I went to see “Selma,” the recently released Martin Luther King Jr. biopic, assuming the horrific end to such a powerful man would be the main focus of the film, but I was wrong.
This movie is a breath of fresh air, in regards to the presentation of someone so prominent. It is beautifully written, teemed with a core of talented actors, and wonderfully carried out via unique cinematic photography.
Directed by Avery DuVernay, Selma is set in Alabama in 1965. The audience follows Martin Luther King Jr. (David Oyelowo, “Interstellar”) as he, his wife, Coretta (Carmen Ejogo, The Purge) and both the black and white communities fight for equal rights and, ultimately, the right to vote, focusing especially on the march from Selma to Montgomery, Alabama.
Oyelowo’s portrayal of King Jr. is spectacular; everything from the way he carries himself to his speech is a genuine and true depiction of who King was.
Ejogo is a wonderful supporting actress and introduced the audience to a small glimpse of what it felt like to be the wife of such a known, powerful and hated man – information not always talked – or thought about – when on the topic of Martin Luther King Jr.
The emotions in the film are penetrating and palpable, due to the unique and constant close up shots displayed throughout the movie. And even though the film is slow at times, I never felt bored. Each word seems to be precisely chosen, each scene deliberate.
The tension felt between political powers, such as the President, and King Jr. are also displayed, from which the audience can extrapolate how complicated, how nearly impossible, the fight for equality was.
There were some violent scenes, scenes that made me cringe. “Selma” does not shy away from demonstrating how it was back then, how violent and painful living in that time was. But that is how the whole movie went: a realistic depicture of America’s messy and violent history and the powerful men and women who fought hard to create peace.
Go see “Selma”. This film gave me a new appreciation for the legendary figure and those who fought beside him. It is intense, painful and sad. But it is also riveting and exciting. If those are not good enough reasons to see it, then, ultimately, it is an honorable dedication to Martin Luther King Jr. and what he stood for and what we can still stand for.
It’s awards season for Hollywood, and one of the most hotly anticipated ceremonies of the year -the 72nd Annual Golden Globes – aired on Sunday, Jan. 11, with some winners bringing little surprise and others coming seemingly out of nowhere. Here’s a brief rundown of the night’s winners and a look at whether or not this year’s Globes may have predicted the upcoming Academy Awards.
Best Actress in a Motion Picture, Drama
Julianne Moore (“Magnolia”, “Children of Men”) took home this award for her starring role in the film “Still Alice,” in which she plays Dr. Alice Howland, a university linguistics professor who’s diagnosed with early onset Alzheimer’s.
Best Actor in a Motion Picture, Drama-
This award went to relative newcomer Eddie Redmayne (“Les Miserables”) for his portrayal of theoretical physicist Stephen Hawking in “The Theory of Everything.” The film focuses on Hawking’s early life as a student at Cambridge, his marriage and his eventual diagnosis of motor neuron disease at the age of 21.
Best Actress in a Motion Picture, Comedy or Musical
Amy Adams won her award for the film “Big Eyes.” Directed by Tim Burton (“Big Fish,” “Beetlejuice”) and co-starring Christoph Waltz (“Django Unchained”), “Big Eyes” is based on the true story of artist Margaret Keane (Adams) and her husband Walter (Waltz), who took credit for her paintings in the 50s and 60s.
Best Actor in a Motion Picture, Comedy or Musical-
Considered by many in Hollywood to be past his prime, Michael Keaton’s comeback in last year’s mind-bending “Birdman” earned him a Golden Globe. Keaton stars as Riggan Thompson, a washed-up superhero actor attempting to mount a Broadway play as his big comeback. Keaton is one of the top contenders for the Oscar for Best Actor.
Best Screenplay,
Motion Picture
Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo won this award for their screenplay for the aforementioned “Birdman,” which was also directed by Iñárritu and edited to appear as though the film was shot in one long, continuous take.
Best Director,
Motion Picture
Richard Linklater (“Dazed and Confused,” “Bernie”) beat out the competition to take home the coveted Best Director award for his film “Boyhood.” Shot over a period of twelve years and co-starring Ethan Hawke (“Before Midnight”), Patricia Arquette (“True Romance”) and Linklater’s daughter Lorelei, “Boyhood” shows the coming-of-age of a young boy named Mason, played by Ellar Coltrane.
