Top 5: Bill Paxton Performances

Well the parade of crap sandwich that has been the last year or so in celebrity deaths continued this weekend right before the Oscars with the unexpected passing of Bill Paxton due to a surgical complication. Paxton had a reputation for being one of Hollywood's most pleasant individuals and a true pleasure to work with. If you need any better indication I highly recommend checking out Conan O'Brian's lovely story about Paxton. He certainly holds a special place my generations heart for his parts in the nineties blockbusters Titanic and Twister and for his work with James Cameron, but was also able to drift between drama and comedy with ease. So in honor of the unexpectedly versatile actor, I'm picking five of his most iconic and complete movie roles.

Honorable Mentions: His sleezeback performance in True Lies always gets me as does his perpetual curiosity in Titanic. I'm also a big fan of his darker turn in Frailty and his militaristic bit in Weird Science. He was in a lot of good ones.

#5 Private Hudson in Aliens

Considering his legendary improv of "Game over man! Game over!" this was a must pick but this role also exemplifies a role Paxton happily played for James Cameron over and over again: the cocky weasel. Though initially all bravado before encountering the xenomorphs, Hudson spends the rest of the movie trying to find his bearings and whining before finally meeting a heroic end. Not only does Paxton nail this performance but it also bolsters the strength of the film's female characters including Private Vasquez and of course, Ripley.

#4 Bill Harding in Twister

Paxton does a little bit of everything in this movie. Sometimes he's a romantic, other times he plays scenes for laughs, and often he's wide-eye enchanted. As a former storm-chaser looking to get his soon to be ex-wife to sign divorce papers, Paxton's Harding is quickly roped back into his former life thanks to his natural curiosity and some corporate competitors. The movie is admittedly absurd, but Paxton thankfully hams it up as needed whether he's driving through a house in a whirlwind or tying himself to piping to save his life.

#3 Severen in Near Dark

I think very few filmmakers realized that Bill Paxton was capable of being creepy but he certainly delivers the goods here. As the hell-raising vampire Severen, Paxton demonstrates a ton of teenage rebellious charisma and menace and gets a bunch of the film's most impressive action scene including the most gruesome use of a boot spur I've ever seen and a face off against an eighteen wheeler. It's like his Terminator character had the skills and power to match his bravado.

#2 Dale "Hurricane" Dixon in One False Move

An underseen noir about outlaws on the run, Paxton plays a local sheriff working with L.A. cops to track a trio of wanted deadly fugitives. At first, Dixon looks like a terrible caricature, the casually racist country guy who peaked in high school but still dreams of making it big. But as the case progresses both the audiences and the cooperating officers come to understand his truly compassionate nature and good intentions. It's a layered performance that pays off in big ways come the finale.

#1 Hank in A Simple Plan

Another underseen gem from an unexpected source. In this Sam Raimi film Paxton plays one of three friends that come across a large sum of money in the woods. It's a straight-forward but heart-breaking moral tale and Paxton serves as the film's tortured protagonist, who can't decide on the proper course as mistrust runs rampant between him and his friends. It's dramatic and moving in a way I think most people wouldn't expect from Paxton, which to my mind, makes it a perfect performance to highlight. RIP Mr. Paxton.

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2017 Oscar Reactions

Well that was an awkward finish. Like last year I didn't watch Academy Awards, time and cutting cable get in the way, but seeing clips from the Best Picture wrong envelope mess surely put everyone involved, including the audience through the ringer. It's a shame it happened but it's great that the right movie was awarded in the end. So what are my thoughts on the winners? Here's a quick summary.

Best Picture: Moonlight

It's a messy way to win but I can't complain with the end result. Moonlight is ultimately a more relevant, less self-important film that will be watched for decades while La La Land reeks of a movie people will forget about in a couple of years. Oddly enough it looks like the early backlash I spoke of in my La La Land review may have ultimately played a part.

Best Actor: Casey Affleck for Manchester by the Sea

I don't like this. Not because Affleck didn't give a good performance, he did, but because I've read the details of the sexual harassment lawsuit he was involved in and its terrifying. Also it's a bit scary that I only learned about this this year rather than years before when the events brought up in the suit actually happened. 

