Green Book

Viggo Mortensen and Mahershala Ali deserve their nominations for Best Actor and Best Supporting Actor (respectively) for their roles in Peter Farrelly's "Green Book". The film is based on the true story of pianist Don Shirley (played by Ali) traveling through the South performing for audiences, accompanied by his New York City club bouncer-turned-chauffer, Tony "Lip" Vallelonga (Mortensen).

The accuracy of the movie is questionable, as is the case in most biopics. So if you want to know the true story of their relationship and how certain events played out, you're going to have to do more research than just watching this movie. So, admiring the film as just that and not worrying about it being a true telling of events, its nomination for "Best Picture" seems more than appropriate as well.

I'm a fan of certain buddy films. Movies like "Rush Hour," "Bad Boys," "Kiss Kiss, Bang Bang," rank pretty high on the list. Some of the relationships are cliche and predictable, but as long as I'm entertained and there is something unique going on, I'm pretty easily hooked. "Green Book" fits that mold. Two individuals who could not be more dissimilar, suddenly thrust into a situation where they are entirely dependent on each other and have to navigate the personality and idiosyncrasies of the other. Tony is aggressive, reactive, and rough around the edges. Don is calm, measured and refined. They each take turns being the dominant force when the situation calls for it. And they both learn a lot about each other and the world they live in through their adventures.

Movies that accentuate the evil that existed in this country in previous decades are difficult, but necessary, to watch. The characters who perpetuate and even celebrate the disregard and mistreatment of entire people groups are nauseating. Two of those characters had the misfortune of being portrayed by two prominent actors in the Disney realm: Tom Virtue (the dad in "Even Stevens") and Brian Stepanek (the janitor in "The Suite Life of Zack and Cody"). A younger generation would be horrified to see staples of their small screen childhood acting so vile.

There were some poignant moments/quotes that really stood out. At one point, Tony observes, "The world's full of lonely people afraid to make the first move." Later on, while analyzing his place in the two distinct racial communities, Don questions, "So if I"m not black enough and if I'm not white enough, then tell me, Tony, what am I?" And Oleg, one of Don's accompanists, declares "Being genius is not enough; it takes courage to change people's hearts."

Courage is what you see from both men, along with their varied other characteristics. And courage is what you hope you have should you encounter a situation in life that challenges your beliefs and general safety. The challenge this movie offers is substantial, while providing and entertaining story, fantastic music, and phenomenal performances.

Critical rating: 9.5 out of 10
Jake rating: 9 out of 10

Free Solo

I will never be a rock climber, let alone a free soloist.

I knew that before I saw National Geographic's "Free Solo." That feeling was permanently ensured upon watching the film.

Alex Honnold has made a career out of climbing impossible wall faces without the help of of any safety equipment such as ropes or harnesses. One of the most well-known of these surfaces is El Capitan, in Yosemite National Park. Roughly 3,000 feet high, El Capitan is a popular destination for rock climbers and, until 2017, had never been scaled via a free solo climb. Honnold spent years preparing for the climb, and "Free Solo" documents his time doing so, including his actual attempt.

The video is harrowing. There have been only a handful of movies that have kept me on edge from start to finish. While the film mostly follows his preparation leading up to his attempt, several other plot points are equally intriguing.

Honnold has a girlfriend (Sanni McCandless) throughout the entire process, and I wondered why during every scene she was in. Honnold had gone most of his career without suffering any major injuries, but under her supervision he falls twice and incurs significant injuries that sideline him. Beyond that, the inherent danger of free soloing would put a significant other through an emotional roller coaster that hardly seems worth it. This conflict is evident, confusing, and uncomfortable throughout.

Another major issue in the filming process was the planning of the actual filming of Honnold's climb. The precision the climb requires, plus the concentration and focus needed to avoid making the tiniest mistake that would result in sure death, made the involvement of a camera crew a tedious challenge. Figuring out a way to properly film it, while also staying completely out of the way, was additionally nerve-wracking to watch.

