And the Nominees Are:
Paul Raci in Sound of Metal
Paul Raci in Sound of Metal
Leslie Odom Jr. in One Night in Miami
LaKeith Stanfield in Judas and the Black Messiah
Sacha Baron Cohen in The Trial of the Chicago Seven
Daniel Kaluuya in Judas and The Black Messiah
114 comments:
Though who's lead in Judas then?
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
1. Raci.
2. Kaluyya.
3. Stanfield.
4. Cohen.
5. Odom junior.
This is a crapshoot.
They’re supporting the movie, Louis.
1. Raci
2. Stanfield
3. Kaluuya
4. Odom
5. Cohen
The Academy listened to Luke’s concerns about how 2021 performances would be reviewed and decided to throw him a bone.
And damn quick turnaround on the photos Louis!
Robert:
AHHHH RIGHHHHHHHHHHHHHT.
Stanfield is a pretty good choice, I am glad Boseman isn't here. I do love seeing first time nominees.
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
At least leto did not get nominated.
Calvin:
Apparently so.
Stanfield and Kaluuya both got the Emma Stone and Rachel Weisz treatment......without there being an Olivia Colman.
1. Raci
2. Kaluiya
3. Stanfield
4. Odom Jr.
5. Cohen
It's a damn good lineup guys.
This wasn't the line-up I was expecting at ALL, but I'm pretty cool with it.
The Father in production is really deserved
Trial over Minari on Cinematography? Come on...
Emi:
Well at least Judas is a far better choice than Cherry.
Lead Actor is the SAG line-up. Good shit.
Louis: True that.
VINTERBERRRRRRRRRRRRGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG
STEVEN YEUN AND VINTERBERG oh my god I’m actually crying now
Husavik :)
Actor and Actress as predicted.
Vinterberg is in
Quite happy overall with these nominations, probably the best they could have done given the circumstances.
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
Delighted overall. Shame about David Copperfield.
So aside from Glenn Close, these weren't too bad, right?
1. Raci
2. Kaluuya
3. Stanfield
4. Odom Jr.
5. Cohen
Vinterberg, Yeun..... this is goddamn awesome.
1.Raci
2.Kaluuya
3.Odom Jr.
4.Stanfield
5.Cohen
1. Kaluuya
2. Stanfield
3. Raci
4. Odom
5. Cohen
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
Apart from Glenn Close, No issues with the nominees.
1. Stanfield
2. Kaluuya
3. Raci
4. Odom Jr.
5. Cohen
Glad we're all happy here, lol.
Emi:
These were pretty sweet overall, Vinterberg, the over-performance of the Father, and just so many of the expected good choices getting what they deserved.
Your thoughts on the screenplays of Mank and Soul?
Tim:
Will cover, as I know begin my, now, traditional rundown of the nominees.
Anomymous2:
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
Quick thoughts:
- VINTERBERG
- Love that Bakalova got in.
- Very happy they recognized The Father
- No Ma Rainey in Screenplay/Picture is very interesting now
Have to say I loved most of these nominations.
Rating predictions for these 5:
Raci- 5
Kaluuya- 5
Stanfield- 4.5
Odom Jr- 4/4.5
Baron Cohen- 4
Tim:
Will get to Souls soon, first time for my now traditional annual rundown of the nominees.
1) Kaluuya
2) Raci
3) Stanfield
4) Odom Jr.
5) Cohen
Glenn close becomes the third person is history to be nominated for both an oscar and razzie for the same performance.
My rating predictions
Raci: 5
Kaluuya: 5
Stanfield: 4.5/5
Cohen: 4.5
Odom junior: 4.5
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
My rating predictions for Lead Actor as well while we're at it-
Hopkins- 5
Boseman-5
Yeun- 5
Ahmed- 5
Oldman- 4.5
Also, The Mauritanian flopped HARD. Shame about Rahim though, hop he gets another chance at a nom.
1. Raci
2. Kaluuya
3. Stanfield
4. Cohen
5. Odom Jr.
This is the happiest I have ever been on nomination day. All my dreams AND Thomas Vinterberg getting in as a cherry on top.
I predict:
Kaluuya - 5
Raci - 5
Stanfield - 4.5
Odom Jr. - 4.5
Cohen - 4
Hopkins - 5
Boseman - 5
Ahmed - 5
Yeun - 5
Oldman - 5 (I'll be putting him in 5th for the prediction but again I see it as possibly another Michael Keaton in The Founder)
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
REALLY hope PYW wins Screenplay
The White Tiger (actually my favorite movie of 2020, though I haven't seen Nomadland) was my fav surprise by far
Lakeith Stanfield is the most egregious category fraud since... actually, they've been doing this for so long it doesn't bother me anymore, and at least now I can say Oscar nominee Lakeith Stanfield
Kirby was never missing, the passion for her was too strong
Actress and Sup. Actress are still a bloodbath, though SAG should give us some clarity (I hope, though I'll probably fall flat on my face when they announce Adams and Zengel as the winners)
I was predicing Mank to get a sreenplay snub for so long, glad it payed out (I liked Mank, but it was the screenplay that prevented it from being the next Social Network)
Shame Rain Song didn't make it, though at least Minari got an score nom
Those Foreign Movie noms are a mess, no Dear Comrades!, I'm No Longer Here or A Sun, really?
