Saturday, November 18

Random Cinematic Year In Review - 1928

A Random Cinematic Year In Review

1928

Preface: I have decided to write this series at least in part because I don't make it out to see new films very often and I've found that I spent too much time at the end of the year attempting to see all the big releases (many of which I'm not even interested in) for no other reason than to make an obligatory 'year end list'... This is a way that I can continue writing about films without feeling the pressure to see a bunch of stuff that I wouldn't otherwise take the time to. I'll still see most of them eventually, just on my own time. I use a random number generator to pick a year and I use letterboxd.com to determine the actual release year.

By: Emery Martin-Snyder

The year 1928 was the last year of a time that would end up being coined “The Prosperity Decade” by economists. It is primarily called this in retrospect because of the economic contrast of the “Great Depression” years that immediately followed. The good fortune of this time period also allowed for a significant amount of both cultural and technological advancements. So grab your cloche hat and flapper dress (I have no idea what I’m talking about) and let’s take a look.

The world of medicine would see one of its greatest achievements in 1928. While everyone else was busy dancing the Charleston and the Foxtrot, a Scottish physician named Alexander Fleming was discovering penicillin while researching influenza. Although it took about 14 years before it was used medically, this discovery has become the basis for how we treat bacterial infections that previously could have been life threatening. Today, billions of standard units of penicillin are consumed worldwide, each year.

Next, maybe the most recognizable figures of the past century was born in this year. Walt Disney’s Mickey Mouse was featured in the short film, STEAMBOAT WILLIE. This was one of the earliest films to successfully synchronize sound into and animated cartoon. And the world would be forever changed. Today, the Walt Disney Company is worth about $55 Billion.

And, where would Mickey be today if it weren’t for another revolutionary invention of 1928? Appliance companies, RCA and GE installed the first 3 television “sets” this year in Schenectady, New York. I had to put “sets” in quotation marks because they were only 1.5 inches wide and there was nothing to watch on them. Later that year, WGY, Schenectady began broadcasting regular TV programming. It was a half an hour a day, three times a week, and it primarily focused on farm and weather news.

This invention would later prove to be the best thing since sliced bread. Back then, that wasn’t really saying that much because guess what else was invented in 1928... That’s right, the Chillicothe Baking Company of Missouri was the first to use Otto Frederick Rohwedder’s automatic bread slicing machine. Before that, consumers had to slice their own bread like a bunch of suckers. I would have starved to death.

Some great films came out this year as well. Officially, we had entered the sound era a year prior with THE JAZZ SINGER but all the best films were still silent. And some of the greatest filmmakers in the world were doing great work.

EMERY'S NOTABLE 5


5 – SPIES (Directed by Fritz Lang)

This is a very complex and twisted spy plot and at times, it’s hard to follow. But I think that just adds to its overall charm. Like all of Lang’s films, there are several scenes constructed absolutely beautifully here. He uses the running time of 145 minutes to a great suspenseful effect. Every time I watch early Lang, I can’t help but think of David Fincher.



4 – THE CIRCUS (Directed by Charlie Chaplin)

Typical, run-of-the-mill Chaplin is nothing to scoff at. If you’re into his work, it’s hard to dislike anything he’s done. This film would mark the end of Chaplin’s era of light-hearted comedies and it contains some of his best gags. Considering the setting and Chaplin’s style, he probably could have made this a longer flick. It clocks in at a lean 72 minutes. Interestingly, Chaplin was originally nominated by the Academy for Best Actor. Instead, they decided to remove his name from consideration and hand him an Honorary Oscar for “versatility and genius in acting, writing, directing and producing THE CIRCUS”…. He also edited this film and composed the score.


3 – THE CROWD (Directed By King Vidor)

“MONTHS… ENDLESS MONTHS. The crowd laughs with you always…. But it will cry with you for only a day.”

This is a story about the struggles of mediocrity and ambition in an industrialized world. This film tackles themes that you wouldn’t typically expect to find from this time. Personal identity and your own insignificance are subjects that we see much more in modern cinema from filmmakers like Charlie Kaufman or Darren Aronofsky. It’s actually very fascinating to see that yesterday’s population faces the same trials and tribulations that are so prevalent today.



