#matthew lopez you genius
Text
i think we should make love tonight
#rwrbedit#rwrb#red white and royal blue#alex claremont diaz#henry fox mountchristen windsor#firstprince#rwrbgifs#lgbtq#lgbtedit#usernuria#uservik#usermaloune#usersteen#mine*#and that they did!#matthew lopez you genius#this whole scene chefs kiss#can u direct everything from now on
2K notes
·
View notes
Text
Author Interview: Jean Hanff Korelitz on Plotting
Every year, we’re lucky to have great sponsors for our nonprofit events. In author and NaNoWriMo supporter Jean Hanff Korelitz’s new novel The Plot, a failing author steals an unused idea for a bestselling book with deadly results. Today, we asked Korelitz some questions about how she came up with the idea for The Plot—and her approach to plotting a novel:
Q: How did you go about plotting this novel? For example, did you outline it or refer to any popular plotting resources like Save the Cat or Hero with a Thousand Faces? Or do you trust a more improvisational approach to writing and plotting? Or both?
A: I’ve actually never heard of either of these resources. They sound a bit suspicious, like that computer, EPICAC, in the Kurt Vonnegut story of the same name, who churns out years of ready-made love poems for its lovelorn programmer. It was my favorite Vonnegut story, but I’d still want to steer clear of that input/output when it comes to my own creativity.
For me, a plot usually begins with a “What if” question and finding a way through what happens next comes from thinking it through as it unfolds. What makes sense? What makes too much sense? What is unexpected? Sometimes you get it wrong and have to go back (as I did, once, during the time I was writing The Plot, but that just shows you’re paying attention. Your reader isn’t stupid and doesn’t wish to be patronized (thriller readers in particular are intent on figuring it all out before you’ve made up your mind to reveal the information), and they’ll be the first to tell you how early in the story they solved your big mystery.
I usually know about 60 percent of what I’m going to write before I begin a novel, and my own feeling is that if the author isn’t at least a little bit surprised, herself, as she’s writing the book, it transfers to what’s on the page. That distinctly stale worked-out-in-advance feeling is just what I’m trying to avoid.
Q: Was this novel influenced by the plots of any other novels?
A: No, although elements of the story have certainly appeared in other novels. Plagiarism? John Colapinto’s About the Author, for one. Tapped out professors of creative writing? Michael Chabon’s Wonder Boys. Creative self-doubt? There’s an entire sub-genre of Stephen King’s oeuvre about that. I’m already seeing a bit of “Doesn’t this book sound like…” questioning on Goodreads and Amazon. The specific books and movies that have been mentioned are way off, but you can describe most things in ways that make them sound like most other things. I don’t think these particular questioners have read the novel, but if they do read it they’ll realize that they’re actually demonstrating one of its arguments: most ideas are not original, and should not belong to any one writer.
Q: While writing this book, you must have put yourself in the shoes of your main character. Do you think you’d ever steal a genius idea for a book if you knew it would never be used?
A: I wouldn’t, but only because I’m squeamish by nature and I’d be terrified about that degree of exposure and disapproval. But, like most artists, I also understand that stories run underneath the ground of our collective experience, and we all dip into them, whether we’re aware of it or not.
The real question is: At what point does a collective story become the individual property of a person or an artist? Who’s going to seriously accuse Jane Smiley of “appropriating” Shakespeare when she wrote A Thousand Acres, or Charles Frazier of stealing from Homer when he wrote Cold Mountain? A contender for the 2020 Pulitzer Prize for Drama was The Inheritance by Matthew Lopez, which openly adapts Forster’s Howards End to contemporary New York City. This is a normal, even laudatory practice, which artists fully understand.
But to help yourself to the specific plot of a recently deceased author who never completed his book? I don’t know where the line is, exactly, but I’m pretty sure that’s over it.
Q: Throughout The Plot, several characters posit that writing can’t be taught. As a writer, do you agree or disagree?
A: Let’s just say that I’ve long felt there’s a limit to what can be taught. On the other hand, I have many friends who have benefitted from time in MFA programs and writing seminars, and my husband teaches poetry writing at the college level, I think rather effectively. I didn’t go the MFA route, myself, but I did take a creative writing class in college, and I learned something very important in that classroom, which was that I was allowed to make things up. It seems so obvious, but in my own case, I required someone to explain that to me, and I’m grateful to this day that my teacher did.
Q: What plotting advice would you give a beginning writer?
A: Read bad books (in addition, of course, to great books!) and ask yourself why they’re bad. Then, when it’s time to write your own novel, don’t do those things. Sounds simple, doesn’t it? That’s because it is. I just wish more people would do it.
Jean Hanff Korelitz is the author of the novels YOU SHOULD HAVE KNOWN (adapted for HBO as "The Undoing" by David E. Kelley, and starring Nicole Kidman, Hugh Grant and Donald Sutherland), ADMISSION (adapted as the 2013 film starring Tina Fey), THE DEVIL AND WEBSTER, THE WHITE ROSE, THE SABBATHDAY RIVER and A JURY OF HER PEERS. A new novel, THE PLOT, was published on May 11th 2021. Her company BOOKTHEWRITER hosts "Pop-Up Book Groups" in NYC, where small groups of readers can discuss new books with their authors. www.bookthewriter.com
#nanowrimo#writing#amwriting#plot#camp nanowrimo#writing advice#by nano sponsor#jean hanff korelitz#the plot
45 notes
·
View notes
Text
Noticias de series de la semana
Renovaciones
The CW ha renovado Superman & Lois por una segunda temporada
FOX ha renovado The Simpsons por una trigésimo tercera y trigésimo cuarta temporada
ITV ha renovado Finding Alice por una segunda temporada
Cancelaciones
La tercera temporada de Pose (FX) será la última
CBC ha cancelado Frankie Drake Mysteries tras su cuarta temporada
Noticias cortas
Chelsea Harris (Sykes) será regular en la tercera temporada de Snowpiercer.
Fichajes
Sissy Spacek (Castle Rock, Carrie) y Ed O'Neill (Modern Family, Married with Children) protagonizarán Lightyears. Serán Irene y Franklin, una profesora de inglés jubilada y un carpintero que llevan décadas ocultando un portal a un extraño planeta desierto en su patio trasero.
Mandy Patinkin (Homeland, The Princess Bride) se une como regular a la quinta temporada de The Good Fight. Será Hal Wackner, alguien que abre un juzgado en la parte de atrás de una copistería sin tener formación jurídica.
Edie Falco (The Sopranos, Nurse Jackie) será Hillary Clinton en Impeachment, la tercera temporada de American Crime Story.
Ray Liotta (Shades of Blue, Goodfellas) será Big Jim, el padre de Jimmy (Taron Egerton), en In With the Devil.
Indira Varma (Game of Thrones, Luther) se une a Obi-Wan Kenobi. Se desconocen detalles.
Constance Wu (Fresh Off the Boat, Hustlers), Riley Keough (The Girlfriend Experience, The House That Jack Built) y Jeanne Tripplehorn (Big Love, Criminal Minds) serán Katie Buranek, corresponsal de guerra; Lauren Reece, triatleta de élite y esposa de James (Chris Pratt); y Lorraine Hartley, la primera mujer secretaria de Defensa; en The Terminal List.
Dakota Fanning (The Alienist, I Am Sam) será Susan Ford, la hija de Betty Ford (Michelle Pfeiffer), en The First Lady.
Timothy Spall (Harry Potter, Sweeney Todd) protagonizará Magpie Murders junto a Lesley Manville. Será el detective Atticus Pünd.
Devon Sawa (Final Destination, Casper) se une como recurrente a Chucky, en la que Jennifer Tilly volverá a interpretar a Tiffany Valentine. Zackary Arthur (Transparent, Kidding), Teo Briones (Ratched, Pretty Little Liars), Alyvia Ayn Lind (Daybreak, Masters of Sex) y Björgvin Arnarson serán regulares en los papeles de Jake Webber, un adolescente solitario que busca su sitio tras la muerte de su madre; Junior Webber, el primo de Jake y opuesto a él; Lexy Taylor, la princesita del instituto, novia de Junior y principal acosadora de Jake; y Devon Lopez, el típico vecino fan de los true crime.
Geoff Stults (Enlisted, Little Fires Everywhere), Tiya Sircar (The Good Place), Alanna Ubach (Euphoria, Girlfriends' Guide to Divorce), Laurie Davidson (Will, Cats), Andre Hyland y Jules Latimer estarán en Guilty Party junto a Kate Beckinsale. Serán Marco, el marido de Beth (Beckinsale); Fiona, socia de Beth; Tessa, una presentadora de noticias; George, un traficante de armas; y Toni, una joven sentenciada a 92 años de prisión sin libertad condicional por asesinar a su marido.
Alec Mapa (Ugly Betty, Devious Maids) protagonizará junto a Kelsey Grammer y Alec Baldwin la comedia de ABC sobre tres antiguos compañeros de piso que vuelven a reunirse. Será Andre, un hombre gay muy empático que funcionaba como pacificador ante Channing (Baldwin) y London (Grammer) mientras busca el éxito romántico y profesional que hasta ahora no ha conseguido.
Eoin Macken (Merlin, The Night Shift) y Jack Martin protagonizarán La Brea junto a Natalie Zea y Zyra Gorecki sustituyendo a Michael Raymond-James y Caleb Ruminer. Formarán la familia Harris. También se unen a la serie Jon Seda (Chicago PD, Treme) y Veronica St. Clair, que ya participaron en el piloto, y Lily Santiago.
Mary Holland (Homecoming, Veep), Shelley Hennig (Teen Wolf, Dollface), Christina Anthony (Mixed-ish), Samsara Yett (The Flight Attendant), Cameron Britton (The Umbrella Academy, Mindhunter) y Benjamin Levy Aguilar (Filthy Rich) se unen a The Woman in the House. Serán Sloane, dueña de una galería de arte y amiga de Anna (Kristen Bell); Lisa, una chica dulce y sexy que puede esconder algo; la detective Lane; Emma, la adorable hija de nueve años de Neil (Tom Riley); Buell, el manitas de Anna; y Rex, alguien no muy brillante pero irresistible.
Dallas Roberts (Insatiable, The Good Wife), Clea Lewis (The Americans, Ellen) y Nicole Chanel Williams (Boomerang) serán recurrentes en American Rust como Jackson Berg, dueño de una farmacia preocupado por la proliferación de cadenas en tiempos de crisis; Jillian, una mujer baptista preocupada por qué pensará su marido de que ella y sus compañeras de la fábrica se quieran sindicar; y Jojo, una mujer que vive en la carretera y acoge a Isaac (David Alvarez).
Andrea Martin (Difficult People, Great News), Robert Ri'chard (One on One, Cousin Skeeter), Juani Feliz, Kate Rockwell y Sullivan Jones (The Looming Tower) se unen como recurrentes a Harlem.
Michael James Shaw (Blood & Treasure, Limitless) se une como regular a la undécima y última temporada de The Walking Dead. Será Mercer, que en los cómics es un marine que se relaciona románticamente con Juanita (Paola Lázaro).
Theo Rossi (Sons of Anarchy, Luke Cage) se une como regular a True Story. Será Gene, un fan muy entusiasta de The Kid (Kevin Hart).
Catherine Haena Kim (FBI, Ballers) y Craig Parker (Charmed, Reign) serán recurrentes en la tercera temporada de Good Trouble como Nicolette Baptiste, una abogada de la oficina del fiscal del distrito; y Yuri Elwin, un artista de perfil alto que necesita un becario.
Conrad Khan (The Huntsman: Winter's War, County Lines) se une a la sexta y última temporada de Peaky Blinders. Se desconocen detalles.
Sarah Niles (Catastrophe, I May Destroy You) se une como regular a la segunda temporada de Ted Lasso. Será Sharon, psicóloga deportiva que comienza a trabajar para el AFC Richmond.
Matthew Sato (Chicken Girls, Save Me) y Emma Meisel (American Horror Story) se unen como regulares a Doogie Kamealoha, M.D. Serán Kia y Steph, el hermano y la mejor amiga de Lahela (Peyton Elizabeth Lee). Ronny Chieng (The Daily Show, Crazy Rich Asians) será recurrente como un cirujano cardíaco.
Momo Rodríguez (La Chamba) se une como recurrente a la tercera temporada de Mayans MC. No se conocen más detalles.
Thom Scott II (American Soul) será recurrente en la quinta temporada de Saints & Sinners como el doctor Ross, un médico talentoso especializado en procedimientos experimentales pioneros para asegurar tratamientos exitosos por cualquier medio.
