DISCLAIMER: There was an incomplete post like this yesterday. The reason was I was editing from my smartphone and intended to update the draft, not publish the blog. It published anyways. This blog here is my complete blog for Oscar predictions.
The Academy Awards are here. I’ve seen enough movies to make up 82 of the nominations this year. It was quite the year with lots to offer and a lot of things that appeared guaranteed weren’t. So without further ado, let’s get on with the predictions:
BEST PICTURE WRAP-UP
You all saw my three summaries of all nine nominees. Doing shorter summaries were better for me this year. Maybe next year I won’t be so busy or have as many ailments. So here goes for predicting the winner:
-Arrival- This is the first movie about aliens to be nominated for an Oscar. A very smart film that was loaded with buzz when it first came out. However its awards excitement faded over time as did its Best Picture chances.
-Fences- I like it when I see a celebrated play brought to the big screen. Especially around Oscar time. I felt it was done excellently. However it is up in this category against meatier competition. This is one category I think Fences won’t win.
-Hacksaw Ridge- Very rarely does a pro-religion movie have a chance for Best Picture. Hacksaw Ridge is the pro-religion film in the past 15 years most deserving of a nomination. However it does have some formulaic elements that come up every now and then and it has better chances in the technical categories instead of Best Picture.
-Hell Or High Water- This year’s ‘summer survivor.’ Those like me who missed out on it during the summer missed out on a gem. A crime story that’s funny and entertaining, but smart too. However I’m not too optimistic in its Oscar chances here.
-Hidden Figures- This movie started with very little Oscar buzz at first but it increased as rapport from the film–from both critics and audience alike– grew. It seems like it doesn’t have good chances to win Best Picture but it could pull a surprise. A very slim chance of that but it is likely.
-La La Land- What can I say? People have been embracing it in droves. Why? Because people just really like a good musical? Because of its feel? Because it reminds one of the charm of old Hollywood? Whatever it is, it’s made it the frontrunner that looks hard to beat. That’s why it’s my Will Win pick. the biggest reason why I hope it win is because last year I said: “One more Best Picture winner that fails to gross $100 million and I’m done Oscarwatching.” I don’t know what made me carry on even after Spotlight won– and it didn’t even make $50 million— but La La Land makes me glad I did.
-Lion- I’m no expert in Oscar trivia but I think this is the first Australian film to be nominated for Best Picture, and a deserving nominee. It’s won over everyone I know who has seen it. It may have had better Best Picture chances in another year.
-Manchester By The Sea- This is a film that was loaded with buzz at the beginning of the Oscar race and looked to be the one film that could beat out La La Land. The buzz faded over time, despite how great the film was. May have an outside chance but not too likely.
-Moonlight- This is one film that proves that less is more. Less dialogue, more of a feel of what’s happening. Less showy characters, more knowing who the characters are. Less singing and dancing, more feel for the music in the film. This is the surprise of the Oscar race that was able to let it speak for itself. I know it faces a hell of a fight against La La Land to win Best Picture but I give this my Should Win pick.
Should Win – Barry Jenkins, Moonlight
Will Win – Damien Chazelle, La La Land
I felt that Moonlight is the better picture and Jenkins did an excellent job of directing but I know this is the year of La La Land and it’s Damien Chazelle’s to take.
Should Win and Will Win – Denzel Washington, Fences
These past two years saw the rise of the #OscarsSoWhite outcry. This year there are seven non-white acting nominees. Denzel may have won twice before but his performance as Troy Maxson has been getting loads of buzz and even surprised favorite Casey Affleck at the SAG Awards. The only way I can see Casey winning instead of Denzel is if the Academy doesn’t want to make this his third Oscar, and it is a possibility.
Should Win – Isabelle Huppert, Elle
Will Win – Emma Stone, La La Land
Some are saying that Isabelle Huppert looks to be the biggest threat to Emma Stone’s win. It is a possibility but I think Casey Affleck beating out Denzel appears more likely. It’s Emma’s to lose.
BEST SUPPORTING ACTOR:
Should Win and Will Win – Mahershala Ali, Moonlight
Mahershala Ali may have only been seen in the first part of Moonlight but there was something about his performance of Juan that stood out like no other supporting performance this year. Was it Juan’s charisma? Was it his silent coolness? Whatever it is, it’s what made Mahershala stand out this year among all the supporting actor performances.
BEST SUPPORTING ACTRESS:
Should Win and Will Win – Viola Davis, Fences
What can I say? If there’s anyone who can steal the show from Denzel, it’s Viola Davis. She reminded us very well that Fences wasn’t just about Troy Maxson. It was about Rose too.
BEST ORIGINAL SCREENPLAY:
Should Win – Taylor Sheridan, Hell Or High Water
Will Win – Kenneth Lonergan, Manchester By The Sea
A lot of people are expecting Damien Chazelle to do it again here but I feel that Kenneth Lonergan will take it for one of the best scripts of the year. It was a film that cuts deep and doesn’t water down.
BEST ADAPTED SCREENPLAY:
Should Win and Will Win – Barry Jenkins and Terell Alvin McCraney, Moonlight
It all started with a short story by McCraney, then Jenkins developed a screenplay, and now it’s one of the best of the year. No stopping it.
BEST ANIMATED FEATURE:
Should Win: Kubo And The Two Strings
Will Win: Zootopia
Kubo was the best at taking your imagination away this year. However in comparison to frontrunner Zootopia, it isn’t really all that family friendly and that I believe is where it will hurt it. Zootopia was without a doubt this year’s crowd charmer. Besides this is the one category Disney wants to take year after year.
BEST ART DIRECTION:
Will Win: La La Land
Let’s face it. Any movie that shows off the classic areas in Los Angeles and even meshes it into the present will win this category.
Will Win: Linus Sandgren, La La Land
BEST COSTUME DESIGN:
Will Win: Madeline Fontaine, Jackie
BEST DOCUMENTARY FEATURE:
Will Win: O. J. Simpson: Made In America
BEST FILM EDITING:
Will Win: Tom Cross, La La Land
BEST FOREIGN LANGUAGE FILM:
Will Win: The Salesman (Iran)
Salesman director Asghar Farhadi has been the subject of news as it was believed Donald Trump’s travel ban could prevent him from attending the Oscars. Whatever the situation, he boycotted the Oscars in protest of Trump’s policies.
BEST MAKEUP AND HAIRSTYLING:
Will Win: A Man Called Ove
BEST ORIGINAL SCORE:
Will Win: Justin Hurwitz, La La Land
I’m sure we’ve all been waiting for the longest time for a musical of original composition. Especially the Academy.
BEST ORIGINAL SONG:
Should Win: ‘Audition (The Fools Who Dream)’, La La Land
Will Win: ‘City Of Stars’, La La Land
BEST SOUND MIXING:
Will Win: La La Land
BEST SOUND EDITING:
Will Win: Hacksaw Ridge
BEST VISUAL EFFECTS:
Will Win: The Jungle Book
I think the reason why Star Wars lost this category last year is because having the best digital effects of the year is expected for a Star Wars movie. That’s where The Jungle Book has the edge for this year.
BEST LIVE-ACTION SHORT FILM:
BEST ANIMATED SHORT FILM:
BEST DOCUMENTARY SHORT SUBJECT:
Will Win: Joe’s Helmet
JUST ONE MORE – TOP OSCAR UPSETS
I did this for the first time last year. I want to do it again this year.:
- Moonlight wins Best Picture
- Casey Affleck wins Best Actor for Manchester By The Sea
- Kubo And The Two Strings wins Best Animated Feature
- Arrival wins Best Adapted Screenplay
- Greig Fraser wins Best Cinematography for Lion.
And there you have it. My predictions for Hollywood’s night of nights. Let’s see how Jimmy Kimmel does as host this time.
I’m lucky to be living in Vancouver. It’s one of the few cities one can be able to see the nominated shorts in a big-screen theatre. Gives me a chance to review them myself and even make a should-win pick for myself. This year is quite an array of nominees in both animation and live-action. So without further ado, here are my thoughts on the nominated shorts:
-Blind Vaysha (Canada/France): dir. Theodore Ushev- This is a unique 2D animation story of a Bulgarian folk-tale. A story of a girl with one eye that can see the past and one eye that can see the future and cannot live in the present. The story also shows the attempts of others to fix Vaysha’s blindness. The linocut-style animation, however, was unique and had a lot of style and flare to it.
