OSCAR PREDICTIONS 2019

OSCAR PREDICTIONS 2019

Disclaimer: These are the films that I personally believe should win in each category, not my prediction of who I believe The Academy will choose.  Also, I did not see Border, Cold War, Hale County This Morning, This Evening, Mary Queen of Scots, Mirai, Never Look Away, or Of Fathers and Sons

Best Picture – 1st Pick: Roma, 2nd Pick: A Star Is Born (but Green Book will win if Roma doesn't)
Best Director – 1st Pick: Alfonso Cuaron, 2nd Pick: Spike Lee
Best Actor – 1st Pick: Bradley Cooper, 2nd Pick: Rami Malek (will win)
Best Actress – 1st Pick: Glenn Close, 2nd Pick, Lady Gaga
Best Supporting Actor – 1st Pick: Mahershala Ali, 2nd Pick: Richard E. Grant
Best Supporting Actress – 1st Pick: Rachel Weisz, 2nd Pick: Emma Stone (but Regina King will win)
Cinematography – 1st Pick: Roma, 2nd Pick: A Star Is Born
Film Editing – 1st Pick: Bohemian Rhapsody, 2nd Pick: Green Book
Original Screenplay – 1st Pick: Green Book, 2nd Pick: Roma
Adapted Screenplay – 1st Pick: A Star Is Born, 2nd Pick: The Ballad of Buster Scruggs (but BlacKkKlansman will win)
Production Design – 1st Pick: First Man, 2nd Pick: The Favourite (but Black Panther will win)
Costume Design – 1st Pick: Black Panther, 2nd Pick: The Favourite
Makeup and Hairstyling – 1st Pick: Vice, 2nd Pick: Mary Queen of Scots
Best Animated Feature – 1st Pick: Spider-Man: Into the Spider-Verse, 2nd Pick: Incredibles 2
Best Animated Short – 1st Pick: Bao

Documentary Feature – 1st Pick: Free Solo, 2nd Pick: RBG

Foreign Language Film – 1st Pick: Roma, 2nd Pick: Cold War

Best Original Score – 1st Pick: Alexandre Desplat (Isle of Dogs), 2nd Pick: Marc Shaiman (Mary Poppins Returns)
Best Original Song – 1st Pick: Shallow (A Star Is Born), 2nd Pick: The Place Where Lost Things Go (Mary Poppins Returns)
Visual Effects – 1st Pick: Ready Player One, 2nd Pick: First Man (will win)
Sound Editing – 1st Pick: A Quiet Place, 2nd Pick: First Man
Sound Mixing – 1st Pick: A Star Is Born, 2nd Pick: First Man

Movie Reviews for 2019 Oscar Nominees

At Eternity's Gate

Avengers: Infinity War

The Ballad of Buster Scruggs

Black Panther

BlacKkKlansman

Bohemian Rhapsody

Can You Ever Forgive Me?

Christopher Robin

The Favourite

First Man

First Reformed

If Beale Street Could Talk

Isle of Dogs

A Quiet Place

Roma

Solo: A Star Wars Story

Spider-Man: Into the Spider-Verse

Vice

The Wife

The Ballad of Buster Scruggs - 9 stars out of 10

The Ballad of Buster Scruggs - 9 stars out of 10

"The Balled of Buster Scruggs” is an anthology Western with every bit of wit and dark humor that you expect from the Cohen Brothers.  Is it one of those rare movies that I finished and wanted to immediately start watching again.  Each vignette is completely memorable in its own way, which provides a diverse viewing experience that feels cohesive because of its unified tone and setting.  It has been trendy to rank the vignettes so I will do the same:

1. All Gold Canyon

2. The Gal Who Got Rattled

3. The Ballad of Buster Scruggs

4. Meal Ticket

5. The Mortal Remains

6. Near Algodones

Honestly, a ranking probably isn’t fair because they are all so good.  As a whole, the collection of stories work well together but I would have much preferred to see the order adjusted so that the film ended with All Gold Canyon or The Gal Who Got Rattled.  After five poignant conclusions, the ending of the final vignet seems rather anticlimactic, though I can’t fault the Coen Brothers for choosing to end the film with one of their original stories instead of one of the two that was based on someone else’s work.  I love the incorporation of traditional songs into Carter Burwell score (particularly "Mother Machree").  The violence is a bit graphic but it fits with the Western setting.  I found this to be one of the more entertaining films of 2018 and I’m glad that it was acknowledged with Oscar nominations for Adapted Screenplay, Costume Design, and Original Song.  Hopefully this will encourage Netflix to continue producing content that is worthy of the Awards circuit.  “The Ballad of Buster Scruggs” might seem a little highbrow for some but I feel that it is accessible to most audiences.  Each story lasts about 15 minutes and you’re on to the next one if it didn’t appeal to you.  Anyone with a subscription to Netflix is missing out if they don’t give this one a shot!

