* * * 1/2
Like last year’s Three Billboards Outside Ebbing, Missouri, Germany’s Foreign Language Film Oscars entry – and winner of that category at the Golden Globes – is about a woman seeking justice for a devastating crime against her family. It differs substantially in tone; Three Billboards is, essentially, a black comedy, while In The Fade has not a single deliberate (nor unintended) moment of humour. It also differs in impact: Three Billboards left me unmoved, but In The Fade, by focusing intensely on the protagonist’s grief before moving on to her anger and ultimately her quest, deals in honest emotion.
It is divided neatly in three acts, given chapters: The Family, Justice, and The Sea. The first act is a drama of grief, the second a drama of the courtroom, the third a thriller. This rigid construction is deeply apparent throughout the film; it is rigorous, taut and, despite its intense subject matter, restrained.
Diane Kruger rules the film, appearing not just in every scene but almost every shot. She won the Best Actress prize at Cannes and she should have won the Oscar rather than Frances McDormand for the equivalent, but vastly lesser, role in Three Billboards. Kruger’s journey includes the immediate aftermath of the crime, and the first third of the film is a portrait of a woman drowning in grief. It is impeccably acted, and the whole film honours Kruger’s deep commitment. Rather incredibly, this is her first film in her native German, despite 48 acting credits – most in English, many in French – and 15 international awards. She’s superb, and reason enough to see the film.
CJ and Jim go through most of the categories. We have ideas, opinions and predictions. We make a financial bet over Best Original Screenplay. And at the end, we apply the Preferential Ballot System of voting to our own ballots and come up with a BOLD PREDICTION FOR BEST PICTURE! Your comments welcome and appreciated. Happy Oscars 2018!
Don’t feel like reading reviews? Have a listen to CJ chat about a bunch of awards contenders, taken from The Nightlife on ABC (Australia).
ALL THE MONEY IN THE WORLD and THE POST
COCO and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
THE FLORIDA PROJECT and CALL ME BY YOUR NAME
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*** (out of five)
On paper, it’s hard to tell if teaming Dwayne Johnson, the artist formally known as The Rock, now officially the highest-earning movie star in the world – in salary and box office – and Meryl Streep, the most awarded and respected (except by the President of the United States) movie actor in history, was a good one. In practice, it’s turned out surprisingly well. In My Bodyguard, which is a very tenuous, practically “in name only” remake of the 1980 drama, Johnson plays Sanchez, the well-meaning, dyslexic janitor at an isolated, elite private high school hired by the school’s principal (Streep) to be her bodyguard against the increasingly – and bizarrely – dangerous student population. It’s a strange hybrid of gritty (and surprisingly violent) action and sentimental May/December romance, and, somehow, it works, despite a few preposterous moments.
Happily, those moments are also some of the film’s (deeply) guilty pleasures. As with seeing Helen Mirren blow things and beat people up in Red (2010), it’s highly entertaining to watch Streep lay into one of her particularly odious charges while Sanchez sits calmly in a dark corner of the room, his presence all that is needed to keep the student from fighting back. Likewise, it is a rare joy to see Johnson go into emotional territory he simply hasn’t explored before; – spolier – yes, we see the big fella cry.
By setting the scene in an expensive private school, the film deftly – or, blatantly – avoids racial politics. All of the students turned violent are white; the few minority students, all on scholarships, are also the good ones, who pay Sanchez respect even before he puts down his broom and picks up his bat. Like The River Wild (1994) and The Giver (2014), this is Streep taking a swim in genre cinema seemingly to just give it a go, but – of course! – she also deeply commits. Watch, they’ll give her another Oscar nomination; wouldn’t it be fun if Johnson got one too?
**1/2 (out of five)
Unfortunately writer / director Jeff Nichols (Midnight Special, Mud, Take Shelter) seems so determined to avoid over-dramatising his wonderful source material – the story of Mildred and Richard Loving, whose inter-racial relationship had a profound effect on the United States legal system – that he under-dramatises it to the point of dilution, and, unfortunately, exasperation. His telling is slow and laboured, and, at some points, seemingly deliberately, provocatively obtuse; at one key moment, not only does he not point his camera at the action, he puts it in another State.
Ruth Negga and Joel Edgerton are fine in the roles (Negga was nominated for the Oscar) but the camera dwells on their quiet moments excessively, especially on Edgerton, who sullenly occupies an enormous amount of inactive screen time. There’s only so much one can take staring at a man smoking and staring.
Nick Kroll (in a really surprising dramatic role) and John Bass do their best to liven things up as the two young lawyers taking the Lovings’ case all the way, but, once again, Nichols is miserly with their screentime. Perhaps he was afraid of portraying them in any way as “great white hopes” to the Lovings’ cause, but when their big moments are shown fleetingly and from behind, it all becomes too much. This dramatic true story could have used more than a little more drama.
Jim Flanagan and I dissect the crazy 2017 Oscars here on WATCH THIS:
Comments welcome! As of this writing, Brian Cullinan and Martha Ruiz have been taken off the Oscars account and will not be present next year (duh!) Neither seem likely to be fired and the Academy seems unlikely to cut ties with PricewaterhouseCoopers.