The June Line Up: What Should Have You Watched.

It isn't a surprise that the month of June hasn't had a solid collection of films; primarily because it's when summer is here and corporate film houses know everybody is rather most likely on the interstate, driving to their own opinion is home: a summer house, the beach, or the forest, hiking, anywhere that doesn't shackle them in the pseudo-claustrophobic darkness and bolted seats.

So it has become Russovoir's duty, although while it's less of the sense of a 'duty', and more of a public service, to give you, my loyal reader, a breakdown of this month's best, must-watch films, regardless and despite wherever you have been this summer. There are 6, like the order in which June is in the Gregorian calendar.

6. It's Already Tomorrow In Hong Kong

Official entry to the LA Film Festival, real life couple Bryan Greenberg and Jamie Chung caused a 2.14 earthquake in the movie house. Josh is a struggling novelist, and stuck instead in banking. Ruby is a struggling fashion designer, contented instead to be a toy designer. They aren't exactly Romeo + Juliet, since their families aren't in dispute; nor they are figures of cookie cutter Disney characters. No prince. No princess. Neither has a castle. They share a cab through the nightlife streets of Hong Kong - how's that for a white horse? Based on personal experience by director Emily Ting,  our hearts have never been played since 50 Days of Summer (2009).

5. Love At First Fight (Les Combattants)

Official entry to the Cannes Film Festival, so far no French film has disappointed Russovoir. Including the feminiche love story of Madeleine and Arnaud. Tacky as it may sound with its obvious use of cliche, there is a reason why France is among the most romantic countries in the world, French as the language of love. The most impressive irony of all is that although while France holds this title, you'd think they'd reuse and recycle attributed themes. No. They are constantly interesting story-wise, fresh cast-wise.

It's that time again, the French military is looking for brave men to sign up for training. Madeleine trained all summer for this day to come; she's solid, patient, dangerous, like an avalanche no one sees coming. She might be so, but Arnaud, the hesitant carpenter, what at first looks grazing against concrete walls, typical boot camp procedure, later reveals the knocking down of walls, exploring uncharted, resilient bodies - the taming of the lioness.

4. Dope

To be honest, after a rather displeasing experience with Dear White People (2014), Russovoir cannot take anymore satire about black people. What's worse than black people perpetually portrayed as slaves is black people portrayed as drug smugglers. The title speaks for itself. It is a film about drugs, body, behavior, and beckoning.

Winner of Best Editing at the 2015 Sundance Film Festival, for which Dope sustains an audience; storytelling as though filling gaps within a real-time timeline. The quality of the coming-of-age blaxploitation is lined up in the final two scenes, as if taken through the nose because the potency of its message went straight to the brain. Clever and well-researched - an eargasm of 90's hip hop - and finally, breaking stereotypes, the character of Malcolm, a typical high school geek, is not defined where he came from, but where he is going.

3. Infinitely Polar Bear

Mark Ruffalo is sexier than ever, and he doesn't even have to rip through his clothes. This is a heartwarming story of a man diagnosed with manic depression at an unfortunate time where doctors don't know what to do with it - everybody's a little depressed anyway. Directorial debut of Maya Forbes, this film hit close to home because this is in fact an autobiographical film. Forbes reportedly had kept the authenticity of the memory and still told it beautifully.

Russovoir concludes with a single line with which its weight lowered to one's reach (and get a hold of a copy): Happy Father's Day!

  

2. Me and Earl and the Dying Girl

Sensationalizing cancer is so The Fault In Our Stars (2014). Russovoir cannot take anymore a love story which someone dies from a terminal sickness. We get it, it sucks for both of them, not going to be together because her chemotherapy is tomorrow, and schedules overlap. Sympathy is so easy here, like all the slave films, or the holocaust documentaries. Easy becomes hackneyed, thus it had been difficult to sit through a predictable film, literally A Walk To Remember. 