[Pictured: This film is highly entertaining even if you aren't a fan of Westerns]

Spider-Man: Into the Spider-Verse - 10 stars out of 10

Spider-Man: Into the Spider-Verse - 10 stars out of 10

I approached “Spider-Man: In the Spider-Verse” with much skepticism.  It seemed too soon considering how busy Spidey has been in the Marvel Cinematic Universe.  And is there even room for an animated Spider-Man film in an oversaturated superhero market?  I wrote this film off until it won the Golden Globe for Best Animated Feature and my curiosity was piqued.  There was no way that it could be better than “Incredibles 2” and “Ralph Breaks the Internet,” right?  But I am now a believer.  “Into the Spider-Verse” is unquestionably the best animated film of 2018 and I would argue that it is the greatest Spider-Man movie ever made.  The film is a 3-dimensional comic book, combining realistic computer animated characters with speech bubbles and split screens that resemble a comic book page.  The film utilizes quick cuts along the lines of “The Big Short,” though we can’t refer to this as “film editing” because it is animated.  It has a completely unique visual style that sets it apart from every other film.  Aside from the unforgettable visual presentation, the story is well-conceived and profound in its use of parallel universes.  The parallel universe concept allowed the writers to create an Avengers-like crew comprised of Spider-Mans (Spider-Men?) including Miles Morales, Peter Parker, a less refined Peter Parker, Spider-Woman, Spider-Man Noir, Peni Parker, and my favorite: Peter Porker/Spider-Ham.  It is genius.  This could often be viewed as a gimmick but it fits perfectly in the context of Kingpin's evil plan.  I was especially amazed at the texture variation and physical depth between multiple characters in a single shot.  They were each rendered differently depending on which universe they were from.  The film has the perfect balance of comedy, drama, and action.  The only problem is that Sony probably cannot ever match this film.  It is doubtful that they could conceive a better story and mimicking the style of this one would be just as disappointing as trying do something inferior.  “Spider-Man: Into the Spider-Verse” is a cutting edge animated film that may change the way that studios approach superhero films.  It is a great reminder that heroes come in all shapes and sizes.

[Pictured: This has to be the first time that a film has created a superhero team out of several iterations of a single superhero and it is incredible]

At Eternity's Gate - 3 stars out of 10

At Eternity's Gate - 3 stars out of 10

“At Eternity’s Gate” didn’t resonate with me.  I suppose that it is appropriate to take an artsy approach to the final years of Vincent Van Gogh’s life but it left me craving a clear narrative.  This film is more about painting a picture than telling a story.  A series of one-on-one conversations reveal Van Gogh’s perspective of the world.  These are sandwiched between extended POV sequences of him walking through various landscapes.  It just reads as a very boring 110 minutes.  The main draw of the film should be Willem Dafoe’s Oscar-nominated performance but this was the biggest letdown of all.  He is a consistently great actor and this comes with a very high expectation.  When you throw in an Oscar nomination that bumped out Timothée Chalamet for “Beautiful Boy,” the expectation rises even higher!  It was amazing to watch Dafoe recreate Van Gogh’s masterpieces but his acting was just average.  I much prefer last year’s animated “Loving Vincent” to this film and feel that it better captures the essence of Van Gogh’s life.  “At Eternity’s Gate” will probably fall into obscurity after Dafoe misses out on the Oscar and that’s okay.  Even though I love his artistic style, I would never have a desire to watch this one again.

[Pictured: If only the entire film could be as captivating as every sequence in which Dafoe paints]

Can You Ever Forgive Me? - 8 stars out of 10

Can You Ever Forgive Me? - 8 stars out of 10

"Can You Ever Forgive Me?” is a completely unique film that follows a writer forges letters written by famous writers in order to make ends meet.  The story is fascinating and the fact that it is a true story is an added bonus!  And yet, the most impressive part of the film is that it defies our expectation of a Melissa McCarthy film.  She has made a career off of shock-value humor and silly characters (even earning her an Oscar nomination for “Bridesmaids”).  However, McCarthy transforms herself into a bitter, unhappy writer that is truly unrecognizable in comparison with the rest of her body of work.  Her performance is very good but it is this contrast that will leave an impression for anyone that has seen her in any other film.  This could be a turning point in her career as she has successfully proven herself as a serious performer, particularly with her emotional monologue toward the end.  She is complimented by fellow Oscar nominee Richard E. Grant.  Their love-hate relationship has great chemistry and helps to make each of their characters multi-dimensional.  The screenplay adds just enough comedy to keep this crime caper from becoming too serious.  “Can You Ever Forgive Me?” probably won’t bring home any Oscars but hopefully the nominations are enough to put it on film fans’ radars for years to come.

[Pictured: This film is a great combination of lightheartedness and intensity, particularly this scene which will make your heart pound]

