i liked Lindo a lot, but his coughing scene was too much (i actually thought he was fucking with them) and his exit scene was rushed (though then again that's for most of the characters in that movie)
Delighted by Delroy Lindo's inclusion and all the Sentimental Value ladies making it. Kinda bummed about No Other Choice missing out on International Feature though.
1. Skarsgard 2. Penn 3. Elordi 4. Del Toro 5. Lindo
I think it's time to realise the Academy just has a thing against Korean cinema and that Parasite really was just that undeniable. Justice for Park Chan-wook & co.
Anyway, most happy for The Secret Agent, especially Moura, and Delroy Lindo was the most pleasant surprise. Shame Infiniti couldn't get in.
1. Elordi 2. Penn 3. Skarsgard 4. del Toro 5. Lindo
Fantastic lineup, probably the best one; Skarsgard is my least favourite performance and that's more to do with me liking the film on the whole the least.
Also on the brighter side, No Other Choice is already doing incredible numbers box-office wise so it wouldn't really have needed an awards push anyway to get exposure (sorry guys I'm coping real hard here). I hope this means for a bigger The Secret Agent push, I really need more of y'all to see it.
1. Sentimental Value 2. The Secret Agent 3. Sirat 4. The Voice of Hind Rajab 5. It Was Just An Accident
No Other Choice robbed…as expected.
Sound:
1. Sirat 2. Sinners 3. F1 4. Frankenstein 5. One Battle
Very inspired and deserved nomination for Sirat. Where the sound is so much of the film, from the usage of the score which works as so many different ways in terms of its impact as dance music, to mental pounding intensity, to the sense of danger, to this interweaving that together is just captivating work throughout which defines the film in so many ways.
Sinners is a combination of some striking horror work in terms of the visceria, some moments of spooky careful usage of sound, and of course the musical sequences where the sound design is pivotal in crafting the mood far beyond just playing the song.
F1 VROOOM VROOOM VROOM, those vrooms sound good and certainly place you into the visceral intensity of the race each time and every bit of business therein.
Frankenstein very much goes about the grandiose in every way right down to the way the score is mixed to be as loud as possible more often than not, and I have no complaints of that. Rather goes along then with the newly crafted “Frankensteian” sounds of the thunder, monster mania, and a bit of explosive destruction.
One Battle is also strong work with the use of Greenwood’s score being very much essential in the way it intertwines mood so specifically with careful attention to the sound of the communal environment frequently, and of course does have its own fair share of striking bullets and explosions.
Makeup & Hairstyling: 1. The Ugly Stepsister 2. Frankenstein 3. Sinners 4. The Smashing Machine
The Ugly Stepsister is an amazing nomination, as you do get great bits of horrible grotesquery, but you also get a genius transformation, where you don’t notice the initial makeup so when it is removed you notice that someone was wearing heavy makeup and you just believed them at that person. Exceptional work in both being striking, visible and invisible.
Frankenstein is largely about the design, which I liked as the crafted man, though I think with the intention to craft more so a god essentially than a man. Convincing as such and one where you just accept the makeup wholly. Some other more subtle work, like Goth’s two versions, was also strong work.
Sinners is also strong work largely for the increasing grotesquery of Jack O’Connell vampire who gets more and more gnarly in an effective way, along with some proper grotesque wounds and such.
The Rock looked like a guy who had makeup on his face rather than Mark Kerr so didn’t find this work particularly impressive.
1. Skarsgard 2. Penn 3. Elordi 4. del Toro 5. Lindo
I think it’s amusing that eight out of the ten of Louis’ picks for last year got nominated for best picture today. Not saying it’s bad at all. Just amusing to see
1. Frankenstein 2. Sinners 3. Hamnet 4. Marty Supreme 5. Avatar: Fire and Ash
Frankenstein is all about constant showboating with the generalized period with just the most extreme color choices and just extravagance with everything to do with the wealthy. And I love just the ludicrousness of the costumes, similar to 92 Dracula in that sense though not quite on that level, though works for me with the extreme of that. Although I think balanced with the more subtle more still striking work of the shrouded monster and the more common folk clothing.
Sinners is a great period with work with the right flashes of style. As much of it is straightforward to represent each from the time period but with striking choices such as the color coding of the brothers and just the specific design of the flapper dresses.
Hamnet I think is purposefully quite low key to the period as it really doesn’t go for flash even for the theater performers, though some nice subtle difference in the slightly less lived in presentation of those costumes. Otherwise that is what the film is going for, a little flash with Agnes’s red dress that stands out with purpose, but otherwise convincing to create a more down to earth non-aristocratic version of the period than say Shakespeare in Love.
Marty Supreme isn’t showing off trying on believable 50’s costumes for the most part, other than Paltrow who is showing off in the right way to her character and striking in what she wears. Marty himself has a certain style, that in many ways is low key yet still speaks to his character. Good solid crafted work.
Avatar what the hell??????? Are we counting the CGI costumes, because even those are mainly loincloths. But there’s also Spider’s loincloth, which looked the same as last time, just like those same military uniforms we saw for the humans. An utterly baffling nomination in every sense.
1. Frankenstein 2. Marty Supreme 3. Hamnet 4. Sinners 5. One Battle After Another
Frankenstein like its costumes is all about the bombast, with almost every set very much emphasizing an over the top fantastical version of the period, again not reality but heightened mania. And again wholly worked for me as crafting this version as very much a fantastical world of Victor Frankenstein, though again we get more subtle down to earth work when we get to the monster’s journey, which provides a nice balance.
Loved Fisk’s work for Marty Supreme which isn’t about transporting to the fantasy of the period, but just being tossed into any old dirty back alley of the period. The lurid detail of every little place we visit is just so perfect in realizing not just period but also the specific less than refined areas Marty finds himself in. Though it also does a strong job in making those few refined areas he goes to just as striking and tangible.
Hamnet is very low key work for a period piece, but again to emphasize that these are not the rich from the time and place. It is all good in creating these sparer elements convincingly, along with a bit more as we do see the city, still low key but convincing, until the Globe itself which is a great set that earns its spot as essentially the climactic piece from the PD, and still not too much of a show off, but ups the ante just enough.
Sinners is about a few pivotal sets, each striking in their own way. The town has a very lived natural quality to the period, the ginjoint being the big set that is both simple but grand in the right combo fitting the nature of the business enterprise, and all the other brief places being wholly convincing to the period.
One Battle is a lot of different random bits of work, a lot of in crafting just lurid spaces, however all very compelling in their reality but also specificity such as the “underground” chambers of Del Toro’s character. But you also have other striking work such as the Sisters compound or the Christmas adventure club bunker that are memorable even if not too showoffy.
Pretty good nominations overall I think. I always love first time nominees. I have this funny feeling that Sean Penn will win, it'd make for a great comeback story considering his mostly poor record. 1. Penn 2. Skarsgard 3. Elordi 4. Del Toro 5. Lindo
The funny thing is I actually would probably put Golden as like the 4th best song in the film, but it is what it is. It’s still quite the catchy song regardless with very much character based lyrics that work naturally with the syncopation of the Kpop style very much realized naturally hand in hand with them. With a natural effective bit of the dramatic ballad interlude of the meaning of the message, with the simpler instrumentation building up potently again to the chorus before the other effective segue in the final striking outro.
Time for an unpopular confession, I actually don’t love this sequence. I get the idea, get the concept, like that concept in theory but actually found it took me out of the moment in its execution. Anyway, the main part of the song actually is pretty simple, I think it does its job but is a bit repetitive and could give you a bit more variation in the straightforward instrumentation and lyrics. Then of course the song goes into the mixing, which certain is a lot of sounds together, though I don’t think it really builds to some masterful tapestry of the new and old, rather different ideas some I find work better than others, until it leads to the final outro ethereal bit that is pretty good.
Love the idea of the song, love the idea of Nick Cave getting an Oscar nomination, unfortunately I don’t love the song. The “I’ve seen” lyrics I just don’t think are quite poetic enough for what it is going for and it doesn’t really flow perfectly for me. Do love the idea of him speaking these memories essentially over Dessner’s beautiful ethereal score that does feel like a timeless dream even if the end result is imperfect to me.
Speaking of imperfect, I think it wants to be a classic operatic Aria, but sounds more like a reject from Phantom of the Opera. Find it is all over the place in attempting to, and really failing, to recreate that style sound less like a cohesive whole and more of somewhat disparate ideas to find a proper operatic song that it never discovers.
But it is better than Dear Me, with the most rote lyrics you’ll ever find, repetitive as usual, and the same basic choices as any other random Warren ballad you might name. This one is especially tired and forgettable, among so many of her recent ones that have been so forgettable.
