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.
Released in 2000, Boiler Room tells the story of Seth Davis (Giovanni Ribisi).
Seth is only 19 years old. He’s the son of a federal judge and he’s also a college dropout. Seth is making a pretty good living for himself, running a casino out of a house near the campus. One night, a handsome 20something named Greg Weinstein (Nicky Katt) stops by and tells Seth that he could be making an even better living for himself as a broker at J.T. Marlin.
Located somewhere in Long Island, J.T. Marlin is a brokerage firm that is dominated by loud and young men. Overseen by the ruthless Jim Young (Ben Affleck, doing the glorified cameo thing), J.T. Marlin is a place where everyone owns an expensive car, an expensive watch, and where everyone brags about how much money they’ve made. The insults and slurs fly from desk to desk, as they tend to do whenever a bunch of wealthy, highly competitive guys get together. J.T. is seduced by the atmosphere, even as he watches some broker breaks down due to the pressure. He becomes friends with Chris Varick (Vin Diesel) and falls for receptionist Abbie Halpert (Nia Long), who just happens to be Greg’s ex-girlfriend. Eventually, Seth gets good at his job. Unfortunately, it turns out that his job is centered around tricking people into investing in a pyramid scheme and eventually, one of Seth’s clients, Harry (Taylor Nichols), ends up broke and without his family. The guilt-stricken Seth realizes that he has a conscience.
Like a lot of these type of movies, Boiler Room is at its best when it starts, when it’s all about tough talk, rude jokes, and obsessive competition amongst a bunch of well-dressed good-looking guys. Nicky Katt and Vin Diesel are so much fun to listen to that it’s hard not to regret that the entire film wasn’t just about them. Things become significantly less interesting once the FBI shows up and Seth decides to become a snitch. For the most part, no one like a snitch, even if they’re motivated by the purest of intentions. To make a snitch likable, he has to be a truly compelling character, like Henry Hill in Goodfellas. For the most part, audiences prefer anti-heroes who go down with the ship as opposed to the rats who jump into the first lifeboat they see. In The Wolf of Wall Street, Jordan Belfort agrees to wear a wire but then slips his business partner a note, warning him. That’s one of the reasons why The Wolf of Wall Street is still a classic while Boiler Room has been largely forgotten. As a character, Seth just isn’t compelling enough to pull off the snitch act. Nor does he really seem clever enough to pull off what he does at the end of the film.
That said, I do enjoy Boiler Room. It’s largely due to the cast. Nicky Katt, Vin Diesel, Scott Caan, Giovanni Ribisi, they were all young, energetic, and eager to show off what they could do. While their characters competed to see who could make the most money, the actors competed to see who could steal the most scenes. The film is ultimately only so-so but that cast is unforgettable.
Now that the 2024 Oscars are over with, it’s time to move on to the 2025 Oscars!
Needless to say, there’s probably nothing more pointless than trying to guess which films are going to be nominated a year from now. I can’t even guarantee that all of the films listed below are even going to be released this year. And, even if they are released this year, I can’t guarantee that they’ll actually be any good or that the Academy will show any interest in them. I mean, someone like Martin Scorsese always seems like a safe bet but we all remember what happened with Silence. For months, everyone said Silence would be the Oscar front runner. Then it was released to respectful but not ecstatic reviews. Audiences stayed away. The film ended up with one technical nomination. And let’s not forget that last year, at this time, the narrative was that it was going to be Ridley Scott’s year.
My point is that no one knows anything. As much as I hate quoting William Goldman (because, seriously, quoting Goldman on a film site is such a cliché at this point), Goldman was right.
(Add to that, 2025 is starting to look like it’s going to be a seriously underwhelming year as far as the movies are concerned.)
Anyway, here are my random guesses for April! A few months from now, we can look back at this list and have a good laugh.
