Sunday, April 28, 2019
There has been nothing quite like the Marvel Cinematic Universe and there has never been anything quite like “Avengers: Endgame.” It’s no easy task weaving elements and characters from a series of 21 feature films that connect, overlap, and converge into a three hour mega-finale that is everything you want it to be and more. It’s – dare I say it – a perfect closing saga. Emotionally wrought with elements that have real consequences for whatever comes next. You’ll laugh, you’ll cry, you’ll have the time of your life. “Avengers: Endgame” is a shockingly compelling finale and has everything to offer those of us who have spent the last ten years getting to know and love these characters.
Is there anything more daunting than reviewing a movie like “Endgame” without talking about what happens in it? I promise not to give anything important away but the best advice I can give you – even at this point in time with the film being in five days of release – that the best thing you can do is go see the film and not read ANYTHING about it. Nada. Zip. The less you know going in the more fun it will all be. To be fair, that’s true for any film but especially for this particularly exciting endeavor. I shall do my best with giving you a bit of set up without really telling you much.
First off, it goes without saying that seeing “Avengers: Infinity War” is a must before seeing “Endgame.” So spoilers for THAT film begin here. You’ll recall that at the end of the previous film evil tyrant Thanos (Josh Brolin) got his huge hands on all six infinity stones, snapped his fingers, and half of the universe’s population turned to dust including several important characters like, oh, Peter Parker, Dr. Strange, Black Panther, etc. It was a shocking and eerie ending and one doozie of a cliffhanger. The remaining Avengers – Natasha Romanoff (Scarlett Johansson), Captain America (Chris Evans), Thor (Chris Hemsworth), Bruce Banner (Mark Ruffalo) and Tony Stark (Robert Downey Jr.), among others- are left with their grief along with the rest of the world. It’s certainly a dour way to open a big budget blockbuster but this thing has certainly has enough emotion to spare. Tony and Nebula (Karen Gillan) are stuck in space. Of course they’re no better off than Scott Lang who we recall from the end of “Ant-Man and the Wasp” is stuck in the Quantum Realm. So the question is… will the rest of these melancholy heroes be able to find Thanos and somehow reverse the damage he has caused? Isn’t that the question of the day…
Oh you wanna know more? Fat chance. Technical merits are outstanding in the usual Marvel way. The visual effects are top notch. Thanos, as in the previous film, is one of the most impressive CGI characters ever put on screen and Brolin is fantastic as a character who could have easily been one note and boring. All of the performances from this mindbogglingly impressive cast are outstanding. Downey Jr. is particularly moving here. We’ve seen this actor play this role countless times, to the point where you’re almost sick of him. Almost. He is utterly fantastic here. And that’s probably because the writing from Christopher Markus and Stephen McFeely (who have written all the “Captain America” films and “Infinity War”) is exceptionally strong for this genre. Sure this is a “comic book movie” but it offers so much more. They are somehow able to juggle dozens and dozens of characters and not shortchange anyone. Alan Silvestri provides another powerful and moving score.
Does anyone really need to read a review of “Avengers: Endgame?” You know whether you’re going to see it. And you probably know whether you’re going to like it. It’s killing me that I can’t mention what 80s film this movie borrows heavily from and is even referenced a few times. But like I said the less you know… This movie was easily one of the most moving, sad, fun, action-packed, anxiety-inducing, cathartic times I’ve ever had at the movies. Big budget entertainment doesn’t get much better than this and this three hour epic goes by in a snap. It comes close to topping “The Winter Soldier.” Almost. GRADE: A
Wednesday, April 10, 2019
With so many great superhero movies out there (some might say too many, which is probably right) it seems like there’s room for a stinker here and there. And that would be “Shazam!” Which is a serious disappointment because “Shazam!” is unlike many of the other popular comic book films that have overcrowded the marketplace. It goes against type. I get it. It does its own thing. I get it. It’s about “the hero in all of us.” I get it. It just didn’t work for me. And here’s why.
The film lost me at wizard. My brain can’t compute the notion of wizards. They’re a bit too… magical. Now other comic book films have had fantastical elements and while my eyes and brain tend to glaze over when it comes to that fantasy stuff my brain couldn’t take any of it in “Shazam!” The film starts in the 1970s when a kid riding in the back of his dad’s car is strangely transported to a magical place where an ancient wizard is looking for a new chosen one who is pure of heart. Apparently this kid isn’t it. The film then jumps to present day Philadelphia where a troubled foster kid named Billy (Asher Angel) is looking for his birth mother. He’s place in a new group home with several other kids of varying age and race. He befriends another boy in the home named Freddy (Jack Dylan Glazer from “It”) who is disabled and a superhero enthusiast.
For some reason Billy gets zapped to the ancient realm where that wizard is still looking for the chose one. It’s this kid, and so now when he shouts “Shazam!” he turns into a jacked Zachery Levi with superpowers. At first the film’s colorful, playful tone suggests the story will be a take on “Big” but the “body switch” fun is quickly dropped in favor of superhero antics and a tedious plot about the grown up boy from the film’s opening (now played by Mark Strong) who has been obsessed with figuring out why he wasn’t the chosen one. A bunch of demons, all representing the seven deadly sins figure into his evilness and doesn’t make a lick of sense but here we are. Is it over yet?
