Category Archives: Opinion

‘La La Land’ and the love that fades

Mia and Seb don’t end up together.

For all of its swoon-inducing musical numbers and fantastical visions of romance, La La Land is a tale about how love doesn’t always work out. The film is a tender warning, but it’s not pessimistic. It’s empathetic, not just for love faded, but for people with passion. In fact, the first two minutes of La La Land, during the enchanting number “Another Day of Sun,” are about a break up, and a young woman’s drive to make it as an actress.

The entertainment industry is ruthless, and writer-director Damien Chazelle introduces us to this conflict immediately, as Mia gives everything to an audition — a monologue that hints at its own heartbreak — only to be interrupted in the middle of it.

Sebastian’s introduction is of the same note. His sister chastises him for his countless unpacked boxes, joking that it seems like he’s just gone through a breakup before trying to set him up with someone. But Seb stays stubborn. He’s waiting to unpack his boxes in his club and doesn’t think he’ll like her if she doesn’t like jazz. He defends his untidy space by saying that he had a serious plan, but was “shanghaied.” His sister retorts that he was just ripped off by some shady guy, suggesting that “shanghaied” is too romantic.

“Why do you say romantic like it’s a dirty word?”

At first, the line oozes with the cliche of a typical romantic, searching for love. But this mention of the word is not in regard to some past relationship or some goal for the perfect someone. It’s in relation to an idea of oneself as an artist doing everything they can to make it. Seb embraces a romance with music, unashamed.

And Mia wants to be an actress. Those are the goals that La La Land starts with. Those are the lives that it envisions from the start.

Yet, those are the lives that can so easily fall into one another, the people that can so easily fall in love with each other. Mia and Seb officially meet at a party, as she networks and he plays a crap gig. The meeting seems almost too full of fate, too romantic, but people with passion tend to fringe familiar space.

And immediately, within three minutes of their introduction, Damien Chazelle indulges in the magical with “A Lovely Night.”

Chazelle truly understands how otherworldly love can be, even when it’s simply the awkward, playful first sparks. Mia and Seb’s first song-and-dance is almost entirely about their initial rejection of the sparks. But Chazelle, composer Justin Hurwitz, choreographer Mandy Moore, and cinematographer Linus Sandgren inject the scene with a levity that makes it feel as though the two could float into the sky at any minute. A simple Los Angeles hillside is rendered as dazzling as a dream.

They start to embrace those sparks through support of each other’s passions. Artists know an artist’s inner fire better than anyone else ever could, so when one lifts up another in their pursuit of dreams, it means something.

Those sparks almost die out, but Mia finally makes the decision to light them. The two meet up again at a movie theater, and as the film stock of the movie they watch bubbles and burns out, it becomes abundantly clear what Chazelle is doing.

He’s not only suggesting that Mia and Seb’s love has become its own movie in that world, the film stock burning out just as they’re just about to kiss for the first time and their drive to Griffith Observatory replicating that from Rebel Without a Cause, but he’s utilizing the tools of cinema to accomplish this himself with his movie. He’s using his own passion to pay tribute to, to do true justice to love between passionate people. And when Mia and Seb run off to Griffith Observatory, there, finally, they both float into the sky

But no matter the feeling of love, or the feeling that cinema leaves us with, there is a reality underneath. And that’s the reality of two people with passion trying to pursue their goals as they pursue their love.

It’s difficult. There’s an incredibly thin line of balance where both people are able to make both parts of their lives work. Rather simply, Mia and Seb could not find that balance. They both compromised too much for them not to crack. As we saw at the beginning, Seb is a stubborn guy. He was prone to say something he’d regret with the stress of excessive compromise, like at the heartbreaking dinner scene. And in the whiplash of that realization, Seb responds by not compromising enough, missing Mia’s play and solidifying the crack.

