A Reel Review: THE INVISIBLE MAN

Even though it is considered to be part of the original Universal Studios classic “monster” family, THE INVISIBLE MAN never reached the heights of popularity as its cousins DRACULA, FRANKENSTEIN, or even THE WOLFMAN. The character has had its fair share of sequels and loose remakes, but filmmakers never could find a fresh angle outside of clever or cheap camera tricks…and audiences could never latch onto a character that is never seen. But here in 2020, director Leigh Whannell has found a way to crack the code. 

Cecilia (Elisabeth Moss), escapes from her abusive husband Adrian (Oliver Jackson-Cohen), and finds haven with friends (Aldis Hodges and Storm Reid). News comes of Adrian’s suicide, but when strange thing begin to happen around her, Cecilia becomes increasingly convinced that he somehow still there…

This version of THE INVISIBLE MAN separates itself from the old template by making the title character an antagonistic villain as opposed to a noble scientist whose experiments went awry. Director Leigh Whannell plays with the simple question of what would a person in today’s world do with the power of invisibility, and takes it a step further by exploring what an abusing husband would do with such an ability. Adrian is set up as a master manipulator, with the ability and resources to control everything around him, and when signs start to appear that he may not be dead, Cecilia finds her freedom in danger. 

The signs range from simple to terrifying, as the invisible man begins to torture Cecilia in the dead of night to broad daylight, with simple tricks ranging from messing with her medications, sending hateful emails to family, to pulling her covers off at night. These tricks grow more and more sadistic, with Cecilia eventually being suspected of beating her friends and eventually murder. The stakes are high for her, as she has inherited Adrian’s millions…but that inheritance depends on her staying out of jail or being declared mentally incompetent; a mental state that grows into question as she’s the only one who can sense the presence of a man that cannot be seen. 

Making the man who can not be seen a driving force in the story is the real power of THE INVISIBLE MAN. The camera moves away from characters, and focuses on empty spaces of rooms…giving us a hint where he may, or may not be hiding. It’s an un-nerving, and masterful job of getting under the skin of Cecilia and the audience; people may never look at empty corners in their houses the same way again. On top of that, there are some shocking happenings in the film that no one would see coming, and the strong script ducks and weaves around with more than one surprise. 

Elisabeth Moss is outstanding as she goes through the torment and desperately tries to convince those around her that her dead ex-husband is still lurking about. Her character is on the ragged edge for the entire film and she plays it perfectly. The rest of the cast is very good as well. 

The finale offers even more surprises, with a closing scene that puts a strong stamp on the message of abused wives and what they have to go through to find freedom from their tormenters. Leigh Whannell has not only made  a chilling thriller, but a relevant picture for today. This is one INVISIBLE MAN that has to be seen. 

BOTTOM LINE: See it 

A Reel 25: The Year in Film 1995

This year marks the 25^th anniversary of one of the greatest years in film, the year that was 1995. 

The year began with a bang in the early Summer Movie Season, when John McTiernan’s third film in the DIE HARD franchise, subtitled WITH A VENGEANCE, exploded into theatres. A high-energy film with a great cast of Bruce Willis, Samuel L. Jackson, and Jeremy Irons, VENGEANCE would eventually be the top domestic money maker of the year. On the opposite side of the theatre, Mel Gibson’s BRAVEHEART would open wide the same weekend. Epic in scale and iconic to this day, BRAVEHEART would win the Academy Award for Best Picture and solidify Mel Gibson as a top-tier powerhouse director.  

Less than a month later, Ron Howard would enter both the early Oscar race and the box office competition with APOLLO 13. Based on a true story, APOLLO 13 would bring the early efforts of NASA back to the public conscious, earn nine Oscar nominations, and would dazzle audiences by filming scenes in reduced gravity aircraft. APOLLO 13 would also take advantage of early CGI techniques; a small step into the larger future ahead. Also making headlines that month was Walt Disney Pictures’ 33^rd film, POCAHONTAS; which would win two Oscars for its music and earn big at the gate. 

As the days of autumn grew darker, so did the movies. David Fincher’s psychological thriller SE7EN entered theatres in September and melted the brains of audiences with its knockout ending. Another hit at the box office, it would raise Fincher’s name into the upper-class of filmmakers. Later in the fall, Nicolas Cage would surprise everyone with his work in the tortured-soul drama LEAVING LAS VEGAS; work which would eventually earn him an Oscar. 

In the packed month of November, Rob Reiner would romance the hearts of the country with THE AMERICAN PRESIDENT; a film which would eventually be considered to be one of greatest love stories by the American Film Institute. Later that month, James Bond would return after a six-year hiatus with Pierce Brosnan in GOLDENEYE; his first of four appearances as 007. A box office hit, GOLDENEYE would modernize Bond for the times and secure the future of the franchise at least into the new millennium. 

And that new millennium would start early. In late November of 1995, Pixar Animation Studios changed the world with their first feature, TOY STORY. Directed by John Lasseter and featuring the voice talents of Tom Hanks and Tim Allen, TOY STORY was the first feature-length computer-animated film and would usher in an era of CGI…along with signaling the end of hand-drawn animation. TOY STORY would become a box office hit, spawn three sequels and several short-films, and would be the first of many triumphs for Pixar. An animated film meant for kids with multi-layered storytelling which spoke to adults as well, TOY STORY re-invented the animated film genre overnight and changed the industry forever. 

