Final 2021 Oscar Predictions

The time is here. After a deeply bizarre and unusual year for cinema, the 93rd Academy Awards are nigh upon us. In some ways, this last year has been a bit of a blessing, as many of the nominees most likely wouldn’t have been recognized if the major releases hadn’t been pushed back so far. And giving the deadline until the end of February also allowed for more options for people to see the potential nominees. As with the previous years, I managed to watch a majority of the nominees this year and as such, have decided to put down my final predictions for each category. I’ll also be including films and artists that I felt were unjustly left out of the race this year, despite qualifying.

And remember, no matter what any of us think of the nominees themselves or the films that got snubbed, we’ll all find out the results when the hybrid ceremony airs on ABC on Sunday, April 25th.

Best Picture

Will Win: Nomadland

Could Win: Minari

Should Win: Judas and the Black Messiah

Should Have Been Nominated: Da 5 Bloods

Best Director

Will Win: Chloe Zhao for Nomadland

Could Win: David Fincher for Mank

Should Win: Chloe Zhao for Nomadland

Should Have Been Nominated: Regina King for One Night in Miami

Best Actor

Will Win: Chadwick Boseman in Ma Rainey’s Black Bottom

Could Win: Anthony Hopkins in The Father

Should Win: Chadwick Boseman in Ma Rainey’s Black Bottom

Should Have Been Nominated: Delroy Lindo in Da 5 Bloods

Best Actress

Will Win: Viola Davis in Ma Rainey’s Black Bottom

Could Win: Carey Mulligan in Promising Young Woman

Should Win: Viola Davis in Ma Rainey’s Black Bottom

Should Have Been Nominated: Sidney Flanagan in Never Rarely Sometimes Always

Best Supporting Actor

Will Win: Daniel Kaluuya in Judas and the Black Messiah

Could Win: Sacha Baron Cohen in The Trial of the Chicago 7

Should Win: Daniel Kaluuya in Judas and the Black Messiah

Should Have Been Nominated: Arliss Howard in Mank

Best Supporting Actress

Will Win: Yuh-jung Youn in Minari

Could Win: Maria Bakolova in Borat Subsequent Moviefilm

Should Win: Yuh-jung Youn in Minari

Should Have Been Nominated: Ellen Burstyn in Pieces of a Woman

Best Original Screenplay

Will Win: Promising Young Woman

Could Win: The Trial of the Chicago 7

Should Win: Judas and the Black Messiah

Should Have Been Nominated: Palm Springs

Best Adapted Screenplay

Will Win: Nomadland

Could Win: The Father

Should Win: Nomadland

Should Have Been Nominated: I’m Thinking of Ending Things

Best Animated Film

Will Win: Soul

Could Win: Wolfwalkers

Should Win: Soul

Should Have Been Nominated: The Willoughbys

Best International Feature

Will Win: Another Round (Denmark)

Could Win: Quo Vadis, Aida? (Bosnia and Herzegovina)

Should Win: Another Round (Denmark)

Should Have Been Nominated: The Life Ahead (Italy)

Best Documentary Feature

Will Win: My Octopus Teacher

Could Win: Crip Camp

Should Win: Time

Should Have Been Nominated: Dick Johnson is Dead

Best Documentary- Short Subject

Will Win: A Concerto is a Conversation

Could Win: A Love Song For Latasha

Should Win: A Concerto is a Conversation

Should Have Been Nominated: The Speed Cubers

Best Live-Action Short

Will Win: Two Distant Strangers

Could Win: Feeling Through

Should Win: Two Distant Strangers

Should Have Been Nominated: The Human Voice

Best Animated Short

Will Win: If Anything Happens I Love You

Could Win: Burrow

Should Win: If Anything Happens I Love You

Should Have Been Nominated: Loop

Best Original Score

Will Win: Soul by Trent Reznor, Atticus Ross, and Jon Batiste

Could Win: Mank by Trent Reznor and Atticus Ross

Should Win: Soul by Trent Reznor, Atticus Ross, and Jon Batiste

Should Have Been Nominated: Tenet by Ludwig Göransson

Best Original Song

Will Win: “Speak Now” from One Night in Miami

Could Win: “Husavik” from Eurovision Song Contest: The Story of Fire Saga

Should Win: “Husavik” from Eurovision Song Contest: The Story of Fire Saga

Should Have Been Nominated: “Turntables” from All In: The Fight For Democracy

Best Visual Effects

Will Win: Tenet

Could Win: The Midnight Sky

Should Win: Tenet

Should Have Been Nominated: The Invisible Man

Best Cinematography

Will Win: Nomadland

Could Win: Mank

Should Win: Nomadland

Should Have Been Nominated: Tenet

Best Costume Design

Will Win: Ma Rainey’s Black Bottom

Could Win: Emma.

Should Win: Ma Rainey’s Black Bottom

Should Have Been Nominated: The Personal History of David Copperfield

Best Makeup and Hairstyle

Will Win: Ma Rainey’s Black Bottom

Could Win: Mank

Should Win: Ma Rainey’s Black Bottom

Should Have Been Nominated: Promising Young Woman

Best Production Design

Will Win: Mank

Could Win: News of the World

Should Win: Mank

Should Have Been Nominated: Enola Holmes

Best Film Editing

Will Win: The Trial of the Chicago 7

Could Win: Sound of Metal

Should Win: Sound of Metal

Should Have Been Nominated: Tenet

Best Sound

Will Win: Sound of Metal

Could Win: Mank

Should Win: Sound of Metal

Should Have Been Nominated: Run

How say you? Do you have any hard or soft predictions of your own for Sunday night? What films do you believe could, should, and absolutely will win the top prize? Which ones do you think were snubbed this year? I’d love to hear your thoughts about in a Comment down below, and if you like what you see here, be sure to Like this post and Follow my blog for more awesome movie content like this.

“Gladiator” Movie Review

This year officially marks the 20th anniversary of this classic, even though it’s fallen somewhat in reputation. What better way to celebrate than to look back and review it?

This epic historical action drama was originally released in theaters worldwide by DreamWorks and Universal Pictures on May 5th, 2000. It was a commercial smash, grossing over $460.5 million at the global box office against a production budget of $103 million. This made it the second-most successful film of the entire year, in addition to the wave of positive responses from both critics and audiences. The film also managed to surprise everyone in the industry when awards season came around, collecting a total of 5 Academy Awards, including Best Actor and Picture, and led to renewed popularity in the sword-and-sandal genre.

Directed by Ridley Scott, the film was originally pitched by screenwriter David Franzoni, who was partially inspired by Daniel P. Mannix’s 1958 novel Those About to Die. Two weeks before filming was supposed to start, writers William Nicholson and John Logan were brought in to help flesh out the characters, in addition to Scott’s extensive storyboards. However, the production was forced to film without a completely script and a handful of cast members ended up writing their own lines and speeches. Before filming wrapped, actor Oliver Reed died of a heart attack in Malta, and the producers were forced to scramble and adjust his role with body doubles and CGI.

Russell Crowe stars as Maximus Decimus Meridius, a highly respected Hispano-Roman general who successfully leads the army to crush the Germanic tribes. Deeply impressed by his leadership and care for the men under his command, he is told by Roman Emperor Marcus Aurelius, played by Richard Harris, that he will rule as regent to help end corruption. When he catches wind of this, Marcus’ unstable son Commodus, played by Joaquin Phoenix, kills him and then immediately takes power and slaughters Maximus’ family. Now finding himself as a slave, Maximus attempts to rise through the ranks of the gladiator ring so he can find Commodus and exact his revenge.

Regardless of what you think of his style and consistency in quality, it’s hard to deny that Ridley Scott is at least an interesting filmmaker. He hasn’t been afraid to dip his toe in multiple different genres over his decades-long career, whether it be a science-fiction adventure or a period drama thriller. While he doesn’t always succeed at this gamble, when he hits it out of the park, he can make absolute classics such as Alien, Matchstick Men, and Thelma and Louise that still hold up today.

And with the 20th anniversary approaching for this epic, I was curious to see Scott’s cinematic vision of Ancient Rome was as great as I remembered it being. The period hadn’t really been given the big-screen treatment since at least the early 1960s and while numerous studios afterwards tried to recreate both it and Medieval times, I specifically wanted to see if the film that rekindled interest was still worthy. And thankfully, Gladiator turns out not just to be just as captivating as ever, but it still holds the spot as my personal favorite film of Scott’s, which is a big accomplishment.

Yes, it is a rather simple story of revenge and redemption, but whatever clichés there might be in the narrative are made up for by Scott’s incredible ambition and attention to detail in everything else. The script packs in a bunch of different, interesting characters that allow us to see Rome from different viewpoints, whether it’s the power-hungry politicians in the Roman Senate or the slaves forced to fight for people’s entertainment. There’s an emotional core to the film that’s hard to shake as we witness Maximus trying to regain his lost honor against a mad ruler that destroyed his life, especially as he has very little left to lose.

Something I truly appreciated about Gladiator on this rewatch is how despite a handful of subplots to follow and a runtime of 2 hours and 35 minutes, the film is perfectly paced. The way the film brings Ancient Rome to life in such a vivid and lived-in manner makes it easy to remain focused on what’s happening on-screen, even if it’s just a few characters talking quietly. And of course, it backs these moments up with some truly epic set pieces that are still a delight to watch even after all these years, making this a near-complete package for almost any film fan.

Winning the Academy Award for Best Actor here, this is arguably Russell Crowe’s most iconic film role to date, and it’s easy to see why. As Maximus Decimus Meridius, he’s sharp-witted, resourceful, and completely ruthless on the battlefield, much preferring to stay on the countryside instead of the political halls of Rome. Despite his outwardly masculine exterior, he’s incredibly soft-spoken and humble in private conversations, and is gradually better at winning over both the colosseum crowds and his new comrades in arms.

On the opposite end of the spectrum, Joaquin Phoenix is riveting and despicable as Commodus, the nefarious son of the current Caesar. From the very beginning, it’s abundantly clear that he is only concerned about himself and the power he can gain, unafraid to get rid of anyone he thinks are even considering turning against him. Phoenix plays up his sickening behavior remarkably, adding a quivering lip and emotional unpredictability to a villain that is meant to be liked by no one.

And in his last film role, Oliver Reed is excellent as Antonious Proximo, a seasoned trainer who buys Maximus in North Africa. As the film goes along, he starts to take a liking to Maximus and begins shedding his world-weary thoughts and emotions. Acutely aware of how the world works, he trains him and the rest of the gladiators how to survive, saying, “I wasn’t the best because I killed quickly; I was the best because the crowd loved me.” Although he died before finishing his scenes, it’s kind of the perfect role for Reed to end his career on.

The supporting cast is equally impressive and wide-ranging in a variety of roles. This includes Djimon Hounsou and Ralf Möller as two gladiators Maximus forms a bond with, Derek Jakobi as the one Roman senator wanting to improve the system, Tomas Arana as a conflicted former legatus in the army, Connie Nielsen as Commodus’ unhappy sister, and Richard Harris as the ailing Caesar Marcus Aurelius. Everyone is able to bring unique dimensions to their characters and make the drama feel more tangible.

And from a technical perspective, Gladiator is an extraordinary accomplishment that sees Scott pushing his boundaries even further. Shot by John Mathieson, the cinematography is gritty and robust, always willing to get down in the dirt with the protagonists. The film features many tracking shots as the character traverse the vast landscapes and battlefields of millennia past. The colors are relatively muted, giving it a grainier, classical touch that’s frequently missing in blockbusters.

This also works in tandem with the editing job by Pietro Scalia, who finds a delicate balance between drama and action. During the fantastic and riveting battle sequences, there are a number of cuts but not too much to the point where it becomes incomprehensible. It manages to keep clever special effects tricks just out of sight while still showcasing some truly incredible blocking and stunt work. And during the quieter moments, the camera wisely shifts perspectives whenever a certain character is given more priority in a given moment.

