The 92nd Academy Awards will air live on ABC Sunday, February 9th at 8:00 PM EST. Get in on the action by filling out a prediction ballot right here. I will be updating results live on Oscar night, so fill out a ballot and check my results page Oscar night to see how you did!
Also, speaking of Oscar night, what Oscar party would be complete without The People’s Critic’s Official Oscar Menu for 2020. Enjoy the party with perfectly paired menu offerings for this year’s nominees.
Enjoy the show, and please share this post with all your favorite movie fans! Also, enjoy this free printable paper ballot for your party needs!
The year 2019 was a pretty good year at the movies, and as the end of a decade, it really feels like a culmination of something and hopefully a fresh step forward to something new. If you haven’t already, read my Top Ten Films of the Decade post to get a sense of what the last ten years in movies can tell us about where we’ve been and where we’re going. However, the issue at hand is 2019. A lot of movies were released in 2019 thanks to the proliferation of streaming services and their dedication to releasing incredible amounts of quality content on top of the traditional studio and independent releases. So let’s get on to it. 2019: The good, the bad, and the ugly.
10. Knives Out – This one wins the audience award for sure. Of all the films on my list, no film had the audience howling like this one. Billed as a Rian Johnson whodunit, an all-star cast is full of suspects after a wealthy mystery writer suddenly falls dead, and foul play is suspected. Queue two-hours of dark, maddening hijinks that keep the audience guessing but most of all amused. This is a modern-day Clue or Gosford Park full of suspense and laughs. This movie feels like a subtle “jab” at one of the films in my worst of the year list, as one of his previous films was somewhat “sliced and diced” by another with diminishing returns. Well played, Mr. Johnson.
9. A Beautiful Day in the Neighborhood – I thought I knew what I was in for when I walked in to see this movie. After having seen the wonderful 2018 documentary about Fred Rogers, Won’t You Be My Neighbor, I expected a sentimental dramatization of the true events of Rogers’s life. That is not what this film is, and that is a good thing. A Beautiful Day in the Neighborhood is a perfect companion piece to the 2018 documentary rather than an adaptation of it by letting us see the power of people like Rogers and the impact a kind, contemplative person can have on all of us. Most will be surprised to find Tom Hanks’s portrayal of Rogers as more of a secondary role in this film. The main story follows Matthew Rhys as investigative journalist, Lloyd Vogel who reluctantly accepts a job to write a fluff piece on Rogers only to have his life changed immeasurably. A true heart-warmer, and an understated success for director Marielle Heller.
8. The Lighthouse– Two lighthouse keepers arrive for a four-week shift looking after a lighthouse. At night, there’s little to do but eat, drink, and talk and much of the film is dedicated to these activities, but that’s where we as the audience learn the most. These men have secrets. This actor’s journey of minimalist, psychological horror is one fascinating ride! Willem Dafoe puts out a vicious, raw, funny, and technical performance, and Robert Pattinson too gives a layered and impressive character. This is a challenging but amazingly engrossing film.
7. Parasite – Word of mouth has been non-stop for this South Korean comedic horror satire. Writer/Director Bong Joon Ho has been quietly dominating critical and box office success with films like Snowpiercer, The Host, and Okja just to name a few. With Parasite, it seems like he’s broken through completely by creating a universally relatable parable of class and culture that begins one way and takes a dramatically fascinating turn. Both halves of the film are tremendously compelling and enjoyable, but for entirely different reasons. This is Ho’s masterpiece in a catalog full of near-masterpieces.
6. Midsommar – This is the most beautifully shot film on my list this year. Ari Aster’s latest film is a slow burn with some of the most unsettling horror seen on screen in some years. A group of students arrive in a rural and secretive Swedish community with the hope of learning about their culture and studying their anthropological presence. The beauty of the film starkly contrasts some truly terrifying stuff, and the result is a highly effective and deeply effective.
The Top Five:
5. Avengers: Endgame – This movie is actually epic, and I use that term without hyperbole. The Russo brothers have assembled a true love letter that spans the entire run of the most successful film franchise in history. This is how a saga should end (a certain film in my worst of the year list should take notes). A strength of all four Avengers films is that even with such bloated cast of characters, every one of them gets a moment to shine. The heart, the humor, the excitement, and the impact of events is as strong as in any of the MCU films, and for my money this is the best Avengers film of the four, and it is also one of the best films of the year.
4. The Irishman – I had to sit with this movie for a while. I’m of the rare minority who when this 3-hour gangster volume ended, I wanted more. I knew I liked it, but I wasn’t sure if my nostalgia and good faith for what this film represented was why I liked it, or if it was truly good. Seeing Martin Scorsese revisit the mobster genre and direct Joe Pesci, Robert DeNiro, Al Pacino, and a host of other notables is hard not to tickle the fancy of any fan of cinema. So, over a month has passed, and the jury is in; The Irishman is a great film (but only one peg higher than a superhero movie, Marty!).
