2016's Top 10 Movies of The Year

By: Kai Elijah Hamilton

With the Academy Awards taking place in just a handful of hours, here is a quick list of my Top Movies of the Year. I have seen most of last year's Oscar contenders--some not making the cut. Congratulations to so many wonderful films this year!

10. Don't Breath: As far as good old "cardboard" thrillers go this one is top-notch. While wannabe-thrillers do lurk out there (the 2017 appallingly over-rated and uneven film Get Out comes to mind), this one was tense and well executed. 

9. Finding Dory: This animated delight was better than the original (Finding Nemo). At the beginning we momentarily wonder where it's going but Dory's adventures out-of-the-sea and into a theme-park kept the story fresh. It was a shock that it was not nominated for an Oscar for Best Animated Film. 

8. The Witch: Here is a true horror film that is deeply disturbing and challenging to watch. It is no wonder with its sharp horror tone it was not considered one of the years best. But the acting, directing, costumes and overall somber mood are extremely effective. It's obviously influenced by Arthur Miller's The Crucible, but The Witch's about-face satanic ending startles like no other.

7. My Name Is Doris: Sally Field was Oscar snubbed for Best Actress in one of her greatest performances. This kooky little film came out too early in the year and got left behind. Regardless, it's the real charmer of 2016. Don't miss it.

6. Hacksaw Ridge: War films are often stoic and unsentimental but this film, lead by a beautiful performance by Andrew Garfield, had real heart. Mel Gibson's masterful directing is top-drawer here. It is great to see more southern films breaking into the mainstream.

5. Lion: Lion roars for sure. It's true story is absolutely absorbing. Filled with great adolescent performances, Dev Petal deserves an Oscar for his heart-tugging portrayal. Keep a box of hankies handy for the ending.

4. La La Land: Yes. It is one of the best films of the year and if it wins the Oscar for Best Picture it cannot be argued that it was the most talked about film. As history shows (usually war being the reason), this musical connected with the desired high spirits of audience members in a troublesome election year. Not since Easy A has Emma Stone been so fantastic. She's a Julia Roberts type that is best loved in sweetheart roles.

3. Hidden Figures: Easily a winner. From start till finish. Hidden Figures never fails to hold our attention. This one is a modern-day classic. Taraji P. Henson was robbed of an Oscar nomination for Best Actress in one of the years best performances. 

2. Sing Street: With La La Land getting all the gory, this cool 1980's influenced film is the real musical of the year. Sank by an ill-timed release, Sing Street deserved to be an underdog contender--The fact that it wasn't Oscar nominated for Best Song is mind-blowing. It is reminiscent of the also snubbed film Pride. It's about time for the underdog be noticed. 

1. Moonlight: One of the most beautiful films to come out in a long-long time and is certainly on par with the groundbreaking film Boyhood that sadly lost the Oscar to the lesser film Birdman. Given that comparison (and even though Moonlight has its supporters) don't be surprised if it doesn't win the Oscar for Best Picture even though it more than deserves to. The acting, directing, and romantic story--with important subject matter rarely seen in film, all make Moonlight shine! It's a masterpiece.

FILM REVIEW: Blue Is The Warmest Color

I had neglected to see the French film Blue Is The Warmest Color since its premiere at Cannes Film Festival in 2013. It intrigued me with its artistic controversy, so much so that it never left Kai's List of I'll See It One Day's. Just a few minutes in, I took a sigh of relief knowing that it was going to surpass the much-talked-about graphic sex scenes with tender storytelling.

Director Abdellatif Kechiche's film sinks deep into realism which no doubt took its toll on both actresses. The romantic, coming-out story revolves around 17 year-old Adèle (played by Adèle Exarchopoulos). During the trials of discovering herself amidst her judgemental high school friends and boyfriend, she passes a short blue-haired young woman named Emma (played by Léa Seydoux) on the street and from there their love story begins.

The film clocks in at nearly 3 hours, being marketed as chapter 1 and 2. One can only suspect (or hope, rather) that there's more in store perhaps years down the road--following in the footsteps of the beautiful Before Sunrise series or the criminally over-looked film Boyhood. That said, Kechiche's pacing is unusual at times lingering too long on the children Adèle teaches in class and curious close-ups of characters devouring food. However, his persistent camera allows for some very emotional moments. The infamous sex scenes are erotic and beautiful. It is strange to note that, allegedly, both actresses were subject to Kechiche's grueling direction. Leaving to question--how far is too far in order to coax intimacy and realism from your actors?