The story doesn’t really end. Instead the film ends asking the audience their perspective. It has a unique narrative point and I get why it’s done that way, but I often wonder if the film ended on the right note.
-Borrowed Time (USA): dirs. Andrew Coats and Lou Hamou-Lhadj – At first you’ll think this is a family-friendly story at the beginning but soon learn it’s not such as you move on. It’s a dark Western story of a man returning to the spot of a family tragedy from his childhood. The hurt comes back from it and he decides to do something drastic but something happens.
I have to admire Pixar animators Coats and Hamou-Lhadj for making a brief departure from their traditional family fare and doing something more mature under Quorum Films. No, it’s not R-rated like Pear Cider And Cigarettes but it’s dark enough to be adult. I think this short is most likely to upset my pick for the winner.
-Pear Cider and Cigarettes (Canada): dirs. Robert Valley and Cara Speller- Now this is a refreshing R-rated alternative. It sometimes reminds you of a Grand Theft Auto video game or the film Waltz With Bashir. However it is a personal story from director Valley. It’s a story that makes you wonder how far would you go for a friend? Especially if that friend is selfish, conniving, irresponsible and manipulative?
It’s a story that entertains and charms and even gets you to hate Techno too. Sometimes I wonder why was he friends with that jerk? I don’t know if it’s because it was set in Vancouver or because it was an R-rated alternative but it won me over and I make it my Should Win pick.
-Pearl (USA): dir. Patrick Osborne- This is the first VR short to be nominated for an Academy Award. A musician and his daughter travel in a hatchback with a song as a bond between the two. We see the two age, the daughter mature into a musician of her own and have her own version of the song. The viewer gets a 360 degree view of the whole 5-minute story.
Looks like something Richard Linklater would do. Actually it might remind you of Waking Life. An excellent short that’s entertaining and will touch you too. Might even make you go to iTunes and download No Wrong Way Home.
-Piper (USA): dirs. Alan Barillaro and Marc Sondheimer- This is the short shown before Finding Dory. A baby bird looking for food on the beach with her mother looking on and guiding her. Pixar does it again by delivering a clever, charming, and entertaining short with the dialogue absent and the animation as detailed to a tee as it gets. It’s excellent, but it’s something we’ve come to expect from Pixar even with their shorts. Nevertheless this is my Will Win prediction.
And those are my thoughts for the Animated Shorts up for the Oscar. A lot of styles of animation between Canadian and American companies. All five were very entertaining. We’ll see who wins.
LIVE-ACTION SHORT FILMS
This year there are no films with English as the language of the majority. All five are from European countries. Here’s the rundown:
-Ennemis interieurs (France): dir. Selim Azzazi – A man from Algeria seeks to be a French citizen but the interrogator at immigration has big questions for him about meeting with a group of Algerian men back some years ago which led to him being arrested and imprisoned for two years. The interrogator keeps insisting he answers but he’s very reluctant to do so. Even to the point of neglecting his chances of French Citizenship. Why? What will make the man give his answers?
It’s a story that appears boring at first but grows with intrigue with each minute and with each new detail. The interest builds over time. It even makes you wonder why is he withholding the names of the other men? Feelings of brotherhood? Fear of retaliation from them? Also this may be about an incident in the past but it’s very relevant, especially with the Paris bombings happening in November 2015. This is my Will Win pick.
-La Femme et le TGV (Switzerland): dirs. Timo von Gunten and Giacun Caduff – Elise is a woman who wave her Swiss flag at the passing TGV train to Zurich every time it passes her house at 6 in the morning and 6 in the evening . After that she bicycles to her job at the town patisserie. It’s her daily routine for 30 years; a routine she doesn’t want to change. One day, she comes across a letter that was thrown to her by a man who goes on that daily TGV. He’s a man from France looking for work. The two develop a friendship only by mail and packages. Over time she hopes to meet this man. Then one day the train stops coming. It’s changed route? How will she deal with the change? Will she ever see the man?
It’s a charming comedy that has you engaged with the character (based on a person who has existed and did wave her Swiss flag at passing TGV trains). Gets you thinking about the woman. Is she an eccentric? Is she naive? Lonely? Unpredictable ending but a happy one.
-Silent Nights (Denmark): dirs. Aske Bang and Kim Magnusson – Inger is a young Danish woman who helps at the Salvation Army during the day and looks after her ailing mother at night. Kwame is a Ghanian immigrant who came to Denmark for a better future and to support his wife and children at home. However he’s been left homeless and makes money from recycling.
They both meet as Kwame agrees to help. The two develop a mutual friendship and even progress into something more. However it’s put to the test when Kwame steals money from the charity to pay for his daughter’s malaria treatments. Even though Kwame is banned for life, Inger forgives him and still loves him. Then Inger’s mother dies and she learns about Kwame’s family in Ghana just as she learns she is pregnant. It’s over between the two. However Inger sees Kwame one last time where she gives him advice, and something else.
It’s obvious that this story is about the immigrant situation in Denmark and the difficultly of the times for all. It presents both Inger’s side and Kwame’s side. However it’s more. It’s about a love that’s true. Inger loves Kwame so much, she’s willing to forgive him for all the terrible things he did. It makes the choice she makes for her and her baby look like the right thing. This is my Should Win pick.
-Sing (Hungary) dirs. Kristof Deak and Anna Udvardy – Zsofi is the new girl at a school. She most looks forward to singing in the choir. However on her first rehearsal, the instructor talks of a choir competition where the prize is a performance in Sweden. She also tells Zsofi her voice is not ready for the choir and tells her to lip sync. Along the way, Zsofi finds a friend in star singer Liza. The two become good friends. However Liza notices Zsofi not singing but others. When she brings this up with the instructor, she not only admits it but tries to convince the children it’s the right thing for the competition. All of which leads to a surprise ending and the ending you think is right.
Often I question what the point of this film is. Is it about competitiveness to the point the ‘lesser’ singers are not allowed to sing for the sake of the big prize? Or is it a reminder of Hungary’s past communist regime; of how those that fit in are allowed to and those that don’t aren’t, but make like everything’s okay? Even the choir director could remind you of a communist dictator on retrospect. Whatever the point, the story was entertaining and sweet. Reminds you of the joys of childhood and the right thing paying off in the end.
-Timecode (Spain) dir. Juanjo Gimenez – It starts as a check for a woman on a security job during the day. One day she learns of a broken car light. Upon viewing the video of what happened, she sees the worker before her dancing before hitting the car. She decides to give him a dancing video of her own. Video after video follows. Then on their last day, magic happens.
At first you think the man is something eccentric but this story builds into something that ends on a bizarre note. A very good film.
And there are my thoughts on this year’s nominated shorts. Now remember both categories are the hardest to predict the winner. For example, last year the consensus of critics ranked Stutterer the least likely to win Best Live Action Short and it won. Even Annie wins for Piper and Pear Cider and Cigarettes are not a guarantee that either will win.
With my shorts predictions out of the way, I just have my main predictions for all the categories to deliver. But not before my last Best Picture summary. Coming up tomorrow morning.
Most of you have already seen my first summary or even my second summary. This last summary will have a look at the last three Best Picture nominees I saw. They were Lion, Hidden Figures and Hell Or High Water.
Lion is one of those films which came out of nowhere to surprise everyone who has been lucky to see it.
We have seen many against-all-odds stories in the past. This is something because this is a true story of something that really was against all odds. It wasn’t just about making it happen but also of the family relations Saroo has developed over his lifetime. What will happen? Will he leave the family he’s always known? Is the family he’s searching for still alive? The best quality of this story is that it keeps us intrigued and hoping Saroo reunites, but also has us concerned of what will happen after.
Another quality of this story is that it does not forget the cause of the problem. Saroo is seen as the lucky one who was able to reunite with his family after all these years. However throughout the film, especially at the beginning, we see the cause of the problem. Saroo was unsupervised when he boarded the express train. The language barriers caused problems. Even Saroo’s mispronunciation of Bengali words caused problems. The train stations of Calcutta are loaded with stray children ready for abductors to prey on, and station police looking the other way. Even the missing posters advertised before his adoption were no good as his mother is illiterate. India failed Saroo and Saroo succeeded thanks to Google Earth and his fierce will. The film at the end lets people aware of the problem; 80,000 children go missing in India each year. The film’s website informs people of how they are making a difference in aiding to protect children in India.
