Showing posts with label Charlize Theron. Show all posts
Showing posts with label Charlize Theron. Show all posts

Saturday, January 25, 2020

Bombshell - 3 nominations


Best Performance by an Actress in a Leading Role - Charlize Theron
Best Performance by an Actress in a Supporting Role - Margot Robbie
Best Achievement in Makeup and Hairstyling - Kazu Hiro, Anne Morgan, Vivian Baker

It's hard to know where to begin with Bombshell.  It recounts the story of sexual harassment and assault that appear to have been commonplace under the leadership of Roger Ailes who made Fox News into the voice of conservative Republican politics (and by the way, woe to those who think the problem was solved by simply removing him.  He covered for many harassers).  The movie is based on the widespread reporting and whistle blowing initiated by Gretchen Carlson (who had been a co-host of Fox's early morning show), and corroborated by a reluctant Megyn Kelly.  The film follows three main characters, Carlson who, like the smart reporter she is, documented incidents for years before finally doing something about it, Kelly, the reluctant survivor and company woman, and a young reporter played by Margot Robbie who is in the unenviable position of having to decide whether to capitulate to Ailes for the promise of an advancing career.

I realize there is no way to talk about this film without raising the hackles of both sides of the political divide.  There are those who would only believe a woman claiming sexual harassment if there is some sort of documentation (video, audio recording... and let's face it, even when some of these folks hear an audio recording of an assaulter confessing his crimes, that still isn't enough)... as though this is the standard they hold for all crimes.  (Do they only send people to prison for other crimes when there is absolute documentation?  I think not.)  And again, I remind you that no narrative film is a documentary and therefore, if Bombshell spoke to you, it's important to read the accounts of the facts (if you believe Ailes' accusers as I do), rather than retelling the narrative of the film as gospel truth.

But this film was outraging in the best of ways.  Finally, the story is told through the eyes of the women experiencing inappropriate and illegal behavior, rather than through the perpetrators'.  The most important moments of the film are those that speak precisely to the common arguments made by idiots.  "Why didn't she report it?"  You mean, report the bad behavior to the people perpetrating it?  "Women aren't idiots," say Megyn Kelly.  "Why didn't she leave?"  Ah yes, SHE has to leave, you know, the one not doing anything wrong, just showing up and working hard every day.  She gets to be further punished.  The best part of this film is that it is told through the lens of a conservative woman, NOT a feminist (I mean, she still wants to be paid what she is worth regardless of her gender, she still wants to be able to make and own her choices, she still wants to have access to the same successes as men are allowed to pursue... but definitely not a feminist.  As though those things aren't just the friggin' definition of feminism.  But I digress.)

The thing that troubles me so much is that this whole real life experience and the film will just have no impact among the people who just believe what they believe.  But the acting, the story, the entirety of the film was outstanding and comes just at the right time in history.  Feel free to fight me.  I AM a feminist, and this film spoke to me.

It is worth mentioning that this is first time that Charlize Theron has ever used prosthetics (including her Oscar winning role in Monster), and it was highly successful.  The incredible work made her look like a bang on facsimile of Kelly, herself.

If you're interested in knowing more, Megyn Kelly talks more about it in her book Settle For More.

Watch the trailer here:




Sunday, January 17, 2016

Mad Max: Fury Road - 10 nominations


Best Picture - Doug Mitchell and George Miller, Producers
Costume Design - Jenny Beavan
Directing - George Miller
Visual Effects - Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams
Makeup and Hairstyling - Lesley Vanderwalt, Elka Wardega and Damian Martin
Cinematography - John Seale
Film Editing - Margaret Sixel
Sound Mixing - Chris Jenkins, Gregg Rudloff and Ben Osmo
Production Design - Colin Gibson (Production Design); Lisa Thompson (Set Decoration)
Sound Editing - Mark Mangini and David White

Oh, Academy, where to begin on Mad Max: Fury Road?  An edge of your seat, high energy, heart pumping, popular film finally to make it to the big show in the Best Picture category.  A cursory review of all Best Picture nominees since 1962 (when the category was renamed to "Best Picture" as we know it today) reveals that Mad Max is the first of its genre to achieve this high honor.  But if we're using this film as a benchmark, it's hard to understand how a film like this one makes it as a nominee for the top prize.

Mad Max is a movie about a car chase.  Seriously.  A car chase.  Yes, we are in a post-apocalyptic, dystopian world in which resources are limited, poor people's blood is mined to super charge the army of the despotic ruler, and women are kept in harems in service of this evil dictator, but still basically a car chase (with a really memorable electric guitar player strapped to a mobile speaker system whose job is presumably to provide hype and insanity to the troops).  Charlize Theron plays Furiosa who helps these victimized women escape in search of her homeland, where she remembers a flourishing landscape with sufficient water and resources for everyone who lives there.  Tom Hardy plays Max who escapes servitude and for the promise of freedom, he commits to aiding Furiosa in bringing these women to safety.

There is so much that is right with Mad Max, and I, like everyone else in the theater, certainly had a heart-pumping experience, even if at the same time I was thinking, "where's the plot? where are the characters?"  In some ways, it's entertaining enough not to matter, especially when one notes the excellence of the cinematography.

All of the design elements are brilliant and do deserve recognition - the makeup (the tattoos!), the hairstyling, the costumes, the production design, the visual effects, the sound effects - most certainly rise to the levels of excellence worthy of the Oscars. Mad Max has some serious competition in these categories but it sits comfortably with its nominated peers.  But for Best Picture?  I'm out, and I suspect you will be too.