What I Watched This Week: 12 Feb 2017

NEW SHOWS
Last Week Tonight – “Feb. 12, 2017” (A) / season premiere
However long this administration lasts, it’s going to feel like agony. So thankfully John Oliver refuses to settle for cheap shots, but goes in long on Trump’s committal to reading, regurgitating and reciting fake news. It’s dangerous, but Oliver defangs him a bit. This is going to be essential viewing for the resistance.

The Mindy Project – “Hot Mess Time Machine” (B+)
A nice return messes with the formula a bit, in a Groundhog Day homage that allows Mindy to be a good girlfriend for once. Maybe she’s turned a corner, but it’s pretty hard for a show (or a character) to change this late in the game.

This Is Us – “Jack Pearson’s Son” (A)
The show at its honest, gut-wrenching best. No bullshit, no narrative dead weight, just a beautiful collision of all its most emotionally compelling storylines.

Legion – “Chapter 2” (A)
If the pilot was a singular experience, this gives us a better glimpse into what the series proper will be like. And, as I said many times while watching the first two episodes, “Holy shit!” The editing, storytelling, acting and production design are on such a higher plane. This show has no equal on the air right now.

It’s Always Sunny in Philadelphia – “PTSDee” (B-)
A sloppy episode that takes three underdeveloped storylines and jams them all together. Even so, that gives us Dennis (in his duster and jeans) and Charlie (in suspenders and a propeller beanie) stripping to “Cat’s in the Cradle,” which is the kind of sick joke only this show could pull off.

STREAMING
Michael Bolton’s Big, Sexy Valentine’s Day Special (B-)
Pretty damn funny, but also wildly inconsistent. I won’t revisit it like I do with Stephen Colbert’s Christmas special.

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What I Watched This Week: 5 Feb 2017

NEW SHOWS
This Is Us – “I Call Marriage” (B)
The “Kate being tempted by the douchey stableboy” storyline drives me up a wall, and it’s dragging down the rest of the show with it. But I am invested in the rest, with Kevin finally showing (hopefully) real remorse over what he’s done as he tries to rebuild his relationship with Sophie. And I’m intrigued by Randall’s coming reckoning: that he doesn’t need to consistently prove himself to be loved.

Legion – “Chapter 1” (A) / series premiere
The best pilot in years. Noah Hawley has crafted something truly unique, and it soars far above its source material. This is a psychological thriller with some comic book accessories, not the other way around. I can’t wait to see where it goes next.

It’s Always Sunny in Philadelphia – “Hero or Hate Crime?” (B+)
A classic Sunny conundrum: Frank yells, “Look out, faggot!” as a piano is about to fall on top of Mac, saving his life. Thus the title of this week’s episode. But of course the gang is far too petty to actually answer that question, as they bring in a series of professional arbiters to decide who is actually in possession of a scratch-off that Dee bought, but blew away and Mac now has. It leads to some (almost) deep character moments that show handles in its signature crude way. It’s the least sentimental coming out moment a TV character has ever had.

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What I Watched This Week: 29 Jan 2017

NEW SHOWS
It’s Always Sunny in Philadelphia – “Making Dennis Reynolds a Murderer” (B+)
Another deft media parody, this time chronicling the vague murder mysteries that captured the nation’s attention by revealing precisely nothing.

BINGEING
Angels in America (A-)
One of those ultra-ambitious projects that’s so daunting you can’t help but be in awe of the magnitude of the thing, while still having to acknowledge that not all of it works. The acting is tremendous, the writing is melodramatic, the special effects are questionable, but it’s brilliant.

The Man in the High Castle – Season 2 (B+)
More narratively messy but more thematically satisfying than Season 1, as it tackles fate, betrayal, accepting one terrible reality to avoid a more devastating one, and if you’re rooting for terrorists or not.

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Netflix Picks: February 2017

BEST BET – FILM
Brazilian Western – 2/27
A festival favorite that could have easily been lost to time, this is great – if bleak – revenge thriller that ignites the screen.

BEST BET – TV
American Crime Story: The People v. O.J. Simpson – 2/2
The best narrative TV show of 2016 is finally here if somehow you haven’t seen this fascinating look at the biggest trial of the 20th Century. Prepare to be wowed by Sarah Paulson as Marcia Clark, Sterling K. Brown as Chris Darden and Courtney B. Vance as Johnnie Cochran as the attorneys on both sides of the case that would decide the fate of O.J. Simpson.

