Here Are The 2025 Nominations Of The Makeup And Hair Stylists Guild!


The Makeup And Hair Stylists Guild has announced its nominations for the best of 2025.  And here they are:

FEATURE-LENGTH MOTION PICTURE

Best Contemporary Make-Up
“Bugonia” (Focus Features) – Torsten Witte
“Eddington” (A24) – Colin Penman, Lisa Hansell
“Jurassic World: Rebirth” (Universal Pictures) – Jana Carboni, Charlie Hounslow, Nik Buck, Aisling Nairn, Lauren Baldwin
“One Battle After Another” (Warner Bros. Pictures/HBO Max) – Heba Thorisdottir, Mandy Artusato
“Superman” (Warner Bros. Pictures/HBO Max) – Alexei Dmitriew, LuAndra Whitehurst, Nicole Sortillon Amos, Amanda Sprunger

Best Period and/or Character Make-Up
“Frankenstein” (Netflix) – Jordan Samuel, Oriana Rossi, Kristin Wayne, Patricia Keighran, Lizzi Lawson Zeiss
“Sinners” (Warner Bros. Pictures/HBO Max) – Ken Diaz, Siân Richards, Ned Neidhardt, Allison laCour, Lana Mora
“The Smashing Machine” (A24) – Felix Fox, Darah Wyant, Amanda Imeson, Harlow MacFarlane, Maiko Gomyo
“Weapons” (Warner Bros. Pictures/HBO Max) – Leo Satkovich, Mark Ross, Jason Collins, Kaylee Kehne-Swisher, Brie Bastianson
“Wicked: For Good” (Universal Pictures) – Frances Hannon, Alice Jones, Nuria Mbomio, Sarah Nuth

Best Special Make-Up Prosthetics
“Frankenstein” (Netflix) – Mike Hill, Megan Many
“One Battle After Another” (Warner Bros. Pictures/HBO Max) – Arjen Tuiten, Jessica Nelson
“Sinners” (Warner Bros. Pictures/HBO Max) – Mike Fontaine, Bailey Domke, Kelsey Berk, Kevin Wasner, Cristina Patterson
“Weapons” (Warner Bros. Pictures/HBO Max) – Jason Collins, Leo Satkovich, Mike McCarty, Mark Ross, Kaylee Kehne-Swisher
“Wicked: For Good” (Universal Pictures) – Frances Hannon, Mark Coulier, Stephen Murphy, Susie Redfern

Best Contemporary Hair Styling
“Ballad of a Small Player” (Netflix) – Heike Merker, Alex Kwan
“Bugonia” (Focus Features) – Torsten Witte
“The Naked Gun” (Paramount) – Joyce M. Gilliard, Nadia Sobh, Tomica Sarver
“One Battle After Another” (Warner Bros. Pictures/HBO Max) – Ahou Mofid, Gina Maria DeAngelis, Sacha Quarles
“Superman” (Warner Bros. Pictures/HBO Max) – Peter Swords King, Lindsay McAllister, Magnolia Lowe

Best Period and/or Character Hair Styling
“Frankenstein” (Netflix) – Cliona Furey, Tim Nolan, Laura Solari, Tori Binns, Katarina Chovanec
“Marty Supreme” (A24) – Kay Georgiou, Jimmy Goode, Michael Buonincontro, Mitchell Beck
“Sinners” (Warner Bros. Pictures/HBO Max) – Shunika Terry-Jennings, Elizabeth Robinson, Tene Wilder, Jove Edmond, Sherri B. Hamilton
“Weapons” (Warner Bros. Pictures/HBO Max) – Melizah Wheat, Monty Schuth, Nashi Tumlinson
“Wicked: For Good” (Universal Pictures) – Frances Hannon, Sim Camps, Gabor Kerekes, Laura Blount

The Films of 2025: Steve (dir by Tim Mielants)


Cillian Murphy plays the title character in this rather downbeat British film.

Though Steve has a properly depressing British flat in a properly depressing British town, he still spends the majority of his time at the reform school that he struggles to manage.  The students are rowdy and quick to fight but Steve insists that all of them can be reached if the teachers just try hard enough.  Steve has taken a particular interest in a student called Shy (Jay Lycurgo).  Shy alternates between moments of genuine insight and empathy and moments of pure rage.  He’s practically begging for someone to take the risk to get close to him but, at the same time, he instinctively pushes people away.

Steve takes place over one 24-hour period.  We first meet Shy while he’s getting high in a nearby field.  Later, he takes a call from his mother and she promptly informs him that he’s no longer allowed to be a part of her life.  As for Steve, he has to deal with not only a documentary crew but also the news that the building housing his school has been sold and that the school that he’s dedicated his life to will now be shutting down.  Steve tries to hold back his temper, self-medicating his bad back with painkillers and alcohol.

