I admit it. I bypassed Zootopia when it first came out in March 2016. It’s common for me to be ‘all Oscared out’ at that time and I’d be too tired to go to the movies. However its buzz leading up to the Oscars led me to want to see it. I’m glad I finally had the chance.
The film has a very entertaining premise with a rabbit trying to succeed as a policewoman in a multi-species city. To make it work, the film had to create the city of Zootopia and make it work with all the animal species there. Disney is already renowned for its talking animals and having such would work here. However to have them in the city of Zootopia and existing together in its various areas took a lot of thought to arrange it properly. On top of that, having someone like Judy Hopps just move in adds to the complexity. As she experiences Zootopia and what it has to offer, we experience it too.
One thing about this movie is that with it coming from Walt Disney Studios, you know it has to have the ‘Disney Vibe’ to it. You know, the look, sound, and feel of a Disney show. All the shows on the Disney Channel are known for having that vibe. It’s evident as all the actresses act like Minnie Mouse. So it becomes expected that a film from Walt Disney Studios looks, sounds and feels like a Disney film. There’s no shortage of the Disney Vibe in Zootopia. Even with it being set in the present times, the Disney feel is very much there.
Top praise should go to directors Byron Howard and Rich Moore for directing an excellent animated film. The two have had past experience doing Disney films and Howard even goes as far back as Disney’s 2D animation days. Both Howard and Moore are two of seven who wrote the story for Zootopia of which, storywriters Jared Bush and Phil Johnston would do the final script. The final result is something entertaining and flawless. The vocal talents were also excellent with Ginnifer Goodwin as Judy Hopps, Jason Bateman as Nick Wilde and Idris Elba as Chief Bogo.
This is another plus for the Walt Disney Studios. For so many decades, they had the reputation of being the top animation studio in the business. However they faced a serious challenge from Disney partner Pixar once they became the game changer by making 3D animation the new norm. WDS knew they had to make the transition to 3D but it wasn’t easy. It was almost like Pixar was the professor and those at WDS were the students for a long time. However it’s become evident that Walt Disney Studios is now able to hold its own in 3D animation as it has delivered stellar hits in the last five years like Wreck-It-Ralph and Frozen. It even looks like it’s beating Pixar at its own game! Zootopia is another accomplishment for WDS as it continues to reclaim its #1 status in animation. Besides anything less than #1 should be taken as an insult by Disney.
Zootopia looks to be the top favorite to win the Oscar for Best Animated Feature. It’s top competition appears to come from Kubo And The Two Strings. Kubo has won most of the awards in that category but Zootopia has claimed most of the major awards like the Critics Choice, the Golden Globe, the Producers Guild and the Annie Award. However Kubo has won the National Board of Review and most recently the BAFTA. The Oscar result should be interesting.
Zootopia is another hit for Disney. It’s sweet and entertaining but smart and well thought-out. It’s easy to see why it’s arguably the top animated movie of the year.
I was originally planning on saving my review for Star Trek Beyond for a summer movie summary on science fiction movies outside of superhero movies. That was not to be the case as most of the top sci-fi movies were superhero movies. Nevertheless Star Trek Beyond is a movie worth reviewing by itself.
For the third of four movies of the revamped Star Trek series, the writers and director Justin Lin had to deal with making a 2-hour movie that is a continuation of the series while leading to an ending setting up for the fourth and final movie, which currently has no set year of release right now. The trick is trying to make the right choices of what to include, whether it be pieces from the original television series of the 60’s or of movies of the past, and create the right third-movie.
One thing about this installment is that the focus is more about exploring new worlds which is what Star Trek is all about. However it’s also about friction as smaller ships ambush and wreck the USS Enterprise. Even the threat of an intergalactic race in another galaxy under a tyrannous villain adds to the drama this time. This is a case of a fresh story for the Star Trek franchise while trying to maintain the same spirit of the whole Star Trek series.
