Tag Archives: A24

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.

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 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.

March Madness of Movies: Best A24 Films — Round 1

These matchups were vote on by the MovieMinis Staff.

“Best A24 Films” went mostly as expected. The only higher seed to lose out was Locke, but that seems understandable as #6 seed The Spectacular Now is a more popular film and Locke earned its #3 seed based on a few very strong individual votes.

What’s interesting about this round is the matchups it results in. #1 seed Moonlight may be safe, but it would be wrong to deem #4 seed American Honey as easy competition. #2 seed Swiss Army Man is adored by our staff, but as seen by #6 seed The Spectacular Now’s upset, it shouldn’t be underestimated. #1 seed A Ghost Story and #4 seed A Most Violent Year could not be more different, so voting is unpredictable; the same can be said about #2 seed 20th Century Women and #3 seed The Witch.

On the other side of the bracket, #1 seed Lady Bird will take on #4 seed Obvious Child, which worked passed a tie-breaking vote against #5 seed The End of the Tour in the previous round. #2 seed The Lobster, an unorthodox but beloved film, will go head to head with #3 seed Room, a Best Picture Oscar nominee. #1 seed The Florida Project will compete with #4 seed It Comes At Night in a battle of rather different genres. Finally, #2 seed Ex Machina will match up against #3 seed Good Time, two films that range from liked to loved by our staff.

How incredibly tight these matchups were and how unbearably difficult they will be in this coming round goes to show how fantastic A24 has been as a production/distribution studio. There are many different kinds of films on this list, but they all coalesce into a very cohesive sense of the A24 brand.

Stay tuned for the round 2 results, which will be posted next week on Friday, March 23!

 

Featured image via A24.

March Madness of Movies: Introducing the Brackets

Now that it’s March and the NCAA will be hosting its annual March Madness tournament soon, we at MovieMinis thought to have our own tournaments, but, of course, with movies.

In the bracket style of March Madness, we will run through four different topics in what we’re calling the March Madness of Movies.

But rather than stick to general topics, such as Best Superhero Movie or Best Animated Movie, we wanted to get specific, to vote on aspects of film that could potentially make for a much more fascinating tournament.

The four topics we ended up on are:

  • Best A24 Films
  • Best Superhero Villain of the 21st Century
  • Best Big Budget Directing of the 21st Century (cutoff at a $75 million production budget)
  • Best Cinematography Since 2010

In this write-up, we’re introducing the brackets, and in subsequent weeks, we will release the results of each round.

For each bracket, we laid out tons of potential contenders, and after a week of painful voting, we seeded each bracket. We must note that, in working through the seeding process, we were reminded of a terrible reality in the film industry.

In the potential contenders for Best Big Budget Directing of the 21st Century, with a cutoff at a $75 million production budget, there were only nine films directed by women, many of them with male co-directors. Only one ended up making our bracket, certainly not as a representation of talent, but as a magnification and emphasis of the problem. For perspective, there were literally hundreds directed by men, and the men were mostly white. This is a rampant problem in Hollywood. Women and people of color — and above all, women of color — are not only not given many chances, but when they are, failure, in any way, results in horribly unfair consequences; in essence, they’re less likely to get another chance than a white man is. This problem applies to cinematography too. In the potential contenders for that bracket, there was a proportionally similar compilation. While female cinematographers received votes, none made our bracket — again, not as a representation of talent, but as a magnification and emphasis of the problem. Hollywood must change, and part of that change comes from not ignoring the problem anymore. We need more big budget films directed by women and people of color, and we need more films, in general, lensed by women and people of color. We need women and people of color involved in every level of pre-production, production and post-production. For more statistics on female directors of big budget films, read Terry Huang’s piece on The Black List blog.

With that in mind, let’s move into how the brackets shaped up:

Best A24 Films

Perhaps unsurprisingly, Moonlight and Lady Bird earned #1 seeds. Joining them were The Florida Project and A Ghost Story. Those four films will face off against #8 seeds Green RoomMorris From AmericaDe Palma and Menashe.

The next set of top films, the #2 seeds, were Swiss Army Man20th Century WomenThe Lobster and Ex Machina, which will face off against #7 seeds The LoversWhile We’re YoungKrisha and Spring Breakers.

The #3 seeds were a mix of widely awarded films and incredibly acclaimed genre/indie pictures: LockeRoomThe Witch and Good Time. The #6 seeds that they’ll compete against leaned more toward the indie darling: The Spectacular NowThe Bling RingUnder the Skin and Enemy.

Finally, in the middle of the pack were #4 seeds American Honey, Obvious ChildA Most Violent Year and It Comes At Night, as well as #5 seeds AmyThe End of the TourThe Disaster Artist and The Killing of a Sacred Deer.