Directed in a frenetic manner by Tim Mielants, Steve is a film that seems like it should be better than it actually is.  It’s a film dealing with an important subject.  Steve cares about his dysfunctional students but that’s not going to make much of a difference if his school gets shut down.  Shy is intelligent but also only a few steps away from self-destructing.  Cillian Murphy, who also produced the film, gives a committed performance.  And yet the film is never quite as affecting as it should be.

The film itself is extremely British, which is a polite way of saying that the nonstop cursing got boring after about five minutes and the harsh lighting seemed to be designed to make sure that we understood that everyone was very, very tired.  Visually, the hand-held camera work couldn’t disguise just how drab everything looked.  Beyond that, though, I have to admit that, as the film reached the 60 minute mark, I realized that I was just tired of Steve.  I was tired of his scraggly beard.  I was tired of his constant back pain.  I was tired of his stupid tennis ball.  I was tired of the pained expression on his face.  I was tired of his nonstop resentment and his complaining.  I was tired of his inability to fight back.  I was just sick to death of spending time with him.  Murphy commits himself to the roll but Steve is not a compelling character.  If anything, he’s a bit whiny.  Seriously, Steve, don’t just lie down on the floor and talk about how much you resent things.  Get out there and fight for your school, dude.

There are parts of the film that work but there are other parts that just fall totally flat.  The use of the documentary crew feels unnecessary and there’s not really any payoff to their presence.  A scene where a stuffy member of Parliament visits the school and talks about the importance of not allowing Britain to go communist is so poorly-executed that it almost feels like a parody of a Ken Loach film.  Even when Steve finally does let go of his emotions, it feels like a false note.

In the end, I’ll give Steve credit for trying to deal with a real issue.  The fact of the matter is that society — both in the UK and in the US — is far too quick to give up on those who have been deemed as delinquents.  That said, the film falls flat.  It’s a noble failure but failure nonetheless.

Join #MondayMania For The Wrong Mommy!


Hi, everyone!  Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania!  Join us for 2019’s The Wrong Mommy, featuring Eric Roberts!

You can find the movie on Prime and then you can join us on twitter at 9 pm central time!  (That’s 10 pm for you folks on the East Coast.)  See you then!

Monday Live Tweet Alert: Join Us For Time Trackers!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be 1989’s Time Trackers!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, find the movie on YouTube and hit play at 8 pm et, and use the #MondayActionMovie hashtag!  The  watch party community is a friendly group and welcoming of newcomers so don’t be shy.   

See you soon!

Scenes that I Love: The Iguanas On The Coffee Tables From Bad Lieutenant: Port of Call New Orleans


Ever since Werner Herzog’s Bad Lieutenant: Port of Call New Orleans was first released in 2009, people have debated the symbolism of the iguanas on the coffee table.  Are they just a sign that Nicolas Cage’s bad lieutenant is totally high or do they have a deeper meaning?  Myself, I’m not even going to try to guess.  All I know is that the lieutenant eventually came to appreciate their presence.

4 Shots From 4 Films: Special Barbara Steele Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.

Happy birthday to the wonderful and iconic actress, Barbara Steele!

4 Shots From 4 Barbara Steele Films

Black Sunday (1960, dir by Mario Bava)

Black Sunday (1960, dir by Mario Bava)

8  1/2 (1963, dir by Federico Fellini)

8 1/2 (1963, dir by Federico Fellini)

I maniaci (1964, dir by Lucio Fulci)

I maniaci (1964, dir by Lucio Fulci)

Caged Heat (1974, dir by Jonathan Demme)

Caged Heat (1974, dir by Jonathan Demme)

Iowa Honors Hamnet


The Iowa Films Critics Association has announced its picks for the best of 2025 and, for once, One Battle After Another is nowhere to be found!  Congratulations, Hamnet!

BEST FILM
Hamnet

BEST ANIMATED MOVIE
Zootopia 2

BEST DIRECTOR
Chloé Zhao – Hamnet

BEST ACTOR
Tom Hiddleston – The Life of Chuck

BEST ACTRESS
Jessie Buckley – Hamnet

BEST SUPPORTING ACTOR
Mark Hamill – The Life of Chuck & The Long Walk

BEST SUPPORTING ACTRESS
Ariana Grande – Wicked: For Good

BEST SONG
The Girl in the Bubble – Wicked: For Good

BEST INTERNATIONAL FILM
Sentimental Value

Brad reviews INTO THE WILD (2007), directed by Sean Penn!


