Movie Review: "The Danish Girl" (Tom Hooper, 2015)

A TRANSFORMATIVE EXPERIENCE by Maxwell Meyers

Above: Eddie Redmayne in Mr. Hooper’s film.  Photo ©Focus Features.

The other day, I was falling into the vast nothingness that is the internet and came across an article about an app that allows straight men to locate other men who want to “fool around.”   In response, a friend of mine noted, “Sexuality is not just black and white….  It’s not even black, white and gray.  It’s black, white and several different shades of gray.” 

She’s right.  And in a head-spinning world of more varieties of sexual identity than can be counted, a little extra education never hurts.  That’s why I feel so inspired by “The Danish Girl,” a film that is not only educational, but moving as well.

“The Danish Girl” is the newest film from Academy Award-winning director Tom Hooper (“The King’s Speech”).  It tells the true story of the married artists Einar (Eddie Redmayne) and Gerda Wegener (Alicia Vikander).  The defining moment of the movie arrives early, when Einar poses for one of Gerda’s paintings wearing women’s clothing.  Awakened to a long-harbored desire, Einar begins his journey to becoming a woman and takes the name Lili Elbe (a transformation expertly portrayed by Mr. Redmayne, who won an Oscar last year for his role in “The Theory of Everything”).

Thanks to Mr. Hooper and his crew, “The Danish Girl” is a beautiful and tragic film that will leave you in a state of awe, not least because of its visual wonderment.  Here, every design choice made and every shot captured appears to have been crafted with the goal of creating a work of painterly gorgeousness.  In particular, the work of cinematographer Danny Cohen shines from beginning to end, and it‘s a shame he’s not up for an Oscar this year.

In point of fact, “The Danish Girl” is only nominated for four Oscars—Best Lead Actor, Best Lead Actress, Best Costume Design, and Best Production design, all of which it deserves.  Mr. Redmayne completely transforms himself into both Einar and Lili, portraying her life with tact and depth that could have easily seemed over dramatized or unbelievable in the hands of a lesser actor.  He’s perfect, even if the character of Lili is slightly selfish and worked on my nerves near the film’s end (which I think is a forgivable flaw).

One might think that Mr. Redmayne’s performance would steal the show, but Ms. Vikander’s performance, to me, stands head and shoulders above her costar’s.  She imbues Gerda with immense depth and strength.  It’s a knockout performance, and one that allows us to imagine how you might act in a similar situation.
    

I think everyone should see “The Danish Girl.”  Though this story took place ninety years ago, it is completely relevant today.  The film may not be perfect, but it hits so many of the right notes that despite the story’s ultimate sadness, it doesn’t completely crush you.  With any luck, the movie will open doors for a more diverse array of stories to be told about sexual identity.  Who knows, maybe the “straight man seeking straight man make out buddy” app will be made into a movie in the next 10 years.

Grade: A

Bennett Campbell Ferguson's Top 10 Films of 2015

THE YEAR THE MUSIC SURVIVED by Bennett Campbell Ferguson

Above: Charlize Theron faces the future in “Mad Max: Fury Road.”  Photo ©Warner Bros. Pictures.

For me, 2015 will always be the year that James Horner died.  A preeminent Hollywood composer, Mr. Horner was the embodiment of sonic grandeur—the scorer of “Titanic” and “The Wrath of Khan.”  But more importantly, he was a champion of tender melodies that could crystallize the sweetness of a fleeting and wondrous romance, the air-catching glee of a teenage superhero, or the bubbling ferocity of a sci-fi soldier raging against the proverbial machine.

            Mr. Horner died in July while piloting his own plane.  But his music still whirls with wondrous luster.  And just as importantly, the Horner spirit—that fierce blend of sincerity and romanticism—coursed through many of the movies of 2015.  Off-screen, the world was menaced by murder and murderous words.  But movies fought back with tales of triumph that railed against tyranny and rewarded the brave and the caring.  

