Lisa’s Way, Way, Way, Way, Way, Way, Way Too Early Oscar Predictions for January


It’s a new year and that means that it’s once again time for me to do something spectacularly stupid.

Below, you’ll find a list of Oscar predictions.  However, this is not a list of what I think will be nominated on January 13th.  No, instead, these are my predictions for the upcoming year.  This the first installment of my monthly predictions for which 2020 films will be nominated next year at this time.

Just in case it’s not already obvious how foolish this is, consider the following: Last year, at this time, no one had heard of Parasite.  Maybe a handful of people knew that Noah Baumbach’s next film was going to be called Marriage Story.  There were vague rumors about 1917 and there were still serious doubts as to whether Scorsese would ever finish putting together The Irishman.  In short, trying to predict the Oscars 12 months out is impossible.

Needless to say, I haven’t seen a single one of these films listed below so I can’t tell you one way or the other whether or not they’re going to set the world on fire.  Instead, what is listed below is a combination of random guesses and my own gut feelings.  You’ll notice that there are a lot of big names listed, Spielberg, Anthony Hopkins, Ron Howard, and Glenn Close.  Yes, all of them could very well be Oscar contenders.  At the same time, they’re all also a known quantity.  They’ve all got a good track record with the Academy and, as of right now, that’s all that I have to go on.

You may also notice that I’ve listed several films that will, in just a few weeks, be playing at the Sundance Film Festival.  Again, it’s not that I know anything about these films that the rest of the world doesn’t.  Instead, it’s simply a case of I looked at the list of Sundance films, I read the plots, and a few times I said, “That sounds like it could potentially be a contender.”  After all, it seems like at least one nominee comes out of Sundance every year.  Why shouldn’t it happen again?

My point is that you shouldn’t take these predictions too seriously.  Some of the films and performers below may be nominated.  Some definitely will not be.  But, next year, we will at least be able to look back at this list and have a laugh!

So, without further ado, here are my Oscar predictions for January!

Best Picture

Dune

Hillbilly Elegy

The Many Saints of Newark

Minari

News of the World

Respect

Tenet

The Personal History of David Copperfield

The Trial of the Chicago 7

West Side Story

Best Director

Paul Greengrass for News of the World

Ron Howard for Hillbilly Elegy

Christopher Nolan for Tenet

Steven Spielberg for West Side Story

Denis Villeneuve for Dune

Best Actor

Bradley Cooper in Bernstein

Tom Hanks in News of the World

Lance Henriksen in Falling

Anthony Hopkins in The Father

Michael Keaton in Worth

Best Actress

Amy Adams in Hillbilly Elegy

Glenn Close in Four Good Days

Jennifer Hudson in Respect

Elisabeth Moss in Shirley

Amy Ryan in Lost Girls

Best Supporting Actor

Willem DaFoe in The Last Thing He Wanted

Richard E. Grant in Everybody’s Talking About Jamie

Mark Rylance in The Trial of the Chicago 7

Forest Whitaker in Respect

Steven Yeun in Minari

Best Supporting Actress

Glenn Close in Hillbilly Elegy

Vera Farmiga in The Many Saints of Newark

Tilda Swinton in The Personal Life of David Copperfield

Marisa Tomei in The King of Staten Island

Helena Zengel in News of the World

Icarus File No. 4: Captive State (dir by Rupert Wyatt)


Does anyone remember Captive State?

Captive State came out in March and, before it was released, it seemed like it had the potential to be something special.  The trailer looked good.  The cast was impressive.  Perhaps even more importantly, the film was directed by Rupert Wyatt, who did such a good job with Rise Of The Planet Of The Apes.  Surely, if anyone had the talent to create a convincing film about life under an alien dictatorship, it would be Rupert Wyatt!

In fact, my only reason for concern had to do with when the film was being released.  March seemed like a very strange time to be releasing a big “event” film.  Don’t get me wrong.  A March release isn’t as bad as a January or even a February release.  I mean, unless your film is a romantic comedy, you definitely do not want it to be released in either one of those two months.  Those months are where studios dump their worst films so that they can die a quiet death.  March, on the other hand, is when the studio releases films that have the potential to be a success but which they’re still not expecting to set the world on fire.

Of course, there have been exceptions to that rule, as both Wes Anderson (Grand Budapest Hotel) and Jordan Peele (Get Out) can tell you.  So, as Captive State’s release date approached, we were left to wonder.  Would this be another case of a film being better than it’s release date or would this be just another forgettable but not terrible movie that the studio probably spent a bit too much money on?

Captive State, sadly, turned out to be more of a case of the latter than the former.

The film opens with Chicago being invaded in 2019.  Significantly, unlike other recent invasion films, this one doesn’t spend too much time on the invasion itself or Earth’s initial attempts to fight back.  Instead, it jumps forward eight years, to 2027.  The aliens are in control of Earth, though the aliens themselves claim to only be “legislators” who are governing the planet for our own good.  While the majority of Earthlings just seem to be resigned to accepting being conquered as their new normal, there are a few resistors.  There’s also quite a few collaborators.  The tricky part of life in 2027 is figuring out who you can and can not trust.

