Black and Blue

First Hit: An engaging drama made good by powerful scenes and excellent acting by Naomie Harris as Alicia West.

West is still considered a rookie cop on the New Orleans police force after three months of duty. She’s an Army veteran with two completed tours in Afghanistan and is not afraid of conflict. She had recently joined the department because she wants to make a difference in her hometown.

Her partner Kevin Jennings (Reid Scott) drives around and introduces her to areas in New Orleans. As he passes various neighborhoods, he points one out and says, we don’t ever go in there, unless it is to help a cop.

She voluntarily takes an extra shift and heads out with veteran cop Officer Deacon Brown (James Moses Black). He makes it clear that he isn’t wearing a body-cam and not to film him, ever.

Getting a call on his cell phone, Brown and West head to a vast empty manufacturing plant. Brown tells West to “stay put,” while he meets up with an informant. She hears shots, leaves the car, turns on her camera, and goes into the building. Following voices, she witnesses undercover cops killing people, execution-style. One of the undercover men sees her and shoots at her wounding her in the side.

She gets away and soon discovers that both the drug dealers and individual cops are out to get the camera and probably kill her as well.

The rest of the film is about her evading the crooked cops and drug dealers who think she’s the one who shot and killed their team members.

Leading the crooked cops is Terry Malone (Frank Grillo), who has been busting drug dealers, keeping half the captured stash, selling it through other dealers, and then killing them to keep them from talking. His primary enforcer is Smitty (Beau Knapp), who acts like Malone’s mad lap-dog and executioner. If West’s cop camera video gets into the Chief’s hands, Malone and his team will be found out and prosecuted. Malone wants West’s body-cam and would prefer West dead.

The head of the local drug cartel is Darius (Mike Colter), and he’s got a personal interest in who Malone’s team killed as this last killing was his nephew. Malone tells Darius that West killed his nephew.

Because West is on the run, she heads to her old neighborhood and is rejected by her former friends except one, Milo “Mouse” Jackson (Tyrese Gibson). Mouse works at a grocery store, and when West shows up, bleeding, and needing help, he reluctantly gives her assistance because she is an old friend.

There are some wonderful scenes in this film, but the one that stands out to me was when West and Jennings stop at the grocery store to get a coffee. Jennings goes into the store while West gets out of the police car and starts talking to a young twelve-year-old boy. The mother of the boy Missy (Nafessa Williams) yells at West and gets into an argument with her. West, recognizing Missy as an old friend tries to reason with Missy, but Missy disses her and tells her to shut the f*&% up. The layout of the characters, Darius, Missy, Mouse, Jennings, and West are well developed at this moment.

Harris was outstanding as Officer West, who is trying to make a difference in her old neighborhood by seeing people, not color, or anything else. She’s excellent in carrying this message and physically does a great job in this demanding role. Grillo is excellent as the crooked undercover detective. His intensity and attempts to keep everyone in line were perfect. Gibson was absolutely fantastic as the quiet gentle giant who ended up helping West escape all the people after her. Williams was terrific as West’s old high school friend, who had been twisted and hardened by the neighborhood. Colter was sharp as the leading drug dealer in this part of New Orleans. He embodied the intensity and drive of a man protecting what he has. Scott did a great job of feeling caught between two sides as he knew of the crooked stuff going on, but was always the one just looking another way. Black was good as the tough cop turning subservient to Malone when required. Knapp was perfectly unglued as Malone’s killing lapdog. Peter A. Dowling wrote a terrific script that created a high intensity by all the characters. Deon Taylor had everyone on the same page with his direction, and as I previously stated, some of the scenes were indelibly powerful.

Overall: I really enjoyed this film and thought it was well written, acted, and directed.

Academy Awards - The Oscars

Once again it is time to celebrate a year of film watching. Here are my choices for the following awards along with thoughts about the selections and non-selections the Academy made.

• Best Actor - Nominees are:  Casey Affleck (Manchester by the Sea), Andrew Garfield (Hacksaw Ridge), Ryan Gosling (La La Land), Viggo Mortensen (Captain Fantastic), and Denzel Washington (Fences). There are strong performances in this group of actors. For me the obvious missing actor is Tom Hanks in Sully because it was so well made and gave me a real sense of a man who saved 155 lives. Given the Academy's choices, Affleck was sublime. You felt him and what he was going through from beginning to end. I loved this performance. I thought Garfield was very strong in this career defining role for him. He brought heart to this role. Gosling was amazing. His charm, piano playing, and dancing brought life to this dream like film. I loved the film Captain Fantastic and Mortensen was the key. His wide eyed brilliance made this film work. Lastly, Washington was simply a nuclear charged bit of energy bottled up and ready to pounce. Great performance, however it felt too much like a play like for me to like it in film. My choice is Affleck.

