Review: "The Trial of the Chicago 7" is a Defiantly Urgent Drama

Scene from The Trial of the Chicago 7

It has been some time since writer and director Aaron Sorkin has taken his audience inside a courtroom. While most of his films have pivotal scenes taking place in these judicial buildings, they have rarely been used for than a few minutes, allowing actors to chew through some meaty dialogue, As the Oscar-winning writer quickly proves, he's rarely better than when giving actors a chance to espouse their deepest desires, yelling to the masses in a hope that they will listen. It's the belief in The American Dream, that everyone deserves freedoms. A courtroom is the perfect setting for these ideas to be lobbed at each other, forming a tennis match of intensity that turns dialogue into its own action sequence. At his best, Sorkin grabs you and hypnotizes you into believing that whoever's talking is the most important person in the room.

He does that a lot with his latest The Trial of the Chicago 7, which finds a riot surrounding the 1968 Democratic National Convention turned into a hub for something grander. As people outside chant "The whole world's watching," there is this urgency for the legal system to recognize the change, the belief that The Vietnam War is unjust, and that the police are not as innocent as they claim. Whether intentionally or not, Sorkin feels like he's struck lightning this time around, finding several exceptional performances lobbying riveting language, mixing in small sways of humor, and action sequences that pull at the emotions. This is a story that feels urgent, reflecting the divide between the people and the government, and in 2020 it's rarely felt truer. It's another home run that never lets up, making the most complicated of legal jargon into something accessible. He hasn't been this much of a livewire since The Social Network, and he's finally come into his own as a director. Welcome back, Sorkin. We've missed you.

Nothing But the Best: "Spotlight" (2015)

Scene from Spotlight

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.

"The Founder" is Now Playing at One Theater in Hollywood

Scene from The Founder

It has been a long, long time since we last heard from director John Lee Hancock's The Founder. In that time, the story of Ray Croc (Michael Keaton) taking control of McDonald's was set for an August release, but was pushed back to December (and subsequently January 2017). In that time, a whole Oscar conversation has changed. The Birth of a Nation and Rules Don't Apply are all but out of the race. Jackie and La La Land look to be big contenders. Martin Scorsese randomly decided to release a movie this year. Even Big Mac creator Jim Delligatti died in that time. So, what's going on with The Founder? Well, the good news is that you can see it, right now. The issue is that it's not exactly at a theater near most people.

McDonald's Film "The Founder" Moved From August to December Release

Scene from The Founder

Depending on who you ask, this summer's movie season has been a bit of a drag with very few films rising above an average rating. Considering that we're almost halfway through July and haven't had a stand-out on par with Mad Max: Fury Road, the sentiments may be hard to ignore. However, there are those few like myself who had faith in an August release from director John Lee Hancock called The Founder, which sees Michael Keaton playing Ray Kroc: the man who turned fast food chain McDonald's into America's most recognizable name. Many have pitted it in the Oscar race, especially with Keaton coming off of two back-to-back Best Picture winning films. However, those who are eagerly hoping that The Founder makes this summer a little better, prepare to be disappointed. You'll have to wait a little longer. The only upside is that if you're hoping for some Oscar buzz, its late December release should perk you right up.

Review: "Spotlight" Explores How Great Journalism Used to Be With Compelling Results

Scene from Spotlight

What is the job of the journalist? In 2015, this is a loaded question largely thanks to the digital era. With the advent of Twitter and Buzzfeed, news has become more about the immediacy than the truth - choosing to react viscerally to the moment than to understand what happened. As a result, the value of the journalist feels different because of how easily they're washed out by uneducated competitors. In director Thomas McCarthy's Spotlight, the story looks shockingly different for the turn-of-the-millennium look at The Boston Globe's Spotlight team as they tackle a controversial problem with the Catholic Church. Beyond its taboo subject, the film is a love letter to the process and how, only back in 2001, the value of information was different (arguably more important) than it is today. Even if Spotlight can be seen as just another procedural drama, it's one that reflects a changing tide of relevancy to the newspaper industry and the public's admiration for investigative journalism as a means of change.

Nothing But the Best: "Birdman" (2014)

Left to right: Edward Norton and Michael Keaton in Birdman

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.

A Theory on Why Eddie Redmayne Will Win Best Actor

Eddie Redmayne

With the Oscars closing in, it's time to finalize the votes for who is likely going to win the top prizes. While I have already discussed the three pronged Best Picture race (Selma, Birdman, Boyhood), but now it is time to get into the other big categories. Over the next few days, I will be sharing quick pieces on who is likely to win in each of the major categories as well as any discussion of a potential upset. Coming up is a piece on why Eddie Redmayne (The Theory of Everything) is pretty much going to walk away with the Best Actor trophy on Oscar night.

