Tag Archives: Sean Penn

Here Are The Michigan Movie Critic Guild Nominations For 2025

Posted on by Lisa Marie Bowman

The 2025 nominations of the Michigan Movie Critics Guild were announced on Friday.  And here they are:

Best Picture
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
Sinners

Best Director
Paul Thomas Anderson – One Battle After Another
Ryan Coogler – Sinners
Guillermo del Toro – Frankenstein
Josh Safdie – Marty Supreme
Chloé Zhao – Hamnet

Best Actor
Timothée Chalamet – Marty Supreme
Joel Edgerton – Train Dreams
Leonardo DiCaprio – One Battle After Another
Brendan Fraser – Rental Family
Michael B. Jordan – Sinners

Best Actress
Rose Byrne – If I Had Legs I’d Kick You
Chase Infiniti – One Battle After Another
Cynthia Erivo – Wicked: For Good
Jessie Buckley – Hamnet
Emma Stone – Bugonia

Best Supporting Actor
Miles Caton – Sinners
Jacob Elordi – Frankenstein
Benicio del Toro – One Battle After Another
Paul Mescal – Hamnet
Sean Penn – One Battle After Another

Best Supporting Actress
Ariana Grande – Wicked: For Good
Inga Ibsdotter Lilleaas – Sentimental Value
Wunmi Mosaku – Sinners
Hailee Steinfeld – Sinners
Teyana Taylor – One Battle After Another

Best Animated Film
Arco
Dog Man
K-Pop Demon Hunters
Little Amélie or the Character of Rain
Zootopia 2

Best Documentary
Orwell: 2+2=5
Pee-Wee as Himself
Put Your Soul on Your Hand and Walk
The Perfect Neighbor
The Tale of Silyan

Best Ensemble
Avatar: Fire And Ash
Marty Supreme
One Battle After Another
Sinners
Wake Up Dead Man
Wicked: For Good

Best Screenplay
Hamnet
Marty Supreme
One Battle After Another
Sorry, Baby
Sinners

Best Cinematography
Avatar: Fire And Ash
Frankenstein
One Battle After Another
Sinners
Train Dreams

Breakthrough
Miles Caton – (Actor) Sinners
Chase Infiniti – (Actress) One Battle After Another
Jacob Elordi – (Actor) Frankenstein
Jacobi Jupe – (Actor) Hamnet
Eva Victor – (Writer, Director, Actor) Sorry, Baby

Best Stunts
Avatar: Fire And Ash
Ballerina
Mission: Impossible – The Final Reckoning
Nobody 2
One Battle After Another

The MMCG Award for Film Excellence
Paul Feig – (Director) The Housemaid / Another Simple Favor
Judy Greer – (Actress) The Long Walk
Paul Walter Hauser – (Actor) The Naked Gun / Fantastic Four: First Steps
Tim Robinson – (Actor/Writer) Friendship
J.K. Simmons – (Actor) The Accountant 2

Here Are The 2025 Critics Choice Nominations

Posted on by Lisa Marie Bowman

The nominations for the Critics Choice Awards — a.k.a. the most pointless awards of the season — were announced on Friday.  The winners will be announced on January 4th.

BEST PICTURE
Bugonia (Focus Features)
Frankenstein (Netflix)
Hamnet (Focus Features)
Jay Kelly (Netflix)
Marty Supreme (A24)
One Battle After Another (Warner Bros.)
Sentimental Value (Neon)
Sinners (Warner Bros.)
Train Dreams (Netflix)
Wicked: For Good (Universal Pictures)

BEST ACTOR
Timothée Chalamet – Marty Supreme (A24)
Leonardo DiCaprio – One Battle After Another (Warner Bros.)
Joel Edgerton – Train Dreams (Netflix)
Ethan Hawke – Blue Moon (Sony Pictures Classics)
Michael B. Jordan – Sinners (Warner Bros.)
Wagner Moura – The Secret Agent (Neon)

