Magnum PI 2x20 - A Leopard on the Prowl review-ish
So I watched 2x20 after 2x19 both times and maybe that colored my view of it a little. In a both good and bad way. I enjoyed 19 so thoroughly I kind of just had a good feel going into this ep, since we started with some Miggy with the lads (always a good time) I had high hopes for this episode as well. At the same time I wasn’t sure how it was going to beat 19. Which it solved by not doing.
Yeah, as far as a season finale I’d say this one was pretty weak. Where was Ivan? Where was the personal stakes and involvement? Icepick is not a important enough character for us to care about and while there was some worry for Rick it all felt a tad bit lack luster - for a season finale. If not for the whole Higgins is leaving (which to be honest I was kind of figuring wouldn’t happen even with the way they’d been building it up) this wouldn’t have felt like a finale at all.
So yeah, this should have just been a normal episode. We could have skipped the Vigilant or Love tour ep. and used the Icepick plot for one of those instead and had a totally different season finale...maybe with Ivan? This seasons big bad? Or are they setting Ivan up as the whole series big bad? Because that would suck (as some of you know I found Ivan to be like the lamest bad guy ever.)
Yeah. That’s how I’d have done it but...
On the plus side we did get some nice moments, starting out we got Magnum worrying Higgins will go back to London and decide she wants to stay...maybe she’ll meet someone... (I swear, some lines make me think Lenkov is co-captain of the Miggy ship with me...)
And later when he’s out paddling he admits to himself he’s really going to miss her. We also have Miggy having a little bit of a thing with the “You’re bailing on our partnership - I’m NOT! Turing into a I’m sad you’re leaving but you know I’m still going to bother you all the time while you’re in England...”
I feel like if Rick hadn’t shown up we might have gotten some more emotion here. But he does walk in and I guess that’s a symptom of this whole episode.
There are a lot of things that could have leveled it up but failed to, emotion vise. Like how about Icepick doing the robbery to keep Rick safe because someone was using him as leverage? Instantly I care more about him and there for would care more about everything.
Or actually having Magnum work to “fix” the visa problem rather than just randomly handing it off to Robin. I mean I already winged about this in the 2x19 review a bit but having Magnum actually have to trade some favors or make some promises would have been nice. Maybe having him reach out to some dangerous contact he had at the CIA from back in the days or something that could come back to bite him.
Or radical thought HAVE HIGGINS ACTUALLY HAVE TO GO BACK TO THE UK. I didn’t think this was really a possibility even before watching the episode and while I don’t mind the whole “Higgy now owns Robin’s Nest” (in fact I really enjoy it) it did feel like a bit of a cop out. Like what was the point of the whole visa expiring and fake wedding fake outs? Nothing changed other than that she is now officially Magnum’s boss and own’s Robin’s Nest. Was that what it was all about? Then why not go there straight away and skip the whole fake wedding bit?
We had all this angsty build up with her deciding not to marry Mangum and then no one at all and time running out. It could have been a bit bittersweet and almost fixed the rest of the episode if it had just ended on Magnum and Higgins hugging at the airport or before she gets in the cab after everyone throw her a party. He could have gone “see you in six months” and she’d be all “Count on it“.
I’m not sure if they didn’t go that route because they were worried about not getting renewed and thought this would be their last episode ever and they wanted to wrap it up neatly with a bow on top or what?
It’s not like having a six month time skip would have been that big of a problem, or having the first episode of season 3 be Magnum constantly calling Higgins while she’s in London.
With the time difference this could have been hilarious he’d be phoning her in the middle of the night because it’s day time in Hawaii and/ or the other way around. Maybe there could even be some totally implausible snow. Miggy could also both have matching calendars with the days counting down until she can return... Then we could have had 3x02 in England when Magnum and Gordon (and maybe his son) come for a visit. (I may or may not also already ranted about this and how great it could be.)
So yeah, this was a fine random episode and I’d have probably really enjoyed it a lot as one - but because for this I had “season finale expectations” it didn’t really do it for me. I did try to not even think of it like that on my second watch and that actually made it work a lot better.
I it does have stuff going for it; there are no unrelated off-theme subplots to get annoyed by, Rick gets some actual good reason for being in the story, the investigation is fairly tight if in true Magnum fashion rather unbelievable, the word “laptop-ing” is used, a crazy fight on top of a moving truck, the Ferrari for some reason being able to drive in reverse but not normally (is this a thing? that just seemed overly stupid to me but I know nothing about cars.)
