Random Thoughts – 2019 Oscar Nominations

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And here we are again. Another year gone and another batch of fresh Oscar nominations to talk about, stew on, and grumble over. As is always the case the Academy gave us a handful of surprises, far more frustrations, and several choices that still boggle the mind. As I’m prone to do, here are a few random thoughts about this year’s head-scratching Academy Award nominations. 

  • Let me get this out of the way. “Vice”? Really? Eight nominations for Adam McKay’s messy, bloated, and utterly boring political manifesto disguised as a biopic? Is this a case of Hollywood voting politics over quality? It’s a legitimate question.
  • For some weird reason only eight movies make up the Best Picture field, and of those eight only one made my Top 20 (“Roma”). They really had to room for “First Man”or “If Beale Street Could Talk”? More on those later.
  • Thankfully the ludicrous Best Popular Film category was shelved but it looks like the Academy made up for it. “Black Panther”, “Bohemian Rhapsody”, and “A Star is Born” all get Best Picture nods.
  • In the category of Best Song you have the sure-fire winner “Shallow” from “A Star is Born”. But I screamed with joy when I heard “When a Cowboy Trades His Spurs for Wings”. Of course it won’t win, but it’s one of 2018’s best musical moments.
  • Sadly nothing for “Mission:Impossible – Fallout”. But who thought there would be?
  • For the rest of my days I’ll always think of one thing come Oscar nomination time – Dick Poop. What can I say? My wife tells me I’m easily amused. Not sure what I’m talking about? Go to YouTube and type ‘Dick Poop Academy’. now back to the nominees…
  • What to make of the messy Best Director lot? Bradley Cooper is being considered the biggest snub. Pawel Pawlikowski was the one no one saw coming. But its the crappy additions of McKay (“Vice”) and Lanthimos (“The Favourite”) who clog up the category.
  • Once again the Academy shows no love for female directors. Only five women have ever been nominated in the category. This year Debra Granik and Lynne Ramsay would have been great additions but when you cram in the likes of McKay…
  • And once again no room for Barry Jenkins (“If Beale Street Could Talk”) or Damien Chazelle (“First Man”) for Best Director? But when you cram in the likes of McKay…
  • Spike Lee’s nomination for “BlacKkKlansman” was actually his first EVER for directing.
  • The Academy fell hard for “The Favourite” handing it 10 nominations. I still don’t see the appeal. I found it to be shallow, humorless and pointlessly dark-hearted. But what do I know?
  • Sam Rockwell gets a Supporting Actor nomination for “Vice”? Look I love Rockwell, but he looked like he was doing a SNL skit. I might be onboard if the award was for Best Imitation. Bad choice Academy.
  • Marina de Tavira gets a Supporting Actress nod at the expense of a much more deserving Claire Foy (“First Man”). This glaring omission makes no sense whatsoever.
  • Speaking of “First Man”, it was all but forgotten by the Academy voters this year. What a shame. Nothing for Best Picture, nothing for Chazelle, nothing for Foy. It was even shut out of a category is was thought to have a chance to win – Best Score. But at least “Vice” got eight nominations.
  • Love the Adam Driver nomination for Supporting Actor. It wasn’t necessarily a surprise but as this year proves you never know.
  • I read where the Academy has a history of snubbing documentaries that actually do well at the box office. That was certainly the case for the fabulous “Won’t You Be My Neighbor”. Not even a nomination? Give me a break.
  • Oh, and nothing for “Three Identical Strangers”. Hmmm.
  • Best Actor…sigh. To be honest there are some really strong performances in this category. But in my lone personal opinion I see the category as incomplete without Ethan Hawke for “First Reformed”. It’s career best work and deserving of the statue, not just the nomination.
  • And speaking of Best Actor, wouldn’t it have been great to see John David Washington (“BlacKkKlansman”) and Joaquin Phoenix (“You Were Never Really There”) get some nomination love?
  • Again, the Academy couldn’t find room for “If Beale Street Could Talk” in the Best Picture field? In fact, they barely found room for it anywhere. Sad. It’s a better film than his Oscar-adorned “Moonlight”.
  • My Oscar enthusiasm dropped even more when Emily Blunt wasn’t nominated for either “A Quiet Place” or “Mary Poppins Returns”. Let us all join hands and shed a collective tear in unison.
  • No Timothee Chalamet for Supporting Actor? I’ll admit, I’m surprised. There’s a good chance the weird Rockwell nomination took his spot.
  • Oh, and no Michael B. Jordan for “Black Panther”. Wasn’t there a time when he was a lock? Maybe that February release removed Jordan from some voters’ memories. Again, a better choice than Rockwell.
  • Some are looking at “Crazy Rich Asians” as a big snub. While I like that film, it’s hardly Oscar-worthy stuff. Here we get a rare bit of reality from the Academy.
  • While both “Green Book” and “Bohemian Rhapsody” received nominations (much to the chagrin of social media), does anyone else get the feeling that their run is pretty much done? Malek is a possible Best Actor contender, but otherwise you get the sense that both films may have run out of gas.
  • An actual year with no token Meryl Streep nomination? Woo Hoo!
  • We actually have some drama in a couple of categories. Best Actress could be the most interesting with Lady Gaga, Olivia Colman, and Glenn Close all in the running.
  • Has “Roma” positioned itself as the Best Picture front-runner? I would like to think so but don’t be so sure. It’s also in the Best Foreign Language category which could be problematic for its Best Picture chances. Being in both categories could easily split votes allowing another film to sneak in and take the biggest prize of the night.
  • Netflix has to be smiling. With a big showing for “Roma” and a couple of surprising (and welcomed) nominations for “Buster Scruggs”, the streaming giant has finally broken through. Should have happened with “Mudbound”.
  • The Best Original Screenplay group makes my head hurt. The writing is one of the worst things about “Vice”.  It’s far from a strength in “The Favourite”. “Green Book” was fine but Oscar-worthy? At least Paul Schrader made the cut.
  • Adapted Screenplay is far more interesting. “Beale Street”, “Buster Scruggs”, “BlacKkKlansman”, all worthy competitors.
  • “Never Look Away” gets a nomination for “Best Cinematography”. I’ve never seen it so I can’t speak to its credibility. But I don’t remember anyone having it among their predictions.
  • “Black Panther” ended up with seven nominations, something that was all but channeled back in February. It was destined for a Best Picture nomination and is the first Marvel movie to get one. But is it really one of the year’s best movies?
  • There were so many great performances from young actors and actresses but all were shunned by the Academy. Elsie Fisher had the best shot but both she and “Eighth Grade” ended up with zilch.
  • I haven’t seen “Burning” but had heard nothing but praise. Not seeing it’s name among the Best Foreign Language films was quite a surprise.