NETFLIX ORIGINALS
Daniel Sosa: Sosafado – 2/3
Imperial Dreams – 2/3
Santa Clarita Diet (Season 1) – 2/3
Michael Bolton’s Big Sexy Valentine’s Day Special – 2/7
David Brent: Life on the Road – 2/10
Stronger Than the World – 2/11
Girlfriend’s Day – 2/14
Katherine Ryan: In Trouble – 2/14
Project mc2 (Part 4) – 2/14
White Nights – 2/14
Chef’s Table (Season 3) – 2/17
Dragons: Race to the Edge (Season 4) – 2/17
The Seven Deadly Sins (Season 2) – 2/17
I Don’t Feel at Home in This World Anymore – 2/24
Legend Quest (Season 1) – 2/24
Ultimate Beastmaster (Season 1) – 2/24
Ultimate Beastmaster Mexico (Season 1) – 2/24
VeggieTales in the City (Season 1) – 2/24
Mike Birbiglia: Thank God for Jokes – 2/28

CATALOG SHOWS
Frequency (Season 1) – 2/2
Crazy Ex-Girlfriend (Season 2) – 2/11
Girl Meets World (Season 3) – 2/19
When Calls the Heart (Season 3) – 2/19

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What I Watched This Week: 22 Jan 2017

NEW SHOWS
Saturday Night Live – “Aziz Ansari/Big Sean” (A-)
While no sketches will be considered all-timers, this is one of the most remarkably consistent episodes of SNL that I can remember. Absolutely no dud sketches, a terrific monologue and at least two solid pre-filmed segments that always help. I hope Aziz comes back as often as some of the other frequent hosts of late.

This Is Us – “Three Sentences” (B)
While I’m not sure the temptation of another interested heavy-set guy is what I wanted from Kate’s storyline, the rest is working like gangbusters, particularly with Kevin finally showing some emotional depth.

It’s Always Sunny in Philadelphia – “Wolf Cola: A Public Relations Nightmare” (B+)
Frank’s confusion of Boko Haram with Boca Raton joins the pantheon of great sitcom misunderstandings. The whole show is solid, as Frank, Dee & Dennis satirize the 24-hour news cycle and Charlie & Mac sell their horrific protein shake to actual UFC fighters.

CURRENT SHOWS
Bright Lights: Starring Debbie Reynolds & Carrie Fisher (A-)
A beautiful, messy documentary on the (unaware) last days of two Hollywood icons, presenting their unvarnished relationship in all its highs and lows. It’s not a complete picture, but it’s beautiful snapshot of a mother and daughter who clung to each other after decades of driving each other apart.

This Is Us – “The Big Day” (B)
A somewhat redundant but lovable episode that doesn’t time-shift at all, focusing solely on the intense emotions of the tangentially related family members of 1980.

OLD SHOWS
Happy Endings – “Four Weddings and a Funeral (Minus Three Weddings and a Funeral)” (A)
This Season Two finale is easily in the top 10 wedding episodes of all time, and would have served as a solid series finale had it not been renewed for one final, glorious season. This might be a new tradition, to watch this before every wedding I go to. “I may have hung up my cone bra and headset a long time ago, but that mole still fits.”

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Reactionary Tale: Oscar Nominations 2017

Biggest Snubs (in order from most to least egregious)
1. Arrival – Actress
Arrival really could not have done better among this year’s nominees. It had the highest gross of any Best Picture nominee, and its director Denis Villeneuve got his first nomination. Add in a slew of technical nods (most well-deserved for its gorgeous cinematography and production design) and it might end up earning the most awards after La La Land. But how did Amy Adams miss out? I know this was a surprisingly strong year for lead actresses, but Adams is a five-time nominee who completely carries a Best Picture nominee. Her absence makes absolutely no sense. But then again, neither did 2016.

2. 20th Century Women – Actress
This was always an uphill battle, but it hurts the most. A four-time nominee, this was her best role to date. But she was a victim of overcrowding. Yet it’s almost fitting for a movie about a woman who doesn’t quite get her due in life.

3. Christine – Actress
This was never going to happen, but to me this was the best lead actress performance of 2016. With a bigger studio pushing it, she might have sneaked in. After all, it is a performance filled with blood, sweat and tears about a real-life tragic figure. But it was not meant to be, and so Rebecca Hall goes unheralded for another year.

