Catching Up With The Films of 2022: Wrong Place (dir by Mike Burns)


After his wife is killed in a car crash, former police chief Frank Richards (Bruce Willis) takes a job as a security guard for a small town convenience store.  It’s not really a demanding job.  As we see in one montage, Frank spends most of his time playing solitaire.  However, one evening, Frank steps out back to have a cigar and he just happens to catch meth dealer Virgil Brown (Massi Furlan) executing a man.  Frank promptly disarms and arrest Virgil.

Virgil’s son, Jake (Michael Sirow), is not happy about this.  Knowing that Frank is the only eyewitness who can testify against Virgil at his trail, Jake heads off to kill Frank.  However, when Jake arrives at Frank’s cabin, he discovers that it is inhabited by Frank’s daughter, Chloe (Ashley Greene), and her girlfriend, Tammy (Stacey Danger).  Jake tries to take Chloe and Tammy hostage but Chloe turns out to be a lot tougher than he assumed.  Chloe is waiting to hear whether or not she’s cancer-free and, as she explains to Jake, she has nothing to lose by risking her life and fighting him.  And while Jake is certainly dangerous and quick to fire his gun, he’s also not the most competent criminal to ever come out of the backwoods of Alabama.  If you’re guessing that this leads to several scenes of various characters chasing each other through the woods and shooting at each other, congratulations!  You’re right!

This was one of the last films that Willis made before announcing his retirement last year.  Watching the film, it’s easy to see that Willis was struggling a bit.  There’s none of the swagger that viewers typically associate with Bruce Willis and he delivers many of his lines in a flat monotone.  That said, this film is still a better showcase for Willis than American Siege or Fortress: Sniper’s Eye.  Indeed, in the early scenes with his soon-to-be-deceased wife, Willis feels a bit like the Willis of old.  Even if Bruce Willis was struggling to remember his lines, his eyes still revealed a lot of emotional depth.  In the scenes where he and his wife discuss getting older and mention how scary it is to be sick, the dialogue carries an extra resonance.  If nothing else, the role of a decent man who will do anything to protect his family seems like a more appropriate final role for Willis than the various crime bosses that he played in some of his other ’22 films.

Unfortunately, Wrong Place gets bogged down with the whole hostage subplot.  There’s only so much time that you can spend watching people yell at each other before you lose interest.  Ashley Greene, Stacey Danger, and Michael Sirow all give convincing performances but the film itself falls into a rut.  When Jake is first introduced, he seems like he could be an interesting villain.  He doesn’t really know what he’s doing but he’s determined to impress his father.  (Sadly, it’s pretty obvious that Jake’s father will never be impressed with anything Jake does, regardless of what it may be.)  Jake’s incompetence makes him even more dangerous because it also makes him impulsive and quick to anger.  Unfortunately, the film doesn’t do much with his character.  Once the action kicks in, he just become another generic backwoods villain.

I get the feeling that the director meant for Wrong Place to be more than just another action film.  The film moves at its own deliberate pace and, even after the hostage situation has concluded, the film still goes on for another ten minutes.  One gets the feeling that the director wanted to make a sensitive film about the relationship between a headstrong daughter and her old-fashioned father.  But, because this film was also a low-budget action film, he also had to toss in some backwoods meth dealers.  The film has some moments of unexpected emotional honesty, many of them curtesy of Ashley Greene.  But, in the end, it keeps getting bogged down with endless scenes of people running through the woods with guns.  The end result is an uneven film but at least Willis gets to play a hero again.

4 Shots From 4 Films: Special Oscar Micheaux Edition


4 Or More Shots From 4 Or More 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 lets the visuals do the talking!

139 years ago today, Oscar Micheaux was born in Metropolis, Illinois.  After working in several different jobs and writing a few novels, Micheaux would become the first African-American to produce and direct a feature length film and, later, a sound feature length film.  He began his directorial career in 1919 and continued it throughout the sound era, often making films that were meant as a response to the films that were coming out of Hollywood.  (For example, 1920’s Within Our Gates was meant to answer and condemn the racism of The Birth of a Nation.)  At a time when blacks were usually only used for comedic relief and when it wasn’t uncommon for white actors to wear blackface on screen, Micheaux created an alternative film industry and, along the way, he gave early and rare starring roles to black actors like Paul Robeson.

