The Oscars … A Final Word on 2017



All: MARK RALSTON/AFP/Getty Images

The #Oscars … a final word. I always enjoy the show. A family tradition, we watched every year. We enjoyed the spectacle. We appreciated the good and the great amidst the marketing and the gamesmanship. We embraced the sense of community and the half-baked overtures at social consciousness. We lived for those odd and memorable moments that set one year apart from another. And we relished that we live in a country where this kind of goofy escapist display is celebrated.


89th Annual Academy Awards - Show

All in all, I liked last night’s show. And I’m grateful for the arts on all levels – from shameless commerce to high-falutin’ … glad it is ALL there for our consumption.

Other than that delightfully bizarre ending (La La Land wins … oops, sorry … give those back. Moonlight wins!), I thought this year’s Oscar telecast was a good-hearted and balanced production, and, while I am not a fan of Jimmy Kimmel, I thought he did a decent job of poking fun at the right personalities without being too invasive/obtrusive. And the whole enterprise moved as efficiently as it ever does, with a high point being the musical numbers … for once.

Here are some parting shots, culled from my social media observations of the evening …

  • Emma Stone,Ryan Gosling,Mahershala AliEmma Stone! And now she has an #Oscar … so we get a little break from the relentless charm offensive? Pretty please?
  • I know we are supposed to love Matt and Ben, but they seem like marginally interesting guys with whom I may have gone to high school.
  • Dammit. “Both Sides Now”?!? That song makes me a puddle. Perfect choice.#SaraBareilles #JoniMitchell #InMemoriam
  • “Dedicated to all the kids who sing in the rain. And all the moms who let them.” – “City of Stars” Best Song acceptance
  • Oh my! John Legend singing “Audition (The Fools Who Dream)” … beautiful and elegant throwback to another era. A little Sammy Davis, a little Johnny Mathis, a little Nat King Cole. A lot of gorgeous.
  • Javier Bardem + Meryl Streep = swoon!gettyimages-645743660
  • “To save one life is to save all of humanity.” – White Helmets Oscars acceptance
  • Miracle of miracles. Seth Rogen actually made me laugh. #schuylersistersbucketlist
  • Audible – 1984, Zachary Quinto – commercial. For the win. #Orwell
  • This tour bus thing is a pretty funny bit. And Nicole, Ryan, Denzel, Jennifer, Meryl, Jeff, etc are playing along beautifully. #Gary
  • Yes. Zootopia! Most cleverly subversive film of the year. (And here comes the Moana debate again…)
  • Great ad, Cadillac. Though, it would have been better as Chevrolet. #CadillacNotTheEverymanCar … Cadillac … cars for fancy people … no, wait, for the common man … no, wait. Fancy people. Yeah. Fancy people.
  • Shirley MacLaine, still looking adorable, and still milking the reincarnation jokes…
  • US-OSCARS-SHOW“People and words and life and forgiveness. And grace.” – Viola Davis
  • “I love Lady Gaga’s grandma’s house.” – Ellen (I am not sure what the ad was for, but that line made me LOL.)
  • For the first time … in, like, ever … the music on the #Oscars is (mostly) on point. But I’d like Lin-Manuel to stop rapping. For a long time.
  • “We don’t discriminate based on country of origin here in Hollywood. We discriminate based on age and weight.” – Jimmy Kimmel
  • Words I thought I’d never type. Suicide Squad, Oscar winner.
  • John Travolta should send Warren Beatty a cookie basket. Adele Dazeem is a distant memory now. #Oscars


89th Annual Academy Awards - ShowReel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.  My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.


“It’s hard to feel grounded when even the gravity is artificial.” Captain Kirk, sweetie, darling: Star Trek Beyond and Absolutely Fabulous the Movie

[Image Source: Wikipedia]

[Image Source: Wikipedia]

Turning a beloved television series into a motion picture event and expanding the small screen confines to cinematic vistas can yield remarkable results (The Untouchables, Addams Family Values, 21 Jump Street, Charlie’s Angels, Sex and the City) or abysmal ones (Coneheads, Bewitched, The Dukes of Hazzard, The Wild Wild West, Sex and the City 2). Admittedly, it’s a tricky gambit, balancing the crushing demands of commerce and misplaced nostalgia with heightened expectations of scale and postmodern reinvention. There is bound to be disappointment.