Best Motion Picture, Drama-
“Boyhood” also earned the prized Best Picture, Drama award. Like “Birdman,” it was an immensely ambitious undertaking for Linklater and company, and there’s nothing else in the world quite like it. “Boyhood” is easily the top contender for this year’s Best Picture Oscar.
Best Motion Picture,
Comedy or Musical
Undoubtedly the biggest surprise of the evening was this award being given to the Wes Anderson (“Moonrise Kingdom”) comedy “The Grand Budapest Hotel.” Released way back in March, “Budapest” was considered by many to have little chance against the awards juggernaut that is “Birdman.” The 1930s set ensemble piece features Wes Anderson alumni Bill Murray, Jeff Goldblum and Owen Wilson, alongside stars Ralph Fiennes and Tony Revolori.
The Golden Globe Awards are typically seen as strong indicators for Oscar-winners, but surprises and snubs are nearly as common as correct predictions in the awards business. Will Best Actor go to Redmayne or Keaton? Or will Steve Carell steal the show for his haunting performance in “Foxcatcher”? And which film will find itself alongside the other historic Best Picture winners, such as “The Godfather” and “The Silence of the Lambs”? Predictions are running wild, but we’ll all have to wait for the 87th Academy Awards, airing Feb. 22, 2015.
Netflix’s “Marco Polo” released its first season in December 2014 to find it widely panned by critics; review aggregate site Rotten Tomatoes says a mere 27 percent of professional reviews were positive.
And yet, feedback from its audience tells a different story: the people watching it absolutely love it, with user ratings of 8.3/10 on IMDB, 8.7/10 on MetaCritic and 93 percent positivity on Rotten Tomatoes.
I believe this is a great — if harsh — summary of the show: it is imperfect and by no means high art, but, oh man, is it entertaining.
The show is a highly fictionalized account of famed explorer Marco Polo’s time spent in the court of Kublai Khan in the latter part of the 13th century. And boy, is it epic in every sense.
It’s bursting with court intrigue, martial arts mysticism, medieval brutality, challenges to honor, overly dramatic dialogue, beautifully rendered costumes, one extremely handsome Italian and more rarely justifiable female nudity than you can shake a scimitar at.
It has the makings of a wild roller coaster ride through medieval Asia, but instead moves at a satisfyingly tense slow burn, more of a feast-for-the-eyes boat ride with occasional thrilling bursts of speed.
While ostensibly about the adventures of the titular Italian played by Lorenzo Richelmy, they are hardly the best part of the show. Polo’s character arcs occasionally feel like an afterthought, as if the writers sometimes forget he’s in the show.
His romance is flat and his character goes from highly engaging to highly boring at random intervals, but he is fun when he gets a chance to be with just enough shine to him that I hope he gets further building in later seasons. He’s also very attractive. Just saying.
Despite the title, the truly exciting part of “Marco Polo” is the intrigue in the court of Kublai Khan. Betrayals, wars, disgraces, insults, beatings and a touch of gout all come together to create an ever-shifting map of favors and plans presided over by the Great Khan, masterfully portrayed by Benedict Wong.
He commands the attention and respect of the viewer in the way his character commands the same from his court. In an ensemble of actors of varying ability, Wong stands tall; I found myself glued to my screen absorbing every second of his screen time. Without exaggeration, the show is worth watching purely for his performance.
All said, “Marco Polo” puts into perspective my dislike for much entertainment criticism: it often neglects the spirit of the work. “Marco Polo” is not high art; it’s somewhat inconsistent and uses some pretty tired tropes.
But it’s always good with enough moments of brilliance to hold its own, and it is an epic adventure as entertaining and fun as anything I’ve seen.
That is the spirit of the show: a grand epic. No moral, no message, just epic.
I will certainly be revisiting the court of Kublai Khan upon the release of the second season. I hope you will join me there.
During the break, you likely caught wind of the strange and terrible saga that was the controversial Seth Rogen and James Franco comedy “The Interview.”