Jess Schine se une a Long Slow Exhale como regular. Será Eddie Hagen, ayudante de la entrenadora (Rose Rollins).
Pósters
Nuevas series
Apple TV+ ha encargado ocho episodios de Roar, antología con historias independientes contadas desde un punto de vista femenino. Protagonizada por Nicole Kidman (Big Little Lies, The Hours), Cynthia Erivo (Harriet, Genius: Aretha), Merritt Wever (Nurse Jackie, Unbelievable) y Alison Brie (GLOW, Community). Basada en el libro de historias cortas de Cecelia Ahern (2018). Creada, escrita y producida por Liz Flahive (GLOW, Nurse Jackie) y Carly Mensch (GLOW, Weeds). Producen Kidman (Big Little Lies, The Undoing), Bruna Papandrea (Big Little Lies, The Undoing), Steve Hutensky (Queen America, Nine Perfect Strangers) y Allie Goss (The Crown, Daredevil).
Netflix adaptará The Talisman, la novela de Stephen King (1984), en la que un chico de 12 años comienza un viaje de costa a costa para encontrar un cristal que podría salvar a su madre moribunda. Escrita por Curtis Gwinn (Stranger Things, The Walking Dead) y producida por Steven Spielberg (The Goonies, Back to the Future) y los hermanos Duffer (Stranger Things).
Gugu Mbatha-Raw (The Morning Show, Miss Sloane) y David Oyelowo (Selma, Nightingale) protagonizarán The Girl Before en HBO Max y BBC One. Jane (Mbatha-Raw) tiene la oportunidad de vivir en una bonita casa minimalista diseñada por un enigmático arquitecto (Oyelowo) a cambio de seguir unas estrictas normas en toda la calle que no permiten los libros, las fotos o el desorden. Jane cree que la casa la está cambiando y descubre qué le ocurrió a la chica que vivió allí antes que ella. Creada, escrita y producida por J.P. Delaney y basada en su propia novela (2016) y dirigida por Lisa Brühlmann (Killing Eve, Servant). Cuatro episodios.
Netflix encarga diez episodios de una comedia multicámara centrada en Chelsea (Emily Osment; Young & Hungry, Hannah Montana), una altanera e ingeniosa intelectual sin habilidades sociales para vivir en el mundo real que se ve obligada a vivir con su despreocupada y jovial hermana y sus amigos, uno de ellos Grant (Gregg Sulkin; Runaways, Wizards of Waverly Place), un dulce y romántico entrenador personal. Creada, escrita y producida por Jack Dolgen (Crazy Ex-Girlfriend, Diary of a Future President) y Doug Mand (How I Met Your Mother, Crazy Ex-Girlfriend). Producida por Kourtney Kang (How I Met Your Mother, Fresh Off the Boat) y dirigida por Pamela Fryman (How I Met Your Mother, Frasier).
Shira Haas (Unorthodox, Shtisel) interpretará a Golda Meir, la primera y única primera ministra mujer de Israel, en el drama Lioness. Basada en el libro de Francine Klagsbrun (2017), escrita por Eric Tuchman (The Handmaid's Tale, Kyle XY), dirigida por Mimi Leder (The Morning Show, The Leftovers) y producida por Barbra Streisand (A Star Is Born), Nina Tassler y Denise Di Novi (Ed Wood, Edward Scissorhands).
Amazon encarga The Devil's Hour, thriller británico sobre una mujer que se despierta cada día a las 3:33 de la mañana. Su hijo de ocho años es retraído y falto de emociones, su madre habla con sillas vacías y su casa está encantada. Ahora su nombre está inexplicablemente conectado a una serie de brutales asesinatos en la zona. Escrita por Tom Moran (The Feed, White Rabbit), dirigida por Johnny Allan (The Irregulars) y producida por Steven Moffat (Sherlock, Doctor Who).
Disney+ adaptará We Begin at the End, la novela de Chis Whitaker (2020) que sigue la relación entre Vincent King, un convicto que sale de prisión treinta años después de haber matado a una niña de siete años; Duchess Ray Radley, la sobrina de trece años de la víctima; y el jefe de policía de un pequeño pueblo de California cuyo testimonio envió a Vincent a prisión aunque era su mejor amigo. Producida por Thomas Kail (Hamilton) y Jennifer Todd (City on a Hill).
Netflix encarga una serie de animación de Asterix & Obelix basada en el libro 'Le combat des chefs'. Dirigida por Alain Chabat (Asterix & Obelix: Mission Cleopatra).
Apple TV+ encarga Dr. Brain, adaptación de acción real de la historieta digital coreana que sigue a un científico (Lee Sun-kyun, Parasite) obsesionado con encontrar nuevas tecnologías para acceder a la consciencia y los recuerdos cuya familia sufre un misterioso accidente. Utilizará sus habilidades para acceder a los recuerdos de su esposa para entender qué ocurrió y por qué. Escrita, dirigida y producida por Kim Jee-woon (Mil-jeong).
David Simon (The Wire, Treme) y George Pelecanos (The Wire, Treme) escribirán y producirán We Own This City, limited series de HBO que cuenta la historia real de la unidad de rastreo de armas de la policía de Baltimore. Basada en el libro del periodista Justin Fenton (2021).
Starz prepara un revival de Party Down con el regreso de actores y productores. Seis episodios.
IMDb TV encarga un spin-off de Bosch en el que Harry Bosch (Titus Welliver) se embarca en el siguiente capítulo de su carrera y trabaja junto a su antiguo enemigo Honey "Money" Chandler (Mimi Rogers) para encontrar justicia. Volverá también Madison Lintz en el papel de Maddie Bosch.
ITV ha encargado cuatro episodios de The Thief, His Wife and the Canoe, un drama true crime sobre John Darwin, el funcionario de prisiones que fingió su muerte en un accidente con una canoa en 2002 para estafar a compañías de seguros. Anne, su esposa, denunció su desaparición en la costa de Cleveland, Inglaterra, y mintió incluso a sus hijos. Basado en un manuscrito no publicado del periodista David Leigh, que encontró y entrevistó a Anne en Panamá. Escrita y producida por Chris Lang (Unforgotten, Dark Heart) y dirigida por Richard Laxton (Mrs. Wilson, Him & Her).
ABC Signature ha adquirido Sitting Pretty: The View from My Ordinary Resilient Disabled Body, las memorias de Rebekah Taussig (2020), para su adaptación televisiva. Trata sobre una chica paralítica que creció en los noventa sin referentes adecuados en la ficción que retratasen su discapacidad como algo complejo y ordinario, incómodo y bello, doloroso y enriquecedor, y que quiere reflejar las complicaciones de la amabilidad y la caridad, vivir de forma dependiente e independiente, experimentar intimidad y cómo la omnipresencia del capacitismo en los medios de comunicación y las redes sociales se traslada directamente a la vida diaria. Escrita y producida por Taussig y dirigida y producida por Randall Einhorn (The Office, Parks and Recreation).
Fechas
Calls se estrena en Apple TV+ el 19 de marzo
La 1ª parte de la sexta y última temporada de Supergirl se estrena en The CW el 30 de marzo
La 4ª temporada de No Activity, que será de animación, se estrena en Paramount+ el 8 de abril
La tercera y última temporada de Pose se estrena en FX el 2 de mayo
La 2ª parte de la primera temporada de Ghostwriter se estrena en Apple TV+ el 2 de mayo
La segunda temporada de Duncanville se estrena en FOX el 23 de mayo
Housebroken se estrena en FOX el 31 de mayo
Tráilers y promos
Made for Love
youtube
Queen of the South - Temporada 5
youtube
Animal Kingdom - Temporada 5
youtube
No Activity - Temporada 4
youtube
Lupin - Parte 2
youtube
9 notes
·
View notes
Text
MANK part en tête d’une course aux Oscars bien bizarre
Je me suis réveillé tantôt, j'ai parti la cafetière, puis en checkant Twitter, je me suis dit: "Ah oui, c'est vrai, les nominations des Oscars ont été dévoilées."
C’est la première année depuis une éternité où je ne suis pas au poste au moment où les nominations des Oscars sont annoncées. Je l’ai déjà dit, mais je suis assez désinteressé cette année par cette course aux remises de prix où sont honorés des films que presque personne n’a pu voir sur grand écran, pandémie oblige.
Oui, il y a d’excellents films en lice, comme Nomadland, Sound of Metal et Promising Young Woman. Il y en a aussi que je vais essayer de voir prochainement, Minari notamment. Mais je n’ai pas l’impression qu’il y ait de gros titres qui ont enflammé la planète cinéma comme par exemple Parasite, Once Upon a Time... in Hollywood ou même le divisif Joker l’an dernier.
J’ai vu Mank de David Fincher sur Netflix, j’ai trouvé ça correct, mais c’est loin d’être un film marquant pour moi. Je reviens quand même sur Nomadland, un de mes préférés de 2020 (même s’il ne sortira techniquement pas en salle au Québec avant avril 2021) - ce sera un bon moment de voir Chloé Zhao probablement remporter l’Oscar de la Meilleure réalisation. Il y a plein d’actrices et d’acteurs talentueux qui sont en nomination. Je serais content que Trent Reznor & Atticus Ross soient récompensés pour la musique de Soul. Je trouve ça plate que TENET de Christopher Nolan ait presque été complètement ignoré.
Mais dans l’ensemble, je suis assez indifférent face à tout ça. Je vais sûrement regarder le gala quand même, en espérant que ce ne soit pas un désastre avec des fenêtres Zoom comme les Golden Globes...
