Film Review - The Two Popes (2019)

For a film with subject matter that is so focused on faith, it's surprising that subtle approach to that is almost no where to be seen. The Two Popes has exactly this problem, an intriguing premise and message that becomes overshadowed by questionable filmmaking.

Right off the bat, the cinematography is mind boggling, having an idea of how to represent the meaning of a moment that becomes lost thanks to ludicrous camera focusing and shakiness. The editing doesn't help much, as it feels lost by how much it tries to cram into one scene, especially in the film's first scenes. The way The Two Popes is made simply fails to work for what it aims for, and doesn't seem to realize this; if anything it glorifies it and makes these issues more distracting from the plot.

Thankfully, some of the greatness is reaches for is achieved thanks to great performances. Jonathan Pryce as Pope Francis is a wonderful guide for the film, having the heart and passion needed to bring the character to life. Hopkins is also gives a rather effective turn as Pope Benedict XVI, with the regret and tiredness he carries with him being effortlessly projected into his performance, creating for a powerful performance. The two really carry the film, especially with their chemistry.

There is some genuinely compelling moments between them that save the film from the terrible fate of being (gasp) below average. The bond grows between them becomes fascinating with how they deal with their disagreements and explorations of their faith. This is especially true for Pryce's character, whose backstory offers an interesting insight on regret.

Unfortunately, the screenwriting never allows it to reach its full potential. It feels lost in how to bring to life these situations. It either comes off as overblown in a representation of the gravity of a moment, or tries to pack too much into one scene, especially in some of the film's earlier moments. Had this film had a different screenwriter, it's possible that may of these issues wouldn't have been present, and that the plot would've been much more focused.

The Two Popes ultimately comes off as frustrating, because it has glimpses of a great film, but those are unfortunately never fully realized because it never gets past its approach to filmmaking and writing. Even with two very strong performances that help bring to live some of this greatness, it can rid of the distractions it carries throughout its runtime.

Final Grade: C+

Oscars 2020 - For Your Consideration

Every year this whole awards season thing sets a lot of people off because of how many great films (or great aspects from films, good or bad) end up getting completely ignored by awards bodies, mainly the Academy. So, with Oscar nomination voting only a couple days away from beginning, I've decided to take this issue into my own hands and create my own FYC page for films from various different companies so I can get the attention they deserve! Let's begin!

A Beautiful Day in the Neighborhood

• Best Adapted Screenplay

Starting off is a safer but not a lock for a nomination hope of mine. Easily some of the most creative written of the year, Noah Harpster and Micah Fitzerman-Blue abandoned the typical biopic formula and wrote an episode of Mister Rogers Neighborhood instead. A move that made the story of Mr. Rogers so much easier to tell by not focusing as much on him and rather what he did. It makes the film so much more admirable, offering for some of the most memorable and moving moments of 2019.

The Farewell

• Best Lead Actress - Awkwafina
• Best Supporting Actress - Zhao Shuzhen

An Original Screenplay nomination still seems pretty safe for Lulu Wang's emotional dramedy, but its chances for acting awards have gone down as of late, so that's where I step in! Awkwafina offered a moving turn as a young Chinese-American woman trying not only to bond with her grandmother in her final days but also to reconnect with her Chinese culture that effortlessly carried the film. Then Shuzhen gave a heartwarming performance as the grandmother unaware of her approaching demise, one that really reminds us of why we love our grandmothers so much.

The Irishman

• Best Lead Actor - Robert De Niro

A film with Oscar chances that are soaring, but a nomination for its lead has me a little concerned after missing out on Golden Globe and Screen Actors Guild nominations. It's still likely, but if he misses it will be a massive shame, as De Niro gives a masterful performance that his career has needed. He effortlessly demonstrates toxic masculinity through a man who works to hide his emotions throughout the film with his vulnerability regarding his age and those around him becoming increasingly more apparent as it progresses.