Other notable releases in 1995 were Sam Raimi’s THE QUICK AND THE DEAD, Wolfgang Petersen’s OUTBREAK, Tony Scott’s CRIMSON TIDE, Clint Eastwood’s THE BRIDGES OF MADISON COUNTY, Bryan Singer’s THE USUAL SUSPECTS, Martin Scorsese’s CASINO, Kathryn Bigelow’s STRANGE DAYS, Michael Mann’s HEAT, Terry Gilliam’s 12 MONKEYS, Kevin Smith’s MALLRATS, Robert Rodriguez’s DESPERADO, the Liam Neeson-led Scottish adventure ROB ROY, the Robin Williams-led fantasy JUMANJI…along with some notorious releases such as CUTTHROAT ISLAND,  SHOWGIRLS, BAD BOYS, BATMAN FOREVER, and Kevin Costner’s WATERWORLD. 

* 

In 1995, we were six years away from CGI-heavy fantasy epics like THE LORD OF THE RINGS and HARRY POTTER, and George Lucas had not even begun to tinker with his original three STAR WARS films as a test-run to see if a Prequel Trilogy could be done. But the seeds that were planted in 1995 would bring all that about and more. It was a year of benchmarks for Pixar and for filmmakers such as Ron Howard, David Fincher, and Mel Gibson…and overall a year which offered quality films for everyone; comedy, fantasy, action, family, drama, and romance…1995 did it all. Today, it is rare where we get two or three great films in a single year, which makes 1995, which was prolific quality, one of the last great relics of cinema. 

A Reel Review: THE CALL OF THE WILD

Jack London’s famed 1903 novel The Call of the Wild has now been adapted for the big and small screen 11 times. It is an adventure well-suited for the screen, with strong themes of survival, friendship, and personal quests for one’s self set in the backdrop of the magnificent wilderness. It is a timeless story, although some versions do reflect the era they were made in. The newest take, directed by Chris Sanders, keeps the original time period but certainly feels like an action film made in 2020. 

Buck, a large, domesticated St. Bernard, is stolen from his California home and sold to a dog-sled team in Yukon. There, he crosses paths with John Thornton (Harrison Ford), who is grieving the loss of his son. 

The first half of THE CALL OF THE WILD is episodic in nature, with Buck going from one place to another encountering friends and adversaries. As a captive he learns the pain of the club, and as a sled-dog he goes from a clumsy newcomer to the leader of the team. The film takes a while to get Buck and John together, but once they do find each other the film really finds a groove; with the two of them being lost in the woods in one sense or another. 

All the themes of the novel are at work here, and even though the script doesn’t dig too deep, the film still hits the emotional beats. There are plenty of laughs to be had and tears to be shed, and the interactions Buck has with John and others does manage to pull us in, and their personal journeys to find their place in the world parallel each nicely.

A lot has been said of the usage of a fully computer-generated (CG) dog to get Buck on the screen. The approach makes sense, as Buck, along with his fellow CG dogs, CG bears, CG wolves, CG rabbits, and CG mice…are asked to do things that would be impossible to do on-set with real animals. The issue is that CG Buck is not convincing in the least, with the rendering looking cartoony and not realistic at all. Even though Buck emotes very well with his eyes and face, he and his follow CG critters stick out like a sore thumb. What’s worse is that the film does not spend nearly enough time outdoors, with most of the environments done via green-screen. The movie looks very artificial, which takes away from the idea the “wild” is such a special place.  

Director Chris Sanders keeps the pacing brisk, the humor well-timed, and the emotional bits never overbearing. Action sequences involving a dog-fight and others with the sled team are executed nicely. 

Acting is excellent, with Harrison Ford looking inspired and having fun. He does a convincing job of acting against a dog that wasn’t really there on set (it was done with motion-capture), and his deeper bits when he goes into mourning are perfect. The rest of the cast is very good; Omar Sy, Karen Gillan, Bradley Whitford, Colin Woodell, and Cara Gee. Dan Stevens from DOWNTON ABBEY fame comes in as a bad guy, and looks and sounds like an adversary more suited to a Dudley Do-Right cartoon. 

At a brisk 100 minutes and a breezy, light script…THE CALL OF THE WILD makes for pleasant viewing that kids would love although adults would be looking for a little more. It has a great performance by Ford and some very well-done sequences, but is somewhat derailed by not only the overabundance of CG, but the lousy visual effects as well. This is one version that is firmly tied to the era that it is made in, which detracts from the timelessness the story needs. 

BOTTOM LINE: Rent it 

A Reel Birthday

This month marks Reel Speak’s 10^th anniversary. 

It was February of 2010. Netflix was still putting DVD’s in the mail,  James Cameron’s AVATAR was about to be the biggest box office earner of all time, the 82^nd Academy Awards were on their way to declaring Kathryn Bigelow’s THE HURT LOCKER as the Best Picture of 2009, and Martin Scorsese was ready to release his fourth consecutive film with Leonardo DiCaprio in SHUTTER ISLAND. 

