"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

© all material on this website is written by Michael McCaffrey, is copyrighted, and may not be republished without consent

5th Annual Mickey™® Awards: 2018 Edition

EGOT_Pic1.jpg

Estimated Reading Time: The Mickey™® Awards are much more presitigious than the Oscars, and unlike our lesser crosstown rival, we here at The Mickeys™® do not limit acceptance speech times. There will be no classless playing off by the orchestra here…mostly because we don’t have an orchestra. Regardless… expect this awards show article to last at a minimum approximately 5 hours and 48 minutes.

The ultimate awards show is upon us…are you ready? The Mickeys™® are far superior to every other award imaginable…be it the Oscar, the Emmy, the Tony, the Grammy, the Pulitzer or even the Nobel. The Mickey™® is the mountaintop of not just artistic but human achievement, which is why they always take place AFTER the Oscars!

This year has been an erratic one for cinema, but with that said there are still a multitude of outstanding films eligible for a Mickey™® award. Actors, actresses, writers, cinematographers and directors are all sweating and squirming right now in anticipation of the Mickey™® nominations and winners. Remember, even a coveted Mickey™® nomination is a career and life changing event.

Before we get to what everyone is here for…a quick rundown of the rules and regulations of The Mickeys™®. The Mickeys™® are selected by me. I am judge, jury and executioner. The only films eligible are films I have actually seen, be it in the theatre, via screener, cable, Netflix or VOD. I do not see every film because as we all know, the overwhelming majority of films are God-awful, and I am a working man so I must be pretty selective. So that means that just getting me to actually watch your movie is a tremendous accomplishment in and of itself…never mind being nominated or winning!

1488646553238.jpeg

The Prizes!! The winners of The Mickey™® award will receive one acting coaching session with me FOR FREE!!! Yes…you read that right…FOR FREE!! Non-acting category winners receive a free lunch* with me at Fatburger (*lunch is considered one "sandwich" item, one order of small fries, you aren't actors so I know you can eat carbs, and one beverage….yes, your beverage can be a shake, you fat bastards). Actors who win and don't want an acting coaching session but would prefer the lunch…can still go straight to hell…but I am legally obligated to inform you that, yes, there WILL BE SUBSTITUTIONS allowed with The Mickey™® Awards prizes. If you want to go to lunch I will gladly pay for your meal…and the sterling conversation will be entirely free of charge.

Enough with the formalities…let's start the festivities!!

Is everybody in? Is everybody in? The ceremony is about to begin...

Ladies and gentlemen…welcome to the fifth annual Mickey™® Awards!!!

BEST CINEMATOGRAPHY

Cold War - Lukasz Zal: Zal’s masterful use of a black and white with sharp contrast and his at times eye-popping framing make for exquisite visuals in Cold War that help to propel the narrative and tell the story in theri own right.

Roma - Alfonso Cuaron: Cuaron’s virtuoso camera work in Roma, which includes dazzling camera movements and remarkable framing, is a master class in the art. Any single frame from this movie could hang in a photography exhibit in any of the great museums of the world.

The Favourite - Robbie Ryan: Ryan deftly uses light and darkness, especially with candles, to illuminate the dramatic sub-text in The Favourite.

If Beale Street Could Talk - James Laxton: Laxton paints this film with a striking and lush palette in this film that is gorgeous to behold.

Widows - Sean Bobbitt : Bobbitt’s framing, particularly his use of mirrors, is simply stunning and elevates this rather sub-par material.

First Man - Linus Sandgren: Sandgren’s ability to contrast the claustrophobia of space travel to the vast expanse of the moon is breathtaking and aids in giving this film a visceral element.

You Were Never Really Here - Thomas Townend: Townend’s wondrous cinematography amplifies the fever dream feeling that envelops this entire film.

Unknown-7.jpeg

And The Mickey Goes To….ROMA - ALFONSO CUARON - This was an absolutely stacked category this year but Cuaron’s masterful work on Roma takes the award. Cuaron's cinematography on this film is stunning as he pulls off numerous, extremely difficult maneuvers with an ease and subtlety that is staggering to behold. Is Cuaron winning a Cinematography Oscar this year a big deal? Yes it is. Is Cuaron winning The Mickey™® Award for best Cinematography a bigger deal? You bet your ass it is.


BEST ADAPTED SCREENPLAY

First Man : A film more about grief than space travel, this script is able to take an expansive and historical subject and reduce it into a viscerally intimate and personal film.

The Sisters Brothers : An extremely well-written narrative filled with deep symbolism and genuine humanity that turns the western genre on its head.

Leave No Trace : This script perfectly captures the powerful relationship of a young girl coming of age with a damaged father, and never falls into the trap of sentimentality or caricature.

You Were Never Really Here: Intense and disturbing, this script grabs you and pulls you into its protagonist’s tortured mind and soul and never lets you go, even when you want it to.

The Death of Stalin: An uproariously funny script that is masterfully paced and wondrously smart.

