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The 2017 Movie Masterpiece That You Probably Missed

Charmaine Blake

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As Percy Fawcett (Charlie Hunnam) departs for the jungle for what will be the last time, he and his son Jack (Tom Holland) lean out the window of their train car, waving at the people who wait just to catch a glimpse of the explorers. As they pass the gathered crowds, so too do they pass the sleeping form of Percys wife, Nina (Sienna Miller), and his other two children. It is as if he is dreaming them, as if time has begun to collapse as Fawcetts adventure comes to an endor a beginning.

To watch James Grays The Lost City of Z is to be caught in that dream with him. Movies are often cited as a form of escapism, but there are very few movies that are quite as transporting as this one, and it deserves to be in contention as one of the bestif not the bestmovies of the year. (Its streaming on Amazon Prime, and I would recommend seeing it on the largest screen possible.)

Admittedly, its not a particularly easy sell at almost two and a half hours long. Its not really a brisk movie, either, though as a proponent, I cant say that I ever felt weary of the movies runtime. Its also focused on such a specific story and era that anyone not in the mood for a period drama might overlook it. But all it takes is the films openingthe crackling of torches, the hum of Christopher Spelmans scoreand the spell is cast.

Its Ravels second suite of his score for the ballet Daphnis et Chlo that plays over Fawcetts final journey into the Amazon. Its a composition that is just as lush and verdant as the film and the jungle into which Fawcett is about to descend, and its place in the impressionist movement is also fitting for the way in which Gray makes movies. At the risk of sounding pedantic, Gray is a filmmaker whose visions are of the sort that Hollywood doesnt indulge anymore.

In 1925, British explorer Percy Fawcett embarked on an expedition to find the remains of a city that he had dubbed Z. The expedition was the culmination of Fawcetts research and previous forays into the Amazon, as well as his fervent belief in the existence of a city that would prove that the jungle could sustain complex civilization, and had done so before Europeans ever had. The last communication from the party was on May 29, 1925. Then they disappeared.

In the intervening years, numerous explorers have tried and failed to find what became of Fawcett, and its telling as to the power of the story that were still discussing it, now. Gray is keenly aware of the tendency to romanticize exploration, and what makes The Lost City of Z so remarkable is the way in which he corrects that notionnot by dispelling the perceived beauty in it, but by shedding that light upon every aspect of the story.

We see the toll that exploration takes, not just on the explorers themselves (though they are indeed gruesome) but on Fawcetts family. The minutiae of each expedition are treated with care, with all of it circling back to the political and cultural ramifications of what might be learned, and how those results might reflect upon Fawcetts reputation. His social standing, in turn, affects the lives of his wife and children, who already suffer a loss each time he goes into the jungle. But he cant help his obsession. Even as he recovers from what might have been a fatal injury after serving in the war, all he can think about is whether or not his wound will prevent him from venturing on another expedition.

And yet, despite all that, it is impossible not to understand Fawcetts obsession, or the impulse that drove so many other people, including an unrecognizable Robert Pattinson, to follow him into the unknown despite knowing the risks. Gray is a master of evoking feeling through film, which is the sort of thing that cant be said ofand sometimes simply isnt even attempted byevery movie. The score, for instance, is meant to evoke a mood rather than a moment; it isnt necessary for each moment to be spelled out as long as the feeling of it is clear.

Then, and most incredibly, there are the dream sequences that pass in and out of the film. By the end, the effect of these visions is comparable to the strange beauty of 2001: A Space Odyssey. Arguably, Fawcett hasnt really traveled any more or less than Keir Dulleas Dr. Bowman. No, The Lost City of Z isnt about the creation of man, but the sense of wonderment in discovery, despite all the dangers that come with it, is cut from the same cloth. Fawcett sees the jungle even as he hunkers down in the trenches during wartime; then he passes his family by as he returns to the jungle, a reminder of just how much of their lives he has missed, and how much more time he will lose with them. But he doesnt turn back.

The Lost City of Z is the kind of movie that would feel like a miracle no matter when it was released. Its rich without being excessive, beautiful without glossing over the horrors that often befell explorers, and straightforward in picking apart the colonialist and racist beliefs of the time and the characters where it could just as easily have left them implied or ignored them completely. But words ultimately dont do the film justice. Its more than the sum of its technical triumphs: its a dream, and well worth seeking out before the year is over.

Read more: https://www.thedailybeast.com/the-2017-movie-masterpiece-that-you-probably-missed

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Ryan Gosling’s ‘First Man’ is an Awe-inspiring Space Spectacle

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Ryan Gosling, Corey Stoll, and Lukas Haas in Damien Chazelle’s First Man.

Image: Warner Bros.

“First Man is a big film about the small things that went into an enormous event.

It’s no spoiler that the climax here is Neil Armstrong’s 1969 walk on the moon. For the first 90 minutes, though, First Man holds back on the inherent drama of that premise.

