Tag Archives: Best Picture

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.

The 2018 Oscar Nominations

The time has finally come. This morning, at the absurd hour of 5am, the Academy announced their Oscar nominations for the films of 2017. The contenders for the 90th Academy Awards are as follows:

Best Motion Picture:

Get Out
Lady Bird
The Shape of Water
Call Me by Your Name
Three Billboards outside Ebbing, Missouri
Dunkirk
The Post
Phantom Thread
Darkest Hour

Best Director:

Christopher Nolan — Dunkirk
Guillermo del Toro — The Shape of Water
Jordan Peele — Get Out
Greta Gerwig — Lady Bird
Paul Thomas Anderson — Phantom Thread

Best Lead Actor:

Gary Oldman — Darkest Hour
Timothée Chalamet — Call Me by Your Name
Daniel Kaluuya — Get Out
Daniel Day-Lewis — Phantom Thread
Denzel Washington — Roman J. Israel, Esq

Best Lead Actress:

Frances McDormand — Three Billboards outside Ebbing, Missouri
Saoirse Ronan — Lady Bird
Sally Hawkins — The Shape of Water
Meryl Streep — The Post
Margot Robbie — I, Tonya

Best Supporting Actor:

Sam Rockwell — Three Billboards outside Ebbing, Missouri
Willem Dafoe — The Florida Project
Richard Jenkins — The Shape of Water
Christopher Plummer — All the Money in the World
Woody Harrelson — Three Billboards outside Ebbing, Missouri

Best Supporting Actress:

Laurie Metcalf — Lady Bird
Allison Janney — I, Tonya
Mary J. Blige — Mudbound
Lesley Manville — Phantom Thread
Octavia Spencer — The Shape of Water

Best Original Screenplay:

Jordan Peele — Get Out
Greta Gerwig — Lady Bird
Emily V. Gordon, Kumail Nanjiani — The Big Sick
Martin McDonagh — Three Billboards outside Ebbing, Missouri
Vanessa Taylor, Guillermo del Toro — The Shape of Water

Best Adapted Screenplay:

James Ivory — Call Me by Your Name
Dee Rees, Virgil Williams — Mudbound
Aaron Sorkin — Molly’s Game
Scott Neustadter, Michael H. Weber — The Disaster Artist
James Mangold, Scott Frank, Michael Green — Logan

Best Production Design:

Dennis Gassner, Alessandra Querzola — Blade Runner 2049
Sarah Greenwood, Katie Spencer — Darkest Hour
Paul Denham Austerberry, Shane Vieau, Jeff Melvin — The Shape of Water
Nathan Crowley, Gary Fettis — Dunkirk
Sarah Greenwood, Katie Spencer — Beauty and the Beast

Best Cinematography:

Hoyte van Hoytema — Dunkirk
Roger Deakins — Blade Runner 2049
Rachel Morrison — Mudbound
Bruno Delbonnel — Darkest Hour
Dan Laustsen — The Shape of Water

Best Costume Design:

Mark Bridges — Phantom Thread
Jacqueline Durran — Beauty and the Beast
Consolata Boyle — Victoria and Abdul
Luis Sequeira — The Shape of Water
Jacqueline Durran — Darkest Hour

Best Film Editing:

Lee Smith — Dunkirk
Jonathan Amos, Paul Machliss — Baby Driver
Tatiana S. Riegel — I, Tonya
Sidney Wolinsky — The Shape of Water
Jon Gregory — Three Billboards outside Ebbing, Missouri

Best Makeup & Hairstyling:

Ivana Primorac, Kazuhiro Tsuji, David Malinowski, Lucy Sibbick — Darkest Hour
Naomi Bakstad, Robert A. Pandini, Arjen Tuiten — Wonder
Daniel Phillips, Lou Sheppard — Victoria and Abdul

Best Sound Mixing: 

Mac Ruth, Ron Bartlett, Doug Hemphill — Blade Runner 2049
Mark Weingarten, Gregg Landaker, Gary A. Rizzo — Dunkirk
Stuart Wilson, Ren Klyce, David Parker, Michael Semanick — Star Wars: The Last Jedi
Glen Gauthier, Christian Cooke, Brad Zoern — The Shape of Water
Mary H. Ellis, Julian Slater, Tim Cavagin — Baby Driver