Trying to figure out what’s the problem here is what’s bugging me. There’s nothing all that technically wrong with the film. It has decent effects but you can tell it’s a lower budged affair than the usual Marvel or DC fare. The film is certainly more of a comedy but none of the humor really works. The fact that most of the main characters are children makes the film feel slightly kiddie and yet the film has some extremely dark elements including a sequence in which the staff an entire office boardroom is brutally murdered. It’s easy to appreciate the generally lighter tone compared to DC and Warner Bros’ previous efforts. “Aquaman” lightened things up considerably and worked even if it functioned in a standard way. It was colorful, fun, and humorous. It never got bogged down in a serious tone set by “Man of Steel.” “Shazam!” takes place in the same world of those films but feels oddly out of place. If you’re bored you can even count the endless references to Batman and Superman.
Boring. That’s a good word to describe “Shazam!” I never got invested in Billy’s quest to find his mother. I didn’t care about his foster siblings or his foster parents. Maybe the film was poorly cast? The writing isn’t all that amazing either with a pretty dull script from Henry Gayden. Director David F. Sandberg who comes from the horror world with solid efforts “Lights Out” and “Annabelle: Creation” under his belt is sort of out of his element. The humor never congeals with the film’s darker elements and the film just doesn’t look glossy and pretty.
There are a few bits here and there that sort of work – there is something fun that happens in the final act – but the film mostly left my dumbfounded. It just doesn’t work. The jokes weren’t funny, the characters were uninteresting, and the effects weren’t all that impressive. Zachary Levi spends most of the movie just mugging for the camera and it’s awkward and silly. There are comedic superhero movies starring young actors that work - “Spider-Man: Homecoming” comes to mind- and there are lower budgeted irreverent superhero movies that work – let’s say “Kick-Ass” - but “Shazam!” breaks the fundamental rule of cinema – it’s forgettable. GRADE: C-
Saturday, April 06, 2019
Nostalgia is a powerful thing. Sometimes it makes bad things seem good. Take, for instance, the 1989 horror flick “Pet Sematary.” It was a modest success at the time when the horror genre was in a bit of turmoil. Slashers were slowly on their way out and no one knew what to do with the genre. Why not visit the Stephen King well again for what the author has described as his scariest book? “Pet Sematary” as a film is fine but it’s not very good.
It certainly doesn’t hold up that much today. Even if the two year old playing Gage is pretty decent considering he’s essentially a baby, the daughter is pretty terrible. The film gets bogged down in boring side plots – who the hell cares about Rachel’s sick sister? The only reason the character scared kids is because she’s played onscreen by a man in horrible makeup. The story of “Pet Sematary” is great, but the final product, for all intents and purposes, is sort of a mess. And it’s not scary – disturbing perhaps – you certainly won’t see a studio film made today with a two year old coming back from the dead killing people with a scalpel. The film was essentially a horror film about grief another recent movie to tackle the difficult subject matter was last year’s Hereditary. And now we get another version of “Pet Sematary” that fixes everything that was slightly wonky about the 1989 version and has a few fun twists up its sleeves.
The new iteration of “Pet Sematary” is pretty similar to the original film for a majority of the time. A couple moves from the busy city to the rural comforts of Maine. There’s Dr. Louis Creed (Jason Clarke) his wife Rachel (Amy Seimetz) and their young daughter Ellie and baby Gage (Hugo & Lucas Lavoie). Ellie also has a cat named Church. They meet a weird but nice neighbor Jud (John Lithgow) who sort of becomes a father figure to the family.
Things seem to be going ok until Louis begins having weird visions of a college student who was recently hit by a car and killed on the campus he works at. Oh and there happens to be a pet “sematary” in the woods behind the Creed’s house where all the kids in the town bury their dead pets. And there seems to be something slightly evil just beyond the pet sematary. In fact its an ancient burial ground that brings dead things back to life! So when Ellie’s cat gets hit by one of the many speeding tractor trailers that whip down their road, Jud recommends that Louis bury the cat in the place beyond the pet sematary. Ladies and gentlemen, I give you zombie Church. The cat in the original film looked evil before he was killed and zombified. The Church in the new film is precious looking and then is all mangey.
At this point we all know where the story is going but the film plays with your expectations to the film’s – and our- benefit. Screenwriters Matt Greenberg and Jeff Buhler have fun playing with an audience who they know is seeing the film because they know the original movie. Directors Kevin Kolsch and Dennis Widmyer know that too. But they also know how to make this story scarier and fix things that didn’t work in the first film. Rachel’s sister Zelda still figures into the story but is handled in a much better way as are the overall themes of death, grief, and the afterlife. Stephen King has essentially given us a zombie story but told through the point of view of a family dealing with tragedy. That’s why this story still resonates today.
