ScreenFish

where faith and film are intertwined

Best Picture

Giveaway! GREEN BOOK in 4K

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Dr Don Shirley (Oscar winner Mahershala Ali) is a world-class African-American pianist, who is about to embark on a concert tour in the Deep South in 1962. In need of a driver and protection, Shirley recruits ‘Tony Lip’ Vallelonga (Viggo Mortensen), a tough-talking bouncer from an Italian-American neighbourhood in the Bronx. Despite their differences, the two men soon develop an unexpected bond while confronting racism and danger in an era of segregation.


The winner will receive a copy of the Green Book 4K Ultra HD/Blu-ray Combo Edition and a Grinch hat.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: What is your favourite Mahershala Ali role? Why?

For a bonus entry, like or share the post on Twitter and Instagram.

All entries must be completed by 11:59pm on Monday, March 11th, 2019.

 

Green Book is currently available on digital and will be released on Blu-Ray on Tuesday, March 12th, 2019

Mahershala Ali as Dr. Donald Shirley and Viggo Mortensen as Tony Vallelonga in “Green Book,” directed by Peter Farrelly.

3.13 Finding Ourselves in the MOONLIGHT

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This week, Steve welcomes back Audra Grey-Choy and Shelley McVea to wrestle with issues of identity, sexuality and cultural definitions of masculinity in Barry Jenkins’ MOONLIGHT!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.13 Moonlight

A very special thanks to Audra (Adonai Creative Arts) and Shelley for coming back on the show!

Manchester By the Sea – Moving through Grief and Pain

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Lee Chandler (Casey Affleck) spends his days as a janitor in Boston. It’s not a great job, but it provides him with what he needs. Still, there remains an anger within him that comes out in inappropriate ways from time to time. When his brother Joe (Kyle Chandler) dies, he must return to his home town of Manchester to deal with the arrangements. It’s not a place he wants to be—for a number of reasons. Manchester By the Sea is a story of moving through grief and finding new ways to face life.

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Besides the funeral arrangements, Lee learns that Joe has named him guardian of Joe’s teen age son Patrick (Lucas Hedges). Lee really wants nothing to do with this responsibility because he doesn’t want to stay in Manchester. He is well known around the town. For many, he is “the Lee Chandler”. He also runs into his ex-wife Randi (Michelle Williams), which is awkward as Lee is trying to forget the pain they share. As the story progresses, we see what his life here was like. He was happy once but, a tragedy destroyed his life here, eventually leading him to the anonymity of Boston. Lee and Patrick must find the balance that allows them each to have the kind of life that will suit them. For Patrick, it is to find his way into adulthood. For Lee, however, it is how to find his way back out of his anger and pain.

In some ways, this is a slice-of-life story of a family in grief. It is a disconcerting experience that triggers emotions in strange ways. For example, since the ground is frozen, Joe can’t be buried until spring, and Patrick is distressed that his body will be kept in a freezer until then. As Lee comes to terms with his new responsibility there are plans that must be made, but they are the very kinds of responsibilities from which he has been running. While the road is difficult, Lee and Patrick find new ways to approach the trials before them.

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Lee’s struggle is the real focus. It is only as we slowly learn the cause of his pain and anger that we can appreciate just how hard it is for him to return to Manchester and family life. The anger that, at times, comes to the surface in his life is really his anger with himself. His tragic mistake is something he cannot bring himself to forgive but, because he is thrust back into life with people who he loves and who love him, he is forced to come to terms with who he is and find ways to live with himself and his past.

Special features include a conversation with writer/director Lonergan, the making of featurette “Emotional Lives,” and some deleted scenes. 

3.11 Discovering the HIDDEN FIGURES

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This week on the show, Chris Utley joins Steve to talk diversity in the Oscars and their response to last years #OscarsSoWhite controversy!  Plus, they also look at the Oscar-nominated film, HIDDEN FIGURES and the cultural impact of breaking barriers of  race and gender!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.11 Hidden Figures

Thanks to Chris Utley for being on the show this week!

tiff16: THE BIRTH OF A NATION

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Released at Sundance earlier this year, the film sparked a bidding war the likes of which the festival had never seen before (and eventually settled at Fox Searchlight for an amazing $17.5M, the highest in the festival’s history.  With a timely subject matter (especially in the heat of the #OscarsSoWhite controversy) and buzz-worthy visuals, Nate Parker’s film was already being viewed as a lock for an inevitable Best Picture win at the 2017 Oscars ceremony.

