Wednesday, February 24, 2021

Golden Globe Winner Predictions: Best Screenplay – Motion Picture

The competition:

The Father was written by Florian Zeller and Christopher Hampton. This is the first nomination for director Zeller, while Hampton previously contended in this race in 2007 for “Atonement.” The film also contends for Best Motion Picture – Drama and stars Anthony Hopkins and Olivia Colman.

Mank was written by Jack Fincher, earning his first Globe nomination almost eighteen years after his death for writing a film directed by his son David. The film is the nominations leader, contending for Best Motion Picture – Drama, its director, its score, and stars Gary Oldman and Amanda Seyfried.

Nomadland was written by Chloé Zhao, who is also nominated this year for Best Director. This marks her first nomination. The film is also nominated for Best Motion Picture – Drama and star Frances McDormand.

Promising Young Woman was written by Emerald Fennell, who is also nominated this year for Best Director. This marks her first nomination. The film is also nominated for Best Motion Picture – Drama and star Carey Mulligan.

The Trial of the Chicago 7 was written by Aaron Sorkin, who is also nominated this year for Best Director. He has an impressive seven previous nominations in this category, most recently in 2017 for “Molly’s Game.” He won in 2015 for “Steve Jobs” and in 2010 for “The Social Network.” The film is nominated for Best Motion Picture – Drama, a song, and star Sacha Baron Cohen.

Additional notes: The winner of this category has gone on to win one of the two corresponding Oscar prizes nine times in the past fifteen years, and only once in that time has ended up being snubbed altogether. A Best Director nomination isn’t crucial here to a win, but it does help. This is the first time in thirty years that all five of these nominees have also been up for Best Motion Picture – Drama.
What should win? Though “The Father” is well-written, it’s not one of my top choices. The same goes for “Nomadland.” I very much appreciated both “Mank” and “The Trial of the Chicago 7,” but the most formidable script of this bunch is certainly “Promising Young Woman.”
What will win? This category feels uncertain, but I think Sorkin prevails for The Trial of the Chicago 7.

Golden Globe Winner Predictions: Best Animated Film

The competition:

The Croods: A New Age comes from DreamWorks Animation. The studio has been nominated nine times before, winning for “How to Train Your Dragon 2” in 2014. The first film was nominated for this prize in 2013. This is the first nomination for director Joel Crawford.

Onward comes from Pixar, a studio that has dominated this category with eight wins since its inception in 2006 and is also nominated this year for “Soul.” This is the first nomination for director Dan Scanlon.

Over the Moon comes from Netflix Animation, the streaming giant’s first nomination in this category. This is the first nomination for director Glen Keane.

Soul comes from Pixar, a studio that has dominated this category with eight wins since its inception in 2006 and is also nominated this year for “Onward.” Co-director Pete Docter has won on both of his previous nominations in this category, for “Up” and “Inside Out,” while co-director Kemp Powers, earning his first Globe nomination this year, also wrote “One Night in Miami,” which contends for three Globes.

Wolfwalkers comes from Cartoon Saloon, previously nominated for “The Breadwinner.” This is the first nomination for directors Tomm Moore and Ross Stewart.

Additional notes: Two out of nine previously nominated sequels have won this award, with three of them losing last year to an original film. This is the second time two Pixar films are nominated in the same year, and last time, one of them still won – “Inside Out.”
What should win: I hadn’t even remembered watching the original, but I liked “The Croods: A New Age” much more than I expected. Honestly, all of them were great. I think I’d be happiest with “Over the Moon” or “Wolfwalkers.”
What will win: I see this being Soul without much trouble.

Tuesday, February 23, 2021

Movie with Abe: The Croods: A New Age

The Croods: A New Age
Directed by Joel Crawford
Released November 25, 2020

Cavemen are considered backwards and rudimentary, mainly because they existed early on in the evolutionary process before humanity discovered many ways to improve itself. Yet the notion that they have nothing to offer and were completely unintelligent because of how they did things is a judgmental and irresponsible conclusion, one that presumes there is nothing to be learned from the past. That concept can be easily applied to gentrification and other expectations of what it means to be sophisticated in the present. Such ideas are alluded to in an entertaining and fantastical manner in this sequel that improves substantially on its original.

The Croods are back and facing an unexpected challenge as their latest addition, Guy, brings them far from their comfort zone in his constant search for tomorrow. When he encounters two adults from his childhood, Phil and Hope Betterman, they introduce the Croods to their way of life, which looks very different and involves considerably more technology and industry than they know. Eep sees a threat in their daughter, Dawn, who grew up with Guy, while Grug and Ugga find themselves clashing with Phil and Dawn about their values and whether they can or should adjust to this new existence.

It’s easy to read into the storylines here and apply more meaning to them than children may digest, and that’s a good thing since the first film, which this reviewer honestly didn’t even remember having watched just over seven years ago, lacked in adult-friendly content to keep older audiences engaged. This film presents exactly what should be expected from an animated film aimed primarily at younger viewers, inserting fantasy elements into a story that does feel timeless even if a few of its specific plot points are exaggerated to make the experience all the more entrancing for fresh eyes easily wowed by monsters and seemingly superhuman abilities.

The best asset of this film, which does boast impressive animation, may be its voice cast. A number of the actors return from the first film, including Emma Stone, Nicolas Cage, Ryan Reynolds, Catherine Keener, and the late Cloris Leachman in one of her final film roles. The newcomers are just as fantastic, with Peter Dinklage and Leslie Mann complementing the other voice talent superbly as Phil and Hope. This film takes the next step after a thin caveman premise that didn’t serve its predecessor all that well, creating a visually appealing and relatively enjoyable universe that could feasibly produce its own perfectly decent sequels in the future.


Golden Globe Winner Predictions: Best Original Song

The competition:

Fight for You (Judas and the Black Messiah) was written by D’Mile, H.E.R., and Tiara Thomas. This is the first nomination for all three. This film is also nominated for supporting actor Daniel Kaluuya.

Io Si (Seen) (The Life Ahead) was written by Diane Warren, Niccolò Agliardi, and Laura Pausini. Warren has five previous nominations, winning on her most recent time a song from “Burlesque” a decade ago. This is the first nomination for Agliardi and Pausini. This film is also nominated for Best Foreign Film.

Speak Now (One Night in Miami) was written by Leslie Odom Jr. and Sam Ashworth. This is the first nomination for both, and Odom is also nominated for his performance in the film, which additionally contends for Best Director.

Hear My Voice (The Trial of the Chicago 7) was written by Daniel Pemberton and Celeste. This is the fourth nomination for Pemberton, who contended previously for the scores for “Motherless Brooklyn” in 2020 and “Steve Jobs” in 2015, and for a song from “Gold” in 2016. This is the first nomination for Celeste. This film is up for Best Motion Picture – Drama and three other awards.

Tigress and Tweed (The United States vs. Billie Holiday) was written by Andra Day and Raphael Saadiq. This is the first nomination for Day, who is also nominated for her performance in the film. Saadiq was previously nominated for a song from “Mudbound” in 2017.

