movies

Quizzical

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Anyone who has a Facebook account is probably familiar with those “quizzes” that clog timelines and cause users to waste time wondering if some assemblage of random questions can determine which state you are meant to live in, what era you were born in or belong in, or which celebrity you are destined to walk down the aisle with. And I’ll admit, I’ve taken one or two of them, out of pure curiosity, or simply to pass the time. It’s not like they mean, anything right?

Although, I did take one a little while ago… just for fun. To see which Game of Thrones dude I was most compatible with. I was sure I’d get stuck with a loser like Edmure, or a monster like Gregor, but then…

screenshot_2017-08-19-22-52-322071559275.pngBAM. Somehow, I got my favorite character. He’s my favorite for a reason, after all – and part of that reason is that he’s a fine specimen of a man. And thus, I began to wonder… maybe these quizzes do have some credibility to them? I mean… I’m not too crazy about living in the House of Black and White, because that wall of faces creeps me out a little, but Braavos is stunning!

But the questions on this quiz did genuinely seem to be totally random, with nonsensical questions apparently unrelated to the result – and I was sure it would only feature the major characters, like Jon, Robb, Jaime, Bran, etc, but I managed to get a minor/secondary character who is also my fave. What are the odds? Maybe these quizzes do mean something? Maybe there’s a method to their randomness?

screenshot_2018-05-05-19-31-281889245122.pngI took another one recently, just for kicks, about favorite movie genres. And I thought I’d have the quiz stumped, because my palette for film-watching is very broad. How can this paltry, insignificant Facebook quiz know my favorite film genre when I’m not even 100% sure what it is?

Well… I’m not sure how… but it can.

Not only was it able to peg my love for drama films, but it picked my favorite film of 2017 and another film that I loved. HOW COULD THEY TELL? I mean, these quizzes ask silly questions, like showing a picture of four different pieces of cake and asking you to select just one, or asking what your favorite way to spend a rainy afternoon is. How can it determine anything of substance from such seemingly inconsequential questions?

Results like these make me ponder if maybe – just maybe – these quizzes do mean something. Maybe the universe is channeling it’s energy through these Facebook quizzes…telling us who we are as people. Who we are MEANT to be. What path we are meant to follow.

And then, I took a “Which Avenger are you quiz?” and…

screenshot_2018-05-06-17-13-28530251116.png

Yeah… outgoing? Charismatic? Humorous? POSITIVE? Please… I am nothing like Thor. I mean, in my dreams, maybe. I haven’t got an ounce of Pirate/Angel in me! I’m closer to Loki than Thor, by far.

