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Film Features Film/TV

The Year in Film 2023

The movie business was in chaos in 2023, but the art of cinema was triumphant. Audiences rejected expensive corporate blandness in favor of films that took chances and spoke from the heart. But before we get to the best of the year, let’s talk about the other end of the spectrum.

What’s worse than one Ezra Miller? Two Ezra Millers.

Worst Picture: The Flash

2023 was the year the superhero bubble finally burst. Warner Bros. scrapped Batgirl to bet the farm on walking PR disaster Ezra Miller. They lost $200 million on what is easily the worst film of the decade so far.

The King of the Monsters tearing up the club in Godzilla Minus One.

Best Performance by a Nonhuman: Godzilla

It was looking like Cocaine Bear’s year until the King of Monsters dropped an all-timer. The big guy dazzled in Godzilla Minus One by getting back to his roots — punishing mankind’s hubris with cleansing atomic fire.

Teo Yoo and Greta Lee tug heartstrings in Past Lives.

Best Original Screenplay/Best Ensemble: (double tie) May December, Past Lives

Todd Haynes and Celine Song both constructed delicate hothouse dramedies around a core of three fantastic actors. In Haynes’ May December, Natalie Portman is an actor researching a juicy role who discovers her subjects, played by Julianne Moore and Charles Melton, can’t be reduced to two dimensions. In Song’s Past Lives, Greta Lee and Teo Yoo are childhood sweethearts in China separated when one family immigrates to America, and John Magaro is the husband caught in the middle when they reunite 24 years later. Both stories are told with remarkable economy, and perfect performances.

The gang starts a fight club in Bottoms.

Best Comedy: Bottoms

College friends Emma Seligman, Rachel Sennott, and Ayo Edebiri teamed up for this wicked high school satire about a pair of loser lesbians who start an after-school fight club to get laid. The young cast is razor sharp, and it features the year’s most unexpected comedic performance by NFL legend Marshawn Lynch.

Cillian Murphy as J. Robert Oppenheimer. (Courtesy Universal Pictures)

Biggest Bomb: Oppenheimer

We’re not talking box office — Christopher Nolan’s three-hour experimental film about a nuclear physicist who loves Hindu literature made $954,000,000 — we’re talking actual explosive devices. The Barbenheimer phenomenon proved that audiences are hungry for something different and are smarter than studio execs give them credit for.

Nicholas Cage kills as Dracula in Renfield. (Courtesy Universal Pictures)

MVP: Nicolas Cage

Cage has frequently been the best part of uneven films. In 2023, he was an uncanny Dracula in the otherwise forgettable Renfield and a reluctant psychic celebrity in Dream Scenario. The man’s a national treasure.

Spider-Man: Across the Spider-Verse

Best Animated Film: Spider-Man: Across the Spider-Verse

An astonishing visual achievement requiring a record 1,000 animators, the film escaped the superhero doldrums with a witty script and the best cliffhanger in recent memory.

Emma Stone turns in a career performance as Bella in Yorgos Lanthimos’ Poor Things.

Best Performance: Emma Stone, Poor Things

The Best Actress category at the Academy Awards is going to be awfully competitive. My favorite was Emma Stone as a creature with the body of a grown-up and the brain of an infant. Her progression from peeing on the floor to discussing philosophy in the salons of Europe is as technically challenging as it is emotionally compelling.

Margot Robbie as Barbie.

Best Director: Greta Gerwig, Barbie

Directors wear many hats, and none wore them better than Gerwig, the first woman to ever helm a billion-dollar picture. Balancing the satirical edge of Barbie with pathos and empathy while also staging sweeping musical numbers and recreating the opening scene of 2001: A Space Odyssey is a rare feat. How did she get all that stuff past the studio?

Lily Gladstone, Robert DeNiro, and Leonardo DiCaprio in Killers of the Flower Moon.

