Film Review: Anora (dir. by Sean Baker)


I sometimes forget that as a viewer, I have no control over a movie’s storytelling process. I remember watching Clint Eastwood’s Mystic River after blind-buying it and pleading with the film during a major scene between Sean Penn and Tim Robbins’ characters. I knew why the story moved in this direction. I understood the choices each character made and what brought them to this moment, but nothing could change the events. Not my pleas, not my anger, nothing. Great film, but hard watch. What’s presented on screen is the story we’re given.

Sean Baker’s Anora is a fun film in many ways. I was a little skeptical at first, but quickly found myself invested in where this story was taking me. Before you decide to watch it, however, you should know there’s a lot of sex in the first 30 minutes or so. I don’t know how Disney’s gonna handle that one when it gets to Hulu, but hey, Alien Romulus holds up just fine with the violence involved.

Anora introduces us to Anora “Ani” Mikheeva, a sex worker who everyone at her nightclub, Headquarters, adores. When she meets Ivan (Mark Eydelshteyn), it’s business as usual. He spends a lot, was looking for a girl who could speak Russian and Ani discovers he’s the son of an oligarch. They hit things off so well that during a party in Vegas, they decide to get married. When word of the marriage reaches Ivan’s parents, they send Toros (Karran Karagulian) and two of his employees, Igor (Yuri Borisov) and Garnick (Vache Tovmasvan) to have the wedding annulled. What starts as a simple task becomes a full on quest when Ivan panics and leaves. Will the group find Ivan? And if they do, can Ani convince Ivan to uphold the marriage? That’s the gist of the film.

In some ways, the flow of Anora reminds me of Norman Jewison’s Moonstruck. We’re introduced to Ivan’s extended family, and despite all of the issues, there are some small connections made over time. As they spend time trying to locate Ivan, I loved the interactions Ani has with the group. Without revealing too much, it all comes to a head. The pacing is pretty even. For a film that’s 2 Hours and 15 minutes, you won’t even notice how fast it moves.

When it comes to acting, the entire film is carried singlehandedly on the shoulders of Mikey Madison. She was impressive in Once Upon a Time in Hollywood, and she completely shines here. Ani is sexual and kind, yet fierce when it comes to fighting for what’s hers. She easily stands toe to toe with anyone she’s up against. Madison is easily due the recognition she’s received so far since the film was released. Granted, she’s not alone in all this. both Karagulian and Tomvmasvan serve as comedic foils in certain ways, which really help to move the story along. There are fine performances from all of the cast members, but these the ones who stood out, in particular.

The Cinematography is pretty standard in Anora. While there are a number of dark setting scenes, they’re all well lit. There any any shots in the film that stood out as being spectactular in any way.

The only real drawback to Anora is the direction of the story. It’s not a terrible thing. It may be more a realistic ending, more in the vein of Robert Benton’s Kramer vs. Kramer or Damien Chazelle’s Babylon, where you might find yourself hoping for one outcome, only to receive something else entirely. It doesn’t fully hurt the film. I’d argue that it might enhance it, considering how eager I was for what I wanted to see occur.

Overall, Anora is a fine film if you’re not discouraged by the sexual elements early on. You might find yourself cheering for Ani throughout her adventure, despite the directions the story takes.

Lisa Marie’s Oscar Predictions For December


With the 2024 coming to a close and awards season in full swing, the Oscar race has become a lot clearer.  For the last time this year, here are my monthly Oscar predictions!

Be sure to check out my predictions for AprilMayJuneJuly, August,  September, October, and November!