• Best Actress  - Nominees are:  Isabelle Hubert (Elle), Ruth Negga (Loving), Natalie Portman (Jackie), Emma Stone (La La Land), and Meryl Streep (Florence Foster Jenkins). Granted I did not see Florence Foster Jenkins because I saw a film about the same story a year earlier and didn't want to see the same story again. Missing from this nominee list is Amy Adams. She gave two powerful performances this past year; Arrival which is a film I adored (see below) and Nocturnal Animals where her cool intelligent nature amazingly unfolded on the screen. Given the choices, Hubert was absolutely fantastic in this role. Her ability to be both vulnerable and strong in the same breath expressed her greatness. Negga was very strong and I loved her role as she grows from a timid somewhat subservient person to a woman of strength and grit. I loved this story. Portman is an interesting choice. I found the character to be so different than my perception of Jackie that I was taken aback. This performance made me wonder about the real person and that's important in filmmaking. Stone was so fun and divine in this role. Her chemistry with Gosling is noticeable and helps her to elevate this role to amazing and grace like. Loved her in this film. My selection is Hubert as because she really brought a fully bodied and interesting character to life.

• Best Supporting Actress  - Nominees are:  Viola Davis (Fences), Naomie Harris (Moonlight), Nicole Kidman (Lion), Octavia Spencer (Hidden Figures), and Michelle Williams (Manchester by the Sea).  One of the amazing things about these choices is that a couple of these actors had very limited screen time to make an impact. The most striking was Williams. Davis gave an amazing performance as Washington's wife in Fences. It takes a lot to hold your own against Washington and here Davis shows everyone how. Watching Harris in Moonlight is like taking a very long road to forgiveness. I was amazed at this performance. Kidman in Lion was very strong. There is one scene when she's talking about how she came to adopt her Indian son, that was so deep and heartfelt I cried. Spencer was great in Hidden Figures. As a strong black woman wanting her due, she was fantastic. Williams, as I have said, had a small role but the scene where she is asking for forgiveness from Affleck was the most powerful 2 minute scene on film this year. I've got a close tie, with Williams and Davis, but in the end, I'll go with Davis.

• Best Supporting Actor  - Nominees are:  Mahershala Ali (Moonlight), Jeff Bridges (Hell or High Water), Lucas Hedges (Manchester by the Sea), Dev Patel (Lion), and Michael Shannon (Nocturnal Animals). I was a little taken back by the inclusion of Patel as a supporting actor. It felt more like a lead actor role to me. Ali in Moonlight is such a powerful integral character and he made it work so well. Loved his compassion. Bridges was wonderful in Hell or High Water. He made this character heart filled as well as having an distinct edge of sarcasm. Hedges in Manchester by the Sea was good. However, it wasn't enough for me to give him a good chance. Patel, as I previously stated, seemed nominated in the wrong category. Although he was really good, it just doesn't fit here. Shannon in Nocturnal Animals is beyond great. I loved his intensity and persistence of character. I was entranced when he was on the screen. I've got two front runners, Shannon and Ali. Upon reflection as to how they impacted the story, I'll go with Ali.

• Best Cinematography  - Nominees are:   Arrival, La La Land, Lion, Moonlight, and Silence. I will admit I did not see Silence as I just couldn't get motivated to see this film. Given this, Arrival was amazing with the visualizations of the ships, the anti-gravity sections of inside the ship and how they displayed and handled the aliens.  La La Land was gorgeous. Whether is was in or outside the Observatory, on the streets of LA, or in an apartment. There was care in how the colors and sets looked on the screen. Lion had wonderful accurate feeling scenes of India, especially the railway stations. I didn't quite buy the butterfly scenes as they seemed slightly over the top. However, the rest of the sets were amazingly done. Moonlight reflected just this, moonlight on the ocean. The shifts from scenes in school, on the beach, and cities in South Florida were luxurious. As I previously said I've no information about Silence because I didn't see it. From what I saw, I would have to select Arrival as my favorite with La La Land and Moonlight a very close second.

• Best Adapted Screenplay  - Nominees are:   Eric Heisserer (Arrival), August Wilson (Fences), Allison Schroder and Theodore Melfi (Hidden Figures), Luke Davies (Lion), and Barry Jenkins (Moonlight). All of them are wonderful stories. I loved the story and meaning behind Moonlight, Arrival, and Hidden Figures. Each of these stories were very impactful. Moonlight because it shared the somewhat hidden story of a black gay community. Arrival because it was one of the most amazing ways to share the concept of non-linear time. Hidden Figures was so powerful as to how the segregation of blacks almost hurt our chances to be successful in the space race with Russia. It is difficult to choose from such diverse stories, however in the end I'll select Moonlight.