So those are a few random thoughts (perhaps better worded as ‘random gripes’). What did you think of this morning’s announcements?

Best of 2018 – Supporting Actor

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Yesterday I started my reflection on my favorite acting performances of 2018. The ladies started strong and now it’s the men’s turn. The Supporting Actor category was equally good with several true stand-outs. This was a bruising category and cutting some from the list really stung. But those are the rules so here are my choices for Best Supporting Actor.

#5 – Nicholas Hoult (“The Favourite”)

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I know, I know. Nicholas Hoult over some real heavy hitters like Elliot, Ali, and Chalamet sounds ludicrous. So be it. Hoult was one of the few things I truly loved about “The Favourite”. His hilariously off-kilter performance was something I wasn’t expecting. He and his preposterous wigs stole every scene they were in.

#4 – Hugh Grant (“Paddington 2”)

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If you have seen Hugh Grant in “Paddington 2” you know precisely why he’s on this list. Talk about a hysterical turn from a great actor who in some ways is riffing on his own career. Of course he takes it to absurd levels which makes it all the better. Oh, and his mid-credits musical number – magical!

#3 – Russell Hornsby (“The Hate U Give”)

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Why on earth aren’t more people talking about Russell Hornsby’s brilliant work in “The Hate U Give”? I’m guessing a lot of people gave the film a pass which is a real shame. Hornsby offers up a powerful portrait of a loving father bruised by his past. He gives us a real-world character who has a lot to say.

#2 – Michael B. Jordan (“Black Panther”)

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Remember back in February when everyone was talking about Michael B. Jordan’s riveting performance in “Black Panther”? That talk seems to have died down during awards season and it’s really a shame. His Erik “Killmonger” Stevens is a fascinating villain who is both menacing and sympathetic.

