Here Are The 2025 Golden Globe Nominations


Does anyone care about the Golden Globes any more?  I remember that there was a feeling of relief when it looked like we would finally be free from having to worry about them.  Of course, the Globes are back and under new management.  They’re clawing their way back to relevancy, or at least they’re trying.

To be honest, I don’t trust the nominations below.  I think it’s all about getting people to watch their ceremony again.  Still, the Golden Globes are a thing and here are the film nominations for this year.  The winners will be revealed on January 11th.

BEST MOTION PICTURE, DRAMA
Frankenstein
Hamnet
It Was Just an Accident
The Secret Agent
Sentimental Value
Sinners

BEST MOTION PICTURE, MUSICAL OR COMEDY
Blue Moon
Bugonia
Marty Supreme
No Other Choice
Nouvelle Vague
One Battle After Another

BEST DIRECTOR, MOTION PICTURE
Paul Thomas Anderson – One Battle After Another
Ryan Coogler – Sinners
Guillermo del Toro – Frankenstein
Jafar Panahi – It Was Just an Accident
Joachim Trier – Sentimental Value
Chloe Zhao – Hamnet

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE, DRAMA
Jessie Buckley – Hamnet
Jennifer Lawrence – Die, My Love
Renate Reinsve – Sentimental Value
Julia Roberts – After the Hunt
Tessa Thompson – Hedda
Eva Victor – Sorry, Baby

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE, MUSICAL, OR COMEDY
Rose Byrne – If I Had Legs I’d Kick You
Cynthia Erivo – Wicked: For Good
Kate Hudson – Song Sung Blue
Chase Infiniti – One Battle After Another
Amanda Seyfried – The Testament of Ann Lee
Emma Stone – Bugonia

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Emily Blunt – The Smashing Machine
Elle Fanning – Sentimental Value
Ariana Grande – Wicked: For Good
Inga Ibsdotter Lilleaas – Sentimental Value
Amy Madigan – Weapons
Teyana Taylor – One Battle After Another

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE, DRAMA
Joel Edgerton – Train Dreams
Oscar Isaac – Frankenstein
Dwayne Johnson – The Smashing Machine
Michael B. Jordan – Sinners
Wagner Moura – The Secret Agent
Jeremy Allen White – Springsteen: Deliver Me from Nowhere

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE, MUSICAL, OR COMEDY
Lee Byung-hun – No Other Choice
Timothee Chalamet – Marty Supreme
George Clooney – Jay Kelly
Leonardo DiCaprio – One Battle After Another
Ethan Hawke – Blue Moon
Jesse Plemons – Bugonia

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Benicio Del Toro – One Battle After Another
Jacob Elordi – Frankenstein
Paul Mescal – Hamnet
Sean Penn – One Battle After Another
Adam Sandler – Jay Kelly
Stellan Skarsgård – Sentimental Value

BEST SCREENPLAY, MOTION PICTURE
Hamnet
It Was Just an Accident
Marty Supreme
One Battle After Another
Sentimental Value
Sinners

BEST ORIGINAL SCORE, MOTION PICTURE
F1: The Movie
Frankenstein
Hamnet
One Battle After Another
Sinners
Sirat

BEST ORIGINAL SONG, MOTION PICTURE
Avatar: Fire and Ash – “Dream as One”
KPop Demon Hunters – “Golden”
Sinners – “I Lied to You”
Train Dreams – “Train Dreams”
Wicked: For Good – “No Place Life Home”
Wicked: For Good – “The Girl in the Bubble”

BEST MOTION PICTURE, ANIMATED
Arco
Demon Slayer: Kimetsu No Yaiba The Movie
Elio
KPop Demon Hunters
Little Amelie or the Character of Rain
Zootopia 2

BEST MOTION PICTURE, FOREIGN LANGUAGE
It Was Just an Accident
No Other Choice
The Secret Agent
Sentimental Value
Sirat
The Voice of Hind Rajab