Micheaux distributed the majority of his films himself and, unfortunately, the majority of them have been lost.  The ones that survive were often hampered by their low budgets but they still provide a view into African-American life in the early days of the 20th Century.  As well, Micheaux was one of the first successful “independent” filmmakers.  Working without the support of the major studios, Micheaux still did what he had to do to share his vision with audiences.

It’s time for….

4 Shots From 4 Oscar Micheaux Films

Within Our Gates (1920, dir by Oscar Micheaux)

Body and Soul (1925, dir by Oscar Micheaux)

10 Minutes To Live (1932, dir by Oscar Micheaux, DP: Lester Lang)

Harlem After Midnight (1935, dir by Oscar Micheaux)

January Positivity: Seven Days Away (dir by Josiah David Warren)


Clayton (Josiah David Warren) is the religious kid who everyone dreads getting in to a conversation with.  He’s the type of kid who accepts a ride from one of his friends and then starts to give everyone a hard time for drinking and driving and….

Actually, wait a minute …. drinking and driving sucks!

So, Clayton is actually totally correct to tell his friends to put down the beer cans while they’re driving.  They, of course, just laugh him off and call him “church boy.”  One accident later, Clayton’s friend is dead and Clayton is more determined than ever to go down to Mexico and do missionary work.  Everyone tells him that it’s dangerous to go down to Mexico.  Everyone knows that Clayton’s father died while serving as a missionary.  But Clayton and another group of friends still head down to Mexico.

Unfortunately, it turns out that Clayton’s other friends may not be drunk drivers but they’re still not all that interested in evangelizing in Mexico.  They especially get angry when Clayton insists that they accompany him to the local church.  Clayton finally gets annoyed with all of them and he decides to wander off on his own.  Of course, that’s always a mistake.  No sooner has Clayton turned down the wrong street than he’s been kidnapped.

Clayton finds himself tied up in an old barn and being held prisoner by a group of human traffickers.  They’re convinced that Clayton is rich and they continually call his mother and demand that she send them some money.  Meanwhile, Clayton soon realizes that he’s not the only person behind held prisoner in the barn.  He also comes to realize that the desert surrounding the barn is full of dead bodies.

Noticing that his kidnappers are always drinking and smoking, Clayton tells them that they shouldn’t.  When they demand to know why not, Clayton quotes Corinthians.  That goes over about as well as you might expect.

Seven Days Away attempts to mix the faith-based genre with the action genre.  When Clayton isn’t preaching or quoting the Bible, he’s running through the desert and trying not to get shot.  Unfortunately, the film doesn’t really work as an action film.  The film uses some hand-held camerawork to try to generate some suspense but, at this point, the whole hand-held thing is such a cliché that it actually inspires more laughs than gasps of terror.  The soundtrack is remarkably muddy and it’s often difficult to understand just what exactly anyone is saying.  Even by the standards of the low-budget faith genre, the acting is amateurish.  As a film, it just doesn’t come together.  The fact that the film’s director also played the lead role was perhaps a bit of the problem.  It’s hard not to feel the film would have had a better chance at success if he had just concentrated on doing one thing as opposed to everything.

I guess the best thing you can say about a film like this is that it was well-intentioned.  Watching it brought back memories of the days leading up to Spring Break, when the campus would be full of stories about students who got drunk while partying in Mexico and subsequently vanished.  I have to admit that I never had a lot of sympathy for the students in those stories.  Sometimes, you just have to use a little common sense.

Book Review: Godzilla: The Official Guide To The King Of The Monsters by Graham Skipper


Do you like Godzilla?

You better!  Seriously, for over 60 years, Godzilla has been the rightful king of the monsters and not even a few less-than-perfect films have been able to knock him off of his throne.  He started out as a symbol of the nuclear age, a prehistoric monster brought back to life by man’s arrogance and war-like nature.  He eventually became mankind’s protector but then deciding that he no longer cared for mankind. And then, like many international stars, he ended up making movies for the American studios.  It’s an epic story and it’s hard not to like the big monster at the center of it.  If, for some reason, you don’t like Godzilla, maybe Graham Skipper’s new book, Godzilla: The Official Guide To The King of the Monsters, will change your mind.