Additional notes: Only “Tigress and Tweed” missed the fifteen-wide finalist list for the corresponding Oscar category. The winner of this award has gone on to win the Oscar seven times out of the past fifteen years, though six of the remaining times the winner wasn’t even nominated there. Cynthia Erivo, Mary J. Blige, and Bjork were nominated in 2019, 2017 and 2000, respectively, for acting and songwriting, and in all three cases, they lost, but Lady Gaga, who was nominated in 2018, did succeed in winning this award.
What should win? After listening to these five songs a number of times, my clear favorites are “Io Si” and “Speak Now.”
What will win? I’m going to pick Speak Now over “Io Si” but I’m not entirely confident about that choice..

Golden Globe Winner Predictions: Best Original Score

The competition:

Mank was composed by Trent Reznor and Atticus Ross, marking their fourth nomination as well as their fourth nominated collaboration with director David Fincher after bids for “The Girl with the Dragon Tattoo” and “Gone Girl” and a win for “The Social Network.” The duo is also nominated in this category for “Soul.” Their film is the nominations leader.

The Midnight Sky was composed by Alexandre Desplat, who was nominated last year for “Little Women,” in 2018 for “Isle of Dogs,” and won in 2017 for “The Shape of Water.” He has eight other previous nominations, including another win, for “The Painted Veil” for 2006. This is the only nomination for his film. This is his fourth collaboration with director George Clooney.

News of the World was composed by James Newton Howard. He was previously nominated for “King Kong” in 2005 and for “Defiance” in 2008. His film has only additional nomination for supporting actress Helena Zengel. This is his first collaboration with director Paul Greengrass.

Soul was composed by Jon Batiste, Trent Reznor and Atticus Ross. This is the first nomination for Batiste and the fifth for the other two, who also contend this year for “Mank.” This is the only nomination for his film. This is their first collaboration with directors Pete Docter and Kemp Powers. This film is also nominated for Best Animated Film.

Tenet was composed by Ludwig Göransson, who was previously nominated for “Black Panther” in 2018. This is the only nomination for his film. This is his first collaboration with director Christopher Nolan.

Additional notes: The winner of this award has gone on to win the corresponding Oscar ten times in the past fifteen years, failing to receive a nomination just three times. All five of these scores made the fifteen-wide finalist list for this year’s Oscar category. The last time an animated film won this prize was way back in 1994 for “The Lion King.” Composers have been nominated for multiple projects in the same year before and have sometimes triumphed.
What should win? These are all great choices, and I’ve spent a lot of time listening to them after seeing the films. I do think that “Tenet” would get my vote since it’s just something else.
What will win? I don’t think it’s locked up, but I’ll bet on Tenet for now.

Monday, February 22, 2021

Golden Globe Winner Predictions: Best Foreign Language Film

The competition:
Another Round (Denmark) is directed by Thomas Vinterberg, marking his thirteenth feature film and third Golden Globe nomination after previous bids in this category in 1998 for “The Celebration” and in 2013 for “The Hunt.” As far as I can tell, Denmark has been nominated ten times in the past, winning in 1988 for “Pelle the Conqueror” and in 2010 for “In a Better World.” This film is on the Oscar shortlist as Denmark’s submission for Best International Feature.

La Llorona (Guatemala) is directed by Jayro Bustamante, marking his third film. This is the first Globe citation for Guatemala. This film is on the Oscar shortlist as Guatemala’s submission for Best International Feature.

The Life Ahead (Italy) is directed by Edoardo Ponti, marking his third film. As far as I can tell, Italy has thirty-five previous nominations and nine wins, most recently in 2013 for “The Great Beauty.” While this film is not was not selected as Italy’s submission for Best International Feature, it is on the corresponding shortlist for Best Original Song, which also serves as a second Globe nomination.

Minari (USA) is directed by Lee Isaac Chung, marking his fourth film. This is the sixth time that a film cited as being only from the USA has been nominated. None of them have won, though “Letters from Iwo Jima” and “The Diving Bell and the Butterfly,” billed as being from the USA and another country, did prevail in 2006 and 2007. This is the film’s only Globe nomination, though it is up for three SAG Awards.

Two of Us (France) is directed by Filippo Meneghetti, marking his feature debut. As best as I can tell, France has been nominated a whopping eighty-one times and has been credited with twelve wins. This film is on the Oscar shortlist as France’s submission for Best International Feature.

Additional notes: All three Oscar-eligible films are on the shortlist for the Oscar Best International Feature category. Last year, all three of the nominees here who were submitted at the Oscars ended up getting nominated there. The past two winners of this category, “Parasite” and “Roma,” won the corresponding Oscar, while the two before that, “In the Fade” and “Elle,” weren’t even nominated. Only seven winners in this category have gone on to win the corresponding Oscar in the past fifteen years.
What should win? These are all good choices. I would choose “Minari” over the rest.
What will win? This is the first time in a few years that there’s no set frontrunner, and even though Minari didn’t earn other bids here, I think it’s safe to say that it has the edge.

Golden Globe Winner Predictions: Best Supporting Actress in a Motion Picture

The competition:

Glenn Close (Hillbilly Elegy) plays grandmother Mamaw Vance. She has thirteen previous acting nominations, winning in 2004 for “The Lion in Winter,” in 2007 for “Damages,” and in 2018 for “The Wife.” She is the lone representative from her film.

Olivia Colman (The Father) plays devoted daughter Anne. Colman is a double nominee this year and has won on all three of her past nominations: in 2019 for “The Crown,” for which she contends again, in 2018 for “The Favourite,” and in 2016 for “The Night Manager.”

Jodie Foster (The Mauritanian) plays lawyer Nancy Hollander. She has seven previous nominations, including two wins, for “The Accused” in 1988 and in 1991 for “The Silence of the Lambs,” in addition to having received the Cecil B. DeMille Award in 2012. Her costar Tahar Rahim is also nominated this year.

Amanda Seyfried (Mank) plays actress Marion Davies. This is her first Globe nomination. Her film is the nominations leader.

Helena Zengel (News of the World) plays orphan Johanna Leonberger. This is the first Globe nomination for the twelve-year-old actress. Her film is also nominated for Best Original Score.

Additional notes: Close, Colman, and Zengel are also nominated for individual SAG Awards, while Close, Colman, and Seyfried are up for Critics Choice Awards, where Zengel is a nominee in the Young Actor/Actress category. Only four times in the entire history of this category has the winner gone on not to be nominated for an Oscar, and the most recent time was more than forty years ago. All but four times in the past fifteen years, the winner of this category has also won the Oscar, and several of those instances involved different nominees and category placements.
Who should win? None of these performances are at the top of my list, but I think I’d choose Seyfried.
Who will win? It’s hard to know with popular critics’ pick Maria Bakalova in a different category – probably Close?

Golden Globe Winner Predictions: Best Actor in a Supporting Role

The competition:

Sacha Baron Cohen (The Trial of the Chicago 7) plays defendant Abbie Hoffman. Cohen won a Globe in 2006 for the first “Borat” movie and is also nominated this year for his performance in the sequel, “Borat Subsequent Moviefilm.” Both films are nominated for in other categories and for the top prizes. This is third year in a row that Cohen has been a Globe nominee after TV bids for “Who Is America?” and “The Spy.”

