Tag Archives: Alicia Vikander

The Best in Film of Spring 2018

By the end of the year, it’s rather easy to fall into the overwhelming consensus/narrative of what films and performances deserve Oscars. It’s often mostly made up of films that come out in the last four months of the year, with a few from the first eight months — but those had to be more than exceptional.

As that trend continues, it becomes more and more necessary to take the time to really explore the great work across crafts below and above the line from the beginning of the year. And so far, between the months of January and April, film has offered brilliance in so many regards, within both tiny independents and massive blockbusters.

Here is our breakdown of the best in film of Spring 2018:

Best Supporting Actor

Winner: Paul Bettany — Journey’s End

Nick Wall/Good Deed Entertainment/Courtesy

Journey’s End becomes so unnerving so quickly because of the specific tension that it evokes: of composed, orderly men slowly crumbling from the inside at the doom of war approaching. And while Sam Claflin offers the film’s most expressive, explicit performance, Paul Bettany nails that tension with subtle grace. His character’s initial calm and almost fatherly presence is impossible not to latch onto, making it all the more tragic to watch as even he starts to break down — a destabilization of his eyes and rockiness in his slowly suffocated breath. Bettany clearly controls every minute with a clear sense of the story’s path, anchoring the film as the events spiral out of control.

Runner-up: Hugh Grant — Paddington 2
3. Michael B. Jordan — Black Panther
4. Chris Hemsworth — Avengers: Infinity War
5. Jesse Plemons — Game Night

The Next 5
6. Ed Helms — Chappaquiddick
7. Alessandro Nivola — Disobedience
8. Shia LaBeouf —Borg vs. McEnroe
9. Anton Yelchin — Thoroughbreds
10. Simon Russell Beale — The Death of Stalin

Best Makeup & Hairstyling

Winner: Camille Friend, Joel Harlow — Black Panther

Marvel/Disney/Courtesy

Some may argue that Avengers: Infinity War is above Black Panther in this regard, simply because of the number of characters in makeup and the different styles of makeup. But this distinction shouldn’t be for the most work. In fact, Infinity War, even in aspects beyond makeup, bases a lot of itself in what’s come before.

Where Black Panther clearly stands out is in both its innovation and the world-building that the makeup and hair work accomplishes. The makeup is prevalent, but not overt. The prosthetics are integrated into the world-building. The hair is distinct and varied, wound into other design elements perfectly.

Runner-up: Deborah Rutherford, Brian Sipe, Janine Rath — Avengers: Infinity War
3. Kimberly Kimble, Allan A. Apone, Anita Brabec, Geno Freeman — A Wrinkle in Time

The Next 3
4. Tristan Versluis, Sian Grigg — Annihilation
5. AnnaCarin Lock — Borg vs. McEnroe
6. Lesley Noble, Conal Palmer, Roseann Samuel — Journey’s End

Best Costume Design

Winner: Ruth E. Carter — Black Panther

Marvel/Disney/Courtesy

From a design standpoint, Black Panther is one of the most deeply felt films in the past number of years. Crafts are brilliant across the board, but it’s Ruth E. Carter’s costume design that pops the loudest and brightest.

The film not only features a wide variety of styles of a new world — from armor, to daily wear, to royal dress — and a wide variety of material distinctly from that world, but also informs each costume as a clear, storied product of Wakanda. That the costumes are also incredibly beautiful is a testament to the mastery of Carter.

Runner-up: Paco Delgado — A Wrinkle in Time
3. Suzie Harmen — The Death of Stalin
4. Judianna Makovsky — Avengers: Infinity War
5. Anushia Nieradzik — Journey’s End

The Next 5
6. Lindy Hemming — Paddington 2
7. Alex Bovaird — Thoroughbreds
8. Caroline Errington — Chappaquiddick
9. Kicki Ilander — Borg vs. McEnroe
10. Odile Dicks-Mireaux — Disobedience

Best Sound Editing

Winner: Daniel Laurie, Shannon Mills — Avengers: Infinity War

Marvel/Disney/Courtesy

Avengers: Infinity War has the seemingly requisite barrage of guns and explosions. And these sounds are executed rather effectively and with blunt force.

But where Infinity War‘s sound editing shines is in the supernatural elements, such as those surrounding the infinity stones. The ear-ringing electricity present whenever Thanos gains a stone renders them magical, majestic and worthy of the power they end up displaying. And the sounds of the stones used in battle fully inform the mind-boggling visual effect they have. The film is truly galactic, and the sound editing follows suit.

Runner-up: Richard Hymns, Gary Rydstrom — Ready Player One
3. Benjamin A. Burtt, Steve Boeddeker — Black Panther
4. Glenn Freemantle, Niv Adiri — Annihilation
5. Stephen Griffiths, Andy Shelley — Journey’s End

The Next 5
6. Erik Aadahl, Brandon Jones, Ethan Van der Ryn — A Quiet Place
7. Wayne Lemmer, Christopher Scarabosio — Isle of Dogs
8. Malte Bieler, Emma Present — Pacific Rim: Uprising
9. Dominic Gibbs, Luke Gentry — Tomb Raider
10. Al Nelson, Andre Fenley — A Wrinkle in Time

Best Sound Mixing

Winner: Michael Barosky, Brandon Proctor — A Quiet Place

Paramount Pictures/Courtesy

A Quiet Place is a film that tells its story primarily through sound. Within that distinction, the sound’s force is primarily in its mixing.