Best Superhero Villain of the 21st Century

This bracket is made up of four subcategories — MCU villains, DC villains, X-Men villains and villains from other properties — and we pulled eight contenders from each subcategory to compete. Instead of leaving them in their own sections, however, we then mixed them up and seeded from there. And we kept it to just eight per subcategory because it seemed more interesting than a likely lopsided MCU bunch had we not had that limit.

And this bracket is not just about performances. It’s about the villain, the character. That involves the writing and the directing of that character too.

With that said, the first three #1 seeds were rather simple to come to: Heath Ledger’s The Joker from The Dark Knight, Michael B. Jordan’s Erik Killmonger from Black Panther and Ian McKellen’s Erik Lehnsherr/Magneto from X-MenX2 and X-Men: The Last Stand

Perhaps surprisingly to some who dislike the character, our staff showed strong support for Tom Hardy’s Bane from The Dark Knight Rises, who took that final #1 seed.

Those four will take on #8 seeds Kevin Bacon’s Sebastian Shaw from X-Men: First Class, Ed Skrein’s Francis/Ajax from Deadpool, Mark Strong’s Frank D’Amico from Kickass and Kurt Russell’s Ego from Guardians of the Galaxy Vol. 2.

The #2 seeds went to Tom Hiddleston’s Loki from various MCU films, Alfred Molina’s Doc Ock from Spider-Man 2, the other Erik Lehnsherr/Magneto (played by Michael Fassbender) from the most recent X-Men trilogy and the second The Dark Knight inclusion, Aaron Eckhart’s Harvey Dent/Two Face.

The #7 seeds who will battle these four are Zach Galifianakis’ The Joker from The LEGO Batman Movie, Hugh Jackman’s X-24 from Logan, James Franco’s Harry Osborn/New Goblin from Spider-Man 3 and Michael Shannon’s General Zod from Man of Steel.

Two of the #3 seeds went to the last two Captain America films; Daniel Brühl’s Helmut Zemo from Civil War and Sebastian Stan’s The Winter Soldier (not Bucky Barnes) from The Winter Soldier. Liam Neeson’s Ra’s al Ghul from Batman Begins and Jason Lee’s Buddy Pine/Syndrome from The Incredibles earned the other two #3 seeds. 

Competing against them are #6 seeds James Cromwell’s Professor Robert Callaghan from Big Hero 6, Dane DeHaan’s Andrew Detmer from Chronicle, Peter Dinklage’s Bolivar Trask from X-Men: Days of Future Past and the Sentinels that Trask unleashed onto the X-Men, also from X-Men: Days of Future Past.

In the middle of the pack, earning #4 seeds, were Cillian Murphy’s Dr. Jonathan Crane/Scarecrow from the entire The Dark Knight trilogy, Willem Dafoe’s Norman Osborn/Green Goblin from Spider-Man, Samuel L. Jackson’s Mr. Glass from Unbreakable and Andy Serkis’ Ulysses Klaue from Avengers: Age of Ultron and Black Panther. They’ll match up against #5 seeds Hugo Weaving’s Johann Schmidt/Red Skull from Captain America: The First Avenger, Brian Cox’s Col. William Stryker from X2, Michael Keaton’s Adrian Toomes/Vulture from Spider-Man: Homecoming and Jesse Eisenberg’s Lex Luthor from Batman v Superman: Dawn of Justice.

Best Big Budget Directing of the 21st Century

This bracket was split up into four different subcategories. Those were “Superhero Directing” (in the upper left), “Franchise Directing” (in the lower left), “Prestige/Original/Non-Studio Franchise Directing” (in the upper right) and “Animated Directing” (in the lower right). We took some liberties with this. Mad Max: Fury Road is a part of a franchise, but we concluded that it felt more in line with its current group than it would’ve among the franchise contenders.

In Superhero Directing:

Christopher Nolan easily earned a #1 seed; many even believe that he should’ve gotten an Oscar nomination for his efforts on The Dark Knight. He’ll face off against #8 seed Tim Miller for the subversive Deadpool.

Coming in behind Nolan in the #2 seed was Ryan Coogler for Black Panther, a cultural phenomenon that many believe could become the first superhero film nominated for Best Picture.

The #3 seed went to Joe Russo and Anthony Russo for Captain America: Civil War; the Russo brothers also placed in the #7 seed for Captain America: Civil War. James Gunn will take on the Civil War Russos with #6 seed Guardians of the Galaxy.

The middle match-up comes from 2017 films: the #4 seed James Mangold for Logan and the #5 seed Patty Jenkins for Wonder Woman.

In Franchise Directing:

Peter Jackson quite easily snagged the #1 seed for his directing job on The Lord of the Rings: The Return of the King. He’s the only Best Director winner out of five nominated efforts in this bracket. Facing of against him is #8 seed Martin Campbell for the first Daniel Craig James Bond film Casino Royale.

Sam Mendes, director of another Craig Bond film, Skyfall, made the bracket as the #6 seed. He’ll compete with #3 seed Matt Reeves for Dawn of the Planet of the Apes.