I mentioned back in my review of superhero movies that despite the action scenes, morals and values are essential for a superhero movie. Morals and values are also essential for a movie like Star Trek as well. The Starship voyage continues in its quest to discover new intergalactic worlds and develop ties between the life forms. The value of doing what’s right is present in this Star Trek movie as Kirk is about to go on a rescue mission that might endanger his life. He responds by saying; “I would rather die saving lives than live knowing that I took them.”
The movie sometimes seems like it wants to be a sweet farewell to Leonard Nimoy. It’s evident in the story as Spock receives news that Lieutenant Spock has died. Reminders pop up in the story line as Spock plans to leave the Starship to carry on the Lieutenant’s duties and even a sentimental scene near the end. I don’t think it did any wrong moves in doing so. Memorializing an actor, especially if they had such a memorable role in their lifetime, is never an easy thing. There are some times in retrospect I felt there were some wrong moves in memorializing Paul Walker in Furious 7 like the farewell image of his character played by his look-alike brother. However I feel they did it right here, including the toast ‘to absent friends.’ Even at the end the movie is dedicated ‘In Loving Memory’ of Nimoy.
Unexpected was the death of Anton Yelchin who played Chekov in the three revamped Star Trek films. He was a gifted actor capable of doing an excellent job in each role he played. In Star Trek, he delivered a Chekov that was half the age of the original Chekov but made it work on screen. He even added some charming humor to the movie series with lines like “Nine-Five-Wictor-Wictor-Two” or “I can do zat! I can do zat!” Unfortunately he was killed an a car accident one month before the film’s premiere. He was 27. The film didn’t make any major last-minute changes in editing or storyline upon news of his death but he is memorialized after Nimoy’s dedication with ‘For Anton.’
New to directing the Star Trek series is Justin Lin. He’s best known as the director of four Fast And The Furious movies. With his first attempt at directing Star Trek, he does a very good job in maintaining the spirit of the Star Trek franchise along with delivering the right storyline and right action to the movie. For the record, J. J. Abrams is producer this time. The script written by Simon Pegg who plays Scotty and Doug Jung who’s past work is mostly writing for television is consistent with the story and the spirit of Star Trek despite it being short on the expected action. All the returning actors still maintain their respective characters well. One thing noticeable is Chekov has more of a presence and he doesn’t deliver so many humorous lines this time. Another new addition is Idris Elba doing an excellent convincing role as the villain Krall. Visual effects were still good even if they weren’t the most spectacular. Also the addition of the Beastie Boys song ‘Sabotage’ got me thinking again to how Guardians Of The Galaxy and The Martian has made it a must to include musical moments in such movies.
The big surprise is the lack of box office success that came with this film. The film currently has a North American gross of over $157 million and a total worldwide gross of over $333 million. Since it cost $180 million to make, it’s labeled a ‘flop,’ especially knowing the first two revamped Star Trek movies starting back in 2009 both made over $200 million. People are wondering why? The film has an approval rating at Rotten Tomatoes of over 80% and there was expected to be big fare since this year is the 50th anniversary of the Star Trek franchise starting all the way back with the TV series. Some are saying Yelchin’s sudden death may have a lot to do with it, like it ‘spoiled the fun.’ It’s wrong to make such an accusation. Nobody saw his death coming. Not even Anton himself, if you’ve bothered to read the news about it. Some are saying the story lacks excitement. Possibly but it still has a lot of ingredients win crowds and Star Trek fans alike. Hard to say exactly. My assumption is that simply this is the third movie, not the first and not the last. Plus it faced competition from a wide variety of other movies this summer. I feel that the final movie can achieve more at the box office because it will be the final movie of a revamped film series that worked rather than flopped.
Star Trek Beyond may not be as action-packed as most of the other summer fare out right now or even past Star Trek films but it is a movie that delivers on the Star Trek franchise and stays true to its spirit. It even paves way to the fourth and final Star Trek movie to come.
If there is one style of film that reigned supreme at the box office this summer, it’s the animated movies. It had some of the best results not just of the summer but the whole year as Finding Dory grossed more than any other movie in 2016 and The Secret Life Of Pets is also in the annual Top 10 so far. There were a wide variety of animated movies from sequels to stop-motion to even an animated movie for adults only. For my summary, I will review four animated films for the summer: Finding Dory, The Secret Life Of Pets, Sausage Party and Kubo And The Two Strings.