Luke: I'm definitely rooting for Oldman to get a 5 now.
In regards to the actual supporting actor race, does anyone think there will be any chance of vote splitting? I personally think this is more a case like 2017, but the possibility is interesting in itself.
Tahmeed: I think the passion for Kaluuya is really strong right now that I don't think it'll matter much.
I’m actually thinking Stanfield’s a 5 and Kaluuya is the 4.5, but maybe that’s just my own opinion getting in the way.
And reason I'm picking Kaluuya for Louis' win is that he's Lead and I can't forget Oates beating Warner or Woods finishing ahead of Newman from the last two contests.
Well then...although I'm certain Stanfield is seen as the lead in "Judas and the Black Messiah" (Haven't seen it yet), at least we're saved from a Leto review.
1) Kaluuya
2) Stanfield
3) Raci
4) Odom Jr
5) Cohen
Also, regardless of everything else - good on Cohen. He's been an interesting performer for a while now, so it's nice to see his talent validated in some way.
Documentary:
Previously ranked them, and don’t have any changes. Could’ve been better choices but these aren’t bad choices, though I expected Boys State to miss. Mole Agent is wonderful, Crip Camp is a fine info style doc, Octopus Teacher is a fairly typical, if good, nature doc, I have one major issue with Time but its overall presentation is remarkable. And Collective of course is a painful testament to a horrible situation.
International Feature:
1. Another Round
2. Quo Vadis, Aida?
3. Better Days
Won’t Rank Collective with the rest.
I just knew they were going to nominate the only one I wasn’t able to see. Great choices in Another Round of course and Quo Vaidis, Aida?. Better Days is a poor choice and would’ve taken almost any other film on the short list over it, especially A Sun and Dear Comrades!.
Makeup & Hairstyling:
1. Pinnochio
2. Emma
3. Mank
4. Hillbilly Elegy
5. Ma Rainey’s Black Bottom
Pinnochio is head and shoulders above the competition. This is just in one eye catching makeup creation after another. This from the titular character, to the various creatures he comes across, whether it be odd bird people, or a certain cricket. Even the side elements, like the blue fairy’s hair are good in adding the right sort of style to the fantastical world. Is some of it creepy, yes, and I would say with appropriate intention. More than anything the makeup holds together the “reality” of the strange world.
Emma is some wonderful, slightly overly, purposefully so, stylized hairstyling with a bit of glamor makeup. Fantastic work across the board and just adds to the scrumptious nature of the film.
Mank is some fine period work, with some slight bits of historical revisions to the actors. Nothing too major but good, such as making the already older Oldman look a bit more like Mank, by making him even more haggard looking, or the work done on Burke for Welles. I wouldn’t say overall it is excessively remarkable, but good.
Hillbilly Elegy’s sins are not in the makeup. The aging and general haggard makeup, is neither great nor bad. It does its job, even if it isn’t entirely convincing on Amy Adams, though I think that is for several reasons more than even could be on the makeup team.
Most of the period styling is good in Ma Rainey. This is so low because I think Davis’s makeup looks bad, and not in the messy actual Ma Rainey’s. That looked honest and real to the person. On Davis it looks phony, even plastic like. This to the point it distracts from her performance a bit, which is the last thing makeup should do.
Luke: Was tempted to go with Kaluuya, but Louis's issues with the film left me confused about whether he preferred him or Stanfield, since most of us here seemed to like Stanfield slightly more.
Also, I just looked up the full nominees list now....and I guess Close is winning after all (Flips table).
Mitchell: I am not sure because the razzie nom might prevent her from winning but not too sure.
Also no lindo hurt but I did kinda epxect it.
Mitchell:
They could still do the right thing, there's definitely a path for both Youn and even Bakalova (since she made it this far).
Anonymous: A cursed statement, undoubtedly, but is it out of realm of possibility for her to win both? (Which, full disclosure, I obviously don't want).
Louis: agreed that Better Days was an underwhelming nominee. A surprise, but not an entirely great one. Another Round and Quo Vadis Aida are fantastic choices though. My second favourite of 2020 and favourite of 2021 respectively.
Also I do think Close is winning now, but honestly nothing can dampen my mood currently. For now, a nomination is a win and means so much.
On the bright side, at least they got Seyfried in; Much like Cohen, I view that as an "affirmation" if for nothing else. I saw her performance in "Mank" as less a revelation of some unseen potential, and more just a capable actor being put in a quality film.
So yah...good on them both, I'd say.
Calvin:
Certainly a nice reverse for you then compared to last year.
Visual Effects:
1. The One and Only Ivan
2. Tenet
3. Love and Monsters
4. Mulan
5. The Midnight Sky
I gave my thoughts previously, really but again, well not 100% realistic I think “Ivan” found the balance towards humanizing and photorealism that Lion King failed to achieve
Tenet I appreciate more than I love. This as I do like the fact that Nolan does pull so much off in camera, but the effects oddly never wowed me here, which is usually the case for his films.
Love and Monsters, to reiterate, like seeing this nom, fun, purposefully over the top, creature feature work, especially with the bugs. I’d say it’d be #2 if all the creatures felt as effective as the bugs.
Probably should finish Mulan to fully judge, though I thought it was fine though in no way stellar or unique in its wuxia style effects.
The Midnight Sky’s work I thought was actively bad. The zero g blood looks right out of Mission to Mars. The other planet looks so much like a green screen it is a little painful. Terrible choice.