GOLDEN GLOBE FOR CINEMATIC & BOX OFFICE ACHIEVEMENT
Avatar: Fire and Ash
F1: The Movie
KPop Demon Hunters
Mission: Impossible — The Final Reckoning
Sinners
Weapons
Wicked: For Good
Zootopia 2

Review: Glass Onion: A Knives Out Mystery (dir. by Rian Johnson)


“Everyone loves a puzzle until it’s time to solve it.” — Benoit Blanc

Glass Onion: A Knives Out Mystery is a follow-up to the original Knives Out film, starring Daniel Craig as the ingenious detective Benoit Blanc. It builds on the premise of a murder mystery but wraps it inside a colorful, satirical commentary on wealth, influence, and the human condition. Set on the private island of a tech billionaire named Miles Bron, the story assembles a quirky cast of characters, all entangled in complicated relationships that unravel layer by layer. The casual tone of the movie masks a sharp, incisive look at the absurdities of the ultra-rich and the moral compromises they often make.

From the outset, Glass Onion shines with its clever blending of classic whodunit tropes and contemporary social critique. The gathering on the island is ostensibly for a murder mystery party, but the tension quickly escalates when the lines between game and reality blur. As detective Benoit Blanc begins to peel back the layers, it becomes clear that the story is much more than just a puzzle; it’s a reflection on fame, fortune, intellectual theft, and the lengths people will go to protect their reputations and secrets. The mystery itself is engrossing, delivering plenty of twists and turns that keep viewers guessing without feeling predictable.

The characters are vividly drawn, each embodying a certain archetype of privilege and excess, yet crafted with enough depth to avoid caricature. Miles Bron, in particular, captures the archetypal tech mogul—brash, arrogant, and unapologetically wealthy—but his flaws and vulnerabilities make him an intriguing focal point. His colorful group of friends each contribute their quirks and motives, creating a dynamic interplay that enriches the plot. Through their interactions, the film deftly explores themes of betrayal, sycophantic behavior, and the moral decay that can accompany unchecked power.

Edward Norton’s portrayal of Miles Bron has often been linked to Elon Musk, mostly because Bron’s flamboyant personality and billionaire tech mogul status seem reminiscent of Musk. However, director Rian Johnson and Norton himself have been clear that the character is not based specifically on Musk. Instead, Miles embodies the broader archetype of “tech bros”: exceedingly wealthy, extremely arrogant, and more than a bit sociopathic. Norton’s portrayal blends charm, obliviousness, and bravado, embodying this tech mogul stereotype more than mimicking any particular real-life figure. This approach allows the film to critique the broader billionaire culture, using Miles as a symbol of its excesses and absurdities, rather than targeting one individual.

A distinctive feature of Glass Onion is how it incorporates the reality of its production during the height of the COVID-19 lockdown. Set in May 2020, during global lockdowns, the film naturally weaves in social distancing and mask-wearing as part of its narrative fabric. This not only adds an element of authenticity but also becomes a device to reveal character traits—whether sincere compliance or performative adherence. The pandemic protocols also shaped production logistics, reducing extras and focusing tightly on the main cast, creating an intimate but tense atmosphere. By anchoring the isolation of its characters in a real-world health crisis, the film echoes classic mystery confinements while feeling relevant and immediate.

Emotional stakes in Glass Onion are amplified through Helen, who arrives on a personal mission to uncover the truth behind her sister’s death. Unlike many self-interested guests on the island, Helen represents a disruptive force challenging the privileged elite. Her story adds urgency and depth, highlighting themes of justice, accountability, and silence’s costs. This subplot weaves seamlessly into the larger narrative, enriching the mystery’s resolution with meaningful emotional weight.

Visually, the film dazzles with opulent settings and a vibrant color palette that amplify the sense of excess and detachment characterizing the guests’ lives. The private island itself almost becomes a character—a lush, insular playground where drama explodes amid luxury. Production design and cinematography balance whimsy with darker undertones, while costumes and set details root satire in an authentic world.