BEST ACTRESS
Jessie Buckley – Hamnet (Focus Features)
Rose Byrne – If I Had Legs I’d Kick You (A24)
Chase Infiniti – One Battle After Another (Warner Bros.)
Renate Reinsve – Sentimental Value (Neon)
Amanda Seyfried – The Testament of Ann Lee (Searchlight Pictures)
Emma Stone – Bugonia (Focus Features)

BEST SUPPORTING ACTOR
Benicio del Toro – One Battle After Another (Warner Bros.)
Jacob Elordi – Frankenstein (Netflix)
Paul Mescal – Hamnet (Focus Features)
Sean Penn – One Battle After Another (Warner Bros.)
Adam Sandler – Jay Kelly (Netflix)
Stellan Skarsgård – Sentimental Value (Neon)

BEST SUPPORTING ACTRESS
Elle Fanning – Sentimental Value (Neon)
Ariana Grande – Wicked: For Good (Universal Pictures)
Inga Ibsdotter Lilleaas – Sentimental Value (Neon)
Amy Madigan – Weapons (Warner Bros.)
Wunmi Mosaku – Sinners (Warner Bros.)
Teyana Taylor – One Battle After Another (Warner Bros.)

BEST YOUNG ACTOR / ACTRESS
Everett Blunck – The Plague (Independent Film Company)
Miles Caton – Sinners (Warner Bros.)
Cary Christopher – Weapons (Warner Bros.)
Shannon Mahina Gorman – Rental Family (Searchlight Pictures)
Jacobi Jupe – Hamnet (Focus Features)
Nina Ye – Left-Handed Girl (Netflix)

BEST DIRECTOR
Paul Thomas Anderson – One Battle After Another (Warner Bros.)
Ryan Coogler – Sinners (Warner Bros.)
Guillermo del Toro – Frankenstein (Netflix)
Josh Safdie – Marty Supreme (A24)
Joachim Trier – Sentimental Value (Neon)
Chloé Zhao – Hamnet (Focus Features)

BEST ORIGINAL SCREENPLAY
Noah Baumbach, Emily Mortimer – Jay Kelly (Netflix)
Ronald Bronstein, Josh Safdie – Marty Supreme (A24)
Ryan Coogler – Sinners (Warner Bros.)
Zach Cregger – Weapons (Warner Bros.)
Eva Victor – Sorry, Baby (A24)
Eskil Vogt, Joachim Trier – Sentimental Value (Neon)

BEST ADAPTED SCREENPLAY
Paul Thomas Anderson – One Battle After Another (Warner Bros.)
Clint Bentley, Greg Kwedar – Train Dreams (Netflix)
Park Chan-wook, Lee Kyoung-mi, Don Mckellar, Jahye Lee – No Other Choice (Neon)
Guillermo del Toro – Frankenstein (Netflix)
Will Tracy – Bugonia (Focus Features)
Chloé Zhao, Maggie O’Farrell – Hamnet (Focus Features)

BEST CASTING AND ENSEMBLE
Nina Gold – Hamnet (Focus Features)
Douglas Aibel, Nina Gold – Jay Kelly (Netflix)
Jennifer Venditti – Marty Supreme (A24)
Cassandra Kulukundis – One Battle After Another (Warner Bros.)
Francine Maisler – Sinners (Warner Bros.)
Tiffany Little Canfield, Bernard Telsey – Wicked: For Good (Universal Pictures)

BEST CINEMATOGRAPHY
Claudio Miranda – F1 (Apple Original Films)
Dan Laustsen – Frankenstein (Netflix)
Łukasz Żal – Hamnet (Focus Features)
Michael Bauman – One Battle After Another (Warner Bros.)
Autumn Durald Arkapaw – Sinners (Warner Bros.)
Adolpho Veloso – Train Dreams (Netflix)