3. Marriage Story – Noah Baumbach has been a powerful force in telling human stories about the fallouts of the fractured family dynamic. His films The Squid and the Whale, Margot at the wedding, While We’re Young, and The Meyerowitz Stories all predominately explore this central theme, so it’s fitting that his latest film is simply called Marriage Story. Here Baumbach is in familiar territory, but never has been so keyed in on the complexities of coupling and then uncoupling in modern America. Baumbach teams up with Adam Driver for the fourth time in this crushing yet beautiful human drama about how marriage and family can be very different things.
2. Joker – At its core, Joker is a character-driven story about Arthur Fleck (Joaquin Phoenix), a meager, struggling performer hoping to someday be a stand-up comedian. Phoenix is excellent in this film allowing Fleck’s struggles to feel very real and human. His decisions, as radical as they are, all come from a raw and authentic place within the character that Phoenix is able to capture and put on display in a very captivating way. Joker as a film also does an excellent job of pitting this dynamic individual against a society that is crumbling into chaos and compartmentalizing into a vastly unsettling class struggle, and what transpires is compelling and profoundly unsettling. Not because it is necessarily “shocking” but because of what it does to us as viewers who will no doubt be feeling a variety of conflicting emotions by the end – all worth examining.
1. Once Upon a Time…in Hollywood – What we have here is a modern-day auteur at the top of his technical game taking chances and making movies that still make an audience appreciate the medium and the experience it can offer. There’s tremendous atmosphere populated with thrilling takes on movies, dreams, American culture, music and the divisive nature of society. Plus there’s a bitching soundtrack! Many will cite this as being the least “Tarantino” of all of his films, whatever that means; however, while the plot is perhaps more loose than his previous films, Tarantino captures the atmosphere of this dynamic time with great success. There’s a lot going on in this film. On one hand, we have Rick Dalton’s (Leonardo DiCaprio) quest for fame, attempting to leverage some television notoriety into a film career without aging out, becoming typecast, or losing his game all the while battling an internal conflict about whether he is worthy of fame in the first place. Then we have Cliff Booth’s (Brad Pitt) ambiguous, deliberate sojourn through the land of broken dreams. While the two main characters are on two very separate personal journeys, Tarantino craftily balances this film on the relationship between the two men allowing the film to move along nicely despite their uniquely different paths. There’s no arbitrary cliché-constructed conflict dropped on the audience for cheap drama. There’s a sense of history between them both, and this comes through mostly thanks to the exquisite performances given by Pitt and most notably DiCaprio. I have almost nothing bad to say about this movie other than it’s not Tarantino’s best, which is to say it’s still the best movie of 2019 by a long shot, just not the best movie of 1994.
…the Bad and the Ugly
3. Star Wars: The Rise of Skywalker – Just writing these words under this heading fills me with great sorrow. Star Wars movies made my list of the best films of 2015 (The Force Awakens), 2016 (Rogue One: A Star Wars Story), and 2017 (The Last Jedi). All that being said, it pains me to have to put Star Wars: The Rise of Skywalker on the list of the worst films of the year, but here it is. Just five short years after this critic touted J.J Abrams as the true geek-legend who will take the franchise light years beyond where it had been, he now ends it all by leaving me with a bad feeling about where the future of Star Wars once again sits. The film is action packed, but it is also, bloated, uneven, full of loose plotlines, and most of all it’s boring. The Rise of Skywalker did not just disappoint me as a film, but it actually made me like the previous two installments less knowing now where it all was heading.
2. Ford v. Ferrari – Speaking of boring movies, let me give you exhibit B; Ford v. Ferrari. To me, this films is another installment in a troubling cinematic trend. Every year, a handful of “Oscar darling” films are released that follow a virtual template of style and perceived wit. Essentially odd-ducks are paired up to navigate an unkind social climate full of architypes and caricatures that must be thwarted. Upon examining these films, what you really have is a film where everyone is uni-dimensional except the principal characters, and the film progresses with a style that broadly spoon feeds audiences hearty portions of quippy one-liners and unlikely conversations practically winking at the camera instead of being in the moment. The style of this film matches those precisely. These historic, character-driven dramas shot with this disingenuous style ring so false to me, and I wind up caring less and less. Ford v. Ferrari, unfortunately, has little gas in the tank and more or less feels like it’s just going in circles, taking too many pit stops before ultimately just being totaled (puns intended).
