Star Wars: Revenue of the Seats

It was all good, all good that the Star Wars franchise comes out from the dark side and on the spotlight for the eclipsical fandom. Russovoir sympathizes for them because he was once, always, part of a fandom, Harry Potter, The Chronicles of Narnia, The Hunger Games, e.g. We get it. Especially since the last episodic Star Wars feature was a decade ago (not including the 2008 computer-animated  Star Wars: The Clone Wars), Hayden Christensen and Natalie Portman, clear as day, was a match made couple galaxy far far away - heroic, the kind of romance the journey is admired ultimately when gazed as a constellation.

The story, the worlds, including family tree and galactic empire ranking, is nothing short of impressive. George Lucas, hats off.

Portman and Christensen in Revenge of the Sith (2005).

Until recently, besides Russovoir never followed through since because of personal reasons, long after Star Wars of Lucasfilm Ltd. was sold for $4 billion in 2012, Disney has become the very mascot they profitably represent: a rodent. The 'corporation clout' has had been right under our feet, and infested the channels of film distribution. It's like they're making (so much) money off of someone else's work to recover from the $200-million snafu with John Carter (2012).

Revered screenwriter/director, while he didn't come up with lightsabers and the Jedi clergy; he only took 'experience point' type of action/adventure quest to bloodbath and carnage in Kill Bill, Quentin Tarantino, a while now, has a gift for us Tarantino fans and movie goers altogether this holiday season. The gift of The Hateful Eight, starring Kurt Russell, Samuel L. Jackson, and Christoph Waltz. The proof is in the filming when this eight feature of Tarantino is impressively shot in actual film. The extent of this directorial choice didn't affect Russovoir until it was recently explained (in his defense, he's concerned of the storytelling than film equipment). Simply put, Tarantino films are made by film stock, not digital. A film stock is that sheet of plastic film base (below left) used to record motion pictures, the linchpin of traditional filmmaking, whereas digital video (below right), also known as camcorder, video camera, or camera, is a newer recording device by which of encoded digital data, while understandably is efficient and universal, serious filmmakers including but not limited to Quentin Tarantino, Christopher Nolan, Steven Spielberg, and J.J. Abrams frown upon digital video in making films because 'cinematic' picture is always compromised.

Film stock

Digital Video

The point of all this is here: Arclight Hollywood Cinerama Dome.

Granted these big shot filmmakers are doing the same thing differently, there must be some kind of order, and etiquette among each other. You would think so, but apparently not. In a radio interview with Howard Stern, Tarantino awakens the force:

“We were gonna play at the Cinerama Dome on the 25th. We were gonna open there and play there exclusively for two weeks. And ‘Star Wars’ was gonna play the two weeks before us. I grew up in LA, so I think of the Cinerama Dome as a real big deal and imagine seeing it at the Cinerama Dome. So the thing about it was, Disney, who owns ‘Star Wars,’ decided ‘Well, you know what? Maybe we wanna play throughout the entire holiday season.’ So, we’re gonna go to the Cinerama Dome and say that they can’t honor their contract with us to show the ‘Hateful Eight.’ And the Archlight people that own the Cinerama Dome said, ‘No, no, you can’t do that, we have a deal with The Hateful Eight.'

As of [yesterday], Disney came to the Archlight people and said, ‘No, you are going to play Star Wars in the Cinerama Dome for the entire holiday season. And if you don’t, if you honor your deal with The Hateful Eight, we will not allow you to have ‘Star Wars’, the biggest movie in the world, we will not allow you to show it at any of your Archlight theater... It’s vindictive, it’s mean, and it’s extortion. They literally threatened the Archlight to do this."

Now, Russovoir knows what you're thinking. No, he's not writing this because he loves Tarantino to bits and he'll do anything for him. It just so happens Tarantino is an influential filmmaker, which compounds, alarms, and escalates the issue by itself because it's Tarantino, and he's such a good man. If it were somebody else, maybe not, because 1) they might have no use of Cinerama Dome on the novice choice of digital over expensive 70MM film resolution, and/or simply 2) not well-connected to market and distribute their film. Again, this is Quentin Tarantino. He obviously has a reason why he chose to premiere his film on Christmas day. It's heavily snowing in his film for God's sake, maybe that's why. So the characters in fur coats in the film don't come off weird to the audience - we don't know! He didn't just go 'Oh, Star Wars? The biggest film in the world? Yeah no, let's see about that'. There was a deal. And that deal was breached.

Greed.

What does this mean to all of us? To aspiring filmmakers? It's a new breed of a 'film buff', corporations who appear larger and think they can trample over a relatively smaller group of people, let alone an individual the luxury to showcase their earnest, life's work on the big screen - what will happen to Russovoir? He can't possibly file, let alone win a lawsuit against Disney! He's the type that cries in the corner if his movie didn't sell, but that's another story.

