So I called the first friend I made when I moved to New York and was 18-years-old, Sarah Paulson, one of my closest friends, who is best friends with your wife Amanda. I called her and told her that I’d just put myself on tape for this part that no one’s gonna see. She didn’t even let me finish asking – she insisted that I send her the audition and she and Amanda showed it to you that night.

DAVID: Even after we hired you, you didn’t believe you had the part? I kept hearing back from Sarah [Paulson] – ‘He doesn’t think he has the part.’ We were flying you to Belfast for a costume fitting and you still didn’t believe it.

PEDRO: This is great because it backs up my story… no one had told me! Maybe my agents were nervous, I obviously was nervous and I found it a little hard to believe. Having been in the game as long as I have, there have been a lot of close calls and I could tell the good ones from the bad. And the kind of parts that could change things. It obviously had so much to do with how popular the show is, but it was such a good part – thrilling and terrifying at the same time to be able to get a part that good. They don’t come around very often.

DAVID: There’s no one like Oberyn on the show and he does his own thing. That was something you brought beautifully to it. When you came to that first meeting, you still didn’t think you had the part and I guess we hadn’t signed the deal yet but you would’ve had to get up, pull your pants down, and shit on the desk not to get that part because the audition was so strong. I was still hearing through Sarah that you didn’t think you had it…

PEDRO: Come to think of it, I did pull down my pants and shit on the desk.

DAVID: We weren’t going to tell that story though…

PEDRO: When you sent me to London and were pouring goop on my head and making a cast of my shoulders, head, face, I still didn’t believe 100% that I had gotten the part.

DAVID: You did get the part. What was your first scene?

PEDRO: My first scene was with Peter [Dinklage]…

DAVID: I remember we were shooting abroad and I was watching the dailies so I emailed you and you were like, ‘Thank god, I thought I totally blew it.’ Maybe that’s your secret – if you ever realise how good you are, it’ll ruin you.

PEDRO: I still don’t believe you and it’s an illness – a psychological illness. I remember panicking a bit on my first day because there wasn’t any way I could fulfill the potential of that scene having come to it so early and then you emailed me. You didn’t say ‘great job’ but I’d say you’re a pretty busy man with a pretty large cast and complicated locations and you took the time to write me a very generous note that settled me into the whole experience. I’m very grateful.

DAVID: Well I know it can be intimidating working with Peter. People don’t know about his violent side…

PEDRO: It’s tough when he throws benches at you and stuff like that.

DAVID: So moving on into the real life drama of Narcos. How did that come about? Did Eric Newman just see Game of Thrones and think, ‘Shit, I need that guy,’ or did you audition?

PEDRO: I think someone at Netflix saw the scene that we just talked about. Eric, our executive producer on Narcos, was initially extremely disappointed that I was available. He, anticipating the big fight with the Mountain while trying to cast his show, was extremely upset that I was available to play Javier Peña. A bit of a spoiler. It came at me very fast and it was the first time I’d been offered something without having to audition for it. There was only about 12 hours to decide whether to do it.

DAVID: How closely does your character adhere to the real life person [DEA Agent, Javier] Peña?

PEDRO: I think he actively keeps his real experience there secret – whether that’s because he did more than what we’re telling? Or less? I want to be able to interpret a character that was actually there on my own terms as much as possible. The things that are the most interesting to me, and the audience, are ways to move through [the story] with more ambiguity; without seeing things in black and white. More than good guys fighting bad buys. With the show, they’re making a very authentic visual experience. In the playing of it, you’re very much a piece in this visual landscape and I think you would stand out if you tried to control it.

DAVID: Have you ever gotten feedback from him and he’s like, ‘Oh, I’d never smoke with my left hand,’ or something like that? Or is he hands-off?

PEDRO: He’s totally hands-off. We call each other and he’ll be like, ‘This cute girl at the Mac store asked me if I could give you her number when she found out you were playing me in Narcos‘, ‘This cute girl at Starbucks asked…’

DAVID: He’s just telling all the girls that he’s been immortalised on Netflix.

PEDRO: He’s been very supportive and available at any given moment to talk about it – he’s so chilled. I think we could take it in any direction with the character – put him in a wheelchair, make him a serial killer, and he’d be like, ‘Yo man, it’s just TV.’ Cause he knows no one really knows what happened.

DAVID: So now bring us to China and another director you were very excited about working with. Tell us the story of The Great Wall.

PEDRO: So, as we’ve covered so extensively in my movie nerd-dom, I was introduced to Zhang Yimou pretty young. I saw Raise The Red Lantern and The Story of Qui Ju and Shanghai Triad in the movie theatre. So I didn’t take my agents very seriously when they brought up the project that was me, starring alongside Matt Damon in this huge Hollywood and Chinese cinema collaboration. I was wrong – it turned out to be true and they offered me the part. I went to China for nearly five months and shot the movie with Zhang Yimou, Matt Damon, Willem Dafoe, and Andy Lau.

DAVID: Was that terrifying? To be directed by one of your idols?

PEDRO: I was really nervous at first but I wrote him an email. I felt like I had to confess – it felt stupid to play down that I’d never imagined I could work with someone I admired to that degree. I think I saw Shanghai Triad like, four times in the movie theatre – I took my mom, I took my friends. He was a filmmaker that I really studied and prided myself on knowing. It was the 90s and he was making some of the best independent films that are out there. Then suddenly everyone was like, ‘Have you seen Hero?’ and I was like ‘DUDE, I’ve seen SEVEN movies before Hero!’, you know? So I wrote to him and told him, and when I got to China, one of the producers gave me an envelope – this beautiful envelope and I pull out a response from Zhang Yimou that he had hand written in Chinese characters on this elegant paper. It was like a piece of art. I have it framed, actually. It was him thanking me for my note and for being involved in the movie. The guy’s a class act. He’s as kind as he is talented. So he beat you and your email…

DAVID: I was going to send it to you in Chinese characters but then I realised I didn’t know Chinese and it would have just been gibberish.

PEDRO: The only way you could’ve won is by sending a singing telegram.

DAVID: So five months in China sounds almost as good as three months in Belfast. Not quite, but any adventures there you can tell us about?

PEDRO: I travelled around like a tourist whenever I got the opportunity. We spent so much time shooting and I got to pal around with Matt Damon because as everyone knows, he’s a real jerk (laughs).

DAVID: Yeah, famously terrible.

PEDRO: A notorious bad guy in the industry. He and his wife adopted me into their family and took me through the experience and I had the time of my life. We were tourists together whenever we got the chance – we went to Hong Kong and I went to see some friends in Bangkok. I can’t tell you about that weekend.

DAVID: When you’re talking to Matt Damon, are you ever not thinking, ‘Here I am, having a conversation with Matt Damon.’

PEDRO: It took a while. Initially, in getting to know him, the jet lag helped – I was so out of it. Matt came to say hi, and we were doing all these scenes together so he just said, ‘Hey man, let’s be friends,’ and I was just like… Okay sure! Whatever you say!

DAVID: Is it fair to say you’ve supplanted Ben Affleck as Matt Damon’s best friend?

PEDRO: Yeah. I’ll make room for Ben, I guess.

DAVID: You and Matt need to write an Oscar winning script to really make Ben jealous.

PEDRO: That would be the next thing… To end my career instead of anti-semitism.

DAVID: So when is The Great Wall out?

PEDRO: February!

DAVID: Originally when you were cast as Oberyn, there was controversy that you weren’t Latino enough. What do you make of the controversy around Matt Damon in this film? Is it about him being a white guy?

PEDRO: Yeah, him being a white guy is very…

DAVID: Incontrovertible? No one can deny that Matt Damon is a white guy.

PEDRO: No one can deny that. It’s not an issue of him not being Latino enough, that’s for sure. But his being white has very specific context in terms of the plot. I think that the arguments should be made after the movie comes out, instead of a one minute and 20 second trailer. I’m sure very good arguments can still be made from both sides in terms of ethnic representation but this is a Hollywood creature feature combined with epic Chinese cinema and it’s ultimately helmed by this visionary director who is Chinese.

DAVID: One of the greatest living directors.

PEDRO: Shall we say, the Spielberg of China?

DAVID: And if he wants to work with the whitest guy in Hollywood, who’s to say no?

PEDRO: Exactly! (laughs) This is a Chinese crew, and there are big Chinese stars and newcomers playing heroic roles in this movie. What people are given is just a film that’s called The Great Wall with Matt Damon, and basing the argument on that. But the movie needs to be seen.

DAVID: Yes, that sounds like good reasoning to me. I do think it’s hard to deny that you’re not Latino enough though. So you’re born in Chile and your parents had to flee after the CIA-sponsored coup – if the coup hadn’t happened, you would just be Chilean. It’s almost like the CIA fucked everything up. What do you think about that?

PEDRO: Are we actually giving credit to the CIA?

DAVID: Maybe you would’ve never become an actor and all the things that led to Game of Thrones may never have happened.

PEDRO: I would have made it happen. I would have crawled from Santiago, Chile all the way to you, to knock on your office door and be like, ‘I will be your champion.’

DAVID: Where is your character from in The Great Wall?

PEDRO: España. Which is exactly where my ancestors were from.

DAVID: No one can argue with that. Where’s Matt’s character from?

PEDRO: He’s English.

DAVID: Does he have an accent? Is he speaking Chinese in the movie?

PEDRO: No, he’s not speaking Chinese. He is English – it’s 1100 AD so whatever that accent is.

DAVID: He has an Old English accent? This is sounding pretty awesome. I don’t think anyone would know how that would sound. Probably it sounds just like Matt Damon, that’s what I think.

So, have we covered all the bases? Have I left anything out that you want to talk about? Your political stance – does everyone know about your pro-Trump agenda? What’s it like being one of the few Hollywood actors who supports Mr. Trump, can you tell us about that?

PEDRO: (laughs) My combover is very much modelled on the earlier part of Trump’s hair career. What are you going to do, David? Are you going to move if Trump –

DAVID: This is a Pedro Pascal interview! No one’s interviewing me here, buddy. So I’ll be asking the questions.

PEDRO: Do you really think it’s not going to happen?

DAVID: I really think it’s not going to happen.

PEDRO: I just got into an argument with a stranger literally five minutes before you called. I was getting coffee and they asked my name so they could put it on the cup and call my name when it was ready. And he was like, ‘Oh, vote for Pedro,’ – first time I’ve heard that. Then he was like, ‘Yo, I’d rather vote for you than either of the two candidates that we’ve got.’ I was like, ‘Dude, really?’ – this was a mixed race guy making the coffee – I was like, ‘Do you really believe that? Do you dislike Hillary so much that you would consider voting for Trump?!’ And that sort of reignited my terror. It feels like such a no-brainer, but here’s this hard-working mixed race guy at Starbucks who is undecided! That scares the shit out of me.

DAVID: Well I hope you talked some sense into him.

PEDRO: He just kept saying, ‘I don’t know about Hillary,’ and I said, ‘What don’t you know?’ ‘Oh, I just don’t trust her,’ but he didn’t have any real answers about what makes her different from other politicians that you do believe in and do trust.

DAVID: That feels pretty good, I think we covered everything.

PEDRO: I think we covered too much.

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Joaquin Phoenix Speeches 2020

BAFTAs:

I feel very honoured and privileged to be here tonight. The BAFTAs have always been very supportive of my career and I'm deeply appreciative. But I have to say that I also feel conflicted because so many of my fellow actors that are deserving don't have that same privilege.  

I think that we send a very clear message to people of colour: that you're not welcome here. I think that's the message that we're sending to people that have contributed so much to our medium and our industry and in ways that we benefit from.

I don't think anybody wants a handout or preferential treatment, although that's what we give ourselves every year. I think that people just want to be acknowledged and appreciated and respected for their work.

This is not a self-righteous condemnation because I'm ashamed to say that I'm part of the problem. I have not done everything in my power to ensure that the sets I work on are inclusive. But I think that it's more than just having sets that are multicultural. I think that we have to really do the hard work to truly understand systemic racism.

I think that it is the obligation of the people that have created and perpetuate and benefit from a system of oppression to be the ones that dismantle it. So that's on us.  

Thank you.

SAG:

When I started acting again and going to auditions and getting the final callback, I think many people know what that’s like. And there would be these two other guys that I’d be up against. And we’d always lost to this one kid. No actor would ever say his name because it was too much, but every casting director would whisper “it’s Leonardo, it’s Leonardo”.

Who is this Leonardo? Leo, you’ve been an inspiration to me for the last 25 years. I thank you very very much.

Christian, you commit to your roles in ways that I can only dream of. You never turn in a bad performance. It’s infuriating. I wish you would. Just one time. Just suck once, that’d be great.

Adam, I’ve been watching you the last few years and you0ve just been turning these beautiful, nuanced, incredible, profound performances. I am just so moved by you. You were just devastating in [The Marriage Story] and you should be here.

