Wednesday, March 7, 2018

AFT Awards: Best Adapted Screenplay


This is the sixth category of the 11th Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them. Click here to see previous years of this category.

Honorable mentions (in alphabetical order):
Axolotl Overkill, David Brent: Life on the Road, Logan, My Life as a Zucchini, Their Finest, Wonderstruck

Runners-up:
Mudbound
Blade Runner 2049
The Zookeeper's Wife
Stronger
Molly's Game


The winner:
The Disaster Artist (Scott Neustadter and Michael H. Weber) dramatized its incredible story in a straightforward, coherent way that highlighted the major moments but allowed its actors to truly convey its unbelievable nature.

Other nominees:
Wonder (Stephen Chbosky, Steve Conrad and Jack Thorne)
Call Me By Your Name (James Ivory)
Marjorie Prime (Michael Almereyda)
Wilson (Daniel Clowes)

AFT Awards: Best Original Screenplay


This is the fifth category of the 11th Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them. Click here to see previous years of this category.

Honorable mentions (in alphabetical order):
Aardvark, Abe and Phil's Last Poker Game, Battle of the Sexes, Below Her Mouth, Blame, Brigsby Bear, Darkest Hour, Deidra and Laney Rob a Train, Downsizing, Free and Easy, Holy Air, It Happened in L.A., Land of Mine, Landline, Menashe, Novitiate, One Percent More Humid, Permission, Princess Cyd, Rememory, Some Freaks, Sweet Virginia, The Boy Downstairs, The Hero, The Last Movie Star, The Last Word, The Space Between Us, The Vanishing of Sidney Hall, The Women's Balcony, Three Billboards Outside Ebbing, Missouri, Tomorrow Ever After

Runners-up:
Band Aid
Coco
The Florida Project
In Between
Ingrid Goes West


The winner:
The Big Sick (Kumail Nanjiani and Emily V. Gordon) was a magnificent comedy that turned into a drama but remained true to its comedic roots, sweetly telling a mostly true story in the most enjoyable of ways.

Other nominees:
Thoroughbreds (Cory Finley)
Lady Bird (Greta Gerwig)
The Wedding Plan (Rama Burshtein)
The Shape of Water (Guillermo del Toro and Vanessa Taylor)

Tuesday, March 6, 2018

AFT Awards: Best Actress in a Supporting Role


This is the fourth category of the 11th Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them and drawn from a pool of approximately 149 films. Click here to see previous years of this category.

Honorable mentions:
Abby Quinn (Landline), Alexia Rasmussen (Tilt), Andrea Riseborough (Battle of the Sexes), AnnJewel Lee Dixon (The Last Word), Arly Jover (Axolotl Overkill), Beanie Feldstein (Lady Bird), Bree Hemingway (It Happened in L.A.), Carrie Coon (The Post), Dianna Agron (Novitiate), Eiza Gonzalez (Baby Driver), Elisabeth Shue (Battle of the Sexes), Elizabeth Marvel (The Meyerowitz Stories), Elle Fanning (The Beguiled), Elle Fanning (The Vanishing of Sidney Hall), Emma Thompson (Beauty and the Beast), Evelin Hagoel (The Women's Balcony), Evelyne Brochu (Rememory), Geena Davis (Marjorie Prime), Gina Gershon (Permission), Holly Hunter (The Big Sick), Isabella Amara (Wilson), Izabela Vidovic (Wonder), Janet McTeer (The Exception), Julianne Moore (Wonderstruck), Julianne Nicholson (Novitiate), June Squibb (Table 19), Juno Temple (Wonder Wheel), Katharine Ross (The Hero), Kirsten Dunst (The Beguiled), Kristin Scott Thomas (Darkest Hour), Krysten Ritter (The Hero), Laura Dern (Wilson), Laura Prepon (The Hero), Lesley Manville (Phantom Thread), Lily James (Darkest Hour), Lisa Kudrow (Table 19), Maggie Siff (One Percent More Humid), Malic White (Princess Cyd), Maria Dizzia (Abe and Phil's Last Poker Game), Mavie Horbiger (Axolotl Overkill), Mela Murder (The Florida Project), Michael Hyatt (The Price), Miranda Richardson (Stronger), Mouna Hawa (In Between), Natalie Morales (Battle of the Sexes), Orna Banai (The Women's Balcony), Rosemarie DeWitt (Sweet Virginia), Sana Jammelieh (In Between), Sarah Mezzanotte (Blame), Sarah Ramos (The Boy Downstairs), Sarah Silverman (Battle of the Sexes), Sheila Vand (Aardvark), Tessa Albertson (Blame), Valerica Cotto (The Florida Project)

Runners-up:
Octavia Spencer (The Shape of Water)
Melissa Leo (Novitiate)
Imogen Poots (Sweet Virginia)
Elizabeth Olsen (Ingrid Goes West)
Ana de Armas (Blade Runner 2049)

The winner:
Hong Chau (Downsizing) was a hilarious part of her film about big egos and small people as a completely unfiltered do-gooder whose broken English was hardly an excuse for most of what she said.