Like Bond, Matt Reeves made his subcategory twice, earning the #2 seed for War for the Planet of the Apes. He’ll take on our perhaps surprising Star Wars inclusion, #7 seed Gareth Edwards for Rogue One: A Star Wars Story.

Finally, with some of the most acclaimed films of the subcategory, #4 seed Alfonso Cuarón for Harry Potter and the Prisoner of Azkaban will battle #5 seed Denis Villeneuve for Blade Runner 2049.

In Prestige/Original/Non-Franchise Studio Directing

David Fincher’s Zodiac has become regarded as on the best films, in general, of the 21st century, so he glided into a #1 seed pretty smoothly. But his contender is a tough one: #8 seed Alfonso Cuarón for landmark sci-fi film Children of Men.

George Miller earned the #2 seed for his masterful work on Mad Max: Fury Road, and will face of against legendary director and #7 seed Martin Scorsese for The Wolf of Wall Street.

Scorsese made this subcategory twice, taking the #3 seed for his directing job on The Aviator. His opponent is #6 seed Christopher Nolan for Dunkirk, who also made this subcategory twice, placing as the #4 seed for Inception. He’ll take on #5 seed Peter Jackson for King Kong.

In Animated Directing:

Quite predictably, Pixar dominated this bracket, with #1 seeds Pete Docter and Bob Peterson for Up, #2 seed Brad Bird for The Incredibles, #3 seed Lee Unkrich for Toy Story 3, #4 seed Andrew Stanton for WALL-E, #6 seeds Pete Docter and Ronnie del Carmen for Inside Out and #8 seeds Lee Unkrich and Adrian Molina for Coco.

But other animation directors made it through with their beloved films. Rounding out the eight were #5 seeds Dean DeBlois and Chris Sanders for How to Train Your Dragon, and #7 seeds Ron Clements, John Musker, Don Hall and Chris Williams for Disney’s Moana.

Best Cinematography Since 2010

Even with setting the parameter of cinematography since 2010, there were still an overwhelming number of potential contenders and our votes were widely varied, resulting in a bracket that truly represents a mix of our opinions.

The #1 seeds did stand out, however: Mihai Malaimare Jr.’s lensing of The Master, Andrew Droz Palermo’s work on A Ghost Story, Roger Deakins Oscar-winning efforts on Blade Runner 2049 and Hoyte van Hoytema’s unforgettable photography on Her.

In fact, both Deakins and van Hoytema made this bracket three times. Deakins also earned a #3 seed for Skyfall and a #6 seed for Sicario. van Hoytema’s other two were Christopher Nolan films, a #2 seed for Dunkirk and a #6 seed for Interstellar.

Bradford Young also made this bracket three times, taking a #2 seed for Arrival, a #7 seed for A Most Violent Year and a #8 seed for Mother of George.

But, of course, 3-time Oscar winner Emmanuel Lubezki placed more than everyone with four spots: a #2 seed for The Tree of Life, a #3 seed for Gravity, a #5 seed for The Revenant and a #7 seed for Birdman or (The Unexpected Virtue of Ignorance).

The rest of the bracket is filled with stunning photography. Oscar winner Linus Sandgren earned a #2 seed for his work on La La Land. Other cinematographers of 2016 took spots as well, with James Laxton earning a #4 seed for Moonlight and Rodrigo Prieto earning a #4 seed for Silence.

Work from 2015 films rounded out the #3 seeds: Dick Pope for Mr. Turner and John Seale for Mad Max: Fury Road. The other #4 seeds were Luca Bigazzi for The Great Beauty and Bruno Delbonnel for Inside Llewyn Davis.

While Hoyte van Hoytema may have two Nolan films on this bracket, Nolan’s former cinematographer, Wally Pfister, earned a #5 for his Oscar-winning work on Inception. Rather recent photography also seeded #5: Rob Hardy for Annihilation and Sayombhu Mukdeeprom for Call Me by Your Name.

In fact, a couple of Roberts placed here. Robert D. Yeoman placed in the #6 seed for The Grand Budapest Hotel and the #7 seed for Moonrise Kingdom. Robert Richardson also seeded #6 for Django Unchained, while Robert Elswit was another Paul Thomas Anderson cinematographer to place, earning a #8 seed for Inherent Vice..

Finally, the last few contenders are #7 seed Masanobu Takayanagi for Hostiles, #8 seed Darius Khondji for The Lost City of Z and #8 seed Seamus McGarvey for Godzilla.

 

Follow along throughout March as we vote on these brackets and determine the best of each topic!

 

Featured image via Marvel Studios/Warner Bros./A24.

Hooman Yazdanian’s Favorite Scene of 2017: Coach directing The Tempest — ‘Lady Bird’

In a year full of heartwarming or, alternatively, emotionally devastating scenes, my favorite is not necessarily either one of those. I would argue that it’s probably not even the best in Lady Bird. But it’s without a doubt the funniest scene in any movie, maybe in years.