Kechiche's cinematic boldness works--as it made us feel extremely close to both character's relationship. It has to be said, though, that the aftermath of the beautiful juxtaposition of two dinners, where both girls meet each others parents (one open, the other closeted), was side-stepped. Suddenly, the two girls are living together with no explanation at all. Normally such a peculiar blunder couldn't be overlooked but given the intense rawness of both of these actresses we understand the story is more about their ability to sustain themselves with each other not everyone else. There is a transcendent scene where Adèle first experiences the heart-stuttering, high-energy of a gay night club. We suspect all along she was searching for Emma--who arrives with crackling seduction.

Both actresses should've been Oscar nominated for Best Actress and Supporting Actress. With such gutting performances, what more could the Academy be looking for? It is hard to say who is better. Perhaps that's why Cannes' Jury President Steven Spielberg and panel (Nicole Kidman & Ang Lee) startled by awarding the coveted Palme d’Or to both actresses.

We follow Exarchopoulos' exploration of sexuality with other men to the point of frustration. A path that wasn't examined very closely but rather felt through a grade-A performance. She cries a lot--a place in youth most of us have been before we grow stronger and life's tears lessen. However, Seydoux, as the struggling artist, is just as impressive, if not more so, with a cagey heartbreak that is penetrating and unforgiving.

I loved the sporadic splashes of blue in the film, which represented sadness and hope. Especially when Adèle strolls into Emma's art gallery opening in a last-ditch effort--electric blue dress and all. But like Emma's once youthful blue hair-dye, certain parts of ourselves--our trust, our vulnerability, our naive energy, our level of forgiveness--our relationships in general unfortunately fade with time. We never forget them though. 

SCORE: 9

By: Kai Elijah Hamilton
of Metallic Pink Popcorn and Mannequin Warehouse Productions 

1/16/17

REVIEW: ONCE I WAS A BEEHIVE Is Eye-Opening

There are some films that’s sole intent is to make a big astronomical impression by forcing its message down the audiences throat—although it could have been, Once I Was A Beehive is thankfully not that type of picture. Writer and Director Maclain Nelson’s skillful approach is deeply humble, allowing Once I Was A Beehive to snuggle itself around you like a comforting blanket on a chilly night beside a campfire.

Lane Speer (Paris Warner) is a troubled teen on the verge. Life’s accumulation of trials begins to take its toll on Lane when her mother (Amy Biedel) prematurely remarries after her father (Adam Johnson) dies of cancer. After slyly being nudged by counselor and kitschy scrapbook extraordinaire Carrie Carrington (played by a fabulously kooky Lisa Clark), Lane decides to embark on a seemingly quixotic chance outing with a summer camp for Mormon girls—introverted 12 year old step-cousin Phoebe (Mila Smith) and stowaway dog in tow.

The budding relationship of Lane and Phoebe is one of the many delights this film has to offer. Both actresses give believable and grounded performances. Mila Smith deserves considerable recognition for giving a layered performance that is wise beyond her years.  Paris Warner, a raven-haired beauty, brings a flicker of edge to her character. By the end we are not certain of her direction, either spiritually or secularly—and the failure to resolve this is a wisely successful move.

One of the films best assets is the presence of Barta Heiner playing the veteran motorcycle driving counselor Nedra. Heiner brings apparent experience along for the ride—providing an anchor for the budding actresses around her. Her pensive performance aids the theme of togetherness with rapture. In a mere glance, she conveys to us that she has mentored her fair share of “Beehive’s” over the years.

Whereas all the supporting campers were excellent in defining their characters, three truly stood out—Kaley McCormack as Mindy, Allie Jennings as Charlotte and Clare Niederpruem as Bree Carrington.

Niederpruem plays the quintessential vixen of the group and is the source of conflict for newcomer Lane. She sidesteps an easy to aim for Mean Girls interpretation and instead gives her character grace in the end. There is an excellent bear attack scene where she notably becomes the protector in fetal position, back to the bear, cradling Lane and Phoebe. Her subtly as an actress speaks volumes.

Allie Jennings is retro-mod striking—a young Joan Crawford about her eyes. There is a cagey breakaway from adolescence emoting from her on screen. She reminds you of that “boy-crazy girl” we all remember at camp or that haunting girl that stole your first kiss in Middle School. Jennings expressions and overall energy connects noticeably with McCormack’s.

Fiery-haired Kaley McCormack lights up the screen from her first shot to her very last. It’s as if the camera and her have a love affair for one another—she’s the entrancing type of actress that you fixate on long after the credits end. We see Mindy unafraid to be herself. So much so that instead of inviting us into her own little world, she just lives it unapologetic right out in front of us. McCormack is unforgettable. Her comedic timing and dynamic improvisation skills are a sight to behold.