Other nominees:
Allison Janney (I, Tonya) let loose as a monster mother while keeping her character’s heinous behavior in check with a judgmental monotone attitude. Laurie Metcalf (Lady Bird) played a mother who cared a bit too much with just the right mix of intensity and well-meaning persistence. Bria Vinaite (The Florida Project), in her first film role, was unapologetic and unflinching in a lived-in performance. Tatiana Maslany (Stronger) demonstrated her ability to excel in an individual role as she provided steadfast support in the wake of unthinkable events.

AFT Awards: Best Actor in a Supporting Role


This is the third category of the 11th Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them and drawn from a pool of approximately 149 films. Click here to see previous years of this category.

Honorable mentions:
Alan Cumming (Battle of the Sexes), Alessandro Nivola (One Percent More Humid), Anton Yelchin (Rememory), Anton Yelchin (Thoroughbreds), Aviv Alush (The Women's Balcony), Ben Daniels (The Exception), Ben Mendelsohn (Darkest Hour), Bill Pullman (Battle of the Sexes), Bob Odenkirk (The Post), Bryan Cranston (Last Flag Flying), Charles Dance (Despite the Falling Snow), Christopher Plummer (All the Money in the World), Christopher Rivera (The Florida Project), Cillian Murphy (Dunkirk), Clancy Brown (Stronger), Clark Duke (The Last Movie Star), Craig Robinson (Table 19), Daniel Bruhl (The Zookeeper's Wife), Dave Franco (The Disaster Artist), David Sullivan (Deidra and Laney Rob a Train), Dustin Hoffman (The Meyerowitz Stories), Dwayne Johnson (The Fate of the Furious), Elijah Wood (I Don't Feel at Home in this World Anymore), Ellar Coltrane (The Last Movie Star), Emil Belton (Land of Mine), Ewan McGregor (Beauty and the Beast), Francis Guinan (Abundant Acreage Available), François Arnaud (Permission), Fred Armisen (Band Aid), Garrett Hedlund (Mudbound), Greg Kinnear (Brigsby Bear), Ian McKellen (Beauty and the Beast), Jack Huston (The Yellow Birds), Jamie Foxx (Baby Driver), Jason Sudeikis (Colossal), Jon Bernthal (Baby Driver), Jon Hamm (Baby Driver), Justin Timberlake (Wonder Wheel), Kenneth Branagh (Dunkirk), Kevin Spacey (Rebel in the Rye), Louis Hoffman (Land of Mine), Lucas Hedges (Lady Bird), Mark Hamill (Brigsby Bear), Mark Rylance (Dunkirk), Matthew Shear (The Boy Downstairs), Max Gail (Abundant Acreage Available), Michael Stahl-David (LBJ), Nick Offerman (The Hero), Noah Jupe (Wonder), O'Shea Jackson Jr. (Ingrid Goes West), Oskar Belton (Land of Mine), Patrick Stewart (Logan), Paul Sorvino (Abe and Phil's Last Poker Game), Paul Sparks (Thoroughbreds), Richard Jenkins (LBJ), Sam Claflin (Their Finest), Sebastian Stan (I, Tonya), Stephen Dillane (Darkest Hour), Stephen Merchant (Table 19), Steve Coulter (Abundant Acreage Available), Terry Kinney (Abundant Acreage Available), Tim Blake Nelson (Deidra and Laney Rob a Train), Tim Robbins (Marjorie Prime), Tom Hardy (Dunkirk), Tony Revolori (Table 19), Tracy Letts (Lady Bird), Tyrese Gibson (The Fate of the Furious), Wyatt Russell (Table 19), Zachary Quinto (Aardvark)

Runners-up:
Willem Dafoe (The Florida Project)
Ruben Niborski (Menashe)
Jason Mitchell (Mudbound)
Sam Rockwell (Three Billboards Outside Ebbing, Missouri)
Armie Hammer (Call Me By Your Name)

The winner:
Michael Shannon (The Shape of Water) was essentially the only true bad guy in a movie filled with sweet-natured people, and he managed to deliver a commanding, terrific performance without veering towards the cartoonish and over-the-top.

Other nominees:
Woody Harrelson (Three Billboards Outside Ebbing, Missouri) was the element that worked best about his dark but comedic film, imbuing his sheriff with an amusing comic outlook on life. Richard Jenkins (The Shape of Water) was a lovely neighbor for his film’s protagonist, valuing her happiness as his own and even investing his energy into her success no matter the consequences for him. Ray Romano (The Big Sick) turned arguably his film’s least interesting character into an entertaining and worthwhile part of it, delivering an honest and genuine turn. Bill Nighy (Their Finest) hammed up every single one of his scenes to just the right degree, earning his character’s stripes as an actor.

Monday, March 5, 2018

AFT Awards: Best Actress in a Leading Role


This is the second category of the 11th Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them and drawn from a pool of approximately 149 films. Click here to see previous years of this category.

