Friday, September 4, 2020
Film Review - Tenet (2020)
Man, it's been a while, and wouldn't you know it, we're still in this mess. But, that isn't stopping Christopher Nolan from rolling in with some fresh 70mm prints of his latest work to lead the reopening of movie theaters across the world, paving the way for further exposure..... and disappointment!
I like Nolan, I really do. I haven't seen all of his films, but what I have watched I've liked a great deal, especially the high and emotional tension of Dunkirk and the ingenious gimmick of Memento. Now we have Tenet, a film where time is key, as in time we'll never get back because of how dull it feels.
In all seriousness, the time within the film feels like a total waste. There are some genuinely well done parts of it in regards to plot points I won't spoil here, but for the most part it's crazy potential feels unrealized. We get some cool glimpses of it as I said, but it never goes beyond much that, feeling strangely surface level and ultimately adding up to very little satisfying payoff. It simply doesn't serve as an interesting plot device in most cases, seeming more like it's there to make the film seem incredibly cool as a means to lure audiences in... only to give them something far less compelling than one would hope.
If anything, the time is best done in the action scenes, which are certainly the best part of the film. Nolan still does a good enough job directing some good fights that are pretty and often interesting to watch with the said time aspect, and some very well-done, low key visual effects are present to boot. The score, this time by Black Panther's Ludwig Göransson, rather than Zimmer as is typical with Nolan, does a good job of fitting the mood and adding to the action.
I also must hand it to the cast, they do a good job of selling what they're given. No, not you Kenneth Branagh, you're just awful and horribly miscast. But, John David Washington does a solid enough job of leading the film, with Robert Pattinson making for good support. Though it's Elizabeth Debicki who shines the most here with a well-realized. It's just shame that they're all bogged down by what they have to work with... which is what leads me to the screenplay.
Nolan has always been seen as a better director than screenwriter, but his work for Tenet is just pathetic. All of the characters feel disposable, being incredibly underdeveloped to the point where there is no reason to care for them, with cliches and forced humor galore. They simply serve as a means for their to be a plot, and no interesting character or well-developed emotional depth were given to them in turn.
It worsens an already weak experience by taking what doesn't work to being with and adding another poor piece to it. In turn, everything around is overshadowed by what should be elevating it. Plenty of nicely executed work on the technical side seems put off to the side to satisfy an underwhelming narrative that simply doesn't deserve it. That, my friends, it what we call a true waste of... talent... and a lot of time!
So, there you have it. A Christoper Nolan film that is all show and no tell. It gives you something cool to look at, yet there is hardly anything interesting about it. As a result, much of the film's strengths are hidden behind the deeply undercooked aspects that should've made Tenet a true knockout. But instead we get a film that offers a glimpse at something that could've been truly fascinating, and it lands flat on its face thinking that it's brilliant as it sounds. Such a shame.
Final Grade: C-
Sunday, June 21, 2020
Film Review - Hard Eight (1997)
Long before the pudding, oil, and poisonous mushrooms, now acclaimed writer and director Paul Thomas Anderson was rolling dice with some early-on collaborators in his directorial debut, often considered the weakest of his filmography. Character study Hard Eight can't seem to get much of a break, bombing pretty badly on an already small budget upon release and not seeing a ton of additional traction since, despite Anderson's growing acclaim and fandom. So, normally, most who haven't seen it would possibly consider it a growing pain that many great directors have early on, like Stanley Kubrick's Fear and Desire or Martin Scorsese's Boxcar Bertha, but there's far more to Hard Eight than what it may be given.
What's perhaps most noticeable about the film is how much of a stacked cast Anderson was able to accumulate for his first film, with famed comedic actor John C. Reilly, future Oscar winner Gwyneth Paltrow, and cheeseburger loving Pulp Fiction star Samuel L. Jackson all present and giving solid, memorable work. But the name up front in Hard Eight is the lesser appreciated Philip Baker Hall, who is simply incredible here as a fatherly and mysterious gambler in a performance that almost single handedly carries the film with his effective and unforgettable approach.
Notice how I say "almost single handedly" there, because Anderson clearly knew how to make a captivating and unique picture from the very start. The film's is oozing with energy in scenes where characters are working to get things done, creating for ever so satisfying build-ups through sharp editing and use of fantastic score by Jon Brion and Michael Penn. And in other scenes of uncertainty and suspense, tension is created excellently purely through the cast's efforts and dialogue that make sense of the gravity of the situation while still showing how their character's own flaws are crucial to how things are resolved.
Though, as a directorial debut, some issues are inevitable, particularly with some plot points being finished up, albeit not in the most satisfying ways, and the pacing may come off as jarring in the second half. But such problems, while still present, are more forgivable with how the film revolves around Philip Baker Hall's character, Sydney. His personality and deeper character are shown excellently with his interactions with others and his approach to them, demonstrating a softer person beneath as well as a darker side to himself that he prefers to keep to himself at all costs. He makes for an unforgettable lead character that Anderson's later work would be known for and built upon.
Even with a shakier reputation than most of the films from Paul Thomas Anderson, Hard Eight is no bad bet, as it offers an engaging and fascinating experience as one would expect from one of the best working today. One can only hope that its love grows overtime, hopefully to the point where it actually gets a Blu-Ray release, but for now at least a great film is still before us.
Final Grade: A
Thursday, June 18, 2020
Oscars 2021 - June Predictions
Uh... well, this has been an eventful past few months, to say the least. The reasons being I think are pretty obvious, but the ones I'll discuss will of course be in regards to the Oscars. So, here, I will attempt to do some predictions as I would normally do and discuss some of the changes in the process. So stand back, ladies and gentlemen, I'm gonna try and take a stab at what's probably the most uncertain field for an Awards Season ever.
Best Picture
Best Picture
- Mank
- Annette
- Dune
- Harry Haft
- The French Dispatch
- Tenet
- Ammonite
- Soul
First off, it's worth mentioning that I hope we can consider all of these 2020 releases, with the eligibility period being extended to the end of February 2021, because apparently good movies are only released during Awards season? It's a pretty poor move, especially if most of the nominated films for a ceremony for 2020 films are 2021 releases. In that case, what was the point of allowing straight to VOD and streaming films eligible? Maybe they'll be released elsewhere before the years end so they can count as 2020 films, considering that this all seems to be the biggest issues in the United States.
Speaking of straight to streaming films, that makes this the year for a Netflix film to win, particularly Mank, a biographical film about a Citizen Kane co-writer from a beloved director who still hasn't won with Gary Oldman helming the lead. If not, then Amazon has us covered with Annette, a musical from Holy Motors director Leos Carax staring Adam Driver and Marion Cotillard, which could easily be a hit.
But if we are going off of theatrical releases, then Dune and Tenet are the best bets. Dune in particular, since it's not coming until later this year, is from an already nominated and well established director, and the film itself seems very ambitious. Tenet is lower because Nolan seems to think he can get things cleared up by the end of July, which is... not possible. But I could still see the film getting enough love to bypass what could easily be poor box office numbers and succeed with viewers.
Best Director
- David Fincher - Mank
- Leos Carax - Annette
- Denis Villeneuve - Dune
- Barry Levinson - Harry Haft
- Wes Anderson - The French Dispatch
Anderson is one I could see missing based mainly on gut feeling, but right now I believe he's a safer bet than Nolan for reasons previously stated, plus another one I'll get to in a bit...
Best Lead Actor
- Ben Foster - Harry Haft
- Adam Driver - Annette
- Gary Oldman - Mank
- Anthony Hopkins - The Father
- John David Washington - Tenet
Ben Foster being a highly esteemed actor who still has yet to get an Oscar nomination has found what may be the part he needs as the titular role in the film about a boxer forced to fight in Holocaust concentration camps trying to find his first love in his life after the war. And from Barry Levinson no less, the director of Best Picture winner Rain Man; this seems like the perfect formula for Foster to get his due.
Driver I'm sure will get plenty of love for his turn in Annette, given how close he was to victory last year. Oldman and Hopkins being veteran winners in very baity roles helps, Hopkins in particular has already been seen and has received tons of praise. Then Washington is one I bet on as while I predict his film to underperform awards wise, I believe he'll have the love he needs to get in backing him.