Musical god Hans Zimmer composes and conducts the instrumental film score, and much like other iconic soundtracks, it’s a total work of genius. The score features a huge diversity of instruments and sounds, ranging from ominous strings to triumphant brass to heavenly choral voices. Through each track, he expertly weaves these sounds together in an organic way that feels appropriate for the scale and time period, calling back to Gustav Holst’s “Mars”. In fact, it’s practically the blueprint for his score in the later Pirates of the Caribbean film series, mixing both exciting battle tunes with more haunting tracks.

With interesting characters, immortal quotes, fantastic action scenes, and a solid emotional throughline, Gladiator is a brilliant old-school epic tailor-made for the 21st century. Ridley Scott shows us all that he’s capable of turning a relatively simplistic narrative into a captivating masterwork of giant proportions. Armed with a highly resourceful cast of willing actors, he’s able to bring Ancient Rome to life in a way few filmmakers had before or have since.

This is the kind of big blockbuster that Hollywood doesn’t really make anymore and that’s a damn shame because there’s so much more potential to explore now. Whether or not Scott actually follows through on plans for a sequel, there will always be an audience for this film, in this life or the next.

“The Invisible Man” Movie Review

You wanna know how effective the scares were here? Thanks to this movie, if I’m ever in a room alone again, I’m going to look at empty couches and chairs very differently.

This science-fiction horror film was released in theaters worldwide by Universal Pictures on February 28th, 2020, having been moved up two weeks. Made for the budget of $7 million, it managed to gross over $134.3 million at the global box office before moving to premium VOD due to the coronavirus. And yet, it has still managed to stay relatively popular at homes around the world. Not to mention, the film has garnered some of the best reviews of any film this year and has even been predicted by some outlets to make rounds whenever awards season comes.

Written and directed by Leigh Whannell, this is a modern adaptation of H.G. Wells’ science-fiction novel of the same name. Universal had originally approached David S. Goyer to write the script but departed after about 4 years of no serious development. It was then pitched as part of the studio’s “Dark Universe” franchise with Johnny Depp in the title role but scrapped all plans after the disappointment of 2017’s The Mummy. Producer Jason Blum instead decided to pursue the project as a standalone horror movie and hired Whannell for the job on the strength of his previous feature, Upgrade.

Elizabeth Moss stars as Cecilia Kass, a young architect trapped in a violent and controlling relationship. With help from her sister and childhood friend, she escapes in the dead of night from her unstable boyfriend Adrian Griffin, played by Oliver Jackson-Cohen, a wealthy tech genius in the field of optics. Two weeks after running away and laying low in hiding, it is discovered that Adrian has apparently committed suicide and has left her with $5 million. However, Cecilia quickly becomes convinced that he faked his own death and has found a way to torment her invisibly, and desperately tries to find a way to prove her experience to others around her.

Leigh Whannell is someone who I’ve only become aware of recently, but thus far, I really like his approach to filmmaking. He wrote and starred in the first Saw movie, (The only good installment of the series, in my opinion) and also created the criminally overlooked sci-fi body horror Upgrade. The latter film, in particular, really showcased his ability to handle high-concept films with a relatively limited budget and squeeze believable performances out of his cast.

So when it was announced that he would be writing and directing a new take on this character with Elizabeth Moss, I was cautiously optimistic for it. I was still feeling the sour taste of the colossal failure of the “Dark Universe” a few years ago and was unsure if the studio could really recover and find a way to put these classic monsters into the modern era. But not only does The Invisible Man surpass my expectations as an interpretation of the iconic character, it’s a fantastic horror film on its own merits.

In hindsight, the idea of telling the story of this iconic character from another character’s perspective was a bit of genius on Whannell’s part. By rearranging the story and putting it into a MeToo context, we get to see a unique film about domestic abuse and the emotional consequences fallen upon the victim. The real horror of the story comes not from Adrian using his powers to wreak havoc on mankind at large but from causing so much torment for Celia and no one believing her.

It’s a huge testament to Whannell and Blumhouse that The Invisible Man brings a lot of specificity to this serious issue in order to avoid making broad statements about it. Celia is desperate to find a way to live life on her own terms for the first time in a long while, but her relationship with Adrian still haunts her (Both literally and figuratively) and not even those closest to her really understand her trauma. The analogy of people being reluctant to believe Celia’s story is infuriating and true to life, making me glad that the initial plans for the “Dark Universe” were completely scrapped.

Elizabeth Moss has always been an incredibly capable and versatile actress, and this role might be her best work yet. As Cecilia Kass, she’s absolutely riveting as a woman trying to regain her agency after being gaslighted and manipulated for such a long time. While she wants to come back into the larger world, she’s still deeply aware of the influence Adrian has over her, remarking, “He said that wherever I went, he would find me, walk right up to me, and I wouldn’t be able to see him.”

By her side for much of the film is Aldis Hodge as James Lanier, a San Francisco detective and Celia’s childhood friend. Even though he clearly cares about her and wants to protect her, he’s highly skeptical about her claims of Adrian still being alive and tormenting her. When the vicious mind games start involving him and his own daughter, he starts taking it more seriously, despite also believing Celia to be somewhat unstable.

Harriet Dyer also deserves to be mentioned as Emily, Celia’s headstrong and loving sister. Unlike James, she’s able to more clearly see the psychological hold that Adrian has over her and tries to understand her claims, even if they don’t sound plausible. You can see just from her subtle facial expressions the disgust and terror of having to witness her own flesh and blood survive through someone that monstrous.

The supporting cast is filled out by Storm Reid as James’ curious daughter trying to cheer Celia up, Michael Dorman as Adrian’s submissive brother and attorney representing his vast estate, and Oliver Jackson-Cohen as Adrian Griffin himself. Jackson-Cohen only appears in a handful of scenes throughout the film, but he makes sure that his presence is known and felt. Every time he smiled, every time he opens his mouth, there’s just a horrifying feeling of what might happen.

And just from a filmmaking perspective, The Invisible Man showcases Leigh Whannell has a firm grasp on dynamic visual storytelling. Shot by Stefan Duscio, the cinematography is slick, controlled, and intensely atmospheric. For many sequences, the camera will sit still at the corner of the room when Celia or another character walk out. Sometimes, we see something moving around invisibly, other times, it’s just meant to bring out dread in the audience. And when the camera does start roving around in beautifully constructed long takes, it begins to feel like a character all its own.

The editing job by Andy Danny compliments this perfectly, splicing together shots into longer scenes. It plays a lot with the feeling of perspective, as there might be something we the audience see that no one else does and cuts between angles when needed. This is exemplified in the fantastic opening sequence, which sees Celia trying to quietly escape the house and the camera cuts between different shots just in case a sound might be set off. We’re watching every corner of the frame.

Rising star composer Benjamin Wallifisch gives us the instrumental film score here, and much like the film, it’s intense and utterly brilliant. The majority of tracks use a mixture of distorted electronic sounds to bring a sense of unease out of the viewer. They simultaneously sound like cries for help choked by vocoders and unseen forces punching you out of nowhere. It also hides subtle bits of strings and piano to bring up the inherently tragic elements of the story and even for moments of catharsis.

With a clear eye on the subject matter and a genuinely terrifying approach to its story, The Invisible Man is a hauntingly bleak portrayal of a truly disturbing monster. More stressful than fun to watch, Leigh Whannell has crafted one of the best and most inventive entries of the horror genre and further proves his mastery behind the camera. Anchored by a stunning lead performance from Elizabeth Moss, all parties involved make sure that you won’t forget this film any time soon.

If this is the route that the studio wants to go for their Universal Monster properties in the future, then I’m absolutely here for it. Whannell and Blumhouse knew exactly what they were doing here and I can’t wait to see anything else they make together down the road.

“The Matrix” Movie Review

I unfortunately missed the opportunity to review this last year in honor of its 20th anniversary. But since Lana Wachowski and the studio are officially making a fourth installment due in theaters in two years time, the time finally came to go down the rabbit hole once more.

This science-fiction action film was originally released in theaters worldwide by Warner Bros. on March 31st, 1999. Made for the budget of $63 million, it went on to gross over $465.6 million at the global box office, developing extreme popularity through word of mouth among audiences. Its success later led to two sequels shot back-to-back, increased use of CGI in blockbuster films, and even a new school of thought. The film itself also garnered numerous positive reviews from critics and went on to win 4 Academy Awards, particularly for its groundbreaking visual effects.

Written and directed by The Wachowskis, the film was originally packaged into a two-picture deal with the studio after executive Lorenzo di Bonaventura was impressed with their debut screenplay Assassins. In order to lower Warner Bros. Pictures’ fears of the big investment, the siblings hired underground a pair of comic book artists to help create a 600-page storyboard visualization, which finally granted them the full budget needed. Prior to filming, The Wachowskis mandated the cast and crew read numerous philosophical books to understand the themes, including Jean Baudrillard’s Simulacra and Simulation, and took heavy inspiration from Hong Kong action films. The “green rain code” was specifically created for the film using a mix of Latin characters and mirror images of katakana characters to create the aesthetic.

Keanu Reeves stars as Thomas A. Anderson, a low-level software programmer who moonlights as a hacker nicknamed Neo. As he increasingly begins to suspect that something is not right with the world around him, another hacker named Trinity, played by Carrie-Anne Moss, approaches him with a unique opportunity. Serving under the infamous hacker fugitive known as Morpheus, played by Laurence Fishbourne, they reveal to him that the world he’s known all his life is a virtual lie- and that he might be “The One” to save humanity. Now tailed by seemingly superpowered men led by Agent Smith, played by Hugo Weaving, Neo and his new cohorts race to get to the truth of what’s going on in the world.

It’s kind of hard for a person of my generation to imagine just how different the world of sci-fi action movies was before this film came out. Nowadays, its influence can clearly be seen across many different forms of media, from its revolutionary bullet time effects to its philosophical ideas. But back when it came out, it completely changed the game in so many unexpected ways that it’s almost impossible now to imagine what the world would be like if it had never been made.

As such, it’s relatively hard to watch the film from an objective perspective because of how it’s fundamentally integrated into pop culture. Every time I watch it again, I initially get a little worried that I will finally get worn out from it because of some outdated aspect or that it would somehow feel immature. But as usual, The Matrix still proves to be an absolutely mind-bending and highly satisfying film for fans of all genres to watch no matter the occasion.

What has always sold this movie for me was never actually the groundbreaking visual effects or the incredibly filmed action sequences, but the philosophical themes and discussions the story provoked. Its meditations on the straddled line between reality and simulation are arguably the driving force for the whole series, as the Wachowskis confront how many people would rather live in a comfortable lie than face the harsh truth. The great thing about the red pill/blue pill analogy is that it can be applied to many different scenarios, including the directors’ coming out experience as transgender women.

At this point, it seems almost like a cliché to say that The Matrix is just a story that can be boiled down to “What is real? How do you define real?” But as you watch the film and its sequels, (Which I personally find to be very underrated movies) it becomes apparent that those ideas are explored in a really unique and unexpectedly meaningful way, and several characters have their own monologues on the subject. While the technology shown in the movie hasn’t aged particularly well, it’s ultimately the musings on the existence of spoons and prophecies that keep me coming back time and time again.

This was the role that launched Keanu Reeves into superstardom and all these years later, it’s still his most iconic one to date. As Thomas A. Anderson, he feels lost in a repetitive and boring world and longs for a greater purpose in life beyond his office job. As the film goes along, we watch him gradually transform into and accept the fact that he is Neo, “The One” who will supposedly help free humanity from its virtual shackles; and thankfully, the “reluctant hero” trope works here.