Honorable mentions:
Amanda Seyfried (The Last Word), Amy Ryan (Abundant Acreage Available), Anna Kendrick (Table 19), Annette Bening (Film Stars Don't Die in Liverpool), Ariel Winter (The Last Movie Star), Ashleigh Murray (Deidra and Laney Rob a Train), Aubrey Plaza (Ingrid Goes West), Britt Robertson (The Space Between Us), Céline Bonnier (The Passion of Augustine), Diane Kruger (In the Fade), Ela Thier (Tomorrow Ever After), Emma Watson (Beauty and the Beast), Erika Linder (Below Her Mouth), Frances McDormand (Three Billboards Outside Ebbing, Missouri), Gemma Arterton (Their Finest), Jasna Fritzi Bauer (Axolotl Overkill), Jenny Slate (Aardvark), Jenny Slate (Landline), Jessica Chastain (Molly's Game), Jessica Chastain (The Zookeeper's Wife), Judi Dench (Victoria and Abdul), Julia Garner (One Percent More Humid), Juliette Binoche (Let the Sun Shine In), Juno Temple (One Percent More Humid), Kate Winslet (Wonder Wheel), Lena Olin (Maya Dardel), Lily James (The Exception), Lily Mae Harrington (Some Freaks), Lois Smith (Marjorie Prime), Margot Robbie (I, Tonya), Melanie Lynskey (I Don't Feel at Home in this World Anymore), Meryl Streep (The Post), Michelle Morgan (It Happened in L.A.), Millicent Simonds (Wonderstruck), Natalie Krill (Below Her Mouth), Quinn Shephard (Blame), Rachel Crow (Deidra and Laney Rob a Train), Rebecca Ferguson (Despite the Falling Snow), Rebecca Hall (Permission), Rebecca Spence (Princess Cyd), Rooney Mara (Una), Rosamund Pike (A United Kingdom), Shaden Kanboura (In Between), Shirley MacLaine (The Last Word), Taraneh Alidoosti (The Salesman), Taylor Schilling (Take Me), Vicky Krieps (Phantom Thread), Zoe Lister-Jones (Band Aid), Zosia Mamet (The Boy Downstairs)

Runners-up:
Brooklynn Prince (The Florida Project)
Jessie Pinnick (Princess Cyd)
Nadia Alexander (Blame)
Sally Hawkins (The Shape of Water)
Emma Stone (Battle of the Sexes)

The winner:
Saoirse Ronan (Lady Bird) was perfectly reminiscent of her director Greta Gerwig on screen, making a precocious teenage rebel found in so many films distinctly her own.

Other nominees:
Olivia Cooke (Thoroughbreds) and Anya Taylor-Joy (Thoroughbreds) shared top billing as two outcast teenagers united by their discomfort in the world and their dark fascinations. Zoe Kazan (The Big Sick) was immediately sweet and sophisticated, making her presence count during each of her scenes. Noa Koler (The Wedding Plan) expressed such a wonderful sense of unflappable positivity about her future despite all events indicating eternal loneliness.

AFT Awards: Best Actor in a Leading Role


This is the first category of the 11th Annual AFT Film Awards to be announced. The AFT Awards are my own personal choices for the best in film of each year and the best in television of each season. The AFT Film Awards include the traditional Oscar categories and a number of additional specific honors. Nominees are pictured in the order I’ve ranked them and drawn from a pool of approximately 149 films. Click here to see previous years of this category.

Honorable mentions:
Adam Pally (Band Aid), Adam Sandler (The Meyerowitz Stories), Alden Ehrenreich (The Yellow Birds), Ali Fazal (Victoria and Abdul), Ansel Elgort (Baby Driver), Asa Butterfield (The Space Between Us), Ben Mendelsohn (Una), Ben Stiller (The Meyerowitz Stories), Burt Reynolds (The Last Movie Star), Christopher Plummer (The Exception), Claes Bang (The Square), Dan Stevens (Beauty and the Beast), Dan Stevens (Permission), Daniel Day-Lewis (Phantom Thread), Daniel Kaluuya (Get Out), Daniel Radcliffe (Jungle), David Oyelowo (A United Kingdom), Hugh Jackman (Logan), Igal Naor (The Women's Balcony), Jacob Tremblay (Wonder), Jon Hamm (Marjorie Prime), Joseph Cross (Tilt), Kyle Mooney (Brigsby Bear), Logan Lerman (The Vanishing of Sidney Hall), Martin Landau (Abe and Phil's Last Poker Game), Matt Bomer (Walking Out), Matt Damon (Downsizing), Nicholas Hoult (Rebel in the Rye), Peter Dinklage (Rememory), Ricky Gervais (David Brent: Life on the Road), Roland Møller (Land of Mine), Ryan Gosling (Blade Runner 2049), Shady Srour (Holy Air), Shahab Hosseini (The Salesman), Steve Carell (Battle of the Sexes), Thomas Mann (Some Freaks), Tom Hanks (The Post), Tye Sheridan (The Yellow Birds), Woody Harrelson (Wilson)

Runners-up:
Christopher Abbott (Sweet Virginia)
Menashe Lustig (Menashe)
Sam Elliott (The Hero)
Timothée Chalamet (Call Me By Your Name)
Josh Wiggins (Walking Out)

The winner:
Gary Oldman (Darkest Hour) was unrecognizable, buried under so many layers of makeup, but he didn’t let any of that mute his entirely committed performance as a leader and orator hell bent on getting his way.

Other nominees:
James Franco (The Disaster Artist) constructed a magnificent portrait of the enigmatic Tommy Wiseau, mimicking his mannerisms but also getting at who he truly is. Kumail Nanjiani (The Big Sick) played himself in a story all about him, bridging his comedy past with moving, heartwarming drama. Jake Gyllenhaal (Stronger) embodied a survivor who had to both recover and contend with the unwanted status of being a hero. Jon Bernthal (Sweet Virginia) took a break from punishing others to be the good guy for once in a typically dark and violent film.

