Louis: Ratings and thoughts on, Jon Bernthal - King Richard Jared Leto - House Of Gucci Al Pacino - House Of Gucci Rob Morgan - Don't Look Up Mark Rylance - Don't Look Up Jonah Hill - Don't Look Up Ben Affleck - The Tender Bar
This is not the performance I would've nominated Plemons for, but I'm so glad he's finally getting his due and also getting his first review on this blog. ECSTATIC for Buckley atm too.
Immediate Thoughts: - Haim :( - Someone please explain to me what is so special about Belfast's sound - The Power of the Dog in editing but not Belfast, I think that's it folks. - Drive My Car in Picture is very nice. - Sad not to see The Tragedy of Macbeth over perform, but oh well. - No Villeneuve in Directing is big. - No Belfast in Cinematography made me quite happy. - Kristen Stewart got in after all, that's nice. - No Gaga in Lead Actress... yeah Kidman's winning. Dammnit. - Thank you Nightmare Alley for keeping tick, tick... BOOM! and especially Being the Ricardos out of the Best Picture lineup. - No clue what happened with Supporting Actress. Really bummed about Ruth Negga, though.
Strong lineup overall, there were better choices than Ascension, though Ascension was decent enough as the sort of wandering eye documentary style.
International Feature:
1. Drive My Car 2. Flee 3. The Worst Person in the World 4. The Hand of God
The first three are fantastic choices, not so much on the fourth for me, however, I'll just be happy with the first three.
Makeup & Hairstyling:
1. Dune 2. House of Gucci 3. Cruella 4. Coming 2 America 5. The Eyes of Tammy Faye
Fantastic work on creating the Baron himself of course as essentially the centerpiece of the work. I love though a lot of the more seemingly minor bits of crafting the style of the various houses or the sand people, whether it be through slight adjustment of color or some minor styling here or there. Consistent work overall in terms of crafting the world both in the big achievements like the Baron or just smaller ones like the specific styling of the two doctors for example.
House of Gucci has some fine fashionable hair-styling overall, but this is largely for the Leto transformation. Regardless of how one feels about his performance, I'll get to that soon, the transformation is convincing.
Cruella is mainly there for some over-the-top hairstyling and bits of similar makeup, though the hair is more so the makeup. I think it all works per its intention which is to be a bit much and is successfully so. I don't love it as is either way, but I would qualify it as good work overall.
Coming 2 America's makeup is in a comedy (so-called anyways) so really how convincing it is really doesn't matter per se. Even with that, the Shaman character work is pretty bad, but again for the film's tone, it matters less. The best work in it is the recreation of the previous, really better, efforts from the far better original film.
The aging makeup on Garfield is classic unconvincing makeup. Chastain's is a transformation, but it does also look like makeup, I think the greater achievement is Chastain quite successfully acting through all that's on top of her, which does look like she's a bit covered up.
1. Dune 2. Shang-Chi and the Legend of the Ten Rings 3. No Time to Die 4. Spider-Man: No Way Home 5. Free Guy
Well, this is one the easiest categories to declare a winner, and as it should be. The other nominees don't even come close. Dune's work here is grand, yet it all is extremely convincing. It wows, yet you don't even think of the effects as something extra, they simply are. This is in crafting such spectacle, yet doing so in a way that always feels as authentic as the very real sets and costumes all around them. It is extraordinary work that will rightfully join some all-time great winners this category has to offer.
Shang-Chi and the Legend of the Ten Rings is a better example of recent Marvel, which has slowly gotten a bit sloppier with effects. There is a bit of that CGIness here, but to be fair that is the point of a lot of the work here. This as the fantastical world is supposed to be that and the various creatures are convincing enough as such. Also, there is some good more low-key work in some of the action scenes, even if there again is some weakness around the edges so to speak.
No Time to Die's work is pretty invisible aside from the ending, which is fine if not overly notable. Although I'll say this might be to the point I'm not sure the nomination was needed. Still, if you don't notice all the various touch-ups and such for the action, it is obviously good work.
Spider-man for me falls into the Marvel mixed bag, as some of the work is very good, typically the most straightforward action spectacle work. There's some bad greenscreen here and there in some of the more expansive scenes, and the creation of Sandman here is altogether pretty bad. Still definitely gets the job done.
Free Guy I found to be an example of the Marvel shoddy CGI, except more frequent in the world. Also a major CGI thing with the character of Dude which just looked rather bad in the CGI head replacement. I guess this is another one where you can argue the style says it doesn't need to look realistic, which is fair enough, but it doesn't mean I need to say it looks all that good either. Still, I wouldn't say the overall effort is terrible or anything, just far more than a step down from something like Dune.
1. Dune 2. No Time To Die 3. West Side Story 4. The Power of the Dog 5. Belfast
Dune has an amazing sound that is all there is to. Fantastic work in both the mixing of so many scenes, from the implementation of the score to the creation of its world's audio aesthetic, and of course the individual sounds that are just incredible, like the suction of the sandworms, the sounds of the attack ship or just the use of the voice. Exceptional work across the board.
No Time to Die is expectedly strong work for an action film. This with some notable additional editing from just like shooting the bulletproof glass, to every single different firearm used, while also helping to craft every action scene through the use of the mixing. Fantastic work that I obviously am not going to complain about.
West Side Story is just a flawlessly mixed musical, and just so well done in crafting every individual sequence to make the sound just an effortless aspect of being carried along with the visuals. Again why mixing and editing should be separated still, but amazing work in terms of the mixing here.
The Power of the Dog's work isn't really the focus of the film, in that the mix is not a thing you think of first, let alone the editing. Still, it is definitely an element that crafts the film's sense of place, and in that sense, it is some strong mixing, along with some terrific specific work in terms of the use of music both the score and even how certain Banjo playing is used. Wouldn't personally nominate it, but not a bad choice.
Belfast seems a strange inclusion, as there are a couple of "the troubles" scenes, and they're fine in terms of crafting a sense of being in the environment. This is mixed in with its choices though usually to play its songs as the whole of the sound, which is occasionally a bit questionable notably "Do Not Forsake Me Oh My Darlin" that I think takes away from the seriousness in part because the song is so overwhelming the mix. Still...it's not bad work, however, there were many better choices.
1. Dune 2. West Side Story 3. Nightmare Alley 4. Cruella 5. Cyrano
Dune I'd argue had the biggest challenge in that it had to do quite a few things in terms of the costumes. This is crafting not really only one fantastical world that feels tangible, but craft one per house/culture, and per character. I have to say I think it pulls off all three in some stunning work that succeeds in each. Whether that is contrasting the two houses in their specific styles, or even showing the difference in style of that house with ceremony rather than basic day to day. Contrast that against the sand people with their gray and sort of practical garb. Or even contrast that to their battle garb or the future battle garb. Each set of costuming is distinct, remarkable, and so effective in crafting not only the world of the film but the world of each culture in the film.
West Side Story's costumes are just part of the lusciousness of the overall style of the film. This as it finds just the right balance in terms of crafting a musical style, while still feeling authentic to the period, and authentic to the character. Everything is eye-catching, even Riff's junky street clothes, yet never does it feel so stylized to seem ridiculous. It is just the right blend to enliven this musical all the more, without seeming completely separate from the period nor the idea of the street from which the musical is based in.
Nightmare Alley is also like West Side Story in being stylized period, though here for a darker purpose overall in terms of what that styling is. Equally eye-catching though in creating that right kind of a blend between the two, with such vibrant and stunning work particularly the clothing that the ladies wear. I especially love the contrasts we get from the circus clothing to the high society later on. In each setting, the clothes match where the wearer is at, at this point, and while again being so eye-catching while doing so.
Cruella's for me is just a little bit of a mixed bag. Don't get me wrong. There are some stunning costumes whose whole point is to be "look at me". They often do work as such and Stone wears plenty of fantastic wares here that are this grungy chic thing. Occasionally though this is taken to the point of ridiculous like her overall chained biker jacket that just looks ridiculous. Still, there are far more winners than losers in the "look at me" catalog, so definitely a deserving nomination.
Cyrano's nomination seems a little strange, as while not bad, it looks as basic of period clothing as one would quickly imagine. It does its job in setting up the period, but as a musical, the costumes honestly look a little dull. Not terrible, not unbelievable, but a bit dull. Strange choice honestly, as they just don't stand out, they're serviceable. The one from this group that I would mark as undeserving.
Well, there's a couple things I could say about these nominations (and keep in mind, I've also seen 7/20 recognized performances)...
-I like that both Colman and Buckley got in for "The Lost Daughter", because I found both performances equally good, and it would've been unfourtunate if one got in but not the other -Stewart also came through in the end, and I can appreciate that as well; I feel like her nod was in the works for a while, and it's nice her hard, often underappreciated attempts to prove herself pay off -No "Don't Look Up" cast which isn't what I was expecting, but if that meant no Rylance or Hill, then I'll take it as a win -No Gaga...also surprising, but having only seen Colman out of best actress, I'm not in a position to say who kicked her out -Although I see Plemon's nod very much as a bonus, and wouldn't classify it as his best work, it's still nice to see someone as prolific and reliable as him enter the "club" -Smith and Washington are once again sharing best actor field after 2001; I haven't seen their films yet, but based on general discourse, I imagine their performances are notable improvements over their earlier leading turns -At some point, I'm going to have to bite the bullet and watch "Being the Ricardos"
1. Nightmare Alley 2. Dune 3. The Tragedy of Macbeth 4. West Side Story 5. The Power of the Dog
Nightmare Alley, maybe tops this list for me as the top four here are all outstanding in terms of their production design. Nightmare Alley though has perhaps my favorite bit of design of the year in the Geek poster and the haunted house. Everything though in the circus is such stunning work. So filled with this twisted character, and every bit of it so vibrant in that unique way. And that's only half of it. That is with every interior is decorated with such detail whether it be the cold opening shack, Zeena's slightly warmer house, or Clem's various terrors. There is just so much here, and so much of it is eye-catching. And that's not all, as it successfully gives us the other half, with the sleeker, yet in many ways, colder, interiors of high society, that are fascinating in that they are technically are simpler, yet in many ways, as the designs are less look at me, yet are that still just in a different way. Can't praise this work enough honestly.
Dune's production design though is no slouch either. This firstly in the number of sets that Villeneuve actually did have built, and how incredible they are. This is in terms of their grandeur, but also their own eye-catching way. This as the production design here crafts this brilliant mix of futuristic, with fantasy. Gorgeous work that is both elegantly simplistic at times, even so grand, though with the amazingly intricate details. Like, take Paul's training room that where you get such a fantastic-looking set in its careful and seemingly simple choices, which are so great in that sense, yet little touches don't overcomplicate it, yet make it stand out in just the right way. This again though is the success here in so effortlessly crafting every world we visit, and with that crafting character within the variations of the designs. Never failing to do that, while keeping a consistent and compelling aesthetic overall.
Macbeth could easily climb this list just thinking about the brilliance of the German expressionistic style work here. This as every set is so simple as you break them down into pieces. Yet that is the genius with how these unique pieces are put together. Whether that be the forest, the sparse interiors of the Macbeth Castle, or the forest in the throne room. Every set here is just a stunning piece of work in terms of minimalist design. This as they aren't quite a reality and in those adjustments is what makes them so memorable and remarkable. Every set here is a standout through brilliant simplicity. Whether that be the stairway to the king's room, the pond the witches trend in front of, the long hallway to the King, every bit is exceptional work here.
West Side Story is one where I had my concerns going into the film, then was stunned what was realized. This is finding this perfect blend between crafting period aesthetic, believably, and still having a musical style. Like the costumes, Spielberg and his team just pulled it off so brilliantly, that it all comes together in being stunning looking, while never compromising what it is going for. It is elevated as a musical should be, but never so that it is not lived in. It is both and in that is where the brilliance of it lies.
I have nothing against The Power of the Dog's production design, but it is easily the least of these efforts. The work is largely straightforward western work, made purposefully sparse and isolating. Similar work has been done better, say Days of Heaven for example, but this isn't even remotely not good. It is good, more than serviceable as it does create the sense of place and the sense of style the film is going for. It isn't nearly as memorable as its fellow nominees here, but definitely fine work on its own.
1. Dune 2. King Richard 3. The Power of the Dog 4. Tick Tick...Boom 5. Don't Look Up
Quite possibly the worst lineup of the day.
Dune's overall editing I do like. I like the pacing we get through much of it that is both dynamic yet contemplative at times. It knows how to craft together a sequence where there is clear cohesion. I don't think Walker here crafts the sort of magic I felt he had with Blade Runner where it carried me through the gradual style the whole way through with such ease, but largely that style is crafted here successfully. Having said that, it is part of the film's kind of "stop" ending, in that the editing itself doesn't crescendo. The film just ends. Now yes it is halfway done, but compare that to LOTR where both Towers and Fellowship had an ending, while not ending. This doesn't have that, this is a part script, which I'll get to soon, but it is also in the edit.
King Richard has very straightforward drama editing. It gets the job done. Occasionally drags in the narrative, the tennis scenes are just fine in terms of crafting "action" within them. It successfully does its job though.
The Power of the Dog's editing I think is mostly good. A lot of the dramatic scenes are quite effectively realized in terms of crafting dynamic in the edit, particularly in terms of reaction to action. Having said that, there is a point in the middle and the ending, where the film suddenly has kind of a rushed quality within the editing as it seems to just want to jump somewhere, which did not wholly work for me.
Tick Tick...Boom over the immaculate editing of West Side Story??? Why?. Okay, Tick Tick...Boom's editing is obnoxious style musical editing where the cuts feel like so much like cuts disruptive the presumed flow rather than adding to it. The musical sequences grate on me in part because of their editing of them, which is so often to cut cut cut cut.
