Fan Mail: Rob Humanick is thanking me for making sure I got the period at the end of the title of Crazy, Stupid, Love. I would love to accept kudos, but I only put in the commas. It was Keith Uhlich, our eagle-eyed editor, who picked up on the period business. This is not the first time, nor the last, that Keith has saved me from looking like a total idiot in print. Or rather in pixels.
I am afraid I am way too straight to see what David E. calls the “gay envy” in straight films. In the case of Ryan Gosling in Crazy, Stupid, Love. (see, I got the period right this time) Gosling’s character seems to me to be a living embodiment of a guy obsessed with Hugh Hefner’s 1950s Playboy ideal. As Freud said, sometimes a cigar is just a cigar, and sometimes a straight guy is just a straight guy.
The Help (2011. Screenplay by Tate Taylor, based on the novel by Kathryn Stockett. 146 minutes)
Yipee, it’s August, take one: That means there is finally a film in the multiplexes without stuff we have been inundated with all summer:
There are no comic book heroes.
There are no comic book characters from other Marvel comics that are only in this film to help promote future comic book movies.
There are no explosions, other than dramatic ones.
It is not, in any theater, in 3-D.
Nor is it in any Imax theaters.
There are no aliens.
It is not a tent pole for a future film series.
It is not the next, nor the last, tent pole from a previously established series.
There is not a single teenager in the film.
No actors change bodies in the course of this film.
There are no couples that are trying to have sex without emotional complications.
Except in reference to a certain pie, there is no use of bad language.
There are no fart, dick, or homophobic jokes.
There are no pirates, talking animals or talking cars in this film.
The African-American characters are not just in the film to be killed off so the white hero can get revenge.
However, just to let you know this is indeed a film from the summer of 2011, Emma Stone does appear in the film, but in a serious role.
By now you have probably read the backstory of the film. Taylor and Stockett are friends from childhood, and she gave him the film rights for her novel before it ever became a best seller. He in turn, with the help of some friends, convinced the industry that he should direct the film as well as write it, since he and Stockett felt that he understood the South better than a non-southern director would. They were right, and it makes up for Taylor not being a slicker director. He brings his considerable talents as both writer and director to the service of the material, like most great directors do, whether they want to admit it or not.
You may have read some reviews that say this is yet another film in which a white person saves the day for black folks. It’s not. Let’s start with the film’s narration. Stockett’s book has first-person narration by three people. One is Skeeter, a young white woman who just graduated from Ole Miss’. She decides to write a book in which black maids in Jackson, Mississippi in 1963-64 talk about their lives. So naturally, if you are making a film to play in the multiplexes (i.e., for white audiences), Skeeter is your heroine and you let her do the narrating. Guess again. The narration Taylor uses is from Aibileen, the most serious of the maids. So while us white folks may think this is Skeeter’s movie, it is as much Aibileen’s. At the end of the film Skeeter is going off to New York, but we don’t see her leave. The film goes on to show us what happens to Aibileen (although I gather the book goes even further), making it Aibileen’s film, and making clear both Skeeter’s influence and lack of it. The third narrator of the book is Minny, the maid who can’t keep her mouth shut even when she should, for her own safety. Minny is as much a major character in the film as Skeeter and Aibileen. Once Aibileen and Minny and the other maids start talking, Skeeter becomes a secondary character.
Taylor is also smart to keep Aibilieen and Minny as equal characters, since it means we are not getting just one black person standing in for all black people. Aibileen and Minny are about as different as you can get, and Taylor as both writer and director serves both of them well, as do the actresses playing them. I caught Viola Davis (Aibileen) and Octavia Spencer (Minny) on a talk show and seeing them in “real life” made me appreciate both their performances even more. Both Davis and Spencer are so detailed, vivid and “in the moment” that they overcome any sense of stereotyping of their roles or any “white girl saves the black women” cliches.
Because so many of the white women who hire the maids are so obviously racist, I thought as I was watching the movie that Taylor was underserving the white characters. Thinking it over later, I think he does give us a variety of white characters. Skeeter is of course a good person, but she is also ambitious (which gives Stone a lot more to work with than in some of her recent films). Her mother is a ditz who plays her ill-health card to the max. The unofficial leader of the white wives is Hilly, and while she is a bitch, she is a nuanced bitch. Somebody was quoted recently as saying, presumably on the basis of Bryce Dallas Howard’s performance as Hilly, that pretty soon Ron Howard will be known not as Opie, Richie, or a director, but as “Bryce Dallas Howard’s father.” I had reservations about Ms. Howard’s Southern Belle in The Loss of a Teardrop Diamond (2008) and I wrote in US#41 that “Bryce Dallas Howard should take lessons from the original Kitten with a Whip,” Ann Margaret, who was in that film. She obviously took my advice (yeah, right), and she is sensationally good here. The white-trash outcast among the white wives is Celia and Taylor has written a much better role for Jessica Chastain that Malick did in The Tree of Life. Chastain gets to do stuff here, unlike Tree.
The male characters are definitely secondary. The white husbands are interchangeable, as they probably were in real life, but Skeeter’s editor, Mr. Blackly, gives Leslie Jordan a couple of nice scenes. Unlike The Color Purple (1985), we do not see any of the black men, but they are talked about. And for all the maids’ perfectly justified bitching about white folks, Taylor gives us a nice white guy whom we never see. One of the maids tells about a doctor she worked for. When a farmer objected to her walking to the doctor’s house across part of his farm, the doctor bought two acres from the farmer so she could use her shortcut. See what I mean about the advantage of having somebody who knows the South writing and directing the film?
So we do get a range of white characters, but the focus is on Aibileen and Minny and the other maids. That’s the right thing to do with this material because the script shows us something we have not seen before in movies: what are all those black maids in movies, and life for that matter, have been thinking and feeling. Like the late August Wilson’s plays, this film is not just about African-American history, but about American history.
The Whistleblower (2010. Written by Ellis Kirwan and Larysa Kondracki. 122 minutes)
Semi-yipee, it’s August, take two: OK, there is a car crash in this one, but it’s a dramatic one, not a spectacular one.
This one is based on the true story of Kathryn Bolkovac, a Nebraska policewoman who went to work for a private military company as part of a peacekeeping force in Bosnia in 1999. On the ground in Bosnia she begins to discover sex trafficking going on that not only involves the company she works for, but the U.N. peacekeeping mission as well. Needless to say, all this does not go down well with the company, the traffickers, and the U.N. She sends an email to the head of the U.N. Mission, but all that does is get her fired. She manages to sneak a pile of her files out and reports it all to the BBC.
