The 2013 Indiana Film Journalists Awards

The critics' group I belong to has released our annual year-end awards.  I've included the release in its entirety below, but I wanted to weigh in on some of the selections up here first.

12 Years a Slave won Best Picture, and I am completely okay with that selection.  I thought 12 Years was one of the most effective films of the year (I gave it a Vader), and it was #2 on my ballot.  My #1 was Mud, a film I consider a new American classic.  I was glad to see Mud made it on the top ten list.  My #3 was Dallas Buyers Club, a film that did not make the top ten, but one that I thoroughly enjoyed.  I have yet to write a review for that film (I'll get to it soon), but trust me, it'll be a glowing one. 

As far as the rest of the top ten, I don't have any issues.  There are some on there that I didn't like as much as the rest of the group, but there is not a single film on that list that I think is a "bad" movie.  And I was very happy to see that I'm not the only one who enjoyed Prisoners.  That's a film that I feel is getting less and less attention as the year ends, though it deserves more and more.

Chiwetel Ejiofor won Best Actor, and that's another choice I can easily support.  Once again, Ejiofor was my #2 selection, with Matthew McConaughey as my #1 choice (he was runner-up).  So many good performances this year, and I think we got the top two right.

As for Best Actress, we went with Adele Exarchopoulos from Blue Is the Warmest Color.  This, along with our Supporting Actor award, will turn the most heads.  I have to be honest, I abstained from this and the Best Foreign Film category because I did not get around to seeing Blue, but I am proud of our group for making a unique selection.  And I look forward to watching the film so I can latch onto the group and take credit for making the selection as well.

The Best Supporting Actor award is another one I am proud of (and I had a slight hand in this one!).  Barkhad Abdi, the first-time actor who portrayed a Somali pirate in Captain Phillips, won top honors for a performance that could have easily been one note, but ended up being the most compelling actor in the film.  (No offense to Tom Hanks, who was also very good in the film.)  Abdi was actually my third choice (I did say a "slight" hand in the decision), with Michael Fassbender at #1 and Jared Leto at #2.  I doubt that Fassbender gets much recognition in this crowded category this year, but his performance really put 12 Years a Slave over the top for me.  As for Leto, I think we'll be seeing his name more than Abdi's as more awards roll out.  I'm fine with that, as his performance was great.  

The Best Supporting Actress category went to Jennifer Lawrence in American Hustle.  I was more interested in the the runner up, June Squibb in Nebraska.  She had some great moments that stole the show in the second half of that sad, but funny film.  And that's saying something as Bruce Dern and Will Forte did a fine job in that movie.

That's about all I have to say about the awards this year.  Once again, hats off to the IFJA for making some good, interesting choices.  I'm just glad to be a part of it, hopefully doing more harm than good to each category.  Anyway, here is the write-up and full list of the 2013 Indiana Film Journalists Association Awards.

"12 Years a Slave" wins top honors from Indiana film critics

 

The Indiana Film Journalists Association, an organization of writers dedicated to promoting quality film criticism in the Hoosier State, is proud to announce its annual film awards for 2013.

 

"12 Years a Slave" won top honors, taking the prize for Best Film and earning a total of four awards. Chiwetel Ejiofor won for Best Actor, Steve McQueen won in the Best Director category and Hans Zimmer took the prize for Best Musical Score.

 

"Her," which was the runner-up for Best Film, made a strong showing with Spike Jonze earning the award for Best Original Screenplay. It also won the Original Vision Award, which recognizes a film that is especially innovative or groundbreaking. Eight other movies were named Finalists for Best Film.

 

Adele Exarchopoulos took Best Actress honors for "Blue is the Warmest Color," which also was awarded the prize for Best Foreign Language Film. Jennifer Lawrence earned the Best Supporting Actress award for "American Hustle," while Best Supporting Actor went to Barkhad Abdi for his work in "Captain Phillips."

 

"Frozen" won Best Animated Feature, and "The Act of Killing" took Best Documentary. In their third cinematic go-round together, Richard Linklater, Ethan Hawke and Julie Delpy won the Best Adapted Screenplay prize for "Before Midnight."

 

The Hoosier Award, which recognizes a significant cinematic contribution by a person or persons with roots in Indiana, or a film that depicts Hoosier State locales and stories, went to "Medora," a documentary film directed by Andrew Cohn and Davy Rothbart.