Also in that month, I, this Blogger, had an idea. An idea to share my love for cinema with the rest of the world. It was a love affair that began in 1977 with STAR WARS, which grew and expanded over the years into all forms of celluloid-storytelling; sci-fi, horror, Westerns, fantasy, action, comedy, drama, arthouse, and high-fantasy…I could never get enough. The movies were a bonding element for family and friends, and much time was spent on barstools and living room couches debating, arguing, and discussing the movies, characters, stories, and quotes that we loved and hated. From Han to Rey, from Indy to Chief Brody, from Corleone to Plainview, from Superman to Iron Man…cinema had no limits for me. 

In the early goings of 2010, it was time to share that love beyond the barstools; to make that first step into a larger world. The design-work began in late January, and on February 24^th of that year, the first introductory blog post went up. That same day, the first film review was posted: SHUTTER ISLAND. 

In the last decade, the film industry has changed drastically, and Reel Speak has done its best to keep up. Blogs have ranged from reviews, significant anniversaries, op-eds, Oscar predictions, a guest writer, and Top 10 lists which have ranked everything by decade, to the vehicles our favorite characters drove, flew, or crashed. This annual blog, a list of direct and in-direct film references, serves as a summation of all the things I love about the movies, and a peek behind the curtain of Reel Speak. 

WHY I LOVE THE MOVIES

20. Because the trick is not minding that it hurts. 

19. Because if they catch you, they will kill you. But first, they must catch you. 

18. Because a Jaguar Shark ate my best friend. 

17. Because we will not walk in fear of one another. 

16. Because of John Williams.

15. Because I have been, and always shall be your friend. 

14. Because what we do in life echoes in eternity. 

13. Because Red October was hunted.

12. Because the only Virtue is Vengeance. A Vendetta. 

11. Because Crom laughs at your four winds! 

10. Because it’s a wonderful night for Oscar.

9. Because they made me an offer I couldn’t refuse.

8. Because “I love you”, and “I know”.

7. Because if someone asks me if I’m a god, I say yes.

6. Because I will drink your milkshake.

5. Because every man dies, not every man really lives. 

4. Because they needed a bigger boat.

3. Because there had to be snakes.

2. Because the Fellowship will not fail. 

1. Because the Force will be with you, Always. 

A Reel Review: SONIC THE HEDGEHOG

Starting with SUPER MARIO BROS. in 1993, mainstream Hollywood has released 37 films based on video games, mostly with disastrous results; with films such as MORTAL KOMBAT (1995), DOOM (2005), and ASSASSIN’S CREED (2016) earning lousy reviews and ire from fans while barely making a penny at the box office. In recent years there has been a resurgence in the genre, with decent hits based on Tomb Raider and Pokemon. Next up, is the popular character from the old Sega library, SONIC THE HEDGEHOG. 

Sonic (voiced by Ben Schwartz), is a lightning-fast hedgehog from another world living in secret on Earth. When he loses his bag of magic rings, he befriends Tom (James Marsden), a local sheriff, to locate them…while being pursued by the evil Dr. Robotnik (Jim Carrey). 

SONIC THE HEDGEHOG is a film that sticks to the basics. The goal for Sheriff Tom and Sonic is to locate the bag of rings, which gives Sonic the ability to travel to another world in safety. The clock is ticking for him, as Robotnik and his endless army of drones are after him for his power. The film moves into a buddy-buddy road trip genre, with Tom and Sonic getting to know each other as they escape one scrape after another in a romp across the state. It’s basic plotting but functional. 

But what really makes SONIC run is the amount of heart that director Jeff Fowler injects into the film. Sonic is fleshed out nicely as a character; having fun living in secret but deep-down is lonely and just looking for a friend. It’s a simple, yet workable human emotion that makes us care about a cartoon creature. 

A lot has been said leading up to the film about the visual effects here, as Sonic underwent a late design change. It’s unclear if he was supposed to look cartoony or have a sense of realism that failed, but cartoony is what we got. There are a few scenes where he looks unfinished and are just bad. This can draw a pass though, as SONIC is so much fun it almost doesn’t matter. Chase-scenes down the highway and a bar fight are a blast with Sonic using his powers in full; kids and long-time fans of the old Sonic video games will find a lot to enjoy. 

Acting is very good with the cast looking like they are having just as much fun as audiences will. James Marsden steps it up and does a convincing job of acting against nothing on set. Jim Carrey gets a second shot at Ace Ventura with a welcome return to his comic roots. He’s funny and lights up the screen every time he appears. Ben Schwartz injects a lot of emotion into Sonic and matches his personality perfectly. 

SONIC THE HEDGEHOG’s commitment to sticking to the basics gives it a very functional story, but it also plays it so safe that there are very little surprises; the finale and final battle with Robotnik ends exactly the way we figured they would. The film does offer two scenes during the credits which delivers exactly what fans want from a SONIC movie, and is the capper to a fun and emotional race to the finish. 