The new Pet Sematary is scary, atmospheric, and not at all the cornball of a movie that the original 1989 film is. Of course that movie was certainly a product of its time and I admire its weirdness. This new film is a bit more straightforward but its a tad less campy and overall better paced. I enjoyed the performances – even if no one can replace Fred Gwynne – and the film’s third act was creepy and extremely fun. Sometimes remakes are better. GRADE: B
Saturday, March 23, 2019
One this is most definitely true of Jordan Peele’s “Us:” it demands that you see it a second time. And I’m ok with that because it’s completely outstanding; it’s creepy, scary, intense, funny, and, best of all, flat-out insane. The preview for “Us” tells us all we need to know to get us to want to see this bizarre new follow up to his Oscar-winning hit “Get Out:” a family on vacation in their summer home begin to be terrorized by another family who look exactly like them. Sold. And yet there is so much more to “Us” as a film that I almost feel like I underpaid for the fantastic experience of it all. The film is a smart and funny horror flick that has a much bigger scope, fun twists and turns, perfect performances, and has a lot to say about society once you begin to discuss the film afterwards. In fact, I just can’t stop thinking about it. Jordan Peele is a genius.
The film is a reunion of sorts for “Black Panther” supporting actors Lupita Nyong’o and Winston Duke who play the Tylers, a middle class couple who set out to their vacation lake house with their two kids. We learn through flashbacks that Adaelaide (Nyong’o), as a child, had a traumatic experience in a carnival fun house. She seems to generally gotten over it though she’s a bit overprotective of her daughter Zora (Shahadi Wright Joseph) and especially her younger son Jason (Evan Alex). Her husband Gabe (Duke) is your typical goofy, funny dad who likes to tease and slightly embarrass his kids. Seems like a normal family to me. But all is not what it appears to be on this supposed idyllic summer vacation. There’s definitely something wrong. And later that night a family of four shows up in the driveway – all wearing red jumpsuits and clutching menacing golden scissors – who seem to want one thing: to get in their house. Oh and they literally look just like them (they’re even played by the same actors).
It would criminal to say much more as the fun of it all is determined by how little you actually know going into the film. Peele has crafted a really fun and scary film that’s part home invasion thriller and part – well he mixes lots of genres and inspirations. Essentially a full length bonkers “Twilight Zone” episode, “Get Out” was a modern take on “The Stepford Wives” and “Invasion of the Body Snatchers” but “Us” doesn’t feel quite as definitive. I felt the influences of lots of films. Everything from “Funny Games” to “Jaws” to “The Birds” and “The People Under the Stairs.” Throw in a bit of zombie movie, David Lynch, Alfred Hitchcock, and - once again - a “Twilight Zone” and you get somewhat of what to expect in “Us.” Peele always has a message – his choices in his script and direction are never just coincidence. It was obvious what he had to say in “Get Out.” But with “Us” it’s slightly more challenging and vague and open to interpretation (and, for the record, arguably much scarier). In fact “Us” isn’t just the simple home invasion film that the trailer sets up – this movie will facilitate a post-viewing discussion that could take weeks to unravel. I can’t remember a mainstream film doing that since the controversial “mother!” but that film was far less digestible.
Peele is a master filmmaker, even at only two feature films into his career. His movie is so well crafted you’d think it was a veteran filmmaker 30 years into his career. Technical merits are solid. The film’s visuals are beautiful and telling – an overheard shot of the family as they make their way across the sandy beach with the sunlight casting large black shadows is one of the most seemingly innocuous but menacing shots of foreshadowing in quite some time. The music score from composer Michael Abels is just as menacing and simply outstanding. The film’s third act is simply bonkers and a complete showcase for the wonderful and Oscar-worthy Nyong’o who kills it in two terrific performances. Also great in a supporting role is Mad Men’s Elisabeth Moss as the Tyler’s friend also on vacation with her family
Do me a favor? Go see the film, laugh and scream, and then talk about with those you saw it with. Talk to the woman sitting in front of you who seems confused. Facilitate discussion. I don’t think there’s exactly a wrong or right way to interpret Peele’s film. He has a lot to say about class, race, and American society in general. The movie’s trailer insists we are our own worst enemy and I think that’s a great jumping off point. God I can’t wait to see this again. GRADE: A
Friday, March 08, 2019
There’s been plenty of great female characters in the twenty Marvel films that have preceded “Captain Marvel.” But none of them have headlined their own film. There’s no reason twenty films in, there has not been a Marvel film centered around a female protagonist. Why is this such a big deal? Well it wouldn’t be if they had made a female centered superhero film years ago. Audiences have waited a long time for Captain Marvel to show up and she’s in glorious form. “Captain Marvel” is definitely one of the most flat-out fun films in the MCU; sure it may not carry the emotional weight of the years preceding “Infinity War” but it stands fine on its own two feet, featuring fantastic visuals, an interesting story, a fun nostalgia streak, and likable characters. This is definitely solid mid-tier Marvel. And it even features one of cinema’s cutest cats.
