“Still,” “American Symphony,” “1619,” Ross McElwee Winners at Critics Choice Documentary Awards

Posted on November 13, 2023 at 12:50 pm

I am so honored to be a voting member of the Critics Choice Documentary Awards committee, though the choices are all so outstanding it is difficult to choose between them. Last night, the awards went to many of my favorites from this year, including “Still: A Michael J. Fox Movie,” which won best feature, best director, best editing, best biographical film, and best narration, by Fox himself. Director Davis Guggenheim and editor Michael Harte made exceptional use of their subject’s extensive archive not just to illustrate but to comment on and illuminate Fox’s story. At the ceremony, the Pennebaker Award was presented to acclaimed documentarian Ross McElwee. The award, formerly known as the Critics Choice Lifetime Achievement Award, is named in honor of D A Pennebaker, a past winner. It was presented to Kopple by Chris Hegedus, Pennebaker’s long-time collaborator and widow.

Nominees and winners of the Eighth Annual Critics Choice Documentary Awards

Best Documentary Feature

“20 Days in Mariupol” (PBS)

“American Symphony” (Netflix)

“Beyond Utopia” (Roadside Attractions)

“The Deepest Breath” (Netflix)

“The Eternal Memory” (MTV Documentary Films)

“Judy Blume Forever” (Amazon Studios)

“Kokomo City” (Magnolia Pictures)

“The Mission” (National Geographic)

“Stamped from the Beginning” (Netflix)

WINNER “Still: A Michael J. Fox Movie” (Apple TV+)

Best Director

Maite Alberdi – “The Eternal Memory” (MTV Documentary Films)

Madeleine Gavin – “Beyond Utopia” (Roadside Attractions)

WINNER Davis Guggenheim – “Still: A Michael J. Fox Movie” (Apple TV+)

Matthew Heineman – “American Symphony” (Netflix)

Amanda McBaine, Jesse Moss – “The Mission” (National Geographic)

Steve McQueen – “Occupied City” (A24)

First Documentary Feature

WINNER “20 Days in Mariupol” (PBS)

“26.2 to Life” (Film Halau)

“Bad Press” (Oklafilm)

“Bobi Wine: The People’s President” (National Geographic)

“Kokomo City” (Magnolia Pictures)

“Orlando, My Political Biography” (Sideshow)

“Smoke Sauna Sisterhood” (Greenwich Entertainment)

“The Thief Collector” (FilmRise)

Cinematography

WINNER Tim Cragg – “The Deepest Breath” (Netflix)

Tony Hardmon, Matthew Heineman, Thorsten Thielow – “American Symphony” (Netflix)

Lennert Hillege – “Occupied City” (A24)

Franz Lustig – “Anselm” (Sideshow)

D. Smith – “Kokomo City” (Magnolia Pictures)

Toby Strong, James Boon, Bob Poole, Neil Fairlie, Wim Vorster, Joshua Tarr, Pete Allibone, Neil Harvey,

Andreas Knausenberger – “Secrets of the Elephants” (National Geographic)

Editing

Sammy Dane, Jim Hession, Matthew Heineman, Fernando Villegas – “American Symphony” (Netflix)

Madeleine Gavin – “Beyond Utopia” (Roadside Attractions)

WINNER Michael Harte – “Still: A Michael J. Fox Movie” (Apple TV+)

Michelle Mizner – “20 Days in Mariupol” (PBS)

D. Smith – “Kokomo City” (Magnolia Pictures)

Aaron Wickenden – “The Mission” (National Geographic)

Score

WINNER Jon Batiste – “American Symphony” (Netflix)

Danny Bensi & Saunder Jurriaans – “The Mission” (National Geographic)

Nainita Desai – “The Deepest Breath” (Netflix)

Philip Glass, Paul Leonard-Morgan – “The Pigeon Tunnel” (Apple TV+)

Katya Richardson & Kris Bowers – “The Last Repair Shop” (Breakwater Studios)