Sound:
1. Sound of Metal
2. Soul
3. News of the World
4. Greyhound
5. Mank
Sound of Metal is a brilliant nomination. Love it so much. This as the sound so much is the film. This in the attention to detail in giving life to each and every sound in the film. This is from really the smallest touch. Yes the creating sense of the deafness, and the hearing aid, is all great more overt work, but this is just amazing design all together in crafting a truly immersive experience.
Soul is fantastic sound work, given so much of the film is built around the idea. This is as there is a real attention to atmosphere as much as the editing of different sounds. This in the more otherworldly sounds of heaven mixed in again the sounds of earth. Great sound design for an animated film.
News of the World, is a dull film, but terrific sound design. Whether it is creating the atmosphere of the different towns, the plain, a dust storm or a gun fight. It all delivers on that technical achievement sense.
As does Greyhound, which is somehow duller than News of the World, but some fine war sounds, if nothing else.
Mank’s sound didn’t really stand out for me, other than above average competence. It delivers in that sense, but as drama sound work goes, it didn’t really go above and beyond, but still far from a bad nomination.
Costume Design:
1. Emma
2. Pinnochio
3. Ma Rainey’s Black Bottom
4. Mulan
5. Mank
Scrumptious costume design as well from Emma. Purposefully not pushing period reality, rather just going for an over the top zestful colorful quality that I’m all for.
Pinnochio’s costumes, like the makeup, is an artful combination in terms of being both fantastical but somewhat kind of dirty in an effective way. It strikes an effective balance between the two capturing both the fantasy and darkness within the story within the costumes.
All of Ma Rainey’s dresses are appropriately gaudish and striking. The band’s costumes, particularly Boseman's, are though striking in their own subtle way. Strong period work across the board.
Mulan compared to true Wuxia doesn’t stand out too much. Still striking enough work even if forgettable within the genre.
Mank’s costumes I actually don’t think make the best use of black and white. This as you don’t sense the color within the choices, so perhaps there was a mistake there, as some of Seyfried’s attire feels more muted than it should, which are the theoretical stand outs. Not that it is bad work, particularly the party costumes, but I do think there were some missed opportunities.
At least tenet did not get nominated for sound.
Louis: Oh for sure, though I do admit I overreacted to last year's nominees. Also I had absolutely no clue back then that Parasite would win.
And got to say I do like that this year stuff like Pinnochio and Love and Monsters getting in shows that they weren't just ticking off boxes of the 'big' Oscar films. Like, that clearly shows there was at least some thought.
Louis: Your thoughts on the score for The Midnight Sky (once you're done going through all the nominees, of course)?
If they had to go with an old favourite I’m glad they went with James Newton Howard instead of Desplat or Newman for their work this year. And Blanchard is actually a great nominee.
Calving: Agreed. I'm glad the music branch recognized Da 5 Bloods, rather than playing it safe and going for Desplat for work that could've been the score for any other film.
Production Design:
1. Mank
2. The Father
3. Tenet
4. Ma Rainey’s Black Bottom
5. News of the World
Odd no Emma...anyways. Mank definitely deserves its near sweeping of this. It is impressive work across the board. This is in creating the period in detail, from every small room, to the grandest manor, and everything in between. This is both in Hearst extravagance and Hollywood extravagance. The production design was on point, and fully does immerse you within that time period.
The Father is some brilliant minimalistic work, right down to just how there are certain penetrating and troubling details within the set. Fantastic work in helping to craft the slightly off-putting atmosphere of the environment, particularly in the touch of the paintings. An inspired nod to be sure.
Again as Nolan films go I do think his production designers have done more impressive work in sort of his pseudo realistic sci-fi style he also did with Interstellar, Inception and the Batman Trilogy. The qualities of what makes those films striking visually are still here, even if perhaps not as striking this time around.
Ma Rainey’s Black Bottom’s work is fairly limited. I don’t think its main set stands out too much, though it does deliver as it needs to. Its other work is similar.
News of the World is really standard western work, I didn’t find a single set memorable honestly.
Score:
1. Minari
2. Soul
3. Mank
4. Da 5 Bloods
5. News of the World
Minari’s score I honestly can’t praise enough. It is just such soulful and spirited work. It is so gorgeous within its simple melodies and matching instrumentation. There is such a delicate elegance within its use of piano, but other careful instrumental touches that grant such a beautiful dreamy quality to it. I honestly love just about every track within its score, as each captures such a wondrous feeling that so perfectly matches the film.
Now I don’t think Minari has a chance, by the sheer scope of Soul’s work. You won’t hear me complain though because Soul’s score is also outstanding. This in delivering the Jazz side of the score Jon Baptiste delivers such lively and appropriately earthbound mood. This in contrast to Ross and Reznor’s otherworldly, yet equally striking world of the world of the soul. The contrast between the pure acoustic against the techno is striking and extremely effective. Both teams seemingly accentuate all the more with Baptiste’s purposefully looser work against the syncopated mood with R/R. This in both sides creating a unique voice that each so wonderfully represents the two sides of the film.
Mank is a worthy double nod for Ross and Reznor however, and honestly is one part of the film that absolutely holds up for me. I think they manage to find the right balance between paying homage to the Bernard Hermann score of Kane, while still finding their own dynamic life. This is working in the type of instrumentation and style of the time, though still fashioned through their own voice. Finding the right haunting quality while also capturing the distinct riff on the 30/40s’.