In the fallout, the most crucial moment of delivering on the film’s themes, Damien Chazelle remains empathetic. While there may be a crack in the romantic love that had formed, the two hold onto love for each other as people, which includes a support for each other’s passions. Through that, Mia is finally able to break through. And with that comes the film’s most emotionally raw number, “Audition (The Fools Who Dream)” — a song about love for art and love for artists.

La La Land comes to a close, the film’s final musical number perhaps its most transfixing, precisely because it’s the embodiment of the film’s empathy for people with a passion and for love faded. The fairytale that is “Epilogue” is simultaneously a magical cinematic commemoration to a love that was true and a what if for a love that could have been.

There was a chance for the film to end tragically, with Mia simply walking out of Seb’s. But a simple smile acknowledges and becomes everything that “Epilogue” represents.

Mia and Seb don’t end up together. But love sometimes doesn’t work out. That doesn’t mean it didn’t happen. And that doesn’t mean it has to be reflected on as something sad.

Mia and Seb don’t end up together. And that’s okay.

 

Featured image via Lionsgate.

10 Most Anticipated Films of the Summer

The summer season is notorious for its blockbusters, both the good and the bad (often the bad). But smaller films that release between May and August should not be overlooked. As the best of Sundance start to trickle out and the best of Cannes sneak in later, summer often shapes up to be fun of all sizes. Here are our 10 most anticipated films of summer 2018:

10. Hotel Artemis

Global Road/Courtesy

Directed by: Drew Pearce
Written by: Drew Pearce
Starring: Jodie Foster, Sterling K. Brown, Sofia Boutella, Jeff Goldblum, Dave Bautista
Release Date: June 8, 2018

On concept alone, Hotel Artemis sounds like a blast: Jodie Foster plays a nurse who runs a secret hospital for criminals. It’s the kind of genre fare we need more of, and the film is stacked with brilliant actors to play these exaggerated parts. But the man behind the screenplay and behind the camera, Drew Pearce, has subtly built a strong resume, with writing credits on Iron Man 3 and Mission: Impossible – Rogue Nation — two fantastic genre films. If Pearce brings that level of wit and suspense to this film, we could be in for a hell of a time.

9. Leave No Trace

Bleecker Street/Courtesy

Directed by: Debra Granik
Written by: Debra Granik
Starring: Thomasin McKenzie, Ben Foster
Release Date: June 29, 2018

Debra Granik’s Winter’s Bone was the quiet film that snuck up on people. Not only was it a gripping showcase for the soon-to-be-star Jennifer Lawrence, but it displayed Granik’s immense writing and directing talents. Her next film, which already premiered at Sundance to rave reviews, is said to offer two outstanding performances from Ben Foster and primed-to-breakout Thomasin McKenzie, as well as more of Granik’s quiet power.

8. Eighth Grade

A24/Courtesy

Directed by: Bo Burnham
Written by: Bo Burnham
Starring: Elsie Fisher, Josh Hamilton, Emily Robinson
Release Date: July 13, 2018

Bo Burnham is a comedian unlike any other. His wit is quick and awkward, and sometimes bracingly real. His directorial debut, Eighth Grade, which also premiered at Sundance, is a synthesis of those qualities, except through the eyes of an eighth grade girl. Few coming of age stories truly embrace the awkwardness of youth, and even fewer take on social media and the digital well, but reviews say that Burnham has something special that accomplishes both.

7. Incredibles 2

Pixar/Courtesy

Directed by: Brad Bird
Written by: Brad Bird
Starring: Craig T. Nelson, Holly Hunter, Samuel L. Jackson, Bob Odenkirk, Catherine Keener
Release Date: June 15, 2018

Even Pixar’s weaker efforts are mostly fun animated adventures, so any movie from the animation giant would make this list. But this is not just any movie, nor is it any Pixar movie. This is a movie 14 years in the making, a sequel to one of the most beloved animated films of all time and, truly, one of the best superhero movies of all time. And with Brad Bird back writing and directing, this family follow-up will surely hold onto the heart that made the first one so memorable.

