Tag Archives: Greta Gerwig

The MovieMini Awards for the Films of 2019

Neon/Courtesy

Film in 2019 was about family. It was about love. It was about defiance. And it was about growing old. From the March sisters to Jimmy Hoffa, Rick Dalton to Lance Corporal Schofield, Mr. Rogers to best friends Amy and Molly, the characters of 2019 embodied what keeps us human, even when things, or even people, are at their worst. It was yet another beautiful year in film, so let’s celebrate. Here are the MovieMini Awards for the Films of 2019:

(These awards were voted on and compiled by Danielle Gutierrez, Levi Hill, Kyle Kizu, Miyako Singer, and Hooman Yazdanian.)

Best Specialty Performance

Winner: Tom Hanks as Woody — Toy Story 4

Disney/Courtesy

Runner-up: Tony Hale as Forky — Toy Story 4
3. Shirley Henderson as Babu Frik — Star Wars: The Rise of Skywalker
4. Billy Eichner as Timon — The Lion King
5. Zach Galifianakis as Mr. Link/Susan — Missing Link

Next Group:
Rosa Salazar as Alita — Alita: Battle Angel
Jay Baruchel as Hiccup — How to Train Your Dragon: The Hidden World
Chris Pratt as Emmet/Rex — The Lego Movie 2: The Second Part
Ryan Reynolds as Pikachu — Pokémon Detective Pikachu
Keegan-Michael Key as Ducky — Toy Story 4

Best Feature Debut

Winner: Olivia Wilde — Booksmart

François Duhamel/Annapurna Pictures/Courtesy

Runner-up: Alma Har’el — Honey Boy
3. Joe Talbot — The Last Black Man in San Francisco
4. Jérémy Clapin — I Lost My Body
5. Tyler Nilson, Michael Schwartz — The Peanut Butter Falcon

Next Group:
Vince Gilligan — El Camino
Nia DaCosta — Little Woods
Melina Matsoukas — Queen & Slim
Jennifer Kaytin Robinson — Someone Great
Josh Cooley — Toy Story 4

Best Original Song

Winner: “Control” — Her Smell

Don Stahl/Gunpowder & Sky/Courtesy

Runner-up: “(I’m Gonna) Love Me Again” — Rocketman
3. “La Jeune Fille en Feu” — Portrait of a Lady on Fire
4. “Pulled Down” — Her Smell
5. “Jose and Mark” — The Unauthorized Bash Brothers Experience

Next Group:
“Show Yourself” — Frozen II
“A Glass of Soju” — Parasite
“The Ballad of the Lonesome Cowboy” — Toy Story 4
“IHOP” — The Unauthorized Bash Brothers Experience
“Glasgow (No Place Like Home)” — Wild Rose

Special Mention: Jessica Only Child Illinois Chicago — Parasite

Best Original Score

Winner: Thomas Newman — 1917

François Duhamel/Universal Pictures/Courtesy

Runner-up: Daniel Lopatin — Uncut Gems
3. Emile Mosseri — The Last Black Man in San Francisco
4. Alexandre Desplat — Little Women
5. Matt Morton — Apollo 11

Next Group:
Max Richter, Lorne Balte — Ad Astra
James Newton Howard — A Hidden Life
Dan Levy — I Lost My Body
Jail Jung — Parasite
Michael Abels — Us

Best Sound

Winner: Donald Sylvester, Paul Massey, David Giammarco, Steven Morrow — Ford v Ferrari

Twentieth Century Fox/Courtesy

Runner-up: Oliver Tarney, Rachael Tate, Mark Taylor, Stuart Wilson — 1917
3. Eric Milano, Brian Eimer — Apollo 11
4. Gary Rydstrom, Brad Semenoff, Tom Johnson, Mark Ulano — Ad Astra
5. Matthew Wood, David Acord, Christopher Scarabosio, Andy Nelson, Stuart Wilson — Star Wars: The Rise of Skywalker

Next Group:
Ryan M. Price, Patrick Southern — Her Smell
Damian Volpe, Mariusz Glabinski, Robert Fernandez, Alexander Rosborough — The Lighthouse
Wylie Stateman, Michael Minkler, Christian P. Minkler, Mark Ulano — Once upon a Time… in Hollywood
Matthew Collinge, John Hayes, Mike Prestwood Smith, Danny Sheehan — Rocketman
Warren Shaw, Skip Lievsay, Tom Fleischman — Uncut Gems

Best Makeup & Hairstyling

Winner: Naomi Donne, Tristan Versluis, Rebecca Cole — 1917

François Duhamel/Universal Pictures/Courtesy

Runner-up: Fríða Aradóttir, Judy Chin — Little Women
3. Janine Rath, Heba Thorisdottir — Once upon a Time… in Hollywood
4. Mónika Tóth, Katalin Jakots, Iván Pohárnok — Midsommar
5. Elizabeth Yianni-Georgiou, Victoria Money, Barrie Gower — Rocketman

Next Group:
Debra Denson, Carla Farmer, Stacey Morris, Vera Steimberg — Dolemite Is My Name
Emma Strachman, Elissa Ruminer, Amy L. Forsythe — Her Smell
Nicki Ledermann, Sean Flanigan, Michael Marino — The Irishman
Traci Loader, Linda Flynn, Adrien Morot — The Lighthouse
Scott Wheeler, Camille Friend — Us

Best Costume Design

Winner: Julian Day — Rocketman

Paramount Pictures/Courtesy

Runner-up: Jacqueline Durran — Little Women
3. Arianne Phillips — Once upon a Time… in Hollywood
4. Ruth E. Carter — Dolemite Is My Name
5. Albert Wolsky — Ad Astra

Next Group:
Mitchell Travers — Hustlers
Sandy Powell, Christopher Peterson — The Irishman
Mayes C. Rubeo — Jojo Rabbit
Dorothée Guiraud — Portrait of a Lady on Fire
Miyako Bellizzi — Uncut Gems

Best Production Design

Neon/Courtesy

Winner: Lee Ha-jun, Cho Won-woo — Parasite

Runner-up: Barbara Ling, Nancy Haigh — Once upon a Time… in Hollywood
3. Dennis Gassner, Lee Sandales — 1917
4. Craig Lathrop, Ian Greig — The Lighthouse
5. Jess Gonchor, Claire Kaufman — Little Women

Next Group:
Kevin Thompson, Karen O’Hara — Ad Astra
Bob Shaw, Regina Graves — The Irishman
Henrik Svensson — Midsommar
Thomas Grézaud, Hélène Delmaire — Portrait of a Lady on Fire
Sam Lisenco, Kendall Anderson — Uncut Gems

Best Stunts

Winner: Hayley Saywell, Ben Cooke, Rhye Copeman — 1917

Universal Pictures/Courtesy

Runner-up: Robert Nagle, Brian Simpson, Chris Palermo — Ford v Ferrari
3. Jonathan Eusebio, Scott Rogers, Cale Schultz — John Wick: Chapter 3 – Parabellum
4. Robert Alonzo, Jacob Dewitt, Samuel Le — Ad Astra
5. Monique Ganderton, Sam Hargrave, Daniel Hernandez, James Young, Terry Notary, Michael Hugghins, Ralf Koch — Avengers: Endgame

Next Group:
Mindy Kelly — The Art of Self-Defense
Chris O’Hara, Simon Crane, Ralf Koch, Greg Rementer, Randy Beckman — Fast & Furious Presents: Hobbs and Shaw
Ian Mclaughlin, Tabitha Dumo — Hustlers
Gáspár Szabó, Ildikó Szücs, Anna Vnuk — Midsommar
Ku Huen-Chiu, Feng Weilun, Lin Zhitai, Tang Tengfei — Shadow

Best Visual Effects

Winner: Guillaume Rocheron, Greg Butler, Dominic Tuohy — 1917

Universal Pictures/Courtesy

Runner-up: Allen Maris, Guillaume Rocheron, Scott R. Fisher, Jedediah Smith — Ad Astra
3. Roger Guyett, Neal Scanlan, Patrick Tubach, Dominic Tuohy — Star Wars: The Rise of Skywalker
4. Dan DeLeeuw, Russell Earl, Matt Aitken, Daniel Sudick — Avengers: Endgame
5. Guillaume Rocheron, Robert Winter, Eric Frazier, Brian Connor, Peter Nofz — Godzilla: King of the Monsters

Next Group:
Louis Morin, Annie Godin, Christian Kaestner, Ara Khanikian, Michael Dawson — The Aeronauts
Richard E. Hollander, Joe Letteri, Kevin L. Sherwood, Eric Saindon, Richard Baneham, Bob Trevino, Nick Epstein — Alita: Battle Angel
Bill Westenhofer, Karen M. Murphy, Guy Williams, Sheldon Stopsack, Mark Hawker — Gemini Man
Pablo Helman, Leandro Estebecorena, Nelson Sepulveda, Stephane Grabli — The Irishman
Jonathan Fawkner, Carlos Monzon, Dale Newton — Pokémon Detective Pikachu

Best Cinematography

Winner: Roger Deakins — 1917

Universal Pictures/Courtesy

Runner-up: Jarin Blaschke — The Lighthouse
3. Claire Mathon — Portrait of a Lady on Fire
4. Adam Newport-Berra — The Last Black Man in San Francisco
5. Hoyte van Hoytema — Ad Astra

Next Group:
Phedon Papamichael — Ford v Ferrari
Rodrigo Prieto — The Irishman
Yorick Le Saux — Little Women
Robert Richardson — Once upon a Time… in Hollywood
Hong Kyung-pyo — Parasite

Best Film Editing

Winner: Nick Huoy — Little Women

Wilson Webb/Columbia Pictures/Courtesy

Runner-up: Yang Jin-mo — Parasite
3. Todd Douglas Miller — Apollo 11
4. Thelma Schoonmaker — The Irishman
5. Fred Raskin — Once upon a Time… in Hollywood

Next Group:
Lee Smith — 1917
Andrew Buckland, Michael McCusker — Ford v Ferrari
David Marks — The Last Black Man in San Francisco
Julien Lacheray — Portrait of a Lady on Fire
Ronald Bronstein, Benny Safdie — Uncut Gems

Best Documentary Feature

Winner: Apollo 11

Neon/CNN Films/Courtesy

Runner-up: Diego Maradona
3. American Factory
4. Honeyland
5. Knock Down the House

Next Group:
The Biggest Little Farm
For Sama
Fyre
The Inventor: Out for Blood in Silicon Valley
The Legend of Cocaine Island

Best Animated Feature

Winner: I Lost My Body

Netflix/Courtesy

Runner-up: How to Train Your Dragon: The Hidden World
3. Toy Story 4

Next Group:
Klaus
The Lego Movie 2: The Second Part
Missing Link

Best International Feature

Winner: Parasite

Neon/Courtesy

Runner-up: Portrait of a Lady on Fire
3. Pain and Glory
4. I Lost My Body
5. Slut in a Good Way

Next Group:
Ash Is the Purest White
Everybody Knows
Honeyland
Monos
Shadow

Best Scene/Sequence

Winner: The Peach Scam — Parasite

Neon/Courtesy

Runner-up: The Final Bet — Uncut Gems
3. Sixteen Hundred Men — 1917
4. The Trailer — Once upon a Time… in Hollywood
5. The Benoit Blanc Breakdown — Knives Out
6. It’s What It Is — The Irishman
7. The Night Window — 1917
8. Leaving China and Nai Nai — The Farewell
9. The Laurie-Jo Devastation — Little Women
10. She Didn’t Notice Me — Portrait of a Lady on Fire

Next Group:
Leave It Open a Little Bit — The Irishman
Beth — Little Women
Shirtless Cliff Booth — Once upon a Time… in Hollywood
Lovers — Pain and Glory
I’ll Remember — Portrait of a Lady on Fire

Best Adapted Screenplay

Winner: Greta Gerwig — Little Women

Wilson Webb/Columbia Pictures/Courtesy

Runner-up: Steve Zaillian — The Irishman
3. Noah Harpster, Micah Fitzerman-Blue — A Beautiful Day in the Neighborhood
4. Taika Waititi — Jojo Rabbit
5. Matthew Michael Carnahan, Mario Correa — Dark Waters

Next Group:
Mike Flanagan — Doctor Sleep
Terrence Malick — A Hidden Life
Lorene Scafaria — Hustlers
Jérémy Clapin, Guillaume Laurant — I Lost My Body
Andrew Stanton, Stephany Folsom, Martin Hynes, Josh Cooley, Valerie LaPointe, Rashida Jones, Will McCormack — Toy Story 4

Best Original Screenplay

Winner: Bong Joon-ho, Han Jin-won — Parasite

Neon/Courtesy

Runner-up: Lulu Wang — The Farewell
3. Céline Sciamma — Portrait of a Lady on Fire
4. Josh Safdie, Benny Safdie, Ronald Bronstein — Uncut Gems
5. Quentin Tarantino — Once upon a Time… in Hollywood

Next Group:
Shia LaBeouf — Honey Boy
Rian Johnson — Knives Out
Noah Baumbach — Marriage Story
Joe Talbot, Jimmie Fails — The Last Black Man in San Francisco
Pedro Almodóvar — Pain and Glory

Best Ensemble

Winner: Parasite

Neon/Courtesy

Runner-up: The Irishman
3. Little Women
4. Once upon a Time… in Hollywood
5. Knives Out

Next Group:
1917
Booksmart
The Farewell
Hustlers
Uncut Gems

Best Supporting Actor

Winner: Al Pacino — The Irishman

Netflix/Courtesy

Runner-up: Joe Pesci — The Irishman
3. Song Kang-ho — Parasite
4. Shia LaBeouf — Honey Boy
5. Jonathan Majors — The Last Black Man in San Francisco

Next Group:
Dean Charles-Chapman — 1917
Tom Hanks — A Beautiful Day in the Neighborhood
Chris Cooper — Little Women
Alan Alda — Marriage Story
Kevin Garnett — Uncut Gems

Best Supporting Actress

Winner: Zhao Shuzhen — The Farewell

Casi Moss/A24/Courtesy

Runner-up: Florence Pugh — Little Women
3. Cho Yeo-jeong — Parasite
4. Scarlett Johansson — Jojo Rabbit
5. Park So-dam — Parasite

Next Group:
Jennifer Lopez — Hustlers
Thomasin McKenzie — Jojo Rabbit
Jamie Lee Curtis — Knives Out
Lee Jeong-eun — Parasite
Julia Fox — Uncut Gems

Best Lead Actor

Winner: Adam Driver — Marriage Story

Netflix/Courtesy

Runner-up: Brad Pitt — Once upon a Time… in Hollywood
3. Adam Sandler — Uncut Gems
4. Leonardo DiCaprio — Once upon a Time… in Hollywood
5. George MacKay — 1917

Next Group:
Brad Pitt — Ad Astra
Robert De Niro — The Irishman
Robert Pattinson — The Lighthouse
Antonio Banderas — Pain and Glory
Choi Woo-sik — Parasite

Best Lead Actress

Winner: Lupita Nyong’o — Us

Universal Pictures/Courtesy

Runner-up: Saoirse Ronan — Little Women
3. Elisabeth Moss — Her Smell
4. Awkwafina — The Farewell
5. Adèle Haenel — Portrait of a Lady on Fire

Next Group:
Beanie Feldstein — Booksmart
Ana de Armas — Knives Out
Florence Pugh — Midsommar
Noémie Merlant — Portrait of a Lady on Fire
Samara Weaving — Ready or Not

Best Director

Winner: Bong Joon-ho — Parasite

Neon/Courtesy

Runner-up: Greta Gerwig — Little Women
3. Céline Sciamma — Portrait of a Lady on Fire
4. Sam Mendes — 1917
5. Martin Scorsese — The Irishman

Next Group:
Todd Douglas Miller — Apollo 11
Marielle Heller — A Beautiful Day in the Neighborhood
Lulu Wang — The Farewell
Lorene Scafaria — Hustlers
Josh Safdie, Benny Safdie — Uncut Gems

Best Film

Winner: Little Women

Wilson Webb/Columbia Pictures/Courtesy

Runner-up: Parasite
3. The Irishman
4. Uncut Gems
5. Portrait of a Lady on Fire
6. 1917
7. Once upon a Time… in Hollywood
8. The Farewell
9. Apollo 11
10. Marriage Story

Next Group:
Ad Astra
A Beautiful Day in the Neighborhood
Booksmart
Dark Waters
Ford v Ferrari
Honey Boy
Jojo Rabbit
The Last Black Man in San Francisco
The Lighthouse
Pain and Glory

The Cats Category or (The Buck Wild Film Beyond Awards Comprehension): Cats

Not Quite a Feature Film, But Deserving of Cinematic Awards Recognition Anyway: The Unauthorized Bash Brothers Experience

