Tag Archives: Tom Hanks

Months in review: films, Academy Awards, #Metoo and a rough start to 2018 (part 1)

After some minor health issues that have marked the beginning of my 2018, I am pleased to be able to come back to this blog if not with perfect health, at least with the knowledge that my afflictions are fixable and temporary.

I return with optimism because great changes at a personal level may come in 2018 should everything go well and I stay focused.

On the 90th Academy Awards…

Last week also brought us the 90th edition of the Academy Awards, which were, in my humble opinion, better than usual, both as a television event and as driver of taste in film. Though I did not agree with some of the choices, specially with the Best Picture category, I cannot say I was frustrated with any of the winners, which were all good and worthy films.

My favorite moment of the night goes to Jordan Peele’s victory for his stupendous work writing Get Out’s script. It was not only a historic win for African American filmmaking, but a genuinely moving moment where Peele seemed to be overwhelmed by the impact of his success.

On the #metoo movement…

I must admit, when the allegations began to extend beyond Harvey Weinstein, I recoiled.

As a man it had never occurred to me that women could and should aspire to live in a world where they don’t have to constantly be the subject of unwanted advances or unkind remarks. It was, in all honesty, a total lack of imagination on my part. We must no longer accept the status quo and disregard the point of view of many women who were put in impossible and grotesque situations by unscrupulous men in positions of power.

There are, however, important differences between the cases. While Weinstein is a despicable human by all accounts who used his power to abuse, harass and even rape (allegedly), there are cases like that of Gary Oldman (who won an Oscar this past weekend) who was publicly accused of domestic violence by an ex-wife in the weeks leading to the Academy Awards. Oldman has never had to fight against any other similar allegations, and was never criminally accused by his wife. Now, I’m not saying it did not happen. What I am saying is that I am not sure if the allegations immediately disqualify him from being a recipient of an Oscar, which some people seemed to suggest. Though we want justice and are right to publicly denounce sexual abuse, there is a fine balance between exposure and holding public trials that make it impossible for the accused to exercise their right to work.

Everyone, regardless of the crime they are being accused of, should be able to have their day in court and, in my opinion, it’s not fair to destroy their public image as soon as one person accuses them of any wrongdoing.

I believe most of the allegations leveled at many famous men in Hollywood, but should we really oppose their right to work? Is inappropriate sexual behavior (which is different than assault or rape) enough of a reason to ban them from working ever again? Are convicted felons not granted the same right after they complete their sentences?

Let’s hope that this is only the beginning and that men, including myself, start to fully assume the responsibility to challenge the status quo and declare that “Time is Up!”.

On the last two months of film watching…

As you would expect, my film watching has suffered in 2018. I’ve made space for film, but not as much as I did at the beginning of 2017. Unfortunately, there are many other priorities competing for time and attention, and films will continue to be a privilege in the foreseeable future.

Having said that, January proved to be quite meaningful in that I watched two films, Phantom Thread and Akira, that I loved so much I immediately had to canonize them under the banner of my yet-to-be-published Blog of Big Ideas’ 250 Essential Films. I shall cover the films I watched in February on an upcoming post.

SAVING MR. BANKS (2013) [ 3.5/5 ]

For a film made by Walt Disney Pictures, Saving Mr. Banks pays little deference to the nearly mythical aura that surrounds one of America’s most enduring success stories: the man whose name and signature built the biggest film studio on Earth.

Instead, Saving Mr. Banks is about the writer of the beloved Mary Poppins, played by Emma Thompson. The film explores the difficult and sometimes confrontational relationship between the studio and the artist, which was apparently much worse than portrayed. The film gives us interesting insights about the creative process but, more interestingly, it draws parallels between the writer’s traumatic childhood and the creation of an iconic character.

Ultimately, what I took away was the film’s facile Disney-style sweetness, which came to the fore when the artist behind Mary Poppins finally allowed herself to make the emotional connection to the unlikely genesis of her art: a traumatic childhood.

MACHO (2016) [ 1.5/5 ]

The occasional laughter that is the consequence of such a moronic comedy is quickly erased by Macho’s mishandling of its message of inclusion and acceptance. The film manages to be offensive and reductive from almost its first scene to the last.

The rating could easily be lower, but I don’t think the film was made with bad intentions.