Best Picture
After The Hunt
Avatar: Fire and Ash
Deliver Me From Nowhere
Eddington
F1
Frankenstein
The Lost Bus
One Battle After Another
Wicked For Good
The Young Mothers Home
Best Director
Paul Thomas Anderson for One Battle After Another
Jon M. Chu for Wicked For Good
Jean-Pierre and Luc Dardenne for The Young Mother’s Home
Single mother Grace Allen (Nia Long) goes on a week-long vacation to Colombia with her boyfriend, Kevin (Ken Leung). In doing so, she leaves her 18 year-old daughter, June (Storm Reid), alone at the house. She tells June to be responsible. She tells June to only use the emergency cash in case of emergencies. She tells June not to throw any wild parties. She tells June to clear out her voice mail so Grace can actually leave a message. As soon as Grace leaves, June starts spending the emergency money on beer and parties and she also fails to clear out her voice mail.
It’s hard to blame June, however. She’s 18 and she’s rebellious and it doesn’t help that her mother is extremely overprotective. June feels that there is something off about Kevin and his awkward attempts to talk to her do nothing to make her like him. June spends most of her time wishing that she could have spent more time with her father, James (Tim Griffin), a man who she can barely even remember.
At the end of the week, June drives out to the airport. She makes a sign that reads, “Welcome back from prison,” and she stands in the airport, waiting to see her mom and Kevin. However, neither one of them shows up. The plane has landed. The passengers have disembarked. But Grace and Kevin are nowhere to be seen. June realizes that they are …. MISSING!
Missing was made by the same production team behind Searchingand, like that film, it’s a screenlife thriller, one that is told via computer desktops, security cameras, smartphones, and a smartwatch. Early on, June watches an episode of a true crime show called Unfiction, which is based on the missing person case at the heart of Searching, establishing that the two films take place in the same universe. Much as with Searching, the app-heavy visual style of Missing feels a bit gimmicky but it’s also undeniably effective. Indeed, it’s interesting to think that, even as technology connects us in new ways and as cameras film our every move, people can still somehow disappear off the face of the Earth. As June goes through both Grace and Kevin’s social media and email accounts, the film’s format lets us view the world through her eyes. Like her, we read every email and search for hidden meanings and missed clues.
The mystery at the heart of Missing is an intriguing one and the film is full of twists and turns. Unfortunately, many of the film’s later twists are more improbable than clever. For all of the film’s strengths, things pretty much fall apart during the film’s final third. That’s when the film comes up with a twist that’s surprising only because of how little sense it makes. It’s one thing to fool an audience by being clever. It’s another thing to fool an audience by just pulling a plot point out of thin air. The final big twist requires a huge suspension of disbelief on the part of the audience but Missing isn’t a horror or a sci-fi or a Fast & Furious-style action film. It’s a mystery and anyone who was actually trying to look for clues and come up with the solution on their own would have every right to be annoyed by the way the film handles its finale.
That said, it’s a well-acted film and, much like John Cho in Searching, Storm Reid deserves a lot of credit for bringing some genuine emotion to the lead role. With Reid in the lead role, Missing manages to become something more than just the latest twist on the found footage genre. I also liked the performance of Joaquim de Almeida as Javi, the local Colombian who aids June in the search for her mother. (As long as we’re going to keep spinning off new Searching and Missing films, I think the next one should be about Javi.) There are some genuinely funny moments in the film. Be sure to keep an eye on the messages that June gets from Angel (Michael Segovia) over the course of the film. Despite its flaws, Missing is an enjoyable thriller and, undoubtedly, it will make a good episode of Unfiction.
Ezra Cohen (Jonah Hill) and Amirah Mohammed (Lauren London) have been dating for six months. Ezra is a Jewish atheist who works at a brokerage firm but who says his lifelong dream has been to be a podcaster. Lauren is Black and a devout Muslim. A graduate of Howard University, she is pursuing a career as a designer. Despite coming from very different backgrounds, Ezra and Amirah are deeply in love and want to get married. However, becoming engaged also means …. MEETING THE PARENTS!
