Archive | Home Entertainment RSS feed for this section

TV Review: ‘This Is Us’

NBC’s new hit series This Is Us, TV’s highest-rated dramatic series since Fox’s Empire, is also TV’s best new show in years. This ingenious yet simple series combines classic television storytelling with a current Hollywood trend—the time or flashback gimmick that’s so ubiquitous it’s annoying—to create a powerful vehicle for dramatizing today’s individual in the family, often at his best. This Is Us is emotionally balanced and satisfying. It’s the best show I’ve seen in decades.

Its distinguishing quality is clarity in portraying modern life as it is and ought to be, fed by an utter lack of cynicism. It’s not about supernatural, artificial or comic book characters. There are no thrones, crowns or cartoons and there’s none of the vulgar, trashy made-you-look appeal of HBO and so-called reality TV programming. This is pure, middle class adult American fiction, so if you don’t think people can be kind, decent and complicated—while being exceptional, amazing and fallible—and live in harmony, This Is Us is not for you. For the rest of us, this show is heir to TV’s most earnest and universal family-themed series including Father Knows Best, The Andy Griffith Show, The Adventures of Ozzie and Harriet, The Donna Reed Show, Parenthood and Frasier. It is that simple, serious and good.

Buy the DVD

Every one of its 18 episodes peels another layer in the family created by Jack and Rebecca, a young married couple in Pittsburgh, Pennsylvania, who make their own lives and family. The first and final episodes begin and end with these two characters, played with conviction by Milo Ventimiglia and Mandy Moore, with thoughtful surprises in every episode in between. This Is Us defies description because its inventive approach to storytelling is integrative, so each plot development folds into the rest of the characters’ arcs, though rarely in obvious, pat or predictable ways. This Is Us is created by Dan Fogelman, who wrote Disney’s Tangled, Crazy, Stupid, Love, Last Vegas and The Guilt Trip. Fogelman also created ABC’s Galavant. Besides the parenting leads, the main characters are their three children, played as adults by Chrissy Metz as an insecure and obese twin, Justin Hartley as her handsome twin brother and Sterling K. Brown as their wealthy, adopted brother.

More thematically essential to the series, which is so carefully threaded that it’s more like an extended miniseries, subplots dovetail into deeper themes. A long-lost musician father (outstanding Ron Cephas Jones) with terminal cancer returns for an elegy on the meaning of life. A doctor, played by Gerald McRaney in one of the best supporting performances on dramatic television, imparts his hard-earned wisdom in saving, delivering and coping with the loss of life. My favorite supporting character, Beth Pearson (Susan Kelechi Watson, one of the show’s best actors), is so witty, rational and soothing that, when she hurts, it sneaks up on everyone. This is the theme of This Is Us—that this is life in America, whether you’re in Pittsburgh, Memphis, New York or LA; that this is it, here and now, and what matters is that which promotes life.

This is not one of those TV dramas that begs to be taken seriously for its own sake, however. The action, pathos and jaw-dropping drama, and the season is loaded with each, isn’t excessively somber, self-important or pretentious, like thirtysomething, Hill Street Blues or other heavy shows praised by critics that often put you to sleep. It isn’t downbeat like that. Besides light touches of humor, This Is Us is rooted in its premise that humanity is good, the universe is benevolent and problems can be solved.

Don’t take this to mean that This Is Us expresses pure romanticism (it doesn’t). Naturalism with romanticist strokes best captures its style. But, from the birth of a baby to the separation of a marriage, this program is unique in that the audience is cultivated to root for its characters to succeed, flourish and be happy. Happiness is its natural state. The characters’ conflicts, flaws and idiosyncrasies are mined for drama, not implanted for permanence. The strongest impressions are made by the exhibition of those values by which these characters seek to reach new, exciting and radical improvements, achievements and the highest goals.

For example, the panic attack that strikes a trader in weather derivatives strengthens a bond with his brother and triggers a soul-searching introspection. An actor quits at the top of his game and takes a lesser role to pursue his personal best. An artist strikes out on her own only to get pregnant and have her dreams derailed while a woman goes to what she calls “fat camp” to get thin and unlocks an emotional fury that leads to a crucial catharsis. And a husband and father delays gratification so he can be a better man, which, to him, means escaping the hell of his own family and becoming one of the good guys. That this happens with alcoholism, drug addiction, unwed motherhood, sibling rivalry, racial prejudice, body shaming and more only deepens the meaning of this rich, textured show.

