March 05, 2020

The Invisible Man: A Review

March 05, 2020/ michael mccaffrey

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

My Rating: 2.25 out of 5 stars

My Recommendation: SKIP IT. This movie starts off well but spins out of control and becomes ultimately a whole lot of silliness. Even if you are a big horror fan, you can wait to see it for free on a streaming service or cable.

The Invisible Man, written and directed by Leigh Whannell, is the story of Cecilia Kass, a woman in an abusive relationship whose controlling ex-boyfriend goes to remarkable scientific lengths to torment her. The film stars Elisabeth Moss as Cecilia, with supporting turns from Aldis Hodge, Storm Reid, Harriet Dyer and Michael Dorman.

The Invisible Man is H.G. Wells’ iconic story of a mad scientist who tries to play God and turns himself invisible, this film version however is set in modern times and turns the story on its head by giving the viewer not the perspective of the scientist, but that of his long suffering girlfriend trying to get away from him.

The trailer for The Invisible Man was terrific and while I am not much of a horror film aficionado, I was excited to see it. The film’s opening sequence lives up to the trailer’s promise, as it is extremely well-done and directed, and immediately captivates the audience by throwing them directly into the tension. The problem though is that the opening sequence is scuttled by its illogical conclusion, as the film quickly deviates from a real-world setting into make-believe movie-dom, thus defusing the tension and knee-capping the suspension of disbelief. Things go down hill from there.

The first half of the film is a decent thriller, and director Whannell effectively uses long, slow pan shots that hold on seeming nothingness, as well as natural sound and a paucity of music, to convey an ominous sense of tension.

In the second half of the movie though, Whannell abandons this successful restrictive directorial approach for more conventional movie making and the film and its narrative spiral out of control and stumble into a morass of melodrama.

Whannell, who also wrote the screenplay, made the fatal error of not committing entirely to his perspective choice, namely having the audience see the world through Cecilia’s eyes. By breaking perspective and periodically showing things from other viewpoints besides Cecilia’s, the connection between audience and Cecilia, and spell of the movie, are broken, and thus we are left with a rather mundane movie of little impact.

Whannell’s other error is that he expands the story beyond the bounds of its natural power. This film, about an abusive relationship, needed to stay within the intimate confines of that relationship, and eschew the wider world, which dilutes the claustrophobia and terror of the premise. Whannell’s failure to contain things neuters the drama as well as the film and its feminist message.

I genuinely like Elisabeth Moss as an actress, as she is a highly skilled and compelling screen presence, but with The Invisible Man she repeats herself and comes perilously close to caricature. Since 2017 Moss has played Offred in The Handmaid’s Tale, and won an Emmy for doing so, but her Offred and her Cecilia seem to be the exact same person.

Cecilia, like Offred, is the noble female victim who finally “stands with fist” and fights back against the deplorable patriarchy that has its hands around her neck. The seams of Moss’s work are definitely showing as she spends a lot of her time on screen in both A Handmaid’s Tale and The Invisible Man, not blinking so that her eyes well up with tears, and then blinking so that the tear gracefully falls down her cheek. She also locks her jaw and steels her eyes in an act of defiance that always feels a lot more faux than formidable.

Moss certainly has greatness within her, but I wish I could see her get lost in a performance rather than being forced to see her act.

The rest of the cast are fine, if underwhelming.

Aldis Hodge is a very likable actor and does the best he can with his under written and rather illogical character James.

Stormy Reid is another likeable screen presence but she too is handed a thin character that doesn’t amount to much.

Michael Dormand and Oliver Jackson-Cohen fall pretty flat in their roles which needed to be much sharper for the premise of the film to work.

The Invisible Man is obviously a #MeToo allegory about the patriarchy and the “gaslighting” of women, and that is actually a pretty fascinating take on the story. The feminist politics of the movie and the portrayal of an abused woman’s PTSD work very well in the first half, but they do lose steam and coherence in the second half.

Another troubling thing of note in the movie is its racial politics, which can be boiled down to this… The Invisible Man movie doesn’t hate all men…just the white ones. It is made very clear throughout that The invisible Man wants all white men to vanish. Not only is every single white man in the movie is bad, but every bad person in the film is white. Every single one. The villain, his brother and even some throw away small characters are the token evil white men.

I have no issue with the villain and his brother being white…but what I find disturbing is the film’s decision to paint all of the even mildly prominent white male characters as bad.

