MEDIA APPEARANCE: Guest on the "Feelin' Film" podcast for "If Beale Street Could Talk"

As a special for Black History Month, I was honored to join Aaron White and Patrick Hicks of the Feelin' Film Podcast for an opportunity to love all over my #1 film of 2018, If Beale Street Could Talk from Moonlight Oscar winner Barry Jenkins. Joining me as another guest and bringing the dais to four was Kolby Mac, the new host of FF’s “Black Label” podcast. This was such a wonderful episode! Listeners are in for a treat! Take a listen to the episode here or below: 

My Full Review of "If Beale Street Could Talk"

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GUEST COLUMN: 6 Finnish Movies You Need to Watch

Image Source: Pixabay

6 Finnish Movies You Need To Watch

by Anna Nilsen

Finland has a rich cinematic history, although it is not as widely talked about on the international scene as many other nations. To fix that and get more people into Finnish film culture, here are just a few of the top movies that the country has produced.

Mother of Mine

Often ranked among the best Finnish films of the 21st century so far, Mother of Mine offers a unique perspective on the Second World War as it looks at the experience of a young child who is sent away from his family home to live in Sweden to avoid the worst of the fighting. Strong performances, an evocative score and attractive cinematography help to elevate this above average war movie status, while the surprisingly vibrant color palette helps to further differentiate it and it has won audience acclaim as well as critical praise.

Drifting Clouds

Blending elements of comedy with moments of drama, Drifting Clouds is an emotional rollercoaster of a film that follows an unemployed couple as they try to get their lives back on track. Made in the mid-1990s, it represents the highs and lows of modern living and even includes a trip to a land-based casino, which may seem surprising to modern audiences who are used to a casino being available online. This shows how changing times and technologies can alter perceptions of film plots.

Lapland Odyssey

This oddball comedy caper shows that Finnish filmmakers are more than happy to showcase a sense of humor in their work, even if the results are a little quirkier than mainstream audiences might expect. The movie follows a group of 20-somethings in a quest to try and procure a set top box in spite of being surrounded by the wilderness of Finland’s frozen north. Car chases, naked snow sprinting, police encounters and much more madness ensues. 

Frozen Land

If Lapland Odyssey is upbeat and easy to watch, Frozen Land is the polar opposite; a film which explores the domino effect of malicious acts that is kick-started after a teacher loses his job and lets his bad mood get the better of him. While it may sound like a bleak drama, the movie is actually quite comic and speaks to the darkly humorous sensibilities that are developed in a place where the sun does not rise for weeks on end during the winter months. Well liked by critics when it was released in 2006, Frozen Land still packs a punch.

Steam of Life

One of Finland’s biggest contributions to the world is the sauna, and this documentary delves into what it is that makes it such a cultural phenomenon in its homeland. Like all good factual films, Steam of Life constructs its narrative carefully, explores its subject matter with deep affection and lets viewers in on some emotionally involving moments in the lives of the people it features.

Black Ice

An intricately written thriller with plenty of comic and farcical elements, Black Ice explored what happens when a wife gets to know the woman who her husband is having an affair with while hiding her own identity in the process. With a few lavish set pieces, some great costume design and a soundtrack that works well to elevate the many moments of tension, this is a contemporary example of what Finnish cinema has to offer the world today.

The Year of the Hare

Released in the late 1970s, The Year of the Hare is eerily prescient in its presentation of the kind of escapism that many people are still looking for in the hustle and bustle of the digital age. In it, a high flying businessman gives up his day job and ventures out into Lapland where he forms a friendship with a wild hare while nursing it back to health. It raises some interesting, enduring questions about the work-life balance and reaffirms the importance that the Finnish landscape plays in the nation’s identity and culture.

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MOVIE REVIEW: The Night Clerk

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THE NIGHT CLERK-- 3 STARS

Like it or not, there’s something carnal and entirely compelling about voyeurism. From trainwrecks to Peeping Toms, gazes can be easily fixated by the energy of those moments.  There is an addictive draw that can be interest, mystery, surprise, titillation, or all of the above. The invasive level of wrongness in watching something you are likely not meant to see is measured by what one is doing or getting out of these observations. That’s a bit of the hook of The Night Clerk which allows a little gray hue on that potential wrongness.

Bart Bromley, played by Ready Player One’s lead Tye Sheridan, is a 23-year-old guest reception worker at a mid-range suburban hotel. When we meet him, Bart is sitting in front of a collection of large computer monitors observing recorded security footage from his place of work. However, the views are not all hallways and lobbies. Certain camera angles have him peering into guest rooms unbeknownst to whomever is on camera. They appear rigged through mirrors and device outlets. Here is where what the person is doing or getting out of this voyeurism comes into play. 

LESSON #1: OBSERVING HUMAN BEHAVIOR-- As Bart is watching these people, he is repeating their words and captured conversations. He is practicing cadence and imitating voices, inflections, and ticks of body language.  It doesn’t matter the gender. Bart is trying all the behaviors out. When he steps into public, we see him trying these lines and moves out. What he isn’t doing is getting himself off. Why? To echo Bart’s own go-to deflection, “that’s a very complicated question and it could take a long time to answer”

LESSON #2: THE FUNCTIONING TRAITS OF ASPERGER SYNDROME-- You see, Bart has Asperger syndrome. Many individuals with this developmental disorder can maintain jobs, drive cars, and plenty more. Bart and his monitor setup reside in his protective mother Ethel’s (Oscar winner Helen Hunt) home. Social interactions are a huge hurdle and repetitive behaviors are comfort zones. What Bart is absorbing through his voyeurism is how to tame and improve his communication skills.

Just about at the point where you squint and pause if that seemingly helpful purpose is alright or not for invading privacy, one of Bart’s camera configurations captures a struggle between a well-to-do blond female hotel guest (Jacque Gray) and an unknown male visitor. Bart scrambles to arrive and stop the struggle when a shot rings out and the woman is dead on the floor. Bart is first on the scene and blankly direct when the authorities arrive, led by Detective Espada (John Leguizamo, playing this half-coy/half-burnout) and the victim’s husband Nick Perretti (Jonathan Schaech). No matter his medical label, you’re damn right he’s a suspect and rightfully so.