Craig returns as Benoit Blanc with a mix of charm, wit, and gravitas, anchoring the film amidst eccentric chaos. Blanc’s character delights as a master detective who enjoys intellectual puzzles but wrestles with moral questions. Meanwhile, the supporting cast gives nuanced performances that capture their characters’ complexities and motivations.

Narratively, Glass Onion triumphs by delivering an engaging mystery while embedding incisive social commentary on inequality and hypocrisy. The film compellingly probes how wealth and influence can obscure truth and the costs endured by those who confront power. The sharp, often humorous writing makes it both entertaining and thought-provoking.

Whether viewed casually or analyzed deeply, Glass Onion offers much to enjoy. Plot twists, sharp dialogues, visual style, and strong performances combine for an engrossing experience. At its core, the story emphasizes how the pursuit of personal gain can harm others, and reckoning with uncomfortable truths demands courage and sacrifice.

Ultimately, Glass Onion is a skillfully crafted, entertaining mystery that surpasses typical genre fare. It balances suspense, humor, and social critique naturally and compellingly. Cementing Rian Johnson’s success in the Knives Out franchise, it reclaims his reputation after the contentious backlash to The Last Jedi. While fan expectations proved insurmountable in that galaxy far, far away, Glass Onion confirms Johnson as a brilliant filmmaker capable of crafting sharp, layered stories. The film invites audiences to not only solve a crime but also reflect on integrity, power, and humanity’s search for justice and meaning. Its impact lingers long after the credits roll.

Lisa Marie’s Way Too Early Oscar Predictions For June


Click here for my April and May predictions!

Best Picture

Avatar: Fire and Ash

Deliver Me From Nowhere

F1

Hamnet

It Was Just An Accident

The Secret Agent

Sentimental Value

Sinners

The Smashing Machine

Wicked For Good

Best Director

Jon M. Chu for Wicked For Good

Ryan Coogler for Sinners

Joseph Kosinski for F1

Jafar Panahi for It Was Just An Accident

Joachim Trier for Sentimental Value

Best Actor

Timothee Chalamet in Marty Supreme

Dwayne Johnson in The Smashing Machine

Michael B. Jordan in Sinners

Wagner Moura in The Secret Agent

Jeremy Allen White in Deliver Me From Nowhere

Best Actress

Cynthia Erivo in Wicked For Good

Lucy Liu in Rosemead

Renate Reinsve in Sentimental Valure

Amanda Seyfried in Ann Lee

June Squibb in Eleanor The Great

Best Supporting Actor

Miles Caton in Sinners

Colman Domingo in Michael

Paul Mescal in Hamnet

Stellan Skarsgard in Sentimental Value

Christoph Waltz in Frankenstein

Best Supporting Actress

Elle Fanning in Sentimental Value

Ariana Grande in Wicked For Good

Gabby Hofman in Deliver Me From Nowhere

Kate Hudson in Song Song Blue

Nia Long in Michael

Lisa Marie’s Way Too Early Oscar Predictions For May


We’re taking just a short break from our Eastwood-a-thon so that I can share my Oscar predictions for May.

As I say every month, don’t read too much into anything this early in the year.  I do think Sinners has a decent chance of getting nominated, despite being released early in the year.  And since Cannes has now emerged as a semi-reliable precursor, you’ll find a lot of this year’s winners mentioned below.  That said, in all probability, the actual Oscar nominations will look completely different from what’s below.  That’s part of the fun of doing monthly predictions!

I should note that Clint Eastwood is apparently working on another film.  Given how quickly he directs, he might be directing this year’s next sudden contender.

Click here for my April predictions!