This film is an accomplishment for the Australian film industry. I don’t know if Australia has ever had a film nominated for Best Picture before. This is director Garth Davis’ first ever feature length film. Bet you wouldn’t believe that. Luke Davies did an excellent job in adapting Saroo’s biography into a winning screenplay that keep the audience intrigued and hoping for the best in the end. Dev Patel’s performance as Saroo was the highlight as he did a great portrayal of a young man who’s angry on the inside and knows what he needs to do. Nicole Kidman was also excellent as the mother who appears grateful on the outside but has some inner hurt waiting to come out. Young Sunny Pawar was also very good playing the young Saroo. He was cute but he didn’t take it overboard. He played his part well. The film also featured top notch cinematography from Greig Fraser and excellent original music from Dustin O’Halloran and Hauschka.
Lion is an excellent film featuring a story you won’t forget. A surprise contender this year and a worthy one.
It’s good that we have a film like Hidden Figures to tell us about a piece of history that we never knew about.
The film comes at the right time as it deals with a lot of situations that are relevant in our world. This may be set in the early 60’s and revolves around a moment in space history but it has a lot of situations relevant to today. One is of workplace racism. It’s not as bad now as it is then but there are still a lot of unsolved problems. The second is of technology being so good, it can replace workers. These three women had iron wills. They knew they had potential, they knew they had what it takes and they wouldn’t let racism or the threat of modern technology stop them from reaching for their achievements.
The year of 2016 was a crushing year. It was a year that constantly reminded us that there was still a lot of racism to overcome. Despite the improvement over the decades, it was able to show its ugly head with low employment rates and police beatings. This is a film that reminds us that racism can be overcome. When you look at it, the women were doing this all during a turning point in the history of African Americans. African Americans in Virginia had less rights than they do now and discrimination was perfectly legal. Back then there were still separate washrooms for colored people, separate library books for white and colored people, and police beatings during civil rights marches. The women overcame these barriers and they opened doors for other colored people for generations to come.
This is only the second film Theodore Melfi has directed and written. This is the first feature-length script Alison Schroeder has written. Does come across as like something you’d get from Hollywood, but it’s not a weakness. It does all the right moves. Taraji Henson was great as the protagonist Katherine Goble-Johnson, but the show-stealer was Octavia Spencer. She was not only good at playing a woman who wouldn’t let technology kill her job, and the jobs of 30 other black women, but she was a colorful scene-stealer too. Janelle Monae completes the trio as one who just wouldn’t say die to her ambitions. The male actors were mostly supporting roles but Mahershala Ali was the biggest one as Jim Johnson, Katherine’s new husband. The mix of Motown music mixed in with the original score from Hans Zimmer, Pharrell Williams and Benjamin Wallfisch also added to the spirits of the movie.
Hidden Figures showcases a little-known fact about a big moment in American space history. It’s also the right uplifting movie needed at this time.
HELL OR HIGH WATER
I missed Hell Or High Water when it first came out in the theatres in August. I admit I was caught up in the summer fare and I overlooked it. I finally saw it recently and I’m glad I did.
One thing is I miss seeing is crime comedies. You know, the dark comedies featured in crime stories. This film has a good amount of comedy to it with their failures at robbing first. Even the situation where the brothers rob the Texas Midlands Bank and pay the mortgages they have with the bank off with the robbery money is full of surprising irony. It’s not even the robbery spree that has all the comedy. There’s the comedy when the rangers visit the places they question. There’s even comedy with that hard waitress at a restaurant they eat at: “What don’t you want?” The comedy doesn’t last as the story gets darker later on. However it does end on an ironic note as the now-retired Officer Hamilton does meet up with Toby Howard, perfectly free, and inquires of the robberies he and brother Tanner committed together.
One thing about this crime drama is that it has a lot to say. We have two brothers–Tanner who appears to have no redeeming values and Toby who’s as cool as a cookie– robbing various branches of the same bank. You see signs advertising debt relief. You hear from people– both family and people the brothers run into– talking of their own economic hardships. You see the indigenous people, who are still referred to as ‘Indians’ with their own outlook on things. Mostly negative. Looks like this story has a lot to say. Even hearing Alberto Parker say that he believes the true criminal is the Texas Midlands Bank does get you thinking. Maybe it’s the Bank that are the true robbers around here.
This is actually the first American production from Scottish director David MacKenzie. He has a reputation back in the UK with films like Young Adam, Hallam Foe and Starred Up. His first American production is top notch and really delivers as both a crime story and an offbeat Western. This is also an accomplishment for writer Taylor Sheridan. Already having made a name for himself in Sicario, he delivers again in what is actually his second feature-length script. Of all acting performances, Jeff Bridges is the one that was the best. He delivered a top job in character acting from head to toe. He was completely solid in character. Chris Pine was also good as the brother who’s smart and tries to play it cool. Ben Foster was also a scene-stealer as Tanner who a complete ruthless loose cannon who appears to have a bone to pick with everyone over anything and possesses a false sense of invincibility. Gil Birmingham was also good coming across as the wise partner who plays it cool. The country music in both recorded format and original from Nick Cave and Warren Ellis fit the film perfectly.
Hell Or High Water makes for an intense thrill ride that’s big on thrills but also takes you to the heat of the moments. The story even gets you thinking. Now why did I miss it during the summer?
That does it. My final summary of the Best Picture nominees for 2016. After seeing Hell Or High Water, that makes it 16 straight years of seeing all the Best Picture nominees before Oscar night. My predictions for the wins coming on Saturday.
One of my Christmas treats was seeing Rogue One: A Star Wars Story. I’m glad I had my chance because it was an excellent movie.
Now just a reminder to you all, this is not part of the nine-episode Star Wars saga we all know. This is part of the Anthology Films of the Star Wars franchise. Actually this is the very first Anthology film to be released. The film is a triumph for writers of ‘fan fiction’ or ‘fanfic’ as it’s commonly called on the internet. However bringing fanfic like this to wide release on the big screen was no easy task. We all know how Star Wars has become a cinematic phenomenon like no other. George Lucas knows about it. Lucas himself is comfortable with ‘standalone’ films based on the Star Wars stories but wanted to make very clear that any standalone stories could not carry characters between the Saga films.
Here we have a story that is to take place between Episode III: Revenge Of The Sith and the very verse Star Wars film that’s now referred to as Episode IV: A New Hope. It’s a pretty lengthy amount of time between when Anakin Skywalker becomes Darth Vader and Luke Skywalker seeks to become a Jedi. Nevertheless it does make for ample time for any Star Wars fan to create a story of what happens in between. Storywriters John Knoll and Gary Whitta aren’t just any Star Wars fans. Knoll has done camera operations and visual effects supervision for many science-fiction films including four Star Trek films and the three Star Wars prequels. Whitta is a scriptwriter for The Book Of Eli and After Earth.
The adaptation of the story to screenplay had to fall into the right hands as well. Scriptwriter Tony Gilroy may have had his biggest renown with 2007 Best Picture nominee Michael Clayton (for which he himself was nominated for Best Director and Best Original Screenplay) but his he’s also made his biggest impact in writing the scripts for all four Jason Bourne movies. Chris Weitz has an eclectic resume of writing and directing from Antz to American Pie to About A Boy to The Golden Compass to one of the Twilight films. Then there’s the film being directed properly. Gareth Edwards may have not had the most experience in directing but he has developed his reputation in recent years upon films like 2010’s Monsters and 2014’s Godzilla.
Then there’s the story itself. There are possibly loads of Star Wars-inspired stories. The story would have to be true to the Star Wars saga without it being a rip-off. There’s lots of that and even professional writers can make something that’s a Star Wars rip-off. Most Star Wars fans will not go for something insulting. True, there are a lot of people that are Star Wars-crazy but most will not go for something if they sense it’s a rip-off. Don’t forget many felt insulted by the prequels so that’s a reminder.