Now that sounds like it could be a dramatic and compelling film, and it certainly has its moments, such as a raid on a bar/brothel out in the woods. Like The Help, it takes us into a world we generally have not seen, except perhaps in snippets on Law & Order: SVU. The Whistleblower takes us into a part of the world where it all starts, and makes us aware of the details of the situation. But the film suffers from a problem we have seen before with movies based on true stories. The writers (Kondracki also directed) have assumed that because it is true it will be interesting. It is, to a degree, but a lot of it is very on the nose. They also sort of pull their punches by using a fictitious name for DynCorp, the actual company. Well, it is a low budget film and they don’t want to get sued, but it takes until the middle of the film for anybody to mention that Bulkovac is working for a private company and not the U.N. They also don’t mention that in real life the prostitutes were 12 to 15 years old. There are of course practical reasons for that: if you have actresses those ages, you simply cannot do the kind of torture and sex scenes the movie has.
I also have a problem with the characterization of Bulkovac. She is a Nebraska policewoman, divorced, with three kids. But there is virtually nothing in the writing that gives us any sense of that background. The real Bulkovac, who is showing up on television and the Internet these days promoting her book on the subject as well as the film, is a big strapping corn-fed Middle Westerner. The film Bulkovac is played by Rachel Weisz. I love Weisz as an actress, but she is not big, nor strapping, nor corn-fed. She gives a good performance, particularly in closeups where we read her sympathy for the suffering women, but it is rather one-note. They probably should have, in addition to rewriting the character, got Mary McCormack from In Plain Sight.
The film also gets rather repetitious, with shot after shot of suffering women and Bulkovac being sympathetic. The officials she deals with are also one-note, either for good (Vanessa Redgrave as Bulkovac’s supportive boss) or bad (mostly the guys). David Strathairn at least is given a little bit of both to play.
Red-Headed Woman (1932. Screenplay by Anita Loos, based on the novel by Katharine Brush. 79 minutes)
Writers and stars, take one: In early August the UCLA Film & Television Archives ran a series of Pre-Code films starring Jean Harlow. This was in connection with a new book by Darrell Rooney and Mark A. Vieira, Harlow in Hollywood: The Blonde Bombshell in the Glamour Capital, 1928-1937. On August 6th, the Archives ran a double bill of two Harlow films written by Anita Loos. This is the first one, and the one that made Harlow a star.
We often think of great star-director combinations: John Wayne-John Ford, Marcello Mastroianni-Federico Fellini, and Grace Kelly-Alfred Hitchcock, just to name a few. What you may not realize is that there are also great star-writer collaborations as well. In the early silent days, it took C. Gardner Sullivan’s scripts to turn William S. Hart from a stage Shakespearean actor into the first big western star. The pattern continues to this day. Sharon Stone was in movies for ten years before Joe Eszterhas wrote the part in Basic Instinct (1992) that made her a star. In Harlow’s case, she had been in small parts until she had a hit in Hell’s Angels in 1930. But she was a rather bland glamor girl in that and the movies that followed. Her career began to slide until she came to MGM. The novel of Red-Headed Woman was pretty much all melodrama, all the time, as it follows Lil Andrews sleeping her way to the top, breaking up a marriage in the process.
Irving Thalberg, the “boy wonder” head of MGM had originally put F. Scott Fitzgerald on the script, but Fitzgerald had no feeling for the character, or for Thalberg’s idea that if you make Lil funny, the audience can laugh with her rather than at her. According to Gary Carey in his 1988 biography Anita Loos, it was Paul Bern, Harlow’s mentor, who suggested Loos be put on the script. Not surprising, since a decade before it was Loos’s witty scripts that made Constance Talmadge into one of the great silent comic stars. Fitzgerald was off the project, Loos was on, and within a month she had finished the script. The director assigned was Jack Conway, whom you may remember from US#41 that I don’t think much of. He also did not find the material funny. He complained to Loos, “You can’t make jokes about a girl who deliberately sets out to break up a family.” Loos replied, “What not? Look at the family! It deserves to be broken up!”
Conway, ever the obedient studio hack, shot the film. It was not well-received at the first sneak preview. Here is a reason Thalberg was known as the “boy wonder.” He told Loos, “People don’t know whether they’re supposed to laugh or not. We need an opening scene to set the mood.” So Loos wrote a prologue. Lil is looking at herself in the mirror, especially her red hair (Harlow was already known as a blonde) spies the audience in the mirror, and says, “Gentlemen prefer blondes? Sure,” a reference to Loos’s famous book. Then Lil is seen in a dress in a shop and asks the off-camera sales girl, “Can you see through this?” The girl replies, “Yes,” to which Lil says, “I’ll wear it.” (Carey may have seen a different print. He has Lil’s line as “Is this dress too tight?” to which the clerk replies, “It certainly is.” Lil’s response is “Good.” Kate Lanier and Norman Vance Jr., the writers of the 2005 Beauty Shop, may have read Carey’s book. In their opening scene Gina [Queen Latifah] is struggling to get into a pair of jeans. She asks her young daughter, “Vanessa, do these pants make my butt look big?” Vanessa replies, “Yes, they do,” to which Gina slaps her own ass, smiles, and says, “Good!” You could have heard a pin drop in the nearly all-female audience I saw the film with. I still think that “Good!” was the most subversive line of dialogue in that entire decade.)
Loos’s prologue does set us up to laugh, but Conway’s direction does not get as much of the humor out of the material as could be gotten. And there are scenes that are pure melodrama. In spite of that, the picture made a Harlow a star, even though the mixture of comedy and drama was uneven. Then later in the same year, John Lee Mahin’s screenplay for Red Dust showed that Harlow could not only be funny, but say funny things.
Hold Your Man (1933. Screenplay by Anita Loos and Howard Emmett Rogers, story by Anita Loos. 87 minutes)
Writers and stars, take two: After Red-Headed Woman and Red Dust, Harlow’s star persona was set: a smart-mouthed, sexy, working class, funny woman. How could Anita Loos resist writing for her? Well, she couldn’t. And MGM appreciated Loos. Sam Marx, the story editor at MGM, told Carey that “shady lady” stories were always a potential censorship problem, even in the Pre-Code days, but that “Anita, however, could be counted on to supply the delicate double entendre, the telling innuendo. Whenever we had a Jean Harlow picture on the agenda, we always thought of Anita first.”
The picture starts like a house afire. Eddie Hall (Clark Gable, Harlow’s co-star in Red Dust) is a street con man who, while running from the police, hides in Ruby Adams’s apartment. First-rate wise-ass banter ensues. Ruby is sort of engaged to the sweetest guy in the world, but who can resist a character based on Loos’s old friend Wilson Mizner? (Loos went to the Mizner well often, especially for the roles she wrote for Gable; look at his Blackie Norton in her 1936 San Francisco.) Ruby gets involved in his cons, then gets arrested when Eddie accidentally kills a guy. So far, so good. I don’t know what was originally in the second half of the script, but it got dumped. There were enough complaints about Harlow and especially Mae West that pressure was building up to the institution of the 1934 revision of the Production Code. So Loos and probably Rogers turned the second half of the script into a drama of poor Ruby going off to a Reformatory, which Carey describes as “sort of a strictly disciplined Seven Sisters sorority.” All that was light and fun and sexy in the first half gets dropped, and everything becomes serious. And Harlow is not that good at serious, or at least not as good as she is at comedy. And Gable has a scene where he is, I think, sincere about convincing a minister to marry him and Ruby. But Gable’s fake sincerity in the con man scenes is so much more convincing that I was not persuaded his Eddie was being sincere. Everybody gets reformed by the end.