BEST PRODUCTION DESIGN
Kasra Farahani, Jille Azis – The Fantastic Four: First Steps (Marvel Studios)
Tamara Deverell, Shane Vieau – Frankenstein (Netflix)
Fiona Crombie, Alice Felton – Hamnet (Focus Features)
Jack Fisk, Adam Willis – Marty Supreme (A24)
Hannah Beachler, Monique Champagne – Sinners (Warner Bros.)
Nathan Crowley, Lee Sandales – Wicked: For Good (Universal Pictures)

BEST EDITING
Kirk Baxter – A House of Dynamite (Netflix)
Stephen Mirrione – F1 (Apple Original Films)
Ronald Bronstein, Josh Safdie – Marty Supreme (A24)
Andy Jurgensen – One Battle After Another (Warner Bros.)
Viridiana Lieberman – The Perfect Neighbor (Netflix)
Michael P. Shawver – Sinners (Warner Bros.)

BEST COSTUME DESIGN
Kate Hawley – Frankenstein (Netflix)
Malgosia Turzanska – Hamnet (Focus Features)
Lindsay Pugh – Hedda (Amazon MGM Studios)
Colleen Atwood, Christine Cantella – Kiss of the Spider Woman (Lionsgate/Roadside Attractions)
Ruth E. Carter – Sinners (Warner Bros.)
Paul Tazewell – Wicked: For Good (Universal Pictures)

BEST HAIR AND MAKEUP
Flora Moody, John Nolan – 28 Years Later (Sony Pictures)
Mike Hill, Jordan Samuel, Cliona Furey – Frankenstein (Netflix)
Siân Richards, Ken Diaz, Mike Fontaine, Shunika Terry – Sinners (Warner Bros.)
Kazu Hiro, Felix Fox, Mia Neal – The Smashing Machine (A24)
Leo Satkovich, Melizah Wheat, Jason Collins – Weapons (Warner Bros.)
Frances Hannon, Mark Coulier, Laura Blount – Wicked: For Good (Universal Pictures)

BEST VISUAL EFFECTS
Joe Letteri, Richard Baneham, Eric Saindon, Daniel Barrett – Avatar: Fire And Ash (20th Century Studios)
Ryan Tudhope, Nikeah Forde, Robert Harrington, Nicolas Chevallier, Eric Leven, Edward Price, Keith Dawson – F1 (Apple Original Films)
Dennis Berardi, Ayo Burgess, Ivan Busquets, José Granell – Frankenstein (Netflix)
Alex Wuttke, Ian Lowe, Jeff Sutherland, Kirstin Hall – Mission: Impossible – The Final Reckoning (Paramount Pictures)
Michael Ralla, Espen Nordahl, Guido Wolter, Donnie Dean – Sinners (Warner Bros.)
Stephane Ceretti, Enrico Damm, Stéphane Nazé, Guy Williams – Superman (Warner Bros.)

BEST STUNT DESIGN
Stephen Dunlevy, Kyle Gardiner, Jackson Spidell, Jeremy Marinas, Jan Petřina, Domonkos Párdányi, Kinga Kósa-Gavalda – Ballerina (Lionsgate)
Gary Powell, Luciano Bacheta, Craig Dolby – F1 (Apple Original Films)
Wade Eastwood – Mission: Impossible – The Final Reckoning (Paramount Pictures)
Brian Machleit – One Battle After Another (Warner Bros.)
Andy Gill – Sinners (Warner Bros.)
Giedrius Nagys – Warfare (A24)

BEST ANIMATED FEATURE
Arco (Neon)
Elio (Walt Disney Studios Motion Pictures)
In Your Dreams (Netflix)
KPop Demon Hunters (Netflix)
Little Amélie Or The Character Of Rain (GKIDS)
Zootopia 2 (Walt Disney Animation Studios)

BEST COMEDY
The Ballad of Wallis Island (Focus Features)
Eternity (A24)
Friendship (A24)
The Naked Gun (Paramount)
The Phoenician Scheme (Focus Features)
Splitsville (Neon)