Unknown-15.jpeg

AND THE MICKEY GOES TO…YOU WERE NEVER REALLY HERE - Lynne Ramsay’s script drags us kicking and screaming into the mind of her kicking and screaming main character, Joe, and never lets us leave. A wonderfully woven nightmare of a movie that is both grotesque and gripping. Lynne Ramsay is now among the best of the best having won a Mickey™® Award.

BEST ORIGINAL SCREENPLAY

Cold War: A narrative that stretches over decades and vast swaths of Europe but with an immediate pace that never loses its sense of intimacy.

Roma: A story of a simple woman that is anything but simple. Riddled with rich symbolism and moments of magical realism, Roma is a magnificent script.

The Favourite: Darkly funny and deeply insightful, The Favourite never fails to shock, compel or intrigue.

The Quiet Place: A fascinating story that transcends genre and speaks to the larger issues of our time without ever losing its horrifyingly entertaining value.

First Reformed: An extraordinary script that seriously grapples with matters of faith, theology, philosophy and eco-politics while also being a poignant and exacting character study.

Unknown-7.jpeg

AND THE MICKEY GOES TO…ROMA - Alfonso Cuaron masterfully weaves a precise and detailed story of harsh realism with mysticism in this slice of life/family drama that never fails to compel. Cuaron has already won more Mickeys™® in this ceremony than other mere mortals could dream of winning in their entire lives.

BEST SUPPORTING ACTRESS

Amy Adams - Vice: Amy Adams is stunning as Lynne Cheney, the Lady MacBeth who is the straw that stirs the drink of Darth Cheney’s nefarious political career. This is the very best work of Ms. Adam’s stellar career.

Sakuro Ando - Shoplifters: Ando gives a mesmerizing performance as the de facto mother of this rag tag family trying to make ends meet under the oppressive boot of capitalism. A powerful yet delicate performance that is simply wondrous.

Emma Stone - The Favourite: Stone gives a delicious performance as the ambitious social climber who will do whatever it takes to survive and thrive in Queen Anne’s court. A sexy, funny and compelling piece of work.

Emily Blunt - A Quiet Place: Best Actress Mickey Award winner (for Sicario) Emily Blunt proves once again that she is not just a movie star/pretty face, but one of the very best actresses working in film today. A kinetic, immediate and stunning performance.

Claire Foy - First Man: Foy imbues her character with a frenetic and unrelenting power that bubbles just beneath her calm facade. When that power boils to the surface it brings with it a magnetic intentionality that is palpable and mesmerizing.

Rachel Weisz - The Favourite: Weisz’s use of physicality to convey her character’s intellectual and political prowess is a master class in posture and stance and is something actors should study and steal from.

Unknown-8.jpeg

AND THE MICKEY GOES TO…AMY ADAMS - VICE : Adams’ very first scene in Vice is the best acting I have seen by an actress on film this year. Adams’ Lynne Cheney is a force of nature and when unleashed is a sight to behold. Adams’ Lynne has an insatiable hunger for power and an arrogant streak that drives the film even if it is from the backseat. Amy Adams is a hugely rich and famous movie star, but it wasn’t until now, when she won her first Mickey™® Award, that she finally “made it”. Congratulations m’lady!

BEST SUPPORTING ACTOR

Ben Foster - Leave No Trace: Foster is one of the great under rated talents of his generation and in Leave No Trace he gives yet another magnetic performance by imbuing his character with a palpable wound that torments and propels him to seek solace from it.

Sam Rockwell - Vice: Rockwell gives a delicious performance as Dubya, never falling into imitation or caricature, Rockwell turns Bush into a genuine yet damaged human being that is always compelling to watch and often times hysterically funny.

Thomas Hoult - The Favourite: In lesser hands, Hoult’s character in The Favourite, a sharp tongued and sharp elbowed dandy who plays to win the game of palace intrigue, would have been reduced to a punch line, but Hoult turns him into a dynamic presence that elevates the film considerably.

Joaquin Phoenix - The Sisters Brothers: Phoenix’s tortured character is a combustible mess who never fails to make the wrong decisions for the wrong reasons but also never fails to be a compelling, unsettling and dynamic screen presence.

Jonah Hill - Don’t Worry He Won’t Get Far on Foot: Hill creates an intriguing character in this film who is both a self-help bullshitter and a complicated and real human being. A subtle and finely crafted piece of acting that is a testament to Jonah Hill’s skill and commitment.

Unknown-9.jpeg

AND THE MICKEY GOES TO…BEN FOSTER - LEAVE NO TRACE: This is Ben Foster’s second Mickey nomination (Best Supporting Actor Hell or High Water) and first win. Foster has been known to be a rather explosive actor in the past and often thrives in roles where he is combustible, but in Leave No Trace he eschews his usual pyrotechnics for a more subdued, more nuanced and more subtle approach. Foster’s Will is an explosive character, but Foster takes all of that combustibility and stuffs it into a little furnace inside him. The furnace gets hot and even feels like it could explode, but Will fights to keep it contained and it is this struggle which makes for such a compelling and satisfying performance from Ben Foster…who rightly takes his place among the best actors of his generation with this Mickey™® award win.