Only a warm-up as I get to the world's worst nomination!!! Well, haven't gotten to the screenplay yet... So McKay's choices are to have his films edited this way. Which is crap. The end. Okay, no not yet. But hey the attempt to make this sort of scattershot random stupid inserts for context or obvious jokes is just so horribly done. Every cut feels so much like so that I thought multiple times "stop cutting this is annoying as all hell". Which the film eventually does do, making it stylistically just inconsistent with itself, though at least a bit less grating after a while. That White House scene though is exactly how you don't do "kinetic" editing. It just makes everything about the editing, it doesn't amplify the scene it distracts you from it. Horrible work.
just noticing that this is the 3rd consecutive year with double nominations in this category, where before for a long time that was avoided like the plague
The Editing category really only serves to confirm to us that The Power of The Dog is winning it all. I'm slightly apprehensive to believe it because *Netflix movie*, but it still seems like the most likely choice by far.
Honestly I'm really just invested in the Original Screenplay race now. If PTA loses to Branagh or, heaven forbid, McKay... I will have some words to say the least.
Something else I'll say...of all the upcoming reviews of performances I haven't seen, one of the ones I'm most looking forward to is Will Smith's.
Given that his two previous nods stand at 1.5 and 2.5 (not far off from my assessments, frankly), it would be nice to see this newest turn of his stand much better. I've never LOVED Smith as an actor, but I legitimately feel he's gotten better with age. Also, he has such a natural charm that it always bugs me I can't seem to like his work as much as other people.
1. The Tragedy of Macbeth 2. Nightmare Alley 3. West Side Story 4. Dune 5. The Power of the Dog
Delbonnel somehow topped his already amazing work with the Coens with his achievement here as he takes the idea of German expressionism and makes every shot here something glorious to behold. Every shot is so filled with style, so distinct, and just so stunning. The composition and framing of every shot is perfect and the lighting compliments every bit. Honestly, I could just watch this film for the shots alone as every shot is so glorious in its realization. I especially love the contrast between the deep blacks and the foggy white, and grays. So many unforgettable shots here whether it be the "three witches" in the lake, the lone figure on the cliff, or even just the dripping blood off Macbeth's knife. It is astonishing work. So powerfully atmospheric, while crafting this distinct nightmare of its own.
Speaking of Nightmares, let's talk the best shot color film. I also loved the work here, and I'm surprised Del Toro made a Black and White version because the colors Dan Laustsen realizes here are stunning. This as he fashions the neo-noir, and separates itself from the 40's version by making the shows in the colors in this way. This as there is this amazing blend between the lush colors and the darkness that still permeates every scene. The cinematography goes hand in hand with the production design, to craft that stylized life to it, and make it all the more dynamic. This as the circus feels so lurid as there is this certain beauty to it all in the various colors we see illuminated, but all the same, there is the right unnerving quality by the darkness that is right next to that beautiful light. I love the grandeur of what Laustesen captures here, again the right choice to be separate from the 47 version. This as his compositions are much like the artwork on the circus tents, this grand selling of a lurid world that is just wonderful to behold.
I'll admit I was not looking forward to Kaminski's work here as I thought he and Spielberg's collaborations had long become stale. I was proven wrong though as this is their best work together, for me, since Schindler's List. This is such gorgeous and vibrant work. The most notable aspect of it is the fluidity of the camera movement that manages to maintain such eye-catching composition no matter how much movement there is. It is an essential element in bringing these lovely musical sequences alive and it does not falter. Just one gorgeous shot after another, while crafting the unique yet stunning lighting here that makes the vibrant sets and costumes all the more that, which I think like everything else here finds just that right blend in the musical style that is enough while not being too much.
Dune at 4 might be surprising, however, this is fantastic work as well by Grieg Fraser even if it doesn't quite hit the heights of Villeneuve's collaborations with Deakins. That should not diminish though as this is amazing work as well. This as there is such a sense of scale within the cinematography here that makes the world so big, and makes the spectacle the more stunning in that regard. Fraser's work realizes so effectively these small figures within these grand tapestries. I would say where Deakins might've taken it further is in some of the lighting. All of the lighting mind you is strong here still, however not as dynamic as with Villeneuve's work with Deakins. I shouldn't sound negative, because it is still some well-lit work, just doesn't quite have that extra something you saw in Sicario and especially Blade Runner 2049. I think honestly Fraser seems more comfortable with the brighter scenes, as while the darker scenes are still beautiful, he's at his best when there is more light to work with it seems.
Don't want to sound like I'm stepping on Dog again and again, because this is good work from Ari Wegner. A grand-scale westerns go, I think it fits right into the good-looking bunch. In that, it certainly captures that sense of isolation while also capturing grandeur. It captures the beauty of natural light, while also showing the off-putting nature of the darkness that can be found in the interiors. There is nothing for me to criticize here. It is well shot, well composed, well-framed, and well lit in every regard. I personally wouldn't say it is exceptionally so at any point, but it is far more than just averagely shot. It is a deserving nominee, even if it wouldn't make my personal lineup unlike the other four here.
I will say that I'm glad they didn't nominate Belfast in Cinematography. Easily the worst looking black & white film in recent memory (at least from what I've seen).
1. Dune 2. The Power of the Dog 3. Parallel Mothers 4. Encanto 5. Don't Look Up
I have been waiting to say this, yes Calvin I think this is a great score, and don't see your objection to it but hey that's consistency for 2021 films at this point. Anyway, I love this score, and is one of Zimmer's better scores within my mind, where he has been more derivative of late like his No Time to Die score, which takes more than a little from his Batman work. Any score that can successfully use a bagpipe deserves praise anyways, and this is what that score does. I love the work here with the electronic orchestra here so brilliantly realized, with again crafting tone and style with the score. This is Zimmer's work is ethereal, fantastical, science-fictiony and actiony even. Love the blend of styles here that pointedly create a foundation for the various characters and groups here, while crafting the overall vision of Dune. Dune is this mix of so many ideas, which I felt Zimmer realized with his blending of choices.
This would've been a harder one/two if Greenwood had got nominated for Spencer instead, as that, for me, is the greater of his two scores. Having said that, this is also a great score. Kind of a fascinating blend of taking some of his ideas from There Will Be Blood, mixed in with kind of Leonard Bernstein if not Aaron Copland style. Greenwood really focuses here on this extreme contrast between strings and brass, however here typically in separate pieces that denote a mix of beauty and eerie harshness. It really is a series of beautiful pieces that are so evocative of the content both as this beauty that can be taken from the west and also the brutal anxieties of it as well.
Parallel Mothers, as a type for an Almodovar/Iglesias collaboration, could be about the most dramatic melodrama ever. And here the film really uses the score very specifically, most often for these moments of transference and punctuation of melodrama. Not in the scenes but between them. And as typically as such, as much as the score is kind of "outside" of the film purposefully, it is ear-catching in its really kind of in its own way over-the-top melodramatic stings and extreme melodies. As much as I don't love every melodramatic beat of what Almodovar may be doing, I do love how Iglesias tends to punctuate them, so kudos to this pseudo surprise nod.
Encanto is not a film where you think of the score, you think of the songs, which even the more I think about more of them I think this might be a low for Miranda as a songwriter. Anyway though the score, not by Miranda, is all this very generalized styling that is pretty forgettable, and standard Disney flare with the slight South American feel to theoretically stand out, which it doesn't here. I just listened to the score, and all I can say is, it just is kind of there. Forgettable work.
Don't Look Up has some really bad sort of "party" styling by Britell here that I guess is supposed to sound fun? Goofy? Satirical? Something. It sounds like something out of Mario Party, though no offense to Mario Party's soundtrack. I do not like it either way. Britell also goes for some dramatics, far more effectively done in his Succession score from season 3, here the more dramatic his work is the more overbearing it is.
Eh, I honestly don't dislike Don't Look Up's score but I don't think it really fit the film that well either and was definitely at bit much in some places. Certainly a step down from Britell's previous nomination, AKA my second favorite score of the 2010s.
For what it's worth Louis, Dune's score grew on my on rewatch so we're not actually that far off on it overall, though I have issues with it. Glad you loved Greenwood's and (especially) Iglesias' work too.
1. "No Time to Die" - No Time To Die 2. "Be Alive" - King Richard 3. "Dos Orguitas" - Encanto 4. "Down to Joy" - Belfast 5. "Somehow You Do" - Four Good Days
I'll admit my exposures to Eilish are pretty limited beyond this song, and the documentary on her that had made the shortlist. Having said that I think this is a worthy sendoff for Craig's songs and deserves mention against the greatness that are "Skyfall" and the sort of underrated "You Know My Name". This as I think it finds that proper Bond blend, particularly for Craig, for what I think is best described as a kind of epic pathos verbalized through dramatic song leading to the titular chorus. Really loved the combination of the elements as such with the blending of vocals with the intense instrumentation that powerfully builds between each verse and towards every chorus.
"Be Alive" is a pretty good song. Has a nice sort of inspirational beat to it to be sure. This with this kind of intensity I like particularly in the use of the vocal back ups that supplement Beyonce's spirited central vocals to be sure. This with a strong use of the punctuation of the lyrics which share a similarly spirited kind passion to them. I also do rather like the intro sort of flair of the floating scale of the titular lyric.
I personally would've gone with "we Don't Talk About Bruno" out of Encanto's songs. "Dos Orguitas" I would put on the better side of the songs, as I genuine dislike some of the songs like "Surface Pressure" and "The Family Madrigal". Having said that as this sort of fable ballad, I think has a nice pleasant tone, and I do like the melody it eventually gets to and builds on. Has a smooth blending of the voices that build, and while I don't think it is amazing, it's a nice song.
I usually don't factor into the song use...too much because there are often the credits songs anyways. Hated the use of "Down to Joy" in the film and the whole intro is by far the worst part of any aspect of Belfast. I don't really like the song much either. The lyrics don't have much of an impact. The music is pretty generic upbeat piece, and there's nothing memorable here. I don't hate it, but I don't like.
"Somehow You Do" I'm guessing was nominated due to the Diane Warren factor. And I'll be honest, I'm not the biggest fan of most of her nominated work, which is a lot more memorable than this song. This song that sounds like a general variation and hodge podge of some of those other songs here. To get this kind of mess of a mix of ideas and super generalized ideas you get from a typical ballad like this. Didn't like this one at all. I guess maybe I should watch the film, perhaps it is brilliant in context...though I have my doubts.
Also it's not brilliant and you wouldn't be really benefiting anything from watching the film Louis...it's a film. I'd spend the time on something else.
Also, I know that Drive My Car probably is an amazing film (I'm seeing at my local cinema on the 13th) and it probably by all means deserves it's nominations for director and picture, but I'm just slightly pissed by it because it means The Worst Person In The World doesn't have a chance at winning. Drive My Car probably is a better film, but The Worst Person In The World is from my country, so I'm a bit biased lmao
I do wonder if Belfast is gonna be the big loser of the Oscars, if it loses screenplay to Licorize Pizza I think it will lose all of its other nominations, can't see it doing a Mutiny on the Bounty and winning just picture.
Louis: While I do think Kennedy is fine in doing his usual thing in The Lusty Men, any actor that comes to mind in your opinion that would have been better in his role? I was thinking Clift would have done a very good job there, as Kennedy, was a little old for the part in my opinion. Maybe Rock Hudson as well?
1. Drive My Car 2. Dune 3. The Power of the Dog 4. The Lost Daughter 5. CODA
Well, this was an easy choice. Drive My Car is an expansion upon the short story which is based. Most of the general ideas are there but the adaptation makes major expansion/details in the various aspects of the development of this actor who needs to be driven around. With the actual adaptation out of the way, this is a thematically daring film in terms of its examination of this man and in turn what else does that mean. I think attempting to take on so many things can be challenging however this manages to wield the various elements. This as it takes really what is a simple narrative of a friendship after a loss, and a task at hand in putting on Uncle Vanya. The latter scenes are brilliantly implemented as a real accentuation of various points that are central characters are going through who are like Vanya and Sofya but not exactly either. The implementation though is brilliantly done, particularly in the choice of the use of the finale of Vanya here that sums up the play and the journey of the character. A minor criticism of the screenplay is the additional scene afterward, which has a purpose in showing life literally going on, however, I think we knew the character would be doing that even without that scene. Let's push that aside though to instead look at the two sides of real grief. This is as we have our central character and his especially specific intimate relationship with his wife. We get the betrayal of the younger man, who presumes too much, and in that, we have a key relationship where the man casts the man as Vanya as almost a kind of revenge, a failed castration of the virile and violent man. This reveals a greater betrayal of his wife in the brilliantly scripted scene where the two men really almost wholly speak to one another almost without anything hidden. The writing of the scene is exceptional in having this confrontation, this greater betrayal, but also kind of a moment of understanding and appreciation. In contrast, we have the story of the driver, which the film unravels naturally as this professional that becomes friendship in a truly earned and natural way. This to the other potent sequence of the woman coming to terms with her contrasting grief though also shared, as both are defined by positive emotions and negative. Finding this thematic artful combination though that is based within the richness of understanding. That is of course isn't even mentioning the idea of finding solace in space of one's car, and the break of that. Or the idea of this art through random communication that builds unity. There is so much here, but most of all though it just works in exploring these central characters, making us understand them, and developing where their grief takes them.