1. Jurassic World: Rebirth 2. F1 3. Avatar: Fire and Ash 4. Sinners 5. The Lost Bus
Honestly the one thing Edwards does well is film with CGI, and thought he made the dinosaurs here look more tangible than in any of the other sequels. Of course we also get the stupid looking mutant design wise but still well realized by the CGI.
F1 had quite a bit of CGI actually, but within the film I found it quite invisible and just a natural part of every other aspect of the race scenes.
I’m told Avatar should be the highest no matter what, but honestly I don’t think the human Na’Vi interaction is all that amazing. And otherwise it is a videogame, so give it to Pixar then, and for me not the most interesting looking video game.
Sinners work overall is fairly subtle with some CGI monster highlights here and there, and effective additions. And of course the twin work was wholly convincing as well.
The Lost Bus honestly doesn’t have the most convincing fire, and the VFX I think did fail to feel more like everyone was within some CGI greenscreen much of the time.
1. Marty Supreme 2. One Battle After Another 3. Sentimental Value 4. F1 5. Sinners
Well no one should be surprised by my choice, as I love a film that grips you and doesn’t let go, where Marty’s editing is fundamental to the success of this approach. It just makes you run along right with it, and just keeps it going as that adrenaline pumping, which is fundamentally realized in the editing. Editing that never feels rushed, but nonetheless keeps you constantly on the right kind of edge as it places you right into Marty’s own frame of mind through each choice. Particularly looking at its combination with the score (which is a huge snub for me), which again the way it drops as we cut to seeing Endo is why I love film.
One Battle is amazing editing because the film is long, yet not for a moment did it feel long, despite also having a very distinct pace where it very much plays around with longer moments purposefully but then ramps up to kinetic moments. Yet never do these changes feel arbitrary, instead the way it is edited carries you so eloquently through these shifts, and makes it feel just like such a natural journey.
Sentimental Value definitely is a top five editing style nominee where there is nothing within the film that screams “edited”, but for me it is good editing in terms of what that often helps to craft feeling, such as in the narrated montage, connection within certain character moments where editing is always important particularly in capturing both interaction and reaction, and just finding the rhythm of the overall piece, which I think is gradual yet with an effective rate of progression.
F1 vrooom Vrooom wait that’s sound. The races are all edited very well together. They certainly are all cohesively realized, with key character reactions and such, the whole sports film playbook. But I think outside of the races there are moments where it drags in character interaction and honestly one where maybe cutting a couple races/moments wouldn’t really have hurt the film given its overall simplicity.
Sinners I think on the whole has good editing but it is one where I think there is something imperfect within the pacing. As much as the film is long, and there are moments I think of gradual pacing where the editing plays into the act effectively, I always have found that the final battle seems so rushed in parts, despite the last act also making the film feel its length. Partly this is the script trying to wrap everything up, but there is some balance lost within the vampire battle between character moments and the direct action. It’s not poorly edited ever mind you, but it feels like there could have been some medium, given the editing does make it feel “I guess they’re dead”, but not in a way that shows brutality, but just a “well that seemed a bit too quick”.
Mike: I liked Infiniti, its just maybe that I kinda had a feeling Hudson would get in and I liked her actually and I would rather see Renate Reinsve get nominated over Infiniti, I'm playing the overdue first nomination card.
Mike: I expected Infiniti to miss so I'm not as beaten up over it, though I was still disappointed to see her miss since she's my personal #2 for Lead Actress (Byrne's my first).
1. Sinners 2. Bugonia 3. Frankenstein 4. One Battle After Another 5. Hamnet
Sinners has a great score as it very much plays with a period design in a modern way that wholly works to crafting a horror aesthetic. As you have aspects of southern instrumentation of sorts in the calmer moments, though even then very much twisted towards a modern style that just becomes the “Sinners” style. With such fantastic moments throughout the score, particularly the electric guitar that denotes basically the Remmick interruption each time. Captivating work that is very much a character all on its own.
Bugonia I find is similar in that it very much realizes a character though in this instance making us party to the mind of Plemons’s character. Something where there is a brilliant disjointed quality where you sense is fueled by paranoia and moments where the score rages just in the way he does. Not a typical anger though something more fundamental and frankly insane in such a way through Fendrix’s totally unexpected if not wholly loony instrumental choices.
Frankenstein’s score is fundamental to the film and I’d wager if you love the film you love Desplat’s score if you don't do well, too bad. Anyway total bombast as Desplat threw everything in on it to make it as ludicrously operatic as possible whenever we are touching on the idea of building the creature where it matches not just the lunacy of Victor, but also the “fancy” of the man too. As it randomly segues into a waltz just as easily and is wholly overbearing in a way that I absolutely loved.
One Battle is a pretty specific score by Greenwood, one that it is harder to name how the pieces go, but fundamental in creating the specific mood and really rhythm of the film. It's a score that you get caught up in as it just moves along with this specific intensity and matches the film in every swing so naturally.
Richter’s work here I think is good with just creating a general atmosphere. I’d say there’s only really one piece that really sounds out, which is the recitation work, that has a more directly melodic quality that is striking. I will say though while I still thought the use of his On the Nature of Daylight worked, I wouldn’t have been opposed if Richter had tried to come up with some new masterpiece for the moment. Regardless he didn’t and it’s a good score, but not a great one.
1. Train Dreams 2. One Battle After Another 3. Marty Supreme 4. Sinners 5. Frankenstein
So glad Train Drams got in here so consistently because the work is just stunning. Realizing the beauty of nature in just one amazing shot after another that reflects in its natural looking approach, though natural in that every time you look out in nature it just happens to be one of those days where everything looks amazing. It isn’t all about being pretty, as pretty as it is, though as it does also fashion such striking shots of the mood, such as the titular dreams where the cinematography goes even further in crafting the beauty the man sees yet also the images he is haunted by.
One Battle is one that is largely about the movement of the camera, though of course making sure what’s in the movement still looks good with consistently dynamic framing and composition. You get that though with the especially dynamic and fluid movement. And it is particularly fascinating because it is such a reworking or at least challenging of the Anderson style by being specifically action style choices but in a whole new Andersonian way brilliantly captured by Bauman’s work that makes it all look easy, though I’m sure it was not.
Marty Supreme is great work though a bit unexpected it went so far given this is largely about the smaller scale shots in a Gordon Willis 70’s style invoking way. Brilliantly so in again creating an intimacy in the lurid world where there is a specific emphasis on grit, along with its own striking moments of more direct movement of the camera that is also part of crafting the film’s specific momentum. It isn’t frequently showing work though there are certainly beautiful shots in there, so I love the nomination for recognizing its particular success.
Sinners I’ll begin with a small bit of negativity where I think in the final fight there’s occasionally where I think the use of darkness is just a little too obscured and clarity is maybe sacrificed just a bit. That’s it though because otherwise it is a beautiful looking film, with some particular standout shots that emphasize the mood of the vampires, whether it is the red eyes in the dark, the rising daylight of other moments or the setting sun Remmick runs from. Along with just some captivating moments of movement and just some truly remarkably crafted shots.
I’m told by the internet that I supposed to hate Frankenstein’s cinematography, though a little weird for me as I recall it looking pretty captivating in the theater, grandiose, and unreal, sure but in a way I frequently found quite eye catching in its grandiosity, particular say the final shot of the horizon, or the moments designed just to emphasize the size of the spectacle.
Frankenstein had some shots that i found looked a bit TV-ish, but that was really just some scenes of Oscar Isaac aboard the danish ship and Tywin's introduction, all of that was just in the first 20 minutes
One Battle After Another came exponentially close to becoming the next BIG FIVE nominee, and the first film with nods in all four acting categories since American Hustle.
1. One Battle After Another 2. Train Dreams 3. Bugonia 4. Frankenstein 5. Hamnet
One Battle After Another’s screenplay is pretty fascinating bit of refined mess, and what that I mean, is in typical terms you can make arguments against the fact that certain aspects, like the sisters being taken away are shaggydog, although personally I think that’s the point of the madness of the world, where PTA’s thesis is hold onto what you can and make work what you can, love who you can, even if you’re a total screwup. Where he does depict two systems with exact purpose, sensei’s underground and the military crackdown, where PTA shows the precision of both. But they are kind of the barriers of the chaos that is the rest, as PTA realizes the story of Bob, the twisted relationship that connects him to Lockjaw, and these personalities clashing of essentially the two desperate men unable to deal with one woman they can’t understand, then dealing with the result of that, one still being lost with a daughter he loves, and one wanting to eliminate the daughter. Again two conflicts one of control one lack of it and fascination juxtaposition. Something Anderson then realizes as the central plot point, in the most plot pointy he’s ever been, and captivatingly so in then seeing it run its course as a thriller with so many fascinating check points and check in throughout. As the line through the chaos that creates such a captivating narrative but one where it challenges the key characters, and makes either those disconnects or connections. Also just some great dialogue throughout, like Bob’s code conversation, Lockjaw’s explanation of his behavior, anything Sensei says. One criticism I do have though is the letter ending, as I think it is too easy of a choice, and doesn’t really fit everything else we’ve seen from the character. I think there was another way to get that idea without that cheat, but otherwise stellar work, and looking forward to it being one of PTA’s Oscars.