BREAKOUT PERFORMANCE OF THE YEAR

Unknown-12.jpeg

Thomasin McKenzie - Thomasin McKenzie is so great in Leave No Trace it is miraculous. She masterfully brings to life a teenage girl struggling to make sense of her ever changing world and also her damaged father. A deft and subtle performance, highlighted by her ability to have the impulse to cry but the skill to not let herself, McKenzie proves her worth as a vibrant and compelling actress in Leave No Trace. Much like Jennifer Lawrence, who starred in director Debra Granik’s previous film Winter’s Bone, which launched her career, McKenzie has an undeniable screen presence and a surprising level and command of craft for such a young actress. I look forward to seeing what her very bright future holds.

BEST ACTOR

Christian Bale - VIce: Bale proves he is one of the very best actors working in film with his remarkable transformation into Dick Cheney. A master of physicality, Bale also is able to fill Cheney’s silences with a palpable intentionality that gives even the quietest scenes an unsettling air of menace.

John C. Reilly - The Sisters Brothers: Reilly gives the very best performance of his versatile and stellar career as the older and more sensitive of the Sisters brothers. Reilly’s well-crafted and nuanced work never falls into the trap of sentimentality and is a testament to his great talent.

Joaquin Phoenix - You Were Never Really Here: Joaquin Phoenix is may be the best actor on the planet right now and his volatile, magnetic and dynamic performance in You Were Never Really here stands as a monument to his towering talent and his mastery of craft. Phoenix creates an unsettling character suffering a Sisyphean wound that eats at his soul but never contaminates his pure heart.

Tomasz Kot - Cold War: Kot masterfully portrays a man who seems above the fray of life and then adeptly shows his unraveling and descent at the hands of love. A compelling and finely crafted piece of work that highlights Kot as both a movie star and a sublime actor.

images-9.jpeg

AND THE MICKEY GOES TO…JOAQUIN PHOENIX - YOU WERE NEVER REALLY HERE: This is Joaquin Phoenix’s second nomination (Best Actor Inherent Vice) and first win. Joaquin Phoenix may be the very best actor working in film today. Phoenix is blessed with an undeniable talent and an interesting look, but what makes him so potent as an actor is his mastery of craft and exquisite skill. Phoenix never half-asses his way through a role, always committing fully to whatever is demanded. Phoenix’s work in You Were Never Really Here is as unnerving as it is glorious, as it reveals the tormented soul of a man on the edge and falling off of it. For this hypnotic and mesmerizing piece of work Joaquin Phoenix rightly takes his place atop the acting world with his much deserved Mickey™® Award.

BEST ACTRESS

Joanna Kulig - Cold War: Kulig gives an electrifying and explosive performance as an alluring Polish songstress. Kulig is like a Polish Jennifer Lawrence, charming, sexy and beguiling with a dash of danger sprinkled in. A truly mesmerizing performance.

Yalitza Aparicio - Vice: Aparicio makes her debut in Roma and could not have been better. Entirely genuine, present and grounded, Aparicio makes us feel as if she isn’t acting at all, but those of us in the know realize she is doing incredible and complicated work.

Olivia Colman - The Favourite: A deliriously delicious performance that is both funny and poignant. Colman won an Oscar for her dazzling work in the film, but being nominated for a Mickey trumps winning an Oscar…this is a fact.

Thomasin McKenzie - Leave No Trace: The winner of the presitgious Breakthrough award, McKenzie is one to watch as her work in Leave No Trace proves. A finely crafted and intricate performance that shows an actress with a refined skill set and in command of her craft.

Unknown-13.jpeg

AND THE MICKEY GOES TO…JOANNA KULIG - COLD WAR: This is Joanna Kulig’s first nomination and first win. Joanna Kulig is an intoxicating screen presence in Cold War and she expertly makes the audience fall in love with her even while keeping them at an arm’s length. This performance is so dynamic as to be glorious and is a pure joy to watch even when things take a darker turn. Masterfully crafted and palpably brought to life, Joanna Kulig’s work in Cold War gives her the highest honor an actress can ever receive…The Mickey™® Award.

BEST ENSEMBLE

Vice: Christian Bale and Amy Adams give career best performances in this uneven film and are joined in their sublime acting by Sam Rockwell and even Steve Carrell. Across the board this film is blessed with top-notch talent doing high level work.

The Favourite: A cornucopia of delectable performances make The Favorite a delicious joy to behold. Boasting four Mickey™® acting nominees, The Favourite is an actor’s delight.

The Death of Stalin: A cavalcade of talent lends their skill to this phenomenal dark comedy. Steve Buscemi, Simon Russell Beale, Jason Isaacs, Andrea Riseborough and Jeffery Tambor are among the multitude of actors who shine in this movie. A very skilled and very deep cast.