Our Most Anticipated Movies of 2019

2018 was mind-boggling. Ever since Black Panther back in February, the year just held strong up through the final days with the likes Spider-Man: Into the Spider-Verse. So it’s no small statement to say that 2019 might rival it. In less than a month, we’ll have Dan Gilroy’s Velvet Buzzsaw (on Netflix, no less), followed soon after by the trilogy capper for How to Train Your Dragon. And with Captain Marvel and Us in March, the year will quickly become overwhelming. And it’s not only big budget films, or genre pieces from recent American (and male) darlings. There’s a new Scorsese film, a new Kore-eda film, a new Rees film, a new Joon-ho film, a new Larraín film, and a new Denis film — as well as exciting documentaries and feature debuts we’ll hear about soon at Sundance. With all that said, we couldn’t pick only 10 for our most anticipated list. In fact, we couldn’t even stick with 20. Below these 20 are sets of 15 from us individually, as well as five more honorable mentions (for a total of 55). Inject 2019 into our eyes already:

20. The Truth

Directed by: Hirokazu Kore-eda (Shoplifters, After the Storm, Like Father, Like Son, Still Walking, Nobody Knows)
Written by: Hirokazu Kore-eda, Léa Le Dimna
Starring: Catherine Deneuve, Juliette Binoche, Ethan Hawke
Release date: TBD
Hirokazu Kore-eda directing Ethan Hawke and Juliette Binoche is enough to start wondering if The Truth will bring the acclaimed filmmaker back-to-back Palme d’Or wins.
Levi Hill

19. Ford v. Ferrari

Directed by: James Mangold (Logan, 3:10 to Yuma, Walk the Line)
Written by: James Mangold, Jez Butterworth, John-Henry Butterworth, Jason Keller
Starring: Christian Bale, Matt Damon, Caitriona Balfe, Tracy Letts, Jon Bernthal, Noah Jupe
Release date: June 28, 2019
James Mangold has proven himself as a storyteller who understands the American spirit. Combine that with stylish Ferraris, racing and another Christian Bale transformation, and Ford v. Ferrari could be another piece of Mangold gold.
Kyle Kizu

18. Honey Boy

Directed by: Alma Har’el (Bombay Beach, LoveTrue)
Written by: Shia LaBeouf
Starring: Lucas Hedges, Shia LaBeouf, Maika Monroe, Noah Jupe
Release date: TBD (Sundance premiere)
Shia LaBeouf writes and co-stars with Lucas Hedges in a Sundance premiering semi-autobiographical film about a childhood actor (Hedges) and his relationship with his father (LaBeouf). The film should be a challenging, honest, painful, but ultimately touching exploration of how LaBeouf became who he is today.
LH

17. The Beach Bum

Directed by: Harmony Korine (Spring Breakers)
Written by: Harmony Korine
Starring: Matthew McConaughey, Snoop Dogg, Isla Fisher, Zac Efron, Jonah Hill
Release date: March 22, 2019
For his follow-up to Spring Breakers, Harmony Korine kept his color-soaked stoner aesthetic and added A-list stars Matthew McConaughey (Moondog), Snoop Dogg (Lingerie), Isla Fisher (Minnie), Zac Efron (Flicker), and Jonah Hill (Lewis).
LH

16. A Beautiful Day in the Neighborhood

TriStar Pictures/Courtesy

Directed by: Marielle Heller (The Diary of a Teenage Girl, Can You Ever Forgive Me?)
Written by: Micah Fitzerman-Blue, Noah Harpster
Starring: Tom Hanks, Matthew Rhys, Chris Cooper
Release date: October 18, 2019
Can You Ever Forgive Me? felt like a film from a 20 year veteran. That it was Marielle Heller’s sophomore feature just shows how astounding she is. Pair her with an icon for another icon’s story, and A Beautiful Day in the Neighborhood is set up to be an affecting journey.
— KK

15. Proxima

Directed by: Alice Winocour (Augustine)
Written by: Alice Winocour
Starring: Eva Green, Matt Dillon, Lars Eidinger
Release date: TBD
Proxima follows an astronaut as she trains her body and her mind for a year on the ISS. The psychology of astronauts is such an intriguing subject that’s often left behind in massive sci-fi stories, so to see the exciting Alice Winocour take on a more intimate angle — Winocour says the film will focus particularly on saying goodbye to family — with Eva Green will be such a treat.
KK

14. Toy Story 4

Disney/Courtesy

Directed by: Josh Cooley
Written by: Stephany Folsom, Will McCormack
Starring: Tom Hanks, Tim Allen, Joan Cusack, Laurie Metcalf, Michael Keaton, Jordan Peele, Keegan-Michael Key, Patricia Arquette, Keanu Reeves
Release date: June 21, 2019
Initially, a fourth Toy Story movie was a head-scratcher, especially after the exit of Rashida Jones due to “creative” and “philosophical” differences with Pixar. But then came the hilarious promos, as well as the reports of how emotional the film was for all those involved. And the first three films arguably form the greatest trilogy of all time, so why doubt the franchise now?
— LH

13. Detective Pikachu

Warner Bros./Courtesy

Directed by: Rob Letterman (Goosebumps)
Written by: Nicole Perlman, Rob Letterman
Starring: Ryan Reynolds, Justice Smith, Kathryn Newton, Ken Watanabe, Bill Nighy, Suki Waterhouse, Rita Ora
Release date: May 10, 2019
Ryan Reynolds might be an obvious choice after his (vocal) success with the wise-ass Deadpool, but that doesn’t make this adaption of the video game, featuring the adorable-looking Pikachu and other Pokemon, any less exciting. Think of it as a modern, pop culture heavy take on Who Framed Roger Rabbit?.
LH

12. Velvet Buzzsaw

Netflix/Sundance Institute/Claudette Barius/Courtesy

Directed by: Dan Gilroy (Roman J. Israel, Esq., Nightcrawler)
Written by: Dan Gilroy
Starring: Jake Gyllenhaal, Rene Russo, Toni Collette, John Malkovich, Daveed Diggs
Release date: February 1, 2019 (Sundance premiere)
Regardless of his second feature, Dan Gilroy directed an American masterpiece right out of the gate with Nightcrawler. It’s not only the slow, creeping relevance of the film or the incredible noir stylings, but Jake Gyllenhaal’s terrifying turn. The simple idea of them reuniting is tantalizing, but that it’s for a feature about the often terrifying and visually dazzling contemporary art world takes the anticipation through the roof.— KK

11. Little Women

Columbia Pictures/Courtesy

Directed by: Greta Gerwig (Lady Bird)
Written by: Greta Gerwig
Starring: Saoirse Ronan, Florence Pugh, Emma Watson, Timothée Chalamet, Meryl Streep, Laura Dern, Bob Odenkirk
Release date: December 25, 2019
Through 2018, Little Women has seen the silver screen seven times. Take that, A Star Is Born. But it’s tough not to love the idea of Greta Gerwig adapting the story with her delicate, observant eye and such an outstanding cast after she made Lady Bird, one of the best American films of the 21st century.
KK

10. Midsommar

Directed by: Ari Aster (Hereditary)
Written by: Ari Aster
Starring: Will Poulter, Florence Pugh, Jack Reynor, William Jackson Harper
Release date: August 9, 2019
Following up the critically acclaimed (and potential Oscar nominee) Hereditary is no small task. Yet, with A24’s backing, an exciting young cast, a Sweden setting, and another tale of horrific pagan cults, Midsommar has all the signs of another creep-fest by the already horror maestro Ari Aster. — LH

9. The Lion King

Disney/Courtesy

Directed by: Jon Favreau (The Jungle Book, Chef, Iron Man)
Written by: Jeff Nathanson, Brenda Chapman
Starring: Donald Glover, James Earl Jones, Chiwetel Ejiofor, Beyoncé, Alfre Woodard, Seth Rogen, Billy Eichner, Keegan-Michael Key, John Oliver
Release date: July 19, 2019
There’s no doubt The Lion King will roar all competitors away from the box office, and take it’s rightful spot on the throne as the top grossing movie of 2019 next to Avengers: Endgame and Star Wars: Episode IX. So really, the only thing to hope for is that Jon Favreau takes enough risks to change some elements of the 1994 classic so that it’s not 100% a shot-for-shot CGI (instead of hand-drawn) remake. Other than that, this film is too big to fail. Hakuna matata.
LH

8. Uncut Gems

Directed by: Benny Safdie, Josh Safdie (Good Time)
Written by: Benny Safdie, Josh Safdie, Ronald Bronstein
Starring: Adam Sandler, Idina Menzel, Lakeith Stanfield, Pom Klementieff, The Weeknd, Kevin Garnett
Release date: TBD
Say what you will, but Adam Sandler is a good actor. Seriously. He’s made some stinkers, but for those who have charted his career, it’s clear that when he’s given an original script from an acclaimed filmmaker (Punch-Drunk Love, Reign Over Me, Funny People, The Meyerowitz Stories (New and Selected)), he brings real depth to his characters. So, who better then than the Safdie brothers — who helped American audiences further see all of Robert Pattinson’s post-Twilight talents — to usher in even more indie goodwill for “character actor” Adam Sandler? Plus, the Netflix special Adam Sandler 100% Fresh, showing Sandler at his funniest and most heartfelt, was the thing I rewatched most in 2018. If the Safdie brothers tap into Sandler’s uncanny balance of hilarity and tragedy, Uncut Gems might be a major critical and commercial leap for all involved.
LH

7. Lucy in the Sky

Fox Searchlight/Courtesy

Directed by: Noah Hawley (Legion, Fargo)
Written by: Brian C. Brown, Elliott DiGuiseppi, John-Henry Butterworth, Noah Hawley
Starring: Natalie Portman, Dan Stevens, Jon Hamm, Zazie Beetz, Ellen Burstyn, Colman Domingo, Tig Notaro
Release date: TBD
Between Black Swan, Jackie, Annihilation, and Vox Lux, Natalie Portman has offered some of the most complex, haunted characters of the past decade. With Lucy in the Sky, she’ll now examine the psychology of an astronaut (based on a true story) along with Noah Hawley, the creator of Legion, and likely further prove why she’s one of the absolute best actors of our time.
KK

6. Us

Universal Pictures/Courtesy

Directed by: Jordan Peele (Get Out)
Written by: Jordan Peele
Starring: Lupita Nyong’o, Winston Duke, Yahya Abdul-Mateen II, Elisabeth Moss
Release date: March 15, 2019
Get Out came out of nowhere to gross over $175 million domestically, receive four Oscar nominations (including Best Picture), and win Best Original Screenplay. Us won’t have the stealth factor that Get Out had. However, it’s apparent with Us that Jordan Peele is far more than the real deal. Even with what could have been a blank check and even more of a blank page to write and do whatever he wanted, he doubled down on the savage, if slightly funny, horror satire mode he worked to wonders with Get Out. While Us might not reach the box office or Oscar glory of Get Out, it could become, to us, an even more impressive and idiosyncratic horror masterpiece.
LH

5. Knives Out

Directed by: Rian Johnson (Star Wars: The Last Jedi, Looper, Brick)
Written by: Rian Johnson
Starring: Daniel Craig, Ana de Armas, Chris Evans, Jamie Lee Curtis, Michael Shannon, Toni Collette, Lakeith Stanfield, Christopher Plummer
Release date: November 27, 2019
It was hard to believe as the cast for Knives Out came rolling in, with powerhouse after powerhouse lining up. That they were lining up to work with Rian Johnson, however, is no surprise. With Looper, Johnson gave us one of the best original sci-fi films of the past decade. And with The Last Jedi, he arguably gave us the best Star Wars film to date. Knives Out is said to be inspired by the murder mysteries of Agatha Christie, and will show us a side of Johnson we haven’t seen before.
KK

4. Ad Astra

20th Century Fox/Courtesy

Directed by: James Gray (The Lost City of Z, The Immigrant, Two Lovers)
Written by: James Gray, Ethan Gross
Starring: Brad Pitt, Tommy Lee Jones, Donald Sutherland, Ruth Negga, John Ortiz
Release date: May 24, 2019 (rumored Cannes premiere)
Ad Astra was a bit of an enigma for all of 2018, with a strange January 2019 release date and speculation that it’d open early in December (and in IMAX). So the anticipation is already running high, and for good reason. Gray is a methodical, classical kind of filmmaker that allows you to soak in a film’s world, and feel deeply for his characters. And as Bilge Ebiri wrote for Vulture, filmmakers can get a little more personal, risky, and expressionistic with space films. Throw in DP Hoyte van Hoytema (familiar to space already having worked on Interstellar), Brad Pitt, and the Plan B producing team, and Ad Astra might just be the original epic of the year.
KK

3. Star Wars: Episode IX

Directed by: J.J. Abrams (Star Wars: The Force Awakens, Super 8, Star Trek)
Written by: J.J. Abrams, Chris Terrio
Starring: Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Kelly Marie Tran, Domhnall Gleeson, Lupita Nyong’o, Keri Russell, Richard E. Grant, Matt Smith, Mark Hamill, Carrie Fisher, Billie Lourd
Release date: December 20, 2019
Was Star Wars: The Force Awakens a bit safe? Sure. Did J.J. Abrams successfully relaunch the franchise after the unfathomable damage of the prequels with an exciting adventure filled with amazing new characters and hinting at themes that Rian Johnson would later fulfill? Undoubtedly. Besides Johnson, who better than to take on the monstrous task of closing out not only this trilogy, but likely also the story of the Skywalkers? And Episode IX, following Luke Skywalker’s death as well as the tragic real death of Carrie Fisher — who will appear via deleted scenes from the previous films — will be an especially emotional experience in a galaxy far, far away.— KK

2. Godzilla: King of the Monsters

Warner Bros./Courtesy

Directed by: Michael Dougherty (Krampus)
Written by: Michael Dougherty, Zach Shields, Max Borenstein
Starring: Millie Bobby Brown, Vera Farmiga, Sally Hawkins, Charles Dance, Kyle Chandler, Bradley Whitford, O’Shea Jackson Jr., Ken Watanabe
Release date: May 31, 2019
Godzilla: King of the Monsters might not be in consideration for many people’s best-of-the-year list when 2019 comes to a close. And it’s possible that the film will be nothing more than monster-movie mayhem (and fun). Yet, when Claude Debussy’s Clair de Lune came on during the first trailer, and Mothra spread her fluorescent wings under the neon blue, this lifelong Godzilla fan wiped tears from his eyes. Does the nostalgia for the memory of a four year old’s first experience with movie magic weigh heavy here? You betcha. But with the thrilling 2014 reboot from Gareth Edwards and the enjoyable (if forgettable) Kong: Skull Island, this franchise appears to understand that to win over our hearts, you just have to let some kaiju (Titans) fight. Long live the King.
— LH

1. Avengers: Endgame

Disney/ Courtesy

Directed by: Anthony Russo, Joe Russo (Avengers: Infinity War, Captain America: Civil War, Captain America: The Winter Soldier)
Written by: Christopher Markus, Stephen McFeely
Starring: Chris Evans, Robert Downey Jr., Scarlett Johansson, Chris Hemsworth, Jeremy Renner, Mark Ruffalo, Paul Rudd, Brie Larson, Josh Brolin, Karen Gillan, Don Cheadle, Bradley Cooper
Release date: April 26, 2019
Amidst all of the complaints of it being an incomplete story (debatable) and fans having trouble with their favorite heroes screwing up (it’s called character development, folks) and dying is the reality that Infinity War is an incredible apocalyptic journey that fully earns its crushing dread. Its pacing is pitch perfect. Its theme of the weight of one life versus billions is carefully handled throughout the entire film. And its writing brings together massive superhero personalities in a way that proves that these storytellers truly know these characters. So, not only is Avengers: Endgame the event film of 2019 — sorry Star Wars — but there’s also the very real and likely possibility that the Russos and writers Christopher Markus and Stephen McFeely will deliver another supreme epic that does right by the eleven years of investment in this universe. And if they delve into time travel, as well as the heart of Captain America — the character that the Russos have defined — Avengers: Endgame could wind up as exhilarating as any big budget epic in recent memory.
KK


Kyle’s Next 15:

15. Superpower Dogs

Directed by: Daniel Ferguson (Jerusalem)
Release date: March 15, 2019

14. Ammonite

Directed by: Francis Lee (God’s Own Country)
Written by: Francis Lee
Starring: Saoirse Ronan, Kate Winslet
Release date: TBD

13. The Nightingale

Directed by: Jennifer Kent (The Babadook)
Written by: Jennifer Kent
Starring: Sam Claflin, Aisling Franciosi, Baykali Ganambarr
Release date: TBD (2018 Venice premiere, Sundance showing)

