With the start of the awards season right around the corner, the biggest question mark that could shake up the entire Best Picture race is Steven Spielberg's The Post. The mammoth duo of Meryl Streep and Tom Hanks star as the nation's first female newspaper publisher and the editor The Washington Post, respectively, who go to war with the government after printing classified information detailing deep-rooted lies that spanned four U.S. presidencies. With Spielberg in the driver's seat of a timely "people vs the government" biographical drama, The Post could be a big-time player at the end of the year, despite rumblings that the film has had its issues in the editing room. Check out the first-look trailer for The Post below.
The once untouchable career of acclaimed filmmaker Paul Thomas Anderson has slowly transformed into a downward trajectory that he'll try to save with the upcoming release Phanton Thread, but it may be a bit of a tough sell. Three-time Academy Award Winner Daniel Day-Lewis takes center stage as a renowned dressmaker who falls for a strong-willed woman (Vicky Krieps) in 1950s London, and their romance throws his once perfectly-planned life into a tailspin. PTA has a knack for crafting bold and multi-dimensional characters through painfully detailed storytelling, and we should expect more of the same with one of the greatest acting talents of all-time. You can catch the debut trailer for Phantom Thread below.
As some major Oscar players begin to find limited and nationwide releases this month, there are also some intriguing titles arriving on DVD, Blu-Ray and streaming devices (October's suggestions). November's newest viewing options include a long list of strong films, including an Australian indie gem that I enjoyed at the 2014 Philadelphia Film Festival, despite lacking anything that's an absolute "must-watch". Either way there's definitely something for everyone, so here's a look at what's available this month:
Hell or High Water and Sicario scribe, Oscar Nominee Taylor Sheridan, takes a seat in the director's chair for the 2017 film Wind River, which earned him a Best Director award at this year's Cannes Film Festival. Jeremy Renner stars as a veteran tracker with the Fish and Wildlife Services who stumbles across the frozen dead body of a young Native American woman. The FBI sends in a rookie agent (Elizabeth Olsen) to assist him in the investigation, where they battle that harsh wintry elements in the mountains of Wyoming. Wind River starts with a sputter but improves mightily as the minutes mount, and culminates with a rewarding resolve that makes the entire journey worthwhile. (November 14th)
I was shocked to discover that Tony Mahony and Angus Sampson's The Mule was finally earning an official DVD and Blu-Ray release, years after I had the pleasure of catching this oddly-premised, albeit it captivating, Aussie title. Sampson also stars in the film as Ray Jenkins, a social outcast who's set up by his teammates as "Clubman of the year" where he's awarded a trip to Bangkok and coerced into smuggling heroin back into Australia via his rectum. But as airport security finds his actions to be rather suspicious, Ray becomes held up in a hotel by local authorities where he finds himself matched in a battle of wits and bodily control as defecating would mean serious jail time. The Mule is jam-packed with deadpan humor, suspenseful intrigue and some gross scenes as well. But all in all, Mahony and Sampson unleash a gripping dark comedy that certainly brings the goods. (November 21st)
Acclaimed filmmaker Steven Soderbergh (Oceans Eleven and Traffic) announced his retirement from filmmaking in 2013, only to make a return this year with the heist-comedy Logan Lucky. Set in a small backwoods town, brothers Jimmy and Clyde Logan (Channing Tatum and Adam Driver, respectively), plot to rob a Nascar raceway on race day. These redneck nitwits enlist the aide of incarcerated specialist Joe Bang (Daniel Craig) in order to pull off the job successfully and get away from the authorities scot-free. Logan Lucky's most notable aspect is its finely-timed humor and detailed creativity surrounding the heist itself. While the film isn't necessarily strong enough to warrant a comeback from a heralded filmmaker such as Soderbergh, Logan Lucky still manages to win its audience over with engaging characters and a decent story. (November 28th)
Honorable Mention: A trio of decent releases also make their way to DVD and Blu-Ray this month, Brie Larson in The Glass Castle (11/7), Charlize Theron's action thriller Atomic Blonde (11/14), and a nearly unrecognizable Robert Pattinson in the indie drama Good Time (11/21). Other films available this month include action-comedy The Hitman's Bodyguard (11/21), sci-fi adventure Valerian and the City of a Thousand Planets (11/21), indies Ingrid Goes West (11/7) with Aubrey Plaza and the peculiar comedy Brigsby Bear (11/14). Finally, kid flick sequel Cars 3 (11/4) also finds a release this November.