The calculation of not only when to drop, for example, a creak in the wood, but also of how loud to make the creak is supremely effective throughout. And the overall composition of the mix, beginning steeped in eerie quietude and then slowly introducing brutal, jarring sounds, is some of the best craft work of any type this year. But the mixes most impressive accomplishment is how it informs the physical human situation in the film. With the mix, we feel the horrifying physical strain of the characters throughout, and invest in their story because of that.

Runner-up: Juan Peralta, Tom Johnson, John Pritchett — Avengers: Infinity War
3. Niv Adiri, Michael Clayton, John Skehill, Ian Tapp — Annihilation
4. Dan Johnson, Bryn Thomas — Journey’s End
5. Steve Boeddeker, Peter J. Devlin, Brandon Proctor — Black Panther

The Next 5
6. Gary Rydstrom, Andy Nelson — Ready Player One
7. Wayne Lemmer, Christopher Scarabosio — Isle of Dogs
8. Hans Møller, Henric Andersson — Borg vs. McEnroe
9. Andrew Stirk, Johnathan Rush, Drew Kunin — You Were Never Really Here
10. Christopher Boyes, Willie D. Burton, Lora Hirschberg — A Wrinkle in Time

Best Supporting Actress

Winner: Jennifer Garner — Love, Simon

20th Century Fox/Courtesy

During the first two acts of Love, Simon, Jennifer Garner’s presence is notably felt, her warmth and charisma delightful.

What elevates Garner so high, though, is a scene rather similar to Michael Stuhlbarg’s shining moment in Call Me by Your Name — yet Garner distinguishes this as her own. We strain at Simon’s conflict throughout the film, and are devastated when it turns south. What makes his situation worse is that he seems so alone. So, when Garner’s character offers him some words of comfort, not only is Simon allowed to breathe, but we are too. But it took Garner’s full emotional investment in the scene, as she emanates a distinctly motherly wisdom. Garner delivers the monologue carefully, necessarily so, but offers a raw vulnerability at the same time; much of the final third’s stability is based in this moment and the work it does.

Runner-up: Gina Rodriguez — Annihilation
3. Letitia Wright — Black Panther
4. Rachel McAdams — Game Night
5. Geraldine Viswanathan — Blockers

The Next 5
6. Andrea Riseborough — The Death of Stalin
7. Millicent Simmonds — A Quiet Place
8. Zoe Saldana — Avengers: Infinity War
9. Tessa Thompson — Annihilation
10. Sally Hawkins — Paddington 2

Best Production Design

Winner: Hannah Beachler, Jay Hart — Black Panther

Marvel/Disney/Courtesy

Some franchises get sequels, and even after a second film, their worlds still feel flat, uninspired and without life.

Black Panther is the exact opposite. Within the first act, the world of Wakanda lives vibrantly, and a huge reason for that is the production design. Like the costumes, the variety of designs, how informed each feel and how each build a specific aspect of Wakanda is a testament to the production design’s accomplishment. The throne room has the hallmark of superhero royal design, and yet, it is distinctly of Wakanda. And Shuri’s lab is as badass and visually exciting as any set throughout the MCU.

To make it plain and simple, look at how the sets of Wakanda are realized at the end of Captain America: Civil War and throughout Avengers: Infinity War. The difference is day and night.

Runner-up: Gary Williamson, Cathy Cosgrove — Paddington 2
3. Mark Digby, Michelle Day — Annihilation
4. Adam Stockhausen, Paul Harrod — Isle of Dogs
5. Jeffrey Beecroft, Heather Loeffler — A Quiet Place

The Next 5
6. Kristian Milsted, Libby Uppington — Journey’s End
7. Charles Wood, Lesley Pope — Avengers: Infinity War
8. Cristina Casali, Charlotte Dirickx — The Death of Stalin
9. Gary Freeman, Raffaella Giovannetti — Tomb Raider
10. Naomi Shohan, Elizabeth Keenan — A Wrinkle in Time

Best Visual Effects

Winner: Dan DeLeeuw, Jeff Capogreco, Varun Hadkar, Doug Spilatro — Avengers: Infinity War

Marvel/Disney/Courtesy

The visual effects of Avengers: Infinity War are simultaneously a synthesis of the MCU and a grand expansion of it. We get our (brief) moment of Hulk. We get Iron Man in full action. We get Dr. Strange and Wong channeling their magic. We get Spider-Man slinging through New York. We get the Guardians going galactic.

But we also get each hero visualized in new situations, using new weapons/suits/powers in new settings. The scope is pushed to the max as Iron Man’s suit evolves in its capabilities, as Dr. Strange is pitted against powers he hasn’t faced, as Spider-Man is taken into space, as Thor gets an axe to replace his hammer. The scope is pushed to the max as the new worlds we see — Titan, Nidavellir, Vormir — begin to paint a brilliant universe that’s been devastated by an approaching apocalypse.

Certain moments are visual effects wonders, many of them on Titan. Thanos bringing down the moon on Iron Man is indescribably transfixing, and the Avengers taking on Thanos to try to remove his gauntlet is a masterful orchestration.

And this all comes without mention of the performance capture work. Where Andy Serkis and crew innovated with the Planet of the Apes trilogy, the team on Infinity War extends that. The children of Thanos are interesting visual pieces, Ebony Maw perhaps the most. But Thanos is clearly the visual effects star. Thanos’ stature, his palpable physicality, which turns into palpable dread for our heroes, is key to the film’s success, and his rendering is brilliant.