Taron, where are you? I am so happy for you, wherever you are. Hey. Hey, man. You are so beautiful in this movie and I am so happy for you. And I can’t wait to see what else you do.

And really, I’m standing here on the shoulders of my favorite actor, Heath Ledger.

Golden Globes:

First, I’d like to thank the Hollywood Foreign Press, um, for recognizing and acknowledging the link between animal agriculture and climate change. It’s a very bold move making tonight plant-based, and it really sends a powerful message.

We all know there's no fucking competition between us...I'm inspired by you, I'm your fucking student.

I know people say this but I really do feel honored to be mentioned with you. Some of you I reached out to personally. Some I’m still a little too intimidated by, even though we share the same agent. Hi, Christian (Bale). Uh, you’re not here.

Contrary to popular belief, I don't like to rock the boat, but the boat needs to be fucking rocked. It’s really nice that so many people have come up and sent their well wishes to Australia - but we gotta do better that that. Hopefully we can be unified and actually make some changes. It’s great to vote but sometimes we need to take that responsibility within ourselves. Make changes and sacrifices in our own lives. We don’t have to take private jets to Palm Springs and back, please. I will try to do better and I hope you will too.

Oscars (The Academy):

I’m full of so much gratitude right now. I do not feel elevated above any of my fellow nominees, or anyone in this room, because we share the same love: The love of film. And this form of expression has given me the most extraordinary life. I don’t know what I’d be without it.

But I think the greatest gift that its given me and many of us in this room is the opportunity to use our voice for the voiceless. I’ve been thinking a lot about some of the distressing issues that we are facing collectively and I think at times we feel or are made to feel that we champion different causes. But for me, I see commonality.

I think whether we’re talking about gender and equality or racism or queer rights or indigenous rights or animal rights, we’re talking about the fight against injustice. We’re talking about the fight against the belief that one nation, one people, one race, one gender, or one species has the right to dominate, control and use and exploit another with impunity.

I think that we’ve become very disconnected from the natural world. And many of us, what we’re guilty of is an egocentric world view: the belief that we’re the center of the universe. We go into the natural world and we plunder it for its resources. We feel entitled to artificially inseminate a cow and when she gives birth, we steal her baby, even though her cries of anguish are unmistakable. And then we take her milk that’s intended for her calf and we put it in our coffee and our cereal.

And I think we fear the idea of personal change, because we think we have to sacrifice something, to give something up. But human beings at our best are so inventive and creative and ingenious. And I think that when we use love and compassion as our guiding principles, we can create, develop and implement systems of change that are beneficial to all sentient beings and to the environment.

Now, I have been a scoundrel in my life. I have been a scoundrel, I’ve been selfish, I’ve been cruel at times, hard to work with and ungrateful. But so many of you in this room have given me a second chance. And I think that’s when we’re at our best: When we support each other, not when we cancel each other out for past mistakes, but when we help each other to grow, when we educate each other, when we guide each other toward redemption. That is the best of humanity.

I just... I want to... when he was 17, my brother wrote this lyric: He said “run to the rescue with love and peace will follow”.

Thank you.

[flippyspoon]

1, 15, 16, 17, 20, 27, 39, 63, 79 & 80 😊

1. What is your favourite television show from the 80′s?

Probably Family Ties or Bosom Buddies :p. Though as a kid I probably would have said Perfect Strangers. I had a big crush on Balki!

15. What television show would you like to guest-star on?

Bojack Horseman if it wasn’t already over. I would like to play a possum with anxiety.

16. A show that you hate to love?

Any Real Housewives show.

17. A show that you love to hate?

I don’t hate watch shows- there are already too many good ones!

20. Spin-offs: yes or no?

Spin-offs yes- you never know what’s actually going to work. Reboots/revivals ENOUGH ALREADY.

27. Name a show that had the worst series finale, in your opinion?

I mean I think Game of Thrones was messy and fucked up a bit but I don’t think it was AS bad as people say it was and the reaction was...insane lol. I can’t think of many bad ones that I actually watched. I think Lost was fine, the show just promised more than it was willing to ever give (yes, I know they lied, don’t @ me). I remember we were mad at Wonder Years because Kevin didn’t end up with Winnie. ENDING A SHOW IS HARD. SPN sounded like a big wet fart but I never watched SPN (well, I saw a couple seasons but it didn’t do anything for me).

39. Favourite comic-book movie?

Dark Knight probably.

63. In your opinion, the best character casting?

Christian Bale as Batemen was pretty fantastic (AHA YOU THOUGHT I WAS GOING TO SAY BATMAN DIDN’T YOU!? NO I’M TALKING AMERICAN PSYCHO, BABY). 

McKellen as Gandalf.

Just about everyone in LOTR.

79. An underrated movie, in your opinion?

Well, it’s not like a masterpiece or anything but I thought John Carter got a lot of flack when I thought it was a fun, solid sci-fic adventure movie? Like not amazing but solid, had fun watching it- UNJUSTLY LAMBASTED.

80. An overrated movie?

Most comic book movies lol. Also I don’t understand why anyone liked Glass (talking more about critics on that one).

[tabloidtoc]

People, May 3

Cover: Prince William and Prince Harry: Brothers United in Grief

Page 3: Chatter -- Steven Yeun on being asked about the Oscars never having had an Asian American Best Actor nominee before, Jessica Biel on her and Justin Timberlake's kids Silas and Phineas bonding, Viola Davis on finding success later in life, Justin Bieber on growing from previous drug use and other mistakes, John Stamos on understanding why the Olsen twins Mary-Kate and Ashley Olsen didn't return to Fuller House, Catherine Zeta-Jones on her and husband Michael Douglas discouraging their kids from pursuing acting

Page 4: 5 Things We're Talking About -- Courteney Cox puts her inner Monica on display, there's a bubble tea shortage, Downton Abbey returns, Indiana Jones chooses wisely, Serena Williams aces a TV deal

Page 6: Contents

Page 8: The Academy of Country Music Awards -- Carrie Underwood, CeCe Winans

Page 9: Mickey Guyton, Thomas Rhett, Maren Morris and her husband Ryan Hurd, Elle King showed off her growing baby bump on the red carpet with pal Miranda Lambert

Page 10: Stars on Set -- Adam Driver sported a pair of statement glasses as he biked around Rome while filming the fashion biopic House of Gucci, Patrick Dempsey stayed in character while filming the thriller series Devils in Rome, Gabrielle Union flashed a peace sign as she left the L.A. set of the upcoming reimagined Cheaper by the Dozen

Page 11: Nicole Kidman embodied Lucille Ball while shooting the new Aaron Sorkin film Being the Ricardos, Reese Witherspoon brought her dog Minnie Pearl to work while filming the next season of The Morning Show in L.A., Anya Taylor-Joy wore a black jumpsuit to film a Tiffany & Co. commercial under NYC's Manhattan Bridge, Niall Horan and British pop star Anne Marie goofed off in a vintage convertible while shooting a music video in Essex, England

Page 12: StarTracks -- Pretty Little Liars star Brant Daugherty and actress wife Kim welcomed their first child together -- a son named Wilder David, Saweetie performed at the Triller Fight Club: Jake Paul vs. Ben Askren boxing match in Atlanta, Christian Bale showed off his newly shaved head during a run on the beach in Sydney where he's filming Thor: Love and Thunder, The X-Files stars Gillian Anderson and David Duchovny reunited in a selfie shared on Instagram with her dog Stella who photobombed the longtime friends

Page 14: Jennifer Lawrence and her husband Cooke Maroney made a rare public appearance together to grab an early dinner in NYC, Ricky Martin performed at the Latin American Music Awards in Sunrise, Florida, Julia Roberts as the new ambassadress for luxury brand Chopard

Page 17: Scoop -- Controversy after Colton Underwood comes out

Page 18: Pete Davidson's romance with Bridgerton's Phoebe Dynevor

Page 19: Heart Monitor -- Ashley Benson and G-Eazy back on?, Christian Siriano and Brad Walsh divorcing, Harry Connick Jr. and Jill Goodacre happy anniversary, Travis Barker and Kourtney Kardashian heating up

Page 23: Scarlett Johansson on life and love in lockdown

* Baby Boom -- J Balvin and Valentina Ferrer are expecting a baby together, Tan and Rob France on the way to being parents through a surrogate

Page 25: Ken Jeong fighting the pandemic and Asian hate

* Scott Foley on his big new moves

Page 26: Open House -- Jimmy Fallon's quirky and colorful NYC penthouse

Page 29: Wedding -- Raven Gates and Adam Gottschalk -- after postponing their wedding three times, the Bachelor in Paradise couple tie the knot in an intimate ceremony

Page 30: Passages, a Harry Potter star dies at 52 -- acclaimed British actress Helen McCrory, who played Narcissa Malfoy, died of cancer at her home, surrounded by a wave of love from friends and family, said her husband Damian Lewis

Page 31: Anguish and renewed pleas for change after a fatal traffic stop -- yet another unarmed Black man, Daunte Wright, is killed by a police officer in Minneapolis, sparking more protests nationwide

* Why I Care -- as chairman of the Motion Picture Television Fund (MPTF), award-winning producer Jeffrey Katzenberg helps raise millions to support colleagues in the entertainment industry

Page 32: Stories to make you smile -- a baby girl and her puppy double up on cuteness, a 12-year-old raises money to buy laptops for kids in need

Page 35: People Picks -- Shadow and Bone

Page 36: Home Economics, One to Watch -- Kung Fu's Olivia Liang

Page 37: Things Heard & Seen, Life in Color with David Attenborough

Page 38: The Mitchells vs. the Machines, Couples Therapy

Page 39: A Black Lady Sketch Show, Eric Church -- Heart & Soul, Q&A with Chelsea Frei

Page 41: Books

Page 42: Cover Story -- Prince William and Prince Harry united in grief -- after a difficult year apart, the brothers come together to honor their grandfather Prince Philip

Page 50: Jennifer Lopez and Alex Rodriguez -- why they couldn't make it work -- after four years together, the power couple are officially split. What went wrong, and what's next for the stars

Page 52: Vanished: Help Us Find These Kids -- the families of these missing children desperately hope to find them, and authorities could be just one clue away from bringing them home

Page 59: Tom Jones -- life is more precious every day -- the music legend opens up about healing after losing his wife of 59 years to cancer, and why he never wants to slow down

Page 62: Julianna Margulies -- what I know now -- from a tumultuous childhood to fame and fortune (and crushing on George Clooney along the way), the wife, mom and Emmy winner, now out with a memoir, reflects on her lucky life

Page 66: Cindy McCain -- love, loss and life after John -- three years after John McCain's death, his widow shares the ups and downs of life at his side, and how she's finally coming into her own

Page 70: Michael B. Jordan -- I'm in a great place -- halfway into his reign, the Sexiest Man Alive is living his action-movie dream, and he's in love

Page 75: Why I'm Grateful for the Vaccine -- a double dose of destiny -- their 1955 polio vaccinations made the local news. Now they're married, and celebrating their COVID-19 vaccines

Page 77: Mother's Day Gift Guide -- celebrity moms choose perfect presents to give (and get) -- Kate Hudson

Page 78: Ayesha Curry

Page 80: Amanda Kloots

Page 83: Spring's Big Jewelry Trend -- beaded pieces are everywhere right now

Page 88: One Last Thing -- Elizabeth Perkins

[tiriansjewel]

Rating All The Main Little Women Adaptations

Little Women (1933)-

This is probably my least favorite adaptation, not because it’s strictly bad, but mostly because it’s so old. You can definitely tell that this was made for an audience in the 1930s. Katharine Hepburn plays a very stereotypical, tomboyish Jo, and her performance is good, but in general I’ve only seen this movie one time and don’t have any desire to repeat the experience. However, if you like old films, if you like Katharine Hepburn, or if this movie is simply nostalgic for you, I can see how this would be something you might pop on every now and again. 5.5/10

Little Women (1949)-

So... I have a lot of mixed feelings on this adaptation. This is the adaptation of Little Women that I grew up watching, so I’ve seen it many times, and it has a huge nostalgia factor for me. I really love June Allyson’s Jo. Again, you can tell that this movie was made for an audience in the 1940s, but I connected a lot more with Jo’s character development in this as opposed to 1933. Peter Lawford was okay as Laurie, but I can’t get over the fact that he looks 35 and he’s supposed to be 16. Jo and Laurie do have lovely chemistry in this movie however, and I love the scene when they meet. I quite enjoy Janet Leigh’s Meg, although her character is rather poorly developed. Elizabeth Taylor’s Amy... is... not my favorite. I don’t hate it, but she always felt very artificial to me. Lastly, the decision to make Beth drastically younger than the other sisters was not good in my opinion. She just felt like a little fragile baby bird the whole movie, like they were setting her up to die, rather than being one of the sisters. All in all though, this movie is good if you want to watch a nice feel-good film. It has nostalgia factor for me and it’s definitely a fun movie if you can look past the humanity of the story and get lost in the music and joy. 6/10