Best Picture: Killers of the Flower Moon

In an extraordinarily good year for cinema, Martin Scorsese’s epic of love and betrayal among the Osage stood above the rest. What started as a story about the birth of the FBI opened into an examination of the soul of America. At the center of this maelstrom of greed and exploitation is an unlikely love story between Leonardo DiCaprio’s thick-headed bushwhacker and the extraordinarily coy Lily Gladstone as the wealthy Native American woman his Machiavellian uncle, played by Robert DeNiro, has marked for death. Scorsese switches genres at will, going from romance to Western to howcatchem to courtroom drama, and nailing every beat. Along the way there are several deeply committed performances by Native American actors, and stunning cinematography which shows the 81-year-old Scorsese is still eager to experiment.

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Film Features Film/TV

Southeastern Film Critics Association Names Best Films of 2023

The 89 members of the Southeastern Film Critics Association (SEFCA) have named Oppenheimer as the best film of 2024 in their annual poll.

“2023 will be remembered by many as the year that featured the commercial, critical, and cultural phenomenon known as Barbenheimer,” says SEFCA Vice President Jim Farmer. But it was also a season that offered a stunning amount of high-quality films, with master filmmakers near the top of their games, fresher faces making strong impressions, and performers showing new dimensions. It was a pleasure to take in all that 2023 had to offer.”

Oppenheimer proved to be an overwhelming favorite with the critics, who awarded Christopher Nolan Best Director laurels. The entire acting ensemble was honored, Cillian Murphy earned Best Actor for his portrayal of the father of the atomic bomb, and Robert Downey Jr. won Best Supporting Actor. Hoyt Van Hoytema was recognized for Best Cinematography, and Ludwig Goransson for Best Score.

“This fall featured three big films from three grandmasters of cinema,” says SEFCA President Scott Phillips. “Martin Scorsese released Killers of the Flower Moon. Ridley Scott brought
Napoleon to the big screen and Michael Mann hits theaters next week with Ferrari. Despite this bumper crop from heavy-hitting auteurs, Christopher Nolan’s film from six months ago is walking away with eight SEFCA awards. Oppenheimer is a stunning cinematic achievement. Our members recognized that in July, and they are rewarding it in December.”

Here is the complete slate of 2023 awards from SEFCA:

Top 10 Films of 2023

  1. Oppenheimer
  2. Killers of the Flower Moon
  3. The Holdovers
  4. Past Lives
  5. Barbie
  6. Poor Things
  7. American Fiction
  8. Spider-Man: Across the Spider-Verse
  9. Anatomy of a Fall
  10. The Zone of Interest

Best Actor

Cillian Murphy, Oppenheimer

Best Actress
Lily Gladstone, Killers of the Flower Moon

Best Supporting Actor
Robert Downey, Jr., Oppenheimer

Best Supporting Actress
Da’Vine Joy Randolph, The Holdovers

Best Ensemble
Oppenheimer

Best Director

Christopher Nolan, Oppenheimer

Best Original Screenplay
David Hemingson, The Holdovers

Best Adapted Screenplay
Christopher Nolan, Oppenheimer

Best Animated Film

Spider-Man: Across the Spider-Verse

Best Documentary
Still: A Michael J. Fox Movie

Best Foreign-Language Film
Anatomy of a Fall

Best Cinematography
Hoyt Van Hoytema, Oppenheimer

Best Score
Ludwig Goransson, Oppenheimer

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Film Features Film/TV

Barbenheimer

It began as an internet joke. Barbie and Oppenheimer were both scheduled to open on July 21st. Wouldn’t it be weird to watch both of them back-to-back?

Counter-programming is a long tradition among film distributors. Whenever there’s a big “boy” movie, like The Dark Knight, someone with a “girl” movie, like Mamma Mia!, will schedule it for release the same weekend. The theory behind “Dark Mamma” (which really happened in 2008) is that maybe girlfriends and grandmas who are not into Batman can be scraped off of a family outing by the promise of something they would actually like.

By that logic, the hot pink good cheer of Barbie is the perfect foil for the dark, brooding Oppenheimer. No one expected the audience reaction to be “Let’s do both!” Maybe that’s because the studio execs’ conception of who their audiences are and what they want is deeply flawed and out-of-date.

