20th Century Women

First Hit:  I liked it overall and some scenes are wonderfully funny, but it didn’t impress or stay with me afterwards.

There was something missing in this film and I’m not sure what it was. As I previously said, I liked many of the scenes individually but together as a story it just missed the target.

The basic story is that a single mother Dorothea (Annette Bening), in her late 40’s early 50’s, is raising her fifteen-year-old son, Jamie (Lucas Jade Zumann), in Santa Barbara in the late 1970’s. She lives in a large home with people who rent rooms; Abbie (Greta Gerwig) and William (Billy Crudup). Abbie, who’s in her early 20s, has come to Santa Barbara from New York after learning she had cervical cancer to be an artist. William is slightly younger than Dorothea is a handy man with cars and is fixing up Dorothea’s huge rundown house. Dorothea is stressing about her son and wants him to be a smart caring whole man who navigates the restlessness of the ever-changing world. There are peace protests, punk music is flourishing, and there is also the feminist movement.

Julie (Elle Fanning), is a neighbor girl whose mother is a child psychologist and requires Julie to sit in her youth therapy groups. She often spends the night with Jamie but only to talk and rest. She sneaks in by climbing the scaffolding surrounding the house. She comes back into the house, through the front door, in the morning and has breakfast with the rest of the household.

Always worrying, somewhat defensiveness, and not being forthcoming about her past is the byword of Dorothea’s character. Abbie is about finding peace with her life. She wants to express and settle down. William lives easily and as the dialogue stated, women come to him and he gets bored with them easily. Julie is exploring her freedom from her mother through sexual behavior and depressive based rebellion. Jamie is simply growing up and although he’s going out and experiencing new things, his mother seems to think that he needs more help.

Bening is very good, however I didn’t necessarily like her character much. There was a distant neediness to her that didn’t really work for me. Fanning was fantastic. She does the part woman/part girl nervousness with amazement. Watch her hands and feet move as when she’s nervous – wonderful subtle acting. Zumann was very good as the boy learning to become a man. Scenes where he becomes sullen and frustrated are excellent. Gerwig is wonderful. Her energy and engagement with the role and the other characters was perfect. Crudup was strong as handyman William. His soft kindness towards the women in the house and others was delightful. Mike Mills wrote an excellent script, however overall the film felt too scene based which may have been through his direction.

Overall:  Although I enjoyed many of the scenes, the overall film felt a little disjointed and scene based.

Academy Awards - The Oscars

Once again it is time to celebrate a year of film watching. Here are my choices for the following awards along with thoughts about the selections and non-selections the Academy made.

