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And the Oscar goes to….A White Man.

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The Year of the Woman. The Decade of Color. The Wave of Change. Ummmm….well…not to be a JOKER, but what gives in Hollywood? By now you have heard the outcry of ‘White Male Oscar Party!’ The New York Times has an excellent article all about it. What does it really mean? And as the debate rages about the Relevance of the Academy Awards today, (check into NPR), it leaves us all a little perplexed. If our movies reflect our society, is something wrong with the movies? Society? Perception? Probably the latter…we have been down this road many, many times before.


Think about this….in acting categories alone, there have been 1200 to 1500 nominations since the awards got their start….and, wait for it, to date, less than 80 winners have been of color.

And then the dreadful Greta Gerwig snub for ‘Little Women.’ The movie garnered 6 nominations…but no director, because evidently, it just happened on its own.

Before I press forward, let me state, I’m not a film critic, I did take film appreciation. I’m not an acting expert, I’ve been in plenty of plays. I’m not one to see every film, I do love Netflix. What I am is the very person that Hollywood wants to reach! The average movie-goer hoping to be entertained and even educated from time to time.

This time, Hollywood needs the education. We are in a precarious time in this country. Women are at a true crossroads, politically and socially. People of color are under-represented and their voices lost in others’ misleading tweets.

So who do we look to? The Movies! To celebrate the underdogs. To make more movies about those people who need to be seen, heard and understood. And then, when those films are made, we need Hollywood to buoy them, praise them and bring them accolades that prove ‘all types of us matter.’ If not Hollywood. WHO?

Which brings us to our very own Julia Reichert! Let’s hear it for the GIRL! I know we are all giddy with excitement thinking that one of our own can take home an OSCAR and she’s a woman….W O M A N! (Shout out to Steve Bognar, who we love too, but this is about her right now!) And if ever there was a lady who girls can look up to and see their potential, it’s Julia!

What does all of this mean…the outrage, the disappointment, the white male party on Sunday, February 9th….I think it means this….

Pray that Hollywood picks the BEST of what they have deemed the best. Let’s hope they see, hear and understand what the world is saying! (And secretly, root for Cynthia Erivo in HARRIET…much like the lady she portrayed, maybe she can show the world that we are all part of the party!!)

 

The Oscars will air LIVE SUNDAY FEBRUARY 9 8e|5p on ABC and will be televised live in more than 225 countries and territories worldwide…where there are a multitude of races, genders, and sexual preferences!

My Favorite Films of 2019

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Hello Dayton MostMetro!

When asked to write a “Best of ” list about movies, it’s hard to decide what to write.  First off, it’s so subjective…do people really want to read about my personal tastes or should I look at films scholastically and determine what is the “best” in regards to craft?  In addition, what should I include – only films that got picked up for distribution? only films that screened in this market?  only films that got a release this year?

Here’s what I’ve decided.  The following list is a collection of films that I saw and loved this year.  (Though some films didn’t play until 2019 in Dayton, movies like CAPERNAUM and IF BEALE STREET COULD TALK and THE FAVOURITE are not on the list because I saw them in 2018.)  And contrary to popular belief, not all the films on the list screened at THE NEON!

I should make it known that I have not seen every film that got a release this year…once in a while, a film even plays at THE NEON that I can’t fit into my schedule.  I tend to shy away from science fiction (though not always), most horror movies and films with gratuitous violence and/or machismo-driven male plot lines (a la Tarantino).  (I have not yet seen THE IRISHMAN – as I intend to see it on our big screen on NYE.)

Here they are. 15 Favorite Films of 2019 (in alphabetical order):

AMERICAN FACTORY – Julia Reichert & Steve Bognar’s masterful documentary is stunningly heartfelt and equally scary.  It’s a call to action from and regarding America’s workforce (which also happens to be filmed in our own backyard).  I’m so happy for Julia & Steve’s success with this film!

BELLE EPOQUE – This little French gem with Daniel Auteuil and Fanny Ardant has not yet found a distributor in the US, but its existential ETERNAL SUNSHINE vibe is so much fun…I hope it makes its way to the States soon.  Here’s a trailer:

THE BLONDE ONE – I love a good, slow-paced, foreign film that’s beautifully shot and fraught with honest sexual tension…especially when I can empathize on some level.  This film is a slow burn, and I love it.  (It played at The Dayton LGBT Film Festival.)

BOOKSMART – This generation’s CLUELESS is smart, fresh and so endearing…the best teen comedy in years!  I watched this film on a flight to Germany…and again on the flight back. Beanie is a treasure! (trailer is for mature audiences)

https://www.youtube.com/watch?v=Uhd3lo_IWJc

CIRCUS OF BOOKS – This endearing doc about a straight Jewish couple who ran one of the most famous gay adult bookstores in the US while raising three children is poignant, personal and a great history lesson.  (This film screened as part of The Dayton LGBT Film Festival – there is no trailer yet.)


THE FAREWELL – This runaway hit is billed as a comedy, but it’s so much more.

JOJO RABBIT – My feelings about this film ebb and flow…today it happened to make the list. The child performances are extraordinary, and the production design is flawless.  This film has a lot to say about how our children are often taught to hate – and how easy it is to spread misinformation.

THE LAST BLACK MAN IN SAN FRANCISCO – This poetic film isn’t getting much year-end discussion, but I absolutely loved it – from the performances to the score to the cinematography.

LITTLE WOMEN – Thoughtful and exquisite! I complain about movie runtimes a lot.  (I wish MARRIAGE STORY and WAVES were both 15-20 minutes shorter.)  But this film seemed rushed at times…I think it would be stronger with a slightly slower pace and perhaps a runtime of 20 minutes more. Regardless, this is a gorgeous film with a beautiful structure.

PAIN & GLORY – Almodovar’s best film in over a decade…and that’s quite a feat (JULIETA and THE SKIN I LIVE IN are also quite strong from the last several years). This quiet film is full of rich performances, inventive storytelling and fantastic production design.

PARASITE – Must be seen.  This film changes genres on a dime and has so much to say about class.  Full of surprises and beautiful to look at – even when dark and disturbing.

PORTRAIT OF A LADY ON FIRE – This film will get a release in early 2020, and it is sublime.  I can’t wait to see it again.

ROCKS – This film has not yet been picked up for distribution.  It’s a gorgeous and heartbreaking story about a young girl trying to take care of her younger brother and herself after her mother has disappeared (again). There is sadly no trailer for this – just a clip.

THE TWO POPES – This film isn’t just a chamber piece – though simple moments between these two brilliant actors are certainly worth studying.

UNSETTLED – Winner of this year’s Audience Award at The Dayton LGBT Film Festival, this story about LGBT refugees in America is touching, timely, thought-provoking and powerful.

Don’t get me wrong.  There are many more solid films from this year.  There are movies with standout performances (like HARRIET) or incredible cinematography (like HONEYLAND) or great messages (like BIGGEST LITTLE FARM) or fascinating central subjects (like SOUND OF MY VOICE or PAVAROTTI) – but it’s the “Top 15” that really spoke to me in their entirety.  That said, these other films are certainly worth mentioning (also in alphabetical order): A BEAUTIFUL DAY IN THE NEIGHBORHOOD, BOMBSHELL, CLEMENCY, DARK WATERS, GLORIA BELL, HONEY BOY, HOPE GAP, HOW TO BUILD A GIRL (here’s Beanie again!!),  THE KINGMAKER, MARRIAGE STORY (sometimes I want to switch this with JOJO RABBIT), STRAIGHT UP, VARDA BY AGNES, and WAVES.

For the sake of trivia, here are the top 3 highest grossing films of 2019 at THE NEON:

#1 – JOJO RABBIT.  #2 – DOWNTON ABBEY.  #3 – HARRIET.   (LITTLE WOMEN could possibly join the list, but it will be split between 2019 and 2020.)

Wishing everyone a happy and prosperous New Year.

