Oscar Nominees 2019: Eight "Best Pictures" or, A Collection of Cultures, Styles, and Melodies

With the announcement of next month's nominations for the 91st Oscars (as is usual), the Academy of Motion Picture Arts and Sciences recognized mostly films that were arthouse, independent, and impressed on many technical levels. From cinematography to production design to costumes to caliber performances to skilled direction, many of these films consist of biopics, true stories, and period dramas centered on race relations, social statuses, politics, and even music. In addition, only a few studio films that were box-office hits made the cut, but in the usual technical categories such as visual effects, music, and animation.

As is usual, there are also a few surprises, including, perhaps, two of the most monumental recognitions in the Academy's history (and in cinema history, for that matter). Plus, this year's nominees represent another intriguing and diverse collection of styles, nationalities and ethnicities, ranging from African-American to Mexican, Polish, Egyptian, Greek, and Italian-American. (And I'm not specifically talking about foreign film categories here.)

(l-r) Lady Gaga in A Star Is Born, Chadwick Boseman in Black Panther,
Yalitza Aparicio in Roma, and Olivia Colman in The Favourite

IT'S A MAD, MAD, MAD, MAD WORLD
First things first. Two films have the most nominations this year (ten for each). One is set in Mexico City during the 1970s (which I'll get to later). The other is a wild and maddening period comedy-drama (as if the trailer isn't any indication) set in 18th Century England. Director Yorgos Lanthimos' The Favourite centers on a rivalry between two cousins vying for the affections and attention of Queen Anne. Actresses Olivia Colman, Emma Stone, and Rachel Weisz all received acting accolades for their performances, as did the film's original screenplay, editing, production design, costumes, and cinematography.

Obviously, it's the kind of film that would get Oscar recognition, making it a, um, favorite among Academy voters, despite its apparent unconventional and bizarre tone. The Athens-born Lanthimos has made a name for himself in recent years with such unconventional and provocative arthouse films as The Lobster (which his screenplay, shared with writer Efthymis Filippou, was nominated for in 2017) and The Killing of a Sacred Dear (2017). Stone (who's no stranger to such wild roles, considering her current role on the Netflix series, aptly titled, Maniac) was first nominated in a supporting role for Birdman back in 2015, before winning for her leading role in La La Land in 2017

Another provocative film that's been generating praise and discussion is Spike Lee's BlacKkKlansman, which earned the director some of his greatest accolades, including a Best Director nod (a first for the filmmaker, believe it or not). It's based on the true story of African-American officer Ron Stalworth, who investigates the Ku Klux Klan during the 1970s. Nominated for six awards, the blaxploitation-esque film marked the first time Lee had been recognized by the Academy since his 1998 documentary feature 4 Little Girls. (He did receive an Honorary Award by the Academy in 2015 for his career body of work.)

Adam McKay's piercing and scathing political satire Vice (which stars the versatile Christian Bale as former vice president Dick Cheney) earned eight nominations, and is only the director's second time tackling drama since winning for his adapted screenplay (shared with screenwriter Charles Randolph) for The Big Short back in 2016. As with that film, McKay was, once again, nominated for his directing and for his screenplay (an original one, this time). Bale undoubtedly was recognized for his physical and emotional committment to the title role.

Director Spike Lee and actor John David Washington behind the scenes of BlacKkKlansman 

Christian Bale and Amy Adams in Vice 

HUMAN DRAMA
McKay's not the only director to make a successful transition from comedy to drama. (He previously directed Anchorman and Step Brothers, lest we forget.) Peter Farrelly (one half of the infamous Farrelly Brothers, responsible for such "classics" as Dumb and Dumber and There's Something About Mary) helmed last year's winner of the People's Choice Award at the Toronto Film Festival, Green Book. Based on the real-life friendship between Italian-American bouncer Tony Vallelonga and African-American pianist Don Shirley, the film didn't fail the Academy with its winning performances (Viggo Mortenson and Mahershala Ali were nominated for their leading and supporting roles, respectfully), editing, original screenplay (co-written by Farrelly and Vallelonga's real-life son, Nic), and overall picture.

Alfonso Cuaron's personal project, Roma, has been getting universal acclaim since it debuted last fall at the Venice Film Festival. Shot in black and white, and inspired by Cauron's own childhood, Roma tells the story of a middle-class family in Mexico City during the 1970s, specifically from the perspective of their maid, who is reportedly based on the woman who helped raise the young Cauron. The film received ten nominations total, including four for Cauron, who does quadruple duty as the film's writer, director, co-producer (with Gabriela Rodriguez), and cinematographer.

This film also has the distinction of being one of only a few foreign films to be nominated in said category and as Best Picture of the Year. The only other films to do so included Grand Illusion (France, 1938), Z (France/Algeria, 1969), The Emigrants (Sweden, 1972), Cries and Whispers (Sweden, 1973), The Postman (Italy, 1995), Life Is Beautiful (Italy, 1998), Crouching Tiger Hidden Dragon (Taiwan, 2000), Letters From Iwo Jima (Japan, 2006), and Amour (Austria/France/Germany, 2012).

This is also the second year in a row that streaming service Netflix has had a nominated feature (the first being Mudbound last year), and their first Best Picture nominee. They are also recognized this year (in the original screenplay, original song, and costume design categories) for the Coen Brothers' latest anthology feature, The Ballad of Buster Scruggs.

Mahershala Ali in Green Book (left) and Rami Malek in Bohemian Rhapsody (right)

AND THE BEAT GOES ON . . .
Bohemian Rhapsody (the biopic on the career and music of Queen and frontman Freddy Mercury) has received mixed reviews from audiences and critics since its release back in November, but has nevertheless produced some unexpected box-office success. (The film has thus far grossed more than $798 million worldwide.) Actor Rami Malek has been getting the most praise, for his performance of Mercury, which the Academy recognized as well. The film's unexpected Best Picture nod, perhaps, exemplifys the Academy's way of recognizing what the general public has praised.

Speaking of music, Bradley Cooper's impressive directorial debut, A Star is Born (the third time the 1937 original film has been remade, after 1954 and 1976, respectfully), has, not surprisingly, gotten several accolades (nine, total), not least of which was Lady Gaga's leading role. Now, thanks to a public vow they reportedly made, Cooper and Gaga are set to perform the hit song "Shallow" at the ceremony.