Train Dreams’s screenplay is fundamental to its success, as only as Life of Chuck how tricky it can be to make a narration driven narrative. Train Dreams finds a pivotal elegance within the text where the narration elevates what we see rather than getting in the way of it, or doubling down on it. The screenplay naturally pieces together the words with this powerful exploration of just one man, and really how small one man and really all of us are in the scheme of time. But I don’t think it gets lost within itself, having the moments of the character interactions which sometimes are deeper conversations but some are just conversations, that help to fill out the world, and fill out the philosophies that help to define the people of the time and deal with their plight in life. A film built on the quiet and a remarkable success of such.
Bugonia for me more so exists through Lanthimos’s direction making all of the insanity work through his filter. The screenplay honestly I don’t think would work in a lot of hands, say if producer Ari Aster directed it, it just might be on my worst of the year. It is through the filter that makes for me having the cake and eating work (though what good is cake if you don’t eat it?). Having said that, Tracy manages to bring a certain degree of sardonic wit, though mixed with some semblance of genuine emotion in the dialogue, wrapped up in purposefully insane logic from our central lead that propels the plot forward. It is tightly wound in its construction and I find it effective to run through one’s mania, against someone just as willful though wholly different in her construction. Leading to the ending, which for me works via Lanthimos’s direction, though I don’t think it would 9 times out of 10.
Frankenstein is as subtle as Del Toro usually is, well actually Nightmare Alley was a bit of a switchup in that regard, but this isn’t a case where the “you are the monster” comes to surprise us, Del Toro has been showing us this hand the whole time. As the whole construction of this adaptation is about emphasizing the grandiose right with Victor who isn’t timid in his god complex he’s brandishing it constantly and as overtly as possible, with every moment all about himself, and the film for the first more than a half is all about showing such a man play to his heart’s content. And the film owns that approach wholeheartedly, though with a sense of humor, I’m surprised so many pooh poohed Waltz’s character/performance as I thought it brought such a wonderful degree of humor, while also including an alternative reason for wanting to create life. Then the film does purposefully calm down with the creature, and succeeds in covering the more sensitive approach, including much of the novel in exploring the creature with a growing understanding of the world, people and what death really means. And yes this adaptation very purposefully isn’t about the grey monster, it's the good monster and the bad Victor, but it doesn’t hide this choice, it owns it wholly. This combination between the absurd with the humane, wholly worked for and was swept up, to the point that even when the most obvious of all lines came, I didn’t even mind.
Hamnet is fairly easily my five here. That might be surprising because I do like the film, however it's strongest when it is directly quoting Shakespeare and using its strength, or using Orpheus. Those are where the film is most successful. Otherwise it does a fine job of just establishing sort of the workday lives of Shakespeare’s family and extended family, in a purposefully not very poetic way and I do think the way Will speaks so much more colorfully even when playing with his children is a nice touch. The scenario though overall is about the broad strokes and reaching those moments very directly sometimes suddenly, and works for the direction and performances therein. There is also though the subplot of Agnes as the forest witch where the more the film tries to explain, such as when she lashes out at Christianity, or is refused access to a storm, the frankly sillier it seems. I mean you can explore it, but I think it is explored in a way where it is explained too overtly that it loses its mystique to a degree nor does it deal with the notion of rejecting traditional roles/expectations in a way to make it more tangible. Also the depiction of Agnes being a loudmouth in the theater does seem silly and I don’t think in a way as is intended, maybe establish theatrical etiquette for the time before the scene. Anyway, still the screenplay does deliver on hitting the points to earn that catharsis, however the specific it gets, without quoting great works of the past, the less good it is.
Am I the only one here rather bored with Bugonia (being a Lanthimos fan in general)? Stone failed in winning my sympathy, Plemons being Plemons keeps playing the same dead pan / boring character all over again. Actually, the only character I really cared for was Aidan Delbis's Don. I wonder if Louis gonna review him for Alternate Best Supporting Actor... But Lanthimos really needs to take a break; he's been producing movies far too often (just like Guadagnino).
1. Marty Supreme 2. Sentimental Value 3. Sinners 4. Blue Moon 5. It Was Just An Accident
I love everything about Marty Supreme’s screenplay, from so many of the choice bits of dialogue in there the “I’m a Vampire speech”, Marty’s “burden” speech, the UTI joke, everything within the hustling scene, everything in the hotel scene, everything in Marty’s interview, in fact just about everything that said is just so striking in its precision, color and often humor. All within the structure of the Bronstein/Safdie pressure cooker, however finding a new way within the cooker. The first pressure just being the uncontrollable ambition and ego of Marty in the first act as basically setting up every mistake he will make all in the mindset of someone who can do no wrong, then the second act setting that up for playing with 15 balls to juggle all at once with several more being thrown in as the mess after mess of a man who throws pies rather than using a cleaner. Before the third act comes down yet earning it to filter towards some honestly inspiring moment of turning the humbling into maybe focusing on what actually matters in life…maybe. Either way the journey of the so lurid 70’s style protagonist, and the detail crafted to almost everyone he comes by, and the film’s willingness for asides, that are relevant albeit strange. I love the dog subplot, which is relevant for the money, however it is more so how you never know what collateral damage there can be, while also in the reverse revealing that Rachel is as Marty as Marty is just we find that out. And of course just a moment like the Holocaust story, which is a pivotal bit of decency of the humble contrast from Marty. But almost every character has this internal life where there is more to them than just a quick checkpoint, creating this fully realized world of smalltimers, bigtimers and everything in-between. A world so tangible, yet so distinctly its own and to the period.
Sentimental Value’s screenplay I also love, and I will say I was a bit taken aback by those who found it too self-serious. I think the film includes a lot of great subtle humor, and really even fun moments of Gustav trying to create his film by depicting those steps in his process, and in a way living detached from reality as a filmmaker, as evidenced by one of the biggest laughs I had in his film selection for grandson. But I love the realization of a family of a man who exists and expresses through films, and struggles with much else, something his older daughter struggles with in exactly the same way, while his younger daughter is the connector because she is the one who can actually be direct, despite being told she’s non-confrontational because she exists purely in the world and not film. And I’ve heard a problem is that Gustav has no arc, actually he does, which is his compromise of his film, which is not connecting with daughter which the film was solely designed to do, and then connecting with not only his daughter but even his old cinematographer fan. And for me, I love the process the film depicts essentially of how people separate trauma but also genuine emotions into things, and yes into sentimental value of those things. But as imperfect of a form as that connection may be, it can also at least be a starting point towards actual connection which is found at the end of the film.
Sinners I will begin with my slight negativity, in that I can’t help but ponder if the film wouldn’t have been greater if there were no vampires at all, but yes if that were the case probably wouldn’t have gotten its budget and wouldn’t have made the amount of money it made. And to be fair the vampire stuff isn’t bad, there’s some great bits about it particularly the hive mind merging/stealing of cultures, along with Remmick’s own past and removing hate by also removing free will, all great concepts. Though the weakest bits also have to do with the vampire. Again the whole climax does feel rushed particularly with two key deaths, and I will say there’s no creative wrinkle to how they are defeated. It just feels a bit too straightforward for the film of its calibre otherwise. Additionally when you break it down the more verbal you get with vampire rules the more silly it is. Of course I probably say all this because I think the best bits are the build up in the supernatural story that I do get wholly invested in. There the film has such beautiful detail in the characters and the world, all with some particularly juicy and often highly sexual dialogue. Where there is such fun in the built up of the brothers in this venture and crafting the world is altogether excellent.
Blue Moon’s screenplay essentially is how much do you like listening to one witty drunk with several inside jokes/references. I quite enjoyed it, though occasionally it went overboard “my mouse is Stuart” though I appreciated that we didn’t need to announce Stephen Sondheim then Hart mentions the legend of Sweeney Todd to him or something. I enjoyed the ramblings of the man with his particular outlook at life and art, particularly via the differences though it paints in the conversations depending on who he is talking to, whether he is being sardonic to his competition, joyful to his bartender, sincere to a fellow writer, or apologetic to his frustrated and more successful former partner. I like the variations on the beat that add up to the man. All except the romance possibility which I found tiresome right away, I know why it is there, but I just didn’t care. Part is that the whole scene is less witty and just goes on too long as written.