BOTTOM LINE: See it 

A Reel Opinion: Why THE IRISHMAN got Whacked

One of the many ongoing conversations leftover from the now completed 2019 Awards Season has to do with Martin Scorsese’s THE IRISHMAN. The Netflix-produced gangster drama went into the 92^nd Academy Awards with 10 nominations (tied for the second-most), but won nothing. The whacking at the Oscars capped off an abysmal Awards Season for the film, as it was shut-out at the other major awards, including the Golden Globes, BAFTA, the Guilds, and the Technical Societies. The lack of any love was a surprise, as the film was expected to be a contender as far back as the year before, when its first teaser debuted during the 91^st Oscars. How did this happen? How could a gangster epic by Scorsese, which reunited him with his GOODFELLAS actors Robert DeNiro and Joe Pesci…and also had Al Pacino…do so poorly? Here’s what This Blogger thinks went wrong…

1. Stiff Competition

We can dismiss any talk that THE IRISHMAN was a bad film. It was nominated for 10 Oscars and 10 BAFTA awards, earned an excellent 96% approval rating on Rotten Tomatoes (94/100 on Metacritic), and did take home wins at the IGN Awards (Best Drama), and Critics Choice (Best Ensemble). Viewers seemed to be a little split on it (more on that in a minute), but it did seem that Scorsese’s peers did see a lot of merit in the film. The problem at the Oscars, and at BAFTA and the Globes, is that it went up against awards-juggernauts such as Sam Mendes’ breathtaking 1917, Quentin Tarantino’s love letter to movie-making in ONCE UPON A TIME IN HOLLYWOOD, and the eventual history-making Best Picture winner, Bong Joon-ho’s PARASITE. THE IRISHMAN was good, but even if it was better, it would still not have done any better against those awards-gobbling movies. The scenario was remarkably similar to 2002, when Scorsese's own GANGS OF NEW YORK earned 10 nominations, but lost every category to awards gobblers THE PIANIST, THE TWO TOWERS, and the eventual Best Picture winner, CHICAGO. 

2. Netflix Bias

It is no secret that the streaming service which has been transforming into a movie studio has not been popular with the Hollywood establishment, with an ongoing feud against exhibitors regarding their releases; Netflix wants to run their films in theatres for a bare minimum, exhibitors want them to run on the big screen longer. The Academy voters, which are industry directors, actors, producers, and other long-time Hollywood elite, don’t like the stunts that Netflix keeps trying to pull, and probably look at them as the enemy; a threat to the way the movies have been doing business for 100 years. Those 10 Oscar nominations are a show of respect to Scorsese and his cast, but the shutout was the middle-finger to Netflix. And just to further drive home the point, the films that won the lion’s share; PARASITE, 1917, and ONCE UPON A TIME IN HOLLYWOOD…were films that were tailored perfectly for the big-screen experience. 

3. THE IRISHMAN was not a Crowd Pleaser

In 1995, director Michael Mann brought together legendary actors Robert DeNiro and Al Pacino together on the big screen for the first time in his crime drama HEAT. Towards the back end, the two actors had a face-off/conversation in a beautifully constructed sit-down at a diner; a scene that is now legendary and has fans of the film making pilgrimages to that real-life diner just to sit at that table. It was a quiet, yet crowd-pleasing moment that made HEAT legendary. 

THE IRISHMAN brought DeNiro and Pacino together again along with Joe Pesci, and the film has some wonderful scenes with these three greats, but it simply does not capitalize on the star-power. There is no scene between these guys that delivers what viewers wanted from them like HEAT did. And that’s where Scorsese may have lost his audience…and his voters. It is a reflection of the way Scorsese thinks; earlier in the year he made waves when he criticized Marvel and superhero movies…diminishing them by calling them theme parks; and parks exist to please people. THE IRISHMAN was a slow-burner, and lacked the zip or an iconic scene that people fell in love with in GOODFELLAS. Scorsese made THE IRISHMAN for himself and not for fans, and that’s why it didn’t resonate…and that’s why no one could care to vote for it. 

*

Martin Scorsese’s next film, KILLERS OF THE FLOWER MOON, begins filming this year with DeNiro and Leonardo DiCaprio. No release date has been set yet. 

A Reel Opinion: Oscar Wrap-up - The Good, The Bad, & The Glorious

The year that was 2019 was finally but to bed last night, when the Academy of Motion Pictures Arts & Sciences presented the 92^nd Oscars. Here’s how it all landed in The Good, The Bad, & The Glorious. 

THE GOOD

-No host, no problem. For the second year in a row, the show went on without a host. The proceedings went into a breezy mode, zipping along with little time for baloney. It worked, although an opening tag-team monologue by former hosts Steve Martin and Chris Rock was good enough to make us yearn for the good ‘ol days. 

-Perhaps capitalizing on the impact the music of Queen had on last year’s ceremony, this show had a heavy focus on music. Janelle Monae donned a Mr. Rogers cardigan for a lovely opening that went into high-octane and got everyone on their feet. Idina Menzel belted out her hit Into the Unknown from FROZEN II, and was joined on stage by international performers in a spectacular performance. Elton John was great, as was nominated actress Cynthia Erivo who performed Stand Up from her film, HARRIET. 

