Posted in: by David Coursen, by Richard T. Jameson, by Robert C. Cumbow, by Robert Horton, by Sean Axmaker, Contributors, lists

Parallax View's Best of 2019

Welcome 2020 with one last look back at the best releases of 2019, as seen by the Parallax View contributors and friends.

(In reverse alphabetical order by contributor)

Richard T. Jameson 

1. Once upon a Time … in Hollywood
2. The Irishman
3. Marriage Story
4. Little Women
5. Midsommar
6. Richard Jewell
7. A Hidden Life
8. Transit
9. Atlantics
10. Pain and Glory / Parasite

A few steps behind, in alphabetical order:
1917, The Art of Self-Defense, The Dead Don’t Die, Dragged Across Concrete, It’s a Beautiful Day in the Neighborhood, Joker, The Last Black Man in San Francisco, The Lighthouse, The Nightingale, The Souvenir, Uncut Gems

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Posted in: by Robert Horton, Contributors, Oscars

And The Winner Is: 2019 Oscars Preditions

From climate change to measles to the epidemic of motion-smoothing on TV sets, I know we have many, many more important things to worry about. But in the moments before your beach house is inundated by rising seas, spare a thought for the slow-motion pratfall that is this year’s Oscars ceremony.

The awards, to be broadcast on ABC on this Sunday (Feb. 24), have been bungled from the start. Let’s recap: A proposal to add a new award for Best Popular Film (alternate name: Best Movie That’s Not That Great But That Some of You Might Actually Have Seen) was quickly withdrawn after a withering reception. Then host Kevin Hart stepped down in the wake of criticism for homophobic jokes from his past. More recently, someone at the academy (or was it ABC? Or Disney, which owns ABC?) announced they would feature only two of the nominated songs during the show and would give out certain awards during commercial breaks and summarize the winning speeches later.

The aftermath: There’s no host, all the songs and categories are back in after public backlash, and the show will last seven hours. All right, maybe not seven, but ABC will have a hard time trying to make its three-hour target.

Continue reading at Seattle Weekly

Posted in: by Robert Horton, Contributors, Film Reviews

Review: Arctic

There are a couple dozen lines of dialogue in Arctic, plus an assortment of grunts. As it happens, we don’t need even that much spoken information: The simplicity of writer/director Joe Penna’s approach and the magnificence of Mads Mikkelsen’s acting is more than enough to make this survival tale a gripping experience.

One of Penna’s best decisions was to lop off the first act of the story. We don’t know how or why a man, played by Mikkelsen (the superb Danish actor from Casino Royale and the TV version of Hannibal), has come to be stranded somewhere in the frozen North.

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Posted in: Animation, by Robert Horton, Contributors, Film Reviews

Review: The Lego Movie 2: The Second Part

Batman is wearing a white bat-helmet, his costume dotted with sparkles that set off his fabulous ermine cape. I think at this point there is no question that the Batman from the Lego movies has eclipsed the Dark and Brooding™ Batman of Warner Brothers’ DC film cycle. No wonder Ben Affleck is opting out of the live-action role; he can’t compete with this. As voiced by Will Arnett, the Lego Batman is vain, dimwitted, and very nearly a complete parody of the Dark Knight. It’s the closest thing we’ve come to Adam West’s great TV Batman from the ’60s, and this is a good thing.

Batman has the bling on because he’s dressed up for an outer-space wedding, which is merely one of a thousand points of light in The Lego Movie 2: The Second Part, a sequel to the 2014 hit.

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Posted in: by Robert Horton, Commentary, Contributors, Oscars

Who We Would’ve Nominated For 2019 Academy Awards

While the Oscars remain the one artistic award show that really matters, it’s frustrating how flawed and exclusionary they remain. Still, only certain types of movies are even considered for nominations — sure, a horror film like Get Out or a comic-book movie like Black Panther can get nominated, but they’re the exceptions that prove the rule (and ones that would’ve received major backlash if snubbed). But even if a movie falls under the category of “Oscar bait,” it still requires a cash-back campaign targeted at voters to stand a chance. It’s a crummy system.

With that in mind, we threw any notion of standard Academy Awards qualifications out the window to nominate our favorite films of 2018 in some of the major categories (with entries marked with a * indicating our pick as the winner).