Runner-up: Roger Guyett, Grady Cofer — Ready Player One
3. Andrew Whitehurst — Annihilation
4. Nikos Kalaitzidis, Richard McBride — A Wrinkle In Time
5. Geoffrey Baumann, Stuart Lashley, Doug Spilatro — Black Panther

The Next 5
6. Jim Berney, Peter Chiang, Caleb Choo — Pacific Rim: Uprising
7. Scott Farrar — A Quiet Place
8. Rupert Davies, Andy Kind, Peter McDonald, Carlos Monzon, Glen Pratt — Paddington 2
9. Matt Sloan, R. Christopher White — Maze Runner: The Death Cure
10. Thrain Shadbolt, Colin Strause, Erik Winquist — Rampage

Best Film Editing

Winner: Jonathan Amos, Mark Everson — Paddington 2

Warner Bros./Courtesy

Paddington 2 gets nearly everything right. Its characterization is pitch perfect, its tone enchanting. Some of its sequences are simply magical.

And one of the most significant contributing factors to those aspects working as well as they do is the film’s editing. Montage sequences are put together with grace and energy akin to Wes Anderson films, some of them evoking the spy genre in both a genuine and lightly satirical way. The pacing never falters, the film running along briskly throughout. And cuts are leveraged so affectingly, perhaps most powerfully toward the film’s end. The overall piece of Paddington is as delectably crafted as a marmalade sandwich.

Runner-up: Barney Pilling — Annihilation
3. Jeffrey Ford, Matthew Schmidt — Avengers: Infinity War
4. Christopher Tellefsen — A Quiet Place
5. Alex O’Flinn — The Rider

The Next 5
6. Joe Bini — You Were Never Really Here
7. Tania Reddin — Journey’s End
8. Debbie Berman, Michael P. Shawver — Black Panther
9. David Egan, Jamie Gross, Gregory Plotkin — Game Night
10. Jonathan Alberts — Lean on Pete

Best Cinematography

Winner: Bradford Young — Where Is Kyra?

Paladin/Courtesy

Before Bradford Young exposed the deep shadows of a galaxy far, far away, he utilized shadows to dig deep into the psychology of those in poverty. Where Is Kyra? is incredibly and literally dark throughout, and gets darker as the film goes. And Young’s detail in those shadows evokes so much about the despair of poverty. But Young also utilizes the close-up to profound effect. Many of the shots of Michelle Pfeiffer’s face are jarring, but necessarily so, in that they allow a raw, quiet look at her state of mind. And when things get desperate, the uncomfortable angles of close-ups, like in the image above, only further transport us emotionally.

Runner-up: Laurie Rose — Journey’s End
3. Trent Opaloch — Avengers: Infinity War
4. Joshua James Richard — The Rider
5. Rob Hardy — Annihilation

The Next 5
6. Rachel Morrison — Black Panther
7. Barry Peterson — Game Night
8. Charlotte Bruus Christensen — A Quiet Place
9. Triston Oliver — Isle of Dogs
10. Tom Townend — You Were Never Really Here

Best Original Score

Winner: Geoff Barrow, Ben Salisbury — Annihilation

Paramount Pictures/Courtesy

The music of Annihilation stood out even before the film released, with that signature sound sticking in people’s minds and sites even writing articles pinpointing when it popped up.

But the fact that the score stands out is not what makes it so good. The shimmer is as equally horrifying as it is beautiful, and Barrow and Salisbury’s score replicates that, even instills that in the film. The electronic buzz is both paralyzing and dazzling, especially in the final act, as the piece “The Alien” renders the sequence on of the most stunning of recent memory.

And yet, the score also utilizes acoustic guitar in stark contrast, crafting an atmosphere of melancholy that perfectly delivers on the film’s rumination on mental pain.

Runner-up: Ludwig Göransson — Black Panther
3. Jonny Greenwood — You Were Never Really Here
4. Alexandre Desplat — Isle of Dogs
5. Marco Beltrami — A Quiet Place

The Next 5
6. Hildur Guðnadóttir, Natalie Holt — Journey’s End
7. Cliff Martinez — Game Night
8. Carlo Virzì — The Leisure Seeker
9. Dario Marianelli — Paddington 2
10. Alan Silvestri — Avengers: Infinity War

Best Original Screenplay

Winner: Chloé Zhao — The Rider

Sony Pictures Classics/Courtesy

The Rider may feature plenty of dialogue that presents its themes up front. But that seems purposeful, as the film is really about the performative of that explicitness as well as the simple, but profound structure/progression of events.

Zhao’s script is gentle, but that allows the story to become rather forceful in its entirety. By its end, those simple, explicit lines of dialogue mean much more than they did at the film’s start.

Runner-up: Bryan Woods, Scott Beck, John Krasinski — A Quiet Place
3. Brian Kehoe, Jim Kehoe — Blockers
4. Mark Perez — Game Night
5. Cory Finley — Thoroughbreds

The Next 5
6. Taylor Allen, Andrew Logan — Chappaquiddick
7. Wes Anderson, Roman Coppola, Jason Schwartzman, Kunichi Nomura — Isle of Dogs
8. Ronnie Sandahl — Borg vs. McEnroe
9. Andrew Dosunmu, Darci Picoult — Where Is Kyra?
10. Jonathan Bernstein, James Greer — Unsane

Best Adapted Screenplay

Winner: Ryan Coogler, Joe Robert Cole — Black Panther

Marvel/Disney/Courtesy

While Michael B. Jordan’s performance as Erik Killmonger is good, most of the powerful impact of the character comes from how he’s written — the dialogue of the character, his arc and the themes that his character touches on.