1. The Lion King – All in all, The Lion King is very rote, stale, and unimpressive (aside from the visual effects, which are stunning). The decision to play it so safe with this film is a real disappointment and the result is a clunky film with no personality. It boils down to a forgettable rehash that could have been a wonderful update on a classic. When these films do not bring something new to the table, it is hard to see them as anything but a shallow attempt to take our money with familiar branding. And that may have been their goal all along with these films, but if you want me to have a Hakuna Matata attitude about these things, at least make me feel the love. My statement with giving this film the unhallowed designation of being worst film of the year is simply to say to Disney…stop. You had a good year financially, so why not take that green and invest in the new. You hung up Star Wars and The Avengers as we knew them, so use this decade to give us what comes next, not a warmed over reminder of what once was.
Well that does it! What did you think about 2019 or about the decade as a whole in regards to movies? I’d say as a movie year, 2019 fits snugly in the middle of the 2010s decade. Nothing with the explosiveness of 2017 or 2014, but also not a mediocre year. Let me know what you think in the comments.
For some reason, 2019 does not feel like the culmination of a decade. It never really occurred to me that we had reached this milestone until some of these “Best of the Decade…” lists started rolling out. Looking back personally, I’ve gotten married, changed careers, had two children, and bought a house, sold a house, and bought another …so I guess that’s about 10 years of life. As a whole, the society reflected in the cinema of the 2010s is one of reflection, nostalgia, and innovation. Reboots, sequels, comic books, and throwbacks were aplenty, but the best films of the decade rarely fall into those categories. Political unrest, the proliferation of the Internet, Social Media, and streaming entertainment as well as incredible strides for minorities, feminism, and civil rights were also a sparked that will continue to define the 2020s. I’ll admit, personally, 2019 carried with it some of the highest highs in my life as well as some of the lowest lows, and the same can be said about the films released this decade. That being said, let’s focus on the positives as we optimistically embark on a new decade. Here are The People’s Critic’s Top Ten Films of the 2010s!
10. The Dark Knight Rises(2012) – Appropriately, the best director of the decade starts this list off with the final film of Christopher Nolan’s phenomenal Dark Knight trilogy. There is no understating the impact these films had on cinema, most notably 2008’s The Dark Knight. With The Dark Knight Rises, we have a fitting end to one of the strongest trilogies in cinema history. There is so much to appreciate in this film. The menacing tone that lies beneath the surface of Gotham City is felt for all of its 165 minutes. For my money, the plot of The Dark Knight Rises is the best of the three. I think, taken as a whole, what Christopher Nolan can be most proud of is that he has captured the attention of a massive audience and taught them that escapist entertainment can be thoughtful and precise. He may present some of this grandiose and complex content in a simplified and somewhat self-important/preachy way, but he achieves his grand design of getting us all thinking about our own morality, our limits, and our duties. This is miles beyond what any other so-called “comic book” movie has achieved or has even been capable of so far (PS, this will not be the last we hear of Christopher Nolan on this list).
9. Baby Driver (2017) – Is it uniquely original? On paper, maybe not so much, but it’s a different story on the screen. It is hard not to discuss Baby Driver in the context of other similar predecessors about getaway drivers and/or villainous lynchpins orchestrating a series of heists. But the execution of Baby Driver is unlike any of those films. On the surface this is a heist film about a getaway driver, but on a larger scale the driving is an instrument to explore music, or more accurately, the act of listening to music. It’s the music that helps push the narrative. Writer/Director Edgar Wright does a superb job using music, actually the act of listening to music, to drive an otherwise classical narrative structure. This film really invited me to analyze exactly what it is that makes movie narratives work, an analysis I further explored in my commentary piece, “It’s All About Choice.” Like so many classic narratives, we don’t learn much about Baby in the film, or about any of the other characters for that matter. Baby is a man of few words, denied the necessity of choice by Doc (a pre-self-destructed Kevin Spacy), and committed to no real set of values given his almost “island-like” existence. Like I mentioned in “It’s All About Choice,” knowing so very little about Baby actually drives the narrative because he is the ultimate individual who can form his own values and not be labeled or expected to act in any particular way. What a cool movie!
8. Blade Runner 2049(2017) – Blade Runner 2049 is a visual achievement, but it is also a triumph of science fiction and exploration into the flawed emotionality of the human being. Denis Villenueve and original screenwriter, Hampton Fancher deepen the themes and ideas introduced in the 1982 original, creating a superb overall film that demands repeat viewings. Villenueve is the runner-up to Nolan as director of the decade. Catching my attention in 2013 with the exquisite Prisoners, and then putting out one great film after another with Enemy, Sicario, Arrival and then Blade Runner 2049, we have seen the evolution of an auteur and true visionary of cinema whose next film, an updated adaptation of Dune should prove to be even better!