Godzilla: The Official Guide To The King of the Monsters is exactly what the title says.  It’s a guide to all of Godzilla’s adventures, from his first appearance in the 50s all the way through his animated films and the current American version.  (Perhaps not surprisingly, the 1998 version of Godzilla is only afforded a few paragraphs.)  Helpfully, Skipper divides his overview into ears, so you can see how Godzilla changed as he moved from studio to studio.  Skipper also takes a look at Godzilla’s existence outside of the movies, as a comic book mainstay and an occasional television guest star.  The book is written with a lot of obvious affection for Godzilla in all of his incarnations and reading it will remind you of why Godzilla’s films — yes, even Son of Godzilla — are so much fun to begin with.  Skipper includes a lot of trivia, some of which was new to even me.  Such as, did you know that Luigi Cozzi re-edited and colorized the original 1954 Gojira for a 1970s release in Italy?

The book is also heavily-illustrated, featuring a lot of shots from the films and behind-the-scenes pictures of Godzilla and all of his colleagues.  As I read the book, it occurred to me that, as goofy as Jet Jaguar was, it’s still nice that Godzilla had a friend.  As well, as I looked at the pictures, it occurred to me that, even in the later films when Godzilla had been transformed from a truly fearsome symbol of the nuclear age to a somewhat goofy rubber monster, there was still an undeniable majesty to him as a creation.  Even at his worse, Godzilla still looks like a king.

I picked up a copy of this book on the day after Christmas and I’m glad I did.  Not only does it celebrate Godzilla but it also provides me with a guide because, over the next 12 months, I hope to watch every Godzilla film that’s ever been made.  (I’ve seen the majority but, as this book reminded me, there’s still a few that I missed.)  For the record, I still think that Godzilla vs Destoroyah is the best of the Godzilla films but who knows?  Maybe my mind will have been changed by December.

Humanity has survived a lot over the past few years and I’m happy to say that Godzilla has survived with us.  Graham Skipper’s Godzilla helps to explain why.

Retro Television Reviews: Making of a Male Model (dir by Irving J. Moore)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1983’s Making of a Male Model!  It  can be viewed on YouTube!

While visiting the set of an outdoor shoot in Nevada, high-powered modeling agent Kay Dillon (Joan Collins) spots a ranch hand named Tyler Burnett (Jon-Erik Hexum).  Tyler is tall, athletic, handsome, and polite.  When Kay asks Tyler if he’s ever modeled, Tyler scoffs at the idea.  Him?  A model?  He’d rather stay in Nevada and work on the ranch.  However, when the girl he likes turns him down because he doesn’t have any money, Tyler reconsiders Kay’s offer.

Before you can say Midnight Cowboy, Tyler is walking around Times Square while dressed like a cowboy.  At first, Tyler is resistant to Kay’s suggestions on how to improve his look.  He doesn’t want anyone messing with her ear or trimming his eyebrows.  But, after a humiliating meeting with a photographer who tells him that he just doesn’t have the right look, Tyler agrees to let Kay turn him into a male model.  Not only does she fix his look but she also takes him to bed.

Soon, Tyler is one of the country’s most well-known faces.  He branches out into commercials, using his sex appeal to sell products to the men who want be him.  And yet, Tyler still feels lost.  He’s not sure if Kay actually loves him or if she’s just using him.  Meanwhile, his roommate, Chuck Lanyard (Jeff Conaway), is a former model who is now hooked on drugs and who constantly warns Tyler that all models are washed up by the time they hit 35.  Tyler becomes disillusioned with his life as a model but is he capable of giving up the fame and the money and returning to Nevada?  Or is he destined to follow in Chuck’s footsteps and head down a path of drugs and self-destruction?

Welcome to the world of decadence, 80s style!  Making of a Male Model is one of those films where the synthesizer-heavy soundtrack plays through every scene and the only thing more dramatic than the line readings is the hair and the shoulder pads.  It’s all a bit silly, none more so that when Tyler and Kay go to a costume party.  Kay dressed up like Cleopatra.  Tyler wears a cowboy hat.  One random extra wears an oversized headpiece with two gigantic eyes painted at either end.  It’s not so much Studio 54 as much as it’s Studio 54 as imagined by someone who has heard of the place but never visited.  It’s decadent but it’s never quite authentic.  The film captures the joy of not only looking good but also knowing that you look good but it never captures the tedium that can go into being on a shoot.  It’s a film about the reality of modeling that never bothers to get that real but so what?  You don’t watch a film called Making of a Male Model because you’re looking for reality.