Bohemian Rhapsody - 9 stars out of 10

Bohemian Rhapsody - 9 stars out of 10

I am thrilled with “Bohemian Rhapsody,” a film that properly honors my favorite rock band of all time.  The film has been criticized for historical inaccuracies and watering down some of the R-rated escapades of the band but everybody needs to cool their jets.  It was meant to be a tribute, not an expose, and if it’s good enough for Brian May and Roger Taylor then it’s good enough for me.  Remi Malek’s Oscar-worthy performance as Freddie Mercury is stunning.  Every movement and line of dialogue carefully considers the way that Freddie would have done it.  The place where I’m torn is the singing.  The Live Aid concert sequence is epic in proportion and the integration of Queen’s music into every scene makes it a strong contender for the Best Sound Mixing Oscar.  There’s just one problem – the voice that we are hearing is a combination of Malek, Mercury, and another singer.  I find it disingenuous any time that an actor lip-syncs because there are enough great singers out there that they should have to, but I’m torn in this particular situation.  Freddie had such a unique voice that it would have been impossible to find an actor with the correct ethnicity, flamboyancy, and a voice that could even come close to mimicking Freddie.  When combined with the fact that Malek would have been lip-syncing to his own voice during these sequences anyways, I would have been more upset if the vocals didn’t sound like Mercury than I am that they incorporated his original vocals into the final product.  Even though this film is about the band, it is clearly focused on Freddie as the rest of the band members receive virtually no character development or depth.  But these actors deliver where it counts, and that is in the many musical sequences that occur in arena, recording studios, and at home.  Gwilym Lee is a literal clone of Brian May as he shreds the famous guitar solos, Ben Hardy has the most depth as drummer Roger Taylor, and Joe Mazzello is mild-manner like the real-life John Deacon on bass.  To me, the true standout of the film is Lucy Boynton.  She stole the scene every time that she was onscreen and I probably would have given her a spot in this year’s fairly weak Best Supporting Actress category.   I'm happy that it received an oscar nomination for Best Film Editing.  There are so many musical sequences that they could easily get boring but each one is filmed with its own unique energy that keeps the film moving as we learn the history behind many of Queen's greatest hits.  There have been many complaints that the only way to explore Freddie’s exploits is with an R-rating but I greatly appreciated the tastefulness used in telling his story.  “Bohemian Rhapsody” takes a few historical liberties with the band’s story but it drives the main point home: Freddie Mercury was a visionary who died too young but made an impact on the musical world that will never be forgotten.

[Pictured: These actors emulate their characters so perfectly that you'll think that you are watching archival footage of the actual band]

The Favourite (2018) - 4 stars out of 10

The Favourite (2018) - 4 stars out of 10

"The Favourite” irked me.  This historical film portrays Queen Anne’s intimate relationship with two women with plenty of graphic content but there’s a problem… it is a very slim chance that this is actually true.  I understand taking a historical liberty here and there for dramatic effect, but it is an issue to center your entire plot around a likely historical inaccuracy and pretend that it is fact.  At its core, this is a story about two influential women taking advantage of their friendship with the queen in order to control Britain.  It’s a fascinating tale of female empowerment but it gets completely muddied by Deborah Davis’ concoction of a love triangle.  She conveniently left out any mention of Queen Anne’s close relationship with her husband, not even showing him as a character at any point in the film.  I’m actually pretty surprised that a woman wrote this screenplay.  The presentation of the story is disrespectful to women from start to finish and the entire film was predicated on shock-value dialogue.  Davis was passing out crude language like it’s candy.  Despite the shortcomings of the script, Olivia Colman, Rachel Weisz, and Emma Stone all put on masterful performances.  Each one brings depth and emotion to their character and it’s no surprise that they all received Oscar nominations.  It was also deserving of Oscar nominations for Production Design and Costume Design, but its nominations for Picture, Director, Screenplay, Cinematography, and Editing should have been split amongst the many superior films.  Overall, Yorgos Lanthimos’ direction didn’t impress me.  I liked the Tarantino-esque chapter stylization but it didn’t add much to the storytelling.  The best part of the movie was probably the score, which was a clever series of Baroque classics to transport us to the 1700’s.  In my opinion, the content of “The Favourite” makes it unwatchable.  I hope that it is somehow shut out at the Oscars so that it doesn’t receive any validation for its crude content.  I can’t think of a circumstance when I would ever want to watch this celebration of shock, even with its impressive acting and interesting “The grass is always greener on the other side” message.

[Pictured: Acting, costuming and set designs were great, but it was like putting lipstick on a pig when you consider the horrible screenplay and frustrating historical inaccuracy]

Roma (2018) - 10 stars out of 10

Roma (2018) - 10 stars out of 10

"Roma” is more than another Oscar contender.  It is a piece of artwork in motion.  The film is a continuous series of examples demonstrating how energy can be brought to the mundane through cinematic artistry.  We often praise a film for incorporating an impressive tracking shot into the story (“Atonement,” “Touch of Evil”), but Alfonso Cuarón delivers dozens of them.  The film is three-dimensional, not in the sense that we wear glasses but in the sense that we find ourselves surrounded by the film thanks to the filming techniques.  The scene where Yalitza Aparicio turns off the lights and the camera circles around the entire room, the delivery room scene where the action moves from the foreground to the background and back several times while the camera remains stationary, the scene where the camera moves up and down the beach, into the water, and back to the beach again - these are all examples of how we move with the characters or sit with them as we see the scenes develop from their perspective.  And all of these scenes last several minutes without a single camera cut.  I knew that I was in for a treat when the opening credits of the film rolled overtop of a tracking shot that continues into the opening scene for several minutes.  The simple “waves” of water flowing in and out of the picture seem like an unnecessary over-complication for a title sequence and yet, they perfectly foreshadow the film’s climax.  It seems like Cuarón intentionally chose the most challenging film techniques just to see if he could do them.  And he ended up mastering them.  The camera panning is like a well-choreographed dance and the film will most likely win the Oscar for Best Cinematography.  The film was shot in sequence and on location, adding to the realism of the story.  Cuarón built this story around his memories growing up in Mexico City and it was literally filmed across the street from Cuarón’s childhood home.  The setting’s basis in reality makes it beautifully vivid and an obvious Oscar nomination for Production Design.