Daniel Kaluuya (Judas and the Black Messiah) plays activist Fred Hampton. Kaluuya was previously nominated in 2017 for “Get Out.” His film also contends for Best Original Song.

Jared Leto (The Little Things) plays murder suspect Albert Sparma. He won this prize in 2013 for “Dallas Buyers Club.” He is the lone representative from his film.

Bill Murray (On the Rocks) plays eccentric father Felix Keene. He has six previous nominations, most recently earning two bids in 2014 and winning in 2003 for “Lost in Translation.” He is the lone representative from his film.

Leslie Odom Jr. (One Night in Miami) plays singer Sam Cooke. This is his first Globe nomination, and he also contends for a song from his film, which earned a third bid for Best Director. Odom also stars in two nominees for Best Motion Picture – Comedy/Musical this year, “Hamilton” and “Music.”

Additional notes: All but Murray are nominated for individual SAG Awards, and all but Leto are up for Critics Choice Awards. Only once in the past forty years has the winner of this category gone on not to be nominated for an Oscar (Aaron Taylor-Johnson in 2016), and the victor here also claimed the Oscar all but four times in the past fifteen years.
Who should win? I’m not sure why Leto is here but the rest are all great choices.
Who will win? I really don’t know. It could be any of them except Murray, and I think Leto may actually take it, baffling as that might be to believe.

Sunday, February 21, 2021

Golden Globe Winner Predictions: Best Actress in a Motion Picture – Comedy/Musical

The competition:

Maria Bakavola (Borat Subsequent Moviefilm) plays Kazakh traveler Tutar Sagdiyev. This is her first Globe nomination. She is joined by costar Sacha Baron Cohen and her film contends for Best Motion Picture – Comedy/Musical.

Kate Hudson (Music) plays recovering addict Zu Gamble. She won a Globe twenty years ago for “Almost Famous.” Her film contends for Best Motion Picture – Comedy/Musical.

Michelle Pfeiffer (French Exit) plays heiress Frances Price. She has seven previous nominations, most recently for “The Wizard of Lies” in 2017, and won in 1989 for “The Fabulous Baker Boys.” She is the lone representative from her film.

Rosamund Pike (I Care a Lot) plays advocate-criminal Marla Grayson. She was previously nominated in 2018 for “A Private War” and in 2014 for “Gone Girl.” She is the lone representative from her film.

Anya Taylor-Joy (Emma.) plays matchmaker Emma Woodhouse. This is her first time being nominated for a Globe, and she also contends for her starring role in the limited series “The Queen’s Gambit.” She is the lone representative from her film.

Additional notes: Only Bakalova is nominated for a SAG Award and Critics Choice Award this year, in the supporting category. The winner of this award has gone on to be nominated for an Oscar all but three times in the past fifteen years, with five victors going on to win the Oscar.
Who should win? None of these actresses are on my own ballot, but I think I’d probably pick Pike or Bakalova.
Who will win? I think Bakalova should be clear to win here.

Golden Globe Winner Predictions: Best Actor in a Motion Picture – Comedy/Musical

The competition:

Sacha Baron Cohen (Borat Subsequent Moviefilm) plays Kazakh journalist Borat Sagdiyev. Cohen won this award in 2006 for the first “Borat” movie and is also nominated this year for his performance in “The Trial of the Chicago 7.” Both films are nominated for in other categories and for the top prizes. This is third year in a row that Cohen has been a Globe nominee after TV bids for “Who Is America?” and “The Spy.”

James Corden (The Prom) plays over-the-top actor Barry Glickman. This is Corden’s first nomination. His film contends for Best Motion Picture – Comedy/Musical.

Lin-Manuel Miranda (Hamilton) plays founding father Alexander Hamilton. He was nominated in this category two years ago for “Mary Poppins Returns” and in 2016 for a song from “Moana.” His filmed stage production is also nominated for Best Motion Picture – Comedy/Musical.

Dev Patel (The Personal History of David Copperfield) plays the famed title character. He was previously nominated in 2016 for his performance in “Lion.” He is the only representative from his film.

Andy Samberg (Palm Springs) plays aimless day-experiencer Nyles. He won a Globe in 2013 for “Brooklyn Nine-Nine.” His film is also nominated for Best Motion Picture – Comedy/Musical.

Additional notes: None of these performances are nominated for SAG Awards. The winner of this category sometimes goes on to be nominated for an Oscar, and two victors – Jean Dujardin and Jamie Foxx – have actually won the Oscar. Two recent winners, Taron Egerton and James Franco, were ultimately not nominated for the Oscar, though in both cases, one man who lost to them did make the cut.
Who should win? I loved Samberg and it would be so great to see him win. Cohen is a fine choice too. Miranda does deserve awards but I’m not sold on this being a movie.
Who will win? I’m torn between Miranda and Cohen, opting tentatively for the latter.

Golden Globe Winner Predictions: Best Actress in a Motion Picture – Drama

The competition:

Viola Davis (Ma Rainey’s Black Bottom) plays singer Ma Rainey. Davis won a Globe in 2016 for “Fences” and has four additional previous nominations, two for film and two for TV. She is joined this year by her late costar, Chadwick Boseman.

Andra Day (The United States vs. Billie Holiday) plays singer Billie Holiday. This is her first Globe nomination, but she also contends this year for a song from her film.

Vanessa Kirby (Pieces of a Woman) plays grieving mother Martha Weiss. This is her first Globe nomination, and she is the only representative from her film.

Frances McDormand (Nomadland) plays traveler Fern. She won this prize in 2017 for “Three Billboards Outside Ebbing, Missouri,” and has five additional previous nominations, along with an ensemble cast prize for “Short Cuts” in 1993. Her film is nominated for Best Motion Picture – Drama and two other awards.

Carey Mulligan (Promising Young Woman) plays revenge-seeker Cassie Thomas. She has one previous nomination, in this category in 2009 for “An Education.” Her film is nominated for Best Motion Picture – Drama and two other awards.

Additional notes: Everyone but Day is also nominated for an individual SAG Award, and all of them were cited by the Critics Choice Association. The winner of this category has gone on to win the Oscar seven times in the past decade.
Who should win? These are all superb performances. While I’d be happy to see any of them rewarded, my clear choice is Mulligan.
Who will win? I thought for a while that it was definitely going to be McDormand, but I think I’m going to predict Mulligan.

Saturday, February 20, 2021

Golden Globe Winner Predictions: Best Actor in a Motion Picture – Drama

The competition:

Riz Ahmed (Sound of Metal) plays drummer Ruben Stone. He was nominated previously in 2016 for his TV role in “The Night Of.” He is the lone representative of his film.

Chadwick Boseman (Ma Rainey’s Black Bottom) plays musician Levee Green. This is his first Golden Globe nomination, received posthumously after his death from cancer this past August. His costar Viola Davis is also nominated.

Anthony Hopkins (The Father) plays the dementia-stricken Anthony. The Oscar winner has never actually won a competitive Globe despite seven previous bids, including last year for “The Two Popes,” and was honored with the Cecil B. DeMille Award fifteen years ago. His film contends for Best Motion Picture – Drama and two other awards.