This Is Us is not without flaws. Period specificity, including costumes, songs, mannerisms and the way people talk lacks credibility as the show goes on, sometimes to distraction. But intelligent writing, wisdom and sincerity, which only occasionally slips into sentimentality, overcomes its problems. It is true that This Is Us touches the audience with heartbreaking scenes (don’t judge the show by its sappy Twitter feed, which disproportionately features fans measuring impact by tears). Yet it takes wrenching problems in daily life and dramatizes realistic, practical and often enlightening solutions. It renders this with serious writing, directing and acting, leaving the audience lighter, smarter and wiser and all in the halo of its main man, alpha male, father figure, Jack Pearson, whose vision of the ideal family undergirds the show.

This Is Us plays its plot points and character arcs with idealism, not cynicism, and its protagonists’ ethics are essentially egoistic. They aim to act in their self-interest and generally try to go by reason. The show’s tightly integrated plot, theme and cast of characters play as compelling. Some may prejudge and recoil from the show’s looks and arcs. Similarly, This Is Us will not satisfy feminists, multiculturalists and other egalitarians because it makes a fundamentally strong stance for being one’s best and individualism (even, in its own way, capitalism). This is why This Is Us stands out as the most serious drama on TV. It’s a show that’s aligned with reality as it is and, while not in the largest sense, ought to be. Watch for what it’s not—cynical and spewing against everything all the time—and take it for what it is. But watch (from the start), think and enjoy.

The Bambi Articles

Three of my articles about Walt Disney’s 1942 classic, Bambi, are now archived on the site. The movie, which was based on a novel and adapted from a 900-word screenplay, made during a world war and lost the studio money for years, has a fascinating history with relevant lessons for today’s moviemakers and moviegoers alike.

My film review is based on my first viewing of the animated motion picture, which I saw for the first time when the movie debuted on DVD 12 years ago and was surprised to find I thoroughly enjoyed. I wrote about Bambi for a movie site in which I was a partner (which was sold to a database subsidiary of Amazon that no longer offers in-depth articles). Read my review of Bambi, which includes details of Disney’s 2005 Platinum edition DVD, here.

Buy ‘Bambi’

This was one of my first themed online series. My starting point for Bambi was an essential history of Walt Disney’s wartime follow-up to Dumbo and Snow White, which includes basic facts, such as box office stats and budget, and tracks the movie’s origins, background and legacy. The editorial experiment worked, too, I’m happy to say (not all of them did) as pre-social media readers read, shared and printed the articles in high numbers, especially considering that they came to the site for statistics. I created the Bambi series to entice them to stay, read and browse other site pages. The history of Bambi and the other two articles formed the editorial model for my thematic approaches to covering film, particularly classic film, which extended to our in-depth coverage of Star Wars, classic Disney and Sony’s Spider-Man pictures, as well as films about Islamic terrorism, Alexander the Great and the Alamo. Bambi got things started. Read the Bambi history here.

As editor and writer of the movie site, and wanting to add a third article for a trilogy of rotating pieces heralding the arrival of the film on DVD, I also sought interviews with some Hollywood artists whose work I’d admired whom I had reason to think might be interested in, and possibly influenced by, Walt Disney’s Bambi. Among these were a Back to the Future screenwriter, the creator of Hollywood’s most popular animal-themed franchise since Lassie and an animator who had attended the highly regarded, Disney-made Cal Arts academy in the Santa Clarita Valley. During extensive interviews with each, their comments and insights went far beyond the usual and predictable compliments for influential movies. Read the article about artists praising Disney’s Bambi—incuding their thoughts on its most controversial scenes—here.

Twelve years after these articles were first published about the movie which basically made me an instant classic Disney fan, the Burbank, California, studio is planning to release what they call a Signature Collection Blu-Ray/DVD combination set. So, Bambi goes on sale next week (May 23) on iTunes, Amazon and all that (support the site and buy the new collection here). Bambi remains one of my favorite Disney pictures and, if you read the articles, I think it’s easy to see why. In the future, I’d like to give all the great movies, works of art and singular histories the fuller examination they deserve.


Related

Movie and DVD Review: Bambi (2005)

History of Bambi (2005)

Hollywood Remembers Bambi (2005)

Pre-Order Bambi

‘Hidden Figures’ on Home Video

The movie almost everyone loves, last year’s popular Hidden Fgures, debuts on home video today.

When I saw it last year, I enjoyed it so much that I thought maybe I may have missed something; that it might have been too polished for me to notice any shortcomings. So I asked for a second screening, which is something I rarely do and only in an extreme effort to be objective. I liked it better on a second viewing, even as I became more aware of its flaws, such as some overacting.

Buy the Movie

Why is this Oscar-nominated movie so universally well liked by audiences? I think it’s because, like any serious, goal-driven project, Hidden Figures keeps perspective and keeps its topic rooted in reality. So, while the story of three individuals of ability, who happen to be Negro women at a time when blacks and women were prejudged and unjustly treated, takes injustice seriously, the movie co-written and directed by Theodore Melfi (St. Vincent) also takes its higher aim seriously: to depict the achievement of excellence. The women’s accomplishments were not overdramatized; they were properly depicted as an important and integral part of a whole which led to an act of outstanding, and uniquely, inextricably American, progress.