By his side for much of the film, Carrie-Anne Moss also excels as the hacker Trinity, who draws Neo into the larger world of the film. She’s deeply intelligent and highly resourceful in most combat scenarios and carries her own personal thoughts on the ideas of destiny and free thought. There’s a personal stake for her in this conflict, one which we don’t learn of until late in the film and helps make her role even more impactful.

Hugo Weaving and Laurence Fishburne are equally captivating as Morpheus and Agent Smith, the main mentor and antagonist of the film, respectively. Each one represents a different side of the central fight, Smith being obsessed with order and control while Morpheus seeks an open world of freedom and critical thought. As it happens, both are also quite intimidating when it goes to hand-to-hand combat and tactical fighting, being exceptionally trained in multiple fighting styles. For much of the film, they both remain stoic until the real costs come into sight..

The impressive supporting cast consists of Joe Pantoliano, Marcus Chong, Anthony Ray Parker, Julian Arahanga, Belinda McClory, Matt Coran, and Gloria Foster. While Foster and Pantoliano are easily the most memorable and important of the bunch, everyone has a good part to play here and helps flesh out the world.

And just from a technical point-of-view, The Matrix is a remarkable cinematic accomplishment for the ages. Shot by the incomparable Bill Pope, the cinematography adopts a highly unique aesthetic that’s come to define the visual language of the Wachowskis’ work. The camera roams around the whole set in many action sequences to give a sense of disorientation and to know what’s going on. Many scenes are filtered with a subtle green hue to signify the carefully coded reality many people are living under.

This matches up with the work done by Zach Staenberg, who won an Oscar for his editing job here. The film knows exactly when to cut to different shots for dramatic or visual effectiveness. Speaking of which, it often times lingers to make room for the special effects, which remarkably still hold up to this day. Whether it’s the opening scene of Trinity freeing time to take down police forces or when the now-iconic “bullet time” segment begins, the editing does wonders to blend it in with real shots.

Frequent Wachowskis collaborator Don Davis provides the instrumental film score here, which perfectly fits the mood. The soundtrack is a fascinating blend of traditional orchestral work with more electronic-driven tracks. The film makes constant uses of strings, brass, and percussion to create an atmosphere of uncertainty and tension as our heroes try to enact a plan of action while on the run from Agents. Meanwhile, the synthesizers and droning beats help the techno-underworld feel more alive.

Packed with memorable quotes, incredible special effects, fantastic action, and stimulating conversations on simulation, The Matrix is a mind-bending treat for the eyes and the mind. The Wachowskis not only created one of the most iconic built-from-scratch franchises of all time, but they completely changed the way that films could be made and shown in the modern era. The entire cast help to bring to life these beloved characters, and fully trust the filmmakers’ vision the whole way through.

I have no idea what Lana Wachowski and Co. have in store for the fourth installment, but no matter what, she and her sister Lilly undoubtedly showed us what was possible with cinema. A world without rules and controls, without borders or boundaries; a world where anything is possible.

“Casino Royale” Movie Review

Every series deserves a brand new area to prove themselves in, no matter how old or decrepit they may seem. And for the longest-running franchise in film history, that’s been a point it’s had to prove time and time again.

This action spy film was released in theaters worldwide by MGM and Columbia Pictures on November 17th, 2006, having been released in the U.K. a full day earlier. It managed to exceed some expectations and gross over $606.1 million against a production budget of $150 million. This made it the highest-grossing film in the long-running series by that point and renewing the popularity of the character. And that’s in addition to the wave of overwhelmingly positive critical and audience reaction to the picture.

Once again directed by Martin Campbell, the film is a modernized adaptation of Ian Fleming’s very first Bond novel and the third overall live-action version of it. After the failure of 2002’s Die Another Day and Pierce Brosnan stepped down, Eon Productions sought to reinvigorate the franchise. The studio exchanged the Spider-Man property for rights to the novel with Sony Pictures and very briefly considered Quentin Tarantino as director for the project. And once the exhaustive casting search ended, fans of the series cried out that the chosen actor was wrong for the part because he had blonde hair and blue eyes and even launched websites protesting the casting.

Daniel Craig steps into the role of James Bond, an MI6 assassin who recently gets promoted to 00 agent status. On his first assignment in the field, he encounters Le Chiffre, played by Mads Mikkelsen, a mysterious financier who bankrolls terrorist and criminal organizations around the world. After a couple of bad deals puts him under pressure from clients, Le Chiffre puts together a high-stakes poker game in Montenegro to win back all of his money. Accompanied by British Treasury agent Vesper Lynd, played by Eva Green, Bond plans on buying his stake into the game and winning the pot to bankrupt Le Chiffre and his various operations.

Much like my previous venture with 007 in GoldenEye, I always find it interesting when the James Bond franchise tries to push itself forward outside of the Cold War era. Both movies, it should be noted, share the same director- Martin Campbell -and he also seems to share the same sort of fascination with the character in that sense. And similarly, both versions of the character following these reinventions ended up being highly inconsistent in terms of overall quality, so there’s that.

As with many other films in my New Year’s resolution, I hadn’t seen this particular entry in the series in quite some time. And while the later Skyfall still remains my favorite Bond film to date, I just wanted to make sure that Craig’s first foray into the iconic spy franchise was as great and invigorating as I remembered it being. And predictably, Casino Royale still proves to be an absolute banger that successfully mixes the things that made this franchise great to begin with alongside current trends.

Unlike in GoldenEye, 007’s destructive, womanizing behavior isn’t the only thing that’s called into question here. Instead, Campbell and his screenwriters take a deep dive into Bond at the very beginning of his career, when he isn’t just an invincible force of heroism and patriotism. This is perhaps the most vulnerable we’ve ever seen James Bond, both because of the constant physical danger he gets into and the unexpected emotional stakes involved as well.

One thing Casino Royale does better than almost any other movie in the series (Save for On Her Majesty’s Secret Service) is show James develop a genuine relationship with another woman. Rather than just getting into one-scene flings with various beautiful women over the course of two hours, the film puts a lot of effort into showing Bond has a tender side and comes to care for this person just as much as the audience does. But because of his chosen profession, it’s a tragedy waiting to happen and packs a wallop.

I’ve said this before and I have no qualms about saying it again: Daniel Craig is the best cinematic incarnation of James Bond yet. Coming with all the bravado and dry humor expected of the iconic spy, he’s also effortlessly suave, charming everyone simply by walking into the room, even his own enemies. He’s ruthlessly efficient and cold when it comes to his targets, but has many moments throughout where he’s shown fearing for his own life and the life of his colleagues.

Speaking of colleagues, the incredibly underrated Eva Green subverts the “Bond Girl” trope as Vesper Lynd, Bond’s handler from the Treasury. Highly resourceful and skilled with numbers, she proves to be a great foil to the protagonist as she has no experience in the field, especially with violence. The connection that grows between them becomes unexpectedly palpable and believable, particularly after Bond finds her sitting in a shower completely shell-shocked by something that just happened.

Mads Mikkelsen, in one of his early Hollywood roles, also deserves credit as Le Chiffre, the calculating and methodical villain of the whole film. Unlike many other Bond villains from the past and even after this entry, Le Chiffre isn’t so much a criminal mastermind as he is just desperate to pay off debts to people far more dangerous than him. That sort of humanity is hugely refreshing and gives the audience enough empathy to where you almost want him to come out on top.

Rounding out the supporting cast is a troupe of capable actors from all corners. This includes Dame Judi Dench as Bond’s superior officer, Jeffrey Wright as a fellow CIA operative trying to flush out the poker game, Simon Abkarian as an elusive contact of Le-Chiffre’s, Jesper Christensen as a mysterious liaison for an organization trying to get its money back, Ivana Miličević as Le Chiffre’s girlfriend and loyal henchwoman, and Isaach de Bankolé as a ruthless lieutenant within the Lord’s Resistance Army. All of them help flesh out the story more and make the stakes feel appropriate.

And from a purely technical standpoint, Casino Royale shows the James Bond franchise evolving with the times in the most outstanding way. Phil Méheux’s cinematography is appropriately gritty and sleek, combining a number of different techniques to great effect. The film has a beautiful dual use of shadow and color, highlighting the darkness of this world while showing some brief moments of light. There are many great camera tricks throughout, and thankfully, most of the stunts are done in-camera.

This perfectly helps the editing job by Stuart Baird, which cuts together the action and drama in an engaging way. During the poker scenes, the film uses cross dissolves to help illustrate the passage of time and give it an old-school feel. Since most of the second act takes place at this table, it’s an interesting way to keep viewers actively watching the game. It also knows when to not cut away at all and let it roll. The most noteworthy example of this is during a car crash late in the film when the camera takes a solitary position and watches the car continuously flip on the side of the road.

David Arnold provides the instrumental film score, which at once feels like the classic Bond sound but also with its own modern tinge. The soundtrack, much like the action itself, is often very fast-paced and uses multiple instruments to bring out the tension. Whether it’s the constantly rhythmic beats of the percussion or the rapid sweeps of brass, it matches the mood on-screen. Similarly, some tracks use a simplistic mix between piano and strings to solidify the emotional toll this mission takes.

As is tradition, there’s an original song to accompany the elaborate opening credits, this time being “You Know My Name” by Sound Garden frontman Chris Cornell. In a big departure from the pop song sounds of the past, this one mixes a full orchestra with Cornell’s grunge rock sensibilities. The combination of electric guitar and brass instruments is a uniquely pleasing sound to hear as the stage becomes set. And to top it off, the lyrics, sung by Cornell’s gravely voice, foreshadow the themes and tone of the whole film and is great to listen to on its own.

Finding its footing firmly in the 21st century, Casino Royale is a riveting relaunch of a franchise in need of new blood. For the second time in the span of a decade, Martin Campbell has been able to completely redefine what makes Ian Fleming’s spy character so compelling while putting him in a modern context. Daniel Craig utterly owns the part and it’s hard to see anyone replacing him when the time comes to hang up his hat.

Whatever happens with No Time to Die, there’s an unmistakable quality that’s hard to shake with this first installment. James Bond may be an old character, but there is still a place for him to be relevant in the new world.

Retrospective: The Best Films of the Decade

Well, folks, that just about does it. The 2010s have officially (And finally) come to a close. The world today looks and feels so different than when the decade started, and I’m not just talking about different world leaders and policies enacted since then. The medium of film has drastically changed in these past 10 years, for better and for worse. From an increasing emphasis on digital filmmaking to a vast expansion of the independent marketplace to more of a focus on blockbusters, the way movies are made and watched are very different than how it was when we were all growing up.

In my mind, this was one of the best decades for cinema in a long while, as artists old and new got to expand the medium in innovative ways. Although this list is VERY late compared to most of my peers, I thought it was still important to share my opinions on this past decade of film. You can agree or disagree with my placement or curation of certain films here, but it’s hard to deny how many ways the medium has fundamentally shifted in such a relatively short period of time.

Because of how sprawling and diverse the offerings were this decade, there were so many incredible films that I was forced to leave out. But I still wanted them to be shared here with a number of honorable mentions, to ensure that they are also recognized for their greatness.

Honorable Mentions:

You Were Never Really Here, The Lego Movie, The Nice Guys, Silence, Hugo, Mission: Impossible- Fallout, Annihilation, Lady Bird, La La Land, Drive, Roma, Mudbound, War for the Planet of the Apes, Inside Out, The Shape of Water, Gravity, Baby Driver, The Grand Budapest Hotel, Super 8, Little Women, Booksmart

Let’s get this overdue show on the road, shall we?

