At first one would think that The Shape Of Water is another science fiction movie with a bizarre story, but it turns out to be a story that’s a lot more than that.
Eliza Esposito is a mute woman in Baltimore in 1962. Orphaned at a young age, she lives in an apartment just above a movie theatre and works as a janitor in a secret government laboratory. She only has two friends. The first is Giles: a gay advertising artist who lives next door to her. They often eat pie and watch entertainment together. The second is Zelda: an African American woman she communicates with in sign language. It’s through Zelda she can tell her biggest secrets.
One day, a creature is brought to the laboratory. It’s a sea creature from South America captured by Colonel Richard Strickland. Right when she sees the creature, she notices something about him. That the creature has some human-like traits. Both Zelda and Eliza sense something wrong with Colonel Strickland as he comes across in a gruff manner. They also notice he brought a cattle prod that has blood on it. Eliza notices the blood travels in a unique pattern.
Later Strickland is attacked by the creature, bleeding badly and lost two of his fingers which get reattached shortly after. As Strickland is being tended to, Eliza wonders who is this creature and what do they want from him? Eliza soon develops a bond with the creature and discovers it’s a humanoid amphibian. She gives him eggs to eat, music to listen to, and communicates with him through sign language.
There are different plans people have for this creature. General Hoyt wants Strickland to dissect it for the possibility of an advantage in the Space Race. Scientist Robert Hoffstetler, who is secretly a Soviet spy, tries to convince his masters to keep the creature alive for scientific study. The Soviet spymasters disagree and want him euthanized.
When Eliza learns of Hoyt and Strickland’s plans for the creature, she tried to persuade Giles to assist, but he rejects at first. It’s after a failed attempt at hitting on the pie man that he agrees to comply. Zelda is also opposed to it at first, fearing for but her job and Eliza’s, but she agrees to help. Hoffstetler tells Eliza he’s aware of her plan and is willing to help.
The plan is to help the creature escape where no one can see. Zelda keeps a close eye on the coast. Hoffstetler helps in the distracting of the surveillance cameras just as Zelda makes the adjustment, and even has a bomb on the power base set to explode at the right minute. Giles rents a truck and paints it to look like the laundry pick-up truck. Eliza is able to get the creature into the laundry bin. Just as it appears that Giles is about to get stopped by security, Hoffstetler injects sleeping medicine into the guard’s neck. The pick-up and escape is successful, but not without smashing Strickland’s new blue Cadillac!
Eliza keeps the creature in her apartment. She keeps it in her bathtub which she mixes with salt and plants. She plans to release it into a canal in a few days one it opens to the ocean. She’s well aware that Strickland still wants the creature. Strickland even meets with Eliza and Zelda to interrogate, but both are able to keep the truth hidden from him.
Back at the apartment, the creature leaves Eliza’s suite and visits Giles’ suite. He takes an interest in his drawings and the television, and thinks one of his cats is food! The creature runs off again just after he slashes Giles’ arm. Eliza goes searching for the creature and finds him in the movie theatre staring at the screen. The relationship between Eliza and the creature grows. She becomes more than just his protector, but his lover. She herself can even acquire the ability to make shapes with water. She even tells all to Zelda, to her surprise. The creature even helps Giles heal from his wounds. Giles eventually opens up to him just after. Eliza gets sexually involved with the creature even to the point she tries to flood her whole bathroom to have underwater sex! Much to the disappointment of the cinema owner down below!
However time is running out for all. General Hoyt gives Strickland an ultimatum of 36 hours to return the creature back. For not helping with keeping the creature, Hoffsteler is told by his superiors he will be extracted in two days. However the creature’s health is failing and he will have to be returned to the water. The day Eliza planned to take the creature to the canal comes. Giles agrees to help drive the creature to the canal when the day comes.
Meanwhile Hoffsteler meets with his handlers and is shot, but not until Strickland intervenes and shoots the handlers dead. He forces Hoffsteler to reveal who took the creature. Strickland then goes to Zelda’s house. To the shock of her and her husband, Strickland arrives and threatens Zelda to reveal Eliza has been keeping the creature. Zelda then telephones Eliza and Giles warning them of Strickland. The time to take the creature to the canal is now. The creature wants Eliza to come with him, but Eliza insists it’s better for him to go alone. The scene ends on a dramatic note and an ending that’s unexpected, but is the right ending for the film.
This does make for a bizarre story of a recently-discovered sea creature and a woman’s romantic connection to the creature. We’ve seen Beauty-And-The-Beast type of movies before like King Kong or Creature Of The Black Lagoon. The funny thing about this is that it actually succeeds as a romance. The first thing that makes it work is that there’s a real connection between the woman and the creature. Rightly so because Eliza is the first to connect with the creature and connects with him in the biggest way. All Eliza had before was her job and the friendships with Giles and Zelda. Here she finds a being that she not only connects with, but becomes her soul mate. The one that completes her. They were two lonely people who were united by fate of the most impossible kind. You could understand why the ending made sense. It was through the magic of the creature’s healing that she is able to live in his world and his world only.
The most interesting thing of the film is its connection of the various arts. It’s more than just nostalgia. It reminds you of the charm and the feel of such entertainment back then that most people overlook. However it’s through those various arts that the sea creature gets a sense of human vitality and even embraces it into his own life. The art he comes across helps him communicate in the human world and gives him his human-like qualities. From the music Eliza plays to the images on the movie screen to even watching a hokey episode of Mr. Ed on Giles’ television, the entertainment is his connection to his human traits. It even helps him experience his feelings of love which he has for Eliza. You could understand why that one scene where Eliza was not a mute –that musical number where she dances with the creature– makes sense. It’s through art that she’s able to express her love for the creature: the one being that doesn’t make her feel like an outsider at all.
The creature doesn’t just affect the lives of Eliza, but of the two closest to her too. Soon after Giles has a change of heart and helps the creature’s escape, Giles opens up to the creature and soon makes him a part of his own art. As Zelda helps the creature escape, she too develops an inner strength in her and is able to stand up for herself to her husband. It’s something to think about. The three main characters are all misfits in 1962 Baltimore. Eliza is a mute, Giles is gay, and Zelda is black. However it’s through this creature that Eliza finds a soul mate, Giles finds a purpose and Zelda finds an inner strength.
I give top credit to Gullermo del Toro. The story he directed and co-wrote with Vanessa Taylor is comical and had a lot of good drama, but it’s the human element that shines in the story line. Del Toro would admit in an interview that this is inspired by The Creature From The Black Lagoon and always dreamt of seeing Gill-Man succeed in the romance to Kay Lawrence. I can sometimes see hints of Pan’s Labyrinth in the story. It’s interesting how he creates this story that romanticizes the entertainment of the time as well as reminds us of the hysteria of Communism at the time too, as well as the racism. All of this makes the charm of the film.