There are occasional Loos-type lines in the second half, as when during a church service one of the inmates is not singing. A matron asks her, “You don’t like the hymn?” to which the woman replies, “It was a him that got me in here.” As I mentioned in my comments on Rogers in US#41, he was one of Hollywood’s arch-conservatives, so I have to assume that the smart funny black girl in the reformatory is Loos’s, as is her minister father. I can’t find any reference to these African-American characters in any of the standard books on African-Americans in film, but the very casualness of their appearance probably was more subversive than scenes in more serious films. The first half of the film is great Loos-Harlow-Gable, the second half is bad traditional Hollywood.
Rooney and Vieira introduced the films at the screening and made particular mention of Loos, at least partly because her grand-nephew was in the audience. The audience remembered. As I was going up the aisle at the end, one guy in front of me said, “Anita Loos wrote great stuff.” Score one for writers.
Fury (1936. Screenplay by Bartlett Cormack and Fritz Lang, based on a story by Norman Krasna. 92 minutes)
The Great American Sport of Lynching, take one: In late July Turner Classic Movies had as one of its theme nights films about failed justice. This film and the next one in the column were two of the ones TCM ran.
Joe is an average guy, in love with Katherine, who as the film opens to going off to another town where she has landed a better job. Joe promises to come to her after he earns enough money. Several months later he is on the way when he is arrested as a suspect in the kidnapping of a young woman. A montage shows the town gossip building up to the point where the townspeople burn the jail down, with Joe in it. Several of the townspeople are put on trial for murder. Joe has survived the fire and works through his two brothers to help convict the defendants. Joe finally reveals to the court he is still alive. Sounds like a typical torn-from-the-headlines mid-‘30s Warner Brothers film, doesn’t it?
It was made for Metro-Goldwyn-Mayer.
Here’s how it happened. One day Norman Krasna was talking to Joseph L. Mankiewicz about a bunch of things. Krasna had already developed a reputation as a playwright and screenwriter of light comedies, which make up most of his screen credits. Mankiewicz, already an established screenwriter, had just been promoted to producer at MGM. He wanted to direct, but Louis B. Mayer told him he had to “learn to crawl before you walk,” which Mankiewicz later said was the best description of a producer he had ever heard. Mankiewicz and Krasna talked about a famous case of a year or two before in which an innocent man was accused in a kidnapping case and subsequently killed. Krasna wondered what would happen if he had survived. The two men went their separate ways, but the story stuck in Mankiewicz’s mind. He called up Krasna and asked if he had written it down. He not only hadn’t, he could hardly remember it. He never wrote it, but dictated what he could remember to Mankiewicz. Krasna was nominated for an Academy Award for Best Original Story for the film.
Producer David O. Selznick had brought the German director Fritz Lang to MGM, but nobody could find any material for him. Lang expressed interest in this story, and the studio put him together with a story editor and writer named Leonard Praskins. The script they came up with was virtually useless, due at least in part to Lang’s lack of English. Mankiewicz in later years was still baffled as to why Lang’s name turned up on the credits, but that was when studios assigned credits however they wanted. Mankiewicz turned the script over to Bartlett Cormack. Cormack is virtually forgotten now, at least partially because he died in 1942 at the early age of 44, but he has several interesting credits. He came to Hollywood’s attention with his 1927 Broadway play The Racket, and he worked on the 1928 silent film version. It was remade in 1951. A former reporter, his first full credit was for the 1929 talkie Gentleman of the Press, which is exactly what it sounds like, and the 1931 version of The Front Page. The story twists in Fury, whether from Krasna, Lang or Cormack, are dramatic, and I would guess that the individual characterizations of the townspeople are Cormack’s, probably coming from his days as a reporter. I am sure that the few scenes with the state governor and his political hatchet man, which are brilliantly written, come from Cormack.
All this background comes from several sources. The information on Krasna comes from a biographical article on him in the Dictionary of Literary Biography, Volume 26. Mankiewicz’s involvement is from Kenneth Geist’s 1978 biography People Will Talk. The most detailed account of the writing of the script is from Patrick McGilligan’s 1998 biography Fritz Lang: The Nature of the Beast. While we all know and love Pat from his Backstory collections of interviews with screenwriters, his day job is writing doorstop biographies of directors. But being a pro-writer guy, Pat is careful to find out as much about the writing of the scripts as he can. The section on Fury is done in a wonderfully McGilliganesque way: he gives you all the quotes from Lang on how it happened and then tells you how it really happened. From a director’s point of view, the worst aspect of contemporary film historiography is that studios have opened their files (well, shipped them off the lots to universities and other research facilities), which means that historians can find facts that contradict the legends directors like Lang built up about themselves. Yippee.
So Mankiewicz et al got a good solid script about a lynching. And they got it by Louis B. Mayer even though Mayer hated it. It did not look and feel like what he thought an MGM film should be. But according to Mayer’s biographer Scott Eyman (Lion of Hollywood: The Life and Legend of Louis B. Mayer), Mayer liked Mankiewicz and decided this would teach him a lesson. He promised Mankiewicz he would publicize the film as much as a big production, proving to him that it was something the public did not want to see. He kept his word. Oops, sorry L.B., but the picture made a profit of $248,000 on a cost of $604,000. And it made Lang’s critical reputation in Hollywood.
It also almost got Lang killed. He offended everybody on the production and at the studio. Most of the cast and crew would have cheerfully bumped him off, since he was obnoxious and dictatorial. He also directed the film well. Look at the way he emphasizes the individual reactions of the townspeople that Cormack has written for him. Look at his staging of the attack on the jail (you may recognize the jail, which was built on MGM’s Lot 2 for this film, from many other small town films, including the Andy Hardy series). Lang also insisted on one scene that did not survive in the final film. Towards the end Joe is walking through the streets trying to decide whether to reveal that he is still alive. He stops in front of a store with a bedroom set on display, just like the one he and Katherine saw the in the opening scene. He sees the faces of the 22 defendants reflected in the window of a flower shop. Then, in Lang’s version he is chased down the street by ghosts. Everybody else was dubious about this scene. At the first sneak preview of the film, the audience laughed and never got back into the film. Lang refused to cut the scene, so the studio cut it for him and fired him. He never forgave the studio or Mankiewicz, and spoke disparagingly of the whole experience the rest of his life.
There are those who are more Fritz Lang fans than I am who think Fury is his best American film. They will get no argument from me, and that’s not just because it shows the advantage of collaborating, however grudgingly, with good writers.