7. Inception(2010) – He’s back. Nolan’s second films on the list of the best of the decade actually kicked the decade off in 2010 with one of the most visually complex and narratively multifaceted films of all time. Leonardo DiCaprio takes on a journey through time and mind in a trippy, wild mind heist. Nolan’s imagination is on full display with a film that is inspired and outrageously original. It’s said Nolan spent 10 years on this script, and it shows! Theories abound about what unfolds in this twisted story, but in true Inception style, the means justify the end.
6. La La Land (2016) – I tried people. I tried not to toe the line. I tried not to be all “critic-y,” but goddamnit, my toes are still tap, tap, tapping to this beautiful, heartwarming, goosebump inducing, musical masterpiece. La La Land has the best first and last five minutes of any movie in the last 10 years! What puts it on this list is that between those amazing first five minutes and outstanding final five minutes are 118 exhilarating, beautifully crafted, musical minutes. La La Land is a simple story of Jazz musician meets struggling actor, Jazz musician loses struggling actress, etc., but that’s ok. If the plot were any more dynamic, it would take away from the sensory experience of this film. Gosling and Stone are captivating as the leads and while their voices may not be meant for Broadway, they are perfect for a film that “dances” between worlds. Half nostalgic and half prognostic, La La Land shows us that writer/director Damien Chazelle is more than the real deal. He’s the next big thing (next to Nolan and Villenueve)! La La Land puts a nice bow on 2016 as well as the decade as a whole.
5. Silver Linings Playbook (2012)– The film that started the renaissance for director, David O. Russell. His movies are traditionally about passion, and none have better successfully illustrated that theme than Silver Linings Playbook. Jennifer Lawrence and Bradley Cooper play Pat and Tiffany, two people full of passion who have lost their way. Both turn out Oscar worthy performances, and while Lawrence won, Cooper was given the impossible task of facing a Daniel Day-Lewis performance. He would have won any other year for sure with this performance. This was the best acted film of the decade bar none. Furthermore, Russell’s screenplay is excellent as he also manages to give Robert DeNiro a role that could be indirectly related to his having such a prolific 2019 with Joker and The Irishman.
4. Django Unchained (2012) – Django Unchained is void of any superfluous substance. From the opening scene of dialogue where Django and Schultz are introduced all the way to the final “showdown,” Django Unchained has momentum and remains in stride. Tarantino won his second Original Screenplay Oscar for this because no other film that can be nominated for this category combines such compelling dialogue with such a spirited and ambitions story. The film unfolds in a series of distinct acts. Furthermore, Tarantino takes his flair for the irregular timeline to a more subtle place by interjecting small contextual flashbacks at key points to reveal critical or entertaining pieces of background that enhance an approaching scene. Christoph Waltz gives Tarantino another Oscar winning performance as the film’s moral compass, Dr. Schultz. Schultz’s character also works to deepen and broaden Foxx’s turn as Django. Django has a goal, but lacks direction and Schultz literally provides that for him, which gives Foxx some real dimension and power. However, the film’s crown jewel is found in the film’s closing acts when Leonardo DiCaprio appears as Calvin Candie, owner of the massive and legendary plantation known as Candyland. DiCaprio’s performance is a sneaky one, and while initially campy, it becomes very real all too quickly. His character shows a severe authenticity as a symbol for the evils of supposed “gentlemen” during a deeply deranged time in American history. As fun as Django Unchained is to watch, it is still a Quentin Tarantino movie, which implies vulgarity and violence. It delivers on both of those qualities to excess, which is a good thing in this case. As part of the Western genre, a lot of justice is sought out against a lot of bad people, and a six-shooter is basically the only tool. The balance between good acting, strong writing, unpredictable circumstances, and sudden bursts of violence creates a suspenseful tone that could not otherwise be achieved.
3. Blue Jasmine (2013) – While 2019 has been a tough year for arguably my favorite filmmaker and entertainer of all time, Woody Allen was still churning out classics in the 2010s. First in 2011, he had his greatest box office achievement of his career with Midnight in Paris, and then just two years later, he puts out one of his greatest films of all time, Blue Jasmine. Allen’s film may be contextually set within the confines of financial crisis; however, the film is actually about trust and fate. The strength of the story rests on the complex and fractured relationship between two adopted sisters, Jasmine (Cate Blanchett) and Ginger (Sally Hawkins). Jasmine and Ginger were separately adopted, raised together, but fate sent them on wildly different paths. Allen explores this element throughout the film while also examining Jasmine’s sense of entitlement regardless of the fact that she has no skills and simply fell into wealth. Furthermore, trust is a dynamic issue presented in the film. While mostly known for his impeccable ability to create fascinating female characters (and Blue Jasmine is no exception), Allen also presents the damage of deception through his uncharacteristically diverse set of male characters. Bobby Cannavale is especially indicative of this as Ginger’s current boyfriend, Chili. Michael Stuhlbarg, Louis C.K., and Peter Sarsgaard join Cannavale and Andrew Dice Clay in developing the vital effect of trust, or lack thereof, on the human condition.