One of the most memorable movies from this year's Philadelphia Film Festival was Craig Gillespie's Opening Night selection I, Tonya. Margot Robbie stars as controversial figure skater Tonya Harding, whose blistering redneck upbringing at the hands of her physically and emotionally abusive mother (Allison Janney), as well as her failed marriage to the buffoonish Jeff Gillooly (Sebastian Stan), all lead to her ultimate demise. In an ultra-self-aware and surprisingly edgy fashion we relive the news story that took America by storm in the early 1990s. The film is bound to land in the Oscar discussion and you can check out the official red band trailer for I, Tonya below.
Another possible late-year awards contender comes from the unlikely comedic duo of James Franco and Seth Rogen. Franco directs and stars as Tommy Wiseau, the talent-less "artist" who went on to create "The Room" in 2003, a film widely regarded as the worst movie ever made. The Disaster Artist's debut trailer a few month back depicted a comedy-infused affair, while this new footage illustrates a more dramatic endeavor. My guess is everyone involved wanted to deliver a more Oscar-friendly trailer as the awards season begins to heat up. But no matter the rationale, it's worth catching the latest trailer for The Disaster Artist below.
Martin McDonagh has captured the attention of critics and movie lovers alike, despite a relatively brief stint within the industry. McDonagh burst onto the scene with his eloquently-constructed 2008 hitman comedy, In Bruges, only to follow it up with the equally impressive and wacky dog-napping comedy, Seven Psychopaths. But in a wide open year such as this, McDonagh's latest small-town crime comedy, Three Billboards Outside Ebbing, Missouri, may be his ticket to the awards season's biggest dance.
It's been seven months since Mildred Hayes (Frances McDormand) has heard from police regarding the violent rape and murder of her daughter. Desperate to keep the story relevant and with hopes that the attention will lead to an arrest of her daughter's killer, Mildred rents a trio of billboards alongside a small-town road that question the efforts of local law enforcement and their superior officer, Chief Willoughby (Woody Harrelson). But when a volatile mama's boy, Officer Dixon (Sam Rockwell), loses his cool over the billboards, tensions escalate quickly in the town of Ebbing, Missouri.
Three Billboards thrives on explosive humor and a timely examination of local law enforcement officers all across the country. And rather than crumbling to the divisive politicizing of speaking in false extremes, McDonagh accurately depicts the wide spectrum of policing, addressing both respectable and deplorable behaviors, as well as the stunningly beautiful ability to change. Therein lies the film's greatest strength. And as the year's end creeps closer and closer, most of the industry's attention will be placed on the sorrowfully-effective performance from lead actress Frances McDormand. Even in a crowded year for female roles, she should certainly land a nomination and quite possibly an Oscar win as well. Yet, it's supporting star Sam Rockwell who leaves a lasting impression beyond compare. While the brilliant performer has somehow managed to avoid singular recognition from any of the Golden Globes, Screen Actors Guild and the Academy Awards, that's all about to change. Measuring up to and surpassing anything you've enjoyed him in before, Rockwell's portrayal of a short-tempered and unethical small-town cop who backlashes against the woman responsible for these unfair billboards is something to savor. All of these wonderful performances are born from a hilariously amusing screenplay and superb direction that help solidify Three Billboards as one of 2017's strongest films.
Stars: 3 stars out of 4
Grade: B+
One surprisingly strong Spotlight selection from this year's Philadelphia Film Festival was Janus Metz's sports drama, Borg vs McEnroe. We're all aware of actor Shia LaBeouf's peculiar social behavior, but the man can surely act. And although the film forcibly has his portrayal of outspoken tennis star John McEnroe take a backseat to the immense depth of on-court rival Bjorn Borg, the spectacular sports history of 1980's Wimbledon tournament is captured with such mastery.
Swedish world tennis champion Bjorn Borg (Sverrir Gudnason) is widely regarded as a machine on the court due to his lack of emotion throughout matches. On the other hand, American up-and-comer John McEnroe (LaBeouf) has built a reputation as a fiery competitor who's quick to call out a line judge and feud with people in the crowd. Polar opposites on the court but surprisingly similar in psyche, these two legends of the sport collide in a Wimbledon final that's often referred to as "the greatest match ever played".