12. The Laundromat

Directed by: Steven Soderbergh (Logan Lucky, Magic Mike, The Informant!, Ocean’s Eleven, Traffic, Erin Brockovich, Sex, Lies, and Videotape)
Written by: Scott Z. Burns
Starring: Meryl Streep, Gary Oldman, Matthias Schoenaerts, Antonio Banderas, Jeffrey Wright
Release date: TBD

11. Waves

Directed by: Trey Edward Shults (It Comes At Night, Krisha)
Written by: Trey Edward Shults
Starring: Lucas Hedges, Sterling K. Brown, Taylor Russell, Kelvin Harrison Jr.
Release date: TBD

10. Chaos Walking

Directed by: Doug Liman (American Made, Edge of Tomorrow, Mr. & Mrs. Smith, The Bourne Identity)
Written by: Charlie Kaufman, Patrick Ness, Lindsey Beer, John Lee Hancock, Gary Spinelli)
Starring: Tom Holland, Daisy Ridley, Cynthia Erivo, Mads Mikkelsen, David Oyelowo
Release date: March 1, 2019

9. Joker

Directed by: Todd Phillips (War Dogs, The Hangover, Old School)
Written by: Todd Phillips, Scott Silver
Starring: Joaquin Phoenix, Robert De Niro, Zazie Beetz, Shea Whigham, Marc Maron, Brett Cullen
Release date: October 4, 2019

8. Newsflash

Directed by: David Gordon Green (Halloween, Stronger, Pineapple Express, George Washington)
Written by: Ben Jacoby
Starring: Seth Rogen, Logan Lerman
Release date: TBD

7. Captain Marvel

Directed by: Anna Boden, Ryan Fleck (Sugar, It’s Kind of a Funny Story, Mississippi Grind)
Written by: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet, Jac Schaeffer, Nicole Perlman, Joe Shrapnel, Anna Waterhouse
Starring: Brie Larson, Jude Law, Gemma Chan, Samuel L. Jackson, Lee Pace, Ben Mendelsohn, Annette Bening, Djimon Hounsou, Clark Gregg
Release date: March 8, 2019

6. Spider-Man: Far From Home

Directed by: Jon Watts (Spider-Man: Homecoming, Cop Car)
Written by: Chris McKenna, Erik Sommers
Starring: Tom Holland, Zendaya, Jacob Batalon, Jake Gyllenhaal, Marisa Tomei, Samuel L. Jackson
Release date: July 5, 2019

5. Fonzo

Directed by: Josh Trank (Chronicle)
Written by: Josh Trank
Starring: Tom Hardy, Linda Cardellini, Jack Lowden, Matt Dillon, Kyle MacLachlan
Release date: TBD

4. The Woman in the Window

Directed by: Joe Wright (Darkest Hour, Atonement, Pride & Prejudice)
Written by: Tracy Letts
Starring: Amy Adams, Gary Oldman, Julianne Moore, Brian Tyree Henry, Wyatt Russell, Anthony Mackie
Release date: October 4, 2019

3. Triple Frontier

Directed by: J.C. Chandor (A Most Violent Year, All Is Lost, Margin Call)
Written by: J.C. Chandor, Mark Boal
Starring: Ben Affleck, Pedro Pascal, Oscar Isaac, Charlie Hunnam, Garrett Hedlund
Release date: March 15, 2019

2. The Last Thing He Wanted

Directed by: Dee Rees (Mudbound, Pariah)
Written by: Dee Rees, Marco Villalobos
Starring: Ben Affleck, Anne Hathaway, Willem Dafoe, Toby Jones, Edi Gathegi, Rosie Perez
Release date: TBD

1. Apollo 11

Directed by: Todd Douglas Miller (Dinosaur 13)
Release date: TBD (Sundance premiere)

Levi’s Next 15:

15. The Dead Don’t Die

Directed by: Jim Jarmusch (Paterson, Only Lovers Left Alive, Broken Flowers, Mystery Train, Stranger than Paradise)
Written by: Jim Jarmusch
Starring: Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton, Steve Buscemi, Tom Waits, Caleb Landry Jones, Selena Gomez
Release date: TBD

14. Radegund

Directed by: Terrence Malick (The Tree of Life, The New World, The Thin Red Line, Badlands)
Written by: Terrence Malick
Starring: August Diehl, Matthias Schoenaerts, Michael Nyqvist, Bruno Ganz
Release date: TBD

13. Native Son

Directed by: Rashid Johnson
Written by: Suzan-Lori Parks
Starring: Nick Robinson, Sanaa Lathan, Margaret Qualley, Ashton Sanders, Kiki Layne, Stephen McKinley Henderson
Release date: TBD (Sundance premiere)

12. IT: Chapter Two

Directed by: Andy Muschietti (It, Mama)
Written by: Gary Dauberman
Starring: Bill Skarsgård, James McAvoy, Jessica Chastain, Bill Hader, Jay Ryan, Isaiah Mustafa, James Ransone, Teach Grant, Andy Bean, Xavier Dolan
Release date: September 6, 2019

11. The King

Directed by: David Michôd (War Machine, The Rover, Animal Kingdom)
Written by: David Michôd, Joel Edgerton
Starring: Timothée Chalamet, Ben Mendelsohn, Joel Edgerton, Robert Pattinson, Sean Harris, Thomasin McKenzie, Lily-Rose Depp, Tom Glynn-Carney
Release date: TBD

10. The Irishman

Directed by: Martin Scorsese (Silence, The Wolf of Wall Street, The Departed, Casino, Goodfellas, Raging Bull, Taxi Driver)
Written by: Steven Zaillian
Starring: Robert De Niro, Joe Pesci, Al Pacino, Harvey Keitel, Ray Romano, Jesse Plemons, Bobby Cannavale, Anna Paquin, Jack Huston
Release date: TBD

9. The Lego Movie 2: The Second Part

Directed by: Mike Mitchell (Trolls), Trisha Gum
Written by: Phil Lord, Christopher Miller, Matthew Fogel, Raphael Bob-Waksberg, Michelle Morgan, Dominic Russo
Starring: Chris Pratt, Elizabeth Banks, Alison Brie, Margot Robbie, Jonah Hill, Nick Offerman, Channing Tatum, Tiffany Haddish, Will Arnett, Charlie Day
Release date: February 8, 2019

8. Parasite

Directed by: Bong Joon-ho (Okja, Snowpiercer, Mother, The Host, Memories of Murder)
Written by: Bong Joon-ho
Starring: Song Kang-ho, Lee Sun-kyun, Cho Yeo-Jeong, Choi Woo-sik, Park So-dam
Release date: TBD

7.  How to Train Your Dragon: The Hidden World

Directed by: Dean DeBlois (How to Train Your Dragon 2, How to Train Your Dragon, Lilo & Stitch)
Written by: Dean DeBlois
Starring: Jay Baruchel, Cate Blanchett, Kit Harington, Gerard Butler, Kristen Wiig, Jonah Hill, America Ferrera
Release date: February 22, 2019

6. The Last Black Man in San Francisco

Directed by: Joe Talbot
Written by: Joe Talbot, Rob Richert, Jimmie Fails
Starring: Danny Glover, Finn Wittrock, Thora Birch, Tonya Glanz, Mike Epps, Tichina Arnold, Rob Morgan, Jonathan Majors
Release date: TBD (Sundance premiere)

5. Jojo Rabbit

Directed by: Taika Waititi (Thor: Ragnarok, Hunt for the Wilderpeople, What We Do in the Shadows)
Written by: Taika Waititi
Starring: Taika Waititi, Roman Griffin Davis, Thomasin McKenzie, Sam Rockwell, Scarlett Johansson, Alfie Allen, Stephen Merchant, Rebel Wilson
Release date: TBD

4. The Lighthouse

Directed by: Robert Eggers (The Witch)
Written by: Robert Eggers, Max Eggers
Starring: Willem Dafoe, Robert Pattinson
Release date: TBD

3. High Life

Directed by: Claire Denis (Let the Sunshine In, 35 Shots of Rum, Beau travail, Nenette and Boni)
Written by: Claire Denis, Jean-Pol Fargeau, Geoff Cox
Starring: Robert Pattinson, Juliette Binoche, André Benjamin, Mia Goth, Lars Eidinger
Release date: April 12, 2019 (TIFF premiere)

2. Dumbo

Directed by: Tim Burton (Big Eyes, Frankenweenie, Corpse Bride, Ed Wood, Batman Returns, Batman, Beetlejuice)
Written by: Ehren Kruger
Starring: Eva Green, Colin Farrell, Michael Keaton, Danny DeVito, Alan Arkin
Release date: March 29, 2019

1. Everything Everywhere All At Once

Directed by: Daniel Kwan, Daniel Scheinert (Swiss Army Man)
Written by: Daniel Kwan, Daniel Scheinert
Starring: Michelle Yeoh, Awkwafina
Release date: TBD

Honorable mentions:

Ema

Directed by: Pablo Larraín (Jackie, Neruda, No)
Written by: Guillermo Calderón, Alejandro Moreno
Starring: Gael García Bernal, Mariana Di Girolamo, Santiago Cabrera, Mariana Loyola
Release date: TBD

Gemini Man

Directed by: Ang Lee (Life of Pi, Brokeback Mountain, Crouching Tiger, Hidden Dragon, Sense and Sensibility, The Wedding Banquet)
Written by: Billy Ray, Christopher Wilkinson, Stephen J. Rivele, David Benioff, Andrew Niccol, Darren Lemke, Jonathan Hensleigh
Starring: Will Smith, Mary Elizabeth Winstead, Clive Owen, Benedict Wong
Release date: October 4, 2019

Last Christmas

Directed by: Paul Feig (A Simple Favor, Bridesmaids)
Written by: Emma Thompson, Bryony Kimmings
Starring: Emilia Clarke, Henry Golding, Emma Thompson, Michelle Yeoh, Rebecca Root
Release date: November 15, 2019

Long Day’s Journey Into Night

Directed by: Bi Gan (Kaili Blues)
Written by: Bi Gan
Starring: Sylvia Chang, Tang Wei
Release date: TBD (2018 Cannes premiere, 2018 TIFF showing, 2018 China premiere)

Men in Black: International

Directed by: F. Gary Gray (The Fate of the Furious, Straight Outta Compton, The Italian Job, The Negotiator, Set It Off, Friday)
Written by: Art Marcum, Matt Holloway
Starring: Tessa Thompson, Chris Hemsworth, Rebecca Ferguson, Emma Thompson, Liam Neeson, Kumail Nanjiani
Release date: June 14, 2019

Featured image via Warner Bros.

March Madness of Movies: Best A24 Films — Round 3

These matchups were vote on by the MovieMinis Staff.

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

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

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

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

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

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

 

Featured image via A24.

Kyle Kizu’s Top 25 Films of 2017

While 2016 limped through the Spring and Summer seasons before finishing strong, 2017 proved to be a brilliant year for film since the first few months.

Spring films such as Get Out and Logan evoked profound conversation about genre pictures, their potential and their impact. Summer studio films reinvigorated the term “blockbuster” with some actual weight. And the Fall/Winter awards contenders might be, as a whole, even more plentiful than last year.

Essentially, I had a blast at the movies in 2017. The cinematic experience is special and there were so many different times when I felt a sense of immersion, engagement and/or excitement that I hadn’t ever felt before. Thus, I couldn’t simply list a top 10 when I had upwards of 50 films I thoroughly enjoyed. So, I tasked myself to come down to 25.

To be very clear, this is a list of my personal favorites of the year. I am not suggesting that these are the best films of the year. Those are two rather different conversations. These 25 films are ranked based on how I personally responded to them, and I do recognize that some not in my top 10 favorites are among the top 10 best of the year.

Without further ado, here are my top 25 films of 2017, with some honorable mentions since narrowing down was too difficult:

Honorable mention: Columbus

Superlative Films/Courtesy

Video essayist Kogonada’s feature directorial debut, Columbus, which he also wrote and edited, is visually fascinating, beautiful and tranquil. While the story is about architecture, the film, itself, almost becomes a piece of architecture in its exquisite shot construction that reflects character interiority unlike any other film.

Honorable mention: Their Finest

Nicola Dove/STX Entertainment/Courtesy

Their Finest is one of the more refreshing stories of the year. Gemma Arterton leads the film with verve, complimented by Bill Nighy’s hilarious wit and Sam Claflin’s dashing charm. By the film’s end, after traversing the frightening setting of WWII Britain and the inspiring efforts of the British film division in inspiring its country, we come away with a lovely ode to the immense importance of the female perspective in storytelling.

Honorable mention: The Big Sick

Amazon/Courtesy

The Big Sick is almost more about family, perspective and culture, until the central romance gets its time to shine again and tugs at our hearts. That’s what makes the film so special, that it has so many different sides to it. There’s the budding relationship between Kumail and Emily, but also the conflict between Kumail and Emily’s parents, the conflict between Emily’s parents, the calls of friends in search of a career and the struggle of cultures clashing. The screenplay integrates ever aspect into a wonderful whole, and the actors all turn in such deeply felt performances.

Honorable mention: Abacus: Small Enough to Jail

PBS/Courtesy

Abacus: Small Enough to Jail follows the small bank Abacus, founded by a Chinese family in a U.S. Chinese community, as it is sued by the U.S. government in relation to the wide scale fraud that caused the 2008 financial crash. In fact, Abacus is the only U.S. bank to face charges. The immediate sense of injustice that that simple description evokes drives the entire emotional undercurrent of the documentary. But the doc goes even further, diving deeply into the cultural significance that Abacus played and still plays in its community as well as the cultural work ethic of the Chinese family behind it. The continuous conversation between the intimate small scale and the epic large scale makes this easy to both invest in and be fascinated by.

Honorable mention: Get Out

Universal Pictures/Courtesy

Allow me to explain. I do fully understand that Get Out is among the ten best films of the year and, while I disagree, I believe in the validity of arguments that call it the best. The leveraging of genre allows writer-director Jordan Peele to tell not only one of the most biting and invasive horror stories, but simply one of the most astonishingly polished narratives of any kind. But that brings me to why it can’t quite break my top 25. It’s tightly constructed. In my personal viewing experience, it was almost too tight to allow the film to take me over in ways that the 25 below did, even though I was mesmerized by the filmmaking on display.

 

25. Okja

Netflix/Courtesy

Okja is such a sublime film, one glowing with a sense of care for its originality and not just originality for its own sake. The titular super pig is an adorable blend of a pig, dog and hippo, rendered stunningly by the visual effects team, and the relationship Okja has with Mija (Ahn Seo-hyun) is one of the most authentic animal-human relationships in film of recent memory. Throw in inspiration from French and screwball comedy cinema, such tightly controlled storytelling from Bong Joon-ho and wacky delightful performances across the board, and Okja is nothing short of a joy to watch.

24. The Post

20th Century Fox/Courtesy

For obvious reasons, The Post is gripping and engaging. It reflects the unsettling world we’re encountering today. But the film is also rather uplifting. Director Steven Spielberg injects a purely journalistic energy into the camera and the pacing, and frames an emotionally moving feminist story around Washington Post publisher Katharine Graham, whom Meryl Streep plays with the utmost nuance.

23. Spider-Man: Homecoming

Marvel/Sony/Courtesy

When Marvel acquired rights to include Spider-Man in the MCU, one couldn’t help but fear that the web-slinger would fall into the studio’s generic formula. But, surprisingly, Spider-Man: Homecoming turned into one of the universe’s most enjoyable films precisely because of how it treated Peter Parker as a singular character with his own journey. And that journey is one filled with thoroughly realized conflict of youth/adolescence. In reality, Homecoming is a coming-of-age film, and one of the better ones. Parker is imagined brilliantly and his character’s arc is intertwined with the plot in ways that do the character so much justice.

22. Logan

20th Century Fox/Courtesy

A film about coming to terms with death and finding our true hearts, Logan is as much a modern Western as it is an X-Men flick. Like everything else in the picture, Hugh Jackman turns in a raw, weathered performance that truly situates Logan as depressed and suicidal. But it’s the very character work of the screenplay, the first superhero film Oscar nominated in writing, and the extremely tight direction of James Mangold that makes that journey an endlessly satisfying and emotional one.

21. Our Souls at Night

Netflix/Courtesy

Our Souls at Night could be described as a “dawning-of-age” film. It’s quiet and soulful, told from a perspective that holds the past close to heart without ever necessarily being explicit about it. And every part of the film takes on that idea, from the pacing to the dialogue to the actors. Leads Jane Fonda and Robert Redford turn in performances that are both wholly lived in and, thus, sneakily profound. The film does not necessarily state its existence like most of the art form does, and that’s exactly why it’s so good.