“Captain Marvel” is sort of “Guardians of the Galaxy” lite. The film is set in the same general universe as that film and even has some crossover characters and races of people. We’re introduced to Brie Larson’s character as Vers who is a Kree and suffers from weird visions that feature Annette Bening. Who wouldn’t want to have weird visions of Annette Bening?? After a mission involving infiltrating the evil shape-shifting Krulls goes awry Vers crash lands on Earth. In Los Angeles. In a Blockbuster. Did I mention the film takes place in 1995? There she meets young versions of SHIELD agents Samuel L. Jackon’s Nicky Fury and Clark Gregg’s Phil Coulson. There, she must help fight off some invading Skrulls and figure out what’s the deal with her bizarre memories and the fact that she may in fact be a former US Air Force pilot named Carol Danvers.
The film could have easily gone down the “fish out of water” plot hole but that was done in “Thor” and even DC’s “Wonder Woman.” The film instead centers around a mystery involving our fantastic lead with welcomed bits of comedy. Directors Anna Boden and Ryan Fleck – who come from the indie world of films like “Half Nelson” – imbue the film with a wonderful intimacy and also 90s nostalgia much in the way “Guardians” was an ode to the 80s. Conceiving the film as a prequel to the other Marvel films also gives the filmmakers the freedom to do their own thing while also eventually connecting the film to the rest of the MCU, much in the same way “Captain America: The First Avenger” was essentially all a setup for “The Avengers.”
Technical merits are top-notch. The visual effects are fantastic. The music score from composer Pinar Toprak is solid if not particularly memorable like most of the Marvel films (she’s also the first female composer in the MCU). Nothing has really come close to the “Ant-Man” theme and Black Panther’s Oscar-winning music. All of the performances are great. Brie is likable in the title role and she really kicks ass even if her performance is a tad understated. Her mysterious story works pretty well and thankfully doesn’t need to include a love interest. Jude Law is good as Vers’ commander/mentor, even if he does too much mansplaning. And how fun is it to see someone like Bening in this? At this point it feels like if you haven’t done a Marvel film are you really even an actor? I previously mentioned the film introduces a cute kitty and that darned cat pretty much steals the movie.
There’s not much to complain about in “Captain Marvel.” Maybe it a take a little time to really get going but the film is just as exciting, the action is just as well-done (including a great sequence on an elevated train), and the characters as just as well drawn as any other solid Marvel film. Is it the best? Of course not. The film isn’t nearly as unique at some of the other entries but Marvel’s overdue take on a feminist storyline is quite good and I can’t wait to see what Brie has up her sleeve in the next Avengers film. GRADE: B+
Sunday, March 03, 2019
Call me disheartened but I refuse to believe anyone in New York City would take the time to travel to a complete stranger’s home to return a lost purse. At least not alone. And yet that’s exactly the premise of “Greta,” a movie in which no one really acts like a real human being. Thankfully “Greta” devolves into a campy stalker thriller so that’s ok in my book. It stars recent Oscar nominee Isabelle Huppert doing her crazy worst as a woman who baits naive people with “lost” purses around the city hoping to form a friendship and then going all “Misery” on them. “Greta” reminds me of the early 90s stalker dramas; your “Single White Females” your “Hand That Rock the Cradles” and I’m all for it. It does very little to be all that unique or different, but it’s well-paced, entertaining, and features a wildly fun to watch Huppert who chews up and spits out the scenery around her, sometimes even flipping tables over in process.
Enter Chloe Grace Moretz’ Frances McCullen who takes Greta’s bait hook line and sinker. Frances is a nice girl from Boston. She just moved to Manhattan where she’s living with her friend Erica (Maika Monroe) whose father bought her an apartment for graduation. At least they try to explain why two young twenty-somethings have a killer pad. Frances finds a purse on the subway, tries to drop it off at the lost and found – which has nobody working there – and takes the purse home. She decides to be a good Samaritan and return the bag to its owner. When she arrives to a cute little offset apartment building, she finds an even cuter older French woman named Greta (Huppert) who is thrilled to see her purse and offers Frances some coffee. Don’t go in there!!
The two women are obviously lonely people and quickly find a connection. In real life, these people would never see each other again. But we’re watching a crazy stalker thriller so naturally the two women exchange phone numbers and continue to meet up and hang out. Erica who seemingly spends all her time doing yoga in her huge apartment things Frances is insane for hanging out with a woman she doesn’t even know. And then one night when at Greta’s place for dinner, Frances fines a cupboard full of the same purse she found and returned to Greta. It freaks her out naturally and she promptly leaves without giving Greta much of an explanation. And then soon Greta wonders why Frances refuses to answer her texts or calls. And then it gets crazier from there.