However my biggest problem is the message it sends through the industry that redemption comes from art and not actions. To my mind, there's no detriment to your career if you don't win an Oscar and actually winning an award doesn't mean you're automatically a better person. The message to victims of harassment is that in time their abusers will be forgiven and praised for their art, rather than left out or forced to take a hard look in the mirror. I'm not saying Affleck should never work again, studies have indicated this makes partners less likely to report abuse, but he doesn't need a gold statue. 

There's a good chance that this was a matter of partial votes (i.e. Affleck may not have won the most first place votes but got a lot of second place votes of something comparable). However, having him on the ballet technically made this a possibility and I personally disagree with that. I know not everyone will share my view and plenty of people loved his performance. I don't like the message.

Best Actress: Emma Stone for La La Land 

I don't mind this win. I think anyone who saw Elle will be upset considering the earth-shattering performance from Isabelle Huppert, but overall this particular category didn't have a runaway favorite. I think most of the dislike for Stone winning comes from people who didn't like the movie as a whole. As someone who thought La La Land was ho hum, I can admit that Stone's performance is quite good, very layered and at least worth a shot at an Award. Of the nominees here, Stone is a solid choice. Whether or not this grouping should have had other people is certainly up for debate.

Direction: Damien Chazelle for La La Land

I get why Chazelle won here. There's a lot of intricate and beautifully staged musical numbers and almost every frame of the film looks like a painting. My preference still lies with Barry Jenkins for Moonlight, not just because he would've been the first black director win the award but also because Moonlight is a more immersive film.

Best Supporting Actor: Mahershala Ali for Moonlight

No complaints. He's had a hell of year and deserves every second of praise he's getting.

Best Supporting Actress: Viola Davis for Fences

Again no complaints. And as proof of her power she made me cry in Fences and when I watched her acceptance speech for Fences.

Best Animated Film: Zootopia

It's hard to argue against the socially conscious kids movie from Disney that tackled racism through animal metaphors that will stick with kids and hit like hammers for adults. That said in terms of pure animation artistry and vision Kubo and the Two Strings would've been an upset for the ages.

Best Documentary Feature: OJ: Made in America

There's no bad choices in this category but the sprawling nearly eight hour experience tackling race, class, and fame through L.A. and O.J. Simpson's history was undeniable fascinating and epic. Still, part of me always feels like this category goes to the most famous subject instead of the best overall film.

Best Screeplays: Moonlight (Adapted) and Manchester by the Sea (Original)

Loved that Moonlight won which means Barry Jenkins didn't go home empty handed and the same thinking could be applied to Kenneth Lonergan who also directed Manchester by the Sea. I did have hope that Hell or High Water would come away with an award here though. I get why it didn't but I love that movie.

Best Song: "City of Stars" from La La Land

Not a single song from Sing Street, a movie who's soundtrack I know all the words to, was nominated while this song that I can barely remember in the film won. This is my penance for "Man or Muppet" winning isn't it?

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Get Out

Wow. I high had expectations for Get Out. I'm a gigantic fan of Key and Peele and was always curious what Jordan Peele's solo artistic identity would look like. But I never could have expected this. Not only is Get Out sitting on an unheard of 100% rating on Rotten Tomatoes and about to win the box office battle, but it is easily one of the best socially conscious horror movies in years. Why? I'll discuss what I can in today's review.

The movie follows Chris Washington, a young man who is about to meet his white girlfriend's parents for the first time. Apprehensive despite his girlfriend's insistence that his parents are well-meaning and non-prejudiced, Chris is quickly put off by an odd vibe from the parents home including odd comments by the guests and the overly friendly demeanor of the family's black house staff. Soon Chris is thrown into a dangerous situation far worse than anything he could have imagined.

There is just so much that this movie gets right. It's smart, excellently paced, well-acted and follows up its creepiest scenes with gut-busting jokes. The big hook of the film is a combination of the always awkward "Meet the Parents" scenario with the added element of racial tension. In an era where racists have been emboldened to speak freely in public, Get Out is interested in the subtle prejudice that comes from supposedly progressive sources. For example, instead of spouting off racial slurs the dad talks about how he would have "voted for Obama a third time" as an ice-breaker with Chris and the rest of relatives are eager to talk about black people they admire as proof of their tolerant views. It's achingly uncomfortable in very real ways.

