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.

Film Review - Knives Out (2019)

Murder mysteries are almost like a lost art nowadays. The genre is almost universally loved, yet for some reason they are hardly common in today's media. Fortunately for us, Rian Johnson loves a good mystery as well and, having just made himself better known in the industry (for better or for worse for himself), he's now crafted exactly the kind of whodunit we've wanted with Knives Out.

Knives Out is a revival of this genre, taking what's loved about it and adding even more to it to keep it fresh and original, making for a blast of a viewing experience.

Far away the biggest pro the film has going for is its brilliant screenplay. Johnson's writing is seamless, packed with spot-on comedy, brilliant clues and twist to add to the mystery, and relevance that hits home with current issues in fitting and completely necessary ways.

The big reveal can be considered questionable and even predictable (for reasons I won't go into in order to avoid spoilers), which admittedly does take away from some of the mystery aspect, but the rest is so well-tuned that I can't help but forgive it.

The cast and the characters they play also do a great job of leaving a lasting impression. I do feel that some of them are pretty underused, but even they are unforgettable because of how distinct they are from everyone else and have at least one one-liner that I guarantee will become frequently quoted as time goes by, because Chris Evans sure does wanna cookie.

But the two stand above the rest are Ana de Armas as Marta, the nurse of the victim, Harlan Thrombrey (Christopher Plummer, who's also great!) and Daniel Craig as the detective hired to investigate, Benoit Blanc. Armas gives easily one of the best performances of the year, offering an intriguing and heart-filled portrayal that effortless leads the film. Craig's work is then endlessly entertaining; you can tell that he had the time of his life while making this, with a priceless accent and scene-stealing dialogue, I can see why he wants to do more of these films with Johnson. (Seriously, please go forward with this Rian).

The Thrombrey family as a whole is fascinating, because even with some of them being underdeveloped, the more that's learned about them, the more the film's themes grow. The more each of their possible motives build and how they become increasingly more menacing to the viewer, satisfyingly making them like them less and less as the runtime continues. It makes you want to know everything about the family and their connections to Harlan, which is exactly what a film like this should do.

And why is the score for this film not being talked about more? It brilliantly sets the mode from the very beginning and onwards, fitting in with the mystery style effortlessly and leaving a nice tune to repeat in your head again, and again, and again, and..... oh dear...

So much of the production in this film is incredibly impressive. The Thrombrey house where most of the story is set is instantly iconic, sprawling with details that jump out and explain what this place is and who the person that owns it is like. And the cinematography couldn't fit the murder-mystery more than it does.

This is unquestionably one of the best edited films of the year as well. It makes the pacing feel so fast that you'll really question whether it really is 130 minutes. And the flashbacks that occur throughout (not spoiling anything here) are aided by quick transitions that coincide with the film's present time ever so smoothly.

Knives Out is such a cleverly made film all in all; even though some aspects of the story don't entirely live up to expectations, it's forgivable overall because of how great the rest of it is handled. This is one of the most memorable and well-characterized films of the year that I can certainly see myself liking even more in the hopefully-near future.

Final Grade: A-

Oscars 2020 - November Predictions

Well folks, we've (kind of) made it. Every film we've been keeping our eyes on throughout the awards season has been seen, with the exception of Cats, but..... ya know. With nominations for both the Golden Globes and the Critic's Choice Awards less than two weeks away, now would be an excellent time to see how things are going.

Best Picture

1. The Irishman
2. 1917
3. Marriage Story
4. Once Upon a Time in Hollywood
5. Parasite
6. Joker
7. Knives Out
8. A Beautiful Day in the Neighborhood

Yes, I'm giving in. I've already talked in the past about being hesitant about predicting 1917 to the extent that others have because I felt that the one-shot style would be incredibly hit or miss, not to mention how Sam Mendes' work is a bit divisive also. But after first reactions dropped just recently, it's safe to say that it'll be a big hit with multiple awards guilds.

That being said, I'm still betting on The Irishman winning. The runtime and Netflix bias is certainly going to factor against it, but the acclaim is most certainly there from both audiences and critics.

Marriage Story isn't far behind 1917 if not tied with it right now, so you can somewhat consider this to be a brawl between The Irishman, 1917, and Marriage Story.

Best Director

1. Martin Scorsese - The Irishman
2. Sam Mendes - 1917
3. Quentin Tarantino - Once Upon a Time in Hollywood
4. Bong Joon-Ho - Parasite
5. Rian Johnson - Knives Out

"When is this kid going to give up on Knives Out?" Well, I'm glad to say that my answer is never. I'll consider it the "surprise hit" for the awards season right now, similar to Phantom Thread, because the praise both online and from AMPAS it has been getting so far and the its likelihood of success is something that will easily give it a major boost. Hopefully that will make Lionsgate realize that they should be campaigning it more as well.

