Random Thoughts: The 2024 Oscar Nominations

January 23, 2024 by Keith Garlington

Early this morning the Academy of Motion Picture Arts and Sciences announced their highly anticipated nominees for this year’s Oscars. As is always the case, the morning had its share of surprises and head-scratching snubs. But in their defense the Academy also got a lot of things right. Either way, I have plenty on my mind about this year’s batch. So here are a few Random Thoughts on the 2024 Academy Award nominations.

It was a huge morning for “Oppenheimer” which led the way with a whopping 13 nominations. It’s shaping up to (finally) be the year that Christopher Nolan fully gets his due on Oscar night.
Not only did “Oppenheimer” mop the floor in the technical categories, but it also received nominations in Picture, Directing, Adapted Screenplay, Lead Actor, Supporting Actor, and Supporting Actress. Who knows how it will turn out, but things are trending up for Nolan’s brilliant awards-worthy latest.
Only two behind “Oppenheimer” was “Poor Things” which once again revealed the soft spot (and the mind-boggling leniency) the Academy has for Yorgos Lanthimos. The film was an overindulgent mess yet here it sits with 11 nominations.
We have a pretty good selection of Best Picture nominees this year with only two that I would toss out in a heartbeat. But it’s hard for me to gripe. My top three movies of 2023 are all in the group and I like most of the choices.
Could it be that the Academy isn’t as enamored with “Barbie” as other awards shows (which I would applaud them for)? The box office smash hit but incredibly flawed film still earned 8 nominations. But it missed out on a couple of pretty big categories.
Sticking with “Barbie”, one of the more face-palm moments came with the nomination of America Ferrera in Supporting Actress. It’s essentially a nomination for a speech which stands out even more by the fact that the film’s lead, Margot Robbie didn’t get a nod. There were far more deserving supporting performances from actresses such as Rachel McAdams, Penélope Cruz, or Julianne Moore. Whatever, it’s Da’Vine Joy Randolph’s to win.
As for that Lead Actress category, Robbie’s omission is a bit of a stunner. Again, I’m no fan of “Barbie”, but Robbie was pretty great. It’s especially perplexing considering Annette Bening was nominated for the so-so at best “Nyad”. Robbie deserved a spot.
The far more egregious snubs in the Lead Actress category was Greta Lee for “Past Lives” and Natalie Portman for “May December”. I would put both in over any nominee not named Lily Gladstone. C’mon Academy!
Last thing on “Barbie” – outlets are already expressing shock and crying foul on Greta Gerwig not being nominated for Best Director. I’m sorry, but but it was a good choice especially if it meant Jonathan Glazer getting in for his masterful “The Zone of Interest”. The biggest bummer in Directing was Lanthimos. Replace him with Celine Song (“Past Lives”) and the category would be nearly perfect.
Martin Scorsese’s brilliant “Killers of the Flower Moon” racked up an amazing and well-deserved 10 nominations. Sadly there’s a big possibility it follows in the footsteps of Scorsese’s “The Irishman”. That 2019 film received 10 nominations but won nothing. Lily Gladstone should keep “Killers” from going home empty-handed, but it will have a tough time winning much else.
Speaking of “Killers”, being left out for Adapted Screenplay is terrible especially in light of what else was nominated. The screenplay was the biggest problem with “Barbie” and with “Poor Things” it was a scattershot mess. Yet both get nominated.
One of the great joys of the morning was seeing “The Zone of Interest” getting five nominations. I was especially excited that it was included for Best Picture and Best Director. For those who have yet to see it, make every effort to catch it. It’s easily one of 2023’s very best movies.
“The Zone of Interest” looks like it may be the front-runner for Best International Feature. I love it. This is a wild category made interesting by its notable omissions, namely “Anatomy of a Fall” and “Society of the Snow”. Am I missing something?
John Williams received his 54th (!!!) Oscar nomination for his score in “Indiana Jones and the Dial of Destiny”. Did it deserve a nomination? Maybe not. But I’m never going to gripe when I see this living legend get recognition.
Absolutely nothing for “The Iron Claw”. I realize it was a longshot, but I held out hope that the film might receive some kind of recognition. It certainly deserved it.
Sterling K. Brown surprised with his Supporting Actor nomination for “American Fiction”. It’s a good performance and I’m guessing his inclusion knocked out Charles Melton (“May December”).
Aside from Mark Ruffalo, the Supporting Actor choices are pretty strong. Brown is a nice addition, Robert De Niro is getting a lot of nominations but no wins, and Gosling has the fan love but I’m not sure how much else. That leaves Robert Downey Jr. who is (by a pretty large margin) the most deserving. Hopefully he’ll finally get his statue.
Just a quick plug for Donnie Yen in “John Wick: Chapter 4”. I’d put him ahead of Ruffalo, Brown, and even Gosling for Supporting Actor. Alas…
Among the most competitive categories heading into Oscar night will be Best Actor. It looks to be a one-on-one showdown between Cillian Murphy (“Oppenheimer”) and Paul Giamatti (“The Holdovers”). They were my two favorite Lead Actor performances of the year so it’s good to see. That said, I’m rooting for Murphy.
Despite getting recognition from the Golden Globes and BAFTA, “Saltburn” was completely ignored by the Academy and you won’t see me shedding any tears. “Saltburn” was one of the more frustrating movies of last year and apparently the Academy saw through it.
It wasn’t a particularly good morning for “The Color Purple”. Outside of Danielle Brooks for Supporting Actress, the musical remake didn’t make a dent. I can understand why. The first half of the film was some of the best cinema I saw in 2023. The second half was messy and rushed.
I like the sound of Oscar-nominated “Godzilla: Minus One”.
Among the other big names not nominated this morning was Leonardo DiCaprio for Best Actor and Bradley Cooper for Best Director. Both seemed to be on the bubble and now they’ve both fallen short.