The finest achievement from Janus Metz's immersive sports drama is its ability to mold such a deep character. The inner demons of consecutive 4-time Wimbledon champion, Bjorn Borg, on his quest to capture a record-setting 5th straight title is shockingly hypnotic. Sverrir Gudnason delivers a phenomenal performance that illustrates the psychologically painful nature of mounting pressure. There's an impactful exchange between Borg and his lifelong coach Lennart Bergelin, who's played wonderfully by acting veteran Stellan Skarsgard, and Bergelin says something to the tune of, "winning and losing are like life and death" for Borg. This bit of dialogue perfectly sums up the film and, more importantly, the athlete. Consequently, the audience is given far less attention to John McEnroe, yet Shia LaBeouf wastes no time making the most of every opportunity. Borg vs McEnroe stands as both a worthwhile sports film and a valiant piece of dramatic art. Despite an over-extended final showdown that makes a regrettably anti-climactic finish, something that can prove detrimental in the sports film genre, Borg vs McEnroe overcomes this fatal flaw with a deeply personal story depicted exceptionally by its entire cast.
The 26th Philadelphia Film Festival came and went like a flash in the night. Eleven days of cinema bulldozed across the City of Brotherly Love filled with Oscar contenders, festival winners and gripping 2018 titles. All in all I was able to catch 18 films, less than I would have liked but still enough to offer an in-depth look at the best this annual event has to offer. Just to be clear, two notable titles I failed to catch include Cannes Palm d'Or winning comedy, The Square, and another highly touted Cannes selection, In the Fade. Otherwise, here they are, the best from this year's Philadelphia Film Festival.
Best Screenplay
Honorable Mention: Breathe, Golden Exits, Lady Bird,Princess CydandThoroughbreds
#1. Three Billboards Outside Ebbing, Missouri
Martin McDonagh is no stranger to phenomenal stories thanks to strong previous efforts like In Bruges and Seven Psychopaths. He continues the trend with Three Billboards Outside Ebbing, Missouri, a relentlessly hysterical crime-comedy that specializes in fantastic dialonge and offers an entertaining small-town story.
The Best Supporting Actress field from this year's Philadelphia Film Festival was flooded with exceptional work. Any of the honorable mention selections would easily land in the "Top 3" most other years. That being said, I went with Allison Janney in a narrow victory over Lady Bird's Laurie Metcalf. Janney delivers in a beautifully-vulgar supporting turn as Tonya Harding's repugnantly motivational mother.
Best Supporting Actor
Honorable Mention: Bryan Brown (Sweet Country), Ed Helms (Chappaquiddick), Adam Horovitz (Golden Exits), Shia LaBeouf (Borg vs McEnroe) and Sebastian Stan (I, Tonya)
It seems like Sam Rockwell produces iconic supporting performances every other year. Rockwell's work in Three Bilboards stacks up against anything else he's ever done, which says a lot about the role. Rockwell shines as an unethical small-town officer who somehow steals the show despite a constant barrage of deplorable actions.
Best Actress
Honorable Mention: Anya Taylor-Joy (Thoroughbreds), Michelle Pfeiffer (Where is Kyra?), Jessie Pinnick (Princess Cyd) and Brooklynn Prince (The Florida Project)
I was stunned by the Opening Night selection's brilliant cast. Craig Gillespie's I, Tonya possesses no shortage of impressive acting, but the film's leading star, Margot Robbie, stands out above the rest. In a career best performance as infamous Olympic figure skater, Tonya Harding, Robbie offers such a surprising and complex character in one of the year's best films.
Best Actor
Honorable Mention: Steve Carell (Last Flag Flying), Jason Clarke (Chappaquiddick) and Chris Messina (Blame)
The stars appear to be aligning for Oscar-starved veteran, Gary Oldman. But despite his widely acknowledged frontrunner status for this year's big award, Oldman's unrecognizable portrayal of British Prime Minister Winston Churchill is an absolute marvel. Darkest Hour's dialogue-heavy screenplay demands excellence from its leading star and Oldman certainly delivers an amazing performance..
#1. Martin McDonagh - Three Billboards Outside Ebbing, Missouri
None of the direction I encountered at this year's festival proved to be groundbreaking. Yet, there were plenty of strong showings from many accomplished filmmakers. One such auteur is Martin McDonagh, who not only deserves the outspoken praise he's received for Three Billboards, but who also displays sharp direction in a packed field.
