Tag: Drama

I decided to start watching movies from the Independent Spirit Awards because I wanted to see movies that I normally would never hear of. Sure, somehow, the winner of most categories goes to a film that is also going to be known from Oscars. But there are only usually a couple of those for best Picture.

This years Indie Best Picture nominations include American Honey, Chronic, Jackie, Manchester By The Sea, and Moonlight.

Great, four movies I have heard of before (one of which I was avoiding), and then Chronic, an actual independent film that wasn’t super famous. This is the type of film I hope to see from them, to broaden my site’s focus and get some weird shit up in here.

And I expect it to go full indie: death, minimum dialogue, and a very specific focus.

Working with those doomed to die is probably a very fucking miserable job. Knowing people only on the last moments of their life. Working with those sick, in pain, who want to die, who can’t communicate, and what have you. Just down right miserable.

But David (Tim Roth) is great at his job. He cares about those he works with. He bathes them, cleans them, never any complaint. He will go to their funeral, take extra shifts if they need it and make sure they are always as comfortable as possible.

And sometimes that can get him into trouble. He seems too caring to the loved ones of the dying, they worry he might be inappropriate with them. It is almost like he WANTS to be there when he dies. Oh yeah. David also suffers from depression, he is a bit weird, social anxiety and all of that. He only feels like he can be himself when he is helping those with suffering.

Also featuring a lot of people with much smaller roles, like Sarah Sutherland, Elizabeth Tulloch, David Dastmalchian, and Claire van der Boom.

Oh yeah, they are definitely watching porn.

Oh hey, Chronic, the film that I normally would never watch on my own. And it maybe should have stayed that way.

Look, I like Tim Roth. He is fantastic in plenty of movies and even a few TV shows. He has to carry this movie. It has a lot of long take scenes, slow and meticulous. According to IMDB it only had 97 scenes overall, each one on average lasting under a minute. That means every scene should matter.

Each scene does seem to add to something, a lot of them are viewer discomfort. People dying are not pleasant. This movie has old, frail, people. Naked, pooping on themselves, coughing a shit ton, crying and wanting death. Just being miserable.

And that is the reason this review gets an average rating. It felt realistic. But the actual point to the story seems to be missing. It is a character study, it is okay, but it lacks that oomph. A sobering experience is what Chronic is.

The Dressmaker is about someone who makes dresses.

Review done!

Oh, and it is from Australia! How exotic.

So god damn exotic up in this introduction.

Okay, okay, here are some more details. This takes place in a small outback town of Dungatar, a close knit, everyone knows everyone community. And Tilly (Kate Winslet) has returned to take care of her sick mother (Judy Davis). Tilly was sent out of the town at a young age, to live elsewhere. She became a really great maker of dresses and is ready to return to her roots.

But then she is called a murderer. What? Apparently she was banished for killing another kid at the local school house. The local head councillor (Shane Bourne) and father of the dead boy made the decision. But now that she is back, her home is in shambles and they call her mother mad. She doesn’t remember the circumstances around the boys death, but deems she needs to find out the truth.

What follows is romance, lies, outright bitchiness, competition, and more. Hell, once she starts getting people to accept her again, some higher ups go and bring in a rival dress maker (Sacha Horler) to stop her spread of good will

But even if Tilly finds out the truth of her past, will it make things better? Or is the town too spiteful and angry for there to ever really be a cure.

Also featuring Liam Hemsworth, Hugo Weaving, Julia Blake, Kerry Fox, and Rebecca Gibney.

The cop can’t arrest her for standing out in a crowd. Nor for looking fabulous.

The Dressmaker is not for the feint of heart. Wait, no, it is relatively mild. That’s not right. The Dressmaker is full of romance and wonder! Shit, that is wrong too.

Oh here it goes. The Dressmaker is a weird, quirky film. It is about small town life, but you know, Australian. And set in the 1950s or so. Those who grew up in small towns will be able to more readily relate to the gossipy nature of everything, regardless of country it is set in. It isn’t a completely unique element in film, but given that this movie deals with an old murder involving kids, it does sort of grow quite rampantly.