It’s been thirteen years since Finding Nemo hit the big screen and captivated crowds. This time around it’s Finding Dory. The question is does it still have the same magic?
The magic of Disney/Pixar films is that it’s not only about top notch animation but also about taking the audience to new and exciting worlds of the imagination. The magic of Finding Nemo is that it captured the magic of the sea world. Finding Dory attempts to capture the magic of the sea world again but it also tries to capture another magic. This time it’s the magic of the Marine Life Institute. It does a very good job of creating a universe out of a marine life park. I’m sure that when Pixar was writing the script for this film, it had to create its own map on how the park would be for Dory to go from place to place. It even had to create the system of communication through pipes.
In addition, the story had to focus on the animals headed to quarantine. That was intertwined with Dory’s search for her parents. It gives a story with many facets. It starts with Dory’s search for her parents and leads to much more. Whatever the situation, it leads to a story that the audience will find thrilling as well as enchanting to look at.
Pixar does it again with writing out an excellent story and giving it top-notch animation. Once again I doubt if you’ll find a glitch. Andrew Stanton returns as director and co-writer with Victoria Strouse and they deliver an excellently entertaining movie. This time it’s Ellen De Generes’ time to own the show. She stole Finding Nemo and now this is her time to have the show as her own. Albert Brooks is back again and he delivers an excellent performance as Marlin too. The film features a lot of other big names as voices like Diane Keaton, Eugene Levy, Ed O’Neill, Bill Hader, Alison Janney, Sigourney Weaver (of course) and Idris Elba.
If there’s one glitch about Finding Dory, it’s that a lot of children may not understand the story in its entirety. For the most part, it’s us older adults who have seen Finding Nemo that understand Dory and her situation. I think that was it. Pixar was making a film that would be meant for both children who love animated movies and the grown up adults who have a special place in their heart for Finding Nemo.
Finding Dory continues on the excellence of Disney/Pixar and continues the charm we first saw in Finding Nemo and entertains crowds this summer in big numbers.
The Secret Life Of Pets
Ever wonder what your pets do when you go to work or school? The Secret Life Of Pets attempts to answer that question of what happens, as long as you live in modern Manhattan. And boy does it give some interesting answers.
This movie creates a humorous premise: pets that come across as your typical house pets but have a sneaky double-life when their owners aren’t home. However they find themselves in trouble and they all have to get back home in time before their owners return.
The thing about this movie is that it’s not focused too much on the story or taking the audience to another world the way Pixar movies do. Instead its focus is on creating crazy humor and funny characters. It’s obvious from the start its intention is to be a crazy goofy comedy to get us all laughing and it succeeds.
However such a movie cannot compromise on things like a solid story with the right beginning, middle and end, characters that fit the story and top quality animation. The movie does exactly that. Actually this movie is more driven on the humorous characters rather than be story-driven like Pixar films. Hey, we’re talking about the same animation studio that gave us the Minions. It works for such a movie and it wins over movie audiences young and old.
Pixar is not the only animation studio alone at the top. Illumination Entertainment has given it some rivalry especially with the Despicable Me movies and the Minions. Here Illumination brings back its main director Chris Renaud and its writer Bryan Lynch, Cinco Paul and Ken Daurio to create another entertaining film. The film even includes a lot of great vocal talent from Albert Brooks, Kevin Hart, Louis C.K. and Steve Coogan just to name a few.
The Secret Life Of Pets isn’t so much about creating a mesmerizing world the way Pixar’s movies are. What it does is create a story that’s entertaining to watch and full of fun intriguing characters. No wonder it charmed crowds this year.
Sausage Party is the first wide-release animated film since South Park: Bigger, Longer, Uncut to earn an R-rating. And rightly so. And I’m sure the animators, directors and actors of the movie wouldn’t want it any other way.
It’s obvious right from the start that Sausage Party is a spoof of Disney/Pixar movies but as you watch over time, and even as you look back in retrospect, it’s obvious it’s a lot more.