See you at the movies,

Jonathan

McCoy on Movies: Uncut Gems

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Adam Sandler’s problematic protagonist makes fool’s gold out of Uncut Gems

“OK, OK – I won’t ask you anymore questions about LeBron if you agree to not ask me anymore about Rob Schneider!” Kevin Garnett, left, listens as Howard Ratner (Adam Sandler) tries to make a deal as their mutual acquaintance Demany (LaKeith Stanfield) looks on in a scene from the Safdie Brothers’ latest drama UNCUT GEMS. Credit: © and ™ A24 Films. All rights reserved.

 

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Adam Sandler, Idina Menzel, LaKeith Stanfield, Kevin Garnett, Eric Bogosian, Julia Fox, Keith Williams Richards, Tommy Kominik and Judd HirschDIRECTOR(S): Josh and Benny Safdie

THE BACK STORY: Howard Ratner (Adam Sandler) is a jeweler in New York City’s famed “Diamond District.” He’s got healthy children with his estranged wife Dinah (Idina Menzel), a wealthy father-in-law in Gooey (Judd Hirsch) and a streetwise business partner in Demany (LaKeith Stanfield) to help him get clientele like Boston Celtics power forward and future NBA champion Kevin Garnett (yes, played by Kevin Garnett). 


Unfortunately, Howard also has a lot of personal problems caused by his demons. That’s why he has an apartment in the city where his employee/girlfriend Julia (Julia Fox) and he can enjoy their rendezvouses and he is a massive gambler, which is why his in-law Arno (Eric Bogosian) wants him to pay him the money he is owed ASAP. That’s also why Arno’s two “business associates” Phil (Keith William Richards) and Nico (Tommy Kominik) are ready to beat Howard any chance they get. 


So, what happens when Howard receives a rare gem that ends up tying his future with Garnett, Arno and Julia all together? Let’s just say you can bet on it changing all of their lives forever. 

THE REVIEW: Sometimes you see a movie that features actors turning in fine performances with characters that are realistic in a story that makes perfect sense given the world in which they exist. Likewise, the direction is tight, the camera work draws you into those characters’ respective worlds and the pacing (for the most part) makes sense. But, for whatever reason, you just aren’t captivated by it, it lacks something that makes many (outside of those into artistic endeavors and/or laud “cinema” or “movies”).Unfortunately in the case of Uncut Gems, this factor works against the film and turns what one would hope could be a diamond into a rather frustrating piece of fool’s gold.

Other than the surreal joy of watching Kevin Garnett playing Kevin Garnett without acting like he is Kevin Garnett, Uncut Gems features a protagonist who is the textbook definition of a sad sack due to his own inability to get out of his own way. Sandler’s Howard Ratner is manic, fast-talking, obsessive and unappreciative of his own fortunes, always driven by his next big hit. Naismith Memorial Basketball Hall of Fame coach Pat Riley once famously coined the phrase “the disease of more,” saying “Success is often the first step towards disaster” – meaning that once one has a little bit of it, the compulsion for more of it often leads to one’s own undoing. Perhaps the Safdie brothers, like Sandler himself, are really big basketball fans, hence their need to create a character Riley himself might deem uncoachable. Thus, Uncut Gems is much like being a fan of a popular sports team that the rest of the league hates – only built for die-hard Sandler fans only (for the most part) who will support “their guy” no matter what.

Unlike Robert Pattinson in the Safdie brothers’ previous effort, the stellar Good Time, Ratner has zero redeeming qualities to the point you almost – almost – enjoy watching him fail. This is a self-destructive man doing self-destructive things: That may be the point, but while it’s a point well-taken, it is also one that isn’t exactly (for lack of a better word) fun point to watch.

Whereas Pattinson’s character was trying to do something wrong to provide a better life for he and his mentally challenged brother, Sandler’s character is a pure narcissist who treats everything and everyone – Julia especially – like just another trophy. (Given that he is a jeweler and what gems represent in both the film and in American society, of course, the metaphors abound aplenty.) Sandler’s character is King Midas … And anyone who’s paid attention to any basic Greek mythology in a social studies class knows how well that worked out for him.

Which is a shame, because Uncut Gems had a lot more potential to be a good Christmas present for someone outside of just hardcore Sandler and Garnett fans.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 
 

FilmDayton Hosts Workshop for Aspiring TV Writers

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If you’re an aspiring screenwriter with an interest in television, there’s a good chance you’ve heard of a TV series bible, but if you’ve never actually pitched a show, there’s a chance you’re not 100% clear about what that is. A series bible can be an essential tool in pitching a television show. It’s used as an additional way to explain the tone, look and themes of your pilot.

FilmDayton is hosting a  two-day session that will allow writers to learn how to craft their bible for their Television Series and create a pitch document outlining their show. Through writing exercises, group workshopping, and looking at existing shows and their series bibles — writers will gain a thorough insight into what it takes to get your show ready for the next level.
The last session will include a Q&A skype session with industry experts. Past guests have included writer’s (Leftovers, Westworld, House), Literary Managers and Agents, and Studio Executives.
Our instructor,  Marishia Mukerjee, helped create the very first FilmDayton Festival in 2009 when she was on the FilmDayton Board. She’s been a location manager, producer and filmmaker, and successful writer. Her writing/producing credits include: The Bridge (FX), Heroes Reborn (NBC), Quantico (ABC), Titans (DC Streaming), Shantaram (Apple).
This two day workshop costs $225 and you can sign up online.  FilmDayton members can attend for $175.

 

 

McCoy on Movies: The Rise of Skywalker

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Nostalgia, battle sequences likely enough to send longstanding
fans home happy with Star Wars: The Rise of Skywalker

“Just think – in some other galaxy, people will actually go pay to throw axes indoors when they could just get lightsabers and fight people to their potential deaths!” Kylo Ren (Adam Driver) faces off against Rey (Daisy Ridley) in a scene from STAR WARS: THE RISE OF SKYWALKER. Credit: © 2019 Lucasfilm Ltd.  & ™. All rights reserved.

 

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Anthony Daniels, Joonas Suotamo, Kelly Marie Tran, Richard E. Grant, Domhnall Gleeson, Carrie Fisher, Ian McDiarmid and Keri Russell with Billy D. WilliamsDIRECTOR(S): J.J. Abrams

THE BACK STORY: The ninth and final installment of arguably the greatest science fiction franchise in history, Star Wars: The Rise of Skywalker finds Rey (Daisy Ridley), Finn (John Boyega), Poe Dameron (Oscar Isaac) and General Leia Organa (Carrie Fisher) and what’s left of The Resistance preparing to take a grand final strike against The First Order, now firmly in the grasp of its new supreme leader Kylo Ren (Adam Driver) a.k.a. Ben Solo (if you don’t know why, you’re probably NOT ready to see this movie and need to catch up to the previous episodes). After a series of revealing discoveries, the Resistance and the First Order are set to face an epic clash, Rey and Kylo Ren destined to be the ones who may determine the fate of the galaxy.


Then again, the presence of the previously thought to be deceased Emperor Palpatine (Ian McDiarmid) may change both of their plans forever if he has his way.

THE REVIEW: You have four types of people when it comes to Star Wars: (1) The uninitiated/unconcerned, a.k.a. the people who have ever never seen a Star Wars movie, don’t care to see another Star Wars movie and/or don’t even know The Rise of Skywalker is here; (2) The relatively familiar – people who have seen one or two of the films, most likely the “original” three from the 1970s and 80s and are good with that; (3) the generally knowledgeable – they’ve seen all the films, but are not dedicated fans who can rattle of planet names or easter eggs from one film to the next; (4) the Comic Book Guys (or Girls). So named for The Simpsons-inspired character inspired in part by Star Wars-obsessive fans, they are protective of the franchise the way parents are a first-born child, love and hate different aspects of the series with the passion of a young Olympic boxer pursuing a gold medal and know so much Jedi/Sith trivia they would make Ken Jennings Jeopardy run look like child’s play.So, that all being said, as someone who falls into category 3 and knows plenty of people that fit into categories one, two and four, my spoiler free assessment of the last installment in the main Star Wars canon is this: Episode IX (nine for those who don’t remember their Roman numerals), while not perfect, contains enough positives to satisfy the people in the last two groups while perhaps making those in the first two groups curious enough to at least wonder what all the hype is about.