20. The Shape of Water

Fox Searchlight Pictures/Courtesy

It’s hard not to get wrapped up in Guillermo del Toro’s fantastical, magical vision. The world-building production design, almost balletic cinematography and the empathetic, truthful performances of Sally Hawkins and Richard Jenkins grab us by our hearts and just don’t let go. And it’s exactly that empathy that makes this film so special. The story is a touching reflection on the Other, on those that feel out of place and as though they don’t belong. Even though Sally Hawkins’ Elisa doesn’t speak, the emotional strains in her face as she expresses herself shows us that she is, in a way, the most human of us all.

19. Lucky

Magnolia Pictures/Courtesy

Oh Harry Dean Stanton, you legend. In Lucky, the late actor delivers a performance that is equally as hilarious as it is profound. He owns the screen, especially when on it alone, and imagines both the physicality and mentality of the titular Lucky so deeply. And while the film is, essentially, a vehicle for his performance, that focus allows its story to evoke some weighty ideas about life and when it’s coming to an end. Through some totally bizarre yet awesome moments, the film reminds us that both making connections and living freely is what will make the most of our lives.

18. The Breadwinner

Gkids/Courtesy

The Breadwinner may be one of the most carefully executed stories of the year. The film deals with such heavy subject matter, painting the image of women in a culture that so often suppresses them. But it also contextualizes the brilliant strength that these women build out of it, and the beautiful family bonds that so many form. There are moments, visually arresting ones, that do justice to the harsh truths at the film’s core, but the filmmakers also opt to make use of elements of innocence and wonder, specifically in its children, to complement. The result is a majestic, culturally-infused fable of bravery and love, delivered with such power by the voice performances, the score, the animation work and director Nora Twomey guiding it all so wonderfully.

17. Molly’s Game

Michael Gibson/STX Entertainment/Courtesy

Most of the time, an Aaron Sorkin film demands and earns a level of entertained engagement that few other films do. His writing is so utterly electric, and Molly’s Game is more of such, but also a platform on which he shows that his directing work can also accomplish the same. Structurally brilliant, ebbing and flowing with immense energy and building to unexpected levels of emotion, Molly’s Game is also a reminder that Jessica Chastain is one of the best in the business, period. She chews on Sorkin’s words so smoothly and effectively, producing a spark in her character that few other films of the year have.

16. The Florida Project

A24/Courtesy

What might perfectly describe Sean Baker’s The Florida Project is empathy. The film is, quite obviously, so much more than just that, but it does seem like every feature also adds to the film’s wholesome, beautiful sense of empathy. Every part of the filmmaking works to situate the viewer with Moonee (Brooklynn Prince), whether that be the oft low angle, vibrant cinematography, the free flowing narrative structure or the endlessly playful character moments. And as the situation surrounding Moonee gets tougher and tougher, we stick with her, not necessarily confronting everything, but growing an attachment to her and a need to see her come out of it all okay.

While every bit of that is such brilliant, perspective-based filmmaking, the full execution of it all rested on Prince’s shoulders, and the seven-year-old actress is a jaw-dropping force of nature. The spirit in her character emanates off of the screen at every minute, and she pulls off a scene at the end that is just unexplainably masterful.

15. Phantom Thread

Focus Features/Courtesy

Phantom Thread is like a lovely dream. It’s so odd, yet it feels undeniably real in the moment. It floats and fades before pronouncing itself again. And as we leave it behind, as we leave the theater, it’s tough not to long for it.

That’s the power that Paul Thomas Anderson has as a storyteller. With his most recent, he draws us into this delirious and delightful world, making us swoon and then shocking us, making us scratch our heads and then drawing us in so intensely. There’s a clear sense that, although the film might not seem easy to process at points, because it all ties in so efficiently at the end, Anderson had such purposed drive in every choice, in every line of dialogue.

And with that, as with every other PTA film, comes magnetic performances. Day-Lewis is wickedly delicious, but so is Lesley Manville, and Vicky Krieps takes control of every frame with eyes as fierce as any.

14. Kedi

Oscilloscope/Courtesy

A documentary about cats was, quite clearly, too simple of an expectation. It should’ve been more evident that the film would be something so much more layered.

Kedi is, for the lack of a better word, beautiful. For cat lovers, it’s irresistible. The simple image of them throughout the film yanks out more smiles than most movie experiences ever will. But the cats are placed into context. They’re not simply cute animals; they’re a part of the Turkish culture and, thus, a part of the Turkish people’s lives.

For some, these cats are close friends. For others, these cats are family. And for a few, these cats are the difference between life and death. What’s most surprising about Kedi is its mental health aspect, lovingly depicting stories of people whose faith was confirmed or whose depression was helped by them.

And its through this image that the film becomes a profound statement on life. One line toward the end of the film says it better than any analysis can: “A cat meowing at your feet, looking up at you is life smiling at you. Those are moments when we’re lucky. They remind us that we’re alive.”

13. The Lost City of Z

Amazon Studios/Courtesy

The Lost City of Z, at least today, is a type of film that we rarely get. It’s an exploration epic that truly earns the epic through exactly how it explores.

Writer-director James Gray takes his time. The film is slowly paced, at first searching. But with fully immersive and mesmerizing sound design, production design and cinematography, we become invested in the world. Thus, when a journey is taken up by Percy Fawcett (Charlie Hunnam), we’re committed alongside him.

It’s brilliant character alignment that a polished, efficient storyteller like Gray thrives on. But what he does with the journey itself is truly special, placing us in the obsessive head of Fawcett so that we also end up overcome by the wondrous possibilities of the jungle. By foregrounding the personal to evoke the mythical, The Lost City of Z can accomplish both an emotional story and a fascinating one. It’s an experience that we likely won’t get from anyone else.

12Icarus 

Netflix/Courtesy

With Icarus, director Bryan Fogel accidentally struck gold, and what starts as a documentary about the potential for cycling drug tests to be undermined turns into a geopolitical thriller about how Russia has had a vast history of doping in sports and how wildly powerful people, like Putin himself, worked to cover it up.

The fascination levels are off the charts, perhaps exceeding that of any film of the year. And while the situation may have been accidental, Fogel tracks, orchestrates and constructs it all so that the fascination we viewers have is no accident. We are guided to fall into the circumstance with jarring force, but also with such perfectly precise pacing, which carries on throughout the rest of the film as the layers expand and expand.

And, in the filmmaking’s regard, Icarus also functions as a gripping character piece. Grigory Rodchenkov is, at first, simply the quirky doctor who guides Fogel through his doping regimen. But Rodchenkov is at the center of the scandal as it all kicks off. As we follow along, his story becomes filled with a profound history, toned by the current personal pain and fear for his life that the weight of an entire government rejecting his claims and putting him down causes. Yet, Fogel also makes sure to capture the fact that, through it all, Rodchenkov retains his delightful sense of humor.

Icarus truly is a wonder of storytelling that could only come through the documentary medium.

11. Jane

Abramorama/Courtesy

Jane is a sneaky documentary. It starts with plenty of intrigue — over 100 hours of footage of Jane Goodall’s first journeys has resurfaced. And the first half of the film is appropriately fascinating, operating almost as a silent film with the lack of words from Goodall in the footage, but elevated greatly by both the sound from the footage and the sound design added to it.

Yet, the whole time, due to director Brett Morgen’s calculated construction of footage, narration from an interview with Goodall and other aspects such as that sound design or Philip Glass’ outstanding score, the film genuinely captures the life lived by Goodall.

And once the final half hour starts, we become consumed by the fact that we’ve just seen an expansive, singular, epic life on screen. The film evokes journey, but it also evokes nostalgic reflection, without regrets and filled with appreciation. It’s rare to feel the intangible weight of a person’s life. Cinema, the place where that can be accomplished, doesn’t always pull it off. But Jane does.

10. Lady Bird

A24/Courtesy

The phrase “lived in” may apply here and there, but Lady Bird is, arguably, the epitome of what it truly means. There’s so much specificity not only in every scene, but in every frame. And while such intense specificity may seem as though it would be alienating, it actually casts a net of details so wide that the film becomes more universal than it would be were it not so specific.

With these details that writer-director Greta Gerwig puts into her film comes the truths behind them, and with so many truths, every single viewer has the potential to find their own truth reflected back at them. We may not have had a mother like Laurie Metcalf’s character, but we had a best friend like Beanie Feldstein’s character. We may not have struggled with depression like Tracy Letts’ character does, but we struggled with depression like Stephen McKinley Henderson’s character does. We may not have fallen for a guy like Timothée Chalamet’s character, but we feared the future like Saoirse Ronan’s Lady Bird does. And even if we didn’t experience certain aspects, Gerwig renders everything with such empathy that it’s hard to, ourselves, not feel deeply for every single character.

9. Loving Vincent

BreakThru Films/Trademark Films/Courtesy

It’s a bit unfair, as the film is the first to ever be made entirely of paintings, but Loving Vincent is, by far, the most visually stunning film of the year. The material quality that the paint lends to the image creates, in the transition between frames, such transfixing, majestic, enchanting visual movement that is singularly cinematic.

For a good portion of the film, the visual element is most of what there is to latch onto. And that’s because the true storytelling work that Loving Vincent is doing is not fully realized until the final act, in which the film establishes itself as a story about mental health.

The story follows Armand Roulin (Douglas Booth) as he comes across people who knew Vincent van Gogh before he killed himself. Each has a different story to tell. van Gogh was either a cold, distant and rude man or a soft, gentle-hearted and shy one. He was either a humble painter or visionary genius.

Yet, no one really knew van Gogh — except for the other artist he lived with before he died. van Gogh was struggling with depression. No one else understood, and so, everyone else made judgments. It’s a film about impressionism, until it suggests that impressions are flawed.

And the film clearly differentiates the perspectives of these perceivers and the perspective of truth, pushing the idea that van Gogh lived his life for no one other than those he loved and for nothing other than his mode of expression — his paintings. In that sense, Loving Vincent is one of the more distinctly human films of the year.

8. Mudbound

Netflix/Courtesy

Mudbound is rich in every sense of the word. It is both literary and cinematic, combining beautiful visuals with profound symbolism to heighten its emotional impact. Director and co-writer Dee Rees tackles race relations in the South during and after WWII with such wholesome yet restrained storytelling. But she also investigates the many different sides of these characters and their stories at the same time, such as a mother fearing for her son at war, soldiers struggling with PTSD, a woman at the will of a husband in the mid-20th century and more.

Mudbound‘s cinematography is breathtaking, as is its sound, production and costume design, and its score. These elements add to the rich narrative intangibly, but also directly locate the film in the South and as a Southern family epic. And each performance is firm, controlled and empathetic — specifically those from Garrett Hedlund, Jason Mitchell and Mary J. Blige — coalescing into the true ensemble of the year.

Mudbound is all-encompassing and tragic for that very reason. Rees subtly makes the forces of society at the time so sneakily overbearing, before showing them as fully and truly horrifying as they were.

Yet, the film leaves us on an uplifting note, crafting one of the most powerful endings of the year.

7. Star Wars: The Last Jedi

Lucasfilm/Courtesy

Where Star Wars: The Last Jedi diverts is exactly where it becomes so enthralling. As much as it worked for the original trilogy, that idea of a hero, fated to save the galaxy, was never going to work again for these new films. And so, writer-director Rian Johnson envisioned a new type of hero while deconstructing that old one.

Luke was always going to be at the center of such deconstruction. But the approach, rather than undermine the character, actually expands upon him. In The Last Jedi, Luke confronts the flaws of what he once considered his fate. He confronts old age and the traumatic scars that a perfect past ruined by the more immediate past leave, and Mark Hamill embraces these vulnerabilities entirely.

On the other end, Rey confronts the fact that her need for destiny could never be fulfilled, that she was convincing herself of the presence of one to hide from the fear that comes with confronting the world alone, and Daisy Ridley realizes this conflict thoroughly.

Rian Johnson empathizes with that fear, and the story that he crafts, in leading from fear to bravery, powerfully announces the purpose of this new trilogy. Where The Force Awakens is familiar, The Last Jedi is jarringly, but effectively different. And as Johnson also envisions visual elements that we’ve never seen before in one of these movies, as well as visual perfection of what we have seen, The Last Jedi marks itself as a the new era of Star Wars.

6. Hostiles

Entertainment Studios/Courtesy

Hostiles starts with Joseph Blocker, an army captain filled with hatred for the Native Americans who’ve killed his friends. And writer-director Scott Cooper unforgivingly foregrounds the brutality that pushes Blocker to feel that way.

But slowly, Cooper guides us along the methodical, quiet, bruised journey Blocker takes in escorting a terminally ill Native American chief, who’d killed his friends in their past encounters, back home to die on his lands — a journey that asks Blocker to give up hatred.

Not many films take hatred head on like this one does, especially because one misstep in characterization or arc could result in something troubling. But Cooper handles his narrative with perfect construction. As he foregrounds the brutality that drives the white man’s hatred, he continually reminds us of the background of a Native American genocide that has been taking place. While Blocker experiences such explicit violence in the moment, these Native Americans have been subject to less visible, more long term violence.

In that way, Cooper does not set out to redeem Blocker, but to display the process of an understanding that both Blocker and the Native American chief come to. And Cooper succeeds in doing so through not only his perfectly paced out, heartbeat-like moments of development, but through the slow shift in emotional energy from aggression to spiritual contemplation.

With Christian Bale bringing Blocker to life so viscerally and intensely through his captivating use of his eyes, delivering his best performance yet, Hostiles is an unforgettable and haunting Western that becomes even more so in retrospect.

5. War for the Planet of the Apes

20th Century Fox/Courtesy

After Rise and DawnWar for the Planet of the Apes had the opportunity to turn Caesar into a truly biblical figure in future ape history. And the film accomplishes that enormous task.

Director and co-writer Matt Reeves pulls this off through an intimate focus on character within war rather than war around character, and not only narratively, but visually too. Close-ups in this movie are just as beautiful in the visual work they do as they are in the character work they do.

Reeves’ approach to Caesar is not to idealize him, but to morally challenge him. The oppression of the apes becomes so intense that it literally manifests in Holocaust-esque imagery. Thus, its difficult not to understand the hatred that builds in Caesar, who, again, is rendered absolutely masterfully by Andy Serkis.  And since it’s difficult not to sympathize, it becomes all the more profound when Caesar steps painfully in the right direction, capped in utter perfection with one of the most powerful character climaxes of the year. Yet, Reeves also understands that good villains are reasonable, and makes the fall of this film’s antagonist more so tragic than triumphant.

War for the Planet of the Apes stands out among the blockbuster field for these very reasons. It understands, more than even most that also do, that such a massive canvas can be so effective if based in character.

4. Blade Runner 2049

Warner Bros./Courtesy

Blade Runner 2049 had no business working as well as it does. But all it took was a simple shift in perspective, from human to android. And with that shift, director Denis Villeneuve composes a tale that exceeds the profundity of even the original.

The film is a visual masterpiece, full of absolutely arresting cinematography from Roger Deakins and jaw-dropping production design, both of which leverage light in stunning fashion. And these technical elements add to the story, which builds and focuses on a world void of natural life, of natural light and of natural color. Essentially, everything is digitally constructed. So how can humanity still exist and move forward?

Through challenging the notions of humanity that humans have adopted for their entire existence. Through ruminating on exactly what it means to have a soul. Villeneuve deftly paces out this journey that Ryan Gosling’s K takes, allowing for long stretches of quiet, hypnotic development. And through that approach, Blade Runner 2049 establishes that humanity does not come from birth nor from purpose bestowed upon someone. Rather, it comes from the purpose one creates for himself, from establishing a sense of self precisely through a sense of others. Villeneuve’s film is prescient, especially in today’s world and considering the society we’re building to. It’s tragic, yet the necessary humanist touch that large canvases need more of.

3. Call Me by Your Name

Sony Pictures Classics/Courtesy

Call Me by Your Name is about bodies, and how bodies fall into and embody love. That’s why the many shots of stretched arms, toes touching, mouths meeting and more are so powerful in this film. Each is so sensually evocative because they represent how the feelings created in our minds are made real, tangible and accessible to another.

The atmosphere within which this all occurs is just as drunkenly alluring as the bodies themselves. The dream-like quality of a summer full of freedom is masterfully achieved by director Luca Guadagnino, and realized with painterly beauty by cinematographer Swayambhu Mukdeeprom. Moments aren’t necessarily connected, but still flow into one another with an unparalleled fluidity. 