Little Women (1994)-

Where to even begin... There are so many things I love about this movie, and so many things I dislike. Firstly: likes. I love Winona Ryder’s Jo. It’s the first time we’ve seen an on-screen Jo portrayed as a human and not just as a tomboy. She is clearly the hot-headed, independent intellectual that we all know, and yet she does have a kindness about her. Claire Danes is easily my favorite Beth in any adaptation. The emotion she shows when given the piano, when she is handed the sick baby at the Hummels, and when she is dying and Jo is at her side... completely unmatched. Her delivery of the line “I shall be homesick for you, even in heaven” always makes me sob. I also love Susan Sarandon’s Marmee, although at times it feels like her character is trying to be a bit of a political statement. Christian Bale as Laurie was also a good decision for the most part. I like that they made Amy an actual child in this film, so that her spoiled brat actions actually make sense, plus Kirsten Dunst is fabulous. I don’t have much positive or negative to say about Meg. I also like the subtle details about the time period, like the insinuation that the March’s were transcendentalists, because it shows that we’re really in the 1860s. All in all, the setting, aesthetic, and soundtrack to the film are very good, and it’s nice to finally see an adaptation that is filmed outside of a set. Now, dislikes. All of the relationships in this film and their portrayals, except for Jo and Prof Bhaer, are... not great. Firstly, Laurie’s proposal to Jo is so weird and creepy and not at all what I imagined reading the book. Sure, the first two proposal scenes from 1933 and 1949 were very overdramatized and obviously acted, but the first thing Laurie does to reveal his feelings to Jo in this film is to kiss her, after she repeatedly says no. Then after this, we get an extremely out-of-breath Christian Bale (rather poorly) delivering lines to an exasperated Jo. The way they film this entire movie also paints Jo to be in love with Laurie, and so when Jo refuses, it feels like she’s just making excuses. I do not like it. The other creepy thing is (again) an obviously adult Laurie bringing an obviously child Amy to Aunt March when Beth is sick. During this carraige ride, Amy remarks that she doesn’t want to die without having been kissed, and Laurie promises her that he will kiss her before she dies. I know this is meant to be “cute” and if Laurie had looked 17 and Amy had looked 14 I probably would have agreed, but Christian Bale looks 25 and Kirsten Dunst looks 12. That entire scene was weirdly sexual and made me very uncomfortable. In addition, John Brooke and Meg full on making out in the front lawn during the family Christmas dinner. I just... did not find any of this charming and wish that these scenes hadn’t been sexualized like they were. Am I crazy for thinking they are? Anyways, besides this, I enjoy this film, it’s a good movie to watch over Christmas or in the spring when it’s raining. I love Winona Ryder with all my heart and soul and this movie will always have a special place in my heart. 7.5/10

Little Women (2019)-

Finally, we arrive at the newest, and in my opinion, best adaptation. Firstly, the cast for this film is amazing, with Saoirse Ronan as Jo, Emma Watson as Meg, Florence Pugh as Amy, Eliza Scanlen as Beth, Timothee Chalamet as Laurie, and Laura Dern as Marmee. This was made with a non-linear narrative, meaning the story isn’t told in order but instead in corresponding scenes that are years apart. At first, the format confused me, as I did not expect it, but on a second viewing, I appreciated how genius and subtle the parallels from scene to scene are, and how they really enhance the movie as a whole. This movie also brings in the most scenes from the book, showing Meg in her marriage to John Brooke, Amy’s buildup to her marriage to Laurie in Europe, and Mr. Laurence and Beth’s fatherly friendship. I feel that, in general, the way the characters were written was very accurate to the book, even if some scenes and plots were slightly changed for time and continuity. Again, Jo has the duality of hot-headed, wild, independence and kind-heartedness seen in the 1994 movie, but I really appreciate the way Jo was written in this movie. I never feel like she sees Laurie as anything more than a brother, and I feel like her transition from an idealistic teenager to an adult dealing with the loss of her sister is way more human and natural. Her relationship with Marmee is much better developed in this movie, which leads to scenes of Jo confiding in her mother, and these felt very realistic and reminded me of my relationship with my mom. Emma Watson is my favorite Meg, and this is probably because Meg’s character is so much better developed. Her shame when telling John Brooke about the dress fabric is palpable, and her discontentedness with being poor is very obvious. In other films, Meg has been pragmatic and has borne her troubles easily, but here we find her struggling, and it makes her more human. I also love how she realizes that she is truly happy with her husband, not money, and I really love how they wrote Meg in general. Beth’s character arc was great, although not as good as Claire Danes’s Beth, in my opinion. I love how they build Mr. Laurence and Beth’s relationship, and I love how you can tell that Beth is just as strong-willed as her sisters, she is just more quiet about it. She has a strong conviction to do what is right, like going to the Hummels, and the scene of her and Jo by the sea was one of my favorites in the film (and in the book!).

Moving on to Amy. I am SO happy that we finally have an Amy that everyone loves. I had always felt frustrated because previous adaptations have focused so much on the earlier parts of the book that viewers only ever saw Amy as a childish little brat who burned Jo’s book, not as a girl who grows up to become an elegant, strong, and graceful woman. Although Florence Pugh is clearly a 24 year old woman, I did not feel a disconnect when she was trying to play a 12 year old Amy. She was so hilarious and endearing, especially as her little crush on Laurie is so obvious. And the typical sister fight between her and Jo is so accurate to real sibling fights (my favorite line being “Don’t look at me like that!” to Beth). You dislike her for burning Jo’s book, but you also want to accept her apology. And her calm, yet firm attitude towards Laurie when they’re adults is beautifully done, especially as she’s so obviously in love with him. In short, Amy finally got what she deserved. Lastly, Laurie. Timothee Chalamet is my favorite Laurie, hands down. First, he looks the part, because he seems to be 19 instead of 35, and also, he acts like a typical teenage boy. When he confesses his love to Jo, you can tell that he truly cares for her and is experiencing his first heartbreak. It isn’t full of lust, rather it’s full of genuine emotion and raised voices and talking over one another, and this was truly needed after so many weirdly overdramatized proposals. You can also see that his love for Amy is real, and that she’s not just a replacement for Jo. Finally, he grows into a man, who has a wife and a child seen at the end of the film, something that I feel has not happened in previous films. In general, I felt like this adaptation did a PHENOMENAL job of portraying human relationships. The way the sisters talk over one another and tussle around the floor and hug one another and are just in relationship with one another is so natural and realistic. Marmee’s relationships with her kids. The romantic relationships are healthy and loving and yes, have chemistry, but aren’t sexualized or over the top. This movie is a new classic, and I plan to watch it many more times. I highly recommend this if you haven’t seen it yet. 9/10

So anyway, if you read this far, wow. I hope you enjoyed my opinions and found them useful. Have a good day.

[themusicsweetly]

[Anonymous submitted] :  Sarah, as you know, Cait has received great reviews about her performance in FvF, so I collected a few you may like to read, maybe post and share with your followers. There are many more showcasing her wonderful performance which warms my heart, because she’s such a phenomenal actress. Her IMBd score jumped to #17 this week, proving that more and more people are searching her. Enjoy. ❤️👏💥

—————

Hello again, Anon! Thank you so much for yet another wonderful submission! Honestly, if I were a professor and this were a research paper you submitted, I’d be seeing if there were a grade higher than A+ for you.

This is an incredible list of glowing reviews for Caitriona! I’m so glad that so many publications saw this movie and immediately saw what we’ve all been seeing: that Caitriona is a force to be reckoned with in her acting! To be in a film with names like Christian Bale and Matt Damon was impressive enough already, but to be compared as their equals in a role that could otherwise have been overlooked is hugely telling of what Caitriona brings to Mollie Miles’s character.

That’s also really cool about her IMDb popularity. Hopefully people are looking her up, finding out about Outlander and seeing even more of her amazing skills and rooting for her to be in other upcoming roles. 

There are so many great descriptions on this list, but is one my favorites list:

Balfe makes the most of her limited but crucial screen time, going toe-to-toe with Christian Bale with much of the same self-possession and strength she displays in her starring role as Claire in the TV series Outlander. (x)

And another:

As great as Bale and Damon are, Balfe is right up there with them. (x)

I hope you don’t mind, I’ve reformatted them a bit and put the majority of the reviews below a cut, just because it’s such an extensive list. Which is INCREDIBLE!

Again, thanks so much for taking the time to compile this list! Cheers, Anon!

[Anon’s Submissions] :

While Bale should definitely be a favourite to receive a “Best Actor” nod at next year’s Oscars, it's Caitriona Balfe as Ken’s wife who steals the show in many respects. A perfect match for her headstrong husband, she delivers some of the movie’s biggest laughs and proves to be an undeniable highlight. Throw in stellar supporting performances from the likes of Jon Bernthal, Tracy Letts, and Josh Lucas, and it’s fair to say Ford v Ferrari boasts one of the best casts of any 2019 release. (x)

Caitriona Balfe is perfectly cast as Mollie Miles, and shows her great strength, intelligence and power. She is able to provide just the right touchstone for her unpredictable, wild husband. (x)

Caitriona Balfe plays Ken’s wife Molie and delivers a solid performance as a wife to match the energy and charisma of Bale. (x)

The chemistry between him and his wife, played by Caitriona Balfe, also works wonders on screen, and we buy into everything these characters do. (x)

Caitriona Balfe excels as Mollie, the tough-as-nails wife of of Ken and the only one able to really keep him in line, whilst running the household in his absence. Balfe makes her presence known when she’s on screen, commanding the scene as she does all she can do to ensure her husband fulfills his destiny. (x)

Caitriona Balfe is playing one of the only female speaking performances in the film, and while it is Mollie Miles, wife to Ken, it is no less of a meaty and vitally important one. Balfe has this inherent beauty in her voice and a physicality that invites you into her world and instantly puts you on her side no matter what. As great as Bale and Damon are, Balfe is right up there with them. (x)

The casting is impeccable and I’m not just talking about the leads. With Caitriona Balfe as Mollie Miles, Tracy Letts as Ford II, Bernthal as Iacocca and the villain turn from Josh Lucas as Leo Beebe, this film is plush full of top-notch acting. (x)

Every time Damon or Bale were on screen, they commanded that scene and proved why there were the best actors in the business. When they were on screen together, their chemistry was also excellent. Jon Bernthal and Caitriona Balfe were also some standouts in supporting roles. (x)

The film also stars Caitriona Balfe and Noah Jupe. They play Miles’ wife and son respectively and I can’t praise their performances enough. Balfe is probably my favourite part of the film aside from Bale. She’s nuts. Ken Miles was always a car nut and she’s almost as obsessed as he is. It’s incredibly entertaining to watch how their relationship is portrayed. They have confrontations but they almost completely understand each other as people, support and listen to one another. It’s refreshing to see a healthy, loving relationship like this portrayed in the film. (x)

All of this comes across, not because of the action sequences, but because of a well written script performed by an outstanding ensemble of actors, which is then brought together by Mangold’s vision of the material.  Never before have I seen a film about racing where the characters seemed so alive. Even the relationship between Ken and his wife Mollie (Caitriona Balfe) and their son Peter (Noah Jupe) adds another emotional layer to the proceedings where the pressure to win is contrasted with the need for him to also come home. (x)

Caitriona Balfe - she did it for me - she was magnetic, enabling character - she gets joy seeing him racing - she’s sexy, fully born character, their relationship is great -has her own beliefs - doesn’t back down. (x)

Caitriona Balfe’s supporting performance as Mollie Miles is simply a delight, and the dimension that her and Noah Jupe (Peter Miles) adds gives “Ford v Ferrari” the substance that helps elevate it into the ‘Best Picture’ conversation. (x)

The biggest surprise of the movie is Caitriona Balfe (Outlander) giving her own charisma and heart to Miles’s wife, Mollie. She not only understands the drive that pushed Ken, but admirably encourages it. (x)

Caitriona Balfe imbues Mollie, the wife and mother pining for Miles’ safety at home, with grit and headstrong allure. (x)

The supporting performances provide Bale and Damon with solid backup. Best of the bunch is Outlander’s Caitriona Balfe as Miles’ wife, Molly – a turn that adds some real heart, humour and human interest, piercing some of the machismo in an otherwise very bloke-heavy film. (x)

And there’s this constant wonderful dramatic tension in the film. The only quiet moments I know you’re a fan of in the film are between Ken Miles and his wife. Yes, Matt Damon and Christian Bale, this is the movie about these two people who were the center of Ford’s effort but there’s a 3rd character who really makes this movie.  Yes, they made a really shrewd decision and they executed it very well. Irish actress Caitriona Balfe plays Miles’ wife Mollie and she is able to stand up to him in the most wonderful ways. I was thinking about it this morning, it being like Bogart and Bacall. They have this great back and forth relationship. She is really right there holding your attention. The scenes between the two of them are some of the best in the film. (x)