Joan Collins appears to be having fun in the role of Kay.  John-Erik Hexum, who was a real-life model, gives a rather stiff performance in the role of Tyler.  He looks good but he struggles whenever he has to show any emotion beyond being slightly annoyed.  If anyone really stands out in the cast, it’s Jeff Conaway.  Conaway brings a bit of genuine sadness to his role but you’ll guess what’s going to happen to Chuck long before it actually does.  Finally, Kevin McCarthy (the actor, not the Congressman) plays one of Kay’s business rivals.  He doesn’t get to do much but it’s always nice to see Kevin McCarthy playing yet another sophisticated but ruthless businessman.

In the end, the film doesn’t have anything surprising to say about the world of modeling and Tyler is never that interesting of a protagonist.  However, there’s just enough 80s melodrama and 80s fashion to keep things watchable.

The Internet Film Critics Society Honors Tar


The Internet Film Critics Society has announced their picks for the best of 2022!

And here they are:

Best Drama: Tar
Best Comedy: The Banshees of Inisherin
Best Horror or Science Fiction: Crimes of the Future
Best Action Film: Top Gun: Maverick
Best Actor: Brendan Fraser in The Whale
Best Actress: Ana de Armas in Blonde
Best Director: Steven Spielberg for The Fabelmans
Best Experimental Film: Everything Everywhere All at Once
Most Underrated Film: The Outfit
Worst Film: The Munsters

Catching Up With The Films of 2022: White Elephant (dir by Jesse V. Johnson)


White Elephant is not that bad.  In fact, for a B-action movie it’s actually pretty good.  If nothing else, it featured one of Michael Rooker’s best performances.

It’s important to start out this review by making that clear because I think a lot of people are going to be tempted to judge this film based solely on the fact that this was one of the last films that Bruce Willis made before his family announced that he would be retiring from acting due to health reasons.  When the big story was published in the L.A. Times about Willis’s recent struggles and how those struggles led to him accepting countless roles in straight-to-video fare like American Siege, several people who worked on White Elephant were quoted, with many saying that Willis always did his best but that he was definitely not the Willis that they all remembered.  The film’s director, action maestro Jesse V. Johnson, publicly stated that he would not make another film with Willis because “the arrangement felt wrong” and that Willis deserved a better end to his career.

And it must be said that Bruce is obviously not himself in White Elephant.  As with many of his recent films, Bruce is cast as a villain in this piece.  He’s a crime lord named Arnold and he spends the majority of his time taking meetings and giving order to his underlings.  Eventually, he does pick up a gun and fire it but there’s very little of the cocky attitude and swaggering charisma that made Bruce Willis into a superstar.  He still has the physical presence to play a tough guy.  Bruce Willis still looks intimidating and the film uses him sparingly, never allowing us to spend too much time focusing on how different he seems from the Bruce Willis who starred in Die Hard and Pulp Fiction.  One never gets the feeling that Bruce is being deliberately exploited in White Elephant, that alone sets it above some of the other recent films that have featured Willis.  But, at the same time, Arnold is a fairly generic bad guy.

Fortunately, the majority of the film follows Michael Rooker in the role of a far more interesting criminal.  Rooker plays Gabe Tancredi, a former Marine turned hitman.  He’s about as ruthless as they come but he still has enough of a code of ethics that he realizes that he can’t kill a police officer named Vanessa (Olga Kurylenko), no matter how much Arnold wants her dead.  Ordered to kill her, Gabe instead protects her, which leads to Arnold sending all of his men after them.  It leads to several shootouts and explosions as Gabe puts his life at risk to finally do the right thing.

It’s a simple story but it’s told well.  Jesse V. Johnson started out as a stuntman and he clearly knows his way around an action scene and the final shootout in genuinely exciting.  The film is also helped by Michael Rooker, who brings a good deal of unexpected depth to the role of Gabe.  Even though Rooker obviously knew that White Elephant was a B-movie, he still refuses to phone in a single minute of his performance and, instead, he turns Gabe into a surprisingly complex killer.  Gabe’s relationships with his agent Glen (John Malkovich), his protegee Carlos (Vadhir Debrez), and Vanessa are all genuinely interesting.  I especially liked the early scenes between Rooker and Debrez, in which the two actors wonderfully play off of each other and we get the feeling Carlos is almost like a son to Gabe.  Of course, being genre savvy, we know that Carlos is eventually going to be assigned to take Gabe down but, because their friendship seemed so real, we find ourselves dreading that confrontation.  White Elephant is a B-movie but, much like last year’s Corrective Measures and Gasoline Alley, it’s a B-movie with a heart.