After the original priest (Stephen McKinley Henderson) who runs plays for Lady Bird’s high school leaves to attend to his mental health, he’s replaced by the ill-equipped JV football coach, Father Walther (Bob Stephenson), who is tasked with directing The Tempest. We get a quick glimpse at what a tough time he’ll have upon his introduction, when he asks the whole cast to take a knee, but he gets his chance to shine at the blackboard, where he stages the play.

Stephenson is excellent at the blackboard, confidently fumbling with what form this should actually take. He’s doing his best — no one will ever say he lacked intensity — but obviously knows he’s out of his element. He has one actor running “a post route” to get to their spot on stage, while drawing lines aggressively to signify it’s time for another actor to be singing.

The camera shows the high schoolers sitting on the floor, vigorously taking notes to jot this all down. The scene is funny immediately — as is the conceit — and, as it keeps going, gets funnier and funnier.

This scene is the only one in Lady Bird that feels a bit absurdist, but the trope of a coach being thrown in charge of something they’re not qualified for is a familiar one. In Mean Girls, it’s Coach Carr teaching health. At my school, it was the wrestling coach suddenly leading an AP Chemistry class for a few weeks. In Lady Bird, it happens to produce the year’s funniest scene.

 

Featured image via A24.

Box Office Report: In only 37 theaters, ‘Lady Bird’ flies into the top 10

While there are nine films that earned more than it, Lady Bird is, undoubtedly, the story of the week. In only 37 theaters — 826 less than any other in the top 10 — writer-director Greta Gerwig’s film, starring Saoirse Ronan, averaged $33,766 for a total of $1.249 million. After a 2017 record per-theater-average the weekend prior, Gerwig’s picture now stands at $1.781 million and will only continue to make money. Audiences know Gerwig from brilliant films such as 20th Century WomenJackieFrances Ha and Mistress America; combine that with wonderful marketing by A24, and it looks like they’ve got the perfect storm. It already has the critical acclaim, still at 100% on RottenTomatoes after 115 reviews, and now the financial success that could push it to not only contend, but possibly win big during the awards season.

In first place, expectedly, was Thor: Ragnarok. Marvel’s third Thor film took home an estimated $56.6 million to put it at $211.5 million domestically and $650 million worldwide — already past Thor and Thor: The Dark World in only its second weekend. The film will take a hit this upcoming weekend with the release of Justice League, but it should easily cross $800 million.

The comedy sequel Daddy’s Home 2 made an estimated $30 million for the second spot. The opening is $8 million less than the original, but still a solid start that should set the film on a path toward profitability. It seems as though Mel Gibson is all but forgiven in Hollywood.

Behind that was Kenneth Branagh’s Murder on the Orient Express with an estimated $28.2 million. The Agatha Christie adaptation was produced for $55 million and, with $57+ million so far overseas for a total of $85.4 million, the film will look to make its money back in due time.

In other limited release news, Oscar contender Three Billboards Outside of Ebbing, Missouri earned a per-theater-average of $80,000 in four theaters, close to Lady Bird last. As the Oscar players continue to release, we should be seeing similar performances — but next weekend will be dominated by Justice League.

*All weekend numbers are domestic, meaning that they’re from theaters in the US and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

 

Featured image via A24.

Trial: What is the best horror film of the past 5 years?

*Trials is a weekly series in which two writers tackle a proposed question or task. After they’ve written their opening statements, the writers will offer rebuttal arguments against the other’s and for their own, and a third writer will come in to make the verdict.*

This week’s question: What is the most effective horror film of the past 5 years?

Writers: Harrison Tunggal and Sanjay Nimmagudda
Judge: Kyle Kizu

*Warning: Spoilers for ‘The VVitch’ and for ‘It Follows.’*

Northern Lights/Animal Kingdom/Courtesy

Sanjay’s argument:

Contemporary horror movies are burdened with the stigma of excess. Whether it be excess in the form of jump scares, clichéd storylines or, more often than not, gore, recent scary movies fail to make a lasting impression of pure terror on the minds of their viewers. This is the cinematic landscape into which writer-director David Robert Mitchell introduced his 2014 horror sleeper hit, It Follows, simultaneously reinvigorating the genre while cementing the film’s place as certified nightmare fuel.

What sets It Follows apart is the film’s ability to gradually instill dread into its audience through sheer simplicity. Mitchell builds suspense and conjures up uneasiness via a basic narrative that has far-reaching real-world applicability. Gone are the chainsaw-wielding rednecks, demonic poltergeists and invincible masked killers, but the terror their histories carry with them is here in buckets. The film brilliantly supplants the cheap, and non-lasting, scares that these horror archetypes induce with a more primal and intrinsic fear present in every man, woman and child at some point in his or her life.