Now I know these quizzes are full of shit.

~~~~~

If you’re in need of a new read, check out my YA novel, I’m With You! The ebook is only $1.99 or (£1.55) and paperback is $9.99 (£7.99) on Amazon / Amazon UK.  Nook book is also $1.99 and paperback is $9.99 on BN.com.

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The Spark

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I’ve mentioned this in previous posts, but I generally attribute my love and appreciation for film to my decision to minor in film during my college years, since I got to experience a broad spectrum of different genres and styles from a multitude of different directors and eras.

Prior to that, I didn’t go to the movies all that much – at least, not as often as I would have liked. Now, I try to go once a week or every couple of weeks, and sometimes I go three times in one week, it all depends on what’s showing at the two theaters in my tiny backwoods town. I also get my friends saying things like, “Please tell me you didn’t go to see Pete’s Dragon by yourself,” like it’s a bad thing to take in a 10AM Saturday show solo to enjoy a nice Disney flick with some gummy bears.

But there is one film that I consider to be my “aha!” moment – the one that opened my eyes to how beautiful, compelling, and powerful cinema can be. And that film is Chris Nolan’s 2008 genre-breaking superhero flick, The Dark Knight.

MV5BMTMxNTMwODM0NF5BMl5BanBnXkFtZTcwODAyMTk2Mw@@._V1_UX182_CR0,0,182,268_AL_This was before the days of assigned (and reclining) movie theater seating, so my parents and my best friend and I showed up an hour early in order to ensure we got the best seats in the house. As a massive Batman fan, I was psyched to see the Caped Crusader take on the newest iteration of his arch-nemesis, the menacing Joker. As the film unfurled onscreen, I was totally blown away. The music, Heath Ledger’s unforgettable performance, and the more grounded version of Gotham and Batman that Nolan crafted quickly became one of my all-time favorites, and I left the theater already yearning to see it again… which I did. Twice more, including a one hour trip to see it in IMAX with my dad. To this day, I have a huge movie poster of the Joker hanging over my bed; the first film poster I ever bought for myself. Now, many others have joined the ranks. I will still see any film that Christian Bale is in, regardless of ratings, will always spy a bit of Commissioner Gordon in any Gary Oldman performance, and will forever contend that The Dark Knight was robbed of a Best Picture nom at the Oscars.

As such, I consider The Dark Knight to be “the spark” that ignited my adoration of the cinema, the first film that made me think about how movies work and how all the parts come together to make one solid, functional piece of art capable of wowing and moving audiences. It opened the door to a whole new world, for me – and it didn’t even require a death-defying magic carpet ride to get there. Sure, I loved other movies before that, but The Dark Knight is special for me, and it always will be. Now, I’m one of those obnoxious people who love to talk about mise-en-scene and cinema verite and the male gaze and all that jazz, and I have a comic book movie to thank for that.

If any one else reading this has had a similar experience, what was your “spark?”

Film Review: Avengers: Infinity War (2018)

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Dir: The Russo Bros
Starring: Robert Downey Jr., Chrises Evans, Hemsworth, and Pratt, Benedict Cumberbatch, Scarlett Johansson, Josh Brolin, Mark Ruffalo, Zoe Saldana, Chadwick Boseman, Peter Dinklage, Tom Holland, lots and lots of other amazing humans, possibly some aliens, and one badass cape.
Runtime: 2hr 29min
Rating: PG-13
Spoiler level: Light, if any. No major plot points revealed.

At last, the moment Marvel fans have been waiting for since Iron Man’s debut film in 2008 has dawned. A decade in the making, those loyal to the ever-expanding Marvel Cinematic Universe get to see dozens of superheroes (and a few villains) meet onsceen in what is being marketed as one of the largest collaborative efforts in film history, and the result is an ambitious and unrelenting crossover spectacle that is sure to keep fans on the edge of their seats until the lights go up in the theater and the last name ticks by on the credit scroll.

img_20180426_184828_4731152136814.jpgAvengers: Infinity War follows the fractured Avengers (and a ragtag crew of other heroes) as they attempt to stop the intergalactic threat Thanos from securing the all-powerful infinity stones and thus wreaking his judgment upon the earth. And… that’s pretty much all to be said without wandering into spoiler territory.

First of all, for those going into this film spoiler-free (as one should) I have only one word of advice: Forget everything you think you know. With a film series that now spans 19 installments, it’s difficult not to speculate and generate theories as to what will happen to the much-beloved characters fans have grown to know and become attached to over the last ten years. But I assure you, Infinity War defies expectations and unfurls enough twists and surprises to keep the most intuitive fans guessing until the final seconds.

