#yearofgenrefilm

“Miles Ahead”, a passion-project by actor/director Don Cheadle, follows a Rolling Stone writer (Ewan McGregor) who takes an unexpected adventure with Miles Davis, getting a deeper look into the very complex and shielded artist in all of his unexpectedness. Through this fictional framing device, the film brings the audience throughout the crazed-nature of the flawed musician, showing flashbacks of his past with his first-love, Frances Davis, and the things that led to his fractured and lonely life in 1970.

Cheadle uses a very unorthodox way of tackling the traditional biopic. Similar to the framing device of “Jackie”, the use of the writer and interview allows the audience to see snippets of Davis’s life that lead up to what is happening in the story. Cheadle’s directing choices allow for a more focused lens into who Davis is as a person and human being, not a caricature of jazz history. Every flaw is blatantly obvious, but even more vivid is his love and compassion for both jazz and his wife Frances.

As a fan of everything Miles Davis, getting to hear his soundtrack throughout the film was wonderful. As the story progresses, and you see flashbacks of his life, you get to hear excerpts from albums “Kind of Blue” all the way to “Bitches Brew”. It helped show not only time passing in Davis’s career, but how he revolutionized himself in the music industry, and the art of jazz.

Most notable are the performances in the film, which exceed the story itself. Don Cheadle plays Miles with beautiful skill and attention to detail, not making one misstep in capturing the gritty, gravelly voiced Davis. Every part spit-fire, aggressor, musician, and lover, Davis is fully re-incarnated thanks to the work Cheadle puts into fleshing out his passion-project. Ewan McGregor also does a wonderful job at creating a hilarious reporter with true wit and incredulousness towards the often-crazed Davis. He is as surprised by Davis as we are, and takes us on the journey as a fellow spectator to the jazz legend himself.

Go and see this fantastic art-house flick. A film worthy of its praise, “Miles Ahead” is a fantastic looking glass into the incredible but fractured life of the jazz idol, Miles Davis.

20th Century Women is Mike Mills’ third full-length feature film, and is the follow-up to 2010’s “Beginners”. It earned a well-deserved nomination for Best Original Screenplay at the Oscars this year. Mills’ most recent film focuses on a semi-autobiographical look into his mother's life, raising him in the ever-shifting zeitgeist of 1979. The story follows Dorothea (Annette Bening), as she enlists the help of her friends and partners: Julie (Elle Fanning), Abbie (Greta Gerwig), and William (Billy Crudup), in raising her only son, Jamie (Lucas Zumann). It’s a film that attempts to capture what it means to still be discovering yourself when you also have the responsibility of raising a teenager. The movie is beautiful in its simplicity and fluent writing, and brings to life a world of people almost forgotten.

Before we touch on the beautiful performances, much focus should be placed on the pinnacle of all good film; writing. Mike Mills delivers an engaging and thought-provoking piece that not only entertains, but brings forth a much deeper message of inner-growth and discovery. In this comedy/drama, it would be easy to slip into the melodramatic, but Mills is able to craft a space where the sadness never gets too melancholy, and there is always an air of lightheartedness around each character. This speaks to the true complexity of the writing, and the power of emotion that seems to drip from the page. By writing so effectively, Mills is able to guide his actors to flawless performances, in large thanks to the well-crafted script.

The cinematography utilized in this film fits so well into the vibe that Mills is setting throughout the story. The psychedelic colors and effects, the sharp editing, and the focus on faces throughout filming creates a wholesome experience for the viewer. It's easy to read the characters and understand their complexities through the careful consideration of well-placed shots. Perspective is key to this film, and works wonderfully in transporting us into the 70’s.

Each character in 20th Century Women is fleshed out and mesmerizing to watch. Because of the sharp writing and development, the actors are able to play and experiment with roles that are challenging and intriguing. While each actor brings such gravitas to each role, and makes you feel like you're watching real people, the major standout is Annette Bening. She shines in the role of Dorothea, conveying an adult still figuring things out herself as she grasps how to raise a teenage son. Bening is witty and charming; much attention should be payed to the careful balance of masking the emotions Dorothea hides, while also staying so open for the audience to feel what she's feeling. If anything, go see this film for this performance alone. Truly amazing.

