Every year, around the time the Oscar nominations come out, we get an onslaught of people at the Midtown Cinema asking if we will be showing the short films. I love seeing our patrons' faces light up when we tell them we will. Of all the events that our patrons come to expect, I am proud to say that the Oscar-nominated shorts are some of the most fiercely demanded.
Why am I so proud? It's simple. When you see a short film, you must realize two things: first, though it may only be twenty or thirty or even just a few minutes, a short film can still pack a punch with its story and the message it has to share. It's a different kind of art, one which is not better or worse than feature-length filmmaking (though unfortunately some may argue differently). And second, perhaps these filmmakers who have managed to get their films held to such a high standard will continue to create films of the same quality. It's like a sneak peak into future filmmaking: every great filmmaker got their start somewhere, and 9 times out of 10 it was with a collection of short films which helped to mold their personal style and technique.
And so we find ourselves in 2015, showing the Oscar-nominated shorts yet again. The selection this year is just as delightful as the last batch. The Live Action category gives us a glimpse into a variety of cultures, starting off with the quiet but powerful coming-of-age story of PARVANEH, then continuing with a seemingly aimless but elegantly concluded BUTTER LAMP, the heartbreaking tale of a helpline worker and her caller in THE PHONE CALL, and an adorable account of two boys and their pets in BOOGALOO AND GRAHAM. But the film that steals the show in this category is AYA, a refreshing and honest story of a girl and her magneticism toward strangers.
The Animated Shorts category also offers a fair variety in its content: Disney strikes again with its adorable and touching FEAST, summarizing the relationship between a dog, its owner, and food; ME AND MY MOULTON, while lacking in oomph for content, is a stylistically beautiful film about three sisters under their out-of-the-ordinary parents' care; A SINGLE LIFE is a quick but hilarious flash through someone's life, and THE DAM KEEPER warms your heart with the tale of an unexpected friendship. THE BIGGER PICTURE is my favorite in this category: creatively made via stop-motion animation, it tells the tale of two brothers who fight over the responsibilities involved with caring for their elderly mother. Its serious nature, however, may prevent it from cultivating too many votes-- to put it bluntly, many are still only interested in animation as fun -- it's the "escape" of the short film categories. But perhaps I'll be proven wrong.
And finally, we come to the documentaries. This was a solemn year for subjects: in another short focused on helplines, CRISIS HOTLINE: VETERANS PRESS 1 is very straightforward in its presentation, but the content is compelling enough to carry it. WHITE EARTH, told mainly from children's points of view, details the lives of families who give up everything to make a living off of the oil fields. THE REAPER, shot like a horror film, reveals disturbing images from slaughterhouses -- definitely not for the faint of heart. JOANNA is a heartbreaking and thoughtful record of a woman with cancer, beautifully shot as a love letter to her son, and OUR CURSE shows the struggle of new parents as they deal with the news that their son has a rare, incurable disease. These last two, in my humble opinion, tie for the best of this category, due to the intimacy the audience feels with the subjects of the films.
There are a lot of choices to sift through for this year's competition, but no matter what the outcome, the experience of watching them all will be worth it. As usual, stuff a couple of tissues in your pocket for the sad ones -- there's bound to be at least one story that will tug at your heartstrings. The Oscar-nominated shorts are now playing at the Midtown Cinema!
Thursday, January 29, 2015
Wednesday, January 7, 2015
Foxcatcher Review
I've seen my share in the past year of films that set your skin crawling, but there is nothing quite like a true story to really put you on edge. Bennet Miller has crafted an unsettling film based on the relationship between the Olympic wrestling Schultz brothers and their unstable sponsor, John du Pont. The first images in the film are black and white footage of Foxcatcher Farm, a beautiful rolling landscape with horses. Nostalgic piano plays in the background, the men and women in the shots are smiling... there's even a shot of a fox darting into the woods, to match the farm's title. It's a delightful little snapshot of a happy, peaceful life.
Then we abruptly cut to the life of Mark Schultz, Olympic medalist wrestling champion (played by Channing Tatum). The cinematography is quiet, cold... it's like switching channels to another movie. From this point on, you will see a straightforward, no-nonsense story.