Northern Lights/Animal Kingdom/Courtesy

By simply having the ostensible ‘final girl’ Jay (Maika Monroe) relentlessly stalked by an indescribable force of evil, It Follows engages audiences on a more personable, and relatable, level. ‘When was the last time you felt as though someone or something was following you?’ the film posits. This inherently natural and ubiquitous fear is more effective and lingering because it can happen to and overcome anyone. Mitchell does not bog the film down with backstory or pad the runtime with a high body count, no. Instead, both director and production progress with the confidence that the most terrifying things in life are the inexplicable.

That’s not to say It Follows is without its subplots — a staple of the horror movie game — but the fashion in which it incorporates its motifs anxiously underscores the terror which the main narrative produces. The young adults who comprise the main cast are not trite caricatures of teenagers as audiences have come to expect within the genre, but rather, they act naturalistically, organically so to speak, and subtly convey moments of grief, trauma, sexual repression and mental illness on screen as actual teenagers would.

They are shameful, scared and unsure of what to do, but concurrently, they are not just bodies on the screen waiting to be picked off one by one. The realism in their portrayals as well as how well the film intertwines these socially taboo subjects creates an atmosphere of shame and guilt which only serves to emphasize the weight of the situation these people have found themselves in. Mitchell makes these kids likeable, empathetic and real, rendering their predicament all the more personally horrific.

Northern Lights/Animal Kingdom/Courtesy

What’s more, It Follows understands that what makes a horror film truly frighteningly is not simply what’s onscreen (though that is a large part of it), but rather the atmosphere established about the entire film. With a score that is both unbelievably disturbing and a beautiful callback to the iconic sinister tracks in films like Halloween, A Nightmare on Elm Street and Friday the 13th, composer Disasterpiece constructs an auditory dialogue between new age synthetic tones and classic horror film melodies which unsettles, intrigues and works beautifully in cohesion with DP Mike Gioulakis’ minimalist cinematographic style. Gioulakis boils down each shot to the bare essentials whether it be a simple car parked in an abandoned lot or the frequent, but no less harrowing, extreme long-shot of a small figure slowly inching its way toward the foreground. This is horror filmmaking without the frills and ostentatiousness of its contemporary counterparts and more terrifying because of it.

By excising the excess of modern horror while ameliorating the trope-ish tendencies of horror past, It Follows manages to deliver an innovative and, necessarily, simple story which harks on the fears and insecurities present in all of us, that never truly leave. It is the best horror film of not just the past 5 years, but of the 21st century.

A24/Courtesy

Harrison’s argument:

Robert Eggers’ The VVitch isn’t scary in the traditional sense. But everything about it is unsettling. It is a film that is meticulously designed to flay one’s nerves for 93 minutes by any means possible, right down to the spelling of the title, an aesthetic choice that elicits existential dread from my computer’s spell check software.

The VVitch barely has any jump scares (the ones in the film are damn effective though), preferring instead to escalate the viewer’s sense of unease through the language of cinema. Immediately, we’re introduced to a world drenched in darkness; cinematographer Jarin Blaschke’s use of only natural light (or lack thereof) suggests that there is neither a shred of brightness to be found nor hoped for. The visual aesthetic of The VVitch instantly communicates dreariness to the viewer, establishing the unease of what’s to come. This sense of unease is continued when we’re introduced to the farm where the main characters reside. It’s in an open field, completely vulnerable to the sinister, hungry maw of the surrounding forests. We’re constantly worrying that the titular witch will emerge from the woods and descend upon the exposed farm. Additionally, the farm is completely cutoff from society, and the isolation that imbues the film is akin to films like The Shining. In this sense, the world of the film is one that constantly and inherently invites tension.

A24/Courtesy

Of course, setting alone can’t invite the full-scale unease that the film achieves, and that’s where the characters come in. The film centers around a family of 17th century New England Puritans, who experience typical household troubles, which ground them in reality. So when that sense of reality is swept away by the supernatural — literally, when baby Samuel is snatched by a witch and ground to bits — we’re invested in the well-being of the family. Mostly though, we’re most invested in the character of Thomasin (Anya Taylor-Joy), the family’s eldest daughter, who may or may not be the supernatural source of the family’s troubles. As the film progresses, we see how Thomasin is simply caught up in a family that is slowly caving into itself through their isolation, seemingly without any help from the supernatural. Thomasin never intends her family harm, and when she is consistently getting blamed for the family’s misfortunes, our unease stems from the sense that disaster is looming, despite Thomasin’s innocence.

Then, there’s the music, composed by Mark Korven. Whereas most horror films are content to blast pounding waves of noise, Korven crafts a signature sound for The VVitch by turning to period-accurate instruments such as the nyckelharpa. The string melody of “What Went We” is at once beautiful, but also intuitively evil — not unlike the film’s depiction of Satan himself. The vocal chanting of “Witch’s Coven” likewise bears an inherently sinister quality. This isn’t “avada kedavra,” but something that feels real, as if the sharp, angry chanting comes from a real coven of witches. The music of The VVitch turns an already tense film into an utterly bone-chilling one.