They Won’t Forget (1937. Screenplay by Robert Rossen and Aben Kandel, based on the novel Death in the Deep South by Ward Greene. 95 minutes)
The Great American Sport of Lynching, take two: I have no idea if it actually happened this way, but it would not surprise me to learn that Warner Brothers, looking at Fury, got pissed that MGM was poaching on Warners turf, and decided to show them how to do a lynching film. You would have thought Warners could do it better, but not this time.
If you caught the critically acclaimed but commercially unsuccessful 1998 musical Parade, you may be familiar with the story of Leo Frank. He was a New York Jew who managed a company in the South in the 1910s. He was accused of raping and killing Mary Phagan, a teenaged girl who worked for him. He was convicted on extremely circumstantial evidence. The governor thought he got a raw deal and commuted the death sentence to life. A mob broke him out of jail and lynched him.
Ward Greene’s novel and the film made from it change the story more than a little. Hale, as he is called here, is a teacher at the Buxton Business College. There is no indication he is Jewish, and the film does not even hint at anti-Semitism.
Mainstream Hollywood would not deal with that for another ten years. He is, however, from New York, which may have been sort of a code for Jewish in those days. The prejudice the film focuses on is the attitudes the North and South have against each other. The film begins with two quotes, one from Abraham Lincoln and the other from Robert E. Lee. Lee’s quote is about how all the South wants to do is live in peace and unity with the rest of the country. Needless to say, the quote is not dated.
When Hale is accused of killing one of his students, the very ambitious district attorney, who has been looking for a big case, decides that Hale must be guilty. The cops first interview the African-American janitor, but the D.A. dismisses him, telling his assistant that “anybody can convict a Negro.” The North takes a great interest in the case, presumably because of its prejudice against the South. Hale does get a hotshot New York lawyer, but he is convicted anyway. The governor commutes his sentence, but Hale is taken off a train going to prison and lynched, off-screen. In the final scene, Griffin, the D.A., and the reporter who covers the case wonder if maybe Hale was innocent.
The script is not as good as that for Fury. The character detail of the townspeople is not as sharp. Hale is a bland character played by an even blander actor, Edward Norris. Joe is played by Spencer Tracy. You have heard of Tracy, you probably haven’t heard of Norris, and with good reason. Unlike Taylor’s writing and direction of The Help, there is no real Southern atmosphere here, in spite of a Memorial Day parade with veterans of the Civil War. In the bar, all the Southern layabouts are wearing suits, for God’s sake. There are a couple of strong scenes, probably written by Rossen, who went on to write All the King’s Men (1949) and The Hustler (1961). In one, the town’s leading citizens come to Griffin and ask him not to incite the public. He replies by reminding what each one of them has done to rile up the town. In another, a local lawyer comes to talk to the janitor to persuade him to tell the facts the way Griffin wants them told. The film’s director, Mervyn LeRoy, was proud of what he saw was the positive portrayal of an African-American, but he seems very stereotyped to us, at least after seeing The Help a week or so before, and Hold Your Man a few weeks before that. As written and played, the character is nothing but fearful. And LeRoy lets Claude Rains, dreadfully miscast as Griffin, chew more scenery than Warner Brothers could afford.
Not only is the script not a patch on Fury, but LeRoy’s direction is not a patch on Lang’s. I can’t agree with Ephraim Katz’s description of LeRoy’s career in The Film Encyclopedia as “on the whole distinguished.” He made a lot of successful movies, but very few of them are particularly well-directed. Little Caesar (1931) is very stolid except for Edward G. Robinson’s performance. I Was a Fugitive From a Chain Gang (1932) has a certain power, but it comes more from the script and Paul Muni’s performance than LeRoy’s direction. LeRoy made a lot of films and he was very likable personally. He was also very down to earth. Peter Ustinov played Nero in LeRoy’s 1951 Quo Vadis? and tried to get LeRoy’s take on the character. LeRoy’s comment on Nero was “He’s a guy who plays with himself nights.” Ustinov wrote in his memoir Dear Me, “At the time I thought it a preposterous assessment, but a little later I was not so sure. It was a profundity at its most workaday level, and it led me to the eventual conviction that no nation can make Roman pictures as well as the Americans.”
Tom Stempel is the author of several books on film. His most recent is Understanding Screenwriting: Learning From Good, Not-Quite-So Good, and Bad Screenplays.
Oscar 2020 Winner Predictions: Makeup and Hairstyling
There doesn’t seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.
We couldn’t really say it any better than Odie Henderson, who recently scoffed: “Who wins the Costume Design Oscar for Joker? The Goodwill? Who wins the Makeup Oscar for Joker? A blind Mary Kay consultant?” While we think the Academy will stop short of awarding the motley threads of Todd Phillips’s risible throwback machine in the costume category, the fact that they were nominated at all over, say, the imaginatively garish ‘70s finery that Ruth Carter created for Dolemite Is My Name indicates a level of affection for Joker that no one who doesn’t use the word “snowflake” on a daily basis seems prepared for.
While, to us, Joaquin Phoenix’s Joker looks like nothing so much as Marge after sitting still for a makeup gun, as Homer put it best, “Women will like what I tell them to like.” From his lips to the Academy’s ears (and face). And given this category’s expansion didn’t add more multicolored prosthetic creations along the lines of Maleficent: Mistress of Evil, but instead more invisible character augmentation along the lines of Judy and Bombshell, there doesn’t seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.
Will Win: Joker
Could Win: Judy
Should Win: Maleficent: Mistress of Evil
Oscar 2020 Winner Predictions: International Feature Film
Parasite is a pervasive presence in the news cycle, and at just the right time.
Bong Joon-ho’s Parasite is a pervasive presence in the news cycle, and at just the right time. As I write this latest prediction for Slant’s rolling Oscar coverage, the top article on the front page of Rotten Tomatoes is a ranking, by Tomatometer, of the nine films nominated for best picture this year. Number one? Parasite. Immediately next to that article is a callout to readers to vote for their favorite film of 2019 that uses Song Kang-ho’s face from Parasite’s poster as the featured image. Regarding that poster, in simply placing black bars over the actors’ faces, it succinctly, eerily, perfectly underlines the film’s obsession with social strata. And you don’t need to look far beyond the aggregate site to land on some article praising the perfectly lit and designed architectural purgatory that is the film’s main setting.
Perfect. That’s a funny word. There are no objectively measurable criteria for perfection, but given how many times I’ve heard Bong’s film described as being “perfect” since it premiered at the Cannes Film Festival, where it won the Palme d’Or, you’d think that there were. Still, the impulse to use it to describe this particular film, so balanced and attuned to the ties that both bind and separate us, evident in everything from the dimensions of Bong’s aesthetic, to his actors’ faces, to their words, makes a certain kind of sense. Quick, can you name the other four films nominated in this category? How apt if you can’t, as this is a film profoundly obsessed with the subterfuge that can be weaponized during class warfare. Or awards campaigns.
Will Win: Parasite
Could Win: Pain and Glory
Should Win: Parasite
Oscar 2020 Winner Predictions: Original Score
John Williams is in no danger of winning, but a case could be made for any of the other four.