THE FITS (2015) [ 3.5/5 ]

Rather than a feature film, The Fits feels like a surrealist documentary about a little girl who trades the boxing gloves for dancing shoes at her local community center. When she does, each girl in the troupe gets affected by a mysterious affliction, thinning the group away one by one.

Up-and-coming director Ana Rose Holmer gives the film a spectral quality, zeroing on the dark complexions of these teens with the visual tact of films like Moonlight and Mudbound (review below).

AKIRA (1988) [ 4.5/5 ]

Candidate to the Blog of Big Ideas’ Essential 250 Films

Back in 1988, a team of visual artists with a budget of approximately 8 million dollars led by Katsuhiro Otomo release a seminal film in the history of anime that has had an influence that extends well beyond the genre. Akira is a statement to the power of forward motion and kinetic energy in animation and film as a whole. Per the great Roger Ebert, Akira “releases the mind” with infinite possibilities, in which every frame is painstakingly detailed, and where the unexpected comes directly from the hands of talented visual artists.

Though Akira can be accused of succumbing to violence, on most occasions the way violence is staged and designed is nothing but awe-inspiring. The music, which is filled with robotic-like sounds, screeches, alarms and machine hums, lends to the visual freneticism, complementing its dystopian and futuristic setting with confidence.

Akira, which I watched at home, “limited” to a 55” UHD television, is a cinematic journey of such force and visual splendor that I look forward to the day in which I will be able to watch it on the big screen.

PHANTOM THREAD (2017) [ 4.5/5 ]

Candidate to the Blog of Big Ideas’ Essential 250 Films

Paul Thomas Anderson’s latest is a crystalline demonstration of his artistry and craft. From the sweeping opening to its devilish ending Phantom Thread flirts with the audience, seducing us into the mystique of its fashionable world until we are willing to participate in and root for the twisted romance between Reynolds Woodcock, an incredible Daniel-Day Lewis, and Alma, the breathtaking Vicky Krieps in a career-making performance.

Paul Thomas Anderson’s characters manage to be both perfect vessels to a story, and individuals that gain dimension and complexity as the film unfolds.

Reynolds as the man-child with mom issues and a taste for beautiful women, and Alma as the seemingly innocent country girl who revels in the artistry of fashion and who is willing to match and surpass Reynolds’ self-delusion.

If that were not enough, Phantom Thread also gives room to the wonderful Leslie Manville in a restrained and mannered performance that ends up being the most grounded and approachable of the bunch; and to composer and virtuous musician Johnny Greenwood who creates a beautiful score that is as accomplished as the one he made for There Will be Blood.

A QUIET PASSION (2016) [ 2.5/5 ]

With this period piece director Terence Davies suffers a similar faith than Stanley Kubrick with Barry Lyndon. Like the great auteur before him, Davies’ made a film so concerned with being a convincing representation of the period that he forgot to give it some life. For most of its running time we witness the degradation of Emily Dickison, whose poetry never gained notoriety while she lived. Often, the film is content enough with conversations that are nothing more than linguistic battles that demonstrate, with increasing tragedy, the inner frustrations of Dickinson as she buries loved ones and lives within the confines of her family home.

The film’s relevance lies almost entirely on technical aspects, no less of which is Cynthia Nixon’s fantastic lead performance.

OUR SOULS AT NIGHT (2017) [ 3/5 ]

Above all else, Our Souls at Night is a chance, perhaps the last, to watch two legendary actors like Robert Redford and Jane Fonda feed off each other on screen and deliver two very solid performances. Without their chemistry and delivery Our Souls at Night would succumb to the pace and modesty of the reality it introduces us to, even if the script is charming and sweet enough to bake a batch of Apple pies.

MUDBOUND (2017) [ 4/5 ]

In the age of #metoo and #oscarssowhite, Mudbound feels like a statement that shows to reluctant film studios that there are infinite stories waiting to be told from the perspective of those whose voices have been marginalized.

African American director Dee Rees presents us with a Mississippi we had not seen in film. Hers is as beautiful as it is unforgiving, relentless with its rain and its mud. The people, white and black, bound by the land, even if the majority resists and fights the need for union and harmony. Dee Rees gives light and humanity to the black and white family in equal measure, highlighting the love and hope of the first, and the selfishness and despair of the second.