LESSON #3: THE TRUST YOU GIVE CUSTOMER SERVICE REPRESENTATIVES-- Come to think about this setting, it’s quite amazing how much of your life is in the hands of people like clerks, hosts, greeters, secretaries, and other front-line customer service employees. You see their name tag and welcoming smile and readily hand over your personal or financial information. They sit behind a desk with every key between them, strangers, outside forces, and your indefensible state in their location. The Night Clerk puts just enough creep and suspicion into this predicament to stir plenty of conjecture worth hanging around to figure out. 

The final combustible element and possibly the next person caught in this escalating web of mystery is the vampish moll Andrea Rivera, played by red hot Knives Out and Blade Runner 2049 ingenue Ana de Armas. Descending upon Bart’s transferred new lodging post, her smoky allure (which she makes look easy) and kindly understanding of his peculiarity have the young man smitten. The plot thickens when the man seemingly controlling her is the same man Bart saw during the earlier murder.

The Night Clerk is an intriguing little burner from long-lost filmmaker and Mr. Robot actor Michael Cristofer. This is his first directorial effort in 19 years since 2001’s tawdry erotic Angelina Jolie vehicle Original Sin after the cult hit Body Shots and Jolie’s brilliant HBO breakout Gia before that. Time and tastes have softened this kind of material which would have been fittingly sexualized for late-night pay cable channels or the Paul Verhoeven crowd.  On one hand, The Night Clerk is missing some of that possible pulp and edginess to really widen our eyes and drop our jaws. Instead, it takes on the calculated challenge of weaving a layer of empathy for the main character to override the egregious errors of consent.  In doing so, the movie feigns sophistication when it really doesn’t exude it.

The real score is Tye Sheridan, following up one odd indie performance in The Mountain with another one here. In a place where so many screenwriters and performers alike dial up far too many quirks for the sake of quirks to portray people on the autism spectrum, Cristofer and Sheridan compose one of the best and most consistent performances of this character type in recent memory. Sheridan’s ticks ranging from demure courtesy to blunt honesty are the right level of subtlety and delivered with measured restraint. His character may find himself in a mess, but he is never the mess. This is very impressive work from Sheridan, especially for this class of film.

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SHORT FILM REVIEW: A Missed Connection

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Official selection of the 2020 Beloit Film Festival

A MISSED CONNECTION-- 5 STARS

For a moment, think on the last bad day you experienced when the things you juggle in your life continued to collapse. What sort of “wit’s end” did you find yourself arriving at? Jog the memory of how you reacted to that ugly day. Did you lash out harmfully or did a figurative life preserver pull you out of the doldrums or stresses?  Chicago filmmaker Matthew Weinstein’s newest short film A Missed Connection thrusts a character to such a breaking point and exquisitely presents a chance scenario likely dreamt of by many, yet afforded by few. This film plays on February 21st and 22nd as a selection of the Beloit International Film Festival.

Strained writer Jacob, played by Tyler Pistorius, is, tersely put, not doing well. He has a broken briefcase that spills papers and has been soaked by a traffic puddle baptism when he arrives at a coffee shop trying to compose himself on a Snowy Chicago night. In huffed exhales, the best he can do for finding zen in this situation is opening a flask and doctoring his cup of stimulant with an edge-duller pour of brown liquor. His solitary disquiet is palpable.

In due time, a woman of lesser wear and frazzle walks into this coffee shop to order a hot herbal tea but finds her phone missing at the counter. With an “Excuse me, did you drop this?” voice of help, Jacob presents the missing phone and recognition hits. Lo and behold, these two know each other and the affecting body language says it all. They tellingly share greetings with a paused smile, but not a shared hug.  

This is Lauren, played by Kimberly Michelle Vaughn, a former college classmate he hasn’t seen in six years. To her, he’s Jake, the once passionate writer who was always impressed by his work. With busted plans, the two sip their personal libations and catch up. Their conversation reveals more of Jacob’s despondency. His curt and dry cynicism seems impenetrable as he has become an artist who cannot stand his own work and resulting office-bound career. Lauren chooses to remember better days where he brimmed with passion. On this, a particularly low day, her optimism and emotional warmth may melt more than the outside snow.

Talented writer and director Matthew Weinstein (The Gun Equation) has composed a frank and touching narrative of heft and hope. A Missed Connection’s most striking quality is its patience, which can be hard to achieve in this 22-minute space where timely urgency normally rules. Weinstein and his lead couple show no rush. They allow this extended moment to breathe as it would in reality. The filmmaker is astute not to over-sprinkle the romantic serendipity or accelerate into Linklater territory.     

LESSON #1: BEING AT PEACE-- No soul, between the cynical or the sincere, gets transformed in twenty minutes or in one reminiscing conversation. However, the momentum for a heartfelt change can certainly be started in that kind of time. Pistorius and Vaughn make the most of this potential. Every time Tyler’s Jacob drops an inflexible axiom made of phobic granite like “pragmatism overshadows idealism” or a similar admission of personal spite, Vaughn’s Lauren diffuses the tension with empathetic curiosity and concern. That is the core of making peace.  

LESSON #2: THE REGRET OF UNSAID THINGS-- As the encounter escalates, Jacob meets more of this failure. He is unwilling or fearful of equaling Lauren’s level of willingness. In the film, the pair of director of photography Tom Kinstle and editor Andrew K. Smith captures those mounting character realizations in the form of the turns and pauses people execute after they say the wrong thing or don’t say the right thing. It’s brilliant near-voyeurism and embodies the patience that extends the reverberation of A Missed Connection.  

The production tone of the short film carries the same lovely flourishes to savor moments. There is a fascinating three-way audio duel between the slick coffee shop jazz overhead, Mark Bartels’ poignant score underneath, and chosen stretches of silent quality where the crisp foley work of Paskal Pawlicki adds the domestic taps, sips, and adjustments.  Bartels blends all three as the sound mixer to perfectly accentuate the emotional flow of the central talk. When necessary, the pendulum of distance or emptiness is given the music and the foley. When that void is being filled by shared feelings or revealed truths, the energy switches and the score glides in like a soothing salve. The result is simply beautiful.

