The Finest Hours

First Hit:  This long film attempted to highlight an amazing true story about a rescue made by the Coast Guard.

This is based on the true 1952 story where two oil tankers broke apart off of Cape Code in a huge storm.

Chris Pine, as Bernie Webber, is a follow the rules member of the Coast Guard. He’s quiet and introspective. He’s lacks outward confidence as shown in the first scene where he meets Miriam (Holliday Grainger) a woman he’s only written and spoken to.

Ray Sybert (Casey Affleck) is the engine room seaman on one of the oil tankers. He does not get much respect from the rest of the crew because he is so focused on the ship. However, they end up turning to him for survival after the ship breaks up.

The film very slowly unwinds with the group of seasoned Coast Guard team has little confidence that Bernie is a good enough captain. No one makes it “over the bar” in heavy stormy seas, yet Bernie attempts and makes it.

The tanker crew turns to Sybert because he’s the only one committed to saving them all as a group. The film is about the rescue, about self-belief, confidence and romance.

Pine played this part in such a way that I did not find him very interesting or compelling. I did find Grainger’s character interesting and driven. Affleck was far more compelling in his role and I was engaged watching his role play out. Rachel Brosnahan as Bea Hansen a fisherman’s wife to also be very engaging. Scott Silver and Paul Tamasy wrote this adequate screenplay. I’m not sure whether is was the screenplay, actors or direction of Craig Gillespie that was the cause of this film dragging, although once the rescue actually begins, it gets better.

Overall:  Unfortunately I’m not sure the compelling real story came through in this film.

Hail, Ceasar!

First Hit:  An odd film and despite the star power, lacks being interesting let alone good.

You’ve got Josh Brolin, George Clooney, Ralph Fiennes, Scarlett Johansson, Tilda Swinton, Frances McDormand, Channing Tatum, and Jonah Hill, yet the only part that stood out for me was Jonah Hill as Joseph Silverman, the finance guy.

Brolin as Eddie Mannix runs a Hollywood studio and is in the middle of a career crisis. Clooney is the bankable star who gets kidnapped for money. Fiennes plays a highly respected and temperamental film director. Johansson plays a single pregnant star who does swimming films (think Esther Williams). Tilda Swinton plays two roles, twin opposing gossip columnists Thora and Thessaly Thacker. Frances McDormand as film editor extraordinary. Tatum was a dancing (think Astaire or Kelly) actor. The story is about the trials of running a studio, the communist edge of the 50’s, the behind the scenes stories about actors. There were some funny parts (Hill and Johansson).

Brolin was OK as the studio head, who had no time for his family. Clooney was fair as the kidnapped star who was highly influenced by his kidnappers. Fiennes was very good and the director stuck with an actor who couldn’t act. Johansson was mediocre as the swimming star. Swinton was good in her two roles. Tatum was OK as the dancing communist. Hill, in his minor role, was for me, the best part of the film. Joel and Ethan Coen both wrote and directed this film and I’m sure it sounded better as a discussion than written or filmed.

Overall:  Mediocre film through and through.

Deadpool

First Hit:  I enjoyed this tongue-in-cheek somewhat bizarre film.

I know that most of the reviews of this film where not positive, however I was amused and enjoyed the quirkiness of this story and film.

Was this story improbable? Yes, and so what. Most films are improbable. But what works for this film was that Ryan Reynolds was a perfect fit as Wade/Deadpool. As Wade, he’s sort of an enforcer of wrongs done by people and he gets paid for it. He's funny and serious at the same time.

The film does not do a good job giving the audience a background of where these jobs come from nor does it do well in setting the whole group of people who do this sort of work. However, get past this and enjoy. They gather in this bar run by Weasel (T.J. Miller).

Here Wade meets Vanessa (Morena Baccarin), and falls in love. They totally “get” each other and it changes his life for the better. He then finds out he has cancer and is going to die. He takes one final chance to heal himself by an evil scientist, Ajax (Ed Skrein) who promises that he will alter his DNA to heal him of his disease. However, there will be unknown side effects and in the case of Wade, now "Deadpool", it is that he cannot be killed and his skin becomes disfigured.

He doesn’t believe Vanessa will love him with his new look so he’s bound and determined to get back at Ajax. This is the story:  How does he let his love know he’s still alive? How does he get revenge on Ajax? And finally how does he live the rest of his life?

This film uses special effects to its advantage and the best part is Reynolds. He’s self-effacing, brash, and funny.

Reynolds is really good and I cannot think of another actor that would have been able to pull this off as well as Reynolds. Miller was great as the bar owner. He is great as Reynolds friend and confidant. Baccarin was perfect as Reynolds lover and wife. She’s just as quirky and strong and holds up her end of their relationship seamlessly. Skrein was strong as the evil doer. He carries this persona with clarity. Brianna Hildebrand as the Negasonic Teenage Warhead was good. Rhett Reese and Paul Wernick wrote a quirky odd story that, for me, worked. Tim Miller did a wonderful job of getting the most out of this odd story through his direction.

