#future and it involved a prison break a punch in an elevator and a fight on an airplane

[courtneydeservesbetter]

I rewatched the old xmen movies and remembered I had an INTENSE shipping phase for those toxic old men. So whenever ppl get in my inbox to tell me that they just can’t see duncney ever getting back together after the cheating and how it’ll always be toxic, I have to remind them that I was reading fanfic in high school of two old men loving each other and getting ‘divorced’ over and over again till one or both die even though this literally happened on screen

[doomonfilm]

Shorts : The 93rd Academy Awards (2020 Nominees)

Even before my days as a film blogger, I always made a concentrated effort to try and see as many films nominated during awards season as I could... I would hope to have seen them throughout the course of the year in the natural flow of of my viewing, but inevitably I end up playing catch-up in the span of time between the Golden Globe nominations and the Academy Awards ceremony.  One unfortunate consistency, however, is the fact that I often fall short (no pun intended) in my coverage of short live-action, animated and documentary films that receive recognition from the Oscars. 

With streaming ruling more than ever in the wake of COVID-19 and the pandemic, and more access to films regardless of the current state of world affairs, I wanted to make sure that my attempt to cover as much ground in the Oscar nomination pool as possible included shorts, and thanks to a bit of sleuth work, I was able to see a large slice of the nominated material.  This article will focus solely on my thoughts about what I was able to see, but more importantly, it will allow me to include these categories in my prediction post, as they are often overlooked.

Editor’s note - Due to a lack of access, the following films will be excluded from this list :  - Oprea (Best Animated Short nominee) - White Eye (Best Live-Action nominee)

Burrow (SparkShorts/Pixar, dir. Madeline Sharafian) Best Animated Short nominee

It’s easy to see why Burrow was paired with the wildly successful and stellar animated feature Soul, as both tell a similar tale about independence in the face of community, albeit one is much more layered and textured than the other.  That being said, Burrow is able to transmit its message without the use of dialogue, instead utilizing a bouncy soundtrack and sound design to match both the underground and animal-based aspects of the short.  The lighting techniques in particular stand out, especially when the bunny finds himself digging tunnels.  The menagerie of animal characters are each given unique design to reflect the vast number of subterranean dwellers in the wild, but the designs also share enough similarity to keep the overall world aesthetic uniform and enjoyable.  This one is definitely highly recommended for children, although its extremely short runtime may leave them demanding more.  Major props to Madeline Sharafian for making such a dynamic piece of traditional animation in a company known for pushing the realms of digital animation and 3-D character rendering.

Genius Loci (UniFrance, dir. Adrien Merigeau) Best Animated Short nominee

Genius Loci should be framed and presented to the masses a motion-based art.  The way in which each sequence is laid out like some sort of abstract piece of artwork is stunning, and as the narrative unfolds in its powerful minimalist take on surrealism, we are given a creatively intriguing blend of symbolism and stimuli that is nothing short of breathtaking.  Genius Loci harkens me back to the days of programs like MTv’s Liquid Television, where I wasn’t even registering how much the lines between entertainment and artwork were being blurred.  Even in its abstraction and heavy symbolism, it is extremely easy to recognize the variety of human interactions that Merigauh parades in her dreamlike animated sonnet.  In all honesty, words do not do this modern masterpiece justice… it simply must be seen to be believed, especially for anyone who was a fan of any aspect of Waking Life.

If Anything Happens I Love You (Netflix, dir. Will McCormack and Michael Govier) Best Animated Short nominee

If Anything Happens I Love You is an incredibly artistic (and seemingly deeply personal) rumination on grief in the  wake of sudden and tragic loss.  Aesthetically, the film has an elevated Plymptoons style to it, with an excellent use of minimalism and abstraction that simplifies ideas of memory, personal regret and reconciliation with grace, thoughtfulness and nuance.  While absent of dialogue, the use of sound design, illustration and a well-placed King Princess song says more than any dialogue or exposition could ever manage in a package like this.  The way that memories blend together and introduce color in a world where the presence is absent of it leaves a lasting impression.  Short projects like this show animation’s capacity to elicit a deep emotional reaction and touch upon topics that may seem to step into the realms of exploitation if done traditionally.  The emotional gut punch delivered by If Anything Happens I Love You in its waning moments is as touching as it is heartbreaking, and is likely to pull tears out of even the most hardened moviegoer.  