BEST FOREIGN LANGUAGE FILM
Belén (Amazon MGM Studios)
It Was Just an Accident (Neon)
Left-Handed Girl (Netflix)
No Other Choice (Neon)
The Secret Agent (Neon)
Sirāt (Neon)

BEST SONG
“Drive” – Ed Sheeran, John Mayer, Blake Slatkin – F1 (Apple Original Films)
“Golden” – Ejae, Mark Sonnenblick, Ido, 24, Teddy – KPop Demon Hunters (Netflix)
“I Lied to You” – Raphael Saadiq, Ludwig Göransson – Sinners (Warner Bros.)
“Clothed by the Sun” – Daniel Blumberg – The Testament of Ann Lee (Searchlight Pictures)
“Train Dreams” – Nick Cave, Bryce Dessner – Train Dreams (Netflix)
“The Girl in the Bubble” – Stephen Schwartz – Wicked: For Good (Universal Pictures)

BEST SCORE
Hans Zimmer – F1 (Apple Original Films)
Alexandre Desplat – Frankenstein (Netflix)
Max Richter – Hamnet (Focus Features)
Daniel Lopatin – Marty Supreme (A24)
Jonny Greenwood – One Battle After Another (Warner Bros.)
Ludwig Göransson – Sinners (Warner Bros.)

BEST SOUND
Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo, Juan Peralta, Gareth John – F1 (Apple Original Films)
Nathan Robitaille, Nelson Ferreira, Christian Cooke, Brad Zoern, Greg Chapman – Frankenstein (Netflix)
Jose Antonio Garcia, Christopher Scarabosio, Tony Villaflor – One Battle After Another (Warner Bros.)
Chris Welcker, Benny Burtt, Brandon Proctor, Steve Boeddeker, Felipe Pacheco, David V. Butler – Sinners (Warner Bros.)
Laia Casanovas – Sirāt (Neon)
Mitch Low, Glenn Freemantle, Ben Barker, Howard Bargroff, Richard Spooner – Warfare (A24)

One Battle After Another Wins In Atlanta

Posted on by Lisa Marie Bowman

I’m getting the feeling this is going to be a boring awards season.  The Atlanta Film Critics Circle has announced its picks for the best of 2025 and One Battle After Another won …. again.  And that’s fine!  It’s just that, from a blogging point of view, I always prefer an unpredictable season to a predictable one.

Anyway, here are the winners in Atlanta!

BEST FILM: One Battle After Another

TOP 10 FILMS (ranked):

  1. One Battle After Another
  2. Sinners
  3. Weapons
  4. Hamnet
  5. Marty Supreme
  6. It Was Just an Accident
  7. No Other Choice
  8. Sentimental Value
  9. Train Dreams
  10. The Secret Agent

BEST LEAD ACTOR: Leonardo DiCaprio, One Battle After Another
Runner-up: Michael B. Jordan, Sinners

BEST LEAD ACTRESS: Jessie Buckley, Hamnet
Runner-up: Rose Byrne, If I Had Legs I’d Kick You

BEST SUPPORTING ACTOR: Benicio del Toro, One Battle After Another
Runner-up: Sean Penn, One Battle After Another

BEST SUPPORTING ACTRESS: Amy Madigan, Weapons
Runner-up: Teyana Taylor, One Battle After Another

BEST ENSEMBLE CAST: One Battle After Another
Runner-up: Sinners

BEST DIRECTOR: Paul Thomas Anderson, One Battle After Another
Runner-up: Ryan Coogler, Sinners

BEST ORIGINAL SCREENPLAY: Sinners
Runner-up: Weapons

BEST ADAPTED SCREENPLAY: One Battle After Another
Runner-up: Hamnet

BEST DOCUMENTARY: The Perfect Neighbor
Runner-up: The Alabama Solution

BEST INTERNATIONAL FEATURE: It Was Just an Accident
Runner-up: No Other Choice

BEST ANIMATED FILM: KPop Demon Hunters
Runner-up: Arco

BEST CINEMATOGRAPHY: One Battle After Another
Runner-up: Sinners

BEST ORIGINAL SCORE: Sinners
Runner-up: One Battle After Another

BEST STUNT WORK: Mission: Impossible – The Final Reckoning
Runner-up: F1

BEST VOICE PERFORMANCE: Arden Cho, KPop Demon Hunters
Runner-up: Jason Bateman, Zootopia 2