But really, the reason to watch this film would probably just be the dresses themselves. They are extravagant by any means, but look bizarre when compared to the dusty, small town, 1950s vibe. Just another quirky element of the movie, the juxtaposition of the fancy dresses with the poor farmer. They are quite wonderful and this film has potential, if any, to be nominated for costumes.

But outside of the dresses and some fun Winslet movies, it didn’t really offer me much more. The ending started to get carried away with itself, as everything suddenly happened much more quickly than the earlier pace of the film. Some crazy things happen, they keep happening, and then Winslet’s character goes out with a bang.

A bit of revenge, a bit of mystery, a lot of weird, and a movie that is forever going to be hard to recommend.

Have you seen the trailer to Collateral Beauty? Well, please do so. Here is one and here is another. They are both great. I saw it first a few months ago and knew I had to see that movie, right away preferably.

It has actors I like in it, the story looks neat, and looks like a perfect holiday film, without being cheesy Christmas. And it looks like it would make me cry.

But man, it turns out this movie is incredibly fucked up and inappropriate.

Ah love, Knightley knows all about that one.

Like I said, please watch the trailer. Now here is the real plot.

Yes, Howard (Will Smith) used to be good at his job. He ran an advertising firm, preached that every ad should speak to three absolutes: Love, Time or Death, and people loved him. And then, he had his daughter die. Now, the majority of the film takes place TWO YEARS LATER. And now, he is still dealing with his grief. He is barely audible, he spends most of the time just making dominoes just to knock them down, not even looking at them as they fall.

And this leaves most of the company to his three main friends/colleagues. Whit (Edward Norton), Claire (Kate Winslet), and Simon (Michael Peña). Whit is recently divorced and his pre-teen daughter hates him. Claire wants to maybe get a surrogate baby. And Simon, well, Simon might be dying.

All of them have their own issues, but they are still doing their jobs, and right now their company is failing. They have an offer to sell their company though, for $17 a share, which is more than what they really are worth! They just need Howard’s approval, but he refuses to do anything. So they think, sure, maybe they can just show he isn’t right in the head to make decisions without him.

So they develop a scheme, hire a P.I. (Ann Dowd), and she finds out that he has sent letters to Love, Death, and Time. Whit decides that the best option now is to hire actors to be these three entities, make him look crazy in public, record the display, digitally remove the actors, and bam, they can sell the company and do good things.

Yay morals. Featuring Helen Mirren, Keira Knightley, and Jacob Latimore as the actors, and Naomie Harris as a grief counselor.

Two of these characters are considered more of a main character than Will Smith.

My eyes could not believe what I was seeing. I had to both shake my head and put it in my palms at various points in the film. What trailer did I see and why did it lie so hardcore to get viewers?

Oh yeah. Money.

I haven’t seen a trailer so deceptive of a movie since Hercules, but in that case it was a nice surprise. It didn’t change the plot of the film. In this case, people go in expecting a heart warming tale and get a story about very dickish people and they don’t get punishment. Seriously. There may still be heart warming elements, but they come to people who are not worthy of our sympathy.

Here is a fact. Yes. I teared up a bit in the film. But making me cry does not a good movie make. It is frankly really easy to do nowadays, especially if part of the plot involves a dead daughter. But I cried during Jem and the Holograms and could still see its shitty elements.

Look, trailer lies aside, the main ending after all of it is pretty easy to figure out. Except for one element and that is because it doesn’t make any sense. It could have maybe been considered an okay film, but I have to shake my head about the last final reveal. It seems tacked on and never explained, and makes me question how it even got to that point. Almost as bad as the reveal at the end of Now You See Me.

There are a lot of big names in this film and I was really excited to see it after I saw the trailer. But it is easy work for basically everyone involved. Smith feels like a supporting character until the end of the movie. No one is giving I their all and everyone seems to be collecting an quick paycheck.

Collateral Beauty is emotionally manipulative while being morally terrible. That is not a good combination anywhere. And especially not around the holidays.

I didn’t know a whole lot about Lion going into it. Well, I knew it had some sort of awards hype, and that I’d probably cry (yay!), but that was it.

Outside of it starring Dev Patel. And you know what? Dev Patel really needs a win right now.

Last year he had Chappie and The Second Best Exotic Marigold Hotel. This year he had The Man Who Knew Infinity. Outside of The Newsroom and Slumdog Millionaire, he hasn’t had a lot of hits.