For instance, there is a scene where Cecilia goes for a job interview and her interviewer is a nerdy white guy. The scene and the nerdy white guy character are not very important…which is why it is so striking that the choice was made to have this nerdy white guy sexually harass Cecilia. Instead of just a throw away character with meaningless dialogue, this choice of having him be a predator sends a clear and undeniable message, that all white men are intrinsically evil. The choice to have this sexually harassing nerd be white is also no accident. He could have been any race or ethnicity…but he was specifically white.

Further proof of the film’s anti-white racial politics are seen when James, who is a black cop, sits down with a white cop to speak with Cecilia. Cecilia won’t speak freely with the white cop in the room, so James asks him to leave. You may think that this scene makes sense devoid of the cop’s race as Cecilia is friends with James and wants to confide in him…this is true…but just like the sexually harassing nerdy architect, the choice here is subtle but very deliberate. They could have had the other cop be of any race or ethnicity they wanted…he could have been black, Asian, Latino…a woman…but they didn’t, they made him white and once again reinforced the message that not all men, but just the white men, cannot be trusted.

Of course Aldis Hodge’s character, James, is black and is a really good guy…a great father and friend who is patient and kind and never even considers being inappropriate with Cecilia.

The only reason I bring this up is because it struck me as being such a blatant piece of racist misandry (with racism defined as - "prejudice, discrimination or antagonism directed against other people because they are of a different race or ethnicity” and misandry defined as “dislike of, contempt for, or ingrained prejudice against men”) as to be propaganda. I would certainly mention the same thing if other races, ethnicities or genders were universally painted with such a negative brush by a film.

Regardless of this questionable ideology, I would still have been all on board with The Invisible Man if it had just been consistently good, and sadly, it isn’t.

In conclusion, The Invisible Man never lives up to the hype, to its trailer or to its source material, and thus squanders a golden cinematic opportunity. I do not recommend spending your time and money seeing this film in the theatre, but if you are interested in seeing it at all then you should check it out on Netflix, cable or a streaming service when it becomes available.

March 04, 2020

Looking California and Feeling Minnesota: Episode 10 - The Invisible Man

March 04, 2020/ michael mccaffrey

This week we talk (with spoilers) about the new movie The Invisible Man, which is a re-telling of the classic story with a decidedly modern twist. Join us to hear our thoughts on some of the good and not so good things about the film and what we would have done differently.

LOOKING CALIFORNIA AND FEELING MINNESOTA: EPISODE 10 - THE INVISIBLE MAN

Or on iTunes

LOOKING CALIFORNIA AND FEELING MINNESOTA: EPISODE 10 - THE INVISIBLE MAN

Thanks for listening!

February 28, 2020

Birds of Prey: A Review

February 28, 2020/ michael mccaffrey

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

My Rating: 1 out of 5 stars

My Recommendation: NEVER SEE THIS MOVIE.

This is an extended version of a review that was originally published at RT.

The new film Birds of Prey is populated by despicable men, and feminist women who want to be just like them. The outcome: Financial losses and moral bankruptcy.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), written by Christina Hodson and directed by Cathy Yan, is the story of Joker’s ex-girlfriend, Harley Quinn, as she navigates Gotham and a series of bad guys trying to take her down. The film stars two-time Academy Award nominated actress Margot Robbie as Harley Quinn, with supporting nods from Ewen McGregor, Jurnee Smollett-Bell, Mary Elizabeth Winstead and Rosie Perez.

Birds of Prey is marketed as a girl power manifesto that re-imagines Harley Quinn without the condescending sexism feminists felt was so prominent in Suicide Squad (2016), the last movie that featured Margot Robbie as Harley.

Suicide Squad was a horrifically shitty movie, and was regarded as a box office under-performer with a notoriously troubled production history, but it still was able to scratch out $750 million in total.

Despite oddly positive - to the point of delusional - reviews from woke pandering mainstream critics, Birds of Prey won’t do half that number in its theatrical run. With a reported production budget of $100 million (which includes re-shoots) and additional marketing costs, Birds of Prey is going to lose big money for the douchebag suits at Warner Brothers.

How did things go so wrong?

Birds of Prey banished the problematic “male gaze” of Suicide Squad that allegedly dehumanized Harley by making her purely an object of desire, by employing an all female creative team that included producer Margot Robbie, writer Christina Hodson and director Cathy Yan. The production goes so far in exorcising men as to even have a soundtrack with all-female artists on it.