Da Five Bloods, a surprise nod that I thought was going to lead to a much better day for the film, I guess not. Terrence Blanchard once again brings kind of his purposefully almost neo-explotation style here again, though now riffing on sort of the styles of a Vietnam war picture. I think his crime styling in Blackkklansman was overall more effective. This as, while he tries, he doesn’t quite find as memorable of a melodic path. Instead it honestly sounds like a slight riff on that earlier work. Although, don’t get me wrong, it is still strong work, even if a lesser follow up.
News of the World, is forgettable work within Thomas Newton Howard’s oeuvre especially. It isn’t overtly bad or anything like that. It just is very standard to a fault. I will agree, I'm glad this got in over Desplat's overblown work for Midnight Sky.
*Wakes up*
*Checks the blog to see who made the Supporting lineup*
*”Lakeith Stanfield”*
“Uhh......he’s Lead...but I guess I’ll take it?”
Damn, I should’ve went with Vinterberg as the “passion pick” Director prediction. I KNEW someone was going to surprise there.
Anyways, overall, I’m pretty happy with these choices.
Editing:
1. The Father
2. Nomadland
3. Promising Young Woman
4. Sound of Metal
5. The Trial of the Chicago Seven
I have to say preemptively, AMAZING lineup.
The Father’s editing is such an essential facet within the approach of the film. This is the exact cutting between reaction, and action, so much creates the mental state even beyond the essential elements of the performances. It takes hold of us, puts us in the disoriented state, in really this essential way for the success of the film. This as it never feels too confusing, while never grants us solace either until perhaps the ending (though even that is arguable). It is a magnificent balancing act, and just incredible work.
Nomadland work is an equally essential facet, as so many cuts too late would make a scene boring, or even a cut too early would throw off the exact rhythm of the film. So much of the film is built on the way Zhao navigates you through both Fern’s journey and the world of the nomads. And for me, this rhythm is never broken, creating the mesmerizing experience it should be.
Promising Young Woman is terrific work built upon the story momentum. For me it never loses this creating the right kind of energy for every scene. This as it knows when to punch it up, to make it more poppy in a way, like the “romcom montage” or the entrance in the bachelor’s party. It also knows when not to, such as what happens in the bedroom in the bachelor’s party, or during Cassie’s visits, where it holds in the right way to create the right purposefully awkward tension. Fantastic work.
Sound of Metal, while I do have my minor issues with the ending, this too is a few where so much of it works because of just how we experience what Ruben experiences through often visuals. Again weaving something through a fitting rhythm, that again here is beautifully done. This again though just some fantastic work in realizing the performances, particularly in dialogue scenes, that just hit that extra more by how well tuned the editing is. Do not take it as a sleight that this is #4, speak to the strength of the lineup.
Trial of the Chicago Seven, though is a well edited film too. Some standard, but that’s fine. The tape scene, so many of the trial flashback break down scenes, are all well done, and really even just cutting between characters finds the right rhythm and flow. Strong work too. I have zero complaints about this lineup.
Cinematography:
1. Nomadland
2. Judas and the Black Messiah
3. Mank
4. News of the World
5. The Trial of the Chicago Seven
Joshua James Richards Nomadland’s work is breathtaking, and an essential part of the film’s overall success. It finds the perfect balance between authenticity and really beauty. This as you never feel as though it hides the rough nature of the environment or the living spaces that we see. It doesn’t use this as an excuse for ugly camerawork however. The lighting captured, the sense of place and community within the framing and compositions is just so artfully done. Finding that balance between showing the reality of this journey, while also showing the beauty still within it.
Sean Bobbitt’s well deserved nod for Judas and the Black Messiah is a fantastic blend in terms of crafting modern look within still a 60’s/70’s aesthetic and styling. This as the film just has a great striking palette, that has these little wonderful touches of style, but never overexposes itself. This while also just some great shots in terms of the composition and framing of the crowds, that often grants the film an appropriate expansive epic style perspective. The movement here is fantastic as well in granting a real visceral experience in so many scenes, particularly the tracking shot of “Judas” during the shootout.
Dear Comrades would’ve been the far superior choice for black and white cinematography. Mank though is well shot. For me though it isn’t one hundred percent consistent. Some shots really capture the feeling of the great shots of Kane, like Oldman and the clock, but some have a slight digital recreation quality to them. Never that those shots are truly bad, but underwhelming in direct comparison. As black and white homages go, there’s been far better, but don’t get me wrong there is nothing bad about it. It just doesn’t quite achieve its full intention. This in particular I think doesn’t often create the classic dynamic contrasts of the best black and white work, like Deakins did in The Man Who Wasn’t There Yes it wasn’t trying to be pure noir, but these were definitely VERY evident in Kane. Still it is hurt more than anything by the comparison it purposefully evokes.
News of the World for me was a mixed bag. A little Greengrass shaky cam, but thankfully not too much. The night scenes I honestly thought felt under-lit, and not in an effective Gordon Willis style way either. The daytime scenes though do deliver on the general intention of the western. Standard but good in that regard. This is in capturing the right scenic yet sparse qualities needed.