Writers Ryan Coogler and Joe Robert Cole compose the character of Killmonger with staggering real world weight, but they also envision an entire new world of Wakanda stunningly. The idea of Wakanda as a thriving African nation because it has not been colonized is a fantastic start. Then, evoking isolationism as the country’s guiding theory and taking that into conflict with the responsibility such a nation might have to the ancestors of slaves/those colonized is so indescribably fascinating.

And despite what some others might suggest, this kind of thematic investigation could’ve only come through a superhero film. That Coogler and Cole’s script reaches that potential is the sign of its brilliance.

Runner-up: Paul King, Simon Farnaby — Paddington 2
3. Christopher Markus, Stephen McFeely — Avengers: Infinity War
4. Alex Garland — Annihilation
5. Lynne Ramsay — You Were Never Really Here

The Next 5
6. Andrew Haigh — Lean on Pete
7. Simon Reade — Journey’s End
8. Armando Iannucci, David Schneider, Ian Martin — The Death of Stalin
9. Sebastián Lelio, Rebecca Lenkiewicz — Disobedience
10. Elizabeth Berger, Isaac Aptaker — Love, Simon

Best Director

Winner: Paul King — Paddington 2

Warner Bros./Courtesy

Paddington 2 hits all the right notes. It is simultaneously a magical children’s film and a thought provoking film for adults, nailing a balance of charming storytelling and thematic heft. It is a play on spy films while also indulging in the genre. It is a wonder of costume design, visual effects, production design, music and multiple other crafts. And it’s acted to perfection.

Sometimes, a film that succeeds in so many areas doesn’t necessary coalesce into a successful whole. But Paddington 2 does. While Paul King may not be directly responsible for certain aspects of brilliance in the film, he is responsible for the compilation of those aspects into a single piece of art — the resulting film. And for that reason, King’s directing job deserves endless praise.

Runner-up: Alex Garland — Annihilation
3. Anthony Russo, Joe Russo — Avengers: Infinity War
4. Ryan Coogler — Black Panther
5. Chloé Zhao — The Rider

The Next 5
6. John Krasinski — A Quiet Place
7. Lynne Ramsay — You Were Never Really Here
8. Saul Dibb — Journey’s End
9. Andrew Haigh — Lean on Pete
10. Kay Cannon — Blockers

Best Ensemble

Winner: The Cast of Avengers: Infinity War

Marvel/Disney/Courtesy

The simple presence of so many lovable characters, characters we’ve come to care about over a decade, did not necessarily mean that the ensemble of Avengers: Infinity War would work. An ensemble needs on screen chemistry in the situations of its specific film, and they need to, as a whole, contribute to the themes of the films. Thankfully, the dozens of significant characters in Infinity War come together to continue the MCU’s run of infectious ensembles. The back and forth, especially between characters meeting for the first time, is spectacular, both in comedic moments such as those between Thor and the Guardians, as well as in dramatic moments such as those between Tony Stark and Doctor Strange. Finally, the interactions between the Avengers and Thanos are dreadful moments worthy of the six year anticipation of the villain’s arrival.

Runner-up: The Cast of Black Panther
3. The Cast of The Death of Stalin
4. The Cast of Game Night
5. The Cast of Paddington 2

The Next 5
6. The Cast of Blockers
7. The Cast of Annihilation
8. The Cast of Journey’s End
9. The Cast of Love, Simon
10. The Cast of Chappaquiddick

Best Lead Actor

Winner: Charlie Plummer — Lean on Pete

A24/Courtesy

Charlie Plummer’s performance in Lean on Pete is, in terms of how the character is evoked, rather similar to Timothée Chalamet’s in Call Me by Your Name — understated, and more powerful because of it.

In Lean on Pete, Plummer’s character Charley is guarded. His mom is gone. His dad is a drunk. He’s on his own — until he meets aging racing horse Lean on Pete. Plummer plays on that shell that Charley creates so well, utilizing his eyes as the main windows into who he really is, as the rest is mostly protection. There’s a gentleness and tranquility in Charley, but as he’s tested, Plummer evokes the risk of that gentleness turning sour in the transitions of reserved physicality to sudden panic. Plummer says everything through how little he does, rendering the most emotional moments where he doesn’t necessarily do anything so powerful because of his acting prior to those moments.

Runner-up: Joaquin Phoenix — You Were Never Really Here
3. Sam Claflin — Journey’s End
4. Jason Clarke — Chappaquiddick
5. Josh Brolin — Avengers: Infinity War

The Next 5
6. Brady Jandreau — The Rider
7. Nick Robinson — Love, Simon
8. Chadwick Boseman — Black Panther
9. John Krasinski — A Quiet Place
10. Sverrir Gudnason — Borg vs. McEnroe

Best Lead Actress

Winner: Michelle Pfeiffer — Where Is Kyra?

Paladin/Courtesy

Where Is Kyra? is a bracing film about poverty, but it needed an actress that could bear it all for the investigation. And Michelle Pfeiffer goes above and beyond. Her full emotions are underneath the surface, but her desperation is clear to see. Much of the plot traps her character into more and more difficult situations, and Pfeiffer embodies that trapped feeling, injecting into the physicality of her performance, specifically the muscles in her face. She delivers small outbursts so powerfully, but, just when we think we’ll finally see a full outburst of emotion, Pfeiffer contains it all into a simple, devastating look. Pfeiffer’s work is the epitome of harrowing, and it’s a performance we won’t soon forget.