Gaga, along with Roma's Yalitza Aparicio, earned accolades for her feature-film debut. Other first-time nominees include Olivia Colman (The Favourite), Adam Driver (BlacKkKlansman), Richard E. Grant (Can You Ever Forgive Me?), Regina King (If Beale Street Could Talk), and Rami Malek (Bohemian Rhapsody). Screen veteran Sam Elliot scored his first-ever Oscar nomination (another believe-it-or-not) for his supporting role in A Star Is Born. Other screen veterans to score nominations this year include Willem Dafoe (for his portrayal of Vincent Van Gogh in At Eternity's Gate) and Glenn Close (for her role as a concerned spouse in The Wife). Screen actors of this current generation (along with Cooper) who have been nominated before but have never won include Amy Adams (Vice), Melissa McCarthy (Can You Ever Forgive Me?), and Viggo Mortensen (Green Book).

Despite being recognized for acting and producing A Star Is Born, Cooper wasn't even acknowledged for his directing efforts. Which brings me to a few other agreeable or arguable snubs this year:
--Bo Burnham's brilliant and insightful screenplay, as well as Elsie Fisher's thoroughly-relatable breakout performance, in Eighth Grade, which speaks to this current generation in a raw and real way.
--Thomasin McKenzie, who gave another great breakout performance this year, as the 13-year-old daughter of a war vet, in Leave No Trace. The film also had beautiful cinematography and first-rate direction and writing.
--Won't You Be My Neighbor was one of the year's best documentary features, due to the renewed interest it brought to the life and legacy of Fred Rogers and his mark on children's television.
--A Quiet Place was a unique addition to the horror genre, in that it ran more like a silent film with deep and emotional resonance. Although recognized for its superb sound editing, one of the film's best (and overlooked) performances came from Emily Blunt, who exemplifies a sense of grace, fear and determination throughout. In fact, Blunt has had a stellar year in both this film and in Mary Poppins Returns, which also had a great performance from Lin-Manuel Miranda.
--Despite unanimous praise for its cast and director Ryan Coogler, Black Panther didn't get recognized for any of its performances, not even Michael B. Jordan, who has been widely regarded as one of the greatest screen villains in a comic-book-based film.

Leticia Wright and Chaswick Boseman in Black Panther

RISE UP
That being said, it does my heart good to end this piece on a high note. But first, a little backstory.

Like animation and science-fiction, many critics and viewers continue to have misconceptions about films based on superheroes or comic books. Although they have a tradition of being recognized for their technical achievements (makeup, visual effects, music, etc.), only Al Pacino's nominated supporting role in Dick Tracy in 1991, and The Incredibles winning Best Animated Feature in 2005, have been, perhaps, the biggest milestones for this medium of storytelling beyond technical aspects. But it really wasn't until Heath Ledger's award-winning performance as the Joker in The Dark Knight in 2009 that the Academy really took notice.

Since then, Disney's Big Hero 6 won the animated feature Oscar in 2015, and Marvel's hard-R Logan earned a nomination (the first of its kind) for its adapted screenplay last year. This year, Pixar's Incredibles 2 and Sony Animation's Spider-Man: Into the Spider-Verse are competing for the animated feature award. But the biggest news of all (and the greatest milestone for the medium, by far) is Black Panther, which is now officially the first comic-book/superhero film to ever be nominated for Best Picture. The film garnered seven nominations total (one behind The Dark Knight's record eight), including its sound editing and mixing, production design, costume design, score, and its track "All the Stars" by Kendrick Lamar and SZA. "Wakanda forever!"

2018: Standout Films of the Year

I've been thinking a lot, quite often, about the films from 2018 that have stood out to me the most, as well as what they collectively represent. For one thing, many of them deal with the fears of growing up in this current day and age, especially for parents regarding what their children are being raised in. Many of these films also offer hopes and changes that can ideally be pursued, and not just mere audience escapism for two hours. Finally, considering last year's Best Actress Oscar-winner Frances McDormand and her stance on "inclusion riders" in Hollywood during her acceptance speech, the strongest films and stories this year, regardless of age, race, gender, personality, ethnicity, culture and the like, tell us, "Anything is possible."

Before I get into that, here are some notable mentions that didn't quite make my list, but I still liked. (You can read my reviews for each of these films by clicking on the respective film title.)

Bumblebee
A movie that finally gives the Transformers franchise back some dignity, with a smaller, more involving, story, and few robots at the center, not to mention a perfect Hailee Steinfeld cast opposite the yellow VW beetle. Real, genuine heart, as well as massive (and clear) action sequences, plus original G1 designs of the characters from the cartoon series of the 1980s. Now that's "more than meets the eye."

Christopher Robin
A.A. Milne's timeless plush characters from "Winnie the Pooh" are brought to CGI life in director Marc Forster's live-action update, centered on a grown-up version of the titular character (a brilliant Ewan McGregor), who is reminded of his childhood and his important role as a family man. Voice actor Jim Cummings (who has voiced the "bear of very little brain" for the last three decades) deserves long-overdue praise.

Free Solo
This National Geographic-produced documentary chronicles the journey of free solo climber Alex Honnold as he climbs El Capitan, an incredible yet dangerous feat. A thrilling and unexpectedly moving experience that sets a new benchmark for "anything is possible," puts you right up there on the climb and doesn't let go.

Green Book
In this inspired account of the real-life friendship between Italian-American bouncer Tony Vallelonga and concert pianist Don Shirley in the 1960s Deep South, Viggo Mortenson and Mahershala Ali, respectfully, give two of the year's best performances in a story not so much about tensions between races, but between classes and cultures.

I Can Only Imagine
If faith-based films have another benchmark to turn to, they have this well-made dramatization of the life of MercyMe frontman Bart Millard and the story behind the hit song, "I Can Only Imagine". The film does suffer from a few corny moments, but its heart is in the right place with the central conflict and relationship between Millard (Broadway actor J. Michael Finley) and his abusive father (Dennis Quaid). A worthwhile viewing.

Isle of Dogs
Wes Anderson's second stop-motion feature (after 2009's Fantastic Mr. Fox) is a terrific achievement. While not really a film for children, due to its mature themes and some content concerns, its animation style, superb voice cast (especially the canines who populate this world), first-rate filmmaking and storytelling techniques will intrigue and engage true cinephiles. As Bill Murray's baseball mascot Boss would say, "Wow!"