The acting is the biggest strength of the film. The best comes from Sally Hawkins in playing a mute who best communicates to the sea creature with her feelings and with the power of art. Richard Jenkins is also excellent as Eliza’s loner friend who finds a new purpose in life through the creature. Another excellent performance is from Octavia Spencer playing the friend closest to her side. Also very good acting from Michael Shannon. You often wonder if Strickland is heartless or just plain under the thumb of the Colonel. You know he’s troubled when you see the amount of pills he takes. Excellent work for Doug Jones. One again, he does excellent work as the creature in Guillermo del Toro’s movies. Most of you remember him as the Faun in Pan’s Labyrinth. You could say Doug Jones is to del Toro’s movies what Andy Serkis is to Lord Of The Rings’ Gollum.
The film has a lot of excellent technical aspects too. There’s the costuming and make-up team that made up the costume of the creature, as well as the visual effects team that made the ‘blue effect’ of the creature’s skin. There’s the production design team that made an excellent set that dates back to the early 1960’s to a tee, even with the movie theatre. There’s Luis Sequeira that designed the right costumes and outfits for the actors as well. Finally, there’s the mix of the music of the time mixed with the imaginative score of Alexandre Desplat. Desplat knows how to compose for a movie.
The Shape Of Water is more than just a creature-and-woman romance we’re familiar with. It succeeds in having the feel of an actual romance and successfully convey the feelings of love. In the end, the romance looks so right! That’s its magic.
I was lucky to see a lot of Canadian film this year at the VIFF. The last Canadian film I saw was Indian Horse. It touches on a dark moment of Canada’s history, but it also gives a ray of hope.
The story begins with Saul Indian Horse in a rehab clinic for alcoholism. He is around other First Nations people who tell of their experiences being raised in a Residential School. It’s there where Saul needs to make sense of his past.
His first memories come back to 1958: before he was taken to the School. He had a grandmother who spoke in her Ojibway language and still practiced Indigenous spirituality. Her daughter, Saul’s mother, was raised in the School. It changed her terribly. She called the mother’s religion blasphemy and would only speak English. The grandmother would be undaunted and would comment on how she was drinking the ‘white man’s drink.’ Their first son, Saul’s older brother, was to be home from the School temporarily, but was terribly sick. Eventually the brother died. Saul never saw his parents again.
It was just Saul and his grandmother shortly after. The grandmother took Saul to a remote location to try to hide Saul from being taken by authorities to the School, but she died. The authorities did find Saul and took him to the School. The first day was terrible. Saul was joined by a boy named Lonnie who spoke nothing but Ojibway. They were told how they would be made to speak English, revoke their ‘pagan Indian religion’ and not act like ‘savages.’ It all started with the cut of Saul’s ponytail.
The School was where the First Nations children were ‘schooled’ and ‘raised.’ They weren’t taught much in school as far as education went, but they were taught a lot of the Catholic religion. As far as ‘raising’ the children, the priests and nuns ‘raised’ them through abuse and humiliation, even keeping them captive in the basement cage at times. Saul witnesses it all and is even victim to the abuse. He witnesses Lonnie constantly beaten for speaking Ojibway, Lonnie’s failed escape and being held captive for punishment, one girl held captive for behavior and even dying in the cage, and her sister later committing suicide.
Saul did find a way out of the horror. There was one priest, Father Gaston, who appeared to be less strict than the others. He introduced the boys of the school to the sport of hockey. The school had a hockey team and the boys were allowed to watch Hockey Night In Canada. Saul wanted to play but he was too small at first. Fr. Gaston allowed him to tend the uniforms and clean the ice. That time allowed Saul to learn skating for himself and to learn hockey…using frozen horse turds as pucks. Fr. Gaston is astounded by Saul, but the head priest is reluctant to let Saul on the team. After a year, Saul is allowed on. It was a smart decision as the team came the surprise winner at many games with Saul outpowering and outplaying players way bigger than him.
Saul improves so much over the years in hockey, he’s allowed to leave the school early to play for a team on a nearby reserve. Before he leaves, he promises Lonnie he’ll see him again. He’s given a rooming home by an Indigenous couple who are empathetic to what he went through. He even blends well with his new team: The Moose. The Moose are not just a team that plays well, but a team with a brotherly bond. Whenever they win, they celebrate together no matter who the big star is. When they go to a bar to drink, they stand their ground against any bigoted white men why try to fight them.
Years later, Saul is offered a big opportunity to play with a team from a big city, and play professionally for money. The coach, Jack Lanahan, makes an offer in from of Saul’s teammates. Saul refuses at first, but his teammates encourage him to go for it. Saul accepts. Saul is the only member of the team that isn’t white and the team makes him feel like a misfit. On the ice, things aren’t any less discomforting. The crowds taunt him and whenever he scores a goal, they throw Indian figures on the ice. The media isn’t any kinder as a drawing depicts him as a warrior and even the journalist writes him as a warrior. Saul can’t take it anymore and he quits the team, and hockey as a whole. Years later, Saul is doing menial jobs like dishwashing for a restaurant. As he walks the streets of the town, he sees so many First Nations people with drinking problems. Then one day he notices Lonnie on the street with a bottle in his hand. That leads to Saul dealing with his own bout of alcoholism.
It’s 1989. Saul was hospitalized with liver problems. The doctor tells him any more drinking, and he will die soon. Saul check into a rehab centre specifically for First Nations people. There he hears many residential school stories similar to what he endured or what he saw happen to others. One of the counselors ask him if he ever cried. He never has; Saul has always made himself stoic in emotions. He’s asked to go retrace his past. Saul goes back to all the places he knew. First place he returns to is the residential school. It’s no longer running and is now just a shabby building. As he tours the place, he’s reminded of the memories of the ice rink where he learned to play, of the basement where students were locked up, and even the stairway where we learn Fr. Gaston used to perform ‘abuse’ on him. Saul returns to the land in the woods where he lived as a child before being sent to the school. It’s there Saul cries for the first time. It’s also there where he experiences a reconnection with his family and his indigenous heritage. This time he feels the pride. Then he returns to the reserve and is welcomed by his foster parents and The Moose with open arms.
