Happy Hanukkah from the Maccabeats!
Posted on December 12, 2017 at 4:03 pm
Posted on December 12, 2017 at 1:44 pm

Posted on December 12, 2017 at 1:40 pm

Writer/director Ron Shelton understands the way that people — especially men — communicate through competition that can be both amiable and cutthroat at the same time. And he knows how funny it is to watch. In his new movie, “Just Getting Started,” Morgan Freeman, Tommy Lee Jones, and a cast of great character actors play residents of an idyllic retirement community in Palm Springs who try to top each other in golf, poker, and the affections of a new arrival played by Rene Russo. In an interview, he talked about the differences between men and women, spending Christmas in the desert, and And he quoted one of his most famous characters, “Bull Durham’s” Annie Savoy.
One of the funniest characters in the film is the mob wife played by an unrecognizable Jane Seymour. What did you have in mind with the look of her character?
She’s supposed to be outrageous. Jane said she wanted to come in and have some fun, and she told me she had two different wigs; one blonde, one brunette. I said, “Bring them both and wear one in each scene.” She’s a woman who married into a criminal wealth and we wanted to have fun with it.
It’s unusual to see a movie with Christmas in the California desert, no snow, no pine trees.
I’m a native of Southern California so I grew up with Christmas at the beach. I looked it up and Southern California is on the same latitude as Bethlehem so I’ve always joked about that but half the world has hot Christmases. I was in Palm Springs one time around Christmas and it was one hundred ten degrees and there were dust storms blowing and Johnny Mathis was singing “Let It Snow” and everybody was perfectly happy so I thought it was a good backdrop for not your normal Christmas setting.
Your films often feature guys and their relentless competition, even in the smallest of ways. Why do they do that?
Is it different to write for older characters?
It turns out to be the same because I’m an older character and I don’t think of myself as older, so they don’t either. You and I are still thinking about what are we doing next, about doing what are we doing today, what’s my next job, my interview, my script, my movie, whatever. I’m more active than I’ve ever been. I can’t jump as high or hit a golf ball quite as far, but I think I’m a lot wiser. I don’t make as many of the same mistakes. I’m a better parent and grandparent. I wanted to treat them like people and not go to all those usual sort of go-to default reflex Viagra jokes.
They’re toasting the Christmases to come, looking ahead, not back. So are the actors. Morgan’s eighty, Tommy seventy. Nobody in the movie was under sixty except the two young kids and everybody was active and vibrant and full of energy.
You have made some classic sports movies, and of course there is some golf in this one. We don’t get those adoring portrayals of athletes you see in Turner Classic Movie films like “The Stratton Story” and “Pride of the Yankees.” Why is that?
I think we know too much. Television and iPhone and video cameras and paparazzi and confessions mean we cannot pretend that these people are anything other than the brilliantly talented and flawed people they are. Back when those movies were made there were no televised sports. People didn’t know what the athletes looked like. All I try to do in my stories is put the camera and the story where the television cameras can’t go.
Do sports build character, reveal character or both?
Both; without question. I’m a big believer in sports. It’s great training for people, I know it’s a cliché but it’s true — you learn life lessons. People ask me “what did you learn from sports?” because I went to college on a basketball scholarship and played professional baseball. I say, “you learn to lose” You never win in sports. You have good years and bad. You deal with disappointment. You learn to figure out, “How does that make me stronger? How do I put it in perspective with everything else going on in my life?” So, that’s a great life lesson. It’s what you keep in your heart and mind as you play, whether you are eight years old or thirty or sixty.
Posted on December 8, 2017 at 1:12 pm
The Washington Area Movie Critics are proud to announce our winners, the very best of 2017:

Best Film:
Get Out
Best Director:
Christopher Nolan (Dunkirk)
Best Actor:
Gary Oldman (Darkest Hour)
Best Actress:
Frances McDormand (Three Billboards Outside Ebbing, Missouri)
Best Supporting Actor:
Sam Rockwell (Three Billboards Outside Ebbing, Missouri)

Best Supporting Actress:
Laurie Metcalf (Lady Bird)
Best Acting Ensemble:
Three Billboards Outside Ebbing, Missouri
Best Youth Performance:
Brooklynn Prince (The Florida Project)