Runner-up: Emily Blunt — A Quiet Place
3. Claire Foy — Unsane
4. Natalie Portman — Annihilation
5. Rachel McAdams — Disobedience

The Next 5
6. Anya Taylor-Joy — Thoroughbreds
7. Rachel Weisz — Disobedience
8. Olivia Cooke — Thoroughbreds
9. Alicia Vikander — Tomb Raider
10. Helen Mirren — The Leisure Seeker

Best Picture

Winner: Black Panther

Marvel/Disney/Courtesy

A “Best Picture” is a film that transcends the medium as powerfully as possible. That doesn’t mean it’s the “best” film and that doesn’t mean it has to be everyone’s favorite. A “Best Picture” has a sort of intangible quality to it that everyone, no matter if they think it’s the “best” or if it’s their favorite, can feel anyway.

So far in 2018, that film is indisputably Black Panther. Superhero films don’t get much celebration. Oftentimes, it makes sense. But in some cases, it’s incredibly sad, as superhero films can evoke ideas, emotions, themes, representation and much more in ways that other films can’t. Black Panther is a pinnacle of that in many regards. Its themes are precisely transcendent, in that they leverage the genre to make profound statements through a hypothetical, extremely imaginative, but always truthful lens.

The fact that there is legitimate argument that Black Panther is also the “best” film only solidifies its place. Ryan Coogler’s storytelling is bravely raw, but also expertly composed. And the design elements of the film and how they contribute to the film’s story represent the best of what film can do.

Hopefully, by the end of the year, no one forgets Black Panther‘s achievement.

Runner-up: Paddington 2
3. Annihilation
4. Avengers: Infinity War
5. The Rider
6. A Quiet Place
7. Journey’s End
8. You Were Never Really Here
9. Lean on Pete
10. Blockers

The Next 5
11. Game Night
12. Chappaquiddick
13. Disobedience
14. The Death of Stalin
15. Thoroughbreds

 

Voting contributions from Hooman Yazdanian.

Featured image via Marvel/Disney/Paramount Pictures/Warner Bros./Good Deed Entertainment.

Revising Oscar nominations from 2010-2016

Whenever Andrew Garfield appears in a film — Garfield’s most recent, Breathe, released this past weekend, and he’s getting Oscar buzz for his performance — it’s hard not to think about how he should’ve been nominated for his supporting role in The Social Network.

And once that ball gets rolling, it’s hard not to think about the other painful snubs across the past few years, of which there are plenty.

The Academy Awards will never, ever get it completely right, but sometimes they get it so wrong that, even years later, we’re still talking about it. Here are a few per year since 2010:

2010

Best Director
Insert: Christopher Nolan, Inception
Remove: David O. Russell, The Fighter

Warner Bros./Courtesy

Inception is one of the best and most significant blockbusters of the 21st century, an unparalleled vision composed with such perfect precision by director Christopher Nolan. The fact that this film works not only on a conceptual level, but also on a story level, is a feat that’s still under-appreciated today. But the technical craftsmanship is too obvious for Nolan’s omission to be understandable at all. While The Fighter is a good film, a really good one even, it’s no match for the achievement of Inception.

Best Supporting Actor
Insert: Andrew Garfield, The Social Network
Remove: Jeremy Renner, The Town

Columbia/Courtesy

Jeremy Renner is just fine in The Town. Is he Oscar worthy? Not entirely. How the Academy overlooked Andrew Garfield’s amazingly committed turn as Eduardo Saverin in The Social Network is shocking. Garfield is the heart of that film, embodying the source of its fascination and the weight of its humanity — a far more impressive accomplishment than even the film’s lead, Jesse Eisenberg, who was nominated. When we think of the powerhouse scenes, we think of Garfield’s high intensity back-and-forths with the rest of the actors portraying Facebook founders, an intensity that is almost wholly missing without him. Garfield should’ve even competed for the win, and could’ve taken it had Christian Bale been correctly nominated in the lead category for The Fighter.

2011

Best Director
Insert: Bennett Miller, Moneyball
Remove: Woody Allen, Midnight in Paris

Columbia/Courtesy

Bennett Miller was nominated for Best Director for Foxcatcher. While that was deserved, his best directing job came with Moneyball. Similar to Adam McKay with The Big Short, Miller takes a niche and incredibly complex topic — baseball statistics and their implementation by the front office — and renders it palatable and human. The control of tone, the fluidity of pace and the composition of scenes — the trading for Ricardo Rincon comes to mind — are all signs of a director at his most refined. And while Brad Pitt did deserve a Best Lead Actor nomination, it’s Bennett Miller who makes the character of Billy Beane so utterly affecting. The juxtaposition of flashbacks, the editing and more all define the character of Beane in ways that other directors should study. Woody Allen may have deserved a spot on an objective, merit-based level, but Hollywood has to realize that the Oscars aren’t just based on merit. The Oscars celebrate figures, artists, and Allen is not one who should be celebrated.

Best Original Screenplay
Insert: Will Reiser, 50/50
Remove: Woody Allen, Midnight in Paris

Summit Entertainment/Courtesy

The reasons to remove Allen are the same. Will Reiser, writer of the Joseph Gordon-Levitt and Seth Rogen comedy-drama about cancer, would be next in line, and arguably deserved a spot anyway. The year offered a nomination to Kristen Wiig and Annie Mumolo for the comedy Bridesmaids, and rightfully so, but 50/50 is just as brilliant of a script. The comedy is sharp, the plotting is incredibly spirited and the character work is powerfully vulnerable. It’s a comedy that realizes that horrible situations need humor, that they often spark humor, and that that humor comes from a very human place.