But in hindsight, there is a quality in Me and Earl and the Dying Girl - can the title go any longer? - that captures the audience - thank you Professor Morgan Sandler. It's what we call in story writing Character's Arc, defined as the transformation of the character over the course of the story. Lead actor Thomas Mann is as refreshing an indie actor as the identity or non-identity differentiated, that when Leukemia-stricken, 'dying girl' Rachel (Olivia Cooke) came to the picture, it becomes clear that what we're witnessing is not a love story per se (though it's entertained), but the extent of friendship.

1. Escobar: Paradise Lost (Movie of the Month - personally)

Let's talk about Josh Hutcherson. The boy is good, where can you go wrong? That being said, he is the singular, most inviting reason why Russovoir cancelled whatever he has planned on that night, and go read up about the film; regardless, he'll still sit through the whole thing. After which, Russovoir has found a film akin to Argo (2012).

Hutcherson has never looked good post-Hunger Games, while Russovoir could see traces of Peeta Mellark in his character, a Canadian surfer venturing in Colombia, whose involvement with a beguile Colombian, Maria (Claudia Traisac) forces himself to kill, but he's not that kind of person - Peeta Mellark! - and so we root for him because he's the good guy. The 22-year old, square-jawed pawn to a dangerous game of chase is Josh Hutcherson's most dramatic performance yet!

"Get out of the car! Now!"

Historical Fact: Pablo Escobar was the notorious and nefarious Colombian drug lord in 1970's. He was responsible for 80% of cocaine imports in the US, over 2,000 innocent lives were silenced.

Selfuture Time.

Time traveling is one theme Russovoir tries to shy away from. Just when he finally understands the timeline of the story, it claims to have a twist by fucking up the calm of a well-thought brainstorming. This is why Back to the Future (1985) is one beloved time traveling film; it doesn't complicate. Not that Russovoir is a simple-minded movie aficionado. He really does try to understand, piece each scene together like it's broken glass. If still without luck, good luck.

Project Almanac (2014, below) is a recent time traveling coming-of-age film that to this day Russovoir neither embrace nor erase. Interesting lead, Lollapalooza feature, likable characters, Jonny Weston in particular, the beautiful love story, the delinquency and chivalry. For the most part, and only until the most part did the film suspend time in captivation. Then the ending caved it in. Pfft! Russovoir remembers feeling frustrated, or some semblance of betrayal. Either he doesn't understand the paradox of time, or it was a hypothetical and/or advanced paradox, in which case is confusing altogether (in comparison to time traveling 101 of Emmett Brown). This, nonetheless, doesn't disqualify the film to be worth your while. It is.

Jonny Weston (second from left) in Project Almanac.

Bradley King's Time Lapse is another story, a timezone of which in a different country. Let us begin by teasing the plot - it's so exciting: Imagine a camera that takes a photo of the future. Just a single polaroid - shake it! shake it! - photo, anything and everything in it dictates what's going to happen. That itself is one innovative hook, line, and sinker. It gets better! Each character has a motive that which complicates how these photos should be developed. Russovoir actually stood in applause for the climax and ending. Like a Patek Philippe watch, it's a film to pass on l'dor va'dor.

"We have to do what the photo says or we cease to exist."

You see, the advantage was the future camera was (deliberately) left a mystery or unspecified. Russovoir calls it the 'volatile prop'. The audience assumes its function from how the characters came to a decision how it actually works. The consequent brilliance was later shockingly revealed - duh! as the saying goes, "No one's the wiser." Russovoir felt dumb, not because the story hid a crucial element, however, he felt dumb because the screenplay had a... lapse. Genius!

Co-written and Directed by Bradley King.

  

Mad Max: Best Cinematography (please).

It's probably rash to foretell that Mad Max will get a nod from the Academy. For what its worth, Russovoir predicted Whiplash (2014) and Nightcrawler (2014) will see themselves on the coveted list.

The film was every definition entertaining, intense, and pure adrenaline rush. I couldn't imagine it in 3D, for Russovoir was already ducking, steering right for an incoming spear, stepping on the floor for gas, squinting from billowing sand, and cringing when something explodes, staged diligently thus shot fantastically.

"Remember my name!"