The problem though is Birds of Prey tries to thread the needle and make a chaotically cool combination of Deadpool meets Wonder Woman, only it doesn’t have the first clue about the sardonically masculine humor of Deadpool and the appealing feminine power of Wonder Woman, or masculinity and femininity in general.

The film’s sexual politics are aggressive to say the least. In our current cultural moment, toxic masculinity and masculinity have become synonymous, so it is no surprise that Birds of Prey goes to great lengths to denigrate and disparage all its male characters and yet also to venerate all its female ones.

Every man in the movie, with the lone exception being a character (played by the criminally underused actor Eddie Alfano!) with fifteen seconds of screen time and no dialogue, is either entitled, conniving, maniacally violent, a rapist or all of the above.

In contrast every female character wears the noble crown of resilient victimhood after having suffered at the cruel hands of men.

The portrayal of men as misogynist beasts is pretty heavy handed, as at one point Harley and female friends are surrounded and the sadistic Roman Sionis (Ewen McGregor) yells to his army of all-male thugs, “Men of Gotham, go get those bitches!”

What’s so bizarre about the supposed girl power message of the movie is that while it relentlessly tells us that men are despicable creatures, all of the female characters are lionized for trying to behave like men. Like the recent batch of feminist movies such as Charlie’s Angels (2019) and Terminator: Dark Fate, Birds of Prey believes that feminism means women should act like men.

Even more baffling is the cinematic schizophrenia of Birds of Prey, as it obviously loathes men yet is so desperate for their attention it serves up a steady supply of hyper-violence. As Harley Quinn says, “nothing gets a guy’s attention like violence…blow something up, shoot someone.”

Totally coincidentally, The New York Times published an op-ed by an actress, Brit Marling, titled “I Don’t Want to be the Strong Female Lead” on the day Birds of Prey premiered.

In the piece Marling describes strong female leads as, “She’s an assassin, a spy, a soldier, a superhero, a C.E.O. She can make a wound compress out of a maxi pad while on the lam. She’s got MacGyver’s resourcefulness but looks better in a tank top.”

In some ways this applies to Birds of Prey, since the women in it are smarter, tougher and stronger than the men, except they have been stripped of their sex appeal in a convoluted attempt to be pro-feminist.

For instance, Harley Quinn wore short shorts and alluring outfits in Suicide Squad, but in the female empowering Birds of Prey she dresses in baggy, Bermuda length shorts and a pink sports bra. It’s as if Harley went full Lady MacBeth and cried “unsex me here” and the filmmakers dutifully complied to stick it to the patriarchy.

Contrast this with the Super Bowl halftime show where Jennifer Lopez and Shakira were declared fiercely feminist when they wore skimpy outfits and literally danced like strippers.

How can female filmmakers like Cathy Yan properly tell an empowering feminist story if feminists haven’t even figured out what feminism is just yet?

This confusion manifests when Birds of Prey defines women solely in opposition to men, but then has them emulate masculinity as a show of their feminine strength.

Brit Marling wasn’t commenting on the troubling Manichean anti-male sexual politics of Birds of Prey, but she could have been, when she eloquently wrote, “I don’t believe the feminine is sublime and the masculine is horrifying. I believe both are valuable, essential, powerful. But we have maligned one, venerated the other, and fallen into exaggerated performances of both that cause harm to all. How do we restore balance?”

That is a good question, but Birds of Prey is oblivious to balance…and quality for that matter. It’s a hot mess of a movie that features derivative, repetitive and dull action sequences, and that tries to be funny, but isn’t…hell…there is a hyena in the movie and even he wasn’t laughing. Watching this thing felt like wading through an Olympic-sized swimming pool of radioactive girl power vomit.

The cast, including lead Margot Robbie, who is one of my favorite actresses, are dreadful. Robbie’s New Yawk accent is brutally distracting and completely idiotic. Robbie’s Harley Quinn makes no sense dramatically, comedically or artistically.

The supporting roles are equally incoherent. Jurnee Smollett’s Black Canary and McGregor’s Sionis are cardboard cutout caricatures that are embarrassing to behold….as is Winstead’s Huntress. The biggest crime these actors commit is that they are all suffocatingly dull in their roles. There isn’t a spark of life at all from them…or from Rosie Perez who is wildly miscast as a girl cop done wrong.

In conclusion, if equality is women making misandrist, hyper-violent, incoherently vapid and dreadful movies…then Birds of Prey is a smashing success for feminism. It is also an abysmal failure for cinema…and probably humanity. It deserves to fail.

