Monday, February 27, 2017
As we know, Moonlight not only emerged victorious on Oscar night, winning Best Picture, but overcame a major snafu involving presenters Warren Beatty and Faye Dunaway reading from the wrong envelope. In a shocking upset, Moonlight was revealed as the Best Picture winner from the right envelope. While everyone is wrting thinkpieces and commenting on the newly infamous mixup, I want to take this opportunity to talk about what Moonlight winning Best Picture represents because to me, that is much more important.
First off, Moonlight is the first LGBT film in Academy history to ever win Best Picture. After the infamous loss of Brokeback Mountain, the snubbing of Carol, and the losses of other LGBT films that have been nominated for Best Picture, queer cinema has finally been given its due. Also, it is a film that depicts the African American experience that isn't about racial oppression and doesn't fall victim to the "white savior" narrative thanks to its all-black cast. Typically, when films about the African-American experience get cited for Best Picture, they are often films about racism and oppression like 12 Years A Slave, The Help, and Selma. So for a film like Moonlight to win is a more progressive change of pace.
Lastly, the film is budgeted at about $1.5 million, making it one of the lowest budgeted Best Picture winners ever. It goes to show that if a filmmaker has enough creativity and can get a good amount of funding, they can make it all the way to not only compete with heavyweighted films in the Best Picture race but triumph over them as well. Especially a movie like La La Land which is a mainstream love letter to Hollywood, starring two reliably charismatic movie stars. Given how Hollywood loves to honor itself, that makes this film's win over it even more awe-inspiring. Hopefully, Moonlight's win shall inspire more incoming filmmakers to dream bigger as they thinking smaller in terms of scale.
So that is why I think it is more important to talk about what Moonlight winning means rather than the circumstances of how was announced as the winner. Finally, I want to say that as much as I admired the charm of La La Land, I am glad that the Academy gave Best Picture to the actual Best Picture of 2016.
Sunday, February 26, 2017
"Moonlight" Emerges Victorious Over Frontrunner "La La Land," Winning Best Picture At 89th Academy Awards
The 89th Academy Awards just took place and it was a VERY interesting turn of events. For starters, it was "A Lovely Night" for La La Land which took home 6 Academy Awards, including Director for Damien Chazelle and Actress for Emma Stone. But the top prize ended up going to critical underdog Moonlight which also won Adapted Screenplay and Supporting Actor for Mahershala Ali. It was such a shocker that when Warren Beatty and Faye Dunaway announced La La Land as the winner, it turns out they mistakenly read from Emma Stone's envelope for Best Actress and the true winner was Moonlight. Both a surprising and historic moment in Oscar history. Surprising because Moonlight emerged a dark horse for Best Picture and historic because of how it is a small film by a smaller distributor depicting both the African-American and LGBTQ+ experience that stars relativeky unknown talent up against a safer mainstream crowdpleaser featuring reliable star power.
Honestly, the fact that La La Land had lost categories like Original Screenplay, Film Editing, and the two Sound categories was an indication that it wasn't as strong amongst voters as I thought it was. Hacksaw Ridge winning Film Editing over La La Land is probably one of the few shocks of the night along with Fantastic Beasts And Where To Find Them winning Costume Design, making it the first film in the Harry Potter universe to ever win an Oscar. Also, even though he had the precursors on his side, Casey Affleck winning Best Actor over Denzel Washington was a slight surprise given the understated nature of his performance, his lack of enthusiasm in his speeches, and the sexual harassment allegations that clouded his awards campaign. But Affleck managed to overcome all of that to pull out the win.
As for the ceremony itself, I thought Jimmy Kimmel did a very nice job hosting. He was a step above both Neil Patrick Harris and Chris Rock and even though the show got political at times, it didn't go as overboard as I thought it would go. There was a skit involving tourists meeting the celebrities that I thought dragged on for too long but other than that, I thought Jimmy Kimmel managed to deliver as a host.
The only other egregious negative regarding the ceremony I can think of is this: Academy Award Winner Suicide Squad. Granted its Oscar was for Makeup & Hairstyling. But still. It was an embarassing win.