A24/Courtesy

Regarding the religious horror on which The VVitch is based on, there’s something tactile and authentic in the way that the film approaches witches and satanic lore. It certainly comes as no small sign of approval when real Satanists lend their support to the film. The film posits the threat of Satan as a constant one for Thomasin and her family — present in the mundane, the extraordinary and everything in between — which also makes such a threat feel salient for the viewer. When Satan’s influence is posited as inevitable, maybe even condonable, that’s when the viewer truly becomes unnerved.

Ultimately, The VVitch is a thoroughly unsettling experience, one which leverages filmic language and storytelling to create an aesthetic experience of pure dread. If nothing else, the film deserves all of its plaudits for launching the career of Black Phillip, the most talented, savvy and charismatic actor of his generation.  

Northern Lights/Animal Kingdom/Courtesy

Sanjay’s rebuttal:

I have to concede to Harrison that Eggers does implement painstaking detail in recreating the puritanical homestead upon which The VVitch takes place. The mood evoked by the film’s fixation on isolation, familial disputes and the unpredictability of the eponymous witch does contribute to an overwhelming amount of tension that envelops the film as a whole. It’s clear that the film’s existence as a period piece sets it apart from cinematic peers, but I would argue that said peers are not of the horror genre. What the movie accomplishes with the aforementioned plot beats, aesthetic and auditory choices and overall unnerving atmosphere is not necessarily indicative of horror so much as a drama or even thriller. The VVitch is most informed by how it captures the trial of Thomasin as a victim of historical patriarchal oppression.

Thomasin’s ascension to fully-realized autonomy is what drives the film as she is constantly belittled, disparaged and generally disregarded by her family. The film relies on her perpetual disenfranchisement as a woman in Puritan society and a daughter to a distrustful family to achieve its ultimate conclusion. I would assert that the “dreariness” and “uneas[iness]” of the movie, while undoubtedly generating fear, is not primarily meant to do so in service of fear, but rather to elicit sympathy for Thomasin’s plight.

Northern Lights/Animal Kingdom/Courtesy

Therein lies the delineation between classifying The VVitch as horror or drama/thriller, while a film may contain all the tell-tale signs of your run-of-the-mill scary movie, those signs are just a means to an end. And unless that end is to frighten, to horrify, to scare an audience, then that film cannot fully be classified as a horror film. The VVitch appropriates elements of horror which Harrison describes, such as Blaschke’s specific use of natural light and Korven’s string-based score, not to directly terrify but rather to emphasize the severity of Thomasin’s indescribably traumatic life.

Though scares do exist within its runtime, The VVitch functions best as a portrayal of the hardships and eventual retrieval of agency of its main character. The frights and scares, while very real, exist as tools to support and accent the journey of its central protagonist. While one might try and accuse It Follows of a similar feat, the difference is, It Follows’ narrative and thematic through lines of sex, disease etc. never overpower the film’s scares. Thomasin’s arc, on the other hand, becomes more compelling and deserving of our attention as the film progresses. It surpasses even the looming threat of the titular witch, that is, until Thomasin becomes her. In fact, when compared to It Follows’ straight-forward narrative, the intricacy of The VVitch’s storyline and the stark lens it casts on the familial dynamic as well as Thomasin’s identity make it a better film. Just not a better or scarier horror film.

A24/Courtesy

Harrison’s rebuttal:

Arguing that The VVitch is a better horror film than It Follows is no easy task, especially when Sanjay makes his point as thoroughly as he did. I can’t deny that It Follows is one of my favorite recent films, not least because its simple, atmospheric scares capture the anxiety of being followed, and of teenage sexuality.

Still, I would argue that the scares in The VVitch work in the same ways that those of It Follows do, but more effectively. It Follows leverages Mike Gioulakis camera work to create scares, in particular through the long takes that create a sense of anxiety for the viewer. But The VVitch makes the same play. The final scene of Thomasin walking into the woods lingers on her slow departure, going further and further away from the camera. This shot follows the same methodology as the cinematography in It Follows, but the anxiety of the shot is heightened because of the way that the film consistently escalates tension. The VVitch allows its viewer no time to breathe, no escape from the film’s ever tightening grasp on the viewer. Quite frankly, there’s hope for the characters in It Follows; they have the chance to pass on the specter of death that follows them. Thomasin, in The VVitch, has no such luxury. Her entire world crumbles away, and the shot of her walking into the forest — a climactic moment — only serves to highlight this fact. Sure, she might be better off with the witch’s coven, but nowhere in the film does the viewer not feel tense.

A24/Courtesy

In regard to atmosphere, The VVitch is arguably more hauntingly atmospheric than It Follows. Robert Eggers’ experience as a production designer comes out in full force: the film’s color palette, eerie music, blunt but mysterious approach to the supernatural and utilization of 17th-century aesthetics all create an atmosphere that coalesces to haunt and unnerve the viewer. In this sense, the atmosphere of The VVitch is more unified and purposeful than that of It Follows.