February 19, 2020

Looking California and Feeling Minnesota: Episode 8 - Once Upon a Time...in Hollywood

February 19, 2020/ michael mccaffrey

This week on Looking California and Feeling Minnesota, we take a deep dive into Quentin Tarantino's 9th film Once Upon a Time in Hollywood. We go in-depth into the film, its impact on cinema, its influences, its mysteries and why this is such a complex and layered movie.

LOOKING CALIFORNIA AND FEELING MINNESOTA: EPISODE 8 - ONCE UPON A TIME IN HOLLYWOOD

Or check us out on iTunes…and please leave a review or comment.

LOOKING CALIFORNIA AND FEELING MINNESOTA - ITUNES

Thanks for listening!

February 15, 2020

6th Annual Mickey™® Awards: 2019 Edition

February 15, 2020/ michael mccaffrey

Estimated Reading Time: The Mickey™® Awards are much more prestigious 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 a fantastic one for cinema with 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!

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

Joker - Lawrence Sher : Sher was a relative unknown, at least to me, prior to Joker. His work on the film is truly remarkable as he composes really exquisite classical shots and juxtaposes them against fluid shots that in a thrilling dance with lead actor Joaquin Phoenix.

Once Upon a Time…in Hollywood - Robert Richardson : Richardson is one of my all-time favorite cinematographers. His work with Oliver Stone in the late 80’s and early 90’s was revolutionary (JFK for instance). He has proven himself to be a very flexible and adaptable talent and his work in this film is sublime. The last shot of the film, where Leo Dicaprio’s Rick Dalton walks up Sharon Tate’s driveway, is a glorious piece of cinematic myth making.

1917 - Roger Deakins : Deakins is Deakins. The guy is a master, as evidenced by his previous Mickey award for Sicario (2015) and he brings all his formidable talent and skill to bear on the “one-shot” structure of 1917. For all the gimmickry of the one-shot approach, what impressed me so much about Deakins work here is how he was able to continually frame such gorgeous shots while constantly on the move.

Ad Astra - Hoyte Van Hoytema : Hoytema is another of my favorite cinematographers working today. He is already a Mickey Award winner (Dunkirk 2017) and his work on Ad Astra is magnificent. He paints the film with a bleak palette and vivid contrast that accentuates the narrative and is gorgeous to look at.

The Irishman - Rodgrio Prieto : Prieto’s work on The Irishman is superb as he perfectly paints the film with a rather lush and nostalgic sense that contrasts well with his camera movement and framing.

Parasite - Hong Kong-pyo : Hong is someone I am not familiar with…but his work on Parasite is so precise it is a joy to behold. Hong’s greatest strength is in his camera placement, as he uses it as a a way to draw the audience into the narrative while also keeping them at a cool emotional distance.

And The Mickey goes to…Lawrence Sher - Joker : Sher pulls off the big upset going against heavyweights like Deakins, Richardson and Hoytema. Joker is beautifully and artfully photographed and Sher’s work was a major factor in the films artistic success.

Best Adapted Screenplay

The Irishman - Steven Zaillian’s ability to contain and focus the sprawling story of Frank Sheeran while keeping things tight and dramatic, is impressive.

Joker - Todd Phillips was able to imbue comic book intellectual property with profoundly insightful political and social commentary. Wow.

The Two Popes - Anthony McCarten created multi-dimensional characters where others would have made card board cutouts. Too bad his director undermined his fantastic writing.

Transit - Christian Petzold adapted a book about the holocaust and made it about modern times. It is chillingly effective in subtly showing the similarities of the rise of fascism then and now.

And The Mickey goes to…Todd Phillips - Joker : Todd Phillips must have sold his soul to the devil because nothing in his prior career would give any indication he was capable of such intelligence and artistry. Now he has a Mickey™®! The world is a wonderful place.

Best Original Screenplay

Once Upon a Time…in Hollywood - Tarantino is an even better writer than he is a director…which is a staggering thought to contemplate considering his directing greatness. OUATIH is a crackling script that holds on tight…but not too tight that it loses its humanity. Extraordinarily well done.

Parasite - Bong Joon-ho’s script is a whirling and twirling piece of magnificence. As original and well-crafted a screenplay as you’ll find.

Ad Astra - James Grey’s script is the most psychologically mature and resonant of the entire year. It is an utter field day for anyone with any background in Jungian psychology.

A Hidden Life - Terrence Malick brings the spiritual struggles of a anti-Nazi crusader down to earth in the most glorious and profound way.

