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MOVIE REVIEW: Marriage Story

(Image courtesy of Netflix via EPK.tv)

(Image courtesy of Netflix via EPK.tv)

CIFF.jpeg

Special Presentation of the 55th Chicago International Film Festival

MARRIAGE STORY— 5 STARS

There is an old adage used by married people, kind of passive-aggressive burn really, that says “you can’t tie your shoes without me.” In a pithy way, the saying speaks to the symbiotic relationship between the partners for even the smallest things. While it may not always come down to shoelaces, there is a given and even understood level of dependency in marriage. That is until such dependency becomes harmful. In one of the finest films ever on the matter of divorce, Noah Baumbach’s Marriage Story challenges the breakdowns of resiliency and vulnerability that push this painful process.

A kinetic seven-minute montage opens the film to prove there is love in the hearts of Nicole and Charlie Barber, played by Scarlett Johansson and Adam Driver. In lively voiceover, each actor takes a turn explaining traits they love about their spouse while sequences play matching visual examples from their history. Backed by a pair of linked musical motifs, a french horn for him and a piano for her, the two have wonderful things to say about each other and the way they parent their son Henry (newcomer Azhy Robertson). It is a rapturous piece of economical filmmaking and instant engagement showcasing the artistry merging with the authenticity.

All that affinity ends when the opening gives way to the present jaded state Charlie and Nicole find themselves in with their scribbled personalized lists fulfilling an assignment for their counseling mediator (Robert Smigel). We got to hear and see the parade of compliments, but, sadly, the real recipient will not. This contentious meeting, its uncomfortable communication, and the gut-punching exit outburst are the first of many swings between wishful hope and pensive despondency involving the married theater director and his actress muse. When Nicole and Charlie are away from each other, they’re open but broken. When they’re together, affection is forced, muted, or worse.

LESSON #1: THE BALANCE OF DEPENDENCY IN A MARRIAGE — Calling back to the notion of dependency, the key is the balance between comfort and control. No matter big or small, what aspect of life and its purpose are being entrusted matters, as well as by whom and for whom this reliance is happening. Synergistic comfort equals compromise. Suffocating control equals dissension. Too much of the latter is happening with the Barbers.

LESSON #2: THE NEED FOR PERSONAL FULFILLMENT — Nicole is the instigator of this excising life decision and her goal is personal fulfillment. In her eyes, she got “smaller” with Charlie, who was unsupportive of her wants, becoming more of an extension of him than a person for herself. She wanted something of her own and not a temporary pipe dream. There is an important distinction made in Marriage Story between being alone and being alive that plays out in many inspiring ways for both former lovers.

Nicole has departed New York with Henry to return to her native Los Angeles to live with her spastic mother (Julie Hagerty) while Charlie’s latest avante garde play has been promoted to Broadway. This return home for Nicole to take a shot at a TV pilot represents the woman seeing freeing catharsis to do something personal and professional for herself after years taking the stage for her husband. The courting and hiring L.A. lawyers between the two ends Charlie’s selfish optimism of completing this separation without the burden of financial and custodial combat. The wish was to stay friends, or at the very least parents for their distant son, without putting the kid into the crossfire with words and misunderstandings used against each other.

LESSON #3: LEGAL DIVORCE IS A HORRIBLE PROCESS — The is an enormous valley between the “ugly” and “amicable” adjective labels for divorce. A trio of lawyers in this movie humanize this maddening, expensive, sad, and embarrassing process in very distinct ways. Laura Dern is the privileged seller of vindictive success with a smile to Nicole. On the other wide Charlie has a choice between a slimy Ray Liotta as the brutal earth scorcher or the soothing Alan Alda (acting like a champ through Parkinson’s Disease) and his blunt sympathy and pathos. All the legal routes suck, so watch as the absurdity that rewards bad behavior when negotiations sour and the counter-offensives go too far.

Marriage Story is a fountainhead of creative brilliance behind the camera. You have likely read about little focused pieces of the artistic ingredients throughout this review. Oscar-nominated The Favourite cinematographer Robbie Ryan captures the faces and places where forlorning meets fizzles of frolic. The deft editing of Jennifer Lame (Hereditary, Manchester by the Sea) expertly measures both the quick shifts of tone in the conversational activity with the smooth passage of time to cover this year of tumultuous and wearisome change. All the while, the wealth of the film’s warmth and compassion comes from the music of two-time Toy Story winner Randy Newman, a most unexpected source until you remember his non-Pixar routes.

Other films on this topic would wallow constantly in over-obvious dark gloom, complete with cliched rain in some key scene. Not a drop of that unsophistication is present in the mostly California-set Marriage Story. Even the worst moments carry a shimmer of hopeful sunlight and releasing level of healing to follow all the hurt. It’s a compliment to those production choices for that tone to succeed. The actors follow suit with their own proper showcase.

The striking central performances from Scarlett Johansson and Adam Driver will floor you. You can measure their commitment to the material by creating convincing highs and equally compelling lows. Watch where her tears come out and when. Do the same with him. Echo that with when they let loose with anger. So often, especially in one especially heavy climactic confrontation, the camera gets closer towards each of them the worse their words get. Explosion pushes the observatory eye back out to exhale only to know that intimacy is forever gone. Marvel at how shattered bonds can be built and then destroyed by these two in the same scenes. It’s high time the Academy recognize that as well.

The most persuasive force of Marriage Story is Noah Baumbach. In a day and age where improvisation chips muddies good material, the majority of even the longest monologues in Marriage Story are completed scripted to the letter. For 136 breathtaking minutes, he works to shatter us, reform us, and then repeat that crushing cycle again and again until his two characters come out better. The prolific indie filmmaker researched the legal sides and pulled from his own divorce experience, as well as those of many peers. By going personal in telling something sobering and straight, Baumbach found an avenue that subdued his peculiar and capricious tendencies without sacrificing his strength of wit. Most always, the best results come from such passion projects. This may very well go down someday as Baumbach’s masterpiece when his career is all said and done.