On the surface, the two films couldn’t be more different. But there are a lot of parallels. Both Christopher Nolan and Greta Gerwig are writer/directors with exceptional track records. Both got essentially free rein to do what they wanted. In Nolan’s case, it was because Universal wanted to lure him away from Warner Bros. In Gerwig’s case, the film was greenlit just before the pandemic and Warner Bros.’ takeover by Discovery. In the chaos, executives focused on rescuing The Flash, and no one cared enough about “the girl movie” to interfere with Gerwig’s vision.

Both films are, relatively speaking, mid-budget. Nolan kept the ship tight at $100 million; Gerwig ended up spending $145 million. For comparison, Marvel films can’t even roll camera for less than $200 million, and Warner Bros. will lose $200 million on The Flash alone. Indiana Jones and the Dial of Destiny cost an eye-watering $295 million after Covid delays.

More unexpected parallels emerge on screen. Both main characters face a reckoning for what they brought into the world. In J. Robert Oppenheimer’s case, it’s the atomic bomb. In Barbie’s case, it’s unrealistic expectations of female perfection.

In her Memphis Flyer review of Barbie, Kailynn Johnson writes, “The idea of a doll visiting the real world and learning to adjust to a life that’s not so fantastic was always in the cards for Barbie — the 2000 movie Life-Size starring Tyra Banks walked so Gerwig could run with Barbie. As she is catcalled by construction workers in Venice Beach, Barbie realizes misogyny did not end with Supreme Court Barbie. She suffers an existential crisis when she realizes that her very brand is determined by an all-male team led by Mr. Mattel (Will Ferrell). … Gerwig uses Barbie to explore the nuances of feminism, but the film never feels too heavy or takes itself too seriously. She carefully sandwiches some of the deeper moments with satire. It helps that Mattel isn’t afraid to laugh at itself.”

Barbie may have benefitted from low expectations from those who were unfamiliar with Gerwig’s near-perfect filmography, but expectations couldn’t have been higher for Nolan, the inheritor of Stanley Kubrick’s “Very Serious Filmmaker” mantle. Big, complex, and messy, Oppenheimer doesn’t lack for ambition. I wrote in my review, “The Trinity bomb test, which comes about two hours into this three-hour epic, is a near-silent tour de force of fire and portent. The scientists’ queasy victory party, held in a cramped Los Alamos gymnasium, may be the best single scene Nolan has ever done. … If only the whole movie were that great.”

The weekend box office results exceeded everyone’s expectations. Barbie raked in $162 million domestically — the biggest opening haul of the year, and the biggest ever by a female director. Oppenheimer did $82 million, a stunning result for a talky three-hour movie about nuclear physics. Overall, it was the fourth-largest grossing weekend in film history.

Viewers who rolled their own Barbenheimer double feature on some internet dare to experience the most intense psychic whiplash possible found two well-made movies, each with their own voice and something to say. Instead of competition, these two films have lifted each other up and inspired real conversation. The tribal question of “which one is better?” has, so far, been secondary. (It’s Barbie, FWIW.)

In Hollywood, unexpected success is more upsetting than unexpected failure. The public’s embrace of original, creative, filmmaker-driven pictures over legacy franchises systematically drained of originality by cowardly executives is now undeniable. As the WGA and SAG-AFTRA strikes grind on, and the studios plot to break the creatives’ will, audiences have sent a clear message about who is necessary and who is expendable.

Barbenheimer (Barbie + Oppenheimer)
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Opinion The Last Word

Listening to Oppenheimer

A mere 55 years after his death, the U.S. government has restored J. Robert Oppenheimer’s security clearance, which the Atomic Energy Commission had taken away from him in 1954, declaring him to be not simply a communist but, in all likelihood, a Soviet spy.

Oppenheimer, of course, is the father of the atomic bomb. He led the Manhattan Project during World War II, which birthed Little Boy and Fat Man, the bombs we dropped on Hiroshima and Nagasaki in August 1945, killing several hundred thousand people and ending the war. What happened next, however, was the Cold War, and suddenly commies — our former allies — were the personification of evil, and they were everywhere. The American government, in its infinite wisdom, knew it had no choice but to continue its nuclear weapons program and, for the sake of peace, put the world on the brink of Armageddon. Hello, H-bomb!