But on a lighter note, I will say that I am so glad that we can say these words: Academy Award Winner Viola Davis. She finally claimed her overdue trophy and as always, delivered in her powerful speech. Other highlights include Arrival winning Sound Editing, Manchester By The Sea winning Original Screenplay, and Zootopia winning Animated Feature as expected.
Here are the full list of winners down below:
Best Picture: Moonlight
Best Director: Damien Chazelle, La La Land
Best Actor: Casey Affleck, Manchester By The Sea
Best Actress: Emma Stone, La La Land
Best Supporting Actor: Mahershala Ali, Moonlight
Best Supporting Actress: Viola Davis, Fences
Best Original Screenplay: Kenneth Lonergan, Manchester By The Sea
Best Adapted Screenplay: Barry Jenkins and Tarell Alvin McCraney, Moonlight
Best Documentary Feature: O.J.: Made In America
Best Foreign Language Film: The Salesman
Best Animated Feature: Zootopia
Best Film Editing: Hacksaw Ridge
Best Cinematography: La La Land
Best Original Score: La La Land
Best Original Song: "City Of Stars" from La La Land
Best Costume Design: Fantastic Beasts And Where To Find Them
Best Sound Editing: Arrival
Best Sound Mixing: Hacksaw Ridge
Best Production Design: La La Land
Best Visual Effects: The Jungle Book
Best Makeup & Hairstyling: Suicide Squad
Best Live Action Short: Sing
Best Documentary Short: The White Helmets
Best Animated Short: Piper
Saturday, February 25, 2017
Sketch comedy actor Jordan Peele from Key and Peele as well as MADtv makes an interesting leap behind the camera to bring us us a satirical horror film that brings out plenty of laughs but atypical scares. There aren't any jump scares and there's no boogeyman because it relies heavily on horrors of the real world, mixing colorful wit with depictions race relations in America.
Get Out follows the story of a mixed race couple, a photographer named Chris (Daniel Kaluuya) and his girlfriend Rose (Alison Williams) who go to visit Rose's parents, Dean and Missy Armitage (Bradley Whitford and Catherine Keener). While her parents seem welcoming at first despite Chris' worries at first over whether they'll be accepting despite the fact he is black, over the course of the weekend, Chris begins to sense that something is amiss in the more affluent community he is amongst. Especially when two black servants in the Armitage household, Georgina (Betty Gabriel) and Walter (Marcus Henderson), act strangely.
While there is a strong directing voice from Jordan Peele, his greatest strength lies in his screenplay. The conversations amongst the characters is what helps gives the film its sharpness. For example, when Chris first meets Dean, Dean goes "I would've voted for Obama a third time!" as his way of saying "I'm not racist!" Also, Chris expresses his anxiety over meeting Rose's parents because of how she doesn't tell him that they are unaware of the fact he is black. So the dialogue by Peele is what helps the film's depiction of racial tension unfold.
Aside from the satire, there are moments that are actually laugh out loud hilarious thanks to a performance from Lil' Rel Howery as Chris' TSA friend Rod Williams who does his own investigation into the mysterious community that Chris is residing with. But lead actor Daniel Kaluuya carries the film very well, expressing both realistic anxiety and charismatic magnetism. He is a talent to watch and thankfully somebody we will see in bigger things thanks to his involvement in the upcoming Black Panther movie for Marvel.
As witty as the film gets, there are a few homages to horror films of the past. There's elements of the original The Stepford Wives because of how the story involves a person in a seemingly sugary community with something sour bubbling underneath the surface. There is even a bit of Rosemary's Baby because of how our main character gets the sense that almost everyone is against him mixed with a screechy 60's-style musical score.
So Get Out is a very unique experience with how it offers hilarity mixed with horror and shock value in the form of real-world issues that weave in powerful social commentary as well. I would say "Get Out" and go see this!!!
Tuesday, February 21, 2017
We are getting closer and closer to the big night. The Oscars are on Sunday and here are some of my predictions for the major categories. Take a quick look:
Hell Or High Water
La La Land
Manchester By The Sea
Will Win: La La Land
Could/Should Win: Moonlight
There is hardly a way that La La Land loses this. It's a crowdpleasing movie about show business and it won every Best Picture award it needed to. But that doesn't mean it should because Moonlight is the best film of the year and deserves to take it.