The Sister Brothers: The four actors in this film, John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal and Riz Ahmed all give nuanced, layered and standout performances in this alt-western gem. Reilly and Phoenix in particular have a crackling chemistry that is a pure pleasure to watch.

Shoplifters: A wonderful cast which includes Mickey™® nominee Sanduro Ando, Lily Franky, Mayu Matsuoka and the late Kirin Kiki. All of the actors in this film, including the child actors, do tremendous and very complex work.

Unknown-14.jpeg

AND THE MICKEY GOES TO…THE FAVOURITE - Olivia Colman, Emma Stone, Rachel Weisz and Nicholas Hoult give stellar performances in The Favourite that are intoxicatingly funny and layered. When you put a collection of talent this strong with a director of such vision, great things happen…like winning a Best Ensemble Mickey™® Award!! I am truly looking forward to this cast claiming their award and joining me for a feast fit for a Queen at Fatburger!

BEST DIRECTOR

Pawel Pawlikowski - Cold War: A stunning piece of film making that is concise, precise and beautiful. An achingly beautiful yet complicated love story set in the shadow of European history that never takes a misstep.

Alfonso Cuaron - Roma: Cuaron’s masterpiece is a piece of virtuoso film making that is undeniably compelling and viscerally heartbreaking. At once a beautifully shot piece of magical realism as well as an earnestly told and acted slice of life. A simply stunning and unforgettable piece of work.

Hirokazu Koreada - Shoplifters: A finely crafted film that never lets you go and haunts you for weeks after seeing. An exceedingly well directed film that boasts top notch performances from a big cast of actors.

Lynne Ramsay - You Were never Really Here: This film is a disturbing and unrelenting fever dream and character study that draws you in and refuses to let you go. Both visually and dramatically dynamic, this movie is a testament to Lynne Ramsay’s talent and vision.

Yorgos Lanthimos - The Favourite: Lanthimos has been nominated twice before for a Mickey™® and is proving himself as one of the great and original filmmakers of our time. The Favourite is proof of Lanthimos’ great ability and intriguing style.

Debra Granik - Leave No Trace: Granik is one of those understated directors that often gets overlooked. She has the increasingly rare skill of coaxing terrific performances from actors without surrounding them with cinematic pyrotechnics. A highly skilled, old school director who puts character and drama before spectacle.

AND THE MICKEY GOES TO…ALFONSO CUARON - ROMA: This is a loaded category but Cuaron has made a personal film that is universal in its beauty and insight. A gorgeous movie to look at and a heart breakingly human story make for a glorious piece of cinema. Cuaron has established himself as the auteur of our times with this masterpiece and with his unprecedented 3 Mickey™® Awards tonight!

ACTOR/ACTRESS OF THE YEAR - JOAQUIN PHOENIX

images-11.jpeg

Joaquin Phoenix gives three stellar performances this year in the films You Were Never Really Here, He Won’t Get Far on Foot and The Sisters Brothers. All of these performances were intricate, delicate, dynamic and magnetic and show him to be a master craftsman as well as a transcendent artist. Few actors have ever churned out three performances of this caliber in their career, never mind in one year…and it is for this reason that Mr. Joaquin Phoenix wins the prestigious, and first ever, Actor/Actress of the year Mickey™® Award.

BEST COMEDY OF THE YEAR - TIE BETWEEN THE FAVOURITE & THE DEATH OF STALIN

Two dark and exceedingly hilarious films, that boast rapturously glorious and deep casts, and speak volumes about the corrupting influence of power in history and today. In dark times, these two films bless us with their morbid but enlightening humor mixed with drama that make for spectacular cinema.

BEST BLOCKBUSTER OF THE YEAR - A QUIET PLACE

images-12.jpeg

A Quiet Place came out of nowhere to dominate the box office and to open my eyes. Who knew that Jim from The Office, otherwise known as John Krasinski, could be such a great writer, director and leading man? A Quiet Place isn’t just a fantastically well-made, finely-crafted, heart pounding and stomach churning horror/thriller, it is also an insightful commentary on our current culture. A remarkable and entertaining film that is both scary and smart and that beat out other blockbusters like Avengers: Infinity War, Deadpool 2 and Ready Player One, who all won the box office battle but lost the prestige war to A Quiet Place, the first ever Mickey™® Blockbuster of the Year award winner.

BEST PICTURE

10. HAPPY AS LAZZARRO - A magical movie that uses the mystical to peal back the scab of capitalism and exposes the gangrenous wound festering underneath.

9. LEAVE NO TRACE - This film poignantly reveals that genuine masculinity is dying in America. Subtly directed and marvelously acted, Leave No Trace is an understated gem.

8. A QUIET PLACE - A shockingly good movie that is extremely well-crafted. This movie was so well-made I exhaled a breath of relief when it was over…and I wasn’t even consciously aware I had been partially holding my breath the whole time.

7. THE DEATH OF STALIN - A masterful comedy with an exquisite cast that is perfectly paced and precisely acted.

6. THE SISTERS BROTHERS - A film that challenges conventions and overturns genres, The Sisters Brothers was an overlooked piece of gold.