Best motion picture of the year
“The Father” David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers
“Judas and the Black Messiah” Shaka King, Charles D. King and Ryan Coogler, Producers
“Mank” Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers
“Minari” Christina Oh, Producer
“Nomadland” Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, Producers
“Promising Young Woman” Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
“Sound of Metal” Bert Hamelinck and Sacha Ben Harroche, Producers
“The Trial of the Chicago 7” Marc Platt and Stuart Besser, Producers
Achievement in directing
“Another Round” Thomas Vinterberg
“Mank” David Fincher
“Minari” Lee Isaac Chung
“Nomadland” Chloé Zhao
“Promising Young Woman” Emerald Fennell
Performance by an actor in a leading role
Riz Ahmed in “Sound of Metal”
Chadwick Boseman in “Ma Rainey’s Black Bottom”
Anthony Hopkins in “The Father”
Gary Oldman in “Mank”
Steven Yeun in “Minari”
Performance by an actor in a supporting role
Sacha Baron Cohen in “The Trial of the Chicago 7”
Daniel Kaluuya in “Judas and the Black Messiah”
Leslie Odom, Jr. in “One Night in Miami…”
Paul Raci in “Sound of Metal”
Lakeith Stanfield in “Judas and the Black Messiah”
Performance by an actress in a leading role
Viola Davis in “Ma Rainey’s Black Bottom”
Andra Day in “The United States vs. Billie Holiday”
Vanessa Kirby in “Pieces of a Woman”
Frances McDormand in “Nomadland”
Carey Mulligan in “Promising Young Woman”
Performance by an actress in a supporting role
Maria Bakalova in “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan”
Glenn Close in “Hillbilly Elegy”
Olivia Colman in “The Father”
Amanda Seyfried in “Mank”
Yuh-Jung Youn in “Minari”
Adapted screenplay
“Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan” Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
“The Father” Screenplay by Christopher Hampton and Florian Zeller
“Nomadland” Written for the screen by Chloé Zhao
“One Night in Miami…” Screenplay by Kemp Powers
“The White Tigers” Written for the screen by Ramin Bahrani
Original screenplay
“Judas and the Black Messiah” Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
“Minari” Written by Lee Isaac Chung
“Promising Young Woman” Written by Emerald Fennell
“Sound of Metal” Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance
“The Trial of the Chicago 7” Written by Aaron Sorkin
Best international feature film of the year
“Another Round” Denmark
“Better Days” Hong Kong
“Collective” Romania
“The Man Who Sold His Skin” Tunisia
“Quo Vadis, Aida?” Bosnia and Herzegovina
Best animated feature film of the year
“Onward” Dan Scanlon and Kori Rae
“Over the Moon” Glen Keane, Gennie Rim and Peilin Chou
“A Shaun the Sheep Movie: Farmageddon” Richard Phelan, Will Becher and Paul Kewley
“Soul” Pete Docter and Dana Murray
“Wolfwalkers” Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants
Best documentary feature
“Collective” Alexander Nanau and Bianca Oana
“Crip Camp” Nicole Newnham, Jim LeBrecht and Sara Bolder
“The Mole Agent” Maite Alberdi and Marcela Santibáñez
“My Octopus Teacher” Pippa Ehrlich, James Reed and Craig Foster
“Time” Garrett Bradley, Lauren Domino and Kellen Quinn
Achievement in cinematography
“Judas and the Black Messiah” Sean Bobbitt
“Mank” Erik Messerschmidt
“News of the World” Dariusz Wolski
“Nomadland” Joshua James Richards
“The Trial of the Chicago 7” Phedon Papamichael
Achievement in film editing
“The Father” Yorgos Lamprinos
“Nomadland” Chloé Zhao
“Promising Young Woman” Frédéric Thoraval
“Sound of Metal” Mikkel E. G. Nielsen
“The Trial of the Chicago 7” Alan Baumgarten
Achievement in music written for motion pictures (Original score)
“Da 5 Bloods” Terence Blanchard
“Mank” Trent Reznor and Atticus Ross
“Minari” Emile Mosseri
“News of the World” James Newton Howard
“Soul” Trent Reznor, Atticus Ross and Jon Batiste
Achievement in production design
“The Father” Production Design: Peter Francis; Set Decoration: Cathy Featherstone
“Ma Rainey’s Black Bottom” Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
“Mank” Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
“News of the World” Production Design: David Crank; Set Decoration: Elizabeth Keenan
“Tenet” Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
Achievement in costume design
“Emma” Alexandra Byrne
“Ma Rainey’s Black Bottom” Ann Roth
“Mank” Trish Summerville
“Mulan” Bina Daigeler
“Pinocchio” Massimo Cantini Parrini
Achievement in sound
“Greyhound” Warren Shaw, Michael Minkler, Beau Borders and David Wyman
“Mank” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
“News of the World” Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
“Soul” Ren Klyce, Coya Elliott and David Parker
“Sound of Metal” Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh
Achievement in makeup and hairstyling
“Emma” Marese Langan, Laura Allen and Claudia Stolze
“Hillbilly Elegy” Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
“Ma Rainey’s Black Bottom” Sergio Lopez-Rivera, Mia Neal and Jamika Wilson
“Mank” Gigi Williams, Kimberley Spiteri and Colleen LaBaff
“Pinocchio” Mark Coulier, Dalia Colli and Francesco Pegoretti
Achievement in visual effects
“Love and Monsters” Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
“The Midnight Sky” Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
“Mulan” Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
“The One and Only Ivan” Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
“Tenet” Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
Best documentary short film
“Colette” Anthony Giacchino and Alice Doyard
“A Concerto Is a Conversation” Ben Proudfoot and Kris Bowers
“Do Not Split” Anders Hammer and Charlotte Cook
“Hunger Ward” Skye Fitzgerald and Michael Scheuerman
“A Love Song for Latasha” Sophia Nahli Allison and Janice Duncan
Best animated short film
“Burrow” Madeline Sharafian and Michael Capbarat
“Genius Loci” Adrien Mérigeau and Amaury Ovise
“If Anything Happens I Love You” Will McCormack and Michael Govier
“Opera” Erick Oh
“Yes-People” Gísli Darri Halldórsson and Arnar Gunnarsson
Best live action short film
“Feeling Through” Doug Roland and Susan Ruzenski
“The Letter Room” Elvira Lind and Sofia Sondervan
“The Present” Farah Nabulsi
“Two Distant Strangers” Travon Free and Martin Desmond Roe
“White Eye” Tomer Shushan and Shira Hochman
Achievement in music written for motion pictures (Original song)
“Fight For You” from “Judas and the Black Messiah”
Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
“Hear My Voice” from “The Trial of the Chicago 7”
Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
“Husavik” from “Eurovision Song Contest: The Story of Fire Saga”
Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson
“Io Sì (Seen)” from “The Life Ahead (La Vita Davanti a Se)”
Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
“Speak Now” from “One Night in Miami…”
Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
3 notes
·
View notes
Text
93rd Academy Awards: The List.
Best Picture
· Nomadland – Mollye Asher, Dan Janvey, Frances McDormand, Peter Spears and Chloé Zhao
o The Father – Philippe Carcassonne, Jean-Louis Livi and David Parfitt
o Judas and the Black Messiah – Ryan Coogler, Charles D. King and Shaka King
o Mank – Ceán Chaffin, Eric Roth and Douglas Urbanski
o Minari – Christina Oh
o Promising Young Woman – Ben Browning, Emerald Fennell, Ashley Fox and Josey McNamara
o Sound of Metal – Bert Hamelinck and Sacha Ben Harroche
o The Trial of the Chicago 7 – Stuart M. Besser and Marc Platt
Best Director
· Chloé Zhao – Nomadland
o Thomas Vinterberg – Another Round
o David Fincher – Mank
o Lee Isaac Chung – Minari
o Emerald Fennell – Promising Young Woman
Best Actor
· Anthony Hopkins – The Father as Anthony
· Riz Ahmed – Sound of Metal as Ruben Stone
· Chadwick Boseman (posthumous) – Ma Rainey's Black Bottom as Levee Green
Gary Oldman – Mank as Herman J. Mankiewicz
· Steven Yeun – Minari as Jacob Yi
Best Actress
· Frances McDormand – Nomadland as Fern
o Viola Davis – Ma Rainey's Black Bottom as Ma Rainey
o Andra Day – The United States vs. Billie Holiday as Billie Holiday
o Vanessa Kirby – Pieces of a Woman as Martha Weiss
o Carey Mulligan – Promising Young Woman as Cassandra "Cassie" Thomas
Best Supporting Actor
· Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton
o Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman
o Leslie Odom Jr. – One Night in Miami... as Sam Cooke
o Paul Raci – Sound of Metal as Joe
o Lakeith Stanfield – Judas and the Black Messiah as William "Bill" O'Neal
Best Supporting Actress
· Youn Yuh-jung – Minari as Soon-ja
o Maria Bakalova – Borat Subsequent Moviefilm as Tutar Sagdiyev
o Glenn Close – Hillbilly Elegy as Bonnie "Mamaw" Vance
o Olivia Colman – The Father as Anne
o Amanda Seyfried – Mank as Marion Davies
Best Original Screenplay
· Promising Young Woman – Emerald Fennell
o Judas and the Black Messiah – Screenplay by Will Berson and Shaka King; Story by Berson, King, Keith Lucas and Kenny Lucas
o Minari – Lee Isaac Chung
o Sound of Metal – Screenplay by Abraham Marder and Darius Marder; Story by Derek Cianfrance and D. Marder
o The Trial of the Chicago 7 – Aaron Sorkin
Best Adapted Screenplay
· The Father – Christopher Hampton and Florian Zeller, based on the play by Zeller
o Borat Subsequent Moviefilm – Screenplay by Sacha Baron Cohen, Peter Baynham, Jena Friedman, Anthony Hines, Lee Kern, Dan Mazer, Erica Rivinoja and Dan Swimer; Story by Baron Cohen, Hines, Nina Pedrad and Swimer; Based on the character by Baron Cohen
o Nomadland – Chloé Zhao, based on the book by Jessica Bruder
o One Night in Miami... – Kemp Powers, based on his play
o The White Tiger – Ramin Bahrani, based on the novel by Aravind Adiga
Best Animated Feature Film
· Soul – Pete Docter and Dana Murray
o Onward – Dan Scanlon and Kori Rae
o Over the Moon – Peilin Chou, Glen Keane, and Gennie Rin
o A Shaun the Sheep Movie: Farmageddon – Will Becher, Paul Kewley, and Richard Phelan
o Wolfwalkers – Tomm Moore, Stéphan Roelants, Ross Stewart and Paul Young
Best International Feature Film
· Another Round (Denmark) in Danish – directed by Thomas Vinterberg
o Better Days (Hong Kong) in Mandarin – directed by Derek Tsang
o Collective (Romania) in Romanian – directed by Alexander Nanau
o The Man Who Sold His Skin (Tunisia) in Arabic – directed by Kaouther Ben Hania
o Quo Vadis, Aida? (Bosnia and Herzegovina) in Bosnian – directed by Jasmila Žbanić
Best Documentary Feature
· My Octopus Teacher – Pippa Ehrlich, Craig Foster and James Reed
o Collective – Alexander Nanau and Bianca Oana
o Crip Camp – Sara Bolder, Jim LeBrecht and Nicole Newnham
o The Mole Agent – Maite Alberdi and Marcela Santibáñez
o Time – Garrett Bradley, Lauren Domino and Kellen Quinn
Best Documentary Short Subject
· Colette – Alice Doyard and Anthony Giacchino
o A Concerto Is a Conversation – Kris Bowers and Ben Proudfoot
o Do Not Split – Charlotte Cook and Anders Hammer
o Hunger Ward – Skye Fitzgerald and Michael Shueuerman
o A Love Song for Latasha – Sophia Nahali Allison and Janice Duncan
Best Live Action Short Film
· Two Distant Strangers – Travon Free and Martin Desmond Roe
o Feeling Through – Doug Roland and Susan Ruzenski
o The Letter Room – Elvira Lind and Sofia Sondervan
o The Present – Ossama Bawardi and Farah Nabulsi
o White Eye – Shira Hochman and Tomer Shushan
Best Animated Short Film
· If Anything Happens I Love You – Michael Govier and Will McCormack
o Burrow – Michael Capbarat and Madeline Sharafian
o Genius Loci – Adrien Mérigeau and Amaury Ovise
o Opera – Erick Oh
o Yes-People – Arnar Gunnarsson and Gísli Darri Halldórsson
Best Original Score
· Soul – Trent Reznor, Atticus Ross and Jon Batiste
o Da 5 Bloods – Terence Blanchard
o Mank – Trent Reznor and Atticus Ross
o Minari – Emile Mosseri
o News of the World – James Newton Howard
Best Original Song
· "Fight for You" from Judas and the Black Messiah – Music by D'Mile and H.E.R.; lyric by H.E.R. and Tiara Thomas
o "Hear My Voice" from The Trial of the Chicago 7 – Music by Daniel Pemberton; lyric by Celeste and Pemberton
o "Husavik" from Eurovision Song Contest: The Story of Fire Saga – Music and lyric by Rickard Göransson, Fat Max Gsus and Savan Kotecha
o "Io sì (Seen)" from The Life Ahead – Music by Diane Warren; lyric by Laura Pausini and Warren
o "Speak Now" from One Night in Miami... – Music and lyric by Sam Ashworth and Leslie Odom Jr.
Best Sound
· Sound of Metal – Jaime Baksht, Nicolas Becker, Philip Bladh, Carlos Cortés and Michelle Couttolenc
o Greyhound – Beau Borders, Michael Minkler, Warren Shaw and David Wyman
o Mank – Ren Klyce, Drew Kunin, Jeremy Molod, Nathan Nance and David Parker
o News of the World – William Miller, John Pritchett, Mike Prestwood Smith and Oliver Tarney
o Soul – Coya Elliot, Ren Klyce and David Parker
Best Production Design
· Mank – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
o The Father – Production Design: Peter Francis; Set Decoration: Cathy Featherstone
o Ma Rainey's Black Bottom – Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Stoughton
o News of the World – Production Design: David Crank; Set Decoration: Elizabeth Keenan
o Tenet – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
Best Cinematography
· Mank – Erik Messerschmidt
o Judas and the Black Messiah – Sean Bobbitt
o News of the World – Dariusz Wolski
o Nomadland – Joshua James Richards
o The Trial of the Chicago 7 – Phedon Papamichael
Best Makeup and Hairstyling
· Ma Rainey's Black Bottom – Sergio Lopez-Rivera, Mia Neal and Jamika Wilson
o Emma. – Laura Allen, Marese Langan and Claudia Stolze
o Hillbilly Elegy – Patricia Dehaney, Eryn Krueger Mekash and Matthew W. Mungle
o Mank – Colleen LaBaff, Kimberley Spiteri and Gigi Williams
o Pinocchio – Dalia Colli, Mark Coulier and Francesco Pegoretti
Best Costume Design
· Ma Rainey's Black Bottom – Ann Roth
o Emma. – Alexandra Byrne
o Mank – Trish Summerville
o Mulan – Bina Daigeler
o Pinocchio – Massimo Cantini Parrini
Best Film Editing
· Sound of Metal – Mikkel E.G. Nielsen
o The Father – Yorgos Lamprinos
o Nomadland – Chloé Zhao
o Promising Young Woman – Frédéric Thoraval
o The Trial of the Chicago 7 – Alan Baumgarten
Best Visual Effects
· Tenet – Scott R. Fisher, Andrew Jackson, David Lee and Andrew Lockley
o Love and Monsters – Genevieve Camailleri, Brian Cox, Matt Everitt and Matt Sloan
o The Midnight Sky – Matthew Kasmir, Chris Lawrence, Max Solomon and David Watkins
o Mulan – Sean Andrew Faden, Steve Ingram, Anders Langlands and Seth Maury
o The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
2 notes
·
View notes
Text
T'was the night before the Oscars...