***
And now, here are my favorite films from 2018:

10. Mission: Impossible--Fallout
The most operatic of the Mission: Impossible films to date, this sixth installment finds IMF agent Ethan Hunt searching for an escaped adversary, while questioning the notion of orders, choices and walking away from them or not, and what is considered "for the greater good." The emotional weight, personal stakes, and complexities do make the film convoluted at times. Still, it stands as big, epic, and on-the-edge-of-your-seat, in the best sense of those words, with Cruise still pulling out all the stops in full-on (and real) action, including a 360-degree helicopter drop and a 25,000-foot HALO plane jump. Talk about Cruise control!

9. Ralph Breaks the Internet
Arcade "bad guy" Wreck-It Ralph and go-kart racer Vanellope journey to the World Wide Web in search of a spare part for the latter's game. It becomes an adventure that is, perhaps, the best visualization of our current social media world, as well as an amalgamation of pop culture and Disney references in the late decade. (It even addresses and pokes fun at the many tropes of Disney princesses since the 1930s--yes, they're all here, too.) But the film's central relationship drives everything, resulting in a deeper story and rare sequel that takes a radical departure from its predecessor without abandoning its heartstrings.

8. Mary Poppins Returns
A worthwhile successor to the 1964 Disney classic, based on P.L. Travers' beloved books about the "practically perfect" nanny who changes the lives of the Banks family. Emily Blunt lovingly makes the role (originated by Julie Andrews) her own, while Lin-Manuel Miranda adds cheeriness to this showstopping experience that represents what family films should be. And wait 'til you see the lovely (hand-drawn) animated sequence. A wonderful, magical film.

7. First Man
An astounding, haunting and raw look at NASA's near-decade-long journey to get to the moon, with the story of Neil Armstrong at the center. With skillful direction from Damien Chazelle (Whiplash, La La Land), engrossing performances from Ryan Gosling and Claire Foy (as Neil & Janet Armstrong, respectively), and phenomenal technical achievements in sound, practical effects, photography, and music, this is, to date, the most grounded space-related film of the decade, practically and emotionally.

6. Leave No Trace
Director and co-writer Debra Granik (Winter's Bone) adapts Peter Rock's novel "My Abandonment" into a story of a father-daughter who live off the outskirts of Oregon, and are forced back into society, only to escape again. A thoroughly moving and aching look at PTSD, family dynamics, the concept of home, and our relationship with nature, with Ben Foster and newcomer Thomasin McKenzie delivering exceptional performances.

5. Won't You Be My Neighbor?
Director Morgan Neville (20 Feet From Stardom)'s excellent documentary on the life of pioneering children's television host Fred Rogers chronicles the late auteur's upbringing, and his ideals in educating children and helping them through life via his television series, "Mister Rogers' Neighborhood." Rogers, now more than ever, represents the kind of example and inspiration we need.

4. Eighth Grade
The most microscopic view of Twenty-First Century social and adolescent anxiety. Bo Burnham's writing and directing is an impressive debut, as is breakout star Elsie Fisher's thoroughly-relatable performance of a precocious teenage girl during her last week of middle school. Gucci!

3. A Quiet Place
The year's most striking film image belongs to Emily Blunt hiding in a bathtub, pregnant and panicking, from frightening creatures. A high-concept horror-thriller centered on a family in a post-apocalyptic world, where any noise leads to death, doesn't sound like much at first. But director/co-star John Krasinski, screenwriters Scott Beck and Bryan Woods, and an expert sound team at ILM have crafted, in a way, a silent film for the genre (and a game-changer, at that), centered on the fears of parenthood, with very poignant and emotion-driven performances, rounded out by Krasinski, real-life wife Emily Blunt, Millicent Simmonds, and Noah Jupe. A Quiet Place makes more than mere sudden noise.

2. Spider-Man: Into the Spider-Verse
An unprecedented feat of creativity, imagination, animation and filmmaking, Spider-Verse follows a new Spider-Man, Miles Morales, on a mission to stop the villainous Kingpin from using a technological device from tearing New York City and other worlds apart. Miles is joined by fellow webslingers from multiple dimensions (including an older Peter Parker, Gwen Stacy, manga whiz Peni Parker, detective Spider-Man Noir, and the cartoonish Spider-Ham), transcending generations, ages, ethnicities, genders, and genres. A cinematic game-changer that puts a new, um, spin on the theme that anyone can be a hero.

1. Black Panther
Based on the Marvel comic book by Stan Lee & Jack Kirby, Black Panther has deservedly become a worldwide phenomenon. (And not just for people of color, might I add.) It doesn't walk or talk or feel anything like a "superhero" story. Everything about this film is so first-rate and radical, from production design to visual effects (the world of Wakanda is amazing) to writing to directing (thank you, Ryan Coogler) to producing (thank you, Kevin Feige). And its well-rounded characters (played by Chadwick Boseman, Michael B. Jordan, Lupita N'Yongo, Dania Gurira, Leticia Wright, Angela Bassett, Sterling K. Brown, Winston Duke, Daniel Kuluuya, Forrest Whitacker, Martin Freeman, and Andy Serkis) couldn't be better, providing significant cultural relevance and themes that are powerful; others, challenging; and others, inspiring. If you only see one Marvel Cinematic Universe film in your life, this is the one to see!

REVIEW: "Mary Poppins Returns" With Gusto and Magic

Based on P.L. Travers' novels about a "practically perfect" nanny who comes to look after the Banks children and, in the process, change their stubborn father's view, Walt Disney's beloved and unforgettable 1964 film adaptation of Mary Poppins is considered by many to be the crowning achievement of his career. It was also a landmark feature at the time of its release, with stunning achievements in directing, special effects (who could ever forget the classic animated sequence, with Dick Van Dyke's chimney sweep Bert dancing alongside penguins?), costume design, music (by the Sherman Brothers, no less), its period setting (pre-WWI), and its showstopping dance numbers (the chimney sweep sequene, anybody?). The same goes for its performances, led by a "practically perfect" Julie Andrews (in her film debut, as the magical nanny) and a memorable (if inaccurately-accented) Van Dyke.