  • Best Actor - Nominees are:  Casey Affleck (Manchester by the Sea), Andrew Garfield (Hacksaw Ridge), Ryan Gosling (La La Land), Viggo Mortensen (Captain Fantastic), and Denzel Washington (Fences). There are strong performances in this group of actors. For me the obvious missing actor is Tom Hanks in Sully because it was so well made and gave me a real sense of a man who saved 155 lives. Given the Academy's choices, Affleck was sublime. You felt him and what he was going through from beginning to end. I loved this performance. I thought Garfield was very strong in this career defining role for him. He brought heart to this role. Gosling was amazing. His charm, piano playing, and dancing brought life to this dream like film. I loved the film Captain Fantastic and Mortensen was the key. His wide eyed brilliance made this film work. Lastly, Washington was simply a nuclear charged bit of energy bottled up and ready to pounce. Great performance, however it felt too much like a play like for me to like it in film. My choice is Affleck.
  • Best Actress  - Nominees are:  Isabelle Hubert (Elle), Ruth Negga (Loving), Natalie Portman (Jackie), Emma Stone (La La Land), and Meryl Streep (Florence Foster Jenkins). Granted I did not see Florence Foster Jenkins because I saw a film about the same story a year earlier and didn't want to see the same story again. Missing from this nominee list is Amy Adams. She gave two powerful performances this past year; Arrival which is a film I adored (see below) and Nocturnal Animals where her cool intelligent nature amazingly unfolded on the screen. Given the choices, Hubert was absolutely fantastic in this role. Her ability to be both vulnerable and strong in the same breath expressed her greatness. Negga was very strong and I loved her role as she grows from a timid somewhat subservient person to a woman of strength and grit. I loved this story. Portman is an interesting choice. I found the character to be so different than my perception of Jackie that I was taken aback. This performance made me wonder about the real person and that's important in filmmaking. Stone was so fun and divine in this role. Her chemistry with Gosling is noticeable and helps her to elevate this role to amazing and grace like. Loved her in this film. My selection is Hubert as because she really brought a fully bodied and interesting character to life.
  • Best Supporting Actress  - Nominees are:  Viola Davis (Fences), Naomie Harris (Moonlight), Nicole Kidman (Lion), Octavia Spencer (Hidden Figures), and Michelle Williams (Manchester by the Sea).  One of the amazing things about these choices is that a couple of these actors had very limited screen time to make an impact. The most striking was Williams. Davis gave an amazing performance as Washington's wife in Fences. It takes a lot to hold your own against Washington and here Davis shows everyone how. Watching Harris in Moonlight is like taking a very long road to forgiveness. I was amazed at this performance. Kidman in Lion was very strong. There is one scene when she's talking about how she came to adopt her Indian son, that was so deep and heartfelt I cried. Spencer was great in Hidden Figures. As a strong black woman wanting her due, she was fantastic. Williams, as I have said, had a small role but the scene where she is asking for forgiveness from Affleck was the most powerful 2 minute scene on film this year. I've got a close tie, with Williams and Davis, but in the end, I'll go with Davis.
  • Best Supporting Actor  - Nominees are:  Mahershala Ali (Moonlight), Jeff Bridges (Hell or High Water), Lucas Hedges (Manchester by the Sea), Dev Patel (Lion), and Michael Shannon (Nocturnal Animals). I was a little taken back by the inclusion of Patel as a supporting actor. It felt more like a lead actor role to me. Ali in Moonlight is such a powerful integral character and he made it work so well. Loved his compassion. Bridges was wonderful in Hell or High Water. He made this character heart filled as well as having an distinct edge of sarcasm. Hedges in Manchester by the Sea was good. However, it wasn't enough for me to give him a good chance. Patel, as I previously stated, seemed nominated in the wrong category. Although he was really good, it just doesn't fit here. Shannon in Nocturnal Animals is beyond great. I loved his intensity and persistence of character. I was entranced when he was on the screen. I've got two front runners, Shannon and Ali. Upon reflection as to how they impacted the story, I'll go with Ali.
  • Best Cinematography  - Nominees are:   Arrival, La La Land, Lion, Moonlight, and Silence. I will admit I did not see Silence as I just couldn't get motivated to see this film. Given this, Arrival was amazing with the visualizations of the ships, the anti-gravity sections of inside the ship and how they displayed and handled the aliens.  La La Land was gorgeous. Whether is was in or outside the Observatory, on the streets of LA, or in an apartment. There was care in how the colors and sets looked on the screen. Lion had wonderful accurate feeling scenes of India, especially the railway stations. I didn't quite buy the butterfly scenes as they seemed slightly over the top. However, the rest of the sets were amazingly done. Moonlight reflected just this, moonlight on the ocean. The shifts from scenes in school, on the beach, and cities in South Florida were luxurious. As I previously said I've no information about Silence because I didn't see it. From what I saw, I would have to select Arrival as my favorite with La La Land and Moonlight a very close second.
  • Best Adapted Screenplay  - Nominees are:   Eric Heisserer (Arrival), August Wilson (Fences), Allison Schroder and Theodore Melfi (Hidden Figures), Luke Davies (Lion), and Barry Jenkins (Moonlight). All of them are wonderful stories. I loved the story and meaning behind Moonlight, Arrival, and Hidden Figures. Each of these stories were very impactful. Moonlight because it shared the somewhat hidden story of a black gay community. Arrival because it was one of the most amazing ways to share the concept of non-linear time. Hidden Figures was so powerful as to how the segregation of blacks almost hurt our chances to be successful in the space race with Russia. It is difficult to choose from such diverse stories, however in the end I'll select Moonlight.
  • Best Original Screenplay  - Nominees are:  Taylor Sheridan (Hell or High Water), Damien Chazelle (La La Land), Yorgos Lanthimos and Efthymis Filippou (The Lobster), Kenneth Lonergan (Manchester by the Sea), Mike Mills (20th Century Women). Great list. The depth of friendship as expressed in Hell or High Water, the stories of love and growth as expressed in La La Land, The Lobster, and 20th Century Women, and humbling forgiveness as expressed in Manchester by the Sea - all were amazing. As an original story I am tossed between Manchester by the Sea and La La Land. Either winning would be accepted.
  • Best Director  - Nominees are:  Denis Villeneuve (Arrival), Mel Gibson (Hacksaw Ridge), Damien Chazelle (La La Land), Kenneth Lonergan (Manchester by the Sea), and Barry Jenkins (Moonlight). Interesting that Lonergan, Jenkins, and Chazelle wrote the films they directed and it shows the importance of knowing what it is you want to portray/express. What is missing? For me the missing directors are Tom Ford (Nocturnal Animals) and Theodore Melfi (Hidden Figures), both of these films had great vision and execution. Choosing from this strong list is difficult. However, for the impact it had on me I'm down to two: Villeneuve and Chazelle because of how they eloquently told their stories. However, if Gibson, Lonergan, or Jenkins were to win, I wouldn't be upset.
  • Best Picture  - Nominees are:   Arrival, Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures, La La Land, Lion, Manchester by the Sea, and Moonlight. This is a full and dynamic list. I liked all these films. However, if I had to start separating these nominees, I'd pull out these three as my top contenders: Arrival, La La Land, and Manchester by the Sea. Each tells a story and tells their story very well. Each film was fully engaging and opens the heart in a new and different way. I cannot pick a winner because I loved watching these three films.

