Ryan Coogler

Stream of the Week: FRUITVALE STATION – the human moments that define a life

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FRUITVALE STATION

The emotionally powerful Fruitvale Station explores the humanity behind the news. If, as I do, you live in the San Francisco Bay Area, you know what happened to Oscar Grant. Returning to the East Bay after 2008 New Year’s Eve revelries in San Francisco, the unarmed 22-year-old was handcuffed and lying on his stomach when he was mortally wounded by a transit cop’s gunshot. Oscar Grant was African-American. The transit cop was white. Multiple cell phone videos of the incident went viral on New Year’s Day. Fruitvale Station opens with one of those shaky videos.

But the beauty and strength of this impressive film is that Fruitvale Station is not about the incident and its political fallout – it’s about the people involved, in their workaday and familial roles to which all of us can relate. It follows the fictionalized life of Oscar Grant as he lives out what he doesn’t know is his last day.

Writer-director Ryan Coogler’s Oscar Grant is a complete and textured character. Oscar is a charming guy, a loving father and the fun dad/uncle who children love roughhousing with. He’s remarkably unreliable as a boyfriend, son and employee. He’s done a stretch in San Quentin, and he’s got a temper. He’s capable of random acts of kindness. He’s a complete package of decency, fecklessness, irresponsibility and possibilities. Would he have turned his life around if he hadn’t been at Fruitvale Station that night? We’ll never know. And that’s the tragedy laid bare by Fruitvale Station.

Although it’s a tragedy with some heartbreaking moments, Fruitvale Station isn’t a downer – it’s too full of humanity for that. Neither is it a political screed; Coogler lets the facts speak for themselves and the audience to draw its conclusions.

The acting is first-rate, especially Michael B. Jordan as Oscar, Melonie Diaz as his girlfriend and the great Octavia Spencer as his mom. Equally, important, the supporting cast is just as authentic.

It’s was stunning debut feature for then 27-year-old filmmaker Ryan Coogler,  (Coogler is also an African-American from the East Bay who was roughly the same age as Oscar Grant.)  Coogler, of course, has become one of the top American filmmakers with Creed and Black Panther (both also with Michael B. Jordan).

Fruitvale Station was justifiably honored at both the Sundance and Cannes film festivals, and played Cinequest.  Fruitvale Station is available on DVD from Netflix and Redbox and streaming from Amazon, Vudu, Google Play, YouTube and Xbox Video.

CREED: superb refreshing of a storied franchise

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Michael B. Jordan and Sylvester Stallone in CREED
Michael B. Jordan and Sylvester Stallone in CREED

Rocky Balboa returns in writer-director Ryan Coogler’s superb Creed.  Creed is the story of a young man, the posthumous son of Rocky’s rival and friend Apollo Creed, who seeks out Rocky as a mentor.  Played by Michael B. Jordan (star of Coogler’s Fruitvale Station), the young Creed must face off against his own demons, as imposing as any opponents in the ring.  Stallone’s Rocky Balboa is still a lovable galoot, humble and adoring the long-dead Adrian.  Tessa Thompson (Dear White People, Selma) plays the younger man’s love interest.  Creed isn’t just about The Big Fight – all three of the main characters must overcome a distinct nemesis within each of them.

There’s not that much actual boxing in Creed, and folks who don’t like boxing will still enjoy the movie.  The boxing scenes, however, are brilliant.  The opponent in the climactic fight is played by real pro boxer Tony Bellew.

The most impressive scene, however, is mid-movie when Rocky’s protegé is tested against a local up-and-comer (the actor Gabe Rosado).  The three-minute rounds are photographed as uninterrupted action (no cuts are apparent) from WITHIN the ring.  We feel like we’re in the ring with the fighters – right at shoulder-level.  It’s a tour de force by veteran cinematographer Maryse Alberti (most of her work has been in documentaries).

Stallone’s performance is excellent. Even though it’s the zillionth time he’s played this character, he’s not just mailing this in for a paycheck, and he’s justifiably getting some award buzz.  Johnson and Thompson again prove themselves as rising talents.  Phylicia Rashad is excellent as the young fighter’s mother figure.

Coogler is the brilliant young Bay Area filmmaker whose brilliant debut was the indie docudrama Fruitvale Station, which was #8 on my Best Movies of 2013.  (Fruitvale Station is available on DVD from Netflix and Redbox and streaming from Amazon, Vudu, Google Play, YouTube and Xbox Video.)

Coogler gets lots of credit for breathing freshness and originality into a movie franchise that had grown tiresome.  Creed is an exploration into the internal struggles of three people – and it’s also irresistibly entertaining.

 

DVD/Stream of the Week: Fruitvale Station

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FRUITVALE STATION

Note:  You can see Fruitvale Station on the big screen this week at Cinequest.  It will be introduced by LA Times and NPR Morning Edition movie critic Kenneth Turan on Saturday, March 8 at the San Jose Rep.