6. BlacKkKlansman

David Lee/Focus Features/Courtesy

Directed by: Spike Lee
Written by: Spike Lee, David Rabinowitz, Charlie Wachtel, Kevin Willmott
Starring: John David Washington, Adam Driver, Topher Grace, Laura Harrier, Corey Hawkins
Release Date: August 10, 2018

The basic story of BlacKkKlansman is harrowing: a young black police officer infiltrates the Ku Klux Klan. And there’s certainly no doubt that co-writer and director Spike Lee will not only hit hard on how sickening things were back then, but how sickening things still are now. The first footage, however, suggests that the film will actually be a buddy comedy of sorts. And after thinking about it for a moment, it makes complete sense. Lee’s comedy could easily convey the level of atrocious stupidity of the KKK while maintaining the seriousness of the impact of them. It’ll be a tight balancing act, but if Lee pulls it off — and we’ll see rather soon, as it premieres at Cannes — it’ll be a film to rally around.

5. Sorry to Bother You

Annapurna/Courtesy

Directed by: Boots Riley
Written by: Boots Riley
Starring: Lakeith Stanfield, Tessa Thompson, Armie Hammer, Terry Crews, Steven Yeun
Release Date: July 6, 2018

Bay Area activist-artist Boots Riley puts on the writer-director cap for the first time for Sorry to Bother You. The kind of perspective that Riley has offered in other forms of art is desperately needed in the film world, and it seems as though his directorial debut is making quite an impact even prior to its release. Sorry to Bother You already has fantastic reviews, having premiered at Sundance, and its trailer showcases a visual flare and energy that’re not quite like anything else out there. And with a brilliant cast, fronted by Lakeith Stanfield and Tessa Thompson, the film will not be one we forget any time soon.

4. Under the Silver Lake

A24/Courtesy

Directed by: David Robert Mitchell
Written by: David Robert Mitchell
Starring: Andrew Garfield, Riley Keough, Jimmi Simpson, Topher Grace
Release Date: June 22, 2018

David Robert Mitchell broke through with It Follows, a horror film already considered among the best of the 21st century in its genre. So, anything Mitchell did next would be something to seek out. What he’s cooked up, however, looks utterly enchanting. Under the Silver Lake, distributed by the powerhouse that is A24 and premiering soon at Cannes, seems to be a surrealist stoner noir, a subgenre that offers endless possibilities for a wild visual trip, led by a shaggy and paranoid performance from Andrew Garfield.

3. Mission: Impossible – Fallout

Paramount Pictures/Courtesy

Directed by: Christopher McQuarrie
Written by: Christopher McQuarrie
Starring: Tom Cruise, Rebecca Ferguson, Henry Cavill, Simon Pegg, Michelle Monaghan, Ving Rhames
Release Date: July 27, 2018

Ghost Protocol reinvigorated the franchise, but it was Rogue Nation that truly showed how high the series could climb. And, thanks to an absolute banger of a trailer, it seems that Rogue Nation writer-director Christopher McQuarrie has taken the franchise, and Tom Cruise, even higher with Mission: Impossible – Fallout. From the physical beast of Henry Cavill to the return of Rogue Nation standout Rebecca Ferguson to the mind boggling practical stunts of Tom Cruise (he’s actually flying that helicopter?!), Fallout is primed to be a spy thriller on par with the best of Bond and Bourne. And, if for nothing else, Fallout will also give us a glimpse at the infamous Cavill mustache we’ve all heard too much about.

2. Hereditary

A24/Courtesy

Directed by: Ari Aster
Written by: Ari Aster
Starring: Toni Collette, Alex Wolff, Gabriel Byrne, Milly Shapiro
Release Date: June 8, 2018

When reviews call Hereditary “a new generation’s The Exorcist” (Time Out) and describe it as “emotional terrorism” (The A.V. Club), it’s difficult not to start anticipating it. With Hereditary distributed by A24 and said to host a revelatory performance from Toni Collette, it’s impossible not to feel a paradoxical sense of need to see the film immediately, even if people who’ve seen it out of Sundance and South by Southwest say that it scarred them. This is the sick game that spectacular horror films can play, but we’re here for it.