#20: “12 Years a Slave” (2013)

Although certainly not the first film to tackle the issue of slavery, 12 Years a Slave is probably the first one that seriously dives headlong into the psychological toll it takes on those affected by it. Steve McQueen refuses to let sentimentality get in the way of showing Solomon Northup’s real-life captivity and instead goes for a quiet, unflinchingly brutal portrait of one of America’s ugliest chapters in history. It captures not only the individual suffering that Solomon is put through but also the systemic indifference to human cruelty and the collective emotional turmoil it impresses upon others within the system. The film brilliantly points out so many specific areas of trouble in this world, including how Solomon’s intelligence is dangerous for him and that even “nice” slave-owners are still ultimately slave-owners. 12 Years a Slave might be one of the most upsetting films of the 2010s, but McQueen’s masterful touch and Chiwetel Ejiofor’s convincing turn as Solomon Northup make it one of the most essential as well.

#19: “Interstellar” (2014)

Spoiler alert: This will not be the last film by Christopher Nolan that you will see appear on this list. Comparisons to Stanley Kubrick’s 2001: A Space Odyssey are inevitable for many, but there’s something to be said about the filmmaker’s endeavor to create an original space epic that relies on scientific plausibility. Whether it’s the eerily possible future of sandstorms in the future or the physics of brand new worlds to potentially colonize, Nolan uses Interstellar to really try and push the medium in new and exciting ways. Despite primarily taking place in the cold, vast vacuum of space, there’s still a palpable emotional core as the characters race to another galaxy to save their own loved ones. And it’s all set to Hans Zimmer’s immaculately ethereal score, perhaps one of the best soundtracks of the last decade. It really is the kind of movie that Hollywood just doesn’t make anymore and seeing this film in IMAX was a theatrical experience unlike any I ever had before.

#18: “Prisoners” (2013)

This was the film that introduced the English-speaking world to Denis Villeneuve, and boy what an introduction it was. The story itself is fairly simplistic; two girls go missing in a small Pennsylvania town and one father goes to extreme lengths to find the truth. What’s so refreshing and engrossing about Prisoners is that it takes its time with this setup, examining the emotional toll this tragedy takes on families as well as the frustration by the police of not finding a convincing lead. It proved that Villeneuve could not only draw immense performances out of his star-studded cast but also that he could manage to balance expository dialogue with visual storytelling. Because Roger Deakins proves once again that he’s the greatest living cinematographer in the business with so many lively and astonishing shots for such a heavy film. But it wouldn’t be until a few years later that he finally received the proper recognition among the filmmaking world.

#17: “Cloud Atlas” (2012)

I’ve talked at length about how sorely underrated Cloud Atlas is, but I really believe more people should watch it. In fact, I’d go as far to say that it’s Lana and Lilly Wachowski’s magnum opus- yes, even surpassing The Matrix -and feel comfortable enough calling it one of the most ambitious films of this generation. Rather than simply being “about” one thing, The Wachowskis and Tom Tykwer weave six different stories across many centuries to make a parable on fate and time. Its tonal balance is astoundingly perfect, held together by a magnificently beautiful theme song and a stellar ensemble that plays many roles of varying importance. This is one of those films where, even if it doesn’t totally work in the end, it’s almost impossible not to at least admire what all parties involved are reaching for here. It’s a touching and deeply humanist epic that isn’t afraid to take big risks, the kind of film that should be championed more often.

#16: “The Social Network” (2010)

Do you remember a time when social media hadn’t totally consumed our daily lives just yet? Those days are becoming increasingly obscure to me, and The Social Network provides an incredible glimpse of how the creation of Facebook completely changed human life as we know it. It’d be so easy to end the story with Mark Zuckerberg and Eduardo Saverin celebrating their victory, but the film shows the consequential alienation created by a social networking site. This unlikely emotional pull helps drive home the point that even though these people made it to the top, they’re left all alone on the way. The cynical script by Aaron Sorkin is balanced out by David Fincher’s unlikely empathy for Mark Zuckerberg, who- despite complaints from the real-life mogul of historical inaccuracy -is portrayed by Jesse Eisenberg in a now-iconic performance. And with Facebook, Twitter, and many other social media sites consistently finding themselves in the news for all the wrong reasons, The Social Network has (unfortunately) only become more pertinent in our world.

#15: “Avengers: Endgame” (2019)

Love it, hate it, don’t care in the slightest about it, the Marvel Cinematic Universe has redefined franchise filmmaking as we know it. And while it’s had many great entries since its inception, it arguably reached its peak last year with Avengers: Endgame. Bringing together 11 years and 22 movies worth of stories and characters is no small task, but the Russo Brothers achieved something truly unprecedented here. The superhero epic pays homage to all of the movies that came before it without devolving into numbing fanservice, and manages to pack a real emotional wallop for longtime followers. It’s so humongous in scope and so relentlessly entertaining that it practically dwarfs the first installment of The Avengers into a little playset. Regardless of how I feel about the franchise’s cultural dominance, Endgame has some of the most satisfying moments I’ve ever watched in a movie theater.

#14: “Logan” (2017)

If you’re looking for something a bit more substantial and lowkey for your comic book movie, than I can’t think of a better one than Logan. James Mangold took the beloved character of Wolverine and put him in the context of a somber and hyper-violent neo-Western and boy it worked like gangbusters. But unlike Deadpool, the violence here actually carried a lot of weight and maturity and wasn’t just meant to get the satisfaction of teenage boys. There’s an emotional sucker punch to every claw mark and bullet wound heal as both Wolverine and Professor X survive a world that has deteriorated before their eyes. The father-daughter dynamic between Logan and Laura is undoubtedly the heart of the whole film and thankfully, Hugh Jackman gives a terrifically heartbreaking sendoff to his iconic role while newcomer Dafne Keen more than holds her own.

#13: “Arrival” (2016)

Watching a film like Arrival is like being reminded why science-fiction is filled with so much more potential than just cool technology and explosions. Yes, I do love seeing those two on the big screen but thankfully, Denis Villeneuve is way more interested in taking a mature and speculative approach to the genre. Released during perhaps the most venomous and divisive period of recent American history, this film showcased the unbridled power of language and how the slightest change in translation can make all the difference in the world. Watching scientists and linguists meet with an unknown alien encounter and attempt to decipher their message is unbelievably captivating and a genius concept that examines the perils of communication in an increasingly standoffish world. Armed with an incredible performance from Amy Adams, this is one of those rare sci-fi movies that will please even viewers who don’t particularly care for the genre.

#12: “Paddington 2” (2018)

I can’t think of any movie from the last 10-20 years that was as pure-hearted and innocent as Paddington 2. Completely devoid of any cynicism from the world it inhabits, the family film defies all expectations and provides an illustrious example for why unconditional kindness is worth it, especially in these trying times. And even if we were to look past that, Paul King does everything in his filmmaking powers to make this an entertaining romp for all ages, from the Wes Anderson-esque art direction to Hugh Grant’s scene-stealing turn as the villainous Phoenix Buchanan. There’s a perfect balancing act between humor for various ages so that it doesn’t come off as pandering towards any specific audience, all held together by Ben Whishaw’s delightful performance as the marmalade-loving bear from Darkest Peru. I defy anyone to watch Paddington 2 and not feel moved into unbridled happiness and optimism.

#11: “Parasite” (2019)

Late-stage capitalism is rampant everywhere, and while many artists have attempted to highlight the issues it raises, Bong Joon-ho sweeps them all out by a wide margin. Bong definitely broke out into the wider world of cinema this past decade and while I briefly considered putting Snowpiercer on here instead, there’s just something so enthralling and beautiful about what he does here. Parasite is pretty much a culmination of everything he’s ever done or attempted as a filmmaker, bringing together all of his stylistic trademarks and themes. Bong has certainly tackled class and privilege before, but the way he does it here is both fiendishly entertaining and unnervingly real. The first half plays out like an unconventional yet topical dark comedy before morphing into something much more sinister and powerful, ensuring that its impact will not be lost on viewers after the credits roll. And that doesn’t even touch on its momentous and history-making victory at the Academy Awards, which finally saw the Hollywood elite look past the one inch-tall barrier of subtitles and give world cinema the recognition it deserves.

#10: “A Separation” (2011)

Speaking of world cinema, not including this masterful domestic drama on “best of” lists should be considered a shame. It wasn’t until last year that I finally became acquainted with the films of Asghar Farhadi, and boy was I missing out? While it’s far from accessible or uplifting, A Separation brilliantly uses the breakdown of a young marriage to explore the thorny issues of home and family. Rather than taking sides, Farhadi fully embraces the messiness of divorce and the lack of easy answers, allowing audiences to sympathize with both the mother and the father as they work through a major family crisis in Iran. The simplicity of the premise is key to him finding the right amount of cultural specificity for the story while still having a universal appeal for anyone watching it. With heartbreaking performances and a decidedly unsentimental tone, I would go so far as to say that A Separation is the best divorce film ever made, even surpassing Marriage Story and Kramer vs Kramer.

#9: “The Lighthouse” (2019)

A perpetually drunk worker is forced to stay on a remote island with a Captain Ahab-esque sailor in the 19th century. It’s a very simple premise and setting but in the hands of writer-director Robert Eggers, it is transformed into a stark, deeply unsettling, yet wholly engaging experience of cinema. Utilizing its black-and-white 35mm cinematography to the best possible advantage, you could easily fool someone into thinking that The Lighthouse is a long-lost film from the 1950s recently discovered in a box. They actually built a real lighthouse from the ground up just for authenticity’s sake! Disturbing, darkly hilarious, and unquestionably horny, it’s an incredible film that is sure to alienate most viewers but reward those with patience and an open mind. It also helps that Robert Pattinson and Willem Dafoe give probably the best performances of their respective careers, which is really saying something.

#8: “Dunkirk” (2017)

World War II is one of the most extensively covered periods of history in all of cinema, whether it be on the battlefield or in concentration camps. However, Christopher Nolan decides to change the rules of these conceits, setting it in the aftermath of a battle and never showing the enemy on-screen. In fact, Dunkirk can probably be better appreciated as a period thriller rather than a traditional war film. The intentional lack of dialogue and consistent cross-cutting between different stages (And timeframes) of the conflict immediately puts audiences into the dire situation of over 400,000 soldiers trapped on a beach just 26 miles away from home. It’s truly riveting to see this film in a theatrical setting (I personally got to see it on 70mm) because it brings to life one of the greatest and most life-affirming rescue missions ever attempted by mankind.

#7: “Boyhood” (2014)

Growing up is a really weird experience. People that you think will be best friends with you forever come and go, responsibility forces you to grow up and face the realities of the world, and you give up old hobbies for new ones. That’s the ultimate goal of Boyhood, Richard Linklater’s sprawling and naturalistic coming-of-age drama set over 12 years in Texas. Rather than age the actors with CGI or replace them with older ones, we watch all of the cast members naturally age over an unprecedented period of time through different phases in Mason Evan Jr.’s life. Easily the best aspect of this epic is how it eschews clichés of the genre and instead focuses in on the little moments of life in between huge events like graduation and 16th birthdays. There’s almost nothing else like Boyhood out there and the mere fact that it even exists is practically a miracle.

#6: “Star Wars Episode VIII: The Last Jedi” (2017)

On October 30th, 2012, Disney finalized a deal to buy Lucasfilm and immediately put plans in motion for a new Star Wars movie trilogy. I can still remember lighting up with possibilities because for years, fans had assumed that this franchise’s theatrical life was over. Overall reactions from fans over the new content has been deeply mixed, but I’ve always been a champion of its newfound home, and for me, the new series reached its peak with The Last Jedi. Aside from just looking absolutely gorgeous and giving us an incredible soundtrack by John Williams, Rian Johnson’s sequel understands the right lessons from the original trilogy. It creates meaningful stakes and uncertain conflicts in order to make the characters grow, especially of the older generation. I will defend the new Luke Skywalker to my last breath and watch the Throne Room lightsaber battle for days on end. To quote a very wise Jedi in the film, “We are what they grow beyond. That is the true burden of all masters.”