BEST BREAKTHROUGH PERFORMANCE: Chase Infiniti, One Battle After Another

BEST FIRST FEATURE: Eva Victor, Sorry, Baby

Lisa Marie’s Oscar Predictions For November

Posted on by Lisa Marie Bowman

I guess the question right now is whether or not Wicked: For Good will receive a Best Picture nomination.  Tradition would seem to dictate that, like The Lord of the Rings films and the Dune films, Wicked: For Good would get a nomination to go along with the first part of the story.  However, the reviews of Wicked: For Good have not been particularly good.

That said, those reviews have not had much effect when it comes to the film’s box office.  And that’s why I think, despite bad reviews, Wicked: For Good will be nominated.  I don’t think it’s going be quite the Oscar powerhouse that some were expecting but it will still, at the very least, be nominated.  It’s too big to fail at this point.

Here are my review for November.  Click here for my April and May and June and July and August and September and October predictions!

Best Picture

Avatar: Fire and Ash

Frankenstein

Hamnet

Jay Kelly

Marty Supreme

One Battle After Another

Sentimental Value

Sinners

Train Dreams

Wicked For Good

Best Director

Paul Thomas Anderson for One Battle After Another

Ryan Coogler for Sinners

Josh Safie for Marty Supreme

Joachim Trier for Sentimental Value

Chloe Zhao for Hamnet

Best Actor

Timothee Chalamet in Marty Supreme

George Clooney in Jay Kelly

Joel Edgerton in Train Dreams

Ethan Hawke in Blue Moon

Wagner Moura in The Secret Agent

Best Actress

Jessie Buckley in Hamnet

Cynthia Erivo in Wicked For Good

Kate Hudson in Song Sung Blue

Renate Reinsve in Sentimental Valure

Amanda Seyfried in The Testament of Ann Lee

Best Supporting Actor

Benicio del Toro in One Battle After Another

Paul Mescal in Hamnet

Sean Penn in One Battle After Another

Adam Sandler in Jay Kelly

Stellan Skarsgard in Sentimental Value

Best Supporting Actress

Elle Fanning in Sentimental Value

Ariana Grande in Wicked For Good

Regina Hall in One Battle After Another

Inga Ibsdotter Lilleaas in Sentimental Value

Amy Madigan in Weapons

Casualties of War (1989, directed by Brian DePalma)

Posted on by Jedadiah Leland

Private Max Eriksson (Michael J. Fox) is a new arrival in Vietnam, a young infantryman who is called a “cherry” by his fellow soldiers.  No one wants to get close to Eriksson because everyone knows that it’s the new guy who is most likely to make a mistake and get himself killed.  The only person who seems to care whether Eriksson lives or dies is Sgt. Tony Messerve (Sean Penn), a squad leader who is so tough and battle-worn that it is easy to forget that he is only 20 years old.  After a member of Messerve’s squad is killed in a firefight and Messerve’s squad had been denied leave despite all of the stress and pressure that they’ve been under, Messerve decides that, during their next mission, the squad is going to kidnap a woman from a village and take her with them.

Eriksson, who is still naive enough to sincerely say, “We’re supposed to be here to help these people,” is horrified by Messerve’s actions.  At first, only he and Diaz (John Leguizamo) refuse to take part in raping the terrified woman (Thuy Thu Le).  Diaz soon caves to the pressure from the rest of the squad and joins in.  Only Eriksson continues to refuse but his attempt to help the woman escape fails when the members of the squad murder her during a firefight with the Viet Cong.  After the battle, the wounded Eriksson discovers that no one in command wants to hear about what happened.  Messerve’s second-in-command, Clark (Don Patrick Harvey), targets Eriksson, trying to shut him up permanently.