This film is remarkable because it touches on a subject that remains the darkest blemish in Canadian history. The residential school system was set up with contempt in indigenous culture. The white English-French Canadians who ran Canada over a century ago always saw indigenous culture as ‘pagan,’ ‘wicked’ or ‘demonic.’ They felt they were doing the right thing by ‘whitewashing’ the indigenous people. Instead they created a huge mess that was very hurtful to the indigenous people. I attended high school in downtown Winnipeg and I saw firsthand the social problems the indigenous people endured from the late 80’s onward like alcoholism, drug abuse, homelessness, teenage pregnancies, gang violence and suicides. One scene that stuck out for me was when the white authorities were taking Saul away to the schools as his grandmother lay dead beside him. They only cared about taking Saul: they didn’t care about the recently-deceased grandmother at all. What does that tell you?
It’s only until revelations of abuse at the schools, both physical and sexual, surfaced in the 90’s after the system was dismantled that we finally got our answers why the indigenous had all these problems. It’s only now since the beginning of the 21st century that efforts have been made to reconcile and to clean up this mess. The stories experienced by the children that were put in the schools were echoed in the 2012 novel Indian Horse by Richard Wagamese. The novel has earned huge renown and even won awards since its release. The story of Saul is a story commonly echoed by many indigenous people that were ‘prey’ to this system.
Now adapting Wagamese’s novel into a film would prove to be a challenge. This was a story that needed to be told, no matter how painful the details. However the goal was not just to simply create a film, but create it in a ‘movie’ format so it can be viewed by a wider audience. Direction ended up in the hands of Stephen Campanelli who actually has a reputation in Hollywood as a cameraman, mostly for Clint Eastwood’s films. Campanelli has become Clint’s most trusted ‘camera eye’ since The Bridges Of Madison County. Scriptwriting was given to reputed Canadian scriptwriter Dennis Foon, but not without consultation with Wagamese himself.
The film had to include a lot of important elements of what happened both in the lives of the protagonist and what the indigenous peoples endured over the decades. However if this was to be a movie, the film had to be made into something watchable. The days back in the 90’s when we used to admire directors like Harmony Korine and Lars von Trier who’d take the unwatchable and shoved it in people’s faces are long gone. Making it ‘watchable’ would be a huge challenge. The subject of child abuse is never easy to write about. Seeing images of bigotry toward the indigenous children makes it additionally harder to watch. I don’t deny that anyone who went through the system will say that the depictions of abuse were ‘light’ in comparison to their experiences. However they were very good in telling exactly what they went through. The priests and nuns insulted them, humiliated them and even tortured them whenever they did wrong or didn’t live up to their standards. I may be Catholic, but I felt a lot of wrath towards the priests and nuns who taught at the schools when I was watching. I even thought: “They’re in hell now!” However the film also pointed to their mindset too. The film gave the impression that the priests felt the using abuse to teach and punish was the right thing to use not just on the indigenous, but in raising children as a whole. We shouldn’t forget there were people back in the 50’s that thought using abuse to raise children and punish them was the right thing.
Another element the film had to include was the common prejudices indigenous people received which helped lead to their lifelong identity crisis. The image of indigenous people has always had a difficult time. I don’t want to get started about all those ‘cowboys and indians’ movies of decades past. Imagine an indigenous child watching one of those. How’s he supposed to feel about his identity? The film does a good job in showing the identity crisis the indigenous continued to face just after Saul leaves the school. They would face prejudice whenever they’d go into a bar or any other place mostly filled with white people. Whenever an indigenous would make news of an accomplishment, they would be subject to journalism depicting them as a ‘warrior.’ That scene of Saul reading over that news story is something very common. There are a lot of white people who think that depicting the indigenous as ‘warriors’ through sports names like Redskins or Tomahawks are doing the right thing. Instead it only adds to their inferiority complex.
I think the purpose of the film is to show Saul’s experience as an indigenous person from childhood to adulthood as difficulties shared by most indigenous people in Canada. Throughout the film, I was thinking that this film is not based on a true story. It’s based on a thousand true stories. I’m sure there are many indigenous people who will see the abuse or bigotry or feelings of inferiority happening to Saul and the people around him and feel that this is their story too. This is a mirror of what happened in their lives too.
However going back to how this film was to be in a ‘movie’ format, it still needed to be watchable. There were certain harsh truths that could not be hidden from the movie, but the story is about finding a way out of the harshness and even finding a feeling of belonging after it all. The story of hockey makes for excitement and gets you cheering for Saul. Those in the audience who never read the novel want Saul to come out the winner. Even after we see all that Saul has been through, we want Saul to come out triumphant after all the ordeals he had been through in his life. The ending is the highlight because the end scene of Saul’s recovery and coming to terms with his past shows a ray of hope. All of Canada has seen the harm the system has done to the indigenous people. Even the indigenous peoples of Canada themselves don’t want to hurt anymore. They want to live their lives and be seen as people deserving of respect. The end scene may be a bit simple and may be seen as ‘sugar coated’ by some, or even a ‘prodigal son’ moment by a few, but it’s also part of the theme of hope. That scene where Saul returns to his foster parents and the Moose greeting him is a reminder of those that will never leave you no matter what. There are people that will find you when you’re lost.
Director Stephen Campanelli and writer Dennis Foon did a very good job of bringing the novel to the big screen in movie format. There were some noticeable imperfections and even a thing or two that could have been done better, but that doesn’t stop this for being an accomplishment for Canadian cinema. As for author Wagamese, unfortunately Wagamese died on March 10th of this year at the age of 61. It’s unfortunate Wagamese didn’t live to see its debut at the TIFF. Many in the indigenous communities say he’s still here in spirit.
The actors did a very good job in their roles. All the actors who played Saul did very well, but the standout had to be Sladen Peltier who played Saul at 9. He never acted before, but he was excellent. Forrest Goodluck was also very good too. The 19 year-old from Albuquerque has professional experience already through roles like Hawk in The Revenant and has two films to be released soon. Even newcomers like Ajuawak Kapashesit and Bo Peltier were impressive. The film shows a lot of good young indigenous talent in Canada that have a promising future. The music was a good mix of original score by Jesse Zubot and modern-day indigenous music or indigenous pop.
I know I’ve often said about Canadian film that there’s two groups: Quebec and English Canada. I’ve often elaborated how Quebec is the class of the field while English Canada is struggling with its identity in film. This is a film that I feel can change that. This is a very professionally-done film about a story that creates a lot of intrigue and gets one hoping for the protagonist. Oh, remember I said that Campanelli was a cameraman on many of Clint Eastwood’s films? Well, Eastwood himself is an executive producer of this film! This film was a big hit at the TIFF and won the Audience Award at the VIFF. I heard during a Q&A that this film will have an American release in April. That could open more doors for Canadian film in the future.