Shelley and Arnold Cohen (played by Julia Louis-Dreyfus and David Duchovny) are self-styled progressives who immediately embarrass Ezra by going out of their way to trying to show how liberal and non-racist they are. Shelley, in particular, goes out of her way to bond with Amirah but it’s immediately obvious that Shelley views Amirah as being more someone to show off than as an actual human being. Meanwhile, Akbar Mohammed and Fatima Mohammed (played by Eddie Murphy and Nia Long) are members of the Nation of Islam who admire Louis Farrakhan and who claim that the Jews were behind the slave trade.
Just from that plot description, you can see a huge part of the problem with the new film, You People. Whereas Shelley’s problem is that she’s too quick to brag about how much she loves the idea of having a black daughter-in-law, Akbar’s problem is that he’s an anti-Semite. His main objections to Ezra are that 1) Ezra isn’t black and 2) Ezra’s Jewish. While Shelley takes Amirah shopping, Akbar tries to get Ezra killed by tricking him into wearing “the wrong colors” to a barbershop. While Shelley shows off Amirah to all of her liberal friends, Akbar shoves Ezra onto a basketball court. While Shelley is awkwardly trying to prove that she’s an ally, Akbar is inviting himself to Ezra’s wild Las Vegas bachelor party. (Akbar is disturbed to discover that Ezra has a “coke guy.” If this film had been made ten years ago, Ezra would have had a weed guy and it would have been easier to buy the film’s contention that Akbar is being unreasonable.) Shelley is certainly obnoxious and she fully deserves to get called out for her behavior. But Akbar is an anti-Semite who peddles the type of conspiracy theories that have been at the center of the alarming rise in recent hate crimes. Whereas Shelley is clueless, Akbar is actually malicious. And while that’s a story that one certainly could try to tell, it also makes it a bit difficult to buy the film’s fanciful ending. The movie ultimately can’t decide if it wants to be a fearless satire of race relations or a feel-good romcom. The tone of the film switches from scene to scene and Kenya Barris’s direction is so inconsistent that he makes Judd Apatow look like a disciplined filmmaker by comparison.
The cast is full of talent but the characters are largely one-dimensional. Jonah Hill is undoubtedly a good actor but he’s also nearly 40 years old and, with his full beard, he looks about ten years older, which makes it a bit hard to believe that he would be that concerned with getting the approval of his future in-laws. At first, a role of Akbar would seem ideal for Eddie Murphy but, with the exception of a scene where Akbar quizzes Ezra on his favorite Jay-Z song in an attempt to trick Ezra into saying the “n-word,” Murphy doesn’t really get to do much other than stand around with a pained expression on his face. Probably the most interesting performance in the film comes from Mike Epps, who plays Akbar’s brother and who is one of the few characters willing to call everyone out on their hypocrisy. But, unfortunately, Epps is only in a handful of scenes and the film uses him as more of a dramatic device than a fully rounded character.
As I watched You People, I couldn’t help but think about another film about an interracial wedding, Rachel Getting Married. That film provided a believable and multi-layered look at two different cultures coming together. You People, however, can’t quite make up its mind what it believes or what it wants to say and, unfortunately, what it does say is often said with a surprising lack of self-awareness. At times, it’s so proud of itself that it feels like it almost could have been written by Shelley Cohen.
The NAACP has announced their nominees for the 2020 Image Awards!