Here we are again. The final stab at a decent award show ceremony amidst a global pandemic. I'm not getting my hopes up after the Golden Globes and SAG zoom calls, in fact I've read very little about the upcoming ceremonies since they announced they would not be using zoom... and then promptly reversed that decision.
It would seem no matter how late we delay the Oscars, I still find myself the night before the show scrambling to watch all the Best Picture nominees. It also hasn't slipped my mind all the promises I'd made to discuss my top films of 2020 and the things I would not have seen if not for this global catastrophe. Having had a number of conversations with fellow cinephiles, many have also found themselves very unenthused about award season contenders, dramatic pictures or anything with heavier content so to speak, or even movies in general. The struggle to concentrate is real.
I'm going to get right into my list of predictions with the caveats that I have yet to see Sound of Metal, and I have to watch the second half of Judas and the Black Messiah after I hit 'post' here. You will find as we go through, there's lots more I haven't seen.
Best Picture
“The Father”
“Judas and the Black Messiah”
“Mank”
“Minari”
“Nomadland” - Will win
“Promising Young Woman” - Should win (though I liked Nomadland very much as well)
“Sound of Metal”
“The Trial of the Chicago 7”
Best Director
Thomas Vinterberg (“Another Round”)
David Fincher (“Mank”) - excellent director but I actually don't think he left his mark on Mank as much as he did many of his other films, I've questioned previously whether he should have gotten the nomination
Lee Isaac Chung (“Minari”)
Chloé Zhao (“Nomadland”) - Will win/should win
Emerald Fennell (“Promising Young Woman”)
Best Actor in a Leading Role - very strong contenders all around in this category, every one of them (I'm sure I'll have the same reaction about Riz Ahmed) made me say "holy shit" in amazement out loud
Riz Ahmed (“Sound of Metal”)
Chadwick Boseman (“Ma Rainey’s Black Bottom”) - Will win/should win
Anthony Hopkins (“The Father”)
Gary Oldman (“Mank”)
Steven Yeun (“Minari”)
Best Actress in a Leading Role
Viola Davis (“Ma Rainey’s Black Bottom”) - I think if not Andra Day, then Viola will win it
Andra Day (“The United States v. Billie Holiday”) - Will win?/should win
Vanessa Kirby (“Pieces of a Woman”)
Frances McDormand (“Nomadland”)
Carey Mulligan (“Promising Young Woman”)
Best Actor in a Supporting Role
Sacha Baron Cohen (“The Trial of the Chicago 7”) - I think he's also got a decent shot in this category
Daniel Kaluuya (“Judas and the Black Messiah”) - Will win/should win
Leslie Odom Jr. (“One Night in Miami”)
Paul Raci (“Sound of Metal”)
Lakeith Stanfield (“Judas and the Black Messiah”)
Best Actress in a Supporting Role
Maria Bakalova (‘Borat Subsequent Moviefilm”) - truth be told I didn't think her performance was so great that she should get an Oscar nomination for it
Glenn Close (“Hillbilly Elegy”)
Olivia Colman (“The Father”) - another potentially unpopular comment... while I think Olivia Colman is one of the best actresses and most delightful people in existence, given her range and talent I don't she particularly excelled in The Father to make it an Oscar-worthy performance.
Amanda Seyfried (“Mank”)
Yuh-jung Youn (“Minari”) - Will win/should win
Best Animated Feature Film - I only saw one film so I have no basis for comparison
“Onward” (Pixar)
“Over the Moon” (Netflix)
“A Shaun the Sheep Movie: Farmageddon” (Netflix)
“Soul” (Pixar) - will win
“Wolfwalkers” (Apple TV Plus/GKIDS)
Best Adapted Screenplay
“Borat Subsequent Moviefilm.” Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, Lee Kern; Story by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Nina Pedrad
“The Father,” Christopher Hampton and Florian Zeller - should win...and will win?
“Nomadland,” Chloé Zhao
“One Night in Miami,” Kemp Powers - might also win?
“The White Tiger,” Ramin Bahrani
Best Original Screenplay
“Judas and the Black Messiah.” Screenplay by Will Berson, Shaka King; Story by Will Berson, Shaka King, Kenny Lucas, Keith Lucas
“Minari,” Lee Isaac Chung
“Promising Young Woman,” Emerald Fennell - 50/50 will win/definitely should win tho!
“Sound of Metal.” Screenplay by Darius Marder, Abraham Marder; Story by Darius Marder, Derek Cianfrance
“The Trial of the Chicago 7,” Aaron Sorkin - 50/50 will win... I really didn't get onboard this movie, but I will say the script was the best thing about it
Best Original Song - I'm not even going to venture a guess...
“Fight for You,” (“Judas and the Black Messiah”). Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
“Hear My Voice,” (“The Trial of the Chicago 7”). Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
“Húsavík,” (“Eurovision Song Contest”). Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson
“Io Si (Seen),” (“The Life Ahead”). Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
“Speak Now,” (“One Night in Miami”). Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
Best Original Score - I actually didn't think much of any of the scores in any of the films I've seen in 2020...
“Da 5 Bloods,” Terence Blanchard
“Mank,” Trent Reznor, Atticus Ross
“Minari,” Emile Mosseri
“News of the World,” James Newton Howard
“Soul,” Trent Reznor, Atticus Ross, Jon Batiste - will win
Best Sound - I suspect it might be Sound of Metal but I haven't watched it yet. I've also not seen Greyhound.
“Greyhound,” Warren Shaw, Michael Minkler, Beau Borders and David Wyman
“Mank,” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
“News of the World,” Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
“Soul,” Ren Klyce, Coya Elliott and David Parker
“Sound of Metal,” Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh
Best Costume Design
“Emma,” Alexandra Byrne - will win
“Mank,” Trish Summerville
“Ma Rainey’s Black Bottom,” Ann Roth - should win
“Mulan,” Bina Daigeler - should also win
“Pinocchio,” Massimo Cantini Parrini
Best Animated Short Film - I didn't watch a single Oscar-nominated short this year
“Burrow” (Disney Plus/Pixar)
“Genius Loci” (Kazak Productions)
“If Anything Happens I Love You” (Netflix)
“Opera” (Beasts and Natives Alike)
“Yes-People” (CAOZ hf. Hólamói)
Best Live-Action Short Film - I didn't watch a single Oscar-nominated short this year
“Feeling Through”
“The Letter Room”
“The Present”
“Two Distant Strangers”
“White Eye”
Best Cinematography
“Judas and the Black Messiah,” Sean Bobbitt
“Mank,” Erik Messerschmidt - will win/should win
“News of the World,” Dariusz Wolski
“Nomadland,” Joshua James Richards
“The Trial of the Chicago 7,” Phedon Papamichael
Best Documentary Feature - I thought I watched a decent number of docs in 2020, but apparently not the right ones because I saw none of these.
“Collective,” Alexander Nanau and Bianca Oana
“Crip Camp,” Nicole Newnham, Jim LeBrecht and Sara Bolder
“The Mole Agent,” Maite Alberdi and Marcela Santibáñez
“My Octopus Teacher,” Pippa Ehrlich, James Reed and Craig Foster
“Time,” Garrett Bradley, Lauren Domino and Kellen Quinn
Best Documentary Short Subject - I didn't watch a single Oscar-nominated short this year
“Colette,” Anthony Giacchino and Alice Doyard
“A Concerto Is a Conversation,” Ben Proudfoot and Kris Bowers
“Do Not Split,” Anders Hammer and Charlotte Cook
“Hunger Ward,” Skye Fitzgerald and Michael Scheuerman
“A Love Song for Latasha,” Sophia Nahli Allison and Janice Duncan
Best Film Editing
“The Father,” Yorgos Lamprinos - 50/50 will win/should win
“Nomadland,” Chloé Zhao
“Promising Young Woman,” Frédéric Thoraval
“Sound of Metal,” Mikkel E.G. Nielsen
“The Trial of the Chicago 7,” Alan Baumgarten - 50/50 will win
Best International Feature Film
“Another Round” (Denmark) - will win
“Better Days” (Hong Kong) - should win (yes, because I'm biased, plus it's also the only other film aside from Another Round that I've seen in this category and I liked it a lot better, but also, just because it's very fine film)
“Collective” (Romania)
“The Man Who Sold His Skin” (Tunisia)
“Quo Vadis, Aida?”(Bosnia and Herzegovina)
Best Makeup and Hairstyling
“Emma,” Marese Langan, Laura Allen, Claudia Stolze - will win
“Hillbilly Elegy,” Eryn Krueger Mekash, Patricia Dehaney, Matthew Mungle
“Ma Rainey’s Black Bottom,” Sergio Lopez-Rivera, Mia Neal, Jamika Wilson - should win
“Mank,” Kimberley Spiteri, Gigi Williams, Colleen LaBaff
“Pinocchio,” Mark Coulier, Dalia Colli, Francesco Pegoretti
Best Production Design
“The Father.” Production Design: Peter Francis; Set Decoration: Cathy Featherstone - I don't think this is the best Production Design but I do think it's underrated what they did and that it should be recognized a different kind of creativity went into designing the sets for this film.
“Ma Rainey’s Black Bottom.” Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
“Mank.” Production Design: Donald Graham Burt; Set Decoration: Jan Pascale - will win? I do think the Production Design was spectacular...
“News of the World.” Production Design: David Crank; Set Decoration: Elizabeth Keenan
“Tenet.” Production Design: Nathan Crowley; Set Decoration: Kathy Lucas - should win
Best Visual Effects
“Love and Monsters,” Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
“The Midnight Sky,” Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
“Mulan,” Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
“The One and Only Ivan,” Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
“Tenet,” Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher - will win/should win... like why would it not win??
Ok, I wasn't very decisive in some of those categories and since I'm taking part in an Oscar pool I will have to make some choices and refine my selections before tomorrow. I will share my final Oscar pool pics, do my part bombarding everyone's twitter tomorrow evening, and review after the awards where it all went right/wrong.
4 notes
·
View notes
Text
Oscars 2021: lista completa de nominados
Tarde pero seguro. El próximo 25 de abril se entregarán las estatuillas más esperadas del cine; entre estrenos cancelados y cines transformados en salas de living y streming, llegarán finalmente los premios más ansiados por los amantes del séptimo arte.
- OSCAR NOMINATIONS 2021 -
Best Picture
THE FATHER
David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers
JUDAS AND THE BLACK MESSIAH
Shaka King, Charles D. King and Ryan Coogler, Producers
MANK
Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers
MINARI
Christina Oh, Producer
NOMADLAND
Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, Producers
PROMISING YOUNG WOMAN
Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
SOUND OF METAL
Bert Hamelinck and Sacha Ben Harroche, Producers
THE TRIAL OF THE CHICAGO 7
Marc Platt and Stuart Besser, Producers
Actor in a Leading Role
Riz Ahmed in SOUND OF METAL
Chadwick Boseman in MA RAINEY'S BLACK BOTTOM
Anthony Hopkins in THE FATHER
Gary Oldman in MANK
Steven Yeun in MINARI
Actor in a Supporting Role
Sacha Baron Cohen in THE TRIAL OF THE CHICAGO 7
Daniel Kaluuya in JUDAS AND THE BLACK MESSIAH
Leslie Odom, Jr. in ONE NIGHT IN MIAMI...