D. Smith – “Kokomo City” (Magnolia Pictures)

Narration

“20 Days in Mariupol” (PBS) – Written and Performed by Mstyslav Chernov

“32 Sounds” (Abramorama) – Written and Performed by Sam Green

“The Disappearance of Shere Hite” (IFC Films) – Written by Nicole Newnham, Performed by Dakota Johnson

“John Lennon: Murder Without a Trial” (Apple TV+) — Written by TBD, Performed by Kiefer Sutherland

“Secrets of the Elephants” (National Geographic) – Written by Martin Williams, Performed by Natalie Portman

WINNER “Still: A Michael J. Fox Movie” (Apple TV+) – Written and Performed by Michael J. Fox

Archival Documentary

“Being Mary Tyler Moore” (HBO)

“The Disappearance of Shere Hite” (IFC Films)

“It Ain’t Over” (Sony Pictures Classics)

“JFK: One Day in America” (National Geographic)

“The Lady Bird Diaries” (Hulu)

“The League” (Magnolia Pictures)

Historical Documentary

“The 1619 Project” (Hulu/Onyx Collective)

WINNER “JFK: One Day in America” (National Geographic)

“The Lady Bird Diaries” (Hulu)

“Lakota Nation vs. United States” (IFC Films)

“The League” (Magnolia Pictures)

“Occupied City” (A24)

“Stamped from the Beginning” (Netflix)

Biographical Documentary

“Being Mary Tyler Moore” (HBO)

“The Disappearance of Shere Hite” (IFC Films)

“Going to Mars: The Nikki Giovanni Project” (HBO)

“Judy Blume Forever” (Amazon Studios)

“Pretty Baby: Brooke Shields” (Hulu)

“Sly” (Netflix)

WINNER “Still: A Michael J. Fox Movie” (Apple TV+)

Music Documentary

WINNER “American Symphony” (Netflix)

“Carlos” (Sony Pictures Classics)

“Ladies First: A Story of Women in Hip-Hop” (Netflix)

“Little Richard: I Am Everything” (Magnolia Pictures/CNN Films)

“Love to Love You, Donna Summer” (HBO)

“Taylor Swift: The Eras Tour” (AMC Theatres)

“What the Hell Happened to Blood, Sweat & Tears?” (Abramorama)

Political Documentary

WINNER “20 Days in Mariupol” (PBS)

“Beyond Utopia” (Roadside Attractions)

“Bobi Wine: The People’s President” (National Geographic)

“Deadlocked: How America Shaped the Supreme Court” (Showtime)

“Every Body” (Focus Features)

“Lakota Nation vs. United States” (IFC Films)

“Silver Dollar Road” (Amazon MGM Studios)

Science/Nature Documentary

“32 Sounds” (Abramorama)

“Between Earth & Sky” (PBS)

“Life on Our Planet” (Netflix)

“Path of the Panther” (National Geographic)

“Poisoned: The Dirty Truth About Your Food” (Netflix)

WINNER “Secrets of the Elephants” (National Geographic)

“Wild Beauty: Mustang Spirit of the West” (Gravitas Ventures)

Sport Documentary

“Black Ice” (Roadside Attractions)

“BS High” (HBO)

WINNER “The Deepest Breath” (Netflix)

“It Ain’t Over” (Sony Pictures Classics)

“The League” (Magnolia Pictures)

“Reggie” (Amazon Studios)

“Stephen Curry: Underrated” (Apple TV+)

“Welcome to Wrexham” (FX)

True Crime Documentary

“Burden of Proof” (HBO)

“The Jewel Thief” (Hulu)

WINNER (Tie) “John Lennon: Murder Without a Trial” (Apple TV+)

“Murdaugh Murders: A Southern Scandal” (Netflix)

WINNER (Tie) “Telemarketers” (HBO)

“The Thief Collector” (FilmRise)

“Victim/Suspect” (Netflix)

Short Documentary

“The ABCs of Book Banning” (MTV Documentary Films)

“The Barber of Little Rock” (Story Syndicate)

“Between Earth & Sky” (PBS)

“Keys to the City” (New Yorker)

