Best Pictures #48: 2018 (91st) Academy Awards Best Picture Nominee: Vice

by A.J.

Best Pictures #48: 2018 (91^st) Academy Awards Best Picture Nominee

Vice

“I want you to be my Vice.”

Comedic writer-director Adam McKay tries, and fails, to bring the same energy and insight from his Oscar nominated examination of the 2008 financial crisis, The Big Short, to the most notorious vice president since Aaron Burr. Vice is the story of the rise to power of Dick Cheney and how he changed the executive branch’s use of power forever and for the worse. The film opens with a title card informing the audience that this is an attempt to tell the story of the most secretive figure in recent American political history which is a difficult thing to try. It’s not a good sign when before the movie even begins it apologizes for itself.

Christian Bale plays Dick Cheney and we see him first as an aimless drunk in Wyoming in the 1960’s that, spurred on by his wife Lynne (Amy Adams), cleans up his act and becomes the right-hand man of Donald Rumsfeld (Steve Carell) during the Nixon and Ford presidencies. Watching him enjoy his quiet accumulation of power and the satisfaction and status it brings during the 70’s and 80’s is the most interesting segment of the movie. Once the film hits the W. Bush years when Cheney acted behind the scenes to increase his own personal power and wealth Vice should hit its stride, but instead it goes on autopilot and plays like a tired collection of Cheney’s greatest hits. Vice is very angry at Dick Cheney and condemns him plenty for his actions but that is like picking low hanging, blatantly obvious fruit.

Christian Bale is great as Dick Cheney. The strength of his performance is, naturally, from his skills and talent as an actor, not just from the makeup he is under and the weight he gained for the role. He speaks with that low growl I remember so well from the W. Bush years and imitates perfectly the small laugh and smile Cheney would sometimes let slip. Cheney was not much of a public speaker or campaigner so his wife Lynne steps up and rallies people to her husband’s cause. This is where Amy Adams gets to step out from the bland role of “wife of a biopic subject” to be an active player and interesting character. Bale is nominated for Best Actor and that is no surprise. Amy Adams has earned a Best Supporting Actress nomination, but she played essentially the same character, and played her better, in The Master. Sam Rockwell, in full goofball mode, plays George W. Bush and though he's barely in the movie, Rockwell has picked up a Supporting Actor nomination. 

The life of Cheney is narrated by Jesse Plemons playing an average American and Iraq War veteran who says he’s related to Dick Cheney... in a way. When we find out how he’s related to Cheney it causes cringes and eye rolls. In The Big Short McKay used a hyperactive and self-aware filmmaking style to excite and engage the audience about a pretty boring and convoluted subject: the stock market and investment banking. He used cameos from stars like Anthony Bourdain and Selena Gomez to explain complex financial ideas and practices using clever and easy to understand metaphors. There is nothing complicated about how Cheney grows and abuses power. He asks a lawyer if what he wants to do is okay. The lawyer says yes. There’s nothing hard to follow there but McKay has the narrator hold our hands through it anyway.

Cheney’s final actions in the movie are meant to play like a final heartless betrayal signifying that he is beyond all hope of redemption, but Vice never presented him as someone with anywhere to fall from. That would only happen with a movie that attempted insight into its subject’s emotions and motivations and even dared us to sympathize with the unlikeable main character. In Nixon, Oliver Stone built up audience sympathies for Nixon and then let him squander and betray those sympathies making his fall all the more tragic even though you rooted for him to fail. With Nixon, Stone posed the question: What does it profit a man to gain the world if he loses his soul? (this Bible quote actually appears at the beginning of that film). In Vice, McKay forgot to ask any questions, attempt any insight, or speculate on motivations. This movie has only one message: this Dick Cheney is one bad dude. If you were born before the year 2000, you don’t need a movie to tell you that.