The film risked indulging in the dream-like. But actors Timothée Chalamet, Armie Hammer and Michael Stuhlbarg all breathe their characters to life. Chalamet, particularly, lends Elio Perlman a physicality that perfectly represents the conflict between the summer’s freedom and the frightening feelings that his body aches to express. And as that conflict releases into love, and that love is then cut off, Elio encounters another bodily conflict, that of pain in no longer being able to express through his body. This gives Chalamet the scene of the year, as he stares into a fire in a long, single take, traversing a slew of unbearable emotions hauntingly.

Call Me by Your Name, in its entirety, is the love story of the year.

2. A Ghost Story

A24/Courtesy

A photograph. A song. A poem. A film. Each one of these mediums of art feels like an appropriate description of David Lowery’s A Ghost Story, and that might be because the film makes use of qualities of each. In long, uncut, still shots, the film stresses framing and the importance of sitting with a moment in time. Narratively and thematically, the film suggests that music is the art through which we express and through which hold onto expression. In its rumination on time, navigating this world on entirely spiritual terms, the film seems to almost speak, and speak rhythmically. And the composition of this all is specifically cinematic.

A Ghost Story is one of the few films of the year, and truly of any year, to so bravely confront time. How Lowery constructs it within the film is fascinating, and helps us to be able to inhabit the ghost, even if just for a moment. As said before, the film contemplates the importance of the still moment, played out in its entirety. Five minutes uninterrupted seem like an eternity. And yet, years can also flick by in an instant. Why is that so?

Time, especially for those who have passed, challenges our existence. Do we still exist after we die? Do we still need to? And Lowery pulls off a miracle in directing this arc of the ghost, an almost comically looking figure with no mode of expression, with such emotional perfection.

A Ghost Story is simple and minimal, and yet, it feels galactic. It’s often lacking the sight of a human being, and yet, it so profoundly ponders humanity. It’s hard for the film not to feel personal, for it not to feel invasive in how vulnerable it asks us to be.

1. Dunkirk

Warner Bros./Courtesy

It may be because I’ve written nearly five thousand words for this list up to this point, and I’m tired. It may be because, for anyone who knows me or has read my work, this comes as no surprise. It may be because I’ve already written at length about Dunkirk elsewhere, like in my full review of the film. It may be because I’m unsure of whether or not I can do the film justice considering how strongly I feel about it. It may be because I’m finally realizing the extent to which a “favorite film” is personal.

Dunkirk is my favorite film of 2017. In a slightly egocentric and naive point of view, I feel that staying guarded of a personal favorite allows me to still feel as though it’s mine.

In reality, though, it’s mostly because I’m tired. But I won’t be writing anything about Dunkirk here.

Thanks for reading.

 

Featured image via Amazon Studios/Netflix.

 

*Writer’s note: Of course, I am aware of the previous allegations made against Casey Affleck, who appears in A Ghost Story, and it’s my responsibility to explicitly address them. In no way do I condone, make excuse for or ignore Affleck. My support is and will always be with not only the women affected by Affleck, but the entire #MeToo and #TimesUp movements — the silence breakers — that have so bravely led this cultural shift we so desperately need. I would like to consider myself a part of those movements, and I will continue to fight for them.

I include A Ghost Story in this list because it is a personal list and it would be a lie to say that it’s not my second favorite film of the year. I responded to it so strongly and on such a personal level. But I know that there’s also a difference between having it as a personal favorite and writing about it as a personal favorite. I don’t feel as though I could write this list, which I feel I have a right to write, without it, so I wanted to hit a middle ground: write about it, but address Affleck. I hope that I’ve handled this with respect.

Analyzing the Oscar Nominations

The Academy never fails to surprise or disappoint and, this year, they did both to varying degrees. Here are some of the notable takeaways from the nominations announced this morning:

Most nominated:

The Shape of Water earned 13 nominations to take the spot as the most nominated film of the year. It held on in categories such as Best Costume Design and Best Film Editing, where there was heavy competition, and pushed through into Best Supporting Actress with Octavia Spencer when it seemed that she was just beyond the edge.

The second most nominated film is Dunkirk, recognized in eight categories. The film was always a craft/technical juggernaut, and it showed up as such in Best Sound Editing, Best Sound Mixing, Best Film Editing, Best Original Score, Best Production Design and Best Cinematography. But the film also confirmed itself as one in the top of the pack, landing Best Director and Best Picture nominations.

A phantom contender:

Focus Features/Courtesy

While most expected nominations in Best Lead Actor for Daniel Day-Lewis and Best Costume Design for Mark Bridges, Phantom Thread was justly nominated in Best Original Score for Jonny Greenwood, Best Supporting Actress for Lesley Manville, Best Director for Paul Thomas Anderson and Best Motion Picture. Anderson films doesn’t always click with the Academy, as The Master was limited to just acting nominations and the director was only nominated in the category once before for There Will Be Blood. The same can be said about Jonny Greenwood who, despite turning in brilliant work on those previously mentioned films as well as Inherent Vice, had never been nominated before.

Firsts:

These nominations provided plenty of firsts, both for individual artists as well as in Oscar history.

  • Rachel Morrison became the first woman to be nominated in Best Cinematography.
  • Logan became the first superhero film nominated in a writing category.
  • At 88, Christopher Plummer is the oldest acting nominee.
  • Among firsts for many in their career — such as Greenwood, actresses Margot Robbie and Mary J. Blige, actors Timothée Chalamet and Daniel Kaluuya and debut directors Greta Gerwig and Jordan Peele — perhaps the most notable first comes to a veteran. Christopher Nolan, director of landmark films such as MementoThe Dark Knight and Inception, earned his first Best Director nomination.
  • Dee Rees became the first Black woman to be nominated in Best Adapted Screenplay and joined Suzanne de Passe (Lady Sings the Blues) as the only Black women nominated for screenwriting.
  • Mary J. Blige became the first person ever nominated for a performance and for an original song in the same year, for the same film.
  • Netflix picked up its first non-documentary Oscar nominations with the four that Mudbound received.

Netflix/Courtesy

A year to celebrate women (but we can still do better):

Over the last fourth of 2017, culture began shifting as the world finally began talking — genuinely talking — about not only sexual assault and harassment, but other women’s rights areas such as equal pay, representation and opportunities.

Female filmmakers, particularly, have been championed and today, the Academy nominated Greta Gerwig in Best Director, making her the fifth woman to ever be nominated.

That stat is embarrassing and shameful, that there have been so few, but Gerwig’s inclusion here is rightful recognition of her beautiful accomplishment this year and, hopefully, another key moment in lifting up female filmmakers. Gerwig should not have to embody the entire movement, as that would be unfair, but the nomination is still something that will and must extend beyond the awards ceremony.

Gerwig doesn’t even have to, if one looks below the surface. Women have producing credits on six of the nine Best Picture nominees, and are recognized in, beyond Best Director, both writing categories, Best Foreign Language Film, Best Animated Feature, Best Documentary Feature, Best Cinematography, Best Film Editing, Best Makeup & Hairstyling, Best Original Song, Best Production Design, Best Costume Design and Best Sound mixing — as noted by journalist Mark Harris.

Merie Wallace/A24/Courtesyy

And while Dee Rees did not get her fair share of talk for the Best Director category and the film was omitted from Best Picture, Mudbound still showed up with four nominations, and its players also made history.

Only more change will come.

Other stories of note:

While they may not have been firsts or records, these following stories, culturally, in Oscar history and just as awesome occurrences, are of note:

  • Jordan Peele became both the third person to ever be nominated in Best Picture, Best Director and one of the writing categories for their first film, and the fifth Black person to be nominated in Best Director. Get Out released back in February and many thought, at the time, that it could compete in Best Original Screenplay and not much else. But its critical, financial and cultural success proved to hold and hold true as the year wrapped up, and the film continued to show up throughout the awards season.
  • James Franco had been predicted in the Best Lead Actor category by plenty of experts, most thinking that the allegations unveiled in the LA Times article arrived too late in the voting process — there were only two days left — for him to be left off. But Franco did end up missing, which may have been due to the allegations, the competition of other actors or, the more likely scenario, a combination of both.
  • At 22, Timothée Chalamet is the youngest Best Lead Actor nominee since 1939.
  • Christopher Plummer was announced to replace Kevin Spacey in All the Money in the World in early November. He then shot his part between November 20 and November 29. Weeks later, he was nominated at the Golden Globes. And today, a few days over two months since Plummer stepped on set, he has an Oscar nomination. The turnaround of that is one of the most mind-boggling stories of its kind.

Sony Pictures/Courtesy

Surprises:

A ‘surprise’ can usually be determined by how much love a certain film or artist got or by how many ere predicting it to show up. They can be individual or general. Here are the many:

  • Both Call Me by Your Name supporting actors missed out. Armie Hammer received plenty of buzz out of Sundance and seemed to maintain it for the first two thirds of the year. Then, Michael Stuhlbarg took over once the film came to more festivals and released to the public — likely due to his transfixing, heartbreaking speech at the end of the film. But both were passed over. The scenario wasn’t unheard of, as the same happened at the Screen Actors Guild, but many were hoping that the Academy would take a different path.
  • Most things Phantom Thread, as said before.
  • I, Tonya did not show up as strongly as many had suggested it would. As 2017 came to an end and Oscar voting got underway, there was a lot of buzz about how the film was picking up steam. And the evidence was there, with the film earning nominations at the WGA and PGA, and at other craft guilds such as makeup & hairstyling. But it seemed as though Phantom Thread got in instead.
  • Darkest Hour turned up much better than expected. The film was one of the most talked about out of the late August/early September film festivals, but seemed to have sunk as the season shaped up. There was never any doubt about Gary Oldman or Best Makeup & Hairstyling, but the film held strong in other craft categories, making it into Best Costume Design, Best Cinematography and Best Production Design. It also showed up in Best Picture, shocking many that thought that I, TonyaThe Big Sick and Mudbound were ahead of it.
  • Victoria and Abdul‘s nominations are, perhaps, on the more boring end of ‘surprise.’ The film earned nods in Best Costume Design, ahead of films like The Greatest Showman and Murder on the Orient Express, and in Best Makeup & Hairstyling, ahead of supposed strong contenders I, TonyaBright and Guardians of the Galaxy Vol. 2.
  • This may not be the most evident surprise to most, but, in the Best Visual Effects category, Guardians of the Galaxy Vol. 2 and Kong: Skull Island showing up was not what buzz suggested. This branch holds a contender showcase, often regarded as the “bakeoff,” where each on the shortlist offers a presentation on the visual effects of their film. Word from the bakeoff pointed to OkjaThe Shape of Water and Dunkirk as the films that would fight for the final two spots. That none of them made it in is surprising.

Netflix/Courtesy

  • In the Best Documentary Feature category, two heavyweights ended up falling off — City of Ghosts and JaneCity of Ghosts was nominated at the Directors Guild and Jane won the documentary award from the Producers Guild.
  • Finally, many expected Martin McDonagh to show up in the Best Director category. Three Billboards outside Ebbing, Missouri had just won the SAG Best Ensemble award and McDonagh was nominated by the DGA. The DGA and the Oscars don’t always line up, but, with the film’s supposed (and now defunct?) frontrunner status, many thought that Peele or Gerwig would fall before he did.

Snubs:

‘Snub’ is a word that’s thrown around far too often. I adhere to a rather strict definition of what a snub really is. Granted, much of this is subjective, but I believe that a snub occurs when a film or artist left off is, in the majority opinion, of better quality than at least one of those nominated. With that definition in mind, here is a list of what the snubs of this year might be (as there will be disagreement on what’s been deemed of better quality in the majority opinion):

  • Mudbound missed out on a Best Picture nomination, and many believe that it may be due to the Netflix label, which might still be frowned upon by a significant portion of industry voters and might have caused some to even ignore the picture all together. That seems to be the only logical reason because the film is absolutely breathtaking and regarded as one of the best films of the year.
  • The Best Foreign Language Film category is hard to suggest there’s a ‘snub’ in because so few see all of the shortlisted films, so this one is based mostly on critics and the awards season. Israel contender Foxtrot emerged from the Venice Film Festival as one of the most talked about and acclaimed foreign films of the year, picking up a few awards from the festival. It won the category at the National Board of Review, and has a MetaCritic score only beaten by A Fantastic Woman.
  • As mentioned above, Jane won the PGA documentary award, making it more than a little bizarre for the film not to even be nominated.
  • Also pointed to above, Victoria and Abdul didn’t really strike many as a Best Makeup & Hairstyling nominee. The snub doesn’t come in any specific film’s exclusion, but in a variety of options instead of the Judi Dench picture.
  • Another point talked about, Michael Stuhlbarg was a critical and audience favorite. The industry respects him, and Call Me by Your Name was apparently a very strong contender in many places. It seemed strange to think that the film would only earn one acting nomination, for the newcomer lead Chalamet. So, Stuhlbarg was expected and wanted. And he deserved a nomination. The performance is lived in in every way, quiet but impactful in similar (but also opposite) ways as Best Supporting Actress nominee Lesley Manville. But what Stuhlbarg had was one of the most stunningly performed scenes of the year — the speech at the end of the film. The scene is the most talked about from the film (if not the one that’s a little more peachy) and in a year when hate was so rampant, its empathy seemed all the more powerful. How the Academy opted for Woody Harrelson, who is no better than ‘Woody being Woody’ in Three Billboards, is beyond us.

Sony Pictures Classics/Courtesy

  • We would like to formally apologize to Octavia Spencer. We have nothing against you or your performance. You are a brilliant actress, one of the best. But we would certainly call the exclusion of actresses such as Hong Chau, Holly Hunter and Tiffany Haddish — perhaps Hunter in particular due to her momentum and popularity leading up to today — snubs. Spencer is good in the role, but, let’s face it, she’s not anything more than that.
  • Our final snub is one that stings because of the history that comes along with it. Three years ago, the Academy shockingly and ridiculously omitted The LEGO Movie from Best Animated Feature. And this year, while not as shocking, they ridiculously omitted The LEGO Batman Movie. What got in instead? Ferdinand and The Boss Baby. It’s not even up for debate.

Takeaways:

The Oscar nominations are often a bit diverting from what the awards season had built up until that point. While other awards, such as those from the major guilds, point to potential outcomes at the Oscars, the Oscar nominations can change those narratives. Here are the takeaways from the nominations:

  • Three Billboards outside Ebbing, Missouri is not the frontrunner (to be clear, though, it never was). It’s still in contention — especially with that SAG Best Ensemble win and a Best Film Editing nomination — but missing out in Best Director is a bit crushing. Argo recently pulled off a Best Picture win without a Best Director nomination, but it seems rather unlikely for Three Billboards to do the same. McDonagh would almost certainly need to win the DGA award to craft similar momentum for the film.
  • Dunkirk is holding on in Best Picture and Best Director, thanks in part to McDonagh falling off. As awards season shaped up, Christopher Nolan’s WWII film seemed to flatline — not as a contender, but as a serious contender. But that nomination in Best Director ahead of a supposed frontrunner film’s director gives Nolan and the film a much needed boost. It’s main obstacle is that it is much more obviously a technical/craft contender. Without a nod in Best Original Screenplay, Dunkirk will probably lose out on Best Picture. But, just recently, The Revenant showed that a film can still contend, and contend up until the last moment without a writing nomination. Even if it does lose there, a win at the Directors Guild wouldn’t be surprising and would give Nolan further momentum toward possibly beating Guillermo del Toro.

Melina Sue Gordon/Warner Bros./Courtesy

  • The Shape of Water might have made up for its lack of a SAG Best Ensemble with its 13 nominations. It needed the acting nominations and safely made its way into Best Original Screenplay. And it showing up throughout the technical/craft categories shows its wide strength (every voter from every branch gets to vote on Best Picture). But this seemed to be the narrative for La La Land too, that it could make up for missing out of a nod for SAG Best Ensemble. We all know how that turned out, so let’s just say that things are still up in the air.
  • Get Out and Lady Bird are still fighting for Best Picture. Had one of them gotten a Best Film Editing nomination, the narrative would be stronger, but both making it in for Best Director is key. If the WGA award for Best Original Screenplay goes to either of these, they could pick up even more steam. And if one of them wins Best Original Screenplay at the Oscars, even if the film miss out on winning Best Director, lookout for the one that does to take the night — as Spotlight and Moonlight did the same.

 

Featured image via Fox Searchlight Pictures.

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.

25 most anticipated films of 2018

As each year ends, it’s customary to look back on our favorite films, to spend hours on lists of the best that we saw. But it’s also a hell of a time to look forward at the films releasing in the coming year and start to build anticipation. The ones that immediately pop into mind are the blockbusters, the landmark events of the year like Solo: A Star Wars Story and the early Black Panther. They’re beyond exciting, not only for us, but for millions of people. The real fun for us film writers, though, comes with the research, with digging deep to find which prestige, Oscar-nominated or, simply, personal favorite storytellers (actors, directors or writers) have movies coming out that are currently under-the-radar to most people — and then going even deeper to find the films that even us film writers would miss on a first go around of digging.