#5: “Moonlight” (2016)

It’s an utter shame that a lot of people will mostly associate this movie with a colossal fuckup at the Oscars with La La Land. I honestly can’t remember the last time that a film came completely out of nowhere and completely changed the cultural conversation about the intersection between race, masculinity, and sexuality. The real genius of Moonlight is that while it showcases the harsh realities of a gay black man coming of age in urban America, Barry Jenkins and Tarell Alvin McCraney flood every scene with immense empathy and tenderness. Every single character on-screen absolutely shatters their associated stereotypes thanks both to the incredibly minimalist writing and the believable performances from the cast. There are so many moments of quiet between the characters and the narrative is told with such a slow, patient pace that it almost feels like Moonlight came from another realm. This film broke almost every single rule of traditional wisdom in cinema, and the universe has rewarded it greatly.

#4: “Get Out” (2017)

Hearing the initial announcement that Jordan Peele, one half of the hilarious sketch comedy Key and Peele, would be writing and directing a horror movie was baffling. And yet, he completely changed the narrative of horror filmmaking with Get Out, which might go down as one of the most influential and iconic films of our generation. It not only serves as a terrific horror film with some really unsettling imagery, but even moreso as a satire of modern society. Get Out puts the lie of a “post-racial America” under a microscope and exposes the complicity of liberal white people, brilliantly shown where Chris is the only person of color at his girlfriend’s house party. And Daniel Kaluuya easily gives one of the best and most overlooked breakout performances of the entire decade, showing an internal confusion and uncertainty that makes him one of the most rootable heroes in horror movies recently. This was the first of hopefully many more similarly incredible “social thrillers” that Peele offers the world.

#3: “Mad Max: Fury Road” (2015)

It almost makes me angry how incredible Mad Max: Fury Road actually is. We truly don’t deserve this movie. To think that it took over two decades, thousands of storyboards, and on-and-off Hollywood commitments for George Miller to finally churn out this behemoth is staggering. In an age where action movies have flooded the screen with unconvincing CGI, incomprehensible shaky cam, and paper-thin characterizations, the 70-year-old Australian roars back to show us how to do things right. You don’t even need to have seen the three previous Mad Max films to appreciate this masterpiece because it reels you in with gorgeous practical stunts and a solid emotional throughline. When it’s all said and done, Fury Road is perhaps the greatest action movie of the 21st century and one that still pumps me full of adrenaline every time I watch it.

#2: “Blade Runner 2049” (2017)

My love for Denis Villeneuve had been built slowly over the last few years, but it absolutely exploded after seeing Blade Runner 2049 in IMAX. It would have been so easy for him and Warner Bros. to use the long-awaited follow-up to Ridley Scott’s classic as a springboard to launch a brand new cinematic universe with many sequel and spinoff setups. Instead, this film not only surpasses the original on almost every level, but it forges its own singular path. It almost feels like an unconditional gift from another time period because it defies so many conventions of blockbuster and Hollywood filmmaking and offers an intensely involved story about what it means to be human. And to top it all off, Blade Runner 2049 might just have some of the most beautiful imagery, colors, and visual composition I’ve ever seen in cinema. Every single frame shot by Roger Deakins is a Goddamn painting that I want to hang on my wall and it FINALLY won him his long-awaited trophy.

#1: “Inception” (2010)

I slaved many hours over whether Inception or Blade Runner 2049 should take the top spot on this list. But after careful consideration of the whole decade and the films that populated it, I’ve come to decide that Christopher Nolan’s action mindbender not only set the blueprint for blockbuster filmmaking in the 2010s but it also holds up better than many of the films that have come afterward. What makes this film so unique among the landscape is that aside from proving the director’s power as a name brand, (An original sci-fi blockbuster that grossed over $800 million) it used so many different filmmaking tools to explore its potential. Whether it’s the practicality of the special effects, the electro-orchestral score by Hans Zimmer, or the dynamic production design, it truly feels like it’s a warping story inside the mind. Capped off with one of the most discussed and ambiguous endings in film history, Inception really does capture the best of what the decade could offer and how much further cinema had to go.

Do you agree with my picks? What do you think was the absolute best film from the 2010s? I’d love to hear your thoughts or responses in the Comments below, and if you like what you’ve read here, be sure to like this post and Follow my blog for more awesome content. Here’s to another decade of great movies. Hopefully.

“Magnolia” Movie Review

I speak absolutely no hyperbole when I say that that might have been one of the quickest 3-hour movies I’ve ever seen. As someone who lives and breathes off of long films like The Lord of the Rings and Lawrence of Arabia, take that as high praise.

This epic ensemble drama was originally released in theaters worldwide by New Line Cinema on December 17th, 1999. It got a much wider release about two weeks later on January 7th when it expanded to more cities. Although it managed to gross over $48.5 million at the global box office, it struggled to keep up with stiff competition, not to mention its production budget of $37 million. Even so, it garnered some extremely positive responses from critics and audiences, including a glowing reaction from filmmaker Ingmar Bergman. It also went on to win the top prize at the 50th Berlin International Film Festival the following year and was nominated for 3 Academy Awards, but didn’t win any.

Written and directed by Paul Thomas Anderson, the film came along almost fully formed after the success of Anderson’s sophomore feature Boogie Nights. New Line Cinema and Michel De Luca told him he could make whatever he wanted next, and gave him final cut rights without even hearing a pitch. The director reportedly wrote several roles with their actors in mind, and even visited the set of Stanley Kubrick’s Eyes Wide Shut to pitch it to one of them in person. Anderson also strongly disapproved of the studio’s marketing campaign, allegedly designing his own poster and cut together a brand new trailer for it.

Set in the then-present-day San Fernando Valley, the film is more of an ensemble piece rather than a focused narrative. Over the course of one day, we encounter the lives of over a dozen different characters- including a pick-up artist, a lonely police officer, a quiz show T.V. host and contestant, an ailing producer, and the kind nurse caring for him -who are interrelated in some ways. As strange and inexplicable things happen to all of them throughout the day, these men and women try to find a chance at love, forgiveness, and happiness, even if they may not deserve it.

Paul Thomas Anderson is a director whom I’ve run hot and cold on in the past, but overall I like his style. There Will Be Blood, The Master, Punch-Drunk Love, and Boogie Nights show that he has a unique view on human nature and behavior. From the extremely detailed characters he paints to the believable performances he draws out of his actors, he’s often overlooked in his generation of filmmakers.

Despite this, I had yet to watch his third feature, which many people I know consider to be his magnum opus. It being finally available on Netflix gave me an opportunity to watch it in no more than two sittings and see how it holds up against the rest of his filmography. Fortunately, Magnolia proves not only to be one of Anderson’s strongest directorial offerings yet but quite possibly one of the best films of the 1990s, period.

It’s quite clear from the history-heavy cold open of montages that Anderson has very sprawling yet specific plans of what to explore here. In another, less distinctive director’s hands, the synopsis given above could easily devolve into an overlong slog of schmaltz and syrupy sentimentality. And while there are a handful of sentimental moments here and there, there’s never a second of the film that feels cheesy or heavy-handed; it’s a fundamentally human story.

Perhaps the best compliment that I can give Magnolia is that while there are many characters to follow here, you become equally invested in almost all of them. They’re all broken in one way or another and want a chance at reconciliation and happiness, even if they don’t openly acknowledge it or even deserve it. And unlike Love, Actually or any of those stupid, overblown holiday movies with star-studded casts, each of them being connected by the slightest threads only makes revelations about their past all the more tragic and engaging.

In a massive ensemble stacked with talent one either side, perhaps the most underrated performer is Jeremy Blackman as Stanley Spector, a child prodigy competing on a popular quiz show. A precocious and extremely insightful young boy, he desperately wants the respect and approval of his adult peers, particularly his father. He appears to be wiser than many of the people surrounding him but feels eternally trapped in his position and doesn’t feel like he’ll amount to anything more than a has-been.

John C. Reilly is also completely brilliant and natural as Jim Kurring, a bumbling but well-meaning police officer. A sharp departure from his future roles in irreverent comedies, he tries to hide his crippling loneliness and apparent ineptitude as an officer to make it appear as though he is control of his life. When an opportunity arise for him to potentially finally find someone who loves him, he tries to put on his best show and even briefly forgets his own shortcomings.

Anderson works with an enormous troupe of actors in varying roles but manages to get the most out of them. Including *DEEP BREATH* Melora Walters, Philip Seymour Hoffman, William H. Macy, Julianne Moore, Melinda Dillon, Alfred Molina, Philip Baker Hall, Ricky Jay, April Grace, Luiz Guzman, and Jason Robards in his final role before his death.

The most talked-about performer, though, is Tom Cruise as Frank T.J. Mackey, a popular and in-demand pickup artist for unconfident men. This might just be one of his best performances ever, as he uses his typical boyish charisma and charm to give way to a self-obsessed hypocrite. It soon becomes abundantly clear that he uses all of his sexist “self-help” methods and self-aggrandizing monologues as a tool to mask unresolved resentment towards his parents. The sheer range that Cruise demonstrates is a true antithesis to all of his haters, and earned him an Academy Award nomination for Best Supporting Actor.

And from a pure filmmaking perspective, Paul Thomas Anderson uses Magnolia to further define his cinematic voice. Shot by longtime collaborator Robert Elswit, the cinematography is almost always roving around from character to character, even using whip pans as a sneaky transition. Comparisons to Scorsese in the camerawork are apt, but it always keeps the action rolling during tense scenes. There are a number of push-ins and slow zooms for more dramatic moments, and even a brilliant tracking shot early on to capture the chaos of a show behind the scenes. A handful of primary colors such as red and blue are also used to help further establish the tone of each storyline.

This goes hand-in-hand with the editing job by Dylan Tichenor, which manages to seamlessly weave together each storyline. Often times, it’ll cute between multiple characters many times whenever it feels thematically appropriate. What’s even more impressive is how despite carrying the weight of multiple different characters and story threads, the tone is completely consistent with each scene. Some are darkly funny, some are sad, some are so uniquely emotional that it’s hard to describe in words.

Singer-songwriter Aimee Mann heavily contributes to the soundtrack of the film, both with recordings of old songs or her own batch of new ones. After the cold-open montage, a revamped version of the song “One” plays over the introduction to all of the main characters and their situations. It perfectly captures the tone of their loneliness and uncertainty while still being fast-paced. Another notable example is the song “Wise Up,” which manages to be sung by many of the actors at once, even though they’re all in different places. It’s a mesmerizing scene where most of them are at their rock-bottoms and try to cling on to anything to keep going on.

Also, Mann wrote and performed an Oscar-nominated original song called “Save Me,” which is saved for the very end. It’s just as melancholy and empathetic as the rest of her soundtrack and manages to bring nearly all of the storylines to a close. The lowkey instrumentation matches the longing of the lyrics and Mann’s supreme vocals and is arguably one of the most underrated songs ever written for a film.

Carrying the weight of multiple characters and story threads but never once feeling overblown in its ambitions, Magnolia is an emotionally resonant ballet of empathy and humanity. After careful consideration of his whole filmography, I feel comfortable enough to say that this might be Paul Thomas Anderson’s masterpiece. Because not only does he handle a sprawling tale with such care and delicacy, but he also wrings incredible performances out of his massive ensemble cast.

Happiness and forgiveness are extremely difficult virtues to come by for many, especially in these scary times. And while there might not be raining frogs anytime soon, it is the humble opinion of this writer that everyone at least deserves a chance for the two.