Here is a Full List of This Year’s Nominees…

Best Picture

American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
The Zone of Interest

Best Director

Justine Triet – Anatomy of a Fall
Martin Scorsese – Killers of the Flower Moon
Christopher Nolan – Oppenheimer
Yorgos Lanthimos – Poor Things
Jonathan Glazer – The Zone of Interest

Best Actress

Annette Bening – Nyad
Lily Gladstone – Killers of the Flower Moon
Sandra Hüller – Anatomy of a Fall
Carey Mulligan – Maestro
Emma Stone – Poor Things

Best Actor

Bradley Cooper – Maestro
Colman Domingo – Rustin
Paul Giamatti – The Holdovers
Cillian Murphy – Oppenheimer
Jeffrey Wright – American Fiction

Best Supporting Actress

Emily Blunt – Oppenheimer
Danielle Brooks – The Color Purple
America Ferrera – Barbie
Jodie Foster – Nyad
Da’Vine Joy Randolph – The Holdovers

Best Supporting Actor

Sterling K. Brown – American Fiction
Robert De Niro – Killers of the Flower Moon
Robert Downey Jr. – Oppenheimer
Ryan Gosling – Barbie
Mark Ruffalo – Poor Things

Best Original Screenplay

Anatomy of a Fall
The Holdovers
Maestro
May December
Past Lives

Best Adapted Screenplay

American Fiction
Barbie
Oppenheimer
Poor Things
The Zone of Interest

Best International Feature

Io Capitano
Perfect Days
Society of the Snow
The Teachers’ Lounge
The Zone of Interest

Best Animated Feature

The Boy and the Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse

Best Cinematography

El Conde
Killers of the Flower Moon
Maestro
Oppenheimer
Poor Things

Best Original Score

American Fiction
Indiana Jones and the Dial of Destiny
Killers of the Flower Moon
Oppenheimer
Poor Things