Best Lead Actress
- Marion Cotillard - Annette
- Amy Adams - Hillbilly Elegy
- Kate Winslet - Ammonite
- Jessie Buckley - I'm Thinking of Ending Things
- Jennifer Hudson - Respect
Best Supporting Actor
- Tom Burke - Mank
- Delroy Lindo - Da 5 Bloods
- Bill Murray - On the Rocks
- Danny DeVito - Harry Haft
- Forest Whitaker - Respect
Still have Burke as Orson Welles as my bet here, but let's talk about Delroy Lindo. A lot of talk has been going on about whether he's leading or supporting. With more screen time than anyone else in the film, but its also arguably an ensemble piece. My bet is that Netflix will go with supporting, unfortunately, because of the ensemble nature of the film and the fact that Lead Actor already has some contenders that will be hard to match. However, given that he has plenty of support backing him, it's possible that a leading campaign could work out instead.
Best Supporting Actress
- Saoirse Ronan - Ammonite
- Glenn Close - Hillbilly Elegy
- Vicky Krieps - Harry Haft
- Meryl Streep - The Prom
- Amanda Seyfried - Mank
Best Original Screenplay
- Mank
- Ammonite
- Annette
- Soul
- Da 5 Bloods
Best Adapted Screenplay
- The French Dispatch
- Hillbilly Elegy
- Dune
- Next Goal Wins
- The Personal History of David Copperfield
This category looks to be pretty barren this year, and The French Dispatch is supposedly based off of real newspaper stories, so Fox Searchlight would be silly not to run it here. Next Goal Wins and The Personal History of David Copperfield are really just films that could be swapped out with others here. However, I do feel that both could easily be here, especially with good word surround Copperfield and Waititi helming Next Goal Wins, which could actually be a bigger player in general, but given how uncertain things are right now, it's best to just wait and see what happens.
Best Film Editing
- Harry Haft
- Dune
- Annette
- Mank
- The French Dispatch
A boxing/wrestling based film seems to be the kind of work that would impress Academy voters the most, a la Raging Bull, but still keep an eye on Dune, which is undoubtedly going to be a very big player in terms of the technical categories.
Best Cinematography
- Dune
- Annette
- Tenet
- The French Dispatch
- Mank
Best Original Score
- Annette
- Dune
- Tenet
- Mank
- The French Dispatch
Best Original Song
- Annette
- No Time to Die
- Soul
- West Side Story
- The Prom
Best Production Design
- Dune
- The French Dispatch
- Mank
- Annette
- West Side Story
Best Costume Design
- Dune
- The French Dispatch
- Mank
- West Side Story
- Mulan
Best Makeup and Hairstyling
- Hillbilly Elegy
- Dune
- Death on the Nile
- Mank
- The French Dispatch
Best Visual Effects
- Dune
- Tenet
- Black Widow
- Top Gun: Maverick
- Call of the Wild
Best Sound
- Tenet
- Dune
- Annette
- Top Gun: Maverick
- Soul
No more Sound Mixing and Sound Editing, just Best Sound. It's unfortunate given that the two are fundamentally different, and had many split wins in past years, including last with 1917 winning Sound Mixing and Ford v Ferrari winning Sound Editing. But, it is what it is, and with the one category now, my guess would be Tenet, because I can't see a Nolan picture not winning a single tech award nowadays, and Sound may be the ticket it needs.
Tuesday, June 16, 2020
Film Review - Clue (1985)
It's usually not a good sign when a movie is based off of a game, and most would certainly assume the same with Jonathan Lynn's Clue, based off the classic board game and brining over its characters such as Mr. Green, Mrs. White, and, of course, Rich Uncle Pennyba–err, I mean Professor Plum. However, Clue's origins were just a red herring, as while this is undoubtedly a game, it's one that uses it to its full advantage.
The film is hilarious all the way through, mostly in part thanks to the cast. The entire ensemble undoubtedly had a blast here; everyone makes the most of every moment and are entirely aware of the film's nature, particularly Tim Curry who brings to life a butler as zany and entertaining as they come. Simply put, Clue is made what it is thanks to the efforts of its cast.
But that isn't to shame the rest of the film, as its comedic efforts on its own work wonders. It doesn't take itself seriously in the slightest, trading mystery for comedy. This admittedly does take away for what could've made for some great whodunnit elements (apart from maybe the end), but it doesn't kill with cluelessness in the studio, not at all. It takes the situations and setting it's given and works with it in ways that allow for its antics to ensue. Every moment offers more than a good laugh with how they are made with the idea of keeping entertaining tension at hand.
However, the film is somewhat lacking in story development, with the screenplay setting up part of a story and having other parts somewhat interrupt it. But this can be forgiven because the writing still achieves what it sets out to do, making up for some underdevelopment with an intriguing enough mystery that is helped by how humor is mixed into the equation. It's not a perfect screenplay, but the areas where it does work do so quite well, and embraces the wackiness at hand more so.
Ultimately, what was initially met with mixed reception and poor box office numbers has rightfully earned its title as a cult classic. Where it lacks a fully intriguing mystery, and makes up for in the humor and cast chemistry that is among the best of its time for a comedy. It's possibly the best adaption of any game out there, which may be a low as a bar as they come, but Clue is a diamond in the rough worth anyone's time. Now, if you excuse me, I'm gonna go home and... watch a movie, I guess.
Final Grade: B+
Tuesday, May 19, 2020
Hollywood Hell in Barton Fink
SPOILER WARNING
Set in 1941 Los Angeles and chronicling the titular writer’s (John Turturro) discovery of the hell within Hollywood while staying at the Hotel Earle to now work for Capital Pictures, Barton Fink is perhaps the most expressive of the Coen Brothers’ filmography. Given that and the fact that it won three Cannes awards (including a unanimous Palme d’Or), it's surprising how it’s one of their lesser talked about films nowadays.
If anything, the film is an exploration of Fink’s mind and how he wraps himself around writing what’s expected to be a standard wrestling film, something he can’t bring himself to do, and the film doesn’t limit itself in that regard. It’s sprawling with symbolism and metaphors about his struggle, mainly through other characters and his interactions with them.
His point of view is captured spectacularly through Roger Deakins’ cinematography and the impeccable production design that demonstrates Fink’s mind; his process, his thoughts, and his difficult task to make sense of everything that happens to him.
And it doesn’t help that the people he’s working for are clearly not interested in making the film the way he is, so instead he gets help from the people he meets, including John Goodman’s Charlie Meadows, an insurance salesman who becomes Fink’s only friend in L.A. and also a motivation, as Goodman brilliantly portrays a friendly and talkative, yet mysterious man that helps him more than anyone else on the way.
This is especially true in how he discovers the effect of Hollywood in those he seeks out for help, with Bill Mayhew, who he considers to be the “finest novelist of our time,” who's now a disturbed drunk since coming to Hollywood, or producer of the wrestling picture Ben Geisler, who is abnormally desperate for him to write something that Capital Pictures head Jack Lipnick (Michael Lerner).
Lipnick is perhaps the biggest roadblock for Barton, as he claims that he holds more respect for the writer than anyone else. He almost holds a little too much respect for him in fact, and from the getgo he seems overly confident that he knows exactly what he’s going to get. This pressures him even more because, as previously mentioned, he wants to write something better that the common man can relate to.
And with Charlie’s inspiration, he is able to accomplish that with what he considers to be his best work yet. However, he is mocked for his achievement, being seen as a freak at a party where he tries to celebrate this accomplishment, and then the first readers of his script mock his efforts, leading into a spell-binding climax that leaves him realizing how much his work means to him, and what it says about everyone he hopes will encounter it.
Then, Barton encounters Lipnick for the final time, who is astoundingly disappointed, and now plans to leave him in the dust in favor of many other writers who are stuck in the same lie as him, and can get him that same “Barton Fink feeling” that he was expecting here. And as Turturro has portrayed Barton as a man slowly following the path being paved by himself with a little help along the way, he now shows him as lost; nowhere to go. He simply sits, with no understanding about what’s next and, as even seen before his last meeting with Lipnick, nothing else to seek out or go to. He’s just stuck at a dead end as a part of a picture of someone looking at nothing ahead.
Maybe he’ll be able to escape this hell and return to being able to tell “something beautiful, something about all of us.” But as far as we know, he's just another victim of the film industry.
This post is apart of Filmotomy's Cannes Film Festival retrospective. Please visit their website by clicking here to see other Cannes-related reads they have in store for it.