Paul Raci in SOUND OF METAL
Lakeith Stanfield in JUDAS AND THE BLACK MESSIAH
Actress in a Leading Role
Viola Davis in MA RAINEY'S BLACK BOTTOM
Andra Day in THE UNITED STATES VS. BILLIE HOLIDAY
Vanessa Kirby in PIECES OF A WOMAN
Frances McDormand in NOMADLAND
Carey Mulligan in PROMISING YOUNG WOMAN
Actress in a Supporting Role
Maria Bakalova in BORAT SUBSEQUENT MOVIEFILM: DELIVERY OF PRODIGIOUS BRIBE TO AMERICAN REGIME FOR MAKE BENEFIT ONCE GLORIOUS NATION OF KAZAKHSTAN
Glenn Close in HILLBILLY ELEGY
Olivia Colman in THE FATHER
Amanda Seyfried in MANK
Yuh-Jung Youn in MINARI
Animated Feature Film
ONWARD
Dan Scanlon and Kori Rae
OVER THE MOON
Glen Keane, Gennie Rim and Peilin Chou
A SHAUN THE SHEEP MOVIE: FARMAGEDDON
Richard Phelan, Will Becher and Paul Kewley
SOUL
Pete Docter and Dana Murray
WOLFWALKERS
Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants
Cinematography
JUDAS AND THE BLACK MESSIAH
Sean Bobbitt
MANK
Erik Messerschmidt
NEWS OF THE WORLD
Dariusz Wolski
NOMADLAND
Joshua James Richards
THE TRIAL OF THE CHICAGO 7
Phedon Papamichael
Costume Design
EMMA
Alexandra Byrne
MA RAINEY'S BLACK BOTTOM
Ann Roth
MANK
Trish Summerville
MULAN
Bina Daigeler
PINOCCHIO
Massimo Cantini Parrini
Directing
ANOTHER ROUND
Thomas Vinterberg
MANK
David Fincher
MINARI
Lee Isaac Chung
NOMADLAND
Chloé Zhao
PROMISING YOUNG WOMAN
Emerald Fennell
Documentary (Feature)
COLLECTIVE
Alexander Nanau and Bianca Oana
CRIP CAMP
Nicole Newnham, Jim LeBrecht and Sara Bolder
THE MOLE AGENT
Maite Alberdi and Marcela Santibáñez
MY OCTOPUS TEACHER
Pippa Ehrlich, James Reed and Craig Foster
TIME
Garrett Bradley, Lauren Domino and Kellen Quinn
Documentary (Short Subject)
COLETTE
Anthony Giacchino and Alice Doyard
A CONCERTO IS A CONVERSATION
Ben Proudfoot and Kris Bowers
DO NOT SPLIT
Anders Hammer and Charlotte Cook
HUNGER WARD
Skye Fitzgerald and Michael Scheuerman
A LOVE SONG FOR LATASHA
Sophia Nahli Allison and Janice Duncan
Film Editing
THE FATHER
Yorgos Lamprinos
NOMADLAND
Chloé Zhao
PROMISING YOUNG WOMAN
Frédéric Thoraval
SOUND OF METAL
Mikkel E. G. Nielsen
THE TRIAL OF THE CHICAGO 7
Alan Baumgarten
International Feature Film
ANOTHER ROUND
Denmark
BETTER DAYS
Hong Kong
COLLECTIVE
Romania
THE MAN WHO SOLD HIS SKIN
Tunisia
QUO VADIS, AIDA?
Bosnia and Herzegovina
Makeup and Hairstyling
EMMA
Marese Langan, Laura Allen and Claudia Stolze
HILLBILLY ELEGY
Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
MA RAINEY'S BLACK BOTTOM
Sergio Lopez-Rivera, Mia Neal and Jamika Wilson
MANK
Gigi Williams, Kimberley Spiteri and Colleen LaBaff
PINOCCHIO
Mark Coulier, Dalia Colli and Francesco Pegoretti
Music (Original Score)
DA 5 BLOODS
Terence Blanchard
MANK
Trent Reznor and Atticus Ross
MINARI
Emile Mosseri
NEWS OF THE WORLD
James Newton Howard
SOUL
Trent Reznor, Atticus Ross and Jon Batiste
Music (Original Song)
"Fight For You" from JUDAS AND THE BLACK MESSIAH
Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
"Hear My Voice" from THE TRIAL OF THE CHICAGO 7
Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
"Husavik" from EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA
Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson
"Io Sì (Seen)" from THE LIFE AHEAD (LA VITA DAVANTI A SE)
Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
"Speak Now" from ONE NIGHT IN MIAMI...
Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
Production Design
THE FATHER
Production Design: Peter Francis; Set Decoration: Cathy Featherstone
MA RAINEY'S BLACK BOTTOM
Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Stoughton
MANK
Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
NEWS OF THE WORLD
Production Design: David Crank; Set Decoration: Elizabeth Keenan
TENET
Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
Short Film (Animated)
BURROW
Madeline Sharafian and Michael Capbarat
GENIUS LOCI
Adrien Mérigeau and Amaury Ovise
IF ANYTHING HAPPENS I LOVE YOU
Will McCormack and Michael Govier
OPERA
Erick Oh
YES-PEOPLE
Gísli Darri Halldórsson and Arnar Gunnarsson
Short Film (Live Action)
FEELING THROUGH
Doug Roland and Susan Ruzenski
THE LETTER ROOM
Elvira Lind and Sofia Sondervan
THE PRESENT
Farah Nabulsi
TWO DISTANT STRANGERS
Travon Free and Martin Desmond Roe
WHITE EYE
Tomer Shushan and Shira Hochman
Sound
GREYHOUND
Warren Shaw, Michael Minkler, Beau Borders and David Wyman
MANK
Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
NEWS OF THE WORLD
Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
SOUL
Ren Klyce, Coya Elliott and David Parker
SOUND OF METAL
Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh
Visual Effects
LOVE AND MONSTERS
Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
THE MIDNIGHT SKY
Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
MULAN
Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
THE ONE AND ONLY IVAN
Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
TENET
Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
Writing (Adapted Screenplay)
BORAT SUBSEQUENT MOVIEFILM: DELIVERY OF PRODIGIOUS BRIBE TO AMERICAN REGIME FOR MAKE BENEFIT ONCE GLORIOUS NATION OF KAZAKHSTAN
Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
THE FATHER
Screenplay by Christopher Hampton and Florian Zeller
NOMADLAND
Written for the screen by Chloé Zhao
ONE NIGHT IN MIAMI...
Screenplay by Kemp Powers
THE WHITE TIGER
Written for the screen by Ramin Bahrani
Writing (Original Screenplay)
JUDAS AND THE BLACK MESSIAH
Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
MINARI
Written by Lee Isaac Chung
PROMISING YOUNG WOMAN
Written by Emerald Fennell
SOUND OF METAL
Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance
THE TRIAL OF THE CHICAGO 7
Written by Aaron Sorkin
5 notes
·
View notes
Text
Best Ongoing Team Books of 2018 - In text because I cannot make it in video
Okay, so my mic is broken, I have barely time to make it work with how many ever hours I’m working recently, so screw it. Last part of my promised list is long overdue anyway, so I’ll just drop it as a text. Apologies for this but yeah, sometimes stuff just piles up. I hope you’ll still enjoy my picks and check the 3 parts that made it to the video
Welcome to Best Books of 2018, the long-awaited final part. I’m terribly sorry it took me so, so terribly long but I had been forced to take many over hours at my day job and it just ate in my time. The rules are as before. The book must still be ongoing in 2018, even if only for a single issue. It also must have more than two issues published in two thousand eighteen. However, if a book got relaunched as effectively the same title, they count as one. This time we’re doing team books. So if you can, go check those titles out at your local store.
Number Ten: Super Sons and its continuation, Adventures of the Super Sons. Work of writers Peter Tomasi and Patrick Gleason with artwork by Carlo Barberi with issue twelve of the first series draw by Tyler Kirkham. Super Sons continue to be an absolute joy. The greatest asset of this story is that Jon and Damian are written as a pair of actual kids, with behavior we would find too childish with other people but appropriate with them. Which only adds charm to an already book that captures joys of being a kid and going on adventures and that embraces silver age weirdness with all kinds of strange stuff, from a bunch of alien kids idealizing Earth supervillains and modeling themselves after them to an alien versions of Cain and Abel and their House of Secret Mysteries. It is a book that you can just pick up, relax and enjoy, lose yourself in fluffy fun. Its time is limited as Adventures is just a mini but I think if there is one title on this list that is just pure escapism, bar themes touched in an issue where our heroes meet their future selves, it is this one.
Number Nine: House of Whispers by writer Nalo Hopkins and artist Domonike Stanton. One of my favorite out of the new Sandman Universe books, it tells a story of a spell gone wrong that results in the tied fate of goddess Erzulie from Vodou religion and girl named Latoya. The former ends up trapped in the Dreaming, cut from her worshippers and desperately needing to come back before she starves without worship. The latter loses her soul in the same accident and now is affected by Cotard’s delusion, a mental disorder that makes a living person believe they’re dead and worse, she can spread it like an infection. While absolutely fantastic with the weaved narrative I will say that at the time it might be even too heavy as the parts that deal with people affected by the delusion, especially Latoya and her girlfriend Maggie, often feel so outright depressing I had to put the book down and take a break. It is not a bad thing, not every comic book has to just make you feel entertained, especially not one aiming at evoking different emotions. But I need to recommend this one with a warning it is not for everyone as people who already feel down might only feel worse. Still, if you are looking for a book either heavily using themes from religion by far underexplored by literature and pop culture in a respectful way or for a book that might leave you shaken and made think, appreciate your life even, this is a book for you.
Number Eight is a tie: Justice League Dark by writer James Tynion the Fourth and artists Alvaro Martinez and Daniel Sampere as well as Justice League Odyssey by writer Joshua Williamson and artists Stjepan Sejic and Philipe Briones. Two of the new Justice League titles have their problems, I’ll admit it. The main villain in Justice League Dark comes off as invincible for the sake of it and the establishment of the Sisterhood of the Sleight hand only to destroy it rubs me the wrong way and Odyssey feels to have missed its impact moment due to delays and artist change. However, both books are still excellent in what they set to do, opening this new age in Justice League books and bringing them back to the flagship role. Be it dark atmosphere of JLD that isn’t mitigated by inclusion of either Detective Chimp or Wonder Woman, in fact it is a stroke of genius to have her confront the darker side of magic, or the outlandish space opera of Odyssey, with super likable cast playing game of cat and mouse with Darkseid himself, the books do bring new to the table and truly make the Justice League currently one of the strongest if not the strongest lines in the big two.
Number Seven: Rogue & Gambit and its continuation Mr & Mrs. X by writer Kelly Thompson and artist Pere Perez on the former and Oscar Balduza and David Lopez. I’m counting it as one book even if an important part, the wedding, took place in a different title and was fairly controversial. But Kelly Thompson has really shown that she feels the two and their relationship and uses as much of their history as possible to build on and inform said relationship. It is in how natural it comes off as, how strong their bond is but also how unafraid of testing it through their adventures Kelly Thompson is that really makes this book so unique. With the cancellation of X-Men: Red and Exiles and with how Uncanny X-Men and Age of X-Man seem in a contest who can drop more balls, this book is now the best ongoing in the X-Line and you will be doing yourself a disservice if you won’t check it out.
Number Six: Justice League by writers Scott Snyder and James Tynion the Fourth and artists Jim Cheung, Jorge Jimenez, Doug Mankhe, Mike Janin, Francis Manapul, Fazer Irving and Guillem March. This book decided to bring the Justice League back to its greatness and to my great surprise, it succeeded. Scott Snyder’s over the top imagination is a perfect fit for this title and in just a few issues he proved he is not afraid of breaking established boundaries and showing us that cosmology of DC Universe is much greater and more amazing than we might have thought, that everything we thought we know hides more secrets and there is always a new adventure right behind the corner. It asks important questions that, while not intended to be political, by Snyder’s own admission, I feel are still questions about life, a current state of the world and our expectations and ourselves. Upon seeing how flawed the world is, how flawed other people are, how flawed, in the end, we ourselves are, what is a correct course of action? Deny it and try to grind yourself into the idea of perfection you want to be even if it is impossible? Embrace your worst and care only about yourself? Or accept you have flaws, that you feel pain and trauma and realize you can still be a good person regardless? That is the theme of Justice League that makes me enjoy this book so much.
Also, they have hired Ferdinand the Minotaur to work at their cafeteria, that’s awesome.
Number Five: The Dreaming by writer Simon Spurrier and artist Bilquis Evely. The Dreaming is in peril. Dream of Endless has left his dominion, there is a hole in it through which strange things come, citizens find themselves in state of unrest and all beloved characters, from Lucien and Matthew to Merv Pumpkinhead and Eve to Cain and Abel are set on a course that will challenge them and will change them in unexpected ways, all while old faces like Glob and Brute come back and new ones like mysterious Dora and merciless Judge Gallows leave their mark on the place. The Dreaming plays with obvious political undertones but on a meta sense, it is another case of what Simon Spurrier is driven to do, to deconstruct the darker corners of comics and try to explore questions of responsibility and morality through it like he did with Legion and X-Force. This new, heavier, darker take on the Dreaming sucked me in instantly and I really hope the ride Spurrier has prepared for us is a long one.
Number Four: Exiles by writer Saladin Ahmed and artists Javier Rodrigues, Rod Reis and Joe Quinones. Exiles had another short-living comeback and it saddens me to see that it has already been cancelled, though not before qualifying on this list. I love Exiles as a series and a concept and the return with all-new cast and Blink was a welcome one. With adventures that are in equal parts fun and serious and characters with such amazing charm as a cartoon kid Wolverine or Valkyrie. What’s more is that the book had such amazing creative artwork, with Rodriguez especially giving it his all and creating some amazing visuals that truly matched increasingly crazier visions that Ahmed has weaved in front of him through the script. This was a top-notch creative team that I sure hope we’ll see them team-up once again on another project in the future. Meanwhile, while brief it it was still a pleasure to come back to this team of weirdos and outcasts hopping between dimensions, one crazier than the other.