 

IFJA members issued this statement with regard to the Hoosier Award: "In chronicling the plight of a hapless high school basketball team from a tiny, economically depressed Indiana town, Cohn and Rothbart managed to tap into the way Hoosiers are transfixed by their hoops obsession, as well as explore the harsh choices Indiana teenagers often face. In many ways, the film stands as stark counterpoint to the seminal "Hoop Dreams." These players aren't vying for a spot in the NBA, but to win a single game and lay claim to their dignity, both on and off the court. It is a quintessentially Hoosier story told with craftsmanship, unique insight and uncommon grace."

 

The following is a complete list of honored films:

 

Best Film

Winner: "12 Years a Slave"

Runner-Up: "Her"

Other Finalists (listed alphabetically):

"All Is Lost"

"Before Midnight"

"Captain Phillips"

"Frances Ha"

"Mud"

"Prisoners"

"Spring Breakers"

"The Wolf of Wall Street"

 

Best Animated Feature

Winner: "Frozen"

Runner-Up: "The Wind Rises"

 

Best Foreign Language Film

Winner: "Blue is the Warmest Color"

Runner-Up: "The Grandmaster"

 

Best Documentary

Winner: "The Act of Killing"

Runner-Up: "Stories We Tell"

 

Best Original Screenplay

Winner: Spike Jonze, "Her"

Runner-Up: Peter Morgan, "Rush"

 

Best Adapted Screenplay

Winner: Richard Linklater, Ethan Hawke and Julie Delpy, "Before Midnight"

Runner-Up: John Ridley, "12 Years a Slave"

 

Best Director

Winner: Steve McQueen, "12 Years a Slave"

Runner-Up: Spike Jonze, "Her"

 

Best Actress

Winner: Adele Exarchopoulos, "Blue is the Warmest Color"

Runner-Up: Brie Larson, "Short Term 12"

 

Best Supporting Actress

Winner: Jennifer Lawrence, "American Hustle"

Runner-Up: June Squibb, "Nebraska"

 

Best Actor

Winner: Chiwetel Ejiofor, "12 Years a Slave"

Runner-Up: Matthew McConaughey, "Dallas Buyers Club"

 

Best Supporting Actor

Winner: Barkhad Abdi, "Captain Phillips"

Runner-Up: Jeremy Renner, "American Hustle"

 

Best Musical Score

Winner: Hans Zimmer, "12 Years a Slave"

Runner-Up: Hans Zimmer, "Rush"

 

Original Vision Award

Winner: "Her"

Runner-Up: "Gravity"

 

The Hoosier Award

"Medora," Andrew Cohn and Davy Rothbart, directors

(As a special award, no runner-up is declared in this category.)

 

About IFJA: The Indiana Film Journalists Association was established in February 2009. Members must reside in the Hoosier State and produce consistent, quality film criticism or commentary in any medium.

 

http://indianafilmjournalists.com

"12 Years a Slave" Is Miserable and Hard to Watch, but That's No Excuse To Miss This Amazing Film

Directed by Steve McQueen, written by John Ridley, starring Chiwetel Ejiofor, Lupita Nyong'o, Sarah Paulson, Benedict Cumberbatch, and Michael Fassbender - Rated R

A suffering Vader seemed appropriate for this one.

Slavery is a topic ever present in many historical films, but it is rarely given center stage treatment.  Even last year's phenomenal and fun Django Unchained was more of a revenge fantasy than it was a movie about slavery (the fact that it can be described as "fun" should tip you off that it's not a serious take on the institution of slavery).  If Django was fantasy, then 12 Years a Slave is the miserable reality.

12 Years a Slave is the first film in a long time to deal with slavery head-on.  Slavery can be a tricky subject for a film because it can easily delve into a preaching, hackneyed affair.  Another problem with slavery on film of late is the seeming need to include the white perspective of the time period.  It seems that many filmmakers feel that guilt over slavery is so inherent in our culture that they must include some white character in the proceedings to help save the day.  For what would have happened with Django without Dr. Schultz?

12 Years a Slave rises above these problems with ease.  First off, it's based on the true story of Solomon Northup, a free family man in New York who is kidnapped and sold into slavery.  Since Northup wrote about his account, the film must follow things from his perspective.  There are still the stereotypical elements of a slave story, such as whipping and sympathetic whites, but it's different because of the perspective.  A story told from the slave's point of view is not an easy story to follow.  It's disjointed and confusing, which is the point.  Solomon Northup became a slave in utter confusion and remained uncertain of his future throughout his ordeal.  In fact, it's unfortunate that he named his account as he did because it gives the audience the knowledge he never had: that he would one day be free again.