The previous Star Wars film, The Last Jedi, is a divisive issue among the hardcore fans as for as many people loved it, just as many seemingly did not – leading to it to serve as an “OK Boomer”-style case study in letting go of old things vs. embracing new possibilities. (You can read more about that here, here and here. Abrams has shared his thoughts on the matter extensively.) Whether that unconsciously (not likely) or consciously (most likely) played a factor in J.J. Abrams’ approach to the final installment may be up for debate, it won’t feel like it watching The Rise of Skywalker as the film tries to bridge a nostalgia gap for the old guard of fans while finishing the new work.

Here’s what most of you will care to know in regards to the actual quality of the film: The action sequences work well, Ridley proves herself capable of earning the massive responsibility her character is thrust into, Driver makes his character more than a Darth Vader clone and the classic elements of good vs. evil – complete with dad jokes aplenty courtesy of C-3PO. There are sky battles, ground battles, journeys across the galaxy to find missing pieces of information, character revelations, homages to the past … It’s a basic 2-and-a-half hour blowout of the things most fans have come to enjoy about the franchise.

Yes, it would be nice if Fisher hadn’t passed away before the filming finished (luckily for Abrams the cut footage from previous films fits in nicely). Likewise, some people may take issue with the incorporation of past characters into the film and their usage and the Palpatine situation may serve as the stuff of blogs and YouTube videos for many eons to come. Then again, when you’ve got over 40 years’ worth of cinematic history coming to an end, there is no way you’re going to satisfy everyone.

But, much like everyone’s favorite little green friend re-invented as a child on Disney+ once famously said, “Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering.” Thus, if you don’t embrace some change over the course of nine films, you’ve probably missed what Abrams and company have attempted to do: Deliver a fitting end to a story with plenty of history while giving it some fresh life along the way. After all, one must “Do or do not. There is no try.”

Keeping that sage-like wisdom will likely send most longstanding fans home happy from this galaxy to the next.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Jumanji: The Next Level

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Cast and crew reunite for a worthy return to the wild in Jumanji: The Next Level

“All right, we can’t call ourselves the Wu-Tang Clan … But we’ll come up with something cool!” Alex a.k.a. Jefferson “Seaplane” McDonough (Nick Jonas), Bethany a.k.a. Professor Sheldon “Shelly” Oberon (Jack Black), Martha a.k.a. Ruby Roundhouse (Karen Gillan), Spencer a.k.a. Dr. Smolder Bravestone (Dwayne Johnson), Grandpa Eddie (Awkafina) and Fridge a.k.a. Mouse Finbar (Kevin Hart) prepare to face the boss fight moment in a scene from JUMANJI: THE NEXT LEVEL. Credit: Frank Masi © 2019 CTMG, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Danny DeVito, Danny Glover, Akwafina, Rory McCann, Ser’Darius Blain, Nick Jonas, Alex Wolff, Colin Hanks, Morgan Turner, Madison Iseman, Rhys Darby and Marin HinkleDIRECTOR(S): Jake Kasdan

THE BACK STORY: Despite almost having the game kill him and his friends, Spencer (played as a young man again by Alex Wolff) loved his experience in Jumanji – and why wouldn’t he? Whereas in real life he’s shy and awkward, in the game he was Dr. Smolder Bravestone (Dwayne Johnson), a muscular, brave leader who the ideal alpha male. Now, in real life, he’s just a college student working a crappy job in New York City away from his girlfriend Martha (Morgan Turner) and friends/fellow Jumanji survivors Fridge (Ser’Darius Blain) and Bethany (Madison Iseman). 


Coming home for the holidays, Spencer is welcomed home by his mom (Marin Hinkle) and his grandfather Eddie (Danny DeVito), the latter of which is recovering from recent hip surgery. But as Spencer is dodging hanging out with his friends, it turns out Eddie is also less than happy to see an old face when his former business partner Milo (Danny Glover), who has turned up after 15 years away mysteriously.


But before Eddie, Fridge, Martha or Bethany is able to figure out why Spencer is avoiding them or why Milo has shown up, they make a discovery that is about to change literally game: Spencer has for some reason and somehow been sucked back into Jumanji – and the game has been upgraded to the next level. 

THE REVIEW: In action comedy, you want the movie to make you laugh, you want the action sequences to be intense and you want the characters to be likable. In a sequel to an action comedy, you need the film to prove there is more to the characters we haven’t seen yet, the jokes to pay homage to the original film without being re-treads of punchlines and additional characters that enhance the story as opposed to making it feel bloated, out of sorts or just a lazy money grab.And like all good video games, Jumanji: The Next Level checks off all these standards to make its players – or in this case, the audience – ready to jump back in to play another round.

The Next Level has all of the things that made the previous Jumanji film worthwhile: Great chemistry among its cast; Black gets to play another hilarious out of body experience as does Hart as the slow-speaking Milo with Gillan, Johnson, DeVito and Awkafina all getting their respective chances to shine while pushing their PG-13 language limitations. The action sequences are thrilling (one in particular with a group of rampaging mandrills that is possibly too intense for young children) and the story maintains the underlying heart of friendship present in the first film while making sure the sequel has enough stamina to stand on its own. Thus, if you enjoyed Jumanji: Welcome to the Jungle, you’ll likely find The Next Level a fitting sequel full of entertaining adventure.

Whether or not a likely third adventure doesn’t suffer pitfalls (pun intended), however, remains to be seen …

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

Jonathan’s Weekly Neon Update

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It is award season, and every film on our horizon is a contender.  On Friday, we will open THE TWO POPES – a film I saw in Toronto and immediately knew I wanted to bring to all of you.  Just yesterday, nominations for The Golden Globes were announced, and THE TWO POPES garnered 4 nominations – including “Best Picture: Drama” as well as nods for both Jonathan Pryce and Anthony Hopkins.  I was not raised Catholic, yet I found this film to be intriguing, insightful and important (as well as full of warmth, hope and even with fun moments) – I hope you’ll support it.  Every film on our list is receiving recognition from critics and awards programs.  From LITTLE WOMEN and THE IRISHMAN to MARRIAGE STORY and GIVE ME LIBERTY (with its big local connection), we have the best line-up ever to wrap up 2019.  In addition to having TWO POPES, DARK WATERSwill stick around (audiences are loving it).  If you still need to see the phenomenal PARASITE or the crowd-pleasing JOJO RABBIT, Thursday will be your last chance.
Synopsis for THE TWO POPES: “The Catholic Church’s papacy is a singular institution, with unique demands placed on the men who would see themselves elevated to it. This decade saw one of the Church’s most important moments of transition, but news reports can fail in the face of such enormous, complex change. THE TWO POPES takes us beyond TV images of smoke rising from the Vatican chimney into the hearts, minds, and actions of those charged with leading over a billion faithful. Directed by Brazil’s Oscar-nominated Fernando Meirelles (CITY OF GOD) and starring two acting legends in Sir Anthony Hopkins and Jonathan Pryce, this insightful story ushers us behind gilded doors to watch the once and future Popes grapple with faith and religious leadership in a rapidly changing world.” (TIFF Catalog) Click the image below to watch the film’s trailer.

Thanks to everyone who came out to our DARK WATERS talk-back on Sunday evening.  It was by far our highest attended screening of the weekend!  Though an exact date and time has yet to be solidified (an announcement will be made within the next couple days), you can come back and learn more about GIVE ME LIBERTY from line-producer (and WSU grad) Karri O’Reilly.  This film has been nominated for 4 Independent Spirit Awards – and it’s a wonderful story with incredible performances from actors we’ll certainly be seeing again and again.