Indian Horse attempts to do something tricky in film making: attempt to make a ‘movie’ out of a hard subject in Canadian history. It succeeds in doing so, albeit imperfectly, and even serves as a ray of hope for the future.
DISCLAIMER: In the next while, you will see a lot of film reviews that have been delayed for the longest time. I’m passing them off as DVD reviews.
“Can’t you just go and speak to Judge Bazile? We ain’t hurting anybody.”
Loving was actually the very first film I saw in 2017. Pardon the delay of the review. It’s still worth reviewing as it is a unique film, and not just because of its subject matter.
Richard and Mildred Loving want to marry. It’s the right time; they’ve been dating for a long time she’s having a baby. Problem is Mildred is black and Richard is white and they live in Virginia where interracial marriage is forbidden by law. They travel to Washington, D.C. to marry, but it causes problems as the couple are raided by the police and told their marriage certificate is not valid.
The couple were tried in the court of law in Virginia and they plead guilty. They received a suspended sentence, but decided to move to Washington, D.C. Life in Washington doesn’t work out for them as the oldest of their three children was hit by a car. The child survives, but Mildred decides she prefers the calm life of the country and wants to move back to Virginia. Especially since their families are there. In addition, Mildred writes to Robert F. Kennedy of her situation. Kennedy sends her letter to the ACLU. Bernard Cohen, a lawyer associated with the ACLU, agrees to contest the marriage ruling in the state of Virginia, but is slapped by disapproval in the court based on Virginia’s constitutional law.
Mildred then has Cohen take the case to the Supreme Court of the United States. In 1967, the US Supreme Court overturned their convictions and ruled that the criminalizing of interracial marriages violates the Fourteenth Amendment. The Lovings could now live in Virginia without fear of threat and love each other peacefully.
This film is of a relevant topic. Interracial marriage is a topic that still develops some heated discussion in the United States today. Many countries like Canada, the UK and even France don’t see interracial love as much of a problem. However there are still a significant number of people in the United States that look down upon it. Even seeing how Richard’s mother was disapproving of the marriage and even telling Richard he ‘did a wrong thing’ really gets one thinking at first how someone, including many millions around the world, can think loving a person of a different race is ‘wrong.’ Even hearing how the courts of Virginia ruled that: “God created the continents to keep the races separate and that they don’t mix.” I thought that was bizarre that they thought that but the courts in the Commonwealth Of Virginia considered that to be the truth. Me, I’d demand they pull out the Bible and show me where marrying someone of another race is a sin. Which of the Ten Commandments did that violate?
I was anticipating the subject of race to be included in the film. I know the prime topic of interracial love would be the prime topic but I figured the topic of race would be present too,, especially since this is in Virginia. The topic of race was not focused too heavily. However there were some moments when the subject of race was present. Like the case when Richard was going for a beer with his brothers-in-law from Mildred’s side of the family. I remember one of them questioning “You think you’re black?’ That too had me thinking about the racial divide in the US that still hits today.
The most surprising thing about Loving is that it wasn’t as dramatic as one would expect it to be. In fact the film appeared less focused on the events and more focused on the people Richard and Mildred Loving. It focused on the two as a couple, but mostly on both Richard Loving and Mildred Loving as individuals. Richard was seen of having the personality of a man who’s both hard and sensitive at the same time, but fearful of what would happen. Possibly because he’s white and he knows about a lot of racism that he could be subject to hate and even violence for. Mildred, whose actually half-black and half-Native American, was seen as a person who was soft and smart, but always optimistic. She had that look on her like she had nothing to lose and whatever else to gain.
It first seems like an odd choice to be more focused on the people instead of the events. I often wondered too about why it was done so. Over time, I saw it as something that made sense. We should not forget that it was the Lovings’ love for each other that made this happen. Sure, history will record Richard and Mildred for making history for their interracial marriage, but they made history because of their love for each other. The feelings for each other are made very obvious to us as are their feelings towards the events in their lives. This angle of focus was a very good choice in making such a film. We more of a look at the couple that made history rather than the history they made.
I admire writer/director Jeff Nichols for using that angle in creating the story of the Lovings. It is a unique angle and keeps their story from coming off as a made-for-TV movie. The portrayals of the Lovings by Joel Edgerton and Ruth Negga were excellent and very telling of Richard and Mildred both as individuals and as a couple. The other actors in the film didn’t have such well-developed roles, but they did own the scenes when they had them, like Sharon Blackwood as Richard’s disapproving mother and Nick Kroll as Bernie Cohen the lawyer. The score from David Wingo didn’t occupy too much of the film, but its presence helped with the storytelling.
Loving is an excellent film that shows a focus to a story many know, but a focus overlooked. It’s also a film relevant now as interracial marriage is still a hot topic to many today.
Just recently I published my review of the live-action shorts nominees of this year. Now’s my chance to publish my thoughts on the nominated animated shorts of this year. They range in variety from 2D artistic to primitive 2D to common 3D computer animated to 3D with a unique style. All five are excellent and unique in their unique way but who deserves to win?
–Bear Story (Chile): dirs. Gabriel Osorio Vargas and Pato Escala Pierart – It’s a story of a bear who misses his wife and son dearly. Every day he goes out on the street and shows a diorama show to those of the story of how he was abducted from them both and taken away to be part of the circus. The show also ends showing his hope that one day he will be reunited with them both.
The film is a sad story that touches your heart without trying to mess with it. It’s 3D animation but instead of the characters looking human, it comes looking like toy soldiers. I’m not too sure of the creative purpose of that. Nevertheless it does make for an entertaining short film.
–Prologue (UK): dirs. Richard Williams and Imogen Sutton – This is one film where there was a viewer discretion warning and advised minors to leave the theatre before it was shown. The film takes part 2,400 years in the past. A child watches a brutal war between two teams of Spartan and Athenian warriors.
This is the rawest nominated short I’ve ever seen ever since they’ve shown the shorts in theatres. The art is simplistic as it consists mostly of pencil drawings with very little coloring. However it merits a lot in terms of its artistry. It also tells a story in brutally relentless fashion even depicting the battles in gory manner. It’s very rare to see a short animated film that’s strictly adults only. It also made it refreshing to see such a short.
–Sanjay’s Super Team (USA): dirs: Sanjay Patel and Nicole Paradis Grindle – Sanjay loves watching the Super Team on television but his father is very insistent on a religious prayer habit, even at Sanjay’s young age. Right during the prayer ritual, Sanjay’s imagination comes alive. The gods he’s praying to form a Super Team of his own and they join Sanjay in the battle against a nemesis.