Best Picture

Avatar: Fire and Ash

Deliver Me From Nowhere

F1

Hamnet

It Was Just An Accident

The Secret Agent

Sentimental Value

Sinners

The Smashing Machine

Wicked For Good

Best Director

Jon M. Chu for Wicked For Good

Ryan Coogler for Sinners

Joseph Kosinski for F1

Jafar Panahi for It Was Just An Accident

Joachim Trier for Sentimental Value

Best Actor

Timothee Chalamet in Marty Supreme

Dwayne Johnson in The Smashing Machine

Michael B. Jordan in Sinners

Wagner Moura in The Secret Agent

Jeremy Allen White in Deliver Me From Nowhere

Best Actress

Cynthia Erivo in Wicked For Good

Lucy Liu in Rosemead

Renate Reinsve in Sentimental Valure

Amanda Seyfried in Ann Lee

June Squibb in Eleanor The Great

Best Supporting Actor

Miles Caton in Sinners

Colman Domingo in Michael

Paul Mescal in Hamnet

Stellan Skarsgard in Sentimental Value

Christoph Waltz in Frankenstein

Best Supporting Actress

Elle Fanning in Sentimental Value

Ariana Grande in Wicked For Good

Gabby Hofman in Deliver Me From Nowhere

Kate Hudson in Song Song Blue

Nia Long in Michael

Film Review: Deepwater Horizon (dir by Peter Berg)


2016’s Deepwater Horizon tells the story of the 2010 explosion that led to the biggest oil spill in American history.

Owned by British Petroleum, the Deepwater Horizon was an oil rig sitting off the coast of Louisiana and Texas.  A series of explosions, which were found to be the result cost-cutting and negligence on the part of BP, killed eleven men, injured countless others, and led to an 87-day oil spill that leaked 210 million gallons of oil into the Gulf of America (or the Gulf of Mexico, as it was known back then.  I know, it can be heard to keep track).  I can still remember when the disaster happened.  It was seen as an early test of the “government-can-fix-anything” philosophy of the Obama era and it pretty much proved the opposite.  Private citizens (including Kevin Costner) offered to help and were rebuffed.  The governor of Louisiana was criticized for ordering the construction of barrier islands, even though they were more effective than was that the federal government was offering up.  The CEO of British Petroleum issued a self-pitying apology.  For a generation coming of political age in 2010, witnessing the government’s ineffective attempts to deal with the oil spill was as radicalizing a moment as the COVID lunacy would be for people coming of age in 2020.

In all the chaos surrounding the oil spill, it was often overlooked that 11 people died in the initial explosion.  In all the rightful criticism that was directed towards British Petroleum, the heroic efforts of the workers on the Deepwater Horizon, all of whom risked their lives to try to prevent the disaster from getting worse, were also often overlooked.  To an extent, Deepwater Horizon corrects that oversight, paying tribute to the men on that rig while also portraying the extent of the environmental disaster caused by BP’s negligence.

The film centers of Jimmy Harrell (Kurt Russell) and Mike Williams (Mark Wahlberg), two engineers who attempt to warn BP execs like Donald Virdrine (John Malkovich) that cutting costs on safety will inevitably lead to disaster.  Russell, Wahlberg, and Malkovich are all ideally cast, with Russell and Wahlberg capturing the spirit of men who try to do their job well and who live their life by the philosophy of not leaving anyone behind.  Malkovich is playing a corporate stooge, the man who many people blamed for the disaster.  But, to his credit, Malkovich is able to turn Virdrine into a complex character.  Virdrine makes terrible mistakes but he never becomes one-dimensional corporate villain.  Though Deepwater Horizon is dominated by its special effects and the explosion is an undeniably intense scene, the film doesn’t forget about the human cost of the disaster.  Russell, Wahlberg, and Malkovich are supported by good performances from Ethan Suplee, Gina Rodriguez, and Kate Hudson.  (Hudson, in particular, deserves a lot of credit for making her thinly-written role into something compelling.)  Kurt Russell does such a good job of capturing Jimmy’s quiet confidence and his expertise that, the minute he’s injured by the explosion, the audience knows that Deepwater Horizon is doomed.  If even Kurt Russell can’t save the day, what hope is there?