As such Chris' best indication that something is wrong isn't the behavior of the old rich white people he meets, Chris clearly expects this kind of unintentionally racist behavior from them and this is the first time he's met them all, but the behavior of the other black people he meets. They speak strangely. They make absurd amounts of eye contact. But most of all they don't seem to mind being around the sea of white faces, which Chris finds suspicious and absurd. Thus Chris' freaked out calls to his friend Rod not only let the audience hear someone vocalize everything they've noticed in a funny way, but also serves as signals to Chris that something is truly wrong.

The reason this is so effective is due to Jordan Peele's clear understanding of the genre. It's not hard to make a horror movie with a message, but to make one that builds to a finale this well while still delivering moment to moment scares requires a deep knowledge of film language and writing. It means that even an early scene of Chris investigating the an animal carcass bears almost the same level of dread as Chris wandering the house at night. We've got jump scares here or there, layers of atmosphere, and violence as everything spirals out of control mixed in with a cavalcade of insight and ideas related to race. Diving deeper would give away some of the movie's best moments/reveals, but needless to say they deliver.

The movie also does an amazing job at creating a perfect horror movie setting for its premise. The parent's house is in the middle of nowhere in New England and in an idea so clever I can't why no one has ever done this before, Chris' cell phone keeps getting unplugged. He was even treated suspiciously by a police officer before he even arrives at the house. The support network is non-existent and there's no easy escapes. He's both stuck and feels obligated to stick things out for his girlfriend's sake.

The acting is amazing across the board with each character providing the right kind of awkward white person, from Catherine Keener's quiet insistence to Bradley Whitford's overly enthusiastic patriarch, but the runaway star is David Kaluuya as Chris. This is a role that requires a lot of subtle moments and reactions early on before going gonzo towards the end and he nails every single controlled glance or firey rebuke. I'm hoping to see more from him moving forward. I also adored Lil Rey Howery's role as Chris' hilarious friend Rod. His scenes have a clear purpose, aka release some tension through laughter, and he nails every joke, including the ones the audience is expecting.

I'm having trouble coming up with a major critique of this film. Though some might argue the pacing is slow, its clearly necessary from a narrative point of view. Sure the audience knows even before Chris gets there that something isn't right in this house and community, but finding how far the rabbit hole goes and what's truly going on would've be nearly as effective without the proper build-up. Every questionable decision the main character makes fit within what we've learned about him and the movie hits every thematic elements it hopes to exceptionally well.

I'm sure I'll end wanting to dissect this movie more in a spoilery fashion down the line but the bottom line is this. Get Out is a near instant-classic, Jordan Peele looks like a born filmmaker, and for once the movie lives up to the hype. Go see this immediately.

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Lion

Almost every year there's a number of movies bound to be an also-ran in almost every major category, especially since the possibility for ten Best Picture nominees exists. Movie fans are generally able to spot the pedigree. Critically acclaimed, usually well-acted but just small or familiar enough to be overshadowed by other films. This year's perennial also ran looks to be Lion a small heart-felt drama featuring Oscar nominated performances from Dev Patel and Nicole Kidman.

The movie tells the story of Saroo Brierley, a five year old boy in India who is accidentally separated from his older brother. Now over a thousand miles from home, Saroo begins a quest to reconnect with his family that will carry into his adult life.

Lion's structure makes it very difficult to review because it's essentially a two part film. As such I'll give you a quick summation of my thoughts and move on from there. It's an effective drama about loss, family, and connection with great performances from Dev Patel (who uses an impressively cultivated accent) and Nicole Kidman. You've seen stories like this before, but the simplicity of the story and the emotive directing keep the movie from diving into melodrama. It's a solid film.

*Slight spoiler warning ahead*

The story of Lion is split into two-parts, one of which I think is more effective than the other. The first section deals with Saroo's separation from his family and the tumultuous time that leads to his eventual adoption by an Australian couple (Nicole Wenham and Nicole Kidman). While I have no doubt that the movie is basing this structure on its source material, this segment of the movie isn't as effective for me because it emphasizes the traumatizing nature of Saroo's loss without a strong foundation to his family. I think some of the scenes where young Saroo is put in peril could have been replaced for early family bonding that's brought about in flashbacks later.

If there is one thing I'm thankful for in this sequence it's the filmmakers restraint. There's a lot of implied terrible things happening to children and about to happen to Saroo but none of it is ever described or shown in explicit details. The movie trusts that the idea of child being terrorized by adults is terrifying enough on its own.