They succeeded. They provided a very good story about the completion of the Death Star and the family behind it and the rebellion attempting to steal the plans leading to the hope in the end. The story had to be well-researched in order for it to make the right connection between Episode III and IV. Any new characters like the Ursos, Cassian Andor and K-2SO had to fit with the story as well as include original Star Wars characters like C3P0 and Darth Vader properly. On top of that, it had to have the right action scenes and the right battles done. Basically the whole movie had to have it all to work. The story could not be compromised despite the action sequences. The acting also had to be top notch from Felicity Jones, Diego Luna, Mads Mikkelsen, Ben Mendelsohn and Forest Whitaker. Even the theme of the story of heroism has to be present. It’s there, but in a way like no other Star Wars saga film does it. For the first time, self-sacrifice is needed for heroism.
The story worked very well. The critics on Rotten Tomatoes gave a total percentage of 85% approval. Many praised it for its depth in the Star Wars mythology and for breaking new narrative and aesthetic ground while paving way to a potential future for other blockbusters. The film scored well with crowds too as it would become the 20th movie to gross over $1 billion worldwide.
Rogue One: A Star Wars Story is not just an excellent movie. It’s an accomplishment. It’s proof that Star Wars standalone movies can not only be a hit but be excellent in their own right.
Some of you may be confused about the order of how I do each film of my Best Picture summary. It’s definitely not alphabetical. How I do it is in the order in which I saw the nominees. For example, I saw all the films in my first summary before Christmas. I saw La La Land on my father’s birthday, Fences the day after New Years, and Manchester By The Sea on the day of the Golden Globes. That explains why they’re the three films part of my next Best Picture summary.
LA LA LAND
We don’t see musicals on the big screen as often as we did back in the 60’s and 70’s. La La Land may not make the musical phenomenon come back but it is very entertaining.
We’re constantly reminded that bringing a musical to the big screen is a very tricky job. In the past 15 years, I’ve seen a lot of cases of musicals being put on the big screen– most of which are adaptations of Broadway musicals– and it’s always been a case of sink-or-swim. There have been those done successfully like Moulin Rouge, Chicago, Dreamgirls and Les Miserables. There have also been adaptations with bad results like Rent, Nine, The Phantom Of The Opera and Mamma Mia. It’s a very tricky job and it may explain why we don’t have musicals as frequent as in decades past.
Now try putting a fresh original musical on the big screen. That’s what writer/director Damien Chazelle does here in cooperation with composer Justin Hurwitz who was Chazelle’s Harvard classmate. The musical is a story we’re familiar with: boy meets girl, boy learns girl also has showbiz dreams, both boy and girl are supportive of each other’s dreams, boy and girl both have long bumpy roads to get to their successes, boy and girl both achieve their own successes but their love is put to the test. One could argue anyone could create a musical with that kind of premise. Whatever the situation, it would have to take a lot of hard work and a lot of brainstorming to make a very good musical out of this. In addition, it would have to have the right songs, the right singing moments and the right dancing moments to make it succeed.
Chazelle and Hurwitz succeed in pulling it off. The story is familiar but they deliver all the right moves in making the story and the songs of the musical work. It’s not just about making a common story work as a musical on screen but have it set in the modern times too. I’ll admit that opening in the movie where there’s a song-and-dance number on a jammed-up freeway was unexpected. It’s not just set in modern time but it also brings back a lot of the classic scenes of Hollywood; the Hollywood we’ve all come to know and love. I think that’s why La La Land comes off as a gem. Because it’s a reminder of the great musicals of the past and why we love them so much. It’s just that charm.
It’s not just up to Chazelle and Hurwitz to make this musical work but also the actors too. Both Ryan Gosling and Emma Stone had to make things work as well both as individuals and both as the couple Mia and Sebastian. They had to tell their own stories of love and passion for their crafts and the heartbreak they had to endure to achieve their dreams. They both also had to play a couple with the right chemistry to work. They pull it off excellently both as a couple and in their own individual moments too. The supporting actors/singers/dancers also had their parts to play too and add to the zest of the musical. Their own participation also added to the movie. Sure some of the bigger supporting performances from John Legend, J.K. Simmons and Tom Everett Scott lacked range–I mean Mia and Sebastian were the dominant focus of the musical– but they did very well too. The film did a very good job in terms of the use of sets both set up and various Los Angeles locations. The film even scouted out some ‘old L. A.’ locations to add the charm. That was not an easy find, I’m sure.
And now onto the songs. My father who likes musicals believes having a memorable song is what makes a musical a masterpiece. I have to agree. I’ll say I agree with him that there is no single song in La La Land destined to be a memorable classic. True, ‘City Of Stars’ is getting a ton of awards but I don’t think it will be a classic 20 years from now. Actually my favorite songs were the opener ‘Another Day Of Sun’ and ‘Audition (Here’s To The Ones Who Dream).’
It’s funny. Years ago, I jokes the unique thing about my father is that he’s straight and he likes musicals. He was quick to remind me that back when he was dating my mother, musicals were the ideal date movie. My how times have changed. What defines a date movie has changed as much over the decade as ‘real man’ standards.
La La Land may not have what it takes to bring the musical phenomenon back to the big screen but it’s winning in it’s own right. Anytime soon I’m expecting a stage adaptation of this.
Fences is a play by August Wilson that won raves when it first came out in the 1980’s. Denzel Washington brings Fences to the big screen at long last and the end result is something wonderful.
Fences is unique as a stage play. It’s a story about Troy Maxson: an African-American man in 1950’s Pittsburgh who makes like he has it together but he doesn’t. He thinks he could have been the next Jackie Robinson but feels racism kept him from moving out of the Negro League. He wants to mould his son the way he feels right and wants him to be better than him but doesn’t sense how harsh he is. He wants to be seen as a loving husband to his wife Rose but secrets of his infidelity are about to unfold. He gets an opportunity as a driver of a garbage truck–the first ever for a black man in Pittsburgh– but is reminded of his weaknesses when he accidentally signs for his brother to be admitted into a mental hospital. He has his own feelings about what should be right such as how he feels it’s better to raise his son right than like him only to see it backfire. I’ve heard some writers say that every African-American male has some aspect of Troy Maxson in them. Some people say that Troy Maxson is the African-American everyman. Some can even say Troy Maxson is the black Willy Loman. Whatever the situation, it was the toast of the 1987 Tony Awards and definitely made a legend out of scriptwriter August Wilson.
Now Wilson had always dreamed of bringing Fences to the big screen. I know one of the things he insisted on was that it be directed by an African-American. That may or may not have been the biggest obstacle but it was never realized in Wilson’s lifetime; he died in 2005. Hope was revived in 2013 when Denzel Washington expressed interest in bringing it to the big screen and star as Troy Maxson. Washington played Maxson in a Broadway revival in 2010. He’s even had experience as a director with 2002’s Antwone Fisher and 2007’s The Great Debaters. The production was realized early in 2016 when Washington was joined by producer Scott Rudin who also produced the 2010 revival. Viola Davis who was also part of the revival as Rose Maxson soon joined in along with other actors from the revival like Mykelti Williamson, Russell Hornsby and Stephen Henderson. One thing was that Washington wanted to remain true to Wilson’s own adaptation in respect to his work.
Now adapting a play to the big screen is as much a tricky challenge as bringing a musical to the big screen. It’s a matter of choices of what to include and what to keep as is. Theatre and film are two different formats of medium. Film scenes are numerous and can be set in an unlimited number of places in various amounts of time. Theatre scenes are often few, often quite lengthy, set in a limited number of places, and often consists of ‘moments of monologues.’ There’s even that 20-minute final scene in Fences where the family is getting ready for Troy’s funeral. Rarely in film do you have a scene after the death of the protagonist that’s even five minutes long. It’s a matter of making the adaptation work on the big screen. It’s also about what choices to add to the film adaptation and if they work. It was about choosing to add the scene of Troy and Jim Bono on the back of the garbage truck at the start. It was about including the scene without dialogue of Troy and Gabriel in the mental hospital. It was about keeping Alberta the mistress from being seen in the film in any which way.
Then there’s the acting. Of course it’s beneficial for most of the actors to have previous experience with the roles. However, it’s a known fact that stage acting and film acting have their differences. The biggest difference for film is that the audience expects a 100% believable performance, especially since it will be witnessed on a screen five-stories tall.