Ford v Ferrari - James Mangold gives us a rip-roaring script that covers a lot of ground but never loses its way.

And The Mickey goes to…Quentin Tarantino - Once Upon a Time…in Hollywood : Tarantino’s ability to write characters, dialogue and story is unparalleled in modern cinema. Guy is amazing…now he has a Mickey™® to prove it!

Best Supporting Actress

Margaret Qualley - Once Upon a Time…in Hollywood: Qualley, a Breakout Performance Mickey™® Award winner (2017), makes good on her promise and delivers a deliriously intoxicating turn as one of Manson’s seductive minions.

Margot Robbie - Once Upon a Time…in Hollywood : Robbie doesn’t say much as Sharon Tate…because she doesn’t have to. An effervescent and luminous performance that highlights her supreme craft and skill and proves she is way, way more than just a very pretty face.

Park So-dam - Parasite : Park is super sexy cool as the sister who poses as an art teacher. She imbues her character with a certain sense of almost spiritual fatigue cloaked in a devilish charm that is beguiling to witness.

Lee Sun-kyun - Parasite : As the mother of the rich family, Lee is wonderfully funny as her desperation to be worthy and perfect keeps wrapping her tight and unwrapping her too quickly.

Zhao Shuhzhen - The Farewell : Zhao’s turn as an ailing grandmother is delightful for its humor, humanity and power. Zhao’s Nai Nai is no wilting flower, she is both tough and tender…and reminded me so much of my late wee Scottish grandmother I was thoroughly enchanted.

The Mickey goes to…Margot Robbie - Once Upon a Time...in Hollywood. The usual suspects complained this film was misogynistic because Robbie’s Tate had a paucity of dialogue, but it’s a testament to her talent and skill that she was able to convey an affecting story with more than just words.

Best Supporting Actor

Brad Pitt - Once Upon a Time…in Hollywood. In an industry with a paucity of genuine stars, Pitt gives the movie star performance for the ages…where women want to be with him and men want to be him.

Joe Pesci - The Irishman : Pesci is usually plays combustible characters, but his Russ Buffalino is an imposing figure of self-containment. Maybe the very best and most subtle work of his career.

Al Pacino - The Irishman : Pacino brings Jimmy Hoffa to life with a vibrancy and dynamism only he could muster. A truly masterful performance.

Jonathan Majors - The Last Black Man in San Francisco : A finely crafted and glorious performance that is filled with a deep humanity and vivacity.

Sam Rockwell - Jojo Rabbit : Rockwell is an absolute joy to behold as he subtly but magnificently devours scenery as a down on his luck Nazi.

Song Kang-ho - Parasite : Song is the epicenter of Parasite as a man without answers trying to figure out the questions. He is blessed with a face that tells a story all its own.

The Mickey goes to…Al Pacino - The Irishman. Pacino has become a sort of parody of himself in his later years, but his portrayal of Jimmy Hoffa was a perfect manifestation of self-defeating tenacity and combustibility that is one of the highlights of his superb career.

Breakout Performance of the Year - Julia Butters : Butters is mesmerizing as the whip smart child actor who works with Rick Dalton as he hangs on to his career by his finger nails. Butters is just a kid but has the presence and magnetism of someone twenty years older. I hope child stardom does not weigh heavy upon her…because down the road she has the opportunity to be very special.

Best Foreign Film

Transit - This is a close-up view of what fascism feels like…and it does not feel good.

A Hidden Life - A profound examination of the spiritual battle a man must wage to save his soul in Nazi Germany.

Parasite - A masterful contemplation of class and family dynamics set in Korea.

Rojo - A terrific under the radar movie that shows the corrosive effects of our old friend fascism as it descends upon 1970’s Argentina.

Shadow - A terrific Chinese Wuxia film with spectacular fights and inventive visuals.

And The Mickey goes to…Parasite - Exquisitely directed with an amazing cast. One of the very best films, foreign or domestic, of the year.

Best Actress

What a dismal year for female performances. I literally cannot think of any actresses worthy of even nominations never mind wins. After a very testy emergency meeting of the Mickey™ council, a compromise was reached.

The Mickey goes to…Florence Pugh - Midsommar. Pugh, a Breakout Performance Mickey Award winner (2017), is on her way to becoming a movie star and her two Mickeys will no doubt only accelerate her ascent.

Best Actor

Robert DeNiro - The Irishman : DeNiro does the very best work of the latter part of his career as Frank Sheeran, the cog in the wheel of the mafia and union who sells his soul to survive.