If it can happen to a Tarantino, it can happen to anyone (or maybe, it's been happening. In which case, it took a Tarantino to see it). Russovoir weeps for the industry; it's not fair play, it's foul ploy.

Support Quentin Tarantino and storytelling

 

The Hateful Eight

Dir. Quentin Tarantino

December 25, in select theaters

January 1, in theaters nationawide

The Revenant
Dir. Alejandro Gonzales Inarritu
December 25, in select theaters
January 8, in theaters nationwide

Joy
Dir. David O. Russell
December 25, in theaters nationwide

Playing in theaters now, Russovoir highly RUSSO-mends these films:

In the Heart of the Sea

Dir. Ron Howard

Sisters

 Dir. Jason Moore

 

 

Perlas Ng Silanganan.

Heneral Luna will not win an Oscar*. This isn't some anti-Filipino statement, and that Philippine Cinema is undeserving of international acclaim. The opposite, actually. What Russovoir would like to call in mind is, Heneral Luna, as it's always been, and either A) they take this movie review positively and do something or B) take this movie review negatively and do nothing (this is what Russovoir is here for), is still a working progress; it lacked style, it lacked sense, and directorial choices that threw off the experience**.

Founder and General of the first military academy of the Philippines, Antonio Luna is an influential figure in Philippine history. Absolutely necessary to immortalize (not literally. Luna was shot many times, stabbed, and finally a bullet through the eye killed him, whereas the one stray bullet to his Waterbury button, he didn't think twice committing suicide? Russovoir understood the meaning of both, yet they contradict in logic) his seminal contributions in a film, no question. Luna's influence is so great and arguably, heroic that the genre in which his presence, power, and prodigy must be classified as an epic. We can achieve epic in a motion picture in a number of ways, including but not limited to lighting, shadowing, blocking, camera shot and movement (and not the tawdry head exploding from a gun shot). As far as Russovoir can remember, from which really what the audience 'take away' and talk about after, there were only two camera techniques (not including subtext, one of which was Luna's flashback sequence, however inaptly shot) applied, the wind that erected the Philippine flag inside; it was effectively creative.

A scene inspired from Juan Luna's 1884 Spoliarium.

Sitting through two hours is no joke. We have to keep our audience interested. Do not confuse your genuine interest with nationalism. Russovoir is fully aware, and closely observing, Heneral Luna is a diamond in a haystack of shitty rom coms, and the first to premiere outside the cash cowing, cow milking, poor showcase of films at the annual Metro Manila Film Festival. Let us not cloud our judgement with Philippine pride. Anyway, so, in the two hours sitting, there was too much dialogue. Some lines, absolutely, stirring and winning, and other times, we can do without. A film, Russovoir learned in the years of film school, is the language of pictures. How one scene affects the next. And if you're brilliant enough, how a scene suggests something else (picture above). It's what you show, and don't show that makes the film compelling. No dialogue, just cinematic composition.

Stop. Russovoir is not here to lecture. He surely wasn't insisting on perfection. That isn't relevant, because Philippine Cinema is far behind, but slowly adapting to international standard. Director Jerrold Tarog must already know this, but impeded by funding, and daresay a competent workforce. Russovoir cannot blame him. Russovoir cannot blame anyone. We do what we know, yet despite all, Heneral Luna is absolutely a zeitgeist in Philippine independent cinema apart from the mundane mainstream, like the separation of church from government.

*opinion expressed is solely based on educated forecast

**not the historical accuracy, for which all creative liberties were respected, assuming in-depth research prior to filming was done

The August Line Up: What Should Have You Watched.

August of wind passed, and it's September. Wake me up when September ends - are you Filipino? Merry Christmas! - posts - September, be good to me, that's another one - are, or more recently, have had been to our scrolling attention on our Facebook NewsFeed.

Here. Wake up! Russovoir has left behind movies back in August, and you must forgive him. He had already long decided to do this, life just has a funny way of switching the lanes of his train of thought. And probably because Russovoir celebrated his 25th (chuckles).

5. Final Girl

Light and shadows. Tyler Shields' Final Girl is curiously attractive because of his exorbitant, almost rebellious display of shadows. We say rebellious because, manipulation of light and shadows should complement (not to be confused with compliment) the world in which the characters live in. Too bright, too dark, or among cinematographers' jargon, overexposed and underexposed, are a big no-no because it throws the audience off, making it seem therefore 'conscious camera', a fourth wall, rather a subsidiary, occurrence where the audience is aware of the camera, tricks and trade encompassing. Obviously it was a directorial choice to shine a light excessively (picture below), remove and add light unusually, creating these hard and ominous shadows, angelic and flattering close ups, that to a keen eye, one cannot help ask where the light is coming from, especially as we assume these scenes are 'realistically' set.