So color me refreshed that two TV-based film reboots Star Trek Beyond and Absolutely Fabulous the Movie (viewed this weekend after finally digging out from a month or so of Xanadu preparation and performance) achieved more right than wrong on the big screen. Obviously, Trek has been at this movie blockbuster game longer than our intrepid British boozehound fashionistas Patsy Stone and Edina Monsoon, but, in both instances, the films translate all the character beats and shenanigans expected while sufficiently bringing our heroes into larger-than-boob-tube-life environs.

Star Trek Beyond continues the sleek, comic, well-acted renaissance begun by J.J. Abrams (Star Wars: The Force Awakens) with Star Trek and Star Trek Into Darkness. Beyond copious lens flares and consummate 1960s-mod-for-21st-Century-millennials art direction, Abrams’ best contribution to the franchise has been a beautifully curated cast of actors (Into the Woods‘ Chris Pine, American Horror Story‘s Zachary Quinto, Harold and Kumar‘s John Cho, Dredd‘s Karl Urban, Paul‘s Simon Pegg, Guardians of the Galaxy‘s Zoe Saldana, and the late Anton Yelchin of Fright Night) who leverage the iconic DNA of those d-list actors who came before (respectively, William Shatner, Leonard Nimoy, George Takei, DeForrest Kelley, James Doohan, Nichelle Nichols, and Walter Koenig), adding irreverent sparkle and authentic character development to give us a Trek with appeal that extends far beyond the madding comic-con crowd.

This latest installment, ably directed by The Fast and the Furious-franchise vet Justin Lin with a seamless stylistic transition from Abrams’ offerings, is all-popcorn all the time with one dizzying set piece after another. In fact, the first act firefight between The Enterprise and the swarm-like armada of Krall is so manic the audience is likely in need of Dramamine for the rest of the picture. A strange hybrid of Darth Vader and The Beast from Beauty and the Beast, Krall is played adequately by an unrecognizable Idris Alba (Luther) … continuing the regrettable habit of the Abrams-era Trek films wasting fabulous actors – Eric Bana, Benedict Cumberbatch – as half-baked, forgettable villains.  Krall is after some cosmic doodad so he can destroy a Federation space station called Yorktown (if MC Escher had designed the Death Star in partnership with the Wizard of Oz and The United Colors of Benetton). Y’see, Krall hates the Federation for, in essence, stealing a plot point from the movie Event Horizon (kidding, sort of), and his scheme to destroy them borrows heavily from Return of the Jedi‘s Moon of Endor sequence with a sprinkling of Avatar‘s don’t trust anyone/unity vs. divisiveness narrative polemic. I admit that last bit resonated a bit more than it probably should have, given the GOP’s national mob rally … er … convention this past week.

To be honest, the plot doesn’t matter (in a good way) as the film borrows its retro structure from classic Trek episodes when the core crew gets split up planet-side and pairs off in unconventional ways to defeat the big bad wolf and demonstrate how diversity brings strength, ingenuity, and great one-liners. We get a fun new character in Kingsman‘s Sofia Boutella (“Jaylah”), a resourceful ghost-faced alien/feminist warrior with an affinity for gangster rap (“classical music” to the rest of the crew, or, as she states, “I like the beat and the yelling”) who, more or less solves every crisis single-handedly. And probably deserves her own film (#ImWithAlienHer).