If there was an award for “Best Background Ensemble,” this cast would certainly win.  With Cuarón‘s long shots, we are constantly seeing secondary and extra characters in the background doing exactly the right thing when the camera reaches them.  This promotes the organic feel of the film, as if the camera wasn’t even there and everybody acted out the entire scene in three dimensions.  One of the most surprising Oscar nominees for any film this year is Yalitza Aparicio.  Her performance is filled with subtle emotion instead of the bold, impassioned monologues that typically earn nominations.  Aparicio was cast without formal training or experience in acting, which helps to establish the timidity necessary for her character.  It gives her an authenticity that comes out most in the beach scene where in reality, like her character, she cannot swim.  It is pretty rare for a foreign film to earn an acting nomination and this performance is much different than the few instances where one has.  Marina de Tavira’s nomination was equally as surprising, though her character had some strong emotional moments.  Almost everything in this film is perfection.  Almost.  We all could have done without the unapologetic, extensive male nudity while demonstrating martial arts.  The scene itself is crucial to setting up the events of the film and the group martial arts scene, but it would have been equally effective (though admittedly less memorable) if he had been wearing underwear.  “Roma” reminds me of films like “Boyhood” in that you aren’t really going to stream this one a few times a year for entertainment.  It is more like an event in which you sit down and absorb the film.  It can be intimidating for audiences because a 2+ hour, black and white, foreign film with subtitles requires a large amount of concentration, even if the dialogue is very simple.  Still, it is worth your time to take in this visual masterpiece from Alfonso Cuarón.  You can isolate hundreds of 5-second clips from this film that read as individual works of art.  They so beautifully capture the joys and tragedies of life and when you string them all together, the experience is surreal.

[Pictured: They said that "Roma" was meant to be seen in the theater and not at home on Netflix.  But sometimes, you can have your cake and eat it, too!]

Visions (2015) - 8 stars out of 10

Visions (2015) - 8 stars out of 10

In a world where most horror films follow a certain equation, “Visions” reverses the equation in a way that I have never seen before.  This direct-to-video is quite impressive and deserves a theatrical run.  The film follows a pregnant mother who is haunted by a tragedy from her past.  Sounds pretty standard, but the delivery is magnificent.  The setting is interesting, tucked away in the mountains for a feeling of isolation but at a vineyard that has neighbors close enough that the main couple frequently interacts with others.  The mystery develops at a pace that keeps us interested but gives us time to question where the visions come from, what they mean, and how the house factors into them.  There are a few big clues throughout the film that could give it away but the script withholds one important piece of information that renders the clues useless.  This provides us with that great “A-ha!” moment at the end.  The way that every single clue lines up in the final sequence is sophisticated beyond most horror films.  This amazing story is accompanied by strong performances that bring it to life, particularly Isla Fisher in the lead role.  Her character feels real but her distress over her past makes us question if her visions are real.  She is joined by Anson Mount as her sympathetic husband and Joanna Cassidy as the token in-tune-with-the-supernatural-world character.  I was particularly impressed with Gillian Jacobs and her impassioned role.  Jim Parsons and Eva Longoria are there to add big names to the cast list but they don’t do much.  Overall, it’s easy to disregard “Visions” at first glance since it never appeared in US theaters.  However, don’t pass on this film just because you’ve never heard of it!  Once you give it a chance, you will find that its sophisticated concept and execution aspire beyond most big-budget horror films.  This is a must-see!

[Pictured: Isla Fisher brings intensity to this well-written story]

The Wife (2017) - 10 stars out of 10

The Wife (2017) - 10 stars out of 10

"And the Academy Award Goes To...”  At first, I was annoyed at the prospect of Glenn Close winning this year’s Best Actress Oscar over Lady Gaga.  “A Star Is Born” was an amazing film with Gaga commanding the screen and it seemed like Close would receive the Oscar merely because it was “her turn.”  And then I saw “The Wife.”  This is one of the best films of 2018 and I don’t know how it has been neglected on the awards circuit.  Glenn Close drives this film with her powerful performance, bringing both timidity and boldness to her character.  It has an amazing pace that builds to that moment when she will reach her boiling point.  And just when we think that we have her figured out, her character develops another layer in the final scene.  It is truly an Oscar-worthy achievement.  While she has been celebrated for this powerful portrayal, where is the acclaim for Jonathan Pryce’s extraordinary performance?  He has barely been acknowledged and yet, part of what makes this film so strong is the chemistry between these leads.  His character strengthens Close’s character, not to mention that he effectively earns our sympathy and disdain.  There was certainly room for him in the Supporting Actor category.  The casting of Annie Starke was wonderful as she perfectly embodied a young Glenn Close and her quality of acting helped to strengthen our attachment to Close with every flashback.  I also loved the use of Christian Slater’s character to gently push the buttons of the others.  He is outside of the main conflict and yet, he is the key element that pushes each character over the edge.  This amazing character development makes me believe that the screenplay was deserving of an Oscar nomination.  Outside of the excessive profanity (which was not always necessary for the characters to express their frustrations) and that awkward opening scene, this story develops perfectly.  I was particularly impressed with its ability to mask the twist until a few subtle insinuations that provide that jaw-dropping realization.  Again, there was definitely room for this film in the Adapted Screenplay category.  I watched “The Wife” out of skepticism for Glenn Close’s potential Oscar win but in the end, my skepticism shifted toward the awards shows and their lack of recognition for this incredible film.  This is one films that is not to be missed this awards season.