Knives Out

• Best Picture
• Best Lead Actress - Ana de Armas
• Best Film Editing
• Best Production Design

Another film where an Original Screenplay nomination is more than likely, but has little momentum outside of that. It's unfortunate, because so much of it is brilliantly made, especially with its cast; particularly Ana de Armas who leads the murder-mystery with a nuanced and kind-hearted performance that makes her easy to root for. And the editing is so sublime, with transitions from the past and present being executed brilliantly, and some of the best use of slow-motion all year. The production design is what really ties it all together; the Thrombrey mansion is filled with so many details that are so admirable and true to the mystery genre.

The Last Black Man in San Francisco

• Best Supporting Actor - Jonathan Majors
• Best Cinematography

A beautiful film with amazing cinematography and music (that sadly wasn't shortlisted) that captures the feeling of comradeship between the two main characters in such a unique way. And Jonathan Major's performance is perhaps the strongest breakthrough one of the year, as he carries his character with so much creativity and splendor that truly makes the film.

The Lighthouse

• Best Supporting Actor - Willem Dafoe
• Best Cinematography
• Best Sound Mixing
• Best Sound Editing

Do I think Willem Dafoe is supporting in The Lighthouse? No, I don't. But if that's the path he's taking, then I'll follow suit if it leads him to a nomination. His work is utter magnificence, with some of the best line readings I've ever heard that offer both humor and thought-provoking moments for the viewer to bring in. Then the cinematography is the icing on the cake; shot in a black and white, 35mm aspect ratio entirely different from what's seen today that creates the feeling of isolation and mystery that makes the whole film. And the sound design doesn't get enough credit. It sets the mood for The Lighthouse so well, creating a sense of insanity that possibly could've consumed the viewer as well because of how unnerving it is.

Little Women

• Best Picture
• Best Director - Greta Gerwig
• Best Lead Actress - Saoirse Ronan
• Best Supporting Actress - Florence Pugh
• Best Adapted Screenplay
• Best Cinematography

I already claimed that I don't think Little Women will fare particularly well come January 13th, and now that I've actually seen the film, I'm now very worried by that possibility. Greta Gerwig has crafted an incredibly warm movie which she filmed while pregnant! She brought to live some of the most well-rounded characters in any film this decade. The performances do more than enough to help bring these characters to life, with Saoirse Ronan carrying the film and Florence Pugh giving far and away the best Supporting Actress performance in a film this year. And the 35mm camera work is beautiful, capturing the comfort of the film wonderfully.

There are other films worth mentioning, but here I was more focused on what was up for Oscars and could still bet the odds if the love is there, so sadly some were omitted for either not making the Academy's official eligibility reminder list or having basically no chance at all. So, don't just watch whats up for Oscars, watch all kinds of films regardless of whether it gets accolades or not, I'm sure that way you'll find something special.

Film Review - Little Women (2019)

No other film this year had me feeling the way I did like Little Women did as I left the theater. Having basically no knowledge of the storyline of the book it's based on and very much liking, but not quite loving the writer and director's (Greta Gerwig) previous film Lady Bird, I expected to have about the same feelings here; but little did I know that one of the most delightful and characterized films of the year awaited me.

Gerwig's work is astounding. Her direction is brimming with so much liveliness and emotion that it's impossible not to love. But her screenplay is what's to love; it feels so true to the time it takes place while feeling so incredibly modern also. It's written with so much passion poured into its message, and especially shines with developing the people it follows.

Every character is astounding. Each of them remarkably distinct from the other and unforgettable. They all have at least one scene that can break your heart, and are impossible not to like (except for one, who's barely in it and is made apparent early on). It certainly helps that the cast is as wonderful as it is, the standouts being Saoirse Ronan helming the lead as Jo March who is as ever as ever to root for and Florence Pugh as Amy March, offering maybe the best performance in the film.