And here they are:
Outstanding Motion Picture
Bad Boys For Life
Da 5 Bloods
Jingle Jangle: A Christmas Journey
Ma Rainey’s Black Bottom
One Night In Miami…
Outstanding Directing in a Motion Picture
David E. Talbert – Jingle Jangle: A Christmas Journey
George C. Wolfe – Ma Rainey’s Black Bottom
Gina Prince-Bythewood – The Old Guard
Radha Blank – The Forty-Year-Old Version
Regina King – One Night In Miami…
Outstanding Actor in a Motion Picture
Anthony Mackie – The Banker
Chadwick Boseman – Ma Rainey’s Black Bottom
Delroy Lindo – Da 5 Bloods
Forest Whitaker – Jingle Jangle: A Christmas Journey
Will Smith – Bad Boys For Life
Outstanding Actress in a Motion Picture
Issa Rae – The Photograph
Janelle Monáe – Antebellum
Madalen Mills – Jingle Jangle: A Christmas Journey
Tracee Ellis Ross – The High Note
Viola Davis – Ma Rainey’s Black Bottom
Outstanding Supporting Actor in a Motion Picture
Aldis Hodge – One Night In Miami…
Chadwick Boseman – Da 5 Bloods
Clarke Peters – Da 5 Bloods
Colman Domingo – Ma Rainey’s Black Bottom
Glynn Turman – Ma Rainey’s Black Bottom
Outstanding Supporting Actress in a Motion Picture
Anika Noni Rose – Jingle Jangle: A Christmas Journey
Gabourey Sidibe – Antebellum
Nia Long – The Banker
Phylicia Rashad – Jingle Jangle: A Christmas Journey
Taylour Paige – Ma Rainey’s Black Bottom
Outstanding Writing in a Motion Picture
David E. Talbert – Jingle Jangle: A Christmas Journey
Kemp Powers – One Night In Miami…
Lee Isaac Chung – Minari
Pete Docter, Kemp Powers & Mike Jones – Soul
Radha Blank – The Forty-Year-Old Version
Outstanding Independent Motion Picture
Emperor
Farewell Amor
Miss Juneteenth
The 24th
The Banker
Outstanding International Motion Picture
Ainu Mosir
His House
Night of the Kings
The Last Tree
The Life Ahead
Outstanding Breakthrough Performance in a Motion Picture
Dayo Okeniyi – Emperor
Dominique Fishback – Project Power
Jahi Di’Allo Winston – Charm City Kings
Jahzir Bruno – The Witches
Madalen Mills – Jingle Jangle: A Christmas Journey
Outstanding Ensemble Cast in a Motion Picture
Da 5 Bloods
Jingle Jangle: A Christmas Journey
Ma Rainey’s Black Bottom
Soul
The Banker
Outstanding Animated Motion Picture
Onward
Over the Moon
Scoob!
Soul
Trolls World Tour
Outstanding Character Voice-Over Performance – Motion Picture
Ahmir-Khalib Thompson aka Questlove – Soul
Angela Bassett – Soul
Chris Rock – The Witches
Jamie Foxx – Soul
Phylicia Rashad – Soul
Outstanding Short Form (Live Action)
Baldwin Beauty
Black Boy Joy
Gets Good Light
Home
Mr. & Mrs. Ellis
Outstanding Short Form (Animated)
Canvas
Cops and Robbers
Loop
The Power of Hope
Windup
Outstanding Breakthrough Creative (Motion Picture)
Loira Limbal – Through the Night
Melissa Haizlip – Mr. Soul!
Nadia Hallgren – Becoming
Radha Blank – The Forty-Year-Old Version
Remi Weekes – His House
Before anyone makes any jokes about that Best Picture nomination for Bad Boys For Life — hey, that was a fun movie. If the Academy ever had gone through with that plan to start awarding an Oscar for Best Popular Film, I assume that Bad Boys For Life probably would have been contender. Anyway, the winners of the Image Awards will be announced on March 27th so you’ve all got a lot of times to consider these nominees.
Greetings, fellow lovers of movies and cats! So, Jeff and I just saw the new comedy, Keanu. It’s the first film to star the quickly-becoming legendary comedy team of Keegan-Michael Key and Jordan Peele and it’s full of the type of humor that made their Comedy Central show, Key & Peele, such a success. Perhaps even more importantly, the film stars an amazingly adorable little kitten!