So really, I just hope it is good for him, as I know he is a great actor, he just doesn’t get to be in great films.

Is that the best Lion Face you got? I mean, I get the mane. But wheres the roar?

Saroo (Sunny Pawar) is just a little boy, around 5 year old, living in a small town in India. His mom (Priyanka Bose) is single, so she is a laborer, having to care for four kids. Saroo has an older brother, Guddu (Abhishek Bharate) who he looks up to and convinced him to take him on a small work trip. On the way, Saroo got too tired, so Guddu had to leave him at the train station. As long as Saroo stays there, Guddu will find him after the job and take him home. But when Saroo wakes up he gets scared. He looks around and he is all alone. And he ends up asleep on an empty train, and when he wakes up, he is speeding along the tracks unable to get off for a couple of days. When he gets off finally, he is 1600 km from home in Calcutta.

Being five, he doesn’t know a lot about his home, his mother’s real name, or where he came from. After living on the streets, and eventually getting into an Orphanage, they still cannot find his family. But they have a family willing to adopt him. John (David Wenham) and Sue Brierley (Nicole Kidman). In Australia. In the Tasmania part of Australia. Pretty far away.

Needless to say, he obviously goes, now 7 years old for a whole new life. And 20 years later, he is going to college for Hotel Management. He is older, so that is why Dev Patel is in this movie. He has a girlfriend (Rooney Mara), he has basically forgotten about his past life. Until he sees a reminder in the form of a pastry he always wanted to try. Following the advice of a few friends, he uses this new thing called Google Earth (This was 2008) to find a theoretical circle of travel he might have come from and you know, slowly look over all of it for his home.

And it drives him insane, taking over his life, making him leave his job, leave his girlfriend and talk a lot less with his family. A lot of strain. Given that this is a true story, you can figure out how part of this end.

Also featuring Divian Ladwa and Kershav Jadhav as the other son adopted by the Brierley’s, who has his own sort of problems.

They both lost their families, but Saroo lost his at a bigger scale.

Strangely enough, Lion is actually surprisingly similar to Slumdog Millionaire. An Indian boy has terrible things happen to him in his youth, but eventually something incredible happens to him, and he has to spend a lot of time searching for a loved one. Except Slumdog Millionaire, yes a drama, also has a lot of funny moments and is a romance. Lion is drama, straight through and through, and one that will just make you cry a variety of ways.

We get sad cries AND happy cries with Lion. And not just at a few points in the movie, but just sprinkled throughout it.

A lot of credit should be given towards Sunny Pawar, who was the star of the film for 40-50 minutes. You just feel so bad for the little kid, watching him wander around, escaping bad people, dealing with this shit, AT SUCH A YOUNG AGE. It is heart breaking. He does a wonderful job and will probably be overlooked.

Patel also did a wonderful job, dealing with the angst of remembering his past. And of course the moment where he makes it back home and finds his mother? Yeah, that is when the tears will start flowing. A shout out as well to Kidman, who plays a non-bitchy role for the first time in forever, who brought a lot of emotion as well.

Lion is a great story, well acted, and while it may be emotionally manipulative, it is a good sort of manipulative. Definitely one of the better journeys in film this year.

A lot of hopefuls out there were hoping that Passengers would be our next great Sci-Fi film. There seems to be one every year. Last year we had The Martian, year before that was Interstellar, and before that was Gravity. We’ve consistantly had one amazing one a year that blew the rest behind.

Passengers was certainly the most advertised coming out this year, including a sweet near Christmas release. But it was too slow.

Not only did we have Arrival already this year, which clearly took the title, but we also had Midnight Special, which I think needs to be on its own pedestal as well. That’s right. Two groundbreaking, well done, science fiction films this year. And neither one of them is named Passengers.

“But we are the only one to actually be set in space! Come on, space suits!”

There is a big ship out there, named Avalon, and it is going to Homestead II. And Earth like planet that they are going to start building colonies on, because Earth is super damn crowded. The trip takes 120 years, so everyone aboard the ship is in a hibernation sleep. Five months before they get there, the crew will wake up, and four months before they get there, the 5,000 passengers will wake up. There they can start to mingle, party, hang out, start thinking of ideas, before they land. Good times.