[Pictured: Every moment of this film is carefully constructed to eventually push each character to their limit]

Vice - 6 stars out of 10

Vice - 6 stars out of 10

"Vice” is kind of a mess.  It had the potential to be a witty political satire but the end result is a confusing, cumbersome story that doesn’t quite know when to end.  Director Adam McKay tries to replicate the unique, quick-cutting style of “The Big Short” but this one lacks the charm of Margot Robbie randomly appearing and explaining confusing banking concepts.  When creating a stylized film, it’s go big or go home and he just didn’t go big enough.  There aren’t enough goofy moments throughout the film, making these quick cuts come off as non sequitur instead of the norm.  I will say that Alfred Molina’s waiter cameo was a very clever way to present information and the false credit sequence was hilarious.  But those felt like the exception within this dry, fairly cold story.  There is also the issue of seeing this after Oscar nominations were released.  It is one thing to walk into a satirical film without much expectation.  It is very different to walk into a satirical film that has 8 Oscar nominations.  Unfortunately, there are more-deserving films that were robbed of nominations for Picture, Director, Editing, Screenplay, and even some of the Acting categories.  Sam Rockwell and Steve Carell provide over the top caricatures of George W. Bush and Donald Rumsfeld.  They are cartoonish in nature and were hilarious every time that they appeared onscreen.  But when you contrast their exaggerated energy with Christian Bale’s exaggeration of Dick Cheney’s monotone, Bale comes off as boring.  This is the antithesis of what this film was aiming for!  And two hours is a long time to watch a story centered around a boring performance.  That being said, Cheney was well-written as a masterminded villain and it doesn’t take away from Bale’s dedication of putting on 40 lbs in order to properly embody the character.  His resemblance is uncanny and the film will likely win the Best Makeup and Hairstyling Oscar for his transformation.  Like Rockwell and Bale, Amy Adams earned an Oscar nomination.  Her performance as Lynne Cheney is good but there is no moment that screams “Oscar nomination!”  I look at all of these acting nominations and expect this to be one of the best films ever but it just doesn’t feel that way.  I read an interesting article that pointed out that, aside from Bale’s transformation, none of the actors really look like their real life characters so the film feels like a 2-hour SNL skit.  I wanted to love “Vice” but honestly, I hope that it doesn’t win any Oscars (outside of the well-deserved Makeup award) so that people won’t feel pressured to sit through it.  Now, a movie centered around Sam Rockwell’s Bush impersonation… that is something that I could get behind.

[Pictured: The main flaw of this film is Bale’s placement amongst high-energy characters, who continually detract from his performance]

First Reformed - 2 stars out of 10

First Reformed - 2 stars out of 10

To be blunt, “First Reformed” wasn’t very good.  There is a large disconnect between this film’s high Rotten Tomatoes rating and what I watched on my screen last night.  This slow-moving character study had a lot of aspects that could have made it great and they all fell flat.  First, everything in the film is underplayed.  The film opens with the main character keeping a journal but this seemingly important plot device isn’t even mentioned in the last twenty minutes of the film.  There is also a severe lack of emotion for something as devastating as a minister whose faith is slipping away and a pregnant woman dealing with the suicide of a loved on.  Ethan Hawke should have given an unforgettable, emotional performance.  He has received critical acclaim and I love just about every role that he’s ever played, but his acting was two-dimensional.  Some of his character’s ideas change throughout the film but I don’t feel that he embodied the change.  Amanda Seyfried may have been trying to portray a numb, frail person but it comes off as if she isn’t even trying to act.  There is also the screenplay that takes an interesting concept and portrays it in the least interesting way possible.  I have never seen cancer portrayed in such an inconsequential fashion.  It seems that “First Reformed” is this year’s Oscar tribute for lifetime achievement and not this particular screenplay.  Paul Schrader has been involved in many important films throughout the years and it is illogical that this is his work that is most deserving of a Best Original Screenplay Oscar nomination.  It is unfathomable that this film beat out “Eighth Grade” for the nomination.  The only part of this film that I enjoyed was the surreal floating scene, which didn’t even fit in with the rest of the film.  I don’t know what the critics are thinking but “First Reformed” is one of the least impressive films that I have seen in the past year.