Dale Farmer is bringing his award-winning film to THE NEON on Thursday, January 16 at 7:30.  “Deeply infused with the traditional Appalachian musical genres of Old Time and Bluegrass, THE MOUNTAIN MINOR tells an overlooked story about the people and culture behind the resurgence of American Roots Music today and highlights artful responses to the difficult circumstances of human migration. In the 1920s-1950s, millions of Appalachians left their homes in the mountains and migrated to urban Midwestern centers in Ohio, Indiana, Illinois and Michigan. The Mountain Minor is the story of a life-worn Charlie Abner, a generation later, as he struggles with leaving his present life and family in Cincinnati, Ohio to return to the Kentucky Mountain home and musical heritage that once defined him. The story is partially told in flashbacks to depression era Eastern Kentucky, when Charlie’s parents, Oza and Vestal Abner, face the difficult decision to leave the way of life they know and move to Ohio for employment and better opportunities. This is not only film director Dale Farmer’s family story, but the story of thousands of families that left their mountain homes to move to the Dayton, Ohio area to become the heart of the working middle class. This film is unique in that all of its principal actors are traditional musicians-such as Smithsonian Folkways artist Elizabeth LaPrelle and acclaimed banjoist and fiddler Dan Gellert-and they perform all of the music in the film. Pre-film music by The Corn Drinkers will start at 7:30, and the movie will play at 8:00.  A Q&A will follow the film with the writer/director Dale Farmer and actors Ma Crow, Warren & Judy Waldron and Amy Cogan Clay.” (press notes) Tickets are $12 each and will go on sale Dec. 16.

We need your help!  Sponsored by The Dayton Holiday Festival, Mix 107.7 and THE NEON, The Family Holiday Film Series started last Saturday with THE WIZARD OF OZ…and we had a lot of empty seats.  Tickets are FREE for kids 12 and under, and we’ll screen A CHRISTMAS STORY this Saturday, Dec. 14 at Noon.  And next week, THE GRINCH (2018) will screen on Saturday, Dec. 21 at Noon.  Tickets are FREE for children 12 and under and only $2 for anyone over 12.  These tickets will become available at 11:15am on the day of each screening, and they are limited to one ticket per person (aka: everyone must be present in order to pick up tickets – we can’t hold or disperse tickets for people who are not at the theater – thank you for your understanding).  Everyone is welcome!  If you have friends, neighbors, grandkids, or grandmas who like good holiday fun, let ’em know!
Many of you have been asking about showtimes for December 25.  Interestingly, Sony has asked us to go ahead and create showtimes and put tickets on sale for LITTLE WOMEN tomorrow morning.  We’ll go ahead and set showtimes for THE IRISHMAN and MARRIAGE STORY too.  You can get advanced tickets via our website starting tomorrow at 9:00am – www.neonmovies.com.
We hope to see you often over the next few weeks. It’s going to be quite a season!

McCoy on Movies

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Shults, cast shine in heartfelt – and stellar – Waves

“Now … Remember – this is a movie, not This is Us, so we won’t have commercial breaks!” Tyler (Kelvin Harrison, Jr.), Emily (Taylor Russell), Ronald (Sterling K. Brown) and Catharine (Renée Elise Goldberry) share a moment in a scene from WAVES. Credit: © 2019 A24 Films. All rights reserved.

WATCH THE TRAILER(S) HERE:

 




KEY CAST MEMBERS: Kelvin Harrison, Jr., Taylor Russell, Sterling K. Brown, Lucas Hedges, Renée Elise Goldberry and Alexa DemieDIRECTOR(S): Trey Edward Shults 

THE BACK STORY: Tyler Williams (Kelvin Harrison, Jr.) is a talented high school wrestler who has a lot going for him. Sure, his father Ronald (Sterling K. Brown) pushes him hard, but he’s got great support in the form of his stepmother (Renée Elise Goldberry), his sister Emily (Taylor Russell) and the “goddess” in his cell phone, a.k.a. his girlfriend Alexis (Alexa Demie).


Then, over the course of one night, his life changes forever – and so does the life of everyone close to him.


Their lives now turned completely upside down, the Williams family finds themselves struggling to recover in the wake of tragedy. But when Emily meets a shy classmate in the form of Luke (Lucas Hedges), she discovers she may hold the key to healing her family so that they can once again be whole. 

THE REVIEW: Finding the beauty of life and love out of tragedy and heartbreak … If there is one thing that you will take away from watching Waves – which honestly should be a nominee for Best Picture for all the reasons that past Academy Award-winner Crash shouldn’t have been – it should be this sentiment. For in crafting a tale full of promise, then self-destruction, then heartbreak and a resurrection of a chance of hope, writer/director Trey Edward Shults and his cast have created what may be the best film of 2019.Waves features a very simple story – to say more would be to give away too much – that would NOT simple to process in real life. As the domineering but well-meaning Ronald, Sterling K. Brown gives a powerhouse performance that serves almost like a “Hey – don’t forget me in the conversation of great African-American male actors” announcement, showing the type of sensitivity rarely seen in a lead black males role. It is the performances of and interaction between Russell’s Emily and Hedges’ Luke, however, that steals the show, rounding out Waves’ set of emotional exploration with grace, aplomb and wisdom beyond their years. Both show a level of talent and skill that drives their story arc home in a way people of all ages, races and orientations will likely admire and aspire to have in their own existence. There are some very hard moments to watch of self-destruction, turbulence and turmoil, followed by some extremely gentle, heartfelt and warm moments that may bring a tear of happiness as much as the others do out of sadness.

The performances truly bring out the radiance of the story of Waves, one in which you are fully immersed in the characters’ respective worlds. Shults’ nuanced work behind the lens makes the characters’ world come alive, in turn making their respective heartbreaks and outcomes all the more intense and more importantly, authentic and relatable. Watching one character’s self-destructive path give birth to the awakening of another’s could come off extremely clumsy or clichéd in the wrong hands; fortunately for Shults and company, their commitment to the tale makes everything work in grand fashion. Whether you are a parent, a confused adolescent trying to figure out the world, someone trying to overcome grief, a person holding on to a past tragic experience, Waves offers something most movies do not – therapy and hope – that may serve to help as much as it does entertain.

Yes, the story is compelling in and of itself, but it also looks to explore healing and what that may look like for many different people. Despite a predominantly African American cast, race is not the focus of the story as much as our general humanity is. That in turn may actually help in showcasing African-Americans in a way they are rarely shown in mainstream media, a fresh breath of air that explores the “we’re all human” notion without being blatant, over-the-top or fool-hearty (hence the earlier Crash reference). With apologies to Brown, one might consider it a long episode of This is Us that doesn’t explore the past or present as much as it does look towards the future.

In short, Waves should make waves upon its national release this week because in a world – pardon the terrible wordplay – full of storms, the film serves as an oasis all should experience.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

News from The Neon

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Neon Movies on Fifth Street

In the past few days, we’ve made some big decisions as to our plans for the next several weeks.  Some of our upcoming films have local connections, some are certain to be best picture contenders, and many are full of stars we love to see on screen.  One thing is clear about each – it’s Oscar season!