This film features a massive cast, and while some faces do get more screen time and focus than others, no one feels shoved to the side or left out. The smaller story-lines are all connected by one major over-arcing conflict (named Thanos), which keeps the story churning ahead like a train barreling down the tracks, and prevents the plot from meandering too far off course. Several of the unorthodox pairs and groupings that come about in this movie are flat out strokes of comedic and narrative genius, with interactions and rapport that practically ooze chemistry. I never realized how badly I wanted a Thor and Rocket Raccoon team-up movie until now, but if it ever happens, Marvel has my money. Somehow, even in such a jam-packed film, several characters manage to undergo a decent and impressive amount of character development despite sharing the screen with so many colorful personalities. This film could very easily have felt like “too much,” but because the cast is broken up into different factions most of the time, it manages to escape coming across as bloated and bogged down.

The writing capably balances comedic moments (with several jokes that had me laughing out loud) and the heavier, more serious scenes that strive to yank at the heartstrings and appeal to the viewer’s emotional investment in the series. The result is a well-paced film where some of the smaller moments are more charming and evocative than the bombastic high-stakes events. A film of this magnitude also promises a wealth of action, and once the fight-scenes start, they hardly ever let up, except some breaks for exposition and banter. There are numerous instances of creative combat and fan-service that are certain to please and thrill, though fans who disliked the large cast and epic fight scenes in Civil War will possibly find little to appreciate about the action sequences in this film. Likewise, those who are looking for a more casual movie-going experience or have missed the major films in this series might want to skip this one until they’re caught up. Many of the jokes and references in this film will not make sense to those who have skipped a few chapters – in fact, the opening scene is proof that this isn’t a film meant to draw in new viewers and initiate fresh fans. The first seeds for Infinity War were planted ten years ago when Tony Stark first graced the silver screen, and for the nineteenth chapter, the Russo Bros and other hands behind this film have delivered an explosive, emotionally-jarring, and potentially scarring adventure that hardly takes a breather from start to finish.

On a visual level, the effects are of standard Marvel quality. Some CGI looks fake, other times it’s seamless… that’s more or less par for the course for these movies. Alan Silvestri’s score makes an excellent addition and expansion to the existing themes and music from previous films, and adds a bit of extra power to both the emotional scenes and the ones rife with combat.

Folks who have witnessed all or most of the eighteen films leading up to this one, who flock to early screenings and don their favorite character’s colors and symbols for premieres and eschew sneak peaks and early footage in favor of going in blind, will find a lot to like about this film, but might also find parts of it frustrating simply because there is such a great level of investment in the fan-base. This is a film with a lot on the line, and not everyone will be pleased with the result. Obviously, the most contentious and hotly-discussed moment(s) of this movie will mainly concern the ending… which is why I’m not going to go into it. But I will say that my jaw dropped more than once, there are some loose threads left dangling, fan reactions are likely to be split, and I’m already concocting theories as to what will happen in the sequel, which is an entire year away. It is frustrating to have to wait that long, but at least we have the upcoming Ant-Man and the Wasp and Captain Marvel to make it more endurable.

Infinity War has had an entire decade of build up, and though it’s not a definitive conclusion to the current phase of the Marvel Cinematic Universe, it is apparent that the end is nigh, and this war might exact a greater toll than fans are prepared for. But overall, Infinity War is a wild ride that Marvel fans absolutely should not miss.

Overall rating: 8.5/10

5 Favorite Marvel Cinematic Universe Films

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In the lead up to Infinity War this Thursday night, I thought I’d list my favorite films in the MCU thus far! Though, bear in mind, this is a list of my favorites, not what I consider to be the best.

MV5BMjM2NTQ5Mzc2M15BMl5BanBnXkFtZTgwNTcxMDI2NTE@._V1_UX182_CR0,0,182,268_AL_5.) Ant-Man (2015)
I know this film doesn’t feature on many top Marvel film lists, but I thought this adventure, which feels like a fun side quest instead of a direct installment to the main, over-arcing narrative, was an absolute blast. Paul Rudd is the perfect choice for the role, combining humor and a sort of “every man” affability that made him both likable and relatable as a character (despite his prison record). It’s a superhero movie that doesn’t take itself too seriously, and sometimes, that’s exactly what’s needed in the midst of intergalactic wars or cities and planets in peril. I laugh every time I see the Thomas the Tank Engine scene, and for some reason, the size-changing hi-jinks don’t get old. I look forward to even more hilarity in the sequel, Ant-Man and the Wasp, dropping this summer.