Thursday, May 14, 2020
A Quick Update
First off, I apologize for the lack of posts these past couple months. I've been busy with other things lately, mainly academics. Fortunately, I'm almost entirely done with that now, and can ensure that posts will be happening more frequently for the next couple of months.
Second, Oscars-related content will probably be taking a backseat for the time being. I technically do have a new batch of predictions mostly ready, but given the state of essentially everything right now, I think it might be best to hold off until on posting it until things look a little more certain. I also might do a quick write-up on the recent rule changes and the possibility of next year's show being delayed to early summer next year, but I haven't decided yet.
Finally, my next post will be apart of awards and film website Filmotomy's Cannes Film Fesitval retrospective, celebrating the festival's history during the time when it was originally planned to happen this year. It will be an analysis on Barton Fink, one of my all-time favorite films. Now I can finally have another essay to post! Yay!
Well, that's just about everything.
See you soon!
Second, Oscars-related content will probably be taking a backseat for the time being. I technically do have a new batch of predictions mostly ready, but given the state of essentially everything right now, I think it might be best to hold off until on posting it until things look a little more certain. I also might do a quick write-up on the recent rule changes and the possibility of next year's show being delayed to early summer next year, but I haven't decided yet.
Finally, my next post will be apart of awards and film website Filmotomy's Cannes Film Fesitval retrospective, celebrating the festival's history during the time when it was originally planned to happen this year. It will be an analysis on Barton Fink, one of my all-time favorite films. Now I can finally have another essay to post! Yay!
Well, that's just about everything.
See you soon!
Monday, May 11, 2020
Film Review - The Ballad of Buster Scruggs (2018)
Perhaps the most unique of the Coen Brothers filmography, The Ballad of Buster Scruggs is unlike anything else the beloved writing and directing duo have made before while still retaining what makes them great. It makes new territory for them, not just in that it's a Netflix film and, to the dismay of Quentin Tarantino, their first film shot digitally rather than on film, but it's also an anthology film, taking six different stories set in the west in which people die, a lot.
Being an anthology film is both the high and low point of the film. It's to its advantage since it has multiple stories as it creates for a great sense of rewatchability, but also makes for a gap of dissatisfaction. Not that any of the stories are bad, but as with films of this nature, some just aren't as good as the others for one reason or another, and just leaves a bit of a desire to see more be done with it. However, that rewatchability prevails here, as each story is still quite good.
It opens and ends with the two best stories of the bunch, with Tim Blake Nelson giving a hilarious and quotable performance that is easily his best in the first namesake story, and Mortal Remains featuring some of the best writing the Coens have ever put to screen. But this isn't to discredit the other four, with Tom Waits absolutely killing as a prospector in All Gold Canyon, The Gal Who Got Rattled offering a slow-paced but rather compelling look at social-discomfort, and the bizarre but truly fascinating Meal Ticket giving a limbless Dudley Dursley his time to shine (no, seriously). Even Near Algodones, maybe the weakest of the bunch, gives an enjoyable perspective on fairness, and who can ever forget a line like "PAN SHOT"?
And throughout each, the western aesthetic shines, with great sets and costumes to boot and a simply wonderful score from Carter Burwell to suit the mood. And although the digital cinematography as previously mentioned does show a bit too much at times, for the most part it beautifully captures the nature of each segment.
But the handling of each message behind the stories is what makes The Ballad of Buster Scruggs shine. Each one is has its own theme relating in some way to death and it tells of it in humorous, endearing, and heartfelt ways that makes it effective and endearing. It helps make it as memorable as it is, and gives for more to reflect on as any film from the Coens does.
This may not be the most consistent Coen Brothers film, but it is easily one of their most memorable for the characters and storytelling that it presents. It's by far one the best films Netflix has distributed, and it left me 99% satisfied... give me John Goodman and we'll discuss that other 1%.
Final Grade: A-
Friday, April 10, 2020
Oscars 2020 - My Wins and Nominations
Since things have been running pretty slow recently due to, well, recent events, I decided to compile my personal wins and nominations for the 2020 Oscars. These are of course subject to change and I certainly still have more than enough films from 2019 to still see (recommendations are more than welcome).
Best Picture
Best Director
Best Lead Actor
Best Lead Actress
Best Supporting Actor
Best Supporting Actress
Best Original Screenplay
Best Adapted Screenplay
Best Film Editing
Best Cinematography
Best Original Score
Best Production Design
Best Costume Design
Best Makeup and Hairstyling
Best Picture
- The Irishman
- The Lighthouse
- Parasite
- Little Women
- Once Upon a Time in Hollywood
- Knives Out
- The Souvenir
- A Beautiful Day in the Neighborhood
- The Farewell
- 1917
Best Director
- Martin Scorsese - The Irishman
- Bong Joon-ho - Parasite
- Robert Eggers - The Lighthouse
- Greta Gerwig - Little Women
- Sam Mendes - 1917
Best Lead Actor
- Robert De Niro in The Irishman
- Willem Dafoe in The Lighthouse
- Robert Pattinson in The Lighthouse
- Joaquin Phoenix in Joker
- Leonardo DiCaprio in Once Upon a Time in Hollywood
Best Lead Actress
- Honor Swinton Byrne in The Souvenir
- Saoirse Ronan in Little Women
- Awkwafina in The Farewell
- Ana de Armas in Knives Out
- Lupita Nyong'o in Us
Best Supporting Actor
- Joe Pesci in The Irishman
- Al Pacino in The Irishman
- Song Kang-ho in Parasite
- Tom Hanks in A Beautiful Day in the Neighborhood
- Daniel Craig in Knives Out
Best Supporting Actress
- Florence Pugh in Little Women
- Zhao Shuzhen in The Farewell
- Cho Yeo-jeong in Parasite
- Park So-dam in Parasite
- Scarlett Johansson in Jojo Rabbit
Best Original Screenplay
- Parasite
- Knives Out
- Once Upon a Time in Hollywood
- The Lighthouse
- The Souvenir
Best Adapted Screenplay
- The Irishman
- Little Women
- The Farewell
- A Beautiful Day in the Neighborhood
- Jojo Rabbit
Best Film Editing
- The Irishman
- Parasite
- 1917
- The Lighthouse
- Knives Out
Best Cinematography
- The Lighthouse
- 1917
- Parasite
- The Irishman
- Little Women
Best Original Score
- Little Women
- 1917
- Parasite
- The Last Black Man in San Francisco
- Joker
Best Production Design
- Once Upon a Time in Hollywood
- Parasite
- The Lighthouse
- The Irishman
- Knives Out
Best Costume Design
- Little Women
- Once Upon a Time in Hollywood
- Dolemite Is My Name
- Jojo Rabbit
- The Irishman
Best Makeup and Hairstyling
- The Lighthouse
- The Irishman
- 1917
- Once Upon a Time in Hollywood
- Little Women
- Ad Astra
- The Irishman
- 1917
- Ford v Ferrari
- The Lighthouse
- 1917
- The Lighthouse
- Ad Astra
- Ford v Ferrari
- Once Upon a Time in Hollywood
Best Sound Editing
- The Lighthouse
- 1917
- Ford v Ferrari
- Ad Astra
- The Irishman
Total Nomination/Win Tally
- 1917 - 1 Win, 9 Nominations
- Ad Astra - 1 Win, 3 Nominations
- A Beautiful Day in the Neighborhood - 3 Nominations
- Dolemite Is My Name - 1 Nomination
- The Farewell - 4 Nominations
- Ford v Ferrari - 3 Nominations
- The Irishman - 6 Wins, 12 Nominations
- Jojo Rabbit - 3 Nominations
- Joker - 2 Nominations
- Knives Out - 6 Nominations
- The Last Black Man in San Francisco - 1 Nomination
- The Lighthouse - 3 Wins, 12 Nominations
- Little Women - 3 Wins, 9 Nominations
- Once Upon a Time in Hollywood - 1 Win, 7 Nominations
- Parasite - 1 Win, 10 Nominations
- The Souvenir - 1 Win, 3 Nominations
- Us - 1 Nomination
Monday, March 16, 2020
Film Review - Boys State (2020)
States from across the country gather up a multitude of 17-year-old boys to participate in Boys State, in which they work to form two separate political parties and work against each other to create a government similar to what's seen in the United States, if not better (which isn't difficult).