What most people don't remember is that Travers herself wasn't happy with the finished film, as she was dismissive of Hollywood's apparently poor track record of adapting books into films. She did approve of Andrews performance, however. All dissatisfaction aside, the story of Mary Poppins (including the way Disney told it) is a universal one about the joys of childhood, learned and expressed through work, through imagination (or, as Bert describes it, "a doorway to a land of enchantment"), through laughter, and through experiencing and overcoming the difficulties of life.

(Left to right) Dick Van Dyke, Karen Dotrice, Matthew Garber,
and Julie Andrews in Mary Poppins

And here we are, fifty-four years later, with a new story for the screen, titled Mary Poppins Returns. With inspiration from all seven books in Travers' series to draw from (including his own fondness for the original film as a child), director Rob Marshall (Chicago, Into the Woods) had a tall order to fill by crafting an original story and an original musical, set twenty-five years after the original story (during the Great Depression), with siblings Jane and Michael Banks as adults, along with three children of Michael's own. With new music and songs by composer Marc Shaiman and lyricist Scott Wittman, a screenplay written by David Magee (Life of Pi), and a phenomenal cast led by a whimsical and cheery Emily Blunt (who brilliantly makes the title role her own), Marshall and his team have made a film that is wonderful, magical, and does our hearts good.

Andrews has gone on record that she turned down a cameo appearance in the film, as she approved of Blunt's casting and didn't want her (Andrews') appearance to distract the audience. Nevertheless, the casting, again, is phenomenal, with Lin-Manuel Miranda (of Hamilton fame, as lamplighter Jack), Ben Whishaw and Emily Mortimer (as Michael and Jane), Julie Walters (as housekeeper Ellen), Colin Firth (as corrupt bank president William Wilkins), Meryl Streep (as Mary Poppins' oddball cousin Topsy), and Dick Van Dyke (in a surprise cameo). And the Banks children (played by Pixie Davies, Nathanael Saleh, and Joel Dawson) are just wonderful.

(Left to right) Joel Dawson, Lin-Manuel Miranda, Emily Blunt,
Pixie Davies, and Nathanael Saleh in Mary Poppins Returns

As with the original film, the set pieces, costume design, and showstopping choreography (particularly the lamp post sequence) are a thorough delight. There's an underwater sequence that recalls the 1971 DIsney classic Bedknobs & Broomsticks (with Angela Lansbury), while Topsy's shop may be the most elaborate and whimsical set of the bunch. And just wait until you see the lovely hand-drawn animated sequence (which reportedly brought many animators from Disney and Pixar out of retirement for this special occasion).

Mary Poppins Returns is also a much-needed story that reminds us of the power of magic, imagination, delight, and adventure that Disney infused into almost all of his projects during his lifetime, and what family films ideally should be. The moving theme of remembering what we still have, in spite of unfortunate circumstances, rings especially true. It's an experience that is very evocative, cheery, and wonderful. A "jolly holiday," if ever there was one.

REVIEW: "Spider-Man: Into the Spider Verse" or, A Real Work of Art, Dimension, Meta, and Genre

Everybody knows the origin story of Peter Parker: a smart high-school teenager is bitten by a radioactive spider, develops superpowers, and becomes New York's "friendly neighborhood Spider-Man." But many mainstream audiences don't know the origin story of his successor, Miles Morales. Nor that of Gwen Stacy (that is, her alternative storyline apart from her love interest with Peter). Nor a detective version of the webslinger, or even a cartoon pig. (Yep, that's not a typo.)

In Spider-Man: Into the Spider-Verse, the story and character arc of Miles Morales (Dope's Shameik Moore, simply cool) is at the center. As a teenage kid conflicted between the influences of his strict officer father, Jefferson Davis (Brian Tyler Henry), and street-artist uncle, Aaron Davis (Mahershala Ali), Miles wrestles with insecurities and choices regarding who others think he should be and who he wants to be. When Miles is bitten by a radioactive spider (yes, we all remember that, as the other Spider-People remind us), he can't seem to stop sticking to things. And then the villainous Kingpin uses a "Super Collider" to cross parallel dimensions, resulting in the aforementioned Spider-People being brought to Miles' own, including a pudgy and older Peter Parker (Jake Johnson, knocking it out of the park)--not the kind of "teacher" Miles had in mind to show him the ropes

Set in a comic book-esque world that is distinct, unprecedented and unparalleled, Spider-Man: Into the Spider-Verse (courtesy Sony Animation) is unlike any film (animated or live-action) ever made. In fact, many of the creative directions this story takes couldn't even be done in live-action. From the way it plays with depth of field, color, frame rate, and hand-drawn features on its CGI characters, co-producers Phil Lord and Chris Miller (who also helmed The Lego Movie) have intended the film to be "a living comic book". Take, for instance, the dialogue panels that echo Miles' inner thoughts when he's discovering he has superpowers. Some viewers may quibble about some of the imagery looking out of focused with or without 3D glasses, but (and this is a thought) this choice may echo Miles' own out-of-focus perspective, regarding who he should or shouldn't be and what he should or shouldn't do.

Nevertheless, this is one of the rare films that works in 3D as much as it does in 2D. The frenetic and roller-coaster action sequences are a first-rate success in sight, sound, and color. And the different Spider-People, with each of their own styles and represented genres, bring together what may be the best cosplay costumes of the year (no disrespect, Black Panther). The result is a work of art that is out of this world! Not to mention Sony's ultimate equivalent of a Marvel universe.

(l-r) Peni Parker, Spider-Gwen, Spider-Ham, Miles Morales, Peter B. Parker, and Spider-Man Noir 

The meta humor and references to almost every form the webslinger has taken (e.g., comic books, movies, cereal, Christmas album) are on display here. In fact, just about all of them are so clever and hysterically funny, you have to stay all the way through the credits. ("How many more Spider-people are there?" "Save it for Comic-Con.")

Along with Moore, Johnson, Henry, and Ali, the voice cast is perfect. Hailee Steinfeld (as Gwen Stacy a.k.a. Spider-Gwen), Nicolas Cage (as the Bogart-esque Spider-Man Noir, my personal favorite); Kimiko Glenn (as the manga Peni Parker), John Hulaney (as the cartoonish Spider-Ham--"You got a problem with cartoons?"), Lily Tomlin (as what may be the best version of Aunt May by far), Leiv Schreiber (as the hulking and menacing Kingpin), and Kathryn Hahn (as Olivia Octavius a.k.a. Doc Ock) all bring their A-game, rounding out the most diverse cast of any movie in 2018.