One of the many Vietnam films to come out after the success of Platoon, Brian De Palma’s Casualties of War is an intense and disturbing recreation of a true story.   After years of being accused of making misogynistic and exploitive films, De Palma made an effective and sensitive anti-war film, one that did not exploit the suffering of the kidnapped woman but instead portrays the depravity of war and the courage it takes to do the right thing when everyone around is ordering you not to.  While it always takes a while to get used to Michael J. Fox in a serious role (and, at the start of the film, he really does seem to be miscast), he eventually gives the best performance of his career in Max Eriksson and, by using a framing device of Eriksson back in the United States after completing his tour, both De Palma and Fox show how the Eriksson, like countless other veterans, is still haunted by what he saw in Vietnam even after he returns home.  Sean Penn is equally impressive as Messerve, playing him as someone who sacrificed his soul in order to survive in Vietnam.  Messerve has come to view the entire country with contempt and, in his twisted way, he sees kidnapping the woman as a way to reward his squad for all that they’ve endured.  The rest of the cast is also strong, with John C. Reilly making his acting debut as a member of the squad.

Not surprisingly, the dark and disturbing Casualties of War was a box office disappointment.  It’s still one of most harrowing films made about Vietnam and one of De Palma’s best.

Scenes That I Love: The First Two Minutes of Fast Times At Ridgemont High

Posted on by Lisa Marie Bowman

Today, the Shattered Lens wishes a happy birthday to director Amy Heckerling!

Today’s scene that I love comes from Amy Heckerling’s feature debut, 1982’s Fast Times At Ridgemont High.  In just two minutes, Heckerling introduces us to almost all of the major characters, establishes the mall as the center of Ridgemont High culture, and leaves us with little doubt that we’ve entered a time machine and found ourselves in the 80s.  Look at all the future stars.  Look at Mike Damone, future mobster.  My heart always breaks for Stacy and her brother Brad.  They have no idea what’s waiting for them this year.

Here is today’s scene that I love:

Film Review: Into the Wild (dir by Sean Penn)

Posted on by Lisa Marie Bowman

He went looking for America but couldn’t find it.

That’s not actually the tag line that was used to advertise 2007’s Into The Wild but perhaps it should have been.  Based on the true story of Chris McCandless, a college graduate who gave away all of his money and then roamed the country for two years before starving to death in an abandoned bus in Alaska, Into The Wild seems to be Sean Penn’s attempt to make a modern-day Easy Rider.  Just as Dennis Hopper and Peter Fonda crossed the country and met several different people over the course of that seminal road film, Into The Wild follows Emile Hirsch’s Chris McCandless as he takes on the identity of Alexander Supertramp and hikes across the continent.  Along the way, he meets and befriends hippies (Catherine Keener and Brian H. Dierker), blue collar workers (Vince Vaughn), wayward teenagers (Kristen Stewart), and, most poignantly, a retired man (Hal Holbrook) who sincerely tries to help Chris make peace with his wanderlust.

You would think that this would be the type of film that would bring out Sean Penn’s worst directorial instincts but Penn actually directs with a very real sensitivity and a willingness to see the good in just about everyone that Chris meets.  It is true that, especially at the start of the film, Chris can sometimes be a bit difficult to take.  He’s so self-righteous and sure of himself.  He mistakes his college diploma for being a badge of experience and occasionally, he can come across as being incredibly condescending.  But, as the film progresses, Chris starts to realize that he doesn’t know everything and that he can’t do everything by himself.  Sometimes, he does need help, even if he doesn’t want to admit it.  The film’s most moving moments feature Chris and Hal Holbrook’s Ron Franz.  Ron has the years of experience that Chris lacks and Ron also becomes one of the few people to whom Chris is willing to truly listen.  And yet, when Ron offers to adopt Chris and give him a permanent home, Chris’s response is to promise to talk to him about it when Chris returns from Alaska.  As Chris leaves, it’s obvious that Ron knows that he’s never going to see Chris again.  Dying in Alaska, Chris finally makes some sort of inner peace with the parents (William Hurt and Marcia Gay Harden) and the sister (Jena Malone) that he earlier abandoned.  It’s an amazingly touching scene.  Penn, whose other directorial efforts have been a bit didactic, seems to be willing to grant a certain grace to everyone in the film, even those whose politics or cultural attitudes he might not necessarily share.  Penn not only captures the visual beauty of the America wilderness but also the beauty of the people, a beauty that too many other directors chose to downplay.