Caitriona Balfe is the perfect balance of enchanting, vulnerable, gritty and timeless. (x)

Miles’ love for the sport, and more notably his family comes across marvelously through Bale’s performance, especially when in conjunction to his onscreen family of Noah Jupe and the excellent supporting Caitriona Balfe. (x)

But the two that were my favorites outside Bale and Damon were Noah Jupe and Caitriona Balfe as Ken’s son and wife, where the family dynamic worked in a way that I wasn’t expecting. Outlander actress, though the only main actress throughout, surprised me with the range she brought besides being the typical housewife. (x)

Let’s talk about the actress who played his family because they’re fantastic too. Caitriona Balfe, she plays his wife Mollie Miles. I really liked this actress.I really liked her performance. She has some scenes with Christian Bale in a car where they have an argument. It’s just a scene with a wife and a husband having an argument of sorts and it’s just riveting. It’s just so well done. (x)

Caitriona Balfe’s supporting performance as Mollie Miles is simply a delight, and the dimension that her and Noah Jupe (Peter Miles) adds gives “Ford v Ferrari” the substance that helps elevate it into the ‘Best Picture’ conversation. (x)

And gotta make a mention of Caitriona Balfe, she stood out a lot to be honest. She plays Bale’s wife in the film and was extremely magnetic, adorable, badass and lovely. They have some very touching scenes that were honestly some of the best in the film. (x)

In a movie set in the male-dominated world of 1960s racing, the lone female co-starring role of Ken’s wife Mollie Miles goes to Caitriona Balfe. Balfe makes the most of her limited but crucial screen time, going toe-to-toe with Christian Bale with much of the same self-possession and strength she displays in her starring role as Claire in the TV series Outlander. (x)

Everything from the acting — Caitriona Balfe as Ken’s wife, Mollie nearly steals the show from Damon and Bale — to the screenplay, editing, cinematography, and sound design. (x)

Caitriona Balfe delivering the goods and more despite only having a small role. (x) 

Also front and center almost immediately are Peter Miles (Noah Jupe), the young son the racer is very close to, and — taking pride of place as the film’s secret weapon — Miles’ wife, Mollie. Dynamically played by Irish-born Caitriona Balfe (TV’s “Outlander”), Mollie is unquestionably Ken’s equal, a match for him in Bogart-Bacall type banter and, as it unexpectedly turns out, behind the wheel. To place a convincingly strong and formidable woman in this very male universe was one of “Ford v Ferrari’s” best ideas, and the film has the good sense to return to the couple again and again. (x)

The rest of the cast is full of standouts. Caitriona Balfe likewise terrifically balances varying degrees of loving support and stress over the prospect her husband might die in flames any day, in a role of more depth and impact than usual for the “dutiful spouse” role so common in films of this sort. (x)

The actress who plays Christian Bale’s wife is fantastic. I had not seen her in anything before. Her name is Caitriona Balfe and she was fantastic. Their whole relationship and dynamic was great. (x)

 And while Bale and Damon garner most of the screen time, four-time Golden Globe nominee, Caitriona Balfe (Outlander), keeps both lead characters in check as the boys wind up in fisticuffs as they struggle to make their shared dream a reality. (x)

Actress Caitriona Balfe also makes a great impression as Mollie, the supportive wife of Ken Miles. She doesn’t have a lot of scenes but manages to dominate the screen whenever she’s on camera. (x) 

The film brings you into it; you’re seated next to Milesor feeling the anxiety of Mollie Miles (Caitriona Balfe) as she fears for her husband’s safety. But it is she who is the strongest of the pair, showing a resiliency and level-headedness that her counterpart needs so very much. (x)

Bale’s performance is the petrol (sorry, sorry!) that keeps this puppy purring, and of particular note are the scenes he shares with his wife Mollie (an excellent Caitriona Balfe) who sternly accepts her speed-freak husband’s desire to risk life and limb on the track. (x) 

Irish actress Caitriona Balfe as Miles’s wife Mollie provides a strong foil to her husband’s headstrong ways. (x)  

Caitriona Balfe is wonderful as Mollie Miles, who in real life was something of a gear head herself and isn’t one of those movie wives whose main function is to keep asking her husband to give up his dangerous job. Mollie tells Ken she knows the risks, and she knows he’s going to take those risks. She only asks he doesn’t lie to her and pretend he doesn’t love the job. Chicago Sun Times - Richard E Roeper

The family scenes serve as a tender counter to everything else, adding poignant sentiment to an otherwise testosterone-laden thrill ride, not only between Ken and his wife Mollie (Outlander’s Caitriona Balfe, who’s superb) but also with his son Peter (Noah Jupe, A Quiet Place). (x)  

The performances of the film literally drive the film forward. Each character, large or small, had a purpose throughout this film. Caitriona Balfe does a wonderful job as not only Ken’s wife but as her own character as well. She does not dwindle down to a throwaway character and is given a true arc. (x)

Balfe, so soulfully romantic on TV’s Outlander, and Jupe, a wonder in Honey Boy, have the goods to make us understand and care. (x) 

Caitriona Balfe is excellent as Molie, Miles’s wife and important in maintaining her husband’s mental health, always stealing the scene. (x)  

An actress won’t have much to do in a film about racing cars but Caitriona Balfe makes her presence felt in her small but important role. (x)  

Caitriona Balfe, making her strongest big screen impression to date. (x)  

Caitriona Balfe was a refreshing heart beat to the movie, that I was looking for and I found it within her.  She’s always in the back of your mind while you’re watching and when she comes on screen. She’s a breath of fresh air and \the heart beat that keeps this movie going, keeps Ken going, inspires him to do better. I really liked her performance. (x)  

Bale gives another great performance as Ken, a World War II vet who gave his best years to the military and felt left in the dust when he returned to racing. Fortunately, he has a supportive wife, Mollie (the sublime Caitriona Balfe), an unconventional woman for her time. She’s her husband’s biggest fan, but she’s no doormat. (x)  

The scenes with Miles and his family are some of the movie’s very best.  Featuring ace support from Caitriona Balfe as Miles’ understanding and determined wife Mollie. (x)

It’s worth noting Irish actress, Caitriona Balfe stands out not only as the lone female in the film, but is a dynamic presence and perfect complement to the film’s temperament and consistent soul as Miles’ supportive wife. (x)  

Shelby’s faith in Miles’ abilities is mirrored in Miles’ spirited wife, Mollie (Caitriona Balfe), and his proud son, Peter (Noah Jupe). He is humanised by the presence of his son and wife. Caitriona Balfe is a fantastic actor, and even though she doesn’t have an extensive role (the film’s about men and cars duh!), she infuses it with zest. Two scenes in particular are my favourites—one, where she loses her sh*t at Miles while driving a car, enough to make a racer queasy. And another, when Miles and Shelby get into a ridiculous fight and instead of doing anything, her Mollie plonks a chair in the garden and watches the men fight like kids! (x)  

The only female character in the movie is portrayed by Caitriona Balfe from Outlander. Great performance. She’s and the son are the core of the dramatic moments. (x)

It is impossible not to fall in love with Mollie Miles, Ken’s understanding and temperamental wife - embodied by Caitriona Balfe. (x) 

There are so many little cameos in this movie that make it worth watching. Caitriona Balfe, as Mollie Miles, Ken’s wife, has precious little screen time — she doesn’t need much to have an impact. (x)  

Balfe is nothing short of fantastic when she admits that she loves the smell of burnt rubber and gasoline. When Mollie visits her husband in the shop where Miles works on cars and finds out that he secretly listens to the radio about how Ford is doing during the race, she has a bottle that she drinks with him. (x)  

“Balfe’s wry humour and delicate execution pretty much steal the scene”- The Sunday Times UK, November 10 2019

The supporting cast might not be filled with household Hollywood names, but this cast is without doubt one of the best ensembles you’ll see all year. Noah Jupe - A Quiet Place and Caitriona Balfe - Outlander as Miles’s son andwife will have many viewers look up their names on IMBd.  Balfe stands her ground with her mesmerising charisma. Her chemistry with Bale feels so naturally initiate, as if they’re a married couple in real life - I found myself smiling every time they interacted with each other - magical. (x)

Contributions of actors like Tracy Letts and Caitriona Balfe have to be acknowledged. The supporting roles are key to the story’s success. Balfe superbly portrays Mollie Miles. As hard-nosed as her husband, she was the rock in his life. Her scenes with Christian Bale help anchor Ford v Ferrari.  This is a developed emotional attachment that makes the third act quite impactful. (x) 

Caitriona Balfe as Miles’ spry wife Mollie and Noah Jupe as Mile’s concerned son Peter are natural and engaging. They add heart to the tale. (x)

Balfe, though she doesn’t have a heap of screen time, is forceful in all she does. Annoyed with Ken, Mollie guns their station wagon at such a furious clip that even he, seated beside her, begs her to slow down. And Balfe is there again, in the movie’s best scene—no cars, no crowds, simply a sunny day in suburbia. Shelby shows up at the Miles residence, and Ken, who has a beef with him, clonks him on the nose; soon the two of them are slugging it out on a patch of grass across the street. Mollie emerges, takes one look, and, instead of rushing over to stop them, fetches herself a garden chair and calmly settles down with a copy of Better Living to watch the bout unfold. (x)

[aion-rsa]

Upcoming Marvel Movie Releases: Complete MCU Phase 4 Schedule

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We’ve got everything you need to know about the upcoming Marvel movie(and TV!) schedule all in one place! The Marvel Cinematic Universe plan now stretches all the way to 2023 (and beyond). The amazing thing is, it’s even more ambitious than we anticipated, with new movies getting announced all the time. It looks like even something on the massive scale of Avengers: Endgame was only the beginning. How can anything ever be bigger than that crazy Avengers: Endgame finale?

Well, it looks like we’re going to find out…eventually.

We’ve compiled as much information as we can find on every Marvel movie coming out in the next few years in a handy release calendar for you. This is where you can check out all the details on Marvel Phase 4 and beyond. You probably want to know a little more about the future of the MCU and all the other Marvel movies in development. Well, we’ve got you covered! However, be advised, almost every single MCU Phase 4 date has recently shifted because of the ongoing coronavirus pandemic which is wreaking havoc with every industry in the world, so update your calendars accordingly!

These dates have already shifted several times recently, and the most recent changes affect Black Widow, Eternals, and Shang Chi and the Legend of the Ten Rings. Don’t be surprised if they continue to move as things develop with the pandemic, but hopefully by the time Black Widow is ready to come out, we’ll have reached the end of this nonsense.

WandaVision

release date: Jan. 15, 2021

Yes, technically this isn’t a movie release, but with all of the release date changes, and the fact that it has been over a year since the last actual MCU release, we’ll take the good stuff where we can get it. And make no mistake, WandaVision very much appears to be the good stuff.

Ever wonder what happened to Wanda after she went all Scarlet Witch on Thanos in Avengers: Endgame? Well, you’re gonna find out in WandaVision, which appears to depict a grief-riddled Wanda dealing with the death of Vision in less than healthy ways.

Elizabeth Olsen is, of course, back as Wanda, and so is Paul Bettany as the Vision. This show is going to have serious ties to the MCU, with elements that will be important for Doctor Strange and the Multiverse of Madness and Captain Marvel 2 having prominent roles. The trailer is packed with MCU strangeness, which we wrote about here.

WandaVision is the first of a number of MCU focused shows coming to Disney+ over the next year. 2021 will then (hopefully) bring us Falcon and the Winter Soldier and Loki. Since these will also be vital to the future of the MCU, we’ll add them to this calendar as they get release windows and/or trailers get released.

The Falcon and the Winter Soldier

release date: March 19, 2021

“The legacy of that shield is complicated.”

Yes, it is. And we’re going to find out just how complicated when Sam Wilson and Bucky Barnes reckon with the legacy of Captain America in The Falcon and the Winter Soldier on Disney+. Here’s the official synopsis for the series…

“Following the events of Avengers: Endgame, Sam Wilson/Falcon (Anthony Mackie) and Bucky Barnes/Winter Soldier (Sebastian Stan) team up in a global adventure that tests their abilities—and their patience—in Marvel Studios’ The Falcon and the Winter Soldier.”

Yes, like WandaVision, this isn’t a theatrical release, but also like that show, this is far too important to the future of the MCU to ignore.

Morbius

Release Date: March 19, 2021

Spider-Man spinoff Morbius is Sony’s next big Marvel release, and it’ll officially be the first spinoff to properly connect to the MCU.

Safe House‘s Daniel Espinosa directs from a script by Matt Sazama, Burk Sharpless, Art Marcum, and Matt Holloway, as former Joker Jared Leto plays the anti-hero biochemist who finds a cure for his rare blood disease by using vampire bat blood. As you can imagine, there are consequences: he turns into a living vampire, for one. 