The struggle was portrayed with realism, not sugarcoated or diminished. But so, too, the byproduct of the ladies’ productiveness was depicted and Melfi and company did so without minimizing the achievements of the NASA (actually, pre-NASA) engineers, scientists and astronauts. Too often, movies about overcoming adversity and injustice oversimplify facts, drop context and present a false dichotomy, lacking in depth and nuance. Hidden Figures, whatever its limitations, dramatizes the hard work of real progress, social and scientific, the simplicity of being appreciated for one’s ability and the power of unifying to achieve a grand and noble goal.

This is a rare and desperately needed depiction, and, sometimes, these points are obscured or lost in press tours, but that’s what makes this upbeat, uplifting movie appealing—it shows everyone that being one’s best is the perfect defense of every persecuted individual, especially the persecuted person of ability. I’ve added my exclusive interview with the film’s director, Ted Melfi, to the archive. Read the interview, read my review of Hidden Figures and buy the movie.


Buy the Movie

Movie Review: Hidden Figures

Interview: Theodore Melfi on Hidden Figures

Robert Osborne

Though I had known he was ill and he hadn’t been hosting Turner Classic Movies (TCM), yesterday’s news that Robert Osborne died hit me hard. I read the sad news in an e-mail subject line from TCM as the screening room lights went down before opening credits rolled for a new Warner Bros. movie, an irony I think he would have appreciated (Warner Bros. and TCM are owned by the same company).

Robert Osborne

We met years ago when I started writing about film and Robert O., as he called himself on TCM, encouraged me to cover classic movies, which I did. Over the years, I interviewed him about several TCM programs, movie stars and topics. We talked about his work, career and life, mostly for this blog and for other sites, too. Those are fond memories. Of course, we talked about Hollywood’s Golden Age—read transcripts of our interviews about Lizabeth Scott, John Wayne and Katharine Hepburn—and we talked about Ernest Borgnine, Liza Minnelli and Robert Redford. We celebrated Barbara Stanwyck during an event he hosted at the Academy of Motion Picture Arts and Sciences—I interviewed him about Stanwyck for the centenary of her birth, which I plan to publish—and we talked about Hollywood, New York, Atlanta, TCM, the motion picture press and the Hollywood Reporter, Ayn Rand and the Oscars. I always found him to be candid and unpretentious.

Robert Osborne was a treasure. Readers often asked what he was like and I always answered with the truth; that he was exactly like he is on Turner Classic Movies. He didn’t self-censor, conceal or soften his thoughts as so many people do. He had a command of the facts about movies and he knew it. He spoke and acted like he knew it, too. This, more than anything else, including his work as an actor and as a journalist, explains his success as host of Ted Turner’s channel for uncut and commercial-free classic movies. The man who was a seasoned reporter, actor and confidante to the stars, including Olivia de Havilland and Lucille Ball, was foremost one who loved movies and knew that life is and ought to be as it is in the movies. This I know firsthand.

Passion did not scare him as it scares so many working these days in journalism, especially movie journalism, movies and television. Passion stirred and invigorated him. He wrote that way, strong, clear and simple, every month in TCM’s Now Playing and in books about the Oscars. Robert Osborne had studied and mastered facts about movies since he was a farm boy in the Pacific Northwest. He nourished that knowledge as a young man. He fed and kept it active and never let it go until, when TCM debuted in 1994, he traded on a lifetime of insights and introduced TCM’s first motion picture, Gone With the Wind—which he embraced without equivocation—the 1939 epic based upon Margaret Mitchell’s brilliant novel, a deep, serious movie which was revered by TCM’s creator, a larger than life figure himself, a capitalist who’d once bought billboards emblazoned with black letters on white space asking “Who is John Galt?”, founded CNN, married a movie star and lived on a ranch in the West.

Robert Osborne had a connection to that movie, too; he was friends with the actress who’d played Melanie. But being well connected alone wasn’t what gave Robert O. the confidence, command and mastery that viewers noticed and relished for 20 years. Nor is his ability merely a byproduct of the sum of his movie knowledge. He was much more than a charming ex-actor who ingratiated himself to Hollywood legends, more than a man with vast knowledge. He spoke as if he was as in love with the movies as you are. Robert Osborne’s mastery of TCM’s archive was richer than stately charm through an assuring voice, manner and gray hair conveying a grasp of facts. Robert Osborne mastered TCM with an enduring series of short, sharply crafted words enticing viewers before pictures because he had been the child who dreams. He had been the kid who works in the movie theater—the college student who stays in the library—the actor who studies his lines—the writer who thinks before he writes—the observer who dares to make the objective observation—and, above all, Robert O. was the gentleman who insists on living large and with glamor—just like life in classic movies.