It was Just An Accident that didn't work for me all that much. As I didn’t find it really found enough variation, as essentially it is the various people and their traumas from the torture of one man, but through that I dind’t think the screenplay fleshed them out enough to really create the emotional impact. Furthermore the scenario as written is so repetitive and fairly simplistic, but the dialogue and character moments are repetitive as well hammering the same point. I think the biggest problem is the black hole at the center of the questionable perpetrator, comparing that to Death of the Maiden, which this film was likely inspired by, that was much more compelling in the question because we got to know this man beyond the screaming, leading up to his monologue scene. Compare the monologues, one is basically just a guy screaming, the other is one of the most horrible yet tangible bits of writing on essentially a man embracing his own corruption. Maybe the point here is that this guy is a simple uninteresting dullard, but unfortunately I found the film a bit dull.
1. Josh Safdie - Marty Supreme 2. Paul Thomas Anderson - One Battle After Another 3. Joachim Trier - Sentimental Value 4. Chloe Zhao - Hamnet 5. Ryan Coogler - Sinners
Just a bit tired and want to do the thoughts justice, and get started working on the first review. So will cover Zhao now and will cover others in each respective review of a cast member. Also regarding casting, I’d like to see if there’s actually some sort of presentation of what the casting director did specifically that the academy will share.
Zhao’s direction is very precisely driven by the atmosphere. Where her focus is on nature, on weather, and very much how characters live their lives within these atmospheres. Very much initially setting up cold environments that occasionally are broken within the distance when we capture the particular spirit of the character. Such as seeing Agnes interact with nature, or when Will starts telling a story. Zhao in these moments pushed her hand eloquently in tandem such as the change in perspective when telling Orpheus. And then bringing more warmth when we find the happy family, but contrasting that with the cold blunt reality of a certain death and just dead body. Contrasting that again though the performance where again Zhao’s work is basically losing that distance before basically in the last moments calling upon all her overt directorial powers to initiate the climax, and powerfully so. It’s not really as much direction by minimalism but rather contrast between a light touch mixed in with precise moments of the strongest of touches.
Does anybody know the music that was playing during the Oscars we will be right back commercial break? cause I low key kind of loved the background music.
1. Inga Ibsdotter Lilleaas - Sentimental Value 2. Teyana Taylor - One Battle After Another 3. Amy Madigan - Weapons 4. Wunmi Mosaku - Sinners 5. Elle Fanning - Sentimental Value
Actress:
1. Rose Byrne - If I Had Legs I'd Kick You (What a twist!) 2. Jessie Buckley - Hamnet 3. Emma Stone - Bugonia 4. Renate Reinsve - Sentimental Value 5. Kate Hudson - Song Sung Blue (Don't mind her nomination though)
1. Marty Supreme 2. One Battle After Another 3. Sentimental Value 4. Bugonia 5. Train Dreams 6. The Secret Agent 7. Frankenstein 8. Hamnet 9. Sinners 10. F1
Sufficient to say I'm pretty happy with this lineup, even with the totally unnecessary F1 nomination.
Louis: Thank you for the extended thoughts, love the love for the Marty Supreme screenplay in particular.
I found the section of criticism online towards the screenplay silly, which accused the screenplay of being 'hyper-fixated' on the economics and money in a way similar to the Safdies's earlier efforts. I personally found it compelling all the way through in those machinations, as it's how you go about it, not the fact that it might be covering similar territory.
I’m hoping that rewatching Sinners with special attention to Lindo’s performance in preparation for his review will improve Louis’s affection for Sinners, even if it doesn’t nullify the understandable reservations he has with the film.
Louis, as you’re rewatching films for this year’s set of reviews, will you be adjusting your film rankings as you go, or will you wait until you’ve wrapped up the year to make your alterations?
Johnson - 2.5(Some of his emotional reactions are okay but the overall approach is so strange. Where essentially he's trying to speak just as Kerr does in mainly just his first exchange from the documentary, but then carries like his first way of speaking for the rest of the film. Where there is almost this strange infantile, goofy way of speaking that doesn't seem natural, and really isn't reflective of all the sides of Kerr we see even in the doc. I wouldn't say this showed a new side of his talents rather further reflected definite limitations of it.)
Clooney - 3.5(I think he's totally fine throughout the film. And really the expectation of him is to be in this slight emotional daze and trying to reach out to some meaning. I found Clooney convincing enough, even if he didn't make me exactly care. He does have some moments in there like his bit of venom when calling down Crudup's claims, or even his reaction at the end, which again I don't think was truly meaningful, however I found Clooney sold it well enough. With a better more insightful script I think they might've had something with Clooney articulating it.)
Sandler - 2(Maybe the most divisive performance here and I stand strictly on the negative. I honestly found it such a strange combination between trying too hard while being completely low energy. Sandler honestly I think is best when actually working with his expected presence and utilizing it as shown by Safdies and PTA. Here, Sandler's tired neediness just felt so hard straining to be this emotional center that I never believed. Whether that was his relationship with his kids, Dern or Clooney, all I really got from him was "I'm tired" I guess. I felt no connection, no sense of nuance to past hopes and experiences. Just a sleepy black hole.)
I couldn’t help but notice when I saw The Smashing Machine that every time Johnson had to cry, they would either cut away from his face or have him cover it with his hands. Really kind of a hilarious performance to campaign for an Oscar in that respect.
110 comments:
DELROY LINDO 🖤🖤🖤🖤🖤
1) Elordi
2) Penn
3) Skarsgard
4) Del Toro
5) Lindo
1. Penn
2. Del Toro
3. Skarsgård
4. Elordi
5. Lindo
i liked Lindo a lot, but his coughing scene was too much (i actually thought he was fucking with them) and his exit scene was rushed (though then again that's for most of the characters in that movie)
1. Skarsgard
2. Elordi
3. Penn
4. Del Toro
5. Lindo
1. Skarsgard
2. Elordi
3. Penn
4. Del Toro
5. Lindo
1. Skarsgard
2. Elordi
3. Penn
4. Del Toro
5. Lindo
Shocked by Mescal miss, but can't deny it's great to see Lindo get his dues.
1. Skarsgård
2. Penn
3. Elordi
4. Del Toro
5. Lindo
1. Skarsgärd
2. Elordi
3. Penn
4. Del Toro
5. Lindo
1. Skarsgard
2. Elordi
3. Penn
4. Del Toro
5. Lindo
LOL to F1 getting in for Best Picture. Come on, guys.
1. Skarsgård
2. Penn
3. Del Toro
4. Elordi
5. Lindo
I'm happy about Lindo's recognition, just wish it hadn't happened at Mescal's expense.
Doing a minor switchup
1. Penn
2. Elordi
3. Skarsgard
4. del Toro
5. Lindo
1. Skarsgard
2. Penn
3. Elordi
4. Del Toro
5. Lindo
1. Skarsard
2. Elordi
3. Penn
4. Del Toro
5. Lindo
Neon failed It Was Just an Accident and No Other Choice so fucking hard. I'm pissy.
Emi: What’s weird is both of those films came to my area, but Secret Agent still hasn’t. I do not understand their distribution choices.
Cool with the Mescal miss because Lindo was actually supporting.
1. Stellan Skarsgård
2. Sean Penn
3. Delroy Lindo
4. Benicio Del Toro
5. Jacob Elordi
Emi: No Other Choice was not gonna get in no matter what. It's seeming more and more that Parasite was a fluke.
Delighted by Delroy Lindo's inclusion and all the Sentimental Value ladies making it. Kinda bummed about No Other Choice missing out on International Feature though.
1. Skarsgard
2. Penn
3. Elordi
4. Del Toro
5. Lindo
Same! Actually...
ACTRESS
1. Stone
2. Byrne
3. Reinsve
4. Buckley
5. Hudson
Matt: I know... I didn't include it in my predictions. It still irks me, though.
I Predict
SUP ACTRESS
1. Lilleaas
2. Madigan
3. Taylor
4. Fanning
5. Mosaku
In all that excitement, only just realized Chase Infiniti missed out in Best Actress too, damn....
My predictions for the ladies:
Lead Actress
1. Byrne
2. Reinsve
3. Stone
4. Buckley
5. Hudson
Supporting Actress
1. Lilleaas
2. Taylor
3. Madigan
4. Fanning
5. Mosaku
Sinners smashed the nomination record.
I think it's time to realise the Academy just has a thing against Korean cinema and that Parasite really was just that undeniable. Justice for Park Chan-wook & co.
Anyway, most happy for The Secret Agent, especially Moura, and Delroy Lindo was the most pleasant surprise. Shame Infiniti couldn't get in.
*Yawn* What'd I miss?
1. Penn
2. Elordi
3. Skarsgård
4. Del Toro
5. Lindo
Luke: am not too happy about that actually
1. Elordi
2. Penn
3. Skarsgard
4. del Toro
5. Lindo
Fantastic lineup, probably the best one; Skarsgard is my least favourite performance and that's more to do with me liking the film on the whole the least.