Once Kidman and Wenham are introduced the movie gets a tad more interesting as we watch Saroo adjust to his new life and the adoption of his troubled brother. It's a great contrast that demonstrates how similar experiences can affect two young men so differently.

From there we're thrown twenty years into the future as Saroo, now a functional young adult played by Dev Patel, is reminded of his origins and begins a quest to find his family. This is my favorite section of the movie because we get to watch the emotional impact of Saroo's loss and search in very subdued ways. He doesn't have outbursts like his brother. Instead he pulls away from the people he cares about instinctively, because how could they possibly understand or in his adoptive mother's case, encourhage him.

Dev Patel is phenomenal as the older Saroo demonstrating charm when we're first introduced to Saroo's older incarnation and then the emotional wreck simmering beneath, all while maintaining an Australian accent. Nicole Kidman is equally strong in these scenes as Saroo's suffering adoptive mother, not because of any regrets, but because she doesn't understand why her most affectionate son is pulling away from her. Both earn their nominations here.

Garth Davis also does an excellent job in the director's chair shifting effortlessly between events, time, and memories in a dream-like state. It's well suited to the movie's structure. The one decision I didn't fully agree with is the David Fincher-esque lack of light throughout most of the film. I suppose the idea is to put Saroo's life under a haze, considering the missing piece of his life, and things start to light up by finale, but some greater contrast would've helped the film scene to scene.

An effective true story film, Lion's emotional power and restraint makes it stand out against similar inspirational stories. Nominee worthy, even if not a winner.

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Moonlight

While Moonlight is the kind of movie that you hope would've been made before 2016, it's also a film that fits perfectly into what the Oscars needed from an award worthy film. Here's a harrowing yet somewhat hopeful drama about the hard life of a young man coming to terms with his identity and sexuality in the midst of poverty and prejudice with an African American writer/director and an entirely black cast, based on an equally acclaimed stage play. As Screen Junkies humorously pointed out, this movie hits a ton of Oscar checkboxes. But as is the case with many universally praised movies, sometimes there's a reason certain movies get so much attention.

The movie tells the story of a young man named Chiron through three formative portions of his life. Struggling socially due to early manifestations of his sexuality and the erratic and often abusive behavior of his drug-addled mother, the audience watches as definitive experiences in Chiron's childhood, adolescence, and adulthood shape him.

Moonlight is a great example of a film that handles big issues in a very personal way. Thematically we're dealing with sexuality, masculinity, race, poverty, trust, and family. It's a lot for any movie to handle. Thankfully, Moonlight comments on all of its themes by focusing on Chiron's experience and point of view rather than preaching to the audience or shocking them with graphic content.

The entire movie is shot like an extended flashback with sound drifting in and out depending on the scene, slow motion used to great effect, and a camera that is either stoic or chaotic depending on the needs of the scene. There's at least two or three major moments that felt like they happened to me personally and credit goes to director Barry Jenkins for reeling the audience in. We feel how Chiron feels, and as such its incredibly easy to understand his reactions from scene to scene.

This emphasis on perspective also helps connect the film's episodic narrative. Unlike a film like Boyhood which seems to bring up life events just for the sake of action, each episode in this film has a clearly defined purpose and is equally important in Chiron's life.

The movie's first segment is arguably the film's best as the "Little" Chiron falls under the wing of a surrogate father named Juan (Mahershala Ali), a drug dealer that also happens to sell to Chrion's mother. Ali is amazing in this role maintaining a quiet support structure for the skittish Chiron, who as his home and social life indicates, isn't used to trusting anyone. I really like parts like this that present vilified members of society like crack dealers as complex and even supportive people. Ali is looking like a clear front-runner for Oscar gold and it's well deserved.

The second is his adolescence where Chiron's sexuality is beginning to blossom and Chiron is forced to figure things out on his own, due to his mother's darker descent into addiction.

The first two acts are so effective that by the third act, when Chiron meets up with a former friend, the friend is shocked by what Chiron has become, but the audience isn't.

Though Ali is the notable stand-out the acting is amazing across the board. Naomie Harris truly transforms as needed for each segment in a truly unglamorous role and Chiron's teen and adult portrayals by Ashton Sanders and Trevante Rhodes are powerful.