Franz Rogowski - Transit: Rogowski is just a phenomenal actor and his intricate work in Transit is transcendent for its humanity and honesty.

Robert Pattinson - High Life : Who knew Pattinson could actually act? In High Life he does surprisingly complex and detailed work as a man condemned to be lost in space.

Leonardo DiCaprio - Once Upon a Time…in Hollywood : DiCaprio has been among the biggest movie stars for decades now…but his performance as Rick Dalton is the very best of his remarkable career.

Joaquin Phoenix - Joker : As precise, dynamic and committed a performance as we’ve seen in years. Phoenix is the best actor of his (and maybe every other) generation and he proves it with Joker.

Brad Pitt - Ad Astra : :Pitt proves himself to be more than a pretty face with a powerfully subtle, skilled and nuanced performance as a man in search of his father. This is easily the very best acting Brad Pitt has ever done.

The Mickey goes to…Joaquin Phoenix. Phoenix’s work in The Master (2013) was a gargantuan evolutionary leap for the craft of acting, and his performance in Joker is a powerful continuation of that evolution.

Best Ensemble

Once Upon a Time…in Hollywood - DiCaprio, Pitt, Margot Robbie, Pacino, Bruce Dern…an absolutely loaded cast that all give top notch performances.

Parasite - This cast overcomes the language barrier and does exquisite work in bringing Bong’s twisted vision to life.

The Irishman - DeNiro, Pacino and Pesci do some very heavy lifting and elevate Scorsese’ late era masterpiece.

And The Mickey goes to…Once Upon a Time…in Hollywood - The very best of Pitt, Robbie and Leo is the very best of the Mickeys™®!

Best Director

Quentin Tarantino - Once Upon a Time…in Hollywood : Tarantino truly is one of the great directors of his time, and OUATIH is his very best film . Not a flaw to be found.

Martin Scorsese - The Irishman : Scorsese brilliantly turned this late era gem into a referendum on his entire stellar career and imbued the movie with an existential power than would have been missing in any other auteur’s hands.

Todd Phillips - Joker : Who knew that Todd Phillips, the guy who made The Hangover movies…was capable of such exquisite direction as Joker. This movie is so well conceived and executed it is astonishing.

Bong Joon-ho - Parasite : As detailed, specific and skilled a piece of direction as you’ll find.

James Grey - Ad Astra : Grey finally puts all the pieces together and makes the great movie he’s been striving for for years.

Terrence Malick - A Hidden Life : Malick is a master…and A Hidden Life is a monument to his talent, skill and spiritual inquisitiveness and intellect.

And the Mickey goes to…Bong Joon-ho - Parasite : All of the nominees did extraordinary work but Bong’s direction of Parasite was extraordinary. Parasite is an intoxicatingly detailed, precise and specific master class in the art and craft of film directing.

Actor/Actress of the Year - Brad Pitt : Pitt flexed his movie star muscles in Once Upon a Time and also proved himself to be a formidable thespian in Ad Astra. That sort of high level versatility earns him the Mickey™®. Now maybe women will find him attractive.

Best Comedy of the Year - Jojo Rabbit : Taika Waititi hysterically dons Hitler garb and brings an ecstatic Mel Brooks-ian humor with him to great affect. The film isn’t great...but the comedy parts of it certainly are.

Best Blockbuster of the Year - Joker . Avengers: Endgame was the obvious favorite in this category…and it is a fitting end to this phase of the MCU, but it got out beat by the scrappy lunatic from Gotham. Joker cost $60 million to make and grossed over a billion dollars, and actually made more profit than Endgame and is the most successful R-rated movie of all-time. That is a blockbuster by any standard. The fact that it was a real movie hidden within the cloak of a comic book story, makes it the most unlikely, but most delicious blockbuster in recent memory.

Best Picture

10. Transit - This is such a finely crafted and effective film. I can’t recommend it enough to people who think in the abstract about fascism. The suffocating sense of impending doom is palpable…and unnerving.

9. High Life This ingenious movie can be at times frustratingly French (even though it is in English), but I found it mythologically resonant and dramatically impactful.

8. The Last Black Man in San Francisco A fantastically interesting and entertaining film that tackles a serious subject but never panders or takes the easy road.

7. Ford v Ferrari Good old fashioned Hollywood movie making at its very finest. A captivating tale of men trying to accomplish something great…and overcoming the corporate overlords who kill everything worthwhile.