Also here's how I would personally rank them:
1. Penn
2. Skarsgård
3. Elordi (category frauuuuud...)
4. Lindo
5. Del Toro
Also on the brighter side, No Other Choice is already doing incredible numbers box-office wise so it wouldn't really have needed an awards push anyway to get exposure (sorry guys I'm coping real hard here). I hope this means for a bigger The Secret Agent push, I really need more of y'all to see it.
Okay let’s get started:
International Feature:
1. Sentimental Value
2. The Secret Agent
3. Sirat
4. The Voice of Hind Rajab
5. It Was Just An Accident
No Other Choice robbed…as expected.
Sound:
1. Sirat
2. Sinners
3. F1
4. Frankenstein
5. One Battle
Very inspired and deserved nomination for Sirat. Where the sound is so much of the film, from the usage of the score which works as so many different ways in terms of its impact as dance music, to mental pounding intensity, to the sense of danger, to this interweaving that together is just captivating work throughout which defines the film in so many ways.
Sinners is a combination of some striking horror work in terms of the visceria, some moments of spooky careful usage of sound, and of course the musical sequences where the sound design is pivotal in crafting the mood far beyond just playing the song.
F1 VROOOM VROOOM VROOM, those vrooms sound good and certainly place you into the visceral intensity of the race each time and every bit of business therein.
Frankenstein very much goes about the grandiose in every way right down to the way the score is mixed to be as loud as possible more often than not, and I have no complaints of that. Rather goes along then with the newly crafted “Frankensteian” sounds of the thunder, monster mania, and a bit of explosive destruction.
One Battle is also strong work with the use of Greenwood’s score being very much essential in the way it intertwines mood so specifically with careful attention to the sound of the communal environment frequently, and of course does have its own fair share of striking bullets and explosions.
Makeup & Hairstyling:
1. The Ugly Stepsister
2. Frankenstein
3. Sinners
4. The Smashing Machine
The Ugly Stepsister is an amazing nomination, as you do get great bits of horrible grotesquery, but you also get a genius transformation, where you don’t notice the initial makeup so when it is removed you notice that someone was wearing heavy makeup and you just believed them at that person. Exceptional work in both being striking, visible and invisible.
Frankenstein is largely about the design, which I liked as the crafted man, though I think with the intention to craft more so a god essentially than a man. Convincing as such and one where you just accept the makeup wholly. Some other more subtle work, like Goth’s two versions, was also strong work.
Sinners is also strong work largely for the increasing grotesquery of Jack O’Connell vampire who gets more and more gnarly in an effective way, along with some proper grotesque wounds and such.
The Rock looked like a guy who had makeup on his face rather than Mark Kerr so didn’t find this work particularly impressive.
1. Skarsgard
2. Penn
3. Elordi
4. del Toro
5. Lindo
I think it’s amusing that eight out of the ten of Louis’ picks for last year got nominated for best picture today. Not saying it’s bad at all. Just amusing to see
Costume Design:
1. Frankenstein
2. Sinners
3. Hamnet
4. Marty Supreme
5. Avatar: Fire and Ash
Frankenstein is all about constant showboating with the generalized period with just the most extreme color choices and just extravagance with everything to do with the wealthy. And I love just the ludicrousness of the costumes, similar to 92 Dracula in that sense though not quite on that level, though works for me with the extreme of that. Although I think balanced with the more subtle more still striking work of the shrouded monster and the more common folk clothing.
Sinners is a great period with work with the right flashes of style. As much of it is straightforward to represent each from the time period but with striking choices such as the color coding of the brothers and just the specific design of the flapper dresses.
Hamnet I think is purposefully quite low key to the period as it really doesn’t go for flash even for the theater performers, though some nice subtle difference in the slightly less lived in presentation of those costumes. Otherwise that is what the film is going for, a little flash with Agnes’s red dress that stands out with purpose, but otherwise convincing to create a more down to earth non-aristocratic version of the period than say Shakespeare in Love.
Marty Supreme isn’t showing off trying on believable 50’s costumes for the most part, other than Paltrow who is showing off in the right way to her character and striking in what she wears. Marty himself has a certain style, that in many ways is low key yet still speaks to his character. Good solid crafted work.
Avatar what the hell??????? Are we counting the CGI costumes, because even those are mainly loincloths. But there’s also Spider’s loincloth, which looked the same as last time, just like those same military uniforms we saw for the humans. An utterly baffling nomination in every sense.
1. Penn
2. Skarsgård
3. Elordi
4. Del Toro
5. Lindo
Luke, who do you predict for the alternate lead lineup.
Was kinda hoping Wake Up Dead Man could sneak into Adapted Screenplay. It would've been more deserving than the nomination Glass Onion got.
Hoffman/Jonsson
Plemons
Edgerton
O'Connor
Lee
Isaac
Mescal
Aramayo
Dirisu (if he sees it before then)
Lopez/Strathairn/O'Brien
Day-Lewis will either be a special write-up or not due to an unwillingness to revisit Anemone.
Production Design:
1. Frankenstein
2. Marty Supreme
3. Hamnet
4. Sinners
5. One Battle After Another
Frankenstein like its costumes is all about the bombast, with almost every set very much emphasizing an over the top fantastical version of the period, again not reality but heightened mania. And again wholly worked for me as crafting this version as very much a fantastical world of Victor Frankenstein, though again we get more subtle down to earth work when we get to the monster’s journey, which provides a nice balance.
Loved Fisk’s work for Marty Supreme which isn’t about transporting to the fantasy of the period, but just being tossed into any old dirty back alley of the period. The lurid detail of every little place we visit is just so perfect in realizing not just period but also the specific less than refined areas Marty finds himself in. Though it also does a strong job in making those few refined areas he goes to just as striking and tangible.
Hamnet is very low key work for a period piece, but again to emphasize that these are not the rich from the time and place. It is all good in creating these sparer elements convincingly, along with a bit more as we do see the city, still low key but convincing, until the Globe itself which is a great set that earns its spot as essentially the climactic piece from the PD, and still not too much of a show off, but ups the ante just enough.
Sinners is about a few pivotal sets, each striking in their own way. The town has a very lived natural quality to the period, the ginjoint being the big set that is both simple but grand in the right combo fitting the nature of the business enterprise, and all the other brief places being wholly convincing to the period.
One Battle is a lot of different random bits of work, a lot of in crafting just lurid spaces, however all very compelling in their reality but also specificity such as the “underground” chambers of Del Toro’s character. But you also have other striking work such as the Sisters compound or the Christmas adventure club bunker that are memorable even if not too showoffy.
1. Mescal – 5 (shockingly snubbed!)
1. Skarsgård – 5
2. Elordi – 4/4.5
3. Del Toro – 4/4.5
4. Penn – 4
5. Lindo – 4
Luke, who do you predict for the alternate supporting lineup.
Anonymous: Just to be fair to the category, he'll probably do about 7 to 8 reviews due to Skarsgard and Elordi's nominations.
Crowe
O'Connell
Jupe
Marty Supreme Ensemble
Mullan
O'Brien
Wright
Leguizamo
Pretty good nominations overall I think. I always love first time nominees.
I have this funny feeling that Sean Penn will win, it'd make for a great comeback story considering his mostly poor record.
1. Penn
2. Skarsgard
3. Elordi
4. Del Toro
5. Lindo
Song:
1. “Golden” - Kpop Demon Hunters
2. “I Lied To You” - Sinners
3. “Train Dreams” - Train Dreams
4. “Sweet Dreams of Joy” - Viva Verdi
5. “Dear Me” - Diane Warren: Relentless
The funny thing is I actually would probably put Golden as like the 4th best song in the film, but it is what it is. It’s still quite the catchy song regardless with very much character based lyrics that work naturally with the syncopation of the Kpop style very much realized naturally hand in hand with them. With a natural effective bit of the dramatic ballad interlude of the meaning of the message, with the simpler instrumentation building up potently again to the chorus before the other effective segue in the final striking outro.
Time for an unpopular confession, I actually don’t love this sequence. I get the idea, get the concept, like that concept in theory but actually found it took me out of the moment in its execution. Anyway, the main part of the song actually is pretty simple, I think it does its job but is a bit repetitive and could give you a bit more variation in the straightforward instrumentation and lyrics. Then of course the song goes into the mixing, which certain is a lot of sounds together, though I don’t think it really builds to some masterful tapestry of the new and old, rather different ideas some I find work better than others, until it leads to the final outro ethereal bit that is pretty good.
Love the idea of the song, love the idea of Nick Cave getting an Oscar nomination, unfortunately I don’t love the song. The “I’ve seen” lyrics I just don’t think are quite poetic enough for what it is going for and it doesn’t really flow perfectly for me. Do love the idea of him speaking these memories essentially over Dessner’s beautiful ethereal score that does feel like a timeless dream even if the end result is imperfect to me.