Denis Villeneuve, Arrival
Mel Gibson, Hacksaw Ridge
Damien Chazelle, La La Land
Kenneth Lonergan, Manchester By The Sea
Barry Jenkins, Moonlight
Will Win: Chazelle
Should Win: Jenkins
Damien Chazelle is unstoppable along with his film. There's no way he loses unless Barry Jenkins has something to say about it as he should.
Casey Affleck, Manchester By The Sea
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences
Will/Should Win: Washington
I know Casey Affleck has dominated the precursors (BFCA, Globe, and BAFTA). But I feel like Denzel Washington is out in front because he won SAG and no Lead Actor winner at SAG since Johnny Depp has lost the Oscar. Also, there's the nature of the performances themselves. Washington displays a sense of grandeur that is the kind of performance voters like to gravitate towards as opposed to Affleck's subtlety. So even though this would be Washington's third, I don't think voters will care that it's his third.
Isabelle Huppert, Elle
Ruth Negga, Loving
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins
Will Win: Stone
Should Win: Huppert or Portman
Emma Stone is likely going to be swept along with the La La Land love and win this category. While I'm not against Stone winning an Oscar, it's a bit of a shame that she's such a lock because Natalie Portman and Isabelle Huppert give such powerhouse performances that demand recognition.
Best Supporting Actor:
Mahershala Ali, Moonlight
Jeff Bridges, Hell Or High Water
Lucas Hedges, Manchester By The Sea
Dev Patel, Lion
Michael Shannon, Nocturnal Animals
Will Win: Ali
Could Win: Patel
Should Win: Hedges
Mahershala Ali is still out in front to win Best Supporting Actor for Moonlight. He won SAG and he's also in Hidden Figures to increase his familiarity. While I would give the win to Lucas Hedges, I would have no arguments with Ali winning. Watch out for BAFTA Winner Dev Patel, though. It's evident with his win there that there is passion for his film.
Best Supporting Actress:
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester By The Sea
Will/Should Win: Davis
Case closed. Done deal. Moving on.
Best Original Screenplay:
Taylor Sheridan, Hell Or High Water
Damien Chazelle, La La Land
Yorgos Lanthimos and Efthimus Filippou, The Lobster
Kenneth Lonergan, Manchester By The Sea
Mike Mills, 20th Century Women
Will Win: Lonergan
Should Win: Lanthimos and Filippou
Since Manchester By The Sea is unlikely to win Best Picture and Casey Affleck isn't a lock to win Best Actor, this would seem like a good place to reward the film. As deserving as Kenneth Lonergan would be, I would love to see the writers of The Lobster win for the most original film of the year. But their nomination itself is a win.
Best Adapted Screenplay:
Eric Heisserer, Arrival
August Wilson, Fences
Theodore Melfi and Alison Schroeder, Hidden Figures
Luke Davies, Lion
Barry Jenkins and Tarell Alvin McCraney, Moonlight
Should/Will Win: Jenkins and McCraney
Could Win: Heisserer
Barry Jenkins and Tarell Alvin McCraney are in a strong position to win Best Adapted Screenplay. They won Best Original Screenplay at the Writers Guild Awards and the USC Scripter Award which is often a strong predictor for Best Adapted Screenplay. But Arrival won Adapted Screenplay at the Writers Guild. If it loses everywhere else, it could nab a win here as a consolation for losing Best Picture.
Best Animated Feature:
Kubo And The Two Strings
My Life As A Zucchini
The Red Turtle
Will/Should Win: Zootopia
Could Win: Kubo And The Two Strings
Zootopia will almost certainly take this. Partially because of the category's love for Disney and also because no animated film this year is more deep and timely than Zootopia which expertly depicts themes of prejudice and bigotry. If any film will derail it, it'll be Kubo. But who knows how big its fanbase will be.
Best Foreign Language Film:
Land Of Mine (Denmark)
A Man Called Ove (Sweden)
The Salesman (Iran)
Toni Erdmann (Germany)
Will Win: The Salesman
Should/Could Win: Toni Erdmann
The Salesman is likely out in front due to the publicity its garnered over D***** T****'s controversial Muslim ban and Asghar Farhadi not attending the ceremony because of it. So if voters are going with their hearts as they fill out their ballots, it could result in a win for Farhadi. But Toni Erdmann has been catching fire with its recently announced American remake that'll star Jack Nicholson and Kristen Wiig. So a case could be made for either one winning.