I will bluntly say I'm surprised that Dune's screenplay was more consistently recognized than Villeneuve's direction, as the latter is what I think makes the film more so than the former. Having said that though, the screenplay is important even if flawed in a few ways. Dune is a dramatic and drastic undertaking and I will say it should make one appreciate all the more how damn good the screenplays are for the Lord of the Rings trilogy. That is in terms of getting out so much lore so naturally without really losing much in terms of character (poor Denethor aside). Dune doesn't succeed in the same way, instead, the writers take a different approach by having the film built upon Paul's hero journey as the most essential element. I think this makes sense in terms of crafting a cohesive narrative, as the film does succeed in being able to be followed and the emotions directly related to Paul's journey work. I understand the frustrations though with side characters getting the short shrift in comparison particularly that of the two house doctors especially. Those flaws are mostly inherent in the adaptation, though if you're not aware of the source probably less damaging. And while the criticism is valid, I mean LOTR pulled it off somehow, I do think the approach Villeneuve and company take still works in wielding the nearly unwieldy of crafting this world and creating still a compelling narrative within it. Again to praise LOTR, the hardest exposition is probably the most flawed, as the sand people are literally just told about to us, though I'll take it over the VERY internal monologues of the Lynch version. Still a lot of the exposition is well handled, and more importantly, the central narrative does work, and we do discover the world. Is it the perfect adaptation in terms of the writing, no, but it is a successful one. Where it finds the strengths of the novel it truly finds them. Now the ending could've been more climactic, YES, again LOTR, LOTR, LOTR those films are amazing for a reason. They crafted endings with non-endings. Here we get a cut-off. Again it may fit perfectly then as we see the second half, it may not, we will see. It is a flaw though. Another flaw of a flawed screenplay, but I would argue still a good one, that took on that massive undertaking and was largely successful.
The Power of the Dog's screenplay succeeds in bringing to life the central relationship between the two basic psychopaths, though their particular psychosis reveals itself in different ways. The relationship between those two is properly fascinating as written, with the development compelling in both men up to conflicting intentions. I'll get more into this relationship with a couple reviews soon. That part works, its thematically rich, and just is compelling as written. Although I do think there feels like a scene missing in establishing the switch from immediate hostility in Phil towards Peter, towards even allowing him to be in his presence essentially. The rest of it is where I think you have the two sides of an adaptation, and two sides of how one can critique an adaptation. One half is the role of the brothers is reduced here and the whole role of George is nearly a non-entity throughout the film. There is more to this relationship within the book that Campion chooses to not include, which I don't necessarily think was the best idea. Then there is the other half of potentially improving on an adaptation. This as the character of Rose is repetitive and nearly one note as this souse. There is more with the idea of the woman who is unappreciated, mistreated and isolated, but we aren't really granted any such depth as say we see in a very similar character played by the same actress with the same actor as her husband in Fargo season 2, now that is an exceptional development of the idea. Here we get a one note victim, where every scene with her is a basic repetition. Again more interaction with George or even with Peter between Rose could've developed this better, but we don't get that. We get her state of drunken anxiety that stays and stay. The rest of the world also feels a touch undeveloped and basic. Again the center of the screenplay does work, quite well, but I don't think this is nearly as strong as Campion work in The Piano, which told a central story well, but also developed its world with it.
The Lost Daughter, which I have not read the source material so basing this purely on the film's screenplay, is rather obtuse work, and seems, though apparently wasn't, influenced by the works of Michelangelo Antonioni, where seeming plot is never resolved and exists more so to explore character and relationships. That is what happens here and the film is filled with threads that are not are never sewn, though obviously that is the intention. Is the intention wholly successful. Well...I think it is a great avenue for some great acting by Olivia Colman and Jessie Buckley as the same woman dealing with her flaws as a mother, and her inability to successfully be one. In between that we have a rather strand by some vaguely criminal family searching for a doll, the most routine of affairs past and present, and just a woman exploring her seeming troubled state. I don't think Gyllenhaal's screenplay here truly finds some great meaning or truth in this material. It suggests ideas more than it fully explores them, and even the intended ambiguous threads, are perhaps too ambiguous even to be meaningful. The emotional states of the film more so founded in her direction, and the performances representing the past and present of the main character. The screenplay seems searching for meaning in this tale of reflection, and I don't think it really finds anything of note in doing such as it rambles on from one act of a woman being suffocated by family life and the other of a woman seemingly both burdened and angered by her present existence. Now I don't think any of what is written would be considered bad, but does it achieve some great insight, I don't think so.
CODA is really pretty terribly written. The main plot is about as basic cloying schmaltz as one can imagine, and honestly I think if the film was cast with non-deaf actors it probably would've been properly racked over the coals for being cheese it is. It is manipulative in the purest sense. As the whole deaf angle is written well deafly with the whole story of economy of running a boat being represented by one note anger. It also just is inaccurate as the family is required to pay for the limits of their own disaiblity, which isn't how the American with Disaiblities Act works, but hey, if you're written maniuplative crap make up whatever you want to fit the trash narrative. But hey, let's talk about this loving family. No wait, I meant to say wildly horny family. That's right, because deaf people are just like anyone, and that's represented, by just being horny all the time. The amount of lines devoted to their horiness is truly stunning....ly...dumb. Frankly patronizing as "hey look how cute the horny deaf people are". Utter garbage that is. Same with the older brother, whose relationship is based on him being hot, and our central character's friend being super horny. But hey is it all bad. No but really that is some super basic family relationship scenes made more so by the acting than the obvious writing. The scenario itself being so ridiculous of the singer whose family is deaf and she must choose between translating forever and getting to sing. I wonder if the family will sacrifice a bit for her? Predictable and just obvious. But hey hey, her inspirational music teacher must be a three dimensional character right? No, wrong, he's an over the top eccentric, who is just ridiculously cartoony. But hey hey, she must have a complex relationship with her mom right? No, her mom just kind of hates everyone and the film never really deals with hatred everyone. But she's sassy, so it's okay I guess. So I hate this movie, I hope that was noticed, and the more I think about the more I hate. How this tricked everyone into accepting manipulative, cheesefest trash as some sort of well written greatness is beyond me.
1. Flee 2. The Mitchells Vs. The Machines 3. Raya and The Last Dragon 4. Encanto 5. Luca
Yeah we really needed three Disney nominees, especially when two were extremely mediocre and the other isn't exactly amazing. I knew Belle was getting snubbed, but I don't care, it still ticks me off.
1. Licorice Pizza 2. The Worst Person in the World 3. Belfast 4. King Richard 5. Don't Look Up
I will actually do the two best screenplays here, BY FAR, together, as actually they're kind of similar. This is as both Licorice Pizza and Worst Person are women dealing with their arrested development, just where this goes is very different. I love the exploration of both, which fittingly to relationships are often driven more so by phases than plot development, though Worst Person does have a specific one there, though I wouldn't say that is true to the nature of that film either, which to is more about exploring experience. Worst Person being more dramatically inclined, while Licorice is a comedy. The latter I will say is interesting that everyone was surprised by the fact that it wouldn't be an ideal relationship might be explored, did everyone miss Phantom Thread where the true lover lovers involved one poisoning the other? Anyone, despite the new trend of people apparently needing everything to be morally proper (time for the Motion Picture Code to be brought back I guess), I think it is a brilliant film. Now, this is just filled with much hilarity through exploring the oddballs that were all around in 70's California. My favorites are the creepy Jon Peters and the Hollywood oddballs who love literally just exposing lines from their old days. I love though the way PTA explores within each segment a different potential trend at the time that Gary is trying to exploit or deal with, and in turn trying to wrap Alana in with him. The center of it though is Alana dealing with her own life, which seems a dead end, and the only way forward maybe be going back towards the adolescent Gary. It is then the exploration of that idea that is so fascinating, through hilarious vignettes, but also each sequence in a way speaking towards what their relationship might have or might be lacking, yet still the connection in their mutual brokenness but also dogged intention to do something to make up for their flaws no matter how imperfect. Julie in Worst Person is dealing with the same crisis often in each chapter dealing with a chapter of her life, where she thinks she's growing in her relationships yet is just as frequently regressing as growing. These two featured through their own vignettes, though stylistically very different from Licorice, also very effective in its almost information documentary-like approach to breaking down and introducing her new phases. This mixed in with more intimate conversations. As with Licorice, it simply excels in exploring who is a flawed person, with a flawed sense of self in particular. Both are in a way very romantically minded as written, though in the purposeful exploration of people most would say make more mistakes than they do the right decision, and each brilliantly explores these flawed people as they go down their questionable but oh so compelling paths.
Belfast's screenplay is very simplistic. I have heard some complaints about it not getting into the deep sociopolitical complications of the troubles, to which I'd say you're watching the wrong movie mate. The film is clearly designed and written, from the child's perspective of the troubles, and in turn that is how we learn about them. In a simple straightforward way that a child would understand so I do think that is kind of a dumb complaint. However, the complaint that the film is overly simple overall, would be fair, though I wouldn't necessarily agree completely with that. What Branagh is doing here is basically a family album of his childhood. You get a simple romance at school. You get warm interactions with his grandparents. You get a bit of fighting between his parents. You get a bit of rebellion. You get some scary stuff happening, you get some funny things happening. You even get his dad as a hero, as a child would see it. The characters, other than maybe the parents and their fights, depth is limited. You know each to the extent you'd know someone as an average kid when you're under 10 years old. The world is a lot of moments, and Branagh captures some of them. I think his screenplay is best when he is truest towards this claim and doesn't overplay his hand in terms of the sentiment. When he just has warm moments between the family or just the argument over choices for the future between the parents. When he lays it on thick, he lays it very thick, and those are the weakest moments, like the dad the hero moment, or the overly dramatic final speech Judi Dench gets. It's at its best as affable remembrance, and there I don't think it is any sort of failure.
King Richard is a puff piece biopic about tennis living legends the Williams sisters through the lens of their eccentric dad. Their dad has a whole lot more to him than you find here, and you have to say with a film like this, is it true to the story it's telling via the film, rather than life. Well, I think the screenplay wants to have it both ways and that's where it struggles a bit. This as it wants to show his ambition to push his family as a good thing, while also showing it as occasionally a negative thing. This to the point of inconsistency where I'm not sure the film knew how to explore, and maybe accidentally included this. This as there are the scenes of Richard pushing his girls as hard as possible, while also having the scenes of him berating them or their coaches for being too tennis obsessed. Maybe he did just send mixed messages, though it seems a bit of sloppiness in the screenplay. The negative moments in general feel like a hesitant inclusion to not paint Richard too badly, but to recognize her wasn't perfect. As written it doesn't fully work, though it doesn't break the film. The rest of the film is a straightforward sports biopic where we get a "then this happens" type of rise. Now where I think it works is that there's enough life and character in the "then this happens" moments. The beats are expected, down moments, inspirational speech, back up again. But it hits those beats well, if expectedly. It finds humor in them, which is always appreciated, and for its credit, the inspirational speeches are pretty good. It is not definitive telling of the sports dad story, let alone Richard Williams, but as filtered through formula, it's good. Unlike...
I think it's a damn shame Reinsve and Haim aren't nominated because I feel like interactions between them would be pretty damn fun to watch.
Louis: but the parents weren't horny enough!! (and yes in retrospect perhaps I was too harsh on Belfast's screenplay and too lenient on CODA's, though I stand by my preference).
Don't Look Up is an abysmal piece of trash. Okay, so the satire is Global warming is like a comet hitting the Earth. Got it. Now let's repeat that a million times. Okay. What else have you got? How about everyone is more concerned with celebrity than an actual issue? Okay, obvious, but. Now let's repeat that a million times. Uhh. And let's have it filtered through some terrible written jokes that are as obvious as my main point here. No. And get this everyone is shallow, money and celebrity-obsessed. We can have a president who is shallow, her son who is shallow, a tech billionaire who is shallow, a military guy who is shallow, morning show people who are shallow, shallow pop stars...okay I get it...shallow teenagers...shallow parents...Just shut up. You know actually, news likes to fearmonger for views not just be light. Maybe play with that as a bit of satire? No. Charity concerts can be big shows of nothing...I thought that's where you were going with your big concert at the end...but no. You played that straight I guess. Wait are those ideas cutting too deep, maybe not obvious enough. Because that is all the satire is, the lowest common denominator, the first idea you could come up with to critique society. There is not a single deep thought. Politicians are sleazy, billionaires creepy, the masses dumb...never heard this one before. Okay, but maybe the characters are great here. Well, so you have the lead scientist he's nervous and stay nervous. Cool. There's his grad student she's anxious and stays anxious. Cool. But hey maybe there's a big arc. Ah yes, our scientist learns shallow people are shallow and family is better than shallow people. Cool. This film is terrible, I'm tired of talking about it, and overjoyed I don't have to do full reviews for any of its cast members.
I don't like Adam McKay nominations and I don't like seeing Louis upset, but I do enjoy a Louis rant on McKay. Preferably without the context of a nomination but c'est la vie I guess.
yep, that pretty much sums up thoughts for "Don't Look Up"; Loud, superficial, repetitous, angry at the world but unable to articulate it through provoking writing, nor present it through compelling film making...
As someone who watched "Talladega Nights" fairly recently and found the end bloopers to be the funniest part...I hope McKay goes back to his comic routes for a while.
Mitchell: I feel now as if Anchorman and Talladega Nights came from a wholly different age compared to the absolute garbage he's written this past decade.
To be clear there's nothing wrong with horniness in a general sense, but when used in lieu of actual character I got a problem with it (I'm looking at you Love Actually!!!).
Also, am I alone in thinking the final dinner scene is BY FAR best the part of "Don't Look Up"? It's minimally edited, and McKay lets his actors breathe and convey the needed dread, instead of cutting around them. If only he stopped at the fireball and didn't feel the need to go for one/two final gags.....