Those of you who’ve seen Sausage Party will know that it’s not like most of the animated movies released today. Sometimes you may even get the feeling the movie is trying to sabotage all those family-friendly movies and the wholesome values they stand for. It sure seems that way.
I hate to bring up retro 90’s assimilations but it reminded me of a lot of 90’s entertainment that pushed envelopes and had sadistic pleasure slaughtering sacred cows and skewered values and morals we held dearly, and somehow charmed us into wanting more. Yes, such entertainment that knew we’re all gluttons for punishment. And we saw that in Sausage Party as they were definitely doing lot of tricks in the book to freak us out, whether it be the storyline or characters or images, and succeeding. We also see how it’s even skewering the wholesome values that are normally promoted in the family-friendly animated movies.
One major difference that keeps it from being 90’s-style envelope-pushers. One thing about all those envelope-pushing balls-to-the-wall entertainment of the 90’s that they not only pushed boundaries but they were also successful in making squeaky clean entertainment or entertainment with morals and a conscience look either wimpy or look like a complete joke. Yep, entertainment that broke all the rules and changed the game in the process. Can you blame me for calling them ‘The Nasty Nineties?’
I don’t think Sausage Party succeeded in doing that. Despite the ‘Dixar’ bumper sticker, it’s not as much the punch-in-the-stomach comedy or middle-finger to squeaky clean entertainment from Seth McFarlane or the South Park duo is. Yes, it does mess with wholesome entertainment but it’s more interested in having fun and pleasure making us squirm in our seat. Even though it did warp my brain, I will admit this was the most fun I had in a movie theatre this summer. It’s definitely my ‘guilty pleasure’ movie of the year.
Some people have complained that the movie is anti-religion. I don’t deny that as made obvious by the characters which include one Jewish and one Arabic and most of the lot appearing to resemble Christianity. You get the first hind right at the beginning as the groceries refer to the humans as ‘the gods’ and of the mustard coming back scared over the reality of what they’ve always called the ‘great beyond.’ I knew it would be critical of religion from the reviews I’ve read and I was expecting to get my tolerance on that subject tested. However I will state it’s not the obvious blasphemy as one would commonly see in South Park episodes or a lot of works done by Seth MacFarlane. I will also state that even atheism is also looked upon critically as it will state some common traits among many atheists like a feeling of misery or a ‘smarter than thou’ attitude.
If there is one glitch, I will have to say it’s the ending. What you first think will be the ending isn’t. Instead it will lead into what should be known as an ‘animation orgy party’ and then into a bizarre ‘reality check.’ I don’t have problems with them being in the movie or even in the ending but there are many times I feel the ending could have been done better or mapped out better.
Since I’ve been doing a lot of animation studios talk, it’s interesting to know that heading this film is a Canadian studio: Nitrogen Studios Canada Inc. The head of the studios, Greg Tiernan directs his first ever feature length film along with Conrad Vernon who has directed films like the Shrek movies, the Madagascar films and Kung Fu Panda too. You could say Vernion is spoofing his own films here. Interesting that while most animated movies of this summer have big budgets, this one only cost $20 million to make. Even though the animation was not as flawless as Pixar–and I noticed some technical glitches– its top focus was the humor and it definitely succeeded at that.
Without a doubt, Seth Rogen owned the film. It was pretty much his idea to do such a film like this for years. He not only acts in this but is co-producer and co-writer along with Kyle Hunter, Evan Goldberg and Ariel Shaffir with a story he wrote along with Goldberg and Jonah Hill. He has the delightfully evil charm of the film in his hands and knows how to deliver it well. Additional acting highlights come with Kristen Wiig and Brenda Bunson, Salma Hayek as Teresa del Taco, Bill Hader as Firewater, Nick Kroll as Douche and Edward Norton as Sammy Bagel Jr. just to name a few.
Sausage Party is a film that deserves to be hated but you can’t help but love it. Yes, it will warp your mind but it has a delightfully evil charm that will make it your guilty pleasure of the year. Just don’t bring the kiddies.