This is from Pixar and was the short before The Good Dinosaur. Director Sanjay Patel has an impressive resume working as an animator for Pixar in films like A Bug’s Life, Toy Story 2, the two Monsters movies, The Incredibles and Ratatouille. This film in which he co-directs is his directing debut. The film shows similar imagination to that of the Pixar team while also taking us into a brief but memorable time into an incredible fantasy world. Very good from start to finish. I predict it as my Should Win pick and Will Win pick.
–We Can’t Live Without Cosmos (Russia): dir. Konstantin Bronzit – Two childhood friends train to be cosmonauts in space. Only one will go off into space. The other will be the alternate or next in line if something bad happens to the first. One friend got picked. The other friend wishes him well on his voyage. However shortly after blast off, the friend disappears. The friend down on earth is unhappy. He can’t even adjust well to his alternate whom he doesn’t get along with at all. Actually the alternate can’t get along with anyone. The friend makes a decision to the surprise of many, and to us. It’s a decision we’re glad he made.
It’s a 2D film with a story that doesn’t need dialogue for us to get the messages. Over time we learn the story isn’t about trying to make it into space but about just how close the friendship is. The two train together and dream together. When his friend is lost into oblivion, his ambition to be the next in space disappears just like that. You can easily see why he made the decision to do what he did.
–World Of Tomorrow (UK) dir. Don Hirtzfeldt – The story begins with a toddler named Emily in a room. Out of nowhere comes a clone also named Emily who came from 227 years into the future back to the present. The adult Emily, ‘Emily Clone,’ tells the child Emily, ‘Emily Prime,’ of the human’s attempts to achieve immortality through cloning and showcasing the various worlds including the ‘Outernet’ and the various memories of the clone Emily. Very different and very unique.
This is another 2D short. The drawing is very simplistic. However it’s the story that’s the top quality of the film. We see a bizarre but unique story of Emily Clone and Emily Prime the future world and the future of Emily. The funniest element of the short is Emily Clone keeps on talking in her highly scientific speech and all Emily Prime does is just respond back in her childish gibberish. That adds to the humor of the short.
In conclusion I know I picked Sanjay’s Super Team as both my Should Win and Will Win choice. Normally I wouldn’t pick such a film to win but I find it hard to see any of the other four films try to top it. All five are excellent but I think Sanjay stands alone. I know World Of Tomorrow won the Annie Award but I have my feeling about Oscars voters. Mind you the shorts categories are some of the least predictable categories of the Oscars.
And there you go. My thoughts on the Oscar nominated Animated Shorts. Winner to be decided in two weeks.
Normally I don’t see live-action family movies unless the renown for it catches my eye. In the last three months, there were two that caught my eye: Paddington and Cinderella. I’m glad I had the chance to see them.
For the first time, Paddington Bear comes to the big screen. And in live-action format rather than animation. However this did involve taking some chances. The first chance was making a movie that could entertain today’s children. The second was not having to mess with the Paddington Bear people know and love.
The film does a good job of keeping many aspects of Paddington such as his love of all things British, especially marmalade. The film also does a decent job of not trying to resort to too many cheap laughs like one would come to expect in today’s children’s films. It’s not to say there were some questionable moments, like the scene where Paddington thinks the toothbrushes are ‘earbrushes.’ The film also does a good job in presenting Paddington in today’s world and meeting the Brown family who are actually reluctant to adopt at first.
I give kudos to director/writer Paul King and co-writer Hamish McColl for coming up with a very good adaptation of Paddington Bear into a feature-length film. It was no easy task to make such a film especially when Paddington has resorted to being simple children’s books since the 1950’s. The plot where Paddington boats from Peru to London only to find a cold country, a reluctance to adopt from the Brown family and being pursued by the daughter of a poacher whose goal was to make him hers to kill and stuff worked well to entertain crowds. The inclusion of the effects in the film couldn’t be avoided as nowadays family movies have to have some special effects to win crowds. Even though Paddington wouldn’t be the type of movie for a lot of visual effects, the effects included did things right without messing with the story.
I also give them credit for not messing with the spirit of Paddington whose sweet charm is the reason why he has become one of the most beloved children’s book characters in recent decades. He’s even so beloved in England to the point there’s a bronze statue of Paddington Bear at Paddington Station where he got his name from. I also give them kudos for adding character to the Brown family. They may not be much like the Browns in the Paddington books but the character of the Browns do fit well in the movie.
Just as much deserving of respect are the performances of the actors. Hugh Bonneville and Sally Hawkins did a very good job playing the Brown parents. Madeleine Harris and Samuel Joslin also did well as playing the Brown children. They both played their roles well without being too overly-cutesy. Julie Walters succeeded in stealing scenes as the wise Mrs. Bird. Nicole Kidman also did a good job of playing the evil Millicent Clyde without becoming too hateable. Actually Millicent Clyde was rather entertaining as a villain. Finally Ben Whishaw did a very good voice-over as the voice of Paddington. Paddington needed a sweetness in order to make the story work and Whishaw was the right fit.
Paddington is now out on DVD and BluRay. For those that didn’t see it in theatres, it’s worth seeing. I don’t know if it’s the type of family movie one won’t need to see with a family of their own but it is entertaining and very good quality entertainment.
If you think making a film about Paddington Bear is difficult, try making a live-action version of Cinderella. And knowing that it will be Disney doing the work, you can understand they’d be under a lot of pressure. We’re talking about the film company that made their 1950 animated version a staple into many people’s hearts. So it would not be surprising that there would be a lot of questions surrounding the make of the new live action version. Will it have the same Disney spirit? Will it stray too much from the animated version that lives on in the hearts of millions? Or even the book? How will the sets and costumes be done? And will it entertain crowds of today?
There’s no question that making a live-action version of a fairy tale can be expensive in production. Cinderella wasn’t too expensive to make but $95 million is expensive enough. For a film like Cinderella to work, there’s no question that one of the top aspects to focus on would be the technical areas like set design and costuming. Dante Ferretti was a top choice for set design. We’re talking about a set designer whose works have earned him nine Oscar nominations and three wins for The Aviator, Sweeney Todd and Hugo. Ferretti did not let anyone down. In fact his set designs in all scenes worked perfectly for the movie. It was hard to notice a glitch.
Costumer Sandy Powell was another top pick with loads of cred including ten Oscar nominations and three wins. Here she again adds to the reputation by making costumes perfect not only for Cinderella but for all characters in the movie. My favorite costumes were actually the bratty looking outfits for Drisella and Anastasia. It fit their brattiness perfectly. However Cinderella’s glass slippers really caught my eye. They looked more like crystal slippers. The visual effects team also did a top job in adding the necessary visual effects for the film and giving them the magic that will remind people of the magic Disney movies are famous for. They even succeed in making the mice and lizards human enough without being too ridiculously cartoonish.