6. A Hidden Life Malick puts us into the shoes of a man who must choose between Hitler and God…and must face the consequences of his choice. A deliberate, contemplative and deeply moving film that should be required watching for any and all Catholics.

5. Ad Astra This movie is devastatingly profound and it is among the most insightful movies made in recent years about the psyche of men and the meaning of masculinity. It also boasts a great Brad Pitt performance.

4. The Irishman – Martin Scorsese turned the story of a mafia hitman’s regrets into a surprisingly poignant and existentially insightful referendum on his own spectacular career. Seeing Scorsese being Scorsese and meditating on what it means to be Scorsese…is glorious to behold.

3. Parasite – A startlingly original film and one of the most entertaining and interesting dramatic investigations of class struggle and social structure to come along in ages. A brave and unflinching movie that never pulls a punch.

2. Once Upon a Time…in Hollywood – A fork in the eye of woke Hollywood, this film is the very best of Tarantino’s career as it is chock full of outstanding performances and crackling dialogue.

1. Joker - The best picture of the year….and also…

The Most Important Film of the Year - Joker

The fact that Todd Phillips, the guy whose previous claim to fame was making The Hangover movies, made the dramatically electrifying Joker is one of the great miracles of modern cinema.

Joker is a deeply profound and insightful film that eloquently and artistically expresses the palpable sense of despair and rage that permeates the consciousness and animates the intentions of the dispossessed in society. Disguising this sentiment within the cloak of comic book intellectual property was a stroke of genius.

The elites loathed Joker because it didn’t tell them what they wanted to hear, but rather had the temerity to speak the ugly, unvarnished and unnerving truth.

For its efforts Joker made over a billion dollars…and now it earns the equivalent of that in prestige with the coveted Mickey™ Award for Best Picture.

Thus concludes The Mickey™® Awards…SEE YOU AT THE AFTER PARTY!

A version of this article was originally published at RT.

February 13, 2020

La Resistance est Mort! The Cesars, L'affaire Polanski and the #MeToo Virus

February 13, 2020/ michael mccaffrey

Estimated Reading Time: 3 minutes 37 seconds

Cesar Awards, the French equivalent of the Oscars, has promised to make sweeping changes to increase gender parity and “diversity”, after a #MeToo outcry sparked by 12 nominations for Roman Polanski’s newest film.

Anger over Polanski’s abundant accolades for An Officer and a Spy motivated producer Alain Terzian to spear head the protest, which includes 400 notable French film figures, including stars Omar Sy, Lea Seydoux and directors Jacques Audiard and Michael Hazanavicius.

Polanski, an Academy award winner for The Pianist (2002) and one of the great filmmakers of his time, has long been a controversial figure. In 1977 he pled guilty to “unlawful sexual intercourse with a minor” and served 47 days in jail. Due to an erratic judge, he then fled America for France in order to avoid the possibility of more prison and has never returned.

In recent years a handful of other women have come forward with rape and sexual assault accusations against Polanski from the same general time period as the California crime.

The spark of this current French #MeToo conflagration began in November when, just as An Officer and a Spy – a film about the falsely persecuted Jewish-French officer Alfred Dreyfuss, which many said obliquely referenced the director’s own public reputation battle, was about to premiere. Actress Valentine Monnier made headlines by accusing Polanski of beating and raping her in Switzerland in 1975 when she was 18. In response, women’s groups quickly staged protests at the movie’s premiere, forcing Polanski to surreptitiously exit through a side door.

November also saw bombshell accusations from acclaimed actress Adele Haenel who claimed director Christophe Ruggia sexually harassed her starting in 2002 when she was just 12, which furthered the #MeToo fervor.

France, with its very distinctive and liberated attitudes towards sex, has been left reeling and questioning its own identity in the wake of these #MeToo Cesar Award protests.

Prior to this, the French long held out on importing the more hysteria driven aspects of #MeToo. For example, in January of 2018, at the height of the #MeToo mania in America, esteemed actress Catherine Deneuve and 99 other prominent French women signed a public letter denouncing #MeToo as being “puritanical” and born of a feminism that “beyond denouncing the abuse of power takes on a hatred of men and sexuality”.

The latest revelations about Roman Polanski and the fury over his Cesar nominations appear to be the final straw though that has broken the back of la resistance de #MeToo and its distinctly American neo-feminist beliefs.

It is easy to understand the outrage over Polanski, an admitted statutory rapist, being celebrated by the Cesar Awards. But the problem is that what the protestors are really interested in has little to do with Polanski’s repulsive depravity.