1. Solo: A Star Wars Story

Lucasfilm/Courtesy

Directed by: Ron Howard
Written by: Lawrence Kasdan, Jon Kasdan
Starring: Alden Ehrenreich, Emilia Clarke, Donald Glover, Woody Harrelson, Thandie Newton
Release Date: May 25, 2018

Solo: A Star Wars Story may have gone through hell during production, enduring a director firing that has understandably left many rather nervous. But this is still Star Wars, folks. Movies are meant to take us to galaxies far, far away, and we don’t get that, on this scale, too often elsewhere. While the film was reshot under Ron Howard to a point where Lord and Miller didn’t even try for director credits, the trailers have been surprisingly exciting. Ehrenreich absolutely nails his comedic lines and at least looks the part in regard to the drama and action; anyone who’s seen Hail, Caesar! knows that this guy can act just fine. This backstory may not be entirely necessary, but it’s hard not to feel giddy seeing Han Solo and Lando Calrissian meet and fly the Falcon together, and it’s hard not to feel intrigued at the gritty underbelly that this film looks to explore. In fact, it’s that exact aspect that may be the most enticing part of the film. Oscar-nominated cinematographer Bradford Young (A Most Violent Year, Selma, Arrival) brings his trademark darkness to the film’s interiors and injects a stark beauty into each landscape. So, Solo: A Star Wars Story might be familiar company, but it’s unexplored territory.

 

Featured image via Annapurna/Pixar/A24/Lucasfilm.

Editor’s Note: Scaling back, changing approach and preparing for shutdown

This site has been such a significant creative outlet, and the past eight months were incredibly exciting and immensely fulfilling. Unfortunately, however, MovieMinis likely won’t last.

Running this site during my senior year at college has been difficult. The inconsistency of content — and the inability to publicize that content as strategically as I would’ve liked — has resulted in a flat, stunted and almost non-existent readership. A lack of readership means that there won’t be enough money to renew my WordPress business plan. And as I search for jobs post-graduation, I won’t be able to commit to the monstrous task of turning this site into something profitable before the plan runs out in August.

Considering the situation, MovieMinis will be scaling back and changing its approach for the remainder of its existence. We will no longer post any news content and the category will be taken off the front page. Reviews will be the main focus of the site, but there will still be projects and lists here and there.

Rather than continue to try to make this a serious film website, it will revert to being a film blog, which means adopting the approach and format of a film blog. That means that I will become the main source of content, and that it will mainly be about the reviews.

I love every single writer that contributed to this website over the past eight months. I am so grateful for them and beyond honored by their contributions. Growing with them as writers and friends has been a highlight of this year and the last. Spending hours putting together the MovieMini Awards was a hilarious and painful journey that I’m glad I had with them.

Many of them will still contribute in some capacity. But it will no longer be a “team” per se. I want this blog to be a platform for them to write and show off their writing, so their contributions are welcome for as long as MovieMinis still exits, but we won’t necessarily be rallying together as a “staff.” In fact, there won’t be a “staff” anymore — only a set of contributors.

And like I mentioned before, the business plan runs out in August. Unless this site gets enough readers in that time to make enough money not only to renew it, but to warrant further time and effort put into it, I won’t renew it. I don’t know what happens to a site when the plan is not renewed. But, after that, I will be going back to a basic free blog for personal reviews and projects. I might even switch over to another platform, such as Medium.

While readership has been almost non-existent, there are certainly those of you who tuned in for a lot of our content. So, I want to say thank you. Writing is an art form, a form of personal and creative expression. It takes a lot of energy to “write something.” But when someone reads it, when even one person reads it, it means something. If you’re reading this and have tuned into our content before — and even to the people not reading this who have tuned into our content — thank you. You have helped make these eight months mean something.