The way the film is made brilliantly draws you into it. The cinematography beautifully captures the nature of each scene offering a gorgeously crafted view of the sisters' situations, and the costumes and sets recreate capture the 1860s of the U.S. effortlessly. Then Alexandre Desplat is at the top of his game here, with some of the best music he's ever composed that I'm probably listening to as this is being read. The editing will take a bit of getting used to with how it goes back and forth with time places, but it makes the March family's story very effective once one figures it out.

Just watching the four March sisters continue with their everyday lives is endlessly captivating. They're endlessly likable; even when they act selfishly, they easily win you back with how they try and connect to each other and their friends. They all feel like our own sisters by the end, perhaps the best possible for a film to create a lasting impact on everyone watching it.

Even if you try to dislike Little Women, you'll love it. Even if you didn't care for Lady Bird, you'll love this. Even if you don't think Little Women will be your thing, it'll definitely be your thing. It's something impossible not to like, which easily reserves its reputation as what will be a classic.

Final Grade: A

Film Review - A Beautiful Day in the Neighborhood (2019)

What's advertised as a standard look at Mr. Rogers' life is actually an in-depth look at what he valued and how he changed lives. This is because A Beautiful Day in the Neighborhood is one of the boldest and most inventive biopics in years.

It's less about Mr. Rogers and more about the reporter interviewing him, Llyod Vogel, both of which are portrayed beautifully by Tom Hanks and Matthew Rhys. Its exploration of Vogel's struggles and how his new friend approached it is encaptivating; it's understanding heartbreaking because of its relatability and how it invites the viewer to understand our own feelings.

The film's direction and writing is so fresh compared to what's been expected nowadays for its kind. It effortlessly recreates what Mr. Rogers' show told its audience and how it communicated with them. No one else could have captured his warmness like director Marielle Heller has, as it's easy to tell how well she realized his teachings. And the screenplay wonderfully compliments her vision, acting as if an episode of the show is being filmed, meaning that the film is filled with warmness and sincerity, moment by moment.

And when I say that it's like an episode of the show being filmed, I meant that to the very bone. Miniature cities fill much of it, beautiful piano music is frequent, and Mr. Rogers even dedicates about a minute of screentime to pure silence just so those watching it can sit and think. It's one of the most purely-made films of the year.

It may be pretty simple all things considered, but regardless even those looking for something more thought-provoking will find it's down to earth storytelling undeniably comforting. A Beautiful Day in the Neighborhood succeeds not only as a story of Mr. Rogers' impact, but also as a sincere message to moviegoers everywhere.

Final Grade: A-

Oscars 2020 - December Predictions

The holiday season has come and gone, and from it we have been gifted shortlists, preferential choices of 2019 from critic groups, and nominations from award shows. We're truly nearing the big day of Oscar nominations, with Golden Globes and Critics Choice Awards winners taking place not too far before that at all. So, I've got some catching up to do, both with viewings and predictions.

Best Picture

1. Parasite
2. Once Upon a Time in Hollywood
3. The Irishman
4. Marriage Story
5. 1917
6. Joker
7. Ford v Ferrari
8. Bombshell

The race has been settled and is pretty much against three films now. The Irishman, Parasite, and Once Upon a Time in Hollywood are leading with big nominations at the Golden Globes, Critics Choice Awards, and the Screen Actor's Guild. The immense love for Parasite has me see it as the potential winner above the rest, as everyone is on board the #BongHive, even being the first non-english film to score a Best Ensemble nomination from the Screen Actor's Guild. The Irishman and Once Upon a Time in Hollywood (which are essentially tied here) are the only other two I can see winning. I see that any of those three are going to win here, they'll need to win both directing and screenplay also.

Best Director

1. Bong Joon-ho - Parasite
2. Martin Scorsese - The Irishman
3. Sam Mendes - 1917
4. Quentin Tarantino - Once Upon a Time in Hollywood
5. James Mangold - Ford v Ferrari

If you had a dollar for each time I spoke too soon, you'd be rich. Ford v Ferrari is pulling through with love for Christian Bale's performance and the film in general showing up. And with me still doubting Baumbach, Mangold is our new surprise pick. 