The other thing this movie gets really right, in my mind, is helping an audience understand the experience of a young gay man (as best as it can obviously). It's clear from the beginning that Chiron has had inclinations about his sexuality since childhood but hasn't felt comfortable demonstrating them for fear of judgement or abuse from his peers. If he is going to be himself trust is absolutely key, which is why so many of the movie's biggest actions are defined by betrayals of that trust. 

Likewise, romantic interactions don't just bear the weight of "does this person like me" but also the added weight of confirming Chiron's sexual preference and the hope that the other person feels the same way about him and won't judge or abuse him. Every single moment in Chiron's life is a minefield which makes moment of comfort or acceptance a revelation. It's great stuff.

Simple, poetic, and powerful, Moonlight is a breakthrough film for Barry Jenkins and an absolute triumph. See it.

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Manchester by the Sea

Manchester by the Sea is a movie that reeks of the influence of its producer Matt Damon. Here's another story about a soft-spoken, sometimes volatile, man from New England having to deal with complex emotional turmoil with Casey Affleck in the lead role. However the main addition was respected writer/director Kenneth Lonergan who turned this simple story into one of the most critically acclaimed films of the year with six Oscar nominations, including Best Picture. So does the movie deserve the praise? Today we find out.

The movie follows Lee Chandler, a soft-spoken handyman who receives the upsetting news that his brother has had a heart attack and passed away in his former hometown Manchester by the Sea. Eager to help his family and his nephew cope and move on, Chandler is startled to discover that he has been named the boy's guardian and soon struggles to fulfill his new legal obligations and outrun the demons that made him leave Manchester in the first place.

Manchester by the Sea is one of the best "one and done" movies that I've seen in recent memory. By "one and done" I mean that the film is at its most potent and interesting the first time around but it is also so sad and heart-breaking that going through it all again would be a exercise in masochism. This is a movie about the impact of grief and tragedy, and its simple message doesn't require multiple viewings.

The reason its so effective is an emphasis on naturalistic dialogue and acting. A lot of critics have already pointed this out, but I thought I would try to explain the difference between standard movie dialogue and the kind you'll find in this movie. In a lot of movies, dialogue typically has a staged feel be it in a larger than life delivery, a clear end game, or long segments of exposition where an entire character's backstory will be given. By comparison, Manchester by the Sea's group scenes are far less polished. People start and stop sentences as they either try to start speaking or avoid speaking over someone else and there's a shared knowledge that's implied but never explained. It means that scenes that fill out character's backstories are actual scenes rather than an exposition dumb and gives a number of scenes some semblance of mystery.

Likewise, people don't react to emotional news the way you'd expect. The deceased brother's son doesn't have a breakdown when he first hears the news, but when it does finally hit home it all makes perfect sense. The movie is primarily about things people simply can't express, be it the extent of their grief, their motivations, or regret. I think movies like this tend to treat deep emotional pain as something that requires one breakthrough and then you're able to move on. But that's not reality nor this film's approach, sometimes life can break you or forever change you and all you can do is do your best from there.

This naturalistic approach is also embodied by the actor's that are all well-suited to the material. Casey Affleck shoulders the brunt of the film, but this is right in his wheelhouse. Affleck has always been best playing quiet, sometimes volatile, men and moments like a painful conversation with his ex-wife, played perfectly by Michelle Williams, are truly stunning. The big question for a lot of people is whether or not Affleck should even be in consideration for an acting award due to the sexual assault case in his past. By my estimation this is a good performance but not one that's so overwhelming good that "it must be rewarded regardless." I'll get more into why later this week, but put succinctly, I want true penance before I award a performance like this.

The rest of the cast is all game as well, with the aforementioned Michelle Williams making the most of limited screen time, and Lucas Hedges bringing a decent amount of depth to the "angst ridden teen." role we've seen so many times. Even bit players like Kyle Chandler tell you pretty much everything you need to know about their characters in single scenes.

If there is a slight fault in the film it's that it occasionally shifts between the past and the present without much explanation. It's relatively obvious, but if you've lost your focus for a second you could be forgiven for wondering, wait wasn't he just doing something else? There's also some stereotypical teenage shenanigans which seem at odds with the film's more emotional material, but you can't wallow too much if you're claiming to present reality.

Honest, well-written, and superbly acted Manchester by the Sea isn't easy viewing, but it is easily one of the best films of the year. I recommend this one.