4. Silence – Picture, Director, Adapted Screenplay
I won’t beat around the bush: Silence is a tough hang. But it’s a masterfully crafted, deeply personal film that we’ll all be talking about for much longer than most of these nominees. I’d have given it much more attention than the Academy gave it, and you’ll look back in years and wonder why they didn’t.

5. Sing Street – Original Song
Guys. I know La La Land is the big musical. But c’mon, none of the other songs nominated are nearly as good and energetic as “Drive It Like You Stole It.”

6. Tower and Weiner – Documentary Feature
Another victim of overcrowding, there just happened to be an abundance of stellar documentaries, many of them dealing with race relations. That meant school shooting doc Tower and political disaster Weiner found themselves on the outside.

7. Hail, Caesar! – Costume Design, Original Screenplay
While it did get nominated for its gorgeous Production Design, it absolutely deserved another craft nod for its stellar costumes. And, as usual, the Coen Brothers write dialogue better than just about anyone, I’d say it probably should have gotten a slot for original screenplay. Somehow, they’ve only been nominated in that category for Best Picture nominees (Fargo and A Serious Man; plus Bridge of Spies, which doesn’t really feel like a Coen Brothers movie).

8. 10 Cloverfield Lane – Supporting Actor
John Goodman should have been nominated over Alan Arkin for Argo. I’ll defend that forever. And he should have been nominated here as well, if the Academy didn’t have such a genre bias. He’s terrifying and memorable, just like winner Kathy Bates was in Misery.

9. Certain Women – Supporting Actress
With Certain Women being writer-director Kelly Reichardt’s first movie to pass $1 million, there was no way Lily Gladstone was going to get nominated this year. But I’m still trying to find a performance that touched me as deeply as her major debut.

10. Sausage Party – Original Song, Animated Feature
I guess South Park: Bigger, Longer and Uncut getting nominated for “Blame Canada” was a total fluke, as joke songs have rarely been nominated since (except for winner “Man or Muppet,” which still has that torch song vibe). But “The Great Beyond” has the award-winning pedigree, but the obscenity of the movie kept it away from the apparent dandies in both the song and animated feature categories.

Pleasant Surprises (in no particular order)
Kubo and the Two Strings nominated for Visual Effects
For the first time since The Nightmare Before Christmas, an animated movie is nominated in this category. And given its painstaking craft, this is absolutely deserved.

Jackie nominated for Original Score and Costume Design
Natalie Portman was a lock, but nothing else was, especially its challenging score by Mica Levi. Its costumes were outstanding, too.

Suicide Squad nominated for Make-up and Hairstyling
Make no mistake: Suicide Squad is a giant pile of garbage. But its make-up – from the prosthetic effects on Killer Croc to the paleface make-up and colorful hair of the Joker and Harley Quinn – this is the one award-worthy aspect of one of the year’s worst movies.

Silence nominated for Cinematography
It won’t win, but I’ll be rooting for it. Rodrigo Prieto frames every scene exactly it as it needs to play out, plus that instantly iconic shot of Andrew Garfield seeing Christ’s reflection in the water.

20th Century Women nominated for Original Screenplay
I went out on a limb to predict this, and I’m glad I did. Mike Mills’ script would get my vote (at least since Moonlight was officially ruled an adaptation). But it’s not going to happen, so this nomination – the film’s only one – is reward enough.

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What I Watched This Week: 15 Jan 2017

NEW SHOWS
It’s Always Sunny in Philadelphia – “Old Lady House: A Situation Comedy” (A)
A brilliant deconstruction of multi-cam sitcoms and the type of network interference Sunny has been lucky to avoid by virtue of being on a a cable network. I forget just how funny the actresses who play Charlie and Mac’s moms are.

The Good Place
“Mindy St. Clair” (A)
“Michael’s Gambit” (A) / season finale
A rug-pulling (season? series?) finale that upends everything about the extremely detailed rules of the show. If this is all we get, this will go down as one of the all-time great one-season wonders, alongside Police Squad! and Freaks and Geeks. A true original that will be studied years from now. Even if we get another season, I’ll still marvel at these 13 episodes.