Plus we have Higgins saying goodbye to the lads, which is honestly like in my top ten Higgy moments of this season.
Verdict: My mother enjoyed it.
In end we do get our faves looking adorable (I really love Higgy in red)
Look at my babies being all happy
Seriously I kind of almost like this scene better as gifs because they look really-really happy when you just look at them, even if the conversation was somewhat...not what I’d been hoping for. In fact I actually want to talk about the weirdness of it;
Magnum: “So you’re not going?”
Higgins: “Um, you want me to?”
Why would she ask that? She actually manged to sound like she’s genuinely worried he is unhappy about her staying - when she knows he is the one that set it all in motion. When he’s been working so hard to make sure she gets to stay. This is either terrible writing or brilliant writing because either they forgot Higgy knows Magnum did this for her OR they’re revealing just how important Magnum’s opinions are to her (and how she’s still unsure he really wants her around). I don’t know, maybe I’m reading too much into it but it seems a rather strange thing to ask otherwise.
Now onto the next part of the conversation which is equally baffling.
Magnum: “I’m just... surprised. What did they do?“
I mean I guess he could be suprised if didn’t check in with Robin but wouldn’t he have called Robin to see how things were going on the visa thing? Shouldn’t he be saying “I knew Robin would come through for us you! What he/they do?” because he basically just trusted that Robin would fix it for him.
By just having this conversation go maybe a little different
“So you get to stay?”
(I’d love for her to say I do at some point because of the whole wedding that wasn’t...Maybe we could get a hug here... like come on guys! If there was anything that could have redeemed the whole thing a Miggy hug is pretty high on my list)
Slightly awkward stepping back moment.
“I knew Robin would come through for us you! What he/they do?”
It would just have read a lot better and given us a tad bit more payoff for the visa wedding wackiness that was the past few episodes. Which I’m still not sure why they did that because they sure as heck didn’t use it for maximum drama. I’d almost be able to believe they did randomly go to AO3 and check the popular fics and decided since Marriage of Inconvenience was kinda popular they should do something like that...and then failed utterly to execute it any kind of satisfying way. (I know I know, I’m giving myself way too much credit...)
Still, over all I’m not sure what I feel about this episode. There was nothing super wrong with it but it really wasn’t a finale. Higgins departure/ visa plot turned out to not really mean or change anything. No one but Icepick seemed to have more than like a second of feels during the whole thing. Some stuff just needed more.
So yeah, that’s my thoughts on the matter. I meant for this to be short because I didn’t think I had that much to say about this episode. As it turns out, I kind of sort of did. I guess that’s to be expected as it was the finale! What did you guys think? Love it or hate it? Somewhere in that even more dangerous “whatever zone”?
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2019 Golden Elliott Awards
What a way to end the decade! The 2010s was when I entered my 20s, when I graduated high school and college, started my career, and started nurturing this love of cinema of mine. As the years have gone on and I’ve wrestled off a quarter life crisis, I’ve dug in my heels to watching movies and tabulating my own ridiculous awards system as my favorite hobby.
This year was pretty painless, all things considered? There were a few major disappointments on my end (Marriage Story, Once Upon a Time in Hollywood) and I didn’t nominate any of the actors who won Oscars last night (yikes!), but 2019 was still a pretty fantastic year in film. My top fifteen of the year consists of two shorts, seven films directed by women, two horror films (which is huge for me!), and some of the best works from the world’s major filmmakers, old and new. If you want, consider this a personal endorsement of these films. Or don’t! It’s your life.
First, as always, an incomplete list of movies that I wanted to see and/or were nominated for major Oscars that I unfortunately haven’t gotten around to yet:
The Art of Self-Defense
Ford v Ferrari
A Hidden Life
How to Train Your Dragon: The Hidden World
John Wick: Chapter 3 – Parabellum
Rolling Thunder Revue
So Long, My Son
The Two Popes
But! Let’s focus on the 44 films I did see! As always, forgive typos. I get passionate and I conveniently forget to proofread.
** You can find the individual posts for each category with this tag. All categories are there except for Best Documentary, which I didn’t feel was worth posting as I had only seen two. However, they’re both lovely films, and I recommend them if documentaries are your thing!