Credit should also be given to director Kenneth Branagh and writer Chris Weitz. People easily forget that Branagh is as much of a director as he is an actor directing films from Shakespeare (Henry V) to comedy (Love’s Labor’s Lost) to superhero action flicks (Thor). Now he ventures into the territory of fantasy films. The result is excellent. Just as excellent is the writing from scriptwriter from Chris Weitz. He does a very good adaptation by retaining the spirit of Disney and even including some aspects not included in the original. Actually his writing makes you forget he wrote American Pie!
Despite all those efforts, the success of the movie would have to bow down to the roles being done right. The inclusion of the king, the prince’s father, added to the story as did the appearances of Cinderella’s parents. The characterizations of the mice and lizards were well done and didn’t go over the top or even cheesy. The characters of the two stepsisters were very good depictions. They were nasty and bratty but you’ll actually find yourself laughing at how stupid they are rather than hating them. If there’s one character you will hate, it’s the stepmother Lady Tremaine. Cate Blanchett did an excellent job of depicting Lady Tremaine as both cruel and hurting on the inside to the point she feels she should hurt Cinderella. Her depiction also fits within the common Disney theme of featuring a female villain who’s beautiful rather than ugly. Blanchett’s depiction actually seems more like the queen from Snow White rather than the stepmother of the animated version.
There were some radical choices for character depictions in the movie. The first was the prince as being more of an awkward young adult rather than the flawless Prince Charming we come to expect. Even referring to himself as ‘an apprentice’ during the casual contact with Cinderella is something no one would have expected. The most radical of character depictions has to be Helena Bonham Carter as the fairy godmother. I found it very different to have a clumsy fairy godmother this time around. I wasn’t expecting another fairy godmother that sang ‘Bibbity Bobbity Boo’ but this was way different from what I expected.
Finally I focus on the character of Cinderella. Lily James did a very good job as Ella. She’s already an experienced actress in her native England and she does a very good portrayal here. She portrays Ella as a young woman who doesn’t make having an imagination look like a weakness. We shouldn’t forget her imagination has kept her holding her head high during the toughest of times such as the deaths of her parents and keeps her going strong with her stepmother and stepsisters whom even her father described as ‘trying.’ Hah, ‘trying’ is an understatement! However she does not come across as naive as most would come to expect of her or anyone with an active imagination. In fact it’s the scene where she says to her stepmother: “You were never my mother and you never will be.” shows Cinderella to have more inner strength than most thought.
Focusing on Cinderella lastly seems appropriate because she is essentially the epitome of the theme of the movie. The movie showed two people who had a lot of tragedy in their lives: Cinderella and Lady Tremaine. One was bitter about it. The other did what her mother said: “Have courage and be kind.” Cinderella’s courageous positivity upset Lady Tremaine to the point she had to hurt her however she can. Cinderella stayed strong. There were some points where her courage was tested but she still stayed strong. I guess that’s what this version of Cinderella was trying to say. That staying positive is not being oblivious. That having an imagination is not a weakness. That’s what was not only shown in Cinderella but almost every Disney movie.
Both movies have had their own box office success stories. Cinderella has grossed $197 million in North America and over $500 million worldwide. Paddington was not as big of a hit but it did have its own success with $76 million in North America and $259 million Worldwide. Impressive since it was done with a $55 million budget. The marketers of Paddington did a common job but a smart job in releasing it in most of Europe, South America and Asia first during the latter weeks of 2014 before releasing it in the US on January 16th. That’s a common technique used to plug movies with characters common in European pop culture. They did that with Tintin back in 2012.
Paddington and Cinderella are two family movies that have pleased the critics and will also please audiences alike. Both have what it takes to entertain children but they both also have elements that will please adults.
One of the surprise hit movies of the winter was Unbroken. many would think it’s another World War II drama but it’s more of a biographical story. A story worth telling.
The story begins in 1943 with Louis Zamperini missioned an air battle against Japan over the Pacific Ocean. The plane he’s in is hit but they’re able to land safely. Louis isn’t just your typical soldier. Louis grew up in Torrance, California an outsider. The only Italian in his small town, Louie was subject to a lot of bullying as a child and spent much of time stealing, drinking alcohol or smoking. He was frequently arrested and his parents were very concerned if he’d turn out okay. His older brother noticed something as he tried to run from bullies: speed. His brother encouraged him to try track and field. It paid off as Louis became the talk of the town as he was winning race after race and soon became known as the Torrance Tornado. At the age of 18, he qualified for the 1936 Olympics in the 5000m. The race was won by Finnish runners as expected but Louis finished eighth with an incredible 56-second last lap: something unheard of at the time.
Soon after, Louis and surviving members of the crew are on a rescue mission on a plane military officials believe is suitable to fly but has noticeable faults. Over the Pacific Ocean, the plane breaks down and crashes. Only Louis, Mac and Phil from the plane survive and find refuge on two inflatable rafts. Alone at sea, the two try to live the best they can until relief finds them or they hit land. That would mean drinking rain water and fishing for food and avoiding having sharks try to eat them. Attempts at getting a rescue plane failed. The first, that happened on the third day, didn’t notice them. The second, on the 27th day, is a Japanese plane that sees them as the enemy and shoots at them. They survive by hiding under their raft. Unfortunately Mac dies on the 33rd day.
On the 47th day, they bump into a Japanese boat, where they’re taken on as prisoners of war. The Japanese demand fact but neither Louis nor Phil know anything. This leads them being sent to POW camps on the mainland. Zamperini is sent to a camp in Tokyo full of Americans and Australians and run by a sadistic young general who calls himself ‘The Bird.’ The Bird has especially singled out Louis because he’s an Olympic athlete and takes pleasure in beating him. The Bird also gets Louis to broadcast messages on radio that he’s okay and treated well. When he’s given an offer to speak anti-American propaganda, Louis refuses and is punished by having all the other POWs punch him in the face.
The Bird would torture Louis for two years until he is to be transferred elsewhere. Louis’ relief is short-lived as the camp is damaged by the American bombing in Tokyo. They’re all taken to a new camp which is run by The Bird and are made to work in a coal barge. Upon hearing Louis sprained his ankle, The Bird gets him to life a big piece of wood. If he drops it, The Bird will kill him. Louis holds it up for hours until The Bird can’t take it anymore and beats him in frustration. Soon World War II ends and the movie moves to Louis returning and makes mention of his life after the War.