5. SHOPLIFTERS - This movie is haunting as it stayed with me for weeks after seeing it. An insightful that challenges us to question what we think we know about our world and ourselves.

4. THE FAVOURITE - A top notch cast and a daring director combine to make a rabidly funny mediation on the intoxicating and corrupting sway of power.

3. COLD WAR - A gloriously shot, extremely well-acted and well-directed film that is so mesmerizing as to be hypnotic.

2. YOU WERE NEVER REALLY HERE - This film is an electrifying and pulsating fever dream of a movie that transports us into its lead character twisted mind and never lets us go. A masterfully directed and acted film that shows the moral decay on the soul of America.

1. ROMA - A true masterpiece, impeccably shot and directed. Alfonso Cuaron brings his artistic vision to life with such originality and technical skill that it is a marvel to behold. Cuaron has a lot of Fatburger meals waiting for him after winning an unprecedented FOUR Mickey™® Awards tonight!

MOST IMPORTANT FILM OF THE YEAR - THE FAVOURITE, VICE, THE DEATH OF STALIN AND YOU WERE NEVER REALLY HERE

What could these four seemingly disparate films have in common that could make them the most important films of the year? The answer is that they are all meditations or contemplations on corruption.

In The Favourite and The Death of Stalin we see those who get closer to power losing their minds and distorting or ignoring reality just to stay in close proximity to power. If this doesn’t reflect the current state of Washington and the establishment media, nothing does.

In Vice we see the full arc of corruption when the same type of sycophants on display in The Favourite and The Death of Stalin finally finagle their way into the top spot and unleash their power on to innocents across the globe.

And in You Were Never Really Here we see the how the moral and ethical cancer that infects those in the power structure, compels the ruling elite to seek out the innocent in order to satiate their depraved desires and pass on their sickness by devouring the purity of the next generation.

All fo these films high mirror back to us the sickened world in which we live. As far fetched as the narrative in You Were Never Really Here may seem, a cursory glance at the news will reveal that it is not as fictional as we would like to believe. Whether it be the Catholic church and its never ending sex abuse scandals or Bryan Singer and the pervasive pedophilia in Hollywood or Jeffrey Epstein and his Lolita Express that exposes Washington’s elite sexual abuse of young people, this issue is very very real.

These stories are not the whole ugly truth, they are but the tip of a repulsive iceberg. If you think the Catholic church is the only institution to sexually prey upon young people, you are a fool. If you think Bryan Singer is the only Hollywood power player to systematically sexually exploit young people, you’re an even bigger fool. And if you think the Lolita Express is the last word on Washington depravity, you are the biggest fool of all.

The moral and ethical corruption on display in these films and in these scandals are epidemic in American culture. Corruption doesn’t just infect institutions but also individuals. When the powerfully depraved and the depraved powerful control the levers of power then truth gets perverted and reality itself comes under assault….this is America in 2019.

The Favourite, The Death of Stalin, Vice and You Were Never Really Here shows us that the corrupting influence of power has made the world mad (crazy), which in turn has made the world mad (angry). This anger and this madness combine to create an unstoppable force, a vortex of spiritual, mental, emotional and political insanity, that will eventually gather more and more momentum until it destroys absolutely everything in its path.

We aren’t at this tipping point just yet…the despicable Dick Cheney is still allowed to live free and walk the streets of America without fear of someone bludgeoning his brains out with a hammer. Donald Trump, the Queen Anne of our times, still skates through life without a care. Mitch McConnell, Nancy Pelosi and Chuck Schumer, act like a modern-day version of Beria, Khrushchev and Melenkov as scramble to hold up the illusion of democracy in the wake of America’s death, all while feeding at the corporate trough like the insatiable pigs that they are.

That said, it does become clearer and clearer as every moment passes that this shit house is a tinder box that is going to go up flames. So the time is fast approaching when we will have to grab our ball peen hammers and get to work...the ruling elite are a target rich environment…we will have a lot of smashing to do.

images-13.jpeg

On that upbeat note…WHO’S READY FOR SOME FATBURGER!!

And thus we conclude our 5th annual Mickey Awards™®!!! Thank you for reading. I appreciate all my readers, their support and openness to debate and discussion!! We’ll see you next year at The Mickeys™®!!

And tune in later this week for the shadow of The Mickey™®, the Slip-Me-A-Mickey™® awards!!

1487875137128-1.png

©2019

Leave No Trace: A Review

leave_no_trace.jpg

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. An understated but well acted and directed film that speaks quietly but says volumes.

Leave No Trace, written and directed by Debra Granik (based on the book My Abandonment by Peter Rock), is the story of a father with PTSD and his teenage daughter who live off of the grid in the woods of Oregon. The film stars Ben Foster and Thomasin McKenzie as the father Will and the daughter Tom.

Leave No Trace is not a spectacular film riddled with dazzling camera work or explosive dramatic gems, instead it is a deliciously understated and subtle movie exquisitely acted and masterfully directed.