Speaking of imperfect, I think it wants to be a classic operatic Aria, but sounds more like a reject from Phantom of the Opera. Find it is all over the place in attempting to, and really failing, to recreate that style sound less like a cohesive whole and more of somewhat disparate ideas to find a proper operatic song that it never discovers.
But it is better than Dear Me, with the most rote lyrics you’ll ever find, repetitive as usual, and the same basic choices as any other random Warren ballad you might name. This one is especially tired and forgettable, among so many of her recent ones that have been so forgettable.
VFX:
1. Jurassic World: Rebirth
2. F1
3. Avatar: Fire and Ash
4. Sinners
5. The Lost Bus
Honestly the one thing Edwards does well is film with CGI, and thought he made the dinosaurs here look more tangible than in any of the other sequels. Of course we also get the stupid looking mutant design wise but still well realized by the CGI.
F1 had quite a bit of CGI actually, but within the film I found it quite invisible and just a natural part of every other aspect of the race scenes.
I’m told Avatar should be the highest no matter what, but honestly I don’t think the human Na’Vi interaction is all that amazing. And otherwise it is a videogame, so give it to Pixar then, and for me not the most interesting looking video game.
Sinners work overall is fairly subtle with some CGI monster highlights here and there, and effective additions. And of course the twin work was wholly convincing as well.
The Lost Bus honestly doesn’t have the most convincing fire, and the VFX I think did fail to feel more like everyone was within some CGI greenscreen much of the time.
5º Delroy Lindo
4º Benicio Del Toro
3º Jacob Elordi
2º Stellan Skarsgård
1º Sean Penn
Any saves you want to dump now?
Robert:
I will soon.
Definitely don't need to hold onto Johnson, Clooney and Sandler. Anyone that's a 4 or more should keep till the alternate lineups.
John Smith:
1.Penn
2.Skarsgard
3. Elordi
4.Del Toro
5.Lindo
No one seems to care for Infiniti's snub :)
Anonymous: I'll go with Lopez for the 10th spot due to Sirat having the higher profile.
Editing:
1. Marty Supreme
2. One Battle After Another
3. Sentimental Value
4. F1
5. Sinners
Well no one should be surprised by my choice, as I love a film that grips you and doesn’t let go, where Marty’s editing is fundamental to the success of this approach. It just makes you run along right with it, and just keeps it going as that adrenaline pumping, which is fundamentally realized in the editing. Editing that never feels rushed, but nonetheless keeps you constantly on the right kind of edge as it places you right into Marty’s own frame of mind through each choice. Particularly looking at its combination with the score (which is a huge snub for me), which again the way it drops as we cut to seeing Endo is why I love film.
One Battle is amazing editing because the film is long, yet not for a moment did it feel long, despite also having a very distinct pace where it very much plays around with longer moments purposefully but then ramps up to kinetic moments. Yet never do these changes feel arbitrary, instead the way it is edited carries you so eloquently through these shifts, and makes it feel just like such a natural journey.
Sentimental Value definitely is a top five editing style nominee where there is nothing within the film that screams “edited”, but for me it is good editing in terms of what that often helps to craft feeling, such as in the narrated montage, connection within certain character moments where editing is always important particularly in capturing both interaction and reaction, and just finding the rhythm of the overall piece, which I think is gradual yet with an effective rate of progression.
F1 vrooom Vrooom wait that’s sound. The races are all edited very well together. They certainly are all cohesively realized, with key character reactions and such, the whole sports film playbook. But I think outside of the races there are moments where it drags in character interaction and honestly one where maybe cutting a couple races/moments wouldn’t really have hurt the film given its overall simplicity.
Sinners I think on the whole has good editing but it is one where I think there is something imperfect within the pacing. As much as the film is long, and there are moments I think of gradual pacing where the editing plays into the act effectively, I always have found that the final battle seems so rushed in parts, despite the last act also making the film feel its length. Partly this is the script trying to wrap everything up, but there is some balance lost within the vampire battle between character moments and the direct action. It’s not poorly edited ever mind you, but it feels like there could have been some medium, given the editing does make it feel “I guess they’re dead”, but not in a way that shows brutality, but just a “well that seemed a bit too quick”.
Mike: I'll be honest, I thought Hudson was better.
Mike: I do, but it's like the 4th thing I'm most irked about this morning.
Mike: I liked Infiniti, its just maybe that I kinda had a feeling Hudson would get in and I liked her actually and I would rather see Renate Reinsve get nominated over Infiniti, I'm playing the overdue first nomination card.
Mike: I haven't seen Hudson, but I am quite disappointed Infiniti missed out.
Mike: I expected Infiniti to miss so I'm not as beaten up over it, though I was still disappointed to see her miss since she's my personal #2 for Lead Actress (Byrne's my first).
I'm expecting Louis to have both Buckley and Byrne tied for the time being since they're both top 2 overall.
Score:
1. Sinners
2. Bugonia
3. Frankenstein
4. One Battle After Another
5. Hamnet
Sinners has a great score as it very much plays with a period design in a modern way that wholly works to crafting a horror aesthetic. As you have aspects of southern instrumentation of sorts in the calmer moments, though even then very much twisted towards a modern style that just becomes the “Sinners” style. With such fantastic moments throughout the score, particularly the electric guitar that denotes basically the Remmick interruption each time. Captivating work that is very much a character all on its own.
Bugonia I find is similar in that it very much realizes a character though in this instance making us party to the mind of Plemons’s character. Something where there is a brilliant disjointed quality where you sense is fueled by paranoia and moments where the score rages just in the way he does. Not a typical anger though something more fundamental and frankly insane in such a way through Fendrix’s totally unexpected if not wholly loony instrumental choices.
Frankenstein’s score is fundamental to the film and I’d wager if you love the film you love Desplat’s score if you don't do well, too bad. Anyway total bombast as Desplat threw everything in on it to make it as ludicrously operatic as possible whenever we are touching on the idea of building the creature where it matches not just the lunacy of Victor, but also the “fancy” of the man too. As it randomly segues into a waltz just as easily and is wholly overbearing in a way that I absolutely loved.
One Battle is a pretty specific score by Greenwood, one that it is harder to name how the pieces go, but fundamental in creating the specific mood and really rhythm of the film. It's a score that you get caught up in as it just moves along with this specific intensity and matches the film in every swing so naturally.
Richter’s work here I think is good with just creating a general atmosphere. I’d say there’s only really one piece that really sounds out, which is the recitation work, that has a more directly melodic quality that is striking. I will say though while I still thought the use of his On the Nature of Daylight worked, I wouldn’t have been opposed if Richter had tried to come up with some new masterpiece for the moment. Regardless he didn’t and it’s a good score, but not a great one.
1. Skarsgard
2. Elordi
3. Penn
4. Del Toro
5. Lindo
One thing I like, not a single bad acting nominee, plus 11 first time nominees.
I remember the 2023 ceremony had 16/20 first-timers.
Avatar 3's costume design nomination is fucking hilarious.
Cinematography:
1. Train Dreams
2. One Battle After Another
3. Marty Supreme
4. Sinners
5. Frankenstein
So glad Train Drams got in here so consistently because the work is just stunning. Realizing the beauty of nature in just one amazing shot after another that reflects in its natural looking approach, though natural in that every time you look out in nature it just happens to be one of those days where everything looks amazing. It isn’t all about being pretty, as pretty as it is, though as it does also fashion such striking shots of the mood, such as the titular dreams where the cinematography goes even further in crafting the beauty the man sees yet also the images he is haunted by.
One Battle is one that is largely about the movement of the camera, though of course making sure what’s in the movement still looks good with consistently dynamic framing and composition. You get that though with the especially dynamic and fluid movement. And it is particularly fascinating because it is such a reworking or at least challenging of the Anderson style by being specifically action style choices but in a whole new Andersonian way brilliantly captured by Bauman’s work that makes it all look easy, though I’m sure it was not.
Marty Supreme is great work though a bit unexpected it went so far given this is largely about the smaller scale shots in a Gordon Willis 70’s style invoking way. Brilliantly so in again creating an intimacy in the lurid world where there is a specific emphasis on grit, along with its own striking moments of more direct movement of the camera that is also part of crafting the film’s specific momentum. It isn’t frequently showing work though there are certainly beautiful shots in there, so I love the nomination for recognizing its particular success.
Sinners I’ll begin with a small bit of negativity where I think in the final fight there’s occasionally where I think the use of darkness is just a little too obscured and clarity is maybe sacrificed just a bit. That’s it though because otherwise it is a beautiful looking film, with some particular standout shots that emphasize the mood of the vampires, whether it is the red eyes in the dark, the rising daylight of other moments or the setting sun Remmick runs from. Along with just some captivating moments of movement and just some truly remarkably crafted shots.