Oscar Reactions


I went to visit my parents to watch the Oscars, and probably should have been worried that they lost power a few days ago. They have a generator that they’re using to watch TV and other things, but we experienced some severe trouble with the DVR going into the show that caused us to not being able to start watching until around 8:45pm. Fortunately, there were no problems from then on.

This was actually a really great show. I found it to be enjoyable from start to finish, and the fact that it went long wasn’t an issue since there were so many clips and montages, which I love, and, aside from the last one or two speeches, every single person who won got to speak, which I feel is rare. Jimmy Kimmel was a great host, acknowledging what’s going on in the world and in Hollywood in a way that was relatively respectful and funny at the same time. Most of the intro sketches worked, though the “Star Wars” one was pretty painful. Tiffany Haddish and Maya Rudolph were particularly funny, which was a nice do-over for the former comedian’s awkward Oscar nominations announcement with Andy Serkis. Most of what the winners said was great too, and no one seemed to be obnoxious or undeserving.

I did pretty well, especially compared with previous years. I scored 19/24, my best since 2013, when I got 20, and 2010, when I last scored 19. I unwisely bet against “Phantom Thread” for Best Costume Design, choosing “Beauty and the Beast,” which went home empty-handed, and I selected the wrong documentaries and foreign films, though the two that won were easily my second choices in each category. I’m disappointed about Best Original Song but fine with the message of the song from “Coco,” a movie I loved. And the last one I missed was Best Animated Short, which went to “Dear Basketball,” which I didn’t think was deserving, though it was nice to see Kobe Bryant so grateful.

I’m excited to have predicted everything else correctly, including the top eight races. It feels good to have the movie I was rooting for win, especially since I’m fine with “Get Out” winning just one Oscar for Best Original Screenplay (even if I was hoping for others) and “Three Billboards Outside Ebbing, Missouri,” a long title I’m grateful to not have to type anymore, just taking home two acting awards. It’s a shame that “Lady Bird” didn’t take home any Oscars since it really should have, but fortunately I have a feeling that it will be honored with a few AFT Awards shortly. My predicted totals were almost all right, which I’m happy about!

Now that Oscar season is officially over, come back later today for the start of my official awards for the best of the year, the AFT Awards, announcing this and next week!

Sunday, March 4, 2018

Your Guide to the Oscars


I did it this year for the first time - saw every single movie nominated for an Oscar this year. A few years ago, I didn't watch the Best Original Song nominees, which I thought couldn't be a problem, and then the song from “The Hunting Ground” was performed during the show and I felt lost. Now, I've done it, which is exciting, although I think we're actually going into what's generally a relative predictable show, with the major exception of the top race, of course. A year ago, “La La Land” was experiencing backlash that would ultimately lead to “Moonlight” winning, although only after the former film was mistakenly announced as Best Picture and the producers were halfway through their acceptance speeches. Though we shouldn't expect such theatrics this year, the mystery of which film will win the top prize is more heightened than it's been in a long time, if not ever. Read more about this in my detailed analysis of that race.

Last year, I was predicting “La La Land” to win eleven trophies (it won six). This year, my highest predicted haul is four. I'm writing these final thoughts just after watching the Independent Spirit Awards, which aren't actually a helpful precursor, but where “Lady Bird” won Best Screenplay and then lost to “Get Out” for Best Feature, a film that won Best Director also but in a field with none of the same other nominees as the Oscars. I guess I was holding out hope that “Call Me By Your Name,” my initial prediction for Best Picture way back when, could show up with a surprise win to really throw the race into turmoil, but no such luck. The Best Picture race is still a huge wild card - again, read my detailed analysis, and with it the Best Original Screenplay race remains unpredictable.

Honestly, the only other races that are up in the air are some of the technical ones, which could result in sweeps for either “Dunkirk” or “The Shape of Water,” Best Original Song, Best Documentary, and Best Foreign Film. I guess that's more than usual, even if the acting races are all sewn up.

I've tried to cover the Oscars more intensively than ever before, and it's been quite the awards season. I'm hoping that the two movies I like - “The Shape of Water” and “Lady Bird” - eclipse the two I don't - “Get Out” and “Three Billboards Outside Ebbing, Missouri” - and the only saving grace is that it's going to be impossible to know how it all turns out because of the unpredictable and competitive nature of the race. Let's hope at least that the wealth is spread in a cool and affirming way. I'd love to see Willem Dafoe score as a way to honor the criminally underrepresented “The Florida Project,” and for “The Big Sick” to shock with a win over four Best Picture nominees for its superb screenplay, but I'm not counting on either of those things happening.

Below, click on category headings to read detailed predictions for each race, and film names for full reviews of each contender. My predicted winner is in bold. Comment if you agree or disagree! Enjoy the show!