This is an impressive story about one man and his ability to withstand torture. This is also an impressive story of a man who was singled out among other POW’s in being tortured by the leader only to triumph in the end. It even succeeds in the action moments and has the audience wondering what will happen next.
However the way the movie has been carried out, it’s nothing new, different or fresh. The story plays out like a common Hollywood against-all-odds story. There’s nothing wrong with that as long as it plays itself out well to the crowd and keeps the story true. However this is not going to work come Oscar time when the standards of what makes a movie among the ‘elite of the year’ change and evolve over time. This could be Best Picture material twenty years ago but it won’t cut it now. Unbroken makes better movie material than film material. There’s nothing wrong with it. It’s just the movie is better set for something like summer movie fare.
However the movie does have a notable positive factor. I may have mentioned in my review of Selma of how violence is made to look cowardly. Here in Unbroken, we have The Bird who loves to inflict pain on ‘the enemy’ and has taken Louis as his favorite person to assault. The Bird was looking for a chance to kill Louis with having him hold that block of wood up or else he’d kill him. When Louis succeeded it lifting it up again, it was there the Bird’s pride was damaged and he beats Louis with a bamboo pole in frustration. I can’t think of better revenge. Funny how it would assault The Bird’s pride forever as he would decline all the times Louis offered to make peace.
This also leads to another glitch in the movie. Louis is not only known for what he withstood during the war but also for making peace with the Japanese people and even the army over time. At the end, it’s only focused briefly through end-notes and video footage of Louis running with the torch in Japan during the 1998 Nagano Winter Olympics torch relay and not much else. I felt that should have be added in or given script because it is a significant part of Louis Zamperini’s life.
Angelina Jolie did an impressive job in directing. She didn’t really direct anything remarkable but she did an excellent job of directing a story that’s also a war thriller. Joel and Ethan Coen delivered a script with the help of William Nicholson and Richard La Gravenese that’s a surprise from the Coens. Usually you’d expect darker artsy work from them. This time they delivered on a thriller war story. Not what you’d expect from them but quite impressive. The acting was good if not spectacular. Jack O’Donnell was very good as Zamperini but the role could have been more developed. Miyavi was also very good as The Bird but I felt the role was missing something there too as it still seemed like your typical bad guy.
If there’s one place where the film is at its best, it’s in the technical categories. Alexandre Desplat again delivers another winning score. It should be no surprise Desplat is composer of the year. Roger Deakins again delivers another excellent cinematography job, the set areas were very realistic to the World War II era with its set time and with its war-like grittiness and the action sequences were also excellent.
Unbroken is a very good, very enjoyable movie about a remarkable story. However it would’ve been better released in the summer or the fall instead of Oscar time. Still very much worth watching.
“I wish I had cancer. At least then people wear pink ribbons for you, and they go on long walks.”
It’s always a question whether it’s possible to have a film about Alzheimer’s Disease that’s watchable. The latest film making that attempt is Still Alice. I believe it does so.
Alice Howland is a 50 year-old woman who appears to have it made: a college professor who just published a book on linguistics, an active person recreationally, a wife to a loving and supportive husband and a mother to three adult children. One of which is married and about to be a mother to twins. However something goes noticeably wrong during a lecture about her book. She has a mental lapse she mistakes for an effect of alcohol. Soon there are more mental lapses, especially while jogging around campus and while giving lectures. Even reintroducing herself to Tom’s girlfriend causes people to wonder. Alice seeks a doctor’s attention immediately. She’s given the news: Alzheimer’s. She’s victim to a gene that brings on Alzheimer’s at an early age.
The family is devastated to hear the news. The children even have to get tested to see if they carry the gene. Anna bares the gene but her yet-to-be-born twins are immune. Nevertheless the family tries to go about the best they can while trying to be a help to Alice. However the changes are as hard for them as it is for Alice herself. Firstly Alice will have to give up her professor job. Going to an Alzheimer’s ward in a nursing and witnessing the patients leaves her upset about her future to the point she plans her own suicide using a marked bottle full of pills and a video file on her computer named ‘Butterfly’ of herself instructing her to take all the pills in the bottle. Family friction happens over time as her husband John notices changes in her thinking and Lydia overreacts after she learns Alice went through her theatre notes.
However things get better over time. John learns how to work with her fading abilities and become patient with her even in the case of her cellphone she misplaced a month earlier. Anna gives birth to the twins and she’s able to hold one of them. Her relationship with Lydia grows as Lydia shares her plays with her and gets Alice to see her perform in Angels In America where Alice feels the play. Even Alice is able to give a lecture to the local Alzheimer’s association where she delivers a speech she wrote herself and uses a highlighter to mark the notes she read as John and her son Tom watch. The speech is near perfect.
Over time she continues to acquire inner strength just as the disease is continuing to impair her brain even further to the point she needs a caretaker while John is gone. However it’s by chance that while her caretaker is away, she comes across the ‘Butterfly’ video on her laptop. She obeys the video and even takes the laptop with her as she searches for the bottle. However the suicide attempt fails as the pills still all over the bathroom floor. The film ends with her still alive but will get you questioning if it ended right.
The film is more than just about Alzheimer’s. It’s about having it at a very young age and trying to be able to deal with it and its debilitating effects. You can’t blame Alice for being distraught on hearing the news, especially when she has so much going for her. Just a bit of trivia here: even though 50 seems awfully young to have Alzheimer’s, we should remember the first subject Dr. Alois Alzheimer studied in the disease that bears his name was a 51 year-old German woman. It almost seems understandable to some that Alice sets her own suicide up to happen when the time appears right. However it’s about acquiring inner strength over time. Yes, Alice’s years are numbered and the disease is taking a toll on her mind and her body but she becomes a stronger person over time. It makes like the suicide attempt look like the wrong thing to do after what she’s fought out.
The movie is also about family relations during Alzheimer’s. For those who have a loved one with this disease, you would know how much it affects the whole family and even hurts deeply. It’s even harder to bear when the gene that causes early Alzheimer’s is present in other family members, just like how it’s also present in Alice’s oldest daughter Anna. The frustrations are there in the Howlands as Lydia doesn’t know what to make when she learns Alice went through her script notes. Even John feels the frustration as being the husband. Nevertheless the family unit becomes stronger over time and they continue to function the best ways that they can. Lydia’s connection with Alice through her theatre work helps Alice still keep in touch with the world even as the disease continues to take its toll. Anna even tries to let the fact she bares the gene not bother her and continue to live her life as a wife and mother of newborn twins. That scene where Alice is holding her grandchild is one of the more poignant moments of the film.