Lastly, the film was interspersed with conversations and film of other climbers who had various levels of success doing what Honnold does. Recounting the deaths of some of these men made Honnold's own demise seem imminent.

I was nervous and my hands were sweating through every moment. Even with the knowledge that he survives (the event was a well-known accomplishment when it happened), you couldn't help but expect that the worst would happen before your very eyes.

El Capitan is a star in its own right in the film. The granite wall is majestic and the views associated with it created a magnificent setting for the challenge.

As documentaries go, "Free Solo" definitely earned its Oscar nomination for "Best Documentary Feature."

Rating: 9/10

Glass

Here's the thing about superhero movies nowadays: They require a lot of glamour, beauty, and shenanigans with just the right amount of cynicism, hope, and nostalgia sprinkled on top in order to be successful.

M. Night Shyamalan's "Glass" avoids most of those completely. And I loved every second of it.

Critics all over are complaining about an anti-climactic conclusion to a phenomenal buildup 20 years in the making. They bemoan the lead characters' lack of flash. They undermine the supporting characters.

And I will tell you that I think it all worked brilliantly.

We should all be used to Shyamalan's process by now. Imaginative worlds with unexplainable phenomena. A handful of characters who are compelling and gripping, a handful of others who are stale and tiresome. Plot twists that are mind-blowing or infuriating.

"Glass" fell short of being a perfect movie for me only because of a couple sound-editing issues and a slight over-reliance on Hedwig.

As the third installment of the "Unbreakable" and "Split" trilogy, "Glass" had some lofty expectations to attain. "Unbreakable" was a methodical trek through David Dunn (Bruce Willis) discovering his powers of strength and a unique version of extra-sensory perception, and discovering the psychopathy of mastermind Elijah "Mr. Glass" Price (Samuel L. Jackson). "Split" took us through the many forms of Kevin Crumb (James McAvoy), a man who's traumatic experience as a child led to his development of dissociative identity disorder (DID), thus creating 24 different personalities known as The Horde. When Dunn appeared in the final scene, we knew the two universes were one. "Glass" brings both storylines to a head, with Mr. Glass acting as the evil genius manipulating his powerful sidekick and provoking the reticent hero.

Willis and Jackson fulfill their roles expertly, but McAvoy's portrayal of The Horde again steals the show. His transitions between personalities are realistically scattered and uneven, and when each individual comes to the light, he is perfect. You instantly know whether you are watching Patricia, Dennis, Barry, or Hedwig, as those are the most prevalent identities. Voice, tone, and mannerisms all sync up automatically, and it's mesmerizing. It's a wonder McAvoy wasn't nominated for an Oscar when he originally played the role.

Hedwig is the goofy, lovable, and appropriately awkward 9-year old identity whose obsession with Kanye West and Drake, dancing, and pleasing the adults in his life make him a crowd favorite. Especially the way he says "Et cetera," including his lisp in pronunciation and the regular misuse of it. While his presence is usually met with giddy anticipation, I felt he overstayed his welcome a couple times. The identity of Dennis led the way in "Split" but definitely took a backseat in "Glass", and the character may have suffered a little for it.

My favorite part of the film was the appearance of M. Night Shyamalan himself. He makes it a point to play a role in each of his movies, and this film was no different. The slight caveat this time is that he made sure to play a consistent character in the universe. He appears as a drug dealer at a stadium in "Unbreakable," then as a tech guy in "Split," making no verbal connection between the two characters. His appearance in "Glass" cements his place, and while it is a quick, non-essential plot point, it is that kind of detail that I find brilliant and worth the trouble. (Along those same lines, Spencer Treat Clark plays Joseph Dunn, David Dunn's son, in both "Unbreakable" and in "Glass," which is incredibly rare for a young actor to reprise an identical role 19 years later. Another detail that is just terrific film-making.)

It is very possible to nitpick certain plot points and to come away less-than-stoked about the ending. But I did not. I walked out of the theater completely satisfied, wishing for it not to end. It was engaging and entertaining start to finish, and that's usually all I ask for when I watch a movie.

Rating: 9.5/10