This documentary, simply titled Boys State, records just that, teenage boys from Texas acting as politicians to help their new party reach the top. It serves as not only a compelling look at some of the boys' efforts, but also as an interesting examination of political appeal.
From its opening moments, the film does a great job at getting the viewer to be compelled by these boys. It's quick with showing who the main ones it follows are, and tells you everything you need to know about them, while also giving off hints of the challenges they'll face along the way. It does a great job of developing their personalities so they can give the audience a reason to root for them on their election journey.
And the energy seen in these boys is wholly entertaining. The ways they gain their credibility among their piers can be a treat; from using joke issues to keep those they need to impress most engaged, to having memes be their primary source of campaigning, it's hard not to find enjoyment in their efforts to make it big and their various interactions with one another.
Those interactions are grounded firmly in advancing their own political agenda. Much of this even involves covering up what they really believe, as the majority of the boys are conservative, meaning that some are forced into pushing for causes they dislike, effectively illustrating the complications of appealing to others. And, fortunately, it never becomes preachy, finding a nice middle-ground making it clear that these boys all have their own beliefs that they still respect while trying to still make it big.
The way they treat each other shows the power of this more so, with attacks each side throws at the other finding mixed results, with some succeeding with how their party finds justice in the decision, and others failing with ones that seem purely like moves to advance it. But in the end, it all goes back to how the boys connect to each other, showing how they grow to appreciate one another despite their disagreements and how to respect them also.
Boys State in the end makes for a great watch as both a coming of age and politically insightful experience that knows what it is and has a fun time with it. I understand that not everyone will find young men talking about politics to be particularly enjoyable, but it stills makes for a strong look at a program that's gotten people politically involved for years.
Final Grade: A-
Saturday, March 14, 2020
Oscars 2021 - Year in Advance Predictions
I realize that it is far too soon to start discussing this, and I honestly couldn't care less since this constitutes at least 50% of my life. Let's jump into the action, here are my insanely early Oscars 2021 predictions.
Best Picture
Best Picture
- Mank
- Annette
- Dune
- The French Dispatch
- Blonde
- Ammonite
- Tenet
- Soul
- Fonzo
Netflix is still getting the cold shoulder from the Academy, but a Hollywood set, black and white biography about Citizen Kane's co-writer is sure to strike their fancy. Close behind I'd say is Annette, which I feel is going to be a big hit, given the musical genre's luck as of late, and with an already acclaimed director helming it and Adam Driver and Marion Cotillard in the lead roles, it's difficult to overlook this one. Then there's Dune, from Denis Villeneuve who's already had his last two films win Oscars, and anticipation for his latest film is building up fast. It could easily sweep some technical awards if campaigned properly.
Best Director
- David Fincher - Mank
- Leos Carax - Annette
- Denis Villeneuve - Dune
- Wes Anderson - The French Dispatch
- Andrew Dominik - Blonde
Best Lead Actor
- Tom Hardy - Fonzo
- Gary Oldman - Mank
- Adam Driver - Annette
- Anthony Hopkins - The Father
- John David Washington - Tenet
Taking a risk here, as Fonzo still has no release date/distributor, but perhaps it will find luck this year, as film with Tom Hardy in the lead with a makeup transformation that's bound to be divisive seems like a very possible win here.
Best Lead Actress
- Ana de Armas - Blonde
- Marion Cotillard - Annette
- Kate Winslet - Ammonite
- Jessie Buckley - I'm Thinking of Ending Things
- Jennifer Hudson - Respect
Armas has already built up a devout following after her excellent performances in both Blade Runner 2049 and last year's Knives Out, and role as a character very much inspired by Marylin Monroe could be her Oscar ticket.
Best Supporting Actor
- Tom Burke - Mank
- Benicio Del Toro - The French Dispatch
- Paul Walter Hauser - Da 5 Bloods
- Bill Murray - On the Rocks
- Chadwick Boseman - Da 5 Bloods
Playing Orson Welles gives Burke a major advantage here from the get-go. Also worth looking at is Bill Murray in On the Rocks, where he plays an estranged father which seems perfect for Oscar chances.
Best Supporting Actress
- Saoirse Ronan - Ammonite
- Glenn Close - Hillbilly Elegy
- Amanda Seyfried - Mank
- Meryl Streep - The Prom
- Ariana DeBose - West Side Story
With 4 nominations already at such a young age, Ronan's appeal is clear, and her role as a unhappy spouse who starts a relationship with Kate Winslet's character in Ammonite seems like just what she needs to finally win.
Best Original Screenplay
- Mank
- The French Dispatch
- Annette
- Soul
- Last Night in Soho
Best Adapted Screenplay
- Blonde
- Hillbilly Elegy
- Da 5 Bloods
- Dune
- Nomadland
This category seems pretty sparse this year, so for now I'll place my bets on Blonde, with Armas already seeming like a possible Oscar winner and the film's director/writer Andrew Dominik seeming overdue for a nomination.
Best Film Editing
- Dune
- Annette
- The French Dispatch
- Mank
- Fonzo
Best Cinematography
- Dune
- Annette
- The French Dispatch
- Tenet
- Mank
As mentioned already, Dune will surely be a heavy tech-category contender, given Villeneuve's past two films finding love there. If not, then Annette will likely take it home, similarly to how La La Land did.
Best Original Score
- Annette
- The French Dispatch
- Dune
- Tenet
- Mank
Best Original Song
- Annette
- No Time to Die
- Soul
- West Side Story
- In the Heights
Annette being a musical pretty much guarantees it spots in the two categories above. Nothing more to say there.
Best Production Design
- Dune
- The French Dispatch
- Mank
- Tenet
- West Side Story
Best Costume Design
- The French Dispatch
- Blonde
- West Side Story
- Fonzo
- Respect
Best Makeup and Hairstyling
- Fonzo
- Blonde
- The Witches
- Hillbilly Elegy
- The French Dispatch
The makeup transformation of Hardy alone should win over Academy voters, given recent wins as seen with Darkest Hour and Bombshell.
Best Visual Effects
- Dune
- Tenet
- Eternals
- Godzilla vs. Kong
- BIOS
Best Sound Mixing
- Dune
- Annette
- Tenet
- Soul
- West Side Story
Best Sound Editing
- Tenet
- Dune
- Annette
- The Invisible Man
- Greyhound
Best Animated Feature
- Soul
- Raya and the Last Dragon
- Over the Moon
- How Do You Live?
- Scoob!
Pixar with another film asking about life? There's another Oscar for them. Onward I doubt will get in, though, because although reviews are good, it isn't the hit the company's past few winners have been. Not to mention that it had a weaker opening than The Good Dinosaur, not a great sign.
Sunday, March 8, 2020
True/False Film Festival 2020 - My First Film Festival
I have finally achieved a major mark on my film fan bucket list: attend a film festival for the first time ever. Now all I need to do is see a film on 35mm and fully appreciate it and I'll be 23% done!
Anyways, I was more than delighted to have been an attendee at True/False Film Festival in Columbia, Missouri. I was a volunteer for Saturday and Sunday at the Jesse Hall Auditorium, where I served as an usher, helping people get seated when needed and also passing around a tip hat for bands and solo musicians that played before showings, all of whom I was able to see were great (like this guy).
The people I worked with were very kind, and helped the showings run super smoothly and as expected. I would love to work with them again if I volunteered next year (which I'm easily learning towards). And we all got to see the movies playing in the auditorium for free! ...given that there were seats available, because although there were TVs right outside the auditorium doors projecting the view of the theater screen, the audio was super muffled unless on of the doors was open and subtitles were virtually unreadable. Thankfully, most shows I helped with had seats open which is where 3/4 of my viewings came from.
But let's get into what you're really here for: the films. I actually only got to see 4 films this past weekend, mainly because I got in town a bit later into the festival's run and had volunteer commitments. Regardless, I'm still happy with what I was able to see.
The first film I watched (the only one I saw outside of my volunteer hours) was Boys State, which I actually save my thoughts on for a review probably coming next week.
Second up was Time, the story of an African-American mother whose husband has served 20 years of a 60 year sentence for a bank robbery. She's filmed everyday from a home-video camera since the day of his sentence, with scenes set in the present being filmed by the documentary's director. It's a powerful story, but I felt that much of the experimental filmmaking felt out of place for this and even distracting from the narrative at times. Regardless, I still found this to be an effective enough film that I'd recommend checking it out. It releases this fall from Amazon Studios for those interested.