On Friday, we will open PAIN AND GLORY – the latest film from my favorite director of all time – Pedro Almodóvar.  Almost certain to garner a “Best International Feature Film” nomination, this one could go even further and possibly get a nod for Antonio Banderas and production design, too.  It’s truly gorgeous, and Penelope Cruz is luminous.  On our other screen, we will hold onto the stunning film from Bong Joon Ho – PARASITE – which is certain to be a big contender this year.   And just for the weekend, we will hold JOJO RABBIT for a few shows as well as bring back the much-loved HARRIET for a handful of screenings.  There is truly something for everyone this holiday weekend!
Synopsis for PAIN AND GLORY: Pedro Almodóvar’s latest film is his best in years.  Don’t miss this visually exciting (and part auto-biographical) story with stellar performances. “PAIN AND GLORY tells of a series of reencounters experienced by Salvador Mallo, a film director in his physical decline. Some of them in the flesh, others remembered: his childhood in the 60s, when he emigrated with his parents to a village in Valencia in search of prosperity, the first desire, his first adult love in the Madrid of the 80s, the pain of the breakup of that love while it was still alive and intense, writing as the only therapy to forget the unforgettable, the early discovery of cinema, and the void, the infinite void that creates the incapacity to keep on making films. PAIN AND GLORY talks about creation, about the difficulty of separating it from one’s own life and about the passions that give it meaning and hope. In recovering his past, Salvador finds the urgent need to recount it, and in that need he also finds his salvation.” (Sony Classics) Click the image below to visit the film’s official site.
Sponsored by The Dayton Holiday Festival, Mix 107.7 and THE NEON, The Family Holiday Film Series starts in less than 2 weeks.  THE WIZARD OF OZwill screen on Saturday, Dec. 7 at Noon, A CHRISTMAS STORY will screen on Saturday, Dec. 14 at Noon, and THE GRINCH (2018) will screen Saturday, Dec. 21 at Noon.  Tickets are FREE for children 12 and under and only $2 for anyone over 12.  These tickets will become available at 11:15am on the day of each screening, and they are limited to one ticket per person (aka: everyone must be present in order to pick up tickets – we can’t hold or disperse tickets for people who are not at the theater – thank you for your understanding).
Have you seen the nominations for the Independent Spirit Awards?  (This is the huge awards program that celebrates independent cinema.)  We’ve played so many of this year’s nominees – including Julia Reichert & Steve Bognar’s AMERICAN FACTORY and Chase Whiteside & Erick Stoll’s AMÉRICA!  Many congrats to these local connections (all with ties to Wright State University)!!  Also included in the nominees we’ve played are: LAST BLACK MAN IN SAN FRANCISCO, THE SOUVENIR, PARASITE, RETABLO (part of The Dayton LGBT Film Festival last year), WILD NIGHTS WITH EMILY (also part of The Dayton LGBT Film Festival last year), APOLLO 11, HONEYLAND, THE FAREWELL, JUDY & THE MUSTANG.  On December 20, we will open GIVE ME LIBERTY – which was just nominated for 4 of these awards.  This fantastic film was line-produced by Dayton’s own Karri O’Reilly!
In last week’s newsletter, I detailed a lot of the local connections associated with DARK WATERS…including my minor involvement.  It was truly special to be on a set where I was seeing so many old friends (and even a couple former students) making it all happen.  I’m currently working with Karri O’Reilly (who served as a production supervisor on the film) to assemble a small group of people for a talk-back to follow the screening on Sunday, Dec. 8 at 4:30.  DARK WATERS opens on Thursday, Dec. 5, and tickets for all of the opening weekend shows are now available on our website and in person at our box office.
Julia Reichert has been in the news a lot lately.  It was just announced that she will receive the “Women of Influence” honor from the YWCA, and the film she made with Steve Bognar – AMERICAN FACTORY – continues to be a major conversation piece in film communities, at world-renowned museums, on prestigious college campuses, and with policy-makers. It’s exciting that such an important film came from our backyard. Julia & Steve’s next film – 9 TO 5: THE STORY OF A MOVEMENT – will be part of our “Women of Influence In The Movies” series in March. I’ll have more details about this collaboration with The Human Race Theatre Company early next year.
We made some big decisions. The following is our current, anticipated slate for the next several weeks. Click any title to watch that film’s trailer.  On Dec 5, we open Todd Haynes’ new political thriller (set and shot in Cincinnati based on true events) – DARK WATERS (with lots of WSU and Dayton talent). On Dec 13 we open THE TWO POPES – a veritable acting masterclass with Anthony Hopkins and Jonathan Pryce. On Dec 20, we open GIVE ME LIBERTY – a film with local ties that just garnered 4 Independent Spirit Award nominations.  On Dec 25, we’ll open 3 films – Greta Gerwig’s exhilarating and gorgeous adaptation of LITTLE WOMEN as well as the much-anticipated film THE IRISHMAN (directed by Martin Scorsese and starring Robert De Niro, Al Pacino, Joe Pesci and many more) and MARRIAGE STORY (written and directed by Noah Baumbach and starring Scarlett Johansson and Adam Driver). On Jan 3, we’ll open A HIDDEN LIFE – Terrence Malick’s new masterpiece.

It’s going to be quite a season!
Many thanks for all of your continued support!
Wishing you a Happy Thanksgiving,
Jonathan

McCoy on Movies: Queen & Slim

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Modern Bonnie and Clyde tale a frustrating and fascinating take on the aftermath of police brutality, modern love

“We may not be OutKast, but you gotta admit if this was our album cover, it’d be dope!” Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in QUEEN & SLIM, directed by Melina Matsoukas. Credit: Andre Wagner © 2019 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:



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KEY CAST MEMBERS: Daniel Kaluuya, Jodie Turner-Smith, Bookie Woodbine, Chloë Sevingy, Flea, John Sturgill Simpson, Benito Martinez, Jahi Di’Allo Winston, Gralen Bryant Banks, Bertrand E. Boyd II and Indya Moore DIRECTOR(S): Melina Matsoukas

THE BACK STORY: A story of Tinder connection gone terribly awry, Queen & Slim tells the story of a young man (Daniel Kaluuya) heading home from his first date with a headstrong young attorney (Jodie Turner-Smith). Playing around with a smartphone, the Cleveland, Ohio-based couple finds their night thrown into chaos when they catch the attention of Officer Reed (Sturgill Simpson) who pulls them over in the cold of night. 


Then gunfire erupts. 


Certain that no one will believe the truth about what has happened, the young woman convinces the young man they have one option and one option only: Run, or more accurately, drive. Scared and panicked, the young couple thus begins a journey that will see them run into a multitude of colorful characters, including but not limited to: (1) The young woman’s uncle Earl (Bokeem Woodbine) and his stable of ladies; (2) Sheriff Edgar (Benito Martinez); (3) a mechanic (Gralen Bryant Banks) and his son Junior (Jahi Di’Allo Winston) as well as a (4) Georgia couple played by Red Hot Chili Peppers’ member Flea and Chloë Sevingy along the way. 


The inadvertent Bonnie and Clyde are going to get to know each other quite well over the course of their journey, but the legacy they create on that journey be more impactful than either of them either envisioned. 

THE REVIEW: Queen & Slim, co-written by Emmy winner Lena Waithe (Bones, The Chi, Ready Player One, Master of None) with an assist from James Frey (A Million Little Pieces) who apparently shared the idea at a party, is an intriguing, frustrating, eclectic, eccentric, electric, conflicted and more-than-likely controversial example of filmmaking. It is not an easy watch by design, which in turn makes the film fascinating and frustrating and feel raw and refined at the same time. Some characters feel outrageous (or, in some cases, downright ratchet) to the point there are times the film feels like a blaxploitation piece. The language is gratuitous, the gunplay will likely be upsetting and anyone looking for “fair and balanced” coverage in regards to how the majority of police in the film are depicted would be wise to look elsewhere.For Queen & Slim is unapologetic in telling its very unconventional love story of the couple and to black America – and that is the point.

As the female lead (Queen and Slim’s actual character names are revealed late in the story), Turner-Smith’s character portrayal exhibits many of the qualities exhibited with the “strong black woman” archetype, which serves at times as both a positive and, in some cases, negative. Her headstrong nature works to both her advantage and detriment in the film, but as the audience comes to learn more of background, one can see how she has come into her own with the resulting person we see today. Likewise, once thrust into a situation he never expected or asked to be, Kaluuya’s character finds himself trying to do what so many African-Americans have difficulty doing: Enjoying life and finding love in the process.

While much more aloof and naive than his counterpart, Kaluuya’s character provides a bit of balance to Turner-Smith’s. This is in turn provides (albeit in a very unconventional showcase) life in America as a black person: Dealing with the struggle of a country where racism is prevalent and can harshly affect you every day while trying to enjoy the pursue the American dream of life, liberty and happiness.

