HOLLYWOOD/LYME–In the preceding months, our very own Movie Man , Kevin Ganey, has ‘penned’ reviews of what have become some of the leading films now vying for the most coveted Oscars on Sunday evening.
Kevin’s crystal ball was clearly working well because in each case, he correctly predicted that these movies would be nominated for Oscar awards.
Check out his compelling reviews at the links below:
About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his website at ‘The City of Cinema‘ and read more of his unique insights into entertainment.
It’s not every day when a movie about a child’s toy touches the souls of its audience and brings awareness to social issues. Then again, we are living in extraordinary times we never anticipated (the Red Sox and Cubs both have World Series championships, and American politics resembles trashy reality TV).
In fact, perhaps it is an even more fertile era to bring all the inequalities of society to the masses?
When Barbie (Margot Robbie) suddenly thinks about death in the matriarchal utopia of Barbieland, she is instructed by the wise, but incredibly battered, Weird Barbie (Kate McKinnon) to venture to the Real World and find the girl, who is playing with her, and resolve whatever distress she is experiencing. As she makes her way through the Real World, she discovers life is, in fact, not as perfect as she and the other Barbies and Kens have trusted it to be.
While accompanying his girlfriend in her quest, unappreciated “Just” Ken (Ryan Gosling) discovers Patriarchy, which he intends to introduce to the rest of the Kens in Barbieland.
With elaborate colorful sets (there have been rumors that this caused a shortage in supplies of pink paint) reminiscent of the golden and silver era of Hollywood, accomplished director Greta Gerwig throws in familiar storytelling themes about consciousness, ranging from the creation and fall of Adam and Eve in the Garden of Eden to Plato’s Allegory of the Cave. This is in addition to cinematic references dealing with similar themes, particularly the opening scene parodying 2001: A Space Odyssey.
The characters and audience must wrestle with the discrepancies between the hopes and ideals of Barbieland, where young girls can pretend they have successful careers filled with proper recognition and achievement, and the bitter reality of the Real World in which women still struggle for equality and are held to different standards (and sometimes are even blamed for men’s failures).
This is all perfectly summarized in a rant that my mother still raves about, delivered perfectly to the national treasure that is America Ferrera.
Photo by Sandra Gabriel on Unsplash.
Patriarchy still exists, one man assures Ken, it is just better hidden now. Throw in the charming and silly humor peppered throughout the movie (particularly the performances of Ryan Gosling and Will Ferrell as antagonists we actually want to see more of), and simple-yet-extravagant special effects, and we have ourselves a film that will be immortalized as a classic.
Having spent much of my formative years in an all-guys environment (thank you, Xavier High School), Barbie exposed me to the daily frustrations experienced by women across the globe from dealing with benign assumptions to malicious violations of human rights.
And having not been Mattel’s target market for Barbie while growing up, the movie introduced me to the expanded universe of Malibu Barbie and her friends (who would have expected Michael Cera to steal a scene as Alan?).
As Award Season is set to conclude with the Oscars on March 10, we cannot help but observe the irony that Ryan Gosling was given a nomination for Supporting Actor as Ken, while star Margot Robbie, who took us through a transformative experience, got nothing for her performance. Like Ken in his new enthusiasm for Patriarchy, Gosling was given the glory for Barbie’s own movie, which even he lamented.
When we learn that nominations for the awards take place akin to political lobbying, should it be a surprise that such omissions happen? Have we learned nothing after all these years that once people find an easier route that compromises morals, they will exploit it?
Barbie is, without question, one of the best movies of the year. I do not see it taking home the prize of Best Picture, I believe it will go to Oppenheimer (see the review here).
But even if Barbie wins it all, I do not believe Margot Robbie will always remember and be proud of this movie because of the Oscar in her house, but rather the countless women who have spoken to her since its release about how it touched their souls, and recognized them and their own personal struggles wrestling with patriarchy.
About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his website at ‘The City of Cinema‘ and read more of his unique insights into entertainment.
The Holdovers is a must-see, there is no other way to describe it.
Paul Giamatti delivers alongside Da’Vine Joy Randolph and newcomer Dominic Sessa (who is certain to have an extensive career with this debut) in Alexander Payne’s newest film depicting the in-between period of life on campus for a boarding school during Christmas break.
This film struck a personal note with me. Though I never attended boarding school (why should one pay the equivalent of a college tuition for a high school diploma?), I attended Xavier High School, which was all-boys (like the fictional Barton Academy in the film.)
I felt a rush of nostalgia as I watched the students clash amongst each other (ah, the first rushes of testosterone), but it was the setting the first drew me in, as it was something to which I could relate. This is one of the many ways that art finds a way to touch us individually, especially as I recalled Dead Poets Society and Scent of a Woman.
I can confidently say that The Holdovers belongs along their ranks.
Set in December 1970, The Holdovers depicts Paul Giamatti as Paul Hunham, a classics teacher at the fictional Barton Academy who is disliked by both the students and faculty for his dry, sarcastic, cynical, and merciless approach to teaching the spoiled children of immensely wealthy and powerful figures.
Da’Vine Joy Randolph is Mary Lamb, Barton’s cafeteria manager, who is grieving the loss of her son, Curtis — also a Barton alumnus, but he was recently killed in Vietnam as they could not afford tuition for college deferment.
Amongst the elite, Mary, a Black woman, represents the inequality in society (which possibly led to the students’ wealth). Despite her lowly position in the school, she possesses empathy for the students while also being able to wield authority over them, perhaps the result of wisdom, best described as “knowledge from scars.”
Sessa’s portrayal of Angus Tully — a frustrated student who has been neglected by his mother — perfectly encapsulates, not just teen angst, but sorrow and hope, in addition to an earlier sense of empathy for others (even if he needs to learn the hard way, but he is quick to pivot.)