-Many of us are scratching our heads over the appearance of Eminem who came out of nowhere for a surprise performance of his 2002 Oscar-winning song Lose Yourself. It felt out-of-place, but since This Blogger has always criticized the Academy for not embracing their history enough…then a move like this gets a pass. Music is an important part of the Oscars’ long history, so why not bring back a former winner. And besides that, the performance brought the house to its feet, and gave the show a kick in the butt to avoid that middle-slump. 

-A point that’s not necessarily Good, Bad, or Glorious, but worth noting; streaming giant and upstart movie studio Netflix led the ballot with 24 overall nominations, but only won two. 

THE BAD

-Not all of the musical numbers made sense. There was a puzzling performance by rapper Utkarsh Ambudkar who re-capped the show at the half-way point. It felt like the Oscars’ version of the Super Bowl half-time show. Awkward and weird. 

-The In Memoriam looked and sounded great, with Billie Eilish performing The Beatles’ Yesterday, but overall the segment felt very rushed, with no clips of our dearly departed doing what they did best on the big screen. 

-Horror icon Sid Haig was left out of the In Memoriam. In a year where great horror films such as MIDSOMMAR and US were snubbed by the Academy, this omission makes one wonder what voters have against the horror genre. 

THE GLORIOUS

-The little montages before each category were awesome. 

-Acceptance speeches by winners Laura Dern and Joaquin Phoenix. Dern thanked her parents, and while Phoenix went off the rails a little, he brought it back on track nicely with a tribute to his departed brother, River Phoenix. 

-It is all about the movies, and every film that was nominated for Best Picture, with the exception of THE IRISHMAN (more on that in a future blog), went home with at least one win. FORD V. FERRARI and 1917 took home some technical awards, JOJO RABBIT won Adapted Screenplay, JOKER rightfully won Best Actor (Phoenix), LITTLE WOMEN for Costume Design, MARRIAGE STORY for Best Supporting Actress (Dern), ONCE UPON A TIME IN HOLLYWOOD for Best Supporting Actor (Brad Pitt), and Production Design. The awards were spread out evenly and there doesn’t seem to be any controversy in any category. 

-And the major categories of Best Director, Original Screenplay, and Best Picture were won by Bong Joon-ho’s South Korean film, PARASITE…becoming the first film not in the English language to take home the last Oscar of the night. Although This Blogger and many others had 1917 winning it all, seeing PARASITE make history is more than welcome. The Oscars should be making history. Cinema is not local. It’s global. No barriers or walls. Aspiring filmmakers should never feel discouraged or limited because of where they are from. Movies have no limits, and thanks to the Academy for seeing that. 

-Bong Joon-ho’s acceptance speech paid tribute to Martin Scorsese. Scorsese may have gone home empty-handed, but the influence he has on today’s movies can still be seen…in Oscar’s past, present, and future. 

*

The 93^rd Oscars will be held February 28^th, 2021. 

A Reel Review: BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN)

In 2016, Warner Bros. gave us the DC Comics bad-guy team-up film SUICIDE SQUAD; a collection of established Batman enemies who in the film never bothered with Batman. It was a disaster of a movie; so bad that Warners has decided to give us two make-up films, with the first being BIRDS OF PREY: (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN). 

After breaking up with the Joker, Harley Quinn (Margot Robbie), is forced by criminal underworld boss Roman Sionis/Black Mask (Ewan McGregor), to recover a diamond which has bank-codes embedded inside. When the diamond winds up in the hands of a young pickpocket named Cassandra (Ella Jay Basco), Harley takes her under her wing…and is then pursued by Roman’s driver Dinah/Black Canary (Jurnee Smollett-Bell), a troubled police detective (Rosie Perez), and a revenge-seeking vigilante named Huntress (Mary Elizabeth Winstead). 

Margot Robbie’s take on Harley Quinn was arguably the only good thing about SUICIDE SQUAD, and Warners seems intent on capitalizing on that. Despite having her name in the sub-title, BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) is very much a Harley Quinn movie. It’s all about her and her attempts to find her new place in the world now that she doesn’t have Joker in her life. In the early goings, she keeps the break-up a secret which gives her power and intimidation over her friends and enemies. Once she tires of that and changes her relationship status (by blowing up the chemical plant she and Joker fell in love at), half the city of Gotham gets after her. With Cassandra, she finds something to do and a little bit of meaning. It’s light fare, and the script does not dive very deep, but it works. 

The rest of the “birds” serve more as plot points than actual characters, with Huntress getting the only backstory (she has a history with the diamond). Eventually Harley and the Birds settle their differences and get together in a way that feels organic for the big fight and chase finale. That big finale is set up and executed nicely, and is preceded by some of the most fun action-scenes we’ve seen in DC Comics movie in a decade. Fights are choreographed with a lot of zip and are a blast, and never resort to the goddamn shaky-camera to hide what’s going on. Director Cathy Yan keeps the humor coming in doses, and the film is a high-energy rush that never lets up. It’s a swear-fest with potty-mouth language everywhere, but very little blood and the R-rating is a soft one. 