20th Century Women is a powerful film; fully comfortable with itself, strong, radiant, and a joy to behold. Mills transports the viewer into a shifting world, represented by the women of the time. Dorothea is the old world, and the younger girls represent the ever-changing 70’s. While the young adults stay positive, Mills fashions a way of seeing Dorothea's conflict with the new world. She's a broken down soul, tired and sad. It's his job, as a director, to show the audience her inner being, and how the world reacts to it. As Dorothea so plainly states, “wondering if you're happy is a great shortcut to just being depressed”. This paradigm between her opinion of the world, and the other girls showcases the power the women bring to each other. They are there not to just raise Jamie, but to raise Dorothea herself. As Abbie tells Jamie beautifully, “whatever you think your life is going to be like, just know, it's not gonna be anything like that”. Never has it been more true than for Dorothea, and every person around her. The lessons we think we should be teaching, are the ones we find need to be taught most to ourselves.

April will be the month of comedy films, in honor of April Fools Day. I’ll be leading reviews about different types of comedy and the way it propels story.

A classic of the mind-bending movies, Eternal Sunshine is a testament to creativity and psychological effects throughout a person’s life. The movie explores what would happen if you could get a medical procedure to forget someone from your past. Would you? And how would it affect you and the world you occupy? These questions are semi-answered, and purposefully left ambiguous, in an attempt to broaden the viewer's mind. Eternal Sunshine is powerful in each stride; it carries a story that could be a mess in untrained hands, and morphs it into a timeless piece of art.

The writer Charlie Kaufman is a wizard when it comes to weaving intricate tales and timelines. He is able to maximize character development by writing complex dialogue that is real and genuine in its delivery. Kaufman is good at creating a story that is so unique, but somehow so relevant and relatable, and seemingly real in the process. The storytelling technique to start the viewer at the end of the film, without them realizing, is fantastic in the way that it gives the viewer an epiphany as the movie returns to that time near the finale. The concept for this film is so intriguing, and in the hands of a different writer could become jumbled, overly-verbose, and misconstrued. Kaufman is able to jump ahead of all those tropes and crafts a clear, intelligent, and thoughtful piece of work that engages the audience it’s for.

Smart acting choices and creative license, to push the story further and attempt new ways of delivering emotion and dialogue, should be dutifully credited to the actors. Both Jim Carrey and Kate Winslet carry a story that juggles bitter melancholy, and hilarious moments. Specifically for Winslet, who creates a character who deals with emotions like wars, and fights her way to understanding. She makes the character understandable, and relevant to many. Jim Carrey is equally entertaining in a more dramatic role, uncharacteristically different from his usual comedic turns. Here he also balances emotions, as an introvert coming to terms with a tough relationship.

Michel Gondry is especially effective in his smart directing style. He works well with the smaller budget at hand; he is given very little tools, but because of that challenge seemingly creates and intricate and well-woven piece of film that treats the script and actors beautifully. The film flows well, and delivers strong beats throughout. Gondry is strongest in his world building, and does so flawlessly.

Eternal Sunshine defies the standard for what a sci-fi film can be. It balances romance with a deeper psychological question, and creates a piece of art that allows audiences to question their own personal relationships with one another. The power of science-fiction is its ability to make the viewer think about their place in the present, and what it may mean for them in the future. Adopting this kooky story as fact, and forcing the audience to accept it as so, creates valuable questions to discuss and think about. All in all, the question does lie in a semblance of fact. If the bad parts of our lives were able to be removed, and it was scientifically possible, is it the right thing to do?

Would you?

“Her”, a film by Spike Jonze, follows the story of Theodore, played by the ever-shifting chameleon of an actor, Joaquin Phoenix, who falls in love with his OS device, eloquently named Samantha. An unorthodox film in every sort of way, the story takes the audience to unexpected places and transports the viewer into a fully-realized world, where such an event seems entirely believable. Not only do we begin to connect to Theodore’s story, but also find the beauty in relationships itself, no matter how one falls in love.

For starters, Jonze creates a film that has a complete arc; each character is built and serves a purpose in propelling Theodore’s story forward. By witnessing his friends interact with loved ones, and himself confronting the past, you begin to understand who Theodore is as a person, and why that propels him into his relationship with Samantha. Joaquin Phoenix is so subtle and intricate with his performance. He carries Theodore as a gentle soul, too scared to confront what hurts him, wearing his heart on his sleeve for all to see. He shows the progression from depressed, divorced Theodore, to open and unconditional Theodore in love again. The power in his nuanced and captivating performance rests in the quiet moments, and his ability to be so open and transparent for the camera.