2012

Best Picture
Insert: The Master
Remove: Les Misérables

Annapurna/Courtesy

It was difficult to see how Paul Thomas Anderson could follow up There Will Be Blood, easily one of the greatest films of the 21st century and possibly ever. At first, many felt that he whiffed with The Master. But looking back, one can quickly realize that, somehow, The Master comes close to TWBB. A seering, haunting, strange and mesmerizing look at (allegedly) scientology, the film is a masterpiece on every front, a distinctly American tale that melds the best of prestige, arthouse and flare while remaining unpretentious. The screenplay is one of the most intelligently crafted of recent memory, with scientology’s ideology deeply rooted in every single detail, and the duo of Joaquin Phoenix and the late Philip Seymour Hoffman is genuinely unmatched, with Phoenix’s performance seriously rivaling Daniel Day-Lewis’ in PTA’s previous film. Evidently, it didn’t need recognition for us to come to this current conclusion of its greatness, but it’s a bit silly to suggest that Les Misérables is in the same league.

Best Director
Insert: Kathryn Bigelow, Zero Dark Thirty
Remove: David O. Russell, Silver Linings Playbook

Columbia/Courtesy

Kathryn Bigelow won Best Director for The Hurt Locker. She deserved it. And then she followed that up with as viscerally affecting of a film in Zero Dark Thirty. She didn’t even get nominated. David O. Russell did just fine with Silver Linings Playbook, but no where in that film is there anything special about its direction. With Zero Dark Thirty, Bigelow traverses years, complex political machinations, an unbelievable character arc and one of the most tense military operations of our time, and pulls each aspect off in such expert fashion. It’s a film that showcases the best of her directorial chops, not for their own sake, but for the sake of the film itself.

2013

Best Picture
Insert: Fruitvale Station
Remove: Philomena

Forest Whitaker’s Significant Productions/OG Project/Courtesy

Oscar bait is a problematic term that shouldn’t be used. It’s difficult to find the right phrase to replace it. Whatever it is, though, Philomena is a film that represents it. It’s a fine movie, an enjoyable one, a harmless one, one that tells an emotional true story. But there’s nothing about the film that makes it one of the 10 best of its year, and it’s infuriating how the Academy, time and time again, goes for this kind of safe, standard and, quite honestly, boring type of picture. The best films of the year — granted, a problematic term itself — shouldn’t necessarily go to the most well-polished, but rather to the films that transcend the art. And Fruitvale Station is, undoubtedly, one of those films. Recounting the day leading up to the tragic killing of Oscar Grant by police, Ryan Coogler’s directorial debut breathes with life. It clearly has a message, but it injects that message into the veins of the film, bases and builds it organically, crafting empathy, joy and intimacy with such pressing reality. We’re not told an idea up front or too explicitly, but when we encounter that harrowing, soul-crushing final act, we understand it, without needing to say anything. The life built into the film vanishes, purposefully, and we’re moved in intangible ways. Coming a year after the killing of Trayvon Martin, Fruitvale Station is a necessary film that should be remembered, and the type of film the Oscars need to start recognizing if they actually want to honor the art of film.

Best Lead Actor
Insert: Oscar Isaac, Inside Llewyn Davis
Remove: Christian Bale, American Hustle

CBS Films/Courtesy

It’s hard to remove Christian Bale, one of the best and most dedicated actors of our time. And in most other years, we couldn’t remove him. Yet, there are quite a few performances in 2013 that deserved that final spot more than he did. Tom Hardy in Locke is one of them. But Oscar Isaac in Inside Llewyn Davis is one that not only should’ve been nominated, but one that should’ve made a serious run for the win. His character, Llewyn Davis, is a grumpy, tired asshole, which makes it so shocking that he ends up being one of the most soulful and human we’ve seen this decade. That’s all Oscar Isaac. Isaac brings a tired physicality, one that can be tangibly understood and seen in his body and his face, in the tonal quality of his voice. And not just that — Isaac performs his own songs, not only bringing immense musical talent but thoroughly adapting the character of Davis musically. Like The MasterInside Llewyn Davis is a distinctly American film, and like Joaquin Phoenix’s work, Isaac’s performance elevates that quality immeasurably, defining a face of the American psyche.

2014

Best Lead Actor
Insert: Jake Gyllenhaal, Nightcrawler
Remove: Benedict Cumberbatch, The Imitation Game

Open Road Films/Courtesy

Benedict Cumberbatch is great in The Imitation Game, and offers a performance that makes it hard to imagine anyone else in the role. Removing him here doesn’t deny any of that. It simply recognizes that Jake Gyllenhaal’s transformation for Nightcrawler is one of the best of the 21st century. Other than hairstyling, Gyllenhaal looks like himself in the movie. And yet, as Lou Bloom, we see nothing of the actor, and that’s because the transformation is of every facet of acting. Gyllenhaal’s tonal level isn’t changed, but his vocal pacing is entirely intrinsic to the character. His bulging eyes, quick movements and physical rapport with other actors are not only invasively terrifying, crafting awe-strikingly gripping scenes, but they’re informative of who the character is — such detailed work only the most masterful actors pull off. Nightcrawler is both a character study and a film about the terrible culture of video news, but those two aspects compliment and augment each other, and because of Jake Gyllenhaal’s performance, every bit of its collective impact is enhanced.