The Cesar protestors’ main demands are based on identity politics, as they are not targeting him specifically, but want more diversity and gender parity, no doubt regardless of ability, among the Cesar Academy.

This once again proves that #MeToo outrage is a quick gateway drug to the more toxic narcotic of woke totalitarianism.

Polanski may be both a repugnant sexual predator deserving of prison and a cinematic genius deserving of awards, but contrary to the protestors’ position, the Cesar Academy’s job is not to judge Roman Polanski’s guilt or innocence but rather the quality of his film.

In the case of An Officer and a Spy, it did its job well as even anti-Polanski critics have found the movie to be very good.

One film critic claimed they were “surprisingly taken by it” and another declared it a “technical master work” and “one couldn’t wish for a more painstakingly researched or beautifully rendered account” and another still that “the longer you look at it, the more impressive it grows.” One anti-Polanski critic even admitted, “I was wary of seeing An Officer and a Spy. Then I did. And it is excellent.”

I would tell you my opinion of the film and whether it was worthy of acclaim…but I haven’t been able to see it since it never got distribution, even on streaming sights, in the U.S. or U.K. The movie is essentially banned here as distributors don’t want to face the fury of the #MeToo mob. And therein lies the problem, and the future, for French cinema.

With l’affaire Polanski, France has let the tyrannical and insatiable wolf of wokeness into the chicken coop, and it won’t just eat the bad roosters, it will devour anything it can get its jaws on.

America’s recent history with #MeToo shows that neo-feminists and woke authoritarians despise the quaint notions of individual rights and freedom of expression. They feel accusations are convictions, political correctness trumps quality and that art and artists must conform to their dogma or be canceled.

Just as happened in the U.S., Polanski’s films may soon be banished down the memory hole in France and “diversity”, “inclusion” and “gender parity” will become cudgels used to beat the institutions like the Cesar Awards into submission and force them to disregard quality in favor of political correctness.

Sadly, it seems the contagion of America’s pernicious cultural colonialism continues to spread with the #MeToo virus now jumping the Atlantic.

La Republique du cinema francais held out as long as it could…Madame Deneuve, aidez-nous, s’il vous plait!

A version of this article was originally published at RT.

February 10, 2020

'Birds of Prey' Hates Men, but Wants Their Money - No Wonder It's Bombing at the Box Office

February 10, 2020/ michael mccaffrey

Estimated Reading Time: 3 minutes 28 seconds

The new film Birds of Prey is populated by despicable men, and feminist women who want to be just like them. The outcome: Financial losses and moral bankruptcy.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) opened on Friday and stars two-time Academy Award nominated actress Margot Robbie reprising her role as DC Comics super villain Harley Quinn.

The film is marketed as a girl power manifesto that re-imagines Harley Quinn without the condescending sexism feminists felt was so prominent in Suicide Squad (2016), the last movie that featured Margot Robbie as Harley.

Suicide Squad was a horrifically shitty movie, and was regarded as a box office underperformer with a notoriously troubled production history, but it still made $750 million in total.

Early numbers suggest that despite oddly positive reviews from woke pandering mainstream critics, Birds of Prey will struggle to do half that number in its theatrical run. With a reported production budget of between $80 and $100 million, and additional marketing costs, Birds of Prey looks primed to lose money for the suits at Warner Brothers.

How did things go so wrong?

Birds of Prey banished the problematic “male gaze” of Suicide Squad that allegedly dehumanized Harley by making her purely an object of desire, by employing an all female creative team that included producer Margot Robbie, writer Christina Hodson and director Cathy Yan. The production goes so far in exorcising men as to even have a soundtrack with all-female artists on it.

The problem though is Birds of Prey tries to thread the needle and make a chaotically cool combination of Deadpool meets Wonder Woman, only it doesn’t have the first clue about the sardonically masculine humor of Deadpool and the appealing feminine power of Wonder Woman, or masculinity and femininity in general.

The film’s sexual politics are aggressive to say the least. In our current cultural moment, toxic masculinity and masculinity have become synonymous, so it is no surprise that Birds of Prey goes to great lengths to denigrate and disparage all its male characters and yet also to venerate all its female ones.

Every man in the movie, with the lone exception being a character (played by the criminally underused actor Eddie Alfano) with fifteen seconds of screen time and no dialogue, is either entitled, conniving, maniacally violent, a rapist or all of the above.