LESSON #3: THERE IS NO SUCH THING AS “IT DOESN’T MATTER”-- That quoted phrase comprises a poetic verse at the center of A Missed Connection. Calling back to the introduction, even a solitary or sorry state can be what Jacob considers an “unfinished missed opportunity.” A goal can be to never have those. Pine to make those moments and titular connections count. Speaking about the past in a dismissive way only decays the present and future. Bring the pleasure of the past forward and completely. Never get to a place where you are left wondering.

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MOVIE REVIEW: The Call of the Wild

(Image courtesy of 20th Century Fox)

THE CALL OF THE WILD-- 2 STARS

Those who have read Jack London’s 117-year-old short novel The Call of the Wild know the truth of its content. Continuously mushing through a gauntlet of abuse and arduous conditions, the story of Buck is not a cuddly one fit for a bedtime story or fireside chat. Any uplifting spirit present does not swell like your typical dog story. The spectre of a truly violent world is inescapable. Each film adaptation over the many decades, from Clark Gable and Charlton Heston to Snoopy and anime, has made their attempt to soften what cannot entirely be softened. This year’s Disney-acquired 20th Century Studios take from animation veteran Chris Sanders, producer James Mangold, and star Harrison Ford adds to that repetitive history of unremarkable failures.

London’s pup-tagonist is Buck, a beefy St. Bernard mix owned by a well-to-do and over-matched judge (Bradley Whitford) in the Santa Clara region of California in 1897. In the movie, stunt coordinator and prominent performance capture expert Terry Notary (the recent Planet of the Apes trilogy) is the movement model for the CGI creation inhabiting the screen. Pampered and undisciplined, Buck gets duped into being seized, boxed, and shipped to the markets of Seattle. With the migration of dreamers and workers for historic Klondike Gold Rush in full swing, a fresh 140-pound specimen like Buck would be an attractive acquisition of untapped talent.

LESSON #1: THE LAW OF CLUB-- Starved in that crate, Buck tries to battle his overman only to learn the conquering power hardened hickory applies to flesh and bones. Heavily off-screen compared to the detailed first-paw account in the novel, Buck is beaten into obedience where even the held appearance of such a man-made weapon elicits a trigger of feared correction. Welcome to the old ways of servitude.

Buck’s first Alaskan owners are the Canadian mail carrier Perrault (Omar Sy of The Intouchables) and Francois (Cara Gee of TV’s The Expanse) who harness his weighty power to a dog sled led by the fierce white husky Spitz. Happy to serve and brave to no end, Buck impresses his owners and lesser sled peers in proving his potential for leadership, much to the cunning chagrin of current front-runner. It is outdoors in these competitive stakes, that Buck is forced to rise in accordance with the next controlling force.   

LESSON #2: THE LAW OF FANG-- Beyond the human battery, the living and nonliving elements of Mother Nature are out to humble us all, man and dog.  Buck’s gargantuan size gives him natural stamina and resilience, no doubt. But, at some point for our canine hero, the old Mark Twain adage of “it’s not the size of the dog in the fight, it’s the size of the fight in the dog” comes chomping. Buck begins to hear the titular bellows out yonder and ancestral instincts reignite in a mid-climactic Northern Lights throwdown versus Spitz.

Buck’s success is temporary as the mail service is forced to disband. A high bid shifts Buck to a trio of rich and unprepared prospectors led by the brother-and-sister team of the harsh Hal (professional movie villain and ungainly overactor Dan Stevens) and the bratty Mercedes (MCU player Karen Gillan). Mushed to the brink of abused and exhaustive death, Buck is rescued by John Thornton (Ford), the ever-present narrator of this story from the beginning. 

LESSON #3: LOYALTY BUILT ON TRUST AND LOVE-- A solid master-and-companion relationship must be properly fostered.  With the burly freebooter Thornton, Buck finds tangible trust and love, the most of both he will have in his life. Lifted by Ford’s magnetic charisma (the guy is always an appealing draw) and constant dumbfounded and demure look they give the digitized dog, this lesson is the core target of substance this movie version is going for, begging for audience awwws. 

If that’s what you want, or even need, dutifully shot by Spielberg’s frequent cinematographer Janusz Kaminski and backed by a Xeroxed score of spirit from How To Train Your Dragon composer John Powell, you’re going to get it, fakery and all.  Did Chris from Beethoven (or his 12 doubles) not have any children or grandchildren of cinematic stock? Despite fair effort from Notary, you never reach the proper suspension of disbelief to buy Buck’s presence and that of the other featured animals.  Stevens isn’t the only overactor here. The fleet of compositors and texture artists handling animal body language emotions are just as bad.

However, that tail-wagging pluck is not the highest peak of The Call of the Wild. The genuine grit of this classic stems from the survival perils and the internalized path to primitivism. This review would be glad to tout such a pair of teachable, character-building moments if the movie elevated to such a level. Alas, it does not. As a side effect to the aforementioned charisma and modesty, anything indomitable is more incorrigible instead. That result matches the fantasy adventure tone of Chris Sanders making his live-action debut after a career spanning Lilo & Stitch, How to Train Your Dragon, and The Croods.  Yet, some of the most cinema-ready scenes from the novel are warped or omitted entirely.

There is an unmistakable edge to Jack London’s story that is lost when you go cute. What was sharp is made dull with cuteness for the sake of cuteness. Doing so becomes a disservice to the hard tale London sought to tell. The corporeal substance from the source material has a feral spine that should not be entirely tamed. Truth be told, the uplifting spirit of The Call of the Wild is a bleak one centered on those two reduced pillars of grit. Cute has been done before and too often, making this newest iteration a repetition of predecessor mistakes.

Echoing more honesty, though, is the reality of the marketplace this movie is leaping into. Readers of The Call of the Wild know damn well (or they should anyway) that a true adaptation of its unforgiving and violent narrative would make PETA outraged and National Congress of American Indians hyperventilate. We get it. Adorable things sell tickets that ugly things cannot. In that regard, this adaptation was always going to have those limits and weaker objectives.