The Top 20 Most Underrated and Overlooked Films of the Decade

The 2010s are officially (And finally) over. There was an enormous range of cinema that came and went throughout the years. Some became major box office juggernauts, others made huge waves during their respective awards seasons. And then there were many that were just forgotten to time by everyone. And I’m here to try and rectify that.

The following list is compiled of the 20 films from this past decade I thought were overlooked or underrated. To be clear, this means theatrically released (Or limited/VOD) features that were largely ignored or forgotten by the greater populace not long after release. But they still deserve recognition and love. Of course, there were many that couldn’t make the cut so let’s give a quick shoutout to some other gems.

Honorable Mentions:

Cold in July, Bad Times at the El Royale, The Accountant, Swiss Army Man, Edge of Tomorrow, Silence, Legend of the Guardians: The Owls of Ga’Hoole, The Art of Self Defense, Edge of Tomorrow, The Endless, Never Let Me Go, Mother!, Lincoln

Now let’s get this show on the road.

#20: “Beasts of No Nation” (2015)

I feel like its appropriate to start this list with a film that completely changed how films were distributed and marketed. As the first film ever backed and released by Netflix, it really ushered in a brand new age of filmmaking that forced people to reconsider what we like to think of as “cinema.” By this point, the streamer had already put some great original T.V. shows, but Cary Joji Fukunaga’s heartbreaking anti-war drama Beasts of No Nation centered on an unwitting child soldier really showed that they wanted to be taken seriously as an entertainment distributor. Abraham Attah is a breakout talent here and Idris Elba gives an incredible turn as a psychopathic warlord with no line he won’t cross. It’s hard to recommend but essential for things to come with the streaming platform.

#19: “Chef” (2014)

I’ll admit that I have a bit of a personal connection with this film because it was partly filmed in my hometown of Austin, Texas. But thankfully, that’s not all Chef has going for it. Stepping away from big blockbusters, Jon Favreau channels his own personal troubles into a delightful, feel-good movie. The cast is earnest, the locations are authentic, and the script is so hilarious and insightful into something specific like food culture. It’s the type of movie that, after you’re finished watching, leaves you feeling hungry- both for the delicious food on-screen and for more movies like it.

#18: “The Lost City of Z” (2017)

There’s something really classical yet brand new about the way that James Gray makes movies. Whether it’s a slow sci-fi epic like Ad Astra or a gritty cop drama in We Own the Night, he really likes to toy with different genre conventions. With The Lost City of Z, he takes a swing at old Hollywood epics in the vein of David Lean and William Wyler, and what a swing it is. More psychadelic and contemplative than sweeping and grand, Gray, assisted by Charlie Hunnam’s best performance to date, examines the somber and alienating side of exploration and colonialism. It can occasionally feel stuffy and drawn out, but there’s a lot to think about by the time the credits role.

#17: “Rust and Bone” (2012)

Although I’ve only seen a handful of his work, it’s clear that director Jacques Audiard doesn’t really make movies that are easy for audiences. Rust and Bone is no exception, as it deals with two broken people who try to help each other find some sort of redemption or second chance. It’s a very emotionally heavy film and at times feels almost difficult to watch, but never falls into manipulation. The performances by Maria Cotillard and Matthias Schoenarts are gripping and completely believable as they try and navigate a world that’s practically indifferent to their personal suffering. It’s a “talky” film to be sure, but Rust and Bone always puts the humanity of the characters first and presents a different yet refreshing kind of love story.

#16: “The Girl With a Dragon Tattoo” (2011)

David Fincher is a master of cinematic darkness. Not just because of the sleek color palette for the majority of them, but because he’s not afraid to dig deep into the parts of humanity that are, quite frankly, ugly and disgusting. Perhaps none of his films emulate that more than The Girl With the Dragon Tattoo, the second live-action adaptation of Stieg Larsson’s novel. It’s just as sleek and slick as the rest of his filmography but feels a bit more “commercial” with an intriguing mystery that twists and turns in smart ways. Which makes its relative obscurity all the more puzzling for me.

#15: “Upstream Color” (2013)

If you’ve ever wondered what the love child of David Lynch and Terrence Malick would look like, this is a really close answer. The best thing I can say about Upstream Color is that it made me watch it all over again immediately after the first viewing. That rarely- if ever -happens with me, but Shane Carruth’s sophomore feature isn’t just any film. I remember someone describing it as a feature-length, metaphysical love poem and I couldn’t agree more. There’s an unmistakable sci-fi element to this story, but Carruth and Amy Seimetz’s tragic-yet-beautiful romance is what really sells it here. Unlike his debut Primer, this film is more based on emotional logic rather than complicated storytelling and pushes its ambitions beyond the constraints of its ultra-low budget. It’s a wholly original film that’s completely different from everything else out there in so many ways, and that alone is enough to land itself on this list.

#14: “The Breadwinner” (2017)

All of the attention was centered on Coco when the Academy Awards came around, and justifiably so. But The Breadwinner still deserves recognition because it might just be the most underappreciated animated film of the entire decade, and it was great time for the genre. Even though it’s only the third movie under their belt, Cartoon Saloon catapults themselves into the same leagues as Pixar, Dreamworks, and Laika with one master stroke. Telling the story of a young girl forced to provide for her family in Taliban-occupied Afghanistan, the film gracefully avoids any and all potential stereotypes to instead weave a tale of love and empathy. Parvana is quite possibly one of the best protagonists in any films from the last decade, live-action or animated.

#13: “Hunt For the Wilderpeople” (2016)

Filmmaker Taika Waititi has been making such huge strides in Hollywood recently with movies like Thor: Ragnarok and Jojo Rabbit that it can admittedly be easy to forget his unapologetically Kiwi roots. I was tempted to include What We Do in the Shadows on here, but I decided to give the slight edge to 2016’s Hunt For the Wilderpeople. It has all of the eccentric, quirky humor you’ve come to expect from Taika’s films while also being remarkably big-hearted in emotion. The adventure at the center of the movie is mature yet kid-like in nature and makes an utter breakout star out of Julian Dennison.

#12: “The Guest” (2014)

Think old-school John Carpenter horror crossed with Nicolas Wending Refn’s Drive and you’ll have a pretty good idea of what kind of movie you’re watching here. And thankfully, that combination is just as amazing as it sounds because Adam Wingard’s The Guest is a total blast from start to finish. The stakes are appropriately lowkey, but still feel immediate and makes my palms sweat while watching it. It has a very unique feel because even though it’s set in the modern era, there’s something unmistakably old-school about it. The atmosphere, the score, the Steadicam of it all. It’s all oh so delicious, and while it may feel like style over substance at times, it’s hard not to be seduced by Dan Stevens’ excellent lead performance.

#11: “Midnight Special” (2016)

Jeff Nichols’ Midnight Special almost feels like a gift from the past, the type of film that studios just don’t make anymore. Telling a singular, original sci-fi story with a big budget is no small ask these days, but the film is able to balance genre spectacle with palpable human emotion. It feels both like a callback to the old Amblin adventures of Spielberg’s heyday and also like a genuinely engaging modern thriller. And a lot of that has to do with the powerful father-son dynamic between Jaeden Martell and Nichol’s regular collaborator Michael Shannon at the center of the film. Even without the sci-fi element, their chemistry and core storyline is still compelling enough to keep people invested.

#10: “Dangal” (2016)

Really any Bollywood movie from the decade could’ve taken this spot on the list, including Queen and Barfi. But I’d argue that of the ones that I did get a chance to watch, Dangal was the most enjoyable and accessible. The story, which is apparently based on true events, finds the inimitable movie star Aamir Khan as a man trying to raise his daughters to become the best wrestlers in India and the world at large. While it follows the same sort of feel-good structure as most films of the genre, it’s still incredibly fun and interesting to watch as the dysfunctional family finds themselves more and more immersed in the world of professional wrestling. It’s also a testament to the movie’s quality that it manages to fly by even with a whopping 2 hour and 41 minute-long runtime.

#9: “Snowpiercer” (2013)

Bong Joon-ho is hardly the first foreign filmmaker this decade to make the transition to Hollywood-esque filmmaking, but there’s something truly unique about Snowpiercer. It’s vision of the future, in which the remnants of humanity are piled into a never-ending train that glides around a frozen Earth, is bleak yet compelling. It’s style and visual aesthetic help to set it apart from other films in the genre and comes complete with a devastating final act that showcases Chris Evans beyond the constraints of Captain America. If for nothing else, Snowpiercer is a perfect segue into Joon-ho’s other work and how he makes movies; entertaining yet biting. It was also one of the very first reviews I ever posted on this blog, which I don’t particularly feel proud of, but helped inspire me to share my opinions publicly.

#8: “The Master” (2012)

In general, I’ve run hot and cold on Paul Thomas Anderson’s filmography, but when he gets it right he hits it out of the park. And while some may point to Phantom Thread, I believe that this film is his most overlooked by far. The Master has many of his regular themes and ideas and puts them into the mindset of a perpetually drunk man who’s desperate to find belonging and meaning. With an authentic backdrop of post-World War II America and some of the best cinematography you’ll see this decade, there’s something that feels both old-fashioned yet totally modern about this historical drama. Oh, and Joaquin Phoenix is an absolute beast here. That scene of him and the late great Philip Seymour Hoffman in the jail cell was one of the most intense and gripping I had watched in quite a while.

#7: “Sorry to Bother You” (2018)

It’s hard for me to think of another feature debut from the last decade that swung for the fence as hard and as ballsy as Sorry to Bother You did. Boots Riley has a lot to say about the current state of white corporatism, but he’s able to channel it into a highly entertaining sci-fi comedy. It takes an absurdist approach to its subject matter- a black man in telemarketing using a “white voice” to become successful -and uses it to look at how capitalism and race intertwine in devastating ways. And the end results of it are equally hilarious and unnervingly real as Lakeith Stanfield (In his best role to date) navigates the highs and lows of privilege.

#6: “Raw” (2017)

This is one of the most gruesome coming-of-age stories I’ve seen recently that also happens to be a bit of body horror madness. I had heard tales of how gruesome it was, but all the blood and guts comes secondary to Julie Ducournau’s killer direction of the story. (Side note: This is also Ducournau’s feature debut) It’s a fascinating tale as we watch a young woman gradually lose her grip on reality as things in her life begin to spiral out of control. What makes Raw so compelling is that it teeters on the edge between being an all-out horror romp and a parable about a young woman’s awakening. Yes, there is plenty of gore shown throughout, but it never feels excessive and even thematically helps the story of the film. It might just be one of the best films t come out of France in a long while.

#5: “You Were Never Really Here” (2018)

Lynne Ramsay should be allowed to make more movies because if You Were Never Really Here is any indication, she’s one of the true cinematic geniuses of our time. Calling it a modern-day Taxi Driver is a bit of a reduction to its quality. While it isn’t quite as political as that Scorsese classic, it has so much bite and razor sharp ideas on trauma, stability, and the comfort of a corrupt system. The film foregoes showcasing brutal action and violence on-screen and instead is way more interested in looking at the effects it has on people after the fact. And it’s all hammered home by arguably the best work of Joaquin Phoenix’s career and a haunting score from Johnny Greenwood.

#4: “The Nice Guys” (2016)

Whatever happened to the buddy-cop crime genre? Movies like The Nice Guys make me wonder this frequently, as it proves the genre still has plenty of creative life left in it. It features one of the best screenplays of the entire decade from Shane Black with some crackling dialogue and a great mystery that twists and turns gleefully. It feels like a throwback to a time when studios were eager to let their filmmakers try something different and fun. It also features some of the best work from Ryan Gosling and Russell Crowe, and easily their funniest to date. Their chemistry is an enormous reason why this film holds up and deserves a whole franchise of its own.