Here’s number 8 on my Best Movies of 2013. The emotionally powerful Fruitvale Station explores the humanity behind the news. If, as I do, you live in the San Francisco Bay Area, you know what happened to Oscar Grant. Returning to the East Bay after 2008 New Year’s Eve revelries in San Francisco, the unarmed 22-year-old was handcuffed and lying on his stomach when he was mortally wounded by a transit cop’s gunshot. Oscar Grant was African-American. The transit cop was white. Multiple cell phone videos of the incident went viral on New Year’s Day. Fruitvale Station opens with one of those shaky videos.

But the beauty and strength of this impressive film is that Fruitvale Station is not about the incident and its political fallout – it’s about the people involved, in their workaday and familial roles to which all of us can relate. It follows the fictionalized life of Oscar Grant as he lives out what he doesn’t know is his last day.

Writer-director Ryan Coogler’s Oscar Grant is a complete and textured character. Oscar is a charming guy, a loving father and the fun dad/uncle who children love roughhousing with. He’s remarkably unreliable as a boyfriend, son and employee. He’s done a stretch in San Quentin, and he’s got a temper. He’s capable of random acts of kindness. He’s a complete package of decency, fecklessness, irresponsibility and possibilities. Would he have turned his life around if he hadn’t been at Fruitvale Station that night? We’ll never know. And that’s the tragedy laid bare by Fruitvale Station.

Although it’s a tragedy with some heartbreaking moments, Fruitvale Station isn’t a downer – it’s too full of humanity for that. Neither is it a political screed; Coogler lets the facts speak for themselves and the audience to draw its conclusions.

The acting is first-rate, especially Michael B. Jordan as Oscar, Melonie Diaz as his girlfriend and the great Octavia Spencer as his mom. Equally, important, the supporting cast is just as authentic.

It’s a stunning debut feature for 27-year-old filmmaker Ryan Coogler, from whom much is now expected. (Coogler is also an African-American from the East Bay who is roughly the same age as Oscar Grant.)

Fruitvale Station was justifiably honored at both the Sundance and Cannes film festivals. Fruitvale Station is available on DVD from Netflix and Redbox and streaming from Amazon, Vudu, Google Play, YouTube and Xbox Video.

2013 at the Movies: breakthroughs

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Adèle Exarchopoulos in BLUE IS THE WARMEST COLOR

The year’s biggest breakthrough has to be 19-year-old actress Adèle Exarchopoulos, who delivered the year’s best cinematic performance in the year’s best movie, Blue is the Warmest Color.

American actress Brie Larson‘s star-making performance Short Term 12 showed her to be a big-time talent, possibly another Jennifer Lawrence.

Other remarkable breakthrough acting performances:

  • Elle Fanning in Ginger & Rosa (in which she, at her actual age of 14, played a 17-year-old).
  • Michael B. Jordan, thoughtful and charismatic in Fruitvale Station.

And here are the filmmakers whose work showed special promise:

Fruitvale Station: the human moments that define a life

by
FRUITVALE STATION

The emotionally powerful Fruitvale Station explores the humanity behind the news.  If, as I do, you live in the San Francisco Bay Area, you know what happened to Oscar Grant.  Returning to the East Bay after 2008 New Year’s Eve revelries in San Francisco, the unarmed 22-year-old was handcuffed and lying on his stomach when he was mortally wounded by a transit cop’s gunshot.  Oscar Grant was African-American.  The transit cop was white.  Multiple cell phone videos of the incident went viral on New Year’s Day.  Fruitvale Station opens with one of those shaky videos.

But the beauty and strength of this impressive film is that Fruitvale Station is not about the incident and its political fallout – it’s about the people involved, in their workaday and familial roles to which all of us can relate.  It follows the fictionalized life of Oscar Grant as he lives out what he doesn’t know is his last day.

Writer-director Ryan Coogler’s Oscar Grant is a complete and textured character.  Oscar is a charming guy, a loving father and the fun dad/uncle who children love roughhousing with.  He’s remarkably unreliable as a boyfriend, son and employee.  He’s done a stretch in San Quentin, and he’s got a temper.  He’s  capable of random acts of kindness.  He’s a complete package of decency, fecklessness, irresponsibility and possibilities.  Would he have turned his life around if he hadn’t been at Fruitvale Station that night? We’ll never know.  And that’s the tragedy laid bare by Fruitvale Station.

Although it’s a tragedy with some heartbreaking moments, Fruitvale Station isn’t a downer – it’s too full of humanity for that.  Neither is it a political screed; Coogler lets the facts speak for themselves and the audience to draw its conclusions.

The acting is first-rate, especially Michael B. Jordan as Oscar, Melonie Diaz as his girlfriend and the great Octavia Spencer as his mom.  Equally, important, the supporting cast is just as authentic.

It’s a stunning debut feature for 27-year-old filmmaker Ryan Coogler, from whom much is now expected.  (Coogler is also an African-American from the East Bay who is roughly the same age as Oscar Grant.)

Fruitvale Station was justifiably honored at both the Sundance and Cannes film festivals.  It’s one of the best movies of 2013.