[Image Source: Wikipedia]

Speaking of an inconsequential plot, Absolutely Fabulous the Movie is as fizzy as a freshly opened bottle of Bollinger champagne and with just as little nutritional value. Like Chris Pine’s Kirk and company, Jennifer Saunders’ Eddy and Joanna Lumley’s Patsy wink at the camera, knowing full well the audience is as interested in how they ridicule the source material as celebrate it. AbFab ran in the early-to-mid 90s on the BBC and on Comedy Central (with a few additional seasons and TV movies for good measure into the 2000s). The series relentlessly skewered celebrity-culture well before it was such. a. thing. (Thanks, TMZ and Perez Hilton and Kardashians … for nothing.) And Patsy and Edina with their chemically-altered lives and propensity for fashion-victimhood anticipated the solipsism of shallow, egomaniacal dunderheads like The Real Housewives, Sarah Palin, The Bachelor, Justin Bieber, and, um, Donald Trump. (I’d vote for Joanna Lumley any day – her Botoxed ire for any who dare ask her to smoke outside is worth the price of admission alone.)

This Abbott and Costello for the Reality TV age couldn’t have re-emerged at a better moment. Their bewilderment over and preoccupation with a world that values youth and shiny objects over pretty much anything/anyone with even the slightest shred of substance is as timely an allegory as we can get. The film relates Eddy’s desperate need to right her PR career (“I do PR, darling. Lots of PR things.”), leading her to a series of random celebrity encounters, like an R-rated Muppet Movie, with Jon Hamm, Joan Collins, Dame Edna, Graham Norton, Chris Colfer, Emma Bunton, Lulu, Gwendolyn Christie, and a bunch of other celebs vaguely familiar if you’ve ever spent any time on BBC America. Eventually, her spiraling hysteria results in model Kate Moss falling off a balcony and disappearing into the Thames (don’t ask), and Eddy finds herself on the wrong-end of a media maelstrom for the catwalk siren’s possible “murder.”

There are endless opportunities for materialistic sight-gags as heinous fashion is celebrated as high art, and Lumley regularly steals the show, particularly when she dresses up as a man – a swaggering Tom Selleck with a blonde pony-tail, eviscerating insufferable machismo –  to woo a dowager empress on the French Riviera. Dirty Rotten Scoundrels, anyone? All the series favorites return, including Julia Sawalha as Eddy’s long-suffering/happily martyred daughter Saffron (who has a number of surprisingly delicate character turns as she wrestles with her own aging and her complicated familial relations), Jane Horrocks (Little Voice) as Eddy’s craftily inept assistant “Bubble,” Celia Imrie (The Best Exotic Marigold Hotel) as Eddy’s frosty rival Claudia Bing, June Whitfield as Eddy’s exasperated/instigating mother, and Mo Gaffney as Saffron/Saffy’s myopically liberal step-mother Bo.

The film, like the original series, is cluttered with indecipherable in-jokes, though the movie blessedly cuts down on TV AbFab‘s tendency toward sloppy ad libs and muttered asides that could occasionally make for a frustrating (American, that is) viewing experience. Regardless, the film succeeds beautifully on multiple levels: reinvigorating our interest in Patsy and Eddy as a sozzled Didi and Gogo for our self-obsessed internet days, eviscerating a 1%-er culture that sacrifices humanity for Chanel, and, most surprisingly, layering in a tender and poignant assessment of society’s tendency to pillory those who fall at the crossroads of age and gender (#ImWithHerAndPatsyAndEddy).

As Chris Pine’s Kirk intones at the beginning of Star Trek Beyond, “It’s hard to feel grounded when even the gravity is artificial.” Well, said, Kirk, sweetie, darling. Well said.


5 Sebastian Gerstner Jenna Pittman Kristin McSweeney Logan Balcom Paige Martin as Muses and KiraReel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. 

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Star Trek: Live in Concert with the Grand Rapids Symphony … one part Marx Brothers, one part Royal Shakespeare Company, one part Buster Crabbe’s Flash Gordon.

12079688_10206862455778854_5846344351949275749_nI wasn’t sure what to think of the proposition of watching the Grand Rapids Symphony performing the soundtrack to J.J. Abram’s 2009 Star Trek reboot live while the film played on a screen above. The idea sounded intriguing, but it also sounded like it had the potential for a nerd-centric train wreck. (Star Trek: Live in Concert was the October 17 installment in the Grand Rapids Symphony’s Symphonicboom Series at DeVos Performance Hall.)