Best Director
Insert: Ava DuVernay, Selma
Remove: Morten Tyldum, The Imitation Game

Paramount/Courtesy

While we don’t have to deny how good Cumberbatch is in his film, we must refute any association of Morten Tyldum with the Best Director category. The Imitation Game is a fine film. It’s a crowd-pleaser. But it’s unfortunately reserved, and otherwise standard, suppressing a lot of the humanity that is actually there in this story. A film that is not reserved nor standard, and elevates its humanity, through the work of its director, is Ava DuVernay’s Selma. The technical craftswomanship here is stunning, with bone-shakingly rousing scenes of both action and conversation. There’s a liveliness, a humanity that’s extended to each facet of filmmaking — a testament to her guiding hand. On the intangible side, though, DuVernay’s grasp of the spirit at the story’s core can be felt in every scene, doing such profound justice to such an important story.

Best Animated Feature
It should’ve won: The LEGO Movie

Warner Bros./Courtesy

The audible gasps at the announcement ceremony when The LEGO Movie was not nominated for Best Animated Feature will haunt us indefinitely. If it was rules that caused its omission, as the film did feature a few live-action scenes, screw the rules. However, we don’t even want to think of what the reason might be, though, if not rules. Thankfully, everyone already knew that the film was the best animated picture of 2014, even before nominations. So there’s no case that needs to be made other than to point it out, and keep pointing it out.

2015

Best Supporting Actress
Insert: Alicia Vikander, Ex Machina
Remove: Rachel McAdams, Spotlight

A24/Courtesy

Rachel McAdams may be impressively committed in Spotlight. And if Alicia Vikander’s Oscar-winning performance in The Danish Girl was rightfully nominated in the Best Lead Actress category, removing McAdams would be unnecessary. That’s all semantics, however, as, regardless, Alicia Vikander’s other performance of 2015, as the AI Ava in Ex Machina, deserved a nomination. It may have gone unrecognized due to the artifice of the character hiding the true merit of the performance, but her turn is so utterly controlled and precise, nuanced and minutely accentuated in service of that artifice. Similar to Domhnall Gleeson’s character in reaction to Ava, we don’t immediately recognize the immense complexities of Vikander’s performance, and that’s purposeful. Ideally, Vikander would’ve won the lead category for The Danish Girl and the supporting category for Ex Machina. But ignoring a nomination for the latter altogether is frustratingly puzzling.

Best Supporting Actor
Insert: Idris Elba, Beasts of No Nation
Remove: Mark Ruffalo, Spotlight

Netflix/Courtesy

How does an actor win the SAG, but not even get nominated at the Oscars? Well, sadly for Idris Elba, forces outside of the film and his performance resulted in that. At the time, Netflix was rather new to film production/distribution, with Beasts of No Nation being its first fictional narrative endeavor, and many hated the idea of what the streaming company might do to the film industry. While it’s technically speculative, those factors likely pushed Elba out. In a just world, though, Elba is inarguably nominated. His command of the screen is transfixing, his definition of character quite tragic. As much as we find heart, the humanity impacted by these wars, in lead actor Abraham Attah, we find the other end of that heart in Elba, a quality formed by his unforgiving take. It’s a performance we must encounter uncomfortably, but one we understand as necessary by the end of the film.

Best Adapted Screenplay
It should’ve won: Aaron Sorkin, Steve Jobs

Universal/Courtesy

Some contend with the portrayal of its central figure, but it’s ridiculous to ignore the brilliance of Aaron Sorkin’s Steve Jobs screenplay. The dialogue is arguably Sorkin’s best, rapidly sharp and biting, reminiscent of The Social Network, yet wholly organic to the subject matter. The control of character and the composition of the many face-offs with the likes of Steve Wozniak and John Sculley are dynamic, electric and spellbinding. The script truly shows how there’s no one quite like Sorkin, and it does everything that The Big Short screenplay does, yet even more polished. How it was not even nominated will forever be a mystery.

2016

Best Lead Actress
Insert: Amy Adams, Arrival
Remove: Meryl Streep, Florence Foster Jenkins

Paramount/Courtesy

Florence Foster Jenkins is a problematic film, wholly unaware of the white privilege at its core and played for sympathy in rather off-putting ways. And Meryl Streep isn’t even good in it! It’s hard to call the performance impressive and impossible to point to any of her scenes as particularly engaging. It’s so bad that it makes the snub of Amy Adams even more difficult to stomach. In Arrival, Adams is tender and unknowing, lively and explorative. We sense something so real about her character’s bravery, and feel such raw, overwhelming heartbreak at her monologue in the final act. Adams doesn’t have a powerhouse scene of direct, overt emotion, but she delivers so many subtle scenes that are just as moving precisely because we can feel so much weight in what’s withheld and beneath the surface. Arrival is an incredibly important film about the need for communication, empathy and love, but it wouldn’t be that in its entirety without Amy Adams embodying each aspect.

Best Supporting Actress
Insert: Greta Gerwig, 20th Century Women
Remove: Octavia Spencer, Hidden Figures

A24/Courtesy

Greta Gerwig’s performance in 20th Century Women can be defined by many of the same qualities of Amy Adams’ performance — tender, unknowing, lively, explorative. Her character’s power comes from this willingness to embrace life in ways others don’t, toned simultaneously by a courage to take hold of life’s potential and by an honest vulnerability when some of that potential is taken away from her — all coming, distinctly and lovingly, from the eyes of an American woman in the 70s. Gerwig delivers a full picture of her character and is quite mesmerizing throughout. Octavia Spencer isn’t bad in Hidden Figures — she’s never not brilliant in anything — but, in terms of acting, there’s just not enough there to genuinely warrant the nomination over Gerwig. In a career full of wonderful performances, Gerwig’s turn in 20th Century Women might just be her best.