What will be the most challenging aspect of Queen & Slim, however, is how different sectors of America react to the film. African-Americans will no doubt either empathize and/or sympathize with Queen’s and Slim’s plight and how it inspires people as the story unfolds while others may take issue with the ways in which it does. The film would make a fascinating case study in watching different audiences watch the film, for the ways in which the mainstream media simply dismisses Queen and Slim versus the way they are viewed by black people is a direct reflection of America itself. Likewise, while the aspects of sex and crime might make some say they are victims of their condition, others might see various characters in the film perpetuating their own problems – and in some ways, both could argue their points.

However, what would be the best case scenario is for different groups to use the film as a conversation starter, for there are two critical topics for which the film could serve as a litmus test: (1) Examining how and why Queen and Slim become urban legends (not in the horror movie way) and (2) how poverty and being perceived as criminals by the agents whose duty is to protect people is an ongoing problem and why it directly is tied to point no. 1. There are explosive moments in the film – the meaning of one in particular that could be argued in cable news show-style ad nauseam – which are meant to spark reaction and no doubt will so.

As Waithe herself as said in interviews, Queen & Slim is in her view “protest art” and an attempt for African-Americans to “create the heroes they need.” Given what unfolds in the film, there will be some (think conservative pundits) that have extreme difficulty seeing the characters as heroes, but that no doubt is part of the point. Thus, if you are uncomfortable, find the story disturbing or at the very least dangerous, Waithe and director Melina Matsoukas will probably be happy while at the same time being upset – for as long as America continues on its current path, they are certain more Queens and Slims will come along, for better and for worse.

This is what ultimately makes Queen & Slim is worthy of being seen, even if what you see is a love story for modern times, a disturbing – or honest – take on the aftermath of police brutality on the African-American community and/or somewhere in between.

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OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

Dayton Filmmakers Score with 2020 Film Independent Spirit Award Nominations

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Film Independent

Spirit Awards

Nominees Announced

 Recognizing the best (and budget-friendliest) in independent cinema this year marks the awards’ 35th anniversary. First begun as a casual industry luncheon tucked into the dining room of a small West Hollywood eatery, the Spirit Awards have steadily ascended in prominence and prestige, growing to its current state—to a much nicer lunch inside a tent a few miles West, in Santa Monica.
Nominated:

Clemency – Best Feature, Best Screenplay, Best Female Lead

Bernadine Williams, a Death Row prison warden whose job has taken a psychological toll on her, must confront her demons when she has to execute another inmate.

Datyon Connection: Chinonye Chukwu- former FilmDayton Board Member , former Professor at Tom Hanks Motion Picture Center at WSU

Give Me Liberty- Best Male Lead, Best Supporting Female, Best Editing and the John Cassavettes Award- given to the best feature made for under $500,000; award given to the writer, director and producer.

In this freewheeling comedy, medical transport driver Vic risks his job to shuttle a group of rowdy seniors and a Russian boxer to a funeral, dragging clients like Tracy, a young woman with ALS, along for the ride.

Datyon Connection: Karri O’Reilly Line Producer FilmDayton Advisor

American Factory – Best Documentary- Award given to the director and producer

End 2008, GM closes a plant in Ohio. A Chinese billionaire/Fuyao Glass buys the plant 2014 and invests in auto glass production. There are 2000 jobs there by late 2016. USA meets PRChina.

  • Director/Producers: Steven Bognar, Julia Reichert
  • Producers: Julia Parker Benello, Jeff Reichert
Datyon Connection: Steve was a FilmDayton Board Member and Steve & Julia are both FilmDayton members

TRUER THAN FICTION AWARD – now in its 25th year, is presented to an emerging director of non-fiction features who has not yet received significant recognition. The award includes a $25,000 unrestricted grant.

América is a story of brothers confronting the chasm between adolescent yearning and adult realities when brought together to care for their ailing ninety-three year old grandmother.
AMÉRICA – Directors: Erick Stoll, Chase Whiteside
Datyon Connection: WSU Filmmakers, former FilmDayton Members
For a complete list of nominees, click here
The 2020 Film Independent Spirit Award nominees were announced this morning, November 21, at The LINE LA in Los Angeles—presented by Zazie Beetz (Atlanta, Joker) and Natasha Lyonne (Orange is the New Black, Russian Doll) and recognizing yet another tremendous group of independent storytellers.
“At a time when the film business is undergoing such change and challenges, it’s important to loudly celebrate the work itself–the films!–and to recognize 2019 as a year of bold, audacious and accomplished filmmaking,” said President of Film Independent Josh Welsh. “That’s what the Spirit Awards are all about.”
Spirit Award winners are voted on exclusively by FilmIndependent Members. Join by Dec 5 to receive awards screeners and full Spirit Award Member benefits. The 2020 Film Independent Sprit Awards will be held Sat, February 8 on the beach in Santa Monica, broadcast live EXCLUSIVELY on IFC at 5:00 pm ET.
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McCoy on Movies: 21 Bridges

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Chadwick Boseman, Stephan James make compelling drama out of familiar subject matter in 21 Bridges

“C’mon – I think I see the dude that convinced me to do Draft Day is right over there!” Andre Davis (Chadwick Boseman) and Frankie Burns (Siena Miller) rush in pursuit of two wanted suspects in a scene from director Brian Kirk’s 21 BRIDGES. Credit: Matt Kennedy / Motion Picture Artwork © 2017 STX Financing. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

 

KEY CAST MEMBERS: Chadwick Boseman, Stephan James, Sienna Miller, Taylor Kitsch, Alexander Siddig, Morocco Omari and J.K. SimmonsDIRECTOR(S): Brian Kirk

THE BACK STORY: Andre Davis (Chadwick Boseman) is a detective in New York City. He had to be. It’s in his DNA, or at least that’s how he puts it. And given that his father was murdered on duty by three men – one of whom lived – his dedication to bringing criminals to justice rivals that of D.C. Comics’ biggest crimefighter Bruce Wayne. But while Batman may keep watch over a fictional Gotham, Andre is entrenched deep in New York City, which is why Internal Affairs is looking into his latest episode where he added to his growing body count of alleged criminals. Ray Jackson (Taylor Kitsch) and his partner Michael (Stephan James) don’t know Davis, but they soon will. For when it turns out the heist they’re involved in features 300 kilos of cocaine and not the 30 they were expecting, something seems off. Throw in an ensuing gun battle with a group of police officers who just so happen to show to the restaurant they’re robbing as if they were supposed to be there and Ray and Michael know something is wrong.

Arriving to the aftermath, Andre finds himself paired up with another detective, Frankie Burns (Sienna Miller) and a police captain in McKenna (J.K. Simmons) who want revenge moreso than justice for what has transpired. Quickly surmising the situation, Andre realizes the perpetrators have to still be in the city – which is why he orders all 21 bridges leading out of Manhattan closed. But the clock is ticking on Andre and Frankie … So there is no time to waste if they are going to catch the men responsible for what has happened.

THE REVIEW: While he has had plenty of roles in his acting career, Boseman has essentially become known for playing two kinds of people: Famous dead black people (Jackie Robinson in 42, James Brown in Get On Up and Thurgood Marshall in Marshall) and a certain costumed superhero from a fictional African country that helps save the world.21 Bridges showcases the depth of his talent – along with that of co-star James – to deliver an entertaining film despite having a very all-too-familiar style story with which to work.

Cops, robbers and conspiracy/cover tales are nearly as old as movies themselves; 21 Bridges doesn’t really do anything dynamic in regards to telling this type of tale (you can probably figure out most of what’s happening an hour or so into the film). What director Brian Kirk does do, however, is wisely present a stage where (1) the action sequences don’t feel forced and instead intense; (2) let Boseman take center stage and allow him to deliver a performance that is gripping enough to keep you interested as he breaks down scenarios and (3) trusts his actors, particularly Kitsch and James, to make their characters motivations, emotions and decisions relatable. Whereas last month’s Black and Blue dealt more with the issue of the thin blue line and which side of it African-Americans (both as police and possible perpetrators) fall on it, 21 Bridges is a standard tale of good vs. evil.