MV5BMTg1MTY2MjYzNV5BMl5BanBnXkFtZTgwMTc4NTMwNDI@._V1_UX182_CR0,0,182,268_AL_4.) Black Panther (2018)
This film (coupled with the preceding Thor: Ragnarok) was the perfect installment in the MCU to set up Infinity War because it defies several of the common superhero tropes while still adhering to Marvel’s standards in quality and entertainment. Much like Ant-Man, this film is a palette cleanser, a nice break for those suffering from the “Marvel fatigue” as it helped rejuvenate a genre that sees more and more repetitive installments every year. T’Challa’s journey to assert himself as both an individual hero and a true leader to his people made me excited for superhero movies again, and it also has what is probably the most well-developed and exciting villain in the entire MCU. Plus, this film gave us Okoye and Shuri. Need I say more?

MV5BNjgwNzAzNjk1Nl5BMl5BanBnXkFtZTgwMzQ2NjI1OTE@._V1_UX182_CR0,0,182,268_AL_3.) Doctor Strange (2016)
Alright, alright…. maybe I just really enjoy Benedict Cumberbatch with a beard and a snarky attitude enough to see this film twice in IMAX 3D. But Doctor Strange is a unique character with a level of sarcasm and ego to rival Tony Stark, and his transition to the big screen was a refreshing trip into the world of illusion and different deimensions, as his story focuses more on the abilities of the mind and “magical” manipulation, which provide for absolutely stunning visual segments and complex, entertaining fight scenes. The final confrontation in this film also features a unique twist that is a nice change-up from the standard “hero must beat the big bad” recipe. And the cape is easily the best sidekick in the entire MCU (sorry, Falcon).

MV5BMTAwMjU5OTgxNjZeQTJeQWpwZ15BbWU4MDUxNDYxODEx._V1_UX182_CR0,0,182,268_AL_2.) Guardians of the Galaxy (2014)
I knew nothing about the titular characters going into this film, and came out of it blown away at how hilarious this motley crew of space adventurers could be. This film is a visual and auditory feast of bright colors, unique characters, and 80’s and 70’s jams coming together for one epic and laugh-out-loud romp across the galaxy. And while Groot is an absolute delight, and one scene in particular makes me tear up every single re-watch, Rocket Raccoon and his foul mouth will always be my favorite member of this ragtag squad. Plus, this film has the great distinction of being the only MCU film to feature a final confrontation that contains a dance-off. And that should be enough to convince any one to see it, if for some reason they live under a rock and haven’t watched this MCU gem yet.

download.jpg1.) Captain America: The Winter Soldier (2014)
From the moment I saw Chris Evans in Captain America: the First Avenger back in 2011, his position as my favorite Avenger was sealed… and that conviction only grew stronger with the sequel, which I still consider to be one of the best all-around films in the whole MCU. Winter Soldier is equal parts political/espionage-laced thriller and action-packed superhero movie that blurs the line between right and wrong and good and bad, with an impeccable focus on character development and a lot of build up to future movies in this series, especially Civil War, which only narrowly missed this list. The Captain America-based storyline is (arguably) the most integral in the entire MCU, as his actions and decisions bear so much weight on the Avengers/S.H.I.E.L.D as a whole. For me, Steve Rogers/Captain America is the easiest character to feel attached to, to be inspired by, and his journey and development as an individual and as a member of the Avengers is the one I am most invested in, and his portrayal in Winter Soldier is him at his finest and truly coming into his own, learning that his shield cannot only be used to defend, but it must be a weapon too. Plus, this movie gave us Bucky/The Winter Soldier. Enough said.

Film Review: Chappaquiddick (2018)

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Dir: John Curran
Starring: Jason Clarke, Kate Mara, Ed Helms, Bruce Dern, Jim Gaffigan, etc.
Runtime: 1hr 41min
Rating: PG-13
Spoiler level: Light

Chappaquiddick is based on the true story of the 1969 Chappaquiddick incident, in which a car accident involving senator Ted Kennedy (Clark) resulted in the death of political campaign secretary Mary Jo Kopechne (Mara). As controversy erupts regarding his level of involvement in Kopechne’s death, the senator must decide which is more important – the legacy and reputation of his family, or the truth.