Director Peter Berg specialized in films about ordinary people who found themselves caught up in extraordinary situations.  His well-made and earnest films — like Lone Survivor, Patriots Day, and this one — were rarely acclaimed by critics, many of whom seemed to take personal offense at Berg’s unapologetically patriotic and individualistic vision.  Personally, I appreciate Berg’s pro-American aesthetic.  At a time when we were being told that individuals didn’t matter and that everyone should be content with merely being a cog in a bigger machine, Berg’s films came along to say, “This is what team work actually means.”  It’s been five years since Berg’s last film.  Hopefully, we will get a new one soon.

 

Music Video of the Day: Talk About Love by Kate Hudson (2024, dir by Kimberly Stuckwisch)


Today’s music video of the day is for the debut single of actress Kate Hudson.  Kate’s got a good voice, though I’m not sure how many people in their mid-40s have been able to launch a successful music career.  Oh well, no matter!  Best of luck to her!

Enjoy!

Here Are The 78th Annual Golden Globe Nominations!


I’m totally turned off by the self-importance of the Golden Globes and I resent every time that I have to write about them.

That said, despite the fact that no one is quite sure who actually votes for the damn things and stories of corruption in the Hollywood Foreign Press Association have been rampant for years, the Golden Globes have still emerged as one of the main Oscar precursors.  So, you kind of have to pay attention to them.  Bleh.

There really aren’t any huge shocks in the list of nominees below, with the exception of maybe Jared Leto for Best Supporting Actor and James Corden’s Prom nomination.  I mean, if you’re that determined to nominate someone for The Prom, why would you go for James Corden as opposed to Meryl Streep?  That’s just odd.

Anyway, here are the nominations:

Best Motion Picture, Drama
“The Father”
“Mank”
“Nomadland”
“Promising Young Woman”
“The Trial of the Chicago 7”

Best Motion Picture, Musical or Comedy
“Borat Subsequent Moviefilm”
“Hamilton”
“Music”
“Palm Springs”
“The Prom”

Best Director, Motion Picture
Emerald Fennell, “Promising Young Woman”
David Fincher, “Mank”
Regina King, “One Night In Miami”
Aaron Sorkin, “The Trial of the Chicago 7”
Chloé Zhao, “Nomadland”

Best Performance by an Actress in a Motion Picture, Drama
Viola Davis, “Ma Rainey’s Black Bottom”
Andra Day, “The United States vs. Billie Holiday”
Vanessa Kirby, “Pieces of a Woman”
Frances McDormand, “Nomadland”
Carey Mulligan, “Promising Young Woman”

Best Performance by an Actress in a Motion Picture, Musical or Comedy
Maria Bakalova, “Borat Subsequent Moviefilm”
Kate Hudson, “Music”
Michelle Pfeiffer, “French Exit”
Rosamund Pike, “I Care a Lot”
Anya Taylor-Joy, “Emma”

Best Performance by an Actress in a Supporting Role in any Motion Picture
Glenn Close, “Hillbilly Elegy”
Olivia Colman, “The Father”
Jodie Foster, “The Mauritanian”
Amanda Seyfried, “Mank”
Helena Zengel, “News of the World”

Best Performance by an Actor in a Motion Picture, Drama
Riz Ahmed, “Sound of Metal”
Chadwick Boseman, “Ma Rainey’s Black Bottom”
Anthony Hopkins, “The Father”
Gary Oldman, “Mank”
Tahar Rahim, “The Mauritanian”

Best Performance by an Actor in a Motion Picture, Musical or Comedy
Sacha Baron Cohen, “Borat Subsequent Moviefilm”
James Corden, “The Prom”
Lin-Manuel Miranda, “Hamilton”
Dev Patel, “The Personal History of David Copperfield”
Andy Samberg, “Palm Springs”