That one of the five films nominated for original score this year is not a best picture nominee nor had any shot at being one almost makes this category an outlier among this year’s Oscar races, which seem otherwise fixated on frontrunners. John Williams already had the record-setting strength of 51 previous nominations leading into this week’s announcement, so his nod for the third Star Wars installment, or sixth, or ninth, or…does The Mandalorian count? Anyway, suffice it to say that the only thing that could’ve been more knee-jerk than to select nominations solely from among this year’s best picture probables would be to rubber stamp Williams uploading yet more variations on intellectual property.
Williams is in no danger of winning, but a case could be made for any of the other four. Alexandre Desplat already has two wins here, both in the last six years, but Little Women is finally picking up momentum at just the right time. His richly romantic cues, which are practically wall to wall throughout the film, come on like a crushed-velvet dust jacket, binding Greta Gerwig’s shifting timeline together in a way that makes just about everyone who isn’t Sasha Stone want to clutch the entire thing to their bosoms.
Arguably, another film that’s still reaching its crest stage is 1917, and unlike Desplat, composer Thomas Newman is still waiting for his first win, and now holding the category’s longest losing streak. It can’t be said that Newman doesn’t pull out all the stops, piecing together a work that feels inspired by both Hans Zimmer’s pulsating Dunkirk score and Samuel Barber’s “Adagio for Strings,” most memorably used in Oliver Stone’s Platoon. And yet, we’re kind of with Bilge Ebiri, who after the nominations were announced, tweeted, “You didn’t give it to DUNKIRK, you’re not allowed to give it to 1917. Sorry, we’re very strict on this matter.”
Not to say that we expect 1917 to roll snake eyes on its 10 nominations. Only that any nominations for the film related to things that Dunkirk already did better two years ago are a tough sell, despite the draw of Newman’s increasingly amplified Oscar backstory. That’s presuming that the narrative doesn’t wind up over-shadowed by the sidebar-friendly cousin’s duel between Thomas and his cousin, Randy Newman, whose jaunty, Terms of Endearment-esque Marriage Story score appears to have as many detractors as it has fans.
Until the nominations were announced, we admit to assuming that Hildur Guðnadóttir’s Golden Globe win for Todd Phillips’s Joker was going to go down the same way as Justin Hurwitz’s did a year ago: with an Oscar snub. We reasoned that Guðnadóttir, who also perked ears up and won an Emmy last year for her work on HBO’s Chernobyl, was still too fresh a talent for the more cliquey AMPAS musicians’ branch. But now that she’s there, Globe in hand and attached to the film that, by the numbers, the academy loved best this year, she offers even conscience-wracked voters the chance to hand a feature-length 4chan fantasy a guilt-free win by also awarding one of the film’s few female nominees.
Will Win: Hildur Guðnadóttir, Joker
Could Win: Thomas Newman, 1917
Should Win: Alexandre Desplat, Little Women
Tags: Academy Awards, Hildur Guðnadóttir, Joker, Thomas Newman, 1917, Alexandre Desplat, Little Women, Randy Newman, Marriage Story, John Williams, Star Wars: The Rise of Skywalker
Review: Dolittle, Like Its Animals, Is Flashy but Dead Behind the Eyes
Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.1
Stephen Gaghan’s Dolittle begins with a just-shy-of-saccharine animated sequence that spins the tale of the eponymous character’s (Robert Downey Jr.) adventures with his wife, who one day dies at sea during a solo voyage. It’s something of a more condensed, less moving version of the prologue to Pixar’s Up, underscoring our protagonist’s upcoming fantastical journey on behalf of Queen Victoria (Jessie Buckley) with a tinge of melancholy.
As soon as the film shifts to live action, we immediately sense the loss felt by Dolittle in the overgrown vines and shrubbery that surround the famed doctor and veterinarian’s estate, as well as in his unkempt appearance. But any hopes that the film might follow through on its promise to explore Dolittle’s emotional turmoil are quickly dashed once he begins interacting with the animal friends who keep him company. Their banter is ceaseless and mostly ranges from corny and tiresome to downright baffling, as evidenced by a pun referencing Chris Tucker in Rush Hour that may leave you wondering who the target is for half of the film’s jokes.
The tenderness of Dolittle’s prologue does resurface sporadically across the film, most memorably in a late scene where the good doctor shares the pain of losing a spouse with a fierce dragon that’s also enduring a similar grief. But just as the film seems primed to say something profound about the nature of loss, Dolittle shoves his hand into the dragon’s backside—with her permission of course—in order to extract a bagpipe and an array of armor, leading the fiery beast to unleash a long, loud fart right into the doctor’s face.
That moment is crass, juvenile, and, above all, cheap in its cynical undercutting of one of Dolittle’s rare moments of vulnerability. But it serves as a ripe metaphor for the filmmakers’ incessant need to respond to a show of earnestness with a dollop of inanity, as if believing that their young audience can’t handle anything remotely sincere without a chaser of flatulence.
But worse than the film’s failure to truly probe Dolittle’s emotional landscape is how it surrounds him with a series of uncompelling character types. While the film seems to mostly unfold through the eyes of young Tommy Stubbins (Harry Collett), who becomes Dolittle’s apprentice after witnessing the doctor communicate with animals, he serves little purpose aside from drawing the man out of his shell. And Dolittle’s arch-enemy, Dr. Blair Müdfly (Michael Sheen, chomping on every bit of scenery within reach), has little motivation to justify his ceaseless quest to stop his rival from attaining an elixir that will save Queen Victoria’s life.
Despite repeatedly paying lip service to notions of grief and opening oneself up to the world, Dolittle ultimately plays like little more than an extended showpiece for its special effects. But even the CGI on display here is patchy at best, with the countless animals that parade through the film’s frames taking on a creepy quality as their photorealistic appearance often awkwardly clashes with their cartoonish behavior. The film’s notoriously troubled production, which went so off the rails that Teenage Mutant Ninja Turtles director Jonathan Liebesman was brought on board for reshoots, is evident in its clumsy staging and lifeless interplay between humans and animals, but it’s the film’s inability to completely develop any of its characters that reduces it to all pomp and no circumstance. Like the CGI animals that inhabit much of the film, Dolittle is flashy and colorful on the outside but dead behind the eyes.
Cast: Robert Downey Jr., Antonio Banderas, Michael Sheen, Jim Broadbent, Jessie Buckley, Harry Collett, Emma Thompson, Rami Malek, John Cena, Kumail Nanjiani, Octavia Spencer, Tom Holland Director: Stephen Gaghan Screenwriter: Stephen Gaghan, Dan Gregor, Doug Mand Distributor: Universal Pictures Running Time: 106 min Rating: PG Year: 2020 Buy: Soundtrack
Review: Bad Boys for Life Is a Half-Speed Echo of Michael Bay’s Toxic Formula
In the end, the film’s perpetuation of the franchise’s endorsement of police brutality comes back to bite it..5
From its parodically overused low-angle and circling tracking shots to its raw embodiment of Michael Bay’s unique brand of jingoism and adolescent vulgarity, Bad Boys II arguably remains the purest expression of the director’s auteurism. Bay doesn’t direct the film’s belated sequel, Bad Boys for Life, leaving one to wonder what purpose this franchise serves if not to give expression to his nationalist, racist, and misogynistic instincts.