The film is surprisingly directed by Neil Jordan who gave us such cinematic classics as “The Crying Game” (a film I can’t say I’m a fan of) and “Interview With the Vampire” (which is campy enough itself). His last real impact in mainstream film was the Jodie Foster starring the NYC-set “The Brave One” which followed its own worn out vigilante storyline. Jordan also co-wrote the film (he shares credit with Ray Wright who wrote the story) and it he has certainly crafted a beautiful movie (it was shot by Seamus McGarvey) but besides some tense moments it doesn’t quite offer anything new or all that surprising. I find myself wondering what someone like Jordan saw in this well-worn material. I think one of the biggest flaws from my point of view is Moretz who isn’t given that much to do with this character and comes off a tad bland. She’s lonely because she’s recently lost her mother but she’s mostly reactive to all the crazy stuff that Greta is doing to her. Stalking her at work, following her friends around, and being a general nut bag. This is Isabelle Huppert’s show and she’s insanely good. Literally. The film’s final act isn’t very original but it’s surprisingly satisfying.
In the end, what’s the point of all this? It’s just a somewhat over-the-top thriller about a crazy woman. But it’s entire existence is predicated on the fact that Frances would even return a purse she found on the subway. I believe that there are good people in the world. But turn you gotta turn that stuff into the police. Otherwise you might end up starring in a crazy bitch thriller. GRADE: B
Friday, February 22, 2019
See the winners here
I’ve been wrong the last three years in a row and it would be nice if I could get this right again. It seems like only yesterday I had a seven year stretch of correctly predicted BP winners (The Departed through Argo). And then something… funny happened. The Academy’s tastes began to shift, there was a whiff of change in the air, and they became - dare I say - unpredictable. I couldn’t even correctly predict last year’s win for “The Shape of Water” which actually makes the most sense in hindsight. It makes for an exciting show but for someone who spends the winter months trying to decipher which way the Academy will go, it’s anxiety inducing. And yet again here we are in a wacky year where “the rules” – ie, SAG noms, “requisite nominations” - that used to be very helpful - will be thrown out the window yet again. For several years it seemed like the SAG Best Cast category was the unofficial bellwether as to what could eventually win the Best Picture Oscar. Gravity, The Revenant, La La Land – all failed to get a Best Cast nomination at SAG and all failed to win Best Picture at the Oscars. So how could The Shape of Water possibly win BP without that same nomination? But it did! It did win. I maintain that Three Billboard’s lack of a directing nomination was telling. Sure, Argo pulled it off just a few years ago but there was a rallying cry behind Ben Affleck’s snub; no one seemed to care that Marin McDonagh got shafted.
And that is why I am somewhat hesitantly predicting a win for Roma. A film that was not nominated at SAG but still received two somewhat surprising Oscar acting nods for two of its actresses. I won’t even get into Roma’s lack of an editing nod – Birdman didn't get one and still won. But I think it’s because the Academy didn’t want to nominate Alfonso Cuaron literally 8 times. Some are predicting a victory for “Green Book.” But it’s lack of a directing nomination is telling, not to mention its SAG nomination snub. However, with the way the preferential ballot works a lot of these “rules” feel more less and less helpful. A legitimate argument could be made for ALL EIGHT BP NOMINEES. That is unprecedented. It was so much easier when it was The King’s Speech vs The Social Network or Birdman vs Boyhood or Shakespeare in Love vs. Saving Private Ryan. Ok bad example. So I’m officially going with Roma, which just triumphed at BAFTA and its hard to predict a BP/Director split to I’m sticking with it. Unfortunately, it seems like A Star is Born is just happy to be nominated.
Will win: “Roma”
Should win: “A Star is Born”
Should have been nominated: “A Quiet Place”
If the “rules” I speak of have become less predictive the last few years there’s one that has truly stayed the course: DGA. This award has a tremendously predictive history. Alfonso Cuaron won at DGA and is not surprisingly on his way to claim his second Best Directing Oscar. And that’s fine and all but what a great opportunity it would have been to reward Spike Lee (which will probably happy in Screenplay).
Will win: Alfonso Cuarón, “Roma”
Should win: Spike Lee, “BlacKkKlansman”
Should have been nominated: Bradley Cooper, “A Star Is Born”
ACTOR IN A LEADING ROLE
Controversy aside, I’m pretty certain that Rami Malek is going to take this for Bohemian Rhapsody. Even people who hate the movie say he’s the best thing about it. He won the Globe, SAG and BAFTA. It would be an upset if he lost at this point. Bale or Cooper could win but I’d be shocked if Malek loses.
Will win: Rami Malek, “Bohemian Rhapsody”
Should win: Rami Malek, “Bohemian Rhapsody”
Should have been nominated: John David Washington, “BlacKkKlansman”
ACTRESS IN A LEADING ROLE
What a crazy trajectory the ladies in this category have had. Another young vs old, newbie vs veteran narrative took shape this year as it became Gaga vs Glenn. Yes Glenn Close has yet to win an Oscar but does she really need it for The Wife? It’s a mediocre movie and she’s fine in it but to think Gaga and Colman will lose a deserving award to a lifetime achievement honor is just sad (though Gaga is really in third here considering she’s a lock for a win in the Song category). At this point after Close’s surprise Globe victory and powerful speech it’s hers to lose.