 

Featured image via Warner Bros.

March Madness of Movies — The Champions

These matchups were vote on by the MovieMinis Staff.

After a month of intense, nail-biting competition, we finally have the winners in our four brackets for the March Madness of Movies.

Best Big Budget Directing of the 21st Century

Peter Jackson won the Best Director Oscar for The Lord of the Rings: The Return of the King. That film has cemented itself in cinematic history as one of the best epics, one of the best fantasy films.

But, more recently, we got another cinematic landmark, this time in the action genre (while also in the fantasy realm). Mad Max: Fury Road is essentially a two hour action scene. That it works, that it feels like a full movie with thematic heft — let alone the fact that the action is masterful — is a testament to how truly astonishing George Miller’s directing job was.

Winner: George Miller — Mad Max: Fury Road

Best Superhero Villains of the 21st Century

Black Panther‘s Erik Killmonger (Michael B. Jordan) will be long remembered. What he means as a character, as a villain, within a film that, itself, means so much, transcends cinema.

But there’s just something different, however, about The Dark Knight‘s The Joker (Heath Ledger). The master of mad dogs, The Joker is a villain of chaos, a terrorist who causes you to cower and to flee before you really have reason to. His visage is iconocraphic, a remnant of a harrowing time of fear in our a real world.

Winner: The Joker — The Dark Knight

Best A24 Films

This was the closest matchup in the entire competition. We needed a tiebreaking vote between Moonlight and Lady Bird, and the vote took up an entire day with it coming down to the final one.

At the end of the day, Moonlight came out on top. As the Best Picture winner that defied everyone, it sits as our champion in this bracket triumphantly.

Winner: Moonlight

Best Cinematography Since 2010

Sorry Roger Deakins. You got your Oscar for Blade Runner 2049, but we couldn’t give you the win here.

Hoyte van Hoytema won quite easily for Her, a sci-fi love story that is far more tender, vulnerable and powerful precisely because of how van Hoytema’s photography evokes a lonely, beautiful world.

Winner: Hoyte van Hoytema — Her

Featured image via Warner Bros.

March Madness of Movies — The Final Matchups

These matchups were vote on by the MovieMinis Staff.

Best Big Budget Directing of the 21st Century

The last results offered us the winners of each subcategory — Ryan Coogler took best superhero directing for Black Panther, Peter Jackson took best franchise directing for The Lord of the Rings: The Return of the King, George Miller took best original/prestige/non-franchise studio directing for Mad Max: Fury Road and Pete Docter and Bob Peterson took best animated directing for Up.

Those four finalists offered us fascinating matchups as the subcategories were pitted against each other for the first time. Coogler took on Jackson and Miller took on Docter and Peterson. While Coogler was able to take down the goliath that was Christopher Nolan for The Dark Knight, he couldn’t best the Oscar winner Peter Jackson, whose achievement with The Lord of the Rings final film continues to hold strong.

And in the bizarre matchup of Miller vs. Docter/Peterson, animation just couldn’t quite compete, as Up was pummeled by Fury Road.

Now for the final matchup — two absolute epics, handled masterfully by their directors. While only one won the Oscar, there are plenty of arguments out there that the other should’ve as well.

Best Superhero Villains of the 21st Century

This final matchup is not much of a surprise. With the way seeding and layout ended up, the paths were clearly laid out for the two contenders. That’s no disrespect to any of the other contenders. Both Magnetos of the two X-Men trilogies were always going to have strong showings. Bane, from The Dark Knight Rises, surprised many with both seeding and performance.