But despite being a roller-coaster ride of a movie, the drama in this film is quite deep, both as an advantage to the story (i.e., the only people who best understand tragedy and misunderstanding are those that have gone through it themselves), and as a disadvantage to younger fans of Spider-Man. For one thing, there are two unexpected deaths in the film that may leave some viewers (especially kids) saddened, although not polarized a la Avengers: Infinity War. Plus, with the unexpected passing of co-creator and Marvel icon Stan Lee just before the film's worldwide premiere, the effect may or will be even more poignant. To its credit, however, Spider-Verse does deliver a worthy and bittersweet dedication to Lee and to co-creator Steve Ditko (who also passed months prior), echoing their mantra that anybody can be a hero, regardless of age, gender, ethnicity, genre, or the like, simply because it's right. And when Miles has that moment of spark, it's a great cinematic moment of coming into one's own, and, in a small way, a passing of the torch onto the next generation.

The movie universe just got a whole lot bigger.

REVIEW: "Transformers"-Standalone "Bumblebee" IS "More Than Meets the Eye"

I've said what I've had to say about the live-action Transformers film series (you should read my piece on that here). With that in mind, the recent release of Bumblebee this holiday season may have some wondering why it took five live-action movies to come to this point. Because this standalone feature is terrific. It leaves all of those previous films (with the possible exception of some Linkin Park music) behind, and gives the 1980s-based franchise back some dignity. 

Anybody (especially die-hard fanboys) who has never cared for any of those movies, let alone movies about giant Godzilla-sized robots smashing each other apart, will have to shut their mouths. Although, there is still plenty of visual effects action and excitement on display here, this series, for once, provides an involving story with real human empathy, and not just another array of CGI bombast and fireworks. 

Take the film's opening battle on Cybertron, which centers on the war between the heroic Autobots (the good guys) and the evil Decepticons (the bad guys). Everything going on this time around is much more coherent, and rewrites the mythology of Transformers with characters fleeing a war that apparently cannot be won (at least for now). "We will fight on, but we must seek refuge first," declares fearless leader Optimus Prime, who sends his second-in-command B-127, to Earth, only to be followed by two Decepticon generals, and eventually a pursuing soldier (John Cena).

Set in 1987--a time of mixed-tapes, teenage angst, and the Smiths--teenager Charlie Watson (a great Hailee Steinfeld), a former competitive diver who now works as a hot dog stand employee, is trying to find her identity in the world after the unexpected death of her father. Her mom has remarried, but Charlie feels out of place and wants to get away from home.

With some impressive mechanical/automotive skills on the side, Charlie finds a beat-up Volkswagen beetle in a junkyard, thinking it will make her feel mature and alive. She gets it running, until she sees what it really is. And we know where this is going, right? (Or do we?) What follows is an emotion- and action-driven odyssey that shows how Bumblebee first sounded (courtesy The Maze Runner's Dylan O'Brien), how he loses his voice, how he got his name, and how he eventually uses music/radio to communicate. 

The film is steeped in Eighties nostalgia, from its soundtrack to various memorabilia as VHS tapes (Judd Nelson's fist raise from The Breakfast Club, anyone?), vinyl records, Cold War paranoia, and even Mr. T cereal. The designs of the robots reverts back to their G1 forms from the original cartoon series (Bumblebee was a Beetle before he became a Camaro). Even some of the songs recall said series, such as the original theme song, "You Got the Touch," by Stan Bush.

Hailee Steinfeld (left) with the VW Autobot

More importantly, there are three-dimensional character dynamics and stakes, thanks, in part, to the on-screen chemistry between the VW bot and Charlie. The same goes for the way they desire to keep memories of those they care about alive, and how they fight for what they believe in. 

This is what a Transformers movie should be--action-packed, genuine, three-dimensional, and respectful of its kid audience (actual kids, and adults who are still kids at heart). It goes without saying that fans can rejoice and say, "They finally got it right!" "Thank you for making me feel like me again," Charlie tells Bee. Yes, that about says it. 

2018: People of the Year

TIME magazine will have their say in a few weeks, while PluggedIn posted their own annual piece a few weeks ago. The following is a list that is different for "Film FreeQ" this year, yet is inspired by the aforementioned lists of famous people or figures who have stood out in the previous year; in this case, 2018.

Later this week, I'll be posting my list of my favorite movies of 2018. I should note that, for the last two years, I've also posted lists of what I believed were the most disappointing or divisive movies then (read here for 2016 and 2017). I won't be doing that this year; there's enough of that going around already. However, I will say the only films from 2018 that, I thought, had missed opportunities in them were Aquaman and Jurassic World: Fallen Kingdom, specifically in how they incorporated elements of conventional storytelling and (in the latter's case) cookie-cutter villains. Each film did, on the other hand, have star power (you can't go wrong with Jason Mamoa or Chris Pratt, friends!) and some spectacular action sequences (the visual effects moments in the former; the avalanche stampede and climactic chase in the latter).

That being said, . . .

Michael Bay (right) with (right to left) John Krasinski, Noah Jupe, and Millicent Simmonds
at the 2018 South by Southwest Film Festival

Peter Farrelly (right) with (right to left) Linda Cardellini, Mahershala Ali, and Viggo Mortensen

"Redeemer" Awards
Considering the Golden Raspberry Awards (which celebrate the "worst in film" each year) maintain their "redeemer award" this year, my two cents goes to filmmakers Peter Farrelly (who seamlessly transitioned from gross-out comedy films like There's Something About Mary and Movie 43 to direct/co-write/co-produce this year's true story drama Green Book) and Michael Bay (the Transformers and 13 Hours helmer who, this year, produced and supported the visions of director's John Krasinski and Travis Knight on A Quiet Place and Bumblebee, respectfully).

Couple of the Year
And speaking of A Quiet Place, stars Emily Blunt & John Krasinski (the real-life couple who play parents in the film) stood out as the couple of the year, on-screen and off. And they each had other celebrated projects this year, including Disney's Mary Poppins Returns (for Blunt) and the Amazon series Jack Ryan (for Krasinski).