Will win: Glenn Close, “The Wife”
Should win: Olivia Colman, “The Favourite”
Should have been nominated: Toni Collette, “Hereditary”
ACTOR IN A SUPPORTING ROLE
I don’t hate “Green Book” as much as other people do and Mahershala is fine in the film. But I don’t quite get the need to give the guy another Oscar so quickly after winning for Moonlight. A win for Ali feels like another lock even though this category sometimes ends up rewarding veterans: your Christopher Plummers, your Alan Arkins, your George Clooneys, your James Coburns, etc. So a surprise win for Sam Elliott wouldn’t be the craziest thing to happen.
Will win: Mahershala Ali, “Green Book”
Should win: Richard E. Grant, “Can You Ever Forgive Me?”
Should have been nominated: Michael B. Jordan, “Black Panther”
ACTRESS IN A SUPPORTING ROLE
What a weird category this year. Regina King feels like the front runner but she wasn’t strangely not nominated at SAG and at BAFTA. It’s very rare for a performer to win an Oscar after being snubbed at SAG but it has happened twice: Marcia Gay Harden and Christoph Waltz. (Fun fact: Harden’s never even been nominated at the Golden Globes for any role). If King doesn’t win it’ll probably go to Rachel Weisz, who has already won in this category (against Amy Adams I might add). Adams could win I guess but it feels like no one really seems to care much about Vice these days. I thought she was fine in the film and wouldn’t mind her finally winning her first Oscar.
Will win: Regina King, “If Beale Street Could Talk”
Should win: Amy Adams, “Vice”
Should have been here: Emily Blunt, “A Quiet Place”
WRITING (ADAPTED SCREENPLAY)
Even if Spike Lee isn’t going to win for Directing BlacKkKlansman he’s most likely to triumph for helping to write BlacKkKlansman. This isn’t quite a slam-dunk – Can You Ever Forgive Me? surprised many by winning the WGA – and there’s a lot of affection for If Beale Street Could Talk and its source material. Having said that, it feels increasingly difficult for non-BP nominees to win in the screenplay categories (the last time a non-BP nominee won in this category was 1998’s Gods & Monsters)
Will win: “BlacKkKlansman”
Should win: “BlacKkKlansman”
Should have been nominated: “Black Panther”
WRITING (ORIGINAL SCREENPLAY)
This category is a tad more welcoming to non-BP fare (The last time a non-BP nominee won in the Original Screenplay category was 2004’s Eternal Sunshine of the Spotless Mind). I think this comes down to Green Book vs The Favourite. This will be a very important category to watch. If Green Book wins it could very well win Best Picture. If The Favourite wins it’s highly unlikely that Green Book will take the cake. I’m guessing The Favourite since it feels like the most Original of these nominees and it doesn’t help that one of Green Book’s screenwriters (Nick Vallelonga) has been in some hot water recently.
Will win: “The Favourite”
Should win: “The Favourite”
Should have been nominated: “Eighth Grade”
I’d be surprised if Alfonso Cuaron doesn’t win for lensing his own film. It’s certainly unprecedented. The Cinematography guild wasn’t having it (Cold War won at ASC) but I think the Academy will reward the film here.
Will win: “Roma”
Should win: “Roma”
Should have been nominated: “If Beale Street Could Talk”
It’s period vs. fantasy. Usually it’s dumb to bet against a flashy period piece drama featuring royals but the costuming in Black Panther is also gorgeous and unique. Flip a coin really, but I think The Favourite will probably win out. And if Black Panther surprises with a win I’ll be happy to be wrong.
Will win: “The Favourite”
Should win: “Black Panther”
Should have been nominated: “Crazy Rich Asians”
Another bizarre category filled with nontraditional nominees. Where’s the random action movie? Where’s the war film? There’s nothing too flashy or obvious about any of these nominees; they’re all fine. I think Vice, which won at BAFTA, will probably win because it arguably has the “flashiest” editing of the nominees, with lots of insert cross-cutting scenes. Bohemian Rhapsody could win here as music films tend to do well in this category and everyone knows that the troubled production of this film was truly saved in the editing room. So don’t be shocked if Bohemian Rhapsody pulls it off.
Will win: “Vice”
Should win: “Vice”
Should have been nominated: “A Star is Born”
MAKEUP AND HAIRSTYLING
Vice will probably win for transforming Christian Bale into Dick Chaney. The academy loves a good transformation (there’s a reason why films like The Iron Lady, Darkest Hour, La Vie en Rose have won here). Anyone who looks at stills from Border would be impressed with that work but have enough people seen the film or even know of it?
Will win: “Vice”
Should win: “Vice”
Should have been nominated: “Black Panther”
MUSIC (ORIGINAL SCORE)
With “First Man’s” gorgeous score shockingly left out, this race literally comes down to race: the three front runners feature predominately African American casts: If Beale Street Could Talk, BlacKkKlansman, and Black Panther. I think Beale Street will take it but wouldn’t be shocked to see any of these three win.
Will win: “If Beale Street Could Talk”
Should win: “Black Panther”
Should have been nominated: “First Man”
MUSIC (ORIGINAL SONG)
The only real sure thing of the night besides Best Director. Lady Gaga, half way to her EGOT.