2. Life of Pi (2012) – First of all, if you like to enjoy a film in its purest and unanticipated sense, just know Ang Lee’s Life of Pi is a spectacular cinematic experience. Now stop reading and go see it. From the moment the map of the Mariana Trench appears on the screen, hold on to your seats! No film, including Avatar, has achieved this level of visual grandeur with 3D technology. What is more, Life of Pi exists right here on our own planet. Lee’s careful precision as a director, takes full advantage of every opportunity to amaze the audience with wonder. Many films have explored the survivor element of what the limits of human endurance are. What allows Pi to rise above those is the spiritual depth that is created from the film’s opening act and the awe-inspiring visual effects that are second to none. Life of Pi is a low-key masterpiece. It sneaks up on you and while not complicated, welcomes multiple viewings. The opening credits depicting animals happily living in captivity holds new meaning after experiencing the film for the first time. Lee presents a very enjoyable and thought-provoking version of Martel’s widely admired source material. It was said that Life of Pi was one of those unfilmable stories- that it can exist in the mind of the reader and nowhere else. Lee has proven those skeptics incorrect; however, this film is more than a companion or adaptation of the novel. It has surpassed that into something much more special and distinctive.
1. Interstellar(2014) – This is it; the big one! For six years, I’ve been waiting to see if anyone can take this film down as best film of the decade. No one came close. Interstellar is a phenomenal film. It is the most immersive film of the decade. Nolan does not treat the audience with kid gloves and allows us to observe and appreciate the film without needless exposition or over-explanation. Clocking in at 3 hours in running time, the film actually moves with a deliberate and intrepid pace. Like successful cinematic space operas of the past such as 2001: A Space Odyssey or even Star Wars, Interstellar is enriched with thoughtfulness, theoretical rhetoric, and intensity! The film is also quite beautiful and awe-inspiring. Nolan, one of the last filmmakers still shooting on 35mm film, uses the technique to his stunning advantage. Darkness, color, perspective, and beauty are all heightened by Nolan’s camera work, and the film resonates with a voracity that feels appropriate for a quality depiction of interplanetary space travel. Like Steven Price’s Oscar winning score from Gravity, the score in this film, composed by Has Zimmer, plays an equally pivotal role. Swells and crescendos of synthesizers and pipe organs counter-balance equally ominous moments of complete silence, all of which emphasize the overall mood. Like most Christopher Nolan films, the true strength of Interstellar is not in its cast but in its atmosphere and ambition. For a science-fiction film, Interstellar feels very authentic and while the film’s final act may challenge some viewers, everything works. It’s a masterpiece.
Well that’s it. 2019 is not yet finished, and some great films are slated to release at the end of the year, so if somehow something blows me away, I will update this list post-haste. That being said, it is just about time to start looking forward to what a new decade of film will bring, and I for one am encouraged and excited to find out!
Chastain, James McAvoy, Bill Hader, Isaiah Mustafa, and Bill Skarsgård
Is It good? Does It get better or worse? How much money
did It make? Should I see It before I see It 2? I will answer these confusing questions and more in my review
of blockbuster horror sequel, It: Chapter
As horror sequels go, this is one of those perfect studio
no-brainer scenarios. Hey, we have the rights to remake this film adaptation of
this really beloved horror novel, and we just have too much material! Let’s
make two movies. Better yet, let’s split the films so that the first one
covers the children storyline, and the second covers the adult plot. Brilliant!
And that’s how the highest grossing horror film of all time came to be.
That’s right, as readers of Stephen King’s bestselling novel
know, every 27 years, a monstrous demon and “Eater of Worlds” comes to feed on
fear, preferring children because their fears are easier to elicit. To the kids
from the first film, this demon manifests as a dancing clown known as Pennywise
(Bill Skarsgård), who preys on them until they seriously wound it, sending it
back to the nether-regions from whence it came…until now. 27 years later, The
Losers Club is all grown up, but the past is not done with them yet.
The film opens with some really effective horror that gets the attention of Mike (Isaiah Mustafa), the only member of the Losers Club who remained in Derry, Maine. The event reminds Mike of the pact they all made as kids after vanquishing Pennywise; if it comes back they all come back. And remembering is key because it turns out if one leaves Derry, the memory of what happened there fades away, so Mike is the only one who fully remembers what happened all those years ago. The film’s first act essentially follows Mike’s contacting of each member of the group convincing each to return, moving the plot forward as well as reintroducing us to each of the characters, all now grown adults. The casting of the adult characters is very spot on including the aforementioned Mike, chubby intellectual, turned hunk Ben, (Jay Ryan), chatterbox Richie (Bill Hader), asthmatic Eddie (James Ransone), neurotic Stanley (Andy Bean), ringleader Bill (James McAvoy), and outcast Beverly (Jessica Chastain). This first section of the film is quite engaging and works very well as both character and plot driven story that balances humor and drama nicely.
