DISCLAIMER: VIFF 2019 has ended, but I will continue to post reviews of the films I’ve seen as many will be released in theatres later this year or next year.
At first you’ll think I saw The Death Of Dick Long because of the title. In actual fact, I’ve heard so many lewd jokes in my life, I’m no longer charmed by it. I’m actually more bored with lewd humor. As for the film, I found the film to be funny in a bizarre and dark sort of way.
The film begins with Dick Long playing in his band Pink Freud with his bandmates Zeke Olson and Earl. The night consists of playing and partying, especially with fireworks. However overnight, Zeke and Earl leave a severely-wounded Dick by the entrance of the emergency room of a hospital and take his wallet for the sake of ‘anonymity.’ It’s now up to Earl and Zeke to hide everything.
Earl loads up his truck with several items. He tells his casual girlfriend Lake that he’s leaving for a family emergency, but goes to work. Zeke showers to get all the blood off him and lies down next to his wife Lydia to think he slept the whole night with her. Upon waking up, Lydia asks Zeke to drive their daughter Cynthia to school. When she asks for cash, he accidentally pulls out Dick’s wallet . He gives her cash, but puts Dick’s driver’s license on the counter. Before he takes the daughter to school, he sees Dick’s blood from last night on the backseat. He covers it with a sheet to make like nothing’s happening.
Over at the hospital, Dr. Richter, the doctor who discovered Dick at the door, has learned that Dick has died overnight. He notices that his wounds are severe anal wounds and he calls the police over it. The case is handled and investigated by Sherriff Spenser, a vet in the town police department, and she enlists her young inexperienced trainee Officer Dudley to help solve the death.
However Zeke and Earl learn you can’t keep things secret for long. Zeke drives Cynthia to school, but stops to fill the car up with gas. Cynthia leaves the car to go the store and talks with Officer Dudley. Zeke notices Dick’s blood soaked through the cloth and onto Cynthia’s dress. Zeke then rushes in to take Cynthia without Dudley seeing and gives her the wallet.
Before dropping Cynthia off, he makes a call to Earl to see him immediately. Earl has to be away from his girlfriend Lake for the day. The two scrub all the blood off the seat from the car while Cynthia is bathing. Earl offers to drive Cynthia to school and then calls Dick’s widow Jane to see if she knows anything. She knows nothing and thinks Dick is either missing or just away for a long time. This allows Earl and Zeke to fake a scenario that the car was stolen. They try dumping it in the river, but the river is too shallow and it only falls in halfway.
Sherriff Spenser and Officer Dudley get into the case, which they assume it to be a murder, but are unable to keep it a secret from the rest of the town. Word hits Lydia and she calls Zeke in fear of her life. Zeke insists the car is stolen, but he still has to meet with the police. Spenser and Dudley arrive at his house to ask him the questions. The questioning is to be brief as forensics have turned up some positive results. However Cynthia’s in the room. Whenever Zeke tells a lie, Cynthia is the first to point it out and to correct. Lydia is there hearing it all. Lydia tells Cynthia to watch television as she tries to get to the bottom with Zeke about his inconsistencies and demands the truth. Zeke confesses the truth of Dick’s death, by breaking down. Lydia is heartbroken. However Lydia is soon horrified when she learns of the shocking details of Dick’s death and demands that Zeke leave.
Zeke meets up with Earl in a bar and the two resolve that they won’t run away. However there’s a need for tactics as they learn Spenser and Dudley will be heading over to the Olsons for further questioning and then to Jane’s house to tell the news of what happened to Dick. Zeke rushes over to Jane’s house and she finds him in the stable drunk and shirtless. Zeke reassures Jane that Dick’s not having an affair and agrees to take her to his house. There, Officer Dudley and Lydia are there demanding answers. Dudley even just noticed the drivers license of Richard Long on the counter. Zeke agrees to do so with Lydia and Dudley sitting at the dinner table. The various conflicting stories of Zeke and Lydia spiral out of control with Zeke running out with Dudley chasing after him. Lydia is the one to break the news to Jane. Meanwhile Zeke is at Dick’s stable attempting to free Dick’s horse Comet before he will surrender himself to Dudley.
The final scene shows the aftermath. The big shocker to Dudley from Spenser is that Zeke has been released, feeling keeping him incarcerated before the trial would cause more harm than good to Lydia, Cynthia and Jane. Zeke may be a released man before the trial, but he still tries to maintain a closeness with Cynthia despite Lydia wanting him out of their lives. Even Jane’s life is not the same. The film ends with Zeke meeting up at a hotel room with Earl and Lake. The two talk about what the next plan is for all three to survive the aftermath of all this.