It’s a strong film and certainly the best of Penn’s directorial efforts.  Emile Hirsch is not always likable as Chris but, then again, the heart of the film is found in the people that Hirsch meets and Penn gets excellent performances from his entire supporting cast.  Hal Holbrook received a much deserved Oscar nomination.  I also liked Vince Vaughn’s performance as guy who teaches Chris about hard work before getting arrested for stealing cable and also Jena Malone as Chris’s sister, the one person who understands him, even if she’s not invited to travel with him.

Into The Wild is a poignant portrayal of  both wanderlust and the often-neglected corners of America.  Did Chris find a little of something that he was looking for before he died in that bus?  One can only hope.

 

Lisa Marie’s Way Too Early Oscar Predictions For April

Posted on by Lisa Marie Bowman

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

Guillermo del Toro for Frankenstein

Joseph Kosinksi for FI

Best Actor

Austin Butler in Eddington

Timothee Chalamet in Marty Supreme

Leonardo DiCaprio in One Battle After Another

Matthew McConaughey in The Lost Bus

Jeremy Allen White in Deliver Me From Nowhere

Best Actress

Olivia Colman in The Roses

Cynthia Erivo in Wicked For Good

Julia Roberts in After The Hunt

Amanda Seyfried in Ann Lee

June Squibb in Eleanor The Great

Best Supporting Actor

Colman Domingo in Michael

Josh O’Connor in The History of Sound

Sean Penn in One Battle After Another

Joaquin Phoenix in Eddington

Christoph Waltz in Frankenstein

Best Supporting Actress

Fran Drescher in Marty Supreme

Ayo Edebri in After The Hunt

Ariana Grande in Wicked For Good

Gabby Hofman in Deliver Me From Nowhere

Nia Long in Michael

At Close Range (1986, directed by James Foley)

Posted on by Jedadiah Leland

Brad Whitewood, Sr. (Christopher Walken) is known as Big Brad, a rural crime lord who rules the backwoods of Pennsylvania.  When his son, Little Brad (Sean Penn, trying too hard to be James Dean), comes to live with him, Big Brad goes out of his way to try to bring the teenager into his criminal lifestyle.  At first, Little Brad loves being a part of the family business but witnessing a murder and falling in love with Terry (Mary Stuart Masterson) caused Little Brad to start to move away from his father.  With the FBI closing in on the Whitewood family, Brad Sr. starts to eliminate everyone who he considers to be a threat, including the members of his own family.

Based on a true story, this neo-noir features a great cast, including Chris Penn, Millie Perkins, Kiefer Sutherland, Crispin Glover, David Strathairn, Tracey Walter, and Mary Stuart Masterson.  Unfortunately, the movie itself moves at a plodding pace.  There are some good and disturbing scenes, like the montage where Big Brad starts to eliminate the members of his gang.  The film does a good job of showing how seductive Big Brad’s criminal lifestyle can be to a bunch of kids who have basically been written-off by society.  But the story itself is so bleak that most people will end up tuning out long before Little Brad finally turns against his father.