Mitchell: The whole apocalypse segment is indeed the only moment with an actual sense of gravitas, but before the end they just had to torment us with a one final gag involving the annoying characters of Streep and Rylance.
1. Paul Thomas Anderson - Licorice Pizza 2. Steven Spielberg - West Side Story 3. Ryusuke Hamaguichi - Drive, My Car 4. Jane Campion - The Power of the Dog 5. Kenneth Branagh - Belfast
PTA can do no wrong for me, this is true. And this is why because in so many ways could this not be any more different from Phantom Thread, other than it too exploring very 'flawed people trying to find a kind of happiness. I love PTA's work here in crafting the atmosphere of the 70's California as I assume he experienced it. I think what PTA does here, 'is what Tarantino was trying to achieve with Once Upon a Time in Hollywood, but PTA did it. This by making a modern 70's movie, but still as himself. I love the film's breezy style with PTA's camerawork here often walking with our characters almost, as to ease us into this world, like the beautifully realized opening scene with the perfect song choice, much like every song choice, that just makes you part of this era. This era that PTA plays around with a bit of nostalgia but also this kind of reality. Of course, this is a romantic comedy, and the tone is heightened, but I love how the tone is heightened in a way that always feels very tangible as he brings us into Gary's world of the next money-making scheme and Alan's world of trying to escape her cloistered world. The latter I think is so important as the small house she goes to and feels stuck in, feels so honest both in her literal family's dynamic but just how little space there is in that small world. This is opposed to the fun that there is in Gary's world, which while juvenile at least seems filled with some kind of opportunity. Each opportunity than being a different experience. Whether that be the comical few minutes of failed fame, the grand opening of a pinball impresario, or the gasless night ride. The latter is maybe my favorite scene of the year through how vivid that night feels in PTA's approach which both has the gradual quality of a mischievous summer night, but also the hilarious precision of great farce with Jon Peters's appearance and returns. Every scene through PTA brings you into this world of his, and it is a wonderful off-beat experience, that I treasured every moment of, in large part due to the vividness of his direction. From his cinematography to the song choices to the costumes to the production design, which evoke period while also still making it something all his own.
I will say I was the biggest doubter of Spielberg's choice to remake West Side Story. I thought, well it was a perfectly fine film, even if I didn't love it, so why remake it. Well, I was wrong because Spielberg made me love this story by putting the musical into hyperdrive and made the truly musical type musical that I genuinely loved. What I mean by that is usually I am drawn only to musicals if they're off the beaten path in some way. This one though takes the idea of being focused on the spectacle of it all and running with it. And well does he run with it. This as every song is an incredible set-piece. This as Spielberg is a master of every technical aspect here to bring to life every sequence in a new way that energizes these songs to all the greater heights. This is through some intelligent reworking of some song choices and adding some thematic depth in terms of the motivation of both sides as well. Every addition is a benefit, but even if Spielberg hadn't changed any of the story, he still would've succeeded through the sheer majesty of his work here. Spielberg was known as the filmmaker who carried you away with an experience in a new place, in a new way. Jurassic Park, Raiders, Jaws, D-Day in Saving Private Ryan, it's been a while but he's finally done it again fully. This as he delivers a full injection of cinema here, glorifying the old while making it new, finding the style, while making it honest, and just proving that the master of cinema was still in there after all. I love that Spielberg got nominated for this, as I didn't know if he still had it in him (his best films of late were typically more script-based), but he proved me wrong.
It's funny that I just read that Hamaguichi put in the ending to possibly be imperfect, well okay, but he was wrong, should've ended with Vanya, the great ending fade to black would've been perfect. Anyway, this is a film where the screenplay does come to mind first, however, to say Hamaguichi's direction is a given would be a mistake. And while I do think he maybe is just a little more gradual than he needs to be, I don't think the film needed to be as long as it is, even so, much of Hamguichi's direction is through realizing human connection through silence, through calm conversation and through gradual understanding, which does require time for each. Hamaguichi's work is that of anti-melodrama, even though such things technically occur within the narrative, as even death is depicted with a matter-of-fact reality. This is what I would say is a risk as to be so close to the vest nearly most of the film is a risk. A risk that does pay off as we come to know these characters to the point we feel as though we are merely among them as they reach these emotional moments of the extremes, such as the long car conversation, the talk around the ruins, and the final performance of Vanya. Because of this approach when we get to them, there is such a sense of intimacy and in turn such potency in finally having these revelations. Revelations that feel so natural because of Hamaguichi quietly yet so artfully pulling us into an emotional state, and just emotional life of these people. I LOVE that there is this international feature spot now in director, and Hamaguichi is a worthy follow-up to Vinterberg.
Campion's direction of Dog is right in her wheelhouse of crafting a sense of place. Like she did in The Piano with New Zealand we get that here in the west. This as she crafts with this artful sense of isolation even with the grandeur. Directing with it this sense of the sort of potential beauty but also anxieties that come from such a life. This as she brings a real majesty to the rivers, the plains, but at the same time she shows how cold the interiors can be particularly when alone. Additionally, she carries this keen sense in bringing the macho bluster of the central character of Phil and his force of will even when off-screen, such as having his tormenting banjo from the distance perpetuating his tormenting nature even from afar. Although I do think part of the pacing issues comes to her distant manner, nonetheless her work still crafts a distinct sense of place and has a unique perspective on the well-worn genre of the western.
Hey how about Branagh's direction of Henry V just a brilliant debut, would've been a great winner there. I just wanted to mention that before going to his return to this category 30 years later. I'll start with the worst of it. The opening scene is terrible direction, feels akin to a travel documentary with those inexplicable angles and the inexplicable song. Should've been stricken from the film. Branagh overuses his songs with some questionable choices, and his dad the hero moment is silly. Additionally, did it seem like Branagh just watched Roma and Cold War before making this movie, yes it did, but hey everyone has influences. And in part I do like how he uses the child perspective in parts, does this mean a lot of closeups, yes, but it also provides the limitation of what a child can see. Is the black and white more gimmicky with him, yes particularly with the color Scrooge production (though I kinda liked that effect), you can ascribe some logic to it in granting a more nostalgic tone. Also, I'll give him full credit for Dornan singing number, which feels very much Cold War influenced, but was actually quite beautifully done in crafting this moment of sheer joyful nostalgia. When he hits those moments of pure nostalgia, his direction actually is quite effective in its blunt sincerity. Again like his writing, does he overdo it, oh yes, is it imperfect, oh yes, but is it all bad, oh no.
1. Jessie Buckley - The Lost Daughter 2. Ariana DeBose - West Side Story 3. Aunjanue Ellis - King Richard 4. Judi Dench - Belfast (Balfe was the much better choice) 5. Kirsten Dunst - The Power of the Dog
Actress:
1. Kristen Stewart - Spencer 2. Olivia Colman - The Lost Daughter 3. Jessica Chastain - The Eyes of Tammy Faye 4. Penelope Cruz - Parallel Mothers 5. Nicole Kidman - Being the Ricardos
And For the Record:
Picture:
1. Licorice Pizza 2. West Side Story 3. Drive My Car 4. Dune 5. Nightmare Alley 6. The Power of the Dog 7. Belfast 8. King Richard 9. CODA 10. Don't Look Up
Also weird where the acting branch apparently disagreed with every other branch about Being the Ricardos, and Nightmare Alley was apparently beloved only by the tech people yet got the picture nomination.
I knew Ruth Negga would get snubbed but I just didn't know who could take her place so I just kept her in begrudgingly, shame because Passing is actually a very good film, and is surprisingly short so it actually is really easy to watch.
I'm very glad Nightmare Alley got the BP nom, honestly. It deserves it.
Louis: How would you say this year's nominees compared to last year's? Seems like the high points were just as high/even higher in parts but the low points were much lower.
RatedRStar: I always had a sneaking suspicion there would be a surprise somewhere, and that it was probably going to be Buckley, but alas I was also banking on Ellis being the one to miss so the shock was doubly so.
I have a feeling Balfe might've been the victim of category confusion - I would not be surprised if some voters chose to vote her in lead which is a shame. Negga was probably the victim of not enough people seeing her film - which is painful to accept, but it is what it is I suppose. Still hurts.
Oh yah...I can't believe it took me this long to realize Negga didn't get in. That's a damn shame, honestly: I thought she did a very striking job with, what, 10-15 minutes of screen time? I also felt it was a rather transformative turn, with part of that transformation being a balance between a learned persona and the character's genuine self, which Negga threads beautifully.
Well comparing the two editing sets of nominees, this year was a bit rough. But no, overall yes, I'd say definitely some strong choices like last year, some great categories all the way through (cinematography, Production Design), but also a greater number of weaker choices I think overall.
I will say, how Drive My Car managed to get in with Janus Films as a distributor is pretty damn impressive, and also solidifies my belief that Another Round last year was in top 10 for Best Picture and, had it gotten an additional major push from critics like DMC did, could've gotten an Original Screenplay nod too.
Mitchell: If Negga had gotten in, that would be the second year in a row my favourite performance of the year got in for Supporting Actress. Anyway, hopefully it'll be the third year in a row my favourite performance gets the win at the Spirits Awards, anyway.
I am quite glad that the trend started by Parasite wasn't a one-off in terms of the films being in contention, but I just wish the acting branch would be brave enough to nominate more performances from them (although it is great Cruz got in).
Back in the 21st Century with Frozen 2. And it's not good. There were very few scenes I liked in it as a whole. Really copped out at the end there too.
I'll think of ratings for the cast later. Raya is next.
136 comments:
Louis: Ratings and thoughts on,
Jon Bernthal - King Richard
Jared Leto - House Of Gucci
Al Pacino - House Of Gucci
Rob Morgan - Don't Look Up
Mark Rylance - Don't Look Up
Jonah Hill - Don't Look Up
Ben Affleck - The Tender Bar
1.Smit-McPhee
2.Hinds
3.Kotsur
4.Plemons
5.Simmons
Changing my predictions since Louis got it wrong:
1. McPhee
2. Kotsur
3. Hinds
4. Plemons
5. Simmons
1. Smit-McPhee
2. Hinds
3. Kotsur
4. Plemons
5. Simmons
This is not the performance I would've nominated Plemons for, but I'm so glad he's finally getting his due and also getting his first review on this blog. ECSTATIC for Buckley atm too.
1. Smit-McPhee
2. Kotsur
3. Hinds
4. Plemons
5. Simmons
Sucks Faist or Cooper didn't make it.
1. Smit-McPhee
2. Kotsur
3. Hinds
4. Simmons
5. Plemons
If we get both DiCaprio and Bardem and Washington misses out, Jesus Christ.
Animated Feature is he same five as RatedRStar predicted.
Flee performs the hat trick.
SAG 5 for Lead Actor sigh.
Thoughts on DiCaprio.
Stewart in. :)
Drive My Car got directing
Hamaguchi!!! Cruz!! Stewart!!
CODA got Picture
Drive My Car getting Best Picture, I got to be grateful for that.
Denis Villeneuve got fucking snubbed for Directing.
P A I N.
I just realised: Gaga got snubbed!
I had a feeling that Ruth Negga would miss, she gave me Daniel Bruhl vibes, but Balfe??
The line up makes NO sense, but OK, whatever.
1. Smit-McPhee
2. Kotsur
3. Hinds
4. Plemons
5. Simmons
i knew Villeneuve wouldn't get into Director, they are so going LotR on Dune.
Simmons i shoul have seen coming honestly, "time is up for the second nod" and stuff.
Nichtmare Alley is weirdly undernominated for a BP Nominee
and not one, NOT ONE DAMN CATEGORY for the Last Duel?
Anonymous: Woah, wtf...didn't notice that either.
1. Smit-McPhee
2. Hinds
3. Kotsur
4. Plemons
5. Simmons
Immediate Thoughts:
- Haim :(
- Someone please explain to me what is so special about Belfast's sound
- The Power of the Dog in editing but not Belfast, I think that's it folks.
- Drive My Car in Picture is very nice.
- Sad not to see The Tragedy of Macbeth over perform, but oh well.
- No Villeneuve in Directing is big.
- No Belfast in Cinematography made me quite happy.
- Kristen Stewart got in after all, that's nice.
- No Gaga in Lead Actress... yeah Kidman's winning. Dammnit.
- Thank you Nightmare Alley for keeping tick, tick... BOOM! and especially Being the Ricardos out of the Best Picture lineup.
- No clue what happened with Supporting Actress. Really bummed about Ruth Negga, though.
1) Smit-McPhee
2) Kotsur
3) Hinds
4) Plemons
5) Simmons
1. Smit-Mcphee
2. Hinds
3. Kotsur
4. Plemons
5. MY NEW NEMESIS
Jets, we rumble AMPAS at midnight.
Well, at least DiCaprio maintains his 100% record of getting his costars in Supporting Actor.
1. Troy Kotsur
2. Kodi Smit-McPhee
3. Ciaran Hinds
4. Jesse Plemons
5. J.K. Simmons
KICKING myself for not predicting a best picture nom for Drive My Car or Jessie Buckley for supporting actress.
John Smith:I cant believe Simmons was nominated. He had nothing to do. Maybe the academy just wanted to vote for an actor playing an actor.
P.S Don't Look Up nominated for original screenplay had me laugh so my coffe came out of my nose
Production Design and cinematography lineups are a perfect match.
I’m just so fucking pissed about Faist.
Well, let's get started then.
Documentary:
1. Flee
2. Attica
3. Summer of Soul
4. Ascension
Strong lineup overall, there were better choices than Ascension, though Ascension was decent enough as the sort of wandering eye documentary style.