Overall I feel that Denzel Washington as a director/producer did a good job in adapting the play to the screen. It may not have the fast brief dialogues you get in your typical big screen fare but it was still done well and with the same truthfulness. The choices of what to add to the big screen adaptation were good choices, if not perfect. Denzel as an actor was definitely phenomenal in embodying the role of Troy in all of his triumphs and struggles. You could feel the pride and demons Troy was struggling with. Just as excellent is Viola Davis as Rose. The role of Rose was also a strong challenging role: a wife who appears happy and loving on the outside only to suddenly let out her hurt and inner wrath towards Troy and somehow come to peace with him upon his death. She does an excellent job of finally exposing Rose’s inner hurt and inner personal strength at the right times and even ending with believable delivery. The acting of the whole ensemble was very much there and as excellent as it can get. Of all the supporting performances, the one that stood out most was Stephen Henderson whose performance as Jim Bono came across as a common man at first but would soon come off as the man with a lot of wisdom and was able to see the good in Troy even while his terrible misdoings were being exposed. The ‘newcomers’ Jovan Adepo and Saniyya Sidney were also very good in their roles. Jovan especially did well as the son struggling to relate to Troy.
Fences is a triumph of a twelve year-old dream coming true. August Wilson dreamed it. Denzel achieved it. The end result is a masterpiece.
MANCHESTER BY THE SEA
Manchester By The Sea is a film that has been loaded with Oscar buzz ever since it made its debut at last year’s Sundance Film Festival. It’s easy to see why all the buzz.
The film presents a hurting person and showcases all the things that led to his hurt. It shows why he had to leave the town he always had as his home and why returning can’t be done. It shows why Lee Chandler comes across as a jerk in the present when he wasn’t like that at all years ago. The film is also about the relationship of Lee and Patrick. Rarely do we see a film about an uncle-nephew relationship. You think the relationship is something all of a sudden at first forced by something in his brother’s estate but it was always there even when the two were apart.
The film also presents a situation where healing or leaving the past behind is next-to-impossible. I’ve always believed people need to heal. It’s not right to hurt. I still believe it. However I can easily see how healing is very hard. You can see why it’s extremely hard for Lee to heal, especially upon returning to Manchester By The Sea, Massachusetts. His negligence that one night is why all three of his children were killed in that fire. The divorce from his wife Randi was bitter and she gave him hurtful words in the process. The town has not forgiven him for what he did: his name is still mud. Even moving to a suburb of Boston has not ended his hurt as he’s rude during his job and starts bar fights over the simplest thing.
The film does showcase Lee’s attempt to assimilate into the town and try to become the guardian to Patrick he hopes to be. The story does not water down as it exposes Lee’s failings. It also exposes how complicated the situation is as Patrick’s mother is a recovering alcoholic and still under strict control by her husband. It also shows how hard it is for Lee to forgive himself. Even as Randi says she’s forgiven him, Lee still can’t heal.
The story does not water down the situation or try to aim for the type of happier ending you’d get in a film like Arrival. The story does not end the way you hope it does. Nevertheless it does end with a ray of hope. Patrick is the closest relative to Lee. His parents and brother are gone and his other brother lives with his own family in Minnesota. Patrick is the one person in Manchester By The Sea outside of family friend George who doesn’t see Lee as this terrible person or rubs into Lee the tragedy he caused.
The film was not just about Lee trying to heal for Patrick but about Patrick too. Patrick is a teen with a lot of common ‘teenage make jerk’ traits like starting fights in hockey and cheating on girls but you know he has a naïve, innocent and even sensitive side and it comes out in his relationship with Lee that starts uneasy at first. Patrick still wants to live a normal teenage life by dating around, playing with his band, and talking about Star Trek with his friends, but you know he has feelings of hurt and frustration on the inside and you know they’ll come out eventually. For all the teenage jerk traits Patrick has, his respect for Lee is his best quality. Patrick could have easily come across as a rebellious teen and gone as far as calling Lee a ‘child killer’ but he doesn’t. Possibly it’s being Joe’s son that may be why Patrick is the person most forgiving to Lee now that Joe is gone. Joe was the one person willing to help Lee live life again after the tragedy and Patrick accompanied Lee and Joe during that time. You can see how Patrick adopted his father’s sensitivity to Lee.
The story of this film is definitely not a crowd-winner. You can understand why a film like this would rely on the Film Festival circuit to get its exposure and its chances of making it to the box office. Nevertheless it is an excellent story about loss, grief, hurt and an attempt at healing. The film fest circuit was the best way for a story like this to get a box office release. It’s good because it is a story worth seeing.
Writer/director Kenneth Lonergan delivers an excellent original story. Lonergan has few works writing and/or directing to his credit but they have a lot of merit: like Analyze This, You Can Count On Me and The Gangs Of New York. This is his best work to date. He delivers a story that’s honest and even brutal at times and doesn’t water down but doesn’t try to rip at your heartstrings too often. He also gives characters that are three-dimensional and will remind you of people or situations you may know about.
Actor Casey Affleck fit the role of Lee excellently. He captured Lee’s inner demons excellently and played them very truthfully. He was able to make you hate Lee at first but come to understand him later, even feel for him, and make you want the best to work out for Lee in the end. Also excellent was Lucas Hedges. Hedges’ role of Patrick grows in its complexity over time and he does an excellent job of it. The two together had to have the right chemistry to make an uncle-nephew relationship like this work and they had it.
The only other significant supporting role in the film is Michelle Williams as Randi. The various scenes as the typical wife before the tragedy to being the remarried ex-wife who healed better than Lee and wants to make peace with him is also a complex role too and she does an excellent job of it too. Actually the whole cast did an excellent job of acting and they delivered one of the best ensemble performances of the year. It’s not just the basics that made this film great. There’s also the cinematography from Jody Lee Lipes where she’s able to get some of the most picturesque shots of the east coast. There’s the editing of the story shifting from the present to the past back to the present on a constant basis at the right times. There’s the inclusion of dialogue at the right moments and even moments of dialogue muted at the right times where you just know what they’re saying. The muted parts work to the story’s advantage. There’s also the arrangement of music–original, classical and choral– that add to the story.
Manchester By The Sea may come across as a film that’s unwatchable if you take its premise at face value. In the end, it turns out to be a great story that’s worth seeing.
And there you go. That’s the second of my review of the nominees. One’s an original musical, one’s an original story and one’s an adaptation of a renowned stage play. All three make it obvious why they were nominated for Best Picture as all three have what it takes to be among the Top 10 films of the year.
Final Best Picture summary is expected to be up by Tuesday.
I admit it. I bypassed Zootopia when it first came out in March 2016. It’s common for me to be ‘all Oscared out’ at that time and I’d be too tired to go to the movies. However its buzz leading up to the Oscars led me to want to see it. I’m glad I finally had the chance.
The film has a very entertaining premise with a rabbit trying to succeed as a policewoman in a multi-species city. To make it work, the film had to create the city of Zootopia and make it work with all the animal species there. Disney is already renowned for its talking animals and having such would work here. However to have them in the city of Zootopia and existing together in its various areas took a lot of thought to arrange it properly. On top of that, having someone like Judy Hopps just move in adds to the complexity. As she experiences Zootopia and what it has to offer, we experience it too.
One thing about this movie is that with it coming from Walt Disney Studios, you know it has to have the ‘Disney Vibe’ to it. You know, the look, sound, and feel of a Disney show. All the shows on the Disney Channel are known for having that vibe. It’s evident as all the actresses act like Minnie Mouse. So it becomes expected that a film from Walt Disney Studios looks, sounds and feels like a Disney film. There’s no shortage of the Disney Vibe in Zootopia. Even with it being set in the present times, the Disney feel is very much there.
Top praise should go to directors Byron Howard and Rich Moore for directing an excellent animated film. The two have had past experience doing Disney films and Howard even goes as far back as Disney’s 2D animation days. Both Howard and Moore are two of seven who wrote the story for Zootopia of which, storywriters Jared Bush and Phil Johnston would do the final script. The final result is something entertaining and flawless. The vocal talents were also excellent with Ginnifer Goodwin as Judy Hopps, Jason Bateman as Nick Wilde and Idris Elba as Chief Bogo.