Chiwetel Ejiofor handles the uncertainty of Northup's situation perfectly.  Ejiofor is great for all the normal reasons an actor receives praise, but in the quiet moments of the film he truly shines.  12 Years is directed by Steve McQueen (Hunger, Shame), a director who embraces the awkward, quiet moments in life and allows them to play out on screen.  What this means is that the long moments of waiting or thinking that normally are implied are instead shown.  Ejiofor has to perform through his eyes and his overall expression for many long, tense moments to convey Northup's situation, and he's a natural at it.  His sympathetic eyes not only convey his dire situation, but also make him one of the most sympathetic characters in recent memory.

As easy as it is to root for and get behind Ejiofor's Northup, it's even easier to abhor Michael Fassbender's Epps.  The character of Epps, a drunken, brutal slave owner, is inherently unlikable, but Fassbender brings such realism and deep ferocity to the role that it becomes more than just your standard mean racist.  Fassbender has this look in his eyes throughout the film that you cannot trust.  You know that at any moment he could lose control, and a man in his position is doubly dangerous in such a state.  Both Fassbender and Ejiofor deserve all the awards they will most likely receive.

Another name that should come up for awards is Lupita Nyong'o as Patsey.  Patsey suffers a terrible existence on all fronts, and Nyong'o conveys the strife in a powerful way.  Her performance could easily just be loud sobbing, but, once again, the expression on her face is what makes it stick with you.  You can see misery in her eyes, and that speaks much louder than any sob.  Sarah Paulson as Patsey's torturer (and Epps's wife) does a great job, as well.  The cold hatred is written all over her face.  She is almost as detestable as Fassbender.  Almost.

Performances aside, McQueen contributes in some very important ways.  His shot selection is effective throughout.   Beautiful shots of nature are juxtaposed with the unnatural circumstances of slavery.  The conflict of beauty in nature and hideousness of humanity is constantly present.  This goes for the use of music, too.  Northup is a musician, so he is requested to play the fiddle many times during the film.  During some of these sequences the diegetic sounds coming from Northup's fiddle, which are jovial, are overpowered by the non-diegetic score (courtesy of Hans Zimmer), which has a much more foreboding sound.  The conflicting sounds express the mood of both the time and the film itself.  A good score is supposed to go unnoticed (or so the saying goes), but a brilliant one, when used properly, is not only noticeable, but intricate to the mood and theme of the film.

Despite the conflict expressed in the sound design of the film, the actual world presented was unfortunately normal for the time.  Perhaps the most powerful scene in the film (I suppose this counts as a SPOILER) consists of Northup struggling to breathe after a lynching was halted.  Northup is left trying to keep his feet on the ground while the owner is fetched.  You expect someone to cut him down soon after the lynching is stopped, but the scene goes on for an excruciatingly long time.  As we wait and watch Northup fight to breathe, life goes on.  Kids play; slaves go about their work.  This is "normal."  McQueen and screenwriter John Ridley have captured the utter absurdity of a slave-owning society.  A society in which a human life can hang literally by a thread, and hardly anyone seems to notice.  It's upsetting to imagine what can become "normal" in daily life.

Because of the disturbing ideas about humanity and the brutality of slavery, 12 Years a Slave is not an easy film to watch.  It is a film that needs to be watched, however.  Slavery is all too often glazed over in history.  It's the cause of war, and it's awful, we're told, but how often is it truly thought about?  Of course, a documentary can help you remember the evils of slavery.  Emotion is what makes 12 Years a Slave so great.  This film will not only remind you how terrible humans can be, it will also give you hope.  Solomon Northup mentions many times that he will not "fall into despair" because terrible things cannot last forever.  There is always hope.  It's impossible not to feel something as you watch a man witness and be part of such brutality, yet remain hopeful.  12 Years a Slave is a history lesson, a statement about humanity, and an emotional onslaught all rolled into one.  It is also one of the best films of the year. 

"Salt"

Salt - Directed by Phillip Noyce, written by Kurt Wimmer, starring Angelina Jolie, Liev Schreiber, and Chiwetel Ejiofor - Rated PG-13

Jolie is slightly badass in this, but the Kurgan could take her.

When you watch as many movies as I do, you start to see patterns in every genre and things get very boring. I went into Salt, the latest Angelina Jolie spy film, expecting a typical, safe movie that would be completely forgettable. I was pleasantly surprised to see an exciting action film that does not play it safe, but rather goes all out. Salt is not a great film or anything, but it is a film that takes risks and usually succeeds.

The title alone set up my negative expectations to the film. I could already imagine the cheesy jokes about the possible sequel: Pepper. I still don’t care for the title, but don’t let it keep you from checking out the film. The title is Jolie’s character: Evelyn Salt. Salt is a CIA agent about to take a desk job so she can enjoy a calm life with her husband. Things go awry when a Russian defector shows up claiming that an agent named Evelyn Salt is actually a Russian spy and will attempt to kill the Russian president. Salt doesn’t stick around to get questioned and the chase is on.