CURRENT SHOWS
It’s Always Sunny in Philadelphia – “The Gang Goes to a Water Park” (B+)
Typical gang shenanigans, executed terrifically. Dennis’s heart almost grew three sizes during his time with a pre-teen scammer he takes under his wing. Plus, Frank tells everyone he has AIDS to skip the lines, then ends up bleeding in the wave pool. Disgustingly funny times.

This Is Us – “The Right Thing to Do” (B+)
Despite a groan-inducing fake-out at the beginning, this is the show in its groove: never astonishing, but quietly challenging in how it depicts normal people in difficult situations actually making the right call.

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Final Oscar Picks 2017

Just like 2016 was a year of unease, I am not very uneasy about these picks. Several of these picks haven’t picked up the precursor nods that would typically foretell a sure-fire Oscar nomination. This is likely to be a down year for the Oscars, as none of the Best Picture nominees will have crossed $100 million at the box office at the time the nominees are unveiled (though several will have by the time the awards are handed out). Does that mean they’ll do something insane like nominating Deadpool in one or more categories? Not bloody likely, but last year found several unprecedented winners, and that could extend to this year as well. One thing is for sure: There will be no #OscarsSoWhite controversy this year, as nearly every acting category will have at least one nominee of color.

Emma Stone and Ryan Gosling in La La Land
BEST PICTURE
Arrival
Fences
Hacksaw Ridge
Hidden Figures
La La Land
Lion
Manchester by the Sea
Moonlight
Silence

Dark Horse: Hell or High Water
Long Shot: Jackie
Total Shock: Sing Street

The skinny: The hardest part – as usual – with a variable number of Best Picture nominees is knowing exactly how many there will be. I know four locks: Hidden Figures, La La Land, Manchester by the Sea and Moonlight. Beyond that? They’re just guesses, but educated guesses: a solid combo of modest box office hits and awards darlings (not that they’ve won any… this is La La Land vs. Moonlight all the way). The only thing I’m going out on a limb for is Silence, and that’s probably just my own praise blinding me. But consider this: It’s a passion project, its fanbase is small but vocal and Martin Scorsese has had five of his last six movies nominated for Best Picture, and he himself has been nominated for directing those same five movies. So maybe it’s naïveté, but I think his long-gestating adaptation about missionaries in Japan gets in by the thinnest of margins. It’s better to have a small group of very enthusiastic fans, than a large group of people that have your film farther down their ballots, which is why against all odds I think Hell or High Water doesn’t make it. What’s more surprising is how little of an impact Jackie is making, especially considering how powerful Fox Searchlight used to be. This stuff used to be catnip to voters, whereas my catnip is kids singing New Wave songs.

Damien Chazelle and Emma Stone of La La Land
BEST DIRECTOR
Damien Chazelle, La La Land
Garth Davis, Lion
Kenneth Lonergan, Manchester by the Sea
Barry Jenkins, Moonlight
Martin Scorsese, Silence

Dark Horse: Denis Villeneuve, Arrival
Long Shot: Mel Gibson, Hacksaw Ridge
Total Shock: Ezra Edelman, O.J.: Made in America

The skinny: In what I believe is a first, all five Directors Guild Award nominees are first-timers, including the somewhat surprising inclusion of Garth Davis. I would be shocked if a similar event happens at the Oscars, so I’m keeping Scorsese here. Though it would be just as likely to see first-timer Denis Villeneuve (especially if Arrival gets the number of nominations I’m predicting) or previous winner Mel Gibson for his old-fashioned war epic if Scorsese doesn’t make it. What would be an even more impressive first? Ezra Edelman becoming the first documentary director to be honored in this category.

Casey Affleck in Manchester by the Sea
BEST ACTOR
Casey Affleck, Manchester by the Sea
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences

Dark Horse: Michael Keaton, The Founder
Long Shot: Joel Edgerton, Loving
Total Shock: Colin Farrell, The Lobster

The skinny: Honestly, I don’t see much movement in this category at all. It’s possible Garfield ends up nominated for Silence instead, or in a sad turn of events, splitting the difference and not getting nominated at all. It would be anyone’s guess as to who would replace him, since Keaton (and fellow older actor killing it lately Tom Hanks) haven’t gotten the nods you would expect for playing real-life people. If Loving hadn’t fallen off most folks’ radar, I’d have put him higher, but only Ruth Negga seems to have a chance of being honored for that important film.