Yes-People (The New Yorker, dir. Gísli Darri Halldórsson)

One thing about Yes-People that immediately stands out is the character design... I am unsure of whether it is a stop-motion film, a computer-generated animation, or some other technique made to emulate these others.  There is a minimalist aspect to the film similar to that of Aardman Animations, particularly in terms of the narrative hook involving the use of a single word : “Yes”.  We are shown a wide range of individuals with distinct looks and seemingly distinct purposes in life, and although all characters use the same word (and are tied to the same use of a single song throughout the film), it is the way in which these particular elements are displayed and presented that gives the world a sense of variety and distinction amongst its participants.  The look seems geared towards children, but the subject matter and tone seem to be geared more so towards adults, especially in the way it deals with finding joy and pleasure in the mundane nature of living.  While not the most moving piece of animation for me out of the bunch, I can certainly recognize art when I see it, and Yes-People deserves all of the recognition and accolades it is currently attaining. 

Colette (The Guardian, dir. Anthony Giacchino) Best Documentary Short nominee

While not the first documentary on the impact of the Nazi party during World War II, Colette does more to humanize the tragedy than any other piece of media I can recall.  To clarify, many documentaries have shown images and footage of prisoners, but Colette does so without taking a morbid tourist, exploitation or self-gratifying stance.  In contrast, we are taken to a World War II museum prior to visiting the concentration camp where Jean-Pierre (brother of documentary subject Colette Marin-Catherine) was held, where we see items, portraits and registration cards meant to contextualize the scale of the Nazi atrocities.  Rather than utilize shock and despair, we are given a very welcoming presentation, which makes it easier to understand and accept how recognizing and understanding our past downfalls can help avoid them in the future.  Colette Marin-Catherine and Lucie Fouble have a wonderful synergy together, and their conversations serve to further illustrate the nuance that comes with recognizing the past, based on your personal past and point of view.  Colette Marin-Catherine is not only extremely honest about herself, but she is quick to hold up a mirror to those who exploit the tragedies Germany committed during World War II, and it’s this ability to be forthright and unwavering that makes her a fascinating subject.

A Concerto Is a Conversation (The New York Times, dir. Ben Proudfoot and Kris Bowers) Best Documentary Short nominee

This short documentary uses the hook of music and its ability to communicate the unspoken as an introduction for a story surrounding up and coming composer Kris Bowers (who co-directs the documentary with Ben Proudfoot) and the historical significance of his current rising star.  Framed as a conversation between Bowers and his grandfather Horace Bowers, A Concerto Is a Conversation allows the elder Bowers to break down for his grandson the reason why his past drive has allowed his grandson to achieve.  Horace Bowers recounts the story of his early life on a plantation in Florida, his literal escape across the country to California, his search for employment that turned into business ownership, and how all of this inspired Kris to chase his dreams.  As an inspirational story and an opportunity for personal testimony in a historical context, the documentary certainly has value and impact, but may find itself happy to just be in the conversation among the likes of such heavy and emotional content.

Do Not Split (Field of Vision, dir. Anders Hammer) Best Documentary Short nominee

