Everybody’s Chattin + Trailers Spotlight: Jeff Nichols’ LOVING + Warren Beatty’s ‘Rules Don’t Apply’


Happy almost Friday everyone! It’s been quite a busy week for me, in and out of work, so I’m glad the weekend is just around the corner!! I’m going to see Captain Fantastic tonight so very excited for that.

Ok, about those links…

Keith posted his Blindspot review on A Man Escaped

Dell posted his thoughts on Steve Jobs movie

Meanwhile, Courtney argued that Swiss Army Man might be the most uplifting movie yet

I love birthday tributes and Margaret just posted a massive one on the legendary Harrison Ford

Steven posted a review one of my brothers’ favorites, Smokey and the Bandit

Well, we can’t agree on everything but that’s what makes blogging fun, right? Eddie reviewed Midnight Special and Jordan reviewed Sing Street, they feel quite differently than I did about each movie.

Trailers Spotlight

This week I’m highlighting two movies that deal with forbidden romance, relationships that break the rules of sort, though both are set in very different circumstances. Whether it’s society’s rules of the time or rules mandated by strict employers, the couples in these films face challenges to stay together. Both films are released in November.


Release: November 4, 2016
Director: Jeff Nichols
Writer: Jeff Nichols
Stars: Ruth Negga, Michael Shannon, Joel Edgerton


Richard and Mildred Loving, an interracial couple, are sentenced to prison in Virginia in 1958 for getting married.

Check out the brand new trailer:

“I know we have some enemies. But we have some friends too.”
– Mildred Loving

This beautifully-shot film is poised to be a real tearjerker. I love Nichols’ work, as well as Joel Edgerton and Nichols’ muse Michael Shannon. But it’s Ruth Negga‘s performance I’m most looking forward to seeing. I cried just watching this trailer, it’s certainly a timely film, especially in light of recent events in my state as well as in Texas. As a non-White person who have many friends who married people outside of their own race, this is certainly a topic I’m intrigued by. In fact, before I met my hubby who shares my Southeast Asian heritage, back in college I’ve gone on dates with a Latino, as well as Caucasian guys. I remember feeling a bit uneasy walking or dining with my White boyfriend in the small town I lived in, as some older people would stare. I don’t think they meant any harm though, so I can’t imagine what the Loving couple had to go through endure living in 1950s America!

Director Jeff Nichols was able to tell the story of the Loving family as accurately as possible by relying on Nancy Buirski’s documentary The Loving Story (2011), which captured many details of their private lives: “We had this beautiful documentary footage unearthed from the mid-’60s where we got to go into their home and see them and watch them,” Nichols said. “It’s an unusual thing to have access to.” (per IMDb)


Release: November 23, 2016
Produced and Directed by: Warren Beatty
Screenplay by Warren Beatty; Story by Warren Beatty and Bo Goldman
Cast: Alec Baldwin, Warren Beatty, Annette Bening, Haley Bennett, Candice Bergen, Matthew Broderick, Dabney Coleman, Lily Collins, Steve Coogan, Alden Ehrenreich, Taissa Farmiga, Ed Harris, Megan Hilty, Oliver Platt and Martin Sheen

An aspiring young actress (Lily Collins) and her ambitious young driver (Alden Ehrenreich) struggle hopefully with the absurd eccentricities of the wildly unpredictable billionaire (Warren Beatty), who they work for.

It’s Hollywood, 1958. Small town beauty queen and devout Baptist virgin Marla Mabrey (Collins), under contract to the infamous Howard Hughes (Beatty), arrives in Los Angeles. At the airport, she meets her driver Frank Forbes (Ehrenreich), who is engaged to be married to his 7th grade sweetheart and is a deeply religious Methodist. Their instant attraction not only puts their religious convictions to the test, but also defies Hughes’ #1 rule: no employee is allowed to have any relationship whatsoever with a contract actress.

This one seems to have a similar comedic vibe as Hail, Caesar!, and hey, the new Han Solo Alden Ehrenreich is in this, too. Hopefully this one will be a better movie though. It’s also got has an amazing cast, interesting to see Bening & Beatty working together again (after Bugsy & Love Affair in the 90s), haven’t seen either one of them in ages. I haven’t seen Matthew Broderick in a long time either, he looks pretty funny here.