What immediately became apparent after finishing our research and sitting down to pick our top 25 is that 2018 is going to be a spectacular year for film — hence our honorable mentions list being so long.

We thought 2017 was a never-ending ride of greatness, from Get Out back in February all the way to Paul Thomas Anderson’s Phantom Thread today. 2018 should be just the same. Whether it be the aforementioned blockbusters, or the return of both Barry Jenkins and Damien Chazelle, or Martin Scorsese pairing up with Netflix, or French female filmmakers taking on science fiction, 2018 films need to get going already.

25. Bios

Dick Thomas Johnson/Courtesy

Directed by: Miguel Sapochnik

Written by: Craig Luck, Ivor Powell

Starring: Tom Hanks

Release date: Possibly 2018, currently in pre-production, expected start shooting early 2018

This film might’ve been ranked higher on the list were it further along in production and guaranteed for 2018. With production meant to start in early 2018, there’s a definite possibility, considering the star power of Tom Hanks, that we could see it toward the end of the year, especially as an awards contender, which is why we’re including it. But there’s also a definite possibility that it won’t, as we never really know in regard to a film like this until the cameras start rolling.

Regardless, the team behind BIOS, a sci-fi story that follows a robot “built to protect the life of his dying creator’s beloved dog” on a post-apocalyptic Earth, is a heavyweight one. There’s the obvious, consistent, dependable brilliance of Tom Hanks. Then, there’s a Black List (a list of the best unproduced scripts in Hollywood) script from writers Craig Luck and Ivor Powell. And finally, there’s director Miguel Sapochnik, best known for the final two episodes, Battle of the Bastards and The Winds of Winter, of season 6 of Game of Thrones. He also directed the season 5 action heavy episode Hardhome. All three are all timers for the series, but Battle of the Bastards is a special piece of visual storytelling, as it features what is arguably the best directed, most viscerally brilliant war sequences in all of TV or film. The episode is truly a landmark piece of direction, one that rightfully won Sapochnik the Emmy and Directors Guild Award for Outstanding Directorial Achievement in a Drama Series. It was only a matter of time before he got the opportunity to direct a massive, visual-heavy film, and BIOS sounds like a film that could prove Sapochnik as an equally brilliant film director.

— Kyle Kizu

24. Spider-Man: Into the Spider-Verse

Sony Pictures/Courtesy

Directed by: Peter Ramsey, Bob Persichetti, Rodney Rothman

Written by: Phil Lord

Starring: Shameik Moore, Mahershala Ali, Brian Tyree Henry, Liev Schreiber

Release date: December 14, 2018

Finally, Miles Morales is coming to a theater near you. Sony Pictures hasn’t always done right by the webhead (2.5/5 ain’t bad), but bringing on the tonally unique duo Phil Lord and Chris Miller to oversee an animated theatrical Spider-Man release that introduces general audiences to Miles f$@#ing Morales as well as the breadth of alternate-earth Spider-Men is, well, amends enough. Although the first teaser only dropped recently, a photorealistic NYC in the background juxtaposed with the imaginative and malleable hand-drawn imagery of the protagonist himself makes Spider-Man: Into the Spider-Verse an aesthetic and, hopefully, narrative treat for comic book fan and casual moviegoer alike.

— Sanjay Nimmagudda

23. A Wrinkle in Time

Disney/Courtesy

Directed by: Ava DuVernay

Written by: Jennifer Lee

Starring: Storm Reid, Gugu Mbatha-Raw, Chris Pine, Reese Witherspoon, Mindy Kaling, Oprah Winfrey, Zach Galifianakis, Andrè Holland

Release date: March 9, 2018

If there’s one incontrovertible truth about Ava DuVernay’s career thus far, it’s that all of her films are imbued with an unbridled sense of passion from a creative standpoint, and A Wrinkle in Time appears to continue that trend. Ever since its first trailer set to the tune of the Eurythmics’ Sweet Dreams (Are Made of This), DuVernay’s take on Madeleine L’Engle’s iconic fantasy novel has seemed visually distinct, naturalistically cast and rousingly written and executed. The past few years have provided us with some fairly poor YA novel adaptations, but from what we’ve seen thus far, A Wrinkle in Time is set to break the mold.

— Sanjay Nimmagudda

22. At Eternity’s Gate

Josh Jensen/Courtesy

Directed by: Julian Schnabel

Written by: Jean-Claude Carrière, Julian Schnabel

Starring: Willem Dafoe, Oscar Isaac

Release date: Expected in 2018, currently filming

What’s poised to be a incisive look at renowned painter Vincent van Gogh’s life while he lived in Arles and Auvers-sur-Oise, France, benefits greatly from its principal starrers, Willem Dafoe and Oscar Isaac as van Gogh and fellow famous painter Paul Gauguin, respectively. Combine Dafoe’s range with Isaac’s intensity and both with director and co-writer Julian Schnabel’s unabashed reverential directorial stylings à la The Diving Bell and the Butterfly, and an eternity is just how far away this film’s release feels.

— Sanjay Nimmagudda

21. Creed II

Warner Bros./Courtesy

Directed by: Steven Caple Jr.

Written by: Cheo Hodari Coker, Sylvester Stallone

Starring: Michael B. Jordan, Sylvester Stallone, Dolph Lundgren

Release date: November 21, 2018

Though admittedly hesitant to re-enter the ring after its predecessor’s knockout performance and conclusion (puns intended and necessary), we’d be fools to not want to see Adonis Creed again on the big screen for another fight of his life in Creed II. Now with Dolph Lundgren in the mix, hopefully Ivan Drago finally gets what’s coming to him.

— Sanjay Nimmagudda

20. Proxima

Gage Skidmore/Courtesy

Directed by: Alice Winocour

Written by: Alice Winocour

Starring: Eva Green, Lars Eidinger

Release date: Expected in 2018, currently in pre-production

Alice Winocour, co-writer of the Oscar-nominated Mustang, for which she also won Best Original Screenplay at the Cèsar Awards (essentially, the French Oscars), will dive into science fiction with her upcoming film Proxima. However, the film sounds as though it’s heavily based in reality. Proxima will follow a mother just before her departure on a year-long mission at the International Space Station, as she physically trains for space and prepares to say goodbye to her young daughter. The story seems incredibly emotional, and has basis, as she says, in Winocour’s own feelings of separation from her daughter when she shoots a movie — ringing a similar bell to the inspiration behind Christopher Nolan’s Interstellar. Such a basis should bring such genuine weight to the story, one that will explore a side of an astronaut’s life that not many films get into, and offer Eva Green material for a powerhouse performance. And to see a female astronaut who is also a mother as the lead character is necessary and empowering visibility. Oh, and the film will be in French.

— Kyle Kizu

19. Newsflash

Gage Skidmore/Courtesy

Directed by: David Gordon Green

Written by: Ben Jacoby

Starring: Seth Rogen

Release date: November 22, 2018

David Gordon Green has had a rather interesting career, breaking out with the incredibly small independent film George Washington, flourishing in the comedy genre with Pineapple Express, giving Nicolas Cage a platform to actually excel in Joe and devastating us with the powerful, human Stronger. Just a month before Newsflash, Gordon Green will release Halloween, another film in the Halloween franchise, and showcase yet another side of his directorial skill set with horror.

He can really do everything, which intensifies our anticipation of the recently announced Newsflash, a film about Walter Cronkite, who, on November 22, 1963, reported on live TV about the assassination of JFK.

The obvious thematic relevance of the film — the power of journalism (this time broadcast) — is enough to grip onto. But the specifics of the story offer it utterly dynamic potential; it could end up as much a story about the power of journalism as it is a study of that terrible moment in American history as well as a character study of Cronkite himself. The choice of Seth Rogen to lead the film is, initially, a bit jarring — but not in a bad way, as it very quickly turns into excitement at the thought of Rogen expanding his dramatic chops, after a very serviceable performance as Steve Wozniak in Steve Jobs, and showcasing the charisma we all know he has. Newsflash could very well play a similar role in 2018 that The Post is playing in 2017.

— Kyle Kizu

18. Mission: Impossible 6

Christopher McQuarrie/Paramount/Courtesy

Directed by: Christopher McQuarrie

Written by: Christopher McQuarrie

Starring: Tom Cruise, Rebecca Ferguson, Henry Cavill, Vanessa Kirby, Michelle Monaghan, Simon Pegg, Ving Rhames, Angela Bassett

Release date: July 27, 2018

We appreciated the first. We drank to forget the second. We reluctantly saw the third. We cheered for the fourth. And we were in awe of the fifth. If Mission Impossible has proven anything up to this point, it’s that, much like lead actor Tom Cruise, this franchise has got legs. Mission: Impossible 6 has Christopher McQuarrie back at the helm (a series first) along with much of its predecessor’s cast in what is to be, hopefully, another enthralling action-adventure defined by its practically-performed death-defying stunts. Most of the film’s plot is still under wraps, but one thing is certain: Henry Cavill will be sporting a mustache that — if digitally removed — gives him uncanny valley face.

— Sanjay Nimmagudda

17. On the Basis of Sex

Dick Thomas Johnson/Courtesy

Directed by: Mimi Leder

Written by: Daniel Stiepleman

Starring: Felicity Jones, Armie Hammer, Justin Theroux, Kathy Bates

Release date: 2018, currently in post-production

The story of On the Basis of Sex, following Ruth Bader Ginsburg’s fight for equality and journey to become a U.S. Supreme Court Justice, is fascinating and deeply needed in this moment in time, as well as reason enough, alone, for this film to make this list. But the pieces around the story are absolutely brilliant. Felicity Jones is one of the more emotionally powerful actresses working today; just look at her raw, moving performance in The Theory of Everything. Armie Hammer is resurfacing — to our delight — as a true acting talent, also channeling raw emotion in this year’s Call Me by Your Name. And the director behind it all, Mimi Leder — who has been sorely and unjustly underappreciated in Hollywood, but has become one of TV’s greatest directors, especially after her work on The Leftovers — will show everyone what they’ve been missing when she nails this film.

— Kyle Kizu

16. If Beale Street Could Talk

Allan Warren/Courtesy

Directed by: Barry Jenkins

Written by: Barry Jenkins

Starring: Regina King, Pedro Pascal, Dave Franco, Ed Skrein, Emily Rios, Aunjanue Ellis, Teyonah Parris, Brian Tyree Henry, Finn Wittrock, Michael Beach, Colman Domingo, Stephan James

Release date: 2018, currently in post-production

Moonlight’s ethereally cathartic narrative and characters earned it the Academy Award for Best Picture in 2017, so it should come as no surprise that we’re eagerly awaiting writer-director Barry Jenkins’ Oscar-winning follow-up, If Beale Street Could Talk. If Jenkins can invoke the same emotionally complex yet superficially subtle and restrained atmosphere when adapting James Baldwin’s novel of the same name for the silver screen, then the filmmaker could be looking at another critical darling in his filmography in the not-too-distant future.

— Sanjay Nimmagudda

15. Suspiria

Elena Ringo/Courtesy

Directed by: Luca Guadagnino

Written by: David Kajganich

Starring: Chloë Grace Moretz, Dakota Johnson, Tilda Swinton, Mia Goth, Jessica Harper

Release date: 2018, currently in post-production

A remake of legend Dario Argento’s supernatural Italian classic gallo film from one of the most talented directors working today, who just blew us away with Call Me by Your Name and has built some kind of career with films like I Am Love and A Bigger Splash? With a cast of Chloë Grace Moretz, Dakota Johnson, Tilda Swinton and Mia Goth? With the first original score from Thom Yorke, the frontman of Radiohead? With an appearance from the original film’s star, Jessica Harper?

There’s no way that this film won’t be a gorgeous, gory descent into madness.

— Levi Hill

14. High Life

Nicolas Genin/Courtesy

Directed by: Claire Denis

Written by: Claire Denis, Jean Pol-Fargeau, Nick Laird, Zadie Smith

Starring: Robert Pattinson, Mia Goth, Juliette Binoche

Release date: Expected in 2018, currently in post-production

Another French filmmaker is leaping into science fiction. Claire Denis, director of Beau Travail, White Material and 35 Shots of Rum, will simultaneously make her English language debut with High Life, a sci-fi story that Denis has been developing for nearly two years now. The concept, alone, is the stuff of sci-fi dreams: Monte, a criminal who chose to participate in a government project rather than serve jail time, is sent out into space with other convicts to find alternative energy as well as to participate in human reproduction experiments. Now headed toward a black hole, Monte must connect with his daughter Willow, who was born out of one of the experiments.

That Denis is experimenting, herself, with science fiction after a career of careful character studies is riveting — and likely means that this film will also end up being a complex character study in the setting of space. But that she’s doing it with such an original story and a lead actor like Robert Pattinson, who just turned everyone’s head with his performance in Good Time, makes High Life one of the most compelling projects of the upcoming year.

— Kyle Kizu

13. Roma

Gage Skidmore/Courtesy

Directed by: Alfonso Cuarón

Written by: Alfonso Cuarón

Starring: Marina de Tavira, Daniela Demesa, Marco Graf, Yalitza Aparicio

Release date: 2018, currently in post-production

Not much is known about Roma, except that it’s Oscar-winning director Alfonso Cuarón’s first film set in Mexico since his breakout masterpiece Y Tu Mamá También and his direct follow up to Gravity, the film for which he won that Oscar. With a cast of, to American audiences, unknowns and Cuarón’s distinct ability with setting, showcased in Children of Men, Roma will have an authenticity unlike many other films. We’re beyond excited to see whatever this incredible filmmaker can concoct.

— Levi Hill

12. Untitled Adam McKay directed, Christian Bale starring Dick Cheney biopic

Gage Skidmore/Courtesy

Directed by: Adam McKay

Written by: Adam McKay

Starring: Christian Bale, Amy Adams, Sam Rockwell, Steve Carell, Bill Pullman

Release date: 2018, currently in post-production

Who knew that Adam McKay, the man behind Anchorman: The Legend of Ron Burgundy and Step Brothers, is a magnificent drama director. Perhaps it should’ve been more obvious that McKay could make a film like The Big Short, a searing and sharp film dissecting a complex moment in recent history; his success in comedy shows that he’s a deeply intelligent storyteller as comedy is the hardest genre to pull off and pull off well. That McKay is continuing in this direction, this time dissecting ex-vice president Dick Cheney, is exciting on multiple levels. But that he’s also teaming up with Christian Bale, who is, arguably, the greatest method actor of our time outside of Daniel Day-Lewis and whose transformation for this role has been mind-boggling, and Amy Adams, one of the most underappreciated actresses in the game and someone who should have Oscar gold on her mantle already, is a near dream. Throw in Sam Rockwell as George W. Bush and what will surely be a script that does not hold back at critiquing that administration’s failures, and this film, rumored to be titled Backseat, will certainly be a knockout.

— Kyle Kizu

11. Wildlife

Eva Rinaldi/Courtesy

Directed by: Paul Dano

Written by: Paul Dano, Zoe Kazan

Starring: Carey Mulligan, Jake Gyllenhaal, Ed Oxenbould

Release date: Premiering at Sundance Film Festival in January 2018, will see a 2018 release date if, as expected, it is picked up by a distributor

Time will tell how Paul Dano’s directorial debut shapes up, because it’s premiering at Sundance within a few weeks. But Dano, as an actor who always chooses interesting projects, getting behind the camera is an intriguing proposition. Throw in the excellent starring duo of Carey Mulligan and Jake Gyllenhaal, and Wildlife, based on a true story adapted by Dano and his talented actress-writer-wife Zoe Kazan, might be the Sundance breakout of 2018 — at least on paper.

— Levi Hill

10. Ad Astra

Maximilian Bühn/Courtesy

Directed by: James Gray

Written by: James Gray, Ethan Gross

Starring: Brad Pitt, Tommy Lee Jones, Ruth Negga, Donald Sutherland

Release date: January 11, 2019, with an expected limited release in late 2018

After Two Lovers, The Immigrant and The Lost City of Z, James Gray has proven himself as a respectable filmmaker, a traditionalist with such refined filmmaking talent. The move, alone, into heavy sci-fi is fascinating; Ad Astra will follow an “Army Corps engineer (Brad Pitt) [searching] across the galaxy for his father (Tommy Lee Jones), who had disappeared on a mission to find alien life 20 years prior.” The concept sounds harrowing, like the perfect opportunity for more gripping traditional storytelling in such a visually wondrous setting. Shot by Hoyte van Hoytema (Her, Interstellar, Dunkirk) and produced by Plan B Entertainment team Pitt, Dede Gardner and Jeremy Kleiner (12 Years a Slave, Selma, The Big Short, Moonlight), Ad Astra is shaping up to be an absolute heavyweight production, and one that will surely have a limited release in December 2018 to compete for awards or change its official release date to late 2018.