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The Founder

First Hit:  Michael Keaton makes a very interesting story fantastic.

The Founder is about Ray Kroc (Michael Keaton) and how he built the fast-food empire McDonalds.

There are numerous reasons for me to be engaged with this film. One of them being my own franchising experience. In the mid-late 1970’s I worked for Century 21 International Inc. which was then in its franchising heyday. At that time they also became a public company. More recently I was Chief Operations Officer for Bar Method International, Inc. which among its businesses franchised Bar Method exercise studios throughout the United States and Canada.

With this background, it is safe to say I know something about the trials and tribulations of franchising. This film is amazing at highlighting many of the difficulties of franchising and how quality control of the product is key. One of the questions this film points out is: Do "investor owned" franchises work? This film tells that story and more.

The film begins with Kroc out on the road trying to sell mixers. We learn during the film, he has a history of trying to sell all sorts of products and ideas. He's a somewhat haunted man chasing success. To help him, he listens to records on persistence and positive thinking while on the road selling these state of the art five spindle milk shake mixers. He drives from carhop restaurant to carhop restaurant hoping to make a sale. His wife Ethel (Laura Dern) appears to be quasi-supportive and would like a more stable life, be seen as higher up in their social standing, and go to the country club for dinner more often. She appears lonely and does her best to keep their household together.

One day a he calls his office and learns that some hamburger stand in California bought five of his mixers. He’s astounded and doesn’t believe it. He calls and gets Dick McDonald (Nick Offerman) on the phone who says, “yes”, the order is incorrect, he didn’t order enough, he’ll take eight mixers. So instead of going home he drives from Illinois to California to meet the guy who wants eight of his mixers.

Upon arriving he’s shocked to find long lines in front of the order window, thinking it will take forever to get his food, he finds out that the line goes fast, he orders and gets his food within 30 seconds. Sitting down on a bench, he takes a bite, loves what he tastes and notices that everyone is loving the burger, fries and soft drink they bought.

After Dick and Mac (John Carroll Lynch) McDonald give him a tour of their restaurant operation, he is struck by lightning. He wants in. He wants to be a part of this amazing food delivery service. Serving a limited controlled menu that is prepared the same way every time served within 30 seconds from when the customer orders and pays.

He works out a deal to open franchises under very strict guidelines as indicated in the contract they all sign. Trying to open McDonalds franchises proves to be a test in courage to make sure they meet the strict guidelines. It is through this process that he discovers the right type of person needed to be a successful franchisee, meets his future wife Joan (Linda Cardellini), and what it takes to make money in the franchising business. The rest of the film is about how this journey begins and how he, Ray Kroc, becomes “The Founder” of McDonalds.

Keaton is absolutely amazing as Ray Kroc. He’s wired, fired and inspired. Above all he's persistent in his actions which leads to his achieving his wants and dreams. Offerman is sublime as Dick McDonald. His intellect, ability to create processes that work, and stubbornness are perfect for someone who wanted to protect and perfect his creation. Lynch is very good as the more emotional and feeling based brother. He’s there to support his brothers ideas. Dern has a minimal role which has little range and is very subdued. Cardellini is wonderful as Kroc’s second wife Joan and her character is a perfect match for Ray. Robert D. Siegel wrote an amazing script that did enough research to know what it takes to create products and processes capable of being franchised. John Lee Handcock did an outstanding job of taking the story and letting Keaton act out the story.

Overall:  This was great acting in a wonderful script about something most everyone in the world has experienced, McDonalds restaurant.

Gold

First Hit:  Hard to engage with a film when you don’t like the main character.

There is very little about Kenny Wells (Matthew McConaughey) that is likeable. He’s smarmy in the way he looks, how he acts, and his intentions. Granted the film lets the audience believe he might have changed in the ending scene, however, there’s enough to believe differently.