Nominees: Dede Gardner, Jeremy Kleiner, Adam McKay and Kevin Messick, producers

Director: Adam McKay

Screenplay: Adam McKay

Cast: Christian Bale, Amy Adams, Steve Carell

Production Companies: Plan B Entertainment, Gary Sanchez Productions

Distributor: Annapurna Pictures

Release Date: December 25^th, 2018

Total Nominations: 8, including Best Picture

Other Nominations: Director-Adam McKay, Original Screenplay-Adam McKay; Actor-Christian Bale; Supporting Actress-Amy Adams; Supporting Actor-Sam Rockwell; Editing-Hank Corwin; Makeup and Hairstyling-Greg Cannom, Kate Biscoe, Patricia Dehaney

Best Pictures #35: 2016 (89th) Academy Awards Best Picture Nominee, Arrival

by A.J.

Best Pictures #35: 2016 (89^th) Academy Awards Best Picture Nominee

Arrival

We’ve been lucky enough to have had some excellent science fiction films recently—Interstellar in 2014, and last year’s Best Picture nominee, The Martian in 2015—and Arrival is among them. Those films, like Arrival, are not just fantasies, they are pro-science. The main characters are scientists or science minded people that use available information and resources to solve incredible problems. To borrow a phrase from NASA, they “work the problem.” This is what Amy Adams does as Louise Banks, a world-renowned linguist tasked with figuring out how to communicate with recently arrived alien beings. She doesn’t have much time, as the mysterious alien spaceships have appeared all over the world and world governments are nervous and frantic to figure out why the aliens are here.

You’re likely to be reminded of other science fiction films about “first contact”: Close Encounters of the Third Kind (in which François Truffaut also tries to communicate with aliens), Contact, and The Day the Earth Stood Still to name a few. The alien spaceships might even remind you of the monolith in Stanley Kubrick’s 2001: A Space Odyssey. The aliens themselves look like creatures from the fiction of H.P. Lovecraft. But Arrival is far from derivative; it is the perfect example of what should happen with a new entry to a well tread genre. We’ve seen movies about aliens arriving on Earth before, but we’ve never seen one quite like this.

There are of course visual effects and computer generated images, but this film does not center around effects or spectacle. At the heart of Arrival is an incredible performance by Amy Adams that was inexplicably not nominated for Best Actress at this year’s Academy Awards. Adams excels at using small facial expressions and her eyes to convey clearly, but quietly what her characters are thinking and experiencing and that’s exactly what she does here. Her performance makes the character of Louise relatable and grounds the entire film in genuine emotion even as it moves into heady sci-fi territory. We have no trouble believing that Louise is the foremost authority on language and are frustrated when military and government officials (played by Forest Whitaker and Michael Stuhlbarg, respectively) stand in her way or won’t listen to her conclusions. We are with her every step of the way, even if we don’t know what it all means.

Even though Arrival does not go out of its way to simplify or explain itself, it never becomes inaccessible and only becomes more intriguing and entertaining as the story unfolds. Did I understand the intricacies and logic of Arrival’s climax? I think so. Regardless, I understood what was happening well enough to be thoroughly satisfied and moved emotionally. The Oscar nominated cinematography by Bradford Young and score by Johann Johannsson contribute greatly to the movie’s tone and along with skillful direction by Denis Villeneuve, a smart screenplay by Eric Heisserer, and, perhaps most of all, an amazing performance by Amy Adams elevate Arrival from just another science fiction film to something profoundly affecting.

Nominees: Shawn Levy, Dan Levine, Aaron Ryder, David Linde, producers

Director: Denis Villeneuve

Screenplay: Eric Heisserer, based on the story “The Story of Your Life” by Ted Chiang

Cast: Amy Adams, Jeremy Renner, Forest Whitaker

Production Companies: Lava Bear Films, 21 Laps Entertainment, FilmNation Entertainment

Distributor: Paramount Pictures, Sony Pictures Releasing

Release Date: November 11^th, 2016

Total Nominations: 8, including Best Picture

Other Nominations: Director- Denis Villeneuve, Adapted Screenplay-Eric Heisserer, Cinematography-Bradford Young, Editing-Joe Walker, Sound Mixing- Bernard Gariépy Strobl, Claude La Haye, Sound Editing- Sylvain Bellemare, Production Design- Patrice Vermette (production design) Paul Hotte (set decoration)