Abigail Breslin as Veronica

This 'cinemantic' (cinema + antics), should we say, primarily stirred Russovoir's attention, agitatedly to the prevention of the crystallization of boredom. Speaking on behalf of director Tyler Shields, this stylistic approach, newfangled and playful, worked effectively into the story he's trying to tell, a group of preppy, high school senior boys on a blonde girl killing sport, until secret agent Veronica dyes her hair. Cast, including but not limited to the aptly charismatic display of Alexander Ludwig (The Hunger Games, 2012), significantly added weight to the investment of this 90-minute film. Don't tell Russovoir these still images don't speak to you:

4. When Animals Dream 

Midnight Son (2011) is one of Russovoir's personal favorite vampire films. Reminiscent thereof, Scandinavian film When Animals Dream tapped into the same concept, but with an execution differently.

Sonia Suhl as Marie

What works here is love; how established it is between a husband and [catatonic] wife, how fast it developed and how strong it could become. It's formulaic: she turns into an animal, and those who wronged her will taste her wrath. Overall, the film makes you vulnerably human (unless you're an animal), even going so far as fantasizing of a similar fate (right, animals can dream).

3. Cop Car

There are movies that are fast-paced, the action happens right away, exciting and exhilarating. On the other hand, there are films that require patience. Over time, Russovoir's patience has had slowly lain out like a roll of film. And clever enough - thank you! - his patience stops as the film ends. Cop Car, actually, isn't the first nor the only one. Coincidentally enough, as it happens, Robert Pattinson is fun to watch post-Twilight - talented actor, Remember Me (2010) and The Rover (2014) had a slow pacing, but just like the seed that grows into a tree, it takes time. After which, in fact, these slow-paced stories are effective, especially when they can uproot one's bearings.

Two unattended kids found a cop car, and drove it. Guess they wanted a little danger in their boring summer, before school starts. Then there was an awesome cut, sly even, taking us back in time to introduce a fork in the road, so to speak. Kevin Bacon enters, tense as though being held at gunpoint, which soon we come to realize he could've had been, after all what is a police officer's day's work. Why go through all the trouble to get the car? What's to become for the two troublemakers? Exoneration or execution? Good cop, or bad cop? Original story writing, Cop Car is an effectively slow-paced film.

2. The Gift

Russovoir must say, it was a difficult decision, especially because The Gift and American Ultra are both original stories*

Joel Edgerton as Gordo

Disturbing, and yet satisfying, The Gift is, simply put, a different anti-bullying film. Different as the operative, yet simple description. Normally, in anti-bullying films, the victim(s) is/are portrayed as soft and frail, a helpless and eternal loser. The story bypassed all of that, hoping to achieve that there shouldn't be a mold a victim fills into to fit the label. The worst thing is to give a bully a composite. They aren't going to be always soft, frail, helpless or a loser for long. That's when bullies watch out for.

Jason Bateman as Simon

Once a bully, always a bully, Jason Bateman champions being a bully. A performance whose deception was a charming face until the mask came off. On the other hand, Joel Edgerton champions being a doormat. Gestures of goodwill, and at one point still had cowered under his bully's fist, are a deception to the final gesture of revenge.

"Revenge is a deed best served conceived." - RUSSOVOIR.

1. American Ultra (Movie of the Month - personally)

Screenwriter Max Landis was generous of his time enough to visit the movie house at the premiere night of his second, most anticipated film, American Ultra; the 30-year old has the sleeper success Chronicle (2012) under his belt. Having had a glass too many champagnes, understandably because he must've had already received raves of his film since that morning so he had been merrymaking, Russovoir will never forget what he said to us, as they say, drunk words are sober thoughts, "[This] film is the first film of the weekend of this month that isn't an adaptation."

The audience roared in applause.

Max Landis

Which is true. The film industry, particularly Hollywood has dedicated its time to adaptations, and sequels, and based on a true story stories, which is fine, Russovoir doesn't mind getting to know the life story of Bobby Fischer in Pawn Sacrifice (September 16), but there is little to no room for imagination in those aforementioned. What Landis is trying to convey here is that the art of movies is in the (he)art of storytelling. Stylistic approach and visual effects can follow (and just as important). But of course, American Ultra didn't lack visual effects; it embodied it, with which its screenplay is the skeletal component, Eisenberg and Stewart as its beating heart.

"Mike, I'm the tree, you've been the car."

The character arc is familiar, think Jason Bourne, where stoned and hipster boyfriend Mike Howell (Eisenberg) doesn't know he possesses a special set of skills of combat. And where else one could possibly acquire such advanced pseudo-superhuman training? Central Intelligence Agency (CIA). That, or the Russian counterpart KGB. Almost always, like the premise of I Am Number Four (2011), someone wants him dead because he's becoming, or already is a threat. Funny how Stewart and Teresa Palmer look alike. Russovoir himself confused them one time.