Number Three: Wild Storm by writer Warren Ellis and artist John Davis Hunt. Now here is a book that benefits from its stated twenty four issues run. Wild Storm is a slow burn. But it is by far one of the most glorious slow burns in the history of comics. Ellis continues to create a gritty narrative that combines aliens, conspiracies, secret agencies, technological inventions and movie-like decompressed storytelling into a chilling, dark story that absolutely dominates with the atmosphere. The vision of Wildstorm Universe Ellis and Hunt created for us is absolutely captivating and the feel of the world at the verge of total war between two agencies that long time ago stopped caring for common folk, while Jacob Marlowe, Jenny Sparks, and John Lynch, each in their own way, race to stop them or deal with problems they unleash, is unlike any other. There is plain and simply no other book like this on the shelves right now and it is very unlikely there will be such a book soon after it ends.
Number Two: The Terrifics by writer Jeff Lemire and artists Ivan Reis, Evan Doc Sharner, Joe Bennett, Dale Eaglesham. Out of all New Age of Heroes Books this is undeniably the best one. A loving tribute to the original Fantastic Four stories that finds a new quality through use of characters that may fill similar archetypes but are different enough that each brings their own thing to the table, creating new dynamics that liven up known narratives while at the same time the artists manage to get creative, especially the issue that divides each page into a sort of camera following each of the four protagonists one panel per person and uniting them and dividing as they join together or split up, pushing the very boundaries of graphic storytelling as we know it. It is also a book full of warmth and joy and optimism we often do not see in books like that. It is truly a title that has a heart and imagination on its side and it is using them to their full potential.
Honorable Mentions: West Coast Avengers, Champions, Teen Titans
And our Number One is Runaways by writer Rainbow Rowell and artists Kris Anka and David Lafuente. It couldn’t be anything else. Runaways this year was plain and simply the best book on the shelves. Kris Anka’s beautiful art brings to life Rainbow Rowell amazing heart for these characters as she lets them face new challenges in their lives, creating story if teenagers at the verge of adulthood as they try to wrestle less with supervillains and more with their own fears and insecurities and this feeling of childhood and innocence lost for superhero life they never wanted, all as they try to rebuild and maintain their family. It is a story where greatest victories are not supervillain battles, which they seem to win by a fluke most of the time anyway, but to take a step forward, overcome your fear and doubt and admit to yourself that yes, you are worthy of happiness and you will be happy. In that Runaways is without a doubt the book that speaks to me the most and one I wait for every month. I cannot recommend this book enough.
So here are my final picks. I’m exhausted. I will say that recently all stuff in my life made working on the videos harder, especially now that i’m trying, against any better reason to record myself and I might not be able to do it as regularly. I might think of reinventing the format and maybe relegate the channel to a different role in relation to my blog, which I think is by now much more popular. I still have learned a lot in that time of doing these videos and I wish to continue, maybe with a more focused vision. Thank you all for being so long with me and putting up with my nosense and rest assured, I shall return.
- Admin
#Runaways#The Terrifics#Wild Storm#Exiles#the Dreamind#Justice League#Rogue & Gambit#mr. and mrs. x#Justice League Dark#Justice League Odyssey#House of Whispers#Super Sons#Adventures of the Super Sons#Marvel#DC#Vertigo#Sandman Universe#Dark Matter#New Age of DC Heroes
19 notes
·
View notes
Text
Las 241 películas que he visto en 2018 (parte 2)
121. El jefe de todo esto (Lars von Trier, 2006).
122. La muchacha que saltaba a través del tiempo (Mamoru Hosoda, 2006)
123. The devil wears Prada (David Frankel, 2006)
124. À l'intérieur (Julien Maury y Alexandre Bustillo, 2007)
125. Casual day (Max Lemcke, 2007).
126. Concursante (Rodrigo Cortes, 2007)
127. It’s a free world (Ken Loach, 2007)
128. La question humaine (Nicholas Klotz, 2007)
129. Los falsificadores (Stefan Ruzowitzky, 2007).
130. August (Austin Chick, 2008)
131. Bienvenido a Farewell-Gutmann (Xavi Puebla, 2008)
132. Flash of genius (Marc Abraham, 2008)
133. Gigantes de Valdes (Alejandro Tossenberger, 2008)
134. Slumdog millionaire (Danny Boyle, 2008)
135. Tokyo sonata (Kiyoshi Kurosawa, 2008)
136. Exam (Stuart Hazeldine, 2009)
137. New in town (Jonas Elmer, 2009)
138. Rien de personnel (Mathias Gokalp, 2009)
139. The box (Richard Kelly, 2009)
140. The damned united (Tom Hooper, 2009)
141. The informant! (Steven Soderbergh, 2009)
142. The scam (Lee Ho-Jae, 2009)
143. Made in Dagenham (Nigel Cole, 2010)
144. Notre jour vindra (Romain Gavras, 2010)
145. También la lluvia (Iciar Bollain, 2010)
146. Wall Street: Money never sleeps (Oliver Stone, 2010)
147. Cinco metros cuadrados (Max Lemcke, 2011)
148. Moneyball (Bennett Miller, 2011)
149. The adjustment bureau (George Nolfi, 2011)
150. A puerta fría (Xavi Puebla, 2012)
151. Arbitrage (Nicholas Jarecki, 2012)
152. Beasts of the Southern wild (Benh Zeitlin, 2012)
153. Le capital (Costa-Gavras, 2012)
154. Promised land (Gus van Sant, 2012)
155. The Lorax (Chris Renaud, 2012).
156. Total recall (Len Wiseman, 2012)
157. Upside down (Juan Solanas, 2012)
158. Il capitale humano (Paolo Virzi, 2013)
159. These final hours (Zak Hilditch, 2013)
160. The internship (Shawn Levy, 2013)
161. The shadow people (Matthew Arnold, 2013)
162. Creep (Patrick Kack-Brice, 2014)
163. Deux jours, une nuit (Jean-Pierre Dardenne y Luc Dardenne, 2014)
164. Draft day (Ivan Reitman, 2014)
165. El futuro (Luis Lopez Carrasco, 2014)
166. Hermosa juventud (Jaime Rosales, 2014)
167. Jack Ryan: Shadow recruit (Kenneth Branagh, 2014)
168. Selma (Ava DuVernay, 2014)
169. Stonehearst asylum (Brad Anderson, 2014)
170. The one I love (Charlie McDowell, 2014)
171. 99 homes (Ramin Bahrani, 2015)
172. Amama (Asier Altuna, 2015).
173. Cerca de tu casa (Eduard Cortes, 2015)
174. Daddy’s home (Sean Anders, 2015)
175. El desconocido (Dani de la Torre, 2015)
176. Eye in the sky (Gavin Hood, 2015)
177. La loi du marche (Stephane Brize, 2015)
178. Techo y comida (Juan Miguel del Castillo, 2015)
179. Ares (Jean-Patrick Benes, 2016)
180. Colossal (Nacho Vigalondo, 2016)
181. Doctor Strange (Scott Derrickson, 2016)
182. Esa sensación (Juan Cavestany, Julian Genisson y Pablo Hernando, 2016)
183. Gold (Stephen Gaghan, 2016)
184. I, Daniel Blake (Ken Loach, 2016).
185. Kubo and the two strings (Travis Knight, 2016)
186. La doncella (Park Chan-Wook, 2016)
187. La punta del iceberg (David Canovas, 2016)
188. Los del túnel (Pepon Montero, 2016)
189. L’outsider (Christophe Barratier, 2016)
190. Money Monster (Jodie Foster, 2016).
191. Shin Godzilla (Hideaki Anno y Shinji Higuchi, 2016)
192. Split (M. Night Shyamalan, 2016)
193. Teenage mutant nija turtles: Out of the shadows (Dave Green, 2016)
194. The brothers Grimsby (Louis Leterrier, 2016)
195. The founder (John Lee Hancock, 2016)
196. The love witch (Anna Biller, 2016)
197. The Osiris child (Shane Abbess, 2016)
198. The shallows (Jaume Collet-Serra, 2016).
199. The thinning (Michael J. Gallagher, 2016)
200. Toni Erdmann (Maren Ade, 2016)
201. Train to Busan (Yeon Sang-ho, 2016)
202. Zootopia (Byron Howard y Rich Moore, 2016).
203. Atomic blonde (David Leitch, 2017)
204. All the money in the world (Ridley Scott, 2017)
205. Brava (Roser Aguilar, 2017)
206. Corporate (Nicolas Silhol, 2017)
207. Creep 2 ( Patrick Kack-Brice , 2017)
208. Daddy’s home 2 (Sean Anders, 2017)
209. Detroit (Kathryn Bigelow, 2017)
210. Estiu 1993 (Carla Simon, 2017)
211. Fe de etarras (Borja Cobeaga, 2017)
212. I don’t feel at home in this world anymore (Macon Blair, 2017)
213. It comes at night (Trey Edward Shults, 2017)
214. La llamada (Javier Ambrossi y Javier Calvo, 2017).
215. Logan Lucky (Steven Soderbergh, 2017)
216. Numero Une (Tonie Marshall, 2017)
217. Pieles (Eduardo Casanova, 2017).
218. Selfie (Victor Garcia Leon, 2017)
219. The disaster artist (James Franco, 2017)
220. The lost city of Z (James Gray, 2017)
221. The post (Steven Spielberg, 2017)
222. The sacrifice of a sacred deer (Yorgos Lanthimos, 2017)
223. The shape of water (Guillermo del Toro, 2017)
224. Tulip fever (James Chadwick, 2017)
225. Under the shadow (Babak Anvari, 2017)
226. You were never really here (Lynne Ramsay, 2017)
227. Anihilation (Alex Garland, 2018)
228. Ant-man and The Wasp (Peyton Reed, 2018)
230. Avengers: Inifinity War (Anthony y Joe Russo, 2018)
231. Batman: Gotham by gaslight (Sam Liu, 2018)
232. Batman ninja (Junpei Mizusaki, 2018)
233. Black Panther (Ryan Coogler, 2018)
234. Hereditary (Ari Aster, 2018).
235. Hotel Transylvania 3: summer vacation (Genndy Tartakovsky, 2018)
236. Jurassic World: Fallen kingdom (JA BAyona, 2018)
237. Mission Impossible - Fallout (Christopher McQuarrie, 2018).
238. Spider-Man: Into the Spider-Verse (Peter Ramsey, Robert Persichetti Jr. y Rodney Rothman, 2018)
239. Teen titans go! to the movies (Peter Rida Michail y Aaron Horvath, 2018)
240. The incredibles 2 (Brad Bird, 2018)
241. The night comes for us (Timo Tjahjanto, 2018)
4 notes
·
View notes
Photo
AND THE OSCAR GOES TO...
This year, we thought we’d do something a little different, and post the full list of nominations below, under the cut, so you can send us your “ballot”. Each TWIO member can write down their own predictions, and the winner - the one who got the most wins right - will get something nice from us!
Have fun, and let the best TWIO member win!
Gameplay: Send us your predictions from the list below via submit!