Best Lead Actor

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

Nothing new to say here since last time, but I should note that De Niro and DiCaprio are basically tied. Also worth mentioning is that Eddie Murphy in Dolemite Is My Name could make it here as well, but Banderas performance and film seems to be more like something the Academy would like. Murphy is still worth keeping an eye on regardless, and maybe he'll be able to pick up with nominations from the Critic's Choice and Screen Actors Guild Awards.

Best Lead Actress

1. Scarlett Johansson - Marriage Story
2. Renée Zellweger - Judy
3. Ana de Armas - Knives Out
4. Charlize Theron - Bombshell
5. Cynthia Erivo - Harriet

Best Supporting Actor

1. Tom Hanks - A Beautiful Day in the Neighborhood
2. Joe Pesci - The Irishman
3. Al Pacino - The Irishman
4. Brad Pitt - Once Upon a Time in Hollywood
5. Willem Dafoe - The Lighthouse

A Beautiful Day in the Neighborhood I predict is going to be this award season's Philomena. It gets nominated for the same four categories, but the big twist here is that it actually wins the acting category it was nominated for. Hanks already has a big push going for him, and the fact that he's playing Mr. Rogers is irresistible. The Academy may have been keen on snubbing him as of late, but I believe that this will be the one.

Dafoe in The Lighthouse I admit might be more wishful thinking on my part if anything, considering how much I love the film and Dafoe in general. But the way he snuck into the lead actor category last year for At Eternity's Gate really gives me the feeling that the love for him is enough to get him the nominations that he deserves, regardless of genre bias in this case.

And if Dafoe doesn't work out, then put in Shia LaBeouf for Honey Boy instead, which has been getting perhaps the biggest push from Amazon right now and has gotten a good amount of love from those in the industry.

Best Supporting Actress

1. Laura Dern - Marriage Story
2. Margot Robbie - Bombshell
3. Scarlett Johansson - Jojo Rabbit
4. Annette Bening - The Report
5. Maggie Smith - Downton Abbey

Best Original Screenplay

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

Best Adapted Screenplay

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

Jojo Rabbit I feel won't be able to pull through in the end. Its reception has already been very divisive in a season where films that are loved by most are prevailing (with the exception of the divisive Joker, which gets its awards boost from its lead performance and massive box office success).  Not to mention how much more successful other contenders it's up against have been. Maybe I'm wrong, but for now I'll go by by gut and say it won't get a Best Picture nomination, although one for screenplay still seems pretty safe.

Best Film Editing

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

The Irishman takes the front spot mainly because of the runtime and how the editing made it seem so quick. Not to mention that Thelma Schoonmaker is perhaps the most respected film editor in the industry.

1917 is an interesting case here, because war films often do well in this category, and this one even has Lee Smith (previous winner here for the amazing Dunkirk) attached. However, it's one-shot style. although being greatly aided by editing, will seem much more like an effort for cinematography (which it honestly should). This may actually play against it for this category given how the last film in this style, Birdman, won in cinematography but wasn't even nominated for film editing, likely a result of voters thinking the editing is less plausible because of how it is in the style of being one shot. So, I'll lay on it getting nominated here for now, but I'd be more than happy to be proven wrong.

Best Cinematography

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

Roger Deakins goes from being at #2 to looking at #2. I already established 1917's one-shot look above, so I don't think I need to go into too much detail about how it'll easily win over Academy voters. 

Joker has been able to find a surge in this category as of late, particularly with its main competition win at Camerimage, a major cinematography guild. The film has already received plenty of praise for its camerawork already, so it looks like a nomination here is underway.

Best Original Score

1. 1917
2. Little Women
3. Marriage Story
4. Star Wars: The Rise of Skywalker
5. A Beautiful Day in the Neighborhood

Best Original Song

1. "The Ballad of the Lonesome Cowboy" - Toy Story 4
2. "Into the Unknown" - Frozen II
3. "I'm Gonna Love Me Again" - Rocketman
4. "Beautiful Ghosts" - Cats
5. "Stand Up" - Harriet

Best Production Design

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

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. 1917
5. Downton Abbey

Best Visual Effects

1. Ad Astra
2. Avengers: Endgame
3. Star Wars: The Rise of Skywalker
4. The Aeronauts
5. Captain Marvel

Best Sound Mixing

1. 1917
2. Ford v Ferrari
3. Star Wars: The Rise of Skywalker
4. Ad Astra
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

Academy loves war films when it comes to sound design, and know that my fears that it would be too divisive have been dashed, I now feel safe in predicting it to win both of them. As for Ford v Ferrari, I honestly feel like it too won't make it anymore. Not that it isn't well-liked, just that it doesn't seem to have the legs needed to stand against other films throughout the season. Right now, it'd be best to say it'll be the next Baby Driver in the sense that it'll get editing and sound nominations and nothing else.

Best Animated Film

1. Toy Story 4
2. Frozen II
3. Weathering With You
4. Missing Link
5. I Lost My Body

Frozen II may be winning the hearts of fans of the first film right now, but Toy Story 4 still has the far better reception from both audiences and critics to give it a major advantage here. It also helps that the Academy loves Toy Story and Pixar in general.