Gosh, though, the impact of the redemption possible from the real monstrousness of the written page would be something powerful to experience. The full force of The Call of the Wild would go a great deal further in rattling souls and shredding heartstrings for impressionable viewers than more disposable fluff. The right writer was in place here with Logan Oscar nominee Michael Green, but punches were pulled all over the place. Like Buck searching for the answers to his innate grumblings, we too gaze about with hollow unfulfillment.  

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EDITORIAL: We Should Be Careful with What We Put in Movies

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We Should Be Careful with What We Put in Movies

Well, it's pretty much evident by now what this place is all about. But one thing that we rarely talk about is how lessons in movies work. You think that every one of them is excellent and intentional. Well, it sort of isn't. Sometimes, movie makers will put a point unintentionally, or they'll teach you about something terrible as well. So, we should talk about being careful when it comes to movies. If you're interested in that, then stick around and read this full article. Maybe you'll even learn something, or you just might gain some insight into movie making. Either way, let's begin!

Arguably, a significant percentage of people, especially younger folks, don't read anymore. And, again, arguably, movies are their primary source of art, wisdom, and everything else noble, besides music. So, lots of kids look up to movie characters, TV characters, and what they represent in general. So, instead of promoting all kinds of crappy things, authors should generally try to be careful with their movies and art overall. And of course, we should think about what types of messages we're sending to our children. Are we teaching them good things that'll serve them in life? Or are we teaching them to be lazy sods that just sit around and play android porn games all day? These questions are essential, and it's time that we discuss them. Funny enough, there's a story that always reminds us of how movies can be necessary, and how they can affect us in a way.

There's this movie, and it's a little bit old by now. It's called Requiem for a Dream. It's basically about a couple on drugs, and some of their friends are junkies as well. We don't want to give the plot away, but the ending of that movie pretty much involves all characters living through severe consequences and withdrawal symptoms. And, that movie pretty much impacted some of us when we were kids. And if you remember that movie, it most certainly affected you too. There's no way that you can think of drugs after that horror show. Now, is that a good point in the movie?

Some people would argue that it isn't since maybe they didn't try to force that point down our throats. Or the ending was too gruesome, and it was designed to scare people out of narcotics specifically. And we all know that scaring someone into something is usually the wrong way. But what if it isn't in this case? What if showing people what being a junkie means through a fantastic scenario is a good thing? In a way, that movie saved many lives. And it doesn't only work for drugs. It works for stuff like porn, strip games, constant shopping, alcohol, and many other things as well. It shows you what being addicted to something means and how you should stay away from anything that influences your mind. The point here is, sometimes things have to be shocking.

But other times, you also get those movies with a jolly and a happy ending. Usually, that ending is achieved because the character did something admirable or some other similar plot that we've seen thousands of times. And sometimes, those overly PC, jolly, and happy points can be wrong. People seem to forget that stuff in movies in highly unrealistic, and we're not only talking about special effects and superheroes now. We're talking about many examples from real life. First of all, if you chase a girl repeatedly after she rejected you, you won't be a hero in your own story. You'll be a sore loser that'll eventually turn to MMO sex games for solace. And that sucks ass, but it is what it is.

Some lessons have to be more brutal, and some lessons have to be a bit unrealistic but appropriately packaged. So, stuff in movies is often complicated, but it's a big media. And we should use it for good. So, if you're planning on making a movie, you should carefully think about the lesson. And the message that you want to convey. Sometimes it's meant to scare people a bit. Other times, it's there to encourage them in a fight that only they know about. And it doesn't matter. As long as it helps people, is noble, and is generally a magnificent work of art, it's okay. A good lesson is essential, and it isn't hard to think about one. You can look from your own experiences as well.

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MEDIA APPEARANCE: Guest on the "The Cinescope Podcast" reflecting on "John Carter"

This past week, I was invited and welcomed back to The Cinescope Podcast, hosted by Chad Hopkins. With appreciation for its zest and its history, Chad and I shared our love for Andrew Stanton’s 2012 Disney adventure John Carter. It was an excellent chat. This was my third time on Cinescope after previous episodes on E.T the Extra Terrestrial and The Karate Kid. I look forward to the next chance to join Chad. Enjoy the podcast! Listen or download below!

The Cinescope Podcast on iTunes

Show Notes

My Adventures on Barsoom - ChadTalksMovies

Underrated Podcast - John Carter w/ ChadJohn Carter on Apple TV

John Carter soundtrack on Apple Music

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MY 25YL REVIEW OF "JOHN CARTER"

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SOCIAL MEDIA LINKS AND CONTACTS

CHAD HOPKINS

• Facebook

• Twitter

• Website

• Email: thecinescopepodcast@gmail.com

THE CINESCOPE PODCAST

• Twitter

• Facebook

• Letterboxd

• An American Workplace | A Retrospective The Office Podcast

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MEDIA APPEARANCE: Guest on the "Kicking the Seat" podcast and YouTube talking "Birds of Prey"

One thing that doesn’t need a title change is Ian Simmons’ Kicking the Seat podcast. The same cannot be said of Birds of Prey (and the Emancipation of One Harley Quinn. That movie was the discussion subject of the recent 499th episode of Ian’s program. He, David Fowlie of Keeping It Reel, Emmanuel Noisette of E-Man’s Movie Reviews, and I passed around the hair tie to talk about the colorful and not-to-soft Suicide Squid sequel and spin off. Enjoy us comic fans putting forth some insight and regret!

PODCAST EPISODE PAGE MY OWN FULL "BIRDS OF PREY" REVIEW

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MOVIE REVIEW: The Photograph

(Image: hearstapps.com)

THE PHOTOGRAPH-- 5 STARS

This is going to sound like a spoiler, but no pining suitor or their smitten match says “I love you” in The Photograph. Canadian filmmaker Stella Meghie weaves two passionate romances connected yet separated across a generation within her film and those magic words don’t come out. Know immediately and imploringly how this is far from a dealbreaker. If anything, the restraint away from such a plain statement becomes more stimulating and resounding than ever thought possible.

If this were a Richard Curtis rom-com from Britain or an equally tacky American equivalent, “I love you” would come out at a crescendo and then be shouted repeatedly as if some heart-emptying liberation occurred where it wasn’t possible. Here in The Photograph, it’s not that the declaration does not work or would not fit. It’s that the situation and the characters have the wisdom and, even better, the honesty to know such a vow carries tangible weight, one that should be reserved for the right partner and not rushed.     