Best Picture
Call Me By Your Name
Darkest Hour
Dunkirk
Get Out
Lady Bird
Phantom Thread
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Director
Christopher Nolan (Dunkirk)
Jordan Peele (Get Out)
Greta Gerwig (Lady Bird)
Paul Thomas Anderson (Phantom Thread)
Guillermo Del Toro (The Shape of Water)

Best Actor in a Leading Role
Timothee Chalamet (Call Me By Your Name)
Daniel Day-Lewis (Phantom Thread)
Daniel Kaluuya (Get Out)
Gary Oldman (Darkest Hour)
Denzel Washington (Roman J. Israel, Esq)

Best Actress in a Leading Role
Sally Hawkins (The Shape of Water)
Frances McDormand (Three Billboards Outside Ebbing, Missouri)
Margot Robbie (I, Tonya)
Saoirse Ronan (Lady Bird)
Meryl Streep (The Post)

Best Actor in a Supporting Role
Willem Dafoe (The Florida Project)
Woody Harrelson (Three Billboards Outside Ebbing, Missouri)
Richard Jenkins (The Shape of Water)
Christopher Plummer (All the Money in the World)
Sam Rockwell (Three Billboards Outside Ebbing, Missouri)

Best Actress in a Supporting Role
Mary J. Blige (Mudbound)
Allison Janney (I, Tonya)
Laurie Metcalf (Lady Bird)
Lesley Manville (Phantom Thread)
Octavia Spencer (The Shape of Water)

Best Original Screenplay
The Big Sick
Get Out
Lady Bird
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Adapted Screenplay
Call Me By Your Name
The Disaster Artist
Logan
Molly's Game
Mudbound

Best Cinematography
Blade Runner 2049
Darkest Hour
Dunkirk
Mudbound
The Shape of Water

Best Production Design
Beauty and the Beast
Blade Runner 2049
Darkest Hour
Dunkirk
The Shape of Water

Best Costume Design
Beauty and the Beast
Darkest Hour
Phantom Thread
The Shape of Water
Victoria and Abdul

Best Film Editing
Baby Driver
Dunkirk
I, Tonya
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Original Score
Dunkirk
Phantom Thread
The Shape of Water
Star Wars: The Last Jedi
Three Billboards Outside Ebbing, Missouri


Best Original Song
“Mystery of Love” (La La Land)
“Remember Me” (Coco)
“This Is Me” (The Greatest Showman)
“Stand Up for Something” (Marshall)
“Might River” (Mudbound)

Best Sound
Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Sound Editing
Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Makeup and Hairstyling
Darkest Hour
Victoria and Abdul
Wonder

Best Visual Effects
Blade Runner 2049
Guardians of the Galaxy Vol 2
Kong: Skull Island
Star Wars: The Last Jedi
War for the Planet of the Apes

Best Animated Feature
The Boss Baby
The Breadwinner
Coco
Ferdinand
Loving Vincent

Best Documentary Short Film
Edith + Eddie
Heaven is a Traffic Jam on the 405
Heroin(e)
Knife Skills
Traffic Stop


Best Animated Short Film
Dear Basketball
Garden Party
Lou
Negative Space
Revolting Rhymes


Best Live Action Short Film
Dekalb Elementary
The Eleven O'Clock
My Nephew Emmett
The Silent Child
Watu Wote/One of Us


Best Documentary
Abacus: Small Enough to Jail
Faces Places
Icarus
Last Men in Aleppo
Strong Island

Best Foreign Language Film
A Fantastic Woman
The Insult
Loveless
On Body and Soul
The Square

Predicted totals:
The Shape of Water - 4
Dunkirk - 3
Three Billboards Outside Ebbing, Missouri – 2
Darkest Hour - 2
Blade Runner 2049 - 2
Get Out - 1
I, Tonya - 1
Call Me By Your Name - 1
Beauty and the Beast - 1
The Greatest Showman - 1
Coco - 1
Faces Places - 1
The Insult - 1

Saturday, March 3, 2018

Oscar Winner Predictions: Best Picture


The competition: Call Me By Your Name, Darkest Hour, Dunkirk, Get Out, Lady Bird, Phantom Thread, The Post, The Shape of Water, Three Billboards Outside Ebbing, Missouri

Previous winners: Moonlight, Spotlight, Birdman, 12 Years a Slave, Argo, The Artist, The King’s Speech
My winner: Announcing shortly after the Oscars!

The facts: There are a whole bunch of statistics this year, with a guarantee that the winner will defy at least one historical trend. First, let’s start with the sheer numbers for each film. “The Shape of Water” is the nominations leader with thirteen bids. “Dunkirk” follows with eight, “Three Billboards Outside Ebbing, Missouri” with seven, “Darkest Hour” and “Phantom Thread” with six, “Lady Bird” with five, “Call Me By Your Name” and “Get Out” with four, and “The Post” with two.

Three Billboards Outside Ebbing, Missouri” won the Golden Globe for Best Picture – Drama and the BAFTA Award for Best Picture, where neither “Get Out” or “Lady Bird,” both competing in the comedy races at the Globes and only recognized in other categories at the BAFTAs, were nominated. It also won the SAG Award for Best Ensemble, where those two films were in the running, but “The Shape of Water,” which took the PGA, the Critics’ Choice Award, and the DGA as well as all major director prizes so far, wasn’t. The PGA and Critics’ Choice Awards represent the closest scenario to this field, with seven of these films all nominated and the missing two certain not to affect the outcome, which suggests that “The Shape of Water” can eclipse the rest. But there’s much more to say, below!