Kubo And The Two Strings
After Sausage Party warped my mind, I had to watch Kubo And The Two Strings to reclaim my sanity. Good choice as it was a marvel to watch.
Normally it’s the Pixar movies that have the animation magic that mesmerize us and take us all to another world. This summer, I’d have to say it’s the world of Kubo. It was best at creating a world and an adventure that was enchanting and mesmerizing. It took a unique story that isn’t exactly one that’s best at winning big crowds and turned it into a spectacular marvel.
The thing with Finding Dory is that it does succeed in doing that but it’s a world we’ve been to before and whatever new world is in the story doesn’t differ to much from the world of Finding Nemo. In Kubo, we have a fresh new world of the imagination and that’s its advantage.
The story element of the film is just as strong. It’s about the fate of humanity and good in the world being threatened by evil and the mortality of souls and it resting in the fate of Kubo. Especially since it includes the fates of the souls of Kubo’s own parents. It’s the story of a son of a late master samurai who goes from master storyteller to the one to fight the evil forces. The very cinematic values that make the superhero movies make Kubo. In addition, it gives an alternate definition of ‘destroying the enemy’ one would come to expect. And a definition that appears to be the right thing.
While most of the films this summer were 3D computer animated films from start to finish, Kubo was a mix of both 3D computer animation and 3D stop-motion. This is a common trademark of Laika studios as seen in their past releases like Coraline, ParaNorman and The BoxTrolls. Such style of animation works to its advantage and comes off as a refreshing alternative to the 3D computerized films. It also works best in what makes this movie so captivating. I don’t think 3D computer work alone would make this film work as well.
This film is the directorial debut of Travis Knight, son of Nike CEO Phil Knight. He has actually been an animator with Laika during their first three features and now he takes the step into directing this time. He does an excellent debut job in directing. I was actually surprised to learn this is an original story. It was created by Shannon Tindle and Marc Haimes with the screenplay written by Haimes and Chris Butler. Very excellent and very true to spirit of common mythology. Vocal talents were also very good. Game Of Thrones actor Art Parkinson does a very good job in voicing Kubo and creating his personality. Charlize Theron captures the mysterious side of the Monkey excellently and Matthew McConaughey does a very good job in capturing Beetle in both his bravery and his idiocy. Dario Marianelli does a very good job with making the music fit the film. It captures the whimsy of it perfectly.
Kubo And The Two Strings is my favorite animated film of this summer. It had the best combination off all ingredients that make a great animated film from great animation to a great story to a great redeeming message. Sure, Sausage Party was fun in how it was the complete opposite of your typical family-friendly animated movie but Kubo is a reminder of why such movies win us over time after time. Also it helped me get my sanity back.
And that’s my review of animated movies of the summer. Three were strictly 3D computer animated while one mixed it with 3D stop-motion. Three were mostly family-friendly while one was obviously adults only and proud of it. Three were comedies while one was mostly a drama. Three were fresh new stories while one was a long-awaited sequel. All were entertaining in their own way and wouldn’t let you down. In addition the comedic animated movies had the box office success that eluded the live-action comedies of the summer. So yes, today’s moviegoers do have a sense of humor after all!
In conclusion, the animated movies were this summer’s top box office fare. If you’ve even seen one of the films I reviewed, you’d know why.
Remember last year I talked about the issue of Oscars and race that took over headlines? Yes, it’s nice to see people pay attention to something about the Oscars besides who wears what? However it did focus on a problem in which many people including myself hoped would only exist last year. Unfortunately it was not the case.
THIS YEAR’S HOPE
Last year was a big focus of the lack of diversity. I even did a focus on it myself and even explained how things worked in all my 15 years of ‘OscarWatching.’ Many including myself were hoping that this year would not have the same mistake this year. And this year had a performance by a black actor eligible for a nomination: Idris Elba in the Supporting Actor category for Beasts Of No Nation. It had all the eligible clout: a Golden Globe nomination, a Screen Actors Guild nomination and a BAFTA nomination. Although nothing is guaranteed or earned in showbiz, it had the right amount of juice to clinch the nomination in that category. Many wanted to see the nomination happen. I also wanted to see it happen. I know that if it didn’t happen, there would be a whole whack of controversy and outrage. I even thought the Academy wouldn’t deny him the nomination, not after the #OscarsSoWhite embarrassment from last year.