Why does this even matter? This matters because this brings us back to the asterisk placed. This top 5 films are original stories. As original as it can get. Meaning, while they're reminiscent of and/or of similar concept, what we always, always look for is the uniqueness of execution. American Ultra wins as an original film because, influentially by dialogue, onscreen chemistry was a gun to the holster. Also, such names are big both indie and mainstream, for which already marketed the film itself. And lastly, American Ultra wins original movie of the month because at least a person we now know is 'first line of defense', one film at a time, for fresh storytelling.

 

Man of the Month: Jacob Benjamin Gyllenhaal.

The name's Darko. Donnie Darko. The 2001 cult classic about an introverted boy just on the surface of time traveling, and because he's just your average, restless, high school boy, 28 days, 6 hours, 42 minutes, and 12 seconds until the 'world will end' was in one ear and out the other. The Donnie Darko saga was first, a sleeper success, then picked up its pace as though its days were numbered. The $7M worldwide yet cult phenomenon has shown a dramatic turnover that all its simplicities and complexities were at a significant period of time obsessed by, including the hypnotic, seductive, devil horns-silhouette performance of 21-year old then Jake Gyllenhaal.

One could argue that's the beginning of the end of Gyllenhaal's grapple for future film roles; they were lined up for him because his momma had told him to strike when the iron's still hot. Yes, he was here, he was there, all but comme ci comme ça, until the world literally ended, as though Frank the Rabbit was off only by three years, in The Day After Tomorrow (2004). Remember? While the entire New York froze over by a hurricane-like super storm, Gyllenhaal and the gallantry of his character in the middle of it all is like a cone of soft serve ice cream coated in hot chocolate (he's the hot chocolate). A precocious college student whose innocent arrogance of not showing solutions on his math test because he did all the solving in his head, later frustrate us to learn the world is going to end, and this boy, confined mostly within the walls of a classroom, could possibly lack the skills to survive, but we're rooting for him because, besides being one of the lead, if you're going to be that boring and predictable, he must have learned a thing or two from his paleoclimatologist father (Dennis Quiad). Among other scenes we love of Gyllenhaal and about his character, the blanket scene warmed, even melted us at an otherwise freezing place.

"I'm using my body heat to warm you."

After which, Gyllenhaal has seen himself mounting on a high horse, literally too with the late Heath Ledger, for the Academy Award-winning film Brokeback Mountain (2006). Moved the world for its portrayal of masculine gay romance, two cowboys, minimal, powerful - as opposed to gratuitous - sex scenes, not only supporting gay rights, but most pivotal, toning down the loudness of the stereotype.

"I wish I knew how to quit you."

Zodiac (2007), Rendition (2007), Brothers (2009), Source Code (2012) - it's like looking at a resume and seeing solid work experience. And only recently, the dangerously dedicated 30-pound weight loss to a weighted performance and consuming story of Dan Gilroy in Nightcrawler (2014). It was a performance so palpably riveting, Gyllenhaal's disappearance at the 2015 Academy Awards, while kudos to Eddie Redmayne of The Theory of Everything, had made Russovoir want to punch someone. But he's not into violence, so we're just going to let that slide, and cross our fingers for Southpaw.

Russovoir gives credit to where it is due. One of which, one especially gives batting of the eyes of disbelief and awe, is the (drastic) physical immersion for the role. Russovoir believes that when an actor goes out of their comfort zone to satisfy the existent or nonexistent caveat of a role, losing weight, gaining weight, mimicry of accent, gait, overall attitudes and eccentricities, besides classified as method acting, it is the single, solid proof of effective acting. Gyllenhaal isn't the only one; there are obviously many, and they have been duly celebrated: Christian Bale, Matthew McConaughey, Jared Leto, Eddie Redmayne, Meryl Streep (Iron Lady, 2011), Anne Hathaway (Les Miserables, 2012), to name a few.

Southpaw draws our attention to the bone because it seems only recently Nightcrawler came out, and he was scraped off of fat. Six months later, we see this ripped and resilient Gyllenhaal in a boxing ring, rambunctious, rancorous, radiant. This shouldn't surprise Russovoir anymore, as there is already a method to the madness, but it always does; it makes Russovoir happy that amid the reboots, remakes, sequels, and for a lack of a better word, gross films this year, there is/are film(s) that stand(s) out, keeping the film industry almost, again, sidereal: even stars have to burn to shine.

Russovoir is as excited as the next person for the storyline of Southpaw; it looks bad ass. While Christian Bale balled our eyes in The Fighter (2010). But to be completely honest, Russovoir just wants to see Gyllenhaal on the screen again, this time, 'put together' - little less Prince of Persia (2010), little more End of Watch (2012).

Southpaw, July 24

  

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).