Acting is fantabulous. Margot Robbie has to play a character that is un-hinged but human, and her balance of hurt and happy really works. Ewan McGregor chews the scenery like bubble gum and is fine, although his character is paper-thin and amounts to nothing more than a stock villain. The rest of the cast is very good, with Mary Elizabeth Winstead’s Huntress a standout (give us that solo movie next, please). 

BIRDS OF PREY is the first of two films from Warners to try and help us forget about SUICIDE SQUAD, with James Gunn’s THE SUICIDE SQUAD coming in 2021. Before we get there, this is a solid, albeit thin stepping-off point, and by far the most fun a DC Comics movie has been in a very long time. 

BOTTOM LINE: See it 

A Reel Opinion: Oscar Picks, Part 2

This second part of Oscar Picks selects the winners in the elemental categories leading to Best Picture. For Reel Speak’s selections in the acting categories, read Part 1 HERE.

As stated in Part 1, predicting the Oscar winners should logically begin with the Guild awards; the actors (SAG), directors (DGA), writers (WGA), and producers (PGA). By looking at those winners and comparing past stats and trends, we have a solid stepping-off point simply because many Guild members are also Academy voters. Studying other major awards such as the Golden Globes, British Academy (BAFTA), and the technical societies honoring editing and visual effects can offer insight as well. 

Also in the past, studying the ballot closely can offer clues to what film will take home the final Oscar of the night. Historically, films that are lacking nominations in Editing, Screenplay, Acting, and Director are automatically ruled out. But this year has the potential to be a little different. Here now are Reel Speak’s selections in those vital categories leading to Best Picture. 

BEST ADAPTED SCREENPLAY

No film has won Best Picture without a Screenplay nomination since TITANIC in 1997, and eight of the last 11 Best Picture winners also won Screenplay, so it’s safe to say that the Academy takes writing very seriously. Taika Waititi’s JOJO RABBIT was the surprise winner at this year’s WGA and BAFTA and is the favorite. JOKER or THE IRISHMAN could spoil, as could LITTLE WOMEN for its work on re-arranging the old story. JOJO RABBIT stands out as the lone comedy in a field full of drama, and that alone might be enough.

Winner: JOJO RABBIT

BEST ORIGINAL SCREENPLAY

Possibly the most difficult category to pick this year. Sam Mendes’ WWI epic 1917 was simple yet effective, and voters could be tempted to pick the film that has some of the most nominations. Quentin Tarantino’s ONCE UPON A TIME IN HOLLYWOOD is a story about Hollywood, which means voters could be tempted to vote for themselves. But Tarantino does not belong to the Writers Guild, and that could be a factor. South Korean director Bong Joon-ho’s boundary-smashing PARASITE won this category at WGA and BAFTA, and seems to be poised to finish the sweep. It’s close, but PARASITE’s strong, twisting, script on social structure and humanity has that wide reach that works with voters. 

Winner: PARASITE

BEST EDITING

How important is editing? Only two films in 41 years have won Best Picture without an Editing nomination. PARASITE won the top prize at this year’s American Cinema Editors awards, and JOJO RABBIT also won there in the comedy category. FORD V. FERRARI could spoil with its high-octane racing scenes, and at over three hours, THE IRISHMAN doesn’t seem to be edited enough. PARASITE has a remarkable building of tension, and its many surprises executed perfectly. 

Winner: PARASITE 

BEST DIRECTOR

PARASITE’s Bong Joon-ho is primed to pull an upset, but 1917 director Sam Mendes has been cleaning house all season long; winning Best Director at the DGA, Golden Globes, and BAFTA. His film, made to look like one continuous take, is a towering technical achievement that is impossible to overlook. No film was better directed in 2019. 

Winner: Sam Mendes

BEST PICTURE

Any film that lacks nominations in Directing, Editing, Screenplay, and Acting…and has little love from the Guilds does not have the odds in their favor, so that practically eliminates FORD V. FERRARI, JOKER, THE IRISHMAN, LITTLE WOMEN, MARRIAGE STORY, and JOJO RABBIT. That leaves 1917, PARASITE, and ONCE UPON A TIME IN HOLLYWOOD as the frontrunners…with each film having pros and cons. 

1917 is the favorite going in, having won the top prize at BAFTA, DGA, the Globes, and the all-important PGA…whose Best Film award has matched Oscar seven of the last 10 years. Going against it is the lack of an Editing nomination, but we’ve seen films overcome that before; its filming style is exactly like BIRDMAN in 2014, which overcame that issue to win Best Picture. The real problem is it does not have any Acting nominations, and only three films in the last 25 years have won Best Picture without at least one; SLUMDOG MILLIONAIRE (2011), THE RETURN OF THE KING (2003), and BRAVEHEART (1995). 

ONCE UPON A TIME IN HOLLYWOOD ticks all the right boxes, with the exception of Editing which is important in this case. At the Guilds, HOLLYWOOD went head-to-head against 1917 and PARASITE and lost every time. What it has going for it is that it’s a Hollywood story, and those Hollywood voters would love to vote for themselves. 