The Magic Behind "Birdman" and its Use of Time

Left to right: Edward Norton and Emma Stone

For a moment, let's put aside the subtext of director Alejandro Gonzalez Inarritu's Birdman. Let's put aside how it is a reflection of movie culture and that it serves as a metaphorical and literal comeback film for star Michael Keaton. Let's even ignore the attack on franchise culture that runs through the film and focus on something that is far more impressive: the passage of time. It may seem like a pointless question until you understand the technical brilliance behind those single takes that were established to create a singular flow. What makes them exceptional and adds more weight to the film than the awkward script or melodramatic acting is how unassumingly it transitions within frame from moment to moment and often day to day.

A Discussion on the Oscars and The Norbit Effect

Eddie Redmayne in Jupiter Ascending

For those unaware, there is a common conspiracy trend known as "The Norbit Effect." In 2007, actor Eddie Murphy was posed to win Best Supporting Actor for his excellent turn in Dreamgirls. It was considered a comeback and proof that the actor wasn't just some hack. However, he released what is widely regarded as his worst film around the time that Oscar voters were turning in their ballots called Norbit. As history shows, Alan Arkin for Little Miss Sunshine won this category. However, with Norbit in wide release on Oscar Night, many suspect that it was the cause of Murphy's loss. After this weekend, does any of the main front runners stand any chance of falling to this trap?

The Story Behind "Birdman's" Original, Better Ending

Michael Keaton

With the Oscars less than 20 days away, everyone is catching up on seeing all of the nominees. Among the more prominent ones in discussion is director Alejandro Gonzalez Inarritu's Birdman, which is neck and neck with Boyhood to win Best Picture. For those that have seen it, there's plenty of discussion surrounding the film's ending. However, writer Alexander Dinelaris had a different ending in mind and one that would have played more into the film's meta commentary of an artist in peril. 

A Theory on Why "Birdman" Could Win Best Picture

Much like a piece that I wrote in December regarding Selma's Best Picture chances, I have decided to create a series of essays chronicling what I feel is the trinity of potential winners. Of the two candidates that have proven themselves to be the most interesting of the eight nominees, there is something alluring about director Alejandro Gonzalez Inarritu's Birdman: a film that chronicles frustrated actor Riggan Thomson (Michael Keaton) as he seeks to make a comeback in a theatrical production. With the gimmick of the film being that it was shot in one take, it's amazing to see the film peel away from its novelty and go to a deeper and more metaphysical core that has clearly struck a chord with the awards season. For this and many more reasons, it is likely to be the threat that the season needs.

"Birdman" Surprises Everyone By Beating "Boyhood" for Best Picture at the Gotham Awards

Michael Keaton

There were more than a few surprises that came out of tonight's Gotham Awards. Hosted by Uma Thurman, the show gave out awards to the best of independent cinema. While many were expecting Boyhood to come away with all of the top prizes, the film didn't do so well. Instead, a lot of surprising moments came and Boyhood only came away with one win. Following the jump is a list of all of the nominations as well as a few thoughts on the overall winners.

Review: "Birdman" Flies Very High... Most of the Time

Michael Keaton

Long takes is the last great cinematic art form. Effects can be thrown in to make anything look fancier, but what is missing is a performance or kinetic energy moving on screen. The power of films such as Code Unknown are made more impressive with the stakes feeling higher after every second. The longer a scene is held, the more that it captures something stronger. Gravity elevated the basic thriller nature and now director Alejandro Gonzales Innaritu has done it to the meta drama category. The results are staggering and capture something profoundly complex about a familiar story. Birdman flows like a stream of consciousness experiment: a play about theater that is strangely like Rear Window. However, just as much as there's greatness, there's the lull that connects these moments and turns the third act into something absurdly over-the-top. Does it work as a story? Not really. However, as an experiment of craft and ego, there's fewer films that are this ambitiously weird.

A Few Thoughts on Long Takes and the Best Director Category

Left to right: Michael Keaton and Edward Norton

There is something magical about the long take in cinema. The longer that a moment is held, the more engaging it becomes. The more that it swerves around the room, the more relaxed it feels. The long take is an approach that has long been reduced to a shot here or there in cinema. However, in 2013, director Alfonso Cuaron received universal acclaim for his work on Gravity, which didn't so much use long takes, but seemed to have them floating through space in awe-inspiring ways. This Friday marks the release of director Alejandro Gonzales Inarritu's Birdman, which ups the ante. For those that found five or even 15 minute long takes fascinating, wait until you see this gimmick. According to reports, Birdman is shot so that its two hour run time looks like one uninterrupted take. If that doesn't impress you, nothing will.

The "Birdman" Trailer Debuts a Potential Comeback for Michael Keaton and Superhero Movies

Michael Keaton

This morning came a surprise to the movie community. It was a moment that many consider to be the potential return of Michael Keaton. It involved fighting Edward Norton in his underwear and a whole lot of confusing imagery. However, there is one thing for sure. Director Alejandro Gonzalez Inarritu's Birdman has struck a chord. Playing over an altered version of Gnarls Barkley's "Crazy," the trailer plays as a highlights reel for one of the strangest superhero films of the year. Then again, the idea of Inarritu doing a superhero film was equally unexpected. However, it does raise some questions, notably if the two time Oscar-nominated director can make caped crusaders a viable option when it comes to Oscar nominations.