Tag Archives: Viola Davis

TIFF18: Widows

The world didn’t need any further proof of Viola Davis’ talent or range, but director Steve McQueen is serious about his star, and he painted her the perfect sky in which to shine.

Ronnie (Davis) is devastated by the death of her husband in a robbery gone wrong. But she barely gets him buried before the guys he robbed come calling, and she’s the one on the hook for the 2 million dollars that’s missing. So she rounds up all the widows whose husbands died on that job (Elizabeth Debicki, Michelle Rodriguez) and takes over the family business, such as it is.

But this is not your typical heist movie. Like Scorcese’s The Departed, it’s about more than just the criminal element. While Scorcese looked at dirty cops, McQueen takes on crooked politicians, and he ably blurs the line between felon and city councilman. Tom Mulligan (Robert Duvall) is the departing alderman of District 18, but after a recent heart attack, he’s vacating the spot that his family has held for generations, and his son Jack (Colin Farrell) is planning on stepping into his shoes at the next election. But strangely (to him), he’s not running unopposed. Turns out, he’s not the only willing to be corrupted for cash and kickbacks. The two worlds collide rather impressively when it’s Mulligan’s house the widows break into.

There are a thousand little details that make Widows into a truly great movie, but here are just two:

The opening scene. Liam Neeson and his gang of merry men are pulling a heist, but shit goes down. It’s frantic and violent and spectacular. But it’s intercut with almost its polar opposite: scenes of domesticity. Each man in the gang is shown at home, with his wife, widows-2018-viola-davis-liam-neesonhis kids, his little dog Olivia. Sure they’re criminals but they’re also doting dads, bill payers, lawn mowers, trash taker-outers. So you’ve got this brilliant back and forth of the two, somewhat disparate, halves of their lives. The hard and soft, the why and the how of tough jobs with lots of risk. We don’t spend much time with them, but we already know they are much than just their crimes, and when they meet their end, it’s not without sadness, a loss that is earned. And it’s also a highly effective way of introducing both theme and character. Brilliant, nimble work.

The second scene that really struck me was of Jack Mulligan (Farrell) in the back of a car. We already know his dad (Duvall) is an unapologetic racist. He rants gross inaccuracies about immigrants (even as he seems to employ them as servants in his home) and says the n-word while basically looking us in the eye. He’s not shy about it. He’s old school racist. His son is a little more savvy, but perhaps no less racist. Sure he trots out black woman business owners at his rallies, “success stories” he calls them, dismissively taking credit for their achievements. But as soon as he’s back inside the tinted-window safety of his car, he’s laying down some pretty shitty things to his poor assistant. Interestingly, the car, and thus the man inside, remain impenetrable during the scene. McQueen frames it with the car filling just a small portion of the bottom right-hand side of the screen as it drives the alderman-to-be away from the unsavouriness of his district, to the furthest border where his own palatial home is built and gated. Why would McQueen show Duvall so plainly while uttering his slurs but have Farrell hidden away? What makes Jack different? And what does it mean that the only person we make any contact with the entire time is an occasional glimpse of Jack’s black chauffeur, who Just. Keeps. Driving.

This movie is so well-made it gives me the tingles. I know I started this review singing Viola Davis her praises, but I want to end it that way too. Girl deserves her applause. She is so powerful. She can show vulnerability without making it about a lack of strength. She is commanding and flexible and she brings to this role her own kind of super power – called Strong Black Woman.

 

 

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SAG Awards

The 2017 awards season heats up as the SAG awards declare its winners.

hidden-figures-d2253fe9-c421-4a79-bce3-f3a344eae3aeOutstanding performance by a cast was won by Hidden Figures, edging out fellow nominees Captain Fantastic, Fences, Moonlight, and Manchester By the Sea, which was the most-nominated movie at the SAG awards but won absolutely nothing.

 

 

23rd Annual Screen Actors Guild Awards - Arrivals

The 23rd Annual Screen Actors Guild Awards, Arrivals, Los Angeles, USA - 29 Jan 2017rs_634x1024-170129170349-634-2017-sag-awards-kristen-dunstrs_634x1024-170129151155-634-glen-powell-cm-12917

Denzel Washington took home his first SAG award for his work in Fences, which denzel-washington-7d58843b-c112-4664-9626-c3247cc5cbf3means Casey Affleck for Manchester By The Sea got shut out, as well as Andrew Garfield for Hacksaw Ridge, Ryan Gosling for La La Land, and Viggo Mortensen for Captain Fantastic. This is a rare exception in the Casey Affleck train. Do you think it’s likely to be repeated?