Without a question, the film belongs to Julianne Moore. Her ability to give an Alzheimer’s victim a personality and a will of her own while fighting the destructive nature of the disease has to be the actress performance of the year without an equal. She did a top notch job and deserves the Oscar. None of the supporting performances can pare up to the caliber of Julianne’s performance but Kristen Stewart’s performance of the actress daughter with extreme emotions who connects with her mother through the art of theatre has to be the best of the supporting performances and has more range than even the character of John, despite how good of a job Alec Baldwin does. Kate Bosworth was good as the daughter with the same gene trying to live her life normally but it could have been developed more. Hunter Parrish’s role as Tom the son was the most underdeveloped role in the film but he does a very good job with what little he has. Richard Glatzer and Wash Westmoreland do a good job of directing and writing despite making this film appear to be a film of a single acting role dominating for the most part. I’ll admit I haven’t read the novel by Lisa Genova so I can’t say if they adapted it right or not.
SPOILER ALERT: They say the ending is one of the trickiest things to do in a film. I will have to say the scene of the suicide attempt ended rather flat and led into scenes that will leave one wondering if the film makes it look like a good thing the attempt failed or a bad thing. That scene where Alice is with John having ice cream dwelling on how she used to be very smart will have you wondering as will the end scene where she’s with Lydia and she can hardly talk. It also makes you wonder if it ended right. But I think that may have been the point. I think Richard and Wash ended the film that way so we can make our own judgment whether Alice continuing to live is the right thing or the wrong thing.
Still Alice makes for a very watchable movie about Alzheimer’s even if it does appear at times to be dominated by Julianne Moore’s acting. Nevertheless her role is one that leads to a performance meant to shine and she does just that.
Captain Phillips is a recreation of a moment of recent history. It’s as much about the man involved in this moment as the moment itself.
Richard Phillips is a captain of freighter ships who lives in Vermont but pilots his freighter ships mostly in the Arabian Sea. One day in April 2009, he’s assigned to be a captain of a freighter bringing relief supplies from Oman to Mombasa, Kenya. He accepts the duty but is well aware of the risk of pirates from Somalia once he sails around the horn of Africa. Meanwhile in Somalia, a group of pirate leaders recruit young men for their next sting. It could be big, it could be small, it’s all in a day’s work.
Captain Phillips is sailing the freighter Maersk Alabama through the Arabian Sea. He’s also taking all precautions to prevent a pirate attack including getting the ship to participate in a drill. The pirates are hungry not just for a simple ship but bigger stuff. Their small rusty motor boats, or skiffs, have ship radar. They see the Maersk Alabama within their view and they chase after it. Fortunately Captain Phillips and the crew are prepared. The first day, the pirates’ motor blows on their boat. Captain Phillips and the crew think the have it solved. What they don’t know is that the pirates are fixing the motor in the boat overnight.
The next day the pirates try again. Captain Phillips and the crew again take precautions like using the hose system to prevent them from coming on board. The pirates notice an area where a hose isn’t working. Perfect opportunity to climb aboard the ship and hold the crew hostage. It’s there where pirate Muse and Captain Phillips meet eye to eye. Phillips tries to get them to leave by offering $30,000 but they want more: millions. The ship is able to shut the power down and able to make the pirates fail in their attempt. However the US forces have received word and have arrived. They try to negotiate with Muse only the have the pirates get away in a lifeboat with Captain Phillips as hostage. They hope Phillips will be their ticket for ransom.
That night the lifeboat is surrounded by navy ships and the crew is too frustrated and start turning on each other. Muse is stubborn with Phillips feeling he can’t go after going this far. The end scene adds to the intensity as it shows the whole standoff between the pirates, the Navy and the SEAL team. You’d be surprised to see how close Phillips was to being executed by the pirates. And even after you think it’s over, it’s not.
The most remarkable thing about the movie is that this is one that really depicts pirates for the negative people that they are. Admit it. We’ve all been charmed by pirate stories: Captain Hook, Captain Kidd, Jack Sparrow, Blackbeard, you get the idea. Even the popular lines like: “Arrrrgh Matey;” “Shiver me timbers” and “Yo ho ho and a bottle of rum!” show how charmed we are with them. However the news about Somali pirates have given us a reality check about pirates and what they do. This film even shows pirate really are: dirty, merciless thieves who threaten people on ships for their riches.
Another remarkable aspect the movie shows us is the sheer determination of those four pirates. You’d think that a group of four young Somali pirates not even 21 would not stand a chance against a huge freighter like the Maersk Alabama with all their devices and a prepared captain. However they were stubborn enough to fix a motor overnight, find a dry gap in the ship’s hosings, use a ladder to get to the deck, try a getaway with a lifeboat and even resist arrest with the US Armed Forces. The film is very focal on the pirates’ determination and their false sense of invincibility. It even shows how sometimes small has a competitive advantage over the big guy. It’s like that way in the animal kingdom too where insects can find their way into large prey.
Just as much as it focuses on the Somali pirates and their determination, it also focuses on Captain Rich Phillips himself. It especially focuses on Rich’s smarts as he knows about Somali pirates before the attack and even prepares his crew just in case, his smarts when he’s under attack on board and his smarts during the attempted getaway. Even the assault by the navy and the aftermath had Rich Phillips in focus. It was as much about Richard Phillips as it was about the pirates.
Tom Hanks once again delivered a remarkable performance: his best since Cast Away. It’s great to see him perform well in a movie that’s the least Hollywood-like I’ve seen him in. His performance really had a lot of range and was as much about Captain Phillips the person as it was about Captain Phillips the hostage. Equally as spectacular is the direction of Paul Greengrass. Actually It shouldn’t be that Greengrass, who made a name for himself with United 93 about a 9/11 terrorist operation botched by vigilante passengers, directs it. It’s like the film reminds us that the pirates of the seas are like the terrorists on airlines. Always were. Billy Ray did an excellent job of scriptwriting. Surprising that the writer of The Hunger Games is the scriptwriter here.
It’s not to say the movie’s all Tom Hanks, Paul Greengrass and Billy Ray. Barkhad Abdi was also excellent as pirate Muse. He makes Muse look like a pirate who didn’t have much of a clue to what he got himself into. Barkhad Abdirahman was also great as the vicious pirate Bilal who possessed a false sense of invincibility. The emsemble of lesser-known American actors added to the quality of the film. The only other well-known actor in the film is Catherine Keener. Actually it’s surprising to see the role of Andrea Phillips, Captain Phillips’ wife, as such a small role. The music of Henry Jackman and the cinematography of Barry Ackroyd also added to the quality of the film.
Captain Phillips is an excellent recreation of a moment in recent history that’s both about the moment and the man involved. Both Hanks and Greengrass do it again.