Fire At Sea
I Am Not Your Negro
OJ: Made In America
Will/Should Win: 13th
Could Win: O.J.: Made In America
I'm going out on a limb and saying 13th might be out in front to win Best Documentary over presumed frontrunner O.J.: Made In America which I fear will suffer from "TV movie" bias due to how it's 7 hours and divided into different episodes as opposed to 13th which tackled racial issues as well but at a feature film's length.
Saturday, February 18, 2017
Toni Erdmann is the German entry for Best Foreign Language Film at this year's Oscars and rightfully so. It has also caught such fire that there's already a Hollywood remake in the works with Jack Nicholson and Kristen Wiig. Perfect casting in a remake that in my opinion is unneeded because it'll be hard to top the absurdity mixed with poignancy that the original Toni Erdmann offers.
Toni Erdmann is about a divorced father named Winfried, played by Peter Simonischek, who looks to bond with his career-driven daughter Ines, played by Sandra Huller, after his dog passes away. The eccentric bond they create comes in the form of Winfried undergoing the persona of the titular character, donning a wig and fake teeth. But through all that eccentricities lies a father and daughter realizing their inner loneliness and emotional need for one another.
The main reason the film works so amazingly well is because of the two main actors. Peter Simonischek helps bring the film's funniest moments as Winfried yet he also flawlessly portrays his character's earnest nature. Winfried is an unorthodox figure with how he roleplays and dresses up in costume but he is a man with a heart of gold. Sandra Huller is equally as astonishing as Ines, a character that in lesser hands, could've been written as another cliched shrewd career-driven woman. But in the hands of Huller and director/writer Maren Ade, Ines is given more dimensions. Huller's Ines is prickly and showcases acerbic wit yet she is also very earthly, sexual, and vulnerable. There is a scene where she sings a rendition of "Greatest Love Of All" by Whitney Houston and Huller rather expertly performs the song with comical yet soul bearing deadpan.
Now I'm going to go into something that is likely going to divide a lot of people: the length. This movie is about 163 minutes which didn't bother me TOO much but at ths same time, it could've been a lot shorter. Though if it wasn't for the energetic performances by the two main actors and the writing by Maren Ade that aides their humanistic performances, I probably would've fallen asleep.
In spite of it being pretty overlong, I was absolutely enthralled by Toni Erdmann. I loved the two complex performances by the lead actors and I loved the writing from writer/director Maren Ade who provides a colorful yet poignant demonstration of family love that had me chuckling. By the end of this film, it made me want to sing "Greatest Love Of All" and if you guys check it out, hopefully you will too.
Ever since the first still of Ghost In The Shell with Scarlett Johansson was released last year, the film has been subjected to major scrutiny due to the whitewashed casting of Johansson as a Japanese woman. We've heard from the filmmakers about the issue since then but nothing from Johannson herself. Until now that is.
Recently, she gave an interview with Marie Claire where she claimed how she never intended to take the role away from an Asian woman and essentially said how she emphasized feminism over race when taking the role. Here's an exerpt from the interview:
"Diversity is very important in Hollywood, and I would never want to feel like I was playing a character that was offensive. Also, having a franchise with a female protagonist driving it is such a rare opportunity."
Now, I can sort of get where she's coming from. While she's been involved in the Marvel Cinematic Universe as Black Widow, she's not the main lead and she still doesn't have her own solo movie despite proving with Lucy that she can carry a film on her own. So Ghost In The Shell is an opportunity to lead her own franchise. I'm sure that is one reason why she chose to sign on. A woman leading her own franchise is a pretty rare opportunity. But at the same time, an opportunity for an Asian actress to lead her own franchise has never happened and the casting of Scarlett Johansson as the lead in Ghost In The Shell shows how Asians may never get to be the lead in a Hollywood movie unless Hollywood is willing to take a chance.
It also shows how Asians are neglected to the point where they can't even play themselves. It's just like with the casting of Eddie Redmayne as trans woman Lili Elbe in The Danish Girl. When the first still of the film with Redmayne in costume was released, it became an object of controversy and justifiably so. Redmayne being cast shows how trans actors in Hollywood are neglected to the point where they can't even play themselves or be able to tell their own stories.