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La La Land

It's hard to imagine a movie in recent memory that's gone through more over-hype and immediate backlash over said hype than La La Land. Usually we have to get through the entire awards season including the Oscars, before audiences and critics begin to turn against front-runners, but even before the Golden Globes people seemed to be drawing lines in the sand over either their favorite movie of the year or the epitome of overrated. Part of me understands it as audiences dying for an old-fashioned musical were frothing at the idea of two Hollywood heavyweights going Golden Age, while people who despise musicals and agreeable but over-hyped movies they simply don't get were quick to point out flaws and champion other films as praise-worthy. So which side is right? Well neither, and I'll explain why in today's review.

The movie takes place in modern Los Angeles, with two residents looking to break big in artistic fields. Emma Stone's Mia in an aspiring actress tired of the audition grind, while Ryan Gosling is a jazz snob looking to revitalize one of the L.A.'s former hot spots. After a number of coincidental meet-ups, the pair begins a passionate romance that may either inspire or destroy their artistic dreams.

After finally seeing this movie, I can see why it resonates with a lot of people. There's the spirit and glow of fifties Hollywood musicals, the direction and design is phenomenal, and the lead performances are exceptionally charming. All with the added bonus of being brand spanking new.

The old fashioned appeal of the film is emphasized heavily in the film's sound and look which goes for jazzy group pieces and heartfelt ballads combined with costumes meant to be seen in old time Technicolor. L.A. is presented as bright bustling entity, and scenes like Stone and Gosling's tap dance at night are legitimately charming (even while being excessively cheesy). The movie also features a finale that will likely determine your entire view of the film, and is a masterclass in effective visual storytelling.

However, the main appeals of the film are the lead performances from Stone and Gosling. These two have had excellent screen chemistry for years in multiple movies, and this script gives them each a chance to show off their best attributes as actors while letting the sparks fly. Stone arguably gets the weightier scenes including the movie's most heart-breaking ballad, and manages to pull so much emotion in the fake auditions that you wonder why anyone ever passed her over. She also still has full mastery over her comedy chops and gently flirtations which shine through in the banter scenes.

Gosling's role is less complex but still plenty of fun. It's a mixture of his bumbling idiot from The Nice Guys and bravado from films like Crazy, Stupid, Love that works perfectly against Stone. He also gets plenty of scenes to show off his signature stoic broodiness which is a familiar but fitting autopilot.

As charming as this all is, the flaws or weakness in the film are pretty obvious. The story is a familiar retread of any "making it big" movie you can think of, with the added wrinkle that neither one has achieved their vision of success yet. You don't need an original story for an effective film, but in terms of thematic depth there isn't a ton to be had.

Likewise, for a movie musical I found it a little startling that I couldn't remember a single song from this movie once the credits started to roll. I had a melody line or two, but from a song structure standpoint none of the film's big numbers have a chorus that's truly memorable. I know some will disagree but I doubt I'm the only person that came away with a similar revelation.

There are other little imperfections including a notable drag in the third act, and perhaps some smaller voices than you'd expect for a film musical, but the big sticking point for a lot of people is Ryan Gosling's one man crusade to save jazz. I kinda get what director Damien Chazelle was going for, since Gosling is clearly a snob who feels artistically snubbed when he compromises, and is surrounded by African-American musicians.  But having someone who looks like Gosling declaring that he's going to be the person to save a signature jazz spot or the genre itself (in a movie where the representation of selling out classic jazz comes from John Legend) it comes across as a bit tone deaf. It's not movie destroying in my mind, but there are better avenues for the story (i.e. make Gosling part of a group that's looking to save jazz or a follower of a noted jazz legend).

In short, your view of La La Land is likely going to depend on your emotional investment in the characters and your feelings for old-time musicals. The movie undeniably well-directed and acted but that's not going to matter if you can't stand the film's style.

Undeniably nostalgic and old-fashioned La La Land may not be the breath-taking new direction for filmmaking but it is charming musical with a committed cast and impressive production values. By now you can probably guess if this one is for you.