Best Original Song

“The Fire Inside,” Flamin’ Hot
“I’m Just Ken,” Barbie
“It Never Went Away,” American Symphony
“Wahzhazhe (A Song for My People),” Killers of the Flower Moon
“What Was I Made For?” Barbie

Best Editing

Anatomy of a Fall
The Holdovers
Killers of the Flower Moon
Oppenheimer
Poor Things

Best Production Design

Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Poor Things

Best Costume Design

Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Poor Things

Best Makeup and Hairstyling

Golda
Maestro
Oppenheimer
Poor Things
Society of the Snow

Best Sound

The Creator
Maestro
Mission: Impossible – Dead Reckoning Part One
Oppenheimer
The Zone of Interest

Best Visual Effects

The Creator
Godzilla Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible – Dead Reckoning Part One
Napoleon

Best Animated Short

Letter to a Pig
Ninety-Five Senses
Our Uniform
Pachyderme
War Is Over! Inspired by the Music of John & Yoko

Best Live-Action Short

The After
Invincible
Knight of Fortune
Red, White and Blue
The Wonderful Story of Henry Sugar

Best Documentary Feature

Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill a Tiger
20 Days in Mariupol

Best Documentary Short

The ABCs of Book Banning
The Barber of Little Rock
Island in Between
The Last Repair Shop
Nǎi Nai and Wài Pó

REVIEW: “Lift” (2024)

January 22, 2024 by Keith Garlington

Kevin Hart’s lucrative partnership with Netflix seems to be working out pretty well for both the actor/comedian and the streaming service. Their latest collaboration is “Lift”, a heist comedy from director F. Gary Gray. This is Gray’s first film since 2019’s abysmal “Men in Black: International” and the results are certainly better. Yet there are a number of issues that weigh this movie down, none more than its utter lack of originality.

“Lift” feels familiar from its very first scene. And the more you watch the more you realize that the biggest heist of all is in the countless ideas that Hart and company swipe from much better movies. An equally noticeable issue is Hart himself. It’s not because of anything the actor is doing or not doing. He just seems miscast and terribly out of place. Buying into him as a suave and sophisticated professional thief ends up being too much to ask.

In “Lift” Hart plays a renowned thief named Cyrus Whitaker who leads a crack crew of fellow cons, each (of course) with their own specialty. There’s Denton (Vincent D’Onofrio), a master of disguise; Camila (Úrsula Corberó), the team’s pilot; Magnus (Billy Magnussen), the safecracker; Mi-Sun (Kim Yoon-ji), the hacker; and Luke (Viveik Kalra), the engineer. “We rescue works of art from undeserving owners,” Cyrus explains with an air of nobility (we learn he then sells them for huge profit on the black market so I’m not sure how noble that is).

Hot on their trail is Interpol Agent Abby Gladwell (Gugu Mbatha-Raw). She and her team have spent over a year tracking Cyrus and monitoring his activities. But all of her work is thrown aside when her boss, Commander Huxley (Sam Worthington) wants to make a deal with Cyrus. Huxley wants Cyrus and his team to swipe $500 million in gold from an international terrorist named Lars Jorgenson (Jean Reno). Jorgenson is moving the gold from London to Zurich to fund a huge strike on the world’s utilities.

At first Cyrus wants no part of it. But he accepts when offered full immunity for his team. Huxley assigns a reluctant Abby to accompany them. That’s made more awkward by some history she and Cyrus share. It seems they once had a romantic week in Paris together, concealing their true identities from each other. It’s a half-baked and utterly sparkless attempt at adding a romantic angle to the story. As with so many other things in “Lift”, it doesn’t work.

Gray leans on a number of heist movie tropes. There’s the gratuitous globetrotting to places like Venice, Brussels, Northern Ireland, and Tuscany just to name of few. There’s the big planning stage where the team puts together the heist, defying odds and doing what has “never been done before”. And of course there’s the heist itself, in this case an utterly preposterous mid-air job that will challenge even the most lenient moviegoers when it comes to plausibility.