LESSON #4: WHAT WOULD YOU DO? — It is impossible to watch this movie and not have it be a barometer check towards your own relationship status and integrity. Regardless how much yearning desire floats every now and then in Marriage Story, this trauma recovery. Normally in movies like this, we see the indiscretion itself, then the collapse, ink hitting paper, and maybe a gavel banging for a suspenseful decision. Few films go in between and beyond those decision points to show the fractured orbits and restarts of continuing life with heart and honesty. There is blame to be shared, but you feel for both leads and wonder about yourself externally. That is a substantially powerful effect of this film.

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MEDIA APPEARANCE: David Ehrlich's IndieWire Critics Survey on November 25, 2019

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Notable and notorious IndieWire film critic David Ehrlich recently put out a social media call for film critic peers to join a weekly survey to discuss movie topics, answer questions, and highlight their work.  Representing Every Movie Has a Lesson, I, along with over 60 other emerging and established film critics including some of my fellow Chicago Indie Critics members and Aaron White of Feelin’ Film, accepted the invitation to participate.  I'm honored by the opportunity, and I hope my responses are chosen each week.  


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THIS WEEK'S QUESTION: Which director are you most excited about watching in the next decade, and why are you excited for the potential of their future work?

Boy, it was hard to choose only one. From Damien Chazelle and Barry Jenkins to Denis Villeneuve and Christopher Nolan, we’ve seen so much maturation and growth from so many creative sources. However, I think it’s high time a woman to emerge to that next level. In just two films, the potential of Greta Gerwig is huge and only beginning.

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MEDIA APPEARANCE: David Ehrlich's IndieWire Critics Survey on November 18, 2019

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Notable and notorious IndieWire film critic David Ehrlich recently put out a social media call for film critic peers to join a weekly survey to discuss movie topics, answer questions, and highlight their work.  Representing Every Movie Has a Lesson, I, along with over 60 other emerging and established film critics including some of my fellow Chicago Indie Critics members and Aaron White of Feelin’ Film, accepted the invitation to participate.  I'm honored by the opportunity, and I hope my responses are chosen each week.  


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THIS WEEK'S QUESTION: What film most defined this past decade, and why?

Yowzers! Talk about a big question with a zillion angles. I know the interpretation of “defined” was open, but when I think of the 2010s, the boom of social media is too large to ignore. David Fincher’s The Social Network, while semi-historical before this decade, still feels like the lightening rod and torch bearer for this decade. If it wasn’t this, it was going to be The Avengers and what it did for its genre and the whole industry.

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COLUMN: Top 5 Movies to Get Inspired for Creative Essay Writing

Creative woman

Top 5 Movies to Get Inspired for Creative Essay Writing

Movies are among the best ever helpers when it comes to inspiration. Needless to say that when you are stuck with essay writing, it is better to watch an inspiring film about writers than to focus on procrastination, computer games, and social media. We don’t judge those activities — but if speaking about efficiency, watching movies is a good choice. Especially when those movies show writers, their struggle, good and bad decisions defining their career. Start with these five movies, and if it is not enough, storm on Netflix and find some more. However, from our experience, one film is enough for staying inspired for a period needed to write an essay.


Genius

A perfect movie for those who haven’t learnt how to write brief essays. Being verbose is not a sin, but it is rather close. You professor keeps telling you that you have to edit your papers, delete not necessary abstracts, but you feel like every part is necessary, and you should not give up on it. If this story is close to your reality, then this movie is definitely something you have to watch. 

Verbose writer Thomas Woolf faces one rejection after another. Editors and publishers are not interested in his book, which is too long and too complicated. Even its name is not that inspiring for publishers. At some point, he meets Max Perkins, and this editor finally decides to help Thomas. Of course, he also insists that Thomas should significantly cut his story, edit it rather significantly. Their story is a story of friendship, professionalism, and lots of misunderstandings, especially when it comes to women and writing. The atmosphere of the movie is fantastic. If you don’t feel like writing an essay after that, but rather like writing a novel, you should consider alternative options. For example, you can buy essay online from a professional writing service like SmartWritingService. 


Howl

Are you a scandalous writer? Do you like to write rebel essays, choose not popular sides, and shock your professor and classmates with unexpected conclusions, strange ideas? If yes, you should watch this movie because it tells the story of one of the most rebel-books ever published in the US. Howl is a big poem that made its author, Allen Ginsberg, famous. It is a manifest of sexual freedom — the whole printout was arrested, and the publisher as well.

Now they cover this book in the school program, but at that time, writing something like this was close to suicidal. The movie tells the story of the writer and of the time as well. If you want to know how to strike with your poetry or essays — you can’t miss it.


Hemingway and Gellhorn

Martha Gellhorn was Hemingway’s wife. But she was much more than that. She was one of the most prominent war correspondents of our times. She started during the Civil War in Spain and covered most of the important conflicts around the world for decades. With Hemingway, they shared an interest in war, but couldn’t share peace — Martha left the famous writer to pursue her own career, which she considered to be the most important part of her life.

It is an exciting love story, but at the same time, it is a story of two completely different writers, with a different understanding, approach, etc. It is not a soapy romance — it is a rather tough movie, which will be inspiring both for men and women. 


The Guernsey Literary and Potato Peel Pie Society

Strictly speaking, it is not a movie about writing. But it is an inspiring piece about being faithful to your interests, to culture even during the hardest times. Juliet, the main heroine, is a writer, but she struggles to find inspiration in the post-war country. One day, she receives a message from a man from the Guernsey island, in which he asks her to recommend some bookstore. Apparently, there are no books left on the island after the war.

Juliet gets to know about the secret society of book lovers and falls in love with the place. Sounds a little soapy, but the atmosphere of the movie is very touching, and the obvious respect to a written world is very inspiring.


The Hours

There are such films that you watch, and for a long time, you cannot understand what they are about, how the plot lines are connected. Towards the end of the picture, usually something in the plot becomes clear, but the author’s idea remains a mystery. This applies to the movie The Hours – about Virginia Woolf.