            I think Mr. Horner would have been proud of those movies.  “Sooner or later, someone pushes back!” roars a woman in the movie that became my favorite film of 2015.  As someone who pushed music like his life depended on it, I think Mr. Horner would agree.

1.       “MAD MAX: FURY ROAD” (George Miller) The world of “Mad Max” is ugly.  Soldiers daub their skin with garish war paint; prisoners are branded, tattooed, and robbed of their blood; and Max himself is tormented by the specter of a young girl, dead in a desert like so many others.  Yet there is beauty in this world too.  Loyalty.  Defiance.  Kindness.  Love.  By tearing into humanity at its worst, Mr. Miller makes its best shine brightly, like a stubborn candles caught in a wartime wind, refusing to be blown out.

2.      “SPECTRE” (Sam Mendes) His true love is dead.  His mentor was a casualty of war.  His family is gone.  And yet the James Bond of “Spectre,” embittered by loss as he is, refuses to be corrupted by it.  Instead, he clings to his untapped reservoir of selflessness and love.  “I’ve got something better to do,” he declares late in the movie, before tossing his gun aside.  Indeed.  

3.      “THE REVENANT” (Alejandro G. Iñárritu) “As long as you can still grab a breath, you fight.  You breathe…keep breathing.”

4.      “FIFTY SHADES OF GREY” (Sam Taylor-Johnson) No, I haven’t taken leave of my senses.  I just think that this kinky, wacky rendering of E.L. James’ lurid bestseller is far more entertaining (and soulful) than it’s been given credit for.

5.      “TESTAMENT OF YOUTH” (James Kent) “No more war.  No more killing.”

6.      “BRIDGE OF SPIES” (Steven Spielberg) “What makes us both Americans?  Just one thing, one, one, one.  The rule book.  We call it the Constitution.  We agree to the rules and that’s what makes us Americans, it’s all that makes us Americans.”

7.      “BROOKLYN” (John Crowley) Travel.  Homesickness.  Loneliness.  Love.  All of those things “Brooklyn” captures with compassion.

8.      “ACCIDENTAL LOVE” (Stephen Greene) This cackling satire of American politics is far zestier than “Joy,” the other 2015 David O. Russell movie (“Stephen Greene” is his pseudonym).

9.      “THE WALK” (Robert Zemeckis) A high-tech fairy tale that wraps on an inescapably melancholy note.

10.   “PAN” (Joe Wright) A gorgeous kaleidoscope of adventure, heroism, and hope.

Honorable mentions: “The Big Short” (Adam McKay), “Dope” (Rick Famuyiwa), “Ex Machina” (Alex Garland), “Infinitely Polar Bear” (Maya Forbes), “Irrational Man” (Woody Allen), “Inside Out” (Pete Docter),” “Queen & Country” (John Boorman), and “Spotlight” (Tom McCarthy)

Mo Shaunette's Favorite Films (And More) From 2015

THE RAMBLING THOUGHT AWARDS by Mo Shaunette

Above: BB-8 in “Star Wars: The Force Awakens.”  Photo ©Walt Disney Studios Motion Pictures and Lucasfilm Ltd.

For the past few years, my year-end round-up has been a place for summarizing movies I saw the past year or stray observations I didn’t get around to sharing.  This year, I decided instead to write an impromptu awards list, going through a handful of general ideas about what I liked best about this past year.  

Keep in mind, however, that due to my time machine being broken, I haven’t yet seen every movie that came out in 2015.  I’m trying my best here, guys.  So, without further ado, get your snacks ready and place your bets on my opinions now, because this is the Mo’s Unexpected List of Favorite Things Awards 2015! 

Favorite Actor in a Leading Role: Taron Egerton (“Kingsman: The Secret Service”)

“Kingsman” was another winner for Matthew Vaughn and Jane Goldman—and one that hit theaters in the cinematic dead zone known as February.  Part of what made the movie work was the commitment of the actors, all of whom clearly had a ball in this love letter to/send-up of James Bond.  