Mudbound is also a beautiful story, filled with characters we can empathize and antogonize with, wrapping around you and never letting go. One of the best films of 2017.

More short reviews to come in the next post…

Month in review: films of August

The month of August was a bit more productive in terms of film watching than the previous 3 or 4. Life has slowed down a little, even if this seems to be more like the typical calm before the storm.

In August I watched a total of 11 films for an average score of 3 out of 5 that could have been higher had I not watched the woeful “The Circle”on the last day of the month.

Without a doubt, the best film of the month was the Korean-American film Okja, bought by Netflix and directed by Bong Joon-Ho. Other worthy watches were The Founder, a biopic on the rise of Ray Kroc, the mastermind behind the McDonald’s empire; and The Rainmaker, a modest adaptation of John Grisham’s novel directed by the great Francis Ford Coppola.

OKJA (2017) [ 4/5 ]

Okja has it all: visual splendor, a thought-provoking storyline that says more than meets the eye, a handful of entertaining action sequences, some wonderful characters and the kind of over-the-top comedic performances that keep things light even when the film gets dark.

For director Bong Joon-ho, Okja is yet another statement piece against the ills and excess of mankind. The Host (2006) was a larger statement about man’s effect on the environment. Snowpiercer (2013) offered a post-apocalyptic view of a future where mankind had all but extinguished in a planet that had reclaimed itself after so much abuse. In Okja, the director tackle the indiscriminate practices of the food industry which, the majority of us, would rather ignore.

To do so, the film creates a wonderfully loveable CGI creature named Okja which is described as a super pig that was created in a lab by the same corporation that is now preparing to sell the meat en masse after a long PR campaign.The ultimate success of the piece is that it makes you root for the relationship at its center, that between a teenage girl named Mija (Seo-Hyeon Ahn) and her pet. In doing so, we might be tempted to advocate for better animal treatment, or turn ourselves into devout vegetarians. 

JOHN WICK 2 (2017) [ 3/5 ]

The first time Keanu Reeves’ embodied John Wick he was driven by revenge. His impetus that of a man with nothing to lose.

As far as sequels go, John Wick 2 starts with the wrong footing. No longer is there an emotional motivation for revenge beyond a mere desire to stay alive. So, from the beginning, John Wick lacks that kind of kamikaze attitude that made the original so wonderfully intense.

The film does have its share of pleasures, but most are expansions of ideas and characters that were already in place on the first installment.

As it was the case before, the fighting choreography is fantastic, even if it suffers from repetitiveness, and Keanu Reeves, channeling his brooding and hyper masculine alter ego, continues to be an effective action hero well past his Matrix days.

THE FOUNDER (2017) [ 3.5/5 ]

After Spotlight and Birdman, this is now the third film in a short period of time that marks the triumphant return of Michael Keaton to the front and center of some of Hollywood’s A-list projects. This time, Keaton plays Ray Kroc, the famed businessman responsible for turning McDonald’s into a global brand. From beginning to end, this is Keaton’s film, inhabiting nearly every scene as a man so tired of failure that, when he finally encounters success, commits to stop at nothing to reach ever-greater heights. In many respects, The Founder is also the story of the modern American enterprise: a sort of modern Wild West where unimaginable riches can be attained as long as you’re willing to stomp on those whose values are at odds with unrestrained capitalism.

The Founder is a profoundly American film where money and access are the thing that dreams are made of. Keaton’s Ray Kroc is a nearly perfect representation of that ideal in an always entertaining and larger-than-life performance that effectively makes the man at its center both a villain and a hero.

ABOUT ALEX [ 3/5 ]

The moment a character walks in to his or her cheating partner is usually the moment a film runs out of ideas. Such is the case in About Alex, a film filled with half-baked storylines and half-built characters that seem to have come together, despite one’s attempted suicide, by little more than loyalty to a past spent together in college. About Alex is a film that resists its potential, taking shortcuts when the story asks for greater nuance and depth. On occasion we get moments of emotional resonance that fade away as quickly as they appeared, either by fault of the script, or by the uneven quality of the performances.

Having said that, the film does pick up towards the end, once the masks between these friends begin to fall, offering us some touching moments that get at the heart of the complicated relationships between these characters.