Best International Film

1. Parasite
2. Les Misérables
3. Monos
4. Gully Boy
5. Atlantics

#BongHive

Film Review - The Irishman (2019)

People always say that you should pick your friends wisely. They help you get through tough times and are there to pick you up when you need it. Need someone to give you a ride to the airport? Well, they may not like it, but hey they're your friend so why not! And, if you're especially lucky, those friends can be more than you think. This means that you now have better protection, more respect, and a growing relationship that only gets stronger, just like a certain Irishman.

The Irishman follows the life of Frank Sheeran who made friends with the right people who held him closely in return. It reveals his connections with them and how they have with him all his life in one of the decade's most expertly crafted films.

It is an epic in every sense of the word, cramming decades of Sheeran's life into three and a half hours. But, not a single second of it is wasted. Every scene adds on to the last, building upon the themes that slowly but ever so satisfyingly appear as the story continues. The pacing makes it feel like the fastest three hours ever thanks to some of the best editing of the year.

The CGI used to de-age the actors to signify this passage of time is something that easily could've been incredibly distracting. Thankfully, it gives Robert De Niro his youth back effortlessly and doesn't distract from the story at all. 

Speaking of the actors, The Irishman is superbly acted, with the standouts being the big three advertised for it: De Niro, Pacino, and Pesci.

Robert De Niro's titular role as Frank Sheeran is a marvel (ha!) to witness. He tells the audience of his character's development better than anyone else ever could, as his vulnerability becomes ever more apparent in one of the most heartbreaking characters in a film from the 2010s.

Al Pacino and Joe Pesci are equally plausible and are at their best in years. Pacino portrays the charismatic and ice cream-loving Jimmy Hoffa with more energy than anyone else in the film, energy that becomes increasingly more impatient with its business partners. Pesci's work as Russell Bufalino, on the other hand, is more of the opposite, offering a more restraint character who often steals the moment with the quiet but thunderous impact he leaves the viewer with. Both of them are simply remarkable and deserve the awards recognition that they're likely to receive.

The real star, however, would be the one and only Martin Scorsese in his defining of cinema here. His direction is flawless, giving the film a personality and groove that would be impossible for any other director to replicate. It's perhaps the most personal he has been in his filmmaking ever.

Other aspects of The Irishman are so well done that it is almost unbelievable. The production gone into recreating the era(s) of Sheeran's time is out of this world, with sets and costumes that seem authentic (people who are into cars will love this). The cinematography is also incredibly impactful with countless unforgettable and haunting shots that perfectly tell the story.

The writing that Scorsese and the actors are given to work with is, unsurprisingly, phenomenal as well. It's fully aware of the situation it deals with, offering a strikingly realistic take on it with the seriousness of it all never being downplayed with enough great humor in there as well to ease the pain.

This film is mobster to the core, but it's tackling of the realities of the mafia business are remarkable. It shows just how deep it was through Frank Sheeran. How it got the best of his friends. How it impacted those who weren't even involved with it. How it ate up his life and filled him with regret and loneliness.

The Irishman feels like it was meant to last forever. It's like Scorsese kept watching back to back while in the editing room to make sure that everything was in place. It will easily go down as the film Netflix is best known for and one of the finest cinematic achievements of the decade.....as well as the film that grossed under $3 million with a nearly $160 million budget.

Final Grade: A+

Film Review - The Lighthouse (2019)

Allow me to begin by asking a simple question: what causes insanity? Immediate answers would say something such as a traumatic experience or mistreatment from others. I, however, offer a differing response, as it is clearly, in all cases, caused by Willem Dafoe's farting.....either that, or being stuck on rock with no one but a farting Willem Dafoe.

That opening is the best way for me to describe The Lighthouse, as it is a grim, haunting film about isolation that also is able to fit a laugh in there, making it one of the year's best films and easily one of the finest horror films of the decade.

It is a bit strange to praise it as horror, though, since the film itself isn't necessarily too scary. Despite this, it nails its bone-chilling story and atmosphere flawlessly.

It's shot in a black and white, 1.19:1 aspect ratio, making it pretty apparent from the start that this is going to be something special. It beautifully matches the ongoing mystery and tension that builds throughout the story and alone defines what this film is.

The sound design is also, without a doubt, the best of 2019. It creates the feeling of isolation that the characters are filled with perfectly. And the score by Mark Korven is one that will stick with viewers long after seeing it.

But the big push that the film gets comes from its performances. The Lighthouse is a two-man show between Robert Pattinson and Willem Dafoe, one being further proof that you can recover from being in Twilight and the other being another excellent addition to the filmography of one of the greatest actors of our time.

Pattinson's descent into madness is so captivating and convincing that it almost made me forget about Joaquin Phoenix in Joker. Then Dafoe is doing a terrific job as usual, offering a brilliant turn as an aging, and quite funny at times wickie. Both of which are deserving of awards recognition regardless of what category they are placed in.