The nominations were announced on January 14th. Elba was not among the nominees in that category. There were the nominations of Christian Bale and Mark Rylance which were also nominated for the same awards previously mentioned, the was Golden Globe winner Sylvester Stallone. However there was Mark Ruffalo who had earned a SAG nomination and Critics Choice nomination and Tom Hardy who had amassed only a Critics Choice nomination. All the acting nominees were white. All eight Best Picture nominees consisted of a predominantly white cast and predominantly white crew. As for directing and writing, the only non-white nominee was Mexican Alejandro Gonzalez Inarritu.
The lack of diversity wasn’t just the black-and-white issue. Gay director Todd Haynes was heavily favored to be nominated for Best Director for Carol and even for Carol itself to be nominated for Best Picture but those didn’t happen either. If there’s one positive thing, there were four women who receive scriptwriting nominations: up from zero from last year.
People were already speaking their outrage. A new Twitter hashtag– #OscarsStillSoWhite– came about. Civil Rights leader Al Sharpton, whom last year said he would set up a ‘diversity task force,’ was outspoken in his outrage and urged boycotts. Boycotts did happen from Spike Lee, Will Smith and Jada Pinkett Smith. Some actors who did not intend to boycott like George Clooney, Viola Davis and Lupita Nyong’o spoke their criticism. Host Chris Rock was under pressure to boycott the Oscars. He declined but he will be focusing on it during his opening routine at this year’s ceremony. Even Barack Obama spoke out about the controversy: “I think that when everyone’s story is told then that makes for better art, it makes for better entertainment it makes everybody feel part of one American family, so I think as a whole the industry should do what every other industry should do which is to look for talent, provide opportunity to everybody. And I think the Oscar debate is really just an expression of this broader issue. Are we making sure that everybody is getting a fair shot?”
The Academy especially came under fire as they were scrutinized and analyzed and it was revealed that over 90% of the Academy were white in comparison to 65% of the population of the United States being white. In addition three out of every four Academy members were male. Despite the criticism and outrage, there were defenders coming from the likes of actress Penelope Ann Miller: “I voted for a number of black performers, and I was sorry they weren’t nominated. To imply that this is because all of us are racists is extremely offensive. I don’t want to be lumped into a category of being a racist because I’m certainly not and because I support and benefit from the talent of black people in this business. It was just an incredibly competitive year.” Even black actors like Ice Cube and Whoopi Goldberg dismissed the labeling of the Academy as racist. Ice Cube described the labeling of racism as “crying about not having enough icing on your cake.” Whoopi whom herself has won an Oscar and even host the Oscar ceremonies for many years stated: “Even if you fill the Academy with black and Latino and Asian members, if there’s no one on the screen to vote for, you’re not going to get the outcome that you want. I won once, so it can’t be that racist. I’ve been black the whole time.”
THE AMPAS PRESIDENT
With all the criticism the Academy faced this year, the one person who had to do the responding was AMPAS president Cheryl Boone Isaacs. Born in Springfield, Massachusetts in 1949, Boone Isaacs grew up in a middle-class African-American family. She graduated from Springfield Central High School in 1967 and from Whittier College in 1971 with a degree in political science. Her studies in college included a program studying abroad in Denmark.
Her introduction to showbiz came at the age of 25 through her older brother Ashley Boone Jr. who worked as an executive in Hollywood. She started work in Hollywood as a publicist for Columbia Pictures. Her first job was being a publicist for Close Encounters Of The Third Kind. She would work for various film companies as a publicist. Her publicity work on films would eventually lead to higher stature such as Vice President, Worldwide Advertising and Publicity of Melvin Simon Productions and Director of Advertising and Publicity for The Ladd Company. Under Paramount Pictures starting in 1984, she would start as Director, Publicity and Promotion, West Coast and then eventually become the Worldwide Publicity Director. Some of her marketing campaigns included successful Oscar campaigns for Best Picture winners Forrest Gump and Braveheart.