Director Granik's last film was 2010's Winter's Bone which was Jennifer Lawrence's coming out party as a major talent and movie star. Lawrence was nineteen when she shot Winter's Bone, and her performance was so transcendent it garnered her an Oscar nomination and catapulted her to the A-list.

images-3.jpeg

Leave No Trace's teen star is Thomasin McKenzie, and while she won't be on the express train to the A-list just yet, she certainly proves she will have a very bright future with her genuine work in the movie. McKenzie is a much more reserved actress than Jennifer Lawrence (and at 17, younger than Lawrence when she worked with Granik), but she shares the same vibrant inner life and grounded humanity that JLaw possesses.

What is so endearing about McKenzie's work in Leave No Trace is that, like a fawn taking its first steps, she carries the awkwardness of a teen girl with both a compelling mix of insecurity and bravado that is a joy to behold. When a scene arises where a typical actress would be trying to cry, McKenzie takes the wise and inspired choice to try and NOT cry. Watching her contain her emotions and only allow them to sneak through in the most understated of ways, like a quivering chin, made my acting coach heart burst with joy.

Unknown-7.jpeg

Teaming McKenzie with Ben Foster, one of my favorite actors and also one of the most underappreciated actors working today, makes for a dynamic pairing. Foster is blessed with both a gravitas and air of combustibility that makes him a magnetic and uneasy screen presence. Foster is, like McKenzie, understated in his performance in Leave No Trace, but the less he does the more mesmerizing he becomes in the role. Foster's layered and subdued work, sans his usual fireworks, is a testament to his skill and mastery of craft.

Speaking of mastery of craft, director Debra Granik takes the same subtle route as her actors. Leave No Trace is a straight forward film, and Granik shows her craftsmanship with her impeccable pacing, letting the narrative take its sweet time. Never in a rush, never showy, never over the top or even nearing it, Granik's proficient direction is proof that being able to tell a story without dramatic pyrotechnics and camera acrobatics is a dying art form.

Granik's Winter's Bone was a similarly directed film and proves that Ms. Granik is a throwback type of director from a fading cinematic era, the 1970's, when story and characters were the most important part of the film making process. I hope Granik becomes more prolific as a director in the coming years as her style and approach to the art form are a breath of fresh air in a sewer of over-the-top, look-at-me conformity.

Unknown-1.jpeg

While Granik's film is deeply poignant for many reasons, as a coming of age story, as a story of a wounded parent, I found it most poignant of all as an unwitting epitaph for the American male. Our society and culture has been emasculated and is feminized beyond recognition. All we are left with is a distorted masculinity (think of Trump or hip-hop culture) that no longer nourishes the society that contains it, but rather is a cancer that is toxic to all that come into contact with it. Real men...defined as self-sufficient, independent, individualistic, rugged, rough, straight-forward and trustworthy, are reduced to being either outlaws (echoes of writer/director Taylor Sheridan) or phantoms left to wander the wilderness but never be seen...like the mythical Sasquatch. As father to a young son, this is the reality that disturbs me to my core. In modern day America men like me and the man I am raising my son to be, are dinosaurs post-comet, a dying breed playing out the string while waiting for our extinction to become official.

As evidenced by the work of Taylor Sheridan (Wind River, Hell of High Water, Sicario), women cannot survive in the world of men, but as Granik shows in Leave No Trace, men cannot survive in the world of women either. Containing the unruly beast of man is no easy task, as evidenced by Tom, who enjoys being able to control her toy horses and who learns to lose her fear of bees and enjoy handling them even though they could kill her (but would die in the process), but she realizes that man (her father) is a hell of a lot more difficult and dangerous to control than honey bees.

Unknown-6.jpeg

The film also highlights the broken promise of America, especially to men. Leave No Trace peels back the band-aid that covers the bullet wound of America's forgotten. The dark underbelly of America, populated by men sold a bill of goods and exploited for their misplaced sense of duty and patriotism, is a striking indictment of the vacuousness of American culture and political rhetoric.

As the film shows us, America is dying because the American male is dying and with him the American dream. An entire generation of American men are being corporatized and neutered, thus left without any sense purpose or meaning in their lives. This America of eunuchs is a nation that simply will not survive for very long as it will collapse under its own pretensions.

In conclusion, I really loved Leave No Trace. I found the acting and directing to be top notch and the storytelling and sub-text to be truly fascinating and insightful. I recommend you go see Leave No Trace in the theatre, not because it is the type of film that demands the big screen, but rather to send a message to Hollywood that smart, well-crafted, understated and character-driven stories can garner an audience and make them some money.

Whether you are a man or woman, I believe that Leave No Trace will move you, as it reveals that the painful wound currently afflicting America is ultimately fatal...and that there is no turning back and walking away. Go see it now.

©2018

 

 

Hell or High Water : A Review

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!!****

Estimated Reading Time : 5 Minutes 14 Seconds

My rating : 4.5 out of 5 stars

My Recommendation : See it in the Theatre!! Go See it Now!!