Best Picture
Honorable Mention: Borg vs McEnroe, Breathe and Princess Cyd
While 2017 has been anything but a standout year for film, Three Billboards cements itself as a truly worthwhile endeavor. The film obviously comes with its flaws, but Three Billboards also provides enough riotous humor and superb acting to solidify itself as the year's strongest effort so far.
Thanks to countless collaborations with acclaimed indie filmmaker Noah Baumbach, Greta Gerwig has cemented her standing as a formidable lead actress in contemporary Hollywood. And even after a steadily climbing career inexplicably found her on the outside looking in at this past Oscars ceremony, where her work in Mike Mills' 20th Century Women was actually one of the year's strongest performances despite the snub, Academy voters will have a difficult time turning a blind eye to Gerwig's beloved festival darling, Lady Bird. This indie treat combines the witty charm of Gerwig's screenplay with a familiar Oscar player, Brooklyn star Saoirse Ronan.
The self-nicknamed "Lady Bird" (Ronan) wants nothing more than to escape her Northern California roots by getting into an east coast college despite her mom's (Laurie Metcalf) strongest efforts to keep her local. And as Lady Bird navigates through senior year with her best and only friend, Julie (Beanie Feldstein), she encounters many firsts that slowly shape her her transition into adulthood.
Sadly, if you've seen Lady Bird's official trailer then you've seen many of the films most memorable moments. But still, Gerwig's endearing script miraculously finds ways of triggering familiarity to our own teenage years, full of awkwardness and immaturity that we've all encountered in some shape or form. Saoirse continues to demonstrate her acting prowess by channeling her inner irrational self, without a filter and desperate to develop a sense of self. Lady Bird makes for such an interesting character because she's so relatable, a testament to Gerwig's crafty writing and Ronan's ability to bring the title character to life. Equally as impressive as Ronan's stout onscreen performance is the reemergence of Roseanne co-star, Laure Metcalf. Playing Lady Bird's combative mother, Metcalf brings a natural fluidity to the role and their meticulously crafted co-dependence proves a marvelous component to the film. Lady Bird moves well with its brisk nearly 90-minute running time, but it also lacks a big emotional punch to the gut with its meandering resolution. Gerwig's effort is certainly a strong one and seems primed to be an Oscar player as the year comes to a close, but Lady Bird also falls short of greatness in many regards.
Stars: 3 stars out of 4
Grade: B
Legendary actor Gary Oldman has yet to capture that elusive Oscar statue, and it's a fact we're often reminded of whenever his name surfaces. However, many insiders believe Oldman is destined to join the exclusive Oscar ranks thanks to his unrecognizable transformation in Joe Wright's Oscar baity examination of Winston Churchill in the drama Darkest hour. And although the film's lack of fervor and energy make for a sporadically painful two hour affair, Darkest Hour checks all the necessary boxes for the overwhelming majority of Academy voters, making it a viable Best Picture candidate when nominations are announced in late-January.
Set during the early stages of World War II, the country of England has lost faith in Prime Minister Chamberlain (Ronald Pickup) following Hitler's bold expansion throughout Europe. Winston Churchill (Oldman) is brought to power as Chamberlain's replacement merely as an appeasement strategy, but loyalties to him by members of parliament are nonexistent and put the new Prime Minister in a precarious situation. And as Hitler's forces draw closer to their shorelines, Churchill's call to fight back and never surrender meets a strong resistance from members of parliament eager to reach a peace agreement with the vile dictator.
We all know where the story goes from there. Churchill's successfully unifies his country in an effort to combat Hitler's Nazi regime and the rest is history. Yet, the depth of Churchill's inelegant rise to power is brilliantly captured due in large part to Anthony McCarten's immaculately detailed screenplay and Gary Oldman's towering lead performance. Oldman is a show-stealer, nailing every scene with immense precision and a gritty characterization of a true historic icon. Darkest Hour brings to life the good, the bad and the ugly surrounding Churchill's controversial personality, delivered to Oscar-winning heights by this year's early Best Actor frontrunner, Gary Oldman. But through it all, the film hits home by illustrating the Prime Minister's remarkable ability to unite the masses and, as a result, help change the course of history. However, to its detriment, Darkest Hour is plagued by a punishingly wordy script that makes this British cousin to Spielberg's Lincoln feel like an absolute chore at times. If you're looking for an uptempo movie experience, this certainly isn't it. But if you can withstand a dialogue-heavy recount of a great historical moment in time, then Darkest Hour will definitely satisfy.