This morning my wife told me she wanted to watch a movie based on a true story. After scrolling for a bit, I came across the film INTO THE WILD, which interested me for a couple of reasons. First, it was directed by Sean Penn, whose directorial debut, THE INDIAN RUNNER (1991), gave my favorite actor of all time, Charles Bronson, a late-career character performance that critics actually took seriously. I’ve followed his directing career ever since. Second, the movie stars Emile Hirsch, who my wife and I had the rare opportunity to watch up close this summer while he was filming a movie here in Central Arkansas… an awesomely surreal experience that’s had me revisiting the work of the actors I saw that day. As such, today seemed like the perfect time to hit play on INTO THE WILD! 

INTO THE WILD is based on the true story of Christopher McCandless (Emile Hirsch), a bright, idealistic young man who graduates from college in the early 1990s and immediately walks away from the type of life everyone expects him to live. Chris donates his savings to charity, abandons his car, burns the cash in his wallet, reinvents himself as Alexander Supertramp, and sets off across America on a great Alaskan adventure. Along the way he comes across different people who impact his life in a variety of ways, from some free-spirited hippies, to a grizzled old widower, and even a beautiful young lady who takes an immediate liking to him. Each of these encounters offer Chris a chance to form meaningful relationships, but he always decides to keep moving on. When he does eventually make it to the wilds of Alaska, it’s everything he hoped for… at first. But as the months wear on, his loneliness and inexperience take their toll, and Chris is forced to face the ultimate consequence of his decisions. 

I’ll start out by saying that INTO THE WILD is a truly beautiful film. Sean Penn and his cinematographer Eric Gautier capture so many amazing images, from the Grand Canyon and Lake Tahoe, to the Denali National Park in Alaska. We see an America that is awe-inspiring, and we can at least somewhat understand why Chris might want to escape to such a world of promise. I also liked the music, especially when Eddie Vedder’s voice emerges to punctuate a scene that seems perfectly in tune with Chris’ restless spirit.

I must admit that Chris McCandless, the person, is quite the frustrating subject. He’s intelligent and sincere, but he’s also painfully naive and self-righteous. It’s noble that he wants to find ultimate truth, but he goes about it by running away from the messy parts of his life, especially the parents, played here by William Hurt and Marcia Gay Harden, that he sees as horrible people. I guess my frustration with Chris’ decisions may be the point, and Director Sean Penn doesn’t turn him into either a saint or a fool. While watching the film, I was somewhat torn between admiring Chris for the way he rejects materialism and lives his life on his own terms, while also being disappointed as he continually walks away from any person who gets too close or tries to help him. 

Emile Hirsch is incredible in the lead role as Chris McCandless. He captures his restless spirit, as well as his determination to make it completely on his own, that is, until he realizes that he overplayed his hand. The other performances that stood out to me came from Vince Vaughn as a farmer that Chris stops and works for, Catherine Keener as a hippie with her own set of issues, and especially Hal Holbrook as a lonely, but perceptive old man who sees in Chris the grandson he never had.

At the end of the day, I feel that INTO THE WILD is a powerful film, but not because of what ultimately happens to Chris. Rather, what lingers with me is his too-late realization that personal freedom without meaningful relationships is not satisfying. As beautiful as this movie is to look at, its strongest moments are Chris’ interactions with the caring people he meets along the way. I just wish one of them had been able to convince him to call his mom and dad. 

The Films of 2025: The Roses (dir by Jay Roach)


The Roses is a marriage story.

When architect Theo (Benedict Cumberbatch) and aspiring chef Ivy (Olivia Colman) meet in London, it is love at first sight.  Ivy wants to move to America so that she can pursue her dream of opening a restaurant.  Theo impulsively decides that he wants to move with her.  (Take that, Britain!)  They marry and the film follows them as they settle in California and pursue success in their respective fields while raising precocious twins.  At first, Theo has more success than Ivy but that changes when a freak storm causes one of Theo’s buildings to collapse on the same night that it also causes hundreds of stranded tourists to suddenly show up at Ivy’s restaurant.  Ivy becomes a success while Theo, who is now basically unemployable, becomes a stay-at-home dad.  Theo starts to resent Ivy’s success.  Ivy starts to resent the amount of time that Theo spends with their daughters.  Looking to fix their fraying marriage, Theo design an ultra-modern and chic home for them.  Needless to say, by the end of the movie, Theo is being chased through the house by a gun-wielding Ivy.