Unfortunately, when they are all inevitably reunited, the movie starts to drag a bit. The film wisely continues to play games tonally with the audience. One moment we’re gripped with intensity and another, we’re laughing (this tone is perfectly signified by the Stephen King cameo mid-way through the film). Unfortunately, while the Pennywise threat is real, and the conflict is clear, I didn’t feel the critical nature of what was at stake this time around. There’s an odd sense surrounding the action in this film in terms of what is experienced by individuals, what is experienced by the group, and what is really happening in the physical world. This confusion distracts from the action lessening the film’s impact. An impact that has tremendous potential. It was conceived by Stephen King to be a novel about primal fear – the things that scare us as a child and how those things stay with us and haunt us long after. I’m not sure the execution quite hits the mark when all is said and done. However, I do think the sequel is serviceable and most will walk away satisfied and entertained, as long as they can tolerate the nearly three-hour running time! B–
It: Chapter 2 is rated
R and has a running time of 2 hours and 49 minutes.
In Stanley Kubrick’s film 2001: A Space Odyssey, Kubrick thematically expresses that there is a cyclical evolution of man where his intelligence will continually evolve in order to survive in the hostile environment in which he exists until he reaches a state of perfection. To signify moments of man’s evolutionary intelligence, Kubrick uses a mysterious black monolithic figure that appears or is mentioned in each of the film’s four separate segments, and Kubrick’s theme of an evolutionary cycle is present in each of the four segments as well.
The first of the four segments is subtitled “The Dawn of Man.” In this segment, Kubrick explores his evolutionary theme in the prehistoric past where the human race was born from apes. Kubrick begins this evolutionary process by immediately indicating the hostility of the man-ape environment as well as the their inability to defend themselves in it. This is shown five minutes into the film when a leopard leaps from a rock and easily slays a man-ape. Thus, it is obvious that the man-apes live in fear and are scavengers. Kubrick represents the first shift in evolution when a black rectangular monolith materializes in the man-apes’ den. This attracts the curiosity of the apes and they all embrace the foreign object. Following the encounter with the monolith, Kubrick illustrates that the man-apes are evolving in order to survive in their hostile environment. This is exemplified in the scene during the afternoon after the monolith arrived.
In this scene, a man-ape is seen looking for food. He begins to play with a bone found on the ground from an animal’s skeleton. A quick shot of the monolith appears indicating that it has inspired a new step in the evolution of the man-apes. In a montage of shots set to Strauss’ Thus Spoke Zarathustra, the man-ape begins to smash at and shatter the skeleton on the ground symbolizing the discovery that the bone can be used as a weapon. Kubrick includes in this montage a shot of an animal falling to the ground further symbolizing that the man-apes have learned to hunt for food as well as to protect themselves from danger. In a later scene, the man-apes, with their newfound discovery, war with other weaponless tool-less tribes easily overcoming their adversaries. This symbolizes that man has become capable of survival in their hostile environment, however more importantly, the environment has remained hostile.
The Dawn of Man segment of the film quickly transitions into the film’s second segment. This segment is untitled illustrating that mankind is in a new setting but he is essentially the same aggressive man from the dawn of time who must again struggle to survive in another hostile environment, thus continuing Kubrick’s cyclical evolution theme. In the previous segment, an ape-man throws a bone into the air in slow motion and the camera follows it upwards. Then, in a brilliant transition, the bone dissolves into the image of a space satellite in the year 2000. This dissolve from a tool/weapon of the man-apes to a satellite of 21st Century man connects the satellite as a distant evolutional and intellectual development from the first tool/weapon. Here, technology is quite advanced and is relied upon for almost everything from guiding ships in to dock to talking to family members. The reliance upon technology in this segment foreshadows the hostility technology will cause in the third segment. At the end of this segment, man once again finds the monolith, this time on the moon. This uncovering of the monolith once again signals that man is about to reach another more improved level of intelligence.
The third segment of the film is subtitled “Jupiter Mission, 18 Months Later,” and it is here that man’s hostile environment is once again realized. The second segment ended with the monolith emitting a loud radio signal toward Jupiter. The Jupiter mission is a nine-month expedition to search for the destination of that signal. Kubrick again reminds the viewer that the crew of the Jupiter Mission spacecraft Discovery are completely reliant upon technology and are in fact using technology to follow a radio signal from a different alien form of technology. It is in this segment that Kubrick introduces the film’s protagonists Dave Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) as well as the ultimate realization of man’s reliance upon technology, a “thinking” and “feeling” super computer named HAL-9000. The HAL-9000 computer maintains the systems of the spaceship, thus putting Dave and Frank at the complete mercy of technology.