LESSON #1: ACTIONS SPEAK LOUDER THAN WORDS-- Instead of “I love you,” our beaus and darlings desire to “get to know” the other person and “be with them.” If that sounds like a step down from love, it’s not. Those announced intentions speak to a specificity of actions over words. Plenty of people can profess their love at the top of their lungs like Buddy the Elf. That’s merely loud lip service. The real value is the effort to earn the promises to go with those eventual very important shared words.

That is the unyielding romantic strength of The Photograph. We watch love, not just hear about it, and we cannot get enough of it. There is such an captivating intensity about that momentum which prevails over the vast majority of cinematic romances of this present era, no matter their given culture or creative origin. If you’re tired of reheated tropes and forced melodramas, this is your Valentine’s Day salvation.  

The Republic human interest reporter Michael Block (Lakeith Stanfield of Sorry to Bother You) is preparing a piece on the noteworthy legacy of the recently deceased NYC photographer Christina Eames. His background research takes him to Christina’s former hometown in the fishing bays near New Orleans, Louisiana. There Michael meets Christina’s old flame, a now-aged fisherman named Isaac Jefferson (Rob Morgan, recently seen in Just Mercy) holding onto an unfinished love story.

Meanwhile, Christina’s surviving daughter Mae Morton (social media star turned actress Issa Rae), a successful assistant curator at the Queens Museum, is unearthing more of her mother’s secrets from her personal effects. The most eye-opening are a collection of personal photographs before Christina’s career started and a pair of letters, one addressed to her and one addressed to her father. The one for Mae details untold memories of a younger Isaac (Y’lan Noel) and her rebellious youth (played by Chante Adams of Roxanne Roxanne).  When Michael’s investigations lead him to Mae, a comforting and interesting attraction grows.

LESSON #2: TO WANT BETTER AND DO BETTER-- Both Michael and Mae are not kids anymore. They are adults with pasts and imperfections any prospective partner needs to work within. The flashbacks color much of the very same between Isaac and Christina. Far more optimistic than solely lamenting, all four romantics have eyes on their futures. They have wishes. They seek personal improvement. They want more than their given situations and standings, even if they don’t have it all figured out. In both pairings, those expectations are part of the acceptance necessary of their desired significant other.  That realism and longing devotion becomes meaningful in this film.

LESSON #3: TRUTHS LEFT UNSAID-- For as much as The Photograph glides with the previously touted power of actions over spoken sentiment, it is a lack of timely or shared words that emerges as a cardinal weakness in these characters. Choices of conduct and endeavors squelch where words of truth would make a difference across past and present. They try so hard to “be” more than “say,” where they miss moments, something any and all of us have done ourselves in a would-coulda-shoulda way.

There’s chemistry that makes little fizzy bubbles for a temporary amount of time and then there are reactions that generate torrid combustion.  The beauty and smolder of Issa Rae and Lakeith Stanfield are so very much the latter. They are a screen couple folks revisit for a long time, circling The Photograph as a memorable cornerstone where their talent either took off (Rae) or their appeal was recognized deeper (Stanfield).  Yet, their heat is not entirely generated by physical attraction. Their profound shared emotions are the greater fuel and the same goes for the segments with Chante Adams and Y’lan Noel. Again with the actions, the kisses we watch mean more by what’s behind them and the actors convey that dramatically.

The social landscapes of The Photograph match that richness and heft. The music alone will add to the unhurried intoxication.  A combination of Miles Davis-level jazz harmonies from composer and recording artist Robert Glasper meld with an outstanding R&B soundtrack of eclectic deep cuts covering the two time periods.  You will close your eyes and sway while indie cinematographer Mark Schwartzbard heightens the intimacy in both the sunny rural southern locales and the urbane New York angles. The intentional stylings of this movie are lush all over.  

A word that’s likely going to be bandied about for The Photograph is “mature.” It is a fair compliment, but its use could imply that many other romances featuring this demographic are not “mature.”  Unfortunately, that is true and the tropes are there to prove it, as spelled out in an epic recent Twitter thread from The Root writer Michael Harriot. The problem too often, as Harriot rants, is the inauthentic or mismatched creator making those movies that pretend to speak for an entire culture. Producer Will Packer remedied that with commissioning the emerging talent of Stella McGhie (Everything, Everything).

Instead of “mature,” consider The Photograph more towards cultivated. This is a black voice presenting a refined story without the crutches of stirred-up race debates or hammy theatrics.  Not an ounce of either is here and that matters enormously. Even with the irreverent humor of Lil Rel Howery, these are career-minded, poetic, and expressive adults with hearts and flaws not lesser and no different than their peers of different creeds. Too few examples of this lifestyle exist on the silver screen, making this engrossing film so incredibly welcome, fortifying, and, most of all, necessary.

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GUEST COLUMN: Lessons Found in "The Fast and Furious" Movies

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Lessons Found in the Fast and Furious Movies

by Kevin Gardner

Movies are a great way to escape the real world and place yourself in the middle of a new life. Films that extend from one to a series are some of the most exciting to watch because the storyline continues. “The Fast and Furious” set is no exception. Many watch it for its thrills and action scenes, but if you pay close attention, you can find some important life lessons. Here are nine messages these movies teach.

Winning is Winning

Some will say that winning must require a great defeat, but these movies show that a win means victory, no matter how close it was. The accomplishments you experience throughout your life should be praised and remembered, no matter how small they seem. It is important to look back on what you have achieved knowing you gave it your all.

Family is Everything

There isn’t anything that Dom wouldn’t have done for his family. Family is one of the most important things in life, no matter what they’ve done. The close-knit relationships presented in these movies extend beyond bloodlines, encompassing every member of the team. The ties that bind them all together are as strong as any that can be made. Each of them knows the importance of being together and what being family means.   

Everyone is Deserving

No matter their past, each person deserves a second chance. Throughout the series, you see different members make mistakes. Each one is given another chance to prove themselves. This does not mean you carelessly allow someone back into your life without some precautions if they have previously wronged you; however, you should be willing to let them start over again.