It's no mystery as to why Scarlett Johansson got cast. She brings a lot of star power and can get a movie made. It's likely the chief reason why they inserted Matt Damon as the lead in The Great Wall. While Damon isn't playing an Asian character, the film still falls under "The Last Samurai" syndrome: A white male as the lead savior in a movie pertaining to Asian culture.
If people like Scarlett Johansson really care about representation and diversity, then they would turn down offers to play roles like these. Yes, it is important to have women in more leading roles. But it is also very important for women of color in more leading roles. If Hidden Figures being the highest grossing Best Picture nominee, with $135m domestically, taught us anything, it's that people want to see stories with women of color at the forefront. Heck, when Hidden Figures opened wide, it bumped out STAR WARS!!!!! And Rogue One: A Star Wars Story was also female-led with a diverse cast.
While I'm not attempting to make Scarlett Johansson a scapegoat for the whitewashing controversy surrounding Hollywood at large, I'm only saying that if actors like her want to see more representation, they should put their money where their mouth is and use their A-list clout to help out diverse talent. Start screenwriting/directing labs for female, minority, and LGBTQ+ filmmakers, produce films with diverse casts, and again, turn down roles intended for ethnic actors.
If the box office receipts of whitewashed films like Exodus: Gods And Kings, Pan, Gods Of Egypt, and Aloha taught us anything, it's that audiences are taking a stand against this practice and films that aren't diverse are really bad for business.
Sunday, February 12, 2017
La La Land continues its dominance even though it won only 5 BAFTAs: Best Film, Direction, Actress, Cinematography, and Score. We know now that after winning the Globe, PGA, and now this, La La Land has Best Picture in the bag. The question now is how many Oscars it will win and not whether it will win.
Other major takeaways include Lion and Manchester By The Sea holding strong with 2 awards a piece. Lion shockngly won Adapted Screenplay and managed a Supporting Actor win for Dev Patel, making him a formidable challenger to frontrunner and SAG Winner Mahershala Ali. Last year's Supporting Actor winner, Mark Rylance, won the BAFTA before winning the Oscar so a similar pattern could be formed. Also, Moonlight walked away empty handed and I think any hope it would upset La La Land has been dashed. It might not go home empty handed at the Oscars but it's unlikely to win Best Picture. Other takeaways include Kubo And The Two Strings winning Animated Feature over Zootopia, Hacksaw Ridge winning Film Editing over ACE winners La La Land and Arrival, and Arrival managing to win Best Sound. If La La Land doesn't sweep the Oscars, winning nearly everything, the tech winners here in the BAFTAs could easily translate to wins at the Oscar ceremony.
Check out the full list of winners down below:
Outstanding British Film: I, Daniel Blake
EE Rising Star: Tom Holland
Best Makeup & Hair: J. Roy Helland and Daniel Phillips, Florence Foster Jenkins
Best Original Music: Justin Hurwitz, La La Land
Best Costume Design: Madeline Fontaine, Jackie
Best Sound: Claude La Haye, Bernard Gariepy Strobl, Sylvain Bellemare, Arrival
British Short Animation: A Love Story
British Short Film: Home
Best Editing: John Gilbert, Hacksaw Ridge
Best Production Design: Stuart Craig and Anna Pinnock, Fantastic Beasts And Where To Find Them
Best Documentary: 13th
Best Film Not In The English Language: Son of Saul
Best Adapted Screenplay: Luke Davies, Lion
Best Supporting Actress: Viola Davis, Fences
Best Animated Film: Kubo And The Two Strings
Best Special Visual Effects: The Jungle Book
Outstanding Debut By British Writer, Director, Or Producer: Babak Anvari, Emily Leo, Oliver Roskill, Lucan Toh, Under The Shadow
Best Supporting Actor: Dev Patel, Lion
Best Original Screenplay: Kenneth Lonergan, Manchester By The Sea
Best Cinematography: Linus Sandgren, La La Land
Best Leading Actor: Casey Affleck, Manchester By The Sea
David Lean Award for Directing: Damien Chazelle, La La Land
Best Leading Actress: Emma Stone, La La Land
Best Film: La La Land