The interactions between their two characters is also a marvel to witness. The more they get to know one another, the more unpredictable their actions towards one another gets. One minute they could be having having a great time with some drinks (they drink a lot in this film), the next they could be at each other's throats. It's fascinating to see how they deal with each other and try to get the other to mess up.

The Lighthouse in its entirety is a brilliant vision of one Robert Eggers', director and co-writer, come to life.

His direction is noteworthy alone for the fact that he was able to get as something as difficult to make as this made, but mainly that his focus on each scene is so clear in its purpose and meaning to the story.

Eggers' writing with his brother Max Eggers is nothing short of brilliant. I've already talked about how great the characters are, so nothing more needs to be said there. But the themes he dives into are something that can spark endless discussion. I won't go into detail about them here for the sake of avoiding spoilers, but keep in mind that it isn't shy about touching on deep subjects.

Not just that, but Eggers made this easily the funniest film of the year. Bits of comedy are sprinkled throughout the runtime and don't distract from the insanity happening at all. If anything, it makes it better, offering a comedic way of executing a rich scene.

I honestly find it difficult to criticize anything in The Lighthouse. In fact, I find it more difficult to believe that I didn't talk about everything that's great in this film. It's such a flawlessly crafted, impeccably acted, and insane work of cinema that can not be missed. It certainly won't be for everyone, but for those who it is for, you've got something special to see along with plenty of farting to watch.

Final Score: A+

Oscars 2020 - October Predictions

Well, we've past all of the major film festivals now. All of the films that are being considered major awards players have been seen now (with a few exceptions), and the awards from various film critic groups are just around the corner. So, consider this my last batch of predictions before the ice breaks and everyone freaks out about their favorite film of the year being ignored by awards bodies.

Best Picture

1. The Irishman
2. Marriage Story
3. Once Upon a Time in Hollywood
4. Knives Out
5. Parasite
6. Ford v Ferrari
7. A Beautiful Day in the Neighborhood
8. Jojo Rabbit
9. Joker
10. 1917

I've been trying to avoid predicting up to ten Best Picture nominees, but considering the films that are in contention and the reception they've been getting (positive enough for each one to warrant enough #1 votes from Academy members), it wouldn't surprise me that we reach the big ten again. 

To the shock of no one ever, The Irishman received extraordinary praise from New York Film Festival, solidifying its Oscar chances even more so. Although the Netflix bias and runtime could still play against it, I have hope that Academy voters will be able see through this and watch the film for what it is.

Just like the time before last time, I spoke too soon...uh...last time in regards to Taika Waititi's Jojo Rabbit. Not only have the film's reviews improved greatly following my last predictions post, but literally two days after I put that one up the film had won the People's Choice Award from TIFF. Keep in mind that the last two films to win that were Green Book (ew) and Three Billboards Outside Ebbing, Missouri. So, right now Jojo is back in the game, albeit how much it's back in I'm still not entirely sure of.

Joker is undoubtedly the most divisive of the year among literally everyone. However, it looks like enough people love it enough to the point where it could easily overcome this and be the second comic-book film to receive a Best Picture nomination. And considering how well the film is doing at the box office right now, it certainly seems likely (I wrote my own thoughts on the film here for those interested).

1917 is a film with awards potential that I have been veeeery skeptical about. Sam Mendes' post-Road to Perdition films are already pretty split among people (with the exception of Skyfall), and there is no way that its one continuous shot scheme is going to sit fine with everyone. I'm warming up to its chances though, because I can't deny that a film like this being shot by Roger Deakins is going to work beautifully for plenty of people. I don't think this will be massive in terms of awards play like so many others do, but I know think a Best Picture nomination is possible for it.

Best Director

1. Martin Scorsese - The Irishman
2. Bong Joon Ho - Parasite
3. Rian Johnson - Knives Out
4. James Mangold - Ford v Ferrari
5. Marielle Heller - A Beautiful Day in the Neighborhood

Best Lead Actor

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

Phoenix looks like he'll be riding high in February. Warner Bros. looks like they'll be ready to campaign him like crazy, and with the film's previously mentioned success and that most people are at least agreeing that his performance was great, I now feel comfortable not only predicting him as a nominee but as the full-on frontrunner.

Best Lead Actress

1. Scarlett Johansson - Marriage Story
2. Thomasin McKenzie - Jojo Rabbit
3. Renée Zellweger - Judy
4. Charlize Theron - Bombshell
5. Cynthia Erivo - Harriet

McKenzie has surprisingly gotten the most praise out of Jojo Rabbit's cast so far, making it seem like she'll at least get a Golden Globe nomination. And if she ends up winning that, I can see her climbing the ladder and even surpassing Zellweger's chances.

Johansson is still my pick since the reception she's gotten has been consistently great, and Netflix will certainly campaign her like crazy soon.