Best Picture

Anora

The Brutalist

A Complete Unknown

Conclave

Dune Part Two

Emilia Perez

Nickel Boys

Sing Sing

The Substance

Wicked

Best Director

Sean Baker for Anora

Brady Corbet for The Brutalist

Coralie Fargeat for The Substance

RaMell Ross for Nickel Boys

Denis Villeneuve for Dune Part Two

Best Actor

Adrien Brody in The Brutalist

Timothee Chalamet in A Complete Unknown

Daniel Craig in Queer

Colman Domingo in Sing Sing

Ralph Fiennes in Conclave

Best Actress

Cynthia Erivo in Wicked

Marianne Jean-Baptiste in Hard Truths

Mikey Madison in Anora

Demi Moore in The Substance

Kate Winlset in Lee

Best Supporting Actor

Yura Borisov in Anora

Kieran Culkin in A Real Pain

Edward Norton in A Complete Unknown

Guy Pearce in The Brutalist

Denzel Washington in Gladiator Part II

Best Supporting Actress

Aunjanue Ellis-Taylor in Nickel Boys

Ariana Grande in Wicked

Felicity Jones in The Brutalist

Margaret Qualley in The Substance

Zoe Saldana in Emilia Perez

Here Are The 2024 Nominations Of The Georgia Film Critics Association


Earlier today, the Georgia Film Critics Association announced its nominees for the best of 2024!  The winners will be announced on January 7th,

Best Picture
“Anora”
“The Brutalist”
“Challengers”
“Conclave”
“Dune: Part Two”
“Flow”
“Nickel Boys”
“Sing Sing”
“The Substance”
“Wicked”

Best Director
“Anora” – Sean Baker
“The Brutalist” – Brady Corbet
“Dune: Part Two” – Denis Villeneuve
“Nickel Boys” – RaMell Ross
“The Substance” – Coralie Fargeat

Best Actor
Adrien Brody (“The Brutalist“)
Timothée Chalamet (“A Complete Unknown“)
Colman Domingo (“Sing Sing“)
Ralph Fiennes (“Conclave“)
Keith Kupferer (“Ghostlight“)

Best Actress
Lily-Rose Depp (“Nosferatu“)
Cynthia Erivo (“Wicked“)
Marianne Jean-Baptiste (“Hard Truths“)
Mikey Madison (“Anora“)
Demi Moore (“The Substance“)

Best Supporting Actor
Yura Borisov (“Anora“)
Kieran Culkin (“A Real Pain“)
Clarence Maclin (“Sing Sing“)
Guy Pearce (“The Brutalist“)
Denzel Washington (“Gladiator II“)

Best Supporting Actress
Danielle Deadwyler (“The Piano Lesson“)
Aunjanue Ellis-Taylor (“Nickel Boys“)
Ariana Grande-Butera (“Wicked“)
Katy O’Brian (“Love Lies Bleeding“)
Margaret Qualley (“The Substance“)
Zoe Saldaña (“Emilia Pérez“)

Best Original Screenplay
“Anora” – Sean Baker
“The Brutalist” – Brady Corbet, Mona Fastvold
“Challengers” – Justin Kuritzkes
“A Real Pain” – Jesse Eisenberg
“The Seed of the Sacred Fig” – Mohammad Rasoulof
“September 5” – Moritz Binder, Tim Fehlbaum, Alex David
“The Substance” – Coralie Fargeat

Best Adapted Screenplay
“Conclave” – Peter Straughan
“Dune: Part Two” – Denis Villeneuve, Jon Spaihts
“Nickel Boys” – RaMell Ross, Joslyn Barnes
“Sing Sing” – Greg Kwedar, Clint Bentley
“Wicked” – Winnie Holzman, Dana Fox

Best Cinematography
“The Brutalist” – Lol Crawley
“Dune: Part Two” – Greig Fraser
“Inside the Yellow Cocoon Shell” – Đinh Duy Hưng
“Nickel Boys” – Jomo Fray
“Nosferatu” – Jarin Blaschke

Best Production Design
“The Brutalist” – Judy Becker, Patricia Cuccia
“Dune: Part Two” – Patrice Vermette, Shane Vieau
“Furiosa: A Mad Max Saga” – Colin Gibson, Katie Sharrock
“Nosferatu” – Craig Lathrop
“Wicked” – Nathan Crowley, Lee Sandales

Best Original Score
“The Brutalist” – Daniel Blumberg
“Challengers” – Trent Reznor & Atticus Ross
“Conclave” – Volker Bertelmann
“Dune: Part Two” – Hans Zimmer
“The Wild Robot” – Kris Bowers