This is what Robert Osborne brought to each introduction or interview—the ability to identify the movie’s ideal and a sense that one should bridge the real and romantic and realize the dream—and this is what he added to Ted Turner’s showcase for classic movies. It’s the greatest compliment I can give: that Robert O. affirmed the sense that wanting your life to be grand, larger than life and sublime is perfectly natural and fabulous. By framing each film with an upward glance, not a downward tone, by stressing the essential as the to-be-expected, the host made what happens in movies look wonderful, important and easy—and fully accessible to you.

As one who had the privilege of knowing Robert Osborne, I know that he lived with grace, passion and vitality. He was a marvelous host and, like one of his favorite movies, he left the audience satiated, enticed and wanting more. I hope for his sake and for those he leaves behind that his was a happy ending.

Zootopia on Home Video

If you want to know why Walt Disney Animation Studios’ Zootopia (read my review here) delighted audiences and broke worldwide box office records, earning over $900 million, watch it on home video and see at least some of the bonus material. The Blu-ray edition shows how much thought, artistry and hard work were expended to make one of the most enjoyable movies this year.

144772_front

Click to Buy

Available today on Digital HD, Blu-ray, Disney Movies Anywhere, DVD and on demand, Zootopia in these various incarnations includes an alternate opening, deleted characters and scenes and some clever, interesting tidbits. On the Blu-ray disc I reviewed, the most informative parts are what Disney calls a series of 10-minute “roundtables” (they’re not really) introduced by Ginnifer Goodwin, who voiced the lead character Judy Hopp. One of the interesting disclosures here is that her character wasn’t always the lead.

In fact, the creators originally had Jason Bateman’s fox character as the lead in a whole other plot involving a jaded, dystopian world with electronic animal collars. Well into production, studio screenings—this is one of those movies in which the movie studio apparently improved the final cut—apparently demonstrated that the cynicism drained the motion picture and Goodwin’s rabbit wannabe cop took the lead. The differences are discussed, explored and shown in several spots on the extras, including a humorous deleted alternate scene in the elephant-run ice cream shop.

Another piece shows hidden Mickey Mouse and other Disney characters, icons and designs. Frozen pops up in the ice cream shop, too, though these really amount to Disney plugs. Still, the extras are not as thin and wispy as they usually are and behind the scenes features are more relaxed, less formal and more open to scrutiny, too. The creators reveal a consistency error in the train scene that runs through Tundratown, for instance.

Viewers learn about complexities in creating an all-animal world, including making characters’ fur and clothing, the logic and impetus for Tundratown, Sahara Square and the Rainforest District and old-fashioned field research conducted—and, I suspect, doubling for water drinking scenes in The Jungle Book, too—in Africa. It’s there that filmmakers traveled to gain knowledge for Zootopia‘s variety of distinctive animal characters. Of course, they also visited Disney’s Animal Kingdom theme park in Orlando, Florida, but the African savanna trip proved useful for developing Zootopia looks, behaviors and plot points.

A piece on the score features Academy Award®-winning composer Michael Giacchino demonstrating how percussionists added to the movie. Directors Byron Howard (Tangled) and Rich Moore (Wreck-It Ralph, The Simpsons) introduce bits with dry humor. One clip involves Bateman’s fox character, Nick, pitching his start-up idea to Zootopia’s bankers for funding his money-making vision of an amusement park made exclusively for predators. Maybe a sequel if there is one (who am I kidding?) will explore Nick’s entrepreneurial spirit and mark a Disney Animation Studios return to portraying capitalism as a positive for the first time since The Princess and the Frog.

Shakira’s can-do-themed single “Try Everything”, which accompanies the end credits, too, is included as a stand-alone pop music video. Unfortunately, Bateman and other cast members, are not. I would have liked to have seen and heard from Idris Elba (Thor, BBC’s Luther) on voicing Chief Bogo, Jenny Slate’s thoughts on her character, Bellwether, Nate Torrence doing Clawhauser, Bonnie Hunt and Don Lake as the parents, J.K. Simmons (Oscar® winner for Whiplash) as Mayor Lionheart and Octavia Spencer (Black or White, Oscar® winner for The Help) as Mrs. Otterton. I would have liked to hear from the story writers, too, on the plot twist, which is part of what makes Zootopia unique, and I do wonder what artists were planning to do with one of the deleted characters, Zootopia’s female pig mayor.

But this one disc package with the 108 minute movie (1080p High Definition/2.39:1, DVD Feature Film = 2.39:1 aspect ratio; subtitles in English, French & Spanish/English SDH, French & Spanish) is a good home video package for a terrific little movie.