Overall:  I liked and enjoyed the oddities of this film.

Ride Along 2

First Hit:  Not much of a film and felt forced in all ways.

The upside was seeing Olivia Munn although I sensed she knew this was a stinker of a film.

This retread of a film came off as a throwaway. Kevin Hart as a newly minted, on probation, police officer Ben Barber who is engaged to Angela Payton (Tika Sumpter) that happens to be Detective and fellow officer James Payton’s (Ice Cube) sister.

James doesn’t think much of Barber’s unqualified police and detective skills. Barber doesn’t help his case much because he’s always talking. He is incessantly chattering away about something or nothing.

Not sure if the script had it this way or they just let him loose but it was tiring. With all the noise he was creating it was extremely difficult to hear any good stuff that would make the film funny.

Together Barber and James are off to find a guy who is a drug supplier to a dealer they tried to bust. The investigation takes them to Miami where they meet Munn (as Maya) a detective with the Miami Police Department.

The villain is Antonio Pope (Benjamin Bratt) who is half wise guy and half stupid. His scripted toughness lacked an intelligent storyline for his obvious success.

Therefore, we end up with a stupid insipid story bouncing along hoping that Hart’s jokes and banter will make this film interesting or funny; it was neither.

Hart’s role was one of constant needless jabber. It was almost as if the director and producers hoped he'd talk so much that it would make this film funny or interesting. It didn't. Hart needs to take on roles that have some depth and story behind them and use his quick wordiness more sparingly. In other words quit throwing shit on the wall hoping some sticks. Ice Cube:  I’m always so surprised that I see him in something like this. This was the guy who came Straight Outta Compton? Really, you’re doing mindless drivel like this. Where did your soul go? Sumpter is OK as the engaged girlfriend of Barber’s. She barely rose above the level of the film. Munn was fun to see and she did her best to keep the role focused and on target. The scriptwriters and director let her down. Phil Hay and Matt Manfredi wrote this stupid script that had little direction or focus. As director, Tim Story, never told one.

Overall:  This film was really a follow-up to the first one and showed NO originality or reason for existing.

Academy Awards - The Oscars

OK, here we are again celebrating another year of film going. Some strong films this year, films that broke box office records, and films that failed. Here are my choices for the following awards and some thoughts around some of them.