International Feature:
1. Drive My Car
2. Flee
3. The Worst Person in the World
4. The Hand of God
The first three are fantastic choices, not so much on the fourth for me, however, I'll just be happy with the first three.
Makeup & Hairstyling:
1. Dune
2. House of Gucci
3. Cruella
4. Coming 2 America
5. The Eyes of Tammy Faye
Fantastic work on creating the Baron himself of course as essentially the centerpiece of the work. I love though a lot of the more seemingly minor bits of crafting the style of the various houses or the sand people, whether it be through slight adjustment of color or some minor styling here or there. Consistent work overall in terms of crafting the world both in the big achievements like the Baron or just smaller ones like the specific styling of the two doctors for example.
House of Gucci has some fine fashionable hair-styling overall, but this is largely for the Leto transformation. Regardless of how one feels about his performance, I'll get to that soon, the transformation is convincing.
Cruella is mainly there for some over-the-top hairstyling and bits of similar makeup, though the hair is more so the makeup. I think it all works per its intention which is to be a bit much and is successfully so. I don't love it as is either way, but I would qualify it as good work overall.
Coming 2 America's makeup is in a comedy (so-called anyways) so really how convincing it is really doesn't matter per se. Even with that, the Shaman character work is pretty bad, but again for the film's tone, it matters less. The best work in it is the recreation of the previous, really better, efforts from the far better original film.
The aging makeup on Garfield is classic unconvincing makeup. Chastain's is a transformation, but it does also look like makeup, I think the greater achievement is Chastain quite successfully acting through all that's on top of her, which does look like she's a bit covered up.
1.Smith-McPhee
2.Kotsur
3.Hinds
4.Plemons
5.Simmons
Suprised a bit about Simmons getting nominated, but whatever. Most importantly, Rylance or Hill weren't nominated and I'll be happy now.
Visual Effects:
1. Dune
2. Shang-Chi and the Legend of the Ten Rings
3. No Time to Die
4. Spider-Man: No Way Home
5. Free Guy
Well, this is one the easiest categories to declare a winner, and as it should be. The other nominees don't even come close. Dune's work here is grand, yet it all is extremely convincing. It wows, yet you don't even think of the effects as something extra, they simply are. This is in crafting such spectacle, yet doing so in a way that always feels as authentic as the very real sets and costumes all around them. It is extraordinary work that will rightfully join some all-time great winners this category has to offer.
Shang-Chi and the Legend of the Ten Rings is a better example of recent Marvel, which has slowly gotten a bit sloppier with effects. There is a bit of that CGIness here, but to be fair that is the point of a lot of the work here. This as the fantastical world is supposed to be that and the various creatures are convincing enough as such. Also, there is some good more low-key work in some of the action scenes, even if there again is some weakness around the edges so to speak.
No Time to Die's work is pretty invisible aside from the ending, which is fine if not overly notable. Although I'll say this might be to the point I'm not sure the nomination was needed. Still, if you don't notice all the various touch-ups and such for the action, it is obviously good work.
Spider-man for me falls into the Marvel mixed bag, as some of the work is very good, typically the most straightforward action spectacle work. There's some bad greenscreen here and there in some of the more expansive scenes, and the creation of Sandman here is altogether pretty bad. Still definitely gets the job done.
Free Guy I found to be an example of the Marvel shoddy CGI, except more frequent in the world. Also a major CGI thing with the character of Dude which just looked rather bad in the CGI head replacement. I guess this is another one where you can argue the style says it doesn't need to look realistic, which is fair enough, but it doesn't mean I need to say it looks all that good either. Still, I wouldn't say the overall effort is terrible or anything, just far more than a step down from something like Dune.
Sound:
1. Dune
2. No Time To Die
3. West Side Story
4. The Power of the Dog
5. Belfast
Dune has an amazing sound that is all there is to. Fantastic work in both the mixing of so many scenes, from the implementation of the score to the creation of its world's audio aesthetic, and of course the individual sounds that are just incredible, like the suction of the sandworms, the sounds of the attack ship or just the use of the voice. Exceptional work across the board.
No Time to Die is expectedly strong work for an action film. This with some notable additional editing from just like shooting the bulletproof glass, to every single different firearm used, while also helping to craft every action scene through the use of the mixing. Fantastic work that I obviously am not going to complain about.
West Side Story is just a flawlessly mixed musical, and just so well done in crafting every individual sequence to make the sound just an effortless aspect of being carried along with the visuals. Again why mixing and editing should be separated still, but amazing work in terms of the mixing here.
The Power of the Dog's work isn't really the focus of the film, in that the mix is not a thing you think of first, let alone the editing. Still, it is definitely an element that crafts the film's sense of place, and in that sense, it is some strong mixing, along with some terrific specific work in terms of the use of music both the score and even how certain Banjo playing is used. Wouldn't personally nominate it, but not a bad choice.
Belfast seems a strange inclusion, as there are a couple of "the troubles" scenes, and they're fine in terms of crafting a sense of being in the environment. This is mixed in with its choices though usually to play its songs as the whole of the sound, which is occasionally a bit questionable notably "Do Not Forsake Me Oh My Darlin" that I think takes away from the seriousness in part because the song is so overwhelming the mix. Still...it's not bad work, however, there were many better choices.
Costume Design:
1. Dune
2. West Side Story
3. Nightmare Alley
4. Cruella
5. Cyrano
Dune I'd argue had the biggest challenge in that it had to do quite a few things in terms of the costumes. This is crafting not really only one fantastical world that feels tangible, but craft one per house/culture, and per character. I have to say I think it pulls off all three in some stunning work that succeeds in each. Whether that is contrasting the two houses in their specific styles, or even showing the difference in style of that house with ceremony rather than basic day to day. Contrast that against the sand people with their gray and sort of practical garb. Or even contrast that to their battle garb or the future battle garb. Each set of costuming is distinct, remarkable, and so effective in crafting not only the world of the film but the world of each culture in the film.
West Side Story's costumes are just part of the lusciousness of the overall style of the film. This as it finds just the right balance in terms of crafting a musical style, while still feeling authentic to the period, and authentic to the character. Everything is eye-catching, even Riff's junky street clothes, yet never does it feel so stylized to seem ridiculous. It is just the right blend to enliven this musical all the more, without seeming completely separate from the period nor the idea of the street from which the musical is based in.
Nightmare Alley is also like West Side Story in being stylized period, though here for a darker purpose overall in terms of what that styling is. Equally eye-catching though in creating that right kind of a blend between the two, with such vibrant and stunning work particularly the clothing that the ladies wear. I especially love the contrasts we get from the circus clothing to the high society later on. In each setting, the clothes match where the wearer is at, at this point, and while again being so eye-catching while doing so.
Cruella's for me is just a little bit of a mixed bag. Don't get me wrong. There are some stunning costumes whose whole point is to be "look at me". They often do work as such and Stone wears plenty of fantastic wares here that are this grungy chic thing. Occasionally though this is taken to the point of ridiculous like her overall chained biker jacket that just looks ridiculous. Still, there are far more winners than losers in the "look at me" catalog, so definitely a deserving nomination.
Cyrano's nomination seems a little strange, as while not bad, it looks as basic of period clothing as one would quickly imagine. It does its job in setting up the period, but as a musical, the costumes honestly look a little dull. Not terrible, not unbelievable, but a bit dull. Strange choice honestly, as they just don't stand out, they're serviceable. The one from this group that I would mark as undeserving.
Well, there's a couple things I could say about these nominations (and keep in mind, I've also seen 7/20 recognized performances)...
-I like that both Colman and Buckley got in for "The Lost Daughter", because I found both performances equally good, and it would've been unfourtunate if one got in but not the other
-Stewart also came through in the end, and I can appreciate that as well; I feel like her nod was in the works for a while, and it's nice her hard, often underappreciated attempts to prove herself pay off
-No "Don't Look Up" cast which isn't what I was expecting, but if that meant no Rylance or Hill, then I'll take it as a win
-No Gaga...also surprising, but having only seen Colman out of best actress, I'm not in a position to say who kicked her out
-Although I see Plemon's nod very much as a bonus, and wouldn't classify it as his best work, it's still nice to see someone as prolific and reliable as him enter the "club"
-Smith and Washington are once again sharing best actor field after 2001; I haven't seen their films yet, but based on general discourse, I imagine their performances are notable improvements over their earlier leading turns
-At some point, I'm going to have to bite the bullet and watch "Being the Ricardos"
And as for my prediction...
1) McPhee
2) Kotsur
3) Hinds
4) Plemons
5) Simmons
Production Design:
1. Nightmare Alley
2. Dune
3. The Tragedy of Macbeth
4. West Side Story
5. The Power of the Dog
Nightmare Alley, maybe tops this list for me as the top four here are all outstanding in terms of their production design. Nightmare Alley though has perhaps my favorite bit of design of the year in the Geek poster and the haunted house. Everything though in the circus is such stunning work. So filled with this twisted character, and every bit of it so vibrant in that unique way. And that's only half of it. That is with every interior is decorated with such detail whether it be the cold opening shack, Zeena's slightly warmer house, or Clem's various terrors. There is just so much here, and so much of it is eye-catching. And that's not all, as it successfully gives us the other half, with the sleeker, yet in many ways, colder, interiors of high society, that are fascinating in that they are technically are simpler, yet in many ways, as the designs are less look at me, yet are that still just in a different way. Can't praise this work enough honestly.
Dune's production design though is no slouch either. This firstly in the number of sets that Villeneuve actually did have built, and how incredible they are. This is in terms of their grandeur, but also their own eye-catching way. This as the production design here crafts this brilliant mix of futuristic, with fantasy. Gorgeous work that is both elegantly simplistic at times, even so grand, though with the amazingly intricate details. Like, take Paul's training room that where you get such a fantastic-looking set in its careful and seemingly simple choices, which are so great in that sense, yet little touches don't overcomplicate it, yet make it stand out in just the right way. This again though is the success here in so effortlessly crafting every world we visit, and with that crafting character within the variations of the designs. Never failing to do that, while keeping a consistent and compelling aesthetic overall.
Macbeth could easily climb this list just thinking about the brilliance of the German expressionistic style work here. This as every set is so simple as you break them down into pieces. Yet that is the genius with how these unique pieces are put together. Whether that be the forest, the sparse interiors of the Macbeth Castle, or the forest in the throne room. Every set here is just a stunning piece of work in terms of minimalist design. This as they aren't quite a reality and in those adjustments is what makes them so memorable and remarkable. Every set here is a standout through brilliant simplicity. Whether that be the stairway to the king's room, the pond the witches trend in front of, the long hallway to the King, every bit is exceptional work here.
West Side Story is one where I had my concerns going into the film, then was stunned what was realized. This is finding this perfect blend between crafting period aesthetic, believably, and still having a musical style. Like the costumes, Spielberg and his team just pulled it off so brilliantly, that it all comes together in being stunning looking, while never compromising what it is going for. It is elevated as a musical should be, but never so that it is not lived in. It is both and in that is where the brilliance of it lies.
I have nothing against The Power of the Dog's production design, but it is easily the least of these efforts. The work is largely straightforward western work, made purposefully sparse and isolating. Similar work has been done better, say Days of Heaven for example, but this isn't even remotely not good. It is good, more than serviceable as it does create the sense of place and the sense of style the film is going for. It isn't nearly as memorable as its fellow nominees here, but definitely fine work on its own.
Editing:
1. Dune
2. King Richard
3. The Power of the Dog
4. Tick Tick...Boom
5. Don't Look Up
Quite possibly the worst lineup of the day.
Dune's overall editing I do like. I like the pacing we get through much of it that is both dynamic yet contemplative at times. It knows how to craft together a sequence where there is clear cohesion. I don't think Walker here crafts the sort of magic I felt he had with Blade Runner where it carried me through the gradual style the whole way through with such ease, but largely that style is crafted here successfully. Having said that, it is part of the film's kind of "stop" ending, in that the editing itself doesn't crescendo. The film just ends. Now yes it is halfway done, but compare that to LOTR where both Towers and Fellowship had an ending, while not ending. This doesn't have that, this is a part script, which I'll get to soon, but it is also in the edit.
King Richard has very straightforward drama editing. It gets the job done. Occasionally drags in the narrative, the tennis scenes are just fine in terms of crafting "action" within them. It successfully does its job though.
The Power of the Dog's editing I think is mostly good. A lot of the dramatic scenes are quite effectively realized in terms of crafting dynamic in the edit, particularly in terms of reaction to action. Having said that, there is a point in the middle and the ending, where the film suddenly has kind of a rushed quality within the editing as it seems to just want to jump somewhere, which did not wholly work for me.
Tick Tick...Boom over the immaculate editing of West Side Story??? Why?. Okay, Tick Tick...Boom's editing is obnoxious style musical editing where the cuts feel like so much like cuts disruptive the presumed flow rather than adding to it. The musical sequences grate on me in part because of their editing of them, which is so often to cut cut cut cut.
Only a warm-up as I get to the world's worst nomination!!! Well, haven't gotten to the screenplay yet... So McKay's choices are to have his films edited this way. Which is crap. The end. Okay, no not yet. But hey the attempt to make this sort of scattershot random stupid inserts for context or obvious jokes is just so horribly done. Every cut feels so much like so that I thought multiple times "stop cutting this is annoying as all hell". Which the film eventually does do, making it stylistically just inconsistent with itself, though at least a bit less grating after a while. That White House scene though is exactly how you don't do "kinetic" editing. It just makes everything about the editing, it doesn't amplify the scene it distracts you from it. Horrible work.
Luke, your rating predictions.
Yeah, that Editing lineup was certainly whelming.