And now, on with the show.
TOP TEN FILMS OF THE YEAR
dir. Bong Joon-ho; prod. Bong Joon-ho, Kwak Sin-ae, Moon Yang-kwon, and Jang Young-hwan; dist. Neon; South Korea
“This is so metaphorical!”
This is the year I fall in line, I guess. No film stuck with me or thrilled me as much as this year’s critical darling (and newly crowned Best Picture winner!) did. Bong Joon-ho has never been a filmmaker afraid of trying new things, and Parasite marks an easy career best for him. It’s a huge, messy, angry, beautiful, heartbreaking, horrifying film, one that explores the dehumanizing nature of capitalism and class warfare in a way that feels bold and fresh. Toss in a ridiculously stacked cast and gorgeous production values and you have an instant classic and a generation-defining film.
02. Portrait of a Lady on Fire
dir. Céline Sciamma; prod. Véronique Cayla and Bénédicte Couvreur; dist. Neon; France
“When you are looking at me, who am I looking at?”
It’s almost unbelievable that Portrait of a Lady on Fire is an original story, rather than something based on an old semi-forgotten novel. Céline Sciamma, in her first attempt at a period piece, has created a film that is a major triumph in every possible way, from the superb performances by her leads to the marvelous technical achievements. It’s an impossibly gorgeous creation that feels transcendent in the same way that the best works of art do.
03. Little Women
dir. Greta Gerwig; prod. Amy Pascal, Denise Di Novi, and Robin Swicord; dist. Sony Pictures Releasing; USA
“Well, I am not a poet. I am just a woman.”
Greta Gerwig’s inspired restructuring of Louisa May Alcott’s novel opens up the text up to a richer dramatic payoff than ever put to screen: the warm humor of childhood becomes funnier and more bittersweet set against the coldness of adulthood. Her actors are mostly perfect, her designers are firing on all cylinders, and her handling of this old familiar story makes it feel fresh and essential. Unquestionably the best American film of the year.
04. Pain and Glory
dir. Pedro Almodóvar; prod. Agustín Almodóvar; dist. Sony Pictures Classics; Spain
“In the cinema of my childhood, it always smells of piss, and of jasmine, and of the summer breeze.”
Pain and Glory (or if you prefer its gorgeous original title, Dolor y Gloria) stands firmly on its own terms, even within Almodóvar’s extensive and accomplished body of work. This isn’t the anarchic comedy of his youth or the color-splashed melodrama of his older years – this is something far more personal. Drawing from the well of his own life and anchored by a beautiful performance from Antonio Banderas, this is a deeply felt, beautifully staged masterwork.
05. The Farewell
dir. Lulu Wang; prod. Daniele Melia, Peter Saraf, Marc Turtletaub, Andrew Miano, Chris Weitz, Jane Zheng, Lulu Wang, and Anita Gou; dist. A24; USA
“It’s not the cancer that kills them. It’s the fear.”
This is less a tragedy that makes you laugh and more a comedy that breaks your heart. Rather like the family at the center of the film, The Farewell refuses to be weighed down by its sad circumstance and rises above to become an incredibly warm, joyful story. Featuring one of best casts of the year, this is one seriously special film.
06. Knives Out
dir. Rian Johnson; prod. Rian Johnson and Ram Bergman; dist. Lionsgate Films; USA
“Look around. The guy basically lives in a Clue board.”
All at once a tightly wound thriller, a hilarious comedy, a dysfunctional family drama, an old-fashioned murder mystery, and a new-fashioned commentary on modern politics, Knives Out is lightning in a bottle. Rian Johnson as writer and director has assembled a pitch perfect cast, with everyone getting a moment to shine, and it’s a sheer joy to watch everyone operate perfectly within the intricate set of cogs within the film. Pretty much everything about this film works like clockwork, right down to the flawless final shot. The whodunnit is alive and well and vital.
07. The Irishman
dir. Martin Scorsese; prod. Martin Scorsese, Robert De Niro, Jane Rosenthal, Emma Tillinger Koskoff, Irwin Winkler, Gerald Chamales, Gastón Pavlovich, Randall Emmett, and Gabriele Israilovici; dist. Netflix; USA
“I’m behind you, Jimmy.”