Success continued for Boone Isaacs as she would become President of Theatrical Marketing for New Line Cinema, the first black woman to hold such a position. She even has her own promotion company, CBI Enterprises, Inc., where she has worked on successful promotion of Best Picture winners: The King’s Speech and The Artist.
Boone Isaacs has been a member of the Academy since 1988. In 2013, she was promoted to the position of AMPAS president in 2013and became the first African-American president of the Academy as well as only the third woman, after only Bette Davis and Fay Kanin. Since her inception as president, he achievements have included lifting the cap or restriction on the number of Academy members. she also initiated a drive to invite over 400 new members coming from many ages and backgrounds.
THE PRESIDENT AND THE ISSUE OF DIVERSITY
“It’s easier to be the president of the United States as a black person than to be the head of a studio.”
The issue of the Academy and diversity appeared to be making progress since the start of the new millennium. Actors of various races were earning nominations more than ever before as well as non-white directors. Even in the minor categories, minorities were getting an increasing number of nominations. However it’s almost always in the acting categories where the issue of the Academy and racial diversity gets the heaviest scrutiny. That was the case last year when the first hashtag #OscarsSoWhite came out.
Cheryl Boone Isaacs, an African-American woman herself, knew this was an issue that needed looking into and she made her efforts. This was especially noteworthy at the AMPAS’s annual Governor Awards on Saturday November 14th. One of those awarded was Spike Lee where he was given an honorary Oscar. Before Boone Isaacs announced her plans, Lee talked about the lack of diversity even commenting that when he goes through Hollywood offices, he only sees white faces and the only non-white is the person checking his name at the door.
At those Awards, Boone Isaacs announced her plan which she called A2020: an initiative to age, gender, race, national origin and point-of-view, in Hollywood over the next five years. Her A2020 initiative is a five-year plan to study practices at the Academy with the aim of improving the diversity of its own staff and governance while also bringing new voices into the organization. Outside of the Academy, the plan is also intended to encourage and to push the industry to examine its hiring practices and to begin to make changes. Boone Isaacs stated: “When it comes to fair and equal representation in our industry, words are not enough. We also have a responsibility to take action and we have an unique opportunity to do so now.” At those ceremonies, Lee thanked her and said: “she’s trying to do something that needs to be done.”
THE PRESIDENT RESPONDS TO THE CONTROVERSY
“The Academy is going to lead and not wait for the industry to catch up.”
-Cheryl Boone Isaacs
If there’s one thing most people would feel upon learning of this year’s nominees, it’s that Cheryl’s A2020 plan isn’t happening fast enough. Even though the set of 51 new members of the Academy was more diverse especially with 17 of them being women, the end result on nomination day was one of disappointment. Boone Isaacs herself came under fire by some for not doing enough. Even civil rights leader Al Sharpton ridiculed her by referring to her as a pawn in a predominantly white members-only club.
No doubt Boone Isaacs felt the heat. It was only a matter of a mere eight days after the nominations were announced that Boone Isaacs announced the sweeping changes to the membership rules for Academy members. This was published on the AMPAS website under the title ‘Academy Takes Historic Action To Increase Diversity.’ For those interested in the plans, click here to the official document.
The day before, the Board Of Governors approved through a unanimous vote a set of sweeping changes coming to the Academy’s membership. Its intent was to make the Academy members more diverse and open the door to more women and visible minorities. However one of the things they most wanted to get tough on was the membership of their older members. Examples of the proposed changes starting this year are:
- New members lasting 10 years and renewed if that new member has been active in motion pictures during that decade.
- Lifetime voting rights after three ten-year terms or if they’ve won or have been nominated for an Academy Award. Standards also applied retroactively to current members.
- Current members that have not been active for 10 years can still qualify if they meet the other criteria.
- Members not qualifying for active status will be moved to emeritus status and will be denied voting privileges.
- An ambitious global campaign will be launched to identify and recruit qualified new members who represent greater diversity.