However, Taron Egerton shined the brightest as Eggsy Unwin, a talented street hoodlum who learns how to be a gentleman spy.  Mr. Egerton sold both Eggsy the punk kid and Eggsy the master secret agent, all while never losing his easygoing charm and humanity.  He may not have many films under his belt, but because of this one, he’s got a bright future ahead of him.

Runners Up: Abraham Attah (“Beasts of No Nation”), Matt Damon (“The Martian”)

Favorite Actress in a Leading Role: Phyllis Smith (“Inside Out”)

Turning the abstract personification of sadness into a lead role was a risky prospect.  Yet Pixar pulled it off, in no small part because of the actress chosen to play the little blue emotion.  Phyllis Smith managed to play Sadness as both a constant, self-pitying buzzkill and a sensitive soul trying to do her best at a gloomy job. 

Credit also has to be given to the animators who infused Sadness with life.  But this is an actor’s award, and in 2015, Ms. Smith was funny, annoying, depressing, human, and gave me the feels like you wouldn’t believe.

Runners Up: Charlize Theron (“Mad Max: Fury Road”), Melissa McCarthy (“Spy”)

Favorite Actor in a Supporting Role: Paul Bettany (“Avengers: Age of Ultron”)

I’ll be the first to admit that “Age of Ultron” had its problems (including cut corners in storytelling, messy subplots, a hit-or-miss villain, and a romance that’s barely set up and evaporates just as soon as it arrives).  However, if there’s anything writer/director Joss Whedon should be commended for, it’s his characterization of the Vision, one of the stranger iconic Marvel superheroes. 

By transforming J.A.R.V.I.S., Tony Stark’s robotic butler, into the next-generation Vision, Mr. Whedon not only gave us a familiar anchor to the Christmas-colored robot, but a chance to witness a great performance from Paul Bettany.  Despite entering the story in the third act, Mr. Bettany left quite the impression as an android possessed with ultimate faith in and love for humanity—and a thoughtful mind and a sense of humor to boot.  

It’s tough to ask audiences to bond with a character who looks ridiculous and isn’t even human, but Mr. Bettany pulled it off.  Truly, he was worthy.

Runners Up: Sylvester Stallone (“Creed”), Idris Elba (“Beasts of No Nation”)

Favorite Actress in a Supporting Role: Rosie Huntington-Whiteley, Riley Keough, Zoë Kravitz, Courtney Eaton, Abbey Lee (“Mad Max: Fury Road”)

I came into “Fury Road” with minimal expectations.  Imagine my surprise, then, not only at the film’s masterful world-building, but the complexity of its cast.  It would have been easy to let the wives (or ex-wives) of the tyrannical Immortan Joe be quiet and passive players, drifting through the story without agency or personality (becoming, as writer Kelly Sue Deconnick would put it, “sexy lamps”).  Yet through strong writing and stronger acting, the Splendid Angrahad, Capable, Toast the Knowing, Cheedo the Fragile, and the Dag became the driving force of the story, even if they didn’t get to drive any of the movie’s marvelously monstrous cars.

“Fury Road” was elevated from the pretty-but-hollow action feature it might have been to the rich and fulfilling cinematic experience it became because of the wives’ determination, compassion, resourcefulness, fear, and faith.  Witness them.

Runners Up: Jennifer Jason Leigh (“The Hateful Eight”), Evangeline Lilly (“Ant-Man”)

Favorite Screenplay: Drew Goddard (“The Martian”)

In "The Martian,” there was no three-act structure and no character arc—there was just astronaut Mark Watney’s struggle to survive being stranded on Mars.  Making that story into an engaging 141 minutes was tough, but much like the characters in “The Martian,” everyone behind the scenes of the film showed up to work and did their god dang jobs, including screenwriter Drew Goddard. 