Apparently Warren Beatty first pitched a Howard Hughes biopic as early as 1973. He continually tried to get a film involving Hughes off the ground every year or two since then. One can say it’s a film 40 years in the making. (per IMDb)

What do you think of either of these trailers?

Guest Post: Still Learning Lessons From Ferris Bueller

Happy Monday all!

As you’re reading this, I’m likely hanging out in downtown Chicago with my best friend, enjoying the hot and sticky Summer day in the Windy City. So what’s more appropriate than a post from a movie set in that exact spot? Special thanks to Nick from Cinema Romantico for his awesome contribution!

I moved to Chicago seven years ago this month and spent my first few weeks surfing on my friend’s couch, checking out my new north side neighborhood and availing myself of the seemingly endless sites downtown (and seeing movies). Only one conclusion could be reached: ‘tis a beautiful city and I was in love with it. Even when I re-started working 40 hours a week I was still in the midst of my affair and vividly remember telling my friend that I even enjoyed the packed, sweaty train rides home because I felt like all us passengers were one family united in our joyous relief of surviving another work day. My friend’s cold reply: “Yeah. You’ll get over that.” And I did. Quickly. I also vividly recall the first time I left my office on Michigan Avenue and no longer gave a flip that I was on Michigan Avenue. Even now when I walk to the train from my new office in the West Loop I consistently forget and only occasionally remember to remind myself of the fact that I’m passing 333 Wacker Drive – that is, the comely curved building where Ferris Bueller’s dad was employed.

The most common charge leveled against John Hughes’ 1985 classic Ferris Bueller’s Day Off is that its title character is static, as in he undergoes no type of discernible change, that he is exactly the same person at the end that he is at the beginning. And this is entirely fair and totally accurate. In fact, the mantra he recites very near the start are the same lines he uses to close the film – “Life moves pretty fast. If you don’t stop once in awhile and look around, you might miss it.” Which is to say his worldview is not altered. Therefore this often leads directly to the argument that Ferris’s best friend Cameron Frye (Alan Ruck) is ACTUALLY the main character because he is the one character who undergoes a true transformation, morphing from the scaredy cat under the covers with emotional health problems manifesting themselves as the flu to the supreme dissident (he wears a Detroit Red Wings jersey in downtown Chicago) taking a stand by kicking in the fender of his father’s car and sending it off into the symbolic ether.

But what if – to quote Al Pacino in The Insider – we look through the looking glass the other way? What if Ferris Bueller’s Day Off is as much an Instructional Video as it is a piece of fiction? What if Cameron Frye is the audience surrogate, what if he is us, and Ferris Bueller is the anthem on the car radio prodding us to sing along? And that, of course, brings us right along to perhaps the film’s most famed sequence, the Twist and Shout sing along in the midst of the German-American Parade on Dearborn.

How do we get to this scene? Well, it starts earlier in the cab that un-fortuitously winds up right next to the cab containing Ferris’s dad. In those moments before this tense showdown Cameron expresses his disappointment in this whole day off leading Ferris to demand “Cameron, what have you seen today?” leading Cameron to dismissively declare “Nothing good.” Thus, when Ferris up and vanishes during the parade only to appear on the float what does he say? “Ladies and gentlemen, we’d like to play a little tune for you. I dedicate it to a man who doesn’t think he’s seen anything good today. Cameron Frye,” he announces, “this one’s for you.” But, of course, it’s for us too. All of us, because we are all too often guilty at half-glancing at all the wonders around us and shrugging and sighing and thinking it’s nothing good.

One of the favorite pastimes of Chicago journalists is attempting to see if they can achieve going to every single place Ferris, Cameron and Sloane go to in a single afternoon as the film would have us believe. They fail every time. But this does not prove the film’s implausibility – no, it rather demonstrates these journalists are missing the film’s point. The Day Off is an ideal. Ferris himself is an ideal. And it and he are working together to show Cameron and us that “life moves pretty fast. If you don’t stop once in awhile and look around, you might miss it.” And there those journalists zipping all over Chicago (in a “fast” manner, one might say) are, failing to stop and look around and thereby missing the inherent beauty in everything they are seeing.

Which reminds me that today when I walk to the train I just need to stop for a second and gawk at 333 Wacker Drive.

Thoughts on this movie? What lesson(s) have YOU learned from Ferris Bueller?