Um…don’t be surprised if this one ends up moving off this date at some point at the rate we’re going.

Read more about the character of Michael Morbius here, and find everything you need to know about his upcoming movie, right here.

Black Widow 

Release Date: May 7, 2021

The Black Widow movie was heading for a May 1, 2020 release before the coronavirus outbreak, but Disney and Marvel have decided to delay it until the industry’s infrastructure is back to some semblance of normal. First they bumped it to November, but now we have to wait almost a full year from that originally scheduled date before we see Natasha and friends. Disney and Marvel Studios seem absolutely committed to keeping Natasha on a theatrical release rather than sending her to Disney+.

Cate Shortland directed the film, and Scarlett Johansson stars, with Florence Pugh and David Harbour alongside her. One of the movie’s villains is Taskmaster, and we wrote a little bit more about him right here.

Natasha Romanoff will get a prequel movie of sorts here, as we catch up with Widow around the events of Captain America: Civil War. Will the plot affect her character’s ultimate fate in Endgame? Do not count on it.

We have more information on the Black Widow movie right here.

Loki

release date: May 2021

Tom Hiddleston will reprise his most famous role, as Loki finds himself on a heist through time and space after the events of Avengers: Endgame! Oh, and based on this trailer, there’s all kinds of weirdness awaiting, including the return of Heimdall, some other Asgardian hijinks, and…Loki running for President!

Look, he couldn’t possibly do a worse job than the guy who’s been there for the last four years so…Vote Loki!

Venom: Let There Be Carnage

Release Date: June 25, 2021

Andy Serkis (Mowgli) steps behind the camera for Venom 2, which now boasts the catchy title of Venom: Let There Be Carnage, replacing Ruben Fleischer as director this time around. The first film, buoyed by a terrific showing at the Chinese box office, made an absolute ton of money, despite being released to mostly scathing reviews.

Venom 2 will follow up Sony’s 2018 Spider-Man-less spinoff film, but will likely be more connected to the MCU this time around, thanks to a renewed deal between the company and its Marvel Studios partners. Tom Hardy will return as Eddie Brock, of course, and as you can probably guess from that title, he’ll be facing off against Woody Harrelson’s villain, Cletus Kasady aka Carnage!

This one was originally tentatively scheduled for October, 2020, but has been shuffled away for the moment as studios continue to move release dates around because of the ongoing coronavirus pandemic.

Read everything else you need to know about Venom 2.

Shang-Chi and the Legend of the Ten Rings

Release date: July 9, 2021

Simu Liu has been cast as the titular Shang-Chi and Tony Leung as The Mandarin (hey, that name sounds familiar! But this time, we’re getting the real Mandarin on screen). Destin Daniel Cretton is directing from a script by Dave Callaham. Given its “Ten Rings” title, Shang-Chi should be steeped in Marvel lore!

This has been delayed twice. Let’s hope that’s the end of it. At least it has resumed production!

We have more info on the Shang-Chi movie right here.

The Eternals 

Release Date: Nov. 5, 2021

The Eternals has completed principal photography and is on post-production. Chloe Zhao is directing from a script by Matthew and Ryan Firpo. 

The cast features Richard Madden as Ikaris, Kumail Nanjiani as Kingo, Lauren Ridloff as Makkari, Brian Tyree Henry as Phastos, Salma Hayek as Ajak, Lia McHugh as Sprite, Don Lee as Gilgamesh, Angelina Jolie as Thena, Gemma Chan as Sersi, and Kit Harrington as Dane Whitman, the Black Knight.

This one was another victim of the release date shuffle, having moved from February of 2021 to November of that year. We’ll get to see Jack Kirby‘s wildest creations eventually!

You can read more about The Eternals movie right here.

Spider-Man 3

Release Date: Dec. 17, 2021

While the next Spider-Man movie doesn’t have a title yet, it’s happening, and the best news of all is that it’s happening in the MCU! Marvel and Sony solved their differences, good sense prevailed, and Tom Holland’s Peter Parker will remain a vital part of the Marvel Cinematic Universe.

This one, well…this might be a live action Spider-Verse movie from the sound of it. Jamie Foxx will reprise his role as Electro from the maligned Amazing Spider-Man films and Alfred Molina will return from the Raimi era as Doctor Octopus. Wait. Are they trying to make this a multiversal Sinister Six movie? Because…we could be down for that.

Thor: Love and Thunder

Release Date: Feb. 11, 2022

Taika Waititi, who gave us the delightful Thor: Ragnarok, will return to write and direct. Chris Hemsworth will be back, but will it be as Thor? Natalie Portman is your new Thor (yes, you read that right, Jane Foster will wield the hammer…just as she did in the comics!). Christian Bale has also joined the cast as the terrifying Gorr the God Butcher.

We have more info on Thor: Love and Thunder right here.

Doctor Strange in the Multiverse of Madness

Release Date: March 25, 2022

Doctor Strange in the Multiverse of Madness looks like it will open up the storytelling possibilities in the MCU like never before. And that’s just based on the name alone. Scott Derrickson was scheduled to direct, but has bowed out because of “creative differences” with Marvel. But the good news is that Marvel found a suitable replacement in none other than Sam Raimi, who of course has plenty of superhero experience thanks to his Spider-Man trilogy in the early 2000s!

This one has loads of connections to the wider MCU. Elizabeth Olsen will be here as Scarlet Witch, and the film will also connect to the untitled Spider-Man 3 and its own multiversal ambitions. There are also a few rumors doing the rounds that Jericho Drumm aka Brother Voodoo could be introduced in this sequel. We’ll keep an eye on that and update this if there’s any substance to them.

We have more information on Doctor Strange 2 right here.

Black Panther 2 

Release Date: July 8, 2022

Black Panther 2 is still on Disney’s release schedule, despite the tragic, untimely death of star Chadwick Boseman. Marvel has made it official that they have no intention of recasting the role of T’Challa, which is absolutely the right move.

Ryan Coogler will return as director, but there are no other details currently available. We have more information on Black Panther 2 right here.

Spider-Man: Into the Spider-Verse Sequel

Release Date: October 7, 2022

Is it technically an MCU movie? Nope. But with all the legal weirdness going on between Marvel and Sony, and this franchise’s very multiversal concept, who’s really to say that it ISN’T an MCU movie either, right? In any case, the sequel to the best Spider-Man movie of all time is coming in 2022 with Avatar: The Last Airbender mastermind Joaquim Dos Santos directing and David Callaham writing.

There’s also an “untitled Marvel movie” still technically scheduled for this date but…that is almost certainly not gonna happen now. Expect whatever that project was to move to one of these below dates or to some other currently unspecified date on the calendar.

Captain Marvel 2

Release date: November 11, 2022

WandaVision writer Megan McDonnell has been tapped to write the screenplay for Captain Marvel 2. You know what else is really cool? Candyman‘s Nia DaCosta will direct!

We have no idea where we’ll find Carol Danvers (Brie Larson) in the sequel to her hugely successful first standalone MCU entry. Will she be fighting to loosen her former Kree pals’ iron grip on a pre-Avengers galaxy? Or will the follow up film see her fighting for justice in the present?

Read more about Captain Marvel 2 here.

And then there are still some dates that Marvel has announced that they have yet to match projects to. Those dates are…

Feb. 17, 2023

May 5, 2023

July 28, 2023

Nov. 3, 2023

Some of those dates could very well be good fits for the following films…

Ant-Man and the Wasp: Quantumania

Peyton Reed will return to direct the third installment of the Ant-Man saga, perhaps the most unlikely trilogy in Marvel’s entire arsenal. Paul Rudd will return as Scott Lang, and you can almost certainly expect Evangeline Lilly to return as The Wasp and Michael Douglas as Hank Pym.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The villain of the film? That will be Kang the Conqueror, who will be played by Lovecraft Country‘s Jonathan Majors. The inclusion of Kang opens up all kinds of interesting possibilities for the MCU, and may even tease the arrival of the Fantastic Four down the line! We wrote more about those possibilities right here.

We’re also going to need fast confirmation on Michael Pena’s return as Luis, though. Luis is key…

This will probably slide in to one of those 2023 release dates above.

Blade

Well this one was a surprise. In 2019, Marvel announced that they will be rebooting the Blade franchise with Mahershala Ali playing the titular daywalker. Ali’s True Detective co-star – and former Blade villain – Stephen Dorff is excited to see what he can do with the character, and so are we.

We have more info on Blade here.

Deadpool 3

Wendy Molyneux and Lizzie Molyneux-Loeglin will be the writing team tasked with bringing the Merc with a Mouth to the MCU. What a Deadpool 3 could look like in the interconnected Marvel Cinematic Universe is, of course, anybody’s guess, but if anyone can crack wise about the follies of this kind of corporate synergy, it’s Ryan Reynolds.

Fantastic Four

The MCU Fantastic Four movie is finally happening! Marvel’s first family will join the Marvel Cinematic Universe in a film directed by Jon Watts, who did such a wonderful job with the first two MCU Spider-Man movies. That’s all the information that’s out there at the moment, but as soon as we have more, we’ll update this.

We have our own theories on why Marvel went with the Fantastic Four before the X-Men, but that’s another story.

Guardians of the Galaxy Vol. 3 

Avengers: Endgame left the team in an interesting place. We broke down some of the story possibilities right here.

After a tumultuous period which saw James Gunn fired and then rehired as Guardians of the Galaxy Vol. 3 director, he will become the first Marvel director to ever complete a trilogy for the studio. However, Gunn can’t even begin filming Guardians 3 until he finishes production on The Suicide Squad for DC, as well as an HBO Max Peacemaker prequel. Once those projects are finished, he’s free to return to the MCU.

We have everything else you need to know about Guardians of the Galaxy Vol. 3 right here.

And as for those others? Well, we’re still waiting on word on where Deadpool 3 will fit since that is (finally) official, as well as movies to bring the X-Men into the MCU. Could any of those 2023 dates do the trick? It’s very possible! And this doesn’t even account for all of the other MCU Disney+ TV shows that don’t have release dates yet like She-Hulk, Moon Knight, Ironheart, Secret Invasion, Armor Wars, and more!

We’ll keep updating this with new information as it becomes available.

The post Upcoming Marvel Movie Releases: Complete MCU Phase 4 Schedule appeared first on Den of Geek.

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[ibmiller]

Little Women (2019) Thoughts

After some frustrations (this movie sold out incredibly fast), I managed to see this new adaptation (not a remake, very much so) with my two youngest siblings, with whom I’ve read and discussed the book, and seen both the 1994 and 2017 miniseries. Briefly, all of us prefer the 94 film (with Winona Ryder as Jo and Christian Bale as Laurie), but all three versions, this one included, have many charms worth discussing.

To start with, this film avoids the recasting issue that plagues Amy in the 94 version by starting with Jo in New York, using a flashback structure (similar to, but much better utilized, as that seen in the 2011 Jane Eyre film). Though Amy is still way too old, Gerwig’s script and Florence Pugh’s performance don’t push the character into the kind of ludicrous unlikeability of having a clearly 20-something actress do things that 10 year olds would be ashamed of. The visuals are also glorious, much better than the trailer seemed to suggest to me - the scene in the valley where Laurie proposes to Jo was jaw-droppingly gorgeous in use of landscape and framing (though ever since 1995′s Sense and Sensibility, I’ve been worried whether landscapes in period drama are CGI. Ah, well). As noted previously, the structure also prevents one of the most obvious complaints that hit the 2017 miniseries very hard - that it’s a “remake” of the justly beloved 1994 film. By making a film that focuses so much on aspects that the 1994 film elides or omits, it’s clearly not a remake, but a new adaptation saying interesting things about the book (though, as I remarked to my brother, it’s almost like the “deleted scenes” version of the book, focusing on a lot of stuff that doesn’t seem to happen in the book, providing depth and motivation for the adult sections).

All this positives made the film quite enjoyable and worthwhile seeing. That is not to say there aren’t drawbacks. The chief complaint I have are the moments where my philosophical differences with Gerwig rub too hard the wrong way. The line about Marmee being ashamed of her country, Amy’s speech about coverture (though that is likely fairly solid in terms of feminist rhetoric of the time, and likely deserves more study by myself), which struck me more as commentary on what Gerwig thinks about her audience than about the book. More than these two notes, however, was the handling of the ending. I have no objection to the ending Alcott gave Jo (especially in light of Little Men and Jo’s Boys) - marriage to a man she loved (who I believe she loves, though I know that seems to be a minority position) as well as worldwide success as an author. Gerwig, on the other hand, deliberately implies that Jo gets the book, and the marriage is fiction demanded by her editor. (For more support for the Jo/Bhaer ending, I provide these excellent links - https://www.theparisreview.org/blog/tag/professor-bhaer/ - examining Bhaer in the books and films and provides great weight to the argument that Bhaer is more than just a commercial decision or “spiteful” whim as Gerwig claims - and https://www.youtube.com/watch?v=osdVRusNGgg, examining the way the 2017 miniseries handled the issue.) The way Gerwig handles Bhaer is very romantic - perhaps to the exclusion of his intellectual appeal for Jo, though his honesty about Jo’s potboilers is well handled - but when it becomes an intentional, obvious parody of the “airport scene” in a romcom and it’s revealed as a fake demanded by the editor, a sour note is struck. Everything works towards Jo/Bhaer being satisfying in the film, which makes the attempt at philosophical statement deliberately scolding the audience for wanting that satisfaction much more frustrating.