SILENCE (2016) [ 3/5 ]

It may come as a revelation to some that Martin Scorsese is a man of faith. In a career spanning decades that has seen the Italian American director at the helm of modern American classics like Raging Bull or Casino, there has not been much room for faith in his oeuvre beyond 1988’s The Last Temptation of Christ.

Silence is Scorsese’s longest running passion project, a film deeply rooted in Catholicism, but not as an exclamation of its goodness, but rather as an exploration about the practical and human limits of faith.

Silence, like so many other Catholic-centric films, focuses on the nearly inexplicable devotion many people have towards the Bible’s teachings. Such blind abnegation, the film argues, almost capable to withstand inexcusable persecution, violence and torture.

Thematically, Silence is rich and thought-provoking but, sadly, it is also an overlong, tedious and repetitive two and a half hour affair that is filled with suffering, death, violence and unimaginable cruelty. Fortunately, the suffering pays off at the end, not by giving us a neatly wrapped happy ending, but by giving room to the other side of the coin, offering the Buddhist perspective in awesome scenes between Liam Neeson’s father Ferreira and Andrew Garfield’s father Rodriguez.


The latest film set in the magical universe of J.K. Rowling follows Newt Scamander, a “magizoologist” and former Hogwarts student that finds himself in the midst of a crisis when he travels to New York City.

As apparent as its connection is to the Harry Potter franchise, the film relies too heavily on that thread, thinking it can make characters we can empathize with without giving them substance. It is a shame that Eddy Redmayne, who is supposed to be the focus of the film, ends up being the least interesting of the bunch.

It’s also remarkable that such a big-ticket Hollywood production can also “boast” special effects that are far less convincing than those found in an episode of Game of Thrones.

THE RAINMAKER (1997) [ 3.5/5 ]

A procedural courtroom drama with the rather simple story of a well-meaning and noble young lawyer fighting for justice against a rotten and corrupt system.

Based on a book by the best selling author John Grisham, this Francis Ford Coppola directed film excels in making us empathize with these characters, even if the story moves forward predictably and it is all too neatly resolved when the end credits begin to roll. A young Matt Damon, fresh off his success in Good Will Hunting delivers a nuanced performance that is both intense and soft, finding a balance between a decisive and confident adult and one that is just beginning to find his own voice.

CLOUDS OF SILS MARIA (2014) [ 3/5 ]

There are two parallel themes at work in the film. The first is about the psychological toll that an actress endures when her youth and the spotlight have been left behind. The second is about the connection that exists, purposefully or not, between a play she is preparing to participate in and her personal life.

Of the two, the second one is, by far, the more interesting and uncomfortable to watch, even if it becomes readily apparent what the film is trying to suggest.

As it often happens, characters who are emotionally hermetic, unable to speak truth about their inner tribulations, deny us the satisfaction of cinematic release. Thus making the film feel rather stale and impenetrable. Another problem is that Clouds of Sils Maria gives little voice to characters who seem to be important to the central story, teasing with depth that remains at an arm’s length.

The saving grace is that both Kristen Stewart and Juliet Binoche both deliver interestingly ambiguous performances that are open to interpretation.

CAMP X-RAY (201X) [ 3/5 ]

There is a good and a bad Kristen Stewart. As a soldier in Peter Sattler’s Camp X-Ray we see some of both. At times, Kristen is irresistibly natural, an extension of our awkward and most informal selves. At other moments Kristen is frustrating in that she never ceases to be that kind of actress, even if some scenes demand something a little bit different.

As valiant an effort as Camp X-Ray can be for exploring the subject of the military’s role in human rights violations at GITMO, there is a better film hidden underneath; the one that could have dared to go a step further and give Peyman Moaadi’s detainee a violent past, and not one that hints at innocence in a case of mistaken identity.

Perhaps it would have been a step too far to explore a friendship between an American soldier and a former terrorist, but it could have given the film the kind of daring reformist statement that I believe it needed.


For the first time in the short history of this blog, I will give a passing grade to an absolutely terrible film. A production that lacks the kind depth, consistency and finesse that is needed in any film to have some semblance of artistry.

However, The Angriest Man in Brooklyn saves itself from total mediocrity by making Robin Williams flex his acting muscles one last time in order to sell us a rather unlikeable and angry middle-aged man who must confront his own mortality and take a look at all the bad choices he has made in his recent past.