PARASITE has had a remarkable run this season, winning the SAG Ensemble and WGA. It too lacks any Acting nominations, and the fact that it’s a foreign-language film works against it; no non-English speaking film in the Oscars 91-year history has won Best Picture. PARASITE is also nominated for Best International Film (formerly titled Foreign Language), which it’s a shoo-in to win…so it seems unlikely it would end the night with two major wins. 

So who wins? It’s hard to see PARASITE winning when it has its own category, and there are literally zero stats and trends to back up predicting a non-English speaking film to take home the top prize. If anything, the stats and trends work against it. ONCE UPON A TIME IN HOLLYWOOD speaks directly to the voters in all guilds, but 1917 has that PGA win, which has been the strongest percentage-wise predicter in the last decade. On top of that, in every awards competition this season where 1917 went head-to-head against PARASITE and HOLLYWOOD, 1917 won. A sweep is in the works.

Winner: 1917

*

The Oscars will be awarded February 9^th. 

Kirk Douglas 1916 - 2020

Kirk Douglas, one of the last living relics from the Golden Age of Hollywood, has passed away at 103 years old. 

Born Issur Danielovitch Demsky in the industrial town of Amsterdam, he was one of seven children to his Jewish parents who had immigrated from Russia. After going to work to support his family as soon as he was old enough, he put himself through St. Lawrence University by working as a janitor. After earning his Bachelor of Arts degree, he moved to Manhattan where he would earn a scholarship at the American Academy of Dramatic Arts after one single reading. 

After graduating from the Academy, he made his Broadway debut in Spring Again in 1941. A year later he enlisted in the Navy and served on anti-submarine patrol in the Pacific until 1944. Returning home from the war, he went back to Broadway and enjoyed success. In 1946, Lauren Bacall recommended him for a screen test, and he made his cinema debut that year with THE STRANGE LOVE OF MARTHA IVERS. 

It would be the start of a career that would span 80 films over the next 46 years. Playing strong-minded characters, he would appear in Billy Wilder’s THE BIG CARNIVAL (1951), DETECTIVE STORY (1951), GUNFIGHT AT THE O.K. CORRAL (1957), PATHS OF GLORY (1957), and THE LIST OF ADRIAN MESSENGER (1963). He would work with some the era’s best directors, including Joseph L. Mankiewicz’s A LETTER TO THREE WIVES (1949), and John Huston’s THE LAST OF ADRIAN MESSENGER (1963). He would be nominated three times for Best Actor by the Academy, for CHAMPION (1949), THE BAD AND THE BEAUTIFUL (1952), and LUST FOR LIFE (1956). He was awarded an honorary Oscar in 1996. He won the New York Film Critics Award for Best Actor for his portrayal of the tormented genius Vincent Van Gogh in LUST FOR LIFE. 

A maverick his entire career and life, he rebelled against the McCarthy era by producing and starring in SPARTACUS (1960), which was written by blacklisted writer Dalton Trumbo. The move made Douglas a hero to others who were blacklisted in Hollywood at the time, and SPARTACUS became Universal’s biggest moneymaker. 

He earned several lifetime achievement awards and a Presidential Medal of Freedom. He is no. 17 on the American Film Institute’s list of Greatest Male Screen Legends. He is the father to actor two-time Oscar-winning actor and producer Michael Douglas. 

*

Kirk Douglas was not a direct influence on This Blogger during his formative years, as he had already been around too long. He was the guy that dad watched, and that grandpa always had to see in his beloved cowboy movies. Kirk Douglas was easy to watch, as he was a tough guy but maintained his handsome, chiseled looks…and he always gave the sense that there was a thinking man under the bare-chested, gun-slinging characters he played. He would set a standard that can still be seen today; one of his many legacies. Of all his greatest achievements, his stand against a government that was doing wrong against its own citizens is the one that history will remember; the achievement of standing for those who couldn’t stand for themselves. That was Kirk Douglas. 

A Reel Opinion: Oscar Picks, Part 1

The Academy of Motion Picture Arts and Sciences will award their 92^nd Oscars this Sunday, honoring the best achievements in cinema for the year that was 2019. In past years, there was well over a month from the release of the nominations to the ceremony, leaving film bloggers, critics, and experts plenty of time to try and predict the winners. This year, that gap was shortened by nearly three weeks, making it a bit tougher to try and out-guess the Academy voters. 

The good news is, the acting categories look to be the easiest to figure out. The Academy has a large overlap with the Guilds, especially the Screen Actors (SAG), and in the past studying those awards would provide a strong indicator to how Oscar night will unfold. So far, the four categories have been dominated by four actors…and it is rare that any nominee would win big at SAG, the Golden Globes, and BAFTA…and then not complete the sweep on Oscar Night. Barring any sort of major upset (there always seems to be at least one), this year’s acting categories should finish the way the season has started. 

Here now are Reel Speak’s picks in the acting categories. 