WINNER “The Last Repair Shop” (Breakwater Studios)

“Last Song From Kabul” (MTV Documentary Films)

Limited Documentary Series

WINNER “The 1619 Project” (Hulu/Onyx Collective)

“Big Vape: The Rise and Fall of Juul” (Netflix)

“Deadlocked: How America Shaped the Supreme Court” (Showtime)

“JFK: One Day in America” (National Geographic)

“John Lennon: Murder Without a Trial” (Apple TV+)

“Secrets of the Elephants” (National Geographic)

“Shiny Happy People” (Amazon Studios)

“Telemarketers” (HBO)

Ongoing Documentary Series

WINNER “30 for 30” (ESPN)

“Frontline” (PBS)

“Murdaugh Murders: A Southern Scandal” (Netflix)

“POV” (PBS)

“Trafficked with Mariana van Zeller” (National Geographic)

“Welcome to Wrexham” (FX)

Related Tags:

Awards Documentary

Next Goal Wins

Posted on November 9, 2023 at 5:44 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for some strong language and crude material
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Reference to very sad death of a child, comic vehicular injury
Diversity Issues:	A theme of the movie
Date Released to Theaters:	November 10, 2023

Two coaches are fired for dismal performance at the beginning of “Next Goal Wins,” the fact-based story of the worst professional soccer team in the world, based on the 2014 documentary of the same name. The team that not only never won a game but never scored a goal is on the tiny US territory of American Samoa. Still smarting after the worst defeat in the history of international soccer, 31-nil against Australia, Tavita (Oscar Knightley) reluctantly fires the team’s gentle coach, and announces he is bringing in someone from the outside world.

Meanwhile, in one of the funniest scenes of the year, Thomas Rongen (Michael Fassbender) is also being fired. To make it even more painful, the message is coming from the sport’s supervising panel, which includes his soon-to-be-ex-wife (Elisabeth Moss as Gail) and her new boyfriend (Will Arnett as Alex). They are not unsympathetic, but Tom’s performance and that of the team he coaches have deteriorated badly and they think he needs a chance of scene. There’s hardly a bigger change than a team in a tiny island on the other side of the world. Without any alternative, he goes, bringing a suitcase full of alcohol with him.

Taika Waititi, who co-wrote and directed the film and appears briefly as a minister, benefits from one of the most enduringly popular of all genres, the fact-based underdog team combined with the redemption arc for the coach story — think of “The Bad News Bears” or “A League of Our Own.” He is very aware of the minefield that is impossible to avoid in a story of people of color whose job in these stories is usually to be cute and a little bit simple and to be both enlightened by the more sophisticated, if troubled, white coach and to enlighten him as well with their folk wisdom. Waititi, who grew up in New Zealand with a white, Jewish mother and a Maori father, has a delicate touch, and calls out the issue explicitly a couple of times to let us know that these characters and this film may be whimsical, almost a fairy tale, but these are real people who are very aware of these tropes not just in stories, but in their lives. They even joke about not wanting Tom to be a white savior and about pretending to share mystical native wisdom to inspire him. There is gentle humor about the Samoans, but not at their expense. We do not get to know too many of the players, but Tavita and his wife Ruth, played by the wonderful Rachel House, have significant roles.

Waititi’s character almost winks at us as he introduces the film, telling us it is a true story “with a couple of embellishments.” But the parts you might guess are made up really did happen. One of the team’s star players was Jaiyah Saelua, a trans woman in our terms, but in Samoan culture a part of a third gender called fa’afafine that is not only accepted but cherished. In real life, Tom was supportive of Jaiyah without any hesitation, but the film adds some tension by giving Tom some trouble accepting Jaiyah (a heartfelt performance by non-binary actor Kaimana). And the basics of the story really happened, including the ignominious Australia game and how meaningful the experience was for Tom and the Team.

It is warm-hearted and endearing. It has the same appealingly modest tone that the team does; it just wants to have fun and score one goal.