Chappaquiddick_(film)Chappaquiddick presents a compelling and relevant commentary on the perceived moral infallibility of politicians and public figures versus the truth of their glaring flaws and inherent humanity. The film lingers on the word “integrity” more than once, and it seems that is the idea that haunts Kennedy as the events of that night on Chappaquiddick consume his life and threaten his career. As the senator smooths his hair and adjusts his appearance in mirrors and ensures that he looks good for the cameras, he is the picture of integrity, the image of an upstanding man of high moral character – and yet, so often, his words and actions behind closed doors contradict that. The outside fails to reflect the inside, though the outside is all that the public sees.

Clarke’s portrayal is gripping and nuanced as the last Kennedy son, living in the engulfing shadow of Robert and Jack, a man slowly breaking beneath the burdensome reputation of his celebrated family, struggling to appease the rigid demands of his wheelchair-bound, yet intimidating father (Dern), and the truth surrounding a young woman who met her death, cold and alone, in the depths of a lake. Early in the film, a wet, defeated Ted Kennedy tells his cousin Joe Gargan (Helms) “I’m not going to be president,” and that statement encompasses the truth of who Kennedy is, in this film. A man who will never escape the shadows that eclipse him.

Though Clarke’s performance easily dominates the screen, the supporting roles in this film are superb, especially Mara as Mary Jo, as she is, essentially, the ghost that trails Kennedy throughout this film, resonating long after that car plummets into the water, a presence that cannot merely be relegated to a footnote in someone else’s history. Helms also delivers a solid performance as Gargan, torn between his loyalty and familial ties to the Kennedy family, and the struggle to do what is right. Andria Blackman as Ted’s wife Joan Kennedy gets the film’s lone F-bomb, and it’s my personal favorite line in the entire film. Dern is powerful as Kennedy family patriarch, and, though the senior Kennedy was confined to a wheelchair and suffering from the effects of a stroke that left his movement and speech impaired, Dern’s portrayal makes him a dominant force to be reckoned with, with a glare that could freeze anyone in place.

One major strength of the film is how it subtly presents different “sides,” or compares viewpoints and situations. In the film, the problems swarming Kennedy are juxtaposed against the efforts of the Space Race – a fitting contrast, as Ted Kennedy’s political career and social life plunge into purgatory while Neil Armstrong takes his first victorious steps on the surface of the moon. One giant leap for mankind, and one massive misstep for Ted Kennedy. It’s a nice touch, aiding the tone of the film, and makes Ted’s mistakes all the more apparent. Another contrast is the way Mary Jo is treated, often referred to as “the girl,” by the Kennedy’s collection of black suits, but referred to by name by Gargan and those close to her, even by Kennedy himself. The core of this film is the way it shows ideas butting heads with each other – most prominently, the weight of a family’s reputation against the importance of truth and honesty, and politics versus morality and how they often fail to intersect.

What truly happened on the night of July 18th, 1969 at a bridge on Chappaquiddick island, might never be fully explained or revealed, and many of the details have remained unclear. The film does a fair job of keeping this relatively ambiguous tone, as the true nature of the relationship between Ted and Mary Jo is left to interpretation, and Ted appears conflicted enough about his choices that the film avoids entering character assassination territory. Viewers can form their own opinion of him – I’ve never held the Kennedy family on a golden, untouchable pedestal, so I found the portrayal to be well-balanced. Sharp editing and writing assist in making Chappaquiddick a partially completed puzzle that offers enough of a clear picture to satisfy audiences and answer pesky questions, while leaving enough blurred ideas and “what ifs?” and “might haves” to avoid straying too far into slanderous artistic liberty pitfalls that plague so many films based on “true” events. However, those with a rosy perception of the Kennedy dynasty might think otherwise.

Overall rating: 8/10

Best Picture Countdown #1: Call Me By Your Name

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“We rip out so much of ourselves to be cured of things faster than we should that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to feel nothing so as not to feel anything … what a waste!” – Michael Stuhlbarg as Mr. Perlman, Call Me By Your Name (2017)

Dir. Luca Guadagnino
Starring: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois
Rating: R
Runtime: 2hr 12min

Call Me By Your Name follows 17-year-old Elio Perlman (Chalamet) and his evolving relationship with his father’s grad student assistant, Oliver (Hammer) over a summer in Northern Italy in the early 80’s. As their emotional and physical intimacy develops, Elio learns valuable lessons about sexuality, relationships, and the warring sweetness and grief that comes with love.