Superheroes Galore!
It's no secret or surprise that films based on comic books or superheroes continue to dominate ticket sales and movie houses. This year was another record-breaking one. While most of these features came from Marvel (Black Panther was a real game changer, but man, that gut-punch of an ending to Avengers: Infinity War!), other studios like Pixar and DC also made their mark (with Incredibles 2, Teen Titans Go! To the Movies and Aquaman, respectfully). Actor Josh Brolin even did double duty as villainous titan Thanos (in Infinity War) and as time-travelling Cable (in Deadpool 2) within one month of each film's release. And though the unexpected passing of Marvel co-creator and impresario Stan Lee (sketched above) left a sad mark near the end of the year, his legacy and limitless contributions to popular culture as we know it today left a memorable mark. Excelsior!

Lauren Daigle
This contemporary Christian artist from Louisiana has made a surprising impact in the secular music industry. Following the release of her sophomore album, "Look Up Child," which features such tracks as "Still Rolling Stones" and "You Say" (my favorite song of the year), she made appearances on Ellen, Jimmy Fallon, and Good Morning America. A very down-to-earth woman with an infectious smile and real, genuine faith, my hats off to Ms. Daigle.

An Enduring Neighbor
Morgan Neville's excellent documentary, Won't You Be My Neighbor?, reminded critics and audiences of the unforgettable and enduring impact and legacy of children's television host Fred Rogers, whose examples of kindness, friendship and love have more significance and necessity today than ever before. Enough said.

The Pros Still Have It!
Whether it's practical stunts or just plain, onscreen charisma, these veteran movie stars continue to show they can still deliver the goods, in front of and/or behind the camera, and that age doesn't hold them back from doing so. This year's "pros" include:

Tom Cruise, for the real stunts and fearless dedication he showed in Mission: Impossible--Fallout

Clint Eastwood, who, at 88 years old, can still pull off gritty and evocative storytelling as an actor and director, as he did with The Mule)

Robert Redford, who gave his (supposedly) last screen role in The Old Man & the Gun

Sylvester Stallone, who went on record that his performance as Rocky Balboa in Creed II would be his last, as would his fifth and final outing as John Rambo (currently in production under the working title, Rambo: Last Blood)

Dolph Lundgren, who reprised his famous role as Ivan Drago (from Rocky IV) in Creed II, and also starred in Aquaman. Both performances were subtle and nuanced, contrary to the tough, action roles Lundgren is synonymous with from the Eighties.

REVIEW: "Ralph Breaks the Internet" or, Ready Players Level Up

For those of you who've missed any of the animated features or studio-distributed films from Disney's Mouse House (Marvel and Star Wars included) in the last decade, don't fret. Just about all of them are jammed into Ralph Breaks the Internet, the creative, funny, and imaginative follow-up to Disney's own 2012 feature Wreck-It Ralph. That story centers on an arcade "bad guy" who grows tired of his "role" in his game and wants self-respect; ditto a go-kart racer, Vanellope Von Schweetz, a system "glitch" that becomes Ralph's best friend. What Roger Rabbit was for classic cartoons, Ralph is for classic (and current) arcade/video games, and the film contained many clever references and cameos of such.

In the new film, Ralph and Vanellope's friendship is developed and deepened as they journey out of the arcade (where three different games were primarily represented in the first film) and into the newly-plugged-in world of "Wifi" to find a spare part for Vanellopee's game. Along the way, they encounter a host of colorful and diverse characters, like the quirky Knowsmore (Disney's go-to voice Alan Tudyk), "Slaughter Race" driver Shank (a scene-stealing Gal Gadot, brilliant), pop-up ad J.P. Spamley (an uncredited Bill Hader), "dark net" slug Double Dan (Alfred Molina), and BuzzTube algorithm Yesss (Taraji P. Henson, killing it). And just wait 'til you see the Disney princesses (yes, all eleven of those Disney princesses!), plus the most unexpected Disney showtune in history.

However, Ralph Breaks the Internet isn't as overwhelmed with pop-culture references and Disney-owned properties as the trailers would have you think. Why? Because the central relationship and story involving Ralph and Vanellope's friendship drives the action, and into a bigger world. A more exciting, more unpredictable, and even more dangerous world.

The references are arguably there to cleverly represent the social media world we currently live in (a perfect showcase of a movie and story), and not merely as product plugs. And hey, any movie that references TRON (creatively and brilliantly) gets a pass in my book. Still, some may wonder how the filmmakers got the rights and money (almost, if not more, on par with Marvel) to include every mind-blowing reference and clever cameo appearance imaginable here. "It's so big, it goes on forever," says one character. The result is out of this world, both as a visual marvel (pardon the expression) and as a moviegoing experience. (Yeah, you heard me, Ready Player One.)

And a quite touching one, at that.

While the first film touched on the negative impact of selfish ambition (i.e., cheating one's way to victory), including how it influences and even twists the world around it, it also developed characters who were more than they were perceived as ("bad guys" or "glitches" in games), and that said characters could make a difference just by being themselves, embracing their imperfections, and realizing they needed friendship and love instead of medals and fame.

Internet puts an emphasis, once again, on identity and purpose ("If I'm not a racer, then what am I," says Vanellope, who grows tired of conformity and a predictable life), and also on constant change, including each person's own dreams and ambitions, while still maintaining what's important. Ralph, well-meaning as he is, struggles this time around--again, in a much bigger (and uncertain) world--with letting go of what he loves, and with letting his own insecurities affect everything around him, including the harsh idea of forcing others to "like" you or not leave. "This place can bring out the worst in some people," says Yesss, referring, perhaps, not just to the negative comments that people can make online, one of many "dark areas" on such a journey.

"All friendships change," says Shank, to a concerned Vanellope. "But the good ones, they grow stronger because of it." Ralph Breaks the Internet may be the most reference-jammed feature film as of late, not to mention one of the best times I've had at the movies lately. But I'm glad it doesn't sacrifice genuine heartstrings and worthwhile morals to be so. And if that's not truly out-of-this-world, then I don't know what is.

