The race for the five Best Actor nominations might be the Academy Awards’ toughest race. Bradley Cooper (A Star Is Born) is a lock. There has been some significant buzz for movies that have run in limited release only (Ethan Hawke – First Reformed) and Willem Dafoe (At Eternity’s Gate). Ryan Gosling had a considerable push heading into First Man, but the movie was a miss with critics and audiences. His outstanding performance could be a casualty in this tight year. A new crop of contenders could swoop in for a spot or two (Rami Malek –Bohemian Rhapsody), John David Washington (BlacKkKlansman), Lucas Hedges (Boy Erased). And then there are a couple of oldtimers who turned in a couple of possible final career performances (Clint Eastwood – The Mule) and Robert Redford (The Old Man & the Gun). But I will state, for the record, that one of the men listed above, not named Bradley Cooper, will be knocked out for the career-defining role of Viggo Mortensen (Appaloosa, A History of Violence) in Green Book.
Category Archives: Mahershala Ali
Hidden Figures (2016)
I get knocked a little bit when I talk to my friends about Hidden Figures. The Ted Melfi (St. Vincent) directed movie based on the untold story of Katherine G. Johnson (Taraji P. Henson – Hustle & Flow, Four Brothers), Dorothy Vaughan (Octavia Spencer – The Help, Snowpierecer), and Mary Jackson (Janelle Monáe – Moonlight, Made in America) as brilliant African-American women who were hired by NASA and who served as the brains behind the launch of astronaut John Glenn into orbit, a stunning achievement that restored the nation’s confidence, turned around the Space Race and galvanized the world. When I rip on the movie a bit, it is not because I think it is not good, but because it’s just a little too predictable and too PG for me. While I enjoy and recognize a movie based on a true story, I appreciate a darker, edgier movie. When I say a movie is too Disney for me, it has nothing to do with Disney. It concerns a movie being too toned down for my jaded self to appreciate. And, unfortunately, that’s my feeling on Hidden Figures.
Moonlight (2016)
Barry Jenkins’ (Medicine for Melancholy) Moonlight is an ambitious film in many ways. Though it mainly revolves around the uncertainty of being gay, it also touches on many of the other important issues of the day, including adolescent bullying, drug abuse, masculinity, broken relationships, and poverty. The acting in this movie is out of this world. Never does this feel like a movie to me. Instead, it feels like you are just an invisible camera watching three different stages of a male discovering and dealing with his sexual identity in the hardships of a destitute part of Miami, Florida. The film is divided into three chapters. All are centered around Chiron. At age 6 or 7, he is referred to as Little. At age 16 or 17 (the chapter that gets the most focus), he is Chiron. And for the last chapter, he’s 26 or 27 and goes by Black. He’s equally conflicted in all three different stages of his life. The simplicity of this movie is its strength. If you like artistic movies that center around a real story with characters who feel real, you will find this movie riveting.
Free State of Jones (2016)
With his scraggly beard, yellow teeth, foreboding scowl, and deliberate limp, Matthew McConaughey’s (Amistad, A Time to Kill) portrayal of Newt Knight, a poor white farmer who led an extraordinary rebellion during the Civil War, is a far cry from the same man who was pigeonholing his career a decade earlier by playing the same character over and over in hit or miss romantic comedies like How to Lose a Guy in 10 Days, Failure to Launch, The Wedding Planner, Fool’s Gold, and The Ghosts of Girlfriends Past to name a few. McConaughey reinvented himself three or four years ago and re-established himself as a dramatic leading man with the likes of The Lincoln Lawyer, Interstellar, HBO’s True Detective, Killer Joe, Mud, and Dallas Buyer’s Club, for which he won Best Performance by an Actor in a Leading Role at the 2014 Academy Awards ceremony. While he’s had his misses recently (has anyone even heard of 2016’s The Sea of Trees?), he has continued to have the ability to pick and choose his movies, and, unlike his string of romantic comedies, he continues to branch himself out further and further.
Continue reading Free State of Jones (2016)