Parents should know that this film includes some strong language, drinking, a very sad off-screen death, a vehicular injury played for comedy, and some discussion of being uncomfortable around non-binary and trans people (note, in real life, as you can see in the documentary, Rongen was unhesitating and unequivocal in his support for the trans player).

Family discussion: Have you ever had a coach who made a difference in your life? What would you do if you were asked to coach this team?

If you like this, try; “A League of Their Own,” “The Damned United,” and “Ted Lasso”

The Marvels

Posted on November 9, 2023 at 5:24 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for action violence and brief language
Profanity:	Brief strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended comic book/action-style violence, references to genocide
Diversity Issues:	Diverse characters
Date Released to Theaters:	November 10, 2023

“The Marvels” is not your father’s superhero movie. If you don’t want to see superheroes cry or apologize, skip this one. If you’re looking for grand-scale, innovative action sequences with wow-inspiring special effects, maybe wait for “Dead Reckoning; Part 2.’ In other words, “The Marvels” is not what many ticket-buyers and comic book fans look for in an Avengers movie. But for those who are looking for something other than the usual CGI superpowers, it has some satisfying pleasures.

Captain Marvel (Brie Larson) can be a problematic character because even in the world of superheroes, she is the first among equals. She can pretty much do anything and has very little in the way of a kryptonite-style vulnerability. That is why she is the Marvel version of the Lone Ranger, used only sparingly in the Avengers movie, with the explanation that she is so powerful her highest and best use is somewhere out in the galaxy. There is such a thing sa being too super; it means the stakes are not dire enough to be interesting. So her vulnerabilities are one internal — some memory loss — and one external — she has made mistakes with tragic consequences. What made the first Captain Marvel movie its superpower was the realization that what she had been taught about who were the good and bad guys was not true.

As “The Marvels” begins, Captain Marvel/Carol Danvers is using a memory band to try to restore the blank spots. Meanwhile, Monica Rambeau (Teyhonah Harris of “Chi-Raq” and “They Cloned Tyrone”), the daughter of Carol’s best friend, has grown up and is an astronaut. She also has some superpowers involving electrical energy. Also meanwhile, Kamala Kahn (the adorable Iman Vellani from the Disney+ series) is a high school student with powers that are also elextricity-based, thanks to a cuff bracelet she was given by her grandmother. When she is not doing her homework, spending time with her close-knit Pakistani-American family, or saving the day, she creates fan-fiction about joining forces with her idol, Captain Marvel.Her comic strips are amusingly animated for us to enjoy.

and *also* meanwhile, we have Dar-Benn, played by Zawe Ashton. She has Kintsugi’d teeth and the indispensable quality of a supervillain, an imperious British accent (though very far from “Mr. Malcolm’s List”). Ashton is really underused here, stuck with a one-note villain role that has her more petulant than evil. Also, even by comic book standards, that is an unimpressive name. After what appears to be a long and arduous search, she has found one super-power-granting cuff bracelet, and now must locate the other one of the pair, the one currently on the wrist of a Pakistani-American teenager. Dar-Benn wants to use the power of the bracelets to save her people, and if that means wiping out another group of refugees, no problem, perhaps a side benefit.

Somehow, whatever tear Dar-Benn has made in the fabric of the universe or time or reality or all three leads to a very entertaining glitch. Captain Marvel, Monica, and Kamala discover that when they use their powers at the same time, they switch places. So Captain Marvel finds herself in a teenager’s suburban bedroom and Monica (who, like Captain Marvel, can fly) and Kamala (who cannot, though she can create presumed energy blocks that can help protect her from a fall) find themselves in Captain Marvel’s spaceship or outside of Nick Fury’s outpost.

Finally the three Marvels get together, with Goose, the cat-appearing Flerken, and go after those “surges in the jump point systems” that lead to Dar-Benn.

So, be aware: this movie is more about relationships than bam-pow-chase-explosion. There is crying and there are apologies and even some praying. There’s one scene that is so over-the-top it involves the word “princess” and singing. Goose gets into some Tribble-ific territory with a song from “Cats” on the soundtrack. I was into it; many people will not be.