BEST PICTURE
“The Father”
(David Parfitt, Jean-Louis Livi and Philippe Carcassonne, producers)
“Judas and the Black Messiah”
(Shaka King, Charles D. King and Ryan Coogler, producers)
“Mank”
(Ceán Chaffin, Eric Roth and Douglas Urbanski, producers)
“Minari”
(Christina Oh, producer)
“Nomadland”
(Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, producers)
“Promising Young Woman”
(Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, producers)
“Sound of Metal”
(Bert Hamelinck and Sacha Ben Harroche, producers)
“The Trial of the Chicago 7”
(Marc Platt and Stuart Besser, producers)
BEST DIRECTOR
Thomas Vinterberg (“Another Round”)
David Fincher (“Mank”)
Lee Isaac Chung (“Minari”)
Chloé Zhao (“Nomadland”)
Emerald Fennell (“Promising Young Woman”)
BEST ACTOR IN A LEADING ROLE
Riz Ahmed (“Sound of Metal”)
Chadwick Boseman (“Ma Rainey’s Black Bottom”)
Anthony Hopkins (“The Father”)
Gary Oldman (“Mank”)
Steven Yeun (“Minari”)
BEST ACTRESS IN A LEADING ROLE
Viola Davis (“Ma Rainey’s Black Bottom”)
Andra Day (“The United States v. Billie Holiday”)
Vanessa Kirby (“Pieces of a Woman”)
Frances McDormand (“Nomadland”)
Carey Mulligan (“Promising Young Woman”)
BEST ACTOR IN A SUPPORTING ROLE
Sacha Baron Cohen (“The Trial of the Chicago 7”)
Daniel Kaluuya (“Judas and the Black Messiah”)
Leslie Odom Jr. (“One Night in Miami”)
Paul Raci (“Sound of Metal”)
Lakeith Stanfield (“Judas and the Black Messiah”)
BEST ACTOR IN A SUPPORTING ROLE
Maria Bakalova (‘Borat Subsequent Moviefilm”)
Glenn Close (“Hillbilly Elegy”)
Olivia Colman (“The Father”)
Amanda Seyfried (“Mank”)
Yuh-jung Youn (“Minari”)
BEST ANIMATED FEATURE FILM
“Onward” (Pixar)
“Over the Moon” (Netflix)
“A Shaun the Sheep Movie: Farmageddon” (Netflix)
“Soul” (Pixar)
“Wolfwalkers” (Apple TV Plus/GKIDS)
BEST ADAPTED SCREENPLAY
“Borat Subsequent Moviefilm”
Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, Lee Kern; Story by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Nina Pedrad
“The Father”
Christopher Hampton and Florian Zeller
“Nomadland”
Chloé Zhao
“One Night in Miami”
Kemp Powers
“The White Tiger”
Ramin Bahrani
BEST ORIGINAL SCREENPLAY
“Judas and the Black Messiah”
Screenplay by Will Berson, Shaka King; Story by Will Berson, Shaka King, Kenny Lucas, Keith Lucas
“Minari”
Lee Isaac Chung
“Promising Young Woman”
Emerald Fennell
“Sound of Metal”
Screenplay by Darius Marder, Abraham Marder; Story by Darius Marder, Derek Cianfrance
“The Trial of the Chicago 7”
Aaron Sorkin
BEST ORIGINAL SONG
“Fight for You,” (“Judas and the Black Messiah”)
Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
“Hear My Voice,” (“The Trial of the Chicago 7”)
Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
“Húsavík,” (“Eurovision Song Contest”)
Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson
“Io Si (Seen),” (“The Life Ahead”)
Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
“Speak Now,” (“One Night in Miami”)
Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
BEST ORIGINAL SCORE
“Da 5 Bloods,” Terence Blanchard
“Mank,” Trent Reznor, Atticus Ross
“Minari,” Emile Mosseri
“News of the World,” James Newton Howard
“Soul,” Trent Reznor, Atticus Ross, Jon Batiste
BEST SOUND
“Greyhound”
Warren Shaw, Michael Minkler, Beau Borders and David Wyman
“Mank”
Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
“News of the World”
Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
“Soul”
Ren Klyce, Coya Elliott and David Parker
“Sound of Metal”
Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh
BEST COSTUME DESIGN
“Emma,” Alexandra Byrne
“Mank,” Trish Summerville
“Ma Rainey’s Black Bottom,” Ann Roth
“Mulan,” Bina Daigeler
“Pinocchio,” Massimo Cantini Parrini
BEST ANIMATED SHORT FILM
“Burrow” (Disney Plus/Pixar)
“Genius Loci” (Kazak Productions)
“If Anything Happens I Love You” (Netflix)
“Opera” (Beasts and Natives Alike)
“Yes-People” (CAOZ hf. Hólamói)
BEST LIVE-ACTION SHORT FILM
“Feeling Through”
“The Letter Room”
“The Present”
“Two Distant Strangers”
“White Eye”
BEST CINEMATOGRAPHY
“Judas and the Black Messiah,” Sean Bobbitt
“Mank,” Erik Messerschmidt
“News of the World,” Dariusz Wolski
“Nomadland,” Joshua James Richards
“The Trial of the Chicago 7,” Phedon Papamichael
BEST DOCUMENTARY FEATURE
“Collective,” Alexander Nanau and Bianca Oana
“Crip Camp,” Nicole Newnham, Jim LeBrecht and Sara Bolder
“The Mole Agent,” Maite Alberdi and Marcela Santibáñez
“My Octopus Teacher,” Pippa Ehrlich, James Reed and Craig Foster
“Time,” Garrett Bradley, Lauren Domino and Kellen Quinn
BEST DOCUMENTARY SHORT SUBJECT
“Colette”
Anthony Giacchino and Alice Doyard
“A Concerto Is a Conversation”
Ben Proudfoot and Kris Bowers
“Do Not Split”
Anders Hammer and Charlotte Cook
“Hunger Ward”
Skye Fitzgerald and Michael Scheuerman
“A Love Song for Latasha”
Sophia Nahli Allison and Janice Duncan
BEST FILM EDITING
“The Father,” Yorgos Lamprinos
“Nomadland,” Chloé Zhao
“Promising Young Woman,” Frédéric Thoraval
“Sound of Metal,” Mikkel E.G. Nielsen
“The Trial of the Chicago 7,” Alan Baumgarten
BEST INTERNATIONAL FEATURE FILM
“Another Round” (Denmark)
“Better Days” (Hong Kong)
“Collective” (Romania)
“The Man Who Sold His Skin” (Tunisia)
“Quo Vadis, Aida?”(Bosnia and Herzegovina)
BEST MAKE-UP AND HAIRSTYLING
“Emma”
Marese Langan, Laura Allen, Claudia Stolze
“Hillbilly Elegy”
Eryn Krueger Mekash, Patricia Dehaney, Matthew Mungle
“Ma Rainey’s Black Bottom”
Sergio Lopez-Rivera, Mia Neal, Jamika Wilson
“Mank”
Kimberley Spiteri, Gigi Williams, Colleen LaBaff
“Pinocchio”
Mark Coulier, Dalia Colli, Francesco Pegoretti
BEST PRODUCTION DESIGN
“The Father”
Production Design: Peter Francis; Set Decoration: Cathy Featherstone
“Ma Rainey’s Black Bottom”
Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
“Mank”
Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
“News of the World”
Production Design: David Crank; Set Decoration: Elizabeth Keenan
“Tenet”
Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
BEST VISUAL EFFECTS
“Love and Monsters”
Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
“The Midnight Sky”
Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
“Mulan”
Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
“The One and Only Ivan”
Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
“Tenet”
Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
0 notes
Text
my oscar picks lol
BEST FILM:
“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out” (balances comedy and psychological thriller sequences AMAZINGLY and the performances were INCREDIBLE and jordan peele is a genius and please god let him have this??)
“Lady Bird” (WEEPS!!! FOREVER!!!)
“Phantom Thread”
“The Post”
“The Shape of Water” (LIFE CHANGING. THE MOST BEAUTIFUL FILME I HAVE EVER SEEN AND MY EYES HAVE BEEN BLESSED WITH)
“Three Billboards Outside Ebbing, Missouri”
Lead Actor: (maybe the daniel’s will combine their powers and take out gary?)
Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread” (let my poor man have this. HE QUIT ACTING. HE DIDN’T DIE FOR THIS)
Daniel Kaluuya, “Get Out” (an outstanding performance. let him finally win please??)
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”
Lead Actress:
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird” (sher-shaw is excellent but saying she had a better performance than sally or margot is just silly)
Meryl Streep, “The Post”
Supporting Actor:
Willem Dafoe, “The Florida Project” (this movie gave me the FEELS)
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri” (see normally i’d be rooting for my man sam but i just can’t if he’s in that…. Filme…)
Supporting Actress:
Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya” (this actress annoys me lol)
Lesley Manville, “Phantom Thread” (i haven’t seen it yet oops)
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”
Director: (SPLIT THE OSCAR INTO FOUR PIECES!!!!! do it COWARDS)
“Dunkirk,” Christopher Nolan (see i love nolan but dunkirk was so mediocre i’m sorry)
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro
Animated Feature: (it haunts me that i will have to hear the following words: oscar nominated filme….. boss baby)
“The Boss Baby,” Tom McGrath, Ramsey Ann Naito
“The Breadwinner,” Nora Twomey, Anthony Leo
“Coco,” Lee Unkrich, Darla K. Anderson
“Ferdinand,” Carlos Saldanha
“Loving Vincent,” Dorota Kobiela, Hugh Welchman, Sean Bobbitt, Ivan Mactaggart, Hugh Welchman
Animated Short:
“Dear Basketball,” Glen Keane, Kobe Bryant
“Garden Party,” Victor Caire, Gabriel Grapperon
“Lou,” Dave Mullins, Dana Murray
“Negative Space,” Max Porter, Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh, Jan Lachauer
Adapted Screenplay: (lol i’m biased)
“Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green (x kids that are also mexican immigrants gang up to kill a man named donald?? dad logan and his killer daughter whom i love and cherish??? xavier’s entire performance in this filme is award worthy on its own??? yes please)
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees (should’ve replaced dunkirk for best picture to be honest)
Original Screenplay:
“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh (lol)
Cinematography:
“Blade Runner 2049,” Roger Deakins (IT’S WHAT HE DESERVES!!!!!)
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
“The Shape of Water,” Dan Laustsen
Best Documentary Feature: (I HAVEN’T SEEN ANY OF THESE AOFKO)
“Abacus: Small Enough to Jail,” Steve James, Mark Mitten, Julie Goldman
“Faces Places,” JR, Agnès Varda, Rosalie Varda
“Icarus,” Bryan Fogel, Dan Cogan
“Last Men in Aleppo,” Feras Fayyad, Kareem Abeed, Soren Steen Jepersen
“Strong Island,” Yance Ford, Joslyn Barnes
Best Documentary Short Subject: (OR THESE…)
“Edith+Eddie,” Laura Checkoway, Thomas Lee Wright
“Heaven is a Traffic Jam on the 405,” Frank Stiefel
“Heroin(e),” Elaine McMillion Sheldon, Kerrin Sheldon
“Knife Skills,” Thomas Lennon
“Traffic Stop,” Kate Davis, David Heilbroner
Best Live Action Short Film: (OR THESE……….)
“DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale, Josh Lawson
“My Nephew Emmett,” Kevin Wilson, Jr.
“The Silent Child,” Chris Overton, Rachel Shenton
“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen
Best Foreign Language Film: (…….. or these…)
“A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)
Film Editing:
“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith (ok admittedly the editing in this filme was top notch, so)
“I, Tonya,” Tatiana S. Riegel (hey look its my name)
“The Shape of Water,” Sidney Wolinsky (i’m rooting for this filme regardless of the category lol)
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory
Sound Editing:
“Baby Driver,” Julian Slater (purely bc of the song beat being synchronized with the gunshots/action scenes cos.. what the Fuck)
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
“The Shape of Water,” Nathan Robitaille, Nelson Ferreira
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood
Sound Mixing:
“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin (same as above lol)
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick
Production Design:
“Beauty and the Beast,” Sarah Greenwood; Katie Spencer
“Blade Runner 2049,” Dennis Gassner, Alessandra Querzola
“Darkest Hour,” Sarah Greenwood, Katie Spencer
“Dunkirk,” Nathan Crowley, Gary Fettis
“The Shape of Water,” Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau
Original Score:
“Dunkirk,” Hans Zimmer (TICKTICKTICKETICKETIKCIRTKI)
“Phantom Thread,” Jonny Greenwood (LOL ISN’T HE FROM RADIOHEAD??? anyways i haven’t seen this yet but i’m rooting for you anyway?)
“The Shape of Water,” Alexandre Desplat (alexandre desplat is my MANS)
“Star Wars: The Last Jedi,” John Williams (lol as if)
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell
Original Song:
“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens (i love u sadjam and i;m sorry)
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez (COCO!!!!!!!!!!!)
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul
Costume Design:
“Beauty and the Beast,” Jacqueline Durran
“Darkest Hour,” Jacqueline Durran
“Phantom Thread,” Mark Bridges (going with this for my man ddl and pta and cause i don’t really care about the others too much)
“The Shape of Water,” Luis Sequeira
“Victoria and Abdul,” Consolata Boyle
Visual Effects:
“Blade Runner 2049,” John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer
“Guardians of the Galaxy Vol. 2,” Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick (ok this was nominated but not ragnarok?? racism!)
“Kong: Skull Island,” Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus
“Star Wars: The Last Jedi,” Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan
“War for the Planet of the Apes,” Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist
1 note
·
View note
Text
Top 10 of 2019
Disclaimer: The following are not what I consider to be the “best” movies of the year, at least not in the objective sense of the word. I’m not even entirely sure one can judge “best” in an objective manner, or by what criteria that could be measured. Competence in composition and construction, acting, design, music; these are all only parts of what makes a film connect with an audience, and some truly great films have few of these factors in any great quantity, while there are many that are practically perfect films by these gauges which had very little impact on me personally.