Best Sound Editing:

Mark Mangini, Theo Green — Blade Runner 2049
Richard King, Alex Gibson — Dunkirk
Matthew Wood, Ren Klyce — Star Wars: The Last Jedi
Nathan Robitaille — The Shape of Water
Julian Slater — Baby Driver

Best Visual Effects:

Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist — War for the Planet of the Apes
John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer — Blade Runner 2049
Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan — Star Wars: The Last Jedi
Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick — Guardians of the Galaxy Vol. 2
Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus — Kong: Skull Island

Best Original Score:

Hans Zimmer — Dunkirk
Jonny Greenwood — Phantom Thread
Alexandre Desplat — The Shape of Water
John Williams — Star Wars: The Last Jedi
Carter Burwell — Three Billboards outside Ebbing, Missouri

Best Original Song:

“Mystery of Love,” Sufjan Stevens — Call Me by Your Name
“This Is Me,” Benj Hasek, Justin Paul — The Greatest Showman
“Remember Me,” Kristen Anderson-Lopez, Robert Lopez — Coco
“Stand Up for Something,” Diane Warren, Common — Marshall
“Mighty River,” Mary J. Blige — Mudbound

Best Animated Feature:

Coco
The Breadwinner
Loving Vincent
The Boss Baby

Ferdinand

Best Foreign Language Film:

The Square
A Fantastic Woman
Loveless
The Insult

On Body and Soul

Best Documentary Feature:

Icarus
Faces Places
Strong Island

Last Men in Aleppo
Abacus: Small Enough to Jail

Best Documentary Short:

Edith+Eddie
Heaven is a Traffic Jam on the 405
Heroin(e)

Knife Skills
Traffic Stop

Best Live Action Short:

The Eleven O’Clock
The Silent Child
Watu Wote/All of Us
My Nephew Emmett
DeKalb Elementary

Best Animated Short:

Dear Basketball
Lou
Negative Space
Revolting Rhymes
Garden Party

 

Featured image via A24/Warner Bros./Universal Pictures/Fox Searchlight.

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.

2018 Oscar Predictions: Best Picture

This has been the most difficult to predict Best Picture race in recent memory. On Oscar day, as many as five films could have a legitimate shot at winning. Those are: The Shape of WaterThree Billboards outside Ebbing, MissouriGet OutDunkirk and Lady Bird.

To be upfront about it, I’m predicting Get Out. I came to my prediction two months ago for very specific reasons, and while nothing has made me completely confident in it, nothing has derailed my reasoning.

The obvious choice would The Shape of Water. It has 13 nominations. It’s going to win multiple awards. It’s going to win Best Director. It won the PGA award. That seems like it would be enough to overcome the lack of a SAG ensemble nomination.

But that’s what we said about La La Land last year, and The Shape of Water certainly has far less hype going into Oscar day than La La Land did.

The next obvious choice would be Three Billboards outside Ebbing, Missouri. It not only received a SAG ensemble nomination, but it won. It won the BAFTA award for Best Picture. It received PGA and DGA nominations. That seems like it would be enough to overcome the lack of a Best Director nomination.

But, when Ben Affleck was passed over for a Best Director nomination, he still won the DGA award and Argo still won the PGA award. And as we know from Hidden FiguresAmerican Hustle and The Help, a SAG ensemble win doesn’t mean a Best Picture win. Three Billboards also falls into a La La Land-esque situation in regard to backlash; there has been plenty of press intensely critiquing the film’s racial politics.

At first, Lady Bird seemed like the preferential ballot friendly film that could sneak its way to a win. But it needed something throughout the awards season, and it didn’t really get anything.