To understand this picture, you need to know the biography of Woolf and her work, in particular, about what the book is written about, which is read by one of the heroines of the film Lara. This book describes one day in the life of a woman. A woman, whom everyone considers happy, but essentially, a very unhappy woman. Only on this very day, the sadness accumulating over the years splashes out. The film shows just such one day in the life of three different women living at different times.

If you feel like you are not yourself when writing, sometimes, this movie is for you. 

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MOVIE REVIEW: Little Women

(Image: vanityfair.com)

(Image: vanityfair.com)

LITTLE WOMEN— 5 STARS

Not to borrow out of context from George Harrison’s Beatles lyrics, but, when it comes to Greta Gerwig as the director of Little Women, there is something in the way she moves. Scene after scene in the adaptation of Louisa May Alcott’s beloved classic penned by her own hand, there is an enchanting manner by which the ensemble is allowed to carry on, as it were. For every segment where a performer is hitting a mark of precision to deliver their speech, there are four or five others where Alexandre Desplat’s sumptuous score will rise, mute the conversation, and lead the audience to simply watch. The characters commiserate and move freely within their relationships and surroundings. We too then live and become absorbed in the beauty of those moments.

The endearing brilliance of Little Women is earned in those quaint sways and movements as much as, if not more than, it is by its crests of high drama. With masterful leadership and bold thematic choices applied to well-worn ideals, Greta Gerwig continuously captures an uncanny vibrancy out of a literary setting that otherwise would be frozen in stagnant despair. Every fiber and morsel of this movie swells with this sense of spirit to embed radiance in resiliency.

The titular Chatty Cathys are the four March sisters of the 1860s at different coming-of-age stages. The two youngest, Beth (newcomer Eliza Scanlan of Babyteeth) and Amy (rising star Florence Pugh), look up to their older two sisters, Jo (three-time Academy Award nominee Saoirse Ronan) and Meg (the now nearly-30 Emma Watson) with shifting notes of reverence and jealousy. With a short-sighted “tired of being poor” feeling, all four lament living within their reduced New England means during the American Civil War. The family’s pastor patriarch (Bob Odenkirk) has been away for years with little contact while his dauntless wife Marmee (Laura Dern) cares for the rapidly maturing girls.

The Marchs are not alone with the tough times. With a shared “I know what it is to want,” they are in a place to tighten their skirts and give to help a poor and struggling single mother nearby. At the same time, they are supported from above by their huffy elder aunt (a perfect feisty Meryl Streep, well within her element) and the wealthy Laurence family next door comprised of Mr. Laurence (the kindly Oscar winner Chris Cooper) and his nonconformist son Theodore (Call Me By Your Name’s Timothée Chalamet). With an alluring young man like “Laurie,” as he is called, nearby, affections grow and hearts swoon.

Swinging the chronological narrative pendulum to and fro, the plight of the March family is being remembered in episodic portions by Jo. She has moved away years later to New York City with the uphill aspirations of becoming a published writer for the discerning editor Mr. Dashwood (Tracy Letts, with the right amount of curmudgeon). Jo is enterprising and determined to be taken seriously.

LESSON #1: GIRLS HAVE TO GO OUT INTO THE WORLD — Independence is highly valued and celebrated with “love my liberty” in Little Women. For our central guide Jo, fond reflection forms the confidence that her own story is compelling sort that will inspire others. Despite what society deems suitable and how they are kept from property and prosperity, women are fit for more than love and marriage. They deserve to play out their ambitions. Along the same lines, Alcott’s novel itself presents a great passage on wealth that is echoed in the film in its own way:

“Money is a needful and precious thing, — and, when well used, a noble thing, — but I never want you to think it is the first or only prize to strive for. I’d rather see you poor men’s wives, if you were happy, beloved, contented than queens on thrones, without self-respect and peace.”

LESSON #2: NEIGHBORS HELPING NEIGHBORS — In many wonderful displays, these are noble and generous people who care to hear and tread in the stories and needs of others despite their personal wants. Furthermore, respectfully knowing the arduous realities present keeps them from being truly ungrateful for what they have. That level of empathy will remain in them into their own families. When rewarded, their own pulled-up bootstraps will transform how “pretty things deserve to be enjoyed.”

LESSON #3: TO PINE, OH WHAT IT IS TO PINE — Nevertheless, even with a giving heart, the longing for deeper wants is hard to truly curb. We have multiple characters in this melodrama that pine for love, marriage, position, dreams, or freedom within their unfortunate and trying situations. The definition of “pine” reads “to yearn intensely and persistently especially for something unattainable” followed by “to lose vigor, health, or flesh.” So much of Little Women, is this languishing pursuit towards personal and emotional fulfillment.

LESSON #4: THE STRENGTH OF FAMILIAL LOVE — To borrow this time from the Greeks and a dollop of The Bible instead of the Fab Four, the level of “storge” love in this saga is exquisite. When family is in need, the annoyances and competitiveness of these sisters go away and bonds are renewed. As they say in the dialogue, “life is too short to be angry at sisters.” Once again, thanks to Gerwig’s tonal choices, you see it, plain as day, in the way the cast in character interacts. The emotional wreckage that results is incredibly genuine.

The performances of this exceptional cast make this journey of pining sacrifices and kindred challenges palpable. Saoirse Ronan accomplishes the quick wit and stubborn strength of the lead role without making it a Katharine Hepburn imitation. Timothée Chalamet uses his smiling charm at full wattage where his piercing gaze and strong words can convey soulfulness under the rude, edgy, and volatile arrogance of his romantic catalyst. Laura Dern flips the privileged acid of her Marriage Story lawyer role to play uncompromising earnestness here with complete and utter grace. Lastly and hugely, Florence Pugh is the spinal cord to Ronan’s backbone. She makes the nerves and savage passion of her tug-of-war middle daughter position stunning.

More and more, there is a pep here higher in this eighth adaptation of Alcott’s novel compared to its predecessors. Springing its winter steps, this Little Women strolls rather than plods. French Cinematographer Yorick Le Saux (Personal Shopper, A Bigger Splash) captures the textured array of period ambiance created by production designer and veteran Coen brothers collaborator Jess Gonchor. Le Saux’s framing choices are absolutely perfect and the slow-motion occasionally employed to freeze time in happy, blissful moments adds even more impact to its ravishing cinematic layers.