Who should win: I’ll be starting my own awards this week, where you’ll see which films I loved and which I didn’t. I wish I was more enthusiastic about “Three Billboards Outside Ebbing, Missouri” and “Get Out,” but I’m just not. The former was a disappointment after liking Martin McDonagh’s previous work (and his brother’s), while the latter was much better than I expected but still much more social commentary than award-worthy movie. I wouldn’t put “Phantom Thread” and “The Post” on this list either, but the other five are pretty good. “Call Me By Your Name” and “Darkest Hour” were both strong in their own ways, “Dunkirk” was extremely well-done, and “Lady Bird” is a terrific film. To me, someone who liked but didn’t love “Pan’s Labyrinth,” it’s all about “The Shape of Water,” which ranks in my top five films of the year and is my firm choice to win this award.

Who will win: This is the first time since I’ve been watching the Oscars (2002, officially) that we truly have no idea what film will win. There’s always been a frontrunner and often a primary challenger, and rarely a third, which would have been “Mad Max: Fury Road” in 2015 and “Juno,” which I predicted to no avail, in 2007. This year, there are legitimately three films that all stand a good chance of winning, with “Lady Bird” and “Dunkirk” as possible but unlikely spoilers.

Here’s where that history mentioned above matters. Let’s look at typical Best Picture requirements and which films don’t have them. “The Shape of Water” is missing a SAG ensemble bid that has been necessary for every film aside from “Braveheart” since the category existed (the same year, 1995). “Get Out” and “Lady Bird” have that but are missing Best Film Editing nominations, which every film in the past thirty-five years except for “Birdman” had. “Three Billboards Outside Ebbing, Missouri” won the SAG ensemble prize and the big prizes mentioned above, but it was shut out of the Best Director category. Only four movies since the inception of the Oscars have won without that. “Wings” and “Grand Hotel” were both in the first decade of the Oscars. “Driving Miss Daisy” scored, but director Bruce Beresford had already been left off the DGA and Globe lists when his film triumphed at PGA and the Globes anyway, so his omission wasn’t all that relevant since his film didn’t seem to need him to win. Most recently and famously, Ben Affleck got shockingly snubbed for “Argo.” In that case, however, he had won the DGA, the Globe, and pretty much every other award, so his film probably got even more votes for Best Picture because he wasn’t nominated.

To me, that’s the most crucial statistic, and one that could work in McDonagh’s favor if they want to honor his film with him absent, but, though he has taken home a handful of writing prizes, he hasn’t won a single directing award this year. On the other hand, Del Toro has won every major directing award, and his film has triumphed when the lineups have been closest to this field. It’s certainly possible that “Three Billboards Outside Ebbing, Missouri” will win, but it’s likely that “Get Out,” which would represent a more monumental victory for its fans, is actually in second place. Everyone seems to like “Lady Bird,” and the question is whether people really love it enough to vote for it as their first choices. “Dunkirk” will get votes too, but not enough. In recent years, the Best Picture winner has won very few trophies, which means that even if “The Shape of Water” wins almost every award it’s nominated for, I’ll still be on the edge of my seat waiting to find out what film is announced as Best Picture. Last year’s “La La Land” snafu won’t soon be forgotten, but the most crucial thing for this year is that it had already won six prizes, with “Moonlight” taking only two, and then the latter film prevailed. Perhaps unwisely, I’m going to predict The Shape of Water to narrowly eclipse “Get Out” and “Three Billboards Outside Ebbing, Missouri” in the wildest Best Picture race I’ve ever seen.

Friday, March 2, 2018

Oscar Winner Predictions: Best Director


The competition: Christopher Nolan (Dunkirk), Jordan Peele (Get Out), Greta Gerwig (Lady Bird), Paul Thomas Anderson (Phantom Thread), Guillermo Del Toro (The Shape of Water)

Previous winners: Damien Chazelle (La La Land), Alejandro Gonzalez Inarritu (The Revenant), Alejandro Gonzalez Inarritu (Birdman), Alfonso Cuaron (Gravity), Ang Lee (Life of Pi), Michel Hazanavicius (The Artist), Tom Hooper (The King’s Speech)
My winner: Announcing shortly after the Oscars!

The facts: Just won of these directors is a returning nominee, and that’s Anderson, who was previously nominated for two original screenplays, two adapted screenplays, and for directing “There Will Be Blood.” Nolan had two screenwriting bids for “Memento” and “Inception.” Del Toro was nominated for writing “Pan’s Labyrinth.” This year, Anderson and Nolan are also nominated as producers, Gerwig as a writer, and Peele and Del Toro as writers and producers. Del Toro won the Golden Globe, the DGA Award, and the Critics’ Choice Award. He also won the BAFTA, though Nolan was the only other one from this list nominated. A director who has won both the Golden Globe and the DGA Award has gone on not to win the Oscar exactly three times: in 1949, when Robert Rossen lost for “All the King’s Men” to Joseph L. Mankiewicz for “A Letter to Three Wives,” in 2000 when Ang Lee lost for “Crouching Tiger, Hidden Dragon” to Steven Soderbergh for “Traffic,” and in 2012 when Ben Affleck wasn’t even nominated for the Oscar for “Argo.” The last two years, the film that won this award did not win Best Picture, but, aside from Affleck in 2012, the DGA winner has gone on to win this prize since 2003.