Classic Movie Picks: February 2014

by Lani

Each month, I scour the Turner Classic Movies schedule for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)

Once again, in honor of the Academy Awards, the TCM elves have programmed 31 days of Oscar nominated films. This is always one of my favorite months on TCM because, despite the numerous commentators who say that awards don't mean anything, I find it fascinating to look back at which films captured the attention of critics and audiences in a given year. This year, the primetime line-ups feature all the nominated films in a particular category in a single year -- such as today's schedule of Best Picture nominees from 1939 -- allowing those of us at home to decide if we agree with the Academy's decision.
For my picks this month, I've chosen films which remind me of the current crop of Oscar nominees. It proved a bit of a challenge since classic-era filmmakers failed to tackle such topics as Gravity's female astronaut lost in space (without a male hero along to rescue her) or a man who falls in love with his cell phone as in Her. And Hollywood films even today struggle to portray slavery in America with the same honesty as 12 Years a Slave. However, greed, injustice, and danger at sea have proved to be fertile ground for movie makers throughout the decades. So let's dive in!

2/10, 4 PM - Mr. Deeds Goes to Town (1936)
Gary Cooper plays Longfellow Deeds, a humble, small-town eccentric who unexpectedly inherits $20 million and is immediately beset upon by predators looking for their piece of his fortune. Nebraska's prize winner, Woody Grant (portrayed by Bruce Dern), may not be as altruistic as Deeds, but when he believes he's won $1 million all he really wants is a new truck and an air compressor. Family and friends back in Woody's hometown are angling for their cut, despite the fact that Woody has yet to collect, and Woody generously offers the few bucks he has in his pockets. Deeds was nominated for Best Picture, Actor, Screenplay, and Sound, but its only win was for director Frank Capra. Out of Nebraska's six nominations, including ones for director Alexander Payne and actor Dern, I think its best chances for a win could be for either Bob Nelson's Original Screenplay or cinematographer Phedon Papamichael.

2/11, 8:30 AM - The Lady Eve (1941)
In this much-praised Preston Sturges comedy, Charles Coburn and Barbara Stanwyck play con artists "Colonel" Harry Harrington and his daughter, Jean, who bilk a small fortune from a mild-mannered beer scion played by Henry Fonda. These card sharps preying upon wealthy travelers aboard luxury liners are not much different from the shady operators of American Hustle. Of course, one could argue that at least the Harringtons' marks can afford to lose some of their cash, unlike the desperate people who come to Christian Bale and Amy Adams (aka "Lady Edith Greensly") for dubious loans in Hustle. Moreover, both films prove that with the right dress and a phony English accent a clever woman can convince a man of almost anything; and the better the dress, the worse your accent can be. The Lady Eve received only one nomination, for Original Screenplay; in contrast, American Hustle is at the front of this year's pack, in a tie with Gravity, with 10 nominations.

2/23, 4:45 PM - Mutiny on the Bounty (1962)
3/2, 8 PM - Mutiny on the Bounty (1935)
The true story of the HMS Bounty, which set sail from England in 1787 bound for Tahiti and upon its return experienced an infamous mutiny, has been adapted for the screen many times. Both the 1935 and 1962 versions received 7 Oscar nominations; however, the earlier version had bigger box office success and has retained a better critical reputation in the ensuing years. The film also won Best Picture in 1935, its only award. Clark Gable, Charles Laughton, and Franchot Tone all received Best Actor nominations for their respective roles, which may helped split the vote in favor of the eventual winner, Victor MacLaglen for The Informer. Since TCM is playing both films this month, you can decide which version of the story you prefer. In both films Captain Bligh, as played by Laughton and later Trevor Howard, is portrayed as a cruel tyrant who grossly mistreated his crew. In contrast, historical accounts paint a picture of an accomplished captain and humane disciplinarian resented by only a few malcontents among the crew (but that doesn't make quite as juicy a role or exciting a movie plot). In this sense, I was reminded of Tom Hanks in Captain Phillips. He runs a tight ship and has little tolerance for breaches of discipline. Phillips' security precautions prove justified when the ship is attacked by pirates; however, the crew ultimately couldn't hold off the intruders. Captain Phillips is nominated for 6 Oscars, but I wouldn't be surprised if, like 62's Mutiny, the filmmakers go home empty-handed.