There will surely be other gangster movies after this, but The Irishman feels like an elegy for an entire genre. Martin Scorsese is wrestling with the ideas of the genre that helped make him into the living legend that he is, its iconography, its tropes, its own role in American history and culture. There is no joy to be found here. Scorsese condemns his characters, but grants them enough humanity to allow them honest emotional turmoil, but death haunts practically every frame. Dense, literate, very long, and towering work from America’s greatest living filmmaker.
08. The Lighthouse
dir. Robert Eggers; prod. Rodrigo Teixeira, Jay Van Hoy, Robert Eggers, Lourenço Sant’ Anna, and Youree Henley; dist. A24; USA/Canada
“How long have we been on this rock? Five weeks? Two days? Help me to recollect.”
Robert Eggers’ follow-up to The Witch is a relentless, sea-soaked roller coaster. Between the beautiful and chilling poetry in the authentic-sounding script and the genuinely jaw-dropping black-and-white cinematography, it’s a technical triumph, but it’s also a showcase for two of the most impressive and unhinged performances of the year from Willem Dafoe and Robert Pattinson. This is a disgusting and delicious piece of work, a little slice cut from the theatre of cruelty covered in every bodily fluid imaginable.
09. I Am Easy to Find
dir. Mike Mills; prod. Geoff Linville, Emma Wilcockson, and David Zander; dist. 4AD; USA
“She wonders how she became this person, not others.”
It’s the inherent flaw in my awards system that the only actual nomination I can give I Am Easy to Find is this, a measly mention in my top ten of the year. Under Mike Mills’ direction, accompanied by the National’s music, and carried with Alicia Vikander’s career best performance, this is a short, symphonic ode to being alive. It’s intimate and epic all at once, and another fantastic film in Mills’ ridiculously impressive career.
dir. Olivia Wilde; prod. Megan Ellison, Chelsea Barnard, David Distenfield, Jessica Elbaum, and Katie Silberman; dist. United Artists Releasing; USA
“This part’s over, and that’s so sad, but it was great, wasn’t it?”
Olivia Wilde makes a fantastic directorial debut, turning in an instant teen classic filled with great performances, smart direction, and genuine emotional honesty throughout. In a brilliant pas de deux from Kaitlyn Dever and Beanie Feldstein (who need to star in a series of two-handers à la Crosby and Hope) – Dever gets most of the heavy lifting dramatically, but of course, Feldstein carries most of the comedy. They’re both so damn good. Wilde confidently knows when to let the acting and writing shine and when to flex her director muscles (that pool scene!). It’s just the most delightful goddamn movie.
01. Céline Sciamma (Portrait of a Lady on Fire)
The towering directorial achievement of the year, Sciamma investigates both art and love as an action, rather than a finished product. Her striking imagery feels primal and elemental, but also richly human – these four women, secluded in that huge echoey house against the windswept cliffs of Brittany. The film is delicate, but not fragile. This is a major work from a fairly young filmmaker.
02. Bong Joon-ho (Parasite)
Bong works his magic with this one, creating an operatic, blood-soaked tragicomedy that speaks directly to this cultural moment. He handles his cast beautifully, as they all turn in exceptional work, and his use of space – that house! the flood! – is breathtaking. Thrilling and essential cinema.
03. Greta Gerwig (Little Women)
In what must be the definitive take on Alcott’s novel, Gerwig brilliantly restructures the story to emphasize the humanity in the story. This Little Women becomes a sprawling tapestry detailing the highs and lows of being alive. Childhood, death, marriage, heartbreak, laughter, tears, art, emptiness – they act in dialogue rather than as chapters.
04. Pedro Almodóvar (Pain and Glory)
I say this with every ounce of love and respect possible: this is an old man’s film. Almodóvar is grappling with his time on earth, his mortality, and the legacy of his art, and it shares DNA with other old man’s films of the past (and present) – Leigh’s Mr. Turner, Huston’s The Dead, Scorsese’s The Irishman – as well as Fellini’s 8½. To watch Pain and Glory is to watch a master of his craft, tenderly and quietly creating a self-portrait that acts as a masterpiece.
05. Lulu Wang (The Farewell)
Taking cues from the likes of Ozu, Leigh, and Kore-eda, The Farewell acts as Wang’s arrival as a major filmmaker. The film makes you cry, but it doesn’t wring the tears out of you. It’s patient, and earns your tears through its carefully crafted humanist story.