But it was inevitably going to come down to Erik Killmonger (Michael B. Jordan) from Black Panther and The Joker (Heath Ledger) from The Dark Knight — Marvel’s best villain and DC’s best villain. The strengths of the two are a bit different. While Jordan’s performance isn’t necessarily outstanding — remember, this bracket is judged on performance, writing and directing of the character — the writing and directing, in the backstory and themes that Killmonger’s journey evokes, are nearly unparalleled. With The Joker, Ledger’s performance is, quite obviously, the standout. The dialogue is brilliant, and the choice of a lack of backstory and the ways in which Christopher Nolan visual frames The Joker are superb. But Ledger’s performance is one of the best, of any character of all time.

Best A24 Films

Similarly to the bracket above, the paths were clear for our two finalists. They simply had to traverse those paths. What the matchups prior to this final were meant to represent was the ridiculously briliant resume of A24 and how, in almost any matchup in any round, it was incredibly hard to decide between films. Had the other two finalists, 20th Century Women and Ex Machina, been pitted against one another, it would’ve been another extremely tight matchup.

But here we are, with the expected Moonlight vs. Lady Bird, the two landmark A24 films that have found a place in cinema’s history so quickly. And as was the case with this bracket, these two will be nearly impossible to choose between.

Best Cinematography Since 2010

While big budget directing was rather up in the air, this bracket might’ve been even more so. We do have our two top seeds, but they both had to battle hard to get to this point and could’ve easily been knocked out for other contenders that would’ve made for a fascinating finale.

Look at the two of the final four that didn’t make it — Hoyte van Hoytema for Dunkirk, who lost a tie-breaking vote, and Mihai Malaimare Jr. for The Master, who lost by one vote. These are two cinematographers who, with this film, offered stunning iconography, specifically in 70mm film.

But we have Hoyte van Hoytema for Her and Roger Deakins for Blade Runner 2049, and it’s an equally as stunning matchup, but with digital lensing. Arguably, this matchup feels a bit more right than any other would have. In the finale, we have Roger Deakins, one of the best cinematographers of all time, and Hoyte van Hoytema, a DP who is quickly rising to that status.

Stay tuned for the championship results, which will be posted this week on Friday, April 6!

 

Featured image via A24/Warner Bros.

March Madness of Movies: Best Big Budget Directing of the 21st Century — Round 3

These matchups were vote on by the MovieMinis Staff.

This final four is a bit different than the rest of the brackets. While “Best Superhero Villains” did have subcategories, the entries from each were mixed from the beginning. With “Best Big Budget Directing,” the subcategories were laid out as the four sections of the brackets, so these final four are the winners of their specific subcategories.

In the superhero directing subcategory, Ryan Coogler came out on top for his direction of Black Panther, upsetting Christopher Nolan’s work on The Dark Knight, which many thought deserved a Best Director nomination ten years ago. While there was some heated disagreement among the staff, and while the vote was very tight, it’s difficult to say that Coogler isn’t deserving. He bested both of the Russo brothers outings in the MCU before taking on and taking down Nolan. Ryan Coogler is our official winner of the best superhero directing subcategory.

In the franchise directing subcategory, #1 seed Peter Jackson for The Lord of the Rings: The Return of the King easily beat #2 seed Matt Reeves for War for the Planet of the Apes. As the only person in this bracket to have won the Best Director Oscar — four other contenders (in another subcategory) were nominated — this was expected. Peter Jackson is our official winner of the best franchise directing subcategory.

In the original/prestige/non-franchise studio directing subcategory, George Miller beat Christopher Nolan (Inception) for a second time, after beating Nolan’s Dunkirk direction last round, to earn a spot in the final four. That leaves Nolan, the director with the most entries in this bracket, entirely out of the top four. But it is quite hard to argue against Miller’s efforts for Mad Max: Fury Road, one of the best action films of all time. And after #1 seed David Fincher was knocked out in the first round, Miller was the highest seed left. George Miller is our official winner of the best original/prestige/non-franchise studio directing subcategory. (We know that Mad Max is a franchise, but Fury Road is a slightly separated story, the only film of the series released in the 21st century and more tonally consistent with the entries of the subcategory.)