2 – STEAMBOAT BILL JR. (Directed by Buster Keaton & Charles Reisner)

Although this is not my personal favorite Keaton film, it has a great collection of some of his best stunts. Keaton meticulously engineered his stunts with the utmost precision and it’s always amazing. Some of the stuff he pulled off was incredibly dangerous. There’s no possible way that this type of filmmaking would fly in today’s industry. I’m sure glad they captured it on film.



1 – THE PASSION OF JOAN OF ARC (Directed by Carl Theodor Dreyer)


This is my absolute favorite silent film and one of my favorite films period. Maria Falconetti’s performance is often called the greatest ever in film, and for good reason. Mesmerizing and heartbreaking, her face tells the story of a young woman condemned to death for her unwavering faith. The despair that comes from her brow alone is enough to break you in half. Her performance by itself would make this a great film. But Dreyer’s direction along with Rudoph Maté’s cinematography was absolutely revolutionary. Before this picture, the medium was seen by many critics primarily as a lesser form of pulp entertainment. It was not considered to have true artistic value. This film definitively ended that debate.

Justice League Review

Justice League
Dir: Zack Snyder
Starring: Gal Gadot, Ben Affleck, Henry Cavill, Jason Momoa, Ezra Miller, Ray Fisher, Amy Adams, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, Amber Heard, and Joe Morton

There is nothing wrong with a little teamwork. The superhero genre has been working towards the team-oriented concept for some time now. While the Marvel Cinematic Universe was the first to successfully achieve this feat with “The Avengers”, talk about a D.C. Comics Justice League movie has been brewing for some time now, long before Marvel thought about bringing a team of heroes to screens. While audiences have already got a taste of what a Justice League feature film might feel like with 2016’s much maligned “Batman v. Superman: Dawn of Justice”, the D.C. Extended Universe has finally found some focus on how to make a superhero film resonate beyond just the diehard fans.

“Wonder Woman” was the first successful step, paving the way towards a “Justice League” film that is far less serious than past films in this superhero catalog and more aware of giving into the entertaining indulgences of humor, heart, and spectacle. While this emphasis renders the narrative left on the back burner, “Justice League” is undeniable fun if altogether somewhat dull.

Bruce Wayne (Ben Affleck) knows that bad things are abounding now that Superman (Henry Cavill) is dead. In an attempt to get a head start on the oncoming threats, Bruce and Diana Prince (Gal Gadot) are in search of other metahumans to help the fight. This leads Bruce to the sea in search of a man named Arthur Curry (Jason Momoa) and to Central City to find a young man named Barry Allen (Ezra Miller). Diana on the other hand is looking for a scientist (Joe Morton) and his son Victor Stone (Ray Fisher). However, things may be too late as a formidable foe named Steppenwolf is looking to destroy humanity.

“Justice League” is different than previous D.C. Comic film outings; gone is the stiff emotional demeanor and long winded storytelling. This time around it’s looser and witty, freer to let characters embrace the amusing qualities of their characters. The film is still a noisy mess of visuals and the villain is still an indomitable CGI creation that doesn’t have the personality to challenge the heroes in any way that seems intimidating. Still, “Justice League” has flashes of promise, especially when the team unites. While this takes some patience over the 120 minute running time, there is fun to be had in watching these comic book characters interact with witty banter and clever verbal jabs.

The team of actors together develops some good chemistry. Again the highlight of this film is Gal Gadot’s Wonder Woman, her character is ultimately the tie that binds the group together. It’s a smart move considering Batman is still somewhat brooding here, though even the Dark Knight is offered a few moments of levity. Ezra Miller and Jason Momoa are the characters that offer the most entertainment; Mr. Miller’s Flash adds a naive youthful element to the team that offers the actor moments to cut the tension with a clever joke while Mr. Momoa basically gets to be a laid back surfer of sorts. Both actors seem to be having lots of fun with the roles.