Third was Mucho Mucho Amor. I had no clue who Walter Mercado even was until the second the film started, but now that I do I can safely say that I appreciate him as much as everyone else has. The film documents his career, disappearance from the spotlight, and current life mainly with interviews with famed Puerto Rican astrologer. It is technically the typical doc we've seen been done before, but its overview of Mercado is so delightful that I can forgive it. The film comes to Netflix sometime this summer.
The fourth and last film I watched was Sunless Shadows, the story of young Iranian girls serving time for having committed murder (mainly out of anger due to being abused), documenting their lives in a detention center, their regrets and their connections to one another. So yeah, this one's pretty depressing. I can't say that all of it fully pays off, but I still cared for the girls enough to the point where I truly felt sorry for them, and the film's portrayal of Iran's patriarchal society and what it drives these women into is devastating. I'm not sure when this one's U.S. release is, but if I find out I'll come back and edit this.
I also got to see snippets of Dick Johnson is Dead, which seemed like one of the best films at the festival from what I saw. I also watched a good, hefty chunk of Feels Good Man, but I wasn't in the theater then and the film had already started by the time I showed up, so I ended up just watching the film of it without any clear audio. It certainly looked visually intriguing, however, and I'd be interested in checking it out later on if given the chance.
One last note is that I was able to see film directors for the first time... even though I didn't get the chance to introduce myself to them, but still actually seeing them was really great! The director of Mucho Mucho Amor even meet with our volunteer group briefly after the film's post-screening Q&A was done, and he gave us free pins like the one below!
So overall, I loved my first film festival. I got to work with some great folks, and when I was just in the theater getting ready to watch a movie, just looking around the dark room, seeing everyone else waiting quietly for the feature to being, I felt like I was at home. I'm certainly looking forward to this festival in 2021, and I can't wait for my next film festival.
The people I worked with were very kind, and helped the showings run super smoothly and as expected. I would love to work with them again if I volunteered next year (which I'm easily learning towards). And we all got to see the movies playing in the auditorium for free! ...given that there were seats available, because although there were TVs right outside the auditorium doors projecting the view of the theater screen, the audio was super muffled unless on of the doors was open and subtitles were virtually unreadable. Thankfully, most shows I helped with had seats open which is where 3/4 of my viewings came from.
But let's get into what you're really here for: the films. I actually only got to see 4 films this past weekend, mainly because I got in town a bit later into the festival's run and had volunteer commitments. Regardless, I'm still happy with what I was able to see.
The first film I watched (the only one I saw outside of my volunteer hours) was Boys State, which I actually save my thoughts on for a review probably coming next week.
Second up was Time, the story of an African-American mother whose husband has served 20 years of a 60 year sentence for a bank robbery. She's filmed everyday from a home-video camera since the day of his sentence, with scenes set in the present being filmed by the documentary's director. It's a powerful story, but I felt that much of the experimental filmmaking felt out of place for this and even distracting from the narrative at times. Regardless, I still found this to be an effective enough film that I'd recommend checking it out. It releases this fall from Amazon Studios for those interested.
Third was Mucho Mucho Amor. I had no clue who Walter Mercado even was until the second the film started, but now that I do I can safely say that I appreciate him as much as everyone else has. The film documents his career, disappearance from the spotlight, and current life mainly with interviews with famed Puerto Rican astrologer. It is technically the typical doc we've seen been done before, but its overview of Mercado is so delightful that I can forgive it. The film comes to Netflix sometime this summer.
The fourth and last film I watched was Sunless Shadows, the story of young Iranian girls serving time for having committed murder (mainly out of anger due to being abused), documenting their lives in a detention center, their regrets and their connections to one another. So yeah, this one's pretty depressing. I can't say that all of it fully pays off, but I still cared for the girls enough to the point where I truly felt sorry for them, and the film's portrayal of Iran's patriarchal society and what it drives these women into is devastating. I'm not sure when this one's U.S. release is, but if I find out I'll come back and edit this.
I also got to see snippets of Dick Johnson is Dead, which seemed like one of the best films at the festival from what I saw. I also watched a good, hefty chunk of Feels Good Man, but I wasn't in the theater then and the film had already started by the time I showed up, so I ended up just watching the film of it without any clear audio. It certainly looked visually intriguing, however, and I'd be interested in checking it out later on if given the chance.
One last note is that I was able to see film directors for the first time... even though I didn't get the chance to introduce myself to them, but still actually seeing them was really great! The director of Mucho Mucho Amor even meet with our volunteer group briefly after the film's post-screening Q&A was done, and he gave us free pins like the one below!
So overall, I loved my first film festival. I got to work with some great folks, and when I was just in the theater getting ready to watch a movie, just looking around the dark room, seeing everyone else waiting quietly for the feature to being, I felt like I was at home. I'm certainly looking forward to this festival in 2021, and I can't wait for my next film festival.
Monday, March 2, 2020
My Blu-Ray Collection
First off, I apologize for the lack of posts recently. I've been busy with other things as of right now, but once I'm pretty much done with all that in a week or two my first post will be my first predictions for the Oscars 2021 season, and I might be able to squeeze in a film review as well.
So to hold everyone over for now...
So to hold everyone over for now...
Here's my up-to-date Blu-Ray Collection listed alphabetically. A pretty small one right now, but one I'm still glad I have. I'll likely come back to this post and update it whenever I get any new additions.
*4K Copy
**Criterion Collection Release
- 2001: A Space Odyssey*
- Apocalypse Now*
- At Eternity's Gate
- Back to the Future
- Back to the Future Part II
- Back to the Future Part III
- Batman
- A Beautiful Day in the Neighborhood
- Casablanca
- Dunkirk
- The Favourite
- Ghostbusters
- Ghostbusters II
- Gladiator*
- Gone With the Wind
- The Hateful Eight
- Raiders of the Lost Art
- Indiana Jones and the Temple of Doom
- Indiana Jones and the Last Crusade
- Indiana Jones and the Kingdom of the Crystal Skull
- Isle of Dogs
- Knives Outs
- La La Land
- The Lighthouse
- The Lord of the Rings: The Fellowship of the Ring
- The Lord of the Rings: The Two Towers
- The Lord of the Rings: The Return of the King
- Moonrise Kingdom**
- North by Northwest
- Once Upon a Time in Hollywood*
- Phantom Thread
- Roma**
- The Shinning*
- The Spongebob Squarepants Movie
- Star Wars: The Force Awakens
- There Will Be Blood
- Three Billboards Outside Ebbing, Missouri
- True Stories**
38 films in total owned, +2 duplicates of 2001: A Space Odyssey and Once Upon a Time in Hollywood.
Monday, February 10, 2020
Oscars 2020 - Final Thoughts
"Once you get past the 1-inch tall barrier of subtitles, you will be introduced to so many more amazing films." - Three-time Academy Award Winning Director Bong Joon-ho
Parasite has cemented itself as not only a history maker, but also as one of the greatest Best Picture winners in the Academy's history, and the category's first non-english victor. Winning 4 Oscars altogether, also including a surprise win in Best Director over Sam Mendes who had been winning everything else, Bong Joon-ho's brilliant film proved to be the favorite of even subtitle-hating voters, cementing its status as a soon to be classic that will looked up to for years to come. Also, shout out to Bong's translator Sharon Choi, who's film about the awards season is one I'll be watching for!
The rest of the show's winners proved to be mostly satisfactory as well, albeit pretty predictable.
First, however, let me start with the 4 acting winners, easily the most predictable wins of the bunch, and honestly a little underwhelming this year considering who they were up against. Joaquin Phoenix won Lead Actor for Joker, a win that will certainly be divisive years from now as it is currently, though I'm glad that he took this one even with his competition, although he's been better before (*cough* The Master *cough*). Then Renée Zellweger won Lead Actress for Judy, and this is where I get disappointed. She was great, despite her film being more of the opposite, but when compared to Saoirse Ronan in Little Women and Scarlett Johansson in Marriage Story she was easily forgettable. Finally we have our Supporting winners Brad Pitt and Laura Dern, with Pitt winning for a great performance, but one I don't think should've won over Joe Pesci or Al Pacino, and Dern winning for one I just don't see the awards love for, but at least she has an Oscar I guess.