• Best Original Screenplay  - Nominees are:  Taylor Sheridan (Hell or High Water), Damien Chazelle (La La Land), Yorgos Lanthimos and Efthymis Filippou (The Lobster), Kenneth Lonergan (Manchester by the Sea), Mike Mills (20th Century Women). Great list. The depth of friendship as expressed in Hell or High Water, the stories of love and growth as expressed in La La Land, The Lobster, and 20th Century Women, and humbling forgiveness as expressed in Manchester by the Sea - all were amazing. As an original story I am tossed between Manchester by the Sea and La La Land. Either winning would be accepted.

• Best Director  - Nominees are:  Denis Villeneuve (Arrival), Mel Gibson (Hacksaw Ridge), Damien Chazelle (La La Land), Kenneth Lonergan (Manchester by the Sea), and Barry Jenkins (Moonlight). Interesting that Lonergan, Jenkins, and Chazelle wrote the films they directed and it shows the importance of knowing what it is you want to portray/express. What is missing? For me the missing directors are Tom Ford (Nocturnal Animals) and Theodore Melfi (Hidden Figures), both of these films had great vision and execution. Choosing from this strong list is difficult. However, for the impact it had on me I'm down to two: Villeneuve and Chazelle because of how they eloquently told their stories. However, if Gibson, Lonergan, or Jenkins were to win, I wouldn't be upset.

• Best Picture  - Nominees are:   Arrival, Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures, La La Land, Lion, Manchester by the Sea, and Moonlight. This is a full and dynamic list. I liked all these films. However, if I had to start separating these nominees, I'd pull out these three as my top contenders: Arrival, La La Land, and Manchester by the Sea. Each tells a story and tells their story very well. Each film was fully engaging and opens the heart in a new and different way. I cannot pick a winner because I loved watching these three films.

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Collateral Beauty

First Hit:  Wonderful concept, wonderful cast, mediocre execution.

The idea that someone could talk with Love, Time and Death is interesting. Having a cast with Will Smith (as Howard), Edward Norton (as Whit), Kate Winslet (as Claire), Michael Pena (as Simon), Helen Mirren (as Brigitte and Death), Keira Knightly (as Amy and Love), Jacob Latimore (as Raffi and Time), and Naomie Harris (as Madeleine) all in one film is amazing. However, there was something about the script and way it was directed that had this film fall short of its potential.

The title “Collateral Beauty” was also at fault in some ways. Normally when we hear the word “collateral” we hear it with the word “damage”. This term is used in the movie as a lesson or mantra that Madeleine hears after the loss of her child. When she was in the hospital, just prior to her daughter’s death, an old woman sitting next to her outside her dying child’s room said, do not be so taken by grief that you forget to see the collateral beauty. The movie does nothing to really show what this means.

The focus of the film is that Howard, who is a brilliant advertising creative executive, loses his young 6-year old daughter to a disease. The company he’s built with Whit, Claire and Simon begins to suffer and is now losing clients because of his disengagement with work. He spends his days building domino trails then knocking them down, or riding his bike at night through the streets of New York City. To save their company and investments Whit, Claire and Simon arrange to have Amy, Raffi and Brigitte pretend to be Love, Time and Death respectively in hopes of communicating with Howard to bring him out of his deep sorrow.

Although this is done with some seriousness, the constructs and building of the story is weak. When the words and concept of "Collateral Beauty" are passed from Madeleine to Howard, the failure to engage the audience and Howard are palpable. It is at this point I realized that this film, regardless of how it finishes, would be lack luster.

Smith was OK as the once engaging advertising company creator, leader and grieving father. Norton was slightly better as Howard’s business partner. Winslet was fine as the morally caring business partner. Pena was very good as the ill business executive who cares about his family. Knightly was good as Love. Mirren was very good as Death, her style brought strength to the film. Latimore was strong as Time. Harris was very strong as the grieving mother. Allan Loeb wrote a weak screenplay in that the characters lacked depth and the story never grew. Direction by David Frankel was weak in that he never saw the failings of the story to find ways to make it have more depth. The film never really shared the beauty of a child’s depth which, in this case, was supposed to be collateral.

Overall:  Although somewhat engaging at the beginning, it fails to fulfill any beauty collateral or not.

Moonlight

First Hit:  A powerful, deep, and intense look into a story rarely shared on the big screen.

Shown in three different stages of his life, the audience is given a profoundly penetrating view of a gay black man’s life journey. Chiron, also known as “Little” and “Black”, is growing up in Miami to a drug addicted mother and no father. He’s played in these three stages by Alex R. Hibbert, Ashton Sanders, and Trevante Rhodes respectively.

As “Little” (Hibbert), Chiron is often the odd boy out. He’s quiet, sullen, and feels out of place. He’s afraid to go home as his mother, Paula (Naomie Harris), is often high or pushing him out the door to make room for one of her many boyfriends.