Well, I say everything works. There’s one element that is completely unnecessary, even though it had a lot of promise. Jo makes the impassioned speech about female ambition which made the trailers, and though excellent articles point out that it’s directly from another Alcott novel -  https://slate.com/culture/2019/12/little-women-movie-ending-explained-twist-jo-bhaer-married.html - normally would NEVER link to Slate, but this is honestly well argued on both sides, and I really appreciate Heather Schwedel’s take arguing in favor of the book and Jo/Bhaer). The speech doesn’t quite work for me - perhaps knowing that it’s from Alcott will help when it comes out on bluray, but it felt out of place. That quibble aside, unlike the trailer, the film has Jo end the speech with “But I’m so lonely.” Which I thought was a beautiful bit of nuance - showing the tension (often derisively mocked with the commentary about “having it all”) of ambition and the human desire for connection and community approval. That loneliness could have played well into a less ironic, above-it-all ending with Bhaer - but instead, Gerwig inexplicably decides to play Jo’s desire for Laurie some more, adding in a letter from Jo to Laurie begging him to propose again. I could sort of see the desire in Gerwig to play with the excellently handled Jo/Amy relationship, but it throws the emotions for a loop, and doesn’t work at all.

A few other moments don’t work quite as well. Jo’s writing of her novel - though perhaps, like the female ambition scene, was actually a common practice in novel writing of the mid-1800s, felt too much like a film pitching process instead of writing a prose narrative. That clash of artistic process wasn’t helped at all by the generic scoring of that section of the film by Alexandre Desplat. Perhaps unfairly, the 1994 film had a truly transcendent score by Thomas Newman, which stands out not only as a nearly perfect score for the film, but one of the best film scores of all time. The 2017 miniseries isn’t nearly as good as Newman’s, but does provide powerful moments like this one: https://www.youtube.com/watch?v=EosnXGSiDck

Lastly, Eliza Scanlan and Emma Watson as Beth and Meg are both left behind by several choices in the script, partly the fault of the flashback structure, but partly because it’s clear that Jo and Amy clearly interested Gerwig most (and it’s to her credit that she gave Meg the “my dream is valid” speech). Watson’s weakness as an actress continues to plague her scenes, especially in the scene where she voices her frustration about her poverty to her husband, and her eyebrows refuse to stop overacting. Beth is mostly just lost - interestingly, none of the filmed versions that I recall have allowed Meg to comfort Jo after the selling of her hair - this film highlights the Jo/Amy relationship in that moment, and the 94 film gives it to Beth (likely to beef up her part). Much as I love Claire Danes, I think Annes Elwy from the 17 miniseries is the best, most nuanced and accessible Beth on screen that I’ve seen.

In conclusion, this film is a work of art worthy of enjoyment and analysis, despite these disagreements I have. There’s a clear sense that Gerwig and her team created a richly textured world that existed outside of what we see - each scene gives the actors things to do that enrich their lives in my mind, and I love spending time with them. It resists easy relationship resolution - Jo’s frustrations with Amy don’t end with the ice breaking incident, and unlike a lot of the other versions, give Amy a LOT of mature and intelligent conversations, showing that it’s not all Amy’s fault that the two don’t get along. I don’t think Ronan, despite being one of my favorite actresses, will replace Ryder as my perfect Jo (even though I think I’ll appreciate Ronan as an actress much longer than Ryder - since her later career seems to be entirely made up on neurotic mannerisms, sadly), but she’s very powerfully written and played. Laurie follows a different route than Christian Bale or Jonah Haeur-King, but like those two, is also incredibly good. The proposal scene chooses differently, but equally powerfully and realistically, with what Laurie does in the face of rejection. Marmee played by Laura Dern is beautifully done, though she doesn’t have the script of Emily Watson in the miniseries giving her a lot more depth and connection with the audience. I don’t know that Florence Pugh can displace Kirsten Dunst as young Amy, but she’s definitely one of the best Amys on screen (though I think Kathryn Newton in the miniseries did a better job of changing her body language and mannerisms to show the character aging). Definitely recommended, and recommended to discuss afterwards!

[sssshhhthefilmsabouttostart]

The best and worst films of 2019

It was of the general consensus that 2019 was a truly amazing year for cinema, with audiences treated to a wide and impressive array of films. As usual, the year produced a number of sure bets from both well known directors and arthouse favourites, but it also treated cinemagoers to some truly unexpected treats from the cinematic mainstream.

Having watched just over 100 films (released in Australia), those that made this year’s ‘best list’ have been selected on the basis of the lasting impression they have left on this viewer after the lights have come up and the curtain’s been drawn.

So, what succeeded and what failed?

Ladies and gentlemen, may we please offer for your consideration…

50. READY OR NOT

49. GLASS

48. HAL (DOCUMENTARY)

47. STUDIO 54 (DOCUMENTARY)

46. HOTEL MUMBAI

45. THE HOUSE THAT JACK BUILT

44. CRAWL

43. MISSING LINK

42. SCARY STORIES TO TELL IN THE DARK

41. THE CLOVEHITCH KILLER

40. BURNING

39. AVENGEMENT

38. YESTERDAY

37. THE SISTERS BROTHERS

36. BRIGHTBURN

35. FIGHTING WITH MY FAMILY

34. HAIL, SATAN (DOCUMENTARY)

33. VELVET BUZZSAW

32. COLD PURSUIT

31. STAR WARS: THE RISE OF SKYWALKER

30. SPIDER-MAN: FAR FROM HOME

29. BEN IS BACK

28. THUNDER ROAD

27. THE REPORT

26. TOY STORY 4

25. MID 90′S

24. LAST BREATH (DOCUMENTARY)

23. VOX LUX

22. GLORIA BELL

21. THE FAREWELL

20. SHAZAM

19. FREE SOLO (DOCUMENTARY)

18. KNIVES OUT

17. BOOKSMART

16. DRAGGED ACROSS CONCRETE

15. US

14. ROCKETMAN

13. AD ASTRA

12. JOJO RABBIT

11. MIDSOMMAR

10. APOLLO 11 (DOCUMENTARY)

Though this outstanding assemblage of archival footage about the 1969 Apollo 11 moon landing featured no narration, interviews or analysis, director Todd Douglas Miller successfully managed to create an amazingly beautiful and surreal experience about one of humanities greatest achievements. Featuring never-before-seen footage of both the launch and the mission itself, ‘Apollo 11′ was as thrilling as any sci-fi and eye-wateringly beautiful to behold. 

9. EIGHTH GRADE

It was an impressive year for many ‘coming-of-age’ films (‘Booksmart,’ ‘Good Boys,’ ‘Mid 90′s’) but it was writer-director Bo Burnham’s poignant and sensitive exploration of the challenges of early adolescence in the age of social media that really resonated. Focusing on the socially awkward Kayla - played with exquisite, jittery control by teen actor Elsie Fisher - ‘Eighth Grade’ was a thoughtful observation on the universal truths of growing up in the modern age.

8. FORD V FERRARI

With director James Mangold at the wheel, ‘Ford V Ferrari’ was a highly enjoyable sports car racing movie that left audiences with a lasting and highly satisfying impression all the way to the finish line. Based on the rivalry between the car manufacturers Ford and Ferrari in their pursuit to win the 24 hour Le Mans sports car race in 1966, ‘Ford V Ferrari’ featured heart-pounding racing sequences and impeccable performances from Matt Damon & Christian Bale.

7. THE NIGHTINGALE

Though not a horror film in the strictest definition of the term, you were less likely to find a more horrific cinematic experience this year than Australian director/writer Jennifer Kent’s 'The Nightingale.’ Kent's follow up to her critically acclaimed debut ‘The Babadook' was an extremely unsettling and bleak revenge tale, that relentlessly beat the audience with its unflinching violence and depictions of cruel racism. 

6. AVENGERS: ENDGAME

"Part of the journey is the end...” A cathartic and satisfying experience for all MCU fans worldwide, 'Avengers: Endgame' was everything we needed and more than we deserved. Full of callbacks and emotional pay-offs 10+ years in the making, ‘Avengers: Endgame' was a thrilling conclusion and a deeply emotional exploration of loss and love, duty and honour, friendship and family. Just remember to lean into the tears.

5. JOKER

Whether you ended up either loving or hating ‘Joker,’ there was no denying that the landscape of cinematic comic book adaptations had been changed forever. Drawing inspiration from Martin Scorsese’s ‘Taxi Driver’ and ‘The King of Comedy’ and featuring Joaquin Phoenix’s magnificently dedicated and exhaustive performance, ‘Joker’ was a truly outstanding cinematic achievement that would be discussed and debated for many years to come.

4. THE IRISHMAN

A magisterial entry in his long and masterful career, Martin Scorsese’s violent yet poignant crime epic featured flawless performances from a stellar ensemble cast (De Niro, Pacino, Pesci, Keitel). With a script that was nothing short of a master work, coupled with an intricate production design and stylish cinematography, ‘The Irishman’ felt like an apt end point for Scorsese’s fascination in narratives detailing the ultimate price that comes from a life of sin.

3. PARASITE

Renown South Korean filmmaker Bong Joon-ho already had an impeccable track record (’The Host,’ ‘Snowpiercer,’ ‘Okja’) but really stepped up his game with this brilliant and powerfully revealing social satire. An intricate look at modern-day social hierarchies, ‘Parasite’ kept flipping audience expectations with its radical shifts in tone - from clever comedy to violent, dark tragedy - whilst delivering some brilliant thematic elements. 

2. MARRIAGE STORY 

Writer-director Noah Baumbach’s drama about the pain of the divorce process was a phenomenally crafted piece of cinema. A tragic tale amplified by both Baumbach’s screenwriting genius and tour-de-force performances from Adam Driver and Scarlett Johansson, ‘Marriage Story’ highlighted the struggles of an everyday situation and the real efforts to maintain it, leaving audiences with heavy hearts and thoughts.

1. ONCE UPON A TIME...IN HOLLYWOOD

Set against the backdrop of Hollywood’s changing of the guard and the looming large presence of the Manson Family, ‘Once Upon A Time...in Hollywood’ was a melancholy, slow burning, comedic love letter to a filmmaking era long gone, and easily one of Quentin Tarantino’s best films.

As a wonderfully painted portrait of 1969 Hollywood, Tarantino delivered something truly special - a cinematic opus featuring so many film references, both obscure and in your face, that it was an absolute delight for cinephiles everywhere to luxuriate in the sights and sounds of this historical fantasy. 

Leonardo DiCaprio and Brad Pitt delivered the most emotionally vulnerable performances of their careers as soon-to-be has-beens, whilst the film’s vibrant production and costume design and playful soundtrack perfectly captured a snapshot of a special place and time in film history.

If Tarantino is still adamant to call it quits on his directing career after his next movie, ‘Once Upon A Time...in Hollywood’ was a timely reminder that we should all definitely try to enjoy the filmmaker whilst we still can.

...AND NOW, THE WORST!

20. UNDER THE SILVER LAKE

19. THE MULE 

18. STUBER

17. AT ETERNITY’S GATE

16. IT: CHAPTER 2

15. THE BANANA SPLITS MOVIE

14. HAPPY DEATH DAY 2U

13. ALADDIN

12. ANGEL HAS FALLEN

11. TERMINATOR: DARK FATE

10. CAPTIVE STATE

Director Rupert Wyatt, the brains behind the effective ‘Rise of the Planet of the Apes’ reboot, easily delivered one of the worst sci-fi films of the year. Despite a premise filled with potential and talent both in front of and behind the screen, ‘Captive State’ was a major disappointment. The screenplay (co-written by Wyatt) was an epic mess of confusion that lacked both a compelling narrative and characters to hold it together, resulting in a huge misstep for all involved.

9. RAMBO: LAST BLOOD

It’s ironic a film franchise that started out telling the sad story of a man trying to show an uncaring world he was still a human being should have its final chapter demonstrate the exact opposite. This much touted ‘final entry’ in the Rambo saga was a deeply unpleasant and unnecessary exercise that featured little wit, inventiveness or originality. The character of John Rambo deserved a better swan song than ‘Rambo: Last Blood,’ and so did we.