That’s what brings me to Get Out. The last two Best Picture winners have been at least partially unexpected. Most people were predicting The Revenant two years ago — and if not The Revenant, many were predicting The Big Short due to its PGA win — and most people were predicting La La Land last year. So I looked at where Spotlight and Moonlight succeeded, at places that may have hinted at their potential win. At first, it seems like Spotlight‘s indicator might have been the SAG ensemble win. But like I said before, Hidden FiguresAmerican Hustle and The Help all won that award without winning Best Picture. After further deduction, it came down, in my opinion, to the Best Original Screenplay WGA award (in addition to having some of the big prerequisites). Both Spotlight and Moonlight won that award, and then moved on to win their screenplay awards at the Oscars (Moonlight was nominated in the Best Adapted Screenplay category at the Oscars). Get Out‘s WGA win could be bigger than most people think it is.

Why I say “could” is because Three Billboards outside Ebbing, Missouri was ineligible for the award. Had it been eligible and Get Out still won, things might be more clear. It wasn’t, though, so this angle is not entirely bullet proof.

But because I’m predicting Get Out in Best Original Screenplay, I believe that the film will also win Best Picture. In only five of the last 20 years has a film won Best Picture without winning a screenplay award and in each of those five years, the film that won Best Picture still had a Best Director nomination, with those directors winning three out of the five times. That suggests to me that if Martin McDonagh loses Best Original Screenplay, there is no chance that Three Billboards wins Best Picture without that Best Director nomination and without any of the guild wins that Argo had.

Some of the troubles Get Out runs into is its lack of below-the-line nominations, specifically a film editing nomination. Not since 1980 has a film won Best Picture without any below-the-line nominations. Get Out also only has four Oscar nominations, and a film hasn’t won Best Picture with that few in 84 years.

The reason why details like that don’t scare me this year is because each of the top five contenders will break or impact a stat/detail like that. Dunkirk doesn’t have any acting nominations or a screenplay nomination, and it’s been 85 years since a film won Best Picture in the same scenario. The Shape of Water, as said before, lacks a SAG ensemble nomination, and it’s been 22 years since a film won Best Picture in the same scenario. Lady Bird has five nominations, but it also lacks below-the-line nominations, and, as said before, it’s been 37 years since a film won Best Picture in the same scenario. As stated already, Three Billboards lacks a Best Director nomination, and before the Argo situation five years ago, a film hadn’t won Best Picture in the same scenario since 1989.

One of these stats is going to break or be impacted significantly. It’s just a matter of which one it’ll be. And because it is guaranteed that one will be broken/impacted, we also have to look at factors outside of stats, at the cultural feeling and the cultural moment. Black Panther released in February and the hype surrounding it occurred at the same time that Oscar voting did. The film features Daniel Kaluuya and engages in racism like Get Out does. And as Black Panther becomes its own cultural phenomenon, Get Out, a year after its release has solidified itself as a cultural landmark.

The helpful thing is, however, that Get Out, in fact, does have support from below-the-line branches.

Get Out received an American Cinema Editors nomination, a guild equivalent of the Best Film Editing category. So while it may not have received an Oscar nomination, there is support there. It also received nominations from the Art Directors Guild and the Costume Designers Guild (the contemporary category of each often doesn’t translate to Oscar nominations, but they are still evidence of support), and it won the Publicists Guild award (Public Relations is a branch of the Academy). There is support across the board. And with an acting nomination, a Best Director nomination, a SAG ensemble nomination and not only a screenplay nomination, but a potential screenplay win, Get Out is looking pretty good.

What’ll throw this angle off drastically is if Three Billboards wins Best Original Screenplay at the Oscars, which is definitely possible. But if Get Out wins, look out for the final award of the night.

The Nominees
Lady Bird
Dunkirk
Three Billboards outside Ebbing, Missouri
Get Out
The Shape of Water

The Post
Call Me by Your Name
Phantom Thread
Darkest Hour

Will win: Get Out
Could win: The Shape of Water
Should win: Get Out
Should’ve been nominated: Mudbound

 

Featured image via Universal Pictures.

2018 Oscar Predictions: Best Film Editing

There are two major precursors for the Best Film Editing category: the American Cinema Editors (their awards titled the Eddies) and the BAFTA.

The BAFTA went to Baby Driver, which has created the potential for a true spoiler here. Dunkirk came in as the frontrunner and is still considered the frontrunner by many. But considering the fact that BAFTA predicted a few recent film editing spoilers such as Whiplash and Hacksaw Ridge, and the acclaim of Baby Driver‘s film editing, it could certainly steal the award.