I should also note that considering how the Academy hasn't been particularly kind to Tarantino in recent years, as he was snubbed of a directing nomination for Django Unchained and a writing one for The Hateful Eight. Chances are his latest film's Hollywood factor will prevail in the end, but just in case I'll put him on the lower end of this category.

Best Lead Actor

1. Joaquin Phoenix - Joker
2. Adam Driver - Marriage Story
3. Antonio Banderas - Pain and Glory
4. Robert De Niro - The Irishman
5. Leonardo DiCaprio - Once Upon a Time in Hollywood

Best Lead Actress

1. Scarlett Johansson - Marriage Story
2. Renée Zellweger - Judy
3. Charlize Theron - Bombshell
4. Cynthia Erivo - Harriet
5. Lupita Nyong'o - Us

If Little Women gets pushed aside in the end (which I'm predicting), then that likely means Saoirse Ronan will be too. In that case, Nyong'o's brilliant performance which has been sweeping critics groups and even landed a SAG nomination. Toni Collette in Hereditary also swept critic mentions only to be passed by entirely by awards shows, but considering Us is actually being campaigned and got that SAG mention, I think it could overcome the genre bias.

Best Supporting Actor

1. Brad Pitt - Once Upon a Time in Hollywood
2. Joe Pesci - The Irishman
3. Al Pacino - The Irishman
4. Song Kang-ho - Parasite
5. Anthony Hopkins - The Two Popes

The Marina de Tavira effect may return, as her Supporting Actress nomination with zero major precursor mentions could return for Song Kang-ho for his even more praised performance in a film that's perhaps the most praised of the year.

Hopkins is holding on by a thread here. Right now its either him or Tom Hanks for A Beautiful Day in the Neighborhood, and it's no secret that the Academy has been harsh to Hanks as of late, most notably with his infamous Captain Phillips snub. It's very possible that he could overcome it this time, but I'll stick by Hopkins for now.

Regardless, this race is between Pitt, who's been the clear favorite with critics right now, and Pesci, whose praise has him second up in critics mentions. I'd bet on Pitt as even if The Irishman won Best Picture, I couldn't quite see it winning any acting awards. But don't be surprised if Pesci does end up being the victor.

Best Supporting Actress

1. Laura Dern - Marriage Story
2. Margot Robbie - Bombshell
3. Scarlett Johansson - Jojo Rabbit
4. Nicole Kidman - Bombshell
5. Kathy Bates - Richard Jewell

If the Academy went for Vice last year, then it wouldn't be a shocker if they also went for Bombshell. Especially if those SAG nominations mean anything (trust me, they do), with both Robbie and Kidman getting in and a Best Ensemble nomination being earned also.

Best Original Screenplay

1. Parasite
2. Once Upon a Time in Hollywood
3. Marriage Story
4. Knives Out
5. The Farewell

I'm afraid it's time to say goodbye to Knives Out being huge as I predicted. The screenplay nomination is still a given, but right now it isn't making the impact at precursors and award shows nominations it needs to succeed. I wouldn't be surprised to see it score other nominations, though (Editing and Production Design nominations please).

Marriage Story has proven to be beloved with it leading in overall critic circle mentions for Screenplays, but isn't up to speed with Parasite and Once Upon a Time in Hollywood's impact so far, and I find it hard to see any of the big three mentioned earlier winning Best Picture without a screenplay win.

Best Adapted Screenplay

1. The Irishman
2. Jojo Rabbit
3. The Two Popes
4. A Beautiful Day in the Neighborhood
5. Just Mercy

Joker may seem like a safe bet here thanks to Critics Choice and critics group nominations, but the writing branch of the Academy hasn't been keen on nominating comic book films such as The Dark Knight and more notably and recently Black Panther, both of which received Writer's Guild Awards nominations. Logan is an exception, but that year Adapted Screenplay was incredibly weak. Instead, Just Mercy takes its place, with shades of Green Book (last year's Original Screenplay) that are sure to catch the attention of voters despite it being more under the radar compared to other films I'm predicting.

