Ruth Negga

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First Hit: Although Brad Pitt is excellent in this role, the expanse of the story, lack of substantive depth, and slow pacing left me unengaged.

The opening scene has Roy McBride (Pitt) is servicing an antenna that reaches from Earth deep into space. Then there’s a discussion about outposts on the moon and mars.  These two items alone tell the audience that we’re way into the future.

Roy’s job outside on the spacecraft type antennae tower gets interrupted by a power surge from space, they believe near the planet Neptune, causing part of the antenna to collapse, killing someone, and sending Roy falling from space back to Earth. Entering the more massive atmosphere his parachute finally opens. However, the chute gets punctured from pieces of the collapsing antenna and McBride cashes to the ground.

A theme throughout the film is McBride’s mental and physical state. His heart rate never goes above 80 bpm, even during the fall, and his responses to the questions about his psychological state are monitored by a machine. Approval by the machine voice is required for him to continue his missions. We see him sit down with the computer multiple times. Because he’s the only one we see take these tests, I wondered if others had to take these tests as well.

After the antennae accident which proves his mental, physical, and mettle to solve problems and that he has real guts, he’s called into a meeting with senior NASA and government officials.

In this meeting, we learn that the government believes that the Lima Project, which was headed to Neptune and led by Roy’s father H. Clifford McBride (Tommy Lee Jones), may be causing the power surges and destroying Earth. They also believe that the senior McBride is still alive although, in Roy’s mind, his father is dead.

They want Roy to help them locate his father or the ship they were using so that they can send another ship, near Neptune, and destroy what is sending the power surges back towards Earth. In other words they want to use Roy as bait to coax his father out of hiding, if he’s alive. Once that is done, they don’t want Roy to actually go out and retrieve his father.

This is the premise of the story: Will Roy find his father alive? Is Clifford creating the power surges? Will Roy and his father make amends for all of the senior McBride’s absence in Roy’s life? Will the team be able to stop the power surges that are threatening Earth’s existence?

Roy wants to be an integral part of the final mission to Neptune, but he’s not given a chance. He’s only used to create messages that are sent to the Neptune area and see if his father respondes. After finding that his father is alive, because he cannot join the final mission to Neptune, he steals aboard the ship to Neptune and to confront his ever-absent father.

The film has multiple events and circumstances that do not make sense. One such set of facts is while on the moon and being transported from one base to a rocket launch base, Roy and Pruitt (Donald Sutherland) are attacked by pirates in other moon rovers. My question is where did these pirates come from? Where did they live? And, why was this scene needed? It seemed like they needed some action in the middle of the film so this is what the story used.

Pitt was great. There’s an integrated quality he brings to the character that made me believe, he loved what he did and was able to do it expertly and dispassionately. Ruth Negga (as Helen Lantos) was excellent as someone who supports Pitt on his journey. Sutherland as Thomas Pruitt, a friend of Clifford McBride and Roy’s guardian during part of the trip, was okay, but I’m not sure the role was needed. Jones was engaging and entertaining in this role as someone who only cared about his mission and learning if there is life beyond our solar system. James Gray and Ethan Gross wrote, and script that languished while hoping the philosophical concepts the story proposes will make the story engaging. Unfortunately, it doesn’t entirely fill the bill. Gray also directed this film, and although it seems he borrowed heavily from some of the pictures presented in 2001: A Space Odyssey, it fell short of being as engaging.

Overall: This movie was entertaining enough to keep me present, but lacked enough depth to make me really want more.

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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Loving

First Hit:  A sweet and expressive film about true love.

The overflowing sweetness of this true story is accentuated by difficulties our society, specifically the State of Virginia’s anti-miscegenation statute which prohibited marriage between people classified as white and colored. The film shares how this couple persevered.

Richard Loving (Joel Edgerton), a bricklayer and race car enthusiast, never saw color. His quiet way of being was congruent with his life as expressed in the active conscious quality he put into his work, his abilities for making cars faster and his love for his girlfriend Mildred (Ruth Negga). Mildred’s family owned the race car he worked on part time and was part of their family. When Mildred gets pregnant with their child, he buys an acre of land to build their home and asks her to marry him.

Because of the Virginia laws, they run off to Washington DC to get married as Virginia won’t let an interracial couple marry. However, one night the home they are staying in is raided and they get thrown into jail.

This naïve couple hire a lawyer who cuts a deal with the judge, if they plead guilty, to leave the state and not return for 25 years. They end up in DC and it isn’t the life they want together. Mildred especially dislikes the city as her, now three, children have few places to play outside.

Mildred writes a letter to U.S. Attorney General Bobby Kennedy gets a response by the ACLU. Attorney Bernie Cohen (Nick Kroll) takes the case and because the statute of limitations have passed, he has to find a way to get it back into court. One day he meets civil litigator Philip Herschkop (Jon Bass) and together they find a way to get the case re-heard, appeal it all the way to the U.S. Supreme Court.

The feel of the late 1950’s through 1968 was amazingly shared on the screen. The way people talked, the cars, and the settings were wonderfully created and filmed. The director, Jeff Nichols, made this interesting even though Richard was mainly soft spoken, quiet, and man of few words. Pacing was important to keep the audience engaged and Nichols made this really work.

Edgerton was sublimely strong and clear in his silent way. You felt his pain and clarity of his love of Mildred. Negga was fantastic as Mildred. Her strength building through the film resulted in their decision to take their case forward. Kroll and Bass did a wonderful job of being the Loving's lawyers. Nichols wrote a superb screenplay and his direction was clear and true.

Overall:  Loving was lovely.

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