Emma Stone in La La Land
BEST ACTRESS
Amy Adams, Arrival
Isabelle Huppert, Elle
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

Dark Horse: Annette Bening, 20th Century Women
Long Shot: Ruth Negga, Loving
Total Shock: Rebecca Hall, Christine

The skinny: For the first time in a while, this is the stacked category, with at least 10 women doing great work who could be nominated. As much as I love Meryl Streep, I’d much rather see Annette Bening honored for her career best work in 20th Century Women, but what do you expect the Academy to do? Isabelle Huppert might not make it if voters are repulsed by Elle, but European actresses in otherwise unloved movies (Charlotte Rampling, Marion Cotillard) have found their way here in recent years.

Jaden Piner and Mahershala Ali in Moonlight
BEST SUPPORTING ACTOR
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Lucas Hedges, Manchester by the Sea
Dev Patel, Lion
Aaron Taylor-Johnson, Nocturnal Animals

Dark Horse: Hugh Grant, Florence Foster Jenkins
Long Shot: Issey Ogata, Silence
Total Shock: John Goodman, 10 Cloverfield Lane

The skinny: Let us now apologize for not taking Aaron Taylor-Johnson seriously before. After a Golden Globe win and BAFTA nomination, his insane performance in Nocturnal Animals is looking like the real deal. So that probably leaves Hugh Grant on the outside looking in. (Though if Florence Foster Jenkins gets nominated for Best Picture somehow, all bets are off.) Also, I have a nagging suspicion that Issey Ogata ends up being the only major nomination for Silence, but I’ve been way off on things like that before.

Viola Davis in Fences
BEST SUPPORTING ACTRESS
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea

Dark Horse: Greta Gerwig, 20th Century Women
Long Shot: Helen Mirren, Eye in the Sky
Total Shock: Lily Gladstone, Certain Women

The skinny: You can go ahead and put these five ladies down in ink. There will not be any other names called that morning.

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What I Watched This Week: 8 Jan 2017

NEW SHOWS
The Good Place – “What’s My Motivation?” (B+)
Has a lot of plot to churn through since there are only two more episodes, but it deepens Jason’s character in a way I didn’t think was possible. It also really upends the world of the show and gives it a lot of new possibilities for a (hopeful) second season.

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2016 in Review: Box Office Report

SURE-FIRE HITS – The Kings of the Box Office (All Disney Edition)
Finding Dory ($486.2 million)
*Rogue One ($408.2 million)
Captain America: Civil War ($408 million)
The Jungle Book ($364 million)

SURPRISE SUCCESSES – They got there through word-of-mouth or succeeded where others failed
The Secret Life of Pets ($368.2 million)
Deadpool ($363 million)
Central Intelligence ($127.4 million)
Sully ($124.9 million)

CONSOLATION PRIZES – Didn’t do so hot here, but made up for it overseas
Kung Fu Panda 3 ($143.5 million) – $377.6 million outside North America
Ice Age: Collision Course ($64 million) – $343.6 million outside North America
Warcraft ($47.2 million) – $386.3 million outside North America
The Mermaid ($3.2 million) – $550.5 million outside North America

DISAPPOINTMENTS – Movies that should have done better
Jason Bourne ($162.1 million) – previous film made $227.4 million
Star Trek Beyond ($158.8 million) – previous film made $228.7 million
X-Men: Apocalypse ($155.4 million) – previous film made $234.3 million
Neighbors 2 ($55.3 million) – previous film made $150.1 million

FLOPPIEST FLOPS – These cost a lot and didn’t come close to returning their investment
Alice Through the Looking Glass ($77 million) – cost $170 million, made less than previous film made in its opening weekend
The Divergent Series: Allegiant ($66.1 million) – budget not reported, but underperformed so much that Lionsgate is making the fourth film a TV movie
The BFG ($55.4 million) – cost $140 million, Steven Spielberg’s lowest-grossing movie since 2005’s Munich
The Huntsman: Winter’s War ($48 million) – cost $115 million, made less than previous film made in its opening weekend

LOW BUDGET VICTORIES – Low-cost, high-yield successes
Bad Moms ($113.2 million) – cost $20 million
Sausage Party ($97.6 million) – cost $19 million
Don’t Breathe ($89.2 million) – cost $9.9 million
Lights Out ($67.2 million) – cost $4.9 million

SADDEST STATISTIC
Popstar: Never Stop Never Stopping made less than Nine Lives, Bad Santa 2 and a few comedies that never played in more than 1,000 theaters.

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