Of course, a lot has changed in since then.

With the reveal of Nate Parker’s acquittal from rape allegations in 1999 (and the victim’s subsequent suicide in 2012), THE BIRTH OF A NATION has seen the shine taken off predicted Oscar trophy.  Still trying to salvage an awards campaign for a film that has garnered buzz, Parker’s personal life keeps taking centre stage and overshadowing his work.  (In fact, the entire situation has sparked conversation about whether or not a film should be judged on it’s own merit or whether or not the lives of those associated with it are inextricably tied to its success or failure.)

Which begs the question:  Is the film good?

No.

It’s very good.

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BIRTH OF A NATION tells the true story of Nat Turner, an enslaved Baptist preacher who lives on a Virginia plantation owned by Samuel Turner. With rumors of insurrection in the air, a cleric convinces Samuel that Nate should sermonize to other slaves, thereby quelling any notions of an uprising. As Nate witnesses the horrific treatment of his fellow man, he realizes that he can no longer just stand by and preach. On Aug. 21, 1831, Turner’s quest for justice and freedom leads to a violent and historic rebellion in Southampton County.

Bound to be divisive, NATION is a visceral experience which knows it’s objectives from the beginning of the film and drives there unapologetically.  Nate Parker shows considerable creativity visually for his first outing as director, balancing slave drama with almost dream-like metaphors.  His use of colour bleaches the southern landscapes in heat, revealing a hopeless landscape yet fire burns off the screen in its brightness.  Bound to be compared with 2013’s Best Picture Winner, 12 YEARS A SLAVE, NATION has a higher level of energy that builds its intensity.

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While I also think it would be fair to say that most of the other characters lack the development of Turner himself, the film really is about one man’s journey from servant to leader.  The choice to emphasize the journey as opposed to the ensuing bloodbath (which is shorter than you’d expect) keeps NATION from viewing Turner as Braveheart or even Spartacus.  Throughout the film, Turner remains a committed man of peace and of faith until the revolution begins but, even then, there is indication that this is a struggle for him.  Yes, he is leading a violent uprising… but he hasn’t simply become a monster.  He simply sees no other option.

Interestingly enough, the film also has a fascinating conversation about the use of Scripture by both the oppressed and oppressors as well.  While he reads the passages on freedom and hope for himself, he is pressured to preach on the value of slavery while the people suffer in silence.  Parker clearly wants this to lead to a conversation about who really owns the truth  and, thankfully, he contains himself from directly monologuing on the subject.  (It is clear in the film’s construct who the villains are and such conversation isn’t necessary.)

It’s my hope that, as the Fall unfolds, this film finds it’s audience and, potentially, awards recognition.  With the conversation surrounding Parker having tainted what otherwise may have been a clear path to Oscar, I do feel like it would be a wasted opportunity for some real conversations that a film like this presents.

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The Big Short – Winning Is(n’t) Everything (Oscar Spotlight)

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Christian Bale plays Michael Burry in The Big Short from Paramount Pictures and Regency Enterprises
Christian Bale plays Michael Burry in The Big Short from Paramount Pictures and Regency Enterprises

The Big Short is set in 2008 and tells the true story of Michael Burry (Christian Bale), a Wall St. guru who foresaw the downfall of the US economy due to sub-prime mortgage fallout. As a result of his discovery, he places over a billion dollars of investors money against the economy, drawing the attention of banker Jared Vennett (Ryan Gosling), hedge-fund specialist Mark Baum (Steve Carell), and other greedy investors. When these men throw their financial weight into the same endeavour, they make a fortune on the backs of millions of failed mortgages across the country.

If you’re like me, I know what you’re thinking: a movie about hedge funds, mortgages and investments? Thanks but no thanks.

But you’d be wrong.

