Mudbound - 8 stars out of 10

Mudbound - 8 stars out of 10

“Mudbound” is the most emotionally charged film of 2017.  It is so good that ended the debate over whether movies released on Netflix should be nominated in major Oscar categories.  The story draws parallels between the experiences of two soldiers (one white and one black) in WWII and converges their worlds when they return to Mississippi, showing the differences in their post-war societal treatment and struggles with PTSD.  The race relations are mild at first but grow more and more disturbing as the story unfolds.  It isn’t nearly as rough as “12 Years A Slave” but requires a similar mental preparation.  It is a strong contender for the Best Adapted Screenplay Oscar and the writing is complimented by excellent acting performances.  Jason Mitchell gets to the heart of the film as Ronsel by finding the perfect balance between submission and standing up for himself, while Garrett Hedlund gives a strong portrayal of the PTSD that haunts our veterans.  Without question, Jonathan Banks is the highlight of the film as Pappy.  He is absolutely despicable in this past-generation-racist father role.  This provided a nice contrast with Rob Morgan, the mild-mannered father who is helpless to defend his family against an unbalanced society.  I was surprised to find Mary J. Blige joining this year’s list of people who had a nice performance but didn’t display anything worthy of an Oscar nomination.  It’s actually astounding to me that the Best Supporting Actress category is so weak but there were so many deserving Supporting Actors who didn’t make the ballot (particularly Banks in this film)!  Regardless, the film hits all of the right emotional notes and is beautifully filmed by Oscar-nominated cinematographer Rachel Morrison.  Netflix has hit the jackpot with “Mudbound.”  It may not win any awards this year but it will be remembered as one of the most chilling race-relation films in recent history.

[Pictured: "Mudbound" does a lot of things right, but nothing resonates as strongly as Pappy]

Phantom Thread - 7 stars out of 10

Phantom Thread - 7 stars out of 10

“Phantom Thread” is an interesting look into the world of high fashion.  I am not typically a fan of director Paul Thomas Anderson’s films but this one had me intrigued.  The story is so well-conceived and detailed that it feels like Reynolds Woodcock would have to be a real, historical figure.  But is the story true?  Is it fantasy?  Is it happy?  Is it disturbing?  It seems to be all of these things wrapped into one.  Like many of Anderson’s films, it is a slow burn that builds tension so progressively that you don’t realize that it is there until it hits a breaking point.  The story is unique but the film will always be remembered for legendary method actor Daniel Day-Lewis’ final performance.  He brings his signature realism to the character with a brattish (yet sophisticated) stubbornness to reveal the main theme of the film: a relationship cannot function without compromise.  He Though it isn’t his best performance, I’m okay with an Oscar nomination to commemorate the end of a long and fruitful career.  On the other end of the spectrum, Leslie Manville’s nomination is perplexing.  She didn’t really do anything in this movie.  There was no explosive moment, memorable dialogue, or interesting character development.  Vicky Krieps was significantly more impressive as Alma.  For me, it will always be remembered for one of the most beautiful musical themes ever written.  Jonny Greenwood has crafted an elegant impressionist theme that perfectly matches the setting and style of the film.  It is almost as if he discovered a long-lost Debussy piano prelude and called it his own.  The score’s sophistication goes beyond the main theme as it changes styles with each scene, from the beautiful impressionist piano opening to modern dissonance and beautiful Romantic strings.  I am still picking Alexandre Desplat’s otherworldly score to “The Shape of Water” for the Oscar, but I believe Greenwood’s main theme to be superior.  The film’s costume design is just as beautiful as its score and is a prime Oscar contender in this category with detailed dresses that enhance the essence of Woodcock.  I didn’t love “Phantom Thread” but it is worth watching for the aspects that it does so well, particularly the beautiful score and costumes.

[Pictured: The tension in this romance is palpable]

Wonder (2017) - 8 stars out of 10

Wonder (2017) - 8 stars out of 10

“Wonder” is a lot more than a family film.  I expected this film to be about a boy with a facial deformity but what I found was an amazing story of friendship, family, and growing up that will have you in tears by the end.  This masterful display of storytelling goes beyond the obvious and examines the effects of Auggie’s condition on everyone else.  The use of different perspectives of the same events wasn’t quite on par with Christopher Nolan but it went deeper than anything that I expect from a family film.  It is proof that films can carry a PG-rating and deliver an amazing message in a stylized way.  It is very well-acted, especially considering that the vast majority of the film was comprised of child actors.  Jacob Tremblay doesn’t really get an emotional moment to show the acting chops that impressed me so much in “Room” but he carries most of the film on his back.  His makeup is incredibly realistic and will give Gary Oldman’s Churchill makeup a run for its money during the Oscars!  I was also quite impressed with Izabela Vidovic as Via and Noah Jupe as Jack Will.  Outside of the kids, Mandy Patinkin is brilliant in the small role of Mr. Tushman and Owen Wilson adds comic relief without spoiling the moment.  The acting is good but the real focus of this film is its poignant reminder of how hard it is to be a kid.  Middle school can be brutal for a preteen and this story captures the frustration that we all experienced.  The most striking scene is when Julian is getting in trouble for the school picture and director Stephen Chbosky makes a bold statement about how students are a product of their upbringing.  Parents need to make an active effort to live a wholesome life because kids WILL follow their example.  This moment (and many other sad moments) are contrasted by moments of family support, new friendships, and random appearances of Star Wars characters in Auggie’s imagination.  "Wonder" received its Oscar nomination for the impressive physical transformation of Tremblay through make-up, but I think that it was more deserving of an Oscar nomination for the transformation of characters in its screenplay.  Films like this restore my faith in humanity, that the next generation will clean up the mistakes of the past century.  The idea of celebrating our differences has become cliché but “Wonder” makes a compelling argument of why we should put the idea into practice.