Best Voice Performance:
Anthony Gonzalez (Coco)
Best Motion Capture Performance:
Andy Serkis (War for the Planet of the Apes)
Best Original Screenplay:
Jordan Peele (Get Out)
Best Adapted Screenplay:
Virgil Williams and Dee Rees (Mudbound)
Best Animated Feature:
Coco
Best Documentary:
Jane
Best Foreign Language Film:
BPM (Beats Per Minute)

Best Production Design:
Production Designer: Dennis Gassner;
Set Decorator: Alessandra Querzola (Blade Runner 2049)
Best Cinematography:
Roger A. Deakins, ASC, BSC (Blade Runner 2049)
Best Editing:
Paul Machliss, ACE; Jonathan Amos, ACE (Baby Driver)
Best Original Score:
Hans Zimmer and Benjamin Wallfisch (Blade Runner 2049)
The Joe Barber Award for Best Portrayal of Washington, DC:
The Post
Posted on December 7, 2017 at 3:37 pm
A-| Lowest Recommended Age: | Mature High Schooler |
| MPAA Rating: | Rated R for sexual content, graphic nudity, violence and language |
| Profanity: | Strong language |
| Alcohol/ Drugs: | Alcohol, smoking |
| Violence/ Scariness: | Intense and graphic violence, peril, torture, murder |
| Diversity Issues: | A theme of the movie |
| Date Released to Theaters: | December 9, 2017 |
| Date Released to DVD: | March 12, 2018 |

There is some reassuring symmetry in the cinematic bookends that gave us “Beauty and the Beast” in January (the highest-grossing film of the year), a “Beauty is the beast” film with the mid-year’s “Colossal,” and now, in December, another variation with Guillermo del Toro’s enthralling R-rated fairy tale, “The Shape of Water,” which was awarded the 2018 Oscars for Best Picture and Best Director.
Sally Hawkins is luminous as Elisa Esposito, a custodian in a secret government lab during the cold war era. Her closest friends are her chatty, unhappily married colleague Zelda (Octavia Spencer) and her neighbor Giles (Richard Jenkins), an anxious, cat-loving, old-movie-watching, out-of-work illustrator. They are the only two people who can communicate with Elisa. She can hear but is mute due to a childhood injury, and uses via American Sign Language.
The film is as gorgeous as any enchanted tale could wish, with a green-blue color palette that evokes the sea and old-school, analog equipment in cavernous rooms and huge, clanking equipment harking back to early horror classics like “Frankenstein” and “Creature from the Black Lagoon” (the later of which del Toro acknowledges as inspiration), with a nod to princess in the castle stories as well.
Elisa discovers one of the lab’s biggest secrets. Strickland (Michael Shannon) a harsh, brutal, “collector,” has captured and brought back to the lab a creature he discovered in the Amazon, a gilled, scaley human-shaped reptilian (played by del Toro regular Doug Jones) who has two separate breathing systems, one for air, one for water. He has some other unusual qualities, which Strickland is not learning much about because he mostly zaps the creature with a cattle prod to “tame” him. Elisa shares her hard-boiled eggs with the creature, and then some music, and then some words, as he begins to learn her language. As we will see, there are parallels between them that make them seem almost like star-crossed lovers kept apart only because they are of different species. Elisa is an orphan who was found not on a doorstep but in the water. The scars on her throat from the abuse that cost her her voice look like gills. Most important, she believes the creature is the only one who sees her as whole, complete, not missing anything.
There is a scientist at the lab named Hoffstetler (Michael Stuhlbarg), who has a secret of his own. There are other people who want to steal the creature and people who just want to kill him because it is more important to keep him away from the enemy than to learn more about who he is and what he can tell us about who we are. Of course, the way we treat him tells us a lot about who we are.
The story capaciously encompases a fairy tale romance with spies, the Cold War, the Civil Rights movement, a heist, and a musical number without, well, losing a step, thanks to del Toro’s ability to create cinematic magic. Hawkins is, as she was in “Maudie” earlier this year, exquisitely able to create a character of fierce intelligence and the kind of gentleness that is grounded in moral courage. Instead of subtitles in white at the bottom of the screen, her words are depicted in yellow letters floating around her, her face communicating as clearly as her hands. The movie is bracketed with images of Elisa floating. By the end, the audience will feel we are floating as well.
Parents should know that this movie includes some elements of horror with graphic and disturbing images, peril, and violence, including torture, sexual references and situations, strong language, smoking and drinking.
Family discussion: How are Elisa and the creature alike? How are Hoffstetler and Strickland different? Why does Giles change his mind?
If you like this, try: “Colossal” and “Pan’s Labyrinth”