Intriguingly, Bad Boys for Life is helmed by the Belgian team of Adil El Arbi and Bilall Fallah, whose streetwise, racially focused crime films, from 2014’s Image to 2018’s Gangsta, represent positions that are nearly the polar opposite of those of Bay’s work. Except the filmmakers do nothing to shake the franchise from its repellent roots, merely replicating Bay’s stylistic tics at a more sluggish pace, losing the antic abandon that is his only redeeming quality as an artist. At best, the half-speed iterations of Bay’s signature aesthetic reflect the film’s invocation of too-old-for-this-shit buddy-movie clichés, with Miami cops Mike Lowery (Will Smith) and Marcus Burnett (Martin Lawrence) forced to contend with growing old and obsolete.
The film is quick to establish that Marcus, newly a grandfather, longs to settle down, even as Mike continues to insist that he’s at the top of his game. It’s then that the partners are thrown for a loop when Mike is shot by Armando (Jacob Scipio), whose drug kingpin father Mike killed and whose mother, Isabel (Kate del Castillo), he helped get imprisoned in Mexico. Both men are left traumatized by the event, with a horrified Marcus forswearing a life of violence, while Mike seeks brutal revenge for his wounded sense of masculine security. And for a brief moment, Bad Boys for Life finds fertile ground in the emotional chasm that opens between the two pals, with Mike’s single-minded rage leaving Marcus morally disgusted.
Almost immediately, though, the film turns to gleeful violence, showing how grotesque the consequences of Mike’s vigilantism actions can be, only to then largely justify his actions. When Mike violates orders during a surveillance assignment to abduct a possible lead, that source is left dead in a gruesomely elaborate shootout that’s played for satire-less kicks. Partnered with a new unit of inexperienced, tech-savvy rookies (Vanessa Hudgens, Alexander Ludwig, and Charles Melton), Mike can only express his dismay at the new generation resorting to gadgets and nonlethal, perhaps even—dare one say—legal, measures of law enforcement. Each one gets a single defining characteristic (Hudgens’s Kelley is a trigger-happy fascist in the making and Ludwig’s Dorn possesses a bodybuilder’s physique that belies his pacifism), and they all exist for Smith to target with stale jokes about old-school justice.
Likewise, the surprising soulfulness that Lawrence brings to his character is ultimately just fodder for jokes about how the weary, flabby new grandpa isn’t getting laid. Unsurprisingly, then, Marcus only reclaims his virility as a man by lunging back into a life of chaotic police action. Even his turn toward faith and a vow of peace is mocked, as when he finds himself in possession of a machine gun during a hectic chase and Mike reassures him that God gave that to him in a time of need. “Shit, I do need it!” Marcus exclaims, but the humor of Lawrence’s delivery only momentarily distracts us from the film’s flippant take on his spirituality.
By saddling both heroes and villains alike with quests for revenge, Bad Boys for Life broaches deeper thematic possibility than has ever existed in this franchise. Indeed, the film’s focus on aging, when paired with a last-act reveal that forces the characters to think about the legacies that are passed on to future generations, places it in unexpected parallel to another recent Will Smith vehicle, Gemini Man. But where Ang Lee’s film actually grappled with the implications of violence bred and nurtured in our descendants, this movie merely gets some cheap sentimentality to contrast with its otherwise giddy embrace of carnage.
In the end, the film’s perpetuation of the franchise’s endorsement of police brutality comes back to bite it. The aforementioned scene with Marcus discovering the machine gun is played as a joke, even though the man, half-blind but refusing to wear the glasses that show his age, fires wildly at gunmen on motorcycles weaving around civilian vehicles. Watching this scene, it’s hard not to think of the recent, real-life case of Miami cops firing hundreds of rounds at armed robbers despite being surrounded by commuters, not only killing the suspects but their hostage and a random bystander. This coincidental timing is a reminder that the supposed harmlessness of glib entertainments like Bad Boys for Life plays a part in normalizing the increasing police-state tactics and mentality of our nation’s over-armed law enforcement.
Cast: Will Smith, Martin Lawrence, Vanessa Hudgens, Joe Pantoliano, Alexander Ludwig, Charles Melton, Paola Núñez, Kate del Castillo, Jacob Scipio Director: Adil El Arbi, Bilall Fallah Screenwriter: Chris Bremner, Peter Craig, Joe Carnahan Distributor: Columbia Pictures Running Time: 110 min Rating: R Year: 2020 Buy: Soundtrack
Oscar 2020 Winner Predictions: Actress
Well hi, everybody, it’s nice to see you.
Well hi, everybody, it’s nice to see you. Loyal readers of Slant’s Oscar coverage know that we don’t like to beat around the bush, and this year we have even less reason to do so what with the accelerated awards calendar forcing us to kick-start our rolling predictions earlier than usual. So, as we busy ourselves in the next few days catching up with some remaining blindspots, and being thankful that we don’t actually ever have to see Cats, we will be bringing you our predictions in some of Oscar’s easier-to-call categories.
Which isn’t to say that we’re going to be drama-free. Case in point: the revelation that Eric Henderson, my fellow awards guru, made on Twitter this week that “Scarlett Johansson is genuinely better in Jojo Rabbit than in Marriage Story.” He also asked us to throw the tweet back in this face four or five years from now, but I say right now is as good a time as any.
No, seriously, shocking as that tweet was to this fan of Marriage Story’s entire acting ensemble, that some are already predicting the actress as a possible spoiler in supporting actress in the wake of Jojo Rabbit scoring six nominations, it’s gotten us thinking about the ostensibly evolving tastes of AMPAS’s membership at a time when it’s struggling to diversify itself. And based on how things went down at last year’s Oscars, the only conclusion we can come up with is that the more things change, the more they stay the same.
Immediately after Glenn Close lost the Oscar last year to Olivia Coleman, Eric sent me a text wondering why AMPAS hates the former so much, to which I offered that there’s nothing more unwavering than Hollywood’s support for actors playing real-life individuals. Well, that and its support for actors who actually want to be exalted by the industry. Even in a world where Renée Zellweger isn’t also being helped by a comeback narrative, and has yet to follow Joaquin Phoenix’s savvy lead by getting arrested at Jane Fonda’s weekly climate change protest and erasing our memory of her performance at the Golden Globes, she’s nominated for a generally well liked performance in a film that has actually performed well at the box office.