The American Cinema Editors awarded their Eddies to I, Tonya in the comedy category and to Dunkirk in the drama category. The comedy Eddie doesn’t usually translate to the Oscar. And while the BAFTA may seem more prestigious, the drama Eddie does, in fact, line up more with the Oscar, which is part of the reason why I’m going to stick with Dunkirk.

As seen last year with Hacksaw Ridge, intense war films can certainly perform well in this category, and Dunkirk does have its fair share of visceral sequences. But the film also has the non-linear structure going for it as well and it could’ve also received even more of a push considering the snub of Lee Smith for Inception.

The Nominees
Lee Smith — Dunkirk
Jonathan Amos, Paul Machliss — Baby Driver
Tatiana S. Riegel — I, Tonya
Sidney Wolinsky — The Shape of Water
Jon Gregory — Three Billboards outside Ebbing, Missouri

Will win: Lee Smith — Dunkirk
Could win: Jonathan Amos, Paul Machliss — Baby Driver
Should win: Lee Smith — Dunkirk
Should’ve been nominated: Joe Walker — Blade Runner 2049

 

Featured image via Warner Bros.

‘Dunkirk’ receiving Oscar push with Toronto International Film Festival IMAX screening

Christopher Nolan has a storied history with the Oscars. Many point to the snub of both The Dark Knight and Nolan as the reason why the Academy expanded the number of possible nominees to ten for the year after that film’s release. Most also call the omission of Nolan from Best Director for Inception a major snub of its year.

So, as Dunkirk was approaching, many felt that even if the film was great, it might have trouble being recognized at the Academy Awards. But when Dunkirk dropped, reviews raved not quite like they ever have for Nolan, with The Hollywood Reporter calling it an “impressionist masterpiece” and IndieWire claiming it as “the best film he’s ever made.” It also stands as his most well-received film on Metacritic, amassing a monumental score of 94, 12 points higher than his next best, The Dark Knight, at 82.

Currently, 9 out of the 20 experts on Gold Derby are predicting Dunkirk as the Best Picture winner with every expert expecting it to get nominated. Out of those same experts, 16 of them are predicting Christopher Nolan as the Best Director winner. Their predictions factor in festival premieres they’ve already seen and anticipate the strength of yet-to-be-released Oscar hopefuls, so it’s clear that, with its wide inclusion, Dunkirk has already stamped itself as a serious threat.

But Nolan isn’t one to campaign for awards, his films rarely showing up at festivals, so Dunkirk seemed like it would have to hold and hold strong — as summer releases generally have a harder time getting nominated — once the festival circuit fired up and the fall season began. It looks like, though, in a move that acknowledges the film’s potential, Dunkirk will be joining them.

Nolan’s World War II epic will screen at the Toronto International Film Festival (via The Hollywood Reporter), which takes place September 7-17 and is where Nolan’s first film, Following, premiered. It won’t be a typical festival appearance, however, as it was IMAX who approached Warner Bros. to organize an IMAX 70mm screening of the film at the world’s first permanent IMAX theater, Cinesphere, in honor of the company’s 50th anniversary.

But the exposure should be just as ripe. TIFF’s director and CEO, Piers Handling, will introduce the film and its artistic director, Cameron Bailey, will host a Q&A with Christopher Nolan himself.

In a statement, Handling said the following:

“Dunkirk is quite remarkable. It sets a new standard for the visualization of war. Its form and structure is immersive and experiential and its attention to detail exemplary. This is a story for the times – one of resilience against all odds, ordinary people surviving amidst chaos. Christopher Nolan captures this seminal moment in history with an artist’s eye.”

Dunkirk is currently still in theaters, but will start to exit IMAX venues this Thursday. If the film is nominated for Best Picture, which a majority of critics expect, then it may return to screens at the beginning of 2018.

Featured image via Warner Bros.