I’m told by the internet that I supposed to hate Frankenstein’s cinematography, though a little weird for me as I recall it looking pretty captivating in the theater, grandiose, and unreal, sure but in a way I frequently found quite eye catching in its grandiosity, particular say the final shot of the horizon, or the moments designed just to emphasize the size of the spectacle.
Shocked by the total snub of Wicked For Good, nothing for costumes or production design.
It would have been amazing if Evgenia Alexandrova (The Secret Agent) had been nominated.
Frankenstein had some shots that i found looked a bit TV-ish, but that was really just some scenes of Oscar Isaac aboard the danish ship and Tywin's introduction, all of that was just in the first 20 minutes
1) Elordi
2) Penn
3) Skarsgård
4) Del Toro
5) Lindo
One Battle After Another came exponentially close to becoming the next BIG FIVE nominee, and the first film with nods in all four acting categories since American Hustle.
And Ariana Grande missed out, WHAT?! I thought she was the front runner lol... Madigan would be an awesome win.
Adapted Screenplay:
1. One Battle After Another
2. Train Dreams
3. Bugonia
4. Frankenstein
5. Hamnet
One Battle After Another’s screenplay is pretty fascinating bit of refined mess, and what that I mean, is in typical terms you can make arguments against the fact that certain aspects, like the sisters being taken away are shaggydog, although personally I think that’s the point of the madness of the world, where PTA’s thesis is hold onto what you can and make work what you can, love who you can, even if you’re a total screwup. Where he does depict two systems with exact purpose, sensei’s underground and the military crackdown, where PTA shows the precision of both. But they are kind of the barriers of the chaos that is the rest, as PTA realizes the story of Bob, the twisted relationship that connects him to Lockjaw, and these personalities clashing of essentially the two desperate men unable to deal with one woman they can’t understand, then dealing with the result of that, one still being lost with a daughter he loves, and one wanting to eliminate the daughter. Again two conflicts one of control one lack of it and fascination juxtaposition. Something Anderson then realizes as the central plot point, in the most plot pointy he’s ever been, and captivatingly so in then seeing it run its course as a thriller with so many fascinating check points and check in throughout. As the line through the chaos that creates such a captivating narrative but one where it challenges the key characters, and makes either those disconnects or connections. Also just some great dialogue throughout, like Bob’s code conversation, Lockjaw’s explanation of his behavior, anything Sensei says. One criticism I do have though is the letter ending, as I think it is too easy of a choice, and doesn’t really fit everything else we’ve seen from the character. I think there was another way to get that idea without that cheat, but otherwise stellar work, and looking forward to it being one of PTA’s Oscars.
Train Dreams’s screenplay is fundamental to its success, as only as Life of Chuck how tricky it can be to make a narration driven narrative. Train Dreams finds a pivotal elegance within the text where the narration elevates what we see rather than getting in the way of it, or doubling down on it. The screenplay naturally pieces together the words with this powerful exploration of just one man, and really how small one man and really all of us are in the scheme of time. But I don’t think it gets lost within itself, having the moments of the character interactions which sometimes are deeper conversations but some are just conversations, that help to fill out the world, and fill out the philosophies that help to define the people of the time and deal with their plight in life. A film built on the quiet and a remarkable success of such.
Bugonia for me more so exists through Lanthimos’s direction making all of the insanity work through his filter. The screenplay honestly I don’t think would work in a lot of hands, say if producer Ari Aster directed it, it just might be on my worst of the year. It is through the filter that makes for me having the cake and eating work (though what good is cake if you don’t eat it?). Having said that, Tracy manages to bring a certain degree of sardonic wit, though mixed with some semblance of genuine emotion in the dialogue, wrapped up in purposefully insane logic from our central lead that propels the plot forward. It is tightly wound in its construction and I find it effective to run through one’s mania, against someone just as willful though wholly different in her construction. Leading to the ending, which for me works via Lanthimos’s direction, though I don’t think it would 9 times out of 10.
Frankenstein is as subtle as Del Toro usually is, well actually Nightmare Alley was a bit of a switchup in that regard, but this isn’t a case where the “you are the monster” comes to surprise us, Del Toro has been showing us this hand the whole time. As the whole construction of this adaptation is about emphasizing the grandiose right with Victor who isn’t timid in his god complex he’s brandishing it constantly and as overtly as possible, with every moment all about himself, and the film for the first more than a half is all about showing such a man play to his heart’s content. And the film owns that approach wholeheartedly, though with a sense of humor, I’m surprised so many pooh poohed Waltz’s character/performance as I thought it brought such a wonderful degree of humor, while also including an alternative reason for wanting to create life. Then the film does purposefully calm down with the creature, and succeeds in covering the more sensitive approach, including much of the novel in exploring the creature with a growing understanding of the world, people and what death really means. And yes this adaptation very purposefully isn’t about the grey monster, it's the good monster and the bad Victor, but it doesn’t hide this choice, it owns it wholly. This combination between the absurd with the humane, wholly worked for and was swept up, to the point that even when the most obvious of all lines came, I didn’t even mind.
Hamnet is fairly easily my five here. That might be surprising because I do like the film, however it's strongest when it is directly quoting Shakespeare and using its strength, or using Orpheus. Those are where the film is most successful. Otherwise it does a fine job of just establishing sort of the workday lives of Shakespeare’s family and extended family, in a purposefully not very poetic way and I do think the way Will speaks so much more colorfully even when playing with his children is a nice touch. The scenario though overall is about the broad strokes and reaching those moments very directly sometimes suddenly, and works for the direction and performances therein. There is also though the subplot of Agnes as the forest witch where the more the film tries to explain, such as when she lashes out at Christianity, or is refused access to a storm, the frankly sillier it seems. I mean you can explore it, but I think it is explored in a way where it is explained too overtly that it loses its mystique to a degree nor does it deal with the notion of rejecting traditional roles/expectations in a way to make it more tangible. Also the depiction of Agnes being a loudmouth in the theater does seem silly and I don’t think in a way as is intended, maybe establish theatrical etiquette for the time before the scene. Anyway, still the screenplay does deliver on hitting the points to earn that catharsis, however the specific it gets, without quoting great works of the past, the less good it is.
Perfectionist: Front runner she didn't win anything lol xD
Louis, what are your double-features for this years BP nominees?
I predict your ranking will be something like:
1. Marty Supreme
2. Sentimental Value
3. OBAA
4. Bugonia
5. The Secret Agent
6. Sinners
7. Train Dreams
8. Frankenstein
9. Hamnet
10. Formulaic Formula 1
I will be honest, F1 being nominated for Best Picture did make me chuckle a bit lol.
RatedRStar: LMAO 🤣🤣🤣🤣. I guess earlier predictions had her at the top, and that's what I based it off.
They had no other choice but to pick F1. Maybe it was just an accident.
I actually loved the letter scene in OBAA, although that has most to do with just how powerful I found Taylor's delivery of it.
Am I the only one here rather bored with Bugonia (being a Lanthimos fan in general)? Stone failed in winning my sympathy, Plemons being Plemons keeps playing the same dead pan / boring character all over again. Actually, the only character I really cared for was Aidan Delbis's Don. I wonder if Louis gonna review him for Alternate Best Supporting Actor... But Lanthimos really needs to take a break; he's been producing movies far too often (just like Guadagnino).
I kind of interpreted the letter scene as Bob being the real author of it and just wanting give his daughter some comfort after the ordeal.
Original Screenplay:
1. Marty Supreme
2. Sentimental Value
3. Sinners
4. Blue Moon
5. It Was Just An Accident
I love everything about Marty Supreme’s screenplay, from so many of the choice bits of dialogue in there the “I’m a Vampire speech”, Marty’s “burden” speech, the UTI joke, everything within the hustling scene, everything in the hotel scene, everything in Marty’s interview, in fact just about everything that said is just so striking in its precision, color and often humor. All within the structure of the Bronstein/Safdie pressure cooker, however finding a new way within the cooker. The first pressure just being the uncontrollable ambition and ego of Marty in the first act as basically setting up every mistake he will make all in the mindset of someone who can do no wrong, then the second act setting that up for playing with 15 balls to juggle all at once with several more being thrown in as the mess after mess of a man who throws pies rather than using a cleaner. Before the third act comes down yet earning it to filter towards some honestly inspiring moment of turning the humbling into maybe focusing on what actually matters in life…maybe. Either way the journey of the so lurid 70’s style protagonist, and the detail crafted to almost everyone he comes by, and the film’s willingness for asides, that are relevant albeit strange. I love the dog subplot, which is relevant for the money, however it is more so how you never know what collateral damage there can be, while also in the reverse revealing that Rachel is as Marty as Marty is just we find that out. And of course just a moment like the Holocaust story, which is a pivotal bit of decency of the humble contrast from Marty. But almost every character has this internal life where there is more to them than just a quick checkpoint, creating this fully realized world of smalltimers, bigtimers and everything in-between. A world so tangible, yet so distinctly its own and to the period.