No matter what happens for Do Not Split in terms of award season success, this is a film that should not be ignored due to its current relevance on numerous levels.  First and foremost, we are given a glimpse into both modern protesting and modern policing, and how protestors have attempted to counter the militarization of police forces via the implementation of technology and guerilla tactics, which in turn shows viewers how chaos is formed when antiquated tactics are used in the information age.  We are also given a glimpse into how divided the world is becoming socio-politically, with this particular lens turned on the struggles of Hongkongers in China fighting to keep some sort of independence from the mainland while maintaining a true freedom of expression.  Based on political and power shifts surround China, Hong Kong and Great Britain, the common ground is already unstable, and Do Not Split gives insight into how the aforementioned freedom of speech is slowly being turned into a privilege based on class or ideology, rather than a universal right.  Viewers are also given education and context surrounding the 5 Demands, calls for political reformation, and the eventual National Security Law implemented during the early stages of the COVID-19 pandemic.  While the score does teeter a bit on the overly-cinematic side, it does sell how drastic the situation is in Hong Kong.  Director Anders Hammer presents us with a documentary saturated in brutal truth that is captured in an intimate and unflinching manner.

Hunger Ward (MTv, dir. Skye Fitzgerald) Best Documentary Short nominee

The juxtaposition of aesthetic creative beauty and true life human tragedy never ceases to amaze me in terms of how compelling it can be, and Hunger Ward continues this tradition in terms of both technical prowess and subject matter.  The film is possibly the most traditional documentary of the bunch outside of Do Not Split, and while I doubt it had the budget of A Song for Latasha (which is my guess based solely on it being a Netflix project), it cannot be ignored how well composed and visceral nearly every shot is.  When it comes to the subject matter, the topic of malnutrition in Yemen is certainly jarring for the uninformed, and with the lack of resources available in the war-torn region due to the nearly decade long civil conflict, the stress and emotional wear and tear the volunteers is truly unimaginable.  Skye Fitzgerald steps back and takes a hard look at the situation in an observational manner, allowing the state of the malnourished victims and the stress of those attempting to care for them speak volumes.  The documentary is not an easy watch, but for anyone unaware of what life is like in a Third World country, it may be necessary in order to allow the broadening of world perspective to occur on a viewer by viewer basis.

A Love Song for Latasha (Netflix, dir. Sophia Nahli Allison) Best Documentary Short nominee

Lately, Netflix has been establishing itself as a force in the documentary world, and I believe part of this dominance has to do with the extremely cinematic recreations these documentaries use to depict events from the past.  Based on this observation, it makes total sense that Netflix would pick up A Love Song for Latasha, an ode to former South Central Los Angeles resident and race-based violence victim Latasha Harlins directed by Sophia Nahli Allison.  The death of Harlins, who was killed in the Empire Liquor Market just under two weeks after the beating of Rodney King, was a key element in the buildup to the L.A. riots, and normally when she is mentioned it is in this light.  What is great about Nahli Allison’s memorial documentary, however, is that we are given recollections and memories that not only humanize Latasha Harlins, but recontextualize the environment and interactions leading up to the riots in a way that can give outsiders a deeper understanding of why the race-based violence erupted on such a massive scale.  The stories are told in a testimonial manner rather than an interview style, very similar to the This Is Actually Happening podcast, and the method is a powerful companion to the artistic footage and animations that make up the visual stimulus.  The competition in this category is some of the fiercest of the night, but A Love Song for Latasha is a strong contender to bring an Oscar back home.

Feeling Through (Omeleto, dir. Doug Roland) Best Live-Action Short nominee

What a thought-provoking and compelling film, not to mention groundbreaking in ways that many possibly wouldn’t recognize, specifically the fact that casting DeafBlind actor Robert Tarango may mark the first occurrence of a DeafBlind actor in a leading role.  His extremely natural presence, physicality and innate spatial awareness would give one the sense that he is an actor simulating deafness and blindness well, and his chemistry with co-lead Steven Prescod is impossible to ignore.  Prescod’s Tereek characterization gives a tale of a homeless young man attempting to find a safe place to sleep for the night, which could make a compelling short film in itself, but his journey of discovery via his intense immersion and understanding into the world of Tarango’s Artie opens up avenues of sacrifice, self-discovery and humanitarian understanding that make accepting viewers better people at the completion of the short film than when they began it.  If we start to see the name of writer and director Doug Roland attached to major projects in the next few years, don’t be surprised, because if he has any ability to transition his knack for storytelling into the realm of the feature length film, we are all in for possible treats in the future.  For a deeper look into the process of making Feeling Through, and the real-life events that inspired the film, seek out the short behind the scenes documentary Connecting the Dots.