In the animated directing subcategory, Up stepped forward as the clear favorite. After Pixar dominated the entries with six, it was clear that it was going to come down to a Pixar film. The only question was which one. And after Up beat WALL-E and Toy Story 3 didn’t make it to the Elite Eight, it all seemed wrapped up. Pete Docter and Bob Peterson are our official winners of the best animated directing subcategory.

Now for the fun part, the mixing of the subcategories. Ryan Coogler will have some terribly tough competition in Peter Jackson. And how fun of a matchup is Mad Max: Fury Road vs. Up? We bet you never put those two in the same sentence.

Stay tuned for the round 4 results, which will be posted next week on Friday, April 6!

 

Featured image via Marvel/New Line Cinema/Pixar/Warner Bros.

March Madness of Movies: Best A24 Films — Round 3

These matchups were vote on by the MovieMinis Staff.

“Best A24 Films” is yet another of our brackets where the final four aren’t simply the four #1 seeds. There was no world where Barry Jenkins’ Moonlight doesn’t make it to here. And while Room was a Best Picture nominee and The Lobster is a cult favorite, Greta Gerwig’s Lady Bird made too heavy of an impact to be taken down by anything.

And that’s appropriate. When one thinks of A24, they likely go straight to Moonlight and Lady Bird as the best two. Even A24 themselves took such offense to the idea of those two films being pitted against each other in the first round of a Twitter A24 bracket that they tweeted out in opposition from their official account.

In regard to the bottom right of the bracket, The Florida Project firmly earned its #1 seed and Good Time is a very popular film among our staff. They both posed serious threats to Ex Machina, but Alex Garland’s feature debut film pushed through. In truth, Ex Machina won A24 one of its first Oscars and was a key film in defining the company’s brand.

The bottom left of the bracket offered a lovely surprise. While it was a #2 seed, 20th Century Women could’ve easily lost out to #1 seed A Ghost Story or other fan favorites like The Witch and Under the Skin. Mike Mills’ film, however, assuredly earned a final four spot.

But it may all be for naught, as both 20th Century Women and Ex Machina will have trouble making it passed Moonlight and Lady Bird. If any film could, it would likely be Ex Machina, so we’ll simply have to wait for the votes.

Stay tuned for the round 4 results, which will be posted next week on Friday, April 6!

 

Featured image via A24.

March Madness of Movies: Best Superhero Villains of the 21st Century — Round 3

These matchups were vote on by the MovieMinis Staff.

Two of the four finalists were near guarantees to make it from the very beginning — Heath Ledger’s The Joker from The Dark Knight and Ian McKellen’s Magneto from the first X-Men trilogy. Ledger had some admiral contenders in Willem Dafoe’s Green Goblin from Spider-Man and Michael Fassbender’s version of Magneto from the second X-Men trilogy. But truly, no one stood a chance. McKellen was less of a sure thing. Whether he had come up against Aaron Eckhart’s Harvey Dent/Two Face from The Dark Knight or, his eventual competitor, Jason Lee’s Syndrome from The Incredibles, there was an off chance that personal preference might’ve taken him down.

But the two made it through, and will now take on each other. The Joker is, surely, the stronger contender, but McKellen’s Magneto is the strongest competition that he’s come up against.

On the other side of the bracket, the battle between Tom Hiddleston’s Loki and Michael B. Jordan’s Erik Killmonger was expected — Loki being the old favorite and Killmonger being the new favorite. While there was a shot for Loki to hold onto that love that he earned years ago and make it through, the votes tipped heavily to Black Panther‘s Killmonger, an absolutely worthy final four entry.

The villain he’ll face, Tom Hardy’s Bane from The Dark Knight Rises, started of this bracket by surprisingly earning a #1 seed. There was always an opportunity for him to fall, whether that be to the recently beloved Vulture from Spider-Man: Homecoming or the previous brilliant webslinger antagonist, Doc Ock, from Spider-Man 2. But Bane advanced confidently. Yet, he’ll have a massive mountain to climb in the face of Killmonger.