Until it goes through an asteroid field 30 years into the trip, hitting a few big things. And one of the pods stops working, waking up the passenger inside. Jim Preston (Chris Pratt), engineer/mechanic guy, finds himself alone on a giant space station. He has computers to talk to, and a robot bartender named Arthur (Michael Sheen), but that is it. He cannot go back to sleep in the pod, and there is still 90 years left on the voyage. That’s right. He will die on that ship, old and alone, with no one to help hi.

Jim lasts a whole year almost before thinking about killing himself. But then he sees a girl in a pod, Aurora Lane (Jennifer Lawrence). He falls in love with her, learns everything about her in her profile, and she gives him a reason to go on with his life. And then he does something else. He wakes her up. Sure, he basically condemns her to die also on this ship, but now he has a buddy who will hopefully love him back! Hooray!

Also, problems on the ship still keep happening, Laurence Fisburne is eventually in it, and action, adventure, explosions.

The finest drink in the entire galaxy.

I think inside of Passengers is an extremely solid film. It could have been a more serious drama, really deal with the ethics of his decision and how it will affect them for the rest of their lives. But Passengers didn’t want to keep it really serious. It wanted to be more romantic and more…action-y.

And the last act really does kill it. If it had none of the explosions, the deftly engineering skills, the potential of self sacrifice, the crying and screaming, it could have been a better film. It instead went a more Summer Blockbuster route and gave us a weaker story. The problem with the more action scenes is that they seemingly came out of nowhere. Oh yes, there were hints, but it jumped from a 2 or 3 to an 11 out of nowhere, just because the plot demanded it. The build up was bizarre, especially because the cause was something that started over two years ago.

You know what though? That still didn’t kill it for me. The ending after all of the action could have still had some really beautiful moments. They even hinted at it. (POTENTIAL SPOILERS). But instead of seeing any of these great growing old scenes, we are instead just transported to when the crew wakes up five months before landing, to see all the changes done to the ship, with a Lawrence voice over explaining it to them. And it just falls so flat.

So the rating here is partially for potential. Pratt and Lawrence aren’t bad, they aren’t just given enough to really work with. There are times when the emotions run real (After the reveal of what Pratt did), but they don’t fully go where they should to make it a very emotionally investing film.

Passengers could have been a crazy third amazing Sci-Fi film of the year, but instead, it just wanted that blockbuster money.

I do love it when a play becomes a film, assuming the play is a good one of course. I am a huge fan of dialogue, and plays usually give me good dialogue.

But what about a play I actually know? I don’t own a lot of plays, but I do own Fences. I never read the whole thing, but I had to read parts of it for a college level drama class. And the parts and themes that I saw I really enjoyed. So needless to say, I was pretty excited to see this coming out as a film.

And here is an even bigger reason to get excited. This play was actually given a revival in 2010 on Broadway, starring…Denzel Washington and Viola Davis! They both straight up won Tony awards for their portrayals. That means this film is them reprising a role they already kicked ass at, for the world to enjoy, six years later. That is pretty darn gosh nice of them.

And here are some other cast members because it is awfully hard to find pictures of anyone else.

Set in the 1950’s, we get to meet Troy Maxson (Denzel Washington) and his friend, Jim Bono (Stephen Henderson), getting done with work. It is Friday, pay day, they work on the back of a garbage truck, and Troy might be getting fired for asking about why no black men get to drive the garbage trucks.

But Friday means pay day, and drinking day, so it is a good day. Even when his old son Lyons (Russell Hornsby) comes to visit to borrow money. Even when his wife, Rose (Viola Davis) gives him an occasional hard time. Even when his son, Cory (Jovan Adepo) is seemingly throwing away his future by wanting to go to college for sports instead of getting a real job.

And his poor older brother, Gabe (Mykelti Williamson), who went off to World War II and got injured. Now Gabe has a metal plate in his head, isn’t all there, and receives a government check.

Nah, but Troy loves his life. No reason to mess it up, people respect him, and he will live out the rest of his life care free, assuming he ever shuts up.

Also featuring Saniyya Sidney.

And I didn’t even talk about the fence.