8. GEMINI MAN

Directed by Ang Lee and starring Will Smith as a government assassin facing off against a clone of his younger self, ‘Gemini Man’ was an empty and tiresome thriller dressed up in a lot of fancy tech, and Smith’s biggest box office flop since ‘Wild, Wild West.’ Despite costing $138 million to produce, all the Hollywood SFX wizardry in the world couldn’t excuse a lifeless picture, with the final result nothing more than a bland action clone.

7. THE LION KING

Soulless was how best to describe Disney's shot-for-shot live action version of the 1994 animated classic. The core failure of this latest incarnation of 'The Lion King' was the studio’s inexplicable choice to go fully photorealistic with the animation. The animal characters may have all been zoologically accurate, but there was absolutely zero expression or emotion conveyed in their faces (let alone the voice talent). Sadly, ‘The Lion King' was nothing more than a cash grab that relied heavily on the nostalgia and success of the original, 

6. WELCOME TO MARWEN

Robert Zemeckis, the director behind such cinematic gems as ‘Forrest Gump,’ ‘Back to the Future’ and ‘Cast Away,’ was also responsible for this woeful and misguided outing. Despite being based on the true story of a man learning to cope with a terrible trauma through the power of art and imagination, ‘Welcome to Marwen’ focused its attention on the visuals of the story instead of its narrative. Our advice? Watch the original 2010 documentary ‘Marwencol.’

5. THE CURSE OF LA LLORONA

Let’s cut straight to the point - the reason Hollywood keeps making cheap, crappy horror films with little, if any, imagination is because they will always make their money back within the opening weekend. And ‘The Curse of La Llorona’ was a prime example of this, a formulaic slab of supernatural dirge destined to be forgotten by year’s end. Filled with jump scares, loud musical cues and devoid of any originality, horror fans deserved better than this.

4. MEN IN BLACK: INTERNATIONAL

Despite the box office success of the first ‘Men in Black’ film and its two well-received sequels, ‘Men in Black: International’ was a dull and dreadful reboot that severely tarnished the franchise. There were all sorts of bad things happening in this fourth film, but none were as unforgivable as wasting the talents of both Chris Hemsworth and Tessa Thomspon. You didn’t need your memory wiped after this one - the movie did it for you.

3. DARK PHOENIX

The ‘X-Men’ films have been less hit and more miss in recent times and, unfortunately for fans, ‘Dark Phoenix’ closed out the this once-great franchise in an extremely disappointing fashion. Suffering from extensive rewrites and reshoots to the point where not even the film's stars knew which characters they were playing, ‘Dark Phoenix’ was a far cry from the pitch-perfect conclusion James Mangold gave us with the vastly superior ‘Logan.’

2. HELLBOY

Director Neil Marshall’s bloody misfire of the ‘Hellboy’ franchise was a damned mess, undeserving of both your hard-earned money and your valuable time. The film’s storytelling was clumsy rather than clever, the atmosphere oppressive rather than immersive and the characters colourless rather than captivating. Try to imagine Guillermo del Toro’s original two movies, except without any spark, wit, fun, tension and excitement. Absolute hell, boy!

1. CATS

Don’t act as if you’re surprised by this year’s winner of worst film - ‘Cats’ was an epic misfire, deserving of the vitriol it received from critics everywhere (the furry community, however, LOVED IT).

From the initial spark of the thought that turning Andrew Lloyd Webber’s musical into a film would be a good idea, the project was doomed. With every single decision involved in this movie more baffling than the last, the biggest and most fundamental problems were the concept design of the cats themselves and there being absolutely no semblance of a plot.

Despite there being pussy galore, ‘Cats’ failed to capture any sense of spectacle or fun, and instead plodded through an inane, boring and predictable story that was used mostly as a platform for some big West End musical numbers and A-list cameos.

Watching your neighbour’s cat lick its own arse was far more enjoyable to behold than this cinematic disaster.

[heatexhaustion]

Here are my top picks for MOST ENTERTAINING (not the best) movies of the last decade:

1. Flight

2. Wild Tales/Relatos Savajes

3. Game Night

4. The new Ghostbusters

5. Kong: Skull Island

6. Train to Busan

7. The Mummy (with Tom Cruise. The plane crash scene is crazy fun)

8. Hotel Transylvania 3 (and only 3!)

9. Cold Pursuit

10. Sing

11. Screwball (the MLB doping scandal movie)

12. Monsters University

13. Inside Out

14. Mission Impossible: Fallout

15. Vice!!!!!! With Christian Bale!

16. The Lego Movies

17. Searching (with John Cho)

18. The 33

19. Turbo

20. The Best Offer

21. San Andreas

22. Hacksaw Ridge

23. Ares (starring Noami Rapace's husband)

24. The Peacemaker (Denzel Washington)

25. Widows

26. Baby Driver

27. Spider-Man 3

28. The new Jumanji movies (I think theyve done a GREAT job revamping this series!)

29. The Kingsman movies

30. Gravity

31. Coco

32. Passengers (great general concept, horrible plot)

33. Keanu (that movie with the damned kitten 😂)

34. Get Out

35. Tulip Fever

36. Remember (with Jurgen Prochnow)

37. All Is Lost

38. 99 Homes

39. Girl on the Train

40. Koch (Ed Koch documentary)

41. Run Boy Run

42. The Last Black Man in San Francisco

43. Sully

44. The My Little Pony Movie. Art okay!

[toptenflash]

The 17 Best Movies of Christian Bale

Best Movies of Christian Bale

Famous for his extraordinary method acting style, and drastically transforming his body for his roles, Christian Bale is one of the most versatile actors of now. The English actor started his acting career at the age of eight. His first starring role was at age 13 in Steven Spielberg’s Empire of the Sun. The role of the serial killer Patrick Bateman in American…

[newsiepedia]

Character Profile: Jack (Film Version)

Real Name: Francis Sullivan. (Newsies Film script, page 77) In an earlier draft, his middle name was Malcom (Highlights of the 1991 Script)

Nickname and Meaning: Jack Kelly (alias, to avoid Warden Snyder), Cowboy (because he wants to leave for the wild wild west) 

Age: 17. (Newsies Film script, page 34)

Gender: Jack is always played by a man.

Family: Jack used to have a mother and father, (and possibly a little brother named Michael) but they are all heavily implied to be dead. (Newsies Film script, page 36) (Highlights of the 1991 Script) 

Jack…:

Is the leader of the Manhattan Newsies. He takes a much more authoritative but still friendly role than his musical counterpart. Jack tells the newsies what to do, (Newsies Film script, pages 40, 46, 65) but he also helps them out. (Newsies Film script, pages 2, 60) Crutchy trusts him enough to come to him for advice and guidance. (Newsies Film script, page 4) The boys are stated outright to “listen carefully” and “respect his opinion”. (Newsies Film script, page 8)

Jack isn’t close with any particular newsie- he spreads his attention equally between most of them. He sells with a different one each day, as when Crutchy asks who he’s selling with, he says he “Ain't decided yet.” (Newsies Film script, page 5) 

Loves telling and hearing jokes. In the very beginning of the movie, Jack is seen joking with Mush. (Newsies Film script, pages 3, 7)  He even jokes with Spot, (Newsies Film script, page 51) not to mention all the practical jokes he plays on the adults and the Delancey brothers.

Sticks up for the little guy. Jack sticks his neck out for the newsies, Davey, and Les multiple times. When the Delanceys target Snipeshooter for no reason, Jack stays by his side as he walks him back to his place in line. (Newsies Film script, page 13) Later, when Wiesel refuses to give Davey all his papers, Jack makes him give him another, and then buys Davey some more. (Newsies Film script, page 17) He also doesn’t let anything slide inside his group- when Kid Blink calls Crutchy a crip, Jack stands by Crutchy’s side, refuses to sell with Blink, and pushes him to the back of the line when the nuns give them food. (Newsies Film script, pages 8, 9) 

Is naturally charismatic. The newsies deeply respect Jack, even when they won’t obey any other authority figure. He is also described as like “Robin Hood and Br'er Rabbit rolled into one” and “his new hero” by Les, showing that people don’t even need to know him to be drawn to him. (Newsies Film script, page 15) During the fight at the theatre, Jack’s call of “Carryin’ the banner!” inspires the newsies to fight harder as well. (Newsies Film script, page 89) 

Loves kids. He immediately takes a shining to Les, offering to sell with him and paying special attention to him. (Newsies Film script, pages 18, 19) Although he and Davey originally agree to split their money 40-60, Jack can’t bring himself to take Les’s earnings, (Newsies Film script, page 22) and ends up splitting it evenly. (Newsies Film script, page 31) Later, when he goes to rescue Crutchy from the Refuge, he makes sure to greet a younger inmate and joke with him, even though it was wasting valuable seconds. (Newsies Film script, page 59) 

Puts on a big show of being tough, but cares a lot. Whenever the opportunity presents itself, Jack shows off. He deliberately wastes Wiesel’s time, (Newsies Film script, page 16) mocks Pulitzer and other important folk to their faces, (Newsies Film script, pages 48, 92, 93, 98, 128) and antagonizes the famous Spot Conlon. (Newsies Film script, page 53) But although he claims to not be afraid of striking, (Newsies Film script, page 49) he really is. Jack is terrified that someone will end up hurt, and eventually scabs out to avoid it. (Newsies Film script, page 104)

Is a pathological liar. Jack’s main strategy to sell his papes is lying, or as he puts it “improving the truth”. (Newsies Film script, page 23) But the lies don’t stop there- he lies to Davey and Les about his family, saying that they live “out West” when they’re almost certainly dead. (Newsies Film script, page 29) He lies to himself about not wanting his family back, singing “ain’t you glad that no one’s waiting up for you?” when he clearly longs for the closeness he saw in Davey’s family. (Newsies Film script, page 34)

Desperately wants a family. When Jack is invited over to the Jacobs’ apartment, he relishes in the experience. However, when he leaves, he pines over them, desperately trying to convince himself he doesn’t miss this. The whole of Santa Fe is pretty much about Jack’s need for a family. (Newsies Film script, pages 34, 35) Later, when Sarah tells him that her family is worried about him, he can barely believe what she’s saying, implying that he’s imagined some family wanting to take him in before but had little hope of it actually happening. He seems disappointed when she brings up his fictional family as well. (Newsies Film script, page 75) In the end, it’s the Jacobs inviting Jack into their family (not any of the newsies) that makes him decide to stay in New York. (Newsies Film script, pages 135, 136) This is probably because his parents were the ones who told him tales of the wild west, and now that he has a family he doesn’t need to fulfill their dreams for them anymore. (Newsies Film script, page 36)

Wants to be free. Jack is not afraid of Warden Snyder- he risks being caught by him multiple times in order to make the other newsies laugh. (Newsies Film script, pages 61, 73) However, when he’s sentenced to jail time, Jack is terrified. (Newsies Film script, page 93) He doesn’t fear Snyder- he fears not being able to achieve his dreams of going out west. However, Jack doesn’t want to abandon the people he loves- he gives up his ticket money to Medda to rent the theatre for the strike, even after she says he doesn’t have to. (Newsies Film script, pages 71, 72)

Is smart. Although he has probably never gone to school, Jack can summon eloquent speeches on the spot. (Newsies Film script, pages 41, 42, 69, 81) He can also count his papes with his eyes closed. (Newsies Film script, page 16) 

Can’t talk to girls. Despite being eloquent when faced with starvation, beatings, and stress, Jack literally cannot talk when Sarah enters the room. (Newsies Film script, page 31)

Headcanon Fuel:

What happened to Jack’s family?

Why does Jack love kids?

Why does Jack care about helping people so much?

How did Jack become leader of the Manhattan newsies?

Why isn’t Jack afraid of Spot?

Where did Jack learn rhetoric and public speaking?

Why doesn’t Jack have any best friends within the newsies’ group?

Actors and Physical Appearance:

Christian Bale

Jack is tall and masculine, with longish blonde hair and deep set eyes. He wears a red bandanna, alluding to his dreams of being a cowboy.

[chicagoindiecritics]

New from Kevin Wozniak on Kevflix: Best of the 2019 Chicago International Film Festival

The 55th Chicago International Film Festival has officially come to a close.  Over the last twelve days, the festival showed numerous films from all different genres with various budgets from a number of different countries from all around the world.  This is an incredibly diverse film festival and every year I am honored to attend it.  I saw 26 films at this year’s festival and I would say it was a very good year at the festival.  There were a number of great films I saw this year, including my favorite movie of 2019 so far.  There were also no films that I truly disliked or hated.  There were a few flawed ones, but none that I would truly consider a “bad” movie.  Here are my picks for the best movies and performances from the 55th Chicago International Film Festival.

          TOP 5 FILMS

  5 – WAVES (Trey Edward Shults)

Trey Edward Shults most ambitious film to date is an emotionally exhausting look at parenting, family, the pressures of growing up, and how to handle tragedy.  This is a gorgeous film filled with stellar acting and great music choices.