Yah, I'd forgotten "Vice" also got a nomination for editing...which I guess gets overshadowed by the great big petulant mess that is that film.
just noticing that this is the 3rd consecutive year with double nominations in this category, where before for a long time that was avoided like the plague
The Editing category really only serves to confirm to us that The Power of The Dog is winning it all. I'm slightly apprehensive to believe it because *Netflix movie*, but it still seems like the most likely choice by far.
Helps that its biggest competitors also missed out there, it's probably going all the way.
Honestly I'm really just invested in the Original Screenplay race now. If PTA loses to Branagh or, heaven forbid, McKay... I will have some words to say the least.
Something else I'll say...of all the upcoming reviews of performances I haven't seen, one of the ones I'm most looking forward to is Will Smith's.
Given that his two previous nods stand at 1.5 and 2.5 (not far off from my assessments, frankly), it would be nice to see this newest turn of his stand much better. I've never LOVED Smith as an actor, but I legitimately feel he's gotten better with age. Also, he has such a natural charm that it always bugs me I can't seem to like his work as much as other people.
Cinematography:
Back to a good category.
1. The Tragedy of Macbeth
2. Nightmare Alley
3. West Side Story
4. Dune
5. The Power of the Dog
Delbonnel somehow topped his already amazing work with the Coens with his achievement here as he takes the idea of German expressionism and makes every shot here something glorious to behold. Every shot is so filled with style, so distinct, and just so stunning. The composition and framing of every shot is perfect and the lighting compliments every bit. Honestly, I could just watch this film for the shots alone as every shot is so glorious in its realization. I especially love the contrast between the deep blacks and the foggy white, and grays. So many unforgettable shots here whether it be the "three witches" in the lake, the lone figure on the cliff, or even just the dripping blood off Macbeth's knife. It is astonishing work. So powerfully atmospheric, while crafting this distinct nightmare of its own.
Speaking of Nightmares, let's talk the best shot color film. I also loved the work here, and I'm surprised Del Toro made a Black and White version because the colors Dan Laustsen realizes here are stunning. This as he fashions the neo-noir, and separates itself from the 40's version by making the shows in the colors in this way. This as there is this amazing blend between the lush colors and the darkness that still permeates every scene. The cinematography goes hand in hand with the production design, to craft that stylized life to it, and make it all the more dynamic. This as the circus feels so lurid as there is this certain beauty to it all in the various colors we see illuminated, but all the same, there is the right unnerving quality by the darkness that is right next to that beautiful light. I love the grandeur of what Laustesen captures here, again the right choice to be separate from the 47 version. This as his compositions are much like the artwork on the circus tents, this grand selling of a lurid world that is just wonderful to behold.
I'll admit I was not looking forward to Kaminski's work here as I thought he and Spielberg's collaborations had long become stale. I was proven wrong though as this is their best work together, for me, since Schindler's List. This is such gorgeous and vibrant work. The most notable aspect of it is the fluidity of the camera movement that manages to maintain such eye-catching composition no matter how much movement there is. It is an essential element in bringing these lovely musical sequences alive and it does not falter. Just one gorgeous shot after another, while crafting the unique yet stunning lighting here that makes the vibrant sets and costumes all the more that, which I think like everything else here finds just that right blend in the musical style that is enough while not being too much.
Dune at 4 might be surprising, however, this is fantastic work as well by Grieg Fraser even if it doesn't quite hit the heights of Villeneuve's collaborations with Deakins. That should not diminish though as this is amazing work as well. This as there is such a sense of scale within the cinematography here that makes the world so big, and makes the spectacle the more stunning in that regard. Fraser's work realizes so effectively these small figures within these grand tapestries. I would say where Deakins might've taken it further is in some of the lighting. All of the lighting mind you is strong here still, however not as dynamic as with Villeneuve's work with Deakins. I shouldn't sound negative, because it is still some well-lit work, just doesn't quite have that extra something you saw in Sicario and especially Blade Runner 2049. I think honestly Fraser seems more comfortable with the brighter scenes, as while the darker scenes are still beautiful, he's at his best when there is more light to work with it seems.
Don't want to sound like I'm stepping on Dog again and again, because this is good work from Ari Wegner. A grand-scale westerns go, I think it fits right into the good-looking bunch. In that, it certainly captures that sense of isolation while also capturing grandeur. It captures the beauty of natural light, while also showing the off-putting nature of the darkness that can be found in the interiors. There is nothing for me to criticize here. It is well shot, well composed, well-framed, and well lit in every regard. I personally wouldn't say it is exceptionally so at any point, but it is far more than just averagely shot. It is a deserving nominee, even if it wouldn't make my personal lineup unlike the other four here.
I will say that I'm glad they didn't nominate Belfast in Cinematography. Easily the worst looking black & white film in recent memory (at least from what I've seen).
Score:
1. Dune
2. The Power of the Dog
3. Parallel Mothers
4. Encanto
5. Don't Look Up
I have been waiting to say this, yes Calvin I think this is a great score, and don't see your objection to it but hey that's consistency for 2021 films at this point. Anyway, I love this score, and is one of Zimmer's better scores within my mind, where he has been more derivative of late like his No Time to Die score, which takes more than a little from his Batman work. Any score that can successfully use a bagpipe deserves praise anyways, and this is what that score does. I love the work here with the electronic orchestra here so brilliantly realized, with again crafting tone and style with the score. This is Zimmer's work is ethereal, fantastical, science-fictiony and actiony even. Love the blend of styles here that pointedly create a foundation for the various characters and groups here, while crafting the overall vision of Dune. Dune is this mix of so many ideas, which I felt Zimmer realized with his blending of choices.
This would've been a harder one/two if Greenwood had got nominated for Spencer instead, as that, for me, is the greater of his two scores. Having said that, this is also a great score. Kind of a fascinating blend of taking some of his ideas from There Will Be Blood, mixed in with kind of Leonard Bernstein if not Aaron Copland style. Greenwood really focuses here on this extreme contrast between strings and brass, however here typically in separate pieces that denote a mix of beauty and eerie harshness. It really is a series of beautiful pieces that are so evocative of the content both as this beauty that can be taken from the west and also the brutal anxieties of it as well.
Parallel Mothers, as a type for an Almodovar/Iglesias collaboration, could be about the most dramatic melodrama ever. And here the film really uses the score very specifically, most often for these moments of transference and punctuation of melodrama. Not in the scenes but between them. And as typically as such, as much as the score is kind of "outside" of the film purposefully, it is ear-catching in its really kind of in its own way over-the-top melodramatic stings and extreme melodies. As much as I don't love every melodramatic beat of what Almodovar may be doing, I do love how Iglesias tends to punctuate them, so kudos to this pseudo surprise nod.
Encanto is not a film where you think of the score, you think of the songs, which even the more I think about more of them I think this might be a low for Miranda as a songwriter. Anyway though the score, not by Miranda, is all this very generalized styling that is pretty forgettable, and standard Disney flare with the slight South American feel to theoretically stand out, which it doesn't here. I just listened to the score, and all I can say is, it just is kind of there. Forgettable work.
Don't Look Up has some really bad sort of "party" styling by Britell here that I guess is supposed to sound fun? Goofy? Satirical? Something. It sounds like something out of Mario Party, though no offense to Mario Party's soundtrack. I do not like it either way. Britell also goes for some dramatics, far more effectively done in his Succession score from season 3, here the more dramatic his work is the more overbearing it is.
Eh, I honestly don't dislike Don't Look Up's score but I don't think it really fit the film that well either and was definitely at bit much in some places. Certainly a step down from Britell's previous nomination, AKA my second favorite score of the 2010s.
For what it's worth Louis, Dune's score grew on my on rewatch so we're not actually that far off on it overall, though I have issues with it. Glad you loved Greenwood's and (especially) Iglesias' work too.
Song:
1. "No Time to Die" - No Time To Die
2. "Be Alive" - King Richard
3. "Dos Orguitas" - Encanto
4. "Down to Joy" - Belfast
5. "Somehow You Do" - Four Good Days
I'll admit my exposures to Eilish are pretty limited beyond this song, and the documentary on her that had made the shortlist. Having said that I think this is a worthy sendoff for Craig's songs and deserves mention against the greatness that are "Skyfall" and the sort of underrated "You Know My Name". This as I think it finds that proper Bond blend, particularly for Craig, for what I think is best described as a kind of epic pathos verbalized through dramatic song leading to the titular chorus. Really loved the combination of the elements as such with the blending of vocals with the intense instrumentation that powerfully builds between each verse and towards every chorus.
"Be Alive" is a pretty good song. Has a nice sort of inspirational beat to it to be sure. This with this kind of intensity I like particularly in the use of the vocal back ups that supplement Beyonce's spirited central vocals to be sure. This with a strong use of the punctuation of the lyrics which share a similarly spirited kind passion to them. I also do rather like the intro sort of flair of the floating scale of the titular lyric.
I personally would've gone with "we Don't Talk About Bruno" out of Encanto's songs. "Dos Orguitas" I would put on the better side of the songs, as I genuine dislike some of the songs like "Surface Pressure" and "The Family Madrigal". Having said that as this sort of fable ballad, I think has a nice pleasant tone, and I do like the melody it eventually gets to and builds on. Has a smooth blending of the voices that build, and while I don't think it is amazing, it's a nice song.
I usually don't factor into the song use...too much because there are often the credits songs anyways. Hated the use of "Down to Joy" in the film and the whole intro is by far the worst part of any aspect of Belfast. I don't really like the song much either. The lyrics don't have much of an impact. The music is pretty generic upbeat piece, and there's nothing memorable here. I don't hate it, but I don't like.
"Somehow You Do" I'm guessing was nominated due to the Diane Warren factor. And I'll be honest, I'm not the biggest fan of most of her nominated work, which is a lot more memorable than this song. This song that sounds like a general variation and hodge podge of some of those other songs here. To get this kind of mess of a mix of ideas and super generalized ideas you get from a typical ballad like this. Didn't like this one at all. I guess maybe I should watch the film, perhaps it is brilliant in context...though I have my doubts.
The only use of music in Belfast that really worked for me is, well, Everlasting Love, which is a very good scene to be fair.
Also it's not brilliant and you wouldn't be really benefiting anything from watching the film Louis...it's a film. I'd spend the time on something else.
Calvin:
I'll take your advice and skip that one then.
5º Jesse Plemons
4º J.K. Simmons
3º Ciarán Hinds
2º Troy Kotsur
1º Kodi Smit-McPhee
Who knew we would see Campion and Spielberg again after 28 years.
Taking a break, will be back with the screenplays and director in a couple hours.
Smit-McPhee - 5
Kotsur - 4.5
Hinds - 4.5
Plemons - 3.5
Simmons - 3
Washington - 5
Cumberbatch - 5
Smith - 4.5
Garfield - 3.5
Bardem - 2.5
This category was insane. No Leto or Cooper was a big surprise for me.
1. Smit-McPhee
2. Kotsur
3. Hinds
4. Plemmons
5. Simmons
Also, I know that Drive My Car probably is an amazing film (I'm seeing at my local cinema on the 13th) and it probably by all means deserves it's nominations for director and picture, but I'm just slightly pissed by it because it means The Worst Person In The World doesn't have a chance at winning. Drive My Car probably is a better film, but The Worst Person In The World is from my country, so I'm a bit biased lmao
I stand by that if Neon had campaigned The Worst Person in the World earlier and harder, it could've gotten even more nominations.
Louis: After finishing the lineups and the performances you're no longer saving, could I have thoughts on the Lightyear trailer.
I do wonder if Belfast is gonna be the big loser of the Oscars, if it loses screenplay to Licorize Pizza I think it will lose all of its other nominations, can't see it doing a Mutiny on the Bounty and winning just picture.
Louis: While I do think Kennedy is fine in doing his usual thing in The Lusty Men, any actor that comes to mind in your opinion that would have been better in his role? I was thinking Clift would have done a very good job there, as Kennedy, was a little old for the part in my opinion. Maybe Rock Hudson as well?
Adapted Screenplay:
1. Drive My Car
2. Dune
3. The Power of the Dog
4. The Lost Daughter
5. CODA
Well, this was an easy choice. Drive My Car is an expansion upon the short story which is based. Most of the general ideas are there but the adaptation makes major expansion/details in the various aspects of the development of this actor who needs to be driven around. With the actual adaptation out of the way, this is a thematically daring film in terms of its examination of this man and in turn what else does that mean. I think attempting to take on so many things can be challenging however this manages to wield the various elements. This as it takes really what is a simple narrative of a friendship after a loss, and a task at hand in putting on Uncle Vanya. The latter scenes are brilliantly implemented as a real accentuation of various points that are central characters are going through who are like Vanya and Sofya but not exactly either. The implementation though is brilliantly done, particularly in the choice of the use of the finale of Vanya here that sums up the play and the journey of the character. A minor criticism of the screenplay is the additional scene afterward, which has a purpose in showing life literally going on, however, I think we knew the character would be doing that even without that scene. Let's push that aside though to instead look at the two sides of real grief. This is as we have our central character and his especially specific intimate relationship with his wife. We get the betrayal of the younger man, who presumes too much, and in that, we have a key relationship where the man casts the man as Vanya as almost a kind of revenge, a failed castration of the virile and violent man. This reveals a greater betrayal of his wife in the brilliantly scripted scene where the two men really almost wholly speak to one another almost without anything hidden. The writing of the scene is exceptional in having this confrontation, this greater betrayal, but also kind of a moment of understanding and appreciation. In contrast, we have the story of the driver, which the film unravels naturally as this professional that becomes friendship in a truly earned and natural way. This to the other potent sequence of the woman coming to terms with her contrasting grief though also shared, as both are defined by positive emotions and negative. Finding this thematic artful combination though that is based within the richness of understanding. That is of course isn't even mentioning the idea of finding solace in space of one's car, and the break of that. Or the idea of this art through random communication that builds unity. There is so much here, but most of all though it just works in exploring these central characters, making us understand them, and developing where their grief takes them.