Gary Oldman (Mank) plays screenwriter Herman J. Mankiewicz. He won this prize three years ago for “Darkest Hour.” His film is the nominations leader.

Tahar Rahim (The Mauritanian) plays detainee Mohamedou Ould Salahi. This is Rahim’s first Globe nomination, and he is joined by costar Jodie Foster.

Additional notes: All but Rahim are also received notes from SAG and the Critics Choice Association for these performances. The winner of this prize has gone on to win the Oscar every year since 2012.
Who should win? These are all very strong performances and any of them would deserve this win. I would choose Boseman, Ahmed, or Oldman.
Who will win? It could be Hopkins since his film obviously has support, but I think it’s likelier to be Ahmed or Boseman.

Movie with Abe: The United States vs. Billie Holiday

The United States vs. Billie Holiday
Directed by Lee Daniels
Released February 26, 2021 (Hulu)

Artists are typically remembered most for the works they create, recognized by future generations for their notable contributions to culture that can be concretely identified. The defining experiences they had may be known only to the more active and interested consumers since a life cannot be captured by one song or painting. Those with particularly complicated and compelling backgrounds make great subjects for biographies since, especially if they died untimely deaths, they may have a great deal more to share with the world than what is most commonly cited. This film tackles the very worthwhile topic of Billie Holiday with an unspectacularly standard approach.

Billie Holiday (Andra Day) is an acclaimed singer in the 1940s, delighting crowds with “All of Me” and other tunes from her repertoire. Her performances of another song, “Strange Fruit,” attract the attention of the FBI, endorsed by Harry Anslinger (Garrett Hedlund), who do not want her singing about lynchings and target her drug use as a way of discrediting and ultimately imprisoning her. Jimmy Fletcher (Trevante Rhodes), the agent sent in to get close to her, comes to question his role in the suppression of a powerful Black voice as he gets to know this woman who has seen much in her years and doesn’t want to be told what she can and can’t communicate through art.

This film’s title explains its angle, which is to frame Holiday’s life as a constant struggle between her right to exist and share her music and the forces hellbent on censoring her so that they can pretend that white supremacy and deadly racism do not exist in America. While much of that narrative sadly remains true in current times, Holiday witnessing the brutality of lynchings in an era when such abhorrent behavior wasn’t even condemned explains its particular resonance to her. Holiday is also well aware that singing about it won’t make it stop or even create major change, but being silenced and told to behave does not sit right with her in any way.

Day delivers an enormously impressive performance in her first major film role, imbuing Holiday with a deep passion interwoven with anguish and conflict. She is paired well with Rhodes and a cast that includes Tyler James Williams and Da’Vine Joy Randolph as members of her touring ensemble. There are moving moments in the film, particularly when Holiday performs on stage, that stand out from a typical biopic about a protagonist made to seem paranoid by the people who are very much surveilling her every move. Its confrontation scenes feel constructed for dramatic purposes, detracting by pulling focus from an icon whose legacy deserves to be honored in its own right.


Friday, February 19, 2021

Movie with Abe: La Llorona

La Llorona
Directed by Jayro Bustamante
Released August 6, 2020 (Shudder)

Fear comes from many different sources. Supernatural elements that bring back the undead to haunt the living are surely frightening, and make up a good deal of the cinematic horror genre. The actions of real people in life, however, can be even more terrifying since it demonstrates the disturbing capacity to do evil when infinite better choices exist. Guatemala’s official Oscar submission for Best International Feature explores the intersection between the two, when the brutality of one man’s life begins to catch up with him just as death hovers near and presents itself as a new and vicious threat.

Enrique (Julio Diaz) is a former general on trial for his role in ordering the torture and killing of many Mayans years earlier. His wife Carmen (Margarita Kenéfic) and his daughter Natalia (Sabrina De La Hoz) support him in public, and struggle at home with his deteriorating memory that finds him lost and confused each night, worried that someone has broken in. The protestors who gather outside his house only add to the stress, and the arrival of a new maid, Alma (María Mercedes Coroy), further indicates that there is real reason to worry that may not merely be a figment of Enrique’s imagination.

Billed as a horror film, this is really more of a psychological thriller, one that uses the idea that something inhuman or undead might be lurking nearby to augment an already worrisome existence. Those who survived the genocide carried out by Enrique and remember the unfeeling authority with which he commanded executions will never be able to forget what they have witnessed and what they remember, and, after that time should be a distant memory for Enrique, he is finally forced to confront his own vulnerability as power slips away from him and accountability approaches, ready to hold him responsible regardless of how long it has been since his crimes.

This film has earned accolades as the best foreign film of 2020 and is among the fifteen productions on the Oscar shortlist for Best International Feature. It does speak to a national sensibility in Guatemala about the activity portrayed in this film, and while Enrique is fictional, he is based on General Efraín Ríos Montt, the dictator whose conviction was overturned in 2013. This film draws tension and suspense from its quieter moments, allowing a large, supposedly secure house to become an even scarier setting than one in which helpless victims are rounded up by armed soldiers. Its use of the title La Llorona, to reference the tale of a weeping woman mourning her drowned children, gives it added emphasis, one that complements an unsettling and intriguing narrative whose ambiguity may fulfill some more than others.


Weekend Movie Recommendations with Abe

Every Friday, I'll be uploading a Minute with Abe: Weekend Movie Recommendations Edition, surveying new releases on DVD, and on streaming services. Check it out, and subscribe to the movieswithabe channel!

New to Theaters and Hulu: Nomadland
New to Theaters: Jumbo
New to VOD: Supernova
New to DVD: Mayor, Softie, God of the Piano
New to Netflix: I Care a Lot, Monsoon
New to Hulu: The Shape of Water

Thursday, February 18, 2021

Movie with Abe: I Care a Lot

I Care a Lot
Directed by J Blakeson
Released February 19, 2021

The phrase “crime doesn’t pay” isn’t entirely accurate since, at the height of their operations, many people conducting illegal business will be making a considerable amount of money. The idea is that such fortune won’t always remain, and those who traffic in criminal enterprises are likely to meet others equally motivated by the allure of getting rich who will be happy to squash their competition to then take their share for themselves. Even if the spoils do not ultimately go to the victor, there is definitely collateral damage along the way, a concept mostly ignored by this darkly comedic caper film.

Marla Grayson (Rosamund Pike) works as a legal guardian, protecting the interests of older individuals deemed unfit to care for themselves by a court, or at least that’s what she claims to do. She has the game rigged, working with her business partner Fran (Eiza González), a doctor (Alicia Witt), and a nursing home administrator (Damian Young) to prey on vulnerable and unconnected elderly people she can steal from and ensure won’t have any power to stop her. Her latest target, Jennifer Peterson (Dianne Wiest), seems like the perfect mark, until Roman Lunyov (Peter Dinklage), a dangerous mobster, comes looking for the woman who it turns out does have people in her life that very much care about what happens to her.

This isn’t a film that addresses morality much, opening with a man (Macon Blair) desperate to be allowed to see his mother after Marla has cut off any access her has to her, a challenge Marla easily has dismissed and is congratulated for achieving. She delights in being a wildly successful con artist, and her response to being intimidated by Roman’s henchmen is to fight harder to rob Jennifer of any autonomy she has left. The many people hurt along the way by Marla seeking a win and to add to her overall net worth make it difficult to root for her, though Roman, a temperamental man who uses violence to achieve what he wants, is no more sympathetic.

