Oscars 2020 - What We Learned From The Golden Globes

After a pretty rough year in terms of winners last year (Bohemian Rhapsody, Green Book), I was pleasantly surprised by how not terrible the Golden Globes were this time around, though I undoubtedly still have my reservations.

1917 exceeded expectations in terms of awards play and took home prizes for Best Picture Drama and Best Directing. A film that's already been praised as a technical achievement and one of the best of 2019, ensuring its place as a major awards player, and perhaps multiple Oscar wins and nominations. The film's composer, Thomas Newman, still couldn't get a break, however, with Joker's composer, Hildur Gu∂nadóttir, taking the Original Score globe instead, but chances are he's still taking him the Oscar come February 9th.

Speaking of Joker, Joaquin Phoenix further boosted his position as Lead Actor frontrunner with his win for Drama. Also given that his work is being lauded as perhaps the year's best by those in the industry (aka Academy voters), it seems like the Oscar is in his grasp, even with him being a bit of a wild card.

Once Upon a Time in Hollywood had an excellent night, taking awards for Best Picture Comedy/Musical, Screenplay, and Supporting Actor for Brad Pitt's performance, who, after already leading in precursor wins for his category, appears to be a solidified frontrunner for the race. The film is likely to be our new frontrunner for Best Picture also, with industry and precursor love, Tarantino being one of the most beloved filmmakers in history, and with these victories all more than solidifying its impact for this awards season.

What it didn't win was the Lead Actor Comedy award for Leonardo DiCaprio, which ended up going to Taron Egerton for his role as Elton John for Rocketman instead (which also won Best Original Song). Whether he has an Oscar nomination on the way next week or not is still up in the air, but with a SAG nomination also and a very likely BAFTA nomination tomorrow, he's for sure worth considering.

Netflix wasn't so lucky, as Laura Dern's performance in Marriage Story was the only film prize they could achieve, though this could easily be the beginning of a sweep for the long overdue actress. Their big heavy hitter from Martin Scorsese, The Irishman, shockingly went home empty-handed, which doesn't destroy its possible awards impact, with an Adapted Screenplay win still seeming very likely and past Best Picture winners not having any globe wins (ex. Spotlight), but it definitely harms its chances which were originally seen as huge.

For the actress awards, Renée Zellweger (Judy) and (Awkwafina) won Best Actress Drama and Comedy respectively, with Zellweger's win setting up a possible sweep for her and Awkwafina's surely helping her chances, but Oscar nomination still isn't quite guaranteed right now, but if she gets a BAFTA nomination, it could very well happen.

Parasite winning Best Foreign Language film was no surprise, nothing more to say there.

Finally, Missing Link took everyone's predictions and tore them to pieces with a Best Animated Film win that no one saw coming, and one in which it was the only original film (not a sequel/remake) nominated for that category. A victory most likely attributed to tons of awards consideration advertisements, but right now its still Toy Story 4 leading the pack, but if this stop-motion film from Laika continues getting awards (Critics Choice, BAFTAs), then an underdog winner could be on the way.

With our first awards show of the season said and done, we've been left in a position that both concerns me and reassures me. Once Upon a Time in Hollywood possibly being the new frontrunner is all good by me and I'm honestly up for Phoenix winning Best Actor, but the shade that The Irishman could get is worrying, and Zellweger winning in a year with Ana de Armas and Saoirse Ronan can't help but leave me feeling underwhelmed. But the globes have been disregarded by other awards shows before, and chances are something similar will happen this year also, so maybe The Irishman will prevail and that Scarlett Johansson will win Lead Actress instead.

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-