Best Performance by an Actor in a Supporting Role in any Motion Picture
Sacha Baron Cohen, “The Trial of the Chicago 7”
Daniel Kaluuya, “Judas and the Black Messiah”
Jared Leto, “The Little Things”
Billy Murray, “On the Rocks”
Leslie Odom Jr., “One Night In Miami”

Best Screenplay, Motion Picture
Emerald Fennell, “Promising Young Woman”
Jack Fincher, “Mank”
Aaron Sorkin, “The Trial of the Chicago 7”
Florian Zeller and Christopher Hampton, “The Father”
Chloé Zhao, “Nomadland”

Best Original Score, Motion Picture
Alexandre Desplat, “The Midnight Sky”
Ludwig Göransson, “Tenet”
James Newton Howard, “News of the World”
Trent Reznor and Atticus Ross, “Mank”
Trent Reznor, Atticus Ross and Jon Batiste, “Soul”

Best Original Song, Motion Picture
“Fight For You,” Judas and the Black Messiah”
“Hear My Voice,” The Trial of the Chicago 7”
“Io Sì (Seen),” The Life Ahead”
“Speak Now,” One Night In Miami”
“Tigress & Tweed,” The United States Vs. Billie Holiday”

Best Motion Picture, Animated
“The Croods: A New Age”
“Onward”
“Over the Moon”
“Soul”
“Wolfwalkers”

Best Motion Picture, Foreign Language
“Another Round”
“La Llorona”
“The Life Ahead”
“Minari”
“Two Of Us”

Best Television Series, Drama
“The Crown”
“Lovecraft Country”
“The Mandalorian”
“Ozark”
“Ratched”

Best Television Series, Musical or Comedy
“Emily in Paris”
“The Flight Attendant”
“The Great”
“Schitt’s Creek”
“Ted Lasso”

Best Limited Series, Anthology Series or a Motion Picture made for Television
“Normal People”
“The Queen’s Gambit”
“Small Axe”
“The Undoing”
“Unorthodox”

Best Performance by an Actress in a Television Series, Drama
Olivia Colman, “The Crown”
Jodie Comer, “Killing Eve”
Emma Corrin, “The Crown”
Laura Linney, “Ozark”
Sarah Paulson, “Ratched”

Best Performance by an Actress in a Television Series, Musical or Comedy
Lily Collins, “Emily In Paris”
Kaley Cuoco, “The Flight Attendant”
Elle Fanning, “The Great”
Jane Levy, “Zoey’s Extraordinary Playlist”
Catherine O’Hara, “Schitt’s Creek”

Best Performance by an Actress in a Limited Series, Anthology Series or a Motion Picture Made for Television
Cate Blanchett, “Mrs. America”
Daisy Edgar Jones, “Normal People”
Shira Haas, “Unorthodox”
Nicole Kidman, “The Undoing”
Anya Taylor-Joy, “The Queen’s Gambit”

Best Performance by an Actress in a Television Supporting Role
Gillian Anderson, “The Crown”
Helena Bonham Carter, “The Crown”
Julia Garner, “Ozark”
Annie Murphy, “Schitt’s Creek”
Cynthia Nixon, “Ratched”

Best Performance by an Actor in a Television Series, Drama
Jason Bateman, “Ozark”
Josh O’Connor, “The Crown”
Bob Odenkirk, “Better Call Saul”
Al Pacino, “Hunters”
Matthew Rhys, “Perry Mason”

Best Performance by an Actor in a Television Series, Musical or Comedy
Don Cheadle, “Black Monday”
Nicholas Hoult, “The Great”
Eugene Levy, “Schitt’s Creek”
Jason Sudeikis, “Ted Lasso”
Ramy Youssef, “Ramy”

Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television
Bryan Cranston, “Your Honor”
Jeff Daniels, “The Comey Rule”
Hugh Grant, “The Undoing”
Ethan Hawke, “The Good Lord Bird”
Mark Ruffalo, “I Know This Much is True”

Best Performance by an Actor in a Television Supporting Role
John Boyega, “Small Axe”
Brendan Gleeson, “The Comey Rule”
Daniel Levy, “Schitt’s Creek”
Jim Parsons, “Hollywood”
Donald Sutherland, “The Undoing”

Playing Catch-Up With The Films of 2017: Marshall (dir by Reginald Hudlin)


So, here I am.  January is nearly over.  The Oscar nominations have already been announced.  2018 is well under way and yet, I still have 158 films on the DVR that I need to watch and a few 2017 releases that I still need to catch up on.  At this point, I’ve accepted that I’ll probably never truly be “caught up” when it comes to watching movies.  But, that’s okay.  I love movies too much to ever regret having an excuse to watch more.

On Wednesday night, I watched Marshall, which came out last October.  A film about the early life of civil rights activist and future Supreme Court justice Thurgood Marshall, Marshall seemed like a movie that would perfectly capitalize on the current political atmosphere.  The film starred Josh Gad and Chadwick Boseman and a lot of people — including me — assumed that the excitement over Boseman as Black Panther would also translate into excitement over a chance to see him in this film.  (For that matter, Josh Gad has also recently been proving himself to be a far better actor than I originally believed him to be.  Never again will I refer to Gad as being the poor man’s Jonah Hill.)  The film’s reviews were respectable.  Quite a few sites, including this one, listed Marshall as being a potential Oscar nominee.

And yet, when the movie was released, it fell flat at the box office.  On the week of its release, it finished in 11th place.  I guess there’s a lot of reasons for that.  Personally, I think it would have done better if the film had been released in November or December.  In a month that is traditionally dominated by horror movies and the last gasps of a few summer blockbusters, Marshall seemed somewhat out-of-place.  Perhaps Marshall would have stood a better chance if it had been given a limited release in December, with a big awards push for Chadwick Boseman.  Who knows?  As it is, it ended up losing money and it only received one Oscar nomination, for best original song.

Having now watched Marshall, I can say it’s a good movie, though perhaps never quite as good as you want it to be.  It takes place in 1940.  After making a name for himself defending blacks in the South, attorney Thurgood Marshall travels to Connecticut to defend a black chauffeur (Sterling K. Brown) who has been accused of raping a white woman (Kate Hudson).  It soon becomes obvious that Northern justice is just as corrupted by bigotry as Southern justice.  A racist judge (James Cromwell) rules that Marshall will not be allowed to even speak in court.  Marshall ends up advising the chauffeur’s attorney, an insurance lawyer named Sam Friedman (Josh Gad).  All of Sam’s friends expect him to just make a deal with the smug prosecutor (Dan Stevens) and move on.  However, Sam believe his client to be not guilty and, with Marshall’s help, is determined to win an acquittal.

Director Reginald Hudlin never seems to be quite what type of movie he’s trying to make.  Sometimes, the film feels like a reverent biopic.  Other time, it’s an old-fashioned courtroom drama, complete with different flashbacks depending on who is doing the testifying.  And then other times, Marshall is an extremely stylish film that almost turns Thurgood Marshall into a comic book super hero.  Fortunately, Chadwick Boseman is such a talented and charismatic actor that he holds all of the disparate elements of the film together.  Not only does Boseman bring intelligence and righteous anger to the role, he also brings a sense of fun.  As played by Boseman, Marshall isn’t just outsmarting a prejudiced system and putting racists in their place.  He’s also having a good time while he’s doing it.  Boseman is a lot of fun to watch and he gets good support from Josh Gad and Sterling K. Brown.

Marshall may not be a perfect film but Chadwick Boseman is always watchable.  The excitement over Black Panther has proven that Boseman is a star but Marshall shows that he’s a pretty good actor as well.