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Hacksaw Ridge

For years, Mel Gibson was known as something of a lovable weirdo. An actor known for playing somewhat endearing but intense characters in action films and the occasional romantic lead, Gibson also earned credit as a director for his bloody historical epic Braveheart. The film was a box office success and earned Gibson Oscars for directing and Best Picture. And then in 2004, everything seemed to change. In 2004 Gibson released the self-financed and self-directed Passion of the Christ which was criticized by many for anti-Semitic sentiments and an emphasis on violence versus inspiration. Paired with a number of legal incidents including harassment of his spouses including epithets, alcohol abuse, and the harassment of a female police officer. Suddenly the weirdo vibe that had made Gibson interesting was looking less like acting and more like Gibson in real-life. Since then he's kept things quiet, only taking the lead in small movies as amoral or strange characters (Get the Gringo and The Beaver) or big movies as a villain instead of his standard heroic fare (Expendables 3 and Machete Kills). And now somehow, he's managed to get back in the Academy's good graces by going back to the director's chair for Hacksaw Ridge an odd mixture of the faith and warfare films that have defined his director's filmography.

The movie tells the story of Desmond Doss, an American combat medic during World War II. Eager to serve his country and do his duty, Doss volunteers for the Army where his commanding officers make a startling discovery: Doss has no intention of even holding a weapon. Citing his Seventh-day Adventist Christian beliefs, Doss is pacifist conscientious objector and believes he can best serve by saving the lives of his fellow soldiers. However the military brass and the horrors of war will quickly test the would-be medics resolve and courage.

Hacksaw Ridge is a movie I was almost certain I was going to despise. Not because the source material doesn't have merit, it's quite amazing actually, but because of the person telling it. Gibson in another faith-based movie that's inherently full of violence? This sounds like trouble brewing. That's not the say the end result is completely satisfying or maybe even the best approach for the film's true life inspirations, but it's far more affecting than I believed it would-be.

The key reason is that the film isn't trying to trying to sell the audience on the lead character's faith, so much as present how it affects him personally and those around him. There's a plethora of faith based imagery, including a ton of shots of Doss' looking over his Bible, single shining lights in dark places and dark times, and an emphasis on the injuries he sustains to his hands, but it's primarily meant to emphasize Doss' experience.

So how is the film outside of the presentation of faith? It's an odd mixture, that sometimes works. Based on the film's first hour you'd think you were watching a modern melodrama or a fifties inspirational war flick that would star someone like Jimmy Stewart in the lead role as Doss as we learn about the basis of his non-violent approach, see him fall in love, and watch him go through basic training under the eye of suspicious officers and fellow recruits. I was legitimately wondering if years of being viewed as a monster had turned Gibson in a sacchrine puppy dog.

That is until the film's second act where the action shift to Okinawa and Gibson's apparent glee at depicting the gory horrors of war come to fruition. There's an argument to be made for this, how easy it might be to avoid violence when no one's threatening your life, but considering how even the drill sergeant played by Vince Vaughn, no really, uses speeches that would be too tame for 1970's Patton the almost immediate shift into stomach churning violence is an almost comical dichotomy. What's so strange about these scenes is that despite being horrific, they seem to be when Gibson's eye for direction and drama comes alive much like The Passion emphasized Jesus' torture above his status as a savior.

Still once the movie gets to Doss' real-life heroics, the story can't help but inspire. The majority of the third act is an extensive one man rescue mission as Doss recovers and saves wounded soldiers even as the enemy swarms all around him, and as much as I wanted to point out formula or cliched moments there is something truly amazing about Doss' story.

Acting-wise this movie is all over the map. Andrew Garfield has a notably over the top drawl and seems to spend most of the movie between bemusement and "Lord give me strength" looks at the camera, but it's effective in a Gibsonian film. However the two strongest performances probably come from Hugo Weaving as Doss' tumultuous father and Sam Worthington as a hard but soft-spoken commander. These performances work because the actor's don't overplay their hands. Weaving might be volatile but he still gets to give his son quiet moments of support, whereas Worthington's quiet gruffness is great for a contrasting disapproving voice and someone who may seek out Doss' help later. The biggest question mark is Vince Vaughn who was clearly brought in to be funny as Doss' drill instructor but comes across like a fifties sitcom character instead. Maybe it's the fact that he doesn't curse or that he's overacting the hell of our his part, but there's almost no moments in the entire film when Vaughn isn't yelling.