The timeline of events that lead to the film’s rollercoaster of a release week began back in June, when the North Korean Foreign Ministry released a statement saying the film, which — if you don’t already know — details a convoluted and comedic plot to assassinate Kim Jong-Un, was an “act of war.”
In the film, James Franco plays an extremely popular celebrity talk show host named Dave Skylark, who receives the opportunity of a lifetime when his producer, Aaron Rapaport (Rogen), books him an in-person interview with the leader of the militarized nation of North Korea.
The CIA approach Skylark and Rapaport, asking them to eliminate Kim Jong-Un. The CIA believes that Un’s death will lead to a successful uprising and revolution of the Korean people.
In their statement, the Ministry also asserted that the film, which, it should be reiterated, stars the two pot-head burnouts from “Freaks and Geeks,” was “reckless U.S. provocative insanity.”
Skip ahead to November, when another statement from North Korea threatened “catastrophic consequences” for the release of the comedy by the guys who brought you “This Is the End” and “Neighbors.”
One week later, during Thanksgiving week, employees at Sony Pictures Entertainment found their computers invaded by an image of a grinning skull and the message “this is just the beginning” on their screens.
Five Sony releases, which included “Fury” and “Annie,” were leaked online and downloaded by millions. It becomes clear to Sony that a huge amount of their company’s data has been compromised.
On Dec. 1, thousands of emails and other documents pertaining to Sony executives and employee’s salaries are leaked online, immediately leading to hundreds of media outlets to publish the stolen material.
That week, Sony employees receive emails from the hackers responsible, calling themselves the “Guardians of Peace.” The emails threaten the employee’s families if they don’t renounce their company.
North Korea is strongly suspected of being behind the cyber-attack, due to similarities between this hack and the hack on South Korean businesses, perpetrated by North Korea.
In a statement issued by the Foreign Ministry, North Korea denies involvement.
In the ensuing weeks, scripts are leaked, financial spreadsheets are deleted, and Sony’s stocks are plummeting.
On Dec. 16, the Guardians of Peace sent an email to various news outlets, stating “we will clearly show it to you at the very time and places The Interview be shown, including the premiere, how bitter fate those who seek fun in terror should be doomed to.
Soon all the world will see what an awful movie Sony Pictures Entertainment has made. The world will be full of fear. Remember the 11th of September 2001. We recommend you to keep yourself distant from the places at that time.”
The Sony hack, now a prime example of cyber-terrorism, suddenly became a matter of Homeland Security. North Korea becomes the number one suspect.
By Dec. 23, mainly due to nearly all major theatre chains refusing the show the film, Sony has scrapped all plans for a Christmas release of “The Interview,” a decision that is derided by many as an act of negotiating with terrorists and simply giving in to the demands of the hackers.
On Christmas Day, 2014, “The Interview” is made available online via YouTube Movies and Google Play for $5.99. In the first four days of its release, the film rakes in $15 million.
Despite being dropped by the large theater corporations, just over 300 independent movie theaters screen the film, bringing in a total of $5 million.
The budget for “The Interview”, according to IMDb. com, was $36 million, a figure that has very nearly been reached in box-office revenue.
Sony has almost made its money back, which is surprising, considering that just two weeks ago it appeared as though Sony had a catastrophe on their hands.
The hacking of Sony and the insanity that followed was unprecedented for Hollywood.
In terms of scope and lasting effect, it blows last year’s nude photo leak completely out of the water.
It’s made a farcical, screwball comedy into a successful art house film, a film that has broken records left and right when it comes to digital release revenue.
Yes, “The Interview” is stupid (and hilarious), and yes, Sony pulling the film from its initial release has set a disturbing precedent that we may not see the residual effects of for some time, but Hollywood, and the way those within Hollywood think about the way people want to see and consume films, has changed, to some extent for the better.
To be bold, it’s as though we’re now living in a “post-Interview” world; a world where the standards what can and can’t be controversial and revolutionary are set differently for all types of films, not just comedies. But isn’t the fact that those standards have been altered because of a comedy pretty cool? I think it is.