All the characters are exceptionally layered. Throughout the movie, we learn the comprehensive foundation of Paul, Mary, and Angus (in addition to the secondary characters).
One leaves the theater feeling as though you have known said characters for many years.
If Giamatti is not nominated for an Oscar this season, it will just be more proof of the awards being shows and parties for entertainment’s elite. Although cantankerous, Giamatti portrays Hunham in a lovable antihero manner, particularly in regard to his ability to cleverly reference historic persons and events to insult others.
I also need to give kudos to the cinematography, which has the rustic touch of 1970s nostalgia.
But the writing: it all comes back to the writing.
World events intertwine within the story to reinforce the era. Clichés are evident, but it was the ability to subtly to pick up on the characters and their personalities that impressed me, akin to watching a stage play as we learn about prior events that took place off-stage.
My sole complaint was that Mary, a main character, did not have a fulfilling resolution weaved into the stories of Paul and Angus. But apart from that, I am telling readers that The Holdovers is a must-see and definitely worth the potentially high price of a ticket.
About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his website at ‘The City of Cinema‘ and read more of his unique insights into entertainment.
Martin Scorsese combines two of his most iconic, frequent collaborators Leonardo DiCaprio and Robert De Niro in performances that are sure to be nominated for award season and will be referenced as part of their overall legacies.
I have nothing but praise for DiCaprio as he fully absorbs his character, Ernest Burkhart, a World War I veteran with a yokel drawl and clenched lip that indicates a lack of overall intelligence.
De Niro portrays William Hale, who, despite being white, is a staple of the local Osage community, and possesses a grandfather-like charm. And yet he is a conniving swindler seeking the Native’s oil fortunes and planning their murders so he and Burkhart can inherit the estates. He makes threats and plans with rhetoric similar to the mobsters he has frequently portrayed throughout the years (just hints, not explicitly commanding crimes.)
And do not get me started on Lily Gladstone, who, despite her quiet demeanor, steals every scene in which she appears as Molly, an Osage woman ,who is married to Ernest. This is in addition to performances by screen legends John Lithgow, Brendan Fraser, and Jesse Plemons, which prove to be the icing on an already delicious cake.
This is not Scorsese’s best film in recent years but still worthy of our attention. Similar to The Irishman, it is a lengthy picture topping at nearly three and a half hours (make sure to hit the bathroom before it begins). But it still contains the trademark features of a Scorsese movie, with tracking crane shots, contemporary pop music soundtrack, and quick cross-cutting.
Much can be said about the Native American themes woven into the film via cultural references and religious rituals, similar to how Scorsese has invoked his Italian heritage and Catholic faith.
The cinematography can also be praised for using shots that appear to come from contemporary still and moving images.
Killers of the Flower Moon properly fits into the zeitgeist of recognizing aspects of American history that have been conveniently swept under the rug for far too long (which also recognizes another silenced moment: the Tulsa Race Riots of 1922).
But it is not just a movie that merely brings the subject to our attention for discussions about society down the road, it has artistic merits in all aspects of critique of film.
I certainly can see the cast and crew receiving countless nominations this coming award season.
About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his website at ‘The City of Cinema‘ and read more of his unique insights into entertainment.
Director Christopher Nolan has broken ground by applying his style of non-linear storytelling to biopics, which tend to be predictable Oscar-bait consisting of exceptional costumes, set design, and performances that attempt to master said protagonist’s quirks. With that said, expect to have difficulty following along, but your first impressions will be strong enough to inspire a second screening, which will provide clarity and further appreciation (as is quintessential for Nolan movies, save for The Dark Knight trilogy).
Throughout his career, Nolan has given us countless examples of his fascination with our place in the cosmos. Inception was rooted in psychology and the subconscious, Interstellar dealt with space and time, and now Oppenheimer focuses on the laws of the universe that not only give life but can take it away at mass levels.
The film also tackles the moral issues that led to the Manhattan Project and, ultimately, the arms race of the Cold War, in addition to our pursuit of scientific knowledge being equivalent to the myth of Prometheus, who stole fire from the gods and gave it to man (the source material being the biographer on Oppenheimer American Prometheus).
Cillian Murphy takes the lead as the title character J. Robert Oppenheimer. His performance consists of a man whose innovation is never switched off, often contemplating the how’s and why’s of nature and the consequences that should follow.
He is accompanied by an ensemble cast that includes Robert Downey, Jr., Emily Blunt, Matt Damon, Kenneth Branagh, Florence Pugh and countless others whose A-list status helps magnify even the briefest cameo to match their importance with this historic figure’s story.
Beyond the narrative and performances, there is much to praise. Particularly the visual and audio effects, as we are given glimpses into nuclear physics, in addition to a haunting score by Ludwig Göransson.
The editing can be overwhelming at times, which matches the narrative Nolan has established.
I see this movie not only as a must see that will age exceptionally, but also as a front-runner during awards season this year. I would be stunned if it came home empty-handed at the Oscars.
If, upon seeing the movie, you feel overpowered at the global magnitude of the arms race that followed Oppenheimer’s successful creation of nuclear weapons, I recommend checking out a classic comedy, Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb, which perfectly satirizes the absurdity of the Cold War that terrorized us.
The atomic bomb tapped into the basics of our universe, and Mel Brooks observed that comedy was just another defense in our arsenal.
What could be more consoling than Peter Sellers’ performance as the title character explaining mutually-assured-destruction and pointing out that we had even botched our implementation of that doctrine?
About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his website at ‘The City of Cinema‘ and read more of his unique insights into entertainment.