Granted, the big question is whether or not Hacksaw Ridge is Oscar worthy. In my mind, no. There are plenty of good moments in this movie, and the battle sequences feature great direction and sound design, but the film is also full of cliches and contrasting messages. It works because Gibson, as South Park famously pointed out, understands proper story structure and film language, but I smell the "Greatest Generation" preference all over this one.

Flawed and tonally at odds with itself, Hacksaw Ridge is still a sincere, non-preachy, presentation of its real-life inspiration. Certainly not for everyone, but still capable of inspiring.

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Fences

As an actor Denzel Washington is seemingly up for anything. He's been in TV melodramas, spent much of the last decade as an action star, and can even bust out some seasoned deadpan comedy chops when needed. But as a director, Washington is notably more selective and purposeful. He stars in the films, he picks projects that feature almost entirely black casts, picks stories that are important, and often gives new talent a chance to shine. This time around he brings August Wilson's Pulitzer Winning play to the big screen with himself and Viola Davis in the lead roles.

Taking place in Pittsburgh in the 1950s, Fences follows former Negro League ballplayer Troy Maxson, who now makes ends meat as a garbage collector. Despite a charismatic and boastful presence, Maxson's bitter worldview finds a direct challenge from his high school aged son who is being recruited by colleges. Soon Maxon's jaded attitude threatens to torpedo all of his familial relationships and potentially end futures before they begin.

Fences offers pretty much everything you could ask from a play-based movie. Superb acting, crackling dialogue, and an intimate setting suitable for the material. I feel like a lot of movies like this try to compensate for the "stagey" nature of the source with lavish production values or big sets, that takes away from the inherent intimacy theater offers. Thankfully the screenplay, written by August Wilson before he passed, and Denzel Washington's directing choices keep things simple. The action happens primarily in and around the Maxson's house, and there's no grand flashbacks to fill in the stories or show us what a character is describing. For instance, if Washington begins a monologue about an incident from his past, we're simply listening to him telling the story, not watching the past happen over narration.

The movie is an examination of one man's psyche and the people in his life, so all you really need is the acting talent to match Wilson's words. And boy does this movie have that. Washington hasn't had material this well-suited to his skill set in years, He's always managed to maintain charisma and unexpected vulnerability, but he's often at his most compelling when he portrays character's with rough edges a la American Gangster and his Oscar wins for Glory and Training Day. There's at least five major scenes in this movie where the audience's perspective on Troy will shift from likable to cold and he nails every single one. He also does an excellent job at demonstrating the damage of a hard life defined by abuse and racism. He's not over it, because how could he ever be, and that means the damage is guaranteed to bleed into the lives of his children.

Matching him stride for stride is Viola Davis, who is "I'm gonna flip a table if she doesn't win an Oscar for this" good as Troy's compassionate wife Rose. At first Rose feels almost sitcom like in her presentation. She makes cracks at Troy's expanse to tone down his ego, operates as the lighter touch to Troy's gruffness around the children, and is heart-breakingly sweet when she encounter's Troy's mentally impaired brother. But once she lets go of years of pent up frustrations, Davis tears into monologues that are soul-piercing and tragic all at once. As I indicated, Davis should win as Oscar with this performance based on the sheer power of some of these scenes.

Thematically the movie handles all of the forces at play in the Maxson household and the emotional barriers Troy has put between himself and the people in his life. The key aspect, is that unlike material that has men behave like bastards just because, the more we learn about Troy the more we understand his behavior. His seemingly unreasonable response to his son's athletic pursuits at first looks like nothing than jealousy of a man who never made it or a "my house my rules" dictatorship. That is, until Troy reveals his harsh backstory and the racism that's plagued his life and career. It's phenomenal writing to present a flawed lead character so even handedly.

Aside from the straight-forward presentation of the material, Washington does an excellent job of maintain the play's "day in the life" feeling. The movie opens with an extended conversation between Troy and his coworker/best friend that seemlessly moves into an introduction to his wife Rose, and through the house to meet his eldest son all without losing a step in pacing.

The only potential weakness in the film is the final act which is meant to be an emotional resolution but simply can't match the intensity of the film's middle. Granted this is likely the point since Wilson wasn't interested in portraying life as a series of tidy events.

Built around solid source material and the actors performing it, Fences is an absolute home run for Denzel Washington and a phenomenal cast. And I will seriously flip a table if Viola Davis doesn't win the Oscar this year.

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