Supposedly this is based on a true story, however after reading about the real story; “loosely” is probably the best possible description. However, that isn’t the point of this review, therefore I will not spend time on the differences between the real story and this story.

In this film, Wells is drinking and smoking so much of the time I could almost smell the smoke and alcohol laden odor coming through the screen. This isn’t necessarily a bad thing; however, for the main character to be so unappealing made it hard to get into the film. I’m not sure why McConaughey had to gain so much weight and have such thin hair on top of his head, but these things didn’t help his unshaven, scraggly tooth looking character. It was almost as if he wanted to make himself as unappealing as possible.

The way he treated his longtime girlfriend Kay (Bryce Dallas Howard) was horrendous. She loved him and supported him through his destruction of his Dad (Craig T. Nelson) and grandfather’s company Washoe Mining. It gets so bad they work out of a bar.

Kenny gets the idea from a dream to hook up with Michael Acosta (Edgar Ramirez) and find gold in Indonesia. Unbeknown to Wells, Acosta has salted the drilling core findings and because Wells believes they’ve found gold, he revives Washoe Mining and sell millions of shares as they go public.

This film also involves the family of the Monarch in Indonesia. When the monarchy and other investors discover that this has been a hoax, everything falls apart.

The scenes of the jungle and drilling operation were well done. The boardroom scenes were, at times, powerful, and the use of the bar as Washoe’s office was very telling of the whole film and Wells’ personality. The one thing the film did do very well was show just how fleeting wealth can be.

McConaughey was OK as Wells. He had great handle on the maniac part of a gold prospector, but everything else felt very overdone and took away from the film instead of adding to it. Howard was strong as Wells longtime girlfriend. She was appropriately supportive and loving. The scene in the hotel after the company went public on the stock trading floor, was very well done. Ramirez was great as the geologist and Wells gold prospecting partner. His engagement and support, with a slight questionable edge was wonderful. Patrick Massett and John Zinman wrote a wonderful script. I loved some of the lines, however it was McConaughey and director Stephen Gaghan's misguidance for the main character that hurt this film. I liked the sequence of the scenes and many of the sets were very well done, but being put off by the main character who is in virtually every scene can and did hurt this film.

Overall:  I liked the story of greed, gold and how it played out, but without someone or something to care or think about, it felt lifeless.

Paterson

First Hit:  A wonderful sweet story placed on a beautiful backdrop of poetry.

It’s wonderful when an introspective innocent story like this unfolds itself in such a sweet way. Paterson (Adam Driver) is a bus driver in Paterson, New Jersey. He’s married to Laura (Golshifteh Farahani) a sweet, slightly quirky woman who paints everything black and white. The film painstakingly follows a week in their life beginning with Paterson waking up, without an alarm, every day between 6:05 AM and 6:30 AM.

Each day he affectionately kisses his wife has breakfast, walks to work, sits in the seat of the bus he’s going to drive, and starts writing a few lines of poetry. Paterson is a poet at heart and this film is filled with his beautiful writings. As each of the seven days unfold, narration is used to share the poetic lines he’s writing. Additionally, from time to time, the audience gets treated to an almost complete poem.

Director Jim Jarmusch had a clear vision of sharing Paterson and Laura’s life together and their love for each other. Creatively, Jarmusch shows each day with slight differences. The views of Paterson’s walk to work, his bus routes, his walking of the dog are all slightly altered, subtly different and interestingly the same.

Laura is a dreamer and hopes to open a cupcake store, or does she want to be a famous country music singer. She is a free spirit and although Paterson may balk at some of her actions, like painting the curtains or serving a cheese and Brussel spout pie, he loves her more than anything and it is easy to see why.

The situations on the bus, at home, in the local bar where the purveyor Doc (Barry Shabaka Henley) serves him his one beer each night, walking the bulldog, interactions with his dispatcher, and the many other scenes are painstakingly subtle, effortless and filled with a lot of information. The interaction with the young girl who wrote poetry was divine but it was the ending that made it all work.

Driver was amazing as Paterson. His internalization of the events of his life and expression through poetry was perfectly executed. Farahani was amazing as Paterson’s free spirited wife. Her support of Paterson’s writing and her own kookiness was incredibly enjoyable to watch. Henley as the bar tender was wonderful. His fear of his wife and acceptance of his patrons was perfect. Jarmusch wrote an amazing screenplay, that used poetry, a small town proud of its past residents, and deep subtle characters to create a very well-crafted film.

Overall:  This movie was truly enjoyable to watch.

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