BEST SUPPORTING ACTRESS

Laura Dern should complete her sweep for her role in MARRIAGE STORY. Her closest competition comes from her co-star Scarlett Johansson, who was nominated for her role in JOJO RABBIT…a film that has picked up late momentum this season with surprise wins at the Writers Guild (WGA), and BAFTA. Scarlett is a first-time nominee however, and rookies rarely win. 

Winner: Laura Dern

BEST SUPPORTING ACTOR

Brad Pitt should also complete his sweep for his role as a stuntman in Quentin Tarantino’s ONCE UPON A TIME IN HOLLYWOOD. Prime for the upset is Joe Pesci for his turn as a notable mobster in Martin Scorsese’s THE IRISHMAN. Pesci could gain a nostalgia-vote, as a win would bring him back on stage for the first time since he won in 1989 for Scorsese’s GOODFELLAS. It would make for a nice bookend, but Pitt’s role as a Hollywood stuntman speaks to the Academy voters…who love to see movies made about themselves. 

Winner: Brad Pitt

BEST ACTRESS

Renee Zellweger should take home her second career Oscar for her stunning transformation into the famed Judy Garland in JUDY. The only worry she may have is that her nomination is the only one JUDY has, which points to a lesser movie. This could open the door for Scarlett Johansson who also has a nomination for MARRIAGE STORY, but with Zellweger’s performance being hailed as the best in her resume of great performances…the odds learn towards her. And again, JUDY is a Hollywood story about one of their own. 

Winner: Renee Zellweger

BEST ACTOR

In any other year, Leonardo DiCaprio would take home another Oscar for his take on an aging action-star in ONCE UPON A TIME IN HOLLYWOOD. As a movie that is about making movies, DiCaprio was required to play more than one character, and his short scene as an outlaw in the Old West is simply stunning. But even more stunning is Joaquin Phoenix from JOKER…who lost weight and dug deep for his breathtaking turn as the eventual Clown Prince of Crime which has earned him wins at the Globes, BAFTA, and SAG. His chilling laugh alone is good enough to win. 

Winner: Joaquin Phoenix

*

Read Reel Speak's predictions in the elemental categories leading to Best Picture HERE

A Reel Review: The Super Bowl Movie Trailers

The Super Bowl has always been an opportunity for studios to capitalize on the large viewing audience and showcase their big releases for the coming year. With a captive, global audience that won’t turn away from the TV during commercial breaks, the chance is there to capture some eyeballs that normally wouldn’t be there. This year however, many studios sat on the bench for the big game, perhaps due to the ballooning cost of a 30-second spot ($5.6 million this year), but other studios were more than happy to get into the field of play. Here’s how they all landed in The Good, The Bad, and The Glorious. 

THE GOOD

-Disney is never afraid to bet on themselves, and once again they showed confidence in their own product. The first big trailer was BLACK WIDOW, with Scarlet Johansson reprising her role as the Avenger who gave her life to save every one of us. The new trailer had a chilling voiceover from Johansson, a lot of new footage which gave us great looks at co-stars Rachel Weisz, Florence Pugh, and David Harbour. 

-Disney also rolled out some new looks at their live-action remake of MULAN, which has an epic, down-and-gritty, feet-on-the-ground feel. Great looking spot with some stunning shots. 

-Back for more fun are the beloved Minions with the first look at MINIONS: RISE OF GRU. This was all new footage with looks at a young Gru, and had everything we’d expect from a MINIONS movie. The spot ended with a promise for a full-blown trailer later this week. 

The FAST AND THE FURIOUS franchise unleashed an action-packed, mostly wordless spot for what seems like their 984^th movie. Loaded with car chases, crashes, and ridiculous stunts, it delivers everything that long-time fans would expect from these films. 

THE BAD

-You get negative points for not showing up. Warner Bros. had a chance to capitalize on the goodwill they’ve built up with their Oscar-nominated JOKER, but bafflingly decided to not promote their upcoming BIRDS OF PREY; a film that has audiences scratching their heads over. They did do a short teaser for their upcoming WONDER WOMAN 1984, but it was actually a commercial for laundry detergent. Stupid and worthless. 

-Sony Pictures decided not to bother promoting GHOSTBUSTERS: AFTERLIFE. 

-Disney made the odd choice of no trailer for their newest Pixar adventure, ONWARD. 

THE GLORIOUS

-It actually ran just before kickoff, but the trailer for TOP GUN: MAVERICK still counts. It’s mostly a re-hash of footage we’ve already seen in the previous two trailers, but a few glimpses of new stuff. Not much to it, but the footage of star Tom Cruise actually in a fighter-jet flipping upside down still takes the breath away. 

-There’s no question that the production for the 25^th James Bond film, titled NO TIME TO DIE, has had its problems; late changes in directors, on-set accidents, awkward announcements, and the question of committal from star Daniel Craig who seemed like he was forced back into the role. They needed a great trailer to get back on track, and they got one a few weeks back…and that new momentum carried over last night. The new trailer gave us some new footage, with the promise that everything changes for 007 this time around. And any time we get to hear the Bond theme is a good thing. James Bond may be British, but his movies are as popular in America as a football. Perfectly timed and executed. 

*

Super Bowl LV will be played February 7^th, 2021.