You should watch “The Interview,” though not simply because it’s a game-changer. You should watch it because it’s funny; it’s crass, it’s irreverent, it’s dumb, and you should watch it because there are people out there who don’t want you to.
Bringing in the New Year typically brings to mind images of champagne, watching the ball drop in Times Square and everyone breaking out into a chorus of “Auld Lang Syne.”
The masses are filled with hope as fireworks go off and everyone looks forward to a better year, making all sorts of resolutions that probably won’t be kept.
This year, however, New Year’s Eve turned into an evening of mishap and misfortune around the globe, bringing ambulances and injuries instead of poppers and party hats.
In Shanghai, China, a stampede during New Year’s Eve festivities left 36 dead and 47 injured according to CNN news reports. More than 300,000 people had gathered in Chenyi Square to celebrate when the stampede occurred 20 minutes before midnight, lasting about 30 seconds.
Adding to the tragedy, 593 people were injured in fireworks-related incidents on New Year’s Eve in the Philippines. More than half of the reported injuries were caused by illegal fireworks.
Closer to home, a man was seriously injured during New Year’s festivities at the Linn County Fairgrounds in Albany, Ore.
Austin Bottcher was taken to Legacy Immanuel Hospital in Portland after being attacked by a bull in the arena three times.
Bottcher was participating in what is known as Bull Poker, which is playing a hand of poker in the middle of the arena while a bucking bull is released and whoever stays seated the longest wins the cash prize.
Bottcher rang in the New Year in surgery to reconnect his femur to his hip after volunteering and paying to play the game in the arena.
Check out the video footage of the Linn County Fairground bull attack taken by Amanda McMasters at wou.edu/WesternJournal
Ideally, winter break is a time to sit back, relax, and let all the stress and worry of fall term just melt away. It’s also a great time to grab a nice cup of cocoa or eggnog, pop in some earbuds, and listen to some podcasts. If you aren’t already a fan of podcasts, you should give them a shot. They can help you learn a language, cook a meal, or study for an exam. Podcasts can make you smarter, and they can make you happier. The following is just a handful of podcasts you should give a try this winter break.
“The Truth”
Described as “movies for your ears,” “The Truth” is a frequently improvised story podcast that serves as a form of dramatic audio storytelling. Ranging in tone from hilarious to deeply emotionally affecting, the stories that unfold on “The Truth” are always full of heart and, well, truth. The first episode, entitled “Moon Graffiti,” was inspired by the speech Nixon wrote in case the 1969 Apollo moon landing had failed.
“Thrilling Adventure Hour”
Staged live in the style of old-time radio stories of the ‘40s and ‘50s, “TAH” is a wonderful little podcast that’s perfect for the listener who’s looking for long story arcs and plenty of recurring characters. One series, called “Beyond Belief,” chronicles the paranormal investigations of socialite couple Frank and Sadie Doyle. Another, “Sparks Nevada,” tells the ongoing tale of the heroic marshal of Mars. Nathan Fillion makes frequent appearances in the latter series, as the Mayor of Mars, Cactoid Jim.
“Stuff You Missed in History Class”
A spinoff of the “Stuff You Should Know” and “HowStuffWorks” podcasts, “SYMiHC” covers unique or little-known historical topics such as “5 War Dogs of History,” “Is there a real Macbeth curse?” and “Mary Anning, Princess of Paleontology.” It’s an incredibly informative podcast that is always fascinating and engaging. Each episode is only about 25 minutes long, so in just one afternoon you can learn an incredible amount.
“The Moth”
Much like the similar podcast “StoryCorps,” “The Moth” is dedicated to the art of storytelling. Unlike “StoryCorps,” however, these stories are told and recorded on stage in front of live audiences. These first-person tales are often heart-wrenching and beautiful, and they help us to understand the importance of recording stories, as well as give credence to the adage that everyone has at least one great story to tell.
George watsky is the recipient of the youth speaks and brave new voices poetry slam awards. PHOTO COURTESY OF WIKIPEDIA
By Declan Hertel
Staff Writer
I feel music on a spiritual level. My belief in the power of
music is the closest thing I have to a religion.
The philosopher Kant called music “the quickening art”; it changes moods and minds and brings life back to the lifeless.