LESSON #5: A WOMAN’S TOUCH IN ALL THINGS — This task to recreate Little Women for the 21st century landed in the right hands, namely HER hands. Greta Gerwig’s elevated her work from Lady Bird in sweeping, grander fashion without losing any of her keen and insightful voice for humanistic commentary. To have this epic tale of powerful gender-driven truths that still resonate in the present day move with such whimsy and gumption is extraordinary and important.

And there’s the best word of all: important. The timelessness of Little Women matters. Gerwig matches the dreams of Alcott’s quote stating “Writing doesn’t confirm importance, it reflects it.” Her stewardship and screenplay deserves every compliment that can be paid. She brings forth the full vigor possible of this story and now owns the poignant love it expresses as much as Alcott.

Not to borrow out of context from George Harrison’s Beatles lyrics, but, when it comes to Greta Gerwig as the director of Little Women, there is something in the way she moves. Scene after scene in the adaptation of Louisa May Alcott’s beloved classic penned by her own hand, there is an enchanting manner by which the ensemble is allowed to carry on, as it were. For every segment where a performer is hitting a mark of precision to deliver their speech, there are four or five others where Alexandre Desplat’s sumptuous score will rise, mute the conversation, and lead the audience to simply watch. The characters commiserate and move freely within their relationships and surroundings. We too then live and become absorbed in the beauty of those moments.

The endearing brilliance of Little Women is earned in those quaint sways and movements as much as, if not more than, it is by its crests of high drama. With masterful leadership and bold thematic choices applied to well-worn ideals, Greta Gerwig continuously captures an uncanny vibrancy out of a literary setting that otherwise would be frozen in stagnant despair. Every fiber and morsel of this movie swells with this sense of spirit to embed radiance in resiliency.

The titular Chatty Cathys are the four March sisters of the 1860s at different coming-of-age stages. The two youngest, Beth (newcomer Eliza Scanlan of Babyteeth) and Amy (rising star Florence Pugh), look up to their older two sisters, Jo (three-time Academy Award nominee Saoirse Ronan) and Meg (the now nearly-30 Emma Watson) with shifting notes of reverence and jealousy. With a short-sighted “tired of being poor” feeling, all four lament living within their reduced New England means during the American Civil War. The family’s pastor patriarch (Bob Odenkirk) has been away for years with little contact while his dauntless wife Marmee (Laura Dern) cares for the rapidly maturing girls.

The Marchs are not alone with the tough times. With a shared “I know what it is to want,” they are in a place to tighten their skirts and give to help a poor and struggling single mother nearby. At the same time, they are supported from above by their huffy elder aunt (a perfect feisty Meryl Streep, well within her element) and the wealthy Laurence family next door comprised of Mr. Laurence (the kindly Oscar winner Chris Cooper) and his nonconformist son Theodore (Call Me By Your Name’s Timothée Chalamet). With an alluring young man like “Laurie,” as he is called, nearby, affections grow and hearts swoon.

Swinging the chronological narrative pendulum to and fro, the plight of the March family is being remembered in episodic portions by Jo. She has moved away years later to New York City with the uphill aspirations of becoming a published writer for the discerning editor Mr. Dashwood (Tracy Letts, with the right amount of curmudgeon). Jo is enterprising and determined to be taken seriously.

LESSON #1: GIRLS HAVE TO GO OUT INTO THE WORLD — Independence is highly valued and celebrated with “love my liberty” in Little Women. For our central guide Jo, fond reflection forms the confidence that her own story is compelling sort that will inspire others. Despite what society deems suitable and how they are kept from property and prosperity, women are fit for more than love and marriage. They deserve to play out their ambitions. Along the same lines, Alcott’s novel itself presents a great passage on wealth that is echoed in the film in its own way:

“Money is a needful and precious thing, — and, when well used, a noble thing, — but I never want you to think it is the first or only prize to strive for. I’d rather see you poor men’s wives, if you were happy, beloved, contented than queens on thrones, without self-respect and peace.”

LESSON #2: NEIGHBORS HELPING NEIGHBORS — In many wonderful displays, these are noble and generous people who care to hear and tread in the stories and needs of others despite their personal wants. Furthermore, respectfully knowing the arduous realities present keeps them from being truly ungrateful for what they have. That level of empathy will remain in them into their own families. When rewarded, their own pulled-up bootstraps will transform how “pretty things deserve to be enjoyed.”

LESSON #3: TO PINE, OH WHAT IT IS TO PINE — Nevertheless, even with a giving heart, the longing for deeper wants is hard to truly curb. We have multiple characters in this melodrama that pine for love, marriage, position, dreams, or freedom within their unfortunate and trying situations. The definition of “pine” reads “to yearn intensely and persistently especially for something unattainable” followed by “to lose vigor, health, or flesh.” So much of Little Women, is this languishing pursuit towards personal and emotional fulfillment.

LESSON #4: THE STRENGTH OF FAMILIAL LOVE — To borrow this time from the Greeks and a dollop of The Bible instead of the Fab Four, the level of “storge” love in this saga is exquisite. When family is in need, the annoyances and competitiveness of these sisters go away and bonds are renewed. As they say in the dialogue, “life is too short to be angry at sisters.” Once again, thanks to Gerwig’s tonal choices, you see it, plain as day, in the way the cast in character interacts. The emotional wreckage that results is incredibly genuine.

The performances of this exceptional cast make this journey of pining sacrifices and kindred challenges palpable. Saoirse Ronan accomplishes the quick wit and stubborn strength of the lead role without making it a Katharine Hepburn imitation. Timothée Chalamet uses his smiling charm at full wattage where his piercing gaze and strong words can convey soulfulness under the rude, edgy, and volatile arrogance of his romantic catalyst. Laura Dern flips the privileged acid of her Marriage Story lawyer role to play uncompromising earnestness here with complete and utter grace. Lastly and hugely, Florence Pugh is the spinal cord to Ronan’s backbone. She makes the nerves and savage passion of her tug-of-war middle daughter position stunning.