[Pictured: Actually me for the entire duration of the movie]

Solo: A Star Wars Story - 8 stars out of 10

Solo: A Star Wars Story - 8 stars out of 10

"Solo: A Star Wars Story” deserves more love than it has received.  By any other standard, the film tells a fascinating story with impressive cinematography and amazing visual effects.  But the Star Wars standard requires an important blend of innovation and nostalgia, and this one falls short.  Like many other Star Wars fans, I am guilty of skipping this one in the theater and waiting until it was available on Netflix.  Its release didn’t feel like an “event” and that is a direct result of Disney’s overconfidence in how often they could get Star Wars fans out to the theater.  It’s crazy that a film could bring in nearly $400 million and be considered a box office failure but again, that is the Star Wars standard.  While the film is quite good, it is a step below its big sister, “Rogue One,” and probably the weakest of the franchise (excluding the Hayden Christensen trilogy).  Where “Rogue One” feels like a chapter of the trilogies, this feels like a bonus feature.  It suffers from a single fundamental flaw - Harrison Ford is the only person that can play Han Solo.  There isn’t anything wrong with Alden Ehrenreich’s acting but we will never believe that he will someday become the Han Solo that we all know and love.  Donald Glover as Lando Calrissian is much more believable.  He captures the spirit of the character in a way that makes it easy to see a kinship with Billy Dee Williams.  The story introduces some interesting new characters that help to shape Han Solo.  Qi’ra, played by Emilia Clarke, is the standout character of the story as she helps us to understand Han’s mistrust and cynicism toward women.  She benefits from proper character development that isn’t dependent on our knowledge from other films.  I also loved Woody Harrelson as Beckett, who helps us to understand Han’s rogue personality later in the series.  Harrelson seemed too mainstream to fit into a Star Wars film but his character’s ambiguous good guy/bad guy persona worked perfect for his acting.  I had some issues with John Powell’s scoring of the film.  He was a little too obvious with the musical cues in the significant moments like when Chewie sits copilot for the first time. Those of us that love Star Wars will get those moments with a subtle musical nod of the main theme, not a sudden fanfare.  One thing that the film really gets right is its elaboration on beloved aspects of the Star Wars universe.  We finally get the answers to many important questions: How did Han and Chewie end up together?  Where did the Millennium Falcon come from?  Why is it significant that the Falcon completed the infamous Kessel Run in less than twelve parsecs (and did it actually)?  What’s the story behind Han and Lando’s unique “frenemy” vibe?  And there’s even a reference to “Black Spire,” the upcoming story location for Disney Parks’ Star Wars: Galaxy’s Edge.  “Solo” has the backstory, Star Wars Easter eggs, and Oscar-nominated Visual Effects that we expected.  It delivers on the promise of being a “space Western” by incorporating elements like a “train” robbery, close-up gun holster grabs in a shootout, and sweeping panoramic shots.  It introduces us to new characters like Qi’ra and Beckett while paying homage to old friends like Chewie and Lando.  The main issue with “Solo” is… Han Solo.  By any other name, this film would be lauded for its storytelling and visual achievements.  Unfortunately, this film just couldn’t live up to the name of Han Solo.

[Pictured: Even if Ehrenreich isn't a believable Han Solo, this is still pretty awesome]

If Beale Street Could Talk - 7 stars out of 10

If Beale Street Could Talk - 7 stars out of 10

My expectations for “If Beale Street Could Talk” were too high.  The Certified Fresh rating on Rotten Tomatoes and award season hype had me expecting a mind-blowing film but I felt pretty indifferent in the end. It reminds me of “Loving” from a few years back.  With both films, I had an expectation of an emotionally-charged racial story that would have me fired up but the end result was “very good” but not great.  That isn’t to say that I wasn’t fascinated by this classic story from James Baldwin.  This adaptation utilizes a nonlinear timeline to maintain the mystery of why Fonny is in prison and whether he is guilty.  It also helps us to form bonds with the characters by allowing Director Barry Jenkins to decide when to reveal different events in each character’s life.  Introducing Fonny when he is stealing woodworking materials might not make him very likable but introducing him within the context of his relationship with Tish paints him in a positive light.  This makes us more understanding of his negative actions as we’ve already seen how the trials of his life have shaped him.  Kiki Layne and Stephan James give strong performances in the lead role while Regina King gives a very good performance as the mother, but I’m not sure that it is worth all of the hype.  A nomination in the Best Supporting categories comes with a certain expectation - the actor will have one extremely emotive moment that sticks with you (think Anne Hathaway in “Les Mis”).  This is the same issue that I had with Mahershala Ali’s win for “Moonlight.”  He had a nice performance but there was no “wow” moment.  I was very surprised to see Marina de Tavira with a nomination for “Roma” but even she had that heartbreaking moment when her husband leaves.  King plays her character very well but I was still waiting for here “wow” moment when the credits began to roll.  If I were going to choose a supporting performance that stood out, it would be Teyonah Parris as Ernestine.  I believe that she was only in one scene but her spunky attitude left a big impression.  One of the film’s most perplexing Oscar nominations is for Best Original Score.  As a musician, I am very attuned to the memorable themes woven throughout a score and the music that enhances our emotions throughout a film.  Nicholas Britell provided neither.  This score is a plodding, repetitive dirge with an occasional jazz dissonance.  I can’t imagine that anybody could sing “The Theme from Beale Street” if I asked and I blame the score for preventing me from forming the truly empathetic bonds that should come so naturally in this story.  “If Beale Street Could Talk” has an interesting story and good acting but I am one of the few that is not surprised by its lack of Oscar nominations.