— Kyle Kizu

9. Widows

Chris Cheung/Courtesy

Directed by: Steve McQueen

Written by: Gillian Flynn, Steve McQueen

Starring: Viola Davis, Elizabeth Debicki, Michelle Rodriguez, Carrie Coon, Liam Neeson, Colin Farrell, Jon Bernthal, Daniel Kaluuya

Release date: November 16, 2018

Seriously, though, look at this cast — including the now Oscar-winning Viola Davis, she’s-everywhere Carrie Coon, the very underrated Michelle Rodriguez, the reforming-back-into-drama Liam Neeson, the breakout Get Out star Daniel Kaluuya, and the multi-faceted and always interesting Colin Farrell — and tell us you’re not excited. Throw in Steve McQueen, the director of the Best Picture-winning 12 Years a Slave — who, to us, in only three films, has proved to be one of the most exciting directors today — and Gillian Flynn, the author and adapting screenwriter of Gone Girl, and Widows might just be the most prestigious film coming in 2018.

— Levi Hill

8. Solo: A Star Wars Story

Lucasfilm/Courtesy

Even with all of the production troubles that Solo: A Star Wars Story has gone through, this film is still an entry in the Star Wars franchise, which is, perhaps unfairly, enough to anticipate it anyway. To be fair to the film, Alden Ehrenreich is a wonderful choice to play a young Han Solo — his performance in Hail, Caesar! a testament to his talent — and the rest of the cast is filled with major players, Donald Glover being a badass choice for young Lando Calrissian. Co-writer Lawrence Kasdan deserves a lifetime of trust after writing The Empire Strikes Back and Raiders of the Lost Ark and, while a seemingly safe choice, Ron Howard is by no means a bad director. We’ll be there opening night.

— Kyle Kizu

7. Annihilation

Paramount Pictures/Courtesy

Directed by: Alex Garland

Written by: Alex Garland

Starring: Natalie Portman, Tessa Thompson, Oscar Isaac, Jennifer Jason Leigh, Gina Rodriguez

Release date: February 23, 2018

Alex Garland stunned with his feature debut Ex Machina, which is already being hailed by most as one of the best sci-fi films of the 21st century. The film was not only written with careful, complex intelligence, but it was also directed with visuals that matched the story’s intrigue. To see Garland venture into sci-fi yet again, especially into what seems to be horror-sci-fi, considering that he’s also written 28 Days Later and Sunshine, is salivating. Based on a beloved novel and with a star-studded cast, Annihilation is, despite its shift to a February release date, a film that we cannot wait for, and one that we know, at least, will be a visual treat.

— Kyle Kizu

6. The Irishman

The Peabody Awards/Courtesy

Directed by: Martin Scorsese

Written by: Steve Zaillian

Starring: Al Pacino, Robert De Niro, Joe Pesci, Harvey Keitel, Jesse Plemons, Anna Paquin, Ray Romano

Release date: 2018, currently filming

While Bright might have been Netflix’s first foray into big budget filmmaking, Martin Scorsese’s The Irishman looks to be the first unqualified success into big budget filmmaking. Starring Scorsese regulars from his ‘70s, ‘80s and ‘90s heyday, like Robert De Niro, Joe Pesci and Harvey Keitel, and featuring the gangster narrative trappings Scorsese has made classic after classic in, The Irishman seems to be Scorsese doing everything he loves, and Netflix’s willingness to allow Scorsese an unchecked or unquestioned vision might just convince more filmmakers to follow in his footsteps.

— Levi Hill

5. First Man

Gage Skidmore/Courtesy

Directed by: Damien Chazelle

Written by: Josh Singer, Nicole Perlman

Starring: Ryan Gosling, Claire Foy, Jon Bernthal, Jason Clarke, Kyle Chandler

Release date: October 12, 2018

With La La Land, Damien Chazelle ventured to the stars metaphorically and musically. So, it was only appropriate that he make a movie that actually visits the stars. Re-teaming with Ryan Gosling, Chazelle will direct the story of Neil Armstrong. The character work should be fantastic, not only on an acting and directing side, but also based in great writing as Chazelle is directing a script from Guardians of the Galaxy co-writer Nicole Perlman and Spotlight and The Post co-writer Josh Singer. But no matter the story, after two spectacular films in a row, anything Chazelle does is something to look forward to.

— Kyle Kizu

4. Incredibles 2

Pixar/Courtesy

Directed by: Brad Bird

Written by: Brad Bird

Starring: Craig T. Nelson, Holly Hunter, Samuel L. Jackson, Catherine Keener, Bob Odenkirk

Release date: June 15, 2018

14 years in the making (and not a moment too late), Incredibles 2 is the latest in Pixar’s fairly recent string of sequels to its critically-acclaimed films. As we catch up with the Parrs immediately after the conclusion of The Incredibles, hopefully we’re treated to answers of some of the first film’s long gestating questions such as: “What are the limits of Jack-Jack’s powers?” or “Will Edna Mode ever officially get back into the super heroic fashion business?” but most importantly, “Where WAS his super-suit?”

— Sanjay Nimmagudda

3. Black Panther

Marvel/Courtesy

Directed by: Ryan Coogler

Written by: Ryan Coogler, Joe Robert Cole

Starring: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Andy Serkis, Daniel Kaluuya, Angela Bassett, Forest Whitaker, Sterling K. Brown

Release date: February 16, 2018

Housing a sterling directorial record comprised of 2013’s harrowing Fruitvale Station and 2015’s uplifting and invigorating Creed under his belt, Ryan Coogler enters the ever-expanding comic book genre with the newest, and arguably most exhilarating, solo film in the Marvel Cinematic Universe: Black Panther. While Captain America: Civil War solidly introduced T’Challa into an eclectic world beset by self-aware robots, mirror dimensions and wall-crawlers, Coogler’s Black Panther has distinguished itself so far by its fixation on the racial and cultural foundations at the core of the character. With trailers scored to the beat of RTJ and Vince Staples, a cast primarily made up of people of color and ideas like afro-futurism, monarchic injustice and the relationship between heritage/identity in play, it’s not physically possible to articulate how hotly we’re anticipating this cinematic landmark.

— Sanjay Nimmagudda

2. Isle of Dogs

Fox Searchlight Pictures/Courtesy

Directed by: Wes Anderson

Written by: Wes Anderson

Starring: Bryan Cranston, Scarlett Johansson, Greta Gerwig, Edward Norton, Jeff Goldblum, Frances McDormand, Tilda Swinton, Bill Murray

Release date: March 23, 2018

Wes Anderson has become one of the most idiosyncratic working directors, but, also, one of the most successful. His last film, The Grand Budapest Hotel, was his biggest box-office success, as well being his first film to gather not only an Oscar nomination for Best Picture,  but win multiple craft awards.

Adding new faces like Bryan Cranston, Ken Watanabe, Greta Gerwig, Courtney B. Vance and Scarlett Johansson next to Anderson regulars like Bill Murray, Edward Norton, Tilda Swinton, Jeff Goldblum and Frances McDormand, Isle of Dogs takes Anderson back to stop-motion animation, where he’s scored an Oscar nomination for Fantastic Mr. Fox. Yet unlike Fox, Dogs looks to be a darker, if still charming tale.

Set in a near apocalyptic, dystopian future, Isle of Dogs premise is fascinating: all dogs of Japan are cast away to a deserted island due to a “canine flu” that has wiped away a good portion of the population. The young son of the Japanese president wants to get his dog back, though, so against all of his family’s wishes, he makes an epic journey to the island to get his trusted companion back. Along the way, the young boy is aided by fellow dogs.

With Anderson’s typical blend of whimsy, and potential heartache, Dogs looks to be a story that will surely make us all weep over the animals that give their lives to us.

— Levi Hill

1. Avengers: Infinity War

Marvel/Courtesy

Directed by: Joe Russo, Anthony Russo

Written by: Christopher Markus, Stephen McFeely

Starring: Robert Downey Jr., Chris Evans, Chadwick Boseman, Chris Pratt, Chris Hemsworth, Scarlett Johansson, Zoe Saldana, Josh Brolin, Tom Holland, Elizabeth Olsen, Tom Hiddleston

Release date: May 4, 2018

It’s all been building up to this, the arrival of Thanos to Earth. Ever since 2012, we’ve been waiting for that big purple guy in the post credits scene of Marvel’s The Avengers to show up. We saw glimpses of him in Guardians of the Galaxy and during the mid-credits scene of Avengers: Age of Ultron. And now, he’s here.

But he’s also arriving to a vastly different landscape than what was there in 2012. Both Iron Man and Captain America have seen fascinating character development throughout their trilogy of films, culminating in last year’s Captain America: Civil War. The Guardians of the Galaxy crew will finally join our heroes in the fight, crossing paths with our other galactic and now, apparently, hilarious hero Thor. Spider-Man and Black Panther are welcome additions to the team, with the former being a wonderfully interpreted younger version of Peter Parker and the latter being a badass, refreshing, layered hero from a different background that we will see more of in our #3 on this list, prior to Infinity War’s release. And while more female-led films need to come, Infinity War will bring together the many powerful women of Marvel: Black Widow, Gamora, Mantis, Nebula, Scarlet Witch, Okoye and, hopefully, Valkyrie.

As the trailer for Infinity War showed, this film has been 10 years in the making and it’s hard not to be swept up in the epic culmination of the Marvel Cinematic Universe, a phenomenon in modern cinema. Each film, alone, has been anywhere from modestly enjoyable to the pinnacle of blockbuster filmmaking, and Infinity War is the climax of everything. While there are other event films coming out in 2018, this is the event film, the film everyone will be talking about.

And we’re hopeful for it. There may be upwards of 30 — yes, 30 — characters in this film. But jumping over from Captain America: The Winter Soldier and Captain America: Civil War are directors Joe and Anthony Russo, as well as screenwriters Christopher Markus and Stephen McFeely, and if anyone can handle this massive undertaking, it’s them.

Some major characters will surely die, which is devastating, but also ups the stakes massively and takes Marvel to a darker place that they’ve been far too afraid to explore.

Our heroes’ fight will be a valiant one to the end, the epitome of epic and an absolute treasure on the big screen.

— Kyle Kizu

 

Honorable mentions:

As said above, there are too many intriguing films coming out in 2018 to just list our top 25. We struggled to cross films off, so we felt that we had to mention many of the hardest ones to cut, compiling a list that, itself, would be a great top 25.

After delivering the best male lead performance of 2017, Timothèe Chalamet will be back, garnering an equally heavy role as a recovering meth addict with Steve Carell playing his father in Beautiful Boy. Denis Villeneuve’s brilliant Sicario will, strangely, receive a sequel with Soldado, which sees the return of Josh Brolin, Benicio del Toro and writer Taylor Sheridan. Lynne Ramsay’s Cannes-premiering You Were Never Really Here, which already has outstanding reviews and won Joaquin Phoenix the Best Actor award at the French film festival, will finally screen in Spring 2018. Steven Spielberg will take on the “holy grail of pop culture” with Ready Player One. David Robert Mitchell, writer-director of It Follows, will team up with A24 for an underbelly Los Angeles-set neo-noir starring Andrew Garfield. Terrence Malick will return to the setting of war in his, apparently, more traditional film Radegund — that is, if he finishes his edit when expected, which is never expected. Gareth Evans, director of The Raid: Redemption and The Raid 2 — deemed two of the best action films of the 21st century — will shift over to English language film with the religious cult drama Apostle, starring Dan Stevens and Michael Sheen.

We could go on and on throughout the whole list because each one genuinely is something we’ll be first in line to see. From David Lowery following up A Ghost Story with Old Man and the Gun, to Saoirse Ronan and Margot Robbie facing off in Mary, Queen of Scots, to Drew Goddard directing for the first time since The Cabin in the Woods with Bad Times at the El Royale, to two extraordinarily talented female directors in Jennifer Kent and Michelle MacLaren both making films titled The Nightingale, to Marielle Heller following up The Diary of a Teenage Girl with Can You Ever Forgive Me?, to performance capture master Andy Serkis stepping behind and in front of the camera for Jungle Book, to Terry Gilliam’s decades-in-the-making The Man Who Killed Don Quixote, these honorable mentions should still be on everyone’s radar.

 

Beautiful Boy

Soldado

You Were Never Really Here

Ready Player One

Under the Silver Lake

Radegund

Apostle

Fahrenheit 451

Halloween

Venom

Black Klansman

Maya

The Beach Bum

Mary, Queen of Scots

Old Man and the Gun

Bad Times at the El Royale

Mary Poppins Returns

The Nightingale (Michelle MacLaren)

The Nightingale (Jennifer Kent)

The Favourite

The Man Who Killed Don Quixote

Jungle Book

Can You Ever Forgive Me?

Destroyer

Outlaw King

 

Featured image via Marvel/Disney/Paramount/Universal.

Top 10 coming-of-age films since 2010

The coming-of-age genre has always been an exciting framework through which some of the more fruitful and engaging stories of any given year are told. But those stories also shed some light and visibility upon a section of people that too many films often get wrong or simply don’t care for: the young. Youth is a complex time in one’s life and deserves complex deconstruction that embraces the humor, awkwardness and explicitness that comes with it. And in the past few years, the genre has exploded with landmark tale after landmark tale. From a fantastical take such as Wes Anderson’s Moonrise Kingdom to the literal interpretation of the genre with Boyhood, coming-of-age has been a playground, both literally and figuratively, of the utmost profundity.

10. Spider-Man: Homecoming

Marvel/Sony/Courtesy

Spider-Man: Homecoming truly does wear its John Hughes inspiration on its sleeve, but in a way that feels so right and so natural to the character of Peter Parker. More than most superhero films, Homecoming focuses on youth and what a young teenager might look like as he deals with the responsibilities both of high school as well as of being a hero. The journey is truly about Parker realizing that he has to pass his classes and that he should be having fun with friends, a mindset through which he may realize that, as a hero, he can’t do everything, especially everything that an older hero like Tony Stark can. The film never sacrifices that notion, ending on the perfect note. Director Jon Watts also not only embraces those subjects, but injects the verve of adolescence into the energy of the film itself — the pacing is dynamic and the tone is always genuine, sweet, hilarious and fun. Spider-Man: Homecoming is inarguably a coming-of-age film and a superhero film.

— Kyle Kizu

9. 20th Century Women

A24/Courtesy

What’s so striking about Mike Mill’s 20th Century Women is that it not only crafts a coming-of age-story specific to the 1970s, but that it also deftly handles multiple characters’ journeys. Focusing on a post-Vietnam age, with the hippie movement almost in full force in California, the film places topics of gender, sexuality and individuality at the forefront, which, with a plethora of youthful characters, means some tensions on those fronts. Yet, the film is never exploitive nor indulgent, instead bringing an authenticity and agency to the young women, Elle Fanning and Greta Gerwig’s characters, and intertwining all of their journeys to lead to a particularly poignant and tranquil end.

— Kyle Kizu

8. American Honey

A24/Courtesy

Directed by Andrea Arnold, American Honey finds a balance between a road movie and a coming-of-age tale, both of which show a part of America rarely seen on the big screen. Detailing the poverty that strikes much of the midwest and southern parts of the United States, American Honey is not a traditional coming-of-age story where someone finds themselves at the end. Instead, the film is about people, especially young people, who are lost in the world. Through Sasha Lane’s star-making turn as the lost Star, the audience embarks on a journey of forgotten and disrespected millennials, guided by a traveling sales crew leader Jake (Shia LaBeouf’s best performance yet). What the millennials are selling to unsuspecting buyers might be fake, but the honest portrait of teenagers unsure of who they are in this world couldn’t be more real.  

— Levi Hill

7. Moonrise Kingdom

Focus Features/Courtesy

While it can be argued that every Wes Anderson movie is a coming-of-age story (even for the middle age sort), Moonrise Kingdom takes its spot next to Rushmore as one of the most idiosyncratic, but beautifully crafted coming-of-age films. The film, in a way that only Anderson can, takes the feelings of first-love and creates a relatable, if unrealistic tale about a community chasing after two young eloping lovers (Kaya Hayward and Jared Gilman). Throw in a starry cast including Bill Murray, Frances McDormand, Tilda Swinton and Edward Norton, a wonderful score from Alexandre Desplat, the typically gorgeous production design found in an Anderson film and a story about how love comes in many shapes and age groups, and Moonrise Kingdom is a whimsical and delightful coming-of-age story.