CallMeByYourName2017Of all 9 nominees for Best Picture at the Academy Awards this year, Luca Guadagnino’s coming-of-age drama about a sensual summer in Italy hit the hardest, spoke the loudest, and shone the brightest. It rocketed to the top of my personal list the moment I stepped out of the theater and has remained there ever since, though it wasn’t the last nominated film I saw. Upon reviewing all the nominees, Call Me By Your Name felt like the most well-rounded film; the music, the cinematography, the directing, the acting, the visuals, and the writing all combined for an utterly compelling cinematic experience, and I think it deserved more than the 4 nominations it received.

This film’s premise isn’t overly complicated – at the basest level, it’s a summer romance. And yet, it is so much more. Call Me By Your Name is an exploration into the complexities of human sexuality, a celebration of first love and savoring every sweet moment before an inevitable goodbye, and each small moment or movement – whether it be dancing in the streets,  yearning for watch-hands to tick faster, a long bicycle ride in the balmy heat of summer, or the music of a piano soaring through a room for an audience of one – bears significance. This film is a warm sweater on a rainy day, a dip in a pool beneath the scorching sun, a snapshot of a happy memory pinned to a cork board, and the sort of movie that invokes emotion without trying too hard to jerk at the heartstrings.

Gary Oldman is a juggernaut in the Best Actor category for his portrayal of Winston Churchill in Darkest Hour, and has been collecting hardware all season, but I am actually pulling for underdog Chalamet to pull out a win. His performance as Elio was breathtaking, even in moments of silence. He perfectly captured and expressed the feelings of being young, in love, and uncertain – my heart broke when he called his mother near the end of the film and asked, “Can you come get me?” with his back hunched and voice breaking. Honestly, I think he deserves the award for the last two minutes/credits sequence of the film alone. Even if he doesn’t win, a thousand gold stars to him. A THOUSAND, I SAY.

The chemistry and rapport between Hammer (who was unjustly snubbed for a Best Supporting nod, if you ask me) and Chalamet sold the romance 100%; their interactions felt genuine, their conversations natural, their hesitations understandable, and the evolution of their feelings for one another was an earnest, well-paced, and nicely developed journey, not just a mechanical “point A to point B to point C” narrative. It’s refreshing in a romance to see the less confident, more nerve-wracked person (Elio) being the one to initially make a move, contrasting with Oliver’s internal conflict over whether or not to act on his feelings due to the potential complications – a small subversion of genre expectations. The ups and downs of their relationship unfold with authenticity and passion and reveal both the positives and negatives of a consuming summer love and how it can make a heart soar, or sink, depending on the circumstances.

The rest of the cast is also excellent in their roles, especially Stuhlbarg as Mr. Perlman. His speech to Elio in the last third of the film is, in my opinion, the most poignant and powerful piece of writing (and one of the overall best acting feats) seen onscreen in all of 2017. If you glean nothing else from this film, that quote – the one I put in at the top of this post – is a message that should be taken to heart, and called upon when grief seems to usurp all other feelings.

For moments like that, and for several others, I’m predicting a Best Adapted Screenplay victory for James Ivory’s adaptation of Andre Aciman’s novel. When a screenwriter takes care of the characters and manages to add their own flair while remaining faithful and doing justice to the source material, even if they must make changes, it’s obvious that a lot of attention and care has gone into the effort. Ivory’s screenplay is superb; jam-packed with emotion and moments that linger in the mind and heart, and his words, combined with the excellent performances, made the characters feel alive. Even the smallest statements, the most subtle looks or phrases or movements, the softest sighs or simplest glances, have power in this film, and the writing is a huge part of that. I also think – like Martin McDonagh for Three Billboards – that Gudagnino was snubbed for a Best Director nom, but whatev… nothing to be done about it now.

I’m rooting for Sufjan Stevens to take home the Best Original Song award for his song “Mystery of Love,” but it’s probably going to get downed by The Greatest Showman‘s “This is Me,” or Coco‘s “Remember Me” – which is fine, because those songs are total jams. Regardless, I look forward to seeing Sufjan perform the song on Sunday night.

If Call Me By Your Name takes home the gold for Best Picture tomorrow night, I will actually scream and jump up and down in my living room, and I don’t even care if my neighbors get pissed. This film is a triumph – the kind of film you want to embrace and carry its warmth with you for as long as you can, or recall in moments of grief. It might be considered a long-shot in all categories but one, but this masterpiece deserves the highest honor on Oscar Night, and I’m really hoping that it emerges as the champion – but even if it doesn’t, it’s still my top film of 2017.

Oscar Nominations
Best Actor (Chalamet)
Best Original Song
Best Adapted Screenplay
Best Picture

For my full review of Call Me By Your Name from earlier this year, click HERE!