More and more, there is a pep here higher in this eighth adaptation of Alcott’s novel compared to its predecessors. Springing its winter steps, this Little Women strolls rather than plods. French Cinematographer Yorick Le Saux (Personal Shopper, A Bigger Splash) captures the textured array of period ambiance created by production designer and veteran Coen brothers collaborator Jess Gonchor. Le Saux’s framing choices are absolutely perfect and the slow-motion occasionally employed to freeze time in happy, blissful moments adds even more impact to its ravishing cinematic layers.

LESSON #5: A WOMAN’S TOUCH IN ALL THINGS — This task to recreate Little Women for the 21st century landed in the right hands, namely HER hands. Greta Gerwig’s elevated her work from Lady Bird in sweeping, grander fashion without losing any of her keen and insightful voice for humanistic commentary. To have this epic tale of powerful gender-driven truths that still resonate in the present day move with such whimsy and gumption is extraordinary and important.

And there’s the best word of all: important. The timelessness of Little Women matters. Gerwig matches the dreams of Alcott’s quote stating “Writing doesn’t confirm importance, it reflects it.” Her stewardship and screenplay deserves every compliment that can be paid. She brings forth the full vigor possible of this story and now owns the poignant love it expresses as much as Alcott.

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INFOGRAPHIC: The films of Sigourney Weaver

Folks, please welcome back John Rooney. He is an illustrator from Ireland. My website has published two of John’s previous career caricature sketches, one for Nicolas Cage last year and another for Bill Murray this past summer. His collected sketches are outstanding and The results of range I am happy to promote his work. This time, John Rooney artistically chronicles Sigourney Weaver! His phenomenal work is worth sharing below and a his art is available for sale on Etsy!

1. The Films of Sigourney Weaver.jpg

CLOSE-UP SLIDESHOW

5. Alien.jpg
2. Aliens.jpg
3. Ghostbusters.jpg
6. Alien3.jpg
4. The Ice Storm.jpg
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GUEST POST: "The Greatest Movie Never Made" by Creative Principles

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By Hannah Thomas

The YouTube creator Creative Principles showcases new ideas on popular films and television. We wanted to share one of their latest videos that had a movie spin to it": What is “the greatest movie NEVER made?”

Would-be projects include missteps from Pixar, Quentin Tarantino, Martin Scorsese, Ridley Scott, David Fincher and various other icons of cinema... Some of these rumors, failures, and shelved projects are considered sequels or prequels, while many are adaptations, or just promises made when a writer or director was at the top of their game. So, what is "the greatest movie never made?" You be the judge...

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GUEST EDITORIAL: Was the film version of "The Lion King" worth it?

(Image: imdb.com)

(Image: imdb.com)

The Film Version of “The Lion King” - Was It Worth It?

Everyone remembers The Lion King, the great animated movie that was released by Disney in 1994. It features animals, from lions to meerkats and warthogs. It showed what “The Circle of Life” means and it rapidly gathered popularity among children and their parents. 

After 25 years, Disney decided to make a remake of the original animated movie and released the new animation in July. While the story is the same, the effects are impressive. But the reviews are both good and bad. So, was the film version of The Lion King worth it? 

The Circle of Life

Nothing has changed here. Both movies begin with “The Circle of Life” and the whole animal kingdom gathered to see the crowning of Simba. Simba is figuratively crowned by Rafiki while all animals in the savannah are watching. From elephants to giraffes, meerkats, and rhinos, all have gathered to see the heir of the kingdom. 

The song was written by Elton John and Tim Rice and is like the brand of The Lion King. Disney decided to keep this beginning and animate it. So, the images of sunsets and sunrises and all the animals gathered are just splendid. 

Although the song is sung by Lindiwe Mkhize, it still kept the original flair and just listening to it gives you goosebumps. Lindiwe performed as Rafiki for 13 years so he was a great choice for the new version of the song. 

Visuals

When talking about visuals, it is fair to say that The Lion King is maybe one of the most wonderful animated movies released this year. As John Sonic, blogger at best essay service and essay writing service said, The Lion King the movie is so realistic you will believe that there are real animals. 

And yes, it is true. You can easily mistake the animation for a documentary with animals. Maybe because they are so realistic, you do not expect to hear a lion singing with a Beyoncé voice. Which happens. 

There are amazing realistic scenes portrayed and they are so impressive. If you manage to not associate the voice with Beyoncé’s, the scenes are much more impressive. Beyoncé’s voice might act as a trigger and take you out of the movie atmosphere. 

Emotion

It is well-known that the 1994 version got two Golden Globes and two Oscars. It was appreciated by people from all over the world who rated it as their favorite Disney animated movie. A thing that the 2019 version of The Lion King loses is its capability of arousing emotions. Because animals are photorealistic made, they lose their ability to be expressive. 

Some of the original scenes were modified because of the nature of the movie. Michaela Master, contributor to resume writing service and essay service draws attention to one thing: the animals need to behave like real animals because they look like real ones. 

So, seeing Pumbaa, Timon and Simba diving in a pool while singing the iconic “Hakuna Matata” will not happen. Because of these little changes in animals’ behavior, the new movie might fail to arouse the same emotions as the original.

They might fail to recreate original emotional scenes, but they manage to create other emotional scenes. Being portrayed so realistic and nice makes you think that you are watching real animals. And so, those dramatic scenes make you more emotional and involved. 

So, while the producers failed to recreate some iconic moments from the original movie, they managed to arouse emotions with other scenes, much more realistic. 

Humor

Do you remember the scenes with Timon and Pumbaa? They always manage to make the audience laugh. If you were expecting to see more scenes full of humor, you will not find them. Of course, it is important to note that the main aim of the movie is not creating a comedy. 

But they sometimes fail to recreate the original scenes which are full of humor, although when Timon and Pumbaa appear you cannot stop laughing. 

The Movie as a Whole

As a whole, the movie is good. It is interesting to see how Disney plays with the new technological advancements and how it manages to create amazing movies. The big win of this movie is the visuals. The animals look so realistic that you sometimes might end up believing that you are watching a documentary. 