For those that didn’t know Fences was based on a play, I’d hope they’d realize in the first ten minutes. Characters just hanging out in the back yard, telling stories, giving long lines, and talking, talking, talking. For those who hate excessive dialogue, you will not enjoy this movie.

Not all play movies feel like a play, but this one certainly does. Over 90% of the film takes place in or around a single house, with characters walking in and out. I was a bit surprised how many different cuts and angles they threw into the film. These are people who have rehearsed these roles and done them many times over, so they could have done entire scenes in one long go, but Washington decided to embrace the movie aesthetic and let us get emotional shots and not just artistic long shots.

Acting of course was amazingly good. Washington gets nominated for Best Actor all the time, and honestly, I wouldn’t mind if he won it again. Casey Affleck for Manchester By The Sea is the favorite I believe, and either of them would be totally worthy of the big prize given their performances. And Washington wasn’t the only good part. Davis is a virtual lock for Best Supporting Actress.

But Henderson and Williamson also were pretty damn good, with a bit more limited screen time. Henderson also was in the Broadway version, so it is nice to see him still acting well. Fun Fact: Henderson was ALSO in Manchester By The Sea. Williamson did amazing as Gabe, a special needs character, but also you might remember him as Bubba from Forrest Gump. Apparently that is just a talent of his.

Fences is emotional and deals with a lot of themes. Despite being set 60 years ago, they all still resonate today. Troy is a terrible person and character, but at the same time, it all just seems to make sense given his upbringing. The Sins Of The Father trope is a strong one in stories, but it is illustrated excellently in this story an instant classic.

Coming of age films are a dime a dozen, and I don’t really understand if that means they are common or just cheap.

But they are easy to cater to large audiences. Most adults used to be children, so at some point, they must have come of age. Put in some embarrassment, some universal feels, and hey, people will relate, like it, laugh, and enjoy.

I will be honest that I never really was able to connect to a female coming of age film really before, given my lack of ovaries, and some of the growing up experiences become a bit different. Despite that, I was still excited about The Edge of Seventeen, because I ended up seeing the trailer at some point and hey, it looked funny, crude, and real.

As a bonus, everyone looks awkward.

When Nadine (Hailee Steinfeld) was just 13 years old, her father (Eric Keenleyside) passed away. Which besides sucking for the obvious reasons, was extra bad because he was the only person who seemed to understand her. He was the reason Nadine and her mother (Kyra Sedgwick) could live under the same house, as they got on each others nerves.

Also Nadine is sort of miserable. She is sarcastic, she jokes around, she is vulgar. She is the star of every teenage coming of age film about a loner, except this time she is a girl not a boy. But somehow she still has a friend. Krista (Haley Lu Richardson) is only a little bit weird, but she puts up with Nadine’s shit because she is a good person. But apparently Krista was just waiting 15 or so years to secretly ruin her life. After a night with their mom out of the house, drinking, fun, Nadine wakes up to find Krista in bed with her older, perfect, brother Darian (Blake Jenner).

Yep. Now Nadine’s life is ruined. The only way to end it has to be suicide. There is no way her life can get worse. Sure, there is a boy in History class (Hayden Szeto) who seems into her, but he is only cute in a pity way. Her one confidant left is her teacher (Woody Harrelson), who has resolved to fighting her sarcasm with his own. And she is madly lusting after a boy in her school that she barely knows (Alexander Calvert) because he is mysterious.

Nadine is a bit mysterious too, because she does not have blonde hair.

As I already alluded to in the review, I loved that our main character felt like one of the many guy leads that normally have this movie. Women leads like this are rarely so crude and unlikeable, so it was a fresh change of pace. And like our lead, most of us have still done stupid things like her before, so yes, she was easy to relate to and cringe along with.

Steinfeld hasn’t been this good of a lead since True Grit (which I am still annoyed the movie put her under Supporting Actress). Most of the rest of the cast isn’t given a lot to work with in comparison, but Harrelson always brings a laugh whenever he is featured in his scenes. Jenner has had a really good year, with this and Everybody Wants Some!!. And I haven’t seen Szeto in anything else before, but I couldn’t help but sort of melt into his awkwardness.

I don’t think it is hard to see why people love this movie. It is quirky, it feels real, and it brings up that nostalgia that we all love to remember.