Scenes That I Love: Happy New Year From The Poseidon


Happy new year!

With 2023 coming in like a tidal wave, it only seem fitting that the first scene that I love for this year should come from 1972’s The Poseidon Adventure.  Just as how Die Hard has recently been acclaimed as one of the great Christmas films, The Poseidon Adventures is one of the best of the New Year’s Day films.  It’s also perhaps the only film in which Gene Hackman managed to overact more than even Ernest Borgnine.  I mean, don’t get me wrong.  It’s a strong competition between two great actors, neither of whom was known for being particularly subtle when it came to barking out their lines.  But, in the end, Hackman still managed to take the overacting crown for this film.

(That said, what’s New Year’s Day without Borgnine shouting, “Where’s your God now, Preach-ah!?”)

In the scene below, the passengers ring in the new year while Leslie Nielsen faces the tidal wave that will soon turn the boat upside down.  Whatever else you may want to say about this particular film, it does a great job of contrasting the celebrations in the ballroom with the dread on the bridge.  While everyone else is counting down and celebrating and mugging for the camera, Nielsen can only stare in stoic horror as the wave approaches.  He does the only thing that a captain can do.  He sounds the alarm.  He sends out an S.O.S.  Unfortunately, the alarm can barely be hard over the celebrations of the new year and the S.O.S. man is quickly swept away by the crashing of the wave.

The scene goes from celebrating the future to highlighting the type of old-fashioned, nature-fueled destruction that has been wiping out civilizations since the beginning of time.  It doesn’t matter how many plans you’ve made.  It doesn’t matter how rich  you are.  It doesn’t matter how safe you feel or how much you cling to the furniture as the world turns upside down.  Fate, whether it’s in the form of a wave or some other natural disaster, is pitiless.  That’s one reason why disaster movies, as melodramatic as they could often be, so entranced audiences.  Everyone knew that it would just as easily happen to them.  Just as no one expected the tidal wave on New Year’s, no one would be expecting to leave the theater to be confronted by an earthquake or a tornado.  But it could definitely happen.  Life, like society, is a fragile thing.  If not even Gene Hackman, Stella Stevens, Shelley Winters, and Roddy McDowall could make it to the end of the movie, what hope is there for anyone?  Of course, the thing to remember is that they may not have made it but Ernest Borgnine, Red Buttons, Carol Lynley, and a few others did.  They survived, though I imagine they spent the rest of their lives dreading January 1st.

Needless to say, neither the passage of time nor the wave can be escaped.  As much as we may have things left to do in 2022, it’s too late now. 2023 is here and the world has moved on.

Lisa Marie’s Oscar Predictions for December


Here they are!  These are my final Oscar predictions for 2022.  The critics groups have certainly helped to show us which films are major contenders.  That said, the Guilds are even more important so I can’t wait to see who they nominate and honor in January.

be sure to check out my predictions for FebruaryMarchAprilMayJuneJulyAugustSeptember, October, and November!

Best Picture

Avatar: The Way of Water

Babylon

The Banshees of Inisherin

Elvis

Everything Everywhere All At Once

The Fabelmans

Tar

Top Gun: Maverick

The Woman King

Women Talking

Best Director

Todd Field for TAR

Baz Luhrmann for Elvis

Martin McDonagh for The Banshees of Inisherin

Sarah Polley for Women Talking

Steven Spielberg for The Fabelmans

Best Actor

Austin Butler in Elvis

Tom Cruise in Top Gun: Maverick

Colin Farrell in The Banshees of Inisherin

Brendan Fraser in The Whale

Gabriel LaBelle in The Fabelmans

Best Actress

Cate Blanchett in TAR

Viola Davis in The Woman King

Danielle Deadwyler in Till

Michelle Williams in The Fabelmans

Michelle Yeoh in Everything Everywhere All At Once

Best Supporting Actor

Brendan Gleeson for The Banshees of Inisherin

Judd Hirsch in The Fabelmans

Barry Keoghan in The Banshees of Inisherin

Ke Huy Quan in Everything Everywhere All At Once

Brad Pitt in Babylon

Best Supporting Actress

Jessie Buckley in Woman Talking

Kerry Condon in The Banshees of Inisherin

Jamie Lee Curtis in Everything Everywhere All At Once

Dolly de Leon in Triangle of Sadness

Janelle Monáe in Glass Onion

The Greater Western New York Film Critics Association Rewards Banshees!


