Day: September 3, 2016

Clint Eastwood‘s Sully (Warner Bros., 9.9), which I caught this morning at 10 am, reminded me once again of that Billy Wilder remark about how vitally important story structure is, and how it’s the toughest thing in the world to get right. Sully‘s structure really works. It delivers the “Miracle on the Hudson” saga, drawn from Sullenberger and Jeffrey Zaslow’s 2010 book “Highest Duty”, in a grabby, hopscotchy, time-shifting way. It depicts, as if you didn’t know, Flight 1549, which ended very quickly after Sullenberger and his co-pilot Jeffrey Skiles landed a smallish US Airways jet on the Hudson due to both engines dying after hitting a flock of birds. The whole episode began and ended within 208 seconds. Sully’s decision to go for a water landing resulted in the saving of 155 lives (i.e., passengers plus crew). The film is tight and efficient (only 96 minutes) and a highly skillful emotional button-pusher. The applause at the Palm theatre was heartfelt and prolonged. And Clint and Hanks showed up for a q & a along with costars Aaron Eckhart and Laura Linney. Tom Hanks seems assured of a Best Actor nomination — everyone seems to be of that opinion. But I’m outta here — have to catch a 7:45 pm screening of Arrival.

(l. to r.) Aaron Eckhart, Laura Linney, Clint Eastwood, Tom Hanks and moderator Rebecca Kegan following this morning’s Telluride screening of Sully.

Barry Jenkins‘ Moonlight, which I saw last night at 8 pm, is a gentle, sensitive saga of a gay Miami black dude named Chiron. The story is told in three chapters over a 16-year period. Three actors portray this extremely guarded and hidden soul — Alex Hibbert as the little-kid version (nicknamed “Little”), Ashton Sanders as the teenage version and Trevante Rhodes as the adult version (called “Black”) in his mid 20s.

Moonlight didn’t destroy me or rock my soul, but I was impressed and moved. I admired it as far as it went. I just had to adjust myself to what it is as opposed to the earth-shaker that some have been describing.

Trevante Rhodes during third-act scene of Barry Jenkins’ Moonlight.

Jenkins (who has worked for years as a senior Telluride Film Festival volunteer) knows what he’s doing, and the subject, for me, is a unique thing. I’ve never seen a “travails of black closeted gay guy” movie before, and this one quietly works on its own terms.

With Birth of a Nation all but out of the race, will Moonlight take its place as the reigning black-experience Best Picture nominee? Or will Denzel Washington‘s Fences be the champ? Or will they both make the cut? Hard to say. I have no dog in this — I’m just watching and wondering. Moonlight is very quiet and specific and soft-spoken, but it never really builds up a head of steam. Which is fine with me. I respected the quiet, deliberate, soft-spoken scheme.

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Message sent to Hollywood Reporter award-season columnist Scott Feinberg about an article he posted earlier today (9.3) about Telluride’s response to Manchester By The Sea: “At the end of your piece you’ve written that ‘a Best Picture nomination [for Manchester By The Sea] is possible, although it strikes me as an uphill climb since this is a film that is likely to engender respect and admiration more than passion or enthusiasm.’

“I’m reading the words but they’re not sinking in because they so brutally violate my sense of what this film is and how it’s playing. I just came from a 1:15 pm Galaxy screening and this movie is destroying people — it’s a broken-hearted masterpiece — and you’re saying it’s facing a tough haul to land a Best Pic nomination? Especially in this, one the weakest award seasons in recent memory? You’re astonishing, man.”

“Walking away from last night’s Manchester by the Sea screening, I could really only think about Casey Affleck’s face. We all assess the pain of others by studying their faces. How badly are they hurt? How withered have they become? For Affleck’s character, Lee Chandler, what he wants and needs is to be alone in his heartache, but that’s the one thing he can’t have because he’s connected to people who rely on him.

“To go where Affleck goes in Manchester by the Sea is unthinkable. To watch someone endure something most of us could not — the most horrible thing anyone could ever imagine — is not easy. This is a film about the remnants of accidental, sudden loss and how we find people we can count on to help save whatever is left in the wake of it.

“Manchester by the Sea, as you already know from what’s been said about it, is one of the best films of the year. It’s easily Affleck and Kenneth Lonergan’s best work.

“What I saw in Affleck’s face, finally, is what I discovered when I looked and looked. What I saw in my mind when I walked away from it and tried to sleep was Affleck himself imagining that kind of loss. He knows what I know, what any person who has raised a child knows: that there is nothing else you are put on earth to do except take care of that child, or those children. A primal urge and a divine directive. And one that can’t be undone unless you are someone disconnected from it. This is not a film about someone disconnected from it.

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It’s 8:57 am with a 10 am Sully screening breathing down my neck. The usual feeling of quiet Telluride desperation is running through my veins. I’m going to have to stop everything and file this afternoon from 3 to 7 pm — best I can do. Last night I saw Barry Jenkins‘ Moonlight at 8 pm — a fine, affecting, three-chaptered pain-and-growth saga that, speaking personally, elicited more in the way of respect and aesthetic admiration than full-hearted passion. I haven’t finished the review but this is how Telluride is for guys like me, especially without an iPhone. I also caught Benedict Andrews‘ Una, a screen adaptation of Blackbird (which I saw off-B’way with Jeff Daniels a few years back) with Rooney Mara and HE’s own Ben Mendelsohn in the lead roles. I found it irksome and frustrating (not a minority view) but I haven’t time to go into it now.