Addressing ethics may not be paramount here, and separating the film from its message is possible. As a piece of entertainment, this film functions very well, treading an initially familiar plot structure before subverting expectations to keep audiences engaged. Pike, who earned a surprise Golden Globe nomination for her performance, is delightfully full of energy in a way she rarely is, and González makes her supporting character feel vital and necessary when she otherwise might not have been. They make a formidable and very watchable duo. Dinklage could play this part in his sleep, but that shouldn’t diminish his skill at being quietly intimidating and capable of making people much bigger than him cower. Overall, this is an enjoyable ride that should keep audiences invested and enthralled for its nearly two-hour runtime, even if they don’t feel great about hoping for a happy end for any of its characters.


Movie with Abe: Emma

Directed by Autumn de Wilde
Released March 6, 2020

Every generation has its share of snobs and gossips, those who would much rather be starting the conversations about everyone else than end up the subject of other people’s musings. In the present day, social media provides a particularly scathing outlet for anyone eager to keep on the latest all-important news to consume and spread information immediately and whenever they want. In the 1800s, on the other hand, keen observation and knowing the right people were far more crucial, and the lack of ever-available content meant that distracting from a scandalous story wasn’t easy, as entertainingly showcased in the latest adaptation of Jane Austen’s famed 1815 novel.

Emma Woodhouse (Anya Taylor-Joy) lives with her father Mr. Woodhouse (Bill Nighy) and always has her nose in someone else’s affairs. Her primary muse is the impressionable Harriet Smith (Mia Goth), who is initially pursued by Robert Martin (Connor Swindells). Emma inserts herself into the situation and positions Mr. Elton (Josh O’Connor) as her ideal partner, while Mr. Knightley (Johnny Flynn) expresses hesitation at her meddling and the elusive Frank Churchill (Callum Turner) remains a complicating factor in Emma’s far-from-innocent scheming.

Though it looks fresh and eye-popping thanks to the impressive technical work by costume designer Alexandra Byrne and production designer Kave Quinn, among others, this film isn’t a modern reinterpretation of a classic work. Unlike “The Great” or “Dickinson,” which insert anachronistic dialogue and storylines into the lives of people who lived centuries ago, this is a standard adaptation of its author’s work and merely a strong utilization of younger actors to play these parts and inject them with new life. Audiences typically opposed to this type of fare won’t find much to augment the experience, which does at times feel drawn-out due to a combination of its tame PG rating and its 124-minute runtime.

Overall, however, this perfectly ordinary cinematic realization of Austen’s writing is more than competent, matching its visuals with strong performances from up-and-coming talent well-known for other breakout projects. Taylor-Joy, a major star thanks to “The Queen’s Gambit,” is full of personality as Emma, and it’s great to see O’Connor, Flynn, and Turner in different roles than the ones in which this reviewer has previously encountered them. Nighy is a dry delight as always, and Goth is truly great. If nothing else, it’s reassuring to know that returning to the same material with a fresh eye for detail and style can be completely worthwhile, as is the case with this light and entertaining period piece.


Wednesday, February 17, 2021

Interview with Abe: Mank

One of my top films of 2020 is “Mank,” now streaming on Netflix. I had the privilege to chat with Production Designer Donald Graham Burt and Costume Designer Trish Summerville, which was a wonderful opportunity to revisit their incredible work. Head over to Awards Watch to read the interview and check out my review of the film! 

Tuesday, February 16, 2021

Interview with Abe: Driveways

I had the pleasure of chatting with director Andrew Ahn about his wonderful film “Driveways,” which I saw at the 2019 Tribeca Film Festival and is available on demand. Check out my great conversation with him at Awards Radar. Read my written review here and don't miss my Minute with Abe video review from Tribeca!

Monday, February 15, 2021

Interview with Abe: The Midnight Sky

One of the recently-announced Oscar finalists for Best Visual Effects is George Clooney's “The Midnight Sky,” now streaming on Netflix. I had the privilege to chat with production designer Jim Bissell and VFX supervisors Chris Lawrence and Matt Kasmir, which was a great and very technically enlightening conversation. Head over to Awards Watch to read the interview and check out my review of the film! 

Sunday, February 14, 2021

Interview with Abe: Greyhound

One of last year's most impressive technical achievements was “Greyhound,” which is available to watch on Apple TV Plus. I had the privilege of chatting with director Aaron Schneider and participating in a press conference with a number of the artisans who worked on the film. Head over to Awards Radar to read both those pieces and check out my review of the film! 

Saturday, February 13, 2021

Weekend Movie Recommendations with Abe

Every Friday, I'll be uploading a Minute with Abe: Weekend Movie Recommendations Edition, surveying new releases on DVD, and on streaming services. Check it out, and subscribe to the movieswithabe channel!

New to Theaters: Minari, The Mauritanian, French Exit, Land, The World to Come
New to Theaters and Digital: Breaking News in Yuba County
New to Theaters and HBO Max: Judas and the Black Messiah
New to VOD: Cowboys, Music
New to DVD: Wander Darkly
New to Tubi: Beast Beast

Friday, February 12, 2021

Movie with Abe: Breaking News in Yuba County

Breaking News in Yuba County
Directed by Tate Taylor
Released February 12, 2021 (Theaters and Digital)

The idea of becoming famous is something that appeals to many. Those who feel like no one really knows who they are, even among their friends and family, can see a theoretical validation in being recognized by people they’ve never even met, plucking them from obscurity to become the center of attention. That process may take a long time and a lot of work, if it’s even possible, and trying to take shortcuts usually involves collateral damage or fleeting acknowledgment that can disappear as quickly as it appeared. Loneliness is the catalyst for craziness in “Breaking News in Yuba County,” which quirkily demonstrates how one mistruth can spiral incredibly out of control.

Sue Buttons (Allison Janney) doesn’t feel seen. It’s her birthday, and no one noticed. When she goes to confront her husband, Karl (Matthew Modine), and demand a fancy dinner out, she discovers that he is having an affair. When she walks in on him having sex with Leah (Bridget Everett), he dies of an apparent heart attack. Rather than report it, she decides to use it as a way for people to finally notice her, claiming that it was a kidnapping. Little does she know that Karl was indeed involved with a ring of criminals led by Mr. Kim (Keong Sim) and his daughter Mina (Awkwafina). Sue’s invented story also brings in her reporter sister Nancy (Mila Kunis), Karl’s brother Petey (Jimmi Simpson), an impatient detective (Regina Hall), and a number of other characters from each of their worlds.

This film boasts a truly remarkable ensemble, which, in addition to the already-mentioned talent, includes Juliette Lewis, Wanda Sykes, Clifton Collins Jr., and Samira Wiley. None of the parts aside from Janney’s are so prominent, and as a result it feels like a true cast effort where each role is just as important to the whole, even if multiple characters at first feel tangential to the overall story. Everyone seems to be having a good time, well-cast for their parts though none of them are particularly challenging to play. At times it feels like they’re all in different unconnected vignettes, and that’s probably because the whole is considerably messier than the parts.