 

Featured image via Columbia Pictures.

Eight great female director/actress duos working today

Recurring partnerships between directors and actors are a long standing Hollywood tradition. Even the casual movie-goer probably recognizes the more famous duos by now: Martin Scorsese and Leonardo DiCaprio, Tim Burton and Johnny Depp, Christopher Nolan and Michael Caine, Wes Anderson and Bill Murray.

Some male directors also work repeatedly with the same female actress, often referred to (somewhat creepily) as their “muse.” Pedro Almodovar has done five films with Penelope Cruz, for example, and the Coens keep working with Frances McDormand again and again (she is married to Joel Coen, though, so this one makes sense.)

But in reading about these partnerships, female directors are rarely, if ever, mentioned. We’ve compiled a list of the best female director/actress duos working today, from Sofia Coppola and Kirsten Dunst to The Wachowski sisters and Doona Bae.

Talk about girl power.

Sofia Coppola/Kirsten Dunst

Columbia Pictures/Courtesy

The magical connection between Sofia Coppola and Kirsten Dunst began in 1999 with The Virgin Suicides, continued in 2006 with Marie Antoinette, and most recently resurfaced this year in The Beguiled. (Not to mention her short cameo in The Bling Ring.) Most directors may not see Dunst as a period piece muse, but Coppola saw the potential there before almost everyone else (for more of Dunst’s pitch-perfect period work, check out season 2 of Fargo.) Coppola and Dunst may not have anything else lined up at the moment, but it’s only a matter of time— and we can’t wait for their next dark, dreamy, pastel-colored partnership.

Lisa Langseth/Alicia Vikander

Gus Kaage/Courtesy

Anyone who has only seen Alicia Vikander’s English-language work is missing out on some of her best performances to date. The Oscar-winning actress got her first few leading roles thanks to Swedish director Lisa Langseth, who cast Vikander in Pure and Hotel long before she caught the Tulip Fever. This year, Langseth reteams with Vikander for Euphoria, the director’s first English-language film, also starring Eva Green and Charlotte Rampling.

Kelly Reichardt/Michelle Williams

Tribune News Service/Courtesy

Williams has worked with Reichardt three times to date, in Wendy and Lucy, Meek’s Cutoff, and Certain Women. Just as Reichardt is known for her subtle, quietly emotional films, Williams has built a career on understated but poignant performances; in other words, they’re a match made in movie heaven.

Ava DuVernay/Oprah Winfrey

Paramount/Courtesy

Leave it to Ava DuVernay to choose the one and only Oprah Winfrey as her partner in crime. DuVernay first cast Oprah in her Oscar-nominated film Selma, and directed her again in the upcoming adaptation of A Wrinkle in Time. Oprah and Ava are also partners off-screen; DuVernay’s TV series Queen Sugar debuted on OWN (the Oprah Winfrey Network) last year, and it’s still going strong. DuVernay also notably uses all female directors for the series, and primarily hires women of color.

Nicole Holofcener/Catherine Keener

Tribune News Service/Courtesy

Holofcener and Keener are a standout duo on this list due to the fact that Keener has been in every single movie Holofcener has ever made — five films by now, and more in the works. From 1996’s Walking and Talking to 2013’s Enough Said, Holofcener and Keener have an unprecedented female director/actress partnership. According to an interview with Variety, the two met at the gym, while Keener was on the StairMaster.

Gillian Robespierre/Jenny Slate

A24/Courtesy

From their first outing together in Obvious Child, it was clear that Gillian Robespierre and Jenny Slate are a creative match made in heaven. It takes a lot to make abortion funny, but Slate’s wacky and relatable sense of humor mixed perfectly with Robespierre’s lightning quick script and canny direction. The duo teamed up again this year for Landline, an ode to New York in the ‘90s, which follows Slate’s character as she discovers her father’s infidelity. Both films are similar in tone, if not in plot, and both films have proven that Slate and Robespierre’s creative personalities go hand in hand. Here’s to many more witty, sneakily heartbreaking collaborations.

Jane Campion/Holly Hunter

Sundance TV/Courtesy

Campion and Hunter first teamed up for The Piano in 1993, which won Hunter the Oscar for Best Lead Actress, as well as Campion for Best Original Screenplay. Despite the success of their first outing together, it took twenty years for the duo to reteam — this time on the small screen. Campion’s Top of the Lake, which just aired its second season, follows a female detective (Elizabeth Moss) as she returns to her New Zealand hometown to spend time with her dying mother and solve a missing persons case. When casting mysterious, androgynous cult leader GJ, Campion told Radio Times that she immediately thought of Hunter. “ [She was] this enlightened character, who is kind of wild and fierce and crazy and astute. I thought Holly would be perfect, because she’s got an unusual strength of character. She likes to take a risk.” Top of the Lake may not have won Campion and Hunter the kind of recognition they got for The Piano, but both seasons have aired to critical raves and a burgeoning cult following.

Lilly and Lana Wachowski/Doona Bae

Netflix/Courtesy

The Wachowskis have gone through a lot of personal changes in the past few years, as both Lilly and Lana have come out as transgender women. Their work, however, has remained characteristically inclusive, ambitious, and outright bonkers. From Cloud Atlas to Jupiter Ascending and Netflix’s popular series Sense8, the Wachowskis have worked with Korean actress Doona Bae three times to date. As muses go, Bae has to be one of the more badass on this list; her action scenes as Sun in Sense8 were some of the best on television, and we can only hope that the Wachowski sisters see fit to give her a lead role in their next inevitable team-up.

Featured image via Paramount.