It’s clear that a decent amount of money was put into “Lift”. Despite a few instances of wonky CGI, the movie looks pretty good. But the story is a stripped down reheat of the heist movie formula. The film has nothing of its own to offer – it simply follows a blueprint. What little humor we get doesn’t land, the heist isn’t thrilling, and the camaraderie between characters doesn’t feel organic. Add a boring villain, head-scratching holes in the story, and a general lack of excitement to the list of issues that make “Lift” little more than a forgettable time-passer. “Lift” is now streaming on Netflix.

VERDICT – 2 STARS

REVIEW: “Founders Day” (2024)

January 20, 2024 by Keith Garlington

Director, co-writer, co-producer, co-editor, and co-star Erik Bloomquist is the man behind “Founders Day”, a new feature that can best be described as a political slasher film that plays a little like a whodunit but is at its best as a black comedy. It doesn’t all come together particularly well, but there are some good ideas scattered throughout and fans should find enough to carry them over till the next slasher comes down the pipe.

Bloomquist sets his film in the small town of Fairwood that’s in the middle of a heated mayoral race between incumbent Blair Gladwell (Amy Hargreaves) and challenger Harold Faulkner (Jayce Bartok). The two candidates seem to be lightly modeled after Hillary Clinton and Donald Trump (at least at first) which lends to some pretty good early laughs. Both are glaringly obvious phonies who have put winning above everything else including their community and their families.

But Fairwood is rocked after Faulkner’s daughter, Melissa (Olivia Nikkanen) is brutally killed and thrown off a bridge by a preposterous looking killer who wears a ghoulish red mask, a white founding father’s wig, and a long black judge’s robe. The murderer’s weapon of choice – a wooden gavel with a protracting blade in the handle. From there (as you can probably guess), the killer sets out on their own blood-soaked campaign of carnage, terrorizing the little town and sending the people into a panic.

Among the things Bloomquist and his co-writing brother Carson do well is create a diverting assortment of characters. Inevitably some are just fodder for the killer to beat or butcher. Others are there to fill our pool of suspects. No one has much depth, but they all help convey the feeling of a small town community. Aside from the politicians, there’s also the police commissioner, a loyal deputy, an ambitious campaign manager, the local bartender, a beloved high school teacher, and a loving father and daughter (who seem to be the only Black people in town).

And of course there are the fresh batch of teenagers ready to be carved. Among them are the kids of the two candidates, both of whom are forced to take back seats to their parents’ ambitions. There is the Faulkner’s other kid, Adam (Devin Druid) and there is Mayor Gladwell’s daughter Lilly (Emilia McCarthy). Then there’s Allison (Naomi Grace) who was with Melissa the night she was murdered and the lone eyewitness. As for the other teens, there is a psycho couple (Dylan Slade and Kate Edmonds) and the town bad boy (Tyler James White).

Along the way we get some utterly disposable teen drama that never registers and feels more like filler than anything else. But it doesn’t take the Bloomquists long to crank up the kills. They start rather tame but get gnarlier as the story progresses. As for the story, it’s pretty outrageous and culminates in an ending that’s too hard to swallow to have the effect it wants. Yet admittedly it’s kinda fun keeping up with the characters as Bloomquist moves them around from suspect to victim.

While it’s certainly a horror movie, “Founders Day” isn’t the slightest bit scary. But as fans of the slasher sub-genre know, it not necessarily the frights that people enjoy about them. It’s the gruesome kills, guessing the killer’s identity, seeing who survives, etc. “Founders Day” has all of that plus some unexpectedly funny touches of its own. But that’s as close as the movie gets to originality. If you’re looking for anything remotely fresh you won’t find it here. Otherwise, there’s enough bloody fun to satisfy the genre faithful.