This is another plus for the Walt Disney Studios. For so many decades, they had the reputation of being the top animation studio in the business. However they faced a serious challenge from Disney partner Pixar once they became the game changer by making 3D animation the new norm. WDS knew they had to make the transition to 3D but it wasn’t easy. It was almost like Pixar was the professor and those at WDS were the students for a long time. However it’s become evident that Walt Disney Studios is now able to hold its own in 3D animation as it has delivered stellar hits in the last five years like Wreck-It-Ralph and Frozen. It even looks like it’s beating Pixar at its own game! Zootopia is another accomplishment for WDS as it continues to reclaim its #1 status in animation. Besides anything less than #1 should be taken as an insult by Disney.
Zootopia looks to be the top favorite to win the Oscar for Best Animated Feature. It’s top competition appears to come from Kubo And The Two Strings. Kubo has won most of the awards in that category but Zootopia has claimed most of the major awards like the Critics Choice, the Golden Globe, the Producers Guild and the Annie Award. However Kubo has won the National Board of Review and most recently the BAFTA. The Oscar result should be interesting.
Zootopia is another hit for Disney. It’s sweet and entertaining but smart and well thought-out. It’s easy to see why it’s arguably the top animated movie of the year.
I know I’ve done individual reviews of Best Picture nominees in the past. This year I thought I’d try something new. I thought I’d do summaries of the nominees. Three blogs analyzing three of the nominees. It’s something new this year and I hope you like it. For my first summary, I’ll be reviewing the first three Best Picture nominees I saw: Arrival, Hacksaw Ridge and Moonlight.
When you learn Arrival is about aliens, I’m sure you have an idea of what you’d anticipate what a movie about aliens would be about. However, you’re in for a big surprise.
This is probably the first movie about aliens to earn a Best Picture nomination. The film appears to set up for a story that would most likely lead to big-time action sequences. Instead we get a film that’s very intellectual in dealing with aliens. Don’t forget Louise is a linguistics professor who was hired for this duty because of her language expertise. In this film, the focus is on communication. Louise has a way to communicate with the aliens and earn their trust even while those around her grow more hostile to the beings. Louise’s gift for communication goes beyond the aliens and she’s able to say to General Shang the words his late wife said to her. It’s like she has a sense for this.
Even with all this, the film is not just about aliens and preventing a human-alien war. The film is about Louise trying to heal after her daughter’s death. Her marriage is no more as well and she’s looking for her purpose. It’s even about Louise and her ability to foresee the future and the possibilities they can unfold. Louise is the central protagonist whom the whole story revolves around. She finds her true gifts at a time she least expects it and she’s able to find her life again. It’s almost like this alien invasion is like a godsend to her life. Right after her daughter dies, she learns of her purpose to the world and to others.
Denis Villeneuve did a top job of directing this film. He already has a reputation for films like Maelstrom, Incendies and Sicario. He’s also been hired to do the Blade Runner sequel. This film he directs is very tricky but he does all the right work for it. The script by Eric Heisserer is very smart and very deep. It does a very good job of getting the right moments of action and the right moments of drama pieced out.
The story also rested on the performance of Amy Adams. She knew the story was primarily about Louise and she had to make it work. Although the role didn’t have too much in terms of character development, her performance was solid and it held the story together. The supporting performers may not have had as big of roles but they still did well with their performances. Jeremy Renner definitely could have had more depth in his role. The music from Johann Johannson and Max Richter fit the movie perfectly. The visual effects were also excellent and just what the movie needed.
Arrival is a very intelligent movie. It’s an alien movie not like one you’d anticipate at first but you will leave the theatre pleased.
Mel Gibson is back. This time he has Hacksaw Ridge. It’s a war drama that’s about more than just the war.
This film makes for an interesting topic: conscientious objection. I know all about it. For years I went to a Protestant church where the people were known for their anti-war beliefs. Conscientious objection is something that’s bound to make one question their morals and even act out of hostility. I know that we have conservative pundits who insist that fighting in a war is the definition of patriotism and will even use scriptures to justify why was is the right thing. Upon release of this film, I was anticipating a conservative backlash against it. So far no ‘Diss The Doss’ movement has happened. No movement to have his Medal Of Honor posthumously revoked. Nothing. It’s a good thing because the film does make one reconsider what defines a ‘patriot.’ I’m glad this story was told.
One of the biggest complaints from conservatives in the last 40 years has been either the negative depictions of religion or lack of positive depictions of religion in movies. True, this is not the Hollywood where the Hays Code calls the shots. For those that read my review of Of Gods And Men, I have a quote from Barbara Nicolosi about why that’s the problem. That explains why it’s hard to get a pro-religion movie to compete for Best Picture nowadays. There’s a fine line of showing a film with a positive depiction of Christianity without it being schmaltzy, hokey or overly sentimental. Plus with all the ‘game changers’ in the last few decades, writing a winning script or creating a winning film is just that much of a challenge.
I feel they did a very good job in Hacksaw Ridge. It was a very good story of the persecution Desmond Doss had to face for his beliefs. It was a very gritty story of the war and all the damage it caused. Some say the graphicness was comparable to Saving Private Ryan. It was an honest portrayal about someone’s faith. However there was one point when I felt it was borderlining on hokey during the scenes of: “Please, Lord. Help me find one more.” I know that was something Doss said in real life but I’m just wondering if it could have been done better.
This film is the first film directed by Mel Gibson in a decade. I know he had to take a break as he had a very public meltdown with the things he said about others and problems with alcohol. You could rightfully call this film the redemption of Mel Gibson. He directs an excellent film that took a lot of effort to make. 14 years to be exact even while Doss himself was still alive going from one writer to the next until finally they had the right script and right story thanks to Andrew Knight and Robert Schenkkan. Gibson and the writers did an excellent job with the film with the story and the depiction of war.
In addition, the story was made thanks to the performance of Andrew Garfield. This was more than just a war story. This was a story of a person’s heart and soul. Garfield knew he had to personify Doss in his convictions in order to make this story work. He did it excellently. It’s hard to pick out any supporting players who stood out. None of the roles of the supporting actors were as developed. However Teresa Palmer did a very good job as Dorothy Doss and portraying the concerned fiancee, as is Hugo Weaving as the father Tom Doss and Vince Vaughn as the hard Sargent Howell. The visual effects and the sound mixing were top notch, as it should be in a film like this. The score from Rupert Gregson-Williams fit the film excellently.
Hacksaw Ridge is a surprising film. Who would’ve thought that the best war movie in years would be about a man that didn’t fire a single bullet? Definitely a story worth telling.
At some point, you gotta decide for yourself who you’re going to be. Can’t let nobody make that decision for you.
This year’s surprise critical success is Moonlight. It’s a very unique film like no other seen this year.
The film is unique as it sets itself around three key periods in the life of Chiron. There’s his childhood where he’s known as Little, there’s his teenagehood where he’s simply known as Chiron and there’s his adulthood where he’s known as Black. The film does tell a story of a man who you think would die young. He has all the ingredients: gay, living in inner city Miami, a verbally-abusive mother addicted to crack, arrested at a young age and a future of being a pusher himself. Somehow he finds the will to survive. He’s able to withstand the bullying he faces for being gay, he’s able to decide his life to the best of his abilities without his mother. Often it’s not the best choices he makes in his life but he finds the ability to survive. You wonder how does he do that? Was it from that brief time with Juan and his mentoring? Was it the love from Kevin he always knew was there? I remember that scene of Little in the school dancing classes dancing like he was in 7th heaven: his escape from the bullying. Was it a spark within Chiron himself? Whatever the situation, it results in beauty at the end.
The film is not just about Chiron. As one can see, it showcases the lives of many different African-American people living in the inner city. It may show some of the more negative depictions like drug dealers, poverty and drug addicts but it also shows positive images too like in the case of Juan and his girlfriend or even in music being played. It showcases some surprising things as well as how Juan the pusher can be a very smart man. It even dispels some myths we have of inner city people. Like how Juan was good at handling Chiron’s homosexuality and gave him words of comfort while Paula acted out in hostility. Usually you’d expect ‘gangstas’ to have a homophobic attitude. It showcases what it’s like to be black and gay in the inner city. It also showcases people’s insecurities. It is overall one man’s attempt to find himself in the harsh world that he lives in. Yet despite all its harshness, it becomes something beautiful in the end.