Mr. Goddard already proved his chops with his collaborations with Joss Whedon (including co-writing and directing 2012’s “The Cabin in the Woods”) and had a banner year shepherding “Daredevil” to Netflix.  But with “The Martian,” he stepped up to a different kind of sci-fi storytelling and knocked it out of the park.  Here’s hoping that “The Martian” becomes the launch pad for the next step in his career.

Runners Up: Quentin Tarantino (“The Hateful Eight”), Rick Famuyiwa (“Dope”)

Biggest Breakthrough: Amy Schumer (“Trainwreck”)

Since 2013, Comedy Central’s “Inside Amy Schumer” has been one of the channel’s best outputs: a sketch comedy series that takes a hilarious look at politics, relationships, and women in the 21st Century—all of it coming from the mind of its creator and star.  Ms. Schumer is whip smart and tack sharp, and with “Trainwreck,” her debut as both a leading actress and a screenwriter, she proved herself as a singular, brilliant voice in Hollywood.

Her work was bolstered by her collaboration with Judd Apatow, whose observations on relationship dynamics and suburban culture mixed well with Ms. Schumer’s raunchy sensibilities and views on everyday life.  True, the movie’s story relied on formula (a hard-partying thirty-something falls for a doctor in her first serious relationship ever), but it subverted expectations by never judging Amy (the character, not the actress) for drinking, smoking, or having sex.

“Trainwreck” was an unconventional story about growing up, and Amy Schumer made it heartfelt and hilarious.  I can’t wait to see what she does next.

Runners Up: The cast of “Star Wars: The Force Awakens,” Ryan Coogler (“Creed”)

Favorite Revival of a Nostalgia Property: “Star Wars: The Force Awakens”

I’m not sure if there’ll ever be a time when we can judge “The Force Awakens” on its own merits.  It’s not only a “Star Wars” movie and a part of the most influential series in film history; it’s a 135 minute, 200 million dollar apology for the prequel trilogy.

And yet…I think it worked.  It walked a familiar path, sure, but rather than be a throwback to an older time, it used a familiar template to set the stage for a new story, another chapter in a galaxy we love.  The new cast was outstanding (I dare you to not fall in love with Daisy Ridley, John Boyega, and Oscar Isaac), the old guard put on a fine show (making Han Solo a mentor figure was a stroke of genius), the blend of practical and CGI effects made the movie look lived in and worn but also sleek and modern, and the emotional stakes felt real.

More than that, “The Force Awakens” set up bigger and better things to come.  December of 2017 can’t arrive soon enough.

Runners Up: “Mad Max: Fury Road,” “Creed”

Biggest Misfire: “Fant4stic”

2015 also turned out some stinkers, many of which I didn’t see because, well, I don’t get paid to see bad movies.  The likes of “Pixels,” “Mordecai,” “Pan,” or “The Ridiculous 6” may have been worse, but luckily for both me and them, I gave all of them a hard pass.

“Fant4stic,” however, I sat through, and it was terrible.  I know I already wrote an entire recap of the damn thing, but it’s just so bad it fascinates me.  The film is not even terrible enough to be compared to a horrific car wreck that you can’t look away from—viewing it is more like watching sped-up footage of a corpse decaying. 

Runners Up: “Jurassic World,” “Spectre”

Favorite Performance by Something Inhuman: BB-8, “Star Wars: The Force Awakens”

Just look at him! He’s so cute!

Runners Up: Ultron (“Avengers: Age of Ultron”), Ted Clubberlang (“Ted 2”)

Favorite Director: Quentin Tarantino, “The Hateful Eight”

Quentin Tarantino has said that he considered making “The Hateful Eight” into a play.  It’s not hard to see why.  The film was certainly built like a play, with its two-act structure, slow-burn story, and emphasis on character and atmosphere above visceral action (at first).