Who should win: I don’t know what necessitated the inclusion of Anderson here when his film is hardly in the same category as the rest. I can understand the enthusiasm for Peele even if I don’t think that the film merits the buzz it’s gotten, though I suppose directing would probably be the best place to honor it. Gerwig did a wonderful job bringing her story to life and would be a decent choice. It’s shocking that Nolan earned his first Oscar directing bid for a film that’s so normal in so many ways, but it’s still a tour de force. Over the rest, I would choose Del Toro’s vision of his mesmerizing universe.

Who will win: Anderson doesn’t have a shot, but the other four will all get votes. The fact that Del Toro has pretty much won everything thus far means that he’s far enough ahead that a victory for Peele or Gerwig’s films would happen in the original screenplay or Best Picture category instead. Nolan might have had a good chance if he had collected more prizes thus far this awards season.

Thursday, March 1, 2018

Oscar Winner Predictions: Best Animated Short


The nominees:
Dear Basketball (B)
This adaptation of a letter Kobe Bryant wrote to the NBA officially declaring his retirement is not the typical focus for a nominated short. The visual interpretation of his ode to the thing that he loves is pretty incredible, with hand-drawn animation bringing all of his formative experiences and dreams to life. For those not invested in Bryant’s career or in the sport, this film does its best to capture the incredible attachment he feels to basketball and what retiring truly means for him.

Garden Party (C+)
Don’t let this short’s title fool you: this isn’t a normal party. This French film follows the amphibian residents of the inside and outside of a rich home where very little seems to be happening and plenty is decomposing. It’s not worth ruining its ending, but this short is relatively unappealing and only moderately engaging as its protagonists make typical animal noises and crawl around an abandoned mansion.

Lou (B+)
Here’s Pixar’s contribution to this year’s lineup, the film that played before “Cars 3” during its theatrical release. As usual, it’s a sweet story of an unlikely transformation, this time about a bully who is reminded of his humanity by the monster living inside a lost and found box in the school playground. It’s simple and endearing, and very hard not to like.

Negative Space (B+)
This stop-motion French short is simple in its presentation but its content is considerably more layered and deep, with a special emphasis placed on the value of space. An adult son’s recollections of how he bonded most with his well-traveled father over being taught how to efficiently pack a suitcase are made all the more poignant by the realization that those moments were their most substantive together. The animation, particularly the folding of the clothes, is marvelous.

Revolting Rhymes (B+)
This short is the length of the other four combined, adapting poems from the Roald Dahl book of the same name. Featuring recognizable voices like Dominic West, it begins with a wolf sitting in a restaurant and telling the woman with him an intermingled story of Red Riding Hood and Snow White. It’s fresh, creative, and not as revolting as the title would have you think despite some unpleasantness, and definitely a productive and commendable effort.

Previous winners: Piper, Bear Story, Feast, Mr. Hublot, Paperman, The Fantastic Flying Books of Mr. Morris Lessmore, The Lost Thing

Who should win: I wouldn’t vote for “Garden Party” or “Dear Basketball,” but any of the other three would be fine. I’d probably pick “Lou.”

Who will win: I think it’s between Lou and “Negative Space,” and I’ll choose the former for now. I’ve seen in the past that this category can be wildly unpredictable, so it could honestly be any of them, though probably not “Garden Party.”

Oscar Winner Predictions: Best Live Action Short


The nominees:
Dekalb Elementary (B-)
This is a particularly tough watch given its subject matter – a man who walks into an elementary school with a gun – and the recent mass shooting at a Florida high school that has been dominating the news. Knowing that this story is based on a real 911 call that was placed by a receptionist adds depth and purpose, but this reenactment, if that’s what it’s meant to be, feels less than genuine. The most difficult part is that this film takes a less destructive course than what has actually happened in reality so many times, offering what might be a hopeful prediction for the future but one that sadly doesn’t hold much water.

The Eleven O’Clock (A-)
This very clever and entertaining short is reminiscent of two past nominees from this category, “The Voorman Problem” and “The New Tenants.” It stars Josh Lawson from “House of Lies” and Damon Herriman from “Justified,” both using their native Australian accents, as a therapist and his patient, who has a delusion that causes him to believe that he is a therapist. Watching both of them try to run the session with the other refusing to play the role of the patient is extraordinary fun, and this thirteen-minute ride doesn’t try to accomplish too much, allowing its two hilarious leads to play off each other superbly for a very memorable interaction.

My Nephew Emmett (B)
This short centers on the abduction of fourteen-year-old Emmett Till from his uncle’s house after he was accused by a white woman of whistling at her, leading to historically relevant events that helped pave the way for the civil rights movement. Seeing Emmett’s uncle try so hard to protect his nephew while still acknowledging the circumstances around him and playing a purposely subservient part is harrowing, but there isn’t much about this dramatization that stands out aside from the power of the true story itself.

The Silent Child (B+)
The past two winners of this award have given a focus to those without much of a voice, and this poignant film amplifies that with its story of a young deaf girl whose parents don’t know what to do with her. When a social worker arrives, she begins teaching her sign language and develops an unprecedented bond, but her parents don’t seem interested in investing in such an effort. This call to action for helping those with disabilities thrive with the right support is compelling, and its story is equally sweet and effective.

Watu Wote/All of Us (B)
This student film from German director Katja Benrath takes place in Kenya, where a Christian woman takes a bus to visit relatives that is attacked by a terrorist group that insists on separating the Christian passengers from the Muslims. Adapted from a true story, this film examines cultural clashes and preconceptions while presenting a relatively straightforward recreation of events. While unspectacular, this is far better than past requisite nominees like “That Wasn’t Me” in 2014 and “Na Wewe” in 2011 about third-world incidents like this one.