Although some of the expressive moments from the original are lost, as the animals are limited to behaving like real ones, Disney manages to arouse emotion with other scenes. And they do this because the visuals are so realistic. The voice acting is good, although some of the well-known voices, like Beyoncé’s, might distract you. 

The question is: was it worth it? The answer is yes. Although you lose some characteristics of the original movie when you are creating the animated film version, doing this comes with good points also. 

Of course, some of the expressive faces from the 1994 version could only be created by hand drawing, so it is understandable why you cannot find them in the 2019 version. 

Depending on your perspective on the movie, you might like it or not. Some of the critics argue that the new version of The Lion King is like a documentary about lions with syncing of the lips. 

Some applaud the new version as it manages to arouse more emotions and trick you into believing you are watching a real documentary movie. They have kept all the original songs like “The Circle of Life,” “Hakuna Matata,” or “Can You Feel the Love Tonight.” They are sung by other artists, but they have been chosen right. 

Conclusion

Anytime someone wants to remake an original movie, details might get lost. Some of them are improved and the differences are observable. Even if there are both positive and negative reviews, you can form your own opinion if you manage to see both movies. 

You will find the new version of the movie charming and interesting. Or, you might like the old version more, as the animals are more expressive. Either way, each version has its own charm.


ABOUT THE AUTHOR

Justin Osborne is a writer at academized reviews and college paper help, he loves to share his thoughts and opinions about education, writing and blogging with other people on different blogs and forums. Currently, he is working as a content marketer at best paper writing service.

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MEDIA APPEARANCE: Guest on the "CinemaJaw" podcast #447

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This past week, I was pleased as punch to be a guest on the CinemaJaw podcast, hosted by fellow Chicago Indie Critic members Matt Kubinski and Ryan Jagiello. This was my third spin on their show which is recorded at the nerd-tastic headquarters of Cards Against Humanity. CinemaJaw remains one of the best and entertaining movie podcasts in this or any city. Give their work a like and a follow!

On Episode #447, all three of us just got out of Noah Baumbach’s Marriage Story and, boy, did we have feelings. As per tradition, the Top 5 segment was for each of us to list our best break-up, separation, and divorce movies. An extended trivia segment followed later centered on Tom Hanks. Enjoy their excellent show!

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GUEST EDITORIAL: Top 10 Films Starring Only Two Actors

(Image: letterboxd.com)

(Image: letterboxd.com)

Most commercially successful films tend to have big  budgets, large cast and action taking place over several locations. But there are some films which take the risk of featuring just two actors, often limiting the action to one location and placing the emphasis on dialogue and the delivery of memorable performances. These ten films are as notable for their captivating and often poignant content, as they are for the skillful, powerful performances delivered by just the two actors who carry the weight of the entire film.


10. Hell In The Pacific

This 1968 film is set during World War II and tells the story of two soldiers, an American pilot (Lee Marvin) and a Japanese navy captain (Toshiro Mifune), as they fight for survival after becoming stranded on a deserted island in the Pacific Island. They must put aside their hostility and attempt to work with each other if they are to survive, whilst drawing audiences in with their engaging character portrayals.


9. Paranormal Activity

This film has become a horror success. The plot centers around a couple, following their move to a suburban house, as they are faced with increasingly demonic forces in their new home. “Despite its low-budget, this film succeeds in creating suspense, terror and keeping viewers gripped to the very end” says Donald Pennington, an arts blogger at Draftbeyond and Lastminutewriting


8. My Dinner With Andre

Set over the course of a dinner, the film focuses on two friends (played by Wallace Shawn and Andre Gregory), as they discuss the nature of life. This is a film which artfully uses captivating and noteworthy dialogue to ensure the audience remain engaged until the last frame.


7. Before Sunrise

The first in the 'Before' trilogy, Before Sunrise is the story of two strangers who meet whilst travelling on a train in Europe. Despite deciding to spend the day exploring together, they know this may be their only night together. The strength and success of this film lies in its realistic conversation and relatable characters.


6. The Sunset Limited

Performed by Samuel L Jackson and Tommy Lee Jones, The Sunset Limited is a film adaption of a play by the same title. It explores the philosophical debate of what makes life worth living, as Jackson's character tries to persuade Jones' that he shouldn't end his own life, all in the confines of a New York apartment. Captivating performances by both actors make this film worth watching.


5. Sleuth

Set in grounds of an aging writer's estate, the plot follows the confrontation between the aging writer and his wife's younger lover. Thrilling and full of suspense, the 1972 film staring Laurence Olivier and Michael Cain, was remade in 2002 with Caine as the writer and Jude Law as the lover. Sleuth is a thriller which keeps audiences gripped until the final twist.


4. Misery

One of the best known horror films, Misery tell the story of a writer who is rescued from a car crash and cared for by one of his fans, only to discover that he is now her captive and subject to her violent abuse. The tension and exceptional performances in this film have made it a horror classic.


3. Gerry

This is the first film in the 'Death' trilogy and focuses on the friendship of two young men as they wander into the desert and become lost. “The film explores what happens when people are tested to their limits. The powerful dialogue keeps the audience hooked, but equally long stretches of silence heighten the sense of despair felt by the two characters and make the film more believable” explains Margie Burke, a movies blogger at Writinity and Researchpapersuk


2. Gravity

Set in outer space, Gravity follows two astronauts (Sandra Bullock and George Clooney) as they try to work together to return to Earth after becoming stranded in space following an accident. Whilst the tension and fear felt by the characters captivates the audience, it is the visually impressive work by director Alfonso Cuaron which makes this film one to watch.


1. Antichrist 

This raw and dark film delves into the reality of loss and grief. Following the death of their son, who falls to his death whilst his parents are making love, the couple retreat to their cabin. Despite their efforts to repair their lives, this film unflinchingly explores the brutal and violent unravelling of the characters' psyches. Hailed as one of the most evocative and unique two-man films, it is well-worth watching.


