A24 A-to-Z: #51. "It Comes at Night" (2017)

Scene from It Comes at Night

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.

Review: "Roman J. Israel, Esq." is a Nuanced Morality Tale That Could Use a Little Something More

Denzel Washington in Roman J. Israel, Esq.

The city of Los Angeles has a certain reputation in cinema. As the documentary Los Angeles Plays Itself has suggested, it's a place where seedy crime goes to flourish nihilistic action films or even apocalyptic narratives. So, for director Dan Gilroy to strip these elements down to human dramas is almost revelatory. In his follow-up to the Oscar-nominated Nightcrawler, he has created a Los Angeles that's full of lawyers conflicted with their own personal drives. At the center is Roman J. Israel, Esq. (Denzel Washington): a man whose reputation is as curious as the name he introduces himself as. It's a hurdle of sorts, and one that holds him back from being the type of leader he wishes to be. In this story, Gilroy creates a west coast mythology of corruption not of the city, but of the self, and it's a slow and calculating journey with plenty of wit and power behind every detail.

The First "Roman J. Israel, Esq." Trailer is an Enema of Sunshine

Denzel Washington

There are few actors with a towering and intimidating excellence as that of Denzel Washington. Over his career, he has turned in so many charismatic performances that it's almost too easy to attach Oscar buzz to any of his latest projects. In the case of director Dan Gilroy's Roman J. Israel, Esq., he looks to be pulling one of his most elaborate roles in years by donning an afro, glasses, and a lot of weight. Is it more than stunt casting? Well, the first trailer for the film would suggest that it's actually going to be a pretty entertaining trip to the movies. If nothing else, it's further proof that Washington can sell anything, and this is definitely a very strong start to a late entry in the Oscar race.

Failed Oscar Campaigns: "Selma" (2014)

As awards seasons pick up, so do the campaigns to make your film have the best chances at the Best Picture race. However, like a drunken stupor, sometimes these efforts come off as trying too hard and leave behind a trailer of ridiculous flamboyance. Join me on every other Saturday for a highlight of the failed campaigns that make this season as much about prestige as it does about train wrecks. Come for the Harvey Weinstein comments and stay for the history. It's going to be a fun time as I explore cinema's rich history of attempting to matter.

Review: "Selma" is the Civil Rights War Movie We Need Right Now

There is something that seems suspect about director Ava Duvernay's Selma. It isn't any potential historical inaccuracies. It isn't that the film seems shoddily made. It is more the relevance that it manages to have in the current moment. Compared to most other 2014 biopics such as The Theory of Everything or The Imitation Game, the events of Martin Luther King Jr. (David Oyelowo) and the protesters who marched feel like supplants for contemporary news such the Ferguson riots or Eric Garner. Thankfully, the film itself still manages to feel relevant and comes spiked with triumph in ways that don't make this just the story of King, but of a country at a cross section, wishing to better itself against prejudices ranging from law to race.

A Theory on Why "Selma" Could Win Best Picture

Scene from Selma

I know that I haven't necessarily been kind to director Ava Duvernay's Selma. After seeing an advanced screening awhile back, I was left with a middling reaction. In all honesty, the film was adequate, occasionally using violence to overtly dramatize situations. It also hurt that I wasn't necessarily invested in any supporting character despite the film's title (and impressive cast) suggesting that I should be. I came away feeling like Dear White People had a more invigorating take on race relations in America. I feel isolated now in having a humble opinion because everybody seems to love it. Even critics that I have considered to have defined tastes (David Ehrlich) have put it on the Best of 2014 lists. With all of this said, I want to put aside differences for one post and suggest something radical. It is only a theory right now, but I think that Selma can take Best Picture simply by good timing.

A Few Thoughts on "Selma" as the First Trailer is Released

Left to right: David Oyelowo and Carmen Ejogo

As the race burns on, there's a few names that randomly pop up as late entries. Among them is director Ava DuVernay's Selma, which chronicles the events surrounding Martin Luther King Jr.'s (David Oyelowo) march through Selma, GA back in the 60's. It is an important event and one that seems very opportune for a biopic. With the release of the first trailer for Selma, I figured that I would share some truths: I have already seen this film at an advanced preview. What I say should be taken as opinion, but reflective of how I feel that it will do in the race based on the compiled version, which admittedly was still going through edits at the time about a month ago.