Tech category winners, on the other hand, were pretty deserving. Once Upon a Time in Hollywood won Best Production Design for easily the best recreation of golden-age Hollywood ever, with sets that glowed with personality and charm; a very deserving win in my book. And Little Women very thankfully took home Best Costume Design, another well-earned win, though I more happy that the film won at least something than I am that it won for costumes specifically.
Film Editing was awarded to Ford v Ferrari, which was...a decision. Look, I think the film is fine, but the editing outside of the racing scenes was nothing special, and it honestly should've trimmed its runtime down more. I think editing was far more notable in Parasite and The Irishman. But I am fine with it surprising in Sound Editing over 1917, so I'm not too bitter towards it.
Speaking of 1917, the film many expected to be tonight's big winner only to be Bonged, the film unsurprisingly took home Best Cinematography, giving Roger Deakins another deserving Oscar. It also won for Best Visual Effects, which were basically unnoticeable in the film, which is typically a sign that good effects were present. Sadly, Thomas Newman was shut out again, with Joker winning Best Original Score instead, which had a good score, but I swear, Newman could resurrect Beethoven and the Academy wouldn't care.
Finally, Jojo Rabbit was this year's solo screenplay winner, getting comedy filmmaker Taika Waititi his first win, which. And even though I didn't love the film, I must admit that I am happy for the guy.
Welp, that all of the wins that each of the major nominees this year had! Except for The Irishman of course, which won for.....uh.....
Man, this hurts. It's no secret at this point that Scorsese's latest was my favorite film of last year, and watching it get rejected not only by the Oscar, but by other awards shows as well has been rough. It's surprising too; given how far Netflix went to campaign and how beloved it's been online, but I suppose it's what it is.
Thankfully, Bong Joon-ho once again made the night, as during his acceptance speech for Best Director, he quoted and praised Martin Scorsese, prompting the entire audience to give the legend a standing ovation. In all honesty, that's probably better than any Oscar win can ever be.
See you next year folks, and in the meantime I'm gonna be saving up my money to buy 10 copies of The Irishman's Criterion Collection release.
Sunday, February 9, 2020
Oscars 2020 - Final Predictions
(NOTE: Films with an asterisk (*) next to them are my personal picks for their respective category)
(ALSO NOTE: I might change some of these mere hours before the show starts because I'm a coward, and if I do I'll leave a note under the changed category saying that I did with an explanation)
Best Picture
- Parasite
- 1917
- Once Upon a Time in Hollywood
- The Irishman*
- Jojo Rabbit
- Joker
- Marriage Story
- Little Women
- Ford v Ferrari
It's clear that this race is almost entirely between 1917 and Parasite at this point, with Once Upon a Time in Hollywood trailing close behind. And 1917 seems like the frontrunner with PGA and DGA wins, I think the preferential ballot will be kind to Parasite. The only thing really holding it back is the fact that it's a non-english film competing in a year where the possibility for major diversity was basically ignored. But, considering the love it's been able to garner from not just awards guilds but from literally everyone who can read period, I think we're about to see history right there.
Best Director
- Sam Mendes - 1917
- Bong Joon-ho - Parasite
- Martin Scorsese - The Irishman*
- Quentin Tarantino - Once Upon a Time in Hollywood
- Todd Phillips - Joker
Best Lead Actor
- Joaquin Phoenix - Joker*
- Adam Driver - Marriage Story
- Antonio Banderas - Pain and Glory
- Leonardo DiCaprio - Once Upon a Time in Hollywood
- Jonathan Pryce - The Two Popes
Best Lead Actress
- Renée Zellweger - Judy
- Scarlett Johansson - Marriage Story
- Saoirse Ronan - Little Women*
- Cynthia Erivo - Harriet
- Charlize Theron - Bombshell
Best Supporting Actor
- Brad Pitt - Once Upon a Time in Hollywood
- Joe Pesci - The Irishman*
- Al Pacino - The Irishman
- Tom Hanks - A Beautiful Day in the Neighborhood
- Anthony Hopkins - The Two Popes
Best Supporting Actress
- Laura Dern - Marriage Story
- Florence Pugh - Little Women*
- Scarlett Johansson - Jojo Rabbit
- Margot Robbie - Bombshell
- Kathy Bates - Richard Jewell
Best Original Screenplay
- Parasite*
- Once Upon a Time in Hollywood
- Marriage Story
- Knives Out
- 1917
Parasite is clearly the crowd favorite here, especially after WGA and BAFTA wins, but the Academy's Tarantino love could easily pull through, especially given his film is about Hollywood. I'm tempted to go Hollywood here, but considering that Parasite is looking like the bigger player as of late and that it could very well win Best Picture, I'll go with that instead, but I won't be surprised if I'm wrong.
Best Adapted Screenplay
- Jojo Rabbit
- Little Women
- The Irishman*
- Joker
- The Two Popes
Jojo Rabbit has gained some major momentum over Little Women after taking home the previously mentioned awards Parasite did. And films with the WGA and BAFTA combo here have rarely, if not ever lost the Oscar, so Taika Waititi better have a speech ready.
Best Film Editing
- Ford v Ferrari
- Parasite
- The Irishman*
- Joker
- Jojo Rabbit
Best Cinematography
- 1917
- Joker
- Once Upon a Time in Hollywood
- The Irishman
- The Lighthouse*
Best Original Score
- Joker
- 1917
- Little Women*
- Marriage Story
- Star Wars: The Rise of Skywalker
Best Original Song
- "I Can't Let You Throw Yourself Away" - Toy Story 4
- "I'm Gonna Love Me Again" - Rocketman
- "Stand Up" - Harriet
- "Into the Unknown" - Frozen II
- "I'm Standing With You" - Breakthrough
Probably my riskiest prediction here. Although Rocketman's success here in precursors shows, it doesn't seem like the Academy will go for it, especially after it was left out in all other categories. The three I listed below it don't feel like winners to me either. That leaves Toy Story 4, which just snuck in here last minute, and given the Academy's past love for Pixar songs and that this is a short season in general, I think it's a bet worth playing. I'm a natural Howard Ratner!
Best Production Design
- Once Upon a Time in Hollywood
- 1917
- Parasite*
- The Irishman
- Jojo Rabbit
It doesn't quite feel right that Once Upon a Time in Hollywood wins Supporting Actor and Production Design only as the combo just seems odd to me. However, given that we see this result for Lincoln, I think I'll stick by it. If not, then there's three possibilities: it also takes costumes (which I find unlikely as I think all the Best Picture nominees are winning something), it loses this category to 1917 (or possibly Parasite, but I doubt it), or it also wins Original Screenplay over Parasite, effectively making 1917 the Best Picture winner.
Best Costume Design
- Little Women*
- Once Upon a Time in Hollywood
- Jojo Rabbit
- The Irishman
- Joker
Playing it safe and sticking with Jacqueline Durran winning her second Oscar, but don't be surprised if Once Upon a Time in Hollywood or Jojo Rabbit win instead (Hollywood in particular), especially considering that this category is all over the place this year.
Best Makeup and Hairstyling
- Bombshell
- Joker
- Judy
- 1917*
- Maleficent: Mistress of Evil
Best Visual Effects
- The Irishman*
- 1917
- Avengers: Endgame
- The Lion King
- Star Wars: The Rise of Skywalker
This category is pretty much between 1917 and The Irishman. 1917 has the advantage in that it's won the BAFTA, but I feel that The Irishman will prevail despite the de-aging's divisiveness, especially after it's Visual Effects Society win for Best Supporting Effects, which lead major awards players from previous years Hugo and last year's First Man to win here despite losing BAFTA, Critics Choice, etc.