This film is an ambitious attempt at a crime comedy. You have a man left for dead at a hospital and you wonder what’s going on. You have the two trying to cover it up and hide from the law, but fail in a spectacularly hilarious way. You have law enforcers that are two opposites– one experienced and relaxed and the other inexperienced and both excited but nervous– at getting the job done. It tries to do it in a slow-but-steady manner. It’s not the most entertaining, but it does it well and will keep your intrigue. Mind you the story of Dick’s death will keep you intrigued, if not weirded out. The whole story leaves you wondering from the very start what’s the main motive of the cover up? Is it their involvement in his death? Or is it because of Dick’s humiliating death? It is bizarre.
Now the redneck stereotype is one people often get a laugh out of. However there are many times in entertainment where the redneck stereotype is often reduced to cartoonish or stock characters. Here, the characters are more three-dimensional. Yes, they have their idiotic moments and comedic moments common with the ‘redneck’ we’re familiar with, but they are more down-to-earth and have more dimension. They come across as common people. One thing that’s surprising is you see a multi-racial couple. Usually redneck couples are nothing but white.
The rednecks aren’t the only characters with more dimension in this film. The police force whose lack of intellect doesn’t come across like your typical stocky ‘dumb cop.’ They are dim-witted, but they don’t cross the line as cartoonish either.
Finally another difference from your typical redneck comedy is the ending is very much in sync with human feelings. The story is about a hilarious way of covering up a friend’s humiliating death and failing, but the human factor is there at the very end. Zeke may have failed in spectacular fashion, but he still knows he has to deal with a daughter he loves very much and a wife who turns against him that faithful night. We have Jane, Dick’s widow, trying to live her life, but it’s hard. Everything changed that night. The film ends Earl and Lake: the two people in the world that understand Zeke and what happened that night best. I think the ending is what best made the film work in being a redneck comedy with actual dimension.
The film is directed well by Daniel Scheinert. He’s the director best known for Swiss Army Man. Here he doesn’t shine as a director, but he does piece together the story by Billy Chew in a way that works. The acting also made the story work. Janelle Cochran and Sarah Baker were good at playing their roles of the two officers with different personalities and different approaches. Michael Abbott Jr. and Andre Hyland were good at playing Zeke and Earl. They did a good job of playing rednecks that had dimension instead of coming off as cartoonish. Virginia Newcomb and Jess Weixler were also good as playing the redneck wives who did lack some smarts at first, but would appear headstrong but hurt in the end.
The Death Of Dick Long is a humorous redneck crime story that is able to make a comedy out of a manslaughter incident, but doesn’t forget the human factor either. This is the least cartoonish ‘redneck comedy’ I’ve seen, and it works.
Call me by your name,
And I’ll call you by mine.
This year’s Best Picture nominees feature a wide variety of themes and subjects. Call Me By Your Name may get note about its gay subject matter, but it’s a lot more.
Elio is a 17 year-old American boy living with his father, a Jewish-American archaeology professor, and his Italian mother in his father’s summer getaway in Northern Italy in the summer of 1983. He has a passion for reading and is prodigious in playing the piano. During the summer, his father invites Oliver, a 24 year-old Jewish American graduate student, up for three months to help with his academic paperwork.
Elio’s first impressions of Oliver are not the best, especially since Elio has to give up his bedroom for him. He finds him arrogant, a show-off, and it annoys Elio when Oliver flirts with one of the local Italian girls he knows. Why should it matter to Elio? He has a girlfriend named Marzia.
However Elio and Oliver develop a friendship as the two spend a lot of time together. You don’t know if something’s happening between them or not. You’re tempted to think the latter as Elio is trying to get more sexual with Marzia and even talks about it at the dinner table. However it becomes obvious Elio is attracted to Oliver as Elio smells his swimsuit and masturbates. Elio makes the first move, but Oliver tells Elio he should not act on his feelings. Even a kiss at the post office doesn’t work on Oliver.
After being distant for a few days, Oliver gives Elio a note to meet him at a tree by midnight. The two kiss. The relationship grows more intimate and more sexual, but they have to keep it a secret, not knowing how their Jewish families will react. Meanwhile Marzia notices Elio has become more distant with her.