War, the building block of the world’s governmental entities for uncounted millennia, had evolved to the brink of human extinction. Official government policy amounted to this: So what?

Oppenheimer challenged this official policy and shattered his career. Indeed, he saw immediately, as the newly developed bomb was tested at Alamogordo, New Mexico, on July 16, 1945, that Planet Earth was in danger. A team of physicists had just exposed its ultimate vulnerability and he famously noted, as he witnessed the mushroom cloud, that words of Hindu scripture from the Bhagavad Gita entered his mind: “Now I am become Death, the destroyer of worlds.”

He had not opposed dropping the bombs on Hiroshima and Nagasaki, as some of the Manhattan Project scientists, such as Leo Szilard, did, but when the war ended he became deeply committed to eliminating all possibility of future wars. One of the first actions he took, a week after the bombings, was to write a letter to Secretary of War Henry Stimson, urging him to embrace common sense regarding further development of nuclear weapons.

“We believe,” he wrote, “that the safety of this nation — as opposed to its ability to inflict damage on an enemy power — cannot lie wholly or even primarily in its scientific or technical prowess. It can be based only on making future wars impossible. It is our unanimous and urgent recommendation to you that, despite the present incomplete exploitation of technical possibilities in this field, all steps be taken, all necessary international arrangements be made, to this one end.”

Making future wars impossible! What if American political forces had sufficient sanity to listen to Oppenheimer? Several months after writing this letter, he paid a visit to President Truman, attempting to discuss the placement of international control over further nuclear development. The president would have none of that. He kicked Oppenheimer out of the Oval Office.

Oppenheimer maintained his commitment to the transcendence of war, working with the Atomic Energy Commission to control the use of nuclear weapons — and standing firm in his opposition to the creation of the hydrogen bomb. He continued his opposition even as the bomb’s development progressed and nuclear tests began spreading fallout over “expendable” parts of the world. But, uh oh. Along came the McCarthy era and the accompanying Red Scare. And in 1954, after 19 days of secret hearings, the Atomic Energy Commission revoked Oppenheimer’s security clearance. As the New York Times noted, this “brought his career to a humiliating end. Until then a hero of American science, he lived out his life a broken man.” He died at age 62 in 1967.

“A key element in the case against Oppenheimer,” the Times reported, “was derived from his resistance to early work on the hydrogen bomb, which could explode with 1,000 times the force of an atomic bomb. The physicist Edward Teller had long advocated a crash program to devise such a weapon, and told the 1954 hearing that he mistrusted Oppenheimer’s judgment. ‘I would feel personally more secure,’ he testified, ‘if public matters would rest in other hands.’”

But of course the “black mark of shame” that remained stuck to Oppenheimer for the rest of his life was that he was a commie, and maybe a spy — in other words, totally anti-American. This was the basic lie used against those who challenged the tenets of the Cold War. The commission’s secret hearings remained classified for 60 years. After they were declassified in 2014, historians expressed amazement that they contained virtually no damning evidence of any sort against Oppenheimer, and lots of testimony sympathetic to him. The revelations here seem primarily to expose the government’s interest in covering its own lies.

It was this past December that Energy Secretary Jennifer Granholm, chairman of the department that the Atomic Energy Commission had morphed into, nullified the revocation of Oppenheimer’s security clearance, declaring the 1954 hearing a “flawed process.” Getting the government to undo its wrong was a long, arduous process, embarked on by Kai Bird and Martin J. Sherwin, the authors of American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer. It took them about 16 years. They finally succeeded in clearing his name.

And while I applaud their enormous effort and its result, I also note it isn’t finished yet. This is more than simply a personal matter: the righting of a bureaucratic wrong done to one man. The future of humanity remains at stake. The U.S. government has spent multi-trillions of dollars on nuclear weapons development over the years, conducted a thousand-plus nuclear tests, and is currently in possession of 5,244 nuclear warheads, out of an insane global total of some 12,500. Perhaps it’s time to start listening to — and hearing — Oppenheimer’s words.

Robert Koehler (koehlercw@gmail.com), syndicated by PeaceVoice, is a Chicago award-winning journalist and editor. He is the author of Courage Grows Strong at the Wound.