The Greater Western New York Film Critics Association have announced their winners for the best of 2022!

And here they are:

BEST PICTURE
Babylon
The Banshees of Inisherin
The Batman
Decision to Leave
Everything Everywhere All at Once
The Fabelmans
Nope
Tár
Top Gun: Maverick
Women Talking

BEST FOREIGN FILM
Athena (France)
Decision to Leave (South Korea)
EO (Poland)
Happening (France)
RRR (India)

BEST DOCUMENTARY
All the Beauty and the Bloodshed
Fire of Love
Good Night Oppy
Moonage Daydream
Sr.

BEST ANIMATED FILM
Apollo 101⁄2: A Space Age Childhood
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Puss in Boots: The Last Wish
Turning Red

BEST DIRECTOR
Todd Field, Tár
Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Park Chan-wook, Decision to Leave
Charlotte Wells, Aftersun

LEAD ACTRESS
Cate Blanchett, Tár
Danielle Deadwyler, Till
Mia Goth, Pearl
Margot Robbie, Babylon
Michelle Yeoh, Everything Everywhere All at Once

SUPPORTING ACTRESS
Kerry Condon, The Banshees of Inisherin
Dolly De Leon, Triangle of Sadness
Stephanie Hsu, Everything Everywhere All at Once
Janelle Monáe, Glass Onion: A Knives Out Mystery
Keke Palmer, Nope

LEAD ACTOR
Austin Butler, Elvis
Diego Calva, Babylon
Colin Farrell, The Banshees of Inisherin
Brendan Fraser, The Whale
Paul Mescal, Aftersun

SUPPORTING ACTOR
Brendan Gleeson, The Banshees of Inisherin
Brian Tyree Henry, Causeway
Barry Keoghan, The Banshees of Inisherin
Eddie Redmayne, The Good Nurse
Ke Huy Quan, Everything Everywhere All at Once

ORIGINAL SCREENPLAY
Todd Field, Tár
Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Park Chan-wook & Jeong Seo-kyeong, Decision to Leave
Charlotte Wells, Aftersun

ADAPTED SCREENPLAY
Guillermo del Toro & Patrick McHale / Guillermo del Toro & Matthew Robbins (story), Guillermo del Toro’s Pinocchio
Samuel D. Hunter, The Whale
Rian Johnson, Glass Onion: A Knives Out Mystery
David Kajganich, Bones and All
Sarah Polley and Miriam Toews, Women Talking

BEST CINEMATOGRAPHY
Ben Davis, The Banshees of Inisherin
Florian Hoffmeister, Tár
Claudio Miranda, Top Gun: Maverick
Linus Sandgren, Babylon
Hoyte Van Hoytema, Nope

BEST EDITING
Tom Cross, Babylon
Eddie Hamilton, Top Gun: Maverick
Paul Rogers, Everything Everywhere All at Once
Matt Villa & Jonathan Redmond, Elvis
Monika Willi, Tár

BEST ORIGINAL SCORE
Carter Burwell, The Banshees of Inisherin
Alexandre Desplat, Guillermo del Toro’s Pinocchio
Michael Giacchino, The Batman
Hildur Guðnadóttir, Women Talking
Justin Hurwitz, Babylon

BREAKTHROUGH PERFORMANCE
Vanessa Burghardt, Cha Cha Real Smooth
Austin Butler, Elvis
Frankie Corio, Aftersun
Danielle Deadwyler, Till
Stephanie Hsu, Everything Everywhere All at Once

BREAKTHROUGH DIRECTOR
Audrey Diwan, Happening
Damien Leone, Terrifier 2
Lila Neugebauer, Causeway
Chloe Okuno, Watcher
Charlotte Wells, Aftersun