I will bluntly say I'm surprised that Dune's screenplay was more consistently recognized than Villeneuve's direction, as the latter is what I think makes the film more so than the former. Having said that though, the screenplay is important even if flawed in a few ways. Dune is a dramatic and drastic undertaking and I will say it should make one appreciate all the more how damn good the screenplays are for the Lord of the Rings trilogy. That is in terms of getting out so much lore so naturally without really losing much in terms of character (poor Denethor aside). Dune doesn't succeed in the same way, instead, the writers take a different approach by having the film built upon Paul's hero journey as the most essential element. I think this makes sense in terms of crafting a cohesive narrative, as the film does succeed in being able to be followed and the emotions directly related to Paul's journey work. I understand the frustrations though with side characters getting the short shrift in comparison particularly that of the two house doctors especially. Those flaws are mostly inherent in the adaptation, though if you're not aware of the source probably less damaging. And while the criticism is valid, I mean LOTR pulled it off somehow, I do think the approach Villeneuve and company take still works in wielding the nearly unwieldy of crafting this world and creating still a compelling narrative within it. Again to praise LOTR, the hardest exposition is probably the most flawed, as the sand people are literally just told about to us, though I'll take it over the VERY internal monologues of the Lynch version. Still a lot of the exposition is well handled, and more importantly, the central narrative does work, and we do discover the world. Is it the perfect adaptation in terms of the writing, no, but it is a successful one. Where it finds the strengths of the novel it truly finds them. Now the ending could've been more climactic, YES, again LOTR, LOTR, LOTR those films are amazing for a reason. They crafted endings with non-endings. Here we get a cut-off. Again it may fit perfectly then as we see the second half, it may not, we will see. It is a flaw though. Another flaw of a flawed screenplay, but I would argue still a good one, that took on that massive undertaking and was largely successful.
The Power of the Dog's screenplay succeeds in bringing to life the central relationship between the two basic psychopaths, though their particular psychosis reveals itself in different ways. The relationship between those two is properly fascinating as written, with the development compelling in both men up to conflicting intentions. I'll get more into this relationship with a couple reviews soon. That part works, its thematically rich, and just is compelling as written. Although I do think there feels like a scene missing in establishing the switch from immediate hostility in Phil towards Peter, towards even allowing him to be in his presence essentially. The rest of it is where I think you have the two sides of an adaptation, and two sides of how one can critique an adaptation. One half is the role of the brothers is reduced here and the whole role of George is nearly a non-entity throughout the film. There is more to this relationship within the book that Campion chooses to not include, which I don't necessarily think was the best idea. Then there is the other half of potentially improving on an adaptation. This as the character of Rose is repetitive and nearly one note as this souse. There is more with the idea of the woman who is unappreciated, mistreated and isolated, but we aren't really granted any such depth as say we see in a very similar character played by the same actress with the same actor as her husband in Fargo season 2, now that is an exceptional development of the idea. Here we get a one note victim, where every scene with her is a basic repetition. Again more interaction with George or even with Peter between Rose could've developed this better, but we don't get that. We get her state of drunken anxiety that stays and stay. The rest of the world also feels a touch undeveloped and basic. Again the center of the screenplay does work, quite well, but I don't think this is nearly as strong as Campion work in The Piano, which told a central story well, but also developed its world with it.
Louis: Your Animated Feature ranking.
The Lost Daughter, which I have not read the source material so basing this purely on the film's screenplay, is rather obtuse work, and seems, though apparently wasn't, influenced by the works of Michelangelo Antonioni, where seeming plot is never resolved and exists more so to explore character and relationships. That is what happens here and the film is filled with threads that are not are never sewn, though obviously that is the intention. Is the intention wholly successful. Well...I think it is a great avenue for some great acting by Olivia Colman and Jessie Buckley as the same woman dealing with her flaws as a mother, and her inability to successfully be one. In between that we have a rather strand by some vaguely criminal family searching for a doll, the most routine of affairs past and present, and just a woman exploring her seeming troubled state. I don't think Gyllenhaal's screenplay here truly finds some great meaning or truth in this material. It suggests ideas more than it fully explores them, and even the intended ambiguous threads, are perhaps too ambiguous even to be meaningful. The emotional states of the film more so founded in her direction, and the performances representing the past and present of the main character. The screenplay seems searching for meaning in this tale of reflection, and I don't think it really finds anything of note in doing such as it rambles on from one act of a woman being suffocated by family life and the other of a woman seemingly both burdened and angered by her present existence. Now I don't think any of what is written would be considered bad, but does it achieve some great insight, I don't think so.
CODA is really pretty terribly written. The main plot is about as basic cloying schmaltz as one can imagine, and honestly I think if the film was cast with non-deaf actors it probably would've been properly racked over the coals for being cheese it is. It is manipulative in the purest sense. As the whole deaf angle is written well deafly with the whole story of economy of running a boat being represented by one note anger. It also just is inaccurate as the family is required to pay for the limits of their own disaiblity, which isn't how the American with Disaiblities Act works, but hey, if you're written maniuplative crap make up whatever you want to fit the trash narrative. But hey, let's talk about this loving family. No wait, I meant to say wildly horny family. That's right, because deaf people are just like anyone, and that's represented, by just being horny all the time. The amount of lines devoted to their horiness is truly stunning....ly...dumb. Frankly patronizing as "hey look how cute the horny deaf people are". Utter garbage that is. Same with the older brother, whose relationship is based on him being hot, and our central character's friend being super horny. But hey is it all bad. No but really that is some super basic family relationship scenes made more so by the acting than the obvious writing. The scenario itself being so ridiculous of the singer whose family is deaf and she must choose between translating forever and getting to sing. I wonder if the family will sacrifice a bit for her? Predictable and just obvious. But hey hey, her inspirational music teacher must be a three dimensional character right? No, wrong, he's an over the top eccentric, who is just ridiculously cartoony. But hey hey, she must have a complex relationship with her mom right? No, her mom just kind of hates everyone and the film never really deals with hatred everyone. But she's sassy, so it's okay I guess. So I hate this movie, I hope that was noticed, and the more I think about the more I hate. How this tricked everyone into accepting manipulative, cheesefest trash as some sort of well written greatness is beyond me.
Luke:
Animated Film:
1. Flee
2. The Mitchells Vs. The Machines
3. Raya and The Last Dragon
4. Encanto
5. Luca
Yeah we really needed three Disney nominees, especially when two were extremely mediocre and the other isn't exactly amazing. I knew Belle was getting snubbed, but I don't care, it still ticks me off.
Louis: Your 10 worst films of 2021.
And thoughts on the Nope teaser.
While I love The Power of the Dog's screenplay, I won't lie, I would love to see Drive My Car upset.
Am I the only one happy to see JK on tjisblineup? Solid supporting role and performance, a lot better than the overrated Kodi, IMO.
*this lineup
Everything in Being the Ricardos outside of Nina Arianda is rubbish. Well, Kidman is fine actually. But not Oscar worthy in the slightest.
Original Screenplay:
1. Licorice Pizza
2. The Worst Person in the World
3. Belfast
4. King Richard
5. Don't Look Up
I will actually do the two best screenplays here, BY FAR, together, as actually they're kind of similar. This is as both Licorice Pizza and Worst Person are women dealing with their arrested development, just where this goes is very different. I love the exploration of both, which fittingly to relationships are often driven more so by phases than plot development, though Worst Person does have a specific one there, though I wouldn't say that is true to the nature of that film either, which to is more about exploring experience. Worst Person being more dramatically inclined, while Licorice is a comedy. The latter I will say is interesting that everyone was surprised by the fact that it wouldn't be an ideal relationship might be explored, did everyone miss Phantom Thread where the true lover lovers involved one poisoning the other? Anyone, despite the new trend of people apparently needing everything to be morally proper (time for the Motion Picture Code to be brought back I guess), I think it is a brilliant film. Now, this is just filled with much hilarity through exploring the oddballs that were all around in 70's California. My favorites are the creepy Jon Peters and the Hollywood oddballs who love literally just exposing lines from their old days. I love though the way PTA explores within each segment a different potential trend at the time that Gary is trying to exploit or deal with, and in turn trying to wrap Alana in with him. The center of it though is Alana dealing with her own life, which seems a dead end, and the only way forward maybe be going back towards the adolescent Gary. It is then the exploration of that idea that is so fascinating, through hilarious vignettes, but also each sequence in a way speaking towards what their relationship might have or might be lacking, yet still the connection in their mutual brokenness but also dogged intention to do something to make up for their flaws no matter how imperfect. Julie in Worst Person is dealing with the same crisis often in each chapter dealing with a chapter of her life, where she thinks she's growing in her relationships yet is just as frequently regressing as growing. These two featured through their own vignettes, though stylistically very different from Licorice, also very effective in its almost information documentary-like approach to breaking down and introducing her new phases. This mixed in with more intimate conversations. As with Licorice, it simply excels in exploring who is a flawed person, with a flawed sense of self in particular. Both are in a way very romantically minded as written, though in the purposeful exploration of people most would say make more mistakes than they do the right decision, and each brilliantly explores these flawed people as they go down their questionable but oh so compelling paths.
Belfast's screenplay is very simplistic. I have heard some complaints about it not getting into the deep sociopolitical complications of the troubles, to which I'd say you're watching the wrong movie mate. The film is clearly designed and written, from the child's perspective of the troubles, and in turn that is how we learn about them. In a simple straightforward way that a child would understand so I do think that is kind of a dumb complaint. However, the complaint that the film is overly simple overall, would be fair, though I wouldn't necessarily agree completely with that. What Branagh is doing here is basically a family album of his childhood. You get a simple romance at school. You get warm interactions with his grandparents. You get a bit of fighting between his parents. You get a bit of rebellion. You get some scary stuff happening, you get some funny things happening. You even get his dad as a hero, as a child would see it. The characters, other than maybe the parents and their fights, depth is limited. You know each to the extent you'd know someone as an average kid when you're under 10 years old. The world is a lot of moments, and Branagh captures some of them. I think his screenplay is best when he is truest towards this claim and doesn't overplay his hand in terms of the sentiment. When he just has warm moments between the family or just the argument over choices for the future between the parents. When he lays it on thick, he lays it very thick, and those are the weakest moments, like the dad the hero moment, or the overly dramatic final speech Judi Dench gets. It's at its best as affable remembrance, and there I don't think it is any sort of failure.
King Richard is a puff piece biopic about tennis living legends the Williams sisters through the lens of their eccentric dad. Their dad has a whole lot more to him than you find here, and you have to say with a film like this, is it true to the story it's telling via the film, rather than life. Well, I think the screenplay wants to have it both ways and that's where it struggles a bit. This as it wants to show his ambition to push his family as a good thing, while also showing it as occasionally a negative thing. This to the point of inconsistency where I'm not sure the film knew how to explore, and maybe accidentally included this. This as there are the scenes of Richard pushing his girls as hard as possible, while also having the scenes of him berating them or their coaches for being too tennis obsessed. Maybe he did just send mixed messages, though it seems a bit of sloppiness in the screenplay. The negative moments in general feel like a hesitant inclusion to not paint Richard too badly, but to recognize her wasn't perfect. As written it doesn't fully work, though it doesn't break the film. The rest of the film is a straightforward sports biopic where we get a "then this happens" type of rise. Now where I think it works is that there's enough life and character in the "then this happens" moments. The beats are expected, down moments, inspirational speech, back up again. But it hits those beats well, if expectedly. It finds humor in them, which is always appreciated, and for its credit, the inspirational speeches are pretty good. It is not definitive telling of the sports dad story, let alone Richard Williams, but as filtered through formula, it's good. Unlike...
Yall think it's rubbish because Louis didn't like it so you follow the leader. Lol Ok
Anonymous:
Actually I was probably the most positive on it around here, nice try trolling us though.
I think it's a damn shame Reinsve and Haim aren't nominated because I feel like interactions between them would be pretty damn fun to watch.
Louis: but the parents weren't horny enough!! (and yes in retrospect perhaps I was too harsh on Belfast's screenplay and too lenient on CODA's, though I stand by my preference).
Don't Look Up is an abysmal piece of trash. Okay, so the satire is Global warming is like a comet hitting the Earth. Got it. Now let's repeat that a million times. Okay. What else have you got? How about everyone is more concerned with celebrity than an actual issue? Okay, obvious, but. Now let's repeat that a million times. Uhh. And let's have it filtered through some terrible written jokes that are as obvious as my main point here. No. And get this everyone is shallow, money and celebrity-obsessed. We can have a president who is shallow, her son who is shallow, a tech billionaire who is shallow, a military guy who is shallow, morning show people who are shallow, shallow pop stars...okay I get it...shallow teenagers...shallow parents...Just shut up. You know actually, news likes to fearmonger for views not just be light. Maybe play with that as a bit of satire? No. Charity concerts can be big shows of nothing...I thought that's where you were going with your big concert at the end...but no. You played that straight I guess. Wait are those ideas cutting too deep, maybe not obvious enough. Because that is all the satire is, the lowest common denominator, the first idea you could come up with to critique society. There is not a single deep thought. Politicians are sleazy, billionaires creepy, the masses dumb...never heard this one before. Okay, but maybe the characters are great here. Well, so you have the lead scientist he's nervous and stay nervous. Cool. There's his grad student she's anxious and stays anxious. Cool. But hey maybe there's a big arc. Ah yes, our scientist learns shallow people are shallow and family is better than shallow people. Cool. This film is terrible, I'm tired of talking about it, and overjoyed I don't have to do full reviews for any of its cast members.