However, “The Hateful Eight” still worked as a movie because it was just so bloody cinematic.  Mr. Tarantino sold us a tense, violent western; what we got was that, plus a narrative about the power of story as a tool of communication, intimidation, deception, and malice, delivered by a filmmaker with both the guts to go to dark places and the brains to pull it off. 

There isn’t another film like “The Hateful Eight,” and there certainly isn’t another filmmaker like Quentin Tarantino.

Runners Up: George Miller (“Mad Max: Fury Road”), Ridley Scott (“The Martian”)

Favorite Picture: “Mad Max: Fury Road”

Are you surprised?  Is that your surprised face I’m somehow seeing through this computer?  I shouldn’t, because if you know me, you know that I’ve had difficulty not talking about “Fury Road” for the past few months.  Why?  Because it goes far above and beyond what’s expected of an action movie.  

Creative, brutal action?  Check.  Engaging, multi-dimensional characters?  Check.  A well-realized world expressed through art design over direct dialogue?  Check.  A female action lead who doesn’t fall into the two-dimension cliché of the gruff, emotionless love interest?  Check.  An unexpected feminist message that smacks you in the face and makes no apologies about it?  Check.

“Fury Road” upends so many expectations that it may just be the new gold standard for how action movies, sci-fi movies, and nostalgia revivals—all of it from, amazingly, the director of “Happy Feet.”  “Fury Road” is a better action movie than we deserve, and my favorite film of 2015.

That’s it for my awards list (which totally wasn’t a loose framing device for me to give stray observations about some movies I liked).  Hope you had a good 2015 and here’s to 2016, where we’ll see a new team of Ghostbusters rise, find out if video game movies can ever succeed, and watch more superhero movies than you can shake a stick at. 

See you next year!

Movie Review: "Spotlight" (Tom McCarthy, 2015)

SPOTLIGHT ON AWARDS GLORY? by Maxwell Meyers

Above: Michael Keaton and Rachel McAdams in Mr. McCarthy’s new movie.  Photo ©Open Road Films.

Well folks, once again it’s that time of year where all the “Oscar contenders” come out of the woodwork seeking glory.  This year, as always, there are one or two movies being touted as the “frontrunner.”  One of which, according to all the pundits, is “Spotlight.” 

“Spotlight” is the true story of how The Boston Globe uncovered child molestation within the Catholic Church—and brought it to public light in 2001.  Directed by Tom McCarthy (“The Station Agent”) and starring Michael Keaton, Live Schreiber, Mark Ruffalo and Rachael McAdams, it is a wonderfully all-around pretty darn good movie.

I know you’re thinking, “All around pretty darn good.  What does that even mean?” Well, allow me to explain.

The story told by “Spotlight” is compelling, especially since the well-shot film doesn’t drag or linger on unimportant moments.  What’s more, the acting is equally great, even if none of the film’s actors disappear into their characters as completely as Leonardo DiCaprio and Daniel Day-Lewis do.  Like the film itself, they are admirable without being spectacular or revolutionary, keeping you intrigued but never drawing you to the edge of your seat.

That said, having lived in Portland, Oregon for the near entirety of my life and growing up without any religion, I found “Spotlight” terribly interesting.  In particular, I was fascinated by the beginning of the movie, when a reporter investigates one or two incidents of misconduct in the church, then begins to unravel a cycle of abuse masked by a conspiracy more disturbing than any character (or audience member) could have imagined).

Of course, the story of the Globe’s investigation has been publicized and talked about for nearly fifteen years now, so the movie isn’t a true mystery.  Yet it’s fascinating to watch reporters uncover information and signs that had been apparent for decades—dots that no one had bothered to connect that ultimately reveal the horrific realities of institutional abuse (at the theater where I saw “Spotlight,” I heard multiple whispers of, “Oh my god,” and “Jesus Christ,” as shock cut through the silence of the theater). 