Top ten films premiered at Telluride Film Festival since 2010

Amid the swaths of festivals, Telluride, taking place between September 1-4, stands out as an unpretentious yet incredibly prestigious venue for some of the most honest films of the year. Like the town in which it takes place, Telluride is small and intimate. It evokes the best of what a film community can be, in genuine artistry, but also in just being fans of movies and of movie-makers; it was a key moment in the great friendship between the La La Land and Moonlight creative teams, which maintained despite the audience split that sprouted during the awards season. And while many of the Oscar hopefuls look to the Venice Film Festival and the Toronto International Film Festival for their starts, the quieter premieres at Telluride often have the grander impact. Since 2010, the best of the best from Telluride Film Festival are breathtaking. From Oscar winners to profound independents to landmark documentaries, the top ten Telluride films of the last seven years show the best of what cinema can be.

10. Wild

Fox Searchlight Pictures/Courtesy

While many may point to Dallas Buyers Club and Big Little Lies when thinking of Canadian filmmaker Jean-Marc Vallée, it would be a shame to ignore the gem that is Wild. First and foremost, any film that features the sublime, timeless, astounding Laura Dern in even just a slightly weighty role is one to adore. But Wild crafts not only its character, Reese Witherspoon’s Cheryl, so instinctively, but it also crafts the journey of Cheryl so tenderly and affectingly. Cheryl confronts the wild in her long walk from the top of the U.S. to the bottom, and the film follows suit, embracing a sort of vulnerable physicality in its color palette, in its subtle sound and intimate cinematography. Wild may not be the most jaw-dropping or impressive film, but it’s one that finds its way underneath one’s skin and into one’s bones because it is so human.

— Kyle Kizu

9. Frances Ha

IFC Films/Courtesy

Frances Ha is director Noah Baumbach’s ebullient tribute to the cinema of the French New Wave. We follow the titular Frances (the incredible Greta Gerwig, who co-wrote the screenplay with Baumbach) as she meets friends, moves from apartment to apartment and tries to reconcile her dreams of dancing with the possibility that they’ll remain dreams and nothing more. Though the film is in black and white, the spread of emotions that Frances endures is hardly so — the film pinwheels from her trademark levity to crushing lows, before rising to a strained melancholy and finally settling on a relieved contentedness. That such dichotomies coexist in the film isn’t jarring, but rather endearing. We’ve all had nights that started out perfectly, but then take a hard left into awfulness that only seems to get worse, and that’s a sentiment that the film understands and addresses with humor and sensitivity. Befittingly, the film isn’t reliant on plot, but that’s okay — we’re happy to have known Frances, if but for an hour and a half.

— Harrison Tunggal

8. The Descendants

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Against all odds, Alexander Payne’s 2011 film The Descendants pairs adultery, comatose spouses and Hawaiian real estate in a simultaneously heartwrenching and hilarious examination of what family really means. The film follows Matt King (George Clooney) as his wife is injured in a jetskiing accident and he is forced to decide whether or not to leave his now comatose wife on life support — a decision made more difficult by the realization that she had been having an affair. Clooney and Shailene Woodley, in arguably both their finest work to date, carry the film on their transparently expressive faces, captured lovingly in close-up by cinematographer Phedon Papamichael. True to the book on which it is based, The Descendants almost veers too far into cruel, biting satire at times, but no one is better suited to walk the balance between bleak humanity and the humor found in everyday life than Alexander Payne. While certain scenes stand out as all-timers (Clooney’s famous hospital monologue, Woodley’s character revealing her mother’s affair), The Descendants in its entirety is a hard look at dealing with the past, managing the present and confronting the future.

— Kate Halliwell

7. Steve Jobs

Universal Pictures/Courtesy

Steve Jobs had such a dramatic journey to the big screen — an intensely buzzed-about Aaron Sorkin script originally connected to David Fincher and with Leonardo DiCaprio and Christian Bale rumored to star. But the creative team it ended up with was a perfect match. Danny Boyle’s high-energy direction scores Jobs with an electric edge and Michael Fassbender transforms subtly yet entirely, embodying the icon with a domineering physicality, especially in vocal tone, while deconstructing his problematic persona and humanizing his core — not necessarily sacrificing one for the other. The film has massive ambitions, with a story structure similar to a play and carrying a character in light of Citizen Kane. It might not reach all of its goals, but it finds a place in contemporary cinema that so many films have tried for but failed.