#3: “Prisoners” (2013)

For me, Denis Villeneuve is THE breakout director of the decade, but for some reason, people continue to miss or ignore his English-language debut. That’s a damn shame because Prisoners is an honest to God masterclass of modern filmmaking. Despite its relatively simple premise, it proves that simplicity is still a thing of beauty as it’s told in such an engrossing and original way. You’re pulled in not just by the amazing performances from Hugh Jackman and Jake Gyllenhaal, but also by the palpable emotional stakes of two young girls kidnapped in a small Pennsylvania town. The complexity of the situation, from how the desperate parents handle it to the frustration of the police over a lack of leads, bears down on you like an anvil. Plus, it doesn’t hurt that the inimitable Roger Deakins provides some truly incredible cinematography for such a small story.

#2: “Hugo” (2011)

Family-friendly movies have always been a tough nut to crack and this decade saw several ups and downs in the genre. It kind of baffles me that Hugo, one of the best in many years, was not only a commercial disappointment but has largely been forgotten by time. I would not only count it among the most overlooked films of the decade but also as one Martin Scorsese’s best works in years. Being set in early 20th-century France creates an ambience of nostalgia that thankfully doesn’t crush the rest of the film. It has a warmhearted innocence that’s been missing from the genre in recent times and a genuinely touching tribute to the world of cinema as a whole. Scorsese’s background as a film historian really lends itself well to the story and he gets really great performances out of Asa Butterfield and Chloe Grace Moretz.

#1: “Cloud Atlas” (2012)

Cloud Atlas is the type of film that comes along every once in a while that makes you wonder, “Why aren’t more people talking about this?” Everything about this David Mitchell adaptation feels like the type of ambitious, sweeping epic Hollywood used to love making eons ago. But now with modern technology and broadened storytelling horizons, the Wachowskis and Tom Tykwer are able to create a film that floods with intriguing stories across many centuries. From the core cast members who play different roles over various timelines to the beautiful score that ties many of the themes together, it’s almost impossible to avoid getting wrapped up in what the directing trio set out to do. Saying that all life is interconnected somehow may sound cheap, but Cloud Atlas earns the emotional payoff as all the threads come together. I only hope that other cinephiles and casual viewers down the road will share the same enthusiasm for it.

Do you agree with my picks? What do you think was the most underrated or overlooked film of the past decade? Leave a comment below on your thoughts, and if you like what you see here, be sure to Like this post and Follow my blog for more movie-related content.

Final 2020 Oscar Predictions

It’s that time of year again, folks. The 92nd Academy Awards are nigh upon us, and much sooner than usually expected. Unlike last year, the lead up to the ceremony itself has been relatively quiet, save for the occasionally befuddling snub or surprise. And just like the last two years, I have managed to watch the majority of the big nominees and contenders and have decided to put down my own predictions for who I think will or should win. In addition, I’ll be including films or artists who I felt should have been recognized but were ultimately left out of the bunch.

And no matter what you think of the nominees or the ones that were snubbed, we’ll all find out the results when the ceremony airs on ABC this Sunday, February 9th.

Best Picture

Will Win: 1917

Could Win: Parasite

Should Win: Parasite

Should Have Been Nominated: The Lighthouse

 

Best Director

Will Win: Sam Mendes for 1917

Could Win: Bong Joon-ho for Parasite

Should Win: Bong Joon-ho for Parasite

Should Have Been Nominated: Greta Gerwig for Little Women

 

Best Actor

Will Win: Joaquin Phoenix in Joker

Could Win: Adam Driver in Marriage Story

Should Win: Adam Driver in Marriage Story

Should Have Been Nominated: Robert Pattinson in The Lighthouse

 

Best Actress

Will Win: Renée Zellweger in Judy

Could Win: Scarlett Johannsson in Marriage Story

Should Win: Scarlett Johannsson in Marriage Story

Should Have Been Nominated: Awkwafina from The Farewell, Lupita Nyong’o from Us

 

Best Supporting Actor

Will Win: Brad Pitt in Once Upon a Time in Hollywood

Could Win: Joe Pesci in The Irishman

Should Win: Brad Pitt in Once Upon a Time in Hollywood

Should Have Been Nominated: Song Kang-ho in Parasite

 

Best Supporting Actress

Will Win: Laura Dern in Marriage Story

Could Win: Florence Pugh in Little Women

Should Win: Laura Dern in Marriage Story

Should Have Been Nominated: Jennifer Lopez in Hustlers

 

Best Original Screenplay

Will Win: Parasite

Could Win: Once Upon a Time in Hollywood

Should Win: Knives Out

Should Have Been Nominated: Booksmart

 

Best Adapted Screenplay

Will Win: Little Women

Could Win: Jojo Rabbit

Should Win: Little Women

Should Have Been Nominated: Just Mercy

 

Best Animated Film

Will Win: Toy Story 4

Could Win: Klaus

Should Win: I Lost My Body

Should Have Been Nominated: Weathering With You

 

Best International Feature Film

Will Win: Parasite (South Korea)

Could Win: Pain and Glory (Spain)

Should Win: Parasite (South Korea)

Should Have Been Nominated: Portrait of a Lady on Fire (France)

 

Best Documentary- Feature

Will Win: American Factory

Could Win: For Sama

Should Win: For Sama

Should Have Been Nominated: Apollo 11

 

Best Documentary- Short Subject

Will Win: Learning to Skateboard in a Warzone (If You’re a Girl)

Could Win: Life Overtakes Me

Should Win: In the Absence

Should Have Been Nominated: Birders

 

Best Live-Action Short

Will Win: Brotherhood

Could Win: The Neighbor’s Window

Should Win: Brotherhood

Should Have Been Nominated: Anima

 

Best Animated Short

Will Win: Hair Love

Could Win: Kitbull

Should Win: Hair Love

Should Have Been Nominated: Best Friend

 

Best Original Score

Will Win: Joker by Hildur Guðnadóttir

Could Win: 1917 by Thomas Newman

Should Win: Joker by Hildur Guðnadóttir

Should Have Been Nominated: Us by Michael Abels

 

Best Original Song

Will Win: “Into the Unknown” from Frozen II

Could Win: “Stand Up” from Harriet

Should Win: “Into the Unknown” from Frozen II

Should Have Been Nominated: “Glasgow (No Place Like Home)” from Wild Rose

 

Best Visual Effects

Will Win: The Irishman

Could Win: 1917

Should Win: The Irishman

Should Have Been Nominated: Ad Astra

 

Best Cinematography

Will Win: 1917

Could Win: Once Upon a Time in Hollywood

Should Win: 1917

Should Have Been Nominated: A Hidden Life

 

Best Costume Design

Will Win: Little Women

Could Win: Once Upon a Time in Hollywood

Should Win: Little Women

Should Have Been Nominated: Dolemite Is My Name

 

Best Makeup and Hairstyle

Will Win: Bombshell

Could Win: Judy

Should Win: Joker

Should Have Been Nominated: A Beautiful Day in the Neighborhood

 

Best Production Design

Will Win: Once Upon a Time in Hollywood

Could Win: 1917

Should Win: Parasite

Should Have Been Nominated: The Lighthouse

 

Best Film Editing

Will Win: The Irishman

Could Win: Ford v Ferrari

Should Win: Parasite

Should Have Been Nominated: Rocketman

 

Best Sound Mixing

Will Win: 1917

Could Win: Ford v Ferrari

Should Win: Ford v Ferrari

Should Have Been Nominated: Alita: Battle Angel

 

Best Sound Editing

Will Win: 1917

Could Win: Ford v Ferrari

Should Win: 1917

Should Have Been Nominated: Alita: Battle Angel

 

Do you have any thoughts or predictions of your own? Which films do you think will, could, or should take home the prize in each category? What are some that you felt were snubbed by the Oscars? I’d love to hear your thoughts in a Comment below, and if you like what you see here, be sure to Like this post and Follow my blog for more movie-heavy stuff.

Retrospective: The 20 Best Films of 2019

Another list, another year of cinema has come to a wrap. I know that this has come later than usual, but I just wanted to make sure that I got to see everything I wanted to before officially compiling this list.

2019 had a lot of diverse offerings at the movies, with some disappointments and some huge surprises. I managed to watch 114 feature-length releases from this last year, both on the big screen at in the comfort of my living room. A lot has changed in the time since last January, not the least of which being that the 2010s decade finally ended. But before going any further, there were a lot of other films that didn’t quite make the cut, so I left them in the honorable mentions section here.

Honorable Mentions:

A Beautiful Day in the Neighborhood, Apollo 11, The Biggest Little Farm, The Boy Who Harnessed the Wind, The Art of Self-Defense, Klaus, I Lost My Body, Just Mercy, Joker, Rocketman, Always Be My Maybe, A Hidden Life

Now it’s on with the show.

#20: “Jojo Rabbit”

Nothing like a little bit of controversy to get things started up in here, am I right? Taika Waititi continues to be on a roll by making a highly unconventional yet relevant tragicomedy about the absurdity of Nazism. But the real genius of Jojo Rabbit is that it doesn’t just laugh at the actions or behavior of fascists, often showing the upsetting realities they create, especially for the children growing up around them. By honing in on a child’s perspective, one who has the most bizarre imaginary friend possible, we’re able to see the unique ironies abound in a world like this. In a world full of apathetic world leaders and tyranny on the rise, this anti-hate, pro-love satire is an immensely gratifying antidote.

*Read my full review here

#19: “Uncut Gems”

Pardon the terrible puns here, but Adam Sandler is a genuine jewel, an underused treasure of America. Yes, he’s devoted a lot of time in recent years to making some truly awful “comedies,” but when he gets the right material with the right crew behind it, he can be an absolute force. Movies like Uncut Gems prove that, and the Safdie Brothers get the best out of the actor as he plays one of the most self-destructive protagonists you’re likely to see in a film. Just as unflinching and chaotic as their other films, there’s barely a moment to breathe as we watch some of cinema’s dirtiest characters recently make their way through an unglamorous Manhattan.

*Read my full review here

#18: “Dolemite is My Name”

Call me clichéd, but I’m a big fat sucker for movies about filmmaking, and Dolemite is My Name is no exception. Void of any cynicism that comes with Hollywood, it’s a wonderful tale about how even the weirdest and most over-the-top movies can mean a lot to the people involved in it. Sure that may seem a little simplistic, but the real heart of the movie is just watching a lot of people try to make a project that they’re passionate on, and that same energy radiates for this film itself. It’s profane, raunchy, hilarious, and actually quite touching in may parts. It also helps that it has Eddie Murphy’s single best performance in years, who ensures that Rudy Ray Moore is an icon of underground cinema that shouldn’t be forgotten.

*Read my full review here

#17: “John Wick: Chapter 3- Parabellum”

The year of 2019 belonged to Keanu Reeves, and it wasn’t even close. And if it weren’t for his all-timer of a cameo in the sweet Netflix rom-com Always Be My Maybe, this would have been his most defining moment. Regardless, his third outing as John Wick is perhaps his best one yet, as the fascinating world his character inhabits was deepened and expanded in really exciting ways. It gives so much character and personality to what otherwise is a pretty straightforward story. And of course, we have some of the best action scenes of the whole decade here as Chad Stahelski and Reeves push themselves even further. Parabellum makes the crucial deal-breaker of Keanu Reeves singlehandedly taking on a group of deadly ninjas, and that alone is incredible enough to rank among some of the best action flicks of the decade.

*Read my full review here

#16: “How to Train Your Dragon: The Hidden World”

The How to Train Your Dragon franchise has an unfortunate habit of wowing everyone during its theatrical run and then kind of being forgotten later on. And that’s a damn shame because this trilogy just reached an absolutely perfect conclusion that cements its place in the annals of animation history. I loved the first two movies, but The Hidden World is perhaps my favorite of the three because it earns the emotional moments as the whole franchise story is brought to a head. I think it’s safe to say that Dreamworks Animation has a comfortable new home at Universal for the foreseeable future.