NOTE: Watch the credits for one extra scene.

Parents should know that this film includes some strong language and extended comic book-style action and peril with characters injured and killed (or killed-ish). There is a situation where not everyone can be saved, and it is handled clumsily.

Family discussion: Should Carol have gone home as she promised? Why didn’t she? What do you think the legal issue was on the ocean planet?

If you like this, try: the other “Captain Marvel” movies, the “Ms. Marvel” series, and the comic books

Quiz Lady

Posted on November 2, 2023 at 5:26 pm

B +

Lowest Recommended Age:	Mature High Schooler
Profanity:	Very strong language
Alcohol/ Drugs:	Alcohol and drugs
Violence/ Scariness:	Comic peril and violence, some injuries
Diversity Issues:	None
Date Released to Theaters:	November 3, 2023

Sandra Oh and Awkwafina playing sisters in a comedy? Sign me up! They’re two of my favorites. There’s one wild sister with blue hair extensions, big earrings, and no impulse control and one shy, serious sister who dresses in drab monotone and watches her favorite game show with her 20-year-old dog every night? Sounds like fun! And Oh, the dramatic actress from “Killing Eve” is playing the wild one and Awkwafina, the comic who first came to public attention with a song about her private parts is the shy, serious one? Wait, what?

Yep. And it is clear that both of them had a blast making this outrageous comedy, which makes it all the more fun for us. Oh plays Jenny Yum, ten years older than her younger sister, Anne (Awkwafina), the responsible one who works in a CPA office, where she stays in her cubicle as her co-workers celebrate a birthday because no one thought to invite her and she would not join them even if they had.

Jenny and Anne had a chaotic childhood. Their single mother was off partying and gambling. Jenny responded by getting as far away as soon as possible. She has failed after half-hearted attempts at several careers but has developed some survival skills, small-time scams, asking her sister for money, and suing a restaurant for a fish bone found in her filet. Anne takes care of their mother, now in assisted living. She devotes herself to Linguine, the dog Jenny left behind, and to her favorite television show, a “Jeopardy”-like competition called “Can’t Stop the Quiz.” The kindly, bow-tied host, Terry McTeer (Will Ferrell) is a stable force in her life, almost a father figure. She finds his nightly sign-off, “Don’t go anywhere; I know I won’t,” reassuring.

Their mother runs away from assisted living, leaving behind an $80,000 gambling debt. The sisters are given two weeks to pay it back, with the loan shark holding Linguine as hostage. Jenny thinks the only way to get the money is for Anne to win it on “Can’t Stop the Quiz.” Anne, who cannot bear to have anyone look at her, is horrified by the idea of being on television. But she is desperate to get Linguine back.

All of this is just an excuse for extended farce as the sisters interact with a powerhouse cast of supporting actors, including Holland Taylor as a grumpy neighbor who loves Alan Cumming, Tony Hale as the owner of a Ben Franklin-themed inn, and Jason Schwartzman as the quiz show’s smarmy current champion, with ultra-white teeth veneers that practically glow in the dark. Plus there’s a display of hundreds of bow ties that is the background for a very sweet conversation. Wild physical comedy and surreal interactions are grounded by the way the sisters begin to resolve their differences. It is funny, it is outrageous, and it is surprisingly tender-hearted.

Parents should know that this film has mature material including drinking and drug use (an extended humorous drug trip sequence), comic peril and violence and very strong language.

Family discussion: Why did Jenny and Anne respond so differently to the way they grew up? If you were trying to play charades with a member of your family, what could you do that no one else would understand?

If you like this, try: “Lucky Grandma” and “Rat Race”

The Holdovers

Posted on November 2, 2023 at 5:25 pm

A-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for language, some drug use and brief sexual material
Profanity:	Very strong language
Alcohol/ Drugs:	Drinking, smoking, marijuana
Violence/ Scariness:	Some peril, teen scuffles, references to wartime death, grief, and loss
Diversity Issues:	Economic and racial diversity a theme of the movie, mental illness
Date Released to Theaters:	November 3, 2023

Barton is one of those posh boarding schools weighted with the history of generations of highly privileged, casually arrogant, hormonally charged teenager boys. “The Holdovers” takes place there over the Christmas holidays of 1969-70. Barton has buildings with just the slightest touch of casusually arrogant shabbiness found only where there are multiple generations of wealth and status who understand it’s much snobbier not to rush to fix and replace everything. And of course the buildings are surrounded by snowy expanses.