Russovoir wasn't looking at Charlize Theron, and that's effective role playing. Not that this is rare of her. But it wasn't just about her. And that's what Russovoir likes to point out. It was everything: the story, the color palette, cinematography, production design, Zoe Kravitz, Rosie Huntington-Whiteley - how badass she could be, Nicholas Hoult, and of course, the one and only Tom Hardy. 1979, 1985, and finally 2015, George Miller had waited thirty years for another chronicle of the franchise. It would not surprise Russovoir if pre and post production progressed (and perfected) over time; James Cameron's Avatar (2009) took twelve. The film is speechless perfection. Remember that time Michael Bay's Transformers (2007) changed the movie-going experience? Avatar (2009), how it gave lucrative necessity for 3D? The George Miller 1979 reboot has spoken: Hollywood, when provoked, will remind the audience why they are No.1 in making movies.

Gossip Girl No More.

Blake Lively has a blank stare that consumes you. At first, Russovoir thought anyone can play her role, with what only looking pretty, kissing men, and regular dialogues. And it was. It really was. The dialogue was nothing special. What made it engrossing? Blake Lively. 

IKR, Russovoir is confused too. Maybe it is indeed possible to be distracted by beauty to forget everything else. Because Russovoir wouldn't have had commended Lively's performance, let alone mention it, in an order coming first than the brilliant screenplay. Regardless, the story in which The Age of Adaline is woven is so well-researched Russovoir is truly honored to have watched it.

  

I should stop putting my hand where it doesn't belong.

It is not your typical, cheesy love story. It's a fantasy that has moral value, that if the concept has fallen to the wrong screenwriter, let alone the fortune of agelessness fallen to the wrong actual woman, the fantasy now ages back to the unsophisticated. Thus its sophistication, solely in respect to its storyline and script, will never age a day in the film archive. San Francisco, as their primary filming location, was at its picturesque and historical.

Blake Lively, under no spell of her beauty now, and that wishing all women possess, at least in the personal affection for Adaline Bowman, has a feminine vulnerability handled with a mature soul. That's what's engrossing about her, yes! In fact, probably engrossing if all women.

Movie Recommendation Time: After.

There are just about many themes a film has had in this new age of story writing: zombie apocalypse, dreams, nightmares, robots, dystopian and utopian worlds, imagined realities, pandemic virus, time traveling, e.g. There are a few that, while its concept is in ink, are superimposed with an innovative twist, and they unanimously become one of the original films of that time. For example, the underrated Snowpiercer and The Returned of 2013 (below).

2012 was the year of the dragon, and there were a handful films that personally didn't dragged on because they expressed a storyline so unique and so imaginative they breathe fire. Where does Russovoir even begin? - Man On the Ledge, Chronicle, The Cabin In the Woods, Battleship, Moonrise Kingdom, Ruby Sparks, Premium Rush, Looper, Pitch Perfect. That's about all the films of 2012*. So later, you can just imagine how frustrated Russovoir has been when he discovered three years a span a film so enfeeblingly brilliant it was the first thing that came to mind waking up, like the first pulse on a flatline. 

Steven Strait is a perfect cast. Russovoir couldn't diagnose why; it could be from the calm in his eyes, the foam around his mouth. Strait is always this working face reference. People can't put a finger on him. Admittedly, he came as a stranger, or better yet, a long lost friend. Getting to know him again through this film was the best part.

Warren Peace in Sky High (2005).

Some of you might think the title After is short and sweet, and some ineffective and weak. That issue already has had bothered Russovoir and thought after how the film made him feel, it doesn't really matter now. Co-written and directed by Ryan Smith, your left brain and your right brain will already have done each separately: bored and confused. Russovoir asks of you to stay with it, stay with the characters, their individual lives slowly and beautifully unfold and meet. Only then we will have felt as though we blacked out throughout and woke up relieved with a second life. Mostly, strait to the heart.

"I'm sorry. I didn't know."

*Academy Award nominees and winners not included.

#NoHoMOORE.

"When I was 16 years old, I tried to kill myself because I felt weird, and I felt different and I felt like I did not belong. And now I am standing here. I would like for this moment to be for that kid out there who feels like she's weird or she's different or she doesn't fit in anywhere. Yes, you do. Stay weird, stay different. When it's your turn and you are standing on this stage, please pass the same message to the next person that comes along."