BONUS PICK: 3/3, 2 AM - The Last Voyage (1960)
Not since Jaws terrorized the beaches of Amity has the sea been so dangerous -- at least that's the impression one gets from the numerous recent films which showed that no ocean is safe. Kon-Tiki had a memorable shark attack of its own, while the 21st century waters of Captain Phillips were infested with Somali pirates. All is Lost proved that even trusty vessels can fail you when faced with nature's fury, as demonstrated again when the Wolf of Wall Street's yacht contended with some "chop" out on the Mediterranean. In honor of 2013's peril-at-sea theme, I'm picking The Last Voyage which follows passengers Robert Stack and Dorothy Malone struggling to survive aboard a slowly sinking ship. 10 years before The Poseidon Adventure and almost 40 years before Titanic, this film offered a thrillingly realistic shipwreck adventure. The filmmakers did not use miniatures or rear screen projection, instead, a real ship was flooded and flipped over. The film's special effects received an Oscar nomination, but lost out to The Time Machine.

2/26, 1:30 PM - Elmer Gantry (1960)
This film about a charismatic evangelist who inspires fervor among his acolytes, and easily parts trusting folk with their money, earned Burt Lancaster the Oscar for Best Actor as well as awards for supporting actress Shirley Jones and the screenplay by Richard Brooks. Leonardo DiCaprio's corrupt stocktrader Jordan Belfort in The Wolf of Wall Street proves to have a similarly seductive way with words as an evangelist for greed. He shamelessly peddles worthless stocks, effortlessly attracts accomplices and followers, and, perhaps most importantly, he is able to convince himself that his depraved behavior is somehow acceptable. Unlike Elmer Gantry, however, DiCaprio's Belfort displays no remorse for his misdeeds. Therefore, I don't think DiCaprio will follow Lancaster as a Best Actor winner; despite a performance of physical and verbal virtuosity, his character is just too repellant. Wolf received 5 Oscar nominations and its best chance may be Terence Winter's Original Screenplay.

2/28, 5:45 PM - Philadelphia (1993)
Though AIDS first became part of the collective consciousness in the early 80s, 1993's Philadelphia was the first mainstream Hollywood film to deal with HIV/AIDS, casting a honest look at the homophobia which hindered efforts to deal with this major health crisis. Though the title references a place -- the "City of Brotherly Love," here notably lacking in compassion -- the story is about one person's struggle. Tom Hanks won his first Best Actor award for this portrayal of Andrew Beckett, a young gay lawyer who is ostracized and eventually fired from his law firm after it becomes clear that he is suffering from AIDS. Beyond the obvious connection of subject matter, Philadelphia and 2013's Dallas Buyers Club are linked by their strong lead performances. For his role as a homophobe dying of AIDS, Matthew McConaughey has a very good chance of winning Best Actor; ironically, his win could come in a year in which Hanks' solid performance in Captain Phillips was overlooked for a nomination. Because films like Philadelphia have covered this ground first -- and, in the case of the Oscar-nominated documentary How to Survive a Plague, more comprehensively -- Dallas Buyers Club doesn't feel like a revelation. However, both McConaughey and supporting actor Jared Leto are deserving of the accolades they've received.

And the Oscar Goes To... (2014)
This original TCM documentary goes behind-the-scenes at the Academy Awards. Utilizing the expertise of official Oscar historian Robert Osborne, as well as numerous Oscar winners, this doc should offer a lot of fun trivia for movie lovers.
It is showing on 2/1, 2/2, 2/7, 2/10, and 2/15 -- check the full schedule for times.