Sentimental Value’s screenplay I also love, and I will say I was a bit taken aback by those who found it too self-serious. I think the film includes a lot of great subtle humor, and really even fun moments of Gustav trying to create his film by depicting those steps in his process, and in a way living detached from reality as a filmmaker, as evidenced by one of the biggest laughs I had in his film selection for grandson. But I love the realization of a family of a man who exists and expresses through films, and struggles with much else, something his older daughter struggles with in exactly the same way, while his younger daughter is the connector because she is the one who can actually be direct, despite being told she’s non-confrontational because she exists purely in the world and not film. And I’ve heard a problem is that Gustav has no arc, actually he does, which is his compromise of his film, which is not connecting with daughter which the film was solely designed to do, and then connecting with not only his daughter but even his old cinematographer fan. And for me, I love the process the film depicts essentially of how people separate trauma but also genuine emotions into things, and yes into sentimental value of those things. But as imperfect of a form as that connection may be, it can also at least be a starting point towards actual connection which is found at the end of the film.
Sinners I will begin with my slight negativity, in that I can’t help but ponder if the film wouldn’t have been greater if there were no vampires at all, but yes if that were the case probably wouldn’t have gotten its budget and wouldn’t have made the amount of money it made. And to be fair the vampire stuff isn’t bad, there’s some great bits about it particularly the hive mind merging/stealing of cultures, along with Remmick’s own past and removing hate by also removing free will, all great concepts. Though the weakest bits also have to do with the vampire. Again the whole climax does feel rushed particularly with two key deaths, and I will say there’s no creative wrinkle to how they are defeated. It just feels a bit too straightforward for the film of its calibre otherwise. Additionally when you break it down the more verbal you get with vampire rules the more silly it is. Of course I probably say all this because I think the best bits are the build up in the supernatural story that I do get wholly invested in. There the film has such beautiful detail in the characters and the world, all with some particularly juicy and often highly sexual dialogue. Where there is such fun in the built up of the brothers in this venture and crafting the world is altogether excellent.
Blue Moon’s screenplay essentially is how much do you like listening to one witty drunk with several inside jokes/references. I quite enjoyed it, though occasionally it went overboard “my mouse is Stuart” though I appreciated that we didn’t need to announce Stephen Sondheim then Hart mentions the legend of Sweeney Todd to him or something. I enjoyed the ramblings of the man with his particular outlook at life and art, particularly via the differences though it paints in the conversations depending on who he is talking to, whether he is being sardonic to his competition, joyful to his bartender, sincere to a fellow writer, or apologetic to his frustrated and more successful former partner. I like the variations on the beat that add up to the man. All except the romance possibility which I found tiresome right away, I know why it is there, but I just didn’t care. Part is that the whole scene is less witty and just goes on too long as written.
It was Just An Accident that didn't work for me all that much. As I didn’t find it really found enough variation, as essentially it is the various people and their traumas from the torture of one man, but through that I dind’t think the screenplay fleshed them out enough to really create the emotional impact. Furthermore the scenario as written is so repetitive and fairly simplistic, but the dialogue and character moments are repetitive as well hammering the same point. I think the biggest problem is the black hole at the center of the questionable perpetrator, comparing that to Death of the Maiden, which this film was likely inspired by, that was much more compelling in the question because we got to know this man beyond the screaming, leading up to his monologue scene. Compare the monologues, one is basically just a guy screaming, the other is one of the most horrible yet tangible bits of writing on essentially a man embracing his own corruption. Maybe the point here is that this guy is a simple uninteresting dullard, but unfortunately I found the film a bit dull.
Robert:
I've heard that interpretation before, but I don't know, feels like maybe too much deep thinking for how much we know about Bob.
Director:
1. Josh Safdie - Marty Supreme
2. Paul Thomas Anderson - One Battle After Another
3. Joachim Trier - Sentimental Value
4. Chloe Zhao - Hamnet
5. Ryan Coogler - Sinners
Just a bit tired and want to do the thoughts justice, and get started working on the first review. So will cover Zhao now and will cover others in each respective review of a cast member. Also regarding casting, I’d like to see if there’s actually some sort of presentation of what the casting director did specifically that the academy will share.
Zhao’s direction is very precisely driven by the atmosphere. Where her focus is on nature, on weather, and very much how characters live their lives within these atmospheres. Very much initially setting up cold environments that occasionally are broken within the distance when we capture the particular spirit of the character. Such as seeing Agnes interact with nature, or when Will starts telling a story. Zhao in these moments pushed her hand eloquently in tandem such as the change in perspective when telling Orpheus. And then bringing more warmth when we find the happy family, but contrasting that with the cold blunt reality of a certain death and just dead body. Contrasting that again though the performance where again Zhao’s work is basically losing that distance before basically in the last moments calling upon all her overt directorial powers to initiate the climax, and powerfully so. It’s not really as much direction by minimalism but rather contrast between a light touch mixed in with precise moments of the strongest of touches.
Does anybody know the music that was playing during the Oscars we will be right back commercial break? cause I low key kind of loved the background music.
Supporting Actress:
1. Inga Ibsdotter Lilleaas - Sentimental Value
2. Teyana Taylor - One Battle After Another
3. Amy Madigan - Weapons
4. Wunmi Mosaku - Sinners
5. Elle Fanning - Sentimental Value
Actress:
1. Rose Byrne - If I Had Legs I'd Kick You (What a twist!)
2. Jessie Buckley - Hamnet
3. Emma Stone - Bugonia
4. Renate Reinsve - Sentimental Value
5. Kate Hudson - Song Sung Blue (Don't mind her nomination though)
Congrats to Byrne on being your Lead Actress winner.
Picture:
1. Marty Supreme
2. One Battle After Another
3. Sentimental Value
4. Bugonia
5. Train Dreams
6. The Secret Agent
7. Frankenstein
8. Hamnet
9. Sinners
10. F1
Sufficient to say I'm pretty happy with this lineup, even with the totally unnecessary F1 nomination.
Louis: Thank you for the extended thoughts, love the love for the Marty Supreme screenplay in particular.
I found the section of criticism online towards the screenplay silly, which accused the screenplay of being 'hyper-fixated' on the economics and money in a way similar to the Safdies's earlier efforts. I personally found it compelling all the way through in those machinations, as it's how you go about it, not the fact that it might be covering similar territory.
I think more people here are rather neutral on that one.
I’m hoping that rewatching Sinners with special attention to Lindo’s performance in preparation for his review will improve Louis’s affection for Sinners, even if it doesn’t nullify the understandable reservations he has with the film.
Louis, as you’re rewatching films for this year’s set of reviews, will you be adjusting your film rankings as you go, or will you wait until you’ve wrapped up the year to make your alterations?
F1?! Come on now.
Pleasantly surprised to see Elle Fanning get in after all.
Relieving a few saves:
Johnson - 2.5(Some of his emotional reactions are okay but the overall approach is so strange. Where essentially he's trying to speak just as Kerr does in mainly just his first exchange from the documentary, but then carries like his first way of speaking for the rest of the film. Where there is almost this strange infantile, goofy way of speaking that doesn't seem natural, and really isn't reflective of all the sides of Kerr we see even in the doc. I wouldn't say this showed a new side of his talents rather further reflected definite limitations of it.)
Clooney - 3.5(I think he's totally fine throughout the film. And really the expectation of him is to be in this slight emotional daze and trying to reach out to some meaning. I found Clooney convincing enough, even if he didn't make me exactly care. He does have some moments in there like his bit of venom when calling down Crudup's claims, or even his reaction at the end, which again I don't think was truly meaningful, however I found Clooney sold it well enough. With a better more insightful script I think they might've had something with Clooney articulating it.)
Sandler - 2(Maybe the most divisive performance here and I stand strictly on the negative. I honestly found it such a strange combination between trying too hard while being completely low energy. Sandler honestly I think is best when actually working with his expected presence and utilizing it as shown by Safdies and PTA. Here, Sandler's tired neediness just felt so hard straining to be this emotional center that I never believed. Whether that was his relationship with his kids, Dern or Clooney, all I really got from him was "I'm tired" I guess. I felt no connection, no sense of nuance to past hopes and experiences. Just a sleepy black hole.)
Well, Johnson has further proved he's not on Bautista's level and boy am I worried about his Scorsese collab if it does get made.
Louis: Thoughts on the Masters of the Universe trailer.
Michael:
I'll be updating as I go.
I couldn’t help but notice when I saw The Smashing Machine that every time Johnson had to cry, they would either cut away from his face or have him cover it with his hands. Really kind of a hilarious performance to campaign for an Oscar in that respect.
Michael: I noticed that too. Absolute chickenshit move.
Johnson has such a fragile ego.
We got it, Luke.
My predicted 1, 4 and 10 were spot on, and the rest were pretty close.
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