It follows Neil (Ryan Gosling) as he makes his way through the NASA ranks, and at home as he mourns the death of his young daughter. It spends time on a bunch of promising missions that go nowhere, and on complex questions the engineers will have to solve. There’s some action sprinkled in there, and a few precious moments of euphoria. Mostly, it’s sweating the small stuff.

That choice is puzzling at first, even frustrating: We know the guy gets to the moon, so let’s get on with it already! Why are we wasting time with all this minutiae?

But those tedious concerns and disappointing dead ends are exactly the point. First Man is about work, and more specifically about the enormous amount of work (and luck) that goes into an achievement as momentous as the moon landing. It demands patience, but it gave back what I put into it several times over.

A rocket takes off in First Man.

Image: Warner Bros.

Director Damien Chazelle keeps his eye on the unromantic details that usually get glossed over in retellings of historical events. Literally: Much of this movie is composed of shots of dials, switches, and the top half of Gosling’s face……………………..”

Read more: https://mashable.com/article/first-man-movie-review/

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David Gordon Green’s ‘Halloween’ is a satisfying treat

Charmaine Blake

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Laurie Strode and Michael Myers face off once more in the new Halloween.

Image: TIFF

Like most long-running horror franchises, the Halloween series has seen its share of ups and downs over the decades.

But those skeptical of the newest incarnation, directed by David Gordon Green, can put their fears to rest. This one’s good. Really good.

Faced with the challenge of sorting out the messy mythology of the sequels, Green (along with his co-writers, Danny McBride and Jeff Fradley) doesn’t even try. Although there are references to the others, only the original Halloween is completely canon here, and all of its relevant plot points are recapped in the new Halloween.

That said, it’s still a good idea to (re)watch the 1978 film before going into the 2018 one, because it’ll make the latter all the more satisfying. Green has fun recreating or subverting specific images and sequences from the first film – maybe too much fun, if you were hoping for something more surprising.

The premise is this: 40 years have passed since the first Halloween, and Michael Myers has spent all that time in prison. But he manages to escape just in time for his favorite holiday, and naturally he goes after Laurie Strode, the girl who survived his last killing spree. She, in turn, has spent the past 40 years waiting and preparing for just this occasion.

In that time, Michael’s notoriety has only grown. People are fascinated by this silent enigma, for all sorts of foolish reasons. Is he capable of rehabilitation, or is he an incorrigible force of pure evil? What might he say if he ever spoke? What’s going on in his head? What’s it like to be in his head?

Always nice to see a familiar face.

Image: TIFF………………………………..”

Read more: https://mashable.com/article/halloween-movie-review/

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A Star is Born Review: It Makes a Movie Star out of Lady Gaga and a Star Director out of Bradley Cooper

Charmaine Blake

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Bradley Cooper and Lady Gaga in A Star is Born.

Image: Neal Preston / Warner Bros.

“It’s the same story told over and over. All the artist can offer the world is how they see those 12 notes.”

The character who utters this line in A Star is Born is talking about music, but he may as well be talking about the movie he’s in. This is the third remake of an 81-year-old movie, one whose beats are so familiar that you’ll recognize them even if you’ve never laid eyes on any of the other versions.

There’s the sad celebrity self-medicating with booze and drugs, the talented ingenue who becomes an overnight sensation, the whirlwind romance threatened by the cold, hard light of day. You can see where all of it is headed from two miles away.

But that doesn’t matter, not when Bradley Cooper is executing the formula so well. From the view at TIFF, A Star is Born looks to be a commercial and critical success that’ll have people buzzing all fall, and maybe even into this winter’s awards season. Here’s what you need to know.

1. Lady Gaga is a movie star, baby

That Gaga had pipes worthy of a movie musical was never in doubt. But A Star is Born proves she’s a hell of an actor, too. Her Ally has the more dramatic arc of the movie, evolving from bright-eyed nobody to glamorous pop star, and Gaga’s performance rings true every step of the way. For large swaths of the movie, I forgot that I was watching at one of the most famous musicians in the world – she was just Ally.

2. Bradley Cooper has a bright future as a director

A Star is Born is Bradley Cooper’s debut as a director, but you’d never know it by watching. This film has the surefootedness of someone who’s done this a dozen times before, and made me curious to see what he might get up to next.

Oh, and another of Cooper’s gifts as a director? He’s very good at directing one Bradley Cooper. Jackson Maine is one of Cooper’s most riveting performances – Cooper knows exactly how to bring out the nuances playing across Jack’s face in the many scenes he spends gazing at Ally.

3. The chemistry between Cooper and Gaga is

When Jack and Ally meet for the first time, it’s not immediately apparent just how hot this connection is going to run. Cooper gives his characters time to warm up to each other, letting them goof around and reveal their personalities before they fall for each other – so that when they do finally connect, it feels like watching a house catch fire.

4. The music might give you chills

The best moment in A Star is Born is also the best moment from the A Star is Born trailer: The absolute wail that comes from Gaga’s throat during the song “Shallow,” the first time Jack and Ally perform together onstage…………………………..”

Check Out the Rest of the Article Here: https://mashable.com/article/a-star-is-born-movie-review/

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