Graham Moore, Academy Award-winning Screenwriter.

Justifiably tight competition among fellow nominees, The Theory of Everything, Whiplash, American Sniper, and Russovoir's personal favorite and should've won curse the Academy - kidding - Nightcrawler, Graham Moore and his beloved The Imitation Game was honestly both unexpected and a relief to take home the Oscar for Best Adapted Screenplay at the 87th Academy Awards. Russovoir took it upon himself to set the records straight (pun intended).

To begin, and blow away the air of suspicion, Russovoir adores the film. The thought of the glacial recognition of Alan Turing rebooted from tolerant eyes, through a refreshing, inoffensive storyline, in a prejudice-polluted thought orgy of society, it's a filmic achievement.

Alan Mathison Turing was responsible for the simmering of World War II by two years. Two years had saved an approximate of 14 to 21 million innocent lives. All because Turing and his team, but mostly Turing, invented a divine machine, at a pressing time of chaos, against a demonic machine. The Enigma (below) is a German invention for which since World War I the Nazi had used to write, send, and communicate diabolical plans, for instance The Battle of Atlantic of 1939. Let us not go into detail how the Enigma works because, well, for one, Russovoir failed Accounting twice. That'll do it.

Fun Fact: Germans used their girlfriends' names as keywords.

Moore was responsible for picking up on this remarkable human feat, and like the decoding of the Enigma, he spent a quarter of his life researching, compiling, and finally writing a concise and compelling screenplay, The Imitation Game, one of the best scripts of 2011.  The $14M-dollar budget film broke the box office, closing in to $180M. Based loosely on the book Alan Turing: The Enigma by Andrew Hodges, and not to be confused by Kate Winslet's Enigma (2001), the story of which is focused on the cracking of the machine - no cracking was made of what was going on inside Turing's head. Often times a film becomes a brilliant classic not only for its story, and because Turing's story had just been sitting until a purposeful screenwriter scatters the dust on which it had collected, The Imitation Game is most loved for its screenplay; the enigma of words come together and 'click' in us.

On February 22, Graham Moore accepted the Oscar. He deserved it, we all think, especially after what Russovoir had diligently put together for his account. The world was moved by his acceptance speech (refer to the blue font) because it had an intended audience, for whom could have had put up a wall high up now lowered down, hiding in a shell now broken free. Russovoir saw the good in his sincerely inspiring speech. Standing in front of 'disconcertingly beautiful people' on the podium of the most prestigious and televised award show, often times acceptance speeches are the first publicly acceptable formed words in one's head. Unless you're Patricia Arquette (Best Actress in a Supporting Role, Boyhood) who had a piece of paper detailing wage gap against women; her speech did not receive positive reception. The adorable 33-year old hesitantly thanked Oprah Winfrey, sounding it hadn't had crossed his mind to win, thus further hinting what he'll about to say isn't researched nor compiled. Concise and compelling, Moore noticeably rattled on his words, nervously combing the side of his hair that didn't look it needed combing. Russovoir is afraid people are pressing (or already have) buttons when there's only one to unlock the message of his speech. Days of research about Alan Turing and the Enigma possibly had a gradual effect in the man. Let us break down each sentence from Graham Moore's comforting speech.

"When I was 16 years old, I tried to kill myself because I felt weird and I felt different, and I felt like I did not belong."

Oh admit it, this crushed you. One of the greatest writers of our time could've had killed himself. History would've had repeated itself to which Alan Turing took his own life because he felt, too, different and did not belong. We don't want that, let alone Russovoir. The Imitation Game had an obvious message and from which the world had led to believe Moore's idolatry for Turing is because he sees himself in him. That is not the case now; he had explained in an interview after the show. Articles briefly in words, as it happens for the world's dubious disbelief, obediently documented contrary to what had seemed so obvious, a particular, instinctive radar going off the charts. The real reason why he tried to kill himself and felt weird and different because twenty years ago, and admittedly every single day of his life since, is because growing up he has gone through depression. Depression is a real and serious sickness. People who have suffered depression have actually killed themselves, for example the late and great Robin Williams (Patch Adams, 1998).