— KK

6. Under the Skin

A24/Courtesy

On very simple terms, Under the Skin is an astonishing vehicle for the auric, subtle physicality that Scarlett Johansson can take hold of in a performance, as well as for the viscerally invasive work of composer Mica Levi — many critics still cite her score as one of the best of the 21st century. But, quite obviously, Under the Skin is anything but simple. Delving deep into the avant garde, as well as other more visually focused traditions, Jonathan Glazer’s sci-fi picture, about an alluring woman, is oftentimes terrifying without us even realizing how intensely so until afterward, or until the pop of a body contorted by forces beyond its control. As viewers, we oftentimes feel like a victim trapped beneath — a purposeful effect that produces a pure sense of the image, oftentimes simple in color and composition but wildly unnerving in context, that only cinema could. Of course, this leaves little easy explanation and few paths for traditional absorption, making Under the Skin difficult to encounter. But if we surrender ourselves to visual language, the film will prove deeply human, without much of the sentimentality, and gendered in its experience, deconstructivist in its angle and, honestly, just fucking weird — in a good way.

— KK

5. Prisoners

Warner Bros./Courtesy

The sense of mounting dread that director Denis Villeneuve builds in Prisoners is staggering to behold. Drenched in darkness and shadow by the master himself, Roger Deakins, this film transports the viewer into a world of ubiquitous horror, one where corpses fill basements, families descend into violence and even moments of reprieve contort into the realization that we’re all shackled to those we love, for better or worse. This is a film where your heart keep sinking to depths you didn’t know existed, right to its final shot. Prisoners also sports a stellar cast firing on all cylinders — Hugh Jackman’s intensity makes his performance in this film one of his finest, Jake Gyllenhaal showcases the cold determination he would later dial to eleven in Nightcrawler and Paul Dano ratchets up the tension by keeping the audience on its toes. Additionally, Viola Davis brings her eminent gravitas while Terrence Howard matches Jackman’s fear and desperation as they search for their missing daughters. Prisoners is arguably Denis Villeneuve’s best film, and we can’t wait to see how his sensibilities translate to Blade Runner 2049 and other future projects.

— HT

4. Anomalisa

Paramount Pictures/Courtesy

This stop-motion picture is difficult to confront, venturing into the abstract in many areas. But, as one should expect with Charlie Kaufman, Anomalisa, a film without actual humans, is filled with a humanity unlike most other films. It is, in large part, because of the voice work. David Thewlis and Jennifer Jason Leigh provide an affectingly raw basis within this world, conveying vulnerability and the weight of the human condition through tiny inflections. And Tom Noonan, literally voicing every other figure, is shockingly hilarious and horrifyingly scary at the same time. Yet, the voices become that profound because of the imagery within which they inhabit. Kaufman and co-director Duke Johnson frame each shot with a deep understanding of theme, that everything so blandly and terrifyingly blends together, that the world is unrewarding and depressing, that finding someone within the void is miraculous and losing them to the blend is a nightmare. The amalgamation brings about an intimacy that only a masterful film could build.

— KK

3. Room

A24/Courtesy

Book-to-movie adaptations, as a rule, are difficult to pull off, and that challenge increases exponentially when the source material in question is narrated in entirety by a five year old boy with a limited understanding of the world. It gets even harder when that world consists of a tiny one-room shed, and the boy’s mother — the room’s only other occupant — chooses to raise him as if that one room really is the entire universe. So begins Lenny Abrahamson’s adaptation of Room, starring Jacob Tremblay and Brie Larson as a mother and son held in captivity until their eventual escape. Room is effectively split in two halves, which places the duo’s plotting and escape at odds with their tentative transition back into the outside world. The film would go on to win Larson her first Oscar and cement Tremblay’s place as Hollywood’s cutest kid, but it served as far more than a vehicle for its stars-to-be. Bleak, hard-to-watch moments combine with an enduring sense of childlike curiosity in what is already deservedly considered to be one of the best book adaptations of all time.