[Pictured: "Beale Street" offers a powerful story but doesn't quite live up to the hype]

Eighth Grade - 9 stars out of 10

Eighth Grade - 9 stars out of 10

"Eighth Grade” is hilarious because it is so completely accurate.  Director Bo Burnham must be in touch with his inner adolescent because every stereotyped kid and every overdramatic teenage tragedy is spot on.  The film is one long pop culture reference and even though this causes it to be instantly dated, the struggles of Kayla are forever relevant.  It needs to be this way in order to properly capture this snapshot of adolescence in our current technological age.  The screenplay is really well-written, incorporating “umms” and “likes” into the dialogue of its teenage characters.  There is so much awkwardness intentionally injected into every scene.  The themes of peer pressure, anxiety, and sexting are accurate and effective as they explore the social issues of a generation that spends more time staring at a screen than looking up.  As a teacher, this film is an important reminder to adults about how fragile preteens can be and that their sensitivity is important, no matter how silly the situation looks to us.  15-year-old Elsie Fischer is magnificent as Kayla.  She really gets to the heart of the character as she awkwardly interacts with her peers but shows confidence in her internet videos.  You would totally believe that this was her personal video diary.  Subtleties like the way that she carries herself in the pool scene make her acting multidimensional.  One of the best-written characters is Kayla’s dad.  He is hilarious because he perfectly embodies every characteristic of a real-life embarrassing dad.  Josh Hamilton balances his goofiness with a beautifully tender moment toward the end.  His chemistry with Fischer feels like they are family.  While the film could be very valuable to eighth graders with its important messages about self-worth and being yourself, the content goes beyond anything that I would ever let my middle schooler watch.  There was some controversy over the MPAA’s decision to give it an R-rating but I believe it to be the correct rating.  There are definitely things that could have been cut to make it more appropriate for teens without losing the film’s grit and message.  “Eighth Grade” is a hilarious look back at those awkward middle school years.  I found myself laughing out loud because the characters and situations are so accurate but at its core, it captures the essence of how scary the world looks through the eyes of an adolescent.  I highly recommend the film, even if you won’t be able to enjoy it with your teens.

[Pictured: The awkwardness that permeates this film is palpable]

Beautiful Boy (2018) - 7 stars out of 10

Beautiful Boy (2018) - 7 stars out of 10

“Beautiful Boy” is a raw, challenging look at drug addiction.  This is the true story of teenager Nic Sheff, whose casual drug use quickly led to a constant need for something stronger.  He begins his story as a likable kid with hopes and dreams but it doesn’t take long for his life to spiral out of control.  Timothée Chamalet puts forth an impressive performance as he portrays the many different phases of Nic’s addiction.  By the end of the film, it is hard to believe that the pathetic, broken young man is the same person that had so much life in his eyes at the beginning.  His critical acclaim and awards nominations have been well-earned.  Steve Carell gives the most emotional performance of his life in the role of Nic’s father, David.  The film is particularly difficult to watch as a father because the story is told from his perspective.  There is a painful amount of empathy that will make you pray that you never have to see your own child suffer like this.  Carell sheds his typical funny man persona and demonstrates the devastating effects of a person’s drug addiction on their loved ones.  For fans of “The Office,” it was a cruel joke to cast Carell with Amy Ryan (Michael Scott and Holly), only to reveal that they are divorced and only appear in one scene together.  The content of the film reminds me of “Requiem for a Dream.”  It is difficult to stomach in its straightforward approach to what drug use looks like and it’s negative effects on both the human body and psyche.  The story explores rehab, halfway houses, relapse, and how difficult it is to maintain sobriety when your body desires drugs so badly.  The content is extreme and should only be approached in the proper mental state.  It would make any person question the risk vs. reward of drugs and, like “Requiem,” this is a good film to share with a young person who is battling with peer pressure.  “Beautiful Boy” offers strong acting performances and a well-written script but the most important part of this film lies in its thesis: drug addiction begins with a single use and once it grabs hold of you, it will destroy you and every person that you care about.

[Pictured: The high stakes emotions bring the dangers of drugs to the forefront of the film]