Best Supporting Actor

1. Tom Hanks - A Beautiful Day in the Neighborhood
2. Joe Pesci - The Irishman
3. Al Pacino - The Irishman
4. Brad Pitt - Once Upon a Time in Hollywood
5. Chris Evans - Knives Out

Best Supporting Actress

1. Laura Dern - Marriage Story
2. Ana de Armas - Knives Out
3. Annette Bening - The Report
4. Margot Robbie - Once Upon a Time in Hollywood
5. Maggie Smith - Downton Abbey

Dern still looks like the safest bet for this category, so not much new here. 

Ana de Armas has been getting high praise for her performance in Knives Out, though right now it isn't entirely clear whether she's getting campaigned in Lead or Supporting. Lead would seem like a poor place to put her, though, since this kind of film seems like its performances would benefit more if they were all campaigned supporting (except for Craig). And I feel that Armas will be able to get enough momentum to become a possible frontrunner here.

The recently screened Bombshell as people freaking out about how good Margot Robbie is in it, but I worry about how well the film will do financially, and chances are if the Academy has the choice between Sharon Tate and a Fox News intern, chances are they're gonna go for Sharon Tate.

Maggie Smith is my "surprise nominee" here, because I originally had Scarlett Johansson in Jojo Rabbit in her place, but people are raving her performance when compared to Waititi's and McKenzie's. Smith then comes in as she's easily one of the most well established British actresses out there who has already won two Oscars before that has what is easily the most well-liked performance in the film (based off the show which she also received awards for). So if Focus Features is able to realize the awards potential she may have, then she'll be able to get what will likely be the last Oscar nomination of her career. 

Best Original Screenplay

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

Considering that I'm the only one who has predicted it as a major awards contender since the beginning, this would probably be a good time to explain my stance on Knives Out's awards chances. It's writer/director, Rian Johnson, has just recently gotten his name out there to wider audiences (whether that's good for him or not is debatable) and as a result has gotten Lionsgate to give his latest film a pretty big push with a big chance of bringing in lots of cash (especially with that cast). And after it's premiere at TIFF, it became pretty clear that this is going to be a favorite for all audiences. So be sure to keep an eye on it so you can come back here in January or February and tell me, "Wow Aidan, I can't believe you were right!"

Best Adapted Screenplay

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

Jojo Rabbit actually looks like a very realistic winner for this category. Even with the mixed reception it still looks like it has the appeal to take it home. For now, however, I'm still gonna stick with The Irishman just to play it safe (cowardly, I know).

Best Film Editing

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

Ford v Ferrari has been an interesting film to look at this season, as even after its praise following showings at both Telluride and Toronto Film Festivals, though it hasn't had people saying it will be a massive film to keep an eye on this season. However, I have a very good feeling that this film has the ability to crush it at the box office and win over enough wider audiences, similar to how Hacksaw Ridge did. The only concern then is that Disney now owns Fox, and they'll definitely be more interested in promoting Frozen II, which comes out a week after this. Regardless I still think it'll be able to pull through and at least dominate the editing and sound categories throughout the season.

Best Cinematography

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

Best Original Score

1. 1917
2. Ford v Ferrari
3. Little Women
4. A Beautiful Day in the Neighborhood
5. Star Wars: The Rise of Skywalker

Poor Thomas Newman has been nominated 14 times before and lost each time. But now, 1917 may be what he needs to succeed. The field is already seeming a bit weak as of right now, especially since A24 seems more interested in promoting The Lighthouse instead of Waves (my previous frontrunner prediction for this category). It may be likely that Newman finally gets his due at last purely because of his overdue narrative, and I'm okay with that!

Best Original Song

1. "The Ballad of the Lonesome Cowboy" - Toy Story 4
2. "Into the Unknown" - Frozen II
3. "I'm Gonna Love Me Again" - Rocketman
4. "Stand Up" - Harriet
5. "TBA" - Cats

Best Production Design

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

Best Costume Design

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

Best Makeup and Hairstyling

1. Joker
2. Once Upon a Time in Hollywood
3. Bombshell
4. Downton Abbey
5. Aladdin

Past films involving the Clown Prince of Crime have been able to find their way into this category, even the panned Suicide Squad was able to win here, let alone get nominated. So even though the makeup work in Joker isn't something like say a major transformation of an actor, I bet you the Academy would still go for it.

Best Visual Effects

1. Ad Astra
2. Avengers: Endgame
3. Star Wars: The Rise of Skywalker
4. The Lion King
5. Captain Marvel

Best Sound Mixing

1. Ford v Ferrari
2. 1917
3. Ad Astra
4. Star Wars: The Rise of Skywalker
5. Judy

Best Sound Editing

1. Ford v Ferrari
2. 1917
3. Ad Astra
4. Star Wars: The Rise of Skywalker
5. Avengers: Endgame

Best Animated Feature

1. Toy Story 4
2. Frozen II
3. How to Train Your Dragon: The Hidden World
4. Weathering With You
5. Missing Link

Best International Film

1. Parasite
2. Les Misérables
3. Monos
4. Atlantics
5. Gully Boy

Parasite has been the clear frontrunner of this category ever since its premiere at Cannes Film Festival, and ever since then its support has been growing more and more. And after its impressive opening in New York, it's clear that this will be one to watch, both literally and figuratively.