The Trial of the Chicago Seven, I’ll say it again, looks like an HBO movie. All the shots are to be expected as composed and framed. The lighting just does its job by going for a generalized kind of period look. Not bad, but nothing notable in the least. There are no shots that stand out, nor is the quality so good, that it doesn’t matter. It just does its job, which doesn’t seem enough to warrant this nomination.
Song:
1. "Speak Now" - One Night in Miami
2. "Husavik" - Eurovision
3. "Hear My Voice" - The Trial of the Chicago Seven
4. "Fight For You" - Judas and the Black Messiah
5. "Io Si" - The Life Ahead
"Speak Now" - I think within the film suffers a bit in comparison to Sam Cooke's masterful "Change Gonna Come" On its own terms though a well suited piece to Odom's lovely warm voice. This opening with a nice simple melody. Here with enough of a segue as well within somewhat more towards overt ballad before coming back to the chorus which it builds on a bit. This before blending the two sides essentially rather effectively within its more impassioned outro.
"Husavik" - I mean it is fair to say that the autotune is part of the joke, I haven't seen the film have no intend to, but I do like this song even with that. This as just a purposefully over the top ballad it works at being over the top, while also being a properly over the top ballad. This in throwing everything at the wall, and unlike some of its competitors builds up as a proper ballad should.
"Hear My Voice" - Another inspirational ballad, that positions itself as well as a mix of classic inspirational though with a modern bent. I actually do in general like this song. I think it has a nice build within its fairly middle of the road lyrics. This could be mistaken for several other similar ballads, but several similar other decent ones. It feels like though there should be a segue somewhere that never happens.
"Fight For You" I do like a lot of its period recreation style. Particularly in its opening that sounds like it could just be the opening to a classic from the period. This staying alive in the underscoring of the song. I wish the the lyrics were as striking. They aren't bad, but you really want a power house ballad here...and it's not here. I think particularly there seems a missed opportunity for the song to build, but it just kind of stays put....sound familiar? Now I like what there is there still, but would've loved more.
"Io Si" - I think this is one more so in the delivery, as the amount of auto-tune in the singing does deter my enjoyment, particularly as it seems to position itself as an authentic passionate ballad. Even on that term I don't really love it all that much anyways. This as just kind of perhaps staying too closely at 11 to begin with and just kind of staying there. Not that I hate it or anything, just feels like something I've heard before.
I actually kind of hate Hear My Voice cause of the way it caps off the film’s unearned saccharine ending. Glad you agree with the Speak Now which should easily win this. Also Husavik is used well within the film but the film is...bad. Very bad.
1. Kaluuya
2. Raci
3. Stanfield
4. Odom Jr.
5. Cohen
Adapted Screenplay:
1. The Father
2. Nomadland
3. The White Tiger
4. One Night in Miami
5. Borat 2
The Father’s screenplay is a brilliant work in crafting a mystery, a psychological horror and powerful interpersonal drama. This while doing with such streamlined and captivating ease. It doesn’t pigeonhole itself in its examination of alzheimers by making it instead so we experience the often terrifying effects of living within that state. This is purposefully jumbling the experience. It never confuses itself though, twisting the narrative in different places, always so effectively though in unsettling us, but never simply confusing. Zeller’s work though is incredible because he never feels as though he is treating blithely, instead it makes us all the more empathetic to the plight, making us feel the desperation of the state, and the emotional vulnerability that comes from it. It is a brilliant puzzle that never loses humanity at the center of it. This as to the point we finally get to the center of the maze, it breaks us, not through confusion but rather through understanding.
Nomadland’s screenplay essentially grafts someone to follow the story of the nomads. Which I think was the appropriate and wise touch, unless Zhao wanted to make a documentary. Zhao’s screenplay still is minimalistic, but never simple to a fault. Her little human stories in there all feel authentic. Her main story with Fern is to the point, but delivers on that point through honesty. The nature of the film is evident in the screenplay, and while I think her direction mattered even more to the film’s success, her screenplay creates the essential foundation for that other side of her work. If I had the most minor criticism, and it is minor, I really didn’t care about the whole “will she won’t she” with Fern’s love interest. Not a major flaw, but the only part of the screenplay, that felt like, well a screenplay. This was an attempt to create an artificial climax, and it is the only part of the film that feels that way. Again, didn’t detract in any real way, but stood out against how natural everything else was within the screenplay.
The White Tiger I think is greater in screenplay than in the direction that I think struggles more with the tone, though there is a little bit within the screenplay as well. This is a darkly comic tale of a dog eat dog world. There it excels in detailing the hard life of the servant and his ambition for more through the depiction of his personal quest for success that slowly changes over time. I do like the narration as the touch here actually, where I think the comedy is the most natural in showing a man who is fashioning himself as this self-made entrepreneur essentially. We then see that progression. This is mostly compelling, I do think there is the occasional momentum lost even as written. Still it develops its central figure extremely well, particularly in realizing his arc from just the gentle servant to the hard bitten self made man. This with some particularly well written moments that satire Bollywood, particularly his final monologue. Just I think it could’ve maybe pulled back on the goofiness of the employer at points, and just some minor refinements. Nothing major, though as this is a well written film and is FAR more deserving of the nomination than Ma Rainey or News of the World.
