Green Book

I really enjoyed this movie, amazing acting and very emotional!

Not often these days so I give ten stars to a film, with Green Book however, I had no other choice, this film had me totally captivated.

It's a fascinating story, I had no idea that it was based on true events, temporarily losing his job at a club, Tony Lip Vallelonga gets a job driving for Doctor Don Shirley. Shirley has a specific reason for touring in the deep south.

It's one hell of a journey (I know it's a term that's easily bandied about in films, but it's appropriate here,) physically and emotionally, it's a battle of wills, ideas, concepts, each man learns something from the other. You see the true horror of what Shirley faced in day to day life, from buying a suit, to eating dinner.

The acting, is simply outstanding, you couldn't put a pin between Viggo Mortensen and Mahershala Ali, the pair are unbelievable in this film, it's no wonder awards came flooding in.

It looks sensational, they brought 1962 to life, and the music throughout is spot on.

I laughed, I sobbed, I connected, a cinematic triumph, Green Book is an incredible film. 10/10.

Some of my movie friends were stunned when I mentioned in a thread that this was my "People's Choice Award" vote for TIFF 2018 (it won, btw). I generally go for weightier fare, so my being won over by a PG-13 road film with the familiar "they-couldn't-have-been-more-different" premise directed by the auteur co-responsible for such recent classics as "Dumb and Dumber To" and "The Three Stooges" elicited a virtual double-take.

But I couldn't help it ... it really WAS the best film I saw (out of 17), and far and away the most entertaining. I think this is largely because it's based on a real-life story about the beginning of a lifelong friendship - a story that has writing participation by the son of one of the real-life characters. There's definitely an air of authenticity to the events as they unfold that could never occur with a purely contrived plot. Consider: A college-educated concert pianist of Jamaican descent hires a temporarily-unemployed Italian-American nightclub bouncer who's streetwise but academically dim to drive him to venues in the Deep South back in 1962. That's not a setup that a Hollywood script written from scratch would ever have come up with.

The two lead actors really click. Mahershala Ali makes a nice Oscar follow-up playing the aloof pianist passenger to Viggo Mortensen's "b.s. artist" driver. Ali is certain to get another nomination; Mortensen's performance may be a little too broad to garner one, but he delivers exactly what's called for. And he makes a believable Italian-American, which is impressive considering that he's Danish.

I'm allergic to preaching and heavy-handedness in movies no matter what the message, and with the exception of one borderline scene, I'd say that the movie nicely sidesteps these proclivities that surface so often in socially-conscious films.

The music and FX are excellent. When an actor plays a piano player, there's always the challenge of making the playing look believable. It doesn't get any better than it gets here - Ali's piano playing is every bit as convincing as Margot Robbie's ice skating in I, TONYA. You never see a disconnect between hands and body as he's filmed against a variety of backgrounds. And if I could bet on an Oscar win right now, it would be Kris Bowers for Best Original Score. (He also supplies Ali's hands, which should clinch it.)

Top everything off with a Capra-esque Christmas Eve finale and a closing line that sends everyone home smiling, and it all adds up to a monster hit. Its commercial payoff could be huge - the movie practically begs for a TV series spinoff, and the real-life characters remained friends until they both died in 2013.

So congratulations to Peter Farrelly on his graduation from co-directing lowbrow fare to solo-directing middlebrow (i.e. mass-appeal) fare. You can't deny the talent and craftsmanship it takes to make a mainstream movie that works as well as this one does.

Ignore the sour grapes criticism from Spike Lee. This was THE best film of 2018, and one of the best-ever feel-good buddy/road films. There is something very sincere about this film - it is understated in its messaging, and keeps the focus on the evolving bond and respect that grows between two polar opposite personalities. A well-made film, with first-rate acting, that makes you feel this good without feeling "manipulated", is a rare treat indeed. Highly recommended.

I understand why a lot of critics don't like this film, but at the same time I feel like they're making up their minds about what they think the movie is - or should - be about. They (who disagree with the film) will say that it diminishes the horrors that the black community faced in America during the 50's - and because of that they think it's a bad film. But I thought it was a good film; in my opinion it's not a movie about Shirley and his struggles facing ruthless racism - it's about Tony Lip's psychologically reforming journey changing his mind about black people through the witnessing of Shirley's experiences. And it's that central story line the critics are disagreeing with and eschews the whole film on the premiss that it should've been about something else (Shirley journey - not Tony's).

There are thousands - if not millions - of films about racism towards black people and their culture, and Green Book had a different perspective than the rest of them - by not focusing on the racism but on how the racism changed a man who wasn't a target of it. But that's obviously a big no-no according to these critics.

To me Green Book is about a white man thoroughly changing his whole mindset about something that he'd been conditioned to abide to his whole life.