Film Review - Joker (2019)

If Batman is considered the hero Gotham City needs, then there is not doubt in my mind that the Joker considers himself the one it deserves. Especially if Todd Phillips' take on the character's origins is close to what the creators of Batman had in mind when they first envisioned him.

Joker is dark and depressing film detailing the clown's life before his turn to a life of crime. It is a comic book movie, but it's quite the departure from the ones that most people see today. It's violence is sparse yet brutal, the score is pessimistic and discouraging, and there is no hero, it's only the antagonist as he slowly falls victim his chaos.

As a result, Joker is very much a one man show since no one is there to support Arthur Fleck (the soon to be Joker) for the most part. It's also the "make or break aspect" of the film, because if the lead performance couldn't win over its viewer, then it would easily be terrible.

Fortunately this isn't the case, as Joaquin Phoenix gives a phenomenal performance which perfectly chronicles Arthur's growing impatience with the world around him and his desire to do evil. He also gets bonus points for nailing the Joker's laugh. Simply put, Phoenix's performance alone is what makes this film worth watching, and will easily be up for awards throughout the year.

Joker's message it what makes the film falter in areas, however. The Joker is supposed to be a force of pure evil, yet the film can't decide if he's that or a poor abused puppy dog. It's unclear whether it wants us to feel sympathy for him or to despise him in the end because it seems like he's is the victim considering how he's treated. But it also tries to make it look he's dong something for the common good of most of Gotham? It can't quite decide which side to take. No wonder the internet has been a trash heap since this movie released!

The film's connection to the Batman lore also feels forced. I won't go into any spoilers, but most of the scenes involving the Wayne family could've been cut and the film still would've been just as effective as it is. In fact, the Waynes as a whole possibly could've been replaced and there would've been little to no change.

On a technical achievement, this film truly shines, especially with how it captures Arthur's character. The previously mentioned score is unforgettable and perfectly fitting of his deteriorating life, making it one of the best of the year. The cinematography matches his spite for his home city and those around him seamlessly.

The production value and effort put into the art direction shows, as the representation of Gotham is solid and the look of the Joker here is spot on, costume, makeup, and all! The editing is flawed, as there are times when it tries to help convey a deeper message but ultimately feels a bit off, but this isn't an issue for the most part and it actually works well for the most part.

Even with the film's drawback in storytelling, it gets by not just because of Phoenix but because of how the film uses him. Watching his further breakdown into madness is fascinating, particularly with his interactions with those around him. And the scenes where he is simply dealing with himself are made by his performance, as watching him accept his insanity is a revelation. It's portrayal of the Joker is spot on, even with the confused message it this might be the best representation of him yet.

Joker does fall short of conveying a clear message, but Phoenix as the Joker alone makes it worth watching as he perfectly understands what the film wants of him, and uses it to help make this an overall effective film that isn't perfect, but still hold the competence and understanding of who the Joker is to succeed.

♪ "Send in the clowns." ♪

Final Grade: B

Film Review - The Dead Don't Die (2019)

Zombie films are an interesting topic to me. There was a time when they were among the most popular of the horror genre, thanks to the late and great George A. Romero who launched the idea of zombies into fame with Night of the Living Dead. Since then, zombies have spread into TV shows such as The Walking Dead, one of the most popular shows ever, video games such as Death Road to Canada (I know that there's more notable examples of zombie games but that game really rules (no this is not a sponsored)), and more. Zombies in the film industry, though, have seemingly become less and less relevant over time, especially throughout this decade with a few exceptions here and there.

Then comes in The Dead Don't Die, a dark comedy from the mind of beloved indie filmmaker Jim Jarmusch and with the inclusion of an all-star cast. It's unlikely that this film would've fully revived zombie films, but it certainly could've offered a clever and fascinating take on the topic. Unfortunately.... it doesn't do that either.

The Dead Don't Die is an underwhelming satire that admittingly shares an important message, but it not only fails to create something interesting out of it, it can't manage to be entertaining either.

Easily the biggest issue is Jarmusch's writing. I have no doubt that his past work is great (this is the first film of his I've seen), but this film has easily the most stale dialogue I've seen all year so far. It feels as repetitive and boresome as ever. Lazy would be the best way to describe it as many lines are actually repeated, possibly as an attempt at symbolism, but most of the time it just comes off as awkward. The comedy in particular is where it struggles, offering a couple of decent laughs but often than not it fails to be clever.

I feel bad for the cast attached to this. The performances are actually the best thing about the film, with Bill Murray and Tilda Swinton being the standouts. Yet for some reason, the majority of the actors had to read their lines in the most monotonous voice possible, making the dialogue even more problematic than it already is. Other than that, most of the cast was at least decent and clearly doing what they can with what they're given.