BEST LEADING ACTOR
01. Antonio Banderas – Pain and Glory (“Salvador Mallo”)
My favorite performance of the year. Banderas is subtle and heartbreakingly honest in his performance as Salvador Mallo (the stand-in for Almodóvar), carefully revealing decades of anguish in his eyes. Every part of his body is engaged in the role, from his quivering lip to his shoulders, and his understated act of being is truly something to be treasured. It’s fantastically lived-in work from an old pro.
02. Robert Pattinson – The Lighthouse (“Ephraim Winslow”)
As one of the two stars of The Lighthouse, Pattinson gives one of the most intensely committed physical performances I’ve seen in years, seemingly working his body to the brink of physical, mental, and spiritual exhaustion. He’s our entryway into this horrifying story, and his loneliness, his guilt, and his insatiable sexual appetite is palpable.
03. Robert De Niro – The Irishman (“Frank Sheeran”)
It’s odd seeing someone as established and celebrated as De Niro play so against type so late in his career. His Sheeran is low-status for much of the film, and his descent into chaos and losing everything he tried to save is beautifully realized. There’s one scene in particular – a certain phone call – that might be some of the most mesmerizing and heartbreaking work he’s ever done.
04. Roman Griffin Davis – Jojo Rabbit (“Johannes ‘Jojo’ Betzler”)
Jojo Rabbit is not a film I dislike per se – it is a decidedly mixed bag – but there is one aspect that I have no hesitations on: this performance. Davis walks the tightrope of Waititi’s film with the utmost grace, and his handling of the absurd comedy and the dramatic heaviness is truly commendable, especially for someone so young. There’s one scene with a butterfly that is the most memorable in the film and it’s entirely Davis’ doing.
05. Matthew Rhys – A Beautiful Day in the Neighborhood (“Lloyd Vogel”)
A Beautiful Day in the Neighborhood, Marielle Heller’s quiet masterwork of human decency, deals with Mr. Rogers’ legacy mostly through the lens of how it effects the individual, using Rhys’ Lloyd as the example. Rhys’ performance as a man turned bitter by the world is a perfectly calibrated foil to Tom Hanks’ Rogers, and their relationship is one of the most profoundly moving things about the film. There’s one scene in particular I can’t shake, where he opens up to his wife for the first time – maybe ever – and does his best to articulate his anger and fear, and it’s a perfect marriage between great writing and great acting and great directing.
BEST LEADING ACTRESS
01. Saoirse Ronan – Little Women (“Jo March”)
There’s pretty much no doubt now that Saoirse Ronan is the greatest actor of her generation. We’re the same age, which kills me a little bit, because she’s so goddamn good at acting that I kind of can’t wrap my head around how she continually manages to top herself. Anyone who can pull off Brooklyn, Lady Bird, and now Little Women, is a genuine force of nature. She’s a natural fit for Jo, and aces every single moment, especially her now meme-famous “Women…” monologue. In a flashy, rich ensemble, Ronan is the film’s wonderful beating heart.
02. Adèle Haenel – Portrait of a Lady on Fire (“Héloïse”)
While co-star Noémie Merlant is terrific, it’s Haenel’s aloof, enigmatic performance that proves to be the revelation at the heart of Portrait. With her fiery, expressive eyes, she haunts every second the film, culminating in the tour-de-force final two minutes, which is a prolonged close-up on her Héloïse merely listening to a piece of music. Every second of those two minutes is honest and earned. She’s a fantastic talent, and this is a major performance.
03. Lupita Nyong’o – Us (“Adelaide Wilson/Red”)
Putting aside the fact that her dual performances are a tremendous feat of technical acting, Nyong’o dominates this film. Adelaide is a great, charismatic protagonist, and Red is an already-iconic “villain” for the ages, and it’s a testament to Nyong’o’s screen presence that both roles are as compelling as they are. Her performances are terrific.
04. Ana de Armas – Knives Out (“Marta Cabrera”)
The surprising heart of Knives Out is Ana de Armas’ Marta, the daughter of an undocumented immigrant who inadvertently goes head-to-head with a family of evil wealthy white people. De Armas knocks it out of the park – her eyes have deep wells of unspoken terror and guilt and sadness, and even as her body betrays her with her bouncing leg or her projectile vomiting, she remains unflappable as the everywoman wandering around the maze of the film. It’s an astonishing star-is-born performance.