Life is Happening

No matter the outcome of the race, life continues to go on. New challenges are found; new competitions need to be won. Sometimes it’s hard to get yourself back up again, but you must. Life doesn’t stop because you want it to. Moments continually pass and what time you have can be wasted if you don’t get back up again.

Goodbye is Agonizing

The iconic end scene showing Brian driving off in the seventh movie is one not many can forget. It symbolizes the depth of pain that comes when saying, “goodbye.” Losing a friend or loved one brings anguish like no other. The new life you must learn to live without that person in it is something that takes time and endless moments of grief. There is some comfort in knowing that though they may be gone, they will never be forgotten.

Success is Demanding  

The only way to improve upon something is to practice it. Brian continuously practices his driving skills to ensure he can win any race. If you wish to master something, you must determine to give it everything you've got. Never give up on your end goal and continuously work for it.

History is Shadowing

In the sixth movie, Brian apologizes to Dom for what happened to Letty. Dom’s response is simple and clear. What’s done is done, and there is no way to go back in time and change how things happened. No matter what you did in the past, you need to let go. Holding on to the past will prevent you from making history. You cannot change what you have done, but you can control what you will do.  

Passion is Invigorating

Doesn’t matter if the racer drove one of the most popular cars by state or one of the junkiest one’s ever seen, each one desired to win. There were no half-hearted attempts for gaining victory, they put all they had to the test. Passion can fuel you to reach the end and be the best you can be. It can ignite a fire in you causing you to do things you never thought possible.

Loyalty is Overwhelming  

The “ride or die” mentality may seem to be extremist, but it is one of the most important lessons that can be learned through these movies. It’s a promise that no matter what happens, you will be there for your partner. This bond of loyalty goes so deep nothing could ever break it.

These movies are beyond exciting and bring a level of suspense no one can deny. Next time you watch them though, keep a lookout for the real-life lessons they teach. 

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GUEST EDITORIAL: Why Old Movies are More Useful than Modern Ones?

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Why Old Movies are More Useful than Modern Ones?

by Susan Saurel

Anytime your friend or a loved one argues that old movies are the best, share with him or her this article. We all have grandparents, friends or colleagues who complain that modern movies cannot be compared to older movies. 

The movies of today, they say, do not hold a handle to the classics. And the numbers prove them right. Up to date, the average movie rating has been dropping continuously since the year 2000 on the popular review aggregate sites such as IMDb, Rotten Tomatoes and Metacritic to name a few.

But there is more to this trend than a decrease in quality. A lot of movies are produced and released every year. Most of them manage to compete for the Oscars and other global awards. Some of them perform better than others due to their interesting story or special effects that are simply out of the mind.

Since the year 2000, technological advancements have transformed the movie world. Directors and producers have changed how they made movies. They have adopted new styles that go hand in hand with the technological devices that they currently have.

What makes a modern movie great? Investing in the latest piece of technology, a cast of talented and experienced actors and a bigger budget can transform an ordinary movie into a great movie. Not to forget to include the special effects. 

When it comes to movie reviews, everyone has his or her opinion. Some people struggle to watch modern movies while others can’t finish watching an old movie without dozing off. Some people consider old movies to be outdated due to the mannerisms of the actors or the graphics. And this is quite true.

However, old movies have valuable lessons that you can’t easily find in modern ones. And these lessons can be used in our modern world. Let’s discuss why old movies are better than modern ones.

1. The Acting Style

According to best essays review, acting in modern movies cannot be compared to old movies. Old movies used the Acting System which was developed by Constantin. This system is based on the fact that human beings cannot emotions. Therefore, he came up with a system that summons emotional inspiration.

He encouraged the use of the Emotional Memory concept which meant that actors had to use emotional memories from the past to create the character’s emotions. They acted more naturally because there were no special effects.

Acting in older movies was supernatural because of the social and cultural norms of the time. Times change and so do social and cultural norms. This does not mean that there are no great actors in the modern movie industry. However, the acting style that was embraced in the past pushed actors to exceed their mental and emotional limitations.

2. No Rush

One reason why people who love modern movies sleep while watching old movies is nothing is rushed. Some scenes might be boring compared to the rest. Conversations used to last for at least three minutes. Plus, the films used to be taken from only one angle. This is one of the things that bore millennials.

If you’ve ever watched a modern movie with an elderly, you probably repeated some scenes more than twice or explained what was happening for him or her to understand. Modern movies are rushed from the beginning to the end. 

If you are used to old movies, you’ll hardly understand a thing. Modern movies are not focused on deep conversations. Moviemakers focus on the action and special effects to please the viewers’ brains and eyes.

According to top resume writing services, older movies focused on the conversation and the character. The moviemakers filmed with the assumption that people had a couple of hours to spend watching black and white movies. 

Today, modern movies are focused on the actions that adapt to our everyday life. Times are changing rapidly and so is the moving making process. Editing techniques have been embraced and everyone is overusing them. And this leads to low-quality movies.

Since people have developed attention atrophy, modern movies are full of actions with shorter scenes to make it easier for the younger generation to focus. Also, movie makers are creating movies with the assumption that people don’t have enough time to sit down and watch a good movie for a few hours. That’s another major reason why modern movies are fast-paced.

Old movies presented their theme or topics slowly. However, this does not make an old movie too boring to watch.

3. Different Topics/Subjects

There are major differences between old movies and modern movies especially when it comes to the topics or main themes. Today, everyone wants to watch fast-paced movies because they are thrilling and relieve stress.

Yes, you can find old movies with the same topic or theme that modern movies have. However, most old movies were about love and war. And they always presented a new refreshing perspective using the talented characters. You could easily identify yourself with the plot of the story. They presented the habits and norms that were common during those days. And this is why we prefer old movies to modern movies.

Ivory research shows that old movies introduced the viewers to a different better world. After watching the movie, you could reason and discover what you’ve been doing right or wrong in your life. The plot was original and exciting compared to the modern ones. Modern movie makers are in the business of recreating older movies with a few changes thanks to the rapid advancement of technology.