The HAL-9000 is introduced on a BBC television program that Dave and Frank are watching and is said to be “capable of virtually all functions of the human brain, [including insanity and homicidal qualities].” Thus, the monolith’s unearthing eighteen months earlier yielded another jump in man’s evolutionary intelligence, the ability to virtually recreate the human brain in computer form. However, with this intelligence comes the possibility and realization of a new level of hostility in man’s environment. Only HAL-9000 knows the actual purpose of the Jupiter Mission. The computer has been designed to withhold this information from Dave and Frank until they are to Jupiter; therefore, man has in fact created an artificial intelligence that knows more than the men who control it. Thus, a false trust is put into HAL because the computer is not ever supposed to make an error or malfunction. The computer does malfunction creating a hostile conflict between the astronauts and HAL who ironically justifies his behavior by saying the astronauts “jeopardize the mission,” a mission they do not completely understand anyway. HAL proceeds to murder Frank by ejecting him into space while he was outside the ship replacing a part HAL had misdiagnosed as faulty allowing the audience to realize HAL had planned this murder. Dave is now alone and Kubrick brilliantly creates a sequence where man must improvise a non-rational solution to survive much like the man-ape that discovered weapons in the first segment. In a failed attempt to retrieve Frank’s body from space, Dave exits the ship in a space pod leaving his space helmet on the ship. HAL locks Dave out of the ship allowing no way back in except through a small air lock, but without a helmet, Dave can not leave the space pod. Dave devises a complex and creative solution using his “human tool” of intelligence that ejects him from the pod and into the air lock. Dave deactivates HAL and once HAL’s voice is silenced, the ship enters into Jupiter space triggering the announcement of the discovery of the monolith and the true purpose of the Jupiter mission. This message symbolizes Dave’s intellectual triumph over HAL by mentioning the monolith and revealing the one piece of information previously known only by HAL.
The final segment of the film is subtitled “Jupiter and Beyond the Infinite.” In this sequence Kubrick’s cyclical evolution theme is fully realized. Dave completes the flight to Jupiter without any dependence upon the ship’s computer. Dave then partakes in a transcendental journey through time and space activated somehow by the monolith that floats by his pod. This journey is symbolic of a final transformation into an eventual higher form of intelligence of evolutionary life. This transformation is further completed in the ingenious sequence after Dave arrives at his destination. In this scene, Dave arrives at some obscure white bedroom decorated in a luxurious style. Kubrick shows Dave transitioning through four different stages of his natural human life. In the final stage of his life, Dave is a dying old man lying on a bed. At the foot of the bed, the monolith towers over him. Dave is then transformed into a fetus in utero, evolved, and reborn as an innocent, intelligent, superhuman being orbiting through a non-hostile universe without any dependence on technology. The cyclical evolution from ape to man to spaceman to perfect superhuman is complete.
In 2001: A Space Odyssey, director Stanley Kubrick expresses an evolutionary theme that man will constantly evolve in order to survive in his hostile environment. He illustrates, with the use of a cyclical evolutionary theory, a rather hopeful and confident future for mankind and leaves open what future stages of evolution the superhuman creature is capable.
For those of you eagerly awaiting my annual predictions, your wait is over.
Like I do every year, my 2019 Oscar Predictions include all 24 categories and their nominees along with my humble (yet educated) opinion and commentary on who will bring home the gold at this year’s ceremony, held Sunday February 24th, hosted by… NO ONE!?
I will say that having no host under the pretext that there were no quality choices is just, plain lazy! I present to you, exhibit A:
That’s right, The People’s Critic tossed his hat into the ring a full two months ago, and nary a jingle has he heard from the Academy. So there it is: laziness. So on we go, hostless, but the show must go on!
Screenwriters: Che Hodari Coker, Sylvester Stallone, and Juel Taylor
Cast: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Dolph Lundgren, Florian Munteau, and Brigitte Nielsen
I’ve said before that great sports movies are more about life, passion, talent, and determination, and less about “the game.” This statement applies to the 2015 film Creed and even more so with its sequel, Creed II. However, that does not necessarily make it better.
Creed II opens with Adonis “Donny” Creed (Michael B. Jordan) “riding high now” achieving the level of World Heavyweight Champion, beating Danny “The Stuntman” Wheeler (Andre Ward) for the title, and propelling him to the highest echelon of the sport. This accomplishment coupled with Creed’s mentor and trainer Rocky Balboa (Sylvester Stallone) in his corner, attracts the attention of disgraced former World Heavyweight contender Ivan Drago (Dolph Lundgren). Drago, whose loss to Balboa 33 years earlier resulted in a life of ignominy back in Russia and abandonment by his wife has been training his son Viktor (Florian Munteau) and sees an opportunity to regain his glory by pitting Viktor against Adonis for the title. Viktor, it goes without saying, is a threat in every sense. He’s enormous, fast, and has been conditioned for years by his father to crush any opponent. Ivan, of course, notoriously murdered Adonis’s father Apollo in the ring, and so any fight billed as Creed v. Drago sells itself in its sensationalism. The problem is, Rocky senses that this fight is happening for all the wrong reasons and if Adonis wants to go through with it, he’ll have to do it without him.