• Best Actor - Nominees are:  Bryan Cranston (Trumbo), Matt Damon (The Martin), Leonardo DiCaprio (The Revenant), Michael Fassbender (Steve Jobs) and Eddie Redmayne (The Danish Girl). This is not as strong a field as it was last year. The obvious missing actors are Tom Hanks (Bridge of Spies) maybe because he made it look so easy, and Steve Carell who was so quirky and interesting you just wanted to see what he was going to do next. Both of these were strong performances, yet not in my top two of this listing. Although Cranston's  performance was good, I didn't like the character nor the interpretation. Fassbender was very good, however this role had been done too many times in the last two years. I did not see The Danish Girl therefore I don't have an opinion. However, Damon and DiCapiro's performances were fantastic - beyond amazing. I loved each of them. My guess is that DiCaprio will win the Oscar.
• Best Actress  - Nominees are:  Cate Blanchett (Carol), Brie Larson (Room), Jennifer Lawrence (Joy), Charlotte Rampling (45 Years), and Saoirse Ronan (Brooklyn). This is a strong category although I didn't see 45 Years, the others were great. I also see a missing person from this list and that would be Rooney Mara in Carol as well. Between Cate and Rooney I would have picked Mara because I felt as though her evolution through the film was a more powerful statement. However, she is in the Supporting Actress listing. Out of the nominated list, it comes down to two outstanding performances: Ronan and Blanchett. Lawrence's performance was really good and I was fully engaged with her character, however it did not have the power of Ronan or Blanchett's. Larson was also very strong, however so much of her performance is linked to Jacob Tremblay the young boy that it took away from her own performance. For me I'd like Ronan to get this Oscar in an amazing performance in a  wonderful film.
• Best Supporting Actress  - Nominees are:  Jennifer Jason Leigh (The Hateful Eight), Rooney Mara (Carol), Rachel McAdams (Spotlight), Alicia Vikander (The Danish Girl), and Kate Winslet (Steve Jobs). As I mentioned earlier I think Mara's performance belongs in the Best Actress category. I didn't see The Danish Girl so I'm making my pick without full knowledge of the selections. However, without Mara I think the most interesting and performance is Leigh's. It was so hidden and yet over the top that I was mesmerized each time she opened her mouth and/or the camera focused on her. These are the top two and in my view either probably deserves the Oscar.
• Best Supporting Actor  - Nominees are:  Christian Bale (The Big Short), Tom Hardy (The Revenant), Mark Ruffalo (Spotlight), Mark Rylance (Bridge of Spies), and Sylvester Stallone (Creed). The missing performance is Jacob Tremblay's in Room. He was phenomenal. But this is probably one of the strongest fields in years, so someone had to be left off the list. They were all great and my favorites out of this list are Rylance and Stallone. Rylance had such a small role yet it was so much impact on the film that it was unforgettable. However Stallone will get it for both this performance and his body of work as Rocky Balboa.
• Best Cinematography  - Nominees are:  Ed Lachman (Carol), Robert Richardson (The Hateful Eight), John Seale (Mad Max: Fury Road), Emmaual Lubezki (The Revenant), and Roger Deakins (Sicario). Although Mad Max: Fury Road was big it did not grab me because I thought the film was more on the mindless side. Carol was elegantly shot and fully deserves the nomination. However, The Hateful Eight and The Revenant are over the top amazingly beautiful and powerful. The Hateful Eight deserves a lot of credit for doing so much in one room, while The Revenant wins this award for how shots were made and the perspective by which they were made. The winner - pick.
• Best Adapted Screenplay  - Nominees are:  Charles Randolph and Adam McKay (The Big Short), Nick Hornby (Brooklyn), Phyllis Nagy (Carol), Drew Goddard (The Martian), and Emma Donoghue (Room). Wow, what a list. All great picks. Any one of these could win in any given year. However, my final two would be Randolf and McKay for The Big Short and Hornby for Brooklyn. In the end I'm picking Nick Hornby for Brooklyn because it was a great screenplay and a wonderful film to watch.   
• Best Original Screenplay  - Nominees are:  Matt Charman and Ethan & Joel Coen (Bridge of Spies), Alex Garland (Ex Machina), Pete Docter, Meg LeFauve, and Josh Cooley (Inside Out), Josh Singer and Tom McCarthy (Spotlight), and Jonathan Herman and Andrea Berloff (Straight Outta Compton). Another strong set of contenders. All very different films. In the end I think I like Ex Machina and Spotlight as powerful screen plays for very different reasons. One reflects a horrible set of acts by Catholic Priests and the other about the obsessiveness and controlling nature of technology. In the end I select Josh Singer and Tom McCarthy for Spotlight.
• Best Director  - Nominees are:  Adam McKay (The Big Short), George Miller (Mad Max: Fury Road), Alejandro Gonzalez Inarritu (The Revenant), Lenny Abrahamson (Room), and Tom McCarthy (Spotlight). Missing are:  Ridley Scott (The Martian), J.J. Abrams (Star Wars: The Force Awakens), Todd Haynes (Carol), Quentin Tarantino (The Hateful Eight) and John Crowley (Brooklyn). To me this is the most messed up nominee listing. How is Max: Fury Road better directed than all my exceptions? It isn't and doesn't hold a candle to them. Also given my exceptions, I think Abrahamson's delivery is not quite there. Anyway, from the nominee list, I would say it is between McKay, Inarritu, and McCarthy. In the end I'd select McKay (with McCarthy a very close second) because he did the most to keep the film on track. Inarritu had too many long wistful shots. However this listing of nominees is really flawed.
• Best Picture  - Nominees are:   The Big Short, Bridge of Spies, Brooklyn, Mad Max: Fury Road, The Martian, The Revenant, Room, and Spotlight. Missing here is Carol and The Hateful Eight. Mad Max: Fury Road is nowhere in the league as these other nominees and, in my opinion, doesn't deserve to be listed. I simply was board stiff by the one long chase film filled with foolish philosophy. It is hard for me to pick as I loved "Brooklyn" as being a wonderfully executed nostalgic story. I thought "The Big Short" told a compelling story of how our economy tanked. "The Martian" was beautifully delivered and Damon made it happen. "Bridge of Spies" and "Spotlight" are both amazing stories about something that really happened. I was totally engaged and felt they delivered in all ways; education and story. The only thing I didn't like about "The Revenant" was that there were too many long scenic only shots which took away from the story.  In the end, of the listed I'd like to see "The Martian" win but can also see the others winning except Mad Max.

Some other thoughts about films this year:

• "Star Wars: The Force Awakens" was amazingly edited.
• "Ex Machina's" visual effects were very strong and so were scenes in "The Revenant".
• "Anomalisa" and "Inside Out" were both amazing Animated Feature films.
• "Carol" had perfectly detailed costumes and overall set design.
• "Writings on the Wall" the song for "Spectre" was dreadful.

Note: I'll be England sitting in silence for 30 days starting late next week. I may be able to see one more film before I go, but otherwise I won't be seeing any films or posting any reviews until the first week of March.

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