Best Original Song
“Ain’t No Love in Oklahoma” – Jessi Alexander, Luke Combs, Jonathan Singleton (“Twisters“)
“Compress/Repress” – Trent Reznor, Atticus Ross (“Challengers“)
“El Mal” – Clément Ducol, Camille, Jacques Audiard (“Emilia Pérez“)
“Kiss the Sky” – Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi (“The Wild Robot“)
“Sick in the Head” – Móglaí Bap, Mo Chara, DJ Próvaí, Adrian Louis Richard Mcleod, Toddla T (“Kneecap“)

Best Ensemble
“Conclave”
“Dune: Part Two”
“Saturday Night”
“Sing Sing”
“Wicked”

Best International Film
“All We Imagine as Light”
“Flow”
“Kneecap”
“Red Rooms”
“The Seed of the Sacred Fig”

Best Animated Film
“Flow”
“Inside Out 2”
“Memoir of a Snail”
“Wallace & Gromit: Vengeance Most Fowl”
“The Wild Robot”

Best Documentary Film
“No Other Land”
“The Remarkable Life of Ibelin”
“Sugarcane”
“Super/Man: The Christopher Reeve Story”
“Will & Harper”

Breakthrough Award
Clarence Maclin
Mikey Madison
Katy O’Brian
RaMell Ross
Maisy Stella

Oglethorpe Award for Excellence in Georgia Cinema
“Civil War” (Alex Garland)
“Color Book” (David Fortune)
“The Forge” (Alex Kendrick, Stephen Kendrick)
“The Idea of You” (Michael Showalter, Robinne Lee, Jennifer Westfeldt)
“Juror #2” (Clint Eastwood, Jonathan A. Abrams)
“Makayla’s Voice: A Letter to the World (short; Julio Palacio, Makayla Cain)
“The Piano Lesson” (Malcolm Washington, Virgil Williams, August Wilson)
“The Preakness (short; Akshay Bhatia)
“Saturday Night” (Jason Reitman, Gil Kenan)
“The South Got Something to Say” (Ryon Horne, Tyson Horne, Ernie Suggs, DeAsia Paige)

Here Are The 2024 Nominations of the Kansas City Film Critics Circle!


Yesterday, The Kansas City Film Critics Circle announced their nominations for the best of 2024!  The winners will be announced on January 4th!

BEST FILM
Anora
Civil War
Conclave
Dune: Part Two
I Saw The TV Glow
Nickel Boys
A Real Pain
Sing Sing
The Substance
Wicked

ROBERT ALTMAN AWARD FOR BEST DIRECTOR
Sean Baker – Anora
Jon M. Chu – Wicked
Coralie Fargeat – The Substance
RaMell Ross – Nickel Boys
Denis Villeneuve – Dune: Part Two

BEST ACTOR
Timothée Chalamet – A Complete Unknown
Timothée Chalamet – Dune: Part Two
David Dastmalchian – Late Night with the Devil
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave

BEST ACTRESS
Cynthia Erivo – Wicked
Karla Sofía Gascón – Emilia Pérez
Mikey Madison – Anora
Demi Moore – The Substance
June Squibb – Thelma

BEST SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Chris Hemsworth – Furiosa: A Mad Max Saga
Clarence Maclin – Sing Sing
Adam Pearson – A Different Man
Jeremy Strong – The Apprentice
Denzel Washington – Gladiator II

BEST SUPPORTING ACTRESS
Joan Chen – Didi
Danielle Deadwyler – The Piano Lesson
Ariana Grande – Wicked
Margaret Qualley – The Substance
Zoe Saldana – Emilia Pérez

BEST ORIGINAL SCREENPLAY
Anora
The Brutalist
Civil War
A Real Pain
The Substance

BEST ADAPTED SCREENPLAY
Conclave
Dune: Part Two
Nickel Boys
Sing Sing
The Wild Robot

BEST CINEMATOGRAPHY
The Brutalist
Civil War
Dune: Part Two
Gladiator II
Nickel Boys
Nosferatu
Wicked