Previous winners: Sing, Stutterer, The Phone Call, Helium, Curfew, The Shore, God of Love

Who should win: I wasn’t too fond of “Dekalb Elementary,” and I don’t think it’s just because watching anything related to a school shooting these days is more than unpleasant. “My Nephew Emmett” and “Watu Wote” both evoked real-life events but didn’t accomplish more than just portraying them on screen. “The Silent Child” was easy to like and would be a perfectly deserving winner, and I’d enthusiastically throw my support behind the shortest but most worthwhile of these nominees, the delightfully entertaining “The Eleventh O’Clock.”

Who will win: I think that any of these could win, but I think the likeliest given the recent films that took home the award is The Silent Child.

Oscar Winner Predictions: Best Documentary Short


The nominees:
Edith + Eddie (B)
This love story about two people with similar names who got married at age 95 and 96 starts out as the sweetest, most endearing tale of unexpected affection discovered later in life but quickly turns sour thanks to the real-life events that tore them apart. Watching Eddie hand Edith her teeth before putting in his own shows how much they care for each other, but Edith’s declining mental health and a disagreement between her daughters over how best to care for her leads to a court-appointed guardian bringing Edith to Florida while Eddie waits at home not knowing when he’ll see her next. This profile of a form of elder abuse spotlights this situation but doesn’t share any answers other than sadness, making it heartbreaking but not quite as influential as perhaps it could have been or might still be. Available on Topic.com.

Heaven is a Traffic Jam on the 405 (B)
There’s no denying how incredibly interesting this film is, spotlighting a fifty-six-year-old artist who has struggled with mental illness throughout her life. Beginning with a nod to the title and how a typically agonizing daily occurrence for many provides rare solace for Mindy Alper, who is frequently overwhelmed by overstimulation from other people in places like the supermarket. Her own understanding of her childhood and the relationships with her parents that led her to improve her speech and ability to communicate through her art is truly intriguing, and the actual product she creates is astonishing, especially considering the limitations she describes overcoming and continuing to live with presently. Available on YouTube.

Heroin(e) (B)
This look at Huntington, West Virginia is not an optimistic one, since it boasts a heroin overdose rate ten times the national average. What is cause for celebration is the way in which a number of women in the community seek to change that statistic and help those who suffer, including the fire chief who gets many calls in which she can help save a life and the judge who runs drug court, where she scolds those who have lapsed in their mandated efforts to stay clean and warmly congratulates those who have reached anniversaries and resisted the temptation to fall back into old habits. One resident hears the horrifying numbers of overdoses in the past year and is proud that, for the first time, he isn’t a part of that count. It’s a worthwhile spotlight and an inspiring showcase of what those in this town are trying to do to combat it, even if it’s not an extraordinary film. Available on Netflix.

Knife Skills (B+)
It’s rare to see an affirming story like this one which doesn’t involve much negativity. I had heard about Edwin’s, the French restaurant in Cleveland that employs only people who have been recently released from prison, from one of its founding members, and this energizing film does a great job of sharing its story. The positive outlook doesn’t ignore the reality that many ex-convicts are rearrested within the first year and that even the most committed members of the program aren’t immune to temptations and circumstances that threaten their livelihood. The innovative nature of this particular opportunity for rehabilitation is truly inspiring, and the need to learn how to prepare all twenty-five dishes for this fancy French establishment shows that it’s not just a charity organization but a place where serious cuisine happens. The opening night of the restaurant, which gets its own spotlight, involves lots of excitement and nerves, but also some great-looking food. Quotes like “I would take the rush of what I’m doing now over the rush of getting high any day” show just how successful that program has truly been. Available on iTunes.

Traffic Stop (B+)
This is a documentary built mainly from dash cam footage, showing the stop and arrest of twenty-six-year-old African-American schoolteacher Breaion King in 2016 in Austin. King is profiled as an upstanding member of society who couldn’t believe what was happening to her when a white police officer pulled her over for speeding in a fast food parking lot and then treated her as if she was the guilty perpetrator of some violent crime. Fortunately, this is one situation that didn’t have a deadly outcome, and the footage, which King didn’t know was being recorded, is difficult to dispute. King’s experience is nonetheless harrowing, especially for the speed with which it happened and escalated. King’s honest conversation with a backup officer while she was handcuffed in the back of the car on the way to jail offers a frank and effective analysis of how King views racism in society. Available on HBO.

Previous winners: The White Helmets, A Girl in the River: The Price of Forgiveness, Crisis Hotline: Veterans Press 1, The Lady in Number 6, Inocente, Saving Face, Strangers No More

Who should win: Three of these films are worthy nominees but wouldn’t get my vote since they fail to rise above their material to become excellent in their own right. While “Traffic Stop” is captivating in its use of video footage and its stark arguments, my choice is the most positive one that captures its characters’ energy, “Knife Skills.”

Who will win: In some cases, it’s the sunnier film with a warm message that wins over more misery-centered fare, which leads me to think that “Knife Skills” will win. The safer choice is probably Heaven is a Traffic Jam on the 405 or “Edith + Eddie.”