05. Beanie Feldstein – Booksmart (“Molly”)
Kaitlyn Dever is sitting at #6 on my Best Actress ballot, and her performance is incredibly difficult to untangle from Feldstein’s, but I ended up giving the slight edge to ol’ Bean here. She turns in one of the most consistently hilarious comedic performances in recent memory, but every second of her performance is organic and sincere. She nails every shift in the writing and her chemistry with her co-star is one for the ages. I just wish I could nominate them both.
BEST SUPPORTING ACTOR
01. Willem Dafoe – The Lighthouse (“Thomas Wake”)
The Lighthouse works as a duet between two great actors going all-in, and as great as Pattinson is, Dafoe is his natural foil. He makes music of his old sailor superstitions, with his wide eyes, craggy skin, and barnacle-like teeth only hinting at a tortured past. The scene where he calls down a curse on Pattinson for not liking his cooking – I can’t stop thinking about it.
02. Joe Pesci – The Irishman (“Russell Bufalino”)
Pesci came out of retirement for The Irishman, and thank God he did. “Reserved” is never a word I thought I’d use to describe him, but his performance here is truly reserved, saying more with a glance or a whisper than with a screamed monologue. He personally tracks the whole arc of the film, starting out as a menacing fraternal figure and ending the film as a frail, broken old man. He’s the MVP of the film.
03. Song Kang-ho – Parasite (“Kim Ki-taek”)
One of the key moments of Parasite rests squarely on Song’s shoulders. I won’t mention the specifics for spoilers, but it’s at the birthday party at the end, and if this pivotal moment wasn’t so heartbreakingly believable from Song, it’s safe to say the rest of the film wouldn’t work at all. His unassuming likability is his greatest asset, and his performance is deeply moving right to the final frame.
04. Leonardo Sbaragalia – Pain and Glory (“Federico”)
Pain and Glory works primarily as a solo piece, but there are a handful of great supporting roles sprinkled throughout. Sbaraglia appears halfway through the film and essentially acts as a one-scene-wonder. He acts as a joyous, sexy, and quietly shattering specter of Salvador’s past and a brutal reminder of his squandered potential. Their conversations are some of the most riveting scenes in the film.
05. Chris Cooper – Little Women (“Mr. Laurence”)
One of the more surprising performances of the year. Nobody goes into Little Women expecting a man to make a serious impact, let alone Mr. Laurence of all characters, and yet in the hands of both Gerwig and Cooper. He is a man consumed by grief – first for his late granddaughter and then for Beth – and his tiny, genuinely supporting role is magically realized. Cooper’s Mr. Laurence is pitch perfect and utterly heartbreaking
BEST SUPPORTING ACTRESS
01. Zhao Shuzen – The Farewell (“Nai Nai”)
I can’t quite put my finger on the magic spark in Zhao’s performance. She might not have the most challenging role of these five actors, but she realizes every facet of Nai Nai perfectly. We instantly fall in love with her and see her as our own grandmother, which lets the gravity of the film truly sink in. Her scene with Awkwafina near the end is one of the most tender, perfectly written moments of the year, as she hints – only slightly! – that she might know the truth about why everyone is suddenly visiting. Brilliant stuff.
02. Florence Pugh – Little Women (“Amy March”)
With her reedy voice and her incredible poise, Pugh creates an Amy that is equal parts hilarious, touching, juvenile, and mature. A perfect foil for Ronan’s Jo, Pugh nails her tricky transition from child to adult almost imperceptibly. It’s one of the best comedic performances of the year, but to qualify her in that way does a disservice to the depths and sensitivity she brings to the role. She might just be the film’s MVP.
03. Park So-dam – Parasite (“Kim Ki-jeong”)
Jessica!! Only child!! Illinois!! Chicago!! Park’s disarming performance gets to be the enigmatic, magnetic badass at center of the deception that kicks off the film. She’s icy in the best possible way, and while it’s fun to watch every member of the Kim family work their way into the Park household, watching Park swindle these rich people is an absolute treat. She injects every scene with just a bit more electricity than it had before.