BEST ORIGINAL SCORE
Challengers
Conclave
Dune: Part Two
The Substance
The Wild Robot

BEST ANIMATED FEATURE
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

BEST FOREIGN LANGUAGE FILM
All We Imagine as Light
Emilia Pérez
Flow
I’m Still Here
Kneecap
Twilight of the Warriors: Walled In

BEST DOCUMENTARY
Dahomey
Look Into My Eyes
Seeking Mavis Beacon
Sugarcane
Super/Man: The Christopher Reeve Story
Will & Harper

VINCE KOEHLER AWARD FOR BEST SCIENCE FICTION/FANTASY/HORROR
Dune: Part Two
I Saw The TV Glow
Late Night with the Devil
Nosferatu
The Substance

TOM POE AWARD FOR BEST LGBTQ FILM
I Saw The TV Glow
Emilia Pérez
Love Lies Bleeding
My Old Ass
Will & Harper
Queer

BUSTER KEATON AWARD FOR BEST STUNT ENSEMBLE FILM
Deadpool & Wolverine
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Monkey Man

THE TALL T (1957) – Budd Boetticher and Randolph Scott, a match made in heaven!


There was a time in my life, before streaming existed, where it seemed like I wanted to buy every movie that interested me in the slightest. The main ways I looked for new movie releases was to go to a store like the Hastings Entertainment Superstore and look at their inventory, or look at the new and recent releases on Amazon’s online store. I could spend hours looking for movies in either location, and I did. Sometime in 2008, I ran across a DVD box set described as “The Films of Budd Boetticher” that contained introductions by the likes of Martin Scorsese, Taylor Hackford, and Clint Eastwood. The films included on the box set were THE TALL T, DECISION AT SUNDOWN, BUCHANAN RIDES ALONE, RIDE LONESOME, and COMANCHE STATION. I remember seeing the names of these movies at various times in my life in my movie books. They had never really caught my attention, although I do remember that they would receive good reviews. This set did catch my attention, however, based on the interesting packaging and the fact that Scorsese and Eastwood were both singing the praises of the films. I did a little bit of quick research and decided to just buy the boxset. I’m glad to report that these films have turned into some of my very favorite movies, and I sing their praises to anyone who will listen.

Version 1.0.0

The earliest movie in this set is THE TALL T from 1957, which is based on Elmore Leonard’s short story, “The Captives.” The story opens with our hero Pat Brennan (Randolph Scott) stopping by the Sassabee Stagecoach Station and visiting with the owner Hank (Fred Sherman) and his son, Jeff (Christopher Olsen). Brennan seems like a good-natured guy who has a nice visit with the two and even agrees to purchase young Jeff some striped candy when he stops in the town of Contention later that day. Brennan heads on to Contention where we meet Ed Rintoon (Arthur Hunnicutt), a stagecoach driver who has been hired to take Willard and Doretta Mims (John Hubbard and Maureen O’Sullivan) to Bisbee for their honeymoon. Rintoon and Brennan are clearly old friends. As part of their various conversations, we learn that Doretta Mims is the daughter of Old Man Gateway, the man with the richest copper claim in the territory. After saying goodbye to Rintoon and buying young Jeff his striped candy, Brennan continues on to Tenvoorde’s (Robert Burton) ranch, in hopes of buying a seed bull for his own start-up ranch. For many years, Brennan had been the ramrod on Tenvoorde’s ranch, and the old man clearly wants him to come back. Tenvoorde offers Brennan a chance to get his bull for nothing, but he has to ride the bull to a stand still. If he can’t do it, then Tenvoorde keeps the bull and Brennan’s horse. Brennan takes him up on the offer, falls off the bull, dives into water trough to avoid getting stomped by the bull, and then heads back towards his ranch with nothing but his wet clothes and saddle. As he’s walking down the road, Rintoon comes by on his stagecoach with Mr. and Mrs. Mims. They pick Brennan up and give him a ride. When they stop back at the Sassabee Stagecoach Station, Hank and Jeff are nowhere to be seen. Rather, a voice from inside the station says “Drop your guns and come on down.” Frank Usher (Richard Boone) and young Billy Jack (Skip Homeier) emerge from the station with their guns drawn. When he’s getting down off the stagecoach, Rintoon goes for his shotgun and is shot down by another man, Chink (Henry Silva), whose been waiting in the shadows. These three men are waiting to rob the next stagecoach that comes along. They’ve already killed Hank and Jeff, and are planning to kill every person on this coach, when Willard tells them that his wife Doretta is from the richest family in the territory. Willard tells the three outlaws that Old Man Gateway will pay good money to get his daughter back, if they will just let them live. Usher, the leader of the bunch, likes this idea and sends Billy Jack and Willard back to Contention to request $50,000 from Gateway for the safe return of his daughter. With the endgame changed, Usher takes Brennan and Mrs. Mims to their hideout to wait to get their money from Gateway. Brennan knows that it’s just a matter of time before they are all killed, and he tells Mrs. Mims that they will need to be looking for any possible opportunity to escape.