REVIEW: "Green Book" Drives Passed Mere Stereotypes and Tensions

Between 1936 and 1966, "The Negro Motorist Green Book" allowed travelling African-American citizens to find lodging, restaurants, and other business where they could be served during a time of great oppression and racial tensions.

One of those citizens was Dr. Don Shirley, a highly-trained and skilled pianist who was looking for a chauffeur for a concert tour (for the "Don Shirley Trio") of the Deep South during the early 1960s. What he got was a brash Italian-American bouncer, with a sixth-grade education, by the name of Tony Vallelonga (a.k.a. Tony Lip), recently fired from his bodyguard position at the Copacabana and desperate for work to support his wife and family.

Winner of the People's Choice Award at the 2018 Toronto International Film Festival, you wouldn't believe the Green Book was directed by Peter Farrelly (one-half of the gross-out comedy duo, the Farrelly Brothers, the minds of Dumb & Dumber, Kingpin, and There's Something About Mary). Although, the road trip concept (complete with KFC, a famous moment from the trailers) makes an interesting connection. But the film isn't scrappy or stupid, as you might think.

For one thing, the film (despite some harsh and unnecessary language at times) features two of the year's best performances from Viggo Mortensen (who gained 45 lbs to play Tony) and Mahershala Ali (as Dr. Shirley), both well-regarded and fully-committed, and with an on-screen chemistry that is thoroughly genuine and believable. Ditto for the very-underappreciated Linda Cardellini (as Tony's wife, Delores), and for the film's authentic and believable view of the Italian community, from the way they talk to the way they eat.

Viggo Mortenson and Mahershala Ali

Even more intriguing is the way Green Book focuses not so much on mere racial tensions and stereotypes of the era (and even so today), but on personal complexities and views regarding status and culture. Consider Tony's knowledge of popular music by such artists as Aretha Franklin, Chubby Checker, and Little Richard, and Shirley's lack of interest in it. Or the way that Shirley rages how his choice of occupation and lifestyle makes him "not accepted" in various communities, black or white. ("If I'm not black enough, and if I'm not white enough, and if I'm not man enough, then what am I?!?")
Another powerful scene shows Tony and Shirley seeing black slaves working in the fields, illustrating a strong contrast in class, status and opportunity. Or consider the various heads of establishment they encounter on some of their stops, including how said heads allow Shirley to perform but not mingle or feast (or even use the bathroom) like everyone else.

Nevertheless, it is, in a way, inspiring the way Tony is impacted by his travels, how he impacts his wife through the letters he writes to her, and how he's impacted by the man he shares those travels with. A man who speaks with a certain level of wisdom, contrary to Tony's more physical approach to circumstances. "You never win with violence," Shirley tells us. "You only win when you maintain your dignity." More importantly, Shirley's decision to go on this tour--knowing full well what he's in for--stands as a benchmark in determination and change in an aforementioned time of great oppression and opposition. As one of his fellow band members states, "Genius is not enough. It takes courage to change people's hearts." Indeed.

REVIEW: "Moneyball" or, Finding Value In the Undervalued and Persevering

Let me be up front: I am not a baseball fanatic. I respect the sport, as I do most sports. However, the history and methods of the game are generally foreign to me. That being said, you may wonder why a film like Moneyball captivates and even inspires me?

Well, the same reason all great sports stories (including movies) do. Moneyball (based on the 2003 book by Michael Lewis) centers on the 2001-02 season of the Oakland Athletic's, who at the time had the lowest budget of any baseball team in history.

At the end of the previous season, their best players were transferring to other teams with bigger paychecks, while general manager Billy Beane questioned the methods that have been used in the game for decades, from the way potential players were drafted, to the skills and qualities numerous scouts were looking for, and even the fact that certain players were being overlooked or looked down on because they lacked certain qualities. Then, Beane came across the idea of sabermetrics (via Paul DePodesta), a statistical approach that chose players based on their on-base percentages as opposed to their appearances, ages, and personalities.

Moneyball (released in 2011) is one of the latest examples of a story that isn't so much about sports as it is about going against conventional wisdom and redefining the way things are done. (Watch the trailer here.) And in doing so, value and meaning is found in those that are undervalued--or, as Yale graduate Peter Brand (DePodesta's on-screen counterpart, played by Jonah Hill in the film) says, "like an island of misfit toys". Consider a scene where Beane contemplates the last game of the season, which (no spoiler, really) followed a 20-win streak for any team since the 1920s. "I want it to mean something," he tells his young protege.

If the first thought in your head from reading that line is sentiment and cheesiness, everything in this film throws it out the window, thanks to director Bennett Miller's skilled direction, first-rate and committed performances from Brad Pitt (as Beane), Hill, and the late Phillip Seymour Hoffman (as field manager Art Howe); and attention to detail that's genuine, thoughtful, and game-changing. Everybody involved in front of the camera and behind it knocks it out of the park. The same goes for the beyond-brilliant inclusion of  This Will Destroy You's "The Mighty Grande Rio".

Rocky inspires people to overcome personal odds. Chariots of Fire paints two contrasting character studies that are equally compelling and real. Field of Dreams recalls how sports make us feel and how they connect us. What Moneyball does is embrace change and the undervalued, while avoiding being one-sided, despite various criticisms and controversy on both ends (a topic of discussion that continues today). This film (despite some strong language) is universal in the way it authentically illustrates how business works, how to best show professionalism, and how to deal with the outcomes and yet still persevere.

"This better work. [pause] I'm just kidding you." 

RETROSPECT: "Fantasia" or, The Best of Animation and Motion-Picture Storytelling

Walt Disney had made history in 1937 with the release of (supposedly) the first full-length animated feature ever produced, Snow White and the Seven Dwarfs. Far exceeding the expectations of critics who initially declared it as "Disney's folly," the film captivated, thrilled, moved, and entertained audiences, young and old, with its magical and engaging storytelling, unforgettable characters (Dopey remains a personal favorite) and memorable songs. The next question on everybody's mind was, "Now what?" "What could be better than that?"

In fact, Disney and his team of animators were secretly already at work on their next anticipated projects, including an adaptation of Carlo Collodi's Pinocchio, as well as a "concert feature". Said the late Roger Ebert, in his 1990 review, "Walt Disney did not invent animation, but he nurtured it into an art form that could hold its own against any 'realistic' movie, and when he gathered his artists to create Fantasia [released in 1940], he felt a restlessness, a desire to try something new."