The story itself is breathtaking in its simplicity. By creating a love story centered around a man and a machine, Jonze takes the old Hollywood tropes and turns them on its head, creating an original and thought-provoking piece of art that forces the audience to question the line between what’s normal, and what’s unorthodox. Jonze rightfully received an Academy Award for Best Original Screenplay at the 2013 Oscar ceremony, putting this movie on the map even more than it was.

The cinematography is also a pinnacle of the movie. Every shot is perfectly calculated; much attention should be paid to when the camera fixates on one focal point for an extended amount of time, which gives the movie its feeling of space and openness, and allows vulnerability to play out. The lighting and colors also give the film its beauty. Additionally, the score to Her is absolutely mesmerizing. Created by the alternative band Arcade Fire, the soundtrack evokes feelings of longing, bringing the viewer to sympathetic understanding with Theodore. The music helps recall the feeling of falling in love, particularly the songs “Photograph” and “Song on the Beach”. This oddly-unavailable-for-purchase music is so powerful and resonant that it lives in your head, weeks after listening. You may find yourself returning to the film just to take in the soundtrack longer.

Her is a deeply-moving film, and one worth every moment watching. It teaches that no matter who you love, or how you love them, it all boils down to the ability to understand and empathize with others. The key to love is mutual understanding, and thanks to “Her”, that ideal rings true across all people and platforms. No matter the venue, love is confusing and heartbreaking. It’s how we deal with it that makes us who we are.

This month I will focus on more obscure science fiction films, in an effort to dig deeper into the genre. Stay tuned :)

Manchester by the Sea, a beautiful piece, written and directed by Kenneth Lonergan, stars Casey Affleck as a grieving brother who is tasked with taking care of his newly-orphaned nephew. Affleck stars as Lee Chandler, a Boston janitor who has to leave town in order to clean up the mess of his brother’s death, and confront his own personal turmoil from his past. The film is a rumination on grief, its effect on the people around us, and how we find ourselves dealing with pain.

Lonergan crafts a script of incredible prowess and charm. Of all movies centered on grief, this is by far the funniest. His ability to weave in a lighthearted air of wit whilst dealing with the heavy and dramatic topics brings the story to a new level of prestige and effectiveness. By creating this contrast, the story seems real and natural, and makes the darker moments even more resonant. This film was awarded the Oscar for Best Original Screenplay this year, and was well-deserved.

The performances at the center of the film propel the movie to better height. The newly minted Oscar winner, Affleck, is mesmerizing as his character Lee Chandler who balances an underlying grief, that only bubbles up in the worst moments. When the camera fixates on him, you can see the facade begin to break, and witness the pain swirling within. His ability to simultaneously show grief while also being cold in his delivery, is intriguing to watch. Lucas Hedges, who plays the nephew Patrick Chandler, is hilarious and riveting. In what one would think might be the saddest of roles to play, Hedges delivers a character full of wit and humor as a kid trying to cope with the death of his father. The power in his performance lies in how he copes with grief. As anxiety continues, you can see the facade begin to slip and the jokes drop second to none. The performances are examples of facades breaking; how grief can strip down even the strongest and toughest people.

Kenneth Lonergan has created a film that defies the odds about what a movie centered around death can do. It pushes past the simple boundaries of melancholy and melodramatic so often found in Hollywood drama films. He creates a naturally empathetic film; it’s almost guaranteed that any viewer could connect to this piece of art. While it may not be as flashy as other films out there with soaring scores, visual effects, or crazy cinematography, Manchester by the Sea establishes itself as a work of sheer artistry, and is powerful in its dual simplicity and emotional resonance. Grief is one of the toughest things humans deal with in life, and can change the way we function as people. Witnessing that fact and connecting to that shared feeling is what makes Manchester as beautiful as it is intense.   

Moonlight. The new winner of the Academy Award for Best Picture. The little film that could. I’m excited to release this review on the day after their historic win. This movie, and it's Oscar glory, is a testament to filmmaking of the future, what audiences want to see, and the diverse stories that deserve (and should) be told. It now holds the record for the lowest budget film ever to win an Academy Award for Best Picture, and is not only the first Best Picture win in history to include an all African-American cast, but is also the first LGBTQ movie to ever win. Which, in retrospect, is an insane thought that this hasn't happened until now. It walked away with two other Academy Awards, winning for Best Supporting Actor (Mahershala Ali), and Best Adapted Screenplay (Tarell Alvin McCraney and Barry Jenkins). While it didn’t sweep the Oscars like “La La Land”, it signified itself as a cultural milestone, and has now made history as one of the greats. This is a movie that got it’s rightful due, and will be celebrated for years to come.