The Letter Room (Salaud Morisset, dir. Elvira Lind) Best Live-Action Short nominee

The Letter Room has a number of things going for it that make it crystal clear why it finds itself nominated for an Oscar.  First and foremost, to address the obvious, the inclusion of Oscar Isaac in anything immediately gives you a quality boost across the board, and Isaac is doing some of his nuanced best work in this short.  The film also looks absolutely great, with its cold and institutionalized look that is further hardened by the cold color temperature applied.  The character building done for Richard is immediate but impactful, as we learn he is observant, pensive, kind-hearted and motivated in relatively short order and in the natural flow of events.  The story is an engaging one that manages to present a number of emotional tones without having to resort to standard prison fare such as violence, sexual tension, terrorism, the exploitation of human labor and so on.  The score, in tandem with the vocal performances that accompany the letter text, transitions viewers into another world within the world of the film without us even realizing it.

The Present (Netflix, dir. Farah Nabulsi) Best Live-Action Short nominee

If one were pressed to find a palatable illustration of how trauma is formed by negative experiences that occur when young minds are most impressionable, I’d point them in the direction of The Present, a Palestinian short from from director Farah Nabulsi.  While crossing an Israeli border in hopes of finding his wife an anniversary present in Bethlehem, Yusef finds himself searched and detained, all in front of the eyes of his daughter Yasmine.  In the wake of the stressful event, Yusef attempts to complete his romantic gesture (not to mention supply his family with a much needed appliance upgrade) while continuing to be aware of his daughter’s extremely fragile emotional state.  In a short and efficient span of time, the narrative presented brings up thought-provoking reflections on humanity, authority and sensitivity with style and grace, which is all the more impressive when one realizes that the checkpoint scenes were shot verite’, guerilla style.  Like the other nominees in the Live-Action Short category, the appeal to humanity is extremely powerful, and it sticks with you long after the film is completed.

Two Distant Strangers (Netflix, dir. Travon Free, Martin Desmond Roe) Best Live-Action Short nominee

Of all the nominees for Best Live-Action Short, I can confidently say that Two Distant Strangers had the biggest direct impact on me.  Tension between the Police and Black Americans is certainly nothing new, with much of that tension having been baked into the origins of Police as a national institution created in response to newly freed slaves, but what really makes this film poignant is the timing, with 2020 showing absolutely no let-up in the occurrence of these incidents despite an on-going pandemic and shelter-in-place orders.  Using the formula made iconic by Groundhog Day, directors  Travon Free and Martin Desmond Roe are able to make some striking points on how frustratingly impossible curbing these killings seems, no matter what one does on a personal or neighborly level to change things.  In displaying how fruitless the venture seems, we are indirectly reminded of the many, many incidents that have claimed the lives of Black Americans unjustly, only to be directly reminded by a credit crawl prior to the acting and production credits rolling.  If you find yourself struggling to understand the perspective of #BlackLivesMatter supporters, or even those who may not wholly agree with that specific movement but voice their very real concerns about being Black in America, a film like Two Distant Strangers can help put one into the state of mind that Black America finds so hard to make real for others.

[samprestonbigbadabruce]

Serbuan Maut (The Raid: Redemption)

Written & Directed by Gareth Evans

Cast includes Iko Uwais, Joe Taslim, Donny Alamsyah, Ray Sahetapy, Yayan Ruhuan.

Released in 2011, an Indonesian Action film with a running time of 101 minutes and an 18 rating.

I have to admit, this will not be a normal review. I can't conduct this review normally, my language will be different, my style will be unusual, but I can't think of any other way to write this review. Enjoy.