A chance to chat with McCormack after the Western North Carolina Premiere resulted in some intriguing insights. When asked about filming and playing her character Mindy, she bubbled over with joy, “I just became me again. It was the hardest thing to do. To be 15 again… it was the most freeing experience I’ve ever had… it was eye-opening. I felt like my own faith was brought out more by being with these people that were so supportive and loving.” She gushed out the simplistic message of the film with great conviction, “Don’t judge. Just love. Be open and aware of other people and their beliefs because you’re not the only one. You don’t know what people are going through.”

Director Maclain Nelson gets extreme praise for making this a film everyone can connect with. It is not a Mormon film. It is a film where the characters happen to be Mormon. Upfront it expects us to understand that these characters are real people with misunderstood beliefs—and in one fell swoop quietly wipes away any taboos. It is a charming film about faith, healing, and coming-of-age. It is not preachy. It is touching. It is as sweet and rich as honey.

Nelson’s spirit buzzes through every gorgeous frame of Once I Was A Beehive. Not only through the picturesque Cinematography by Joel Remke but also the delightful Costume Design by Emily Jacobson and in the Music by Michael Lee Bishop. The catchy girls camp song “Together” should be submitted for consideration as a Best Original Song Oscar Nominee.

Just as Director Maclain Nelson is destined for stardom, so are his actors. Mark my words. Soon enough these familiar faces will truly be able to look back at what started it all and poignantly recall Once I Was A Beehive.

By: Kai Elijah Hamilton
of Metallic Pink Popcorn and Mannequin Warehouse Productions 

10/4/15

REVIEW: IT FOLLOWS Isn't Exactly The "IT" Thing.

II've seen a many horror movies. It is my favorite genre. Probably because, as I have noted in the past, it is the most challenging to get right. It Follows proves just how challenging that journey into horror film-making can be.

Starting off with a quiet bang, a teenage girl in bright red hooker heels (something I yearned to be a continuous satirical move from the director) darts out of a suburban brick home and into the streets. We get the sense something is in fact following her as she peers back in question--"Did I just see that?" A stunning shot later reveals her brutally mangled body on the beach sand. In fact most of the shots by director David Robert Mitchell are just that--stunning. His talent for mood and atmosphere truly are a stand-out. Small details like never showing the depressed mothers face give us background detail of the heroines life without overplaying it. But this is not necessarily a good thing because it truly outshines the story as it moves from intriguing location to location with little explanation.

The clever story manifests in an unexplained entity passing from one person to the next via fornication. We follow the beautiful Maika Monroe in a brilliant scream queen performance as the "It" is passed to her in a tense scene where she is locked into a wheelchair in a dilapidated structure. Through-out the movie she struggles with the decision of which beau to pass it to (one of which is short-lived great United States Of Tara's Keir Gilchrist--who is excellent here as well). We then follow a group of close friends who experience her mental breakdown as they try to "Final Destination-esque" rid her of the It. I don't know about you but as wonderful as my close-knit friends are... I am pretty sure they would not be willing to chance their life by allowing me to pass the spectre to them. And so goes the first thing in horror that is a tedious threat--the suspension of disbelief.

As cool as that premise sounds, It Follows grows increasingly hard to believe the outlandishness of the plot. In question are also some of the "It's"(the first being the most frightening--an old woman in a nursing home gown), as they appear in different forms--including her friends. What could have been a tie-in of drama greatness--questioning who is who? is tragically abandoned. The suspense is perfectly jarred by Disasterpeace (owing more than a bit to John Carpenter's classic score in Halloween) but the director Mitchell doesn't build pace correctly and several tense moments fall flat like a swimming pool scene of electrical devices waiting at the side are left up to our own imagination to generate the fright factor--we can only visually connect with what's going on.

Not to down It Follows entirely, which will surely gain an extreme cult following over the years are rightly so for its House of the Devil feel (a far better fright-film--check it out) for recreation of bygone horror films from the 1970's and 1980's--when horror truly reined. I guess there are just a few of us out there that get it. We yearn for the days when fun cardboard horror flicks could become classics again. I admire these directors like Mitchell and Ti West (House of the Devil) for not giving up on a genre that leaves us wondering--when is the next big cult classic? As much as I wanted it to be,  It Follows isn't exactly it. It is neither satire like Scream and barely leaves room for philosophical interpretation.