Despite the actors giving their best effort, the characters they're playing are pretty forgettable. They either have not nearly enough screen time to leave a lasting impact, thus being wasted (poor Steve Buscemi), or fail to be interesting at all, especially the children at the juvenile center in the town where the film takes place, who add literally nothing to the film. The characters fully rely on the actors playing them to make the viewer care about them.

The film on a technical level isn't nearly as bad but is still problematic. The editing is questionable throughout, with some effects added in feeling like something that could've been done with iMovie and the cinematography is far from terrible, albeit bland. The makeup work, however, is rather impressive and make the zombies feel pretty realistic, it gets a point for that at least, as opposed to at least sixty subtracted ones so far. The music is decent as well, but if I have to hear Sturgill Simpson's "The Dead Don't Die" ONE MORE TIME.....well, let's just say that I'm as tired of it as Bill Murray was in this.

So right now, it's apparent that a lot of this films problems are due to Jim Jarmusch. As I said earlier, I'm sure his other films are of quality, and if that is the case then he just didn't care for once and put as much effort into this as a high school student would put into an assignment that was finished just minutes before it was due.

This is easily best seen with the last ten to fifteen minutes of the film, which I won't spoil here. However, I will say that it feels like he had no idea how to end it, so he just decided to use whatever he thought of and slap it in there, making for a unpleasant combination of it's failed comedy and poor character development.

The Dead Don't Die does show potential, and I do feel like it could've been something special considering how well liked the earlier films from Jarmusch are and the cast that he had to work with here. But instead of giving it his all, he just decided to force this out as a time waster. And a time waster it is, as it's a waste of time for Jarmusch, the cast he had, and the people who watched it. When you waste Tom Waits and Steve Buscemi's time, that's when you know you made a bad movie.

Final Grade: D

Oscars 2020 - September Predictions

We're in the start of September, and that means that the awards season has officially begun, with Telluride and Venice Film Festivals having wrapped up  and Toronto International Film Festival (aka TIFF) drawing to a close, a lot has been learned over the past couple weeks. What films have lived up to expectations and haven't pulled a Billy Lynn? What will surprise us all and plunge into awards glory? Let's find out!

Best Picture

1. The Irishman
2. Marriage Story
3. Knives Out
4. Once Upon a Time in Hollywood
5. A Beautiful Day in the Neighborhood
6. Ford v Ferrari
7. Waves
8. Just Mercy

Yeah, I definitely spoke too soon on Marriage Story the last time I made Oscar predictions. Especially after the reception Noah Baumbach's latest got from Telluride and Venice, it's safe to say that a Best Picture nomination is in its future.

I originally put A Beautiful Day in the Neighborhood as a lone Adapted Screenplay nominee in my past two predictions posts, but after it's TIFF reception it's pretty safe to say that the film has awards success on it's way.

Waves A24 got a lot of love out of Telluride, with critics going nuts for it right now. With a TIFF appearance as well, it's sure to be another big hit for the indie distributor.

Just Mercy is getting good reception from TIFF, although not as good as say Green Book which dealt with similar themes. So it may not be a big Best Picture player as other initially thought, but because of said themes I do think it could at least get nominated.

Best Director

1. Martin Scorsese for The Irishman
2. James Mangold for Ford v Ferrari
3. Rian Johnson for Knives Out
4. Marielle Heller for A Beautiful Day in the Neighborhood
5. Trey Edward Shults for Waves

Right after I say that Marriage Story is a Best Picture contender I then say that Baumbach won't get a Directing nomination for it. I think he's going to miss out similarly to how Martin McDonagh and Bradley Cooper did along with Tarantino, getting nominated for everything else only to miss out at the Oscars in favor of a surprise nominee.

Waves director Shults would be a good contender for the "surprise nominee" since although I don't it'll be as big as an awards hit as others do outside of Original Score, it's still very likely that enough Academy voters will like it enough to get it a nomination for this category.

Best Lead Actor

1. Robert De Niro in The Irishman
2. Leonardo DiCaprio in Once Upon a Time in Hollywood
3. Adam Driver in Marriage Story
4. Antonio Banderas in Pain and Glory
5. Michael B. Jordan in Just Mercy

Let me tell you buddy, this category is a bloodbath this year.

Joaquin Phoenix is getting praise for his performance in Joker, but I feel like he's destined to be the one that just barely misses this year (with Jordan being the one who takes his spot).

Willem Dafoe in The Lighthouse could stand a significant chance here, but right now it sounds like A24 is planning on campaigning him in the Supporting Actor category, which is also packed. But who knows, maybe they'll change their minds and put him in Lead Actor after all, but right now that seems doubtful.

Despite praise for Driver and DiCaprio in their films, I do see them getting nominated but I just don't see them winning for their work, especially for DiCaprio who already has an Oscar.

For now, I'll just stick with De Niro who has the titular role in The Irishman. Not only does it seem like a substantial career comeback for him, but he's working with freakin' Scorsese again. How can you turn that down?

