Tag Archives: Sayombhu Mukdeeprom

March Madness of Movies: Best Cinematography Since 2010 — Round 1

These matchups were vote on by the MovieMinis Staff.

In “Best Cinematography Since 2010,” 13 of the 16 matchups went to higher seeds, with upsets only coming from middle competitions. #5 seeds Sayombhu Mukdeeprom for Call Me by Your Name and Wally Pfister for Inception bested #4 seeds Luca Bigazzi for The Great Beauty and Rodrigo Prieto for Silence, respectively, while #6 seed Roger Deakins for Sicario beat out #3 seed Dick Pope for Mr. Turner; although Roger Deakins winning is never really an upset kind of story as he’s always such a strong contender. Mukdeeprom and Pfister have big competition ahead in #1 seed Hoyte van Hoytema for Her and #1 seed Andrew Droz Palermo for A Ghost Story, while Deakins will take on #2 seed van Hoytema for Dunkirk.

While Emmanuel Lubezki had four entries initially, he only has two remaining, for #3 seed Gravity and #2 seed The Tree of Life. He’ll have a very tough road ahead of him, facing #2 seed Linus Sandgren for La La Land and #3 seed John Seale for Mad Max: Fury Road.

Both Bradford Young and Hoyte van Hoytema had three entries to start. Young’s only remaining one is his #2 seed Arrival, which will take on #3 seed Roger Deakins for Skyfall. Deakins for Skyfall is what took out van Hoytema’s #6 seed cinematography for Interstellar.

Deakins is quite clearly the strongest on this list, even if he didn’t have the most entries to begin with. All three of his are still in competition, and his #1 seed Oscar-winning work for Blade Runner 2049 will test its strength against #4 seed Bruno Delbonnel for Inside Llewyn Davis. The final matchup will be a powerhouse of spellbinding drama photography: #1 seed Mihai Malaimare Jr. for The Master vs. #4 seed James Laxton for Moonlight.

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

 

Featured image via Lionsgate/Warner Bros.

March Madness of Movies: Introducing the Brackets

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

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

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

The four topics we ended up on are:

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

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

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

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

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

Best A24 Films

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

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

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

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

Best Superhero Villain of the 21st Century

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

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

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

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

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

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

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

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

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

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

Best Big Budget Directing of the 21st Century

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

In Superhero Directing:

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

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

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

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

In Franchise Directing:

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

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

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

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

In Prestige/Original/Non-Franchise Studio Directing

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

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

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

In Animated Directing:

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

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

Best Cinematography Since 2010

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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.