Mark has hit a point of stagnation in his career. He gives motivational speeches to school children to make extra cash, and trains with his brother, David (Mark Ruffalo) who also won a medal and works as a wrestling coach. The young man clearly lives under the shadow of his big brother; Tatum plays him as aggressive on the mats, but submissive in life, his self esteem not quite up to par with the standards of his sport. Even when multimillionaire John du Pont (Steve Carrell) contacts Mark to offer a sponsorship, which includes using his land (the Foxcatcher Farm from the old footage) as a training ground for the upcoming Olympics in Seoul, Mark is unsure, reluctant to stop training with his brother until he gives him his blessing.
But there isn't something quite right about John du Pont. At first it's hard to place your finger on it -- sure, he's kind of an awkward conversationalist, and the offer itself seems a bit odd, but Mark knows he can't pass up the opportunity. But as he and a handful of other wrestlers begin training at Foxcatcher Farms, calling John "Coach" despite the lack of training he actually provides, the man's true colors begin to slowly seep out. John is like a spoiled child chasing after his current obsession -- he even has a disapproving mother who lives with him on the farm. John is essentially living out his fantasy, even going so far as to fund a documentary about himself as wrestling coach. He just wants a gold medal, and he pushes Mark to separate himself from the achievements of his brother in preparation for the Olympics... but when that doesn't work, he brings Dave onto the farm.
If you don't already know the story, I won't ruin the rest of it for you, but suffice it to say that FOXCATCHER is a fascinating story, albeit unsettling. And with Carrell, Tatum, and Ruffalo on screen, the film is a masterpiece. Never have I seen such a transformation for Carrell -- he far exceeds his previous roles -- and both Tatum and Ruffalo's performances are superb.
As is the case with most films based on true stories, the story is tweaked to give the film a better flow (in truth, Dave did not come to Foxcatcher Farm until Mark had already left). Overall, writers E. Max Frye and Dan Frutterman did a great job of crafting the story to best reveal the disturbing nature of Mark and John's relationship. This will not be the most cheerful of films to watch, but I definitely recommend giving it a shot. Now playing at the Midtown Cinema!
Then we abruptly cut to the life of Mark Schultz, Olympic medalist wrestling champion (played by Channing Tatum). The cinematography is quiet, cold... it's like switching channels to another movie. From this point on, you will see a straightforward, no-nonsense story.
Mark has hit a point of stagnation in his career. He gives motivational speeches to school children to make extra cash, and trains with his brother, David (Mark Ruffalo) who also won a medal and works as a wrestling coach. The young man clearly lives under the shadow of his big brother; Tatum plays him as aggressive on the mats, but submissive in life, his self esteem not quite up to par with the standards of his sport. Even when multimillionaire John du Pont (Steve Carrell) contacts Mark to offer a sponsorship, which includes using his land (the Foxcatcher Farm from the old footage) as a training ground for the upcoming Olympics in Seoul, Mark is unsure, reluctant to stop training with his brother until he gives him his blessing.
But there isn't something quite right about John du Pont. At first it's hard to place your finger on it -- sure, he's kind of an awkward conversationalist, and the offer itself seems a bit odd, but Mark knows he can't pass up the opportunity. But as he and a handful of other wrestlers begin training at Foxcatcher Farms, calling John "Coach" despite the lack of training he actually provides, the man's true colors begin to slowly seep out. John is like a spoiled child chasing after his current obsession -- he even has a disapproving mother who lives with him on the farm. John is essentially living out his fantasy, even going so far as to fund a documentary about himself as wrestling coach. He just wants a gold medal, and he pushes Mark to separate himself from the achievements of his brother in preparation for the Olympics... but when that doesn't work, he brings Dave onto the farm.
If you don't already know the story, I won't ruin the rest of it for you, but suffice it to say that FOXCATCHER is a fascinating story, albeit unsettling. And with Carrell, Tatum, and Ruffalo on screen, the film is a masterpiece. Never have I seen such a transformation for Carrell -- he far exceeds his previous roles -- and both Tatum and Ruffalo's performances are superb.
As is the case with most films based on true stories, the story is tweaked to give the film a better flow (in truth, Dave did not come to Foxcatcher Farm until Mark had already left). Overall, writers E. Max Frye and Dan Frutterman did a great job of crafting the story to best reveal the disturbing nature of Mark and John's relationship. This will not be the most cheerful of films to watch, but I definitely recommend giving it a shot. Now playing at the Midtown Cinema!
Sam's Blog - Selma
SELMA
There are many reasons why peaceful protest is considered the best way to bring about change in society, but there is one factor that people forget: it can bring out the violence in those opposing the protest. Peaceful protest can sometimes be a chess match, as the protestors wait for their opponent to make a mistake -- and in the meantime, pray that they don't make a mistake, themselves.