At this point, we’ve lost representation from the “other” group of villains, while retaining entries from the MCU, DC and the X-Men films. And if the favorites make it through to the finals, it’ll be the classic Marvel vs. DC battle we’ve all come to know quite well.

Stay tuned for the round 4 results, which will be posted next week on Friday, April 6!

 

Featured image via Marvel/20th Century Fox/Warner Bros.

March Madness of Movies: Best Cinematography Since 2010 — Round 3

These matchups were vote on by the MovieMinis Staff.

The final four of Best Cinematography Since 2010 is here and we have two fascinating matchups. While Emmanuel Lubezki had four entries with GravityBirdman or (The Unexpected Virtue of Ignorance)The Tree of Life and The Revenant, he did not make it through. Bradford Young, who entered with ArrivalA Most Violent Year and Mother of George, also did not make it.

Roger Deakins had three entries and squeaked through for his Oscar winning work on Blade Runner 2049. He will face off against the oldest (not that any of these are actually old) cinematography in Mihai Malaimare Jr. for Paul Thomas Anderson’s The Master. These are two absolute titans, two #1 seeds in a battle that could rather easily go either way.

The other battle is both bad news and good news for its contenders, as Hoyte van Hoytema will compete against himself in a cinematography matchup of Her vs. Dunkirk. The bad news is that he’ll knock his own work out, but the good news is that he’s guaranteed a spot in the finally. And, much like the other matchup, this one is nearly impossible to predict — though it is a fight between a #1 and #2 seed, instead of two #1 seeds, meaning that the slight, slight edge is with van Hoytema’s lensing for Spike Jonze’s Her. Although, Christopher Nolan’s Dunkirk is a much larger canvas.

It will be interesting to see what the finale ends up being. Will it be a battle of 2017 Best Cinematography nominees? Will it be a battle between the oldest contenders? Will it be a battle of the 70mm films? Will it be a battle of the artificial intelligence sci-fi pictures?

Stay tuned for the round 4 results, which will be posted next week on Friday, April 6!

 

Featured image via Annapurna/Warner Bros.

March Madness of Movies: Best A24 Films — Round 2

These matchups were vote on by the MovieMinis Staff.

While every other bracket had some kind of outside seed make it into the elite eight, “Best A24 Films” stuck to the script with every #1 seed and #2 seed advancing through round 2.

But this is not say that that’s bad or boring in any way. On the contrary, this makes this upcoming round as hard as it could possibly be, contenders nearly impossible to decide between.

As a top eight, of sorts, of A24, these films are unbelievable. From Oscar winners to indie gems to near arthouse experiments, these eight films are about as strong as it gets from a studio, especially from such a young one.

#1 seed Moonlight has, expectedly, made it this far, and will face off against #2 seed Swiss Army Man. While Moonlight did win Best Picture, Swiss Army Man was its own kind of transformative film, at least for a few on staff.

#1 seed Lady Bird has also, expectedly, made it to round 3, and will take on #2 seed The Lobster. If there’s ever an indie name to cheer on, it’s eccentric writer-director Yorgos Lanthimos — that is, unless he’s facing off against Greta Gerwig. Either film will be a worthy choice.

#1 seed A Ghost Story held on through two rounds, but now faces its toughest challenge in Mike Mills’ absolutely lovely and sublime #2 seed 20th Century Women. Can the strength of Greta Gerwig not only help Lady Bird, but also 20th Century Women?

And finally, #1 seed The Florida Project will compete against #2 seed Ex Machina. In regard to material, these two films could not be more different, so it seems like this one will likely come down to taste.

Hopefully, the results of the next round will not be too painful.

Stay tuned for the round 3 results, which will be posted next week on Friday, March 30!

 

Featured image via A24.

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