It might be most accurate to use director Tate Taylor’s two most prominent past films to illustrate where this one falls. The actors involved and their abilities is reminiscent of “The Help,” while the story structure looks more like “The Girl on the Train,” which is not a good thing. This film tends to go broad when it might have done better reining in its more eyebrow-raising moments, and it also includes a good deal of extreme violence that feels out of place and extraneous. That’s not to suggest that this film isn’t entertaining, which it is, but rather that its strong assembly of talent could presumably have been put to slightly better and more sophisticated use.


Thursday, February 11, 2021

Movie with Abe: The Mauritanian

The Mauritanian
Directed by Kevin Macdonald
Released February 12, 2021 (Theaters)

There is an unfortunate tendency in the criminal justice system to apply the severity of an act to way a suspect deserves to be treated. Innocent until proven guilty means that an accusation shouldn’t be a sufficient on its own, and yet there are all too many instances of people, particularly those of color, being considered as if they have been convicted before a charge has even been filed. In the case of something even more extreme, like terrorism, the need to secure information regardless of complicity can be particularly dangerous, a theme explored in detail in Kevin Macdonald’s incisive look at a truly broken system.

Mohamedou Ould Slahi (Tahar Rahim) is arrested following the September 11th, 2001 terrorist attacks in the United States and held without charge. After numerous interrogations that allege his involvement in their planning, he arrives at Guantanamo Bay. While military prosecutor Lieutenant Colonel Stuart Couch (Benedict Cumberbatch) prepares his case, defense attorneys Nancy Hollander (Jodie Foster) and Teri Duncan (Shailene Woodley) meet and see a kind-hearted man who harbors no ill will towards them and seeks only to prove his innocence.

This is the latest film to delve into the prominent and disturbing use of torture by American authorities, after “Taxi to the Dark Side,” “The Report,” and others. Its narrative starts from Slahi’s perspective as he voluntarily comes in for questioning and then finds all of his rights stripped away from him, before shifting to the legal battle that ensues with the lawyers on both sides investigating and discovering disturbing activity that, regardless of what Slahi may have done, should be deemed unacceptable and never merited. This film doesn’t contain as much upsetting visual material as something like “Zero Dark Thirty,” but still gets its point across about the unfairness and despicable nature of Slahi’s treatment. It should be impossible to walk away from this film believing that there was nothing done wrong by those holding and interrogating Slahi as a prisoner.

Rahim is a dependable actor who broke out in the Oscar-nominated “A Prophet” in 2009, and he delivers a lived-in, sympathetic performance that makes Slahi feel relatable and not yet resigned to the eventuality of his situation. Foster, Woodley, and Cumberbatch offer standard supporting turns that assist the story, but this film is really anchored by Rahim’s starring role. The fact that it is adapted from the real Slahi’s own memoir only adds to its relevance and impact. Director Kevin Macdonald, whose work on “One Day in September” and “The Last King of Scotland” has demonstrated his ability to handle the complicated intersection of good and evil, sensitively handles this material and brings it to the screen in compelling fashion that just can’t be ignored.


Wednesday, February 10, 2021

Movie with Abe: Music

One of the biggest surprises of this awards season was the inclusion of “Music,” in two major Golden Globe categories. I've written up my thoughts on that film, out on VOD this Friday, for The Film Experience. Head over there to read my review of this strange and somewhat problematic film.

Tuesday, February 9, 2021

Movie with Abe: The World to Come

The World to Come
Directed by Mona Fastvold
Released February 12, 2021 (Theaters)

People need different things in order to burrow out from devastation. Moving on after a tragic event can seem impossible, and doing so, at whatever point it may be pursuable, requires an acceptance that things have changed in some way and will not be the same going forward. The introduction of a new element or idea can be an important spark in resetting, though at some point that embodiment of life may either cease to be invigorating or disappear entirely, threatening that established stability once again. The layered title of “The World to Come,” a forbidden romance tale steeped in melancholy, suggests that looking forward to a better time is among the best ways to cope with heartbreak.

Abigail (Katherine Waterston) is reeling from the loss of her child, which has also caused her husband Dyer (Casey Affleck) to retreat within himself. The arrival one day of a new neighbor, Tallie (Vanessa Kirby), inspires a renewed sense of positivity and appreciation of her life. The two women become very close as they spend each day together, with Tallie’s energy and spirit serving to recharge and enthrall Abigail. Tallie’s husband Finney (Christopher Abbott) is considerably colder, and, unlike Dyer, who cannot figure out how to help his wife, he has no interest whatsoever in doing anything to affirm her happiness.

This film is narrated by Abigail as she dates journal entries that introduce the events of the film. Her summaries involve minimal enthusiasm, reflective of a change in mood only in description and not necessarily tone. She is deeply unhappy, grieving and lonely, and Tallie’s buoyancy and eagerness to find her own reasons to enjoy life are infectious. These two women might have been perfect for each other if they didn’t live in the 1850s, and the framing of this story all but ensures an unhappy ending since brief moments of joy are all that can lift Abigail up as she knows reality must eventually set in.

Director Mona Fastvold’s first film, “The Sleepwalker,” also made use of a four-person cast that also included Abbott. Her second feature employs four remarkably talented performers who all had other major projects in 2020, bringing them together for an only occasionally engaging ensemble effort. Both Waterston and Affleck have been much more interesting in other roles, and Abbott dependably plays despicable without much added dimension. Kirby, however, delivers a completely different turn from the resigned portrayal of another grieving mother in “Pieces of a Woman” that seems set to garner her an Oscar nomination, providing the best reason to see this film. Its style and pacing are slow and less than invigorating, presenting a narrative whose contents might be compelling but don’t prove to be all that worthwhile in this lackluster and depressing whole.


Monday, February 8, 2021

Movie with Abe: French Exit

French Exit
Directed by Azazel Jacobs
Released February 12, 2021 (Theaters)

There comes a time in many people’s lives where they must face the proverbial music and reckon with reality. This can be a more difficult process if someone has for a long time denied what is true and existed in a world detached from that of accountability and responsibility. Change is unpredictable, and when it does happen, taking a posture of acceptance and a proactive approach can be extremely helpful in not losing all sense of stability and comfort. For someone who has never had to do that before, it’s unlikely that it will be an easy step.

Years after the death of her husband, Frances (Michelle Pfeiffer) learns that the vast wealth she once had has been completely decimated. The only option she sees is to travel with her son, Malcolm (Lucas Hedges), and her cat to Paris, where she is able to stay in the empty apartment owned by her friend Joan (Susan Coyne). When she arrives, she meets a variety of people, including a lonely widow, Mme. Reynard (Valerie Mahaffey), a private investigator (Isaach de Bankolé), and a psychic (Danielle Macdonald). Malcolm’s connections to his ex-fiancée Susan (Imogen Poots) and her new partner Tom (Daniel Di Tomasso) add to the drama, as does the fact that she believes her cat, Small Frank, to possess the soul of her dead husband (Tracy Letts).