So, setting all that aside, what follows are my top 10 films of 2017 only in the sense that they are films I personally enjoyed the most, be that by conjuring the biggest emotional reaction, making the biggest intellectual impact, or simply inspiring the greatest sense of wonderment and appreciative awe in me. These sorts of things are not easily measurable and certainly aren’t objective, but I know what I like, and it’s these.
#10 – A Beautiful Day in the Neighborhood
I loved 2018′s “Won’t You Be My Neighbor”, which was a heartfelt documentary that lovingly explored who Fred Rogers was as a man and what drove him on his mission of kindness. So much so, that when a live-action Mr. Rogers film was announced I was skeptical, at best; it had already been done before after all. It was a surprise then, that this film takes an entirely different view of the topic altogether. This is not a film about Mr. Rogers the man; while Hanks gives an amazing performance, imbuing him with tremendous empathy but with a hint of slightly mysterious withholding, the film makes it clear that we’re not here to re-learn about Mr. Rogers, but instead to explore what it looks like when his teachings and philosophies are applied to a cynical man in a cynical world. The main character, played with understated angst by Matthew Rhys, has been severely jaded by the pain and tragedy in his own life, so much so that he has cut off his empathy in an effort to avoid more of it. But upon beginning to interview Mr. Rogers for an article, the film sets him on a powerfully emotional journey as he struggles, fights, and eventually reconciles with the emotional honesty and kindness that Mr. Rogers confronts him with. It’s not subtle about its themes or its message, but it delivers them like Rogers would have, with emotional insight, openness, and compassion.
#9 – Hustlers
This one reminded me quite a bit of 2017′s “I, Tonya”, another film that could technically be classified as a “crime drama” but that falls on the edge of that category, full of clever, biting dialogue, fallible characters, and an amusing Coen brothers-esque tone. This one is a little different from the others in this sub-genre though; by being entirely female-led but also by being incredibly stylized in a way akin to a Guy Ritchie movie of old. But then, the way the camera moves is distinct and purposeful, almost like a Scorsese movie; this film definitely has a bit of Goodfellas in it. So clearly, the film is taking influences from other films in the crime family, but the way it blends those influences into a neon-soaked ride is what makes it so interesting. And amidst all those influences, Jennifer Lopez is giving the performance of her career as a stripper matriarch who commands every room she’s in and who’s every outfit and stance could be a character poster. The film uses her maternal powerhouse performance to focus the crime story more on the closeness of the leads friendship than any other of these types of films. The end result of all this is a film that tells a very familiar crime story in an incredibly unique, colorful, delightful way.
#8 – Parasite
Parasite is a very odd film. It starts as what is ostensibly a dark comedy following a poor family living in the basement level of an apartment building who find themselves defrauding a rich family in order to gain access to their opulent home. While it’s following this thread it’s pretty hilarious, with the con-man schemes to get them more and more ingrained in the household becoming increasingly absurd, but at the same time, they become increasingly grim as well. And as you’re watching this comedy play out, a sense of foreboding begins to creep into the proceedings. And ever so slowly, the film begins to morph into a bizarre, dark, tension-filled thriller about the lethal gap between the rich and the poor, and the lengths to which people will go to close it or to maintain their place at the top of it. The film boasts a large ensemble cast, and they are all so good that none truly stand out above the others, making the film feel like a large-scale, zoomed out picture of how different personalities handle the class structure they are in. And when the film decides it’s ready to pull the trigger on the tension it has been ratcheting up for the entire run time, the explosion of cathartic expulsion and tragic consequences hit like a bullet, leaving you both astounded and heart-broken.
#7 – Little Women
Ladybird was one of my favorite films of 2017, and upon hearing that its director was helming an adaptation of this classic novel, it felt like a perfect fit. Greta Gerwig has a real knack for capturing authentic familial relationships; slyly examining both the complicated nature of the love of family and the dichotomy of the closeness and emotional distance that can somehow exist simultaneously within those relationships. This film continues that trend, being a charming look at strong personalities butting up against each other, growing closer, and growing apart. It’s helped by excellent performances across the board; all the girls are bringing real emotional weight and vulnerability to their characters, and there are a few standout moments from Saoirse Ronan that are absolutely heartbreaking. Of course, here is where I have to admit my dimness; I walked out of the film really disliking the ending, thinking it far too saccharine for the story that preceded it, and as I began to record my thoughts on the drive home, as I talked about that point, the genius of that ending dawned on me abruptly, and suddenly the themes came into sharper focus and the film took on new levels of depth. The remixing of the story, and the cross-cutting between time periods, suddenly had much more meaning and power. And with that, the film elevated itself above other period pieces, other adaptations of the famous novel, and into a powerfully affecting study of the evolution of a family.
#6 – Doctor Sleep
This one is going to be my dark horse pick, I know it. I haven’t seen it on any other lists or even heard much about it after its release, but for me, it was one of the most imaginative and well-executed fantasy stories of the year. The film is a chronicle of the life of Danny Torrance, the young boy from The Shining, picking up right after the events of that story and walking through the rest of his life; from learning to control his power and banish ghosts to lock-boxes in his mind, to losing himself to his visions and becoming an alcoholic, to cleaning himself up after finding a moral use for his abilities, to protecting a psychic girl from a pack of immortal energy vampires. If that sounds like a lot, it is; the film is long and it covers a lot of ground, but it moves at a clip without ever feeling like it’s rushing itself. The world expands upon the foundation of The Shining, really digging into this universe of super-powered psychics with a variety of abilities and the dangerous monsters that surround them. It plays with its psychic elements in a way that is both imaginative and yet grounded; it isn’t afraid to get trippy but it’s all understated and tangible, never letting us forget that these are real people in real danger. To that end, it also doesn’t shy away from its horror roots; the film isn’t scary in any real way, but it is often unsettling, not shying away from the horrific nature of its story. Ultimately, it manages to be both a worthy adaptation of Stephen King's novel and a worthy followup to its film predecessor, which is a feat in and of itself.
#5 – Avengers: Endgame
Being the culmination of more than a decades worth of films was never going to be easy, and being the second part of that climactic Infinity War story that was so exciting last year set the bar extremely high. And yet, Endgame lived up to everything that came before, as a celebration of its earned history and as a powerful cathartic release to years worth of character development. The film pretty clearly divides itself into three distinct acts. The first act that works as an emotional anchor, laying low on the action but allowing its characters to really feel the events of the universe and also allowing its actors to really stretch their muscles. The second is what no one saw coming; turning into something of a heist movie as it tours the whole history of the MCU. Then, of course, there is the third act climax that pumps its adrenaline and gives the fans all the service they could want while also putting a perfect end-cap on the arcs of its two main characters. As with many of the MCU films, it's sheer existence is a feat on its own, but as the final point on the massive web of stories the MCU has given us, Endgame was a satisfying and powerful success.
#4 – The Farewell
This film was probably the most educational experience of the year for me. The dynamics of a Chinese family aren’t something I have a ton of experience with, but The Farewell cast such an endearing, focused, insightful light on this particular family that it’s hard not to feel like you’re being let in on a secret while you’re watching, as if you’re being invited to participate in the most vulnerable moments of a family during its most trying times. I don’t think any film has made me feel like part of a family on a screen as much as The Farewell did; it explores a family coming together upon learning that its elderly matriarch has been diagnosed with cancer and that the majority of the family has decided not to tell her about it. The idea sounds a little out-there to Western ears, including mine, and including the main character, played by Awkwafina proving she can translate her awkward comedy skills into awkward family drama pretty damn effectively. And so the film attempts to reconcile these disparate cultural concepts, exploring in-depth not just what such a lie constitutes, but what about a particular culture would lead to that being thought the kindest option. The film never paints any villains or portrays any of its differing viewpoints as right or wrong, instead it’s more interested in the spaces between them; how a family with such a wide gamut of views can maintain itself, and the tensions produced from such cultural & geographic distances. And in the end, you feel for each of these family members, all trying to do their best in their own way, to maintain the bonds of a family.
#3 – Ford v Ferrari
Ford v Ferrari is, obviously, a racing movie, and racing movies are fun. But the best racing movies have a power, an energizing, blood-raising quality that is rarely replicated elsewhere. And Ford v Ferrari is the best racing movie in at least a decade. The racing is phenomenal, with high-octane stunts and cinematography that maintain a grounded realism; to my eye, despite the glut of dangerous maneuvers, there was not a single shot in the movie that did not appear to have been achieved with a physical camera. Any CG involved was woven in so smoothly that you never think to consider if what you're seeing isn’t real. Add to that a pumping score timed to the motors and the fantastic reaction shots Christian Bale is giving during them, and you have some of the best racing sequences put to film in a very, very long time. The rest of the movie is pretty great too. The story of a racing team contending with inferior technology and corporate bureaucracy is told in a purposeful yet understated way, without a lot of stylistic embellishments in how it was shot. The editing and pacing are also crafted in a skilled manner, with the film having a propulsive energy that carries you along, without anything being rushed or overstaying it’s welcome. And then there is the actual best part of this film; the career highlight performances of both Matt Damon and Christian Bale. Damon makes being utterly charming look completely effortless, playing a character trying to walk a fine line between being a “car guy” and a “company man”. Bale, meanwhile, is giving one of the best performances of his career as Ken Miles, a man without any understanding of the word “tact”, while also somehow maintaining a lovable teddy-bear quality. He’s a dedicated family man with a childlike joy of driving who is completely loyal to his friends, and who happens to have zero social refinements and no interest in playing any political games, ever. The film uses these two characters to their fullest, and ultimately the film has a ton of heart and real emotional weight born out of us connecting to these men and really wanting them to succeed.
#2 – 1917
1917 is absolutely amazing as a technical piece of work. I have no idea how they accomplished what they did in this film, with it presented as two continuous shots, through barren wastelands, underground bunkers, verdant fields, truck convoys, blasted towns, raging rivers, and one surreal, mesmerizing sequence progressing through a city on fire in the middle of the night that is so visually stunning it has been burned into my brain forever. The camera pans, dips, and circles around them, making it feel as though you yourself are a third member of this team, following along with them. If you were to pay close attention, you could likely spot the hidden cuts and tricks they used, but the film is drawing you along on such an engaging journey through this war that you don’t. And it’s not just a technical marvel for its own sake; it serves the story of two men in a race against time, with less than a day to make a journey to save many lives, and you can physically feel the time ticking away as you follow along with them on their trek. The film presents its themes, those of the perseverance required to save lives in the midst of so much death, in a way that you cannot tear your eyes from and won’t soon forget.
#1 – Jojo Rabbit
Jojo Rabbit accomplishes things I never thought possible. It’s a comedy through-and-through, which would normally mean there is little chance of it landing at the top of my favorite films of the year. But this film does something astounding with its comedy; it uses it as a tool, deftly weaving it’s absurd humor amidst its incredibly heavy themes, exploring ideas of hate as identity, the pressures of culturally accepted intolerance, and the inherent nature of kindness. All while an imaginary Hitler eats unicorn meat. It’s wild. Part of the way the film accomplishes this is through its fantastic lead. Jojo himself is a 10-year-old on the cusp of having his naive views of the world around him being either codified into his beliefs or broken by the realities of his situation. Which one happens is not only the central conflict of the film but also the primary thematic device. By showing us the grimmest of situations through the eyes of a child who hasn’t fully grasped their weight, the film is able to explore serious ideas in the silliest possible ways, without ever diminishing their meaningfulness. The film can be incredibly touching, poignant, agonizing, and joyous in a span of minutes, and they all land with equal force. It’s an amazing thing to behold, and it’s one of the best films of the decade.
Runners-Up:
The Last Black Man in San Francisco - It uses the backdrop of gentrification to tell an impacting, occasionally comic, occasionally surreal story of trying to latch onto legacy and purpose through history that uses its painterly aesthetic and unique tone to great effect.
I Am Mother - It takes an initially simple science fiction premise then explores the hell out of it, weaving in coming of age ideas about autonomy and developing morality, and putting it into a tense thriller package full of manipulation and wonderful acting.
How to Train Your Dragon: The Hidden World - The animation is just as impressive and awe-inspiring, and this entry offers a far more interesting villain, some great action sequences, and a conclusion to the trilogy that is poignant, powerful, and rather beautiful.
0 notes
Last Seen Blogs
d3rpy-09
The best kisser of weirdos !!
tinteduse
worlds youngest and yet most verbose baby
alicornpig
Wandering Thought Net
alexmarcer
Photography, Art , Lyrics n Poetry
wolfsbanesparks
Shazam!