One of the most remarkable things about Charles Randolph and Adam McKay’s screenplay is that it manages to walk the tightrope between maintaining the integrity of high financial concepts and the financial knowledge of the average moviegoer. Somehow, they make these incredibly difficult concepts (seem) accessible without ‘dumbing them down’. In fact, the film’s asides are absolutely hilarious, recruiting the likes of Margo Robbie (drinking champagne in her bathtub), Chef Anthony Bourdain or even Selina Gomez to keep us up to speed with financial language. What’s more, the performances are top notch with all the players working together and no one attempting to ‘one up’ anyone else. In fact, one gets the distinct impression that these men joined this film because of its important message, as opposed to any particular individual Oscar glory.

Left to right: Steve Carell plays Mark Baum and Ryan Gosling plays Jared Vennett in The Big Short from Paramount Pictures and Regency Enterprises
Left to right: Steve Carell plays Mark Baum and Ryan Gosling plays Jared Vennett in The Big Short from Paramount Pictures and Regency Enterprises

Interestingly, the film grapples with the idea of our own desire to be distracted by celebrity glamour or pop culture rather than be educated about the ways that those in power manipulate the people for their own gain. In other words, rather than seek out the truth about the greed of the banks and governments that affect us every day, too often we allow ourselves to focus on popular fluff in an effort to forget our problems. (Incidentally, this also adds an additional element of irony to those ‘asides’ where celebrities explain key financial concepts. Are we supposed to listen more effectively? Or are we meant to be distracted by Selina Gomez and her gambling?)

This leads the film to explore greed as an addiction in many ways as well. As each member of the ‘team’ discovers new ways to take advantage of the banks (who are taking advantage of the rest), we see them experience a sense of glee as they ‘out-manipulate’ the manipulators. However, once they realize that their success lies on destroying the backs of the average home-owner, the film completely changes its tone. No, these men aren’t the ‘heroes’ that they have made themselves out to be. Make no mistake: These ‘Robin Hoods’ are equally guilty of being ‘Prince Johns’ as well.

These men simply allowed themselves to be caught up in the river of sin and greed that they were in opposition to in the first place. In many ways, the film is as much a word of warning about diving in to personal sinfulness as it is about our own lack of awareness of others. All too easily, because of our sin nature, we can find ourselves serving our own needs (and that rabbit hole is awfully deep).

Is The Big Short Oscar-worthy? A resounding “Yes!” from this corner. The film’s tightly written script is remarkable and it offers us a fresh perspective on events that recently shaped our current financial climate.

But will it take home the gold?

I wouldn’t bet on it.

The Martian: Survive or Die (Oscar Spotlight: Best Picture)

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The MartianHumans have, ingrained in their DNA, a desire and longing for community. It started when God realized that it wasn’t good for Adam to be alone—his response was to create Eve as a companion and helper (see Genesis 2:18). But what happens if, by some unfortunate series of events, you’re the only one left on the planet—or worse, another planet? You really have two options—survive or die. This is part of the reason why the The Martian is up for a Best Picture nomination at this year’s Academy Awards. Based on the book by Andy Weir, it chronicles the harrowing adventures of astronaut Mark Watney on the planet Mars.  The film is actually up for seven different Oscars (including Matt Damon for Best Actor), but I’m going to focus on the Best Picture award.

First, a reminder of the plot. The Martian begins with an emergency escape from the planet when a massive storm appears at base camp. Five of the six astronauts make it onboard the rescue rover, with Watney left behind for dead after he’s speared by a communications antenna. Miraculously, he survives, but is in a world of hurt as the next mission to the Red Planet isn’t scheduled to arrive for another four years. With a limited supply of food and water, he has to decide what to do.  Watney’s decision: “I’m not going to die here.” Thus, he sets about trying to make life happen, all while recording his escapades via video journals.  His saving grace is that he’s a botanist and knows how to grow things. But that won’t last forever, and when the habitat depressurizes, destroying his crop, the fight for survival becomes more acute.