One Night in Miami still feels the play, though with some added bits to see where the guys came from, which are all fine, and where they went, which are also all fine. The main thrust though is in the play which Two Popes the story, in that it creates a divide that simplifies the central figures a bit. It works though in creating the essential drama between Cooke and Malcolm X on the divide. And it also works in just the moments of humanity in the men bonding over their mutual troubles and accomplishments. I do wish Jim Brown and Ali were less sidelined at times, but overall it is still a strong screenplay in realizing such a fascinating night. Do I think an even greater screenplay could’ve been crafted from the story? Yes, but the one we got is a good one.
Borat 2 is very different as a screenplay. This as a lot is working with what they were given in terms of events, and working with unknowing participants. It actually manages those quite well, while maintaining the mostly loose, yet still actually moving narrative of Borat bonding with his daughter and learning to be a better father. It manages to be funny while having a heart, which is quite something honestly. It obviously is messy still in some ways, but ways really that are by design. An inspired nomination, and really a strong lineup overall.
By the way with regards to the short films - the ones I'd highly recommend from the nods are Opera, If Anything Happens I Love You, A Love Song for Latasha, and especially Two Distant Strangers.
1. Raci
2. Kaluuya
3. Stanfield
4. Odom Jr.
5. Cohen
Original Screenplay:
1. Promising Young Woman
2. Minari
3. Sound of Metal
4. The Trial of the Chicago Seven
5. Judas and the Black Messiah
Spoilers, though I won’t try to be too obvious. One of the biggest no brainers for me. Fennell should walk away with this, with ease. Promising Young Woman’s screenplay is a brilliant series of subversions essentially. This as the film overarching is a subversion of the rape revenge genre. This as nothing plays out as expected for such a genre, and we importantly actually really get to know our protagonist, rather than being a one note revenge seeker. Fennell instead asks the question, what if this person still was living a life? What would that look like? We get that in detail, from her boring coffee shop job, to her strained relationship to her parents, and of course her possible romance. We also get a subversion of that rom com. This as we get a seemingly overly nice rom com setup, yet there is something always nagging at the surface that subverts that. What if the perfect man has a far from perfect background. What I love is that “twist” only makes sense by everything else he actually says, in who he is associated with. Of course, there is what we came for, seemingly, in the woman getting revenge. This is depicted brilliantly in one scene after another. Some what we expect, some we don’t. Fennell makes the obvious powerful and often darkly humorous, but also shows more within the unexpected. I love also that as much as the film does have a definite message, Fennell doesn’t ever hit that harder than she needs to, finding the right balance in making the dialogue still natural, and earning the moments where Cassie directs the message, well directly, but in a way that fits the character and the situation. The final subversion is in the ending, that I’ve come to love. This not only does it actually tie things up, but does so in an unexpected way. One is it is true to the thematic approach, that revenge is not a good thing, and really society needs to be doing Cassie’s job, though again I love that this is not spoon fed. The other though is it puts us in the true cruelty of the “dead hooker” movie/joke. Instead of it being this nameless prop, we know who this is, and we see the tragedy of it quite bluntly. It is amazing what Fennell does here, as she takes so many unexpected choices that pay off, while also finding a way into a difficult subject while still making a genuinely entertaining film.
Minari’s screenplay is a bit simpler than the aforementioned one. Although that is no criticism from me. Minari is about quietly observed moments, yet never is there simplicity in this. In fact I love how fully we learn of these dynamics through these seemingly small moments. These minor interactions between dad and the son, dad and the mom, grandma and the rest of the family, help to inform us of this family, and make them very tangible to us. It also does make some technically surprising choices, like having a grandmother who is so unexpected, yet never a caricature, or having really a fairly cold relationship between the parents, however with such a sense of history of a relationship there. The screenplay grants just how lived in the experience feels, while carefully tip toeing around obvious melodrama. It technically has moments one could reason as such, however they are so elegantly done, and informed by character it never feels forced. For example, the big fight between father and mother after the doctor’s appointment, we know both how this has built and where it is coming from. Just beautiful work, that finds the right complexities of life in a seemingly simple one.
See as much as I don’t love the meeting of the father(not quite in law), I don’t think it is poorly written or anything, it just contrasts to how great and unique this story of a man losing his hearing is. I love that it is basically purely inspirational in this regard. It depicts the struggle, but also the sense community. This is detailing the whole process so well, and through the great character of the commune leader. It believes in this process and I love that. We don’t get Ruben trying to sell illegal drugs at the commune or being a rebel for no reason. Now we get to see how this formerly troubled guy finds a new way, through a potential problem that becomes a kind of new path for him. I love that the screenplay doesn’t have a relapse. I love that so much. Instead it goes for something more interesting instead showing the guy dealing with a separate choice that takes him outside of a new found comfort. A more complex choice, and one that makes this film far more memorable and powerful than if it was written in a more standard way. Though again also want to mention the joys here, are giving just the details to the atypical journey, in an honest and non melodramatic way. Fantastic work,
Okay so The Trial of the Chicago Seven is pure Sorkin playwright wheelhouse in every regard. This as he takes the true story and makes it a morality tale. This is changing certain figures, and reworking some to fit the needs of that morality tale. You can object to this or not, but I will say it is effective in clearly establishing its stakes, motivations, version of the characters, and its intentions. It looks for the more traditional narrative for this drama, and I think succeeds in crafting that version of it. Is it the truth of the Seven, no not really. Is it an entertaining basically Hollywood version of the story, yes I think so. I even think it works in crafting its version of the men, as really different types of activists, creating effective conflict between them, while doing so through a version of the trial that is both entertaining and dramatic. Sorkinism are of course on display, particularly in the film’s humor, but I found this mostly effective here, though there are few lines that likely would’ve been rightfully cut by a director not named Aaron Sorkin (namely the “ironic” line). While I can see the criticisms of this film, I believe it succeeds in its intention to make the populistically digestible version of the tale.