The film is a triumph for Barry Jenkins. This is actually his second feature as a director. His first film, 2008’s Medicine For Melancholy, won a lot of attention and even earned him many directorial debut awards. Moonlight is only his second feature. This film which he adapts a script from a drama school project from Tarell McCraney is a masterpiece in both the story and its direction. The script is also excellent that there is not too much dialogue but is able to say lots even in the silent parts. Another quality of the film; it says a lot while saying very little. Overall the film is a real delight to watch and leaves one wondering what Jenkins will have next.
The three actors who portrayed Chiron– Alex Hibbert, Ashton Sanders, and Trevante Rhodes- all did a very good job with the role and portraying him at the right ages. Mahershala Ali was excellent as Juan: the pusher who becomes a mentor to little Chiron for that brief period of time. Ali had to bring the right charisma and character for a role like Juan to work not just in his scenes but to have an influence throughout the whole film. He did a stellar job. Also excellent was Naomie Harris. Possibly the one actor or actress to be a part of all three scenes, Harris was excellent as the drug-addicted mother Paula. She had to go through three stages with her role from a simple crack user to a crack addict to recovering in rehab. Each time she had to give her role dimension and inner depth to keep it from being cardboard. She did excellent too. There were additional supporting roles that were also good like Janelle Monae as Teresa and Andre Holland as the adult Kevin.
The technical bits were also excellent. The film was edited very well, the cinematography from James Laxton was possibly the best of the year. The score from Nicholas Britell was excellent but the inclusion of track music from classical to Latin to funk to hip-hop to Aretha Franklin to Motown really added to the feel of the movie. Almost feels like an anthology. In fact that scene when Kevin sees Chiron (as Black) after so many years and plays the classic Hello Stranger is one of the best scenes of the film.
Moonlight is a story of a young black man coming of age in the big city but it’s a lot more too. Those who’ve seen it will know why this film is a masterpiece.
And there’s the first of my Best Picture summaries for this year. Next one coming up in a few days.
Yes, it’s that time again. The biggest annual sporting event takes place tonight at the NRG Stadium in Houston. This year, the Conference champions decided are the New England Patriots and the Atlanta Falcons. It promises to be a tight game. It also promises to be a big event.
I don’t need to go into the history of the Super Bowl this time around. I did that in last year’s Super Bowl blog. For those who want to read it, click here. Although this will be Super Bowl LI, its 50th anniversary was three weeks ago. But whatever. It’s time to get on with the show.
Stars of the Broadway musical Hamilton will sing America The Beautiful before the game. The Star Spangled Banner will be sung by country singer Luke Bryan. Former president and former first lady George H. W. Bush and Barbara Bush will do the coin toss and Lady Gaga will do the half-time show.
Of course there are those one-of-a-kind Super Bowl ads. Ads will cost $5 million for a 30-second airing. Snickers will present a live commercial during the game. Nintendo will introduce its Nintendo Switch video game console. However an ad Budweiser planned on showing during the Super Bowl garnered controversy. It showcased Adolphus Busch immigrating to the U. S. and partnering with Eberhart Anheuser. Many people, especially conservatives, suspected this ad was a pot shot to Donald Trump and his recent restrictive immigration policies.
Yes, the match. The NRG Stadium in Houston is expected to seat 80,000 for the game. The game is expected to be witnessed on television by billions worldwide and have 38 different cameras around the stadium highlighting the players’ plays. For all its hype, the match features two top contenders: the New England Patriots and the Atlanta Falcons.
New England Patriots
The Patriots come in as the favorite for the Super Bowl. They had the best results in the whole of the NFL regular season with 14 wins and two losses. They also played excellently during the conference matches too. The Patriots are no strangers to the Super Bowl as they’ve won their AFC championship nine times including this year and won the Super Bowl four times before: the most recent being 2014.
This year the Patriots have shown a lot of consistency but it’s not without controversy. We all know about Tom Brady and ‘Deflategate.’ It would not surprise me if many want the Patriots to lose because of that. Tom Brady still ranks as one of the top quarterbacks of the NFL and he will be very tough for the Falcons and their defense to bring him down. However the Falcons have excelled in scoring so they will give the Patriots a good fight.
The Falcons are the underdogs. Not just because they don’t have the same win-loss stats as the Patriots but because previous games have exposed their weaknesses. They are the top team of the NFL in terms of scoring but they finished the regular season second in the NFC.
If there’s one thing, the Falcons really came back in the playoffs. They won their Divisional Final against the Seahawks whom they lost to in regular season and they played brilliantly in their Conference Final against the Green Bay Packers. The Super Bowl will prove to be an interesting rivalry as the Patriots have the better defense but the Falcons are the better team at scoring. Also New England may have Tom Brady but Atlanta has Matt Ryan. This year, Ryan set a Falcons single-game record for throwing 503 yards and four touchdowns while teammate Julio Jones caught a team-record 300 yards and a touchdown and a win against the Panthers. So the Falcons know how to arrive.
Okay, one team has been to the Super Bowl many times while this is the second time for the other. One team played the best in the NFL in regular season and continues its brilliance. The other didn’t compare to the other in regular season but has played better than ever in the playoffs. In fact both teams performed brilliantly in their Conference Final wins.
So I predict the win to go to the New England Patriots. I predict the score to be 30-27 and I expect the Falcons to lead temporarily.
So there you have it. There’s my preview of Super Bowl LI. Kickoff to start at 5:30pm Texas time.
I’ll admit I had my review of Doctor Strange started back when I saw it in November: Election Day to be exact. The reason for its late publish has a lot to do with my lack of ambition. Paying attention to my hit statistics and seeing how 2016 gave me my lowest annual hit stats since 2011 kept me from publishing. However the recent upswing of hits in January rejuvenated my blogging energy and I can finally publish my review!
Dr. Strange is not a new Marvel superhero. He first appeared in a 1963 addition of Strange Tales created to bring a different type of character and themes of mysticism to comics. It wasn’t completely welcome during its early years as some people thought those at Marvel comics must be on some kind of drugs. Dr. Strange would continue to have his own comic series for decades until the early 2000’s. Then he was placed as a supporting character in comic books of The Amazing Spider-Man and The Avengers. Dr. Strange has been able to reclaim his own at the start of this decade.
Marvel faced a huge task in bringing a superhero most people are unfamiliar with and making them a household name. They’ve done it before, with The Guardians Of The Galaxy being the most recent example. However it’s still a case of hit-and-miss as last year Ant-Man didn’t get the success most were hoping for. 2016 has been a good but complex year for the Marvel studios. Their latest X-Men movie didn’t go off so well. Captain America: Civil War was a hit but it didn’t have the same muscle as past Captain America movies. Deadpool was a big hit, especially as an R-rated movie about an anti-hero, but Marvel still wants to excel in creating superheroes, especially in a family-friendly format.
Now in order to make Doctor Strange come alive on the big screen, Marvel had to create the right story. This is the first Doctor Strange movie so the origin is a definite must. Also a must is Stephen Strange’s personality as the surgeon who lives for the fame but is given a reality check after the car accident and subsequent adoption of a superhero persona. In addition, morals are necessary for superhero movies. It’s like my brother-in-law said today’s people are tired out with life. People want entertainment that gives us heroes to look up. I agree. Despite the onslaught of Deadpool, Suicide Squad and Sausage Party, people welcome heroes and are comfortable with seeing morals redeemed. It’s not like the 90’s where we all has an insatiable appetite for entertainment that was ruthless, obnoxious and appeared to be an artistic middle-finger.
However there were two major things needed to make Doctor Strange take off. The first was Benedict Cumberbatch had to make the character of Doctor Strange work. Cumberbatch had to be able to portray Doctor Strange’s pre-accident arrogance well and to make his change in personality transfer successfully. Cumberbatch was very good in portraying the character. The other major thing needed most for this movie is top-of-the-line visual effects. Already Doctor Strange’s unique superpowers mostly involve the use of pyrotechnics. They had to look like the magic they are. The shifts from one world to the next would also require top-of-the-line visual effects. If you saw the movie yourself, I’m sure you would also be dazzled by the effects of the film from the pyrotechnics to the various worlds to the freezing of time.