Music is the one thing I believe in wholeheartedly, and as such it has become my religion in a way.
If music is my religion, then live performances are my church. And boy, do I love going to church. I had the privilege Dec. 1 of hearing a sermon delivered by the reverend Watsky, an alternative hip-hop artist from San Francisco.
I have been a fan of Watsky for a long while and tonight was the first time I had ever seen him live. He did not disappoint.
Watsky played the Wonder Ballroom, a great little Portland venue, on the final leg of his North American tour supporting his stellar new album “All You Can Do.”
After excellent opening performances by Anderson Paak and KYLE, both of whom have a new fan in me, Watsky stormed out of the gate with the raging anthem “Bet Against Me” from his new record. He immediately had the entire crowd screaming along with him, and they didn’t stop for the entirety of his hour-thirty set.
He blazed through old songs and new, occasionally offering some of his brilliant spoken word poetry, flawlessly and passionately delivering his intricate lyrics as his backing band tried their very best to match his energy (they succeeded).
When he stopped to talk to us about things he cared about, he was very genuine and kept wide of condescension. He closed the main show with “Whoa Whoa Whoa,” a song showcasing the incredible speed at which Watsky can rap with a chorus so catchy it ought to be criminal.
After a deafening chant of his name from the crowd, Watsky and his band returned to the stage to play the title track from “All You Can Do,” and ended the night with “IDGAF,” a song from his first album that once again had the crowd bellowing the profane chorus. It was reckless, joyful and immensely inspiring.
Folks, please, please go see live music. It is an experience like no other. You become part of something greater than yourself; at a show a community is born and then lives spectacularly and dies with an explosion all in the space of three hours. And it is beautiful.
The volume of the show made me near deaf. My throat hurt from screaming along. My entire body ached from jumping around all night. But I had the time of my life.
The urge to gush about how much I love this show is one I must repress. If you have ever enjoyed a cartoon in your life, you owe it to yourself to seek out and watch Patrick McHale’s “Over the Garden Wall,” a 10-episode miniseries that aired on Cartoon Network earlier this month.
A deceptively simple tale of two brothers trying to find their way home after stumbling into The Unknown, the series strikes an excellent balance of childish (and adorable) slapstick comedy, old folk tales and a deep sense of dread and uncertainty.
All the performances are spot on. Elijah Wood (“The Lord of the Rings”) very effectively plays the older brother Wirt, a young man stuck between his sensitive, artistic nature and the realities of the world.
The younger brother Greg, played by Collin Dean (“Hotel Transylvania”), is a perpetually optimistic goofball whose nonsensical songs and interactions with his never-really-named frog will bring a smile to even the most heartless of viewers.
The brothers join up with a bluebird named Beatrice (Melanie Lynskey, “The Perks of Being a Wallflower”), an angsty teenage bluebird with a serious attitude who claims she can get them home.
Christopher Lloyd (“Back to the Future”) plays the delightfully creepy Woodsman, and John Cleese (“Monty Python”) plays an eccentric aristocrat with a ghostly paramour.
Speaking of creepy, this show is seriously unsettling at times. Where some episodes are lighthearted affairs, others are very dark and even scary.
The show never struggles with these mood changes, often jumping back and forth between them multiple times. They use their characters to this effect well, ping-ponging between threatening and amiable from moment to moment.
These moments of dread and fear are perfectly balanced with the moments of heartwarming and silliness mostly provided by Greg with his optimism and gung-ho approach to the world, not to mention the candy in his pants.
This is to the credit of the writers and animators, who have created a plethora of strange characters to populate their world.
The series is dripping with a distinct early-20th century Americana aesthetic that will make you long for a time and place that never really was.
The muted autumn color palette gives the show its folk-tale feeling, and all the characters are costumed in archaic garb.
This story feels like one that could have been pulled out of an old children’s book.
The music is phenomenal, from polka to sweet piano tunes, and further establishes this fully formed and delightful universe the characters inhabit.
“Over the Garden Wall” is absolutely worth the entire hour-thirty it takes to watch the whole series.
While I’d very much like to visit The Unknown again, the length and content of this miniseries was perfect.