GRADE: B-

REVIEW: A Deliciously Bloodsoaked LIZZIE BORDEN Comes Back For Another Wack

New series "The Lizzie Borden Chronicles" follows up the hit Lifetime movie "Lizzie Borden Took An Ax" with decadent aplomb. A true story that lays legend on the playgrounds as a jumprope chant still to this day. The infamous story of Lizzie Borden (1892) who was acquitted of the sadistic murder of both her parents. What was great about the original film was that it handled the crux of the story--murder and trial, with hard-boiled confidence that runs straight through the bloodline of the new show like a shot of heroine. Chronicles most impressively manages not to release itself from the tension and curiosity previously set-up where the movie left off. Apparently, "Lifetime" thought there was much more to offer and they are proving themselves right.

The great Christina Ricci continues to stun in an about-face performance. Her approach (as well as the writers) leaves little room for mystery and this bold, brutal choice is what makes it. Throughout her career, Ricci has unfairly dodged Oscar gold, most notably as serial killer Aileen Wuornos' (Charlize Theron--in one of the most amazing performances ever given on screen) troubled girlfriend Selby Wall in Monster. Here, though, Ricci forces us to remember how truly Grade-A of an actress she is while being cheeky enough to risk that status with a "Lifetime" show. I like Lifetime. After all the network single-handedly brought "The Golden Girls" to a whole new generation, but it has wrestled with a campy Soap Opera movie image for years. To challenge this, both Lizzie vehicles driven by Ricci is a double wack in the right direction. 

Whereas Ricci's "Lizzie" is manipulative, promiscuous, brash, and broken, her sister Emma (an understated Clea DuVall, Argo) is fragile, mousey, strange, and broken. This makes for a perfect counter-part--leaving the audience to wonder why the sisters are so different yet brought so close together. What actually happened in the Borden House and what is only a fabrication of the legend of Lizzie's mind? DuVall is simply fantastic and nails the reclusive Emily Dickinson feel like a pro.

The gritty modern soundtrack deserves considerable notation for being a daring contradiction, and it not only works but it works well. Watching characters dawn beautifully accurate costumes as horse drawn buggies travel across beautiful 1800 style sets to the sound of Tree Adams music is a jarring delight. It challenges us to agree with the flavor of Lizzie's blood-soaked pop-culture-sickle... and we not only do... we crave it.

Written By: Kai Elijah Hamilton 

Can TVLands New YOUNGER Age Gracefully?

Perhaps the irony in "Younger" is that it's targeted for an older audience. The premise is a just fresh enough 13 Going On 30/Big revamp. 40 year old mother Liza (Tony Award Winner Sutton Foster) decides to dive back into the competitive working class after a 15 year hiatus only to find that time is not on her side. With the help of best friend Maggie (Debi Mazar--with that fantastic old-school Rosie O'Donnell charisma) she revamps her image and nabs a job at an elite publishing firm where she is required by marketing head (Miriam Shor) to use her "youth" to assist in the company's relevant staying power--while flashes of the great 80's rom-com Working Girl seem inevitably in the horizon, that of venomous Sigourney Weaver stealing Melanie Griffiths every inventive idea to keep her from rising to the top. I can only hope that "Younger" realizes that paying homage to the listed classics above is far different than slinking away from it and plummeting into predictability. It is still too soon to tell.

I am all for fun good-hearted comedies such as this. I must say my curiosity was more than raised by the brigade of TVLand advertisements in between fading sitcoms such as "Hot In Cleveland". As "Younger" (a single camera show) continuously pokes fun at devices of a new generation--hash-tags, tweets, snap-chats, grunge wear, and hip catch-phrases, we can't help but wonder how this new comedy is going to sustain its balance resting on a "one joke" plane.

Its pace was most startling as it zipped along like the metaphoric New York City traffic. Yet I'm not sure that was in "Younger"'s best interest as the first 2 premier episodes could have been broadened into 4 with more time given to an always welcome makeover a-la The Devil Wears Prada (still Anne Hathaways most tolerable role).

Two supporters seem to stand out from the mix thus far--a strikingly well cast and scene stealing Hilary Duff as Kelsey and a handsome lovelorn bad-boy Nico Tortorella as tattoo artist Josh. Both actors immediately give their characters unexpected "heart".

And yet, so does "Younger". No matter that it does not totally defy convention or allow us to breathe in moments of greatness--it scores highly in charm and performance level by all involved. I am highly curious to see what the coming months bring.

P.S. Download unofficial theme song "Turn It Around" by Lucius. It completely captures the intended new-age "Sex In The City" vibe.