Russovoir will not lengthen the issue because it's 2015, it doesn't matter. The man has won an Oscar and achieved a milestone history will remember by. So far he has come that if there's any beard he's trying to conceal, strongly implying to his sexuality, Russovoir is glad he's alive now. He speaks on behalf wherein you think the same, right?

"Stay weird. Stay different."

Weird is a complicated word. As complicated as love. One cannot just put a finite definition to it. Each of us is an interpretation of a painting; they vary. Yet each interpretation is bound to the attendance viewing the painting. Perhaps a group of close friends. What Russovoir is trying to say is, to risk in national television and say to stay 'weird' has, in a way, opened Pandora's Box. Moore has entailed validation for every random definition the attendance has for the phrase. This is unfair. Weird is not the most flattering word for who you are, now that it's been contaminated with versions of their own taste than one's life long understanding and acceptance of oneself, with which between making friends and becoming friends, there had been a genuine, mutual, and tolerant outpouring exchange of each other's similarities and differences. You are your personality. We are, by default, different from each other. Remember this my fellow readers, especially now that 'weird' is a field where people can open fire at you, you are not entitled to constantly explaining yourself.

One cannot also 'stay' weird. "It is not the strongest of the specie that survive, but the  most adaptable.", Charles Darwin said. To stay weird means to reject decency, appropriate, altogether disrespecting the particular observance in an environment. Mind you, 'staying weird' is a fissure different from 'standing out'. The latter is invariable; weird can always adapt. Standing out doesn't offend nor impose. Standing out, instead, is like giving out post-its to people to remember you. Did you ever stop and think that fitting in and standing out, while they may sound different, and they technically are, both have the courtesy, imagine with Russovoir for a minute, an action of minimum distraction in between fit inners and standing outers. There is a line as thin as people's attention span that describes an individual from unique, different, and interesting to attention whore.

The takeaway from this section of the blog is, 'stay' and 'weird' in one gratuitous phrase - 'stay weird', we've been told to dare to be different, that the eagle flies solo, the lion doesn't need the opinion of the sheep, but listen, for one's sake, career, and survival, ascertain these: what for, to what extent, and why now?

"When it's your turn and you're standing on this stage, please pass the same message to the next person that comes along."

Russovoir will phrase it differently, but nonetheless, you got it, G.

Why Bradley Cooper Could Sit It Out: The Eroticism of War and Victimization of Slavery.

Oh, Bradley Cooper. 

Russovoir likes his men more than they consciously appear. With talent. Cooper is more than a pretty face. The first time Russovoir discovered him, mouth agape, admittedly fanning, might as well throw in a crystal ball and call him Russovoiryant, because God knows Russovoir had been sober to foresee this man will paint the town red, walking down it dapperly, just after the convulskin underground red in The Midnight Meat Train (2008, below).

 

And then The Hangover (2009) happened. Which Russovoir understand tripled in bankability of $277.3M from only a $35M budget. That's pretty impressive, no doubt. But here's the problem: Russovoir doesn't want Cooper to be a comedian. Is that selfish? Russovoir doesn't think he's either effective nor eligible to be one. He's too, say, valuable. Not that comedians aren't valuable. Let's just say he's no Joel McHale. Or maybe, Russovoir is in love with many unrealized roles he could be perfect in that slapstick comedy was obviously just going to have to do for now to pay the bills. Then Hangover II and Hangover III, while committing to more serious roles in between like Limitless (2011) and The Words (2012). Bradley Cooper has had his career laid out like non-biodegradable and biodegradable.

American Sniper would be Cooper's third Oscar nomination, remembering his outstanding performances in Academy Award nominated Best Picture The Silver Linings Playbook (2012) and American Hustle (2013). Russovoir is convinced his presence on the red carpet, a nod from the Academy, is because finally he has separated himself from what's easy and has given more. And Russovoir couldn't be happier for him. He is a testament that the Academy isn't interested about how the camera loves you, but instead why the camera loves a cliche* Bradley Cooper.