THE TALL T is just so good. It’s amazing how much drama that director Budd Boetticher could fit into these films that all had running times of less than 80 minutes. The story is simple, but it deals with big themes like honor, cowardice, true love, sociopathic evil, and big dreams. Credit here has to be given to Elmore Leonard, the writer of the short story the film is based on. It must also be given to Burt Kennedy. Kennedy wrote the scripts for THE TALL T, RIDE LONESOME, and COMANCHE STATION. He’s not the credited writer for BUCHANAN RIDES ALONE but he did uncredited work on the script. Kennedy would go on to have a good career writing and directing his own westerns, like SUPPORT YOUR LOCAL SHERIFF, THE TRAIN ROBBERS, and HANNIE CAULDER, but his work with Boetticher is definitely some of his very best.

It’s also amazing how spare and simple everything looks in the THE TALL T. The land is just so dry, with nothing but big rocks and not a tree in sight. Growing up in Arkansas, I’m used to green fields and trees and flowers. It can almost feel like you’re choking on dust just watching this film.

The casting always seems to be perfect in Boetticher’s films. Randolph Scott is simpatico with Boetticher. His character here is a good man who will do what it takes to survive while also keeping his honor intact. Boetticher and Scott are truly a match made in heaven. Richard Boone is great as Frank Usher, the leader of the outlaws. He could have killed Scott’s character Brennan, but he is glad to have an honorable man to talk to after spending all of his time with Billy Jack and Chink. Boone somehow makes his outlaw leader into an honorable man even though he’s done many dishonorable things. It’s an impressive feat. Maureen O’Sullivan has an important role as Doretta Mims, the rich but plain woman, who married Willard because she was afraid she’d end up all alone. Her career goes all the way back to the 1930’s where she played Jane in the original Tarzan movies. She’s a good actress whose character undergoes the widest arc in the entire movie. Henry Silva’s Chink is a sociopath who is keeping score of the number of people he kills. Boone’s Usher would have been much better off if he would have gone with Chink’s advice and put Brennan and the Mims’ in the well back at the Sassabee station! Based on his nonchalant penchant for violence, you can see how Henry Silva would go on to having an amazing career playing bad guys. The last person I want to mention in the cast is Arthur Hunnicutt, who played Ed Rintoon. Hunnicutt is special to me because he comes from the hills of Arkansas, from a little town called Gravelly. He attended the same college I attended, although it was called the Arkansas State Teachers College when he was there. It was the University of Central Arkansas when I came through. Hunnicutt specialized in wise, rural characters. He was even nominated for an Acadamy Award a few years earlier for a movie called THE BIG SKY. He’d go on to be in so many good movies, including playing “Bull” in EL DORADO with John Wayne. I’m just proud of the guy for growing up in extreme rural Arkansas and then becoming a great character actor in Hollywood. I’ll watch anything he’s in.

I recommend all of these Budd Boetticher / Randolph Scott westerns, and THE TALL T is one of the very best!