Ebbing, Missouri. Foggy morning. Three billboards stand abandoned by the side of a small road. Like a ghost. Martin McDonagh wastes no time setting up the scene of his third feature. After her daughter’s brutal raped and murder remains unresolved for over seven months, Mildred Hayes, a mid-western single mother rents three billboards to call the village’s police force out for their inefficiency: “Raped while dying”, “And still no arrests”, “How come Chief Willoughby?”. It is not hard to imagine that we are facing a tale of revenge, outrage and rage. But Three Billboards Outside Ebbing, Missouri, is far from being your typical revenge drama. This is not a story of a heroic mother courage, corrupt police officers and mean villains, you should know that ahead. This is a story that shows what we would be capable of doing in such a terrible situation. This could have been – and probably is – a real story we can all identify with.
What is – or should be – the role of movies? To entertain and distract us from our mundane lives? To inspire us? To make a positive impact on society? Cinema, like art, is not science, and thus we may never be able to find a proper consensus on what its role should be. I personally believe that our social reality should be reflected in the entertainment we consume. Which is why, at the time of post-truth, fake news, media mistrust and general political crisis, both in the United States and Europe, The Post is the movie we needed all along.
Let me just start by saying that chances are Molly’s Game is going to be the most disappointing movie I’m going to watch this Awards Season and that based on the critics I’ve read online, I’m either wrong about it or the critics love Aaron Sorkin too much to realize it. I had been anticipating this release ever since I heard of a movie written and directed by Aaron Sorkin and starring Jessica Chastain, whom I believe is one of the greatest actresses of her generation, despite never having won an Oscar (although she deserved it for Zero Dark Thirty). It had all the ingredients: one of the best screenwriters in the world, Aaron Sorkin, was going to be able to direct his first feature based on the thrilling real-life story of Molly Bloom.
If the predictions are correct and La La Land wins Best Picture Oscar tomorrow, Damien Chazelle’s movie will be the 11th musical in Academy Awards history to take home the highest honor of the year. With this in mind, here are the 10 musicals that have won the Best Picture Oscar.
As you may well know by now, Damien Chazelle’s La La Land is filled with movie references and most importantly, classic musical references, which is basically one of the reasons the film has been critically acclaimed. In fact, it takes a cinephile to compile such amazing yet eclectic musicals from both Hollywood and France, and turn it into a modern tribute to movie magic. But what movies are referenced? In this article my aim is to not only list them but give a brief synopsis about each of them, and as a musical enthusiast add my unsolicited opinion and some interesting trivia.
As you may have noticed if you have been checking Even More Cinema every now and then, I am not the best at posting content super often, especially if I’m studying because, as much as I like writing about movies, one needs to have priorities and writing a post is probably not going to change my life, whereas working on a college paper is, at least, going to make me pass. Why am I even telling you this? Why do you care? Because I believe that talking about Money Monster is worth my time and energy. Because it is not just another Hollywood movie that, no surprise, has been trashed by the critics (especially American critics) and that has performed so bad at the box office people are just making fun of it. I’m not going to say that the movie is fantastic, because it’s not, but it is way better than the public opinion has made you believe…because after all, how many of you have you seen it and how many of you have just been discouraged by the reviews and the general buzz?
As much as I hate to admit it, more often than not I talk about movies that I’ve never seen (because let’s face it, we all do). Personally, this was the case with Crash (Paul Haggins, 2004), the movie that for the past decade has been considered on of the biggest Oscar snubs ever (EVER), winning Best Picture the year Brokeback Mountain was meant to win all the awards. For the past few years I had been repeating over and over that Brokeback Mountain should have won the well-deserved best picture award because of the homophobic mentality of most of its voters. Anyway, since I’m a film student I thought it would be a good idea to watch Crash because perhaps I was being unfair and the movie wasn’t so bad after all and I was wrong… well, it turns out I wasn’t.
It takes me so long to write anything right now (cause I was working and now I’m on holiday basically doing nothing all day) every time I publish anything has become such a special occasion. And today really is a special occasion because it’s my second favourite actress (and idol)’s birthday. Well, in case you haven’t read the title of this entry it’s Helen Mirren’s 70th birthday: HOW IS THIS EVEN POSSIBLE, SHE IS JUST SO PRETTY AND YOUNG SHE CAN’T POSSIBLY BE 70 (and the fact she’s the face of L’Oréal sort of proves she is still incredibly young). Anyway, I think it’s the 3rd entry I write about (something related to) Helen Mirren (the other two being a review on The Queen and another review on Love Ranch), so today’s article has to be different…because really, it’s Helen’s birthday and she deserves a great entry…
Some days ago (actually quite a few days ago), June 22nd, was Meryl Streep’s birthday- who happens to be HER ROYAL HIGHNESS MAJESTIC QUEEN OF EVERYTHING Meryl Streep or simply the love of my life, Meryl Streep. Anyway, I was planning to publish this entry that same day but due to schedule conflicts I haven’t been able to post it until now, so here is it, after quite a long long long time without publishing anything (basically a month, I promise it won’t happen again). Actually, after thinking about it (and about the fact I haven’t published anything in sooooo long), this entry is sort of my own birthday present (cause it really was my birthday on July 4th) because I guess there’s nothing I’d rather talk about than Meryl.
Estamos llegando al momento del trimestre en el que cada vez es más difícil ir publicando artículos con cierta frecuencia (como de hecho lleva pasando las últimas semanas)…pero se trata de un problema de tiempo, no de ganas. Después de esta innecesaria justificación (¿por qué?), planteo el tema de hoy: siguiendo con la línea de artículos sobre la plasmación de la realidad en la historia del cine, me gustaría trata hoy una película de especial importancia para mí, Escrito sobre el viento (Written on the Wind) de Douglas Sirk. ¿Por qué me parece interesante? Por una parte por su director: Sirk es considerado uno de los grandes directores de melodramas de Hollywood, a través de los cuales transmite, de manera irónica, una crítica de la sociedad de consumo de los años 50 (¡el ciervo de Solo el cielo lo sabe!). Por otra, absolutamente personal, el reparto estelar, especialmente Lauren Bacall (de la que he escrito dos artículos que podéis encontrar si os paseáis por el blog), y el magnífico Rock Hudson. Así que, en la mayor brevedad posible, el reflejo de la sociedad de consumo en este film de 1956.