One story goes that Disney had met with famed composer Leopold Stowkowski to discuss collaborating on an animated telling of Paul Dukas's "The Sorcerer's Apprentice," starring Mickey Mouse (who recently celebrated his 90th anniversary, since his 1928 debut Steamboat Willie). It was from this concept (synchronizing animated segments to selected pieces of classical music) that led to the idea of other such segments being created, ranging from Bach to Tsiolkovsky to Stravinsky. Talk about tremendous potential.

Some may argue for Snow White. Others, Pinocchio, or even for Mary Poppins. But the magnum opus in both animation and feature-film storytelling by Walt Disney and his crew is arguably Fantasia. Furthermore, the various segments put together represent the boundless possibilities of what the medium of animation (at least, hand-drawn) is capable of, as well as the various genres and forms that storytelling is capable of (something the sequel, Fantasia 2000, also achieved remarkably well, sixty years later). It also set a new benchmark in cutting-edge stereophonic sound--known then, and only then, as "Fantasound". In terms of appealing to audiences (especially children), it was an unprecedented way of introducing classical arrangements and Stowkowski to those unfamiliar with such. Film consensus site Rotten Tomatoes even argues that Fantasia became an influence on the "music video".

According to Disney himself, "Fantasia represents our most exciting adventure," and that "it open[ed] up whole new possibilities." In other words, there was more that the medium of animation had to say and show than just making people laugh or smile from talking mice and singing animals, not to mention "silly cartoons". Disney wanted his animators to be experimental, and, in a way, monumental.

Animation historians Brian Sibley (in his commentary for the 2010 Bluray/DVD release of the film) and Jerry Beck (in his 2005 book, "The Animation Movie Guide") agree that one of the best ways--if not the best way--to review Fantasia is to look at each segment individually.

The live-action segments were narrated by American composer and classical music critic Deems Taylor, while Stowkowski (in an iconic image on the podium) conducted the Philadelphia Orchestra, who even perform an improvised jam session during the intermission. Between each segment, Taylor narrates what each them represent, beginning with Bach's "Toccata and Fugue in D Minor." An example of absolute music--that is, music written for its own sake--the segment opens with different colored lights in specific sections of the orchestra, before transitioning to equally abstract imagery that illustrates the concept of synchronized sight and sound.

While still fantastical and magical, Peter Tschikovsky's "Nutcracker Suite" is given a different treatment by the Disney animators than the typical wooden nutcrackers, mouse kings and sugarplum fairies. Instead, we have forest fairies, flowers, mushrooms (perhaps the most unforgettable here), and angel fish, each representing different nationalities and seasons from Chinese to Arabic to Russian.

Dukas's "The Sorcerer's Apprentice" is the segment that is most remembers, with its fantasy storytelling and entertainment value. In his most famous "role" (aside from "Steamboat Willie"), Mickey Mouse plays an apprentice who dabbles with his master's magic hat and tricks, by simply bringing brooms to life and making them do all of his work while he fantasizes about stars and waves, as if he's conducting the magic on a mountain top. As Taylor puts it best, "[This apprentice] was perhaps a bit too bright, because he started practicing some of the boss's best magic tricks before learning how to control them."

Igor Stravinsky's "Rite of Spring" was reportedly a representation of the "growth of life." Set during the prehistoric era of dinosaurs--or, a scientific view of the beginning of life on earth--this segment of drama and action is claimed by some as an influence on Stanley Kubrick's 2001: A Space Odyssey (1968), and maybe even an inspiration for the Universal Pictures logo (just a thought).

The "Soundtrack" interlude during the intermission is a wonderful visualization of sound and expression, as what appears to be a simple line illustrates various shapes, volumes and colors of different instruments.

Beethoven's "Pastoral Symphony" was written as an expression of a day in the countryside. Although considered by many to be the weakest segment in the whole film (and although it features sensual imagery of male and female centaurs, and naked babies with wings), it's still an artful showcase of Greek mythology (which the studio would revisit in the late Nineties with Hercules), with unicorns, the thunder-striking Zeus, and the scene-stealer Bacchus drinking and feasting with his donkey friend.

Ponchielli's "Dance of the Hours" is an outrageous pastiche of absurdity, comedy and dance, involving ostriches and hippos in tutus, elephants blowing bubbles, and alligators in capes. The most amazing thing about these anthropomorphic animals (as with all the best animation) is the believable weight and precision on display, and not just the different "hours" represented (dawn, noon, evening, and after dark)

The concluding pairing of Modest Mussorgsky's "Night on Bald Mountain" and F.P. Schubert's "Ave Maria" illustrates a "struggle between the profane and the sacred". "Night" centers on the Slavic demon Chernobog--or, "Satan and his followers"--and contains imagery that still frightens children (and angers parents) today as it did in 1940. This horror piece is, perhaps, the closest depiction of Hell ever done by the Disney studio (although Maleficent of Sleeping Beauty fame, as well as 1996's The Hunchback of Notre Dame, aren't far behind). The proceeding conclusion of "Ave Maria," on the other hand, represents, according to Sibley, a "triumph of hope and life over the powers of despair and death." It's an uplifting, inspiring, and hopeful conclusion to the entire program, with a perfect final shot.

Fantasia was the first feature film to apparently have no opening or closing credits, considering it had a roadshow exhibition at the time, and in subsequent re-releases. For its premiere home video release in 1991, the runtime was cut from 126 minutes (from its initial uncut release) to 120 minutes. Even so, it still holds the record for the longest animated Disney film in history. For its 2000 DVD release, the "uncut" version was restored, with longer segment introductions, despite Taylor's lost voice-over work being dubbed by voice actor Corey Burton. This version, although brilliant, plays like an actual concert and loses some of the moviegoing experience.

Personally, the 1990 release (which was the last time the film had been shown in theaters) is the best. All the animated segments are there, as are Taylor's original vocal recordings. They're short, but they're enough to tell you about each segment while letting the images speak for themselves and making the whole experience immersive, universal, and worthwhile. Plus, the opening Walt Disney Pictures logo and title card adds to the excitement, as do the closing credits (which included the crew that remastered the film, as well as the orchestra leaving and the curtains closing). The result is astounding and breathtaking.