Judas and the Black Messiah has good things in it. It is has some compelling scenes of a man just trying to eek by any way he can, leading him to become an undercover black panther, and the personal story of Fred Hampton attempting to create change in his community and country. It also has things that don’t belong there. Random story of a desperate random black panther, and the FBI’s motivations scenes have very little purpose, and don’t belong in this story. They just never fit, they’re hanging threads, and a feature of a weaker screenplay. It also has a lack of narrative thrust and urgency. I think this is because. The two titular characters are so thinly connected. This was probably reality, but it hurts the film, because they’re the only well developed characters, other than maybe the standard supportive wife character. Because the two feel so separate though, the film never really coheres. I think actually the VERY similar Molly Maguires does this better than this film does. Although again, maybe this could’ve worked if there was a bit less fat if those extra threads were trimmed. There are good elements here, but overall the screenplay needed refinements and perhaps just a bit more connective tissue to its protagonists. It’s not a bad screenplay, but a much better one probably could’ve been developed from it.
Calvin:
I'll try to get to those.
After those Screenplay thoughts.
1. Raci
2. Kaluuya
3. Stanfield
4. Odom Jr.
5. Cohen
Okay i will change my predictions.
1. Raci.
2. Kaluuya.
3. Stanfield.
4. Odom junior.
5. Cohen.
My rating predictions remain the same.
1. Raci
2. Kaluuya
3. Stanfield
4. Odom Jr.
5. Cohen
Luke, your top 5 performances of 2020.
Anonymous:
In no particular order:
Mads Mikkelsen in Another Round
Carey Mulligan in Promising Young Woman
Anthony Hopkins in The Father
Youn Yuh-Jung in Minari
Chadwick Boseman in Ma Rainey's Black Bottom
Luke: That’s my exact top 5 too.
And agreed so much on your thoughts for your top 3 screenplays. And agreed on Judas’ screenplay having the potential for more.
Anonymous2:
1. Raci
2. Kaluuya
3. Stanfield
4. Odom Jr.
5. Cohen
Luke: Where would you rank Mikkelsen, Hopkins and Mulligan's work in their respective careers.
Anonymous 2:
Mikkelsen - 2nd (The Church scene in The Hunt gives it the edge)
Hopkins - 2nd for the moment, I have Westworld at #1)
Mulligan - Easy #1
1. Raci
2. Kaluuya
3. Stanfield
4. Odom
5. Cohen
Let me change my predictions a bit...
1. Raci
2. Kaluuya
3. Stanfield
4. Odom
5. Cohen
For the first time there are not winners of the best picture, actor and actress in a Golden Globe comedy / musical competing for the Oscars. I thought Rosamund Pike would be the big surprise for the nominees.
Director:
1. Thomas Vinterberg
2. Chloe Zhao
3. Lee Isaac Chung
4. Emerald Fennell
5. David Fincher
4 for out of 5 of my own personal lineup...not bad.
Thomas Vinterberg is perhaps my favorite nomination of the day. I mean I have not hidden my love for the film, and as much as the film has a great ensemble, a great screenplay, and I think Vinterberg’s direction is what truly makes it sing for me. Direction is a series of choices, and the very fact that Vinterberg decided to push through to make an inspirational film featuring alcoholism, after his heartbreaking personal tragedy, is something truly inspiring all within itself. Let’s start with the little things. Vinterberg has such a sense for creating familiar familial space. The way he expresses the interaction between the men feels so authentic, but also he finds such fascinating ways for us to experience them. This in his editing, his use of sound, and of course just how he so carefully weaves between his actors and directs them. We experience the friendship and their little parties so vividly. Now though the way he archives his message, which really isn’t about how alcoholism is good, but rather than you might need to have “another round” at some point, is what is so incredible here. Because Vinterberg shows the good and the bad. He shows where the drinking leads when they fail to find moderation, but he also shows how it pushes the guys out of their ruts. Whether it be a most invigorating history lesson, or the way he makes us truly experience a great choir lesson. The latter needs special mention, as his camera work there, with how he uses the music, is genius filmmaking. You feel an essential part of the experience, of the act of the performance, not just hearing it or seeing. I love though even how he directs so many minor moments of interaction that breath authenticity, and honesty to every moment. I love his choice of the title cards for text messages, that make each one have all that extra impact. One of the most tense moments for me in a 2020 film, was hoping for that response from Mikkelsen’s wife by the way Vinterberg chose to present this information. Again of course the ending, aka my favorite scene of last year, where Vinterberg brings us naturally to the place of moderation, but still joy, of experiencing life properly in a dance of joy for all ages. That dance not only feels so earned in the way Vinterberg builds to the moment, it is truly cathartic in his oh so joyous execution of the whole atmosphere of celebration. So yeah, I liked Vinterberg’s direction.