This is a truly peculiar film, one that begins with the unusual sight of Frances showing up to Malcolm’s boarding school to spring him after she lets his father’s dead body sit untouched and unreported for days. Their relationship is not a typical mother-son bond, with nonexistent boundaries and a total lack of privacy. The way in they interact also means that Malcolm is fearful of eliciting too strong a reaction in any given situation from his mother, which is part of why things with Susan end up how they do. Frances is not one to acknowledge what is actually going on around her, which leads to the chaos of their Paris experience after losing all of her money.

Being off-kilter doesn’t always make for a hit, and this film feels like a very scattered collection of unrelated ideas. Every character is so exaggerated and inconsistent that it’s hard to become attached to any of them, particularly because they’re all so unbearable. Pfeiffer is undeniably talented but she doesn’t execute this role in a terribly coherent way. In the supporting cast, Poots, de Bankolé, Macdonald, and Mahaffey contribute well, but there’s no real rhyme or reason for how things play out in this bizarre and decidedly unfulfilling film.


Sunday, February 7, 2021

Movie with Abe: Two of Us

Two of Us
Directed by Filippo Meneghetti
Released February 5, 2021 (Theaters and Virtual Cinemas)

During a long-term relationship, couples will likely discuss the fact that one of them is going to die first. It’s a jarring thought and a reason that some decide never to get close to someone for fear of losing them. One partner may hope that they’re the first to go since they couldn’t bear the idea of facing life without their loved one. Death is surely difficult, but there is an added dimension of pain and struggling when someone remains alive but in an incapacitated state where they can no longer communicate their wishes, forever transforming the relationship for the partner who remains entirely lucid and all too aware.

Madeleine (Martine Chevallier) and Nina (Barbara Sukowa) live across the hall from each other and have been in a secret relationship for years. Nina has been pushing for them to move to Italy and give up their apartments, but Madeleine still hasn’t told her adult children, who don’t know that she was unfaithful to their late father. When Madeleine suffers a stroke, Nina is devastated and panicked, and those feelings are multiplied exponentially when she finds herself unable to be by Madeleine’s side since, according to her children and the new caregiver, she is nothing more than her neighbor.

The structure of this film is interesting in that it launches into the story from a late point in Madeleine and Nina’s romance, where they are already extremely comfortable with each other and have gotten into a familiar pattern. Nina discusses making reservations for tickets and apartment rentals in Italy, but this is surely not the first time the idea has come up, nor the first time Madeleine has set out to tell her children before deciding that she still isn’t ready. As is typically the case with life-changing events, any resentment that builds up from that conflict fades away instantly, but Nina in particular has no way to even be there for Madeleine when she needs her most.

This is France’s official Oscar submission for Best International Feature, a love story featuring older actresses portraying a same-sex couple. It’s just as relatable for any generation or demogaphic, especially since Madeleine and Nina already feel written off to a degree by those who believe them merely to be retirees long past the best years of their lives, even though they know that not to be true. It’s an affecting portrait of the determination to care for someone in the face of tremendous grief, fueled by strong performances from both Chevallier and Sukowa.


Movie with Abe: Dara of Jasenovac

Dara of Jasenovac
Directed by Predrag Antonijevic
Released February 5, 2021 (Theaters)

One of the most important functions of storytelling and cinema is to share experiences from history with future generations so that they can begin to understand what humanity is capable of, distant and unimaginable as it may seem. The idea that something has already been showcased in a similar way previously can be valid, but there are also new elements and teachings to be drawn from individual stories that may differ in terms of approach and certainly when it comes to the people involved. Their contents may not be pleasant, but bringing difficult material to audiences can also be necessary.

At ten years old, Dara (Biljana Čekić) is sent to the concentration camps of Jasenovac, a system operated not by the Nazis but by the Croatian Ustase government and designed to persecute Serbs, Jews, and Roma. Dara looks out for her baby brother, trying desperately to keep him alive as they are surrounded by horrific acts of torment from the cruel and brutal guards at the camp who take pleasure in ensuring that those they are imprisoning are suffering as much as possible.

It’s difficult to describe this film as anything but grueling, even if Dara’s story is meant to inspire hope in the face of such evil. Compared even with other films about the Holocaust, this one feels particularly painful, presenting a series of situations in which the prisoners are forced to participate in torturous games in which all outcomes lead to a harsh and violent death. That these this kind of unspeakable behavior did occur makes its representation here valid, but audiences should be cautioned this film is immensely disturbing.

As a representation of a horrible part of history, this film serves a worthwhile purpose. As Serbia’s official Oscar submission for Best International Feature, this film shines an important light on the willing role of the Ustase in the extermination of those they deemed undesirable, just as complicit as the Nazis in their acts of ethnic cleansing. Upsetting as it is, this film is indeed well-made, strongly recreating a miserable place and moment in history. The way in which it uses a haunting visual motif representing the enormous loss of life and the interpretation of what that means through a child’s eyes is effective and powerful, paying tribute to the many who were killed whose names and identities will never be known.


Saturday, February 6, 2021

Movie with Abe: Calamity Jane

Calamity Jane
Directed by Rémi Chayé
FIAF Animation First Festival

Society creates expectations for people that very often tend to box them in rather than allow them to thrive, and while they do evolve, hopefully in a positive way, over time, that process tends to take considerably longer than it should. Those who seek to define the potential of certain groups or individuals embrace a willful blindness to abilities that may be clearly on display, dismissing unexpected talent or interest as an overreach or challenge to authority that should be quashed rather than encouraged.

In 1863, twelve-year-old Martha Jane Cannary travels west with her family and a group of pioneers. Her father is sick, and she is charged with taking care of her younger siblings Lena and Elijah. She is taunted by the boys in the group for her eagerness to learn things only men are supposed to do, and she clashes with Abraham, the stoic leader of the caravan. When a soldier, Samson, shows up and tells them that they are far off course, Martha befriends him but is soon blamed when he disappears along with many of the pioneers’ possessions, so she sets out to find him and show her true value.

This is a fun and creative look at the origin story of the real-life Calamity Jane, imagining her spirit and determination to be taken seriously at a young age. What she experiences is rather timeless even if such encounters these days wouldn’t take place in covered wagons and involve an act quite as rebellious as a girl wearing pants. This film strongly grounds her motivations and formative time, using the vast backdrop of the unknown terrain to make Martha’s journey all the more enticing, full of adventure and unexpected developments along the way.

It is perhaps a bit jarring to hear this story play out in French since it’s a distinctly American tale, one that makes frequent mention of places like Little Rock and Oregon. Yet that’s surely how many international audiences feel about a large number of stories set in other countries being brought to the screen in English, and there’s really nothing lost in translation here. The illustrations bring the American landscape to marvelous life, highlighting its shapes and colors in a beautiful way. Eighty-two minutes is a perfect length for this Oscar-eligible animated feature that tackles an American legend and creates a fully enthralling, enjoyable experience that should be suitable for all ages.


Movie with Abe: Josep

Directed by Aurel
FIAF Animation First Festival

Grandparents tend to tell their grandchildren stories about their lives, sharing a piece of a different time with them, regardless of whether they actually express any interest in hearing it. They may repeat the same tales over and over, especially as memories start to blend and become less clear. Their descendants may find them boring or off-putting initially and come to gain an appreciation for them as time goes on and they grow up, and particularly as they see that someone they have almost known won’t be around forever, desperate for one last chance to hear familiar information or even something new.