Ultimately though, both It Follows and The VVitch are two of the best recent horror films. Yet, the constant tension and unique aesthetic atmosphere of The VVitch give it an edge that It Follows lacks.

Kyle’s ruling:

The arguments are exactly what I hoped for out of this specific trial. They’re rather different. Harrison focuses on the complexity of production and the viscerally unsettling experience, while Sanjay focuses on the incredibly efficient, effective and simple story. Both are cases made well, cases that show how incredible the horror genre can be and, if all to base a judgment off of, impossible to pick between.

But there’s a clear winner, and it’s because someone shot themselves in the foot in the rebuttals. Sanjay seems to take the route of arguing for why The VVitch isn’t even primarily a horror film in the first place. It’s a bold strategy, but it doesn’t pay off. He makes the case for how the tension and unease are in service of a dramatic idea in regard to the film’s main character, which he believes makes it more of a dramatic film than a horror one. It’s an idea, sure. But I never understood why that meant that The VVitch‘s scares and fright aren’t indicative of horror, of rather good horror. Wouldn’t that make it a better horror film? That its scares and frights are in service of story and character and not just there for horror’s sake? Isn’t that the very idea you present in your own argument for It Follows? That it isn’t cheap? And if It Follow‘s themes are in service of the horror, and not the other way around, wouldn’t that make it cheap?

It was too bold of an attempt, and not one that had to be made.

In Harrison’s rebuttal, he uses the angle that Sanjay does in his very own argument for It Follows to take down that film — talk about effectivity, and how The VVitch is more so.

Winner: Harrison

 

Do you agree with Kyle’s verdict? Or would you have picked a different horror film as the best of recent years? Sound off in the comments.

Staff records:

Harrison Tunggal: 3-1

Levi Hill: 1-0

Kyle Kizu: 0-2

Sanjay Nimmagudda: 0-1

 

Featured image via Northern Lights/Animal Kingdom/A24.

Box Office Report: ‘Happy Death Day’ kills ‘Blade Runner 2049’ for top spot

Blade Runner 2049 had a chance at repeating at the top spot in its second weekend, considering its outstanding reception from both the critics and the general public. However, financially, the sci-fi blockbuster is fairing similarly to the original: not well. It only made an estimated $15.1 million this past weekend, bringing its domestic total to just over $60 million. Worldwide, Blade Runner 2049 has taken in $158.5 million, and, with a budget of $150 million, it’s looking as though the film’s best hope is to barely break even. It would have to make approximately $300 million worldwide to do so.

What ended up killing the Denis Villeneuve film was the new Groundhog Day-esque horror film Happy Death Day, which won the weekend with an estimated $26.5 million. Horror films are often successful in their opening weekend, and this was no exception. Add in the relatively favorable reviews, and the film should stay in the top five for at least another weekend, but likely longer.

Behind Blade Runner 2049 was the Jackie Chan action flick The Foreigner, which took home an estimated $12.84 million in its opening weekend. Overseas, the film has already made an additional $88.4 million for a $101.24 million total. On a $35 million production budget, The Foreigner is already profitable.

Rounding out the top 5 were It, making an estimated $6.05 million, and The Mountain Between Us, earning approximately $5.65 million. The Stephen King adaptation continues its dominance, with just over $630 million worldwide, while the Idris Elba and Kate Winslet romantic adventure thriller is struggling intensely.

One of the other new releases, Professor Marston & the Wonder Women, failed historically this past weekend. The film made only $737,000, one of the worst debuts for a release in over 1,000 theaters. With a fantastic 87% on RottenTomatoes, its financial disappointment may point to failures in marketing. Granted, it still is only its opening weekend, and things could change with word of mouth and expansion.

However, A24’s The Florida Project, which opened in just 4 theaters last weekend and expanded to 33 this weekend, took home an estimated $401,141 for a total of $623,949. Assumedly, the small independent film should have a rather small budget, meaning that it’s shaping up to turn profitable as it continues to expand. It’s also one of the most critically acclaimed films of the year, and a hot contender for Best Picture at the Oscars.

*All weekend numbers are domestic, meaning that they’re from theaters in the US and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

 

Featured image via Universal Pictures.

4 brilliant performances from actors under 15 years old

Unfortunately, young actors often stick out in films. It’s hard to blame anyone in those situations; these actors are usually out of their comfort zone in such a highly demanding atmosphere, and it’s difficult for directors to truly direct someone so young.

But children are so integral to stories, adding layers that are wholly missing in stories all about adults. So, it’s a wondrous delight when a film features a great performance from a young actor. They’re few and far between, and take extreme talent from both the actor and the storytellers.

In honor of the acclaim that 7-year-old actress Brooklynn Prince is receiving for her turn in Sean Baker’s The Florida Project, which is currently in theaters, the MovieMinis staff is taking a look at some of its favorite young actor performances of recent times, from actors under 15 years old.