- To increase diversity in its Board Of Governors, the Academy will establish three new governor seats that will be nominated by the president for three year terms and confirmed by the board.
- New members who are not governors will be added to its executive and board committees where key decisions about membership and governance are made. This allows for new members to become more active in the Academy’s decision-making and help the Academy identify and nurture future leaders.
Most of the response has been good. Some of the biggest came from Selma director Ava DuVernay through Twitter: “One good step in a long, complicated journey for people of color + women artists. Shame is one helluva motivator.” Lee stood by his boycott but applauded Boone Isaacs and the Board of Governers for: “trying to do the right thing. It’s a start.” Steven Spielberg also reminded us: “I do think that what the Academy is doing, in a proactive way, to open up the membership to diversity, I think that’s very, very important. But it’s not just the Academy, and I think we have to stop pointing fingers and blaming the Academy. It’s people that hire, it’s people at the main gate of studios and independents. It’s the stories that are being told. It’s who’s writing diversity — it starts on the page. And we all have to be more proactive in getting out there and just seeking talent.”
I admire Cheryl Boone Isaacs for taking the initiative for making these needed changes. The Academy always was aboard with its own membership rules and needed reform back in the 1960’s because of its own issues then. Issues came again now and reform was needed. The changes proposed look great: less members for life.
However I do believe they are not a 100% guarantee of diversity happening on a consistent basis. No kidding diversity will be increasing at double the rate it’s been happening in past years. However it doesn’t mean that every year from next year onward will feature a diverse array of nominees. I’ve seen the various film seasons over the years and see how certain films excel more than others. I’ve seen years that have been very generous towards minority actor and have given them roles that can contend for glory at various awards shows including the Oscars. However I’ve also seen years which have been lackluster for them and they would lack parts that can propel them among the ‘elite of the year.’ I know it’s a start and there will be more to come but I’m still a bit cynical it’s a solve-all.
Also it also depends on the media too. I’ve seen them label some films long before the Oscars full of ‘Oscar buzz.’ And most of them are predominantly white. The media can’t just simply label a film ‘Oscar bait’ because it has characteristics that are common with what wins the Academy over. They should call it ‘Oscar bait’ because of top notch quality, and skin color should not matter.
Nevertheless next year is the first year when these changes are to come into effect. Hopefully over time we will see a more diverse Academy. And not just more blacks; more women, more Hispanics, more Asians, more of all minorities. As for 2016, potential is already showing as this year’s Sundance showed The Birth Of A Nation: a film with a predominantly African-American cast that had rave reviews and huge buzz. The release date to the box office has not been set but Fox Searchlight has bought the film’s rights at $17.5 million, the most ever for a Sundance film.
The outrage over the lack of diversity at this year’s Academy Award nominees was just the catalyst needed for the necessary changes to happen. The future will tell if these changes pay off or not. However the lack of diversity is still an ugly reminder of what happens when you turn art into a competition.
WIKIPEDIA: 88th Academy Awards. Wikipedia.com. 2016. Wikimedia Foundation Inc. <https://en.wikipedia.org/wiki/88th_Academy_Awards>
WIKIPEDIA: Cheryl Boone Isaacs. Wikipedia.com. 2016. Wikimedia Foundation Inc. <https://en.wikipedia.org/wiki/Cheryl_Boone_Isaacs>
Kilday, Gregg. “Spike Lee: Getting a Black President Is Easier Than a Black Studio Head” The Hollywood reporter. 14 November 2015 <http://www.hollywoodreporter.com/news/spike-lee-getting-a-black-840371>
Gray, Tim. “Governors Award Winner Spike Lee to Hollywood: ‘You Better Get Smart’” Variety. 15 November 2015 <http://variety.com/2015/film/news/governors-award-winner-spike-lee-to-hollywood-you-better-get-smart-1201640307/>
“ACADEMY TAKES HISTORIC ACTION TO INCREASE DIVERSITY” Oscars.org 22 January 2016 <http://www.oscars.org/news/academy-takes-historic-action-increase-diversity>