Won't You Be My Neighbor - 10 stars out of 10

Won't You Be My Neighbor - 10 stars out of 10

"Won’t You Be My Neighbor” is the feel-good tribute that Fred Rogers deserves.  This documentary comes at a time when our society needs it the most.  On the surface, it tells the story of an aspiring Presbyterian minister who became a beloved children’s television host but deep down, this is an exploration of the ideals that can get our society back on track.  We are a world searching for answers but Mr. Rogers has been giving us the keys to a better world all along: Love and accept everyone, put education first, and teach morality to our children.  Documentarians often choose a subject matter and put their own flashy spin on it.  Often times, the subject is less important than the way that it is told.  This is not the case for Morgan Neville, who steps to the side and allows this story to speak for itself.  The film captures the selflessness of Fred Rogers, whose main motivation for getting into television was to fix the way that children’s programming addresses its audience.  He decided that children need someone to remind them that they are special and that they need to treat others with respect.  It’s as if he predicted our modern downfall of family life where children learn their morality from the media instead of their parents.  “Mr. Rogers’ Neighborhood” doesn’t seem too innovative because we are so familiar with it but it’s amazing to see how he created this concept from nothing.  His songs, puppeteering, and Neighborhood of Make-Believe reached kids in a way that they’d never been reached.  He slowed down the action and allowed kids to think as they learned.  His role eventually grew beyond the show as he became a paternal figure that everybody looked to during national tragedies.  He helped children to understand divorce, segregation, and even the assassination of Bobby Kennedy.  One of his most famous moments came when he testified in a Senate hearing to secure funding for PBS, which Neville plays in its entirety and will likely have you in tears.  The format of the episodes is quite smart as he would introduce a major theme in his home and then further explore that theme through the Make-Believe characters.  Rogers’ life becomes three-dimensional through interviews with his family and friends including his wife Joanne, sons John and Jim, Mr. McFeely, Officer Clement, Yo-Yo Ma, and musician Joe Negri.  It has some more intimate moments like a discussion of how Rogers was homebound during middle school due to illness and bullying for his weight, and how this forced him to use his imagination with his toys.  Also, archival footage of Fred explaining that he has an easier time telling people that he cares while acting Daniel Tiger.  Fittingly, the documentary is woven together with animations of Daniel Tiger representing Rogers.  I found it very interesting to hear Fred’s family express that Fred originally saw himself as Daniel but became more like King Friday XIII as he grew frustrated with society.  I could have done without the segment about people speculating whether Rogers was gay and whether he ruined a generation by telling children that they are special.  I appreciate that this was included to set the record straight about who Rogers truly was but it felt out of place in this heartwarming tribute about our beloved mentor.  Mr. Rogers touched the majority of our lives in one way or another and it’s hard to believe that a documentary could help us to have a deeper appreciation for who he was and everything that he did for children.  “Won’t You Be My Neighbor” is a must-see this awards season and will gain the recognition that it deserves with an Oscar win for Best Documentary.  It has my vote!

[Pictured: Mr. Rogers broke down racial barriers with this subtle segment on his show]

Isle of Dogs - 9 stars out of 10

Isle of Dogs - 9 stars out of 10

"Isle of Dogs” may be the most Wes Anderson film that Wes Anderson has ever created.  Whether you love his work or hate it, you have to admit that this heavily stylized film is unlike anything that you’ve ever seen.  So many films lack a stylistic identity but an Anderson film can be identified from any 15 seconds of footage.  His head-on shots give the film a personal feel, as if the characters are speaking directly to us.  Their dialogue is equally colloquial as the characters set aside formality and speak their minds.  Alexandre Desplat matches Anderson’s style with a whimsical score.  I love the incorporation of Prokofiev’s “Troika” into the musical landscape.  The score is crucial to blending the edgy story with the stop-motion medium.  The PG-13 rating reflects some mild profanity and violence, hopefully deterring parents from thinking that this is a family film.  As per usual, Anderson assembled an ensemble cast to bring these characters to life.  The impressive list includes Bryan Cranston, Ed Norton, Liev Schreiber, Bill Murray, Jeff Goldblum, Frances McDormand, Bob Balaban, and even Yoko Ono as herself.  The diversity of vocal tones helps to inject personality into each dog.  There has been a debate on whether this film is racial stereotyping or a tribute to Asian culture.  I agree with the latter and believe that the setting is perfect for this story and any less inclusion of Asian culture would have been an injustice.  “Isle of Dogs” is another fun, quirky addition to the film repertoire from Wes Anderson.  Don’t let the stop-motion medium fool you - this film has all of the sophistication of an art house film.

[Pictured: Wes Anderson's signature style is evident in every frame of this film]

It Follows - 8 stars out of 10

It Follows - 8 stars out of 10

“It Follows” is a surprisingly good horror film.  The premise seems a bit silly, centering around a curse that is passed from person to person by having an “adult” encounter.  The supernatural entity then slowly follows you until it either kills you or is passed on to someone new by the same means.  The synopsis is a headscratcher until you watch it and understand its symbolism.  If you’re catching on, the film can be an allegory for several different things including AIDS and STDs.  It is pretty genius to incorporate this into a horror film since the lifelong consequences of these diseases are scarier than any slasher film.  The most clever part of the film is that you can’t get rid of “It” – once “It” catches someone, “It” starts working “Its” way back down the line until “It” gets to you.  You can buy yourself some time but it will eventually catch up to you, similarly to how you cannot escape the physical and emotional toll of these diseases.  I hesitated to watch this film because I knew that there would be a lot of adult content but director David Robert Mitchell focuses on the consequences of the action instead of the action itself.  That being said, the content is too extreme for kids or teens and the R-rating should be observed.  The acting is quite good for such a young cast, particularly Maika Monroe and Daniel Zovatto whose characters really popped off of the screen.  The most impressive part of the film is its portrayal of the entity.  It catches you off guard because it takes different forms, sometimes normal and sometimes frightening (and particularly gross at times).  Perhaps the scariest thing about the entity is its slow speed.  It enhances the sense of dread that you can get away but you will have to run and be alert for the rest of your life.  I appreciate the amount of restraint shown throughout the film, first making us wonder if the entity is really capable of much and then magnifying the fear factor each time that the characters encounter it.  This is one of the few times that I’ll ever say that I would love to see a sequel.  There are so many layers of this story that could be unwrapped if the main character started going down the line to discover the origin of the curse.  Then again, maybe we should learn from “The Ring” series and remember that the unknown is always scarier than what we know.  “It Follows” is an original concept that stands out in a genre that often suffers from repeating the same story over and over again.  It is important to be aware of the premise and the content that comes with it but the story at the heart of this film is fascinating and perfectly executed.

[Pictured: The entity moves so slowly that it is unnerving]