Whereas Boseman does a good job of playing the by-the-book-cop, he also does it enough style where it doesn’t feel so textbook that it lacks appeal. The same can be said for James, the co-star of the overlooked stellar 2018 release If Beale Street Could Talk. Giving his character a sense of humanity often lacking in shoot-em-up movies, watching Boseman and James play off each other adds to what would otherwise be another mash up of films that you’ve seen before.

Thus, while no one would – or should – expect 21 Bridges to do anything close to Black Panther business, it’s definitely worth seeing if you want to see Boseman flex his acting chops outside of spandex or a historical figure’s shadow.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Frozen 2

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Anna and her sister return for enjoyable but not as magical Frozen 2

“This winter, it’s personal – no, it really is!” From left to right: Olaf (Josh Gad), Anna (Kristen Bell), Elsa (Idina Menzel, center), Kristoff (Jonathan Groff) and Sven return for FROZEN 2. Credit: © 2019 Walt Disney Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Idina Menzel, Kristen Bell, Jonathan Groff, Josh Gad, Sterling K. Brown and Evan Rachel WoodDIRECTOR(S): Jennifer Lee and Chris Buck

THE BACK STORY: Following up on the events of the first film, Frozen 2 finds the magical Elsa (Idina Menzel) living happily in the utopian Arendelle with her sister Anna (Kristen Bell), her wanting-to-pop-the-question-but-unsure-how-to-do-so boyfriend Kristoff (Jonathan Groff), his beloved reindeer Sven and everyone’s favorite one-liner cracking snowman Olaf (Josh Gad). But not everything is as peaceful and happy as it seems.


As a flashback will reveal, the sisters’ parents told them of Northuldra, a forest where the people of Arendelle were enjoying a nice time with the natives until something happened and the two groups found their lives forever changed. And now, as fate would have it, a mysterious voice is calling Elsa, who has become more and more curious about the origin of her powers. Could the voice have something to do with her powers? Could there be a connection to Northuldra? 


There’s only way Elsa, Anna, Sven and Olaf are going to find out … Looks like a new adventure awaits! 

THE REVIEW: Sometimes a sequel is better than the original. Sometimes it’s worse. And then there are times where the sequel looks to deliver pretty much everything the first film had that made it successful … even if the second go round, while solid, lacks the magic of the original.The last option is the one that describes the collection of jokes and songs collectively known as Frozen 2.

Frozen 2 is not a bad movie. But if you are not a major fan of Disney’s princess collection of films, the plot is not likely to hook you in. Likewise, while some will undoubtedly find the collection of songs – especially Kristoff’s somewhat hilarious homage to 80s power rock ballads – entertaining, others may find them to be a bit repetitive in both tone and execution. (If you are not an opera fan, some of the jokes may feel a bit long in the ear, er, tooth.) Gad’s Olaf character gets to take center stage for much of Frozen 2 in terms of delivering a much needed levity to the affair, which is balanced by the cuteness factor of Bruni, the salamander representation of fire in the enchanted forest.

Frozen 2 adheres to the longstanding adage of “if it ain’t broke, don’t fix it” by making sure that if was in the first film, try to wedge it into the second film. While Elsa and Anna’s sibling rivalry has subsided, there’s still plenty of bonding in the story, as well as the idea of self-discovery, teamwork … and of course, good ol’ Olaf. Frozen 2 isn’t here to break new ground as much as it is to keep it nice and chilled as fans sing the songs long after they leave the theater. Whereas the first Frozen felt special and unique, 2 is like a slice of pizza from your favorite restaurant: satisfying but extremely familiar.

Thus, while it might be better suited for young children and Disney die-hards only, those two groups will love it … Even if everyone else might be happier if they just let it go and stopped before there is a part three.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: A Beautiful Day in the Neighborhood

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Hanks, Rhys shine in the Mister Rogers’ biopic A Beautiful Day in the Neighborhood

“Hey kids – if this was a Yeezy 350 Boost, I might tell you how to toss it on eBay to make a profit with which you could start a nice savings account!” Fred Rogers (Tom Hanks) strikes a familiar pose in a scene from director Marielle Henner’s inspired by true events biopic A BEAUTIFUL DAY IN THE NEIGHBORHOOD. Credit: Lacey Terrell © 2019 CTMG, Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Tom Hanks, Matthew Rhys, Chris Cooper, Susan Kelechi Watson, Christine Lahti, Wendy Makenna, Enrico Colantoni, Tammy Blanchard, Noah Harpster and Maryann PlunkettDIRECTOR(S): Marielle Heller

THE BACK STORY: Lloyd Vogel (Matthew Rhys) is a journalist for Esquire magazine who’s used to doing hard-hitting, investigative pieces that often leave the subjects of his stories, much like a James Bond martini, a bit shaken if not internally stirred. So, when his boss (Christine Lahti) assigns him to write a 400 word piece on children’s television show host Fred Rogers (Tom Hanks), he’s a bit miffed to say the least. 


Then again, Lloyd’s negative predilection to get to dig deep to find the dirt on people might have something to do with his own issues. He’s still very mad at his dad (Chris Cooper) – whom he prefers to call by his first name of Jerry – for what he did when his wife/Lloyd’s mom got sick. And now that he’s got a newborn son of his own with his wife (Susan Kelechi Watson), he’s feeling a bit of pressure not to pass along any of his own pain to his offspring. 


Thus, what happens when a cynical, depressed reporter is asked to spend extended time with perhaps the most upbeat, positive person in the world? Something that is definitely going to not fit into 400 words but definitely may touch plenty of hearts in theaters nationwide. 
THE REVIEW: Inspired by true events biopics often take liberties with the facts of their subject matter, omitting certain controversial details, adding characters or sometimes straight up just diverting from the facts for the sake of the story the filmmaker wants to tell. And given the success of 2018’s documentary Won’t You Be My Neighbor?, putting a well-known actor like Tom Hanks in the role of playing a beloved cultural icon like Fred Rogers could be a recipe for disaster if not done well with a compelling story.Anyone debating whether or not to see A Beautiful Day in the Neighborhood, however, should have no such concern – for the film is easily one of the finest releases of 2019.

Neighborhood‘s storytelling, under the direction of Marielle Henner (2018’s Can You Ever Forgive Me?), is almost like watching an episode of Rogers’ beloved television show itself – a simple yet genius move that brings the story to life. Instead of digging deep into its subject’s personal life (that aforementioned documentary does exist, after all), the film shows how the relationship between Vogel – based on Esquire writer Tom Junod who’s article served as a basis for Neighborhood – and Rogers. In doing so, it showcases the reasons Rogers became and remains an inspiration to millions of people throughout North America: In talking with Vogel about what drives him, Rogers works Vogel through his myriad of problems, making the writer learn about him but more importantly, himself.

Of course, this wouldn’t happen without Heller’s excellent direction that incorporates elements of both Rogers’ show and Hanks’ full immersion into the role. From his voice affectations and mannerisms to his legendary calm tone of speaking and self-deprecation, Hanks does about a fine a job as you’d hope for in a portrayal of a beloved figure without crossing into saint territory (which the movie directly addresses). Hanks’ ability to channel Rogers own approach to tough subject matter shows how his wisdom rings true for both children and adults to this day.

Rhys, however, may arguably deliver the strongest performance in the film, giving his reporter a layered depth to serve as the canvas on which Rogers’ true magic is fully revealed. Rogers hoped to create healthy positive adults instead of the type of adult Rhys’ character is: angry and wrongs done to him and unable to let it go, cynical, distrustful and afraid they’ll screw things up worse than their parents did. (Sound like anyone you know in your own life?) In showcasing the juxtaposition between the two, Heller crates a walking, talking exercise in a lesson typical of an episode of Mister Rogers’ Neighborhood with her two male leads playing their parts perfectly. Strong supporting turns by the always strong Cooper and Watson further complete the exercise, the latter’s enthusiasm for life and peace playing well against Cooper’s apologetic manchild father trying to make amends.