Best Sound Mixing
- 1917*
- Ford v Ferrari
- Once Upon a Time in Hollywood
- Ad Astra
- Joker
Best Sound Editing
- 1917*
- Ford v Ferrari
- Joker
- Once Upon a Time in Hollywood
- Star Wars: The Rise of Skywalker
Best Animated Film
- Toy Story 4
- Klaus
- Missing Link
- I Lost My Body
- How to Train Your Dragon: The Hidden World
Best International Film
- Parasite*
- The Rest
Best Documentary Feature
- American Factory
- For Sama
- Honeyland
- The Edge of Democracy
- The Cave
Best Live Action Short Film
- The Neighbor's Window
- Brotherhood
- Nefta Football Club
- Saria
- A Sister
Best Animated Short Film
- Hair Love
- Kitbull
- Memorable
- Sister
- Daughter
Best Documentary Short Subject
- Learning to Skateboard in a Warzone (If You're a Girl)
- St. Louis Superman
- In the Absence
- Walk Run Cha-Cha
- Life Overtakes Me
IN SHORT:
- I'm being risky and saying Parasite will make history instead of 1917 prevailing
- Acting winners are insanely predictable
- Costume Design is a tricky race
- All 9 Best Picture nominees will win something
- The Academy probably still loves Pixar songs
- Insert 6th point with quirky comment here
Friday, January 17, 2020
Oscars 2020 - First Winner Predictions
CLICK HERE TO SEE MY OVERALL THOUGHTS ON THE NOMINATIONS
If you are interested in further thoughts on any of the categories, please comment below and I'll get to you as soon as possible.
Best Picture
If you are interested in further thoughts on any of the categories, please comment below and I'll get to you as soon as possible.
Best Picture
- 1917
- Once Upon a Time in Hollywood
- Parasite
- The Irishman
- Joker
- Marriage Story
- Little Women
- Jojo Rabbit
- Ford v Ferrari
Best Director
- Sam Mendes - 1917
- Quentin Tarantino - Once Upon a Time in Hollywood
- Bong Joon-ho - Parasite
- Martin Scorsese - The Irishman
- Todd Phillips - Joker
Best Lead Actor
- Joaquin Phoenix - Joker
- Adam Driver - Marriage Story
- Antonio Banderas - Pain and Glory
- Leonardo DiCaprio - Once Upon a Time in Hollywood
- Jonathan Pryce - The Two Popes
Best Lead Actress
- Scarlett Johansson - Marriage Story
- Renée Zellweger - Judy
- Saoirse Ronan - Little Women
- Cynthia Erivo - Harriet
- Charlize Theron - Bombshell
Best Supporting Actor
- Brad Pitt - Once Upon a Time in Hollywood
- Joe Pesci - The Irishman
- Al Pacino - The Irishman
- Tom Hanks - A Beautiful Day in the Neighborhood
- Anthony Hopkins - The Two Popes
Best Supporting Actress
- Laura Dern - Marriage Story
- Florence Pugh - Little Women
- Scarlett Johansson - Jojo Rabbit
- Margot Robbie - Bombshell
- Kathy Bates - Richard Jewell
Best Original Screenplay
- Parasite
- Once Upon a Time in Hollywood
- Marriage Story
- Knives Out
- 1917
Best Adapted Screenplay
- Jojo Rabbit
- Little Women
- The Irishman
- Joker
- The Two Popes
Best Film Editing
- Ford v Ferrari
- The Irishman
- Joker
- Parasite
- Jojo Rabbit
Best Cinematography
Best Original Score
- Joker
- 1917
- Little Women
- Marriage Story
- Star Wars: The Rise of Skywalker
Best Original Song
- "I Can't Let You Throw Yourself Away" - Toy Story 4
- "I'm Gonna Love Me Again" - Rocketman
- "Stand Up" - Harriet
- "Into the Unknown" - Frozen II
- "I'm Standing With You" - Breakthrough
Best Production Design
- Once Upon a Time in Hollywood
- 1917
- The Irishman
- Parasite
- Jojo Rabbit
Best Costume Design
- Once Upon a Time in Hollywood
- Little Women
- Jojo Rabbit
- The Irishman
- Joker
Best Makeup and Hairstyling
- Bombshell
- Joker
- Judy
- 1917
- Maleficent: Mistress of Evil
Best Visual Effects
- The Irishman
- 1917
- Avengers: Endgame
- The Lion King
- Star Wars: The Rise of Skywalker
Best Sound Mixing
- 1917
- Ford v Ferrari
- Once Upon a Time in Hollywood
- Joker
- Ad Astra
Best Sound Editing
- 1917
- Ford v Ferrari
- Once Upon a Time in Hollywood
- Joker
- Star Wars: The Rise of Skywalker
Best Animated Film
- Toy Story 4
- Missing Link
- I Lost My Body
- Klaus
- How to Train Your Dragon: The Hidden World
Best International Film
- Parasite
- The Rest
Best Documentary Film
- American Factory
- For Sama
- Honeyland
- The Edge of Democracy
- The Cave
Best Live Action Short Film
- The Neighbor's Window
- Brotherhood
- Nefta Football Club
- Saria
- Une soeur
Best Animated Short Film
- Hair Love
- Kitbull
- Daughter
- Mémorable
- Sister
Best Documentary Short Subject
- Learning to Skateboard in a Warzone (If Your a Girl)
- St. Louis Superman
- In the Absence
- Life Overtakes Me
- Walk Run Cha-Cha
Monday, January 13, 2020
Oscars 2020 - Nominations Thoughts
Welp, he didn't get nominated. Even with 10 nominations, The Irishman couldn't get De Niro in Lead Actor. Instead, we got Jonathan Pryce for The Two Popes, who admittedly gave a very effective performance, but no way would I put him in over De Niro, and I'm sure those who wanted Taron Egerton for Rocketman would agree. But at least DiCaprio got in despite my speculation, so there's that.
Apart from all that, though, I'm mostly fine with how this year's Oscar nominations turned out, even with a questionable leader.
Yeah, I actually liked Joker as I said in my review (even though my issues with it have since grown), but it absolutely should not have 11 nominations, one more than The Irishman, Once Upon a Time in Hollywood, and 1917.
That being said, those previously mentioned three are easily our three frontrunners now, plus Parasite (which I'll get to in a bit). 1917 in particular scored an Original Screenplay nomination, a major indicator of its love among Academy voters, and given results from Golden Globes and Critics Choice Awards, this might be our new frontrunner. If not, then Once Upon a Time in Hollywood takes it instead. But both films missed film editing nominations, something only two Best Picture winners have missed over the past 30 years. If I had to pick, then 1917 would be my guess right now, as it gives me Birdman and Braveheart vibes, a very good sign of what may come.
Despite this, Thomas Newman may not get his long awaited Oscar for it after all, with Joker seeing a boost after winning the two previously mentioned award shows that loved 1917. He definitely still has a shot, but unless he wins BAFTA then it's over.
The Irishman thankfully didn't underperform like I worried it would (based on what some online folks were saying), but it hasn't really hit home with award shows right now. Even with Adapted Screenplay and Film Editing, it's starting to become more likely that those will go to Little Women or Jojo Rabbit and Ford v Ferrari respectively. So, chances are Visual Effects will be the only prize it will take home, unless DGA and PGA gives it some love.
And yes, I don't see it winning Adapted Screenplay with Little Women and Jojo Rabbit there. If I had to guess between the two, I'd say Jojo Rabbit right now. But I think it's possible for Little Women to surprise at BAFTAs with a Supporting Actress win for Florence Pugh, and if that lead her to an Oscar win, I would be delighted.
Another Netflix film, Marriage Story, got the 6 nominations everyone thought it would (though I feel foolish about putting Jojo Rabbit over it in Original Score), but Laura Dern seems to be the only thing pushing the film forward right now, with Once Upon a Time in Hollywood and Parasite seeming more likely in Screenplay now. It's likely that Johansson could make her way to the top with SAG over Zellweger, so perhaps there's more hope.
Speaking of Parasite, I was upset that Song Kang-ho didn't defy expectations to receive a Supporting Actor nomination, with Hopkins getting in instead. Other than it, it was able to score 6 nominations, including Film Editing which gives it a nice boost. And if any other film wins Best International Film, I will get a tattoo on my forehead.
The only Best Picture nominee I haven't touched on yet is Ford v Ferrari, which....uh.... got nominated. I don't have much to say on it, partly due to it being the only nominee I haven't seen, but I think it's going to win Film Editing, despite The Irishman having Thelma Schoonmaker.
Other noteworthy nominations I'd like to discuss would be Honeyland, which I believe is the first film to be nominated for both Best International Film and Best Documentary. It likely won't win either one (American Factory for Documentary), but it's pretty cool regardless.
Then in Best Animated Film, Klaus triumphed with a surprise nomination over Frozen II of all films, a big win for Netflix. But, it's much more likely that this will be Toy Story 4's win, given that it's Pixar and that it surprised in Best Original Song (which I initially predicted, but ultimately changed because of what I saw online. Thanks internet!).