Will win: “Shallow” from “A Star Is Born”
Should win: “Shallow” from “A Star Is Born”
Should have been nominated: “Ashes” from “Deadpool 2”
A lot of times this award is tied closely to Costume Design. So this is another battle between Art Directors Guild winners & front runners Black Panther and The Favourite. The Academy has been known to embrace worlds created with the help of computers so a win for Black Panther wouldn’t be unheard of, but I won’t be surprised if The Favourite wins this if they also win for Costumes. Flip a coin.
Will win: “The Favourite”
Should win: “Black Panther”
Should have been nominated: “Ready Player One”
This category isn’t very welcoming to non-BP nominees as I’ve recently come to find out. Skyfall won in 2013 but it tied with Zero Dark Thirty. But there’s a reason A Quiet Place was nominated for this award. It’s the film most reliant on sound effects. However, it’s not just sound people voting so I wouldn’t be shocked if something else, like Bohemian Rhapsody takes this one. I’m totally going out on a limb here.
Will win: “A Quiet Place”
Should win: “A Quiet Place”
Should have been nominated: “Ready Player One”
I think it’s a race between the two music-based films. Flip a coin, but don’t count out First Man.
Will win: “Bohemian Rhapsody”
Should win: “First Man”
Should have been nominated: “Mission: Impossible – Fallout”
Generally, in this category Best Picture winners tend to win. Of course “Ex Machina” beat several BP nominees that year. Usually the movie that wins is the film most likely to be a BP nominee, ie “Blade Runner 2049” and “Interstellar.” That film this year would be “First Man” (it’s also the only film of the five with multiple nominations) but the film’s effects are more subtle so I think the Academy will finally embrace the Marvel Cinematic Universe with a win for the effects-heavy Avengers. Though they really should be rewarding “Ready Player One” which has some of the most impressive full sequences of CGI since “Avatar.” (It’s also crazy that no Spielberg film has won this award since 1993’s “Jurassic Park.”)
Will win: “Avengers: Infinity War”
Should win: “Ready Player One”
Should have been here: “Black Panther”
ANIMATED FEATURE FILM
It’s rare for a non-Disney or non-Pixar film to win here, but I think considering the Disney films are sequels don’t really help their cause. Sure “Toy Story 3” pulled it off, but that was a Best Picture nominee. I think “Spider-Man” will prevail since it has been winning every other top animation award but don’t be too shocked if there’s an upset. Remember when “Brave” beat out “Wreck-It Ralph?” That still hurts.
Will win: “Spider-Man: Into the Spider-Verse”
Should win: “Spider-Man: Into the Spider-Verse”
Should of been nominated: They actually got this category right this year
FOREIGN LANGUAGE FILM
How does a film in this category that is also a BP nominee not win here? There is some consensus that those voting for Roma for BP would be hesitant to also vote for it here but that’s nonsense. Having said that, a surprise win for “Cold War” wouldn’t be the craziest of upsets.
Will win: “Roma” (Mexico)
Should win: “Roma” (Mexico)
A win for RBG would be rightfully politically motivated which I have no problem with and Ruth Bader Ginsburg has literally been everywhere lately (mostly in the hospital recovering actually but she’s a tough old broad). Having said that, the film itself while completely enjoyable isn’t necessary a feat of magnificent non-fiction filmmaking. That would be Free Solo, a big scale, nail-biter of a film about a man who attempts to climb Yosemite’s 3,000 ft El Capitan Wall without any ropes or safety gear. Either film has a decent shot.
Will win: “Free Solo”
Should win: “Free Solo”
Should have been here: “Three Identical Strangers”
DOCUMENTARY (SHORT SUBJECT)
Will win: “Period. End of Sentence.”
SHORT FILM (ANIMATED)
Will win: “Bao”
SHORT FILM (LIVE ACTION)
Will win: “Marguerite”
Monday, February 18, 2019
A meta movie like “Isn’t It Romantic” couldn’t exist if there weren’t decades worth of romantic comedy cliches built over time. “Isn’t It Romantic” is a satire of the traditional rom-com that has permeated the American cineplex for years. Of course it’s not the first film to spoof the genre and it certainly won’t be the last. But it does so in a clever enough way – even if it’s all a bit too obvious at times – to make it a rather enjoyable experience.
Aussie funny lady Rebel Wilson stars as a frumpy woman living in a “realistic” version of modern NYC. The film opens with Natalie as a kid watching “Pretty Woman” and her mother insists that movies like that aren’t real life. Anyone with half a brain knows that. Natalie grows up knowing that as well – movies are make believe after all. One day she’s mugged in the subway and knocked unconscious but when she wakes up everything is… different. Her hospital room is as gorgeous as her doctor and New York City no longer smells like garbage. Her apartment is now twice the size and she has an entire walk-in closet filled with every pair of shoe imaginable. Her creepy neighbor Donny (Brandon Scott Jones) is now her flamboyantly gay sidekick, Her nerdy work assistant and friend Whitney (GLOW’s Betty Gilpin) is now bitchy, steely, and her sworn enemy. But one thing remains: she still crushes on her guy friend Josh even though she doesn’t think he’d date her in a million years. Enter the dashing, and second best-looking Hemsworth brother Liam as Blake as a company client who also apparently has a thing for Natalie. It’s not long before Natalie realizes that she’s trapped in some kind of Twilight Zone romantic-comedy dimension where she can’t even drop an F-bomb, even though PG-13 rated films allow at least one.