The faculty members have the crucial pedigree of having gone to Barton. This, of course, inspires respect and courtesy from the students. No it doesn’t! The students barely respect their prestigious and wealthy parents, but even they rank higher than someone who is still at Barton, decades after graduation. Perhaps the faculty member held most in contempt is Paul Hunham (Paul Giamatti), who has three strikes against him. He looks and smells weird. He teaches a class on Ancient Greece, which the students find useless and monumentally boring. And he is incorruptible and brutally strict. Even his former student, now the school’s headmaster, is furious with him for refusing to give the son of a powerful and wealthy donor a better grade, costing him his college admission.

That is how Hunham gets stuck with staying at the school over winter break, overseeing the students whose parents cannot or will not let them come home. They’re called the holdovers. The students are miserable, especially when they learn that they all have to bunk together in the infirmary because the heat to the dorms has been shut off, and that Hunham has a rigorous schedule of study and exercise planned for them. Everyone else has gone home for the holidays except for Mary Lamb, the head chef, who will be cooking for them. She is in mourning for her son, recently killed in Vietnam. He was a Barton graduate who could not get a draft deferment like his classmates because they could not afford college tuition. And she is played by an exceptionally moving Da’Vine Joy Randolph, so good in “Dolomite Is My Name” and briefly glimpsed this month in “Rustin” as Mahaliah Jackson.

We’ve all heard about the best-laid plans going awry. And I’m sure we’ve all experienced that terrible plans tend to go awry, too. So before too long, the other holdovers have been whisked away, all that are left are Hunham, Mary, and one smart, rebellious, deeply grieving, and extremely angry student who would have been graduating if he had not been kicked out of three other schools. That is Angus Tully, played with exactly that mix of qualities by newcomer Dominic Sessa.

Director Alexander Payne likes to make movies about people who are extremely passionate about issues others do not take too seriously. In “Election,” it’s a high school election. Who can forget one of the great moments in movie history, when one student calls out the ones who care about it. And we all remember this film’s star, Paul Giamatti, getting way too passionate about his disdain for merlot. In “Nebraska,” a senior citizen is over-committed to the idea he has won a sweepstakes.

Here, the always-brilliant Giamatti gives one of the best performances of the year as a kind of tribute to the bitter boarding school classics teacher in “The Browning Version,” and something of a classics version of a Miniver Cheevy, the only way he can make any sense of his lonely, disappointed, unappreciated life is to wrap himself up in a notion of antiquity that is vastly more honorable or at least understandable than what he has. In his mind, every failed student his his “no, in thunder!” to the weak ambiguities and moral compromises and overall unfairness of the modern world. The students — and the other faculty — may be younger, more handsome, richer, more confident, more popular, and more privileged than he is, but Hunham can still feel superior about what he has decided matters more, like his fondness for the the Meditation of Marcus Aurelius.

Mary, Hunham, and Angus each in their own way stuck, have experiences, adventures, mistakes, confidences, and expanded understandings over the course of the holidays. Each scene is a small gem, the ensemble work is as good as it gets, the screenplay by David Hemingson is smart, funny, and touching, and the superb cinematography by Eigil Bryld captures the chilly landscape of the almost-deserted school and the warmth of some of the other locations. This is one of the best films of the year, with career best work by all involved.

Parents should know that this film has very strong language, some peril and injury, family conflicts, mental illness, loss and grief, drinking and drunkenness, smoking, and some drug use.

Family discussion: What should the teachers in charge of students left behind over the holidays do? What are the differences between the time period of the movie and today?

If you like this, try: “The Browning Version” and its remake — both good, but I prefer the original with Michael Redgrave