ABOUT THE AUTHOR

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Ashley Halsey, a professional writer with Lucky Assignments and Gum Essays , is involved in many lifestyle and movie projects all over the United States. A true foodie, she enjoys discovering new restaurants and tasting local cuisines everywhere she goes.

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MOVIE REVIEW: Ford V. Ferrari

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GUEST EDITORIAL: “Once Upon a Time…in Hollywood” is Quentin Tarantino’s Special Universe

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(Image: quentintarantinofanclub.com)

The Movie “Once Upon a Time…in Hollywood” is Quentin Tarantino’s Special Universe

There are lots of things that tie together Tarantino’s movies such as violence and bright colors to name a few. However, there is one clear that ties all his films together. And that is his special universe which is interconnected just like the popular 23 by Marvels. Tarantino’s universe is more of a theory than a proven fact. However, Once Upon a Time… in Hollywood is the center or acts as the hub that connects the other nine movies.

Understanding Tarantino’s Universe

If you love watching Tarantino’s films, you’ve probably noticed a point of connection in all his movies. The range from shared names to movie foreshadowing. However, one of the common clues according to essay writer has always been the Red Apple Cigarettes. This brand of tobacco has appeared in all the films including the thrilling Django Unchained. You’ll also see it in the credits section of Once Upon a Time… in Hollywood.

During an interview hosted by Australian news, Tarantino talked about his special universe and how it connects to all his films. He said that all his films are usually categorized into two groups. First, is the alternate reality where the worst happenings in history are usually avoided through violence. And the violent movies that people get excited to watch in theatres.

After the interview, fans and movie reviewers started speculating about how Hitler dies violently in the movie Inglorious Basterds or how Jamie’s vengeance results to a murder spree which could have altered how people think of violence in the movie Django Unchained. This also explains why the Kill Bill is a standard cinema in Tarantino’s universe.

As assignment help reports, you can see both sides of the coin blended dynamically in Once Upon a Time in Hollywood. When the movie starts, we see Rick Dalton who starred in the action film, 14 Fists of McCluskey torching several Nazi commanders using a flamethrower.

You must be wondering how such a thought or idea came up in the mind of the universe director. It could be the result of how Hitler was murdered by a team of Jewish American soldiers some years back.

Once Upon a Time… in Hollywood holds the gates for Kill Bill

How did Tarantino manage to get from 14 Fists of McCluskey to the thrilling Kill Bill? You’ll find the answer at the end of Once Upon a Time… in Hollywood. Tarantino alters history again by having Brad Pitt who is playing as Cliff Booth stop Charlie Manson’s trio from murdering the rising star Sharon Tate who plays as Robbie.

As assignment service narrates, back in 1969, Tate was gruesomely murdered thus leading to changes in Hollywood because the industry started contracting to defend itself and the city became quite unfriendly. The media started blaming the victim and in 1979, Joan wrote in her poems that most people in Los Angeles believed that the sixties ended in August 1969 abruptly.

However, Tarantino does not show this to his fans. He undoes one of the darkest chapters not only in Hollywood but also the world using the most violent scenes in all his films. He directs the ninth film which leads to the ultimate creation of enticing movies such as Kill Bill.

After torching a follower of Manson for a couple of minutes to crisp using a flamethrower, Mr. Dalton gets a break after creating a thrilling relationship with his neighbors including the beautiful Polanski’s wife, Sharon. This is how the movie ends.

With such a great ending, we get the impression that Dalton will continue starring in Polanski films in the future. Tarantino makes the entertainment industry take a sharp turn in his universe in 1969 that leads to the ultra-violence we have witnessed in Kill Bill. In short, Once Upon a Time… in Hollywood gives room for Kill Bill.

As a member of the Manson’s Family reports towards the end of the movie, any individual who grew up watching TV grew up watching violence and murder thanks to the crime shows like the Bounty Law by Rick Dalton. However, anyone who grew up watching Rick Dalton after the Once Upon a Time… events grew up watching the world from the top and violent cinemas were not a big deal. According to essay paper, this is the place where Tarantino’s special universe takes place and know you know the reason.

Other Quentin Tarantino Movies Worth Your Time

  • The Hateful Eight – There is something unique and enticing about The Hateful Eight. The majority of people didn’t see it coming when it overshadowed the popular Star Wars at the box office. The movie has been crafted in an impressive way however it's quite hollow emotionally.

  • Death Proof – Robert and Tarantino joined forces and released Death Proof which is an interesting action movie. The one thing that kept me off is the dialogue that doesn’t seem to be getting anywhere. However, you’ll enjoy how Kurt Russel treats women with his car and Elizabeth’s funny character.

  • Reservoir Dogs – Some people report that this movie is one of the best independent films in the industry. It’s a movie that revolves around a heist. Due to the rigid budget, we don’t get to see the heist. However, the effects are quite evident. This film is strong because it focuses on the process. And not the payoff.

  • Pulp FictionPulp Fiction is a standard crime story about a boss, his wife, and a few hired guns. It’s how the story is narrated that makes all the difference in this movie. As you’ve noticed in most Tarantino’s movies, he is not the type of person who thinks of moving the story forward but one who aims at immersing his viewers into his story. Pulp Fiction is one of those movies you should watch right away.

  • Jackie Brown – Though others consider how it was released a disappointment, it was one of the best movies in the 90s. Most people consider it to be the most mature and satisfying movie in Tarantino’s collection. The characters fit their roles perfectly. And you can feel their emotions. If you’ve not watched it, now is the time to go for it.

  • Django UnchainedDjango Unchained has a well-developed storyline that features racism and freedom. You’ll be disappointed by how quickly the movie ends. It’s emotional and sophisticated featuring some of the best in the industry such as Jamie Fox, Kerry Washington, and Samuel Jackson.

Conclusion

Tarantino’s movies are worth your time and money. Don’t continue watching boring TV shows and news when such movies are here for you. Grab some popcorn and start watching any of the movies discussed above. At the end of the day, you’ll not believe what you’ve been missing out.


ABOUT THE AUTHOR

Justin Osborne is a writer at professional paper writers and essay papers, he loves to share his thoughts and opinions about education, writing and blogging with other people on different blogs and forums. Currently, he is working as a content marketer at assignment help australia and dissertations services.