“Isn’t It Romantic” is directed by Todd Strauss-Schulson and that’s no surprise because his last film was the equally meta “The Final Girls” which featured a reworking of slasher movies. That film didn’t quite work for me in the way that this film does. “Isn’t It Romantic” isn’t perfect though; for all its charm and wit, it hits all the basic notes as found in the script by Erin Cardillo, Dana Fox, and Katie Silberman. It announces all the cliches of the rom-com genre but then just sort of follows them anyway. But that’s sort of the point because ultimately the film does take it’s own turn in the final act which was refreshing. The film is essentially a “best of” rom-com and yet you actually begin to care about Natalie and her plight.
Strauss-Schulson and his cast have such a fun time creating this fantastical world of perfection that it’s hard not to buy into it. The humor is pretty biting and Wilson makes for an absolutely perfect leading lady equally capable of being both sarcastic and charming. Even if the film is heavily influenced by famous rom-coms, I got a heavy “Wizard of Oz” feel. The opening scenes are gritty, filled with washed out colors, and shaky camerawork. After Natalie wakes up the film is brighter, more colorful, and the Steadicam makes itself known.
“Isn’t It Romantic” isn’t without faults but it’s a really fun time and offers plenty of laughs. The premise is rather clever even if it hits most of the beats you’re expecting. The film does feels like it offers universal appeal: Those who love rom-coms will enjoy the rom-comness of it all, and those who find the genre eye-roll inducing will still get a kick out of it. Wilson is matched with perfect material here, she gets to be physically funny and offers plenty of wit herself. Oh, and there are musical numbers. Did I mention the musical numbers? GRADE: B
Saturday, February 16, 2019
Where does one even begin? Put simply “Happy Death Day 2U” is an utterly ridiculous and preposterous sequel, one in which they try to explain the events the first film with “science” that hardly makes a lick of sense. But you know what else this movie is? FUN AS HELL. This is one of those movies where the intellectual me is telling me “This is so stupid and ridiculous!” and yet I couldn’t help but just go with it and have some fun. Everyone involved in “Happy Death Day 2U” is having an absolute blast and it completely comes across onscreen. They totally embrace the goofy premise and the actors, especially lead Jessica Rothe, are completely selling it. The film is way more focused on humor and the campiness of it all and if you’re willing to accept the nonsense you’ll have as much fun as you did watching the first film.
Jessica Rothe is yet again fantastic in the role of Tree. In the first film Tree was a bitchy sorority girl who wasn’t very likable. By the end of the film I wanted to be friends with her. That is a testament to the great arch the character goes through and the likability of Rothe as a performer and her innate ability to sell an insane storyline. To me, she was “Happy Death Day.” And she’s thankfully back in this even more bonkers sequel and she nails it yet again.
Taking place the day after the events of the first film – Tree and Carter (and equally charming Israel Broussard) are now a couple – but Carter’s roommate Ryan (Phi Vu) begins to experience the same time loop that Tree experienced in the first film. It turns out Ryan and his nerdy science buddies have made some kind of experimental quantum reactor (because of course they have) that has created weird rifts in time. When the thing goes off again, it sends Tree back to the day before to experience the same day over and over that we saw in the first film that results in Tree being murdered by someone in a baby mask. Except this time, there are some major differences, some of which have emotional and life altering consequences. In other words, it’s all pretty stupid and absurd but as you get into it, like the first film, you begin to buy what their selling and I bought a whole lot it.
Director Christopher Landon, who directed the delightful first film has also written this adventure and it really just goes for it (there’s an entire suicide montage ala “Groundhog Day” that finds Tree jumping out of planes, into wood chippers, etc). Seeing him just embrace the strange premise and actually making it work somehow is a testament to how likable these characters truly are. He has also wisely beefed up some of the roles of secondary characters from the first film and given them much more to do. For instance, Danielle, Tree’s even bitchier sorority sister, (Rachel Matthews) has her own movie stealing performance in the film’s third act that is as offensive as it is hilarious and relies solely on amazing physical comedy. Also, the film explores more of the drama surrounding Tree and her mother offering a surprising emotional dimension to the proceedings that may have even brought a tear to my eye.
The sci-fi bent “Happy Death Day 2U” will either lose you or hook you within the first 20 minutes. I say you should stick it out to see how everything plays out. The plot certainly doesn’t hold up to scrutiny. You can’t quite make sense of some of the preposterous story elements introduced – and those expecting anything resembling a slasher film will be severely disappointed – but it almost doesn’t matter. The film is a fun conglomerate of “Groundhog Day,” “Back to the Future Part II” and “Sorority Row.” If that doesn’t sound like a good time I don’t know what is. GRADE: B+