After watching the complete series three times, I assure you that it gets better each time.
“Over the Garden Wall” is a wonderful tale that will stick with you after its all-too-brief runtime, and make you wish for more.
Students got a new take on Halloween, and a taste of the supernatural, as they wandered down the halls of Todd and Campbell Hall in search of ghosts. Professional ghost hunter Ross Allison visited Western Tuesday night and presented on what it means to hunt the supernatural to over 100 students.
Allison gave students a brief history on ghosts, and paranormal activity, shared his experiences of work he performs on a daily basis.
After his speech, Allison took students through Todd Hall, Campbell Hall and The Cottage in a ghost hunt, which provided students a hands-on experience of what he does for a living.
According to Allison, he is the only full time ghost hunter in the Pacific Northwest, and is the founder of A.G.H.O.S.T. (Advanced Ghost Hunters of Seattle-Tacoma).
He teaches students Ghostology 101 at the University of Washington and Tacoma Community College. Examining the unknown has allowed Allison to travel around the world and be featured on several television programs including The Learning Channel’s “America”,
MTV, CMT, CNN, A&E, The Discovery Channel and many more. He is planning to write several books and Western will be featured in one of them.
“I have always been curious about this kind of stuff and I believe there is something out there; people just need to keep an open mind,” Allison said. He said his main focus and goal while being a ghost hunter is to always be honest and follow “PDP” (Passion, Dedication, Patience).
He also allowed students to use his equipment, which included EVP Recorders (Electronic Voice Phenomena). This type of equipment detects human – sounding voices from any unknown source.
Throughout the night, Allison gave students the opportunity to interact with the unknown and ask questions.
“I really enjoyed being part of the ghost hunt, and getting to try something I would’ve never thought about doing,” said first year- David Hoover.
“There was definitely something interesting here at Western, and I would love to come back with my team and take a better look.” Allison said.
My friends and I decided to watch “The Best of Me” twenty minutes before show time on a Friday night. In other words, there was no time for some pre-movie plot research and I did not read the Nicholas Sparks’ novel.
I was unprepared and completely blindsided for assuming this movie would be a romantic tale comparable to other cliché chick flicks like “Titanic” and “The Notebook”. But, if you liked those movies even the slightest bit, you’ll be head over heels for this heartbreaker. Side note: I am not one to cry in movies or grovel at the cuteness of couples but this movie was an isolated incident.
Dawson Cole (James Marsden) and Amanda Collier (Michelle Monaghan) return to their hometown in Louisiana after receiving news about the passing of their mutual friend, Tuck. Tuck’s will requests the two to fulfill his final wishes together: pack up his belongings and spread his ashes at his cabin
Key word: together.
Flashback to a high school Dawson (Luke Bracey) running away from home, after refusing to help his family with a drug deal, to meet a young southern belle named Amanda (Liana Liberato) for a first date.
Dawson wanders aimlessly to find a place to sleep for the night. He comes across a garage and falls asleep in a sweet classic car.
Tuck finds Dawson the next morning, recognizes that he is the only good Cole in the family and takes him in without hesitation.
The Cole family, notorious for their drug and criminal activity, is the polar opposite of the Colliers: a Kentucky Derby-esque pedigree.
Mr. Collier attempts to bribe Dawson into leaving his daughter. Although we understand Mr. Collier’s desire for his pride and joy to be unaffiliated with the white trash clan that is the Coles, Dawson is an extraordinary exception.
Although they hail from opposite sides of the tracks, Amanda and Dawson are perfect for each other in the way that Mondays are for football and chips are for salsa. They are the type of couple that single sorority girls regard as their (high) relationship goals.
They literally bring out the best in each other.
Obviously, something happens that prohibits this exemplary high school sweetheart love, which will not be discussed.
Fast forward 21 years: while spreading Tuck’s ashes at his cabin, the old couple realize Tuck’s tacit final wish is to bring Amanda and Dawson back together despite their prolonged disconnect of two decades.
“The Best of Me” reminds us of the depth of a first love, the desire that arises when it is disallowed and the beauty of a feelings that ascend a decades.