Old movies present a theme or topic that inspires and motivates viewers to take action. It could be pouring out your heart to the person you secretly love or having the courage to follow your dreams. Unlike the past, you can easily find whatever you want with a simple Google search. You can identify the opportunities and problems around you without having to sit down for a few hours to watch a movie.

Watching movies was one of the best ways to open your eyes and mind in the past. Old movies showed people what they could manage to do with art, beauty, and sexuality. Today, people are focused on finding the treasure that will save the world and heroic feats with lots of actions and editing.

4. Different Effects

One of the main goals of old movies was to create a story that you could strongly identify with. A story that inspired you to become a better version of yourself; to know and fight for the dreams of your country. 

Every effect was made to create a clear perfect scene together with a good screenplay. These moviemakers took their time to choose characters who complimented the plot of the story because the special effects had not evolved as they have today.

For instance, horror movies were really scary. Most children and teenagers couldn’t sleep after watching those movies. And even if they did, they would narrate the nightmares they had. Today, no one feels scared after watching modern horror movies. 

The difference is not in the plot but the effects. Modern horror movies look like Science Fiction. Ghosts have features that you can’t imagine. And since modern movies are being produced constantly, it is extremely difficult to find a great one.

Although technology had not developed back then, old movies had something special. All the special effects like war scenes and death were more realistic than what we see in modern movies today. Some great modern producers create extraordinary movies. However, with the possibility of improving visuals using effects, it’s difficult to figure out when to stop.

5. Old movies are the real success

Let’s face it. There could be no modern movies without old movies. Most of the respected producers of our times were mentored by old movie producers. Old movies paved the way for the growth and success of the movie industry. Even though most of us can’t stand them, they’ve stood the test of time. If you grew up watching these movies, you know what I mean.

Modern directors are not creating anything new. They are simply recreating and rebranding old movies using the latest pieces of technology. Even though old movies are a bit longer, they addressed exciting topics that opened the eyes and minds of people.

Conclusion

Old movies are not boring. You just need to sit down and focus on the characters. Remember, how you look at things determines your experience. By changing your perspective, you’ll realize why the elderly have never stopped watching these movies. They are useful, entertaining and impressive. And most importantly, you can identify yourself with the story. 

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CHECKLIST: 21 films to watch for the 2021 Oscars

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In what has become an annual Monday morning Oscar hangover, this website looks down the calendar and into the crystal ball to prognosticate which 2020 films could be contenders for the 93rd Academy Awards in 2021. Who could possible top the history that was Parasite? Many will try and they may very well come from this scouting report. Last year, 11 films from the 20-film list (and six others from the honorable mention section) ended up with Oscar nominations this past month, including wins for Once Upon a Time… In Hollywood, Judy, Ford v Ferrari, 1917, Rocketman, and Little Women.  No sooner than the sun rises and coffee pots turn on, the next Oscar season starts now!  Here’s your eighth year of advance scouting courtesy of Every Movie Has a Lesson. Release dates are listed if known.

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1. West Side Story

Everything Steven Spielberg touches gets automatic attention.  He’s become very selective in his projects, so many were surprised he chose a musical, let alone a remake of a legendary classic.  Baby Driver’s Ansel Elgort and newcomer Rachel Zegler are your new Tony and Maria in front of all the usual Spielberg powerhouse collaborators (cinematographer Janusz Kaminski, editor Michael Kahn, screenwriter/playwright Tony Kushner).  Its Christmas release will prime it for peak Oscar attention. (December 18)

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2. In the Heights

You heard this movie and its creator Lin-Manuel Miranda name-dropped last night. Its emerging star Anthony Ramos was given the mic time. They weren’t kidding about hearing it in the same place next year.  Between this and West Side Story, you may have a toe-tapping 93rd Academy Awards. Be ready for the performances and inescapable summer soundtrack from Miranda. (June 26)

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3. Tenet

Christopher Nolan is also on the “everything he touches” list for Oscar attention. The John David Washington and Robert Pattinson thriller may be an ominous summer blockbuster instead of small-scale prestige, but that has not stopped Nolan films before. Expect technical attention given to cinematographer Hoyte van Hotema, production designer Nathan Crowley, and composer Ludwig Goransson.  (July 17)

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4. Dune

Someone emerging to become equal in clout in the technical prowess department to Nolan is Denis Villeneuve.  His massive undertaking of Dune may be the film that surpasses Nolan for that elusive Oscar prize.  Hopping headfirst into the fantasy realms of Frank Hebert’s source is a cast of zillions including Rebecca Ferguson, Timothee Chalamat, Jason Momoa, Zendaya, Charlotte Rampling, Josh Brolin, Stellan Skarsgard, Oscar Isaac, and Dave Bautista.  Someone get a bucket for the eyes popping out for this one come December. (December 18)

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5. Mank

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It’s been too long since we’ve had a David Fincher feature in theaters.  Gone Girl, The Social Network, and The Curious Case of Benjamin Button amassed 22 Oscar nominations and 6 wins.  This behind-the-scenes look at the creation of Citizen Kane through the eyes of Oscar winner Gary Oldman’s screenwriter Herman J. Mankiewicz could be the Hollywood-celebrating-Hollywood epic that finally wins Fincher an overdue Oscar.  This may be #5 for list purposes, but this is my prohibitive most-anticipated awards season favorite for this coming year. (TBA)

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6. The Trial of the Chicago 7

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Speaking of David Fincher, one of his former collaborators is screenwriter-turned-filmmaker Aaron Sorkin.  He’s following Molly’s Game flying solo with this legal drama about the charges leveled on a group of protestors from the 1968 Democratic Convention riots in Chicago.  Enjoy on-point rapid-fire dialogue and the big screen return of Joseph Gordon-Levitt next to Kelvin Harrison, Jr., Michael Keaton, Eddie Redmayne, Jeremy Strong, J.C. MacKenzie, Sasha Baron Cohen, and Frank Langella. (October 2)

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7. The French Dispatch

Speaking of another filmmaker looking for that next big picture that wins the highest honors, Wes Anderson has steadily and strongly become one of the best filmmakers of this generation.  He too makes the “everything” list and The French Dispatch brings the prerequisite monster cast of Saoirse Ronan, Timothee Chalamat, Elisabeth Moss, Lea Seydoux, Willem Dafoe, Christoph Waltz, Benecio del Toro, Owen Wilson, Adrien Brody, and, of course, Bill Murray.  Called a “love letter to journalists,” this could speak to auteurs and regular folks alike. Besides, like the embedded videos, there’s his usual mise en scene to marvel at in the meantime. (July 24)