On Monday, more outcry was provoked by the Oscar nominations, again for women being shut out of the best director race, but also for the snubbing of several actors of color, most notably Jennifer Lopez and Lupita N’yongo. Some will speculate that Cynthia Erivo, the only actor of color to be nominated this year, is a potential spoiler here, but whether she stands to benefit from a core of protest votes is something that can never be known. This fine actress’s performance checks off almost as many boxes as Zellweger’s, if not, at the end of the day, the one that matters most: representing a film about the industry itself, in this case one that will allow a reliably backward-looking Hollywood to atone for sins committed against their own.
Will Win: Renée Zellweger, Judy
Could Win: Scarlett Johansson, Marriage Story
Should Win: Scarlett Johansson, Marriage Story
Review: Intrigo: Death of an Author Is Damned by Its Lack of Self-Awareness
The film evinces neither the visceral pleasures of noir nor the precision to uncover deeper thematic resonances.1.5
“Surprise me!” demands reclusive author Alex Henderson (Ben Kingsley) near the start of Intrigo: Death of an Author of budding novelist Henry (Benno Fürmann), who’s come to him in search of advice. As an audience member, it’s difficult not to end up making exactly the same exhortation to director Daniel Alfredson’s film. With each plot point being not only easy to predict, but also articulated and elaborated on multiple times by an awkwardly on-the-nose narration, the only shock here is that a film apparently concerned with the act of storytelling could be so lacking in self-awareness.
Henry is a translator for the recently deceased Austrian author Germund Rein and is working on a book about a man whose wife disappeared while they were holidaying in the Alps, shortly after her revelation that she would be leaving him for her therapist. Most of the tedious opening half hour of the film is taken up with Henry telling this tale to Kingsley’s enigmatic Henderson, after he meets him at his remote island villa. The pace picks up a little when David switches to giving the older writer an account of the mystery surrounding Rein’s death and how this could be connected to his story, which (surprise!) may not be entirely fictional.
Death of An Author is the most high-profile release of the Intrigo films, all directed by Alfredson and based on Håkan Nesser’s novellas. Alfredson was also at the helm of two film versions of Stieg Larsson’s Millennium trilogy, The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest, but he still doesn’t appear to have developed the stylistic tools necessary to elevate his pulpy source material. Here, his aesthetic seems to be aiming for the icy polish of a modern noir, but it leans toward a safe kind of blandness, evincing neither the visceral pleasures of the genre nor the precision to uncover deeper thematic resonances.
While Fürmann’s stilted central performance at times threatens to sink Death of An Author, Kingsley always appears just in time to keep the unwieldy thing afloat. Nonetheless, his character’s cynical meta commentary, alternately engaged and aloof, is ruinous: As Henderson criticizes Henry’s story, he effectively draws too much attention to the film’s own flaws.
Death of an Author’s mise en abyme framing device has a similarly self-sabotaging effect. It initially promises an interesting push and pull between a writer’s literary perspective on reality and their own lived experience, but as so much of Henry’s psychology is explained through clunky expository dialogue instead of being expressed visually, no such conflict is possible. The structure ends up just distancing us further from the characters, as well as undermining the tension generated by the more procedural elements of the plot. Ultimately, aside from some picturesque scenery and a satisfyingly dark ending, all we’re left to enjoy here is the vicarious thrill of Kingsley’s smug, scene-stealing interlocutor occasionally denouncing Henry as a hack, and implicitly dismissing the whole scenario of the film as trite and clichéd.
Cast: Ben Kingsley, Benno Fürmann, Tuva Novotny, Michael Byrne, Veronica Ferres, Daniela Lavender, Sandra Dickinson Director: Daniel Alfredson Screenwriter: Daniel Alfredson, Birgitta Bongenhielm Distributor: Lionsgate Running Time: 106 min Rating: R Year: 2018
Review: Weathering with You Lyrically and Mushily Affirms the Sky’s Majesty
Contemporary outrage could’ve potentially counterpointed the film’s increasingly mawkish tendencies.2.5
The lyricism of director Makoto Shinkai’s new animated film, Weathering with You, should shame the impersonality of the CGI-addled blockbusters that are usually pitched at children. An early scene finds a teenage girl, Hina (Nano Mori), floating through the sky, at times almost seeming to swim in it. This moment introduces a suggestive motif: In the film, scientists speculate that the sky possesses a habitat that, for all we know, is full of similar properties to the one in the world’s oceans. The Tokyo of Shinkai’s conception is plagued by rain that sometimes falls so hard as to suggest a tidal wave dropping out of the sky, which is a memorably scary and beautiful effect. Sometimes such rains even leave behind see-through jellyfish-like creatures that evaporate upon touch.
At their best, Shinkai’s images affirm the majesty and power of the sky and rain, intrinsic elements of life that we too often take for granted. Raindrops suggest bright white diamonds, and storms resemble cocoons of water. But Hina’s new friend, Hodaka (Kotaro Daigo), doesn’t take the weather for granted, as he’s introduced on a large passenger boat, surveying a storm that almost kills him. Running away to Tokyo from his parents, Hodaka first glances the city as the boat approaches a port, and at which point Shinkai springs another marvel: a city of vast neon light that’s been rendered with a soft, watercolor-esque delicacy.
The first 45 minutes or so of Weathering with You promisingly merge such visuals with the story of Hina and Hodaka’s blossoming romance, while introducing an amusing rogue, Keisuke Suga (Shun Oguri), who offers Hodaka minimal employment as a junior reporter for a tabloid magazine. Suga gives the film a lurid quality that’s surprising for a children’s fantasy—as he milks the young Hodaka for a free meal and carouses around Tokyo at night—until Shinkai sentimentally reduces him to a routine father figure. And it’s around here that the plot grows more and more cumbersome and gradually takes over the film as Hina and Hodaka become typically misunderstood youngsters on the lam, evading the law and the Tokyo crime world. The free-floating visuals are eventually tethered to a metaphor for the specialness of Hina, who’s a mythical “sunshine girl” capable of bringing light to Tokyo’s endless storms, and for the fieriness of Hina and Hodaka’s love. Shinkai over-explains his lyrical imagery with YA tropes, compromising the dreamlike mystery of the film’s first act.
The narrative is also an implicit story of global warming, as Tokyo’s storms threaten to destroy the city, with Hina representing a potential balancing of the scales at the expense of her own earthly life. That’s a resonant concept that Shinkai never quite steers into overtly political territory—and contemporary outrage could’ve potentially counterpointed Weathering with You’s increasingly mawkish tendencies. A free-floating atmosphere, in which sky and ocean are merged, suggesting collaborative gods, is more than enough for an evocative fable. It’s a pity that Shinkai overthinks his project, frontloading it with borrowed plot machinery that goes in circles, separating lovers mostly for the sake of separating them.
Cast: Kotaro Daigo, Nana Mori, Shun Oguri, Kana Ichinose, Ryô Narita, Tsubasa Honda, Mone Kamishiraishi, Kana Ichinose Director: Makoto Shinkai Screenwriter: Makoto Shinkai Distributor: GKIDS Running Time: 112 min Rating: PG-13 Year: 2019
2020 Oscar Nominations: Joker, 1917, The Irishman, and OUATIH Lead Field
Nominations for the 92nd Academy Awards were announced Tuesday morning by Issa Rae and John Cho.