DeVos Performance Hall ... or the U.S.S. Enterprise?

DeVos Performance Hall … or the U.S.S. Enterprise?

Conservative, yuppified Grand Rapids is one of those places that, in my head, is the antithesis of anything a Ann Arbor liberal like me would, could or should enjoy (totally closed-minded of me … I get it).

Yet, when you’re there, it’s all gleaming spires, clean streets, pleasant people (saw a LOT of “Ready for Hillary” and “Feel the Bern” buttons and bumper stickers, so I suspect my prejudices about the region are all kinds of wrong), and well-curated on-street art installations. It’s actually a very nice town.

And the joy of watching a woman dressed in full Klingon regalia sitting right beside a snooty, Eileen Fisher-garbed symphony patron pleased every ounce of my soul.

Chris Pine at James T. Kirk

Chris Pine at James T. Kirk

The performance itself was an amazing experience. For anyone who loves movies and music and appreciates the alchemic power when those two worlds collide, this presentation style is pretty epic and completely moving.

The Grand Rapids Symphony exhibited a precision and a coherence akin to the finest symphony orchestras (not that I’ve heard that many, but these guys are on point). In fact, I rapidly forgot there was even an orchestra on stage (strange praise, I realize), as their fine work blended so seamlessly with the images and dialogue being projected on the screen. Likely, this kind of production is the closest any of us will come to watching an orchestra actually record the soundtrack for a blockbuster film.

Star Trek‘s director J.J. Abrams, much like his inspirations George Lucas and Steven Spielberg and their legendary cinematic partnership with John Williams, has hitched his directorial star to a singular composer: Michael Giacchino. Smart fellow. Giacchino’s fusion of jazz-style sketches and orchestral bombast is as distinctive as it is compelling, an approach that lovingly augments and accentuates Abrams’ reverence for all the Gen X sci fi classics.

Zachary Quinto as Spock ... Winona Ryder as his mom?

Zachary Quinto as Spock … Winona Ryder as his mom?

I had always had an appreciation for Giacchino’s work (The Incredibles soundtrack is a particular favorite), but, hearing his Star Trek score performed live, I was able to grasp more of its thematic nuance and playful fun (lots of great homages to the classic Star Trek Theme and other incidental cues).

With the benefit of a live orchestra, there were colors and light between the notes that one fails to appreciate seeing the film in its original state. The copious talent of this symphony, guest-conducted by Constantine Kitsopoulus, coupled with their evident respect and delight for Giacchino’s sprightly work, made for a transporting experience.

(No, I’m not going to make a stupid “Beam me up, Scotty” teleporter joke here. Nope. Though I will admit that the performance left me quite “energized” … see what I did there?)

Eric Bana as Nero

Eric Bana as Nero

Oh, and the movie itself? That ain’t bad either.

It’s been quite a while since I revisited this particular Star Trek installment, and, much like when I caught The Wizard of Oz again on the big screen at the Michigan Theatre a few years ago, I had an entirely different appreciation.

Not unlike that 1939 classic, this film stands on its own, not just as fantasy, but also as a really funny, super-clever, swashbuckling comedy. Abrams and his exceptional cast appropriately genuflect before their source material but aren’t afraid to work in some winking criticism of the franchise’s cornier, paste-board legacy.

Chris Pine (Kirk), Zachary Quinto (Spock), and Karl Urban (Bones) channel the hammier tics of their forebears, while bringing a rich inner life that their respective characters never enjoyed until this point. One part Marx Brothers, one part Royal Shakespeare Company, one part Buster Crabbe’s Flash Gordon. And it works beautifully.

12122656_10206862538300917_654733001025449790_nWatching the film again and enjoying Abrams’ kicky reinvention of these campy icons, I am now even more intrigued to see what he does with this December’s Star Wars: The Force Awakens re-launch.