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8. Respect

Between Bohemian Rhapsody and Rocketman, it wouldn’t be the 21st century Oscars without a musical biopic. The brightest and best contender of that genre for 2020 is the story of Aretha Franklin with Jennifer Hudson’s presence and pipes in the lead alongside Oscar winner Forest Whitaker and a renewed Marlon Wayans for director Liesl Tommy.  (October 9)

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9. The Last Duel

Ridley Scott hasn’t had Oscar attention since The Martian, yet he is a veteran of pedigree where his movies garner serious consideration for praise.  Scott re-teams with Matt Damon who reunites with Ben Affleck and joins the fresh pairing of the red-hot Adam Driver for a showdown of knights, noblemen, and squires.  Period detail and Ridley Scott are a match made in Oscar heaven. (TBA)

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10. Stillwater

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Spotlight director Tom McCarthy returns to the poignant legal realm after a cute Disney spin with Timmy Failure: Mistakes Were Made.  Matt Damon stars as a father looking to clear murder charges subjected to his estranged daughter (Abigail Breslin). Wrought family drama and powerful themes come out strong with McCarthy.  Let’s see if this can also be an acting breakthrough for Damon to seek the top trophy that has eluded him. (November 6)

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11. Charm City Kings

Moonlight and If Beale Street Could Talk director Barry Jenkins is the story credit on this spring drama about the gangs of the Baltimore streets.  While it might not be mainline Jenkins, one has to think the potential for quality is there. Meek Mill, Teyonah Parris, and Jahi D’Allo Winston star. (April 10)

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12. Those Who Wish Me Dead

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Ever since Hell or High Water, the respect for Taylor Sheridan as a writer and filmmaker has grown.  His latest neo-western is a Montana-set survival thriller set against a wildfire starring Angelina Jolie, Nicholas Hoult, Tyler Perry, and Jon Bernthal.  If it can find and bring an edge, the acting and screenwriting categories could be in play. (TBA)

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13. The Personal History of David Copperfield

Armando Iannucci’s The Death of Stalin might not have risen to Oscar love, but his follow-up raises the class up a notch by taking on Charles Dickens with Dev Patel leading Hugh Laurie and Tilda Swinton.  Advance buzz overseas is very positive as this comedy stands to drop as summer counterprogramming. (May 8)

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14. News of the World 

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Let’s start the Tom Hanks train.  Revitalized with his first Oscar nomination in over a decade for A Beautiful Day in the Neighborhood, the Hollywood icon stars in three 2020 films.  The first is the best Oscar hopeful of the trio. He re-teams with his Captain Phillips director Paul Greengrass for a western adapted by Lion filmmaker Luke Davies about a travelling reporter helping out his customers with a kidnapping matter.  Expect raw tension as only Greengrass can deliver. (December 25)

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15. Greyhound 

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The second Hanks movie of the three comes from a World War II screenplay written by his own hand and directed by up-and-coming Aaron Schneider of Get Low.  The story surrounds a Navy captain trying to safely traverse a pack of approaching German U-boats.  Get your Captain Phillips and Saving Private Ryan tingles to have Hanks back on a boat and in WWII for a summer adventure.  (May 8)

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16. BIOS

The third offering from Tom dives into science fiction mixed with a little love for dogs.  In a post-apocalyptic landscape, a robot is tasked with protecting a dying man’s dog, one of the few living survivors of the world.  Game of Thrones TV director Miguel Sapochnik leads his second feature film and first in a decade.  Let’s see if Hanks brings the golden touch. (October 2)

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17. I’m Thinking of Ending Things

Every now and then, the Oscars notice quirky head-turners.  No one fits that description better than Eternal Sunshine of the Spotless Mind writing Academy Award winner Charlie Kaufman.  His first directorial effort since Anamolisa and first with live-action actors in 12 years since Synecdoche, New York is a dramatic thriller about a woman at a relationship crossroads after an odd traveling detour.  Wild Rose breakout Jessie Buckley works with Toni Collette and Jesse Plemons for this future indie gem from Netflix.  (TBA)

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18. Deep Water

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It has been a long 18 years since noted master of eroticism Adrian Lyne brought Unfaithful to the masses with a Oscar-nominated Diane Lane.  Let’s how Lyne has become an aging fine wine to the tune of Terrence Malick and other filmmakers who have taken decade-plus breaks.  His newest film adapts mystery maven Patricia Highsmith with ingenue-of-the-moment Ana de Armas entangled in a murder and disappearance crime when one of her allowed affairs turns up missing and her open-relationship husband, played by Ben Affleck, becomes the prime suspect. (November 13)  

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19. Mulan

The annual parade of Disney re-imaginings always find their way to Oscar nominations in the artistic categories.  With trailers promising more straight epic adventure and way less Eddie Murphy sidekick chicanery, Mulan might just be one of the rare cases where these remakes improve on the originals.  The Mouse House is betting strongly on female director Niki Caro (Whale Rider, North Country) to elevate this material into something special.  The trailers look phenomenal where future nominations look very viable.  (March 7)

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20.  Soul

Pixar has two 2020 films awaiting release and both are in the first half of the year.  Onward feels like silly genre thrills, while Soul looks more like the assured Best Animated Feature contender of the two.  Colorfully bringing symbolism and emotion to out of out-of-body experiences, star Jamie Foxx and double Oscar winner Pete Docter (Up and Inside Out) look to squeeze hearts and tear ducts.  (June 19)

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21. The Woman in the Window

The last entry on this list is a carryover from last year.  Director Joe Wright has been more hit (Atonement, Darkest Hour, Anna Karenina, Pride and Prejudice) than miss (The Soloist, Hanna) with Oscar voters.  So has his lead, namely 6-time Oscar nominee Amy Adams.  This long-delayed 20th Century Fox thriller in the vein of Rear Window finally sees the light of theater screens in the early summer.  (May 18) 

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