It all adds up to an entertaining if wholly unoriginal film. Everything within “Justice League” has been done before; the action scenes, the comedy, the composition of the team, it all feels familiar and somewhat stale. Still, for a franchise of superhero films that has struggled to get off the ground, “Justice League” is much better than earlier attempts by the D.C. Extended Universe. Unfortunately that’s not saying very much but hopefully this is the first step towards better films in the future.

Monte’s Rating

3.25 out of 5.00

Three Billboards Outside Ebbing, Missouri Review

Three Billboards Outside Ebbing, Missouri
Dir: Martin McDonagh
Starring: Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones, Kerry Condon, Abbie Cornish, Peter Dinklage, John Hawkes, Clarke Peters, and Samara Weaving

Drive along any busy freeway in the city and you are bound to see advertisement billboards glowing throughout the day. Everything from political commentaries to sporting events to local attorneys get the opportunity to influence and inform their message on your drive through the city.

Travel any stretch of highway in America and billboards can compose a welcome sign of humanity after long stretches of paved asphalt on desolate highways. In director Martin McDonagh’s somber, tragic, and comedic film “Three Billboards Outside Ebbing, Missouri”, billboards play the vessel of emotion for a mother still grieving, still angry.

Three bright red billboards with bold black font proclaim a message to a local sheriff (Woody Harrelson) concerning the unsolved death of a young girl violently murdered in the nearby small town. The person responsible for this message is the young girl’s mother Mildred (Frances McDormand) who is using this advertising tactic to bring awareness, and provoke a response, from the police department.

Mr. McDonagh utilizes these billboards as a device to introduce a complicated story about human interaction, specifically how people react when faced with emotions they don’t want to confront or are afraid to confront. Mr. McDonagh, a playwright turned filmmaker, paints his story with characters easily distinguishable but working towards some kind of transformation. Yet, you can feel that this transformation isn’t going to be so simply achieved. Mildred, beneath the hardened, sharp tongued demeanor is still grieving and affected not only by the death of her daughter but also the life she has lived thus far and by the town she has planted roots in. The director plays with these aspects, molding a narrative that is peaked with sadness and cruelty but also undercut with biting comedy that comes as strong and harsh as the message emblazoned on the billboards. Mr. McDonagh articulates a message concerning the nature of humanity, both the redemptive and condemned qualities, through scenes of violence, within moments of tragedy, and beneath the unexpected laughs.

“Three Billboards” doesn’t work without a committed cast. Leading the charge is an exceptional performance by Frances McDormand. Her portrayal of Mildred is fiery and confident, filled with passion and heartache. Her story is a portrait of what grief has turned her in to, of how it has forever changed her. Some of Ms. McDormand’s best scenes come opposite the town sheriff played by Woody Harrelson, who composes a character struggling with more than a few obstacles in his life. Mr. Harrelson is terrific in the role. The always reliable Sam Rockwell makes an appearance here too, playing the evolving antagonist. Mr. Rockwell excels at this kind of role, making larger than life characters have subtle poignancy.

Mr. McDonagh is a talented filmmaker with a keen eye for drama and a strong sense of humor. “Three Billboards Outside Ebbing, Missouri” can be an emotional journey at times, but it’s also undeniably fascinating watching such interesting characters traverse the narrative terrain proposed here.

Monte’s Rating

4.50 out of 5.00

Thursday, November 9

Streamathon - Mental Health Issues (Nov. 2017)

Streamathon 

Mental Health Issues (November 2017)


Preface: This is part of an ongoing blog series of curated movie marathons that are thematically or otherwise tied together. The other common factor tying these films together will be their availability to watch them all from the comfort of your own home on various streaming platforms. The goal is that writing this blog will somehow justify the excessive number of streaming platforms I subscribe to. The films will be found on some combination of Netflix, Hulu, Amazon Prime Video, Mubi, FilmStruck, Shudder and/or Fandor. These titles will be available for the month that the blog is published. All of these subscriptions offer free trials so feel free to dive in and follow along… Have fun. Just don’t message me for my login information.

By: Emery Martin-Snyder

Mental health is quite frankly not something that is openly discussed enough. There is a very unfortunate stigma attached to mental health that makes is difficult for most to open up. I’m not trying to say anything too profound here, I actually just happened upon a very good crop of films this month that deal with this topic so I thought I’d share.