    4 – MARRIAGE STORY (Noah Baumbach)

Noah Baumbach’s finest film to date is a heartbreaking and realistic look at one couple’s divorce featuring great writing and brilliant performances from Adam Driver and Scarlett Johannson.

    3 – FORD V. FERRARI (James Mangold)

A true American sports movie, Ford v Ferrari is an exhilarating racing film featuring top-notch direction from James Mangold, a smart screenplay, and a pair of excellent performances from Matt Damon and Christian Bale.

    2 – KNIVES OUT (Rian Johnson)

A slick, twisty, wildly entertaining whodunit from Rian Johnson featuring the best ensemble of 2019 and an ending you have to see to believe.

    1 – THE IRISHMAN (Martin Scorsese)

Smart, compelling, funny, and tense, with outstanding performances from Robert De Niro, Al Pacino, and Joe Pesci, and jaw-dropping usage of the de-aging technology, The Irishman is a bold new gangster classic from Martin Scorsese and the best movie I have seen in 2019.

      BEST OF THE REST

BEST DIRECTOR: MARTIN SCORSESE, THE IRISHMAN 

Runner Up: Rian Johnson, Knives Out

BEST ACTOR: ADAM DRIVER, MARRIAGE STORY

Runner Up: Robert De Niro, The Irishman 

BEST ACTRESS: SCARLETT JOHANSSON, MARRIAGE STORY

Runner Up:  Alfre Woodard, Clemency

BEST SUPPORTING ACTOR: JOE PESCI, THE IRISHMAN 

Runner Up: Shia LeBeouf, Honey Boy

BEST SUPPORTING ACTRESS: ZOE DEUTCH, ZOMBIELAND: DOUBLE TAP

Runner Up: Taylor Russell, Waves

BEST ORIGINAL SCREENPLAY: KNIVES OUT

Runner Up: Waves

BEST ADAPTED SCREENPLAY: THE IRISHMAN

Runner Up: Jojo Rabbit

BEST CINEMATOGRAPHY: PORTRAIT OF A LADY ON FIRE

Runner Up: Ford v Ferrari 

BEST ENSEMBLE: KNIVES OUT

Runner Up: The Irishman 

BEST MIDNIGHT MOVIE: ZOMBIELAND: DOUBLE TAP

Runner Up: Knives and Skin 

BEST FOREIGN LANGUAGE FILM: LES MISERABLES

Runner Up: Portrait of a Lady on Fire

BEST DOCUMENTARY: JUMP SHOT

Runner Up: Ringside 

    OVERALL RANKING

1- THE IRISHMAN

2- KNIVES OUT

3- FORD V. FERRARI

4- MARRIAGE STORY

5- WAVES

6- LES MISERABLES

7- PORTRAIT OF A LADY ON FIRE

8- CLEMENCY 

9- HONEY BOY

10- ZOMBIELAND: DOUBLE TAP

11- BY THE GRACE OF GOD

12- JOJO RABBIT 

13- JUMPSHOT

14- EXTRACURRICULAR 

15- RINGSIDE

16- THE APOLLO

17 – KNIVES AND SKIN

18- MOTHERLESS BROOKLYN

19- ALELI

20- THE TRAITOR 

21- INITIALS S.G.

22- GIRL ON THE THIRD FLOOR

23- ADORATION 

24- HALA

25- 8: A SOUTH AFRICAN HORROR STORY

26- FORMAN VS FORMAN 

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          The post Best of the 2019 Chicago International Film Festival appeared first on Kevflix.

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[grigori77]

Movies of 2019 - My Pre-Summer Favourites (Part 1)

The Runners-Up:

20.  THE HEAD HUNTER – coming in VERY low under the radar, this wildly imaginative and stylish low budget chiller plays like a survival horror take on the Skyrim video games.  Essentially a one-man show, it follows the bloody, muddy daily grind of a professional monster slayer in a sword-and-sorcery kingdom driven to vengeance by brutal personal tragedy.  Christopher Rygh is broody, grizzled and genuinely heartbreaking as the warrior, while debuting writer-director Jordan Downey shows great future potential.

19.  HELLBOY – I’d be the first to agree we really don’t need a Hellboy movie reboot (just let Guillermo finish his trilogy, dammit!), but if Hollywood MUST disagree then we could do A LOT worse than this far bloodier R-rated full-on horror flick from Dog Soldiers director Neil Marshall, who really cranks up the darkness inherent in the franchise.  Ultimately this is more for hardcore fans of Mike Mignola’s original comics than the uneducated masses, but Stranger Things star David Harbour’s “Big Red” is just one of many pleasures here.

18.  THE SISTERS BROTHERS – writer-director Jacques Audiard (The Beat That My Heart Skipped, Rust & Bone) crafts a languid, introspective and richly character-driven western from the novel by Thomas Bidegain (who also co-wrote here).  Joaquin Phoenix and John C. Reilly are both typically excellent as the titular bounty-hunter siblings who are the nominal focus of the story, but the film is as much focused on their prey, a pair of gold prospectors (Jake Gyllenhaal and Riz Ahmed) with a revolutionary scientific method.

17.  THE DIRT – in a year when they’re jumping on the biopic bandwagon in a big way (we’ve also seen the hunt for Bonny & Clyde in The Higwaymen), Netflix got particularly ambitious with this warts-and-all, thoroughly OTT and often very funny account of the rise/fall/rise-again of notorious glam metal band Mötley Crüe from Jackass director Jeff Tremaine.  Douglas Booth (Romeo & Juliet), Colson Backer (aka Machine Gun Kelly), Iwan Rheon (Game of Thrones) and Daniel Webber (11.22.63) bring the band to life in all their debauched glory.

16.  COLD PURSUIT – Liam Neeson gently sends up his geriatric-arse-kicker persona in this jet black comedy thriller from acclaimed Norwegian director Hans Petter Morland, adapted from his own hit film In Order of Disappearance (originally starring Stellan Skarsgaard).  Neeson is huge fun as the snow-plough driver out to avenge the murder of his son at the hands of jumped-up Denver drug kingpin “Viking” (TV’s Jekyll & Hyde’s Thomas Bateman), causing all kinds of bloody hell to break loose in the snowbound Colorado wilderness.

15.  VICE – Anchorman writer-director Adam McKay continues down the more semi-serious road he began with his 2015 hit The Big Short with this incendiary “biopic” of the rise to power of former U.S. Vice President Dick Cheney, rumoured to be the true “power behind the throne” of George W. Bush’s controversial term in office at the White House.  Christian Bale delivers one of the finest performances of his career as the unassumingly Machiavellian master manipulator behind the WMD Conspiracy, et al.  MAYBE …

14.  ON THE BASIS OF SEX – director Mimi Leder (The Peacemaker, Deep Impact) returns to the big screen with a vengeance with this powerful, thought-provoking and very important courtroom drama following the early career of Ruth Bader Ginsburg, the crusading firebrand lawyer campaigning for women’s equal rights who ultimately became Chief Justice for the U.S. Supreme Court.  Rogue One star Felicity Jones is perfectly cast as a woman who let NOTHING stand in the way of her dreams, even the laws of the United States.

13.  DESTROYER – Karyn Kusama has had a somewhat mixed career since her directorial debut with Girlfight in 2000 (Jennifer’s Body was enjoyable, but Aeon Flux was pretty embarrassing), but this edgy, doom-laden modern LA-Noir is a spectacular return to form, driven by a powerhouse, vanity-free career-best performance from Nicole Kidman as the self-destructive maverick LAPD cop whose youthful misadventures undercover return haunt her, with bloody consequences.

12.  THE KID WHO WOULD BE KING – Louis Ashbourne Serkis (son of Andy) proves he takes right after his dad as an unassuming British schoolboy who discovers he’s the long-lost heir of King Arthur, destined to wield Excalibur in the battle to prevent the cataclysmic return of evil sorceress Morgana (Mission: Impossible’s Rebecca Ferguson).  Attack the Block writer-director Joe Cornish brings us something more family-friendly with his long-awaited follow-up, but his gleefully dark, anarchic sense of humour remains intact.

11.  TRIPLE FRONTIER – Margin Call writer-director J.C. Chandor teams up with Oscar-winning screenwriter Mark Boal (The Hurt Locker, Zero Dark Thirty) on what is EASILY the best Netflix Originals feature this year (so far, at least), a nail-bitingly tense, morally ambiguous suspense thriller following a group of former special forces operatives (Oscar Isaac, Ben Affleck, Charlie Hunnam, Garrett Hedlund and Pedro Pascal) who rob a drug lord and then have to fight their way out of the notorious titular South American region.

[irarelypostanything]

Unforgettable Scenes - The 2008 Recession hits and the big short makes billions

A spoiler tag might not be completely necessary here, since we all know what happens in 2008.  Rather than explore why the recession occurred in an abstract way, The Big Short is a movie that focuses mostly on real people who profited from it.  Most people understand the concept of shorting something, which is best described as betting against a valuable item like a commodity or stock so that you make money when it decreases in value.  While the people depicted in The Big Short are still technically shorting, it’s a bit more complicated.  Essentially, what they’re all doing is the equivalent of buying fire insurance for a house without having to also buy the house.  Like that analogy?  Ryan Gosling’s character comes up with it.

(I actually find it less confusing to refer to characters by their actors’ names.  Most of the characters have different names than the real people they represent, anyway, which just seems like a layer of indirection)

And house is a great metaphor, because it represents the entire housing market that he knows is about to crash.

I rewatched this movie last night, and I’m surprised it didn’t have more of an impression on me when I first watched it.  It’s really one of the best movies out there.  Some compare it to The Wolf of Wall Street, but instead of simply focusing on wealth and excess, The Big Short tries to examine why the recession happened and who’s to blame for it.

In addition to having excellent performances from Christian Bale, Brad Pitt, Steve Carell, and a bunch of other famous actors I can’t even mention without taking too much space (and a few famous people playing themselves), The Big Short centers itself around a theme: Understanding numbers vs. understanding people.  The moral that people aren’t numbers is super cliche and annoying to even write, but the movie examines it in a fascinating way.  Steve Carell’s character is frustrated by Wall Street and the corruption he sees around him, but in seeing the devastation of the recession he begins to finally open up about the one thing he could never face before: His brother’s suicide (which is revealed early on).  Christian Bale’s character has a hard time interacting with people, and the person he represents likely has undiagnosed Aspergers but absolute brilliance in the market.  And Ryan Gosling’s character just doesn’t care, which may or may not be why he’s the most popular one.

*Spoilers*

Okay, finally.  The scene.  Brad Pitt’s character sells his short position, Christian Bale’s character does the same thing in the background, and Ryan Gosling’s character gets a personal check for 87 million.  They all make millions.  Christian Bale’s character makes more than a billion for his fund.  

The story-telling technique is interesting in this movie because of how it spreads its narrative between characters and frequently breaks the fourth wall, but in terms of plot structure it’s pretty typical.  This scene is the movie’s climax.  Steve Carell is a holdout character, but when he finally sells his position it’s more like falling action.  We know he’s going to profit from the recession.

First notable thing: This is the movie’s most intense scene.  As they explore here, profiting from the recession was no easy task, and it was dangerous even when it became obvious that these characters were right all along. It’s hard to make money from your investors, Christian Bale’s character finds, when all your investors lose faith in you and try to pull out because they think there’s no way in hell mortgage-backed securities are going to fail.  It’s hard to feel safe with your money, Steve Carell’s character finds, when the entire corporation you work under is in danger of collapse.  And, as the more calm and collected character played by Brad Pitt matter-of-factly notes here, the entire market around the world was experiencing turmoil.  Possible collapse.  It’s hard to trade when enormous companies are going belly-up.

Second notable thing: The movie for Brad Pitt’s character basically ends here.  It doesn’t end at Wall Street.  It doesn’t end at a mansion.  It ends at some British pub where ordinary people drink, and where there’s barely wifi or reception.  And out here, in the middle of nowhere, people still really fking hate bankers because they’re feeling the effects.

17 minutes and I need to wrap this up, so let’s go to closing thoughts:

That really is a perfect place for this movie to close out and wind down.  Who, in the end, is to blame for all of this?  Was it greedy lenders, making a profit off of people who definitely could not afford to pay their mortgages?  Was it greedy bankers, lumping subprime mortgages into CDOs instead of taking the moral step of acknowledging risk?  Was it a failure of regulation, giving triple-A ratings to things that were completely unstable?  Perhaps it was capitalism itself, encouraging people to go for maximum profits.  Maybe it was greed itself.  Maybe it was stupidity itself.

But really, Steve Carell’s character laments in a final scene, after finally selling his position, the people truly responsible might not go to prison.  Instead, people will just do what they’ve always done when the economy tanks.

They’ll just blame it on immigrants and poor people.