Best Film Editing

1. Ford v Ferrari
2. The Irishman
3. Parasite
4. Joker
5. Marriage Story

Best Cinematography

1. 1917
2. The Irishman
3. Joker
4. Once Upon a Time in Hollywood
5. A Hidden Life

Portrait of a Lady on Fire has been scoring nominations and even wins from critics groups for its cinematography, with many predicting it to be the only nomination for the film come January. But I worry that the film will be passed over as it has been lately, with France not even submitting it for Best International Film. I wouldn't be surprised if I were proven wrong, however, and the film's director (Céline Sciamma) getting a nomination would be my dark horse pick for the category. For now though, I'll stick by Terrence Malick's latest film getting its sole recognition here.

Best Original Score

1. 1917
2. Joker
3. Little Women
4. Marriage Story
5. Star Wars: The Rise of Skywalker

Best Original Song

1. "I Can't Let You Throw Yourself Away" - Toy Story 4
2. "Into the Unknown" - Frozen 2
3. "I'm Gonna Love Me Again" - Rocketman
4. "Stand Up" - Harriet
5. "I'm Standing With You" - Breakthrough

Best Production Design

1. Once Upon a Time in Hollywood
2. Little Women
3. Parasite
4. The Irishman
5. 1917

Best Costume Design

1. Once Upon a Time in Hollywood
2. Little Women
3. Downton Abbey
4. Dolemite Is My Name
5. The Irishman

Best Makeup and Hairstyling

1. Joker
2. Bombshell
3. Once Upon a Time in Hollywood
4. Downton Abbey
5. Maleficent: Mistress of Evil

Best Visual Effects

1. Avengers: Endgame
2. The Lion King
3. Star Wars: The Rise of Skywalker
4. Alita: Battle Angel
5. Captain Marvel

The omission of Ad Astra from the Visual Effects shortlist shocked the film's fans, leaving the impression that voters don't care about the film enough. It could be the lone Sound Editing nomination this year, but be weary.

The Irishman has rather impressive de-aging that was able to make the shortlist, but the divisiveness of the effects will be something that could easily blunt its chances here, even with those who love the gangster flick criticizing it. And if Dunkirk couldn't land a VFX nomination, then chances are 1917 won't either.

Star Wars: The Rise of Skywalker is far too divisive to warrant a win, even though a nomination still seems pretty save. The Lion King, on the other hand, is disliked in general and will need to get past that to win.

That leaves Avengers: Endgame, a film that's both popular and mostly well-liked. Not to mention how we still have yet to see an MCU film win here, and the film that treats it as its finale will be sure to catch the attention of voters.

Best Sound Mixing

1. 1917
2. Ford v Ferrari
3. Star Wars: The Rise of Skywalker
4. Joker
5. Midway

Best Sound Editing

1. 1917
2. Ford v Ferrari
3. Star Wars: The Rise of Skywalker
4. Once Upon a Time in Hollywood
5. Ad Astra

Best Animated Film

1. Toy Story 4
2. Frozen 2
3. I Lost My Body
4. Missing Link
5. Abominable

Best International Film

1. Parasite
2. Pain and Glory
3. Les Misérables
4. Beanpole
5. Those Who Remained

Best Documentary Feature

1. American Factory
2. For Sama
3. One Child Nation
4. Honeyland
5. The Edge of Democracy

If Won't You Be My Neighbor and Jane missed nominations here despite seeming like obvious frontrunners the day before nominations were announced, chances are Apollo 11 will see the same fate.

I'll hold off on predicting the short film categories for now, but I promise that I'll have them for my next and final nominations predictions sometime next month before the 13th.