Photo by David Bornfriend (Alex Hibbert)

Now to give the movie the review it deserves, let the deep-dive begin.

Moonlight was a movie I looked forward to throughout the heavy awards season; it grabbed my interest and called to me as a film eager to push boundaries and step outside the box. Little did I know I would be so incredibly floored and impressed by its presence following its release. After much anticipation, I was able to see it in Seattle in January. Sitting in the theater, I was so taken aback by its level of detail and commitment to the story at hand. Barry Jenkins has an innate ability to capture beauty on film; not only in his script, but out of all of his lovely and fresh faced actors. Each one of them shined brilliantly, and fulfilled parts that were real, genuine human beings struggling with the world they were forced to grow up in. Drawing from his own personal experience, and similarity with his fellow writer McCraney, Jenkins directing exhibits flawless vision, and allows the story to shine through every facet of his film. His commandment of actors, and his skill of making the three who played Chiron (Alex Hibbert, Ashton Sanders, and Trevante Rhodes) all seem similar without watching one another during filming, is a testament to the power of an incredible director (and just as amazing actors). Each actor brings such gravitas to their role, and the audience gets to view their soul through their eyes as each actor brings such natural capability. Many props must go to Rhodes, who turns what could be an over the top and uncomfortable performance in the hands of another actor, and instead turns it into a captivating, enriching, and absolutely eye catching piece of art.

Photo by David Bornfriend (Mahershala Ali & Alex Hibbert)

Unlike the flashier films of the Oscar season, this was a film about the quiet moments, the emotions unreachable through voice. The play it was based off of by McCraney, titled “In Moonlight Black Boys Look Blue”, and Jenkins subsequent script adaptation of it, relies on the beauty of silence in characters, not dialogue heavy scenes that drive the story. They focus on raw emotion, and Jenkins eagle-eye focus on capturing actors contemplating, processing, and receiving emotions from others is spellbinding and mesmerizing all at once. It forces the audience to pay attention; the urge to feel uncomfortable is there, but the want to understand and experience others truth is captivating enough to keep even the flightiest viewer hooked.

From a brutal, all-encompassing score by the lovely Nicholas Britell, to the breathtaking dedication of James Laxton’s cinematography, Moonlight fires on all cylinders. This film carries no missing link, and is a true and unadulterated glimpse into the power of artistry. The score is vibrant and moving, and helps the audience feel the nature of Chiron’s life throughout the story. It makes the viewer feel the uncomfortable moments and the unknown future for Chiron through music, and transcends into a being all on its own. The cinematography does the same. In my opinion, Laxton’s cinematography is tied at the same level as this year's Oscar winner, Linus Sandgren (La La Land). To echo the title the movie was based on, every single shot and color in this film showcased the blues, violet, and purple that comes from moonlight itself, and defines the character's metamorphosis from small, innocent Little, to the hardened and hurt Black. No shot is unneeded, and Laxton masterfully creates Chiron’s world right in front of the viewer. This movie is in its truest and best form; its simplicity, restraint, and style encompass everything one needs to create new and refreshing art.

Photo by David Bornfriend (Mahershala Ali & Barry Jenkins)

Moonlight is profoundly touching, and one of the most memorable movies in most recent years. It’s leaps and bounds ahead of the indie art scene, and is a true example of the underdog story; an indie movie with little money that made it to the top of the pack and showed the world its power. The film is right in the middle of the tipping point in modern cinema. It’s a representation of the very bright future of filmmaking, not focused on self-loathing pictures, and Oscar bait movie plots. It represents the (hopeful) end to certain stereotypical Academy Award movies of the past, drab movies that check all the boxes for an Oscar hopeful. The world wants to see more diversity, inclusion, rejuvenation, and truer art in the film industry. Like Juan says to Little, as he’s teaching him to conquer his fear of not only water but the outside world, “Relax. I got you. I promise. I won't let you go . . . Right there. You in the middle of the world”.

We got you, Moonlight, and you got us.

You’ve paved the way, and the future of filmmaking is now.