I am not saying it will go out and win a lot of awards, but in terms of over all feeling good (While also dealing with a LOT of dramatic elements), it keeps a nice balance and really takes the viewer on a teenage ride. A fantastic film, and one is keeping the coming of age story fresh and relevant.

Has there been any movies out about JFK yet?

Just kidding. Outside of JFK itself, we have had Thirteen Days, Bubba Ho-Tep (technically), and recently we had Parkland, about his assassination.

But what is with all the focus on the dead president? What about the lives that were left behind?

Jackie wants to give us an important look on his wife, Jacqueline, also told from the perspective of her life before, during, and after the assassination on her husbands life. And when I say it wants to focus on her, we mean mostly every single possible shot and with her stories.

See? No one else in the camera, this is about Jackie not her husband!

For the story, it takes place after the death of John F. Kennedy (Caspar Phillipson), where Jackie (Natalie Portman) is now living out side of the White House in a big private estate. Some journalist (Billy Crudup) is invited to get an interview/update with her, knowing that she has full control over what actually gets written. And then the stories all come out.

Most of it is about what little time she had in the White House to actually try and make a difference. Jackie under went a full restoration for many parts of the white house, bringing back original antiques. And she also brings back art in the form of live entertainment, musicians at the top of the careers and instrument group, bringing back culture. She even did a show for PBS giving a tour of the White House on those new fangled television sets.

And then there is the death. The after math. Lyndon B. Johnson (John Carroll Lynch) getting sworn into office, dealing with the logistics of a funeral, telling her two kids about what just happened, while also having not a lot of time to suddenly move out of her home. I think it is great that such normal problems can elevate so much when talking the highest government position in our country.

Also featuring Peter Sarsgaard as Bobby Kennedy, Beth Grant as Lady Bird Johnson, John Hurt as a priest, and Greta Gerwig, Mac Casella, and Richard E. Grant.

If you look close, one of these pictures is a blood red dress, the other just has red blood on it.

Jackie was not what I expected. A drama about a woman in distress. Sure, technically that is what the film delivered. But it had another element attached. A scary element. And it all started before the first real frame. The film began with a dark screen and incredibly jarring music. It made me nervous, not just in its intensity but thinking this film might turn into a real art house flick. The same sounds continue at various parts of the movie, adding a sense of panic to a story that you already know the outcome.

Portman was of course superb. I quickly forgot it was her, she embraced Jackie with her voice, her smile, and even down to the way she presented herself in front of others. I am weaker at the Best Women acting categories (like every year), but I have to imagine her chances are the highest for the Academy. They love biopics.

I was also impressed with Sarsgaard as Bobby Kennedy in this movie. I don’t know a lot about him, I haven’t even watched Bobby, but he did a significant amount in this movie to not make this 100% about Jackie. I also wonder if John Carroll Lynch ever thought he would get to play a real US President in a film one day.

Jackie is not your standard biopic. Is it downright almost scary at points and shows that not all griefs are handled equally.

I wasn’t able to see Nocturnal Animals before it came out, mostly due to screening conflict. But without knowing the plot of the film, I was interested in the cast alone.

But given that I wanted to see it, the title did a lot of work with only two words.

Nocturnal. Animals. It sounds mysterious, secretive, and of course, primitive. It riles up a lot of fears, especially for those people afraid of owls.

Jake Gyllenhaal already had a good year thanks to Demolition, so regardless of how this one went, I consider it to just be bonus Gyllenhaal.

And a bonus amount of this guy, who I didn’t recognize in the film.

Susan Morrow (Amy Adams) is miserable. She lives in a giant house, with her husband (Armie Hammer). She is an art director, but feels like it is all junk. They are close to being poor, selling their items, waiting for a big business deal to come through, but she doesn’t care. She cares that her marriage is just a shell and pointless.

Then she receives a package from her ex-husband (Jake Gyllenhaal). He is a writer, she criticized him a long time ago, he just didn’t write from his heart. But now he has a new story, one he says was inspired by her, to write from his heart, even dedicated to her. It is even called Nocturnal Animals, his old nickname for her to explain her insomnia.