Calvin:
Fair enough.
I don't like Adam McKay nominations and I don't like seeing Louis upset, but I do enjoy a Louis rant on McKay. Preferably without the context of a nomination but c'est la vie I guess.
Louis: (In Palpatine's voice) Let the hate flow through you. :)
I'm relieved they didn't nominate Rylance. To see a 1 star review next to the previous 3 5 star reviews would've been a bitter pill to swallow.
Louis: I haven't laughed this much in a long while, your dislike of horny things =D.
Does anyone know if all the songs in Belle are Original Songs? Because I have a feeling that's pretty much going to be my entire lineup if it is.
"look how cute the horny deaf people are" xD =D
yep, that pretty much sums up thoughts for "Don't Look Up"; Loud, superficial, repetitous, angry at the world but unable to articulate it through provoking writing, nor present it through compelling film making...
As someone who watched "Talladega Nights" fairly recently and found the end bloopers to be the funniest part...I hope McKay goes back to his comic routes for a while.
Also, Kotsur must really be something if CODA is apparently so bad, but he's consistently getting predicted as a 4.5
Mitchell: I feel now as if Anchorman and Talladega Nights came from a wholly different age compared to the absolute garbage he's written this past decade.
I ain't changing my prediction, especially with Michael putting him at #1.
Luke: Actually, I sort retract that bit about "Tallega"...Michael Clark Duncan was fun in his silly role. Rest in peace, big guy.
Calvin:
As far as I know. They are.
RatedRStar:
To be clear there's nothing wrong with horniness in a general sense, but when used in lieu of actual character I got a problem with it (I'm looking at you Love Actually!!!).
Mitchell: I enjoy Reilly and Cole in it as well.
Kotsur's a 5 for me but I feel like if you don't like the film (I like it quite a bit), there's only so high one can go with him.
Louis: Now imagine, a universe, where Love Actually got that Original Screenplay nod...
Calvin:
Aka why Dirty Pretty Things's screenplay nomination was a thing of beauty.
God bless Dirty Pretty Things =D
Also, am I alone in thinking the final dinner scene is BY FAR best the part of "Don't Look Up"? It's minimally edited, and McKay lets his actors breathe and convey the needed dread, instead of cutting around them. If only he stopped at the fireball and didn't feel the need to go for one/two final gags.....
Mitchell: The whole apocalypse segment is indeed the only moment with an actual sense of gravitas, but before the end they just had to torment us with a one final gag involving the annoying characters of Streep and Rylance.
TRIVIA: Have you noticed we have two married couples nominated this year: Bardem--Cruz and Plemons--Dunst? A rare feature indeed...
Changing up the prediction given how much Louis hates CODA:
1. Smit-McPhee
2. Hinds
3. Kotsur
4. Plemons
5. Simmons
*Errata: Plemons and Dunst are not married, they only have kids together :P
Screw it, I'm following in Tahmeed's footsteps...
1) McPhee
2) Hinds
3) Kotsur
4) Plemons
5) Simmons
Doing the same thing as Tahmeed and Mitchell.
1. McPhee
2. Hinds
3. Kotsur
4. Plemons
5. Simmons
1) Smit-McPhee
2) Plemmons
3) Kotsur
4) Hinds
5) Simmons
1. Smit-McPhee
2. Hinds
3. Kotsur
4. Plemons
5. Simmons
I actually think Kotsur might still get a 4.5, but I think Louis will have liked Hinds a little more especially in his hospital scene.
Okay fine, I may as well get behind my fellow countryman.
1. Smit-McPhee
2. Hinds
3. Kotsur
4. Plemons
5. Simmons
Director:
1. Paul Thomas Anderson - Licorice Pizza
2. Steven Spielberg - West Side Story
3. Ryusuke Hamaguichi - Drive, My Car
4. Jane Campion - The Power of the Dog
5. Kenneth Branagh - Belfast
PTA can do no wrong for me, this is true. And this is why because in so many ways could this not be any more different from Phantom Thread, other than it too exploring very 'flawed people trying to find a kind of happiness. I love PTA's work here in crafting the atmosphere of the 70's California as I assume he experienced it. I think what PTA does here, 'is what Tarantino was trying to achieve with Once Upon a Time in Hollywood, but PTA did it. This by making a modern 70's movie, but still as himself. I love the film's breezy style with PTA's camerawork here often walking with our characters almost, as to ease us into this world, like the beautifully realized opening scene with the perfect song choice, much like every song choice, that just makes you part of this era. This era that PTA plays around with a bit of nostalgia but also this kind of reality. Of course, this is a romantic comedy, and the tone is heightened, but I love how the tone is heightened in a way that always feels very tangible as he brings us into Gary's world of the next money-making scheme and Alan's world of trying to escape her cloistered world. The latter I think is so important as the small house she goes to and feels stuck in, feels so honest both in her literal family's dynamic but just how little space there is in that small world. This is opposed to the fun that there is in Gary's world, which while juvenile at least seems filled with some kind of opportunity. Each opportunity than being a different experience. Whether that be the comical few minutes of failed fame, the grand opening of a pinball impresario, or the gasless night ride. The latter is maybe my favorite scene of the year through how vivid that night feels in PTA's approach which both has the gradual quality of a mischievous summer night, but also the hilarious precision of great farce with Jon Peters's appearance and returns. Every scene through PTA brings you into this world of his, and it is a wonderful off-beat experience, that I treasured every moment of, in large part due to the vividness of his direction. From his cinematography to the song choices to the costumes to the production design, which evoke period while also still making it something all his own.
I will say I was the biggest doubter of Spielberg's choice to remake West Side Story. I thought, well it was a perfectly fine film, even if I didn't love it, so why remake it. Well, I was wrong because Spielberg made me love this story by putting the musical into hyperdrive and made the truly musical type musical that I genuinely loved. What I mean by that is usually I am drawn only to musicals if they're off the beaten path in some way. This one though takes the idea of being focused on the spectacle of it all and running with it. And well does he run with it. This as every song is an incredible set-piece. This as Spielberg is a master of every technical aspect here to bring to life every sequence in a new way that energizes these songs to all the greater heights. This is through some intelligent reworking of some song choices and adding some thematic depth in terms of the motivation of both sides as well. Every addition is a benefit, but even if Spielberg hadn't changed any of the story, he still would've succeeded through the sheer majesty of his work here. Spielberg was known as the filmmaker who carried you away with an experience in a new place, in a new way. Jurassic Park, Raiders, Jaws, D-Day in Saving Private Ryan, it's been a while but he's finally done it again fully. This as he delivers a full injection of cinema here, glorifying the old while making it new, finding the style, while making it honest, and just proving that the master of cinema was still in there after all. I love that Spielberg got nominated for this, as I didn't know if he still had it in him (his best films of late were typically more script-based), but he proved me wrong.
It's funny that I just read that Hamaguichi put in the ending to possibly be imperfect, well okay, but he was wrong, should've ended with Vanya, the great ending fade to black would've been perfect. Anyway, this is a film where the screenplay does come to mind first, however, to say Hamaguichi's direction is a given would be a mistake. And while I do think he maybe is just a little more gradual than he needs to be, I don't think the film needed to be as long as it is, even so, much of Hamguichi's direction is through realizing human connection through silence, through calm conversation and through gradual understanding, which does require time for each. Hamaguichi's work is that of anti-melodrama, even though such things technically occur within the narrative, as even death is depicted with a matter-of-fact reality. This is what I would say is a risk as to be so close to the vest nearly most of the film is a risk. A risk that does pay off as we come to know these characters to the point we feel as though we are merely among them as they reach these emotional moments of the extremes, such as the long car conversation, the talk around the ruins, and the final performance of Vanya. Because of this approach when we get to them, there is such a sense of intimacy and in turn such potency in finally having these revelations. Revelations that feel so natural because of Hamaguichi quietly yet so artfully pulling us into an emotional state, and just emotional life of these people. I LOVE that there is this international feature spot now in director, and Hamaguichi is a worthy follow-up to Vinterberg.
Campion's direction of Dog is right in her wheelhouse of crafting a sense of place. Like she did in The Piano with New Zealand we get that here in the west. This as she crafts with this artful sense of isolation even with the grandeur. Directing with it this sense of the sort of potential beauty but also anxieties that come from such a life. This as she brings a real majesty to the rivers, the plains, but at the same time she shows how cold the interiors can be particularly when alone. Additionally, she carries this keen sense in bringing the macho bluster of the central character of Phil and his force of will even when off-screen, such as having his tormenting banjo from the distance perpetuating his tormenting nature even from afar. Although I do think part of the pacing issues comes to her distant manner, nonetheless her work still crafts a distinct sense of place and has a unique perspective on the well-worn genre of the western.
Hey how about Branagh's direction of Henry V just a brilliant debut, would've been a great winner there. I just wanted to mention that before going to his return to this category 30 years later. I'll start with the worst of it. The opening scene is terrible direction, feels akin to a travel documentary with those inexplicable angles and the inexplicable song. Should've been stricken from the film. Branagh overuses his songs with some questionable choices, and his dad the hero moment is silly. Additionally, did it seem like Branagh just watched Roma and Cold War before making this movie, yes it did, but hey everyone has influences. And in part I do like how he uses the child perspective in parts, does this mean a lot of closeups, yes, but it also provides the limitation of what a child can see. Is the black and white more gimmicky with him, yes particularly with the color Scrooge production (though I kinda liked that effect), you can ascribe some logic to it in granting a more nostalgic tone. Also, I'll give him full credit for Dornan singing number, which feels very much Cold War influenced, but was actually quite beautifully done in crafting this moment of sheer joyful nostalgia. When he hits those moments of pure nostalgia, his direction actually is quite effective in its blunt sincerity. Again like his writing, does he overdo it, oh yes, is it imperfect, oh yes, but is it all bad, oh no.
Technically speaking you’re all copying my predictions upthread, and let me tell you: If you want to copy my homework, there’s a $25 minimum.
Also, I’m still salty about Faist and will be for a while. Carry on.
Best Supporting Actress:
1. Jessie Buckley - The Lost Daughter
2. Ariana DeBose - West Side Story
3. Aunjanue Ellis - King Richard
4. Judi Dench - Belfast (Balfe was the much better choice)
5. Kirsten Dunst - The Power of the Dog
Actress:
1. Kristen Stewart - Spencer
2. Olivia Colman - The Lost Daughter
3. Jessica Chastain - The Eyes of Tammy Faye
4. Penelope Cruz - Parallel Mothers
5. Nicole Kidman - Being the Ricardos
And For the Record:
Picture:
1. Licorice Pizza
2. West Side Story
3. Drive My Car
4. Dune
5. Nightmare Alley
6. The Power of the Dog
7. Belfast
8. King Richard
9. CODA
10. Don't Look Up
Also weird where the acting branch apparently disagreed with every other branch about Being the Ricardos, and Nightmare Alley was apparently beloved only by the tech people yet got the picture nomination.
The everlasting love scene was easily my favorite scene in Belfast, I thought it was beautifully done.
That's me with Negga, though I think a big part of it was the precursors tricking me into thinking she was in a secure spot.
I knew Ruth Negga would get snubbed but I just didn't know who could take her place so I just kept her in begrudgingly, shame because Passing is actually a very good film, and is surprisingly short so it actually is really easy to watch.
I'm very glad Nightmare Alley got the BP nom, honestly. It deserves it.
Louis: How would you say this year's nominees compared to last year's? Seems like the high points were just as high/even higher in parts but the low points were much lower.
RatedRStar: I always had a sneaking suspicion there would be a surprise somewhere, and that it was probably going to be Buckley, but alas I was also banking on Ellis being the one to miss so the shock was doubly so.
I have a feeling Balfe might've been the victim of category confusion - I would not be surprised if some voters chose to vote her in lead which is a shame. Negga was probably the victim of not enough people seeing her film - which is painful to accept, but it is what it is I suppose. Still hurts.
Oh yah...I can't believe it took me this long to realize Negga didn't get in. That's a damn shame, honestly: I thought she did a very striking job with, what, 10-15 minutes of screen time? I also felt it was a rather transformative turn, with part of that transformation being a balance between a learned persona and the character's genuine self, which Negga threads beautifully.
Calvin:
Agreed, glad it got the nomination.
Well comparing the two editing sets of nominees, this year was a bit rough. But no, overall yes, I'd say definitely some strong choices like last year, some great categories all the way through (cinematography, Production Design), but also a greater number of weaker choices I think overall.
Also, this is one my favourite recent screw ups...
"The Lost Daughter" is the first movie role I've seen of Jessie Buckley's, and I just learned this morning that she's Irish.
NVM I also forgot she was in "Judy"
I will say, how Drive My Car managed to get in with Janus Films as a distributor is pretty damn impressive, and also solidifies my belief that Another Round last year was in top 10 for Best Picture and, had it gotten an additional major push from critics like DMC did, could've gotten an Original Screenplay nod too.
Mitchell: If Negga had gotten in, that would be the second year in a row my favourite performance of the year got in for Supporting Actress. Anyway, hopefully it'll be the third year in a row my favourite performance gets the win at the Spirits Awards, anyway.
I am quite glad that the trend started by Parasite wasn't a one-off in terms of the films being in contention, but I just wish the acting branch would be brave enough to nominate more performances from them (although it is great Cruz got in).
Back in the 21st Century with Frozen 2. And it's not good. There were very few scenes I liked in it as a whole. Really copped out at the end there too.
I'll think of ratings for the cast later. Raya is next.
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