Up to that point, I felt the film was in “safe” territory. Going with Russian villains (that’s never been done in a spy movie!), a relatively weak threat (sorry, Russia, in movie land, your president is a bland target), and a typical chase film involving an accused spy. And that is what the first twenty minutes of Salt is, a typical movie, but thankfully that quickly changes. The stakes are raised, the action is competent, and the formula is played with.

The formula I’m referring to concerns the accused spy. Normally, in a film like this, the accused spy is definitely innocent. In Salt, I honestly didn’t know if she was with the CIA or the Russians. That really kept the film interesting to me. I felt like I was watching something truly new. This is not a groundbreaking ploy or anything, but the possibility that Salt is actually the villain of the film made it much more entertaining.

The action, the story, and the formula works, but this film also hinges on whether or not you buy into Angelina Jolie as a tough CIA field agent. This isn’t her first action movie or anything, but I think some people still have doubts about her believability in these roles. I actually prefer Jolie in action films over dramas. I like watching her take down multiple enemies with ease. I completely buy into her as an action star and if you’re just looking for a movie that features a lady who can kick the crap out of dudes, then look no further.

Jolie is fine, but the supporting cast really makes this film solid. Chiwetel Ejiofor (2012, Children of Men) and Liev Schreiber (Wolverine, The Manchurian Candidate) are two of the best actors working today and they add credibility to any film they are in. I definitely see some Academy Awards in their future. I like that these guys are not going for the award-bait films lately, but rather have lent their services to big budget and B-movie fare. I’m not saying good actors should only go for the money; it’s just nice to see great actors in less artistic-type films.

I want to get back into the whole Russian spy angle of this film. The plot of the film concerns a Russian agent who trains orphans from a very young age to act like Americans, and then place them in American society and government until the day they are asked to serve the motherland. This might’ve seemed a little on the goofy side if not for the fact that it has sort of happened. Recently, a number of Russian spies who had lived in America for years were discovered. It felt like the Cold War was still going on. It’s amusing how this film’s release nearly coincided with that discovery and it certainly adds a little believability to the story.

Credibility and seriousness aside, this is a very fun movie. A few actions scenes are over the top in a good way. I particularly enjoyed the scene in which Salt controls a vehicle by jolting the driver with a taser. There a few enjoyable spy moments as well, the most notable is a disguise moment late in the film that has a borderline goofy feel, but still worked.

This is not a film without faults, though. The story has some definite plot holes that take a lot of assuming and disbelief to explain away. I forgive the film its problems, though, because the rest of it works so well. Fair warning, though, this movie seems dumber the more you look into it. I suggest you take the film at face value. Save the microscope for guys like Kubrick.

Enjoy Salt for what it is: a spy film in which Angelina Jolie beats up multitudes of enemies with ease and that includes a few twists and some fine acting. I wish it had a different title, because I honestly think this film deserves a sequel…in the future I just don’t want to tell a theatre worker, “One for Pepper.”

Random notes (SPOILERS) - This may become a regular thing...

I have to comment on the ending of this film (note the SPOILER warning above...). I mentioned plot holes in the regular review and I wanted to point out the biggest one, in my opinion. So Salt is captured, Liev Schreiber is assumed to be some kind of hero, and the President is unconscious. Umm...okay. The President witnessed Schreiber kill an entire room full of people before he was knocked out. Are we assuming that the President would forget all of that? Otherwise, Salt would indeed look like the hero since she wasn't the one who killed everyone AND she stopped the nuclear launch. I know this can all be explained away a bit, but I don't buy any explanations that I've read so far. It's asking too much to assume that the President would just think Schreiber is in cahoots with Salt. Schreiber's plan just makes no sense. Why didn't he just kill the President? It would take care of the whole witness problem. There was no need to keep him alive. There was no way that the President would have taken credit for the nuclear launch had it gone through, so killing him would be good to just tie up loose ends. I don't know, it all just bothered me a bit. Like I said in the review, though, this didn't ruin the film for me or anything, it just left me scratching my head a bit as I walked out.

Why was Andre Braugher in this? He may not be an A-lister (though he did get nominated for an Emmy), but he's certainly a recognizable actor who deserves more than one line of dialogue. His part could have been played by a nobody. It's damn near a role an extra could fill. It just surprised me to see him in this.

I know it's cheesy as hell, but I loved this part:

"But I'm the National Security Advisor!"

Schreiber, after putting what seems like a whole clip in the guy: "Not anymore."