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MOVIE REVIEW: Lady and the Tramp

(Image: omeroyaar.com)

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For warped reasons of splashy attention and an internal need to top themselves, the overfilled four-film 2019 slate of Disney re-imaginings have favored the gaudy, garish, and just plain loud. Granted, flashy noise appears to makes money, but it does not say much for the true quality of the picture. With unending charm and quaint simplicity, Disney+’s delightful Lady and the Tramp remake proves the old adage of “less is more.” All year long, its mainstream blockbuster peers tried every costly artificial and technological height to be a blaring chorus of bells and whistles, when all that was really needed were some cute, real animals backed often by a swanky band.

This new film is a wise and modest update to one of Disney’s best romances of its Silver Age. By utilizing actual dogs, many of which are rescued pets at that, with a mild computerized varnish, feels more tangible than fake in one of these Disney re-imaginings for the first time in a long time. This restraint of creative prudence is what defines its humble disposition and winning achievements.

Coming to life from the overhead illustrations of Dean Tschetter, Lady and the Tramp descends upon a stunning Victorian home on Christmas morning in the early 20th century. The young newlywed Jim Dear (Me, Earl and the Dying Girl’s Thomas Mann) gifts his wife Darling (Kiersey Clemons of Hearts Beat Loud) a cocker spaniel puppy. Given the name Lady and voiced by Tessa Thompson, the prized pet, through her bedspace takeovers, endears herself as a member of the family, one that is growing by a human bundle of joy at the same time Lady earns her official collar and tag.

LESSON #1: BABY MOVES IN, DOG MOVES OUT — In what should be a trauma listed right there with Stockholm Syndrome, a new baby will almost always absorb adult time and previously undivided attention away from four-legged best friends, even an easy-to-love one like Lady. Like its animated predecessor, this Lady and the Tramp keeps its roots in the imagined psychology and personification of what this might be like from the animal’s perspective.

When a dog-sitting misunderstanding with Aunt Sarah (Community favorite Yvette Nicole Brown) leads to a muzzle purchase and a runaway escape, Lady meets the slick, free-spirited loner Schnauzer, voiced by Justin Theroux, who would come to favor Tramp above his other temporary names around town. He teaches the well-groomed neophyte the owner-less life on the streets avoiding the persistent local dog catcher (Adrian Martinez of Focus). Scrapes lead to scraps and noodles turn into canoodled kinship as the two become close.

LESSON #2: THE PLIGHT OF THE HOMELESS — Family films, animated or otherwise, do enjoy their moments of addressing a societal problem in an approachable fashion. Lady and the Tramp then and now, with its riches-to-rags and rags-to-riches reversals, puts storytelling to the difference between being self-reliant and truly alone without the value of loving relationships. In a way, pets have that two with the shelter and adoption processes. Seeing this cuddly classic story play out with real animals better set off a spike in pet adoptions across the country.

LESSON #3: THE AUDIBLE VOLUME OF BRAVERY, CONFIDENCE, LOYALTY — The manifested personal improvement steps of Lady and the Tramp involve audibilizing in different ways. Lady has never asserted herself with a howl while the brash Tramp has never vocalized his broken feelings. She hasn’t found courage and he hasn’t learned to trust others again. Both help each other with those utterances which bring them together and crack Lesson #2. After all just as Darling extols “we’re not a family without you.”

Thanks to its period-era setting and the lively ragtime jazz of its Savannah, Georgia locale, there is a jazzy flair to everything. That pep gives a new pace to the barky banter shared between Theroux and Thompson. The supporting voice cast, led by the dual-threat Janelle Monae, a saucy Benedict Wong, Scotswoman Ashley Jensen, and gristle of Sam Elliott, are excellent and distinctive additions. Strolling and walking on two feet instead of four, even the human actors add little eccentricities to match the light style without anyone being over-the-top whatsoever. By the time Arturo Castro and F. Murray Abraham serenade their “Bella Notte,” you’re in heaven right there with the love-struck pooches.

In every major and minute production detail, tangible textures and patiently composed feels imbue the dainty enchantment of the movie, and they come from very unexpected sources. One would think the director of The LEGO Ninjago Movie would make something wildly feverish. At the same time, one might also expect the very adult mumblecore filmmaker responsible for Funny Ha Ha and Support the Girls to never involved himself in a Disney romance with dogs. Additionally, Yet, here are director Charlie Bean and lead writer Andrew Bujalski (with a boost from newcomer Kari Granlund) disarming us all with their own sprinkles of magic. The unexpected artistic transitions did not end there.

Legendary costume designer and four-time Academy Award winner Colleen Atwood graced this film with her period-era presence in a spot where the lead characters are never adorned with threaded finery. John Myhre, the two-time Oscar-winning production designer behind the stage numbers of Chicago, Nine, and Memoirs of a Geisha, created grand sweep within the sumptuous architectural antiquities of Savannah. 28 Days Later and Bumblebee cinematographer Enrique Chediak traded chasing zombies and robots with handheld cameras for the stable dollies following the darting dogs under legs and wheels on cobblestone streets. The live-action velocity of this Lady and the Tramp required marvelous training from lead animal coordinator Mark Forbes and a fair bit of stunts for San Andreas coordinator Bob Brown.

Even Tron: Legacy and Only the Brave electronic music veteran Joseph Trapenese finds himself channeling his The Greatest Showman side with pleasant orchestrations that evoke and retain much of the original Sonny Burke and Peggy Lee music from 64 years ago. Co-star Janelle Monae is a welcome new voice for Burke and Lee’s lyrics who does not try to overpower what already works as it is.

To have an effortless and bewitching finished film come from this kind of collection of diverse talent working out of their usual elements demonstrates a measured, inspired, and carefully minded level of production. Nothing is over-amplified and the result is more family-friendly than most of the action-ified re-imaginings of the calendar year from the Mouse House. Once again, it is a concerted effort not to do too much or be too big. This confluence cannot be complemented enough. This movie alone is worth your first month of the new subscription streaming service.

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