Although Cumberbatch’s acting and the visual effects were the highlights of the movie, it had a lot of other ingredients responsible for its success. Scott Derrickson did a very good job of directing. Derrickson has developed a reputation with directing and writing sci-fi movies in the past and he was the right man for the job here. The script he co-wrote with Jon Spaihts and C. Robert Cargill also had to be very good because this was one superhero movie that was not too heavy on the action and placed more emphasis on the story, putting the thriller emphasis more on the slow intensity of the moment. It even included some humor which Marvel likes to include in the first movie of one of their superheroes. They succeeded in accomplishing that. The supporting acting performances like Chiwetel Ejiofor as the mentoring Karl Mordo, Benedict Wong as a non-stereotypical Asian martial arts master, Tilda Swinton as the Ancient One also mentoring Strange, and Rachel McAdams as Christine Palmer, the woman who gives Stephen Strange his reality check, also added to the strength to the story. The music from Michael Giacchino also fit the film and its various moments well.
Doctor Strange was released at the right time. It was released in November when movie crowds are starting to grow again right after the end of the summer season. Usually November is the biggest movie month outside the summer. People are used to settling back to their routines and they can now go out for enjoyment. Dr. Strange won its opening weekend with a draw of $88 million and remained on top for another week despite challenges from Trolls and Arrival. Even after facing rivalry from the following weeks with new releases like Fantastic Beasts and Moana, Doctor Strange did strong spending seven weeks in the box office Top 10 and grossing $231.6 million in North America and almost $665 million worldwide. As the Oscar nominations have approached, its visual effects were nominated. If you remember the effects, you too would think they were some of the best of the year.
As for a possible Doctor Strange sequel, Derrickson talked of a sequel even a month before its release. He mentioned he had fun with the character. The success of it is the perfect green light for a future sequel.
Doctor Strange is the biggest debut movie for a superhero since the Guardians Of The Galaxy. In a year that was a bit of a struggle for Marvel, it delivered in entertainment and thrills.
I know I haven’t been blogging as much as I normally have. You may have noticed I didn’t post predictions for the Golden Globes this year. Heck, I’ve even delayed publishing my review of Doctor Strange! It’s not just about my busy schedule but my lack of hits to my blog in 2016: the least since 2011. However since I’ve been getting more hits to my blog this January, it gives me the energy to publish my next blog.
Of course I wouldn’t miss out on predicting the Oscar nominations. I have been paying attention to the race and seen some of the heavily favored films. The race looks exciting and it’s hard to tell who will win. La La Land looks like the best bet but there have been surprises before, like Spotlight trouncing The Revenant last year. And speaking of last year, I believe the #OscarsSoWhite row has paid off as the Academy has seen a lot of diversity in this year’s new inductees, which I will reflect on in a blog in a week or two, and there appears to be four or five non-white actors heavily favored to be nominated. Cheryl Boone Isaacs even said she’ll have the Academy lead by example.
Anyways without further ado, I have my predictions. To start off, here are my predictions for the nominations on Tuesday:
- Hacksaw Ridge
- Hell Or High Water
- Hidden Figures
- La La Land
- Manchester By The Sea
- Damien Chazelle, La La Land
- Garth Davis, Lion
- Barry Jenkins, Moonlight
- Kenneth Lonergan, Manchester By The Sea
- Denis Villeneuve, Arrival
- Casey Affleck, Manchester By The Sea
- Andrew Garfield, Hacksaw Ridge
- Ryan Gosling, La La Land
- Viggo Mortenson, Captain Fantastic
- Denzel Washington, Fences
- Amy Adams, Arrival
- Emily Blunt, The Girl On The Train
- Natalie Portman, Jackie
- Emma Stone, La La Land
- Meryl Streep, Florence Foster Jenkins
BEST SUPPORTING ACTOR
- Mahershala Ali, Moonlight
- Jeff Bridges, Hell Or High Water
- Hugh Grant, Florence Foster Jenkins
- Lucas Hedges, Manchester By The Sea
- Dev Patel, Lion
BEST SUPPORTING ACTRESS
- Viola Davis, Fences
- Naomie Harris, Moonlight
- Nicole Kidman, Lion
- Janelle Monae, Hidden Figures
- Michelle Williams, Manchester By The Sea
BEST ORIGINAL SCREENPLAY
- Damien Chazelle, La La Land
- Yorgos Lanthimos and Efyhimis Filipou, The Lobster
- Paul Laverty, I, Daniel Blake
- Kenneth Lonergan, Manchester By The Sea
- Jeff Nichols, Loving
BEST ADAPTED SCREENPLAY
- Luke Davies, Lion
- Tom Ford, Nocturnal Animals
- Barry Jenkins And Terell Alvin McCraney, Moonlight
- Allison Schroeder and Theodore Melfi, Hidden Figures
- August Wilson, Fences
BEST ANIMATED FEATURE
- Finding Dory
- Kubo And The Two Strings
- The Red Turtle
- Greg Fraser, Lion
- James Laxton, Moonlight
- Rodrigo Prieto, Silence
- Linus Sandgren, La La Land
- Bradford Young, Arrival
BEST COSTUME DESIGN
- Colleen Atwood, Fantastic Beasts and Where To Find Them
- Consolata Boyle, Florence Foster Jenkins
- Madeline Fontaine, Jackie
- Mary Zophres, Hail Caesar!
- Mary Zophres, La La Land
BEST DOCUMENTARY FEATURE
- The Eagle Huntress
- Life, Animated
- OJ: Made In America
BEST FILM EDITING
- Julian Clarke, Deadpool
- Tom Cross, La La Land
- John Gilbert, Hacksaw Ridge
- Jennifer Lame, Manchester By The Sea
- Nat Sanders and Joi McMillon, Moonlight
BEST FOREIGN LANGUAGE FILM
- It’s Only The End Of The World (Canada)
- A Man Called Ove (Sweden)
- The Salesman (Iran)
- Tanna (Australia)
- Toni Erdmann (Germany)
BEST ORIGINAL SCORE
- Nicholas Britwell, Moonlight
- Justin Hurwitz, La La Land
- Dustin O’Halloran and Hauschka, Lion
- John Williams, The BFG
- Hans Zimmer, Pharrel Williams and Benjamin Walfisch, Hidden Figures
BEST ORIGINAL SONG
- ‘Can’t Stop The Feeling’, Trolls
- ‘City Of Stars’, La La Land
- ‘Faith’, Sing
- ‘Heathens’, Suicide Squad
- ‘How Far I’ll Go’, Moana
BEST PRODUCTION DESIGN
- Fantastic Beasts and Where To Find Them
- Hail Caesar!
- Hacksaw Ridge
- La La Land
- Rogue One
BEST VISUAL EFFECTS
- Captain America: Civil War
- Doctor Strange
- The Jungle Book
- Rogue One
Those are my predictions for nominations. I also include predictions for possible upsetters for my main predictions. They could upset some of my favorites and get nominated instead. Without further ado, here is my list for the most likely upsetters:
- Mel Gibson, Hacksaw Ridge
- Denzel Washington, Fences
- Tom Hanks, Sully
- Joel Edgerton, Loving
- Isabelle Huppert, Elle
- Ruth Negga, Loving
BEST SUPPORTING ACTOR
- Aaron Taylor-Johnson, Nocturnal Animals
- Michael Shannon, Nocturnal Animals
BEST SUPPORTING ACTRESS
- Octavia Spencer, Hidden Figures
- Greta Gerwig, 20th Century Women
BEST ORIGINAL SCREENPLAY
- Taylor Sheridan, Hell Or High Water
BEST ADAPTED SCREENPLAY
- Eric Heisserer, Arrival
- Jay Cocks and Martin Scorsese, Silence
BEST ANIMATED FEATURE
- My Life As a Zucchini
- Miss Hokusai
- Seamus McGarvey, Nocturnal Animals
BEST COSTUME DESIGN
- Marion Boyce and Margot Wilson, The Dressmaker
- Eimer Ni Mhaoldomhnaigh, Love & Friendship
BEST DOCUMENTARY FEATURE
BEST FILM EDITING
- Joe Walker, Arrival
- Jake Roberts, Hell Or High Water
BEST ORIGINAL SCORE
- Abel Korzeniowski, Nocturnal Animals
BEST ORIGINAL SONG
- ‘Try Everything’, Zootopia
- ‘Just Like Fire’, Alice Through Looking Glass
BEST PRODUCTION DESIGN
BEST VISUAL EFFECTS:
- Fantastic Beasts And Where To Find Them
So did my predictions come true? Which of my upsetter predictions caused the biggest shocker? Or which nominations from left-field happened? We’ll find out Tuesdayj morning.