[This article was originally published on KENS5.com, and can be viewed here.]
SAN ANTONIO — Search the internet for video evidence of Ritchie Valens’s iconic-but-all-too-brief career as a Latino rock pioneer, and you’d find yourself searching for hours.
In fact, there’s only one bit of footage that’s easily found on YouTube—a brief performance by Valens in the 1959 movie “Go, Johnny, Go” that sees him crooning to some club-goers. That film is only 75 minutes long, features the likes of Alan Freed, Chuck Berry and Eddie Cochran, and was released four months after Valens died in a tragic plane crash at just 17 years old.
The real-life story of Valens was over right as its second chapter was beginning. But its first has had such a profound impact on pop culture – specifically the timely infusion of Chicano influence into rock ‘n roll as the genre was beginning to blossom – that it’s easy to forget the California musician’s professional career lasted less than a full year.
That brevity also made things a bit difficult for the young actor who would portray Valens 28 years after his death in the film named after his biggest hit, “La Bamba.”
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We need to talk about the Oscars. No, not this year’s awards that will be presented in a few days’ time, the culmination of several months’ worth of head-scratching decisions, logistical retreadings and general affirmation that the Academy of Motion Picture Arts and Sciences are at a crossroads. That discourse has been beaten with the proverbial golden statuette through many an op-ed, Twitter thread and blog post.
So no, we’re not talking about the 2019 Academy Awards. Nor the 2020 ceremony. If you’ll indulge me, let’s skip ahead to early 2021, where – pending the existence of the human race – it feels increasingly likely that the revival of a certain sci-fi/fantasy property is poised to have the genre’s biggest night at the Oscars since the finale to Peter Jackson’s standard-bearing “Lord of the Rings” trilogy in 2004. Continue reading →
As it turns out, even at 91 years old you can still experience growing pains.
That’s the scenario the Academy of Motion Picture Arts and Sciences finds itself in Tuesday, following its unveiling of nominations for this year’s Oscars, the culmination of which was a field of eight wildly varied Best Picture nominees which collectively confirm one thing: The Academy is as clueless as the rest of us about its identity in 2019.
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2018 was a gnarly f*cking year.
I think no matter what your political affiliation, how much time you spend on Twitter or whether you stan DC or Marvel films, we can all agree that that is fact now that it’s over.
Thankfully, we still had new cinema to turn to. To provide us solace, to help us make sense of it all, to provide context for changing times and to make us wish that we had a bucket hat-wearing, marmalade sandwich-munching expatriate helping us to get along with each other.
But perhaps even Paddington was too good for this world.
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For as long as they’ve existed, movies have been synonymous with entertainment. We sit down in the theater, $6.00 Coke and $7.50 popcorn in hand, with the expectation that we’ll be awed by memorable performances, transcendent storytelling and the latest razzle-dazzle in what special effects have to offer.
But the cinema is also a classroom, a place where we learn things about ourselves and the world around us. Directors, screenwriters, production designers, cinematographers, special effects teams—they’re all artists, yes. They’re also philosophers, psychologists and theorists; people who seek to bring messages through their medium. Like all artists, they aren’t creating something for the sake of creating something. Continue reading →
There’s more than one reason why we continue to remember the final Oscar awarded on the evening of February 26, 2017 – or, more specifically, the act of its awarding – as a shocking turn of events for the Academy Awards, awards shows in general and those involved, not to mention the millions watching at home.
If dictionaries included video examples of its entries, we would see this under “fiasco”: Those few moments, witnessed then and recalled now as feeling like much longer, when golden statuette-clutching “La La Land” producer Jordan Horowitz announced that the actual Best Picture winners were in fact those behind “Moonlight.” And legitimately so; it remains an absurd occurrence, an oft-forgotten example of the mayhem that can unfold on live television.
When the golden Oscar dust had settled, however, when all the actors (pun partially intended) involved had said their piece on what happened and media outlets broke down the sequence of events like an episode of “CSI,” a more historically impactful (and decidedly less clickbaity) reason for that event’s enduring legacy began to emerge. Continue reading →
I had just turned 9 years old when Dad took me to see “Spider-Man 2” at an Indiana movie theater. It was the summer of 2004, and there was little foundation in my mind for what I could expect to marvel at on the big screen, other than the first Spidey movie and a tie-in computer game I spent some time playing a few years prior.
Of course, that didn’t stop me, nor millions of others, from having a hell of a moviegoing experience. In 2018 “Spider-Man 2” still a highlight of the genre—even though its arrival was still early in the era of the superhero movie, when Marvel Cinematic Universe wasn’t yet a part of the Hollywood lexicon.
It was also a movie that led me to an epiphany. Continue reading →
11 years ago, amid what society at large (including The Hollywood Sphere™) had for years deemed the “movie calendar’s graveyard shift,” a comic book movie burst onto the screen.
There were no superheroes in it. Six-packs, absolutely, but no genetically altered physiques housing superior, moral objectivity or superhuman wit. In other words, it would be another year before the birth of the Marvel Cinematic Universe. The character of Iron Man was about as familiar to the mainstream moviegoer as a contemporary Oscar contender released before March — aka, not very familiar. But, more on that later.
The movie I’m referring to is the uberviolent, uberlubricated “300.” The only still-relevant aspect a decade later is its (over)reliance on CGI as an innovated form of box office-busting, audience-driving weaponry.
(And no, I won’t hear your argument that Gerard “Sure I’ll Sign Up For Your Generic B-Movie Action Flick That Won’t Make More Than $30+ Mil Opening Weekend” Butler has remained relevant.)
(Lena Headey makes a strong case, though.)
Virtually transplanted for the screen from its comic book roots in a way that somehow didn’t constitute plagiarism, “300” transported audiences in a way few films had up to that point. More importantly, it transported them at a time when virtually any film of its kind didn’t dare to.
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With a few weeks left before what has quite loudly morphed into the most unpredictable Oscars in years, it’s finally time to take stock of what we had in 2017 at the cinema.
In brevi: It was an astounding dichotomy of auteurs operating – or continuing to operate – at the height of their powers (Guillermo Del Toro, Paul Thomas Anderson, Denis Villeneuve) and first-time directors yielding surprise gems and excitement for the future of film (Greta Gerwig, Jordan Peele).
In a year that ended with Hollywood beginning to form a new identity – the result of which may not be evident on the big screen until at least 2019 – it also gave us much to cry, scream and ponder about in the theater.
Perhaps it’s no coincidence that in the months following an incredibly epic and incredibly awkward Best Picture win by “Moonlight” – itself a eulogy to identity and the winding road it can personify itself as – some of 2017’s best movies featured heroes, villains and everyday characters grappling with theirs.
Sometimes it involved busting out a move at an impromptu dance party in Italy, other times it was shedding your identity for the entertainment of others.
And, at other times still, it involved fish sex. 2017 truly had it all.
Adding to the sea of similar pieces that represent closing a chapter and opening a new one more than anything of actual substance, here is this film critic’s top 10 films of the year. Continue reading →
First things first, and believe me, based on some of the reactions I’ve gotten in the past, it bears importance starting out with this: I don’t consider myself a film expert.
If I did, I wouldn’t be writing about movies. I’d be trying my hand at making them. And potentially making a hell of a lot more money than I do now writing reviews (which amounts to exactly zilch. What’s up, Rolling Stone?).
But I don’t. I watch a lot of movies (some people might think too many. Sorry, Mom), and I feel like with each one I’ve seen – even the stinkers – I’ve learned something new about the medium. But through nearly 22 years and four months of life, never has that led to a particular desire to create a movie, no matter how much I respect the hell out of people who do, on any level. Continue reading →