Then the time comes when Oliver’s stay is nearing its end. They don’t know what to do. The parents sense the relationship with them, but recommend the two spend a three-day trip in Bergamo. The trip eventually becomes their last intimate time together. Oliver leaves for the US and Elio returns home brokenhearted. Marzia gives him sympathy and agrees to stay friends and his father tells him he should be lucky because a true love like that is rare. A phone call from Oliver on Hanukah where Oliver discloses that he is to marry a woman, leaves Elio with mixed feelings over what should be but will never be.
The story is not as thick on the drama as the other Best Picture nominees. This is a story that simply unravels itself slowly and quietly. Nevertheless the events are consistent and they all fit within the story. This story bears a lot of similarities with Blue Is The Warmest Color where the protagonist is just becoming an adult and just learning of their same-sex attraction after believing they were hetero the whole time. Like Blue, the story is as much about the protagonist’s progression into adulthood and meeting their first same-sex love. Like Blue, the protagonist struggles with their same-sex attraction even as they pursue love with someone of the opposite sex. Also like Blue, it’s about a person of the same gender that sweeps them of their feet. Another element where it’s like Blue is that the story takes place along an artistic setting. While Blue is about Adele becoming infatuated with Emma through her paintings, it’s Elio becoming infatuated with Oliver in Northern Italy in an environment full of art: both natural and man-made. It’s also Oliver becoming infatuated with Elio through his readings and his piano playing. It’s a unique story how two young men– one who’s artistically-inclined and one who’s academically-inclined– both feel like polar opposites at the beginning, but come to love each other over time.
Another element in common with Blue is that it features a lot of elements one would commonly find in French films. We see how the imagery of the Northern Italian country side and even all the art and artifacts in the more urban areas play in with the story. We see how the elements of Oliver’s academia and Elio’s passion for the arts also help colorize the story and even heat up the romance. We also see the environment of the 1980’s and the music in the film adds to the story line. And we especially see how the theme of apricots plays into the romance. It goes from simple academia discussion to an element of their love. The film could have simply been titled Love And Apricots! Such background elements found here are common in French films as it helps provide a lot of value and background to the story and even the themes of the film.
However the biggest difference between Blue and Call Me By Your Name is that the story of Adele meeting Emma is more about meeting her first same-sex love and Emma being more like a chapter in Adele’s life. Call Me By Your Name is different because it’s a case where Olivier is more than Elio’s first same-sex love, Oliver becomes his soul-mate. The film is also a sad love story because it’s a case of what was meant to be can’t be. We don’t learn of the true divide of the two until the very end. While Mr. Perlman is supportive of Elio’s love to Oliver, Oliver has to marry as he knows his parents not only would disapprove, but send him to a psychiatrist for therapy. I won’t say the reason being because Oliver’s family’s Jewish, but more because the US in the early 1980’s was still very hostile towards homosexuality. That was it. Two soul mates from two different worlds that would face their big divide at the end.
The film is the accomplishment of the collaboration of director Luca Guadagnino and scriptwriter James Ivory. Both openly gay, they did a very good job of creating a story about meeting the love of one’s life and placing it in a glorious picturesque background that gives the story its charm and its feel. The film is also an accomplishment for young actor Timothee Chalamet. Most of the film revolved around Elio and Chalamet delivered an excellent job of a 17 year-old who learns of his sexuality through meeting the love of his life. That end scene where the film focuses on his face and his various emotions is as much the best part of Chalamet’s acting as it is a heartbreak for the audience to see.
Also excellent is the acting of Armie Hammer as Oliver. He portrays a man who first appears arrogant, but possesses an excellent gift of making his academia sound almost like poetry. It’s easy to see why Elio would be charmed to him. Also very good is Michael Stuhbarg. He first just appears in the movie simply as the father and a professor, but his characters fruition comes out at the end as he tells Elio of how happy he is Elio loved Oliver. The choreography by Sayombhu Mukdeeprom was spot-on as it was the various camera angles and capturing the Italian beauty that was needed to make the story.
It’s funny how most people thought that Sherwin and Johnathan from the viral animated short In A Heartbeat were to be 2017’s top gay pair on film. Looks like Elio and Oliver overtook them in the end. They may not be as cute-as-a-button as Sherwin and Johnathan, but they are better at giving the romantic feel to their respective film.
Call Me By Your Name may be a gay-themed film, but it’s a lot more. It’s a film that will charm those who see it with its beauty and its story.
I know I’ve done individual reviews of Best Picture nominees in the past. This year I thought I’d try something new. I thought I’d do summaries of the nominees. Three blogs analyzing three of the nominees. It’s something new this year and I hope you like it. For my first summary, I’ll be reviewing the first three Best Picture nominees I saw: Arrival, Hacksaw Ridge and Moonlight.