VERDICT – 2.5 STARS

REVIEW: “I.S.S.” (2024)

January 19, 2024 by Keith Garlington

Hats off to the creative minds behind “I.S.S.”, the smart and inventive science fiction thriller set aboard the low orbit International Space Station. Screenwriter Nick Shafir taps into real-world fears and tensions with his taut and suspenseful nailbiter. He offers up a frightening, paranoia-soaked vision of a not too distant future where mankind comes face to face with its own self-destructive nature. And he does so through a clever premise that unfolds within a most compelling setting.

Director Gabriela Cowperthwaite brings Shafir’s story to the screen with a firm control and a keen sense for tension building. She has a good grasp of the kind of movie she’s making, keeping a tight focus, skillfully managing budget constraints, and keenly utilizing the various facets of filmmaking (visual, sound, and performance more specifically). The result is a gripping sci-fi tale that resonates a lot more in our current day than we’d probably like to admit.

Following the Cold War the International Space Station (ISS) was constructed in a collaborative effort towards unity and progress between the United States and Russia. Primarily a research facility, the ISS has been instrumental in noteworthy advancements in technology, medicine, and the study of space. Pretty much all of that finds its way into the film’s story.

It opens with two United States astronauts, Kira Foster (Oscar winner Ariana DeBose) and Christian Campbell (John Gallagher Jr.) arriving at the ISS. They’re greeted by fellow American Gordon Barrett (Chris Messina) and three Russian cosmonauts, Weronika Vetrov (Masha Mashkova) and brothers Nicholai Pulov (Costa Ronin) and Alexey Pulov (Pilou Asbæk). This is Kira’s first time aboard the space station so she immediately starts learning the crew, getting acclimated to her new surroundings, and adjusting to life at zero gravity.

It doesn’t take long for Kira to take note of the camaraderie between the Americans and Russians. They’re a proudly unified group, never discussing the politics or the conflicts from the world below. But everything changes after they witness a series of massive explosions on the earth’s surface. Each group immediately attempts to contact their governments but to no avail. So as the earth burns down below, the crew aboard the ISS are left in the dark.

But only a short time later the Americans receive a chilling secret message from the surface. Their orders – take control of the ISS by any means necessary and no matter the cost. Surely the Russians received a similar message, right? From there Cowperthwaite steadily yet smartly ratchets up the suspense as crew members break off into factions, torn between their loyalties to each other and their calls to duty. Suspicions lead to distrust; apprehension gives way to panic.

Shafir’s script supplies an ample amount of twists and turns, leaning more on psychological tension than action-packed, effects-driven thrills. But that’s not to say the movie doesn’t look great. The stellar cinematography from Nick Remy Matthews creates a striking sense of claustrophobia and confinement within the station while also capturing the enormity of space outside. Meanwhile Anne Nikitin’s score looms ominously in the background adding to the growing dread.

If there’s one place “ISS” falls a little short it’s with the characters. They have very little depth leaving them hard to connect with on anything beyond a surface level. But even with that, they still fit nicely into the story, offering up different personas and perspectives that morph as their situation intensifies. The performances from the six-person cast are superb, especially from DeBose who turns out to be our fresh-eyed surrogate. It’s a strong feature film follow-up for the rising young star.

“I.S.S.” thrives thanks to a clever high concept idea from screenwriter Nick Shafir and fabulous execution by director Gabriela Cowperthwaite. The movie could have easily fizzled without one or the other. But both work in unison to bring us an impressively inspired and thoroughly entertaining genre film that happens to be the first big surprise of this young movie year. Don’t miss it. “I.S.S.” launches in select theaters on January 19th.

VERDICT – 4 STARS

REVIEW: “Sunrise” (2024)

January 18, 2024 by Keith Garlington

I’m an unapologetic Guy Pearce fan. I make no bones about it. I stand by my long held assertion that he is one of the more underrated and undervalued actors working today. Throughout his nearly 35-year career, Pearce has made a name for himself playing an assortment of heroes, drifters, historical figures, and police detectives, just to name a few. And less you forget, he can also play a really good villain.