04. Jennifer Lopez – Hustlers (“Ramona Vega”)
One of the worst Oscar snubs in years. Lopez is off-the-charts great in Hustlers, masterfully pulling from her own superstar persona (not unlike Brad Pitt in Once Upon a Time in Hollywood, except better) to create one of 2019’s most indelible characters in one of the year’s most entertaining films. Physical skill aside, her handling of the film’s final thirty minutes or so is some genuinely great acting.
05. Cho Yeo-jeong – Parasite (“Choi Yeon-gyo”)
“I’m deadly serious.” Parasite is a lot of things, but one thing that seems to get forgotten is just how funny it is. It’s not an exaggeration to say most of the comedy comes from Cho’s perfectly calibrated performance. She steals nearly every scene she’s in, but she never shies away from her character’s underlying cruelty.
01. Parasite – written by Bong Joon-ho and Han Jin-won
02. Pain and Glory – written by Pedro Almodóvar
03. The Farewell – written by Lulu Wang
04. Knives Out – written by Rian Johnson
05. Booksmart – written by Emily Halpern, Sarah Haskins, Susanna Fogel, and Katie Silberman
01. Little Women – written by Greta Gerwig; based on the novel Little Women by Louisa May Alcott
02. The Irishman – written by Steven Zaillian; based on the book I Heard You Paint Houses by Charles Brandt
03. A Beautiful Day in the Neighborhood – written by Micah Fitzerman-Blue and Noah Harpster; based on the article Can You Say … Hero? by Tom Junod
04. Hustlers – written by Lorene Scafaria; based on the article The Hustlers at Scores: The Ex-Strippers Who Stole from (Mostly) Rich Men and Gave to, Well, Themselves by Jessica Pressler
05. I Lost My Body – written by Jérémy Clapin and Guillaume Laurent; based on the novel Happy Hand by Guillaume Laurent
01. I Lost My Body – dir. Jérémy Clapin (Xilam Animation)
02. Toy Story 4 – dir. Josh Cooley (Pixar Animation Studios)
03. Missing Link – dir. Chris Butler (Laika Entertainment)
04. Klaus – dir. Sergio Pablos (Sergio Pablos Animation Studios)
01. Kitbull – dir. Rosana Sullivan
02. Hair Love – dir. Matthew A. Cherry, Everett Downing, Jr., and Bruce W. Smith
03. Maestro – dir. Florian Babikian, Victor Caire, Théophile Dufresne, Gabriel Grapperon, and Lucas Navarro
04. Hors Piste – dir. Léo Brunel, Loris Cavalier, Camille Jalabert, and Oscar Malet
05. Smash and Grab – dir. Brian Larsen
FOREIGN LANGUAGE FEATURE
01. Gisaengchung / Parasite – dir. Bong Joon-ho (South Korea)
02. Portrait de la jeune fille en feu / Portrait of a Lady on Fire – dir. Céline Sciamma (France)
03. Dolor y gloria / Pain and Glory – dir. Pedro Almodóvar (Spain)
04. J’ai perdu mon corps / I Lost My Body – dir. Jérémy Clapin (France)
05. Atlantique / Atlantics – dir. Mati Diop (Senegal)
01. Knock Down the House – dir. Rachel Lears
02. Fiddler: A Miracle of Miracles – dir. Max Lewkowicz
01. Parasite (Ha-jun Lee, production designer; Se-jin Lim and So-ra Mo, art directors; Won-woo Cho, set decorator)
02. 1917 (Dennis Gassner, production designer; Lee Sandales, set decorator)
03. The Last Black Man in San Francisco (Jona Tochet, production designer; Olivia Kanz, art director; Elena Nommensen, set decorator)
04. Pain and Glory (Antxón Gómez, production designer; María Clara Notari, art director; Francisco Bassi, set decorator)
05. The Lighthouse (Craig Lathrop, production designer; Matt Likely, art director; Ian Greig, set decorator)
01. Portrait of a Lady on Fire – Claire Mathon
02. The Lighthouse – Jarin Blaschke