#1 – Adam Driver (“BlackKklansman”)

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It’s good to see Adam Driver getting so many nominations this season. I would love to see him finally get a win. Driver has turned into one of my favorite actors and director Spike Lee taps into why. He’s so low-key yet never does he feel false. And his dry sense of humor is a great fit for this particular character. It’s such a perfectly well-rounded performance. I love it.

So there you have the supporting fellows. What do you think? Tell me what I got right and where I went wrong in the comments section below. Tomorrow it’s the Lead Actress category.

Best of 2018 – Supporting Actress

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As we look back on the year that was I always like to give time to the performances that shaped the year’s films. Over the next few days I’ll be highlighting my favorite work from the four major acting categories. This year was full of fine performances, many from unexpected places. So let’s get to it by starting with the Supporting Actress category.

#5 – Cynthia Erivo (“Bad Times at the El Royale”)

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Amid all the good performances in this pulpy neo-noir crime-thriller Cynthia Erivo shined brightest. She is our most grounded connection to the story and easily pulls the most sympathy. Oh, and lets not forget she gives us some knockout musical numbers.

#4 – Linda Cardellini (“Green Book”)

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She nearly gets lost among the two wonderful central performances, but an argument could be made that Linda Cardellini is the heart of the film. It’s a small role but she never fails to bring a needed warmth to every scene she’s in. She’s just delightful.

#3 – Laura Smet (“The Guardians”)

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 It couldn’t have been easy tackling her role in Xavier Beauvois’ “The Guardians” yet you wouldn’t know it from Laura Smet’s extraordinary performance. She not only nails the physical demands but shows a brilliant knack for conveying so much emotion even within the film’s distinctly quiet framework.

#2 – Claire Foy (“First Man”)

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Watching Claire Foy maneuver through the range of emotions her character endures is one of many strengths of “First Man”. She brings things down to earth (bad pun intended) and is a reality check for both her lost and struggling husband and for us. It’s a moving and genuine portrait.

#1 – Regina King (“If Beale Street Could Talk”)

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She’s winning all of the awards for this category and (in one of those rare instances) the awards circuit is getting it right. You can’t help but be smitten with Regina King. You buy into every moment of her performance portraying a loving and supportive mother who also has a firm foot in the real world. She’s both heartwarming and heartbreaking.

So what did I get right and where did I go wrong? Let me know in the comments section below. Next up – supporting actor.

REVIEW: “Beautiful Boy”

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Steve Carell is one busy guy. “Beautiful Boy” was one of three movies he put out in 2018 and his sixth in two years. The film also stars Timothée Chalamet, a good young actor who has essentially become the new Jennifer Lawrence. You know what I mean – a hot young newcomer who gets loads of critical attention and awards nominations for pretty much anything he does…at least for a few years.

I don’t want to cut Chalamet short. He is a good actor. Maybe not to a level matching the overflowing praise, but good nonetheless. For proof look no further than “Beautiful Boy”. His portrayal of a drug addicted 18-year-old calls for a big performance that grabs most of the attention. It’s a role that easily could have went the wrong way. But hats off to Chalamet for keeping his performance under control.

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At its core “Beautiful Boy” is a heartbreaking father/son story based on the memoirs of author David Sheff and his son Nic. Carell portrays Sheff, a father broadsided by the discovery that his teenage son Nic (Chalamet) is a drug addict. The two have always had a close loving relationship but the drug abuse drives a wedge between them. So as Nic tries to break the grip of addiction David tries to deal with the painful reality that his relationship with his son may never be the same.

Directed by Felix Van Groeningen and adapted by Van Groeningen and Luke Davies, “Beautiful Boy” has all the ingredients it needs to tell this story and it does a good job dividing its time between father and son. In many ways this is more about David and the problem of hope turning to naiveté. He believes that love and encouragement will cure his son and as a writer he has always had the right words. Reality shows him different. Carell hits most of the right beats, but there are moments, particularly the emotionally heavy ones, that aren’t quite as strong.

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At the same time they wisely don’t overdo it with Nic. He is a very believable representation of a young addict in part because of Chalamet, but just as much due to the the script. Flashbacks reveal a bright teen full of joy yet not always helped by his father’s decisions. But even as he unravels the script never loses sight of his deep human qualities and emotions. This makes the looming uncertainty all the more devastating.