These issues have been a staple in cinema for a very long time, especially in horror. These ailments have been the catalyst for a wide variety of deranged killers like Peter Lorre’s character in Fritz Lang’s masterpiece M (1931). Or even earlier than that, they have been used to create an unreliable narrator like the one in Robert Wiene’s THE CABINET OF DR. CALIGARI (1920). Other genres tie in the illness to serve family dramas that tell heartfelt stories such as Lasse Hallstöm’s WHAT’S EATING GILBERT GRAPE (’93) or Barry Levinson’s RAIN MAIN (’88).


The Stream



BENNY & JOON (1993) 
Directed by Jeremiah S. Chechik – Streaming on Hulu

We’ll start off pretty light with some Buster Keaton stylings via Johnny Depp and his quirky performance. Mary Stuart Masterson plays Joon, a young woman afflicted with schizophrenia that can’t be left to take care of herself. She eventually ends up in a group home where she meets Johnny Depp’s character, Sam. I’m sure most thirty-somethings have at least a nostalgic affinity for this film. It’s worth a second look. Depp’s performance is so much fun to watch and I appreciate how it lets the character’s personalities and charisma breathe through the plot. It’s pretty sweet.



TAKE SHELTER (2011) 
Directed by Jeff Nichols – Streaming on Shutter
This film has some scary moments but don’t let the fact that it’s currently streaming on Shudder fool you into thinking it’s a horror film. It’s a beautiful family drama that I think it criminally underseen. Michael Shannon plays a man with a family history of paranoid schizophrenia that may or may not be succumbing to his illness. Sometimes the beauty of a film is in its isolation. This isolation comes from the perspective of the character that the story is being told from. When the two possible outcomes of the story are apocalyptic doom or total mental collapse, it’s hard to decide which would be worse. Both will lead to the end of the world as we (the audience) know it. This film is tense, depressing, hopeful and beautiful and everyone should see it.




THROUGH A GLASS DARKLY (1961) 
Directed by Ingmar Bergman – Streaming on FilmStruck

I was tempted to leave this film off of this list because when I first saw it, I had no idea what it was about. And I think that was probably a little more effective. Harriet Andersson pulls together one of her many amazing performances for Bergman. I think this is her best by far though. Her depiction is one of the desperation of a woman perfectly aware of her own condition yet powerless to do anything about it. Be warned, this is not the happiest film you will ever see. It’s devastating… and beautiful.




THE VOICES (2014) 
Directed by Marjane Satrapi – Streaming on Netflix

Speaking of great performances, this is Ryan Reynolds’ best work. He is on another level with this one. He plays a man battling with schizophrenia who takes his queues from his talking cat and dog (also voiced by Reynolds.) Although this picture starts out as an absurdist dark comedy, it very quickly turns extra dark. This really works for me.




WE NEED TO TALK ABOUT KEVIN (2011) 
Directed by Lynn Ramsay – Streaming on Netflix

If there’s ever been a cinematic call to action for more openness and discussion about mental health, this would be it. This film tells the story of a disturbed teenager with sociopathic tendencies through a series of flashbacks experienced by his mother. Unfortunately, we realize very quickly that the time for intervention has passed. This picture is shot beautifully with just a touch of surrealism that you find typical of Lynn Ramsay’s work. Often times punishing, I wouldn’t tell you to watch this if I didn’t think it was rewarding.




WHAT ABOUT BOB? (1991) 
Directed by Frank Oz – Streaming on Hulu

I bookended this marathon with some pretty light choices. That’s because I do them alphabetically but let’s just pretend that I had a greater design in mind. This film should work as the perfect palate cleanser after the emotional punishment endured by the rest of this list. Bill Murray plays an anxiety riddled patient of Dr. Leo Marvin (Richard Dreyfuss)…hilarity ensues. I don’t really know if this film passes 2017’s sensitivity test in reference to its treatment of the multitude of anxieties and phobias discussed here but you know, it’s Bill Murray acting goofy for 90 minutes. Let’s just say that this one’s in here for your mental health.