Whatever other flaws it may have, At Close Range does feature one of Christopher Walken’s best performances.  Walken is chillingly evil as Big Brad.  He’s got enough charisma to be believable as someone who could bring a gang together but he’s also frightening as he starts killing anyone who he thinks might talk to the police or the FBI.  Big Brad is a remorseless killer and Walken plays him as being a classic sociopath, someone who cannot understand why the members of his gang and family would get upset when he starts killing some of them.  To Big Brad, that just goes with the territory.  It’s a part of doing business.  With his distinct way of speaking and his trademark tics, Walken is someone who has inspired many impersonators and it can be easy to forget that he’s also a damn good actor.  Films like At Close Range remind us of just how talented Walken actually is.

Lisa Marie Reviews An Oscar Nominee: The Thin Red Line (dir by Terrence Malick)

Posted on by Lisa Marie Bowman

Based on a novel by James Jones (and technically, a sequel of sorts to From Here To Eternity), 1998’s The Thin Red Line is one of those Best Picture nominees that people seem to either love or hate.

Those who love it point out that the film is visually stunning and that director Terrence Malick takes a unique approach to portraying both the Battle of Guadalcanal and war in general.  Whereas Steven Spielberg’s Saving Private Ryan told a rather traditional story about the tragedy of war (albeit with much more blood than previous World War II films), The Thin Red Line used the war as a way to consider the innocence of nature and the corrupting influence of mankind.  “It’s all about property,” one shell-shocked soldier shouts in the middle of a battle and later, as soldiers die in the tall green grass of the film’s island setting, a baby bird hatches out of an egg.  Malick’s film may have been an adaptation of James Jones’s novel but its concerns were all pure Malick, right down to the philosophical voice-overs that were heard throughout the film.

Those who dislike the film point out that it moves at a very deliberate pace and that we don’t really learn much about the characters that the film follows.  In fact, with everyone wearing helmets and running through the overgrown grass, it’s often difficult to tell who is who.  (One gets the feeling that deliberate on Malick’s point.)  They complain that the story is difficult to follow.  They point out that the parade of star cameos can be distracting.  And they also complain that infantrymen who are constantly having to look out for enemy snipers would not necessarily be having an inner debate about the spirituality of nature.

I will agree that the cameos can be distracting.  John Cusack, for example, pops up out of nowhere, plays a major role for a few minutes, and then vanishes from the film.  The sight of John Travolta playing an admiral is also a bit distracting, if just because Travolta’s mustache makes him look a bit goofy.  George Clooney appears towards the end of the film and delivers a somewhat patronizing lecture to the men under his command.  Though his role was apparently meant to be much larger, Adrien Brody ends up two lines of dialogue and eleven minutes of screentime in the film’s final cut.

That said, The Thin Red Line works for me.  The film is not meant to be a traditional war film and it’s not necessarily meant to be a realistic recreation of the Battle of Guadalcanal.  Instead, it’s a film that plays out like a dream and, when viewed a dream, the philosophical voice overs and the scenes of eerie beauty all make sense.  Like the majority of Malick’s films, The Thin Red Line is ultimately a visual poem.  The plot is far less important than how the film is put together.  It’s a film that immerses you in its world.  Even the seeming randomness of the film’s battles and deaths fits together in a definite patten.  It’s a Malick film.  It’s not for everyone but those who are attuned to Malick’s wavelength will appreciate it even if they don’t understand it.

And while Malick does definitely put an emphasis on the visuals, he still gets some good performances out of his cast.  Nick Nolte is chilling as the frustrated officer who has no hesitation about ordering his men to go on a suicide mission.  Elias Koteas is genuinely moving as the captain whose military career is ultimately sabotaged by his kind nature.  Sean Penn is surprisingly convincing as a cynical sergeant while Jim Caviezel (playing the closest thing the film has to a main character) gets a head start on humanizing messianic characters by playing the most philosophical of the soldiers.  Ben Chaplin spends most of his time worrying about his wife back home and his fantasies give us a glimpse of what’s going on in America while its soldiers fight and die overseas.

The Thin Red Line was the first of Terrence Malick’s films to be nominated for Best Picture and it was one of three World War II films to be nominated that year.  However, it lost to Shakespeare In Love.