— KH

2. The Act of Killing

Final Cut for Real/Courtesy

The Act of Killing is a difficult film to watch, and if you’re at all connected to the killings that took place in Indonesia from 1965-1966, then Joshua Oppenheimer’s documentary is downright excruciating. The film’s two main subjects, Anwar Congo and Herman Koto, belonged to a government death squad that extorted from and killed more than one million communists and Chinese Indonesians. They gloat about the lives they took and how they took them, going to obscene lengths to reenact their methods. It’s a sick parody of cinephilia — Congo and Koto claim to be inspired by the violence in the films they idolized, and some of the reenactments are draped in the trappings of their favorite genres. And these are just barely the reasons why The Act of Killing is a disturbing watch — ultimately, we’re left wondering if there’s redemption in remorse. After seeing the utter impunity of the murderers, such a question becomes disturbingly difficult, if not impossible, to answer. Unpleasant as it may be, The Act of Killing is truly an essential film, reminding us that the soul is at stake when blind nationalism supersedes morality.

— HT

1. Moonlight

David Bornfriend/A24/Courtesy

With a rare 99 on Metacritic, Barry Jenkins’ Moonlight is cinematic perfection. For anyone who’s seen the film, such a statement stands on its own, though additional validation comes from its historic Best Picture win at the 89th Academy Awards. But forget the craziness surrounding the moment of its victory — such things are much too loud for a film like Moonlight. It is a film predicated on an intimate viewing experience, one in which quiet subtleties in the performances of its all black cast and precise details in the filmmaking precipitate an immense significance. From the close-ups of Trevante Rhodes and Andre Holland as their characters reunite, we see heartbreak and hope at the same time, and years of toxic, performative masculinity erode with just one look. From the final embrace of these two men, we see a moment of LGBTQ+ representation that is executed with the utmost sensitivity and tenderness. Then there’s James Laxton’s cinematography, where a shallow depth of field puts us with the characters, exacting a sense of empathy that lends the film its total hold over our emotions. It is impossible to overstate the significance of Moonlight, especially when empathy and sensitivity are becoming ever rarer, but with Barry Jenkins behind the camera, there’s hope that such qualities will persevere, at least on the big screen.

— HT

Featured image (modified) via Ken Lund.

Willem Dafoe plays father figure in ‘The Florida Project’ trailer

In 2015, director Sean Baker released his film Tangerine, shot on augmented iPhones, to some of the best critical success of the year, further progressing his career as an indie filmmaker to look out for.

And look out for him we must, as A24 has just released the trailer for Baker’s follow-up film The Florida Project, which follows young Moonee (Brooklynn Prince) and her mother Halley (Bria Vinaite) during their stay at “The Magic Castle,” a motel run by Bobby (Willem Dafoe). As Halley finds herself falling into troubling circumstances, Bobby looks to step up to not only help her, but to be a father figure to the many children at the motel. Yet, it seems as though Moonee has no problem creating her own fun with her imagination.

The Florida Project premiered at Cannes Film Festival to outstanding reception. It currently sits at 96% on RottenTomatoes with 22 fresh reviews out of 23 total, and at a score of 91 on Metacritic with 9 positive reviews. The film then went to the Champs-Élysées Film Festival in France and will visit the Toronto International Film Festival in September before a limited theatrical release on October 6, 2017.

Willem Dafoe has already received extensive praise for his performance, with many calling him a near-lock for an Oscar nomination. Some critics have predicted the film to be nominated for Best Picture.

Baker shot The Florida Project on 35mm film, but it is unclear how many theaters will be able to project it in that format.

A24’s A Ghost StoryMenashe and Good Time are still in theaters. The production-distrubtion company will release Yorgos Lanthimos’ The Killing of a Sacred Deer, which premiered at Cannes to slightly divisive reviews and stars Colin Farrell, Nicole Kidman and Barry Keoghan (of Dunkirk), on October 27. Its other end of the year plays include Greta Gerwig’s directorial debut Lady Bird, releasing on November 10, and the James Franco directed-starring The Disaster Artist, which premiered as a work-in-progress at South by Southwest to nearly unanimous acclaim and will visit Toronto International Film Festival, releasing on December 1.