03. Little Women – Yorick Le Saux
04. 1917 – Roger Deakins
05. Pain and Glory – José Luis Alcaine
01. Dolemite is My Name – Ruth E. Carter
02. Little Women – Jacqueline Durran
03. Knives Out – Jenny Eagan
04. Us – Kym Barrett
05. Portrait of a Lady on Fire – Dorothée Guiraud
01. Parasite – Yang Jin-mo
02. The Irishman – Thelma Schoonmaker
03. Knives Out – Bob Ducsay
04. Pain and Glory – Teresa Font
05. Us – Nicholas Monsour
01. Parasite – Jung Jae-il
02. Pain and Glory – Alberto Iglesias
03. The Last Black Man in San Francisco – Emile Mosseri
04. I Lost My Body – Dan Levy
05. Us – Michael Abels
USE OF SONG
01. “La Jeune Fille en Feu” – Portrait of a Lady on Fire; written by Para One and Arthur Simonini
02. “San Francisco (Be Sure to Wear Flowers in Your Hair)” – The Last Black Man in San Francisco; performed by Mike Marshall
03. “The Wayfaring Stranger” – 1917; performed by Jos Slovick
04. “I Got 5 on It” – Us; performed by Luniz
05. “Next” – Hustlers; performed by Scott Walker
01. Pokémon Detective Pikachu
03. Missing Link
04. Star Wars – Episode IX: The Rise of Skywalker
SPECIAL AWARD FOR ACTING
01. Alicia Vikander (I Am Easy to Find)
01. Olivia Wilde (Booksmart)
02. Joe Talbot (The Last Black Man in San Francisco)
03. Jérémy Clapin (I Lost My Body)
04. Josh Cooley (Toy Story 4)
05. Mati Diop (Atlantics)
01. The cast of Parasite - Cho Yeo-jeong, Choi Woo-shik, Jang Hye-jin, Jung Hyun-joon, Jung Ji-so, Jung Yi-seo, Lee Jung-eun, Lee Sun-kyun, Park Geun-rok, Park Myung-hoon, Park Seo-joon, Park So-dam, and Song Kang-ho
02. The cast of Little Women - Timothée Chalamet, Chris Cooper, Laura Dern, Louis Garrell, Jayne Houdyshell, Tracy Letts, James Norton, Bob Odenkirk, Maryann Plunkett, Florence Pugh, Abby Quinn, Saoirse Ronan, Eliza Scanlen, and Emma Watson
03. The cast of Knives Out - K Callan, Toni Collette, Daniel Craig, Jamie Lee Curtis, Ana de Armas, Chris Evans, Marlene Forte, Don Johnson, Katherine Langford, Riki Lindhome, Jaeden Martell, Frank Oz, Edi Patterson, Christopher Plummer, Shyrley Rodriguez, Noah Segan, Michael Shannon, Lakeith Stanfield, and M. Emmet Walsh
04. The cast of The Farewell - Awkwafina, Chen Han, Jiang Yongbo, Li Xiang, Diana Lin, Jim Liu, Lu Hong, Aoi Mizuhara, Tzi Ma, Yang Xuejian, Zhang Jing, and Zhao Shuzhen
05. The cast of Booksmart - Christopher Avila, Bluesy Burke, Austin Crute, Kaitlyn Dever, Beanie Feldstein, Will Forte, Eduardo Franco, Noah Galvin, Skyler Gisondo, Mason Gooding, Molly Gordon, Nico Hiraga, Adam Simon Krist, Lisa Kudrow, Gideon Lang, Billie Lourd, Mike O’Brien, Victoria Ruesga, Diana Silvers, Stephanie Styles, Jason Sudeikis, and Jessica Williams
11 – Parasite
10 – Pain and Glory
9 – Little Women
7 – Portrait of a Lady on Fire
6 – Knives Out; Us
5 – Booksmart; The Farewell; I Lost My Body; The Irishman; The Lighthouse
4 – The Last Black Man in San Francisco; 1917
3 – Hustlers
2 – Atlantics; A Beautiful Day in the Neighborhood; Fiddler: A Miracle of Miracles; Knock Down the House; Missing Link; Toy Story 4
1 – Dolemite is My Name; Hair Love; Hors Piste; I Am Easy to Find; Jojo Rabbit; Kitbull; Klaus; Maestro; Pokémon Detective Pikachu; Smash and Grab; Star Wars – Episode IX: The Rise of Skywalker
7 – Parasite
3 – Portrait of a Lady on Fire
2 – Little Women
1 – Booksmart; Dolemite is My Name; The Farewell; I Am Easy to Find; I Lost My Body; Kitbull; The Lighthouse; Pain and Glory; Pokémon Detective Pikachu
9 notes · View notes