It is, by no means, one of Robin Williams most nuanced or controlled performances, like we saw, for instance, in movies like Good Will Hunting and The Fisher King. Instead, it is perhaps Williams’ most indelible and harrowing performance given his untimely death by suicide shortly after the film’s release. I couldn’t help but see Williams’ incredibly sad eyes that, despite a wide smile and a lot of anger, could not be dismissed, even during moments of quiet happiness and cheerful introspection.

I miss his genius.

THE CIRCLE (2017) [ 1.5/5 ]

Not to be outdone by The Angriest Man in Brooklyn in terms of wasting talent, The Circle is the kind of mind-numbing exploration of science and its dangers that can make even Tom Hanks seem ridiculously unfit as an actor.

The Circle doesn’t surprise despite its every attempt to do so. The script is a mess of disparate ideas that are not explored sufficiently and with enough nuance. The parallels with Apple don’t exactly help it either because it is neither a direct imitation, nor a satire; instead, The Circle is this kind of uncomfortable in-between that does nothing but distract.

Emma Watson, who is often good, is absolutely terrible here, incapable of selling us her character’s arc, never quite providing enough insight to truly understand her motivations beyond merely superficial and obvious ones.

Preview to the Academy Awards. Best Films of 2016

The 85th Academy Awards® will air live on Oscar® Sunday, February 24, 2013.

In anticipation to the 89th Academy Awards, I have decided, unlike years prior, to post a list of my favorite films released in 2016. As it were, this is an ever-changing list which will shift and evolve as years pass, as both my tastes and my impressions on filmmaking continue to change. This is also, I presume, an incomplete list missing some highly praised bits of cinema like: The Hunt for the Wilderpeople, Toni Erdmann, The Salesman, 20th Century Women, Paterson, Elle, Fences, Lion, and some others. With that in mind, I’m satisfied with the collection of more than 60 films I did manage to watch that were released in the US in 2016. The list of “favorites” adds up to 15 films, which represents the amount of movies that I gave at least a 4 out of 5 rating. 
At the end of the post I will also offer some thoughts on the top categories for the Oscars, regarding who should win and who will likely be taking an statuette back home.

Continue reading Preview to the Academy Awards. Best Films of 2016

Months in Review: December & January (2016)


How quickly do months fly by when you are busy. It seems like only a week ago I posted my last review. As quickly as my newfound motivation to blog a bit more came to me on January 1st, as quickly it evaporated not from a lack of desire, but from a lack of energy.

With a bit of a delay, I share with you my brief thoughts on the films I had the chance to watch in the last month of 2015 and the first of 2016. A total of 21 films were watched, 12 in December and 9 in January. The average rating was a very good 3.35 out of 5. The following are ordered in the way they were seen:

Continue reading Months in Review: December & January (2016)

Best films of any year watched in 2014

July was a good and busy month. I’ve been preparing to run the Chicago Marathon this coming October, and running has now taken a significant chunk of my time, especially as the date gets closer and closer. Despite a hectic couple of weeks at work, I was finally able to dedicate a little bit more time to this blog of mine, and watch a few more films than I have recently. In lieu of my “best 2014 films of the first half of the year”, I offer my thoughts on the best films of ANY YEAR that I have managed to watch since January.


Continue reading Best films of any year watched in 2014

Months in review: March, April & May (part II)

Continued from last post.
Below a list of short reviews of films, books and videogames watched, read or played in the last couple of months. Due to unexpected delays, I had to add films that I’ve watched in May. Hopefully I can catch up by next month.

FILM: (cont.)

AMERICAN HUSTLE (2013) [4/5]

American Hustle


Probably the wildest and funniest film by director David O. Russell up to this point. Find my full review here.

Continue reading Months in review: March, April & May (part II)

The Best Moments in Film: Josh and MacMillan play the big piano at FAO Schwarz

The Big Piano at FAO Schwarz

More than a silly comedy about a child suddenly coming to grasps with the implications of being an adult overnight, Penny Marshall’s Big is more about how adults tend to forget how to let loose, have fun and enjoy life’s little gifts.

Continue reading The Best Moments in Film: Josh and MacMillan play the big piano at FAO Schwarz