Finally, I'd like to say just how happy I am that both The Lighthouse and Knives Out got solo nominations for Best Cinematography and Best Original Screenplay respectively. Just the words "Academy Award Nominee Rian Johnson" sound great!
Now, the fate of the winners lie in the hands of the Academy. Will they fulfill the prophecy, or mess it up again? .....they're gonna mess it up, aren't they? Ah well, whatever happens, hopefully The Irishman wins something.
Sunday, January 12, 2020
Oscars 2020 - Final Nominations Predictions
This is it. Tomorrow when the bell tolls 7, we'll know everything, and soon we'll be fighting over what deserved a nomination and what didn't and complaining as to why something didn't get nominated. I'm anxious and excited at the same time, to see my dreams come true to see others be sunk, but whatever happens.....at least we can make fun of the Academy afterwards.
Best Picture
Best Animated Film
Best Picture
- Parasite
- Once Upon a Time in Hollywood
- The Irishman
- 1917
- Joker
- Marriage Story
- Little Women
- Jojo Rabbit
- Ford v Ferrari
I'm still banking on Parasite winning Best Picture for now just to be safe, despite Once Upon a Time in Hollywood's recent wins. I'm finally moving Jojo Rabbit back in here since its been able to mark all the right boxes so far, with the DGA nomination being the big one it needed.
Best Director
- Bong Joon-ho - Parasite
- Sam Mendes - 1917
- Martin Scorsese - The Irishman
- Quentin Tarantino - Once Upon a Time in Hollywood
- Greta Gerwig - Little Women
Little Women has very thankfully gotten a big boost as of late, particularly with PGA and BAFTA nominations that benefit both its actors and the film's overall chances. And, since the 5th slot of this category is essentially up for grabs right now and the backlash Golden Globes got for a lack of female directing nominees, Gerwig seems like she'll fill that slot nicely.
Best Lead Actor
- Joaquin Phoenix - Joker
- Adam Driver - Marriage Story
- Antonio Banderas - Pain and Glory
- Taron Egerton - Rocketman
- Robert De Niro - The Irishman
Maybe I'm just being hopeful, but despite missing SAG and Golden Globe nominations, but I feel De Niro is still getting in. Not only is his film a big player, but his legacy is something I doubt they'll pass up.
Phoenix and Driver are clearly happening no matter what, and Banderas gives a performance I can't see not making it. That leaves Egerton and Leonardo DiCaprio for Once Upon a Time in Hollywood, and DiCaprio, despite being nominated for everything so far, just doesn't have the enthusiasm behind him that the other 5 do that could boost De Niro and Banderas, and has had zero precursor wins so far, even losing the Comedy Golden Globe to Egerton. I wouldn't be surprised if he still got nominated, but I'm going by my gut and saying he'll miss.
Best Lead Actress
- Scarlett Johansson - Marriage Story
- Renée Zellweger - Judy
- Charlize Theron - Bombshell
- Saoirse Ronan - Little Women
- Cynthia Erivo - Harriet
Best Supporting Actor
- Brad Pitt - Once Upon a Time in Hollywood
- Joe Pesci - The Irishman
- Al Pacino - The Irishman
- Song Kang-ho - Parasite
- Tom Hanks - A Beautiful Day in the Neighborhood
The three Ps are basically locked in at this point, and Kang-ho is easily the strongest candidate for "got nominated for nothing else but the Oscar" nominee. That leaves the fifth spot for Hanks and Anthony Hopkins in The Two Popes to fight out. Hanks has been left in the dirt by the Academy for some time now, but the fact that he's playing Mr. Rogers and that his wonderful Golden Globe honorary award speech was right in the middle of Oscar voting, I finally feel safe saying that he's going to get an Oscar nomination again.
Best Supporting Actress
- Laura Dern - Marriage Story
- Margot Robbie - Bombshell
- Florence Pugh - Little Women
- Scarlett Johansson - Jojo Rabbit
- Kathy Bates - Richard Jewell
No J-Lo? I can't help but feel that a snub is awaiting her, with the "got nominated for everything but BAFTA and then missing the Oscar nomination" curse just yelling at me here, the same fate that awaited James Franco for The Disaster Artist and Timothée Chalamet for Beautiful Boy. Who gets in over here is a different story, but I'm going with Kathy Bates, as despite her film bombing financially and being passed over entirely by Critics Choice, SAG, and BAFTA, I think that her overall appeal will speak to the Academy.
Best Original Screenplay
- Parasite
- Once Upon a Time in Hollywood
- Marriage Story
- Knives Out
- The Farewell
Best Adapted Screenplay
- The Irishman
- Little Women
- Jojo Rabbit
- The Two Popes
- Joker
It pains me to leave out A Beautiful Day in the Neighborhood here, but The Two Popes screenplay will undoubtedly appeal to Academy voters more, and Joker is far too well-liked in the industry. Although Joker could miss due to it being a comic book film, even then I Just Mercy pulling off a nomination-upset instead, given the Green Book-type appeal of the film.
Best Film Editing
- Ford v Ferrari
- The Irishman
- Parasite
- Joker
- Jojo Rabbit
Best Cinematography
That fifth spot has been difficult to figure out, with Portrait of a Lady on Fire and A Hidden Life also seeming like likely solo-nomination candidates here, and Ford v Ferrari appearing at all the right precursors also. But I'm going with The Lighthouse, since the black and white appeal has gotten multiple films in this category as of late, and a BAFTA nomination for it really helps. The Irishman I feel is less safe, since it's cinematography is not one of the big things that comes to mind when people think of the film, and with Ford v Ferrari certainly having the momentum to best it, but I think I'll go with Scorsese's film considering it's been showing up here more.
Best Original Score
- 1917
- Joker
- Little Women
- Star Wars: The Rise of Skywalker
- Jojo Rabbit
Predicting that Jojo Rabbit will surprise and get nominated over Marriage Story, because if the BAFTAs nominated BlacKkKlansman over First Man the year before (which ended up leading to a shocking snub for the astronaut film), then recent history could very well repeat itself.
Best Original Song
- "I'm Gonna Love Me Again" - Rocketman
- "Into the Unknown" - Frozen II
- "Stand Up" - Harriet
- "I'm Standing With You" - Breakthrough
- "Glasgow" - Wild Rose
Best Production Design
- Once Upon a Time in Hollywood
- The Irishman
- 1917
- Parasite
- Little Women
I know that Joker has had more of a presence here than Little Women, but I think that the period-piece appeal of Little Women will overthrow it here, but that's probably the only time I'll say that regarding Joker.
Best Costume Design
- Once Upon a Time in Hollywood
- Little Women
- Dolemite Is My Name
- The Irishman
- Rocketman
Best Makeup and Hairstyling
- Joker
- Bombshell
- Once Upon a Time in Hollywood
- 1917
- Maleficent: Mistress of Evil
EDIT, JAN 12, 11:36pm: I decided to take Downton Abbey out of the #5 slots of both Costume Design and Makeup and Hairstyling basically last minute as I don't think the film really has the steam to get in anymore.
Best Visual Effects
- Avengers: Endgame
- The Lion King
- Star Wars: The Rise of Skywalker
- Alita: Battle Angel
- Terminator: Dark Fate
Best Sound Mixing
- 1917
- Ford v Ferrari
- Joker
- Once Upon a Time in Hollywood
- Star Wars: The Rise of Skywalker
Best Sound Editing
- 1917
- Ford v Ferrari
- Once Upon a Time in Hollywood
- Joker
- Star Wars: The Rise of Skywalker
- Toy Story 4
- Frozen II
- Missing Link
- I Lost My Body
- How to Train Your Dragon: The Hidden World
Best International Film
- Parasite
- Pain and Glory
- Les Misérables
- Atlantics
- Those Who Remained
Best Documentary Film
- American Factory
- For Sama
- Honeyland
- One Child Nation
- Maiden
Best Live Action Short Film
- The Neighbor's Window
- Brotherhood
- Little Hands
- Miller and Son
- Refugee
Best Animated Short Film
- Hair Love
- Kitbull
- Dcera (Daughter)
- The Physics of Sorrow
- Mind My Mind
Best Documentary Short Subject
- Learning to Skateboard in a War Zone
- Fire in Paradise
- Stay Close
- St. Louis Superman
- Ghosts of Sugar Land