Watney and his plantsMeanwhile, NASA finally discovers he’s alive (after announcing his death) and sets out creating a plan to get him back, helped by scientists at the Jet Propulsion Laboratory. Rushing things doesn’t work, as they find out the hard way on their next launch.  Director Teddy Sanders (Jeff Bridges) has to try something, and when out of options, gets help in the form of China’s space program. When an astrodynamics student named Rich Purnell (Donald Glover) comes up with a faster way to get Watney—but one that will keep the rescued astronauts in space for another year—the idea is dismissed.  But when it’s covertly shared with the crew, they agree to try it—risking their own lives in the process.  The world holds its collective breath as an unheard of rescue is attempted.

So what makes The Martian worthy of Best Picture status? First off, the landscape and set design is exquisite and conveys a planet of extreme isolation, complete with unpredictable storms and unforgiving terrain. The attention to detail even extends to the scientific terminology used, conveying the possibility that an event like this could feasibly occur.  Dialogue is realistic and doesn’t seem to be forced (outside of a) the constant references to Commander Lewis [Jessica Chastain] and her love of disco and b) the relationship between Johanssen [Kate Mara] and Beck [Sebastian Stan]). Speaking of music, the soundtrack is refreshingly sparse.

Tension is controlled by director Ridley Scott in ways that make the viewer experience a range of emotions—from shock to euphoria. Finally, the acting is on point, with believable and convincing characters (none moreso than Damon’s intriguing portrayal of Watney). As a result, the viewer is transported from the theater into a very delicate situation where one wrong move could mean a loss of lives.

The crew of the HermesOutside of the earlier reference to community, there are also many references to faith found in the film (not that they have any bearing on making a film Best Picture-worthy, but are still nice). The concept of mission is found as Watney emails Commander Lewis a note with the charge to tell his parents, “I’m dying for something big and beautiful and greater than me.” That sure sounds like something the apostle Paul would’ve penned—and probably the other apostles to boot. The ending also allows for the concept of complete trust to have someone save you when you have no ability to do it yourself (see Romans 5:8).

In the end, The Martian is a worthy film to be considered for this year’s Best Picture nomination. Will it win?  I’m not certain, as there are a number of films that take that title as well. But if it succeeds, I wouldn’t be surprised at all. With a compelling story, great acting, and fantastic visuals, you should give this one a viewing if you haven’t already. You’ll understand what it means to truly survive—as well as a few other things along the way.

Mad Max: Fury Road–Pursuing Peace (Oscar Spotlight: Best Picture)

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Upon first glance, Mad Max: Fury Road seems out of place amongst its fellow best picture nominees. There’s no biographical dramatization, no outspoken activist star. There’s not even a subtitle in sight. But there is flame-spewing punk rock guitarist chained to a thirty-foot wall of Marshall amps on the front of a semi. In other words: winnah.

From the time the opening titles roll, you’re given one calm, cozy minute to prepare. And you’ll want to. Because for the next two hours, you are going to be thrust into the biggest, most exciting action spectacle ever filmed. Director George Miller took his legendary high-octane hero and throttled him up by 2,000 RPMs, as Tom Hardy does the impossible and picks up brilliantly where Mel Gibson left off.

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Hardy’s Max is near-mute and broken, but finds his strength when he steps up to defend the oppressed (but far from helpless) Imperator Furiosa (Charlize Theron) and a group of her fellow females. These women have the unenviable job description of “wives” to the uber-creepy desert despot, Mortan Joe (Hugh Keays-Byrne). It’s one near-constant, 90-miles-per-hour retreat that turns, on a hairpin curve, into a full-scale assault on evil once Max and company decide they can no longer run from the fight.

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Dig a little deeper below the dusty, oil-soaked surface and you’ll find a multi-layered story of redemption and salvation that is as poignant as anything the Academy has recognized in a decade. It’s a sci-fi packaged treatise on the power of hope and—perhaps more importantly—the quest for peace even when all hope is lost.
The cinematography is breathtaking; the stunts jaw-droppingly innovative (and for the most part, CGI-free). Everything is over the top, but nothing feels out of reach.

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Unlike its peers, Mad Max: Fury Road is more than a film, it is an experience—one that resonates long after the end credits. And despite its unconventionality, it absolutely deserves to be counted among the year’s best.

You’d have to be mad to disagree.