An old man, Serge, lies in a hospital bed in his home, where his daughter drops off his grandson, Valentin. Though at first Valentin would rather watch TV, he gradually becomes enthralled by the narrative his unexpectedly lucid grandfather weaves for him. Lengthy flashbacks show him as a young artist serving as a gendarme who is later imprisoned following the Spanish Civil War in a French concentration camp, where he has the opportunity to befriend the famed artist Josep Bartoli, who proves to be a lasting influence on him.

This film marks the feature film debut for director Aurel, best known as a cartoonist for the French newspaper Le Monde. It’s a stirring and creative way to express its protagonist’s life journey and the way in which he interacts with Josep. The impressionist styles utilized add gravity and emphasis to the horrors that Serge experiences, almost more disturbing when drawn and colored than when created with makeup and visual effects. The level of detail employed in the characters’ faces also allows them to be expressive and stoic at the same time.

Art enthusiasts will surely appreciate this prominent spotlight on Josep and the appearance of other figures such as Frida Kahlo throughout the story. All audiences should find some degree of relatability in the way that Serge merges moments together to impart to his grandson, particularly when he objects to the likelihood of something having occurred when Valentin simply repeats back what he had heard directly from him. Running just seventy-one minutes, this beautiful piece of nostalgic animation is a chronicle both of the many effects and consequences of war and the intimacy of family and friendship. Its approach may not be engaging enough for some viewers, but its concept is sensitive, delicate, and fitting for the story of stories it wants to tell.


Weekend Movie Recommendations with Abe

Every Friday, I'll be uploading a Minute with Abe: Weekend Movie Recommendations Edition, surveying new releases on DVD, and on streaming services. Check it out, and subscribe to the movieswithabe channel!

New to Theaters: Dara of Jasenovac
New to Theaters and VOD: Little Fish, Falling
New to Theaters and Virtual Cinemas: Two of Us
FIAF Animation First Festival: Josep, Calamity Jane
New to DVD: Our Mothers, Wild Mountain Thyme, Tesla, Love, Weddings and Other Disasters
New to Netflix: Malcolm and Marie, Inception, Shutter Island
New to Hulu: Dear Comrades, District 9, Sideways, Witness

Friday, February 5, 2021

Movie with Abe: Little Fish

Little Fish
Directed by Chad Hartigan
Released February 5, 2021 (Theaters and VOD)

The notion of forming memories knowing that they’re going to disappear may seem futile to some since they’re not going to last. But it’s a great comparison for life itself, something that does end for each person and lives on only in stories, photographs, and moments remembered by friends, family, and future generations. In fact, people may try harder to make something stick and truly experience it if they know that they won’t have many more opportunities to do so in the future, desperate to do it while they still can.

In this film, there’s a pandemic spreading rapidly throughout the world, but it’s not the one we’re currently experiencing. Instead, it strikes in the form of gradually deteriorating memory. Emma (Olivia Cooke) and Jude (Jack O’Connell) are trying to maintain their relationship shortly after getting married, which becomes considerably more challenging when Jude begins to get sick. They cling to what they have experienced and try to create more positive moments that can help ensure that they won’t lose each other.

This film arrives at a fortuitous time when everyone is going through a version of the same thing around the world and might be able to relate to the concept of couples spending much more time together than they typically might. Yet what this film presents is the opposite of what most have endured, which is an inability to imprint all that time onto something lasting and permanent. It’s a productive thought exercise that most young people probably won’t need to confront until much later in life, and this film pulls off that ambitious depiction of a new normal very effectively.

Cooke and O’Connell are terrific actors who have starred in a number of films over the past few years and demonstrated tremendous rage. They’re considerably more subdued and natural here than in some of those other turns, and make a compelling and believable couple facing an uncertain future. The latest feature film from Chad Hartigan, the writer and director of “This Is Martin Bonner,” another strong character study, is a moving and engaging portrait of human interaction and endurance in the face of irreversible circumstances. The way in which it showcases memory aids and the methods in which Emma and Jude work to isolate details of their shared moments is a particularly haunting aspect of this thought-provoking romance.


Movie with Abe: Malcolm and Marie

Malcolm and Marie
Directed by Sam Levinson
Released February 5, 2021 (Netflix)

The fights that couples have are very often cyclical, and while they may be sparked by something different each time, it’s usually a variation of the same few key issues in a relationship. It’s healthy to disagree and to confront those conflicts on a regular basis rather than to let minimal problems fester and turn into unavoidable and insurmountable obstacles to coexistence. It’s not easy to control what sparks an argument, and though honesty is typically a pathway to good communication, the nature of that truth may be difficult to digest and accept.

Malcolm (John David Washington) and Marie (Zendaya) return home after the premiere of Malcolm’s latest movie. As Marie makes him macaroni and cheese for dinner, the two get into a major discussion of Malcolm’s career, which hits on a number of topics, including Marie’s work as an actress and what she sees as the appropriation of her life story into the plot of his movie. Against the backdrop of a luxurious space that they have rented, Malcolm and Marie delve into their true feelings for their work, society, and one another.

This is a masterful two-hander that features only these actors speaking with each other for the entirety of the film’s runtime. Writer-director Sam Levinson, best known for creating the American TV series “Euphoria,” reteams with his star Zendaya to offer an incredible meditation on life and love. Black-and-white cinematography by Marcell Rév highlights the starkness and emptiness of where they are, with their sleek costumes indicating a layer of protection and deceit that they both wear to hide part of their true selves from each other. Levinson’s script is rich and poignant, spanning a range of emotions and a variety of tones that speak to who these people are and what they see in the world.

What Washington and Zendaya are doing here is truly extraordinary. Washington, who has earned buzz for his performances in “BlacKkKlansman” and “Tenet,” conveys a mesmerizing arrogance to Malcolm’s own self-perception that reveals his true nature when he launches into each of his grandstanding speeches. Zendaya, already a breakout on “Euphoria,” is equally astonishing, channeling passion and identity into someone who has been forced to be defined by other people for most of her lives. Both deserve an array of accolades for their performances, and Levinson’s excellent script and tight direction are equally commendable. This is a tremendous example of how to say so much without the need for a large ensemble or expensive visual effects – it’s the raw human drama that proves truly worthwhile.


Thursday, February 4, 2021

Sundance with Abe: How It Ends

I’m thrilled to be covering the Sundance Film Festival for the eighth time. This year, I’m not in Park City, Utah, but watching films virtually and reviewing them as soon as I can.

I'm writing up some of the films I see for The Film Experience. Head over there to read my take on “How It Ends,” one of my favorites from the festival and easily one of the most entertaining, filmed in a creative way during the pandemic.

Sundance with Abe: Land

I’m thrilled to be covering the Sundance Film Festival for the eighth time. This year, I’m not in Park City, Utah, but watching films virtually and reviewing them as soon as I can.

I'm writing up some of the films I see for The Film Experience. Head over there to read my take on “Land,” Robin Wright's directorial debut, which is a bit of a disappointment.