The story is about a family, a husband (Gyllenhaal), his wife (Isla Fisher), and teenage daughter (Ellie Bamber). They are driving through Texas in the middle of the night, heading to a vacation, empty roads, no signal, simple. Until they do catch up to a few cars, who are up to no good and willing to make a few choices to ruin a few lives.

Starring Aaron Taylor-Johnson, Robert Aramayo, and Karl Glusman as some bad dudes, Michael Shannon as an older, smoking cop, and Laura Linney as Susan’s mom. Real mom in this story, not the book mom.

But also all of these people are fake anyways because: acting.

Nocturnal Animals made me feel a whole lot of emotions. Fright, scares, hope, sadness, angst, tension, extreme sadness, indifference, and even a bit of confusion. Needless to say, I was on the edge of my seat from some parts of the film, and sinking into it later to try and escape the pain.

Nocturnal Animals tells a story, a story in a story, and it does both points so goddamn well. It both made me want it to never end, and to subsequently hurry up so that it could potentially become a sunshine, happy ending. But it sticks to its tone guns and it delivers exactly the perfect ending at the conclusion.

Everyone involved with this project should simultaneously be slapped and hugged because of what I imagine they had to go through to really convey those emotions. The acting, cinematography, directing, fuck, even the costumes, why not. It all just feels so planned to maximize the angst I felt inside.

This movie is extremely hard to talk about because in all honesty, it is something that should be experienced. It isn’t for the feint of heart, it goes into some heart wrenching areas. But if you give it a shot, you will get a smart film that doesn’t hold your hand, some of the best performances of 2016, and a story that will stay with you for a long time afterwards.

The Academy loves them some nostalgia. That is the only way I can explain why they continually love Clint Eastwood directed films. They elevates the okay American Sniper, and now there is wind out there that they will elevate Sully as well.

I didn’t want to see Sully, honestly. I just didn’t care. I don’t care who was involved, it was a story that didn’t feel like it should be a movie. A guy landed a plane in the water, no one died. Shit, didn’t they make Flight just to sort of go off the good will of the Sully situation?

Yes, this film just seemed like a combination of Flight plus Captain Phillips. You know, plane crash landing, but true story with Tom Hanks.

Yep, plane, water, crashing, it is all there.

Did you hear about the plane that went down? Which one? Oh, the one in January of 2009, that left LaGuardia and crash landed in the Hudson River after it ran into some birds and lost both of its engines. It couldn’t make it back to an airport, despite being NYC an close to about a dozen of them, so the pilot just knew he had to glide it down into the Hudson River. Some people came and rescued them quickly, none of the passengers or staff died. And everyone left happy, giving us a movie!

Just kidding. Some people were angry.

Sully (Tom Hanks) is a long flying pilot, who did what he thought he needed to do. He flew in a war, he was a crop duster, the typical stuff, and he has survived many hard situations, and he survived this one as well. Now the guys in charge are saying he had time to get to a couple different airport and needlessly endangered lives on a hunch. They have computer and other pilot situations! Looks like Sully is fucked. Unless he…isn’t fucked!

Aaron Eckhart is his mustache wielding co-pilot, and it also features Mike O’Malley, Anna Gunn, and Laura Linney. And other people I recognize as minor passengers, but they aren’t important.

Mustaches tend to raise a rating on average a single point!

Somehow like I imagined, Sully ended up being a very simple movie. It is only an hour and a half and even that seems too long. We get to see the crash from their point of view, from an air traffic controller, from flashbacks from news people, from random passengers. Eastwood literally made this movie 90% about this one event and that is it.

We received two flashbacks from Sully’s youth of other situations and training, but honestly, they drag the movie further. The only other aspect of the movie is a couple scenes of investigation threats, and the final conference involving computer and pilot simulations.

My biggest beef with the film is obviously the point of the movie. It is about a true event, technically not a super heroic landing all things considered, and it feels too long at only 90 minutes. This maybe should have been a documentary, a 45 minute one, with some re-enactments. That might have been worth my time. The re-enactments for this movie had some intense moments, but that was about all it had going for the movie.

Sure, Hanks’ acting is fine in it (not extraordinary), Eckhart is okay. But there is nothing really worth writing home about. I don’t see why this film is in the awards talk at all. Hell, final scenes ends on a joke, people laughing, and then a fade to black, like a crappy TV sitcom.