BEST PICTURE

Actual Nominees

Black Panther
BlacKkKlansman
Bohemian Rhapsody
The Favourite
Green Book
Roma
A Star Is Born
Vice

Robert’s Nominees

The Ballad of Buster Scruggs
BlacKkKlansman
Burning
First Reformed
Hereditary
Leave No Trace
The Rider*
Roma
Support the Girls
You Were Never Really Here

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Posted in: by Robert Horton, Contributors, Film Reviews

Review: Stan & Ollie

Playing a comedy genius is surely 10 times harder than playing another category of intellectual brilliance. If you’re cast as Albert Einstein, you put on a fright wig and spout a few equations — everybody thinks you’re brilliant. Play a famous singer, and they can always dub the voice. In the current At Eternity’s Gate, Willem Dafoe is Vincent Van Gogh: a terrific performance (that just received a Best Actor Oscar nomination), one for which the dedicated actor learned how to paint. But he doesn’t have to convince us he painted the completed canvases — Van Gogh provided the genius we see hanging on the walls around the actor.

But comedy? Comedy is hard. To be convincingly touched by comic genius is an extremely difficult thing to fake—it’s the difference between acting funny and being funny.

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Posted in: by Robert Horton, Contributors, Film Reviews

Review: Cold War

I saw Cold War last summer at a film festival in Ukraine, where I was on an awards jury. When it concluded, I stood up and declared aloud to no one in particular, “We have just seen the winner of the next Best Foreign Language Film Oscar.”

Of course I didn’t actually do that. Who am I to stand up and make pronouncements in English in a Ukrainian movie theater? (But I did mutter it to myself.)

Cold War has all the attributes of a classic Oscar-winner in that category: It’s accessible; it’s serious but also deeply romantic; it’s got political overtones; and it’s gorgeous to look at.

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Posted in: by Robert Horton, Contributors, Film Reviews

Review: If Beale Street Could Talk

When you win the Best Picture Oscar, you’ve got a choice: play it safe or take a chance. Moonlight director Barry Jenkins obviously decided to gamble.

Jenkins’ follow-up to his intense 2016 prize-winner is If Beale Street Could Talk, a complex, offbeat adaptation of James Baldwin’s 1974 novel. The story revolves around Tish (wondrous newcomer KiKi Layne) and Fonny (Stephan James), two lovers who’ve known each other since childhood. As the film opens, Tish finds out she’s pregnant while Fonny languishes in prison—two situations we’ll eventually learn more about as the movie skips around in time.

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Posted in: by Andrew Wright, by David Coursen, by John Hartl, by Kathleen Murphy, by Richard T. Jameson, by Robert C. Cumbow, by Robert Horton, by Sean Axmaker, Contributors, lists

Parallax View’s Best of 2018

Welcome 2019 with one last look back at the best releases of 2018, as seen by the Parallax View contributors and friends and a few special invitations.

Sean Axmaker

1. First Reformed
2. The Rider
3. Roma
4. Leave No Trace
5. If Beale Street Could Talk
6. Private Life
7. Burning
8. BlackKkKlansman
9. Hereditary
10. Zama

A second ten (in alphabetical order): Annihilation, Can You Ever Forgive Me?, Cold War, The Favourite, First Man, Happy as Lazzaro, Revenge, Shoplifters, Support the Girls, Suspiria

Cinematic achievement of 2018: the decades-in-the-making completion of Orson Welles’ The Other Side of the Wind, left incomplete at the time of his death.

First Reformed – Photo credit: A24

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Posted in: by Robert Horton, Contributors, Film Reviews

Review: Mary Poppins Returns

The first soundtrack album I ever knew deeply was Mary Poppins, and of all the delightful songs from that movie, the one that really stirred my childhood self was the chimney sweep’s anthem, “Chim Chim Cher-ee.” It took me a few years to understand that songs in a minor key sound darker than songs in a major key, but even as a kid I sensed that something about that tune was slightly eerie—its philosophical mood gave ballast to the movie’s floatiness.

There’s nothing like that minor-key tone in the new Mary Poppins Returns, no waft of night magic to offset the cheerful candy colors. But otherwise this is a crisply executed and refreshingly old-fashioned musical, drawn again from P.L. Travers’ Poppins books.

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