All things considered, the thing that will stay with you after the film is over is how dedicated Rogers was to making the world a better place, no small feat in a world where so many of us let so many things destroy our happiness. An atypical film in a cinematic landscape filled with remakes, the perennial sex and violence and hokey family fare that often misses the mark,  A Beautiful Day in the Neighborhood proves that good people still exist in the world – and good movies about them do, too.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN): 

 
 

Food & Flick Party Sunday Night at Engineers Club

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“Cannonball. Cannonball coming!”

“It’s in the hole!”

“You’ll get nothing and like it.” 

Expect to hear these quotes being shared Sunday night when Dayton Dinner Theater Picture Show presents Caddyshack at The Engineers Club.

Have you heard about Dayton’s newest entertainment option?  John Boucuvalas launched a new Sunday night dinner and movie event that happens every other Sunday at The Engineers Club. John spends his days contracting wedding venues and he “finds a joy in maximizing places uses.”  He explained to us the way this event works- guests purchase a ticket and 30 minutes before the film, food inspired by the movie is served party style with heavy appetizers and finger foods at several food stations, across the room and a cash bar with themed drinks.  Like a cocktail party, guests mingle amongst the bistro tables and then move to the auditorium for the film.

But unlike a regular movie theater, requiring quiet and no phones, guests are encouraged to tweet witty observations about the film, which show up to the right of the movie screen and at times they will pause the film and encourage the audience to scream out the next line of the film, keeping the evening very interactive. There is an intermission in the film, where guest can visit the bar again, enjoy some more food and desserts.

The first two films show were The Exorcist and The Godfather and Boucuvalas shares that he’s building an audience of repeat guests, who seem to enjoy dressing up in costume, inspired by the films.  Audiences are encouraged to vote to help decide which films will play in the futures.

 

Upcoming Movies:

 

Sunday November 17th:   Caddyshack

Themed Food: Various Country Club delights, Get Nothing and Like it combo platter, Floating Mini Baby Ruths, Golf Ball truffles, gumballs, rolls with lots of butter

Themed Drink (cash bar):  Born to Love you (tequila, lemon, salt), Spaulding special (whiskey sour with candy cigarette floating in it) Judge Smails (Fresca with gin and squeeze of lime)

Themed Attire: Audacious Golf or Yacht Attire, Early 80’s county club, Grunge caddy or groundskeeper

Tickets $29.50- buy online.

McCoy on Movies: BLACK AND BLUE

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Cop drama toes line between reality and fiction to its advantage, target audience’s enjoyment

“OK, if they try to put Cardi B. in the next Fast & Furious movie, I’ll go – Wait! They already did it?!” New Orleans Police Officer Alicia West (Naomie Harris) prepares to fire on a would-be assailant as Mouse (Tyrese Gibson) looks on in a scene from director Deon Taylor’s action thriller BLACK AND BLUE. Credit: Alan Markfield © CTMG Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Naomie Harris, Tyrese Gibson, Frank Grillo, Mike Colter, Reid Scott, Beau Knapp, James Moses Black and Nafessa Williams DIRECTOR(S): Deon Taylor

THE BACK STORY: Alicia West (Naomie Harris) is many things. She’s a veteran with two tours in the Middle East. She’s a woman with no family now that her mother passed away earlier this year. And she’s a native of one of the most notorious wards that was done no favors by Hurricane Katrina.


Now, she’s a rookie member of the New Orleans Police Dept. working with her partner Jennings (Reid Scott) learning the beat. So, when Jennings begs her to take her place on a night shift, Alicia decides to take his place so he can go enjoy date night with his wife. 


Brown (James Moses Black), the veteran officer she’s with, isn’t the nicest fellow in the world, but he’s still a cop like Alicia so she respects him because, after all, they both back the badge. So, despite being told to stay in the car, once she hears gunshots, she’s going inside to make sure Brown isn’t in trouble.


Then she finds out Brown – along with narcotics officers Malone (Frank Grillo) and his partner (Beau Knapp) – are the ones she needs to be afraid of.

Aided only by an unlikely alliance with a local super market employee, Jackson “Mouse” Milo (Tyrese Gibson), Alicia is on the run to upload the footage on her body cam to put away the bad guys. But given that she’s now got (1) crooked cops after her; (2) local drug dealer Darius (Mike Colter) and his entire crew after her and (3) the ‘hood thinking she is the one behind a crime she didn’t commit, she’s going to be forced to make a choice: Is she more black than she is “blue” – and will it ultimately matter if no one believes her story.

THE REVIEW: On its surface, Black and Blue is a very easy movie to dismiss as it has a somewhat familiar premise (cop sees bad cops do bad stuff) and the inherent issues (African-Americans trust of the police, African-Americans in the line of police work – see HBO’s new take on Watchmen for more – etc.) within. What keeps Black and Blue from being another run-of-the-mill Training Day knockoff is how the cast and crew approach and deliver the story.Now, to be honest, there are plenty of things that will either enhance or detract from your Black and Blue viewing experiences, hence a need to explain them here. So, if you:

 

  1. Are African-American;
  2. See the film with an audience also full of minority members relating to the characters on screen in a prime example of groupthink; and
  3. Are familiar, either through the news or sadly, personal experience, with the types of police officers and “‘hood rules” present in the film, it will enhance your viewing experience.
On the flip side, if you:
  1. Are not African-American/a minority;
  2. Dismiss many of the stories in the news like this, or this, or this, or this, or this, or – I think you get the point; and
  3. Don’t believe life imitates art and vice-versa, well … Black and Blue will likely just come off as another crime caper that ventures a little bit too far into the ridiculous (there’s really only one or two incidents of that) to be anything significant.
That notwithstanding, Black and Blue works on a basic level as Harris’ makes her character intriguing despite her extreme naivety (the audience is almost ahead of her the entire movie) and the tense nature director Deon Taylor builds throughout the film. Given that Taylor’s most three recent feature lengths were the awful The Intruder (2019), the forgotten Traffik (2018) and the absolutely atrocious Meet the Blacks (2016), it seems he’s finally found a way to take his knowledge of African-American cultures and put them into a thriller that actually makes sense.
While the film doesn’t feature anyone who’s a standout name on their own (Harris is a solid actress but be honest, you probably couldn’t pick her out of a lineup by name if you don’t follow her career), Taylor uses his players well. Grillo is a quintessential character actor in the role of either a criminal or cop (check his IMDB for proof), Brown channels Bill Duke extremely well to the point you’ll find yourself surprised it’s NOT him and Gibson wisely follows Harris’ lead to move things along well. Mike Colter even does a nice job of showing he can play the opposite of his better known Luke Cage alter ego as the drug dealer heavy Darius. Of course, that’s what an actor is supposed to do, but it’s done with convincing fashion. It’s a trope, but it’s one that works. The story turns are easy to see coming, but again, thanks to the dedication of the cast, they don’t feel as stale as they otherwise would.
But to go back to the earlier checklists and why they are relevant to your enjoyment of Black and Blue, let me explain it like this: If you have experienced harassment by the individuals meant to protect and serve you, you will feel a connection to the characters in the film that are not law enforcement officials. If you are a minority trying to toe the thin blue line, you will understand all of the internal and external strife Harris’ character does being turned away by both officers and her own community. And even if you haven’t experienced it, if you have watched recent developments in America you will understand the impact of these things on both Harris’ character and others in the film. But, if you do not and worse yet, care not to know, Black and Blue will ultimately be a work of fiction and nothing more.
The reality is though all good works of fiction are stemmed in some form of truth – and Black and Blue has far too much reality around it to not make the fictional parts seem real, or, in the case for many, hope they could be, too.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):