*Read my full review here

#15: “Knives Out”

Following his enormous success in a galaxy far, far away, Rian Johnson avoids the immediate temptation to do another huge blockbuster and instead throws his clout behind an original whodunnit. Armed with one of the sharpest screenplays I’ve seen all year, Knives Out hits the ground running from the very beginning and keeps audiences on their toes the whole time. Putting a modern twist on Agatha Christie classics, the film always trusts its audience by constantly subverting expectations but never getting wrapped up in too many plot twists. With an extremely capable ensemble cast who look like they’re just having the time of their lives, it’s hard not to get caught up in the intriguing murder mystery at the center. The more movies where Daniel Craig gets to do a Foghorn Leghorn impression while talking about donut hole analogies, the better we’re all off for it.

*Read my full review here

#14: “Toy Story 4”

Pixar has a *very* uneven track record when it comes to their sequels, but the Toy Story franchise continues to surprise. And here, 9 years after the franchise had already wrapped up perfectly, Toy Story 4 manages to create an even more gratifying and emotional conclusion. Almost acting like an epilogue to the gang’s adventures with Andy, it manages to trade off moments of hilarity to ones of heart-wrenching sadness in beautiful harmony. And that’s not even touching on the fact that this movie looks jaw-droppingly gorgeous in every single frame. Seeing the animation in this film and comparing it to that of the first Toy Story really shows how far the studio has come after all these years.

*Read my full review here

#13: “Ford v Ferrari”

Sometimes, it’s just nice to sit down and watch an old-school movie that fits perfectly into your pocket. And Ford v Ferrari may not break many rules of filmmaking, but it’s one hell of a fun ride to take as it tells a pretty incredible true story. Contrary to what its title may suggest, it’s not a showdown between the two major motor companies, but more of a look at really creative people under immense pressure from their corporate overlords. Obviously, the racing sequences are immensely satisfying and intense, but what James Mangold does so well is keep the focal point on the engineers behind the cars. Take it from someone who doesn’t have much interest in cars or racing that I was absolutely captivated by the scenes of them putting together the fastest car on the planet.

*Read my full review here

#12: “Marriage Story”

Who would have predicted that one of the year’s most engaging and realistic love stories would be a film about divorce? Apparently Noah Baumbach did, as he mines from his own tumultuous divorce from Jennifer Jason Leigh to create a piece of film that feels and rings true. There’s rarely a moment in Marriage Story where you don’t believe the emotional conflict unfolding on-screen, thanks in no small part to the painfully realistic dialogue. Plus, we’re given a smorgasbord of incredible performances across the board from Scarlett Johansson, Adam Driver, and Laura Dern. Often times, it doesn’t even feel or look like they’re acting and feels like we’re actually intruding on a real-life divorce process that can be hard to watch but always compelling.

*Read my full review here

#11: “Ad Astra”

Big-budget, original sci-fi films are an increasing rarity these days and that’s exactly why more people need to see Ad Astra. James Gray manages to split the difference between 2001: A Space Odyssey and Apocalypse Now and craft something truly unique. It foregoes the elaborate set pieces common in modern blockbusters and uses the vastness of space to explore the mind of a man in desperate need of human connection. We’re with the protagonist every step of his journey as he gradually discovers that the father he grew up idolizing is not a perfect role model at all. And the cool thing about all of it is that it manages to balance out the scenes of Brad Pitt (In one of his best performances to date) contemplating the futility of man with a thriller chase sequence involving pirates on the Moon. Ad Astra has an emotional throughline not common in most sci-fi films, and one that could resonate with more audiences who are willing to be patient.

*Read my full review here

#10: “The Farewell”

Every year, there’s at least one film for me that comes completely out of nowhere and blows me away. This year, that film is Lulu Wang’s The Farewell, an achingly tender and heartfelt look at the weight of keeping a secret from the ones we love. It offers a window into a cultural custom wholly foreign to Western audiences but refuses to become judgmental. The quiet way it examines conflicting identities is fantastic, but still slows a joke or two in to keep things interesting. It’s genuinely earnest and touching without ever getting overly sentimental and shows Wang has a true auteur’s flare. And on top of all of that, it got an utterly stunning dramatic performance out of Awkwafina, who seemingly pulls from her own experiences and feelings to bring a realistic woman to life.

*Read my full review here

#9: “Once Upon a Time in Hollywood”

I really, really hope that the rumors of Quentin Tarantino retiring after he makes 10 movies turns out not to be true. If Once Upon a Time in Hollywood proves anything, he still has plenty to give to the world of cinema. Removed from the typical ego of his work, this is a highly detailed and almost fantastical tribute to a film industry that has changed significantly over the years. Could he have made this without involving the Manson Family or Sharon Tate? It’s hard to tell, but her mere presence is reminiscent of a more innocent time, and Tarantino seems to want to revive some of that innocence. It also makes the case for the importance of the movie star in an age where IP is king, as Leonardo DiCaprio and Brad Pitt give some of their very best work as two best friends trying to make it through a changing industry. And that’s not even taking a look at the rest of its sprawling cast or the authentic look of 1969 Los Angeles. Once Upon a Time in Hollywood is probably the closest Tarantino will get to making a fairytale.

*Read my full review here

#8: “Little Women”

I couldn’t tell you how she did it, but Greta Gerwig took Louisa May Alcott’s heavily adapted and popular novel and turned it into a refreshingly wonderful and lively film. The rare period film that feels modern without any regressive anachronisms, Little Women succeeds first and foremost at making all four of the March sisters likable and interesting. It’s just an utter delight to spend about two hours or so with these characters and their own little world, but avoids the pitfalls of typical “slice-of-life” features by giving everyone and everything a purpose. Whether it’s any of the Marches or the people that come and go in their lives, every single frame of this film feels lived in, like you can actually walk and breathe in this time period. It also is aided by some truly wonderful costumes and an amazing soundtrack that captures the joy and tribulations of being a woman in 1860s Massachusetts. Gerwig knows exactly what’s she doing and the world should just let her do it.

*Read my full review here

#7: “The Irishman”

I’m not even going to try and take sides on the whole “Marvel isn’t cinema” argument because one of their films is still higher up on this list. But that whole debate absolutely should not deter you from watching The Irishman, which proves that Martin Scorsese’s still got it like he did when he was young. It may be an “old man” movie, but it’s with that level of experience and maturity that he and a phenomenal trio of Robert De Niro, Al Pacino, and Joe Pesci are able to look at the damage their men have wrought. The cost of “shut up and keep your hand down” loyalty and constant violence speaks volumes to the self-serving world these men lived in. Oh, and that much-talked about digital de-aging technology? Revolutionary in every sense of the word.

*Read my full review here

#6: “Booksmart”

After years as one of the industry’s most underrated actresses, Olivia Wilde swings out of the gate with one of the finest directorial debuts I’ve seen in a while. Booksmart immediately announces itself, the cast, and crew as something very different and unique but never stops to revel in its own glory. I can’t remember the last time a film called up old memories, good and bad, from me and still made it feel like something brand new. A lot of that has to do with Kaitlyn Dever and Beanie Feldstein, who might just be the finest best friend duo of any film from the past decade. You instantly believe their chemistry and while their actions and those of their graduating classmates are undoubtedly hilarious, it’s also empathetic and free of cynicism. Hopefully, Wilde and Booksmart will do for coming-of-age films of this generation, what John Hughes and The Breakfast Club did for the previous ones.

*Read my full review here

#5: “Avengers: Endgame”

Avengers: Endgame really feels like the culmination of everything we’ve come to see in the last 11 years from the Marvel Cinematic Universe. It simultaneously feels like the end of an era, and the start of something new. I’ve been following this franchise ever since the first Iron Man, and the landscape since then has change drastically. The Russo Brothers understand that and are able to find a way to honor the Infinity Saga without completely going into fan service overdrive. Seeing nearly all of the characters, storylines, and themes, we’ve been dealing with brought together is an extremely emotional event for longtime fans like myself. And the culmination of it all comes in the now-iconic Portals Scene, which was hands down the best theatrical experience I had all year. The Marvel mountain will probably never reach this high ever again and if it does, it will have an immense standard to live up to.

*Read my full review here

#4: “Us”

How do you even attempt to follow up on one of the greatest horror movies of the past decade? Which also happens to be your directorial debut? The simple answer, for Jordan Peele anyway, is by staring into the black pit of our souls and giving a mirror to look at our own worst enemy. That may sound convoluted, but that’s the honest feeling you get after watching Us, which is further proof of Peele’s growing importance to the genre. With a great sense of originality that pays tribute to the influential titans of horror, he moves away from the satirical social commentary of Get Out for a more straightforward horror flick that still delivers the goods. And those goods include a fantastic score, great cinematography, and arguably a career-best Lupita Nyong’o in a dual role that got forgotten by awards seasons. But it’ll be a very long time before we the audience ever forget her stunning work or Peele’s incredibly smart screenplay.

*Read my full review here

#3: “1917”

It’s very rare that a latecomer ends up sweeping up the major attention during awards season, let alone gets many people talking. But 1917 not only has managed to remain relevant in said conversations, but has stuck with me ever since walking out of the theater. The one-shot trick is no joke, as it plunges viewers right into the carnage of World War I and rarely lets up during its entire runtime. Whether it’s Roger Deakins’ immaculately genius cinematography or Thomas Newman’s epic and riveting score, nearly everything about this film works. The fact that a scene like the one depicted in the image above is able to exist is an absolute blessing in the current studio climate. Sam Mendes has given us yet another reason for why the theatrical experience is not only still relevant in 2019 but can be preferable to watching a film at home.

*Read my full review here

#2: “Parasite”

2019 was a year chockfull of big-screen stories that indicted the increasingly large gap between the wealthy and the poor. No other film from last year captured that social and economic stratum with as much bite and specificity as Parasite, which might just be Bong Joon-ho’s crowning jewel. The story of a poor Korean family slowly integrating themselves among a wealthy family that lives just up the hill effortlessly goes from absurdist dark comedy to deeply unsettling drama on the flip of a hat. And not only that, it has managed to completely break the boundaries of subtitles to get people from all walks of cinematic preferences talking, and made history as the first Korean film to get recognized at the Academy Awards. When people start looking back on the decade, hopefully this will be a great time capsule for the economic strife of the common population. I can only hope that people won’t dismiss Parasite because one inch of text.

*Read my full review here

#1: “The Lighthouse”

There was no film from 2019 that gave me a pure cinematic experience quite like The Lighthouse. Yes, it’s Goddamn weird and bizarre from start to finish. Yes, it’s a bit hard to understand the characters at first. But if you just soak it all in and keep an open mind for what Robert Eggers is going for here, it can turn into a deeply rewarding viewing. Arguably the closest any filmmaker will come to marrying Edgar Allen Poe with H.P. Lovecraft in a single story, there is so much to love here. Whether it’s the glorious black-and-white 35mm photography, the claustrophobic aspect ratio, or the intensely period accurate production and costume design, there wasn’t a thing in this film that didn’t grab my attention. But most of all, we got to see career-best work from Robert Pattinson and Willem Dafoe, who devolve into such madmen that you can never shake their words. For me, The Lighthouse is a masterpiece of horror cinema and general filmmaking as well, one that is impossible to look away from or shake afterwards.

*Read my full review here

And there it is, ladies and gentlemen. I really wish I could have published this sooner, but I’m glad I finally get to share this with the rest of the world. Do you agree with my picks at all? What was your favorite movie from 2019? Be sure to let me know in the Comments and why, and for more awesome movie stuff like this, be sure to Like this post and Follow my Blog.