You’ve seen the trailer, right? You know how, when Peele first holds up his new kitten, Key immediately starts laughing and says, “Oh my God, that’s the cutest cat I’ve ever seen in my life!?” Well, he’s not lying. While I don’t think any cat is cuter than that one that I live with, Keanu the Kitten is definitely the cutest cat that I’ve ever seen in a movie.
Add to that, this kitten can act! When this kitten stares, you truly believe that he’s listening to the dialogue being exchanged. When he runs through a gunfight while bullets fly around him, you truly believe that this kitten is running for his life and you breathe a sigh of relief when he survives. When he meows, your heart melts with each squeaky sound. This is one amazingly talented kitten!
And it’s not surprising the everyone in the film wants Keanu. The 17th Street Blips (led by Method Man and created as the result of a merger between the Bloods and the Crips) not only want Keanu but they want to rename him New Jack as well. Their rival (played by Luis Guzman) wants Keanu and plans to rename him Eglesias. Two mysterious assassins — the much feared, very sadistic, and always silent Allentown Boys — want Keanu too. Since they don’t speak, they never say what they want to name him but it would probably be something cool.
And what really makes the film work is that none of them have a reason for wanting Keanu beyond the fact that he is literally the cutest kitten in Los Angeles. This film is full of dangerous and violent people but all of them love this cat. Everyone wants Keanu.
Well, I should say that everyone wants Keanu except for Anna Faris, who plays herself. All Anna Faris wants is a chance to do the latest designer drug, Holy Shit. (“It’s like smoking crack with God!” Method Man explains.) It’s probably a good thing that Anna Faris doesn’t want a cat because, as this movie reveals, she also has a potentially dangerous fascination with sharp swords and playing truth or dare.
Of course, Keanu technically belongs to Rell (Jordan Peele). They say that cats chose their owners and Keanu definitely does that when he shows up outside of Rell’s house. Rell has just been dumped by his girlfriend and existence has no meaning for him. But once Keanu shows up, Rell again learns to embrace life. He spends two weeks taking pictures of Keanu reenacting scenes from classic movies. But when the 17th Street Blips break into his house, mistakenly thinking that Rell has a supply of Holy Shit, they take Keanu for themselves.
Rell and his cousin Clarence (Keegan-Michael Key) team up to track down and retrieve Keanu from the Blips but there’s a problem. Rell may brag about growing up in New York and Clarence may have stories about his childhood on the streets of Detroit but both of them are painfully out-of-place in the violent world of Blips and Anna Faris. (Clarence is obsessed with George Michael while Rell “sounds like John Ritter all the time.”) Fortunately, Rell and Clarence happen to look exactly like the Allentown Boys. Method Man makes a deal with them. If Rell and Clarence — who are now going by the names TekTonic and Sharktank — train the Blips then he will give them Keanu.
(Method Man’s character is actually named Cheddar. Jeff just pointed out to me that Method Man previously played a character named Cheese on The Wire.)
While Rell struggles to fit in with the Blips, the nominally more straight-laced Clarence (who, unlike Rell, doesn’t even smoke weed) is soon having the time of his life. It turns out that Clarence specializes in corporate team building and he’s excited to introduce these techniques to Blips. (During one shootout, Clarence proudly announces, “They’re communicating!”)
Admittedly, Keanu is an uneven film. It’s essentially a collection skits and some of them are funnier than others. However, Key and Peele both bring so much commitment to bringing this insane story to life that they literally carry the audience over the occasional rough spot. It may not be perfect but it’s a film that announces that, whether on TV or in the movies, Key & Peele are a comedic force to be reckoned with.
Plus, that kitten is so damn cute!
(And, in case you were wondering, Keanu Reeves does make an appearance of sorts.)
This film is 90 minutes of laughter and that’s certainly something that we all need right now! See Keanu!
(Since you’ve probably already seen the trailer for Keanu — here it is, if you haven’t — let’s close this review with some exclusive audition footage.)
Through the Shattered Lens 