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Emma Stone’s performance in La La Land topped Amy Adams for Arrival, Emily Blunt forEmma Stone The Girl on the Train, Natalie Portman for Jackie and Meryl Streep for Florence Foster Jenkins. This makes her the frontrunner for the Oscar, with Isabelle Huppert and Natalie Portman possible upsets.

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viola-davis-23699bb3-331e-456a-b72f-4cd76124e741Viola Davis won  for supporting actress for Fences over Naomie Harris for Moonlight, Nicole Kidman for Lion, Octavia Spencer for Hidden Figures, and Michelle Williams for Manchester By The Sea. She’ll be pretty unstoppable come Oscar time. I applaud her bold performance even though I radically disagree with her presence in the supporting category at all.

The 23rd Annual Screen Actors Guild Awards - Red Carpet

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Mahershala Ali took the supporting actor trophy for Moonlight, besting Jeff Bridges for mahershala-ali-694ef816-f229-4b29-a4ef-756b3ffc8d94Hell or High Water, Hugh Grant for Florence Foster Jenkins, Lucas Hedges for Manchester By The Sea, and Dev Patel for Lion. This is the right move and I hope it repeats itself.

 

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Hacksaw Ridge won outstanding performance by a stunt ensemble in a motion picture over fellow nominees Captain America: Civil War, Doctor Strange, Jason Bourne, and Nocturnal Animals.

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Lily Tomlin received the SAG Lifetime Achievement lily-tomlin-30c3e284-59c0-4c49-bfc0-7888e8f6bc1dAward, presented by Dolly Parton and Jane Fonda. Amid the many political speeches of the night, including digs against Donald Trump and his insane ban on Muslims, Tomlin quipped What sign should I make for the next march?

 

 

 

The 23rd Annual Screen Actors Guild Awards, Arrivals, Los Angeles, USA - 29 Jan 2017

So, what do you think? Best dressed? Biggest upset? How did it stack up to your expectations and how will it affect your Oscar pool?

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Fences

Denzel Washington says more in the first 5 minutes of Fences than Casey Affleck does in the entire 137 minutes of Manchester By The Sea. Fences was adapted from August Wilson’s brilliant play of the same name, a 2010 Broadway revival of which garnered Tony awards for both Washington and Viola Davis. Both reprise their roles for the movie, alongside Broadway costars Mykelti Williamson (as Gabe), Russell Hornsby (as Lyons) and Stephen Henderson (as Bono) also rejoining the cast. The performances are thus flawless: believe the hype. But as for the movie, I was less convinced.

The adaptation is a little too literal. A play will necessarily take place in the same few fences-640x427locations, but a movie doesn’t have such limitations. This one sticks closely to its confines, however, and as director, Denzel Washington uses a series of tight shots to further the exposition. The characters, and Washington’s in particular, are talky, prone to excessively lengthy essays that explore 1950s racial tensions in relation to their lives.

After an arduous life, Troy Maxson has just been promoted and will be the first African-American garbage truck driver in Pittsburgh (despite not holding a license). But good news is never so simple in the neighbourhood where he lives, and frankly, neither is Troy. The most compelling thing about this movie is that Washington and Davis give such thorough, riveting performances. Their characters are complicated, interesting, complex. It’s an excellently crafted play, but its transfer to film was a little too minimal for my taste. I needed a little energy between the marathon monologues. Powerful as the sermons may be, too many in a row meant that I was dozing off, sometimes barely able to keep up with the rapid-fire speechifying. And the monotony of the locations and the lack of movement from the cameras made me very aware that Fences was and is a great play but that as it is, it is not a great movie. It’s a true testament to some of the greatest living actors today that they master the language and the rhythms of the dialogue, overcoming the verbosity if sometimes overreaching.

Fences is a bit bloated; at 138 minutes there was plenty of opportunity to lose some fat. Washington is not a strong director, and some of his choices flat-out confounded me, though he mostly is reverential of the work, which is a complaint rather than a compliment. To me this movie is dead in the water as far as the Best Picture race is concerned, but both Denzel and Viola will be in strong contention as far as their roles go. Viola Davis, however, has engaged in some category fraud in order to better her odds: she’s campaigning as a supporting actress when as a matter of fact she constantly steals thunder from Denzel. It’s still early to predict how Oscar will go, but Fences is an electrifying vehicle for some incendiary performances, even if it never reaches true cinematic scope.