Strangely not all of the film is as engrossing as the performances or the story material. It’s hard to put a finger on why. It’s not that it lacks a realistic edge or the characters fall short. It’s more to do with the rhythm of the storytelling which is a bit uneven in the second half. But it doesn’t undo the film’s ability to evoke empathy and heartache. And in the end that’s what the movie needed to do the most.

VERDICT – 3.5 STARS

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First Glance: “John Wick: Chapter 3 – Parabellum” Trailer

What a day! The new trailer for “John Wick: Chapter 3” landed today and let me say it has my attention. The first film of this neo-noir action franchise began in 2014 with a surprise hit. The 2017 sequel was well received by critics and moviegoers and opened up the series to a wealth of crazy possibilities.

Now we get our first glance at “John Wick 3” and it looks to be building on the wacky mythology we got a taste of in the previous movie. And check out what we get in the trailer – plenty of the series’ signature stylized action, several returning characters, Halle Berry, dogs, and John Wick on a horse. How can you not be excited?

“John Wick: Chapter 3” opens May 17th. Check out the trailer below and tell me what you think. Excited? Not interested?

REVIEW: “Bird Box”

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Arguably the weirdest titled movie of 2018 has debuted on Netflix and with quite a bit of attention. According to the streaming giant “Bird Box” has been watched by 45 million accounts making it the “best first 7 days ever for a Netflix film.” Skeptics notwithstanding, those are pretty impressive numbers especially for a usually tight-lipped company.

“Bird Box” is a genre stew featuring slices of horror, psychological drama, science-fiction, and end-of-the-world thrillers. It’s based on Josh Malerman’s 2014 debut novel of the same name and adapted to screen by Oscar nominated screenwriter Eric Heisserer (“Arrival”). Danish director Susanne Bier is tasked with corralling it all together and she manages it with a satisfying effectiveness.

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Photo Courtesy of Netflix

The film opens with a mother named Malorie (Sandra Bullock) giving strict instructions to two children as they prep for a dangerous trek up a river. The three blindfold themselves before feeling their way to a fiberglass rowboat. After a few more pointed warnings they begin the treacherous journey upstream.

Flashback to five years earlier. A terrifying unknown presence surfaces causing anyone who lays eyes on it to suddenly kill themselves. Malorie, now pregnant and a soon to be single mother, finds herself holed up in a house with an assortment of strangers all trying to make sense of the rampant death and chaos.

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Photo Courtesy of Netflix

“Bird Box” bounces back-and-forth between the present day river scenes and the flashbacks which reveal what led Malorie to that point. Most of that time is spent in the house where survivors battle fear and uncertainty as supplies begin to run out and new survivors show up. A talent-rich supporting cast fill out the group. There’s Tom (Trevante Rhodes), Douglas (John Malkovich), Cheryl (Jackie Weaver), Olympia (Danielle Macdonald), and Charlie (Lil Rey Howery) among others.

Parenting is a central theme and we see it from both literal and metaphorical angles. When it works it’s mostly due to a stellar performance from Bullock who hasn’t lost a step and shows she can still navigate an intense range of emotions. But it’s not always easy to keep the theme in focus especially when the film stumbles into some familiar genre trappings. There is clearly a thematic throughline, but you never lose sight that this is very much a genre(s) movie.

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Photo Courtesy of Netflix

The film’s opening 20 minutes are its best, introducing its terrifying unseen threat that is undeniably menacing yet intentionally undefined. It turns society upside-down much like the killer first scenes of 2013’s “World War Z” yet on a smaller scale. Bier builds plenty of suspense and then carries it over to the film’s more character-focused house segment. Some of the characters work better than others. Rhodes is a standout. Malkovich is very John Malkovich-like. Weaver is sadly lost in the crowd.

“Bird Box” runs the gambit from riveting to predictable to kinda silly. At the same time it’s never boring and the performances are always worth watching. The convergence of survival and motherhood within such a sinister setting is a cool concept and Bullock wonderfully fleshes it out for us. She’s the movie’s backbone and even when the story sputters at times she puts it on her back and carries it to finish line.

VERDICT – 3.5 STARS

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