Director Ava DuVernay's newest film, SELMA, gives us a glimpse into such a chess match, telling the story of the events leading up to President Lyndon B. Johnson's signing of the Voting Rights Act of 1965. Black American citizens now have the legal right to register to vote, but threats and general fear prevent most of those living in the South, particularly Alabama, to actually do so. A group of peaceful protesters, led by Martin Luther King Jr (David Oyelowo), decide to take matters into their own hands. Johnson (Tom Wilkinson) is not going to take action if the matter is quietly swept under the table; so these peaceful people must reveal the violence done in dark corners, risking their lives to get it out in the open and bring about change. A plan is made to march from Selma to Montgomery to protest.
The film tweaks the relationship between King and Johnson, portraying it as heavily burdened by the restrictions of a political agenda. Many have argued that in reality, Johnson was more than willing to help secure the voting rights of black Americans... however, for the sake of the film, whatever discrepancy there is benefits the flow of the story. Most films, even those based on historical events, take artistic liberty at some point. What takes precedent in SELMA is the heart of the story -- the unity of the protestors in the midst of danger, and the fight for equality.
But this is not just some Hallmark film about getting together to incite change... SELMA delves right into the good and the bad. Even in a peaceful protest, mistakes are made, and emotions run high. And though the film spares you from any gore, there are still some jarringly vivid depictions of the brutality that black Americans experienced. Pairing with the physical violence, the cast really brings home the emotional torment that occurred -- Oyelowo gives a phenomenal performance, and his supporting cast keeps up quite nicely: Wilkinson, Carmen Ejogo, Andre Holland, Lorraine Toussaint, Oprah Winfrey... the list goes on and on.
This is not a film you want to miss, especially on the weekend preceding MLK Day. DuVernay has a challenge ahead of her, if she wants to top this film. SELMA is now playing at the Midtown Cinema!
There are many reasons why peaceful protest is considered the best way to bring about change in society, but there is one factor that people forget: it can bring out the violence in those opposing the protest. Peaceful protest can sometimes be a chess match, as the protestors wait for their opponent to make a mistake -- and in the meantime, pray that they don't make a mistake, themselves.
Director Ava DuVernay's newest film, SELMA, gives us a glimpse into such a chess match, telling the story of the events leading up to President Lyndon B. Johnson's signing of the Voting Rights Act of 1965. Black American citizens now have the legal right to register to vote, but threats and general fear prevent most of those living in the South, particularly Alabama, to actually do so. A group of peaceful protesters, led by Martin Luther King Jr (David Oyelowo), decide to take matters into their own hands. Johnson (Tom Wilkinson) is not going to take action if the matter is quietly swept under the table; so these peaceful people must reveal the violence done in dark corners, risking their lives to get it out in the open and bring about change. A plan is made to march from Selma to Montgomery to protest.
The film tweaks the relationship between King and Johnson, portraying it as heavily burdened by the restrictions of a political agenda. Many have argued that in reality, Johnson was more than willing to help secure the voting rights of black Americans... however, for the sake of the film, whatever discrepancy there is benefits the flow of the story. Most films, even those based on historical events, take artistic liberty at some point. What takes precedent in SELMA is the heart of the story -- the unity of the protestors in the midst of danger, and the fight for equality.
But this is not just some Hallmark film about getting together to incite change... SELMA delves right into the good and the bad. Even in a peaceful protest, mistakes are made, and emotions run high. And though the film spares you from any gore, there are still some jarringly vivid depictions of the brutality that black Americans experienced. Pairing with the physical violence, the cast really brings home the emotional torment that occurred -- Oyelowo gives a phenomenal performance, and his supporting cast keeps up quite nicely: Wilkinson, Carmen Ejogo, Andre Holland, Lorraine Toussaint, Oprah Winfrey... the list goes on and on.
This is not a film you want to miss, especially on the weekend preceding MLK Day. DuVernay has a challenge ahead of her, if she wants to top this film. SELMA is now playing at the Midtown Cinema!
THE THEORY OF EVERYTHING - ends 1/8
THE THEORY OF EVERYTHING - ends 1/8
PG-13, 123min
The story of the physicist Stephen Hawking and Jane Wilde, the literature student he fell in love with whilst studying at Cambridge in the 1960s.
PG-13, 123min
The story of the physicist Stephen Hawking and Jane Wilde, the literature student he fell in love with whilst studying at Cambridge in the 1960s.