Ultimately, I recommend that all moviegoers see “Spotlight.”  But even if it is a frontrunner in the awards race, I don’t think that it deserves to win the Academy Award for Best Picture.  That trophy should be delivered to the films that traffic in the spectacular and the new, films that grip you emotionally and star actors who melt away and become people we couldn’t have imagined.  Yes, “Spotlight” comes close to that benchmark, but it doesn’t quite hit it.

Grade: B+

Movie Review: "The Revenant" (Alejandro G. Iñárritu, 2015)

INTO THE UNKNOWN by Bennett Campbell Ferguson

Above: Leonardo DiCaprio as Hugh Glass.  Photo ©20^TH Century Fox.

At the start of “The Revenant,” clear water trickles over tree roots.  For a time, the camera simply stares into those wet and muddy depths; then, it rises upward and towards two men tromping through the muck.  One is Hawk (Forrest Goodluck); the other is his father, a seething, hairy tower of a man named Hugh Glass (Leonardo DiCaprio).

            “The Revenant” is the sweeping saga of Hawk’s murder and Glass’ silent journey towards the bloody horizon of revenge.  Yet the film’s true lead is Alejandro G. Iñárritu, its aggressively ambitious director.  A brooding tackler of such modest subjects as The Decline of American Pop Culture (“Birdman”) and The Unabridged Narrative of Human Suffering (“Babel”), Mr. Iñárritu is never content to merely wow or entertain—he prefers to bludgeon us with his brilliance, to slam our faces against his striking compositions and tasteful ambiguities until we cry, “Uncle!” (and pine for “When Harry Met Sally…”).  

            Mr. Iñárritu is also a maniacally talented attention grabber.  Early in “The Revenant” (which is based in part on a novel by Michael Punke), Glass’ skin is shredded by the claws of a Grizzly in a fiesta of gore that seduces you with its acid reflex-inducing details.  That bear doesn’t just scratch Glass—it slashes his throat, drools over his torn body, licks his blood, and grinds his head into damp dirt with a gargantuan paw. 

            There are still monumental horrors to come.  Post-bear attack, Glass is buried by fur trapper John Fitzgerald (Tom Hardy).  Commanded by the pale Captain Henry (Domhnall Gleeson), Glass and Fitzgerald have hiked through the northern expanse of the Louisiana Purchase (the film is set in 1823), seeking sellable pelts.  Yet Fitzgerald, seized by snarling self-preservation, abandons Glass, slaughters Hawk, then scurries into some snowy woods, little dreaming that Glass will live to walk and stalk him over cliffs, rivers, and snowdrifts, throbbed by a lust to avenge his slain son.

            I’d be remiss if I didn’t point out that the murder of Hawk is a mere force of plot.  Glass may hold his son close to his chest early in the film, but that moment feels hollow and forced.  Hawk’s death is engineered to propel Glass on his haunted quest; he lives to die, to justify Glass’ choice to slaughter Fitzgerald without a trace of regret.  Thus, while “The Revenant” gleams with icily gorgeous vistas, its heart is corroded by a noxious idea—that might really can make might.

            I don’t take such dubious ethics lightly.  Nor do I deny the film’s dreamlike allure.  In an era of cinematic formulas scarred by overuse, “The Revenant” gnaws itself free of many Tinseltown trimmings and trappings by seizing upon the surreal sight of Glass wordlessly battling through dirt, water, and ice as he hunts the wretched Fitzgerald.  To behold his journey is to experience something rarely felt in an American cineplex—the sensation of being entranced by the primal thrill of witnessing a man alone in the wild, dwarfed by monstrous, unblemished mountains and plains.

            During these torturous travels, Mr. DiCaprio limps and shimmies on his stomach over gravelly terrain.  His roughened features suit the movie’s giddy bleakness, most of all in a scene where Glass sinks to his knees while the wind blows in orbit around his ragged beard.  In that moment, Glass goes shiveringly still.  After all his ordeals, there’s nothing left to do but freeze.