Who Should Win At The 2011 Oscars

BEST PICTURE:

THE ARTIST/THE HELP

This is a curious category this year. There are no overtly huge over-rated guy movies (IE: The Departed) and no run-of-the-mill-been-there-done-that Saving Private Ryan-esque war movies (I still revel in the fact that Shakespeare In Love trumped it). Leaving way for any wonder of the imagination to climb aboard the hefty 10 nominee possibilities train. Yet with a slip-knot of 9, the Academy more than slapped one of the best pictures of the year directly in the face--simply because it was a comedy. Bridesmaids is very much one of the best movie of the year. That being said Super 8 was also snubbed. Thankfully, The Artist, dynamic by all costs, stands a strong chance of winning the prize. It is both artful in its rebirth of the silent film technique and touching. The underdog contender is surely the controversial The Help-- one of my personal favorites. The performances are top-drawer not only from Viola Davis and Octavia Spencer--but on down the line to a scene-stealing Sissy Spacek (who should have won an Oscar for her come-back In The Bedroom), a heartbreaking-all-too-briefly-shown Cicely Tyson (Oscar nominee Sounder), and the mega-bitch Bryce Dallas Howard (of the under-rated The Village). Both The Help and The Artist stand out to me as two small little movies that could. So much so that I am unable to choose my favorite. I don't like ties, but maybe there should be one.

BEST DIRECTOR

MICHEL HAZANVICIUS, THE ARTIST

Maybe Martin Scorsese should have won for Hugo instead of The Departed. At any rate Michel Hazanvicius for The Artist certainly gained a lot trust from a lot of people to anchor the wit of a silent film boat. He did it beautifully. A snub from this category is certainly Tate Taylor of The Help. You can't drive that many great performances out of that many great females and not be a true contender.

BEST ACTOR

JEAN DUJARDIN, THE ARTIST

This is not a strong category this year. George Clooney will win for the most over-rated movie of the year The Descendants (*At second viewing I warmed up more to this film) but his work in Up In The Air was far greater. The winner should be the handsome Jean Dujardin of The Artist for acting with visual emotion and no words-- plus he has a cute little side-kick dog and all.

BEST SUPPORTING ACTOR

JONAH HILL, MONEYBALL

I was not as excited about Beginners Christopher Plummer as everyone else seems to be. Unfortunately, I have not yet seen Warrior with Nick Nolte (who I loved in the under-rated comedy I Love Trouble). So curiously enough I am going with Jonah Hill in Moneyball who really did an excellent job taming down his comedic persona and channeling a dramatic-side none of us knew he had in him.

BEST ACTRESS

MICHELLE WILLIAMS, My Week With Marilyn

Tough one. I was taken away with Viola Davis in The Help. She was so under-stated and real. I would not mind if she won a single bit. Who I hope doesn't win is Meryl Streep-- because I feel she has been better in a better reviewed film. I also think she is a better actress when she is in a tamed down performance IE: It's Complicated. That's not to say she isn't one of the greatest actresses of all time. Because she is. And she does embody real people well. But it is unfortunate that Michelle Williams got under-rug-swept for one of the most entrancing performances of a real person we have seen since Charlize Theron in Monster (simply one of the greatest performances in history). I was skeptical of Williams as Marilyn in My Week With Marilyn. But she gave the character such depth with a combination of shyness, beauty, grace--showing a mentally unstable woman in her prime before her ultimate descent to her own demons that I can't possibly in good faith vote on anyone else. Playing someone so huge as Marilyn is a task almost inconceivable especially along side an actor very miscast. And in true Marilyn style--you can't take your eyes off of her. On a side note, Kristen Wiig is missing from this category for Bridesmaids. I agree with one critic, her airplane scene was the stuff of a modern-day Lucille Ball... and who doesn't love Lucy?

BEST SUPPORTING ACTRESS

MELISSA MCCARTHY, BRIDESMAIDS/OCTAVIA SPENCER, THE HELP

I love that so many female performances this year are so grand. Berenice Bejo was perfect in The Artist and in another year would have won. Jessica Chastain was remarkable (as well as the rest of the cast) in The Help-- especially Octavia Spencer. I enjoy the backstory of how director Tate Taylor campaigned for her (his friend) to get the part even though the part of Minny could have went to a name actress. His faith-filled campaign was admirable considering her monumental achievement. She will win. But wouldn't it be fun to see Melissa McCarthy strike back for the Best Picture snub of Bridesmaids by pulling a Marisa Tomei (so wonderful in My Cousin Vinny) and win unexpectedly? She was not only hilarious for throwing vanity to the wind (something any truly great actress can do) but also she's so moving in the scene on the couch where she gives Kristin Wiigg's character a pep talk. Again--I call a rare tie.