He’s only got one friend of sorts, Kevin (Jaden Piner), but Kevin cannot stop the other boys from picking on him. While hiding out from bullies who were chasing him, he’s discovered in the projects by Juan (Mahershala Ali) who takes a liking to the boy and takes him in. Juan’s girlfriend Teresa (Janelle Monae) feeds the skinny scared boy. They coax him to speak but only get short bursts of two or three words at a time. Juan takes him to the beach and teaches him how to swim. The effect of Juan and Teresa’s kindness and understanding permeates the first part of the film even when they are not on the screen and shows up again towards the end of the film.

As “Chiron” (Sanders), the tones of harshness and the extreme difficulty of discovering his life, and who he is, becomes more pronounced. His mom is deeper in her addiction; his prevalent sadness is darker as he knows he’s different but has little in the way of social communication tools to help him understand himself. His only friend is still Kevin (Jharrel Jerome). The rage inside is slowly building and comes to a head.

As Black (Rhodes), a nickname given to him by Kevin, he is now an adult. You can see the effect Juan had on him by his car, attitude, and choice of supporting himself. He’s away from Miami, his mom is in a rehab, and he still living a life of being alone. He gets a call from Kevin (Andre Holland) who has been thinking of him and invites him down to Miami. Black goes and takes another step in owning his life.

Beautifully shot, the long slow scenes are left to unfold. It isn’t easy to let the camera roll staying close to an actor’s face without having the actor speak. And at times I wondered if this was smart, but then the next scene would shine light on the reasons why. Each of the actors portraying Chiron allowed the silent inward struggle come to forth; to be shown and not told. To do this, these actors had to pay attention to the director and more importantly, to the story. Each of them kept the sense of longing, unknowing, and sadness throughout the film by sharing specifically for the age being portrayed. This film is fearless in its presentation and the screenwriter and director are to be complemented for this.

Hibbert, Sanders, and Rhodes are each amazingly effective in their singular role. Hibbert’s sorrow and anguish as a small boy wondering why he’s different was amazing. Sanders’s teen existence is superb. He’s tall yet trying to hide from everyone including himself and yet he’d like to be seen. Sander’s is sublime. Rhodes is perfect as his self-assured exterior belies his inner soft aching. The scenes with his mother and Kevin are extraordinary. Piner, Jerome, and especially Holland are engaging and wonderful as Kevin. Ali is amazing as Juan the sensitive drug dealer who becomes a mentor of sorts for Chiron. Monae is a beautiful light in this heavy picture. Every scene she’s in she brings joy and light. Harris is effectively real as Chiron's drug addled mother who really does love her son but has no way to relate to him. Barry Jenkins had a clear vision for what he wanted and wrote an amazingly strong and daring screenplay and brought it to life with stunning direction by getting outstanding performances from everyone.

Overall:  A strong emotionally effective film.

Spectre

First Hit:  Liked the opening scenes, absolutely cringed at the overblown banal opening credits and, while this film was generally more serious and less tongue-in-cheek as the original Bond films, it works well enough.

Bond (Daniel Craig) is working on his own. He’s working from a brief video clip clue from his now deceased boss “M” (Judi Dench). With this clue he’s off to find and eliminate the core of the problem that is haunting the MI-6 team while his current boss “M” (Ralph Fiennes) is not supporting him – officially.

The double “0” form of fighting crime is being phased out according to “C” (Andrew Scott) with new technology which is being created and financed by the guy Bond is after; the wickedly sarcastic and masochistic Oberhauser (Christoph Waltz). Supporting Bond in is mission are “Q” (Ben Whishaw), Moneypenny (Naomie Harris) and a reluctant Madeleine Swann (Lea Seydoux).

The film is a travelogue, going to many different countries and climates with Bond nattily dress for each place and occasion. The beauty and intensity of the various venues were expertly caught and this really adds to the film. However, one of the hallmark behaviors of the early bond films was an underlying level of tongue-in-cheek comments by Bond and the other characters that kept the audience bemused while watching violent struggles, things being blown up, and people being shot; were few and far between.

Craig is great as Bond mainly because he carries intensity, physicality, and intelligence, all wrapped up in one package. Waltz is playing the same type of character he’s played in other films. He does this role well but it doesn’t bode well when the audience isn’t surprised by the villain. Whishaw is really wonderful in his smallish role as "Q" (Quartermaster). It is nice to see his role expanded even as the technology he presents becomes more interesting. Harris is very cool and centering as Moneypenny. Fiennes role grows as the film reaches its conclusion and it helps the film. Seydoux is very good as someone who reluctantly ends up being protected by Bond and as a love interest. Scott is strong as the arrogant young tech savvy guy that lacks experience. John Logan and Neil Purvis wrote this slightly over complicated script. Sam Mendes did a wonderful job of putting Bond in great scenes and venues and making the script work.

Overall:  This film, although good, seems to stray from past unconvincingly.