In fact, I was struck by how his Star Trek is a delightfully shameless swipe of Star Wars: A New Hope: a galactic madman (Darth Vader or Nero?) roaming the galaxy, astride a planet-destroying machine (Death Star or Narada?), while a rogues’ gallery of rebellious do-gooders – sparky farm boy (Luke Skywalker or James T. Kirk?), smart-mouthed neo-feminist (Princess Leia or Uhura?), coolly logical mentor (Obi-Wan Kenobi or Spock?), long-in-the-tooth scalawag (Han Solo or Bones McCoy?) – and their various comic sidekicks assemble to destroy the Big Bad and save the day.

12072661_10206862455618850_6847623126827410694_nThrow in a very Star Trek time travel conundrum, – that has the side benefit of literally rebooting an infinitely marketable, utterly toyetic franchise – and you have a super-sized sci fi Star Wars-ish blockbuster. My comparison may be stretched a bit, and the Star Trek vs. Star Wars people will have all kinds of minutiae upon which they’ll feel the need to correct me, but I think I’m on to something. 🙂

J.J. Abrams’ take on the socially conscious Star Trek mythos is much more Buck Rogers-esque escape than Communist Manifesto-commentary. And that may be why I enjoy it so much, so his version of Star Wars has my curiosity piqued indeed.

Thanks to Lori Rundall for her thoughtful wedding gift of the tickets to see this provocative meld of cinema and live music. If you get a chance to take in such a show, I highly recommend it, regardless the film or the composer or the venue!


Image by Lee Gaddis of Gaddis Gaming

Drawing of yours truly as a superhero by Lee Gaddis of Gaddis Gaming

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Yes, I cried in a Star Trek movie: Star Trek Into Darkness

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

Yes, I cried in a Star Trek movie. First time for everything.

I’m not exactly a Trekkie – before this J.J. Abrams-led reinvention of “Wagon Train in Space,” the only entry in the canon I truly loved was Star Trek IV (or as I always call it in our house: “the one with the whales”).

Like the recent craftily re-engineered James Bond (thank you, Daniel Craig and Judi Dench) and Batman (yup, you are ok by me, Christopher Nolan) franchises, 2009’s Star Trek and this new sequel Star Trek Into Darkness mine and refine the source material as if the filmmakers are re-staging one of Shakespeare’s famous “problem plays” to appeal to modern sensibilities.

Notably, Chris Pine as Captain Kirk and Zachary Quinto as Mister Spock eliminate the pork from their hammy forebears’ performances (William Shatner and Leonard Nimoy respectively) while keeping the trademarked tics (goony alpha male swagger and goonier pointy ears also respectively). What both do so smartly (and what brought me to tears at a significant twist in the film’s final act) is give these iconic characters vulnerability and flawed humanity. No offense Mr. Priceline Negotiator Shatner, but I will take Pine’s wounded-little-boy-compensating-for-his-deep-seated-insecurity-by-affecting-a-swaggering-prick persona over, well, your swaggering-prick-persona any day of the week.

The film wisely stocks its other iconic roles with a bevy of gifted character actors: Karl Urban (my personal favorite as the crusty, twinkle-eyed, metaphor-spewing Dr. Bones), Zoe Saldana, Anton Yelchin, Simon Pegg, John Cho, Peter Weller, and the always phenomenal Bruce Greenwood. The ensemble work in these films is feisty, zippy, and fun and should be used as a case study in acting schools everywhere: how to engage your audience and create a credibly warm ensemble dynamic in the midst of rampant CGI, deafening explosions, tilt-a-whirl camera angles, and spoof-worthy use of lighting flares.

I will close on this point. Bar none the canniest thing Abrams does (similar to the casting of Guy Pearce and Ben Kingsley in that other summer tent pole, a little movie called Iron Man 3) is select Sherlock‘s and War Horse‘s Benedict Cumberbatch (what a name!) as the film’s main big bad. He is a marvel, commanding every minute of screen time with his handsome yet slightly space alien visage and basso profondo voice. He almost seems bored with EVERYONE around him and, given his sociopathic mission in the film, that works swimmingly. With his nuanced menace, he joins the ranks of Heath Ledger’s Joker, Tom Hiddleston’s Loki, and Javier Bardem’s Silva in the rogue’s gallery of perfect post-modern, post-millennial popcorn film villains.