Best Picture Countdown #2: Three Billboards Outside Ebbing, Missouri

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“This didn’t put an end to shit, you fucking retard; this is just the fucking start. Why don’t you put that on your Good Morning Missouri fucking wake up broadcast, bitch?” – Frances McDormand as Mildred Hayes, Three Billboards Outside Ebbing, Missouri (2017)

Dir: Martin McDonagh
Starring: Frances McDormand, Sam Rockwell, Woody Harrelson, Lucas Hedges, Peter Dinklage, etc.
Runtime: 1hr55min
Rating: R

Three Billboards Outside Ebbing, Missouri follows Mildred Hayes (McDormand) as she utilizes three billboards to air her grievances with the local police department over the unsolved murder of her daughter. Her desire for vengeance puts her at odds not only with the police, but with her own family and others in the town.

Whooo boy, this one was tough!

Three_Billboards_Outside_Ebbing,_Missouri.png

I’m going to say this straight up, although Three Billboards Outside Ebbing, Missouri was only my second favorite Oscar-nominated film this year… I do think it is going to win Best Picture. And that would be a 100% justified victory, because this film is incredible.

As a personal anecdote about how powerful this film is, my father – who does not get into awards shows or artsy/indie films to the extent that I do – asked me to tell him when the Supporting Actor, Lead Actress, and other relevant categories were announced during the BAFTAs so he could watch, and he cheered out loud when “my boy!” Sam Rockwell won the Golden Globe. He is actively rooting for this film and continues to praise it whenever it pops up in conversation. Also, when I saw this film with my parents, we were the only people in the film aside from one other man, who I’m 75% sure snuck in without paying. That’s a crime, considering how brilliant this movie is. We also call it “Three Billbos” in my house, because that’s what the marquee said when we were at the theater, but I digress…

Sam Rockwell is, as far as I’m concerned, a lock for Best Supporting Actor. I don’t think it’s even a contest. I have never, ever in my life had such a back-and-forth, rollercoaster of a reaction to a film character, and it’s all down to Rockwell’s performance. I went from thinking Dixon was a moron, to hating him, to really hating him, to kind of liking him, to rooting for his success, to feeling ambiguous about him, and so on. Though Harrelson turns in a spectacular performance as Willoughby, he’s easily eclipsed by his co-star – though the moments their characters share onscreen are a treat to witness.

Similarly, I consider Frances McDormand the front-runner for Best Actress – she perfectly executes the simmering rage of a mother out for vengeance over the cruel, unsolved murder of her daughter, spitting vitriol at anyone who would try to impede her mission, yet she also shows the vulnerability and heartbreak of a woman who has suffered an unimaginable loss and is still trying to piece together the fragments of her life. There are moments – as with Dixon – where I didn’t like Mildred, either because of some heartless jape she says, or something she does that seems more vindictive than justified, and also moments where I wanted her to torch the entire town to ashes or reach through the screen to pat her shoulder. She is the heart of this film and carries it on her shoulders, in her fury, her pain, her moments of delinquency, and her emotional struggle. The nuanced characters and the emotionally-layered performances of the actors are a major strength of this film – but it’s also a testament to the writing.

Martin McDonagh’s screenplay is rife with dark humor, sharp dialogue and a relevant social commentary, unpredictable and jaw-dropping moments, cutting insults and heart-wrenching expressions of pain and soul-stirring explosions of anger, and characters that pop off of the screen like real, breathing people. Even the side characters, like James (Dinklage), are distinct and have memorable lines and scenes. This film is poignant, dark, and the type of narrative that will illicit emotions that you might not want to feel, but the powerful, lingering message it delivers is one that deserves and demands to be heard and seen. If it doesn’t win Best Original Screenplay, I’ll be surprised – and I think McDonagh was totally snubbed for Best Director. The “window” scene with Dixon and Red was pure cinematic gold – I was actually squirming in my seat through the whole thing, and I think my pounding heart left bruises on my ribs.

Though Burwell is an underdog for Best Score, I actually like his score the best of all the nominees – regardless, I don’t think he’ll win, but it does make me excited to hear more from him in future films. Film Editing is up in the air, but I’m predicting at least three wins for Three Billboards…and maybe four, if it can edge out the rest in the close race for Best Picture. And if the awards season trend continues as it has been, Three Billboards just might take it home.
Oscar Nominations
Best Supporting Actor (Harrelson)
Best Supporting Actor (Rockwell)
Best Actress (McDormand)
Best Original Screenplay
Best Film Editing
Best Original Score
Best Film