Wed 1/7 (2:15), 5:45
Thu 1/8 (2:15), (4:45), 7:15
Thu 1/8 (2:15), (4:45), 7:15
WILD
WILD
R, 115min
Cheryl Strayed decides to hike more than a thousand miles of the Pacific Crest Trail alone, as a way to heal herself, following her divorce, the death of her mother, and years of reckless, destructive behavior.
Wed 1/7 (2:30), 6:15
Thu 1/8 (2:30), 5:00, 7:30
Fri 1/9 (2:30), 7:00
Sat 1/10 (10:30am [MM]), (1:00), (4:30), 7:15
Sun 1/11 (1:15), (3:45), 6:15
Mon 1/12 (2:30), 6:15
Wed 1/14 (2:30), 6:15
Thu 1/15 (2:30), 5:30, 8:00
R, 115min
Cheryl Strayed decides to hike more than a thousand miles of the Pacific Crest Trail alone, as a way to heal herself, following her divorce, the death of her mother, and years of reckless, destructive behavior.
Wed 1/7 (2:30), 6:15
Thu 1/8 (2:30), 5:00, 7:30
Fri 1/9 (2:30), 7:00
Sat 1/10 (10:30am [MM]), (1:00), (4:30), 7:15
Sun 1/11 (1:15), (3:45), 6:15
Mon 1/12 (2:30), 6:15
Wed 1/14 (2:30), 6:15
Thu 1/15 (2:30), 5:30, 8:00
BIG EYES
BIG EYES
PG-13, 105min
A drama about the awakening of the painter Margaret Keane, her phenomenal success in the 1950s, and the subsequent legal difficulties she had with her husband, who claimed credit for her works in the 1960s.
Wed 1/7 (2:45), 6:00
Thu 1/8 (2:45), 5:15, 7:45
Fri 1/9 (2:45), 5:15, 7:45
Sat 1/10 (12:00 [MM]), (2:45), 5:15, 7:45
Sun 1/11 (1:00), (3:30), 6:00
Mon 1/12 (2:45), 6:00
Wed 1/14 (2:45), 6:00
Thu 1/15 (2:45), 5:15, 7:45
PG-13, 105min
A drama about the awakening of the painter Margaret Keane, her phenomenal success in the 1950s, and the subsequent legal difficulties she had with her husband, who claimed credit for her works in the 1960s.
Wed 1/7 (2:45), 6:00
Thu 1/8 (2:45), 5:15, 7:45
Fri 1/9 (2:45), 5:15, 7:45
Sat 1/10 (12:00 [MM]), (2:45), 5:15, 7:45
Sun 1/11 (1:00), (3:30), 6:00
Mon 1/12 (2:45), 6:00
Wed 1/14 (2:45), 6:00
Thu 1/15 (2:45), 5:15, 7:45
3rd in the Burg $3 Movies
3rd in the Burg $3 Movie @9:30ish every third Friday! BYOB.
1/16/15 THE MUPPET MOVIE (1979) G, 95min
Kermit and his new found friends trek across America to find success in Hollywood.
2/20/15 WHO FRAMED ROGER RABBIT (1988) PG, 104min
A toon hating detective is a cartoon rabbit's only hope to prove his innocence when he is accused of murder.
3/20/15 CLUE (1985) PG, 94min
Six guests are invited to a strange house and must cooperate with the staff to solve a murder mystery.
4/17/15 HONEY, I SHRUNK THE KIDS (1989) PG, 90min
The scientist father of a teenage girl and boy accidentally shrinks his and two other neighborhood teens to the size of insects. Now the teens must fight diminutive dangers as the father searches for them.
Films subject to change.
1/16/15 THE MUPPET MOVIE (1979) G, 95min
Kermit and his new found friends trek across America to find success in Hollywood.
2/20/15 WHO FRAMED ROGER RABBIT (1988) PG, 104min
A toon hating detective is a cartoon rabbit's only hope to prove his innocence when he is accused of murder.
3/20/15 CLUE (1985) PG, 94min
Six guests are invited to a strange house and must cooperate with the staff to solve a murder mystery.
4/17/15 HONEY, I SHRUNK THE KIDS (1989) PG, 90min
The scientist father of a teenage girl and boy accidentally shrinks his and two other neighborhood teens to the size of insects. Now the teens must fight diminutive dangers as the father searches for them.
Films subject to change.
Monday, January 5, 2015
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