For now, though, it would probably be best to play the waiting game for this category and to just slowly watch more information and praise to come in.

Best Lead Actress

1. Scarlett Johansson in Marriage Story
2. Cynthia Erivo in Harriet
3. Saoirse Ronan in Little Women
4. Charlize Theron in Bombshell
5. Jodie Turner-Smith in Queen & Slim

I originally said that Harriet reminded me of Darkest Hour, well now it's giving me more Jackie vibes instead. Right now the film just doesn't look like it's got enough steam to sweep the awards, and will probably just get nominations in Lead Actress and one or two other technical categories.

Johansson on the other hand is getting career best praise for Marriage Story, which Netflix seems ready to give a big push for Awards, so to the top she goes.

I was skeptical about putting Ronan here since I'm feeling Little Women won't be campaigned well enough, but the Academy (and everyone else for that matter) seems to like her enough at this point to let her in.

Best Supporting Actor

1. Tom Hanks in A Beautiful Day in the Neighborhood
2. Joe Pesci in The Irishman
3. Chris Evans in Knives Out
4. Brad Pitt in Once Upon a Time in Hollywood
5. Jamie Foxx in Just Mercy

The Academy may have been pretty dismissive as of late towards Hanks. However, with him being the household name actor in America that's been getting some of the best reviews of his career for his newest work, and for a role that's very likely to be campaigned supporting no less, to say his third Oscar is on his way is very realistic as of now, especially considering that he's playing Mr. Rogers.

Best Supporting Actress

1. Laura Dern in Marriage Story
2. Annette Bening in The Report
3. Jamie Lee Curtis in Knives Out
4. Margot Robbie in Once Upon a Time in Hollywood
5. Meryl Streep in The Laundromat

Dern's time may at last be here. The beloved actress is in an already acclaimed film with a supporting role that has been praised as one of her best performances. Perhaps she can finally win!

Best Original Screenplay

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

The premiere Knives Out at TIFF was among the best at the festival this year, and it's reviews so far have been through the roof. I've been saying this since I started making my Oscar predictions and I'll say it again, this movie is going to be a very big deal. Oh, and Parasite is being acclaimed like crazy too and is a surefire for Best International Film so here ya go.

Best Adapted Screenplay

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

Poor Jojo Rabbit got extremely divisive reception reception out of TIFF, meaning that it's Oscar chances aren't to hot anymore. Divisive films has made it into multiple categories in the past, most notably being Vice from last year, but when you compare the themes in Jojo Rabbit to the ones in Vice, it's certainly a detriment to Waititi's latest. Maybe it can sneak in here since Adapted Screenplay is kind of weak this year, but I wouldn't count on it.

For The Farewell and The Two Popes, I owe credit to Will Mavity from Twitter who pointed out that both films were adapted and not original as most people have been predicting. The Two Popes he said was based off a play the film's writer Anthony McCarten wrote, and The Farewell is based on a story its writer and director Lulu Wang wrote for "The American Life". The Academy is also known for putting films in Adapted regardless of whether its been considered Original or not given the circumstances (Ex. Moonlight) so chances are the same will apply to both films.

Best Film Editing

1. Ford v Ferrari
2. The Irishman
3. Marriage Story
4. Knives Out
5. A Beautiful Day in the Neighborhood

Best Cinematography

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

Best Original Score

1. Waves
2. Ford v Ferrai
3. Little Women
4. 1917
5. Star Wars: The Rise of Skywalker

As previously mentioned, Waves is likely to sweep this category throughout the awards season, as the music in it is by far the most praised aspect of it so far. So what ever happens to it, it's safe to say that it'll at least end up with good luck here.

Best Original Song

1. Toy Story 4
2. Frozen 2
3. The Lion King
4. Harriet
5. Cats

Best Production Design

1. Once Upon a Time in Hollywood
2. Little Women
3. The Irishman
4. Downton Abbey
5. Ford v Ferrari

Best Costume Design

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

Best Makeup and Hairstyling

1. Once Upon a Time in Hollywood
2. Joker
3. Bombshell
4. Downton Abbey
5. Aladdin

Going for Once Upon a Time in Hollywood winning the three categories above, as I already brought up last time in regards to Costume and Production Design that the film's 1960s recreation will be something the Academy won't simply say no to. Adding in Makeup and Hairstyling to the mix now because although it isn't as showy as the past couple of winners in this category, but it's still being considered rather impressive, and for a category like this and a film like this, a win seems like it could truly happen.

Best Visual Effects

1. Avengers: Endgame
2. Star Wars: The Rise of Skywalker
3. The Lion King
4. Captain Marvel
5. Spider-Man: Far From Home

Best Sound Mixing

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

Best Sound Editing

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

Best Animated Film

1. Toy Story 4
2. Frozen 2
3. Missing Link
4. How To Train Your Dragon: The Hidden World
5. Okko's Inn (the anime movie I foreshadowed oh so long ago)