"THE DAYS WHEN YOU COULD ROB BANKS AND LIVE OFF THE MONEY ARE LONG GONE"

Hell or High Water, written by Taylor Sheridan and directed by David MacKenzie, is the story of Toby and Tanner Howard, two native sons of Texas who go on a bank robbing spree. The film stars Chris Pine and Ben Foster as the Tanner brothers and Academy Award winner Jeff Bridges as the Texas Ranger Marcus Hamilton who is hot on their trail.

The acting, the writing and the directing in Hell or High Water is impeccable. Taylor Sheridan who wrote the script, also wrote last years Sicario, and is quickly becoming a master screenwriter. His dialogue is crisp and his action and storytelling vibrant and vivid. The very basic story of Hell or High Water is that of bank robbers, but Sheridan puts an original and unique twist onto that narrative and uses it to tell an intriguing story with deeper truths sprinkled throughout his multilayered script.

Director Mackenzie uses a deft touch to allow the film and his actors room to breath, and he uses the vast Texas landscape to enhance his visual storytelling. Mackenzie's pacing and fluid camera work add an extra dimension to the story that help it blossom. Mackenzie's other great achievement is his obvious insightful work with his actors. While Ben Foster, Chris Pine and Jeff Bridges are accomplished actors who may not need all that much direction, Mackenzie's work with the supporting and smaller roles is evident and excellent. There are local hires in this film, I am thinking of an older man in a diner, and an old waitress in another diner, who are so great in their scenes it filled me with a beaming joy. After having suffered through the atrocity of acting in Sully, seeing the exquisite work of the actors in smaller roles in Hell or High Water gave me faith once again in the craft and skill of not only acting but of directing. I thank Mr. Mackenzie for that and for his dedication to his job and the specificity of his work.

As for the main characters, all three actors are outstanding. Ben Foster is an often over looked actor, but he is among the best we have working today. Foster's Tanner vibrates with a palpable chaotic energy and unpredictability that is mesmerizing. Chris Pine's Toby is more subdued than his brother, but carries a cross of melancholy throughout life that permeates his every move. In my eyes, Pine was little more than a pretty boy movie star before this, but after seeing his work in Hell or High Water, I am excited to see where his career can go from here. And finally Jeff Bridges, who is one of the great actors of our time, turns in another stellar performance. Bridges' Texas Ranger is funny, bordering on cruel, a man desperate to connect and feel again but who is completely ill-equipped to do so. But when we see rare glimpses of Ranger Hamilton's true self and heart, they are utterly captivating. There is one heart breaking sequence where Bridges goes from a subdued guttural cry to a ferocious and fierce determination that could melt steel. Bridges is a joy to behold on screen, and his work in Hell or High Water is more proof of his professional and artistic mastery.

Finally, a special mention for Gil Birmingham who plays Bridges' Texas Ranger partner Alberto Parker. Birmingham takes a role that in the hands of a lesser actor could have been just a caricature, and creates a truly magnificent character of depth, life and feeling. Birmingham's Parker takes much abuse from his partner Hamilton, and while he wishes that abuse would roll off his back in all good fun, it doesn't. Birmingham creates a wall which Parker hides behind in order to function in the world of the Texas Rangers, and is smart enough to let the audience get glimpses of who Parker really is behind that wall which makes him a distinct and genuine character that lights up the screen.

"I'VE BEEN SITTING HERE LONG ENOUGH TO WATCH THAT BANK BEEN ROBBING ME FOR THIRTY YEARS GET ROBBED" - OLD MAN IN DINER

I had not heard much about Hell or High Water before seeing it. It is one of those films that sort of flies under the radar in our very cluttered popular culture. I went to see it because a friend of mine, Mr. Ben AKA The Oklahoma Kid, had recommended it to me. He is usually spot on when it comes to film, so on his advice I made the trek to the theatre to check it out. And boy, am I ever glad I did. Hell or High Water is a truly magnificent film, one of the best of the year. After seeing it I tried to describe my feelings for the film to a friend of mine, I told her that Hell or High Water is the type of film for which cinema was invented. The film tells its story on multiple, complex levels, and most importantly it also tells the truth. There is no Sully-esque fairy tale or wish fulfillment here. The lesson of Hell or High Water is that the American Dream is a lie. On top of that it makes the subtle yet effective argument that America itself was founded upon a lie and built upon the slaughter of native people and the theft of their land, and the karma of that theft reverberates to this day. Hell or High Water shows us that the exploitation that built this country has moved from the native population to the nativist population. Hell or High Water is damning evidence that American capitalism has now become a cancer that is devouring its host, and will continue to do so until its death. 