Dafne Keen, Logan (2017) — 10/11 years old

Ben Rothstein/20th Century Fox/Courtesy

Logan might be billed as Hugh Jackman’s movie, but Dafne Keen steals the show as a young clone of Logan, X-23. She matches Jackman’s trademark intensity in every way, snarling and stabbing just like Wolvie in his prime, maybe even better (she does have those rad foot claws after all). Don’t believe it? Just check out her screen test with Jackman. More than that though, Keen is able to showcase impressive dramatic chops throughout Logan. The film’s ending, though emotional already, is predicated on Keen’s command of the scene. The way she responds to Jackman on an emotional level is stunning to behold — we really do believe that a young girl is losing the father she just recently connected with, and Keen ensures that not a dry eye is left in the theater. Her quoting of the final lines from Shane as she stands over Logan’s grave is easily the most poignant moment in the X-Men franchise. Between Dafne Keen, Millie Bobby Brown from Stranger Things and Ahn Seo-hyun from Okja, would it be too much to ask for an Avengers-style team-up of pint-sized, kickass actresses? Hell, set it in the X-Men universe. 20th Century Fox, the ball is in your court.

— Harrison Tunggal

Abraham Attah, Beasts of No Nation (2015) — 12/13 years old

Netflix/Courtesy

Beasts of No Nation is an intense film that presents a harrowing picture of war-torn Africa and the many child soldiers thrust into performing horrific acts. It’s a heart-breaking portrait of the violence committed and the dehumanization these children experience, but the film wisely puts the film’s quietly building emotional wallop on the shoulders of newcomer Abraham Attah. Attah, as a young boy who saw his family die at the hands of an invading war within his hometown, portrays the full character arc of innocence gone awry, to hate-filled violent monster, all the way back to a boy reconciling the loss he has experienced in a short time. It’s a tricky arc for any actor, let alone one who had never acted before. Yet Attah is perfect, and while was shunned by the Oscars, rightfully won the Best Actor award at the Independent Spirit Awards.

— Levi Hill

Mackenzie Foy, Interstellar (2014) — 13/14 years old

Warner Bros./Paramount/Courtesy

Without an amazing performance from Mackenzie Foy, Interstellar potentially collapses in on itself like a forming blackhole. Murph is the heart and soul of the film, the source of both its human vulnerability and its human strength. Her spark, vibrancy in a time of dust storms and food shortages is invigorating. Foy embodies all of that, from the upbeat tempo of her line delivery, to the subtle lift of her eyebrows when adventure calls. Yet, so much of that comes out of the character’s love of her father. As much as she is capable and willing to be independent, her father is her role model and her rock during such difficult times. Thus, his leaving is the greatest of betrayals.

And in that goodbye, a scene of immense tragic poetics, Foy is stunning. She has to traverse so many emotions, from quiet vulnerability to raw desperation to subtle hope to heartbreaking anger. In response to “I’m coming back,” her delivery of the line “when” shatters us. And as she runs out of the house, calling out for her father as he drives away, her tears shatter us.

It’s difficult to truly see how important Foy’s performance is at first. But she genuinely is the basis off of which Jessica Chastain works, granting each of Chastain’s most emotional moments even more weight because of how much we became invested in Murph as a child. And all of the immensely moving moments of Cooper’s guilt are just that much more moving because we found such a strong connection between him and Murph at the beginning of the film. Interstellar is about a father and a daughter, a relationship that defines the veins of the film, a beating heart that doesn’t beat without the brilliance of Mackenzie Foy.

— Kyle Kizu

Jacob Tremblay, Room (2015) — 8 years old

A24/Courtesy

In a film that focuses on psychosexual abuse, familial ostracization and guilt-induced suicidal tendencies, it’s hard, if not impossible, to perceive even a glimmer of hope in the wake of such trauma. Yet somehow, Jacob Tremblay gives an inconceivably optimistic performance in Lenny Abrahamson’s Room. As Jack, Tremblay represents the only tether to humanity for the perpetually-victimized Ma (Brie Larson) — the crux of the film’s emotional weight rests on the duo’s shoulders. Tremblay masterfully combines elements of precociousness, curiosity and an indelible level of courage to convey an uneasiness of the unknown, of a world outside the eponymous room, while remaining a pillar of strength for his overwhelmed mother. Larson’s performance relies a great deal on her onscreen son’s presence, and Tremblay somehow intimately commands each scene he’s in not through long-winded dialogue or overt acting, but, rather, restrained emotion. The level of his abuse, of his victimization is just beneath the surface of his wonder with the outside world, and Tremblay hints to it but never reveals it until the moment’s right. It would’ve been easy for a child’s performance to disrupt the rhythm of a such delicately-written melancholic narrative, but when said performance actually acts as the emotional core, you can’t help but be minutely unnerved and immensely impressed.

— Sanjay Nimmagudda

 

Featured image via A24.

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