So there it is, the setup for the film is Rocky IV, revisited. And the similarities do not end there. Creed II is very aware of itself, and this works both to the film’s advantage and disadvantage. Director Steven Caple Jr. makes subtle and overt references to just about every other film in the franchise in this film, which is at times rather endearing and at other times a bit too familiar. An example of the latter comes in the form of the conditioning montage. Rocky IV’s cross-cutting training sequence is pretty iconic, depicting Ivan Drago training conventionally (and juicing up with some roids) while Rocky trains in the Siberian wilderness, carrying logs in the snow and pulling sleds. An identical scene is present in Creed II, which is a tad too “on the nose.” On the other hand, some call-backs are crafted with just the right amount of nuance, like the way Caple Jr. takes the conflict of excess versus grit, flamboyantly displayed in Rocky IV, and tones it down to something more palatable for Creed II.
Of course it is easy to get caught up in the familiarity of Creed II, but there is plenty of unique material here as well. Michael B. Jordan continues to put out great and memorable performances, and man is this guy jacked! Creed II is also one of the more dramatic films in the eight Rocky-franchise films. While Creed was very character driven, it was still mostly a redemption story for its pair of protagonists. With Creed II, we get a chance to explore some generational themes that open the story up a bit, especially in regard to Adonis and Bianca’s (Tessa Thompson) relationship.
Still the obvious focal point of this film is the return of Drago, and while there’s plenty here to enjoy and experience, Creed II is missing that signature moment that we want, and perhaps we have to fault Caple Jr. for that. The fight sequences and the drama overall is missing the sting, choreography and ambition that Ryan Coogler was able to achieve in the previous film. The technical brilliance of Creed no doubt is what caught the eye of Disney executives, leading them to hand him Black Panther, which as we all know became the biggest comic book superhero movie ever and highest grossing movie from a Black director ever. In that regard, congrats to Caple Jr. for stepping up in the first place! Still, Creed II does “throw in the towel” so to speak when it comes to giving us any surprises or something lastingly memorable. Overall, this is a decent entry into the franchise that while not a standout, will keep things fresh enough to make us want to see more. B
Creed II is rated PG-13 and has a running time of 2 hours and 10 minutes.
It’s Oscars Week! That’s right, this Sunday, March 4th at 8:00 PM EST, Jimmy Kimmel will host the 90th Academy Awards. This is always an exciting time for The People’s Critic, and as always, I welcome you to join in on the fun by filling out an official People’s Critic Oscar Predictions ballot (use this link if on mobile). I have made my predictions, so now it’s your turn.
The ballot below contains the nominees for all 24 categories! On Oscar night, feel free to review the Summary of responses page for live updates on how your picks are doing, as well as view the live analytics (available only after you’ve submitted a response) for each category throughout the week!
This year’s nominations are representative of a pretty strong year at the movies, but few clear winner-take-all situations are teed up this year leaving some real head-scratchers in many of the big categories. I mean if you were ever wondering whether a southern racist cop dark dramedy is better than a love story about a fish-monster, then this is the year for you! Now I don’t think we’ll ever have the drama and excitement matching last year’s Best Picture faux paus with La La Land and Moonlight, but I think we will see some surprises given that Academy voters will be all over the place in their selections. The field was vast and the quality was strong in a year where Hollywood finds itself out of the #OscarsSoWhite and into the #MeToo. This is a year to make statements but also celebrate some great filmmaking.
For those of you eagerly awaiting my annual predictions, your wait is over.
Like I do every year, I have laid out all 24 categories and their nominees along with my humble (yet educated) opinion on who will bring home the gold at this year’s ceremony, held Sunday March 4th, hosted again by Jimmy Kimmel.
Oscar nominations have been announced, and The People’s Critic has the nominees for all 24 categories. The nominations announcement was really clever this year. Short videos were produced to introduce each category with guest stars like Gal Gadot, Rosario Dawson, Rebel Wilson, Molly Shannon, and several others. The brief videos gave a little glimpse at the concept behind each category. This proved most effective in the technical and production categories (ie watching Rosario Dawson suddenly transform into a haggard old witch for the Makeup & Hairstyling nominees). The ceremony for the 90th Academy Awards will be Sunday, March 4th at 8:00 p.m. That gives you 39 days to see the over 60 films nominated for various awards. Better get busy!