Nominations for the 92nd Academy Awards were announced Tuesday morning by Issa Rae and John Cho. Todd Phillips’s Joker led the nomination count with 11, followed by Martin Scorsese’s The Irishman, Sam Mendes’s 1917, and Quentin Tarantino’s Once Upon a Time…in Hollywood with 10 each, and Bong Joon-ho’s Parasite, Noah Baumbach’s Marriage Story, Taika Waititi’s Jojo Rabbit, and Greta Gerwig’s Little Women with six each.
While Joker mostly received attention throughout the awards season for Joaquin Phoenix’s lead performance, many pegged Hildur Guðnadóttir’s victory at the Golden Globes for her score as a sign that the film would do well at the Oscars. Elsewhere, Jennifer Lopez (Hustlers) had to make way for Kathy Bates (Richard Jewell) in best supporting actress and Lupita N’yongo (Us) for Saoirse Ronan (Little Women) in best actress. And both Antonio Banderas (Pain and Glory) and Jonathan Pryce (The Two Popes) landed nominations for best actor, pushing Golden Globe-winner Taron Egerton (Rocketman), Robert De Niro (The Irishman), and Christian Bale (Ford v. Ferrari out of the way.
See below for a full list of the nominations.
Ford v Ferrari
Once Upon a Time…in Hollywood
Martin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Quentin Tarantino, Once Upon a Time…in Hollywood
Bong Joon-ho, Parasite
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy
Antonio Banderas, Pain and Glory
Leonardo DiCaprio, Once Upon a Time…in Hollywood
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes
Best Actress in a Supporting Role
Kathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell
Best Actor in a Supporting Role
Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time…in Hollywood
Best Costume Design
Once Upon a Time…in Hollywood
Best Sound Editing
Ford v Ferrari
Once Upon a Time…in Hollywood
Star Wars: The Rise of Skywalker
Best Sound Mixing
Ford v Ferrari
Once Upon a Time…in Hollywood
Best Animated Short
Best Live-Action Short
Nefta Footfall Club
The Neighbor’s Window
Best Film Editing
Ford v Ferrari
Best Original Score
Star Wars: The Rise of Skywalker
Best Documentary Feature
The Edge of Democracy
Best Documentary Short Subject
In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk, Run, Chacha
Best International Feature Film
Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)
Best Production Design
Once Upon a Time…in Hollywood
Best Visual Effects
The Lion King
Star Wars: The Rise of Skywalker
Once Upon a Time…in Hollywood
Best Makeup and Hairstyling
Maleficent: Mistress of Evil
Best Animated Feature
How to Train Your Dragon: The Hidden World
I Lost My Body
Toy Story 4
Best Adapted Screenplay
The Two Popes
Best Original Screenplay
Once Upon a Time…in Hollywood
Best Original Song
“I Can’t Let You Throw Yourself Away,” Toy Story 4
“(I’m Gonna) Love Me Again,” Rocketman
“I’m Standing with You,” Breakthrough
“Into the Unknown,” Frozen 2
“Stand Up,” Harriet
Review: VHYes Spoofs Late-Night TV Without Exacting Critiques
VHYes settles much too comfortably into the well-trodden footsteps of other works.1.5
There’s more inspired satire about how television manipulates an audience’s emotions in the original RoboCop’s opening newscast scene than in the entirety of Jack Henry Robbins’s VHYes. Set around Christmas in 1987—coincidentally, the year of the Paul Verhoeven classic’s release—the film opens as adolescent Ralphie (Mason McNulty) has received his first camcorder. Robbins filters everything through Ralphie’s camera, giving the film an entirely home-video aesthetic, and after Ralphie’s father (Jake Head) discovers the device can be used to record live TV, VHYes morphs into a procession of mostly stale sketch-comedy bits that have been taped during Ralphie’s late-night channel surfing.
Throughout, VHYes shuttles from one gag to the next in search of purpose. In one bit, Robbins serves up a parody of The Joy of Painting starring a woman, Joan (Kerri Kenney), whose dry wit and thinly veiled arousal for her work culminates in a painting of her dunking on Dennis Rodman, of which she assures viewers, “There’s moisture. Some of it isn’t sweat.” We also get a spoof of Antiques Roadshow featuring an appraiser (Mark Proksch) who increasingly reveals his lacking aptitude for the position. And on a mock QVC channel, the formerly married hosts bicker as they predominately sell drug paraphernalia disguised as household products.
VHYes is clearly indebted to the gonzo sketch comedy of Tim and Eric Awesome Show, Great Job!, but unlike Tim Heidecker and Eric Wareheim, Robbins homes in on the oddities of people and things as a means to an end, rather than using them as a jumping-off point for unhinged social commentary. The only segment that approaches a distinct comedic take on its material is Conversations with Todd Plotz, in which the host (Raymond Lee) discusses “tape narcissism” with a cultural philosopher (Mona Lee Wylde) who makes obviously prescient remarks such as, “One day the real world will exist to be filmed.” Though this exchange might outwardly suggest an attempt to critique global technological influence, a la Videodrome, the sketch lacks a punchline, let alone insight, beyond the host donning a goofy expression, further revealing how the film is a parade of empty nostalgia for its own sake.
The film offers a reprieve from its grab bag of sketch comedy with a series of musical interludes hosted by Lou (Charlyne Yi), who uses the occasion to introduce bands to her interested but clueless parents. The best of these features Weyes Blood performing a haunting rendition of her 2016 track “Generation Why.” But lest the music linger for a moment in earnest, Robbins concludes the segment with the ironized, faux-Lynchian imagery of a door, isolated in darkness, opening onto Lou and Weyes Blood doing a slow dance.
The film’s climax returns to reality to find Ralphie and his friend, Josh (Rahm Braslaw), obsessed with the documentary Blood Files: Witch of West Covina. The show claims there’s a haunted sorority house on the outskirts of the town where the two live and, predictably, Robbins uses this material to spring the boys out of the house and toward danger, Ralphie’s camcorder footage all the while guiding us through their ghostly discoveries. As in its comedy, the film proves wholly derivative in its horror, borrowing liberally from The Blair Witch Project, Paranormal Activity, and V/H/S and, in this stretch, without even the good sense to heavily ironize it. For all the outrageousness that could be concocted from its overarching premise, VHYes settles much too comfortably into the well-trodden footsteps of other works.
Cast: Kerri Kenney, Thomas Lennon, Mark Proksch, Charlyne Yi, Mason McNulty, Rahm Braslaw, Jake Head, Christian Drerup, Mona Lee Wylde, Raymond Lee, Susan Sarandon, Tim Robbins Director: Jack Henry Robbins Screenwriter: Jack Henry Robbins, Nunzio Randazzo Distributor: Oscilloscope Laboratories Running Time: 72 min Rating: NR Year: 2019