He gets to go full antagonist in the new film “Sunrise” from director Andrew Baird. While Pearce does a good job portraying a character that you’ll find easy to detest, the movie as a whole isn’t nearly as successful. “Sunrise” is a slow and messy hodgepodge of interesting ideas that never gel into anything worthwhile. The script (penned by Ronan Blaney) has enough ingredients for three or four different movies. But corralling them into one proves to be too much.

The film opens with some title cards telling us about a “sacred” forest demon in the Pacific Northwest. It’s said to have the power to grant eternal life but it be feeds on the blood of its victims to maintain that power. We’re told that animal sacrifices to the demon date back hundreds of years to the First Nations, but over time the sacrifices offered became bigger. As the mythology grew the demon became known as Red Coat.

Now that sounds like an ominous setup to a potentially creepy supernatural horror movie. Well, not exactly. As it turns out, reading those title cards is the scariest thing in “Sunrise” and the ‘demon’ is so poorly developed that it feels like an afterthought. Instead the movie spends its time hopping between genres. Sometimes it plays like a rural crime thriller. Other times it wants to be a thoughtful family drama. One minute you think you’re watching a vampire movie. The next minute you’re getting a heavy-handed critique of the American dream. If only they came together in an entertaining way.

In a small blue-collar town nestled in the mountains, a vile, greedy and unashamedly racist local business named Joe Reynolds (Pearce) has his eye on a patch of land owned by an Asian American man named Loi. In a fit of anger, Reynolds murders Loi for refusing to sign over the land rights. He then has his goons dispose of the body, leaving Loi’s wife Yan (Crystal Yu), son Edward (William Gao), and young daughter Emily (Riley Chung) not knowing what happened to their husband and father.

Three months pass and Reynolds is still pressuring the family to leave town. His numerous threats quickly evolve into violence which Yan stands up to the best she can. But then out of the blue a sickly man named Fallon (Alex Pettyfer) stumbles onto their property in the dead of night, barely able to walk and with labored breathing. Yan decides to take him in and nurse him back to health without much thought at all. Fallon is quiet but seems appreciative. He even runs off one of Reynolds’ goons who tries to stir up trouble.

But there is something weird about Fallon. He’s not into personal hygiene. He actively dodges the sunlight. Oh, and there’s the whole “I need blood” request. All signs seem to indicate that he is a (gulp) vampire. But as with so many other things, the movie doesn’t do much with it. Its attention is quickly diverted elsewhere.

Baird tries to add some backstory and depth through constant flashbacks to ten years earlier. Unfortunately these scenes do more to convolute things that offer any compelling layers or revelation. It’s a shame because there are some good pieces here including the ruggedly immersive setting and a seemingly able cast. But the overstuffed story proves to be too much to manage. And despite its ambition, we’re left with big ideas that never get the attention they need. “Sunrise” opens January 19th in select theaters and on VOD.

VERDICT – 2 STARS

First Glance: “Spaceman”

January 17, 2024 by Keith Garlington

Now here’s an unusual pairing – cerebral space drama with Adam Sandler. Those aren’t things I ever expected to say in the same breath. Yet that looks to be what we’re getting in “Spaceman”, the upcoming film streaming exclusively on Netflix. The film is based on the 2017 novel “Spaceman of Bohemia” by Jaroslav Kalfař. This good-looking adaptation was written by Colby Day and directed by Johan Renck, the Emmy winner for the acclaimed miniseries “Chernobyl”.

The first trailer is interesting to say the least. Sandler plays an astronaut named Jakub Procházka who is sent on a solo mission to the edge of the solar system. But back home his life has been crumbling. The most exciting piece is Carey Mulligan playing Jakub’s pregnant wife, Lenka who provides glimpses into their troubled marriage. Struggling to cope on his own, Jakub finds help where he least expects it – from a strange creature (voiced by Paul Dano) lurking in his ship. I have no idea how Sandler is going to do in this, but I love the premise and I’m excited to see if he can pull it off.

“Spaceman” streams March 1st on Netflix. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.