Shots were fired when American Sniper was revealed to be in the running for Best Picture in the most anticipated 87th Academy Awards. It raised a reasonable, powerful question that shook the very foundations the institution stands by, however long-standing they have been: WHY? Clint Eastwood has pulled the trigger, and attracted an audience ($350M) only from the noise it made than the actual damage it's done. Sure, cinematography is one bullet in the cylinder. Cooper is another (and has bitten the bullet; the transition was admirable). Editing, let's load that in. Russovoir will leave it up to you the next three. Whatever you decide that qualifies the film an Oscar nod, here's Russovoir's problem: Aren't you tired of war movies? The eroticism and exhilaration of war, a familiar template of whose side are you on (U! S! A!), the manipulative virility of violence, those aren't the 'escape' we want why people go to the movies.

Oops, Russovoir forgets. America doesn't only run on Dunkin', but also in war. War is a billion-dollar business, and America will be damned if they don't get a share of that. Oscar has now become Uncle Sam. The Academy has become a mediator by which these 'old, conservative, white' (so Russovoir has heard) men seem to feel obliged, possibly even had lived through to influence judgement, invariably including war movies into the outstanding nominees. Also, the Academy is of the Americans, by the Americans, and for the Americans (so help me God), and anyone and anything upholding this nationalistic belief surely in fine print, had been given an invisible pen with invisible ink and signed the Declaration of American Credence.  

The Civil Right Act, Amendment IV, Section 5
1.1 A black movie nominee silences the accusation of racism.

The victimization of the black has taken to a whole new level. It is now considered 'racist' if the Academy hadn't included a black film in the bunch. And what for? Slavery film. Again. What is with this yearly reminder of slavery? Does this empower them? Does this give them a favor so that if an employer dismisses their job application they're immediately called racist, and not consider the fact that he has a criminal record? Why keep making films that build tension among each other? How about black inventors? black artists, Get On Up? Tasteful romance, Beyond the Lights (below)? Russovoir doesn't seem to understand why the black people always have to be represented in this image the rest has to sympathize for. The grossest part is that you are fully conscious of your sympathy, with which ultimately influenced judgement even for the stringent Academy. Then again, with power and wealth of Oprah Winfrey, who produced and starred in Selma, one could say Russovoir's opinion is not one of her favorite things.

Gugu Mbatha-Raw: Black Princess to Black Pop Sensation.

Now, have you ever noticed your favorite artist's CD has like twelve songs, and you're convinced it's worth every dollar, but when you get home and listen to each one, you realized only ten are great, and the other two aren't just consistent? The Academy Awards kind of feels that way. At least just this year, and only as far as Russovoir started following the show. He went ahead and segregated the eight songs of Hollywood - the artist - between the fillers and fighters.

Fillers: Patriotism and Racial Equality.

Fillers: Artsy and Gimmicky.

    

Fighters: Performance, Message, and Storyline.

You may have a completely different opinion on this. This is America. It prides itself of freedom of speech; it's totally okay. Everyone's a critic anyway. This is simply speaking from the core of the movie aficionado and aspiring screenwriter in Russovoir. Again, the Academy is a school, and we should honor directors, screenwriters, actors who not only placed effort in gimmick and special effects, but into an original, compelling story. Whiplash, Birdman, and The Theory of Everything, there is nothing more in the world that would give peace in Russovoir if either one of them wins. Listen to him, what peace is he talking about? 1) Peace is a selfless ideal existing in a selfish world and 2) Unless there's going to be a last minute change and bump a nomination for Jake Gyllenhaal for Best Actor and Nightcrawler for Best Picture, peace has already been violated. Shame on you, Academy.

Best Original Screenplay Nominee. Only.

*Russovoir likes his men more than they consciously appear. With talent. Gyllenhaal is more than a pretty face. The first time Russovoir discovered him, mouth agape, admittedly fanning, might as well throw in a crystal ball and call him Russovoiryant, because God knows Russovoir had been sober to foresee this man will paint the town red, walking down it dapperly, just after the convulskin underground dread in The Day After Tomorrow (2004).