The Howard brothers learn quickly that the only way to succeed in the rigged game of American capitalism is to cheat. And if you have to hold a gun to somebody's head just to get a place at the table, then you do it….that is the true American way. The Howard brothers are like millions of Americans who have been sold a bill of goods and were and will be again, left holding the bag when the house of cards tumbles. The Howard brothers are the type of men who fight our wars overseas only to come back home to be "thanked for their service" by self-satisfying American sycophants but ignored for their true sacrifice and their desperate needs. The Howard's, like most Americans, live in a country where opportunity is for the few and despair for the many. The Howard's, unlike most Americans, are smart enough to realize that the real enemy is not outside our borders in Iraq, or Syria or Russia, but right here at home on Wall Street and in Washington.

"BOY, YOU'D THINK THERE WERE TEN OF ME" - TANNER HOWARD

The Howard's are also throwbacks to a time when real men existed in this country, not the faux men who roam our land now, with their big pick up trucks, belt buckles and cowboy hats, the Chris Kyle worshipers who carry weapons but lack the courage and wisdom to know against whom to use them. These faux men are good government bullshitters who wave their flag and pledge their allegiance to the lie that is killing them. And when Tanner Howard walks down the middle of the street with guns a-blazin, these "real" men, who greatly outnumber him and out gun him, turn tail and run, because they know that in the face of a real man, of true masculinity, the American male of today stands no chance. 

Hell or High Water is about the loss of that true American masculinity. The Howard brothers are the last of the dinosaurs roaming the Texas plains. The outlaw, the true individualist, who would stand up to power, not be its slave, are long gone. America has become a nation of cowards because all the real men have been neutered…by government, by culture, by greed, by fear, by generational incompetence. The younger generations have grown up not knowing what a real man is, so they drive their lime green muscle cars and play their hip-hop and wave their pistols in an attempt to emulate what they think a real man is, all the while the real man rides his white stallion in the background without a sound and barely a notice, and uses his fists to beat the shit out of those posing at being real men.

"THESE BOYS IS ON THEIR OWN" - TEXAS RANGER MARCUS HAMILTON

There is a scene in Hell or High Water where a bunch of ranchers drive their cattle across the road to escape a brush fire. From atop his horse the rancher says to Bridges' Ranger, "My kids won't do this job!". As Bridges drives away he says to his partner, "These boys is on their own." They are on their own, for they are the last of their kind, driven to extinction by events beyond their control. The real men, like the Howards or that cattle driving cowboy, know that America's true enemy is from within, it is the banks that started that brushfire that will drive us off our lands, just like we drove the Comanche off of this same land a hundred and fifty years before. The flag waving dipshits, the Chris Kyles, the good government bullshitters, they are already dead and they are too stupid to even know it yet. These faux men, these impotent American males worship an idol, America, that cares not for them except to feed upon their naiveté and idiocy. That brushfire sweeping the Texas plain already destroyed the uber-masculine culture of the Comanche, and now it will grow and spread and leave behind it a scorched earth of American masculinity that will never grow back.

That's the real problem with guns in this country, not that guns are dangerous in and of themselves, but that there are no real men left to carry them. The men of this nation are simply children grown large who have had no true men to raise and guide them, and that is why there is so much gun violence today. The people with guns aren't man enough to know when, how and on whom to use them. That goes for the gang banger, the cowboy, the soldier and the cop alike, none of which are real men, that is why they shoot unarmed men and deer…because unarmed men and deer don't shoot back. That is why we fight wars against countries that can't fight back, and still can't win them. When Tanner Howard brazenly walks down the street and shoots back at the pick-up truck contingent, those cowards tuck tail and head for the hills as fast as they can, because Tanner is worth ten of those neutered half-men. 

I have a theory of masculinity that most film lovers will understand. It goes like this…most men of today think of themselves as one of the Corleone family from The Godfather. Of the Corleone brothers, Sonny, Fredo, Michael and Tom Hagan, most men think they are either Sonny or Michael. Sonny, the hot tempered tough guy and ladies man, or Michael, the cool, calm, unflappable leader. In Hell or High Water, Tanner is Sonny and Toby is Michael. In reality most men of today are delusional and are neither Sonny nor Michael. The one's who think they are Sonny are really Fredo, and the ones who think they are Michael are really Tom Hagan. And this is where we find ourselves at this time in the history of the American male…we are a nation of Fredo's, incompetent cowards who are afraid of our own shadow…psychologically speaking I absolutely mean that literally. Occasionally we run into a Tom Hagan and confuse him as being a Michael because we haven't seen a real Michael in many decades. The man we think is a Michael isn't a Michael, he is a Tom, more an errand boy for those in power than real a man who should wield power. The days of the American male as Sonny and Michael are long gone, for now we live in the age of Fredo. What proof do I have of this? Look at our two Presidential nominees…who are you voting for? Fredo or Tom? You get what you pay for…and our bill has come due.

"ONLY ASSHOLES DRINK MR. PIBB" - TANNER HOWARD

Hell or High Water is the epitaph of the real American man. Go see it as it is a fantastic film. It is well worth your hard earned dollars and your sparse free time. Go see it and see the last of a dying breed, the Real American Man, because soon enough the only place you will be able to see one is on a movie screen.

©2016