When you learn Arrival is about aliens, I’m sure you have an idea of what you’d anticipate what a movie about aliens would be about. However, you’re in for a big surprise.
This is probably the first movie about aliens to earn a Best Picture nomination. The film appears to set up for a story that would most likely lead to big-time action sequences. Instead we get a film that’s very intellectual in dealing with aliens. Don’t forget Louise is a linguistics professor who was hired for this duty because of her language expertise. In this film, the focus is on communication. Louise has a way to communicate with the aliens and earn their trust even while those around her grow more hostile to the beings. Louise’s gift for communication goes beyond the aliens and she’s able to say to General Shang the words his late wife said to her. It’s like she has a sense for this.
Even with all this, the film is not just about aliens and preventing a human-alien war. The film is about Louise trying to heal after her daughter’s death. Her marriage is no more as well and she’s looking for her purpose. It’s even about Louise and her ability to foresee the future and the possibilities they can unfold. Louise is the central protagonist whom the whole story revolves around. She finds her true gifts at a time she least expects it and she’s able to find her life again. It’s almost like this alien invasion is like a godsend to her life. Right after her daughter dies, she learns of her purpose to the world and to others.
Denis Villeneuve did a top job of directing this film. He already has a reputation for films like Maelstrom, Incendies and Sicario. He’s also been hired to do the Blade Runner sequel. This film he directs is very tricky but he does all the right work for it. The script by Eric Heisserer is very smart and very deep. It does a very good job of getting the right moments of action and the right moments of drama pieced out.
The story also rested on the performance of Amy Adams. She knew the story was primarily about Louise and she had to make it work. Although the role didn’t have too much in terms of character development, her performance was solid and it held the story together. The supporting performers may not have had as big of roles but they still did well with their performances. Jeremy Renner definitely could have had more depth in his role. The music from Johann Johannson and Max Richter fit the movie perfectly. The visual effects were also excellent and just what the movie needed.
Arrival is a very intelligent movie. It’s an alien movie not like one you’d anticipate at first but you will leave the theatre pleased.
Mel Gibson is back. This time he has Hacksaw Ridge. It’s a war drama that’s about more than just the war.
This film makes for an interesting topic: conscientious objection. I know all about it. For years I went to a Protestant church where the people were known for their anti-war beliefs. Conscientious objection is something that’s bound to make one question their morals and even act out of hostility. I know that we have conservative pundits who insist that fighting in a war is the definition of patriotism and will even use scriptures to justify why was is the right thing. Upon release of this film, I was anticipating a conservative backlash against it. So far no ‘Diss The Doss’ movement has happened. No movement to have his Medal Of Honor posthumously revoked. Nothing. It’s a good thing because the film does make one reconsider what defines a ‘patriot.’ I’m glad this story was told.
One of the biggest complaints from conservatives in the last 40 years has been either the negative depictions of religion or lack of positive depictions of religion in movies. True, this is not the Hollywood where the Hays Code calls the shots. For those that read my review of Of Gods And Men, I have a quote from Barbara Nicolosi about why that’s the problem. That explains why it’s hard to get a pro-religion movie to compete for Best Picture nowadays. There’s a fine line of showing a film with a positive depiction of Christianity without it being schmaltzy, hokey or overly sentimental. Plus with all the ‘game changers’ in the last few decades, writing a winning script or creating a winning film is just that much of a challenge.
I feel they did a very good job in Hacksaw Ridge. It was a very good story of the persecution Desmond Doss had to face for his beliefs. It was a very gritty story of the war and all the damage it caused. Some say the graphicness was comparable to Saving Private Ryan. It was an honest portrayal about someone’s faith. However there was one point when I felt it was borderlining on hokey during the scenes of: “Please, Lord. Help me find one more.” I know that was something Doss said in real life but I’m just wondering if it could have been done better.
This film is the first film directed by Mel Gibson in a decade. I know he had to take a break as he had a very public meltdown with the things he said about others and problems with alcohol. You could rightfully call this film the redemption of Mel Gibson. He directs an excellent film that took a lot of effort to make. 14 years to be exact even while Doss himself was still alive going from one writer to the next until finally they had the right script and right story thanks to Andrew Knight and Robert Schenkkan. Gibson and the writers did an excellent job with the film with the story and the depiction of war.