Oh, Benedict Cumberbatch and Olivia Colman.  They’re both good actors and I’ve appreciated many of their past performances but, watching them in The Roses, I do have to admit that I realized that I’ve started to get a bit bored with both of them.   Their performances here all about technique.  Cumberbatch does his barely repressed anger thing until eventually he explodes into a frantic fury.  Colman does her cutting barb followed by a goofy smile thing.  Neither performance really has much emotional depth and, even when they’re supposed to be happy, you don’t really buy them as a couple for a second.  Even when they blow up at each other and fully embrace their growing hatred, it doesn’t have much of an emotional impact because they never really seemed to like each other to begin with.  Every line that Colman delivers sounds like a sarcastic attempt at a bon mot, even she’s supposed to be sincere.  There’s nothing shocking about either one of their cruel comments to each other.  It just feels like two actors doing their thing.

At its heart, The Roses is meant to be a satire.  Theo and Ivy grow to hate each other but neither one is willing to give up their rather tacky house.  Unfortunately, Jay Roach is exactly the wrong director for this material.  Roach has gone from directing broad but genuinely funny comedies to becoming something of a second-rate Adam McKay.  Perhaps even more so than McKay, he’s a prime example of what happens when a director decides that he can’t just be happy making movies that people actually enjoy.  (Trumbo and Bombshell may have gotten mildly good reviews from critics who are sympathetic to Roach’s liberal politics but, in the end, Austin Powers is the film for which audiences will remember Jay Roach.)   There’s not a subtle moment to be found in The Roses and, as a result, there’s not really much genuine emotion to be found either.  Towards the end of the film, we get a montage of Theo and Ivy escalating their attacks on one another.  It’s one thing for Ivy to create an AI video of Theo smoking crack.  It’s another thing for Theo to spike the food at Ivy’s restaurant with hallucinogenic shrooms, leading to an slow motion orgy involving a bunch of middle-aged tourists.  It all becomes so cartoonish that the film loses sight of whatever it was trying to say about marriage.

Touted as an Oscar nominee before it was released and subsequently forgotten about, The Roses was one of the many disappointing films of 2025.

 

The Films of 2025: Shiver Me Timbers (dir by Paul Stephen Mann)


“Wow, that was crap!”

That my reaction to watching Shiver Me Timbers, one of three killer Popeye movies that came out in 2025.  Online, there’s some debate over which of the three films is the worst.  I’ve only seen two of them so I really can’t say.  What I can tell you is that Shiver Me Timbers makes Popeye The Slayer Man look like a freaking masterpiece by comparison.

The film actually does start off with a vaguely clever premise.  The year is 1986 and a group of friends are camping so that they can watch as Halley’s Comet crosses the night sky.  Our main character is Olive (Amy Mackie), who isn’t sure whether or not she wants to go to M.I.T.  I have to admit that I could relate to Olive, just because I wouldn’t want to go to college in Massachusetts either.  Plus, Oliva wears all black and has a generally sarcastic attitude, which is pretty much the same way that I was when I was 18.

Anyway, a piece of a meteorite falls out of the sky and, after getting nearly burned up in the atmosphere, it falls into the pipe of a scrawny sailor who is fishing out at the lake.  The sailor smokes the tiny meteorite and is immediately mutated into a hulking killer.  He proceeds to kill all of Olive’s friends.  The deaths are extremely bloody and go out of their way to shock but, oddly enough, they don’t make much of an impression.  Part of the problem is that Olive’s friends aren’t that interesting and, as a result, you don’t really care that much about any of them getting killed.  The film has this weird habit of featuring close-ups of decapitated heads still struggling to speak.  I’m going to be charitable and assume that this was meant to be an homage to Werner Herzog’s Aguirre, the Wrath of God.  Herzog, however, was smart enough to only have one decapitated head speaking.

For all the pain that the character go through as Popeye snaps their bones and removes their heads, the real pain is reserved for those watching the movie.  The pacing is abysmal, the dialogue is terrible (and please, can we stop making slasher movies where the victims all keep talking about other slasher movies?), and the mutated Popeye looks so dumb that it’s hard to take him seriously as any sort of threat.  (Popeye The Slayer Man at least had a vaguely credible killer Popeye.)  The film ends with a shout-out to Evil Dead II and it actually would have been pretty cute if the film before it had been better.  As it its, it feels like an unearned comparison.

On the plus side — because I hate to be totally negative about anything — the shots of the night sky were actually very effective.  That may sound like almost a parody of faint praise and I guess maybe it is but seriously, there was some real beauty to shots of the stars moving across the sky.

Anyway, let’s stop turning public domain characters into murderers, shall we?  Thanks!