[Pictured: Tremblay is unrecognizable in this role, except for the exceptional display of acting that accompanies it]

Baby Driver - 9 stars out of 10

Baby Driver - 9 stars out of 10

What would happen if you took the best scene from “The Italian Job” (obviously the Mini-Cooper escape) and extended it into an entire movie?  The end result would be “Baby Driver.”  Most heist films focus on a robbery but this film shifts the focus toward the getaway.  It also places one of the best-developed characters of 2017 at the heart of the film to create more emotional attachment than your average action film.  Ansel Elgort played his part so well that you will forget that he is acting.  His southern accent is convincing and he creates a collective calm amidst the chaos of the movie.  I was most impressed with how we can see everything that we learn about Baby’s past in the present circumstances of the story.  He was perfectly paired with Lily James, who is proving to be a very diverse actress (her accent in this film is quite a contrast to her role in “Darkest Hour”).  Their chemistry is dynamic and truly makes us care.  He also has amazing chemistry with CJ Jones, whose real-life deafness enhances every scene.  He doesn’t even need sign language to express his fear and concern – it is palpable through his extremely emotive eyes.  Finally, Jamie Foxx plays his part so well that I hated him by the end.  I love this story but have to complain about the script.  The only thing that disqualifies this film from a PG-13 rating is its overabundance of f-words.  I wish that Hollywood would wake up and see that they could draw in larger audiences if they just eased up on that unnecessary word.  Meanwhile, the film finds great success by choosing the realistic ending instead of the idealistic ending.  A lot of times, I can give a pass for letting the heroes erase their actions without consequence but in this case, a realistic ending was much more appropriate and still satisfying.  I wish that this realism would have extended to the villain, who almost seems immortal with the number of times that he is severely injured but manages to come back to life.  While the film does most things right, it is particularly notable for carefully choreographing many of its scene to the rhythm of Baby’s music.  It starts with an intense car chase synchronized to “Bellbottoms” by the Jon Spencer Blues Explosion and never lets up.  In the car, around the house, wherever Baby goes there seems to be a musical sync point.  This film gets my vote for the Best Sound Mixing Oscar - it is practically the definition of Sound Mixing.  “Baby Driver” is all about the music and how it helps the lead character to focus – what could be better?

[Pictured: Great chemistry all around, but particularly between James and Elgort]

The Breadwinner (2017) - 6 stars out of 10

The Breadwinner (2017) - 6 stars out of 10

“The Breadwinner” tells the dark tale of a young girl living under Taliban oppression as she fights to provide for her family.  The film isn’t particularly graphic but its PG-13 rating should help to keep parents from thinking that it is a family film.  While the story is one of bravery and family loyalty, it is all a means to show the oppression faced in Afghanistan, particularly by women.  The heavy subject matter is chilling.  There is a dynamic contrast created through different portrayals of the male characters throughout the film.  When the men interact with women, they treat them as if they are worthless.  Later on, these same men are caring and pleasant when interacting with other men.  There is also the young Taliban soldier who is aggressive and frightening when dealing with weaker people, but later seems like a helpless child amongst his elders.  You will truly feel sorry for women in Afghanistan by the end.  The main story is slightly predictable at times and there are a few issues with the segmented story that is told by Parvana throughout the film.  The metaphorical story is meant to reveal the fate of Parvana’s brother and emphasize the use of stories to distract children from the horrors of the Taliban, but it misses its mark.  It feels forced and unimportant in the grand scheme of the impending war faced by the characters.  It’s a plot device that really should have worked and needed to have a closer tie-in to the rest of the story.  Some have suggested that this film could challenge “Coco” for the Best Animated Feature Oscar due to its cultural relevance, but there is just no way.  It lacks the unique animation style, storytelling, voice acting, music, and imagination that set “Coco” apart from every other animated film this year.  I think that “The Breadwinner” has a great story that reveals a lot about the trials faced by women in Afghanistan but I don’t know that its animation is good enough to warrant an Oscar nomination.

[Pictured: The animation style is interesting but can't compare to the quality of Disney and Pixar]