In addition, the story was made thanks to the performance of Andrew Garfield. This was more than just a war story. This was a story of a person’s heart and soul. Garfield knew he had to personify Doss in his convictions in order to make this story work. He did it excellently. It’s hard to pick out any supporting players who stood out. None of the roles of the supporting actors were as developed. However Teresa Palmer did a very good job as Dorothy Doss and portraying the concerned fiancee, as is Hugo Weaving as the father Tom Doss and Vince Vaughn as the hard Sargent Howell. The visual effects and the sound mixing were top notch, as it should be in a film like this. The score from Rupert Gregson-Williams fit the film excellently.
Hacksaw Ridge is a surprising film. Who would’ve thought that the best war movie in years would be about a man that didn’t fire a single bullet? Definitely a story worth telling.
At some point, you gotta decide for yourself who you’re going to be. Can’t let nobody make that decision for you.
This year’s surprise critical success is Moonlight. It’s a very unique film like no other seen this year.
The film is unique as it sets itself around three key periods in the life of Chiron. There’s his childhood where he’s known as Little, there’s his teenagehood where he’s simply known as Chiron and there’s his adulthood where he’s known as Black. The film does tell a story of a man who you think would die young. He has all the ingredients: gay, living in inner city Miami, a verbally-abusive mother addicted to crack, arrested at a young age and a future of being a pusher himself. Somehow he finds the will to survive. He’s able to withstand the bullying he faces for being gay, he’s able to decide his life to the best of his abilities without his mother. Often it’s not the best choices he makes in his life but he finds the ability to survive. You wonder how does he do that? Was it from that brief time with Juan and his mentoring? Was it the love from Kevin he always knew was there? I remember that scene of Little in the school dancing classes dancing like he was in 7th heaven: his escape from the bullying. Was it a spark within Chiron himself? Whatever the situation, it results in beauty at the end.
The film is not just about Chiron. As one can see, it showcases the lives of many different African-American people living in the inner city. It may show some of the more negative depictions like drug dealers, poverty and drug addicts but it also shows positive images too like in the case of Juan and his girlfriend or even in music being played. It showcases some surprising things as well as how Juan the pusher can be a very smart man. It even dispels some myths we have of inner city people. Like how Juan was good at handling Chiron’s homosexuality and gave him words of comfort while Paula acted out in hostility. Usually you’d expect ‘gangstas’ to have a homophobic attitude. It showcases what it’s like to be black and gay in the inner city. It also showcases people’s insecurities. It is overall one man’s attempt to find himself in the harsh world that he lives in. Yet despite all its harshness, it becomes something beautiful in the end.
The film is a triumph for Barry Jenkins. This is actually his second feature as a director. His first film, 2008’s Medicine For Melancholy, won a lot of attention and even earned him many directorial debut awards. Moonlight is only his second feature. This film which he adapts a script from a drama school project from Tarell McCraney is a masterpiece in both the story and its direction. The script is also excellent that there is not too much dialogue but is able to say lots even in the silent parts. Another quality of the film; it says a lot while saying very little. Overall the film is a real delight to watch and leaves one wondering what Jenkins will have next.
The three actors who portrayed Chiron– Alex Hibbert, Ashton Sanders, and Trevante Rhodes- all did a very good job with the role and portraying him at the right ages. Mahershala Ali was excellent as Juan: the pusher who becomes a mentor to little Chiron for that brief period of time. Ali had to bring the right charisma and character for a role like Juan to work not just in his scenes but to have an influence throughout the whole film. He did a stellar job. Also excellent was Naomie Harris. Possibly the one actor or actress to be a part of all three scenes, Harris was excellent as the drug-addicted mother Paula. She had to go through three stages with her role from a simple crack user to a crack addict to recovering in rehab. Each time she had to give her role dimension and inner depth to keep it from being cardboard. She did excellent too. There were additional supporting roles that were also good like Janelle Monae as Teresa and Andre Holland as the adult Kevin.
The technical bits were also excellent. The film was edited very well, the cinematography from James Laxton was possibly the best of the year. The score from Nicholas Britell was excellent but the inclusion of track music from classical to Latin to funk to hip-hop to Aretha Franklin to Motown really added to the feel of the movie. Almost feels like an anthology. In fact that scene when Kevin sees Chiron (as Black) after so many years and plays the classic Hello Stranger is one of the best scenes of the film.
Moonlight is a story of a young black man coming of age in the big city but it’s a lot more too. Those who’ve seen it will know why this film is a masterpiece.
And there’s the first of my Best Picture summaries for this year. Next one coming up in a few days.