Of course Chloe Zhao's direction, which will deservedly win an Oscar for, is also outstanding work. This as the film wouldn’t exist and couldn’t exist without her deft touch. This as I’ve seen so many films I hate, that attempt this approach and fail miserably. Lyrical, soulful, with long takes, and longer silences. All things that can be used well but too often result in a dull tepid film. Nomadland essentially shows how it is done. Zhao wields her camera for vibrance. She wants to feel the experience of being part of this experience. See the hardship but also take in the joys of the landscape and of the community. She knows, with her own editing, to take her time but not to meander. What is most special though is the way she so honestly seems to capture these people without seeming cloying or patronizing in her approach. This as she doesn’t add overt melancholy nor false inspiration. She in a way lets them speak for themselves, almost literally, that grants the right human connection even within her often visual tapestry.
Lee Isaac Chung's work on Minari is also outstanding, and would be deserving as well. His approach, at least his intention, is somewhat similar to Zhao but also different. Chung’s work purposefully adds a degree of nostalgia, and this is in approach, not a criticism. This in his choice of score, his choice in cinematography, wants to fashion an ideal. I think what is remarkable in this is, that he doesn’t allow it to eskew the honesty of this family. Rather he wants you very much to see Jacob’s dreams in the green lands before him. He does this by balancing those moments, of the dream, with just the honest moments of the family. I love Chung almost pulling an Ozu, where he puts the camera right down on the floor of the house that really grants you this extra bit of intimacy in a given scene. It is such lovely and well observed work, where Chung finds the balance between basically the truth of how the family is living between their hopes of what they can make in this immigrant tale.
Emerald Fennell’s work on Promising Young Woman is also outstanding and would be deserving. The fact that this is a debut is all the more impressive, as you’d never guess it by watching. This particularly as there is nothing safe about Fennell’s work. Now there’s a lot to be impressed by as she has such a clear sense of mise en scene. This makes the film a unique visual feast, however she uses that I think importantly to keep the film from being a mass of darkness it could’ve been in lesser hands. It’s a brilliant bridge point to still find the entertainment while never obscuring her intentions. Her intentions she so powerfully realizes through playing with expectation and so often subverting it. One brilliant choice in this regard, casting often comical actors as her creeps. She doesn’t play into the stereotype, rather plays with one expectation of it particularly within film. Her work though is most deft in balancing the tones. She knows when to leave the humor at bay, in Cassie’s confrontations, she knows when to deliver the humor. She balances Cassie’s journey with an honest humanity behind both her intent but also her pain. Love this nomination and she’s only #4.
And David Fincher, strange to be the odd man out. Fincher on the technical side of things does a fine job in getting his crafts to work together to make a vivid recreation of the time of Hollywood, though as a film like Kane as Kane, does fall slightly short in a few aforementioned ways. The major flaw here actually is in his refusal to rewrite his dad’s script, while understandable, unfortunate. This as the screenplay’s ending wants it to be about Kane when it’s not, and the framing device. Most of the film is about Mank’s moral quandaries through his various connections in Hollywood. Fincher can’t balance them because they’re not at all balanced, in fact, barely connected within the script. I do think Fincher finds what strengths there are there in the script and pulls them out, namely the Mank/Marion relationship. Fincher does find the atmosphere largely of the piece as well. It is not a bad directing job, the flaws of the film are largely within the script, but even so, I don’t think it achieves any great heights to truly overcome those flaws through technical skill.
And for the record:
Actress:
1. Carey Mulligan - Promising Young Woman
2. Frances McDormand - Nomadland
3. Vanessa Kirby - Pieces of a Woman
4. Andra Day - The United States Vs. Billie Holiday
5. Viola Davis - Ma Rainey's Black Bottom
Supporting actress:
1. Youn Yuh-jun - Minari
2. Olivia Colman - The Father
3. Maria Bakalova - Borat
4. Amanda Seyfried - Mank
(What an amazing lineup, it's a shame they didn't choose a fifth nominee).
Best Picture:
1. Minari
2. Promising Young Woman
3. Nomadland
4. The Father
5. Sound of Metal
6. The Trial of the Chicago Seven
7. Judas and the Black Messiah
8. Mank
My predictions for Louis's best director choices:
Vinterberg.
Zhao.
Chung.
Fennell.
Zeller.
"What an amazing lineup, its a shame they did not pick a fifth nominee"
LOL
Such a shame they for supporting actress they picked 4 great performances and then a terrible one.
5º Sacha Baron Cohen
4º Leslie Odom Jr.
3º LaKeith Stanfield
2º Daniel Kaluuya
1º Paul Raci
I'll change mine slightly.
1. Raci
2. Kaluuya
3. Stanfield
4. Odom Jr.
5. Cohen
That must be one of your favourite ever Director lineups Louis considering even #5 isn’t that bad and you adored the other 4.
1. Raci
2. Kaluuya
3. Stanfield
4. Cohen
5. Odom
1. Paul Raci
2. Daniel Kaluuya
3. Lakeith Stanfield
4. Leslie Odom, Jr.
5. Sacha Baron Cohen
If God forbid Glenn Close wins, will that be the worst performance that's ever won an Oscar?
Matt: Probably.
the only positive that could come from a Close-win would be the breakdown comments in here
1. Raci
2. Kaluuya
3. Stanfield
4. Cohen
5. Odom
Calvin:
It's certainly up there.
1. Raci
2. Stanfield
3. Kaluuya
4. Odom
5. Baron Cohen
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