This movie, is insanely awesome. I loved it, from beginning to end, I felt like I was watching the by-product of Ong-Bak having rough sex with the violence & realism of Saving Private Ryan This was not your normal martial arts film, this was the ability of Tony Jaa in Ong-Bak , with a war movie thrown in during the first half, guns exploding like it's going out of style, and more blood flying at the screen then a Saw movie. You weren't just seeing slight blood slashes and broken arms, you saw people getting killed, violently, and bloody. This offered a sense of realism in a martial arts movie I haven't seen since the days of Bruce Lee.

But apart from that, what elevates this above Ong-Bak, and quite frankly, most martial arts films I have ever seen, is the crafted story. A lot of martial arts/action films, have terrible plots. I love Ong-Bak, but the main character is a village representative sent to the city, who gets involved with drug kingpins and such...it feels forced and unnatural, you ignore the faults because of the awesome action. Here, like the best Jackie Chan or Bruce Lee films, the plot is simple: a crime lord runs a derelict apartment building housing the worst criminals and murderers possible. A SWAT team is sent in to arrest the crime lord. It backfires, and the remaining SWAT members are stuck inside the building, with everyone attempting to kill them. Simple, an easy set-up for the action, and with a motive for the characters, surviving and escaping.

The simplicity of the story is coupled with a easy set-up of the main character, Rama. The first ten minutes of the movie is devoted to showing him waking up, training, where you get a chance to see how lethal he is, and seeing him saying goodbye to his pregnant wife, promising to return. There, a character motivation and a reason for me to invest, this guy is someone who just wants to be a cop, do the right thing, and then go home to his family. I'm already on board, and wanting him to succeed.

The inclusion of a large SWAT team is a clever move to allow the villains to be built up, whenever the villains attack them, and a SWAT member is killed, whilst you may not be as emotionally involved, you realize that these murderers are the real deal, and it means when Rama faces them, you are worried for him, as you can see he isn't safe. The violence of the villains gives the film an authentic edge, the fight scenes are between multiple people wanting to kill each other, the blood that flies and bones that break make sense, they are fighting for their lives!

And the action? Has to be said, fucking amazing, it blew me away, the fight scenes utilize the surroundings, akin to Jackie Chan, with the speed and ferocity of Bruce Lee, with machetes and guns also being used as weapons. The speed and strength within the action draws you in, and leaves you reacting to the physical destruction. In one scene, a villain is thrown off a stairway floor and lands back first on a wall, you hear the crack of his spine, and you jolt in response, because you realize, this is not a film taking prisoners!

And how is the direction? Absolutely fine, unlike some films nowadays, it mixes its style, sometimes getting in close to make you feel disorientated, other times backing up a few feet so you can see both competitors, allowing you to get a better idea of the movements and attempts of the characters in the fight. The fact that it seems NO CGI was utilized is also awesome, as it again, offers a realistic depiction of two or more people capable in 'pencak silat', astounding the audience.

And what about the lead actor, Iko Uwais? He reminds me of a young Bruce Lee in that not only is he physically capable and astounding, he is extremely fast, at times a blur as he throws kicks & punches, but more than that, he is a good performer. He has a natural charisma, as well as a strong camera presence, that makes you notice him even in a group. He makes an easily likable and interesting protagonist, his ability unquestionable.

Whilst the rest of the cast are mostly unknown in Western audiences, they are also capable performers. Rada's superior, played by Joe Taslim, is not only a capable fighter, but he is able to create an emotional connection with the audience with very little, which makes me feel he has as good a future as Uwais. In fact, he shall be appearing in the Fast Six movie.

The best villain is Yayan Ruhian, playing 'Mad Dog', a terrifying monster who is capable of defeating multiple characters solo, he represents the Final Boss, the one who offers the biggest challenge, and unlike other action films, where you are just 'told' of his ability, here he demonstrates it, very successively.

If you love action films, or martial arts films, you will worship this movie, it takes the best elements of Bruce Lee, Jackie Chan, Tony Jaa, and others, to create a refreshingly new concept that blows you away. I've heard there are upcoming sequels planned, and I for one, am left in great anticipation.

Thumbs Up, 10 out of 10