— Levi Hill

6. Dope

Open Road Films/Courtesy

Dope is refreshing in many ways, not the least that it gives its coming-of-age trappings an unique point of view. Relying on a star-making turn from Shameik Moore, Dope’s main success comes from its ability to subvert stereotypes. Unlike most Hollywood produced coming-of-age stories, Dope is strictly about an intelligent, young African American high school student as he juggles college applications, the SAT and academic interviews — all in the hopes of getting into Harvard. Even when it turns into a fast-paced caper film of Malcolm (Moore) being in the wrong place at the wrong time — explicitly opening dialogue around urban Black stereotypes and such — writer-director Rick Famuyiwa refreshingly plays against expectations. Malcolm is a brilliant, quick-witted, handsome young man and he’s not going to let society tell him differently. Because of this, Dope stands apart from 95% of modern-day youth stories.

— Levi Hill

5. The Edge of Seventeen

STX Entertainment/Courtesy

Kelly Fremon Craig’s directorial debut, The Edge of Seventeen, is vibrant, hilarious, truthful and different. The film overcomes its potential genre pitfalls by embracing the bluntness of its main character Nadine (an outstanding Hailee Steinfeld). While Nadine may be shy among strangers, the film itself, with pitch perfect editing, writing and performances from its ensemble, tackles high school life with a similar head-on strength that she shows when among friends. Whether it be through typical high school hijinx, through the oddly specific situation of Nadine’s best friend dating her brother and through the grief in all of Nadine’s family after her father’s death, The Edge of Seventeen takes youth seriously both in its fun and its struggles, realizing that every side of youth is intertwined.

— Kyle Kizu

4. Moonlight

David Bornfriend/A24/Courtesy

Moonlight is a singular coming-of-age tale. While it may explore sexuality and individuality as many other films do, the way in which those aspects are understood and the particulars of those aspects, that this is a story about a gay Black man, stand apart. Structured almost like a play in three literal acts (it was based on Tarell Alvin McCraney’s play In Moonlight Black Boys Look Blue), Moonlight crafts a story that’s both quiet and pulsating, as it’s in the silence, in the soft glances and pained reactions, where the film says most. It allows us to absorb, through its cinematography, its breezy sound design, its unbelievable performances and more, the complex pains of a young boy/young man, Chiron, constantly having to reconcile himself with his city, his family, his community and himself when all seem to actively work to suppress. The film is simultaneously about Chiron understanding his sexuality and about him understanding his masculinity. We see him hide behind masks throughout, but we also see him yearn to be himself, which renders his quiet vocalization of truth at the end, to the one man he loved, so utterly powerful.

— Kyle Kizu

3. Lady Bird

A24/Courtesy

More so than maybe any film on this list, there’s a universal specificity to what Lady Bird accomplishes. All coming-of-age stories are deeply personal, as they chart (typically) an individual’s realization of their own personhood — who they are going to be in this world. But Lady Bird doubles down on this, acting as a photo album of a year (a senior year in high school) for Christine “Lady Bird” Mcpherson (Saoirse Ronan) in the sleepy town of Sacramento, California. Within this year, she dates some boys, meets new friends, joins theater, leaves theater, loses her virginity, learns of her dad’s depression, gets accepted to a college 3000 miles away and argues with her domineering, but ultimately caring mother (the Oscar-worthy Laurie Metcalf). While some of this may sound sad, or almost too specific, writer-director Greta Gerwig makes sure that this personal story is filled with grace and warmth. Whether in a small scene of her father giving Lady Bird a cupcake on her birthday morning, or when she crushes on a boy at a garage show, or when she argues with her mother about if she should just go to the nearby UC Davis rather than a school in New York, Lady Bird captures that very important year in all of our lives with more authenticity than nearly any other film.

— Levi Hill

2. Boyhood

IFC Films/Courtesy

Boyhood is a landmark film for a multitude of reasons. While the 12-years-in-the-making component is one of the first — if not the first — for a fictional feature, it’s how the story reconciles these 12 passing years. Using the same actors, with most of the same locations, writer-director Richard Linklater wisely focuses on how time, and thus age, affects us all. In a literal sense of coming-of-age, we see Mason (Ellar Coltrane) go from childhood to the fringe of adulthood. Linklater never magnifies the scale more than exactly what time gives us. Instead, for nearly three hours, the audience is asked to quietly ruminate on life experiences. To split time between divorced parents. To watch your mom go in a different career. To move from one city to the next. To make new friends. To have your first feelings of love. To smoking weed for the first time. To going off to college. In Boyhood, 12 years of a lived life happen, which create the most epic, yet intimate film on this list.

— Levi Hill

1. Call Me by Your Name

Sony Pictures Classics/Courtesy

Call Me by Your Name is not just about the central relationship. Yes, it’s a stunningly tender portrait of two young men exploring their sexuality together, but it’s also a very raw look at two young men grappling with their individual insecurities and their inadequacy. And writer James Ivory and director Luca Guadagnino accomplish this through their focus on the quiet, minute, almost untraceably intimate moments that end up building to something so tangible and real.

The actors adopt this method, finding truth in every aspect of their performance. Timothée Chalamet, as Elio, is a revelation, evoking playfulness, but behind a guarded exterior. We see the struggle Elio traverses in realizing his attraction to Armie Hammer’s character, Oliver, and — through Sayombhu Mukdeeprom’s erotic cinematography — we’re guided along as he slowly opens up to the idea. Next to that, Hammer’s character is purposefully elusive, rendering the moments of contemplation, particularly one in a hotel room, all the more emotional.

And at the end, Call Me by Your Name unveils its coming-of-age narrative. Through Michael Stuhlbarg’s character, as Stuhlbarg delivers the most profound monologue of the year, we understand that Elio and Oliver helped each other be themselves and feel good about themselves. Stuhlbarg’s monologue emphasizes the difficult notion that, too often, we hide from our feelings, especially those of pain — and as Elio grows and becomes an adult, he has to make sure to feel even if it hurts.

— Kyle Kizu

 

Featured image via IFC Films.

Independent Spirit Award nominations: Analysis and predictions

While it may still be a long time before we get the 2018 Oscar nominations — with all of the guild and critics prizes yet to come — the cinematic gods blessed us with arguably an even more interesting set of films: the Independent Spirit Awards.

Unlike the Oscars, which always tend to be predicated on what studio spends the most for its films to garner nominations and eventual wins — assuming the quality of the film is mostly there too — the Independent Spirit Awards almost always go for an eclectic crop of nominees. For example, the highly acclaimed, but rarely seen The Rider receiving nominations for Best Feature over a film like Mudbound and for Best Director over Greta Gerwig with Lady Bird.

While submissions and snubs are abound in any awards show, the Indie Spirit Awards do their job in providing a wealth of options that have both broke out in the mainstream (Get Out, Lady Bird, Three Billboards), masterpieces waiting to be released after a hugely successful festival run (Call Me by Your Name, I, Tonya) and underseen but deserving gems (The Lovers, Columbus, Beach Rats).

Below you will find an analysis of the main categories, with way-too-early predictions in each category for what may win come March 3rd, 2018.

 

Best Feature:

Sony Pictures Classics/Courtesy

Call Me by Your Name
The Florida Project
Get Out
Lady Bird
The Rider

Analysis: Anyone of these films are quality enough to win, all being festival favorites throughout the year. And four of them (Call Me by Your Name, The Florida Project, Get OutLady Bird) are legitimate contenders for Best Picture nominations.

With that being said, once seeing how the whole field looks, it appears that there are truly only two threats for the win here: Call Me by Your Name and Get Out. The Rider was stronger than anyone expected, picking up Best Feature, Best Director, Best Cinematography and Best Editing nominations. Lady Bird was great across the board, but missed out on a Best Directing nom, showing a potential weakness for the win. The Florida Project received a Best Feature and Best Director nom, but missed out on Best Supporting Actor for Oscar front-running Willem Dafoe, as well as Best Editing, Best Screenplay, and Best Cinematography. All of these missed noms show an overall weakness that The Florida Project has (or just how highly competitive indies were this year).

Nonetheless, if Get Out and Call Me by Your Name are the frontrunners and thus the titans of the field, then there honestly aren’t two better options. Get Out is one of the highest grossing indies of all time, as well as, still, one of the best reviewed of the year. It’s a film from first-time director Jordan Peele that goes straight for the jugular of white liberalism and the hidden racialized beliefs that persist within society. The film is a savage satire on the institutions and ideas that stigmatize and oppress minorities. Balancing horror, comedy, mystery, thriller, drama and practically everything in between, Get Out remains the event film of the year when it comes to creating relevant and necessary discussion about America’s past and present race relations.

Call Me by Your Name may be more modest in its aims. However, there may not have been a more sensual screen realization of the aching, painful first love a young person goes through. Where most films about a homosexual relationship feature societal pressure and punishment for their non-conforming relationship, such as the tribulations the characters face in Moonlight or Brokeback Mountain, Call Me by Your Name instead allows the pain to come from two lovers that know their time together is running out. With excellent performances from Timothée Chalamet and Armie Hammer, Call Me by Your Name makes you feel the ching lust, the heavy desire, the impending heartbreak that these two young men face. Directed by Italian maestro Luca Guadagnino, Call Me by Your Name is a queer masterpiece, but a universal one too.  

Will win: Call Me by Your Name
Could win: Get Out
Should win: Call Me by Your Name

 

Best Director:

Universal Pictures/Courtesy

Jonas Carpignano, A Ciambra
Luca Guadagnino, Call Me by Your Name
Jordan Peele, Get Out
Sean Baker, The Florida Project
Benny and Josh Safdie, Good Time
Chloé Zhao, The Rider

Analysis: Every nominee here is absolutely deserving, yet, it was interesting to see the field expanded to six nominees, and one of them wasn’t Greta Gerwig’s 400 Blows-esque debut with Lady Bird. Nonetheless, if Benny and Josh Safdie got in over her, for their subtle exploration of white privilege in America within their very-not-subtle bad decisions heist thriller, then so be it. Their urban, gritty descent into madness with a stunning, Indie Spirit-nominated Robert Pattinson might actually be a threat to win here due to Good Time being so strong in every other category — landing a Director, Actor, Supporting Actor, Editing and a worthy yet fully unexpected Supporting Actress nomination.

But who am I kidding? Like above, there are really three, but more likely two nominees that can win. Sean Baker has a chance, due to The Florida Project moving nearly everyone who sees it, but this will be a Guadagnino versus Peele showdown. And both are incredibly deserving. While it appears that the beauty of Call Me by Your Name would be a likely Best Feature winner, the intensity and relevancy of Get Out will make it hard to be ignored for the Best Director award.

Will win: Jordan Peele, Get Out
Could win: Sean Baker, The Florida Project or Luca Guadagnino, Call Me by Your Name
Should win: Jordan Peele, Get Out

 

Best Female Lead:

Fox Searchlight/Courtesy

Salma Hayek, Beatriz at Dinner
Frances McDormand, Three Billboards outside Ebbing, Missouri
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Shinobu Terajima, Oh Lucy
Regina Williams, Life and Nothing More

Analysis: This category is a prime example of what makes the Independent Spirit Awards so special. We have three women who are potential Oscar nominees (and maybe even winners), and three women who likely will be ignored by most critics and guild prizes, despite being entirely worthy. Regina Williams, Shinobu Terajima and Salma Hayek all give arguably their career best in films that were all greatly reviewed, and, in the case of Beatriz at Dinner and Life and Nothing More, showed strength in multiple categories.

But truly, this is a Robbie or Ronan or McDormand win, who showcase some of the best lead performances of the year, regardless of gender. Robbie continues to dazzle audiences by going against type, as funny, but twisted real-life figure skater Tonya Harding in the pitch black comedy biopic I, Tonya. Frances McDormand brings a bruised humanity to Three Billboards, upstaging great performances from Sam Rockwell, Woody Harrelson and John Hawkes. The film is an angry examination of the lack of urgency of police in certain situations, as well as a pitch-perfect character study of the women and police involved in an unsolved murder and rape case. McDormand gives one of her all-time best, which by her standards, says a lot about the masterful Martin McDonagh film.

Then, there is Saoirse Ronan, giving her career best in Lady Bird — a film in which she deftly balances being both an intelligent teenager with large ambitions, as well as a naive young woman figuring out life as she goes. Featuring moments comical and entirely moving, especially when in scenes with her screen mother Laurie Metcalf, Ronan is a real threat to be the major winner for Lady Bird.

Will win: Frances McDormand, Three Billboards outside Ebbing, Missouri
Could win: Saoirse Ronan, Lady Bird
Should win: Honestly, all of them are excellent.

 

Best Male Lead:

Sony Pictures Classics/Courtesy

Timothée Chalamet, Call Me by Your Name
Harris Dickinson, Beach Rats
James Franco, The Disaster Artist
Daniel Kaluuya, Get Out
Robert Pattinson, Good Time

Analysis: It’s hard to call a race over when each nominee is incredible, but this one, for all intents and purposes, is likely over.

James Franco gives his best performance yet, in the moving, hilarious and ultimately tragic The Disaster Artist, a film about the making of the worst film of all time, The Room. Then there’s Robert Pattinson’s masterfully manipulative Connie in Good Time — another career best and potential dark horse Oscar candidate. Daniel Kaluuya carries what is shaping up to be one of the awards season heavy hitters, deftly playing a victim and a person unwilling to be subjected to the horrors that white culture thrust upon him.

Ultimately though, Timothée Chalamet will walk away with the award. Whether you love or just like Call Me by Your Name, there’s no doubting the raw lead performance from the 21-year-old Chalamet. There’re a few scenes in this film where Timothée sells the lies that his character tells to loved ones, but also the hidden truths that are found in body language. One of the last scenes in the film, which is nothing shorter than at least a five-minute close up, on nothing else but Timothée’s face, will surely be a scene that people will be haunted by as they leave this masterful, beautiful, exhilarating film about the passion and pain of first love.

Will win: Timothée Chalamet, Call Me by Your Name
Could win: James Franco, The Disaster Artist
Should win: Timothée Chalamet, Call Me by Your Name

 

Best Supporting Female:

Holly Hunter, The Big Sick
Allison Janney, I, Tonya
Laurie Metcalf, Lady Bird
Lois Smith, Marjorie Prime
Taliah Lennice Webster, Good Time

Will win: Allison Janney, I, Tonya
Could win: Holly Hunter, The Big Sick or Laurie Metcalf, Lady Bird or Lois Smith, Marjorie Prime
Should win: Laurie Metcalf, Lady Bird

 

Best Supporting Male:

Nnamdi Asomugha, Crown Heights
Armie Hammer, Call Me by Your Name
Barry Keoghan, The Killing of a Sacred Deer
Sam Rockwell, Three Billboards outside Ebbing, Missouri
Benny Safdie, Good Time

Will win: Sam Rockwell, Three Billboards outside Ebbing, Missouri
Could win: Armie Hammer, Call Me by Your Name
Should win: Any of the five are incredible.

 

Best Screenplay:

Lady Bird
The Lovers
Three Billboards outside Ebbing, Missouri
Get Out
Beatriz at Dinner

Will win: Three Billboards outside Ebbing, Missouri
Could win: Get Out or Lady Bird
Should win: Lady Bird

 

Best First Screenplay:

Donald Cried
The Big Sick
Women Who Kill
Columbus
Ingrid Goes West

Will win: The Big Sick
Could win: Ingrid Goes West
Should win: The Big Sick

 

Best Cinematography:

The Killing of a Sacred Deer
Columbus
Beach Rats
Call Me by Your Name
The Rider

Will win: Call Me by Your Name
Could win: The Killing of a Sacred Deer
Should win: Columbus

 

Best Editing:

Good Time
Call Me by Your Name
The Rider
Get Out
I, Tonya

Will win: Get Out
Could win: Call Me by Your Name
Should win: Good Time or I, Tonya

 

John Cassavetes Award:

A Ghost Story
Dayveon
Life and Nothing More
Most Beautiful Island
The Transfiguration

Will win: A Ghost Story
Could win: Dayveon or Life and Nothing More
Should win: A Ghost Story

 

Best Documentary:

The Departure
Faces Places
Last Men in Aleppo
Motherland
Quest

Will win: Faces Places
Could win: Last Men in Aleppo
Should win: Faces Places

 

Best International Film:

A Fantastic Woman
BPM
Lady Macbeth
I Am Not a Witch
Loveless

Will win: A Fantastic Woman
Could win: Loveless
Should win: A Fantastic Woman

 

Featured image via Universal/Sony Pictures Classics/A24.

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

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

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

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

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

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

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

 

Featured image via A24.

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