There’s a lot of characters in Captive State and, at times, it can be difficult to keep track of how everyone’s related and who is working for who.  However, that seems to be intentional on the film’s part.  Rather than telling a conventional tale of alien conquest, Captive State sets out to be a serious exploration of what life would be like for the people living under the thumb of not just an intergalactic dictatorship but actually any dictatorship.  The Legislators rule by fear.  The collaborators have their own individual reasons for collaborating but, now that they’ve declared which side they’re on, there’s no going back for them.  One way or another, they’ve sealed their fate.  The same can be said for those in the rebellion.  Meanwhile, most people are just trying to not get caught in the crossfire.

And the thing is …. you want the film to work.  It’s an intriguing idea and how can you not respect that fact that Wyatt wanted to try to do something a little bit different with his story of alien invasion?  But sadly, the film never works the way that you’re hoping it will.  The film tries to do a lot in just 109 minutes.  In fact, it probably tries to do too much and, as a result, there’s little time to get to know the characters, the majority of whom come across as being underwritten and with murky motivations.  Captive State hinges on the actions of a detective played by John Goodman but the film itself doesn’t seem to be sure of who Goodman’s supposed to be.  Hence, the film’s final twist seems to come out of nowhere.  It’s hard not to feel that the ideal way for Captive State to have told its story would have been as a 10-episode miniseries on HBO.  Trying to stuff all of this into under two hours of running time just doesn’t work.

And it’s a shame, that it doesn’t.  Ambition should never be faulted.  If only the results, in this case, lived up to the ambition.

Previous Icarus Files:

  1. Cloud Atlas
  2. Maximum Overdrive
  3. Glass

Horror Scenes That I Love: The Painting Comes To Life In The Conjuring 2


Obviously, you don’t have to be from a Catholic background to find this scene from The Conjuring 2 totally creepy but it definitely helps.

I remember watching this scene in the theaters.  As soon as Vera Farimga stepped into that room, I was like, “Uhmm …. see the painting?  Uh, there’s a painting behind you.  You might want to turn around and look at the painting….”

I really liked The Conjuring 2 and the first Conjuring as well.  I even liked the Annabelle films.  But one thing that I’ve always noticed about haunted house films is that nobody ever just turns on the lights.  It always seems to me like so much trouble could be avoided just by turning on the lights in every room and leaving them on.  Scary things only seem to happen in the dark.

Anyway, enough of my rambling!  Here’s today’s scene:

Godzilla: King of the Monsters, Review by Case Wright, Dir: Michael Dougherty


GOD.jpg

Godzilla: King of the Monsters is like eating a huge handful of different colored Jelly Bellys all at once; it’s fun and kinda sticky.  It was written and directed by Michael Dougherty (Trick ‘r Treat, Krampus, or anything that’s filmed for a few hundred bucks and a sandwich).  Dougherty is known for inexpensive genre films like Krampus, which was kind of fun in a goofy way.  This is a much bigger budget and if it weren’t for the dialogue, it would’ve been great.  Honestly, you don’t really need to listen to the dialogue and Dougherty is a lousy writer; so you’re better off tuning the people out.

The cast was everyone you like: Coach Taylor, Eleven, Tywin Lannister, That Lady from the Conjuring, That Science Teacher from Stranger Things, West Wing Guy, What’s His Face, and the guy who was in the last one who wanted the monsters to fight.  On the monster side: there was Mothra, King Ghidora, Rodan, Michaelangelo, Godzilla, and the rest.  They were all thrown at the screen like water balloons hitting you in the face.

The movie opens with Dr Emma Russell (Vera Farmiga) and Madison (Millie Bobby Brown) at a Monarch facility where baby Mothra wakes up and everyone seems to want to touch it.  Gross.  They’re gonna get a dino-rash! Terrorists enter, kill everyone, and take ….. did I write take … I meant pick up Dr. Russell and Madison.

Why? Dr. Russell lost her son to the last Godzilla attack and has decided that everyone should die because that makes sense…somehow. So, she sets up her Doctor Doolittle machine to talk/wake up all the Kaijus to kill everyone.  Her argument is really annoying and has a makeshift powerpoint presentation.  She is the embodiment of every sanctimonious Seattleite, Vegan, Composting, Apologist, Whiner all rolled into one; she figures if the monsters kill all the people that the world will be better off- think if that horrible Lorax finally got the money to kill for the trees.  They’re why I refuse to recycle …. EVER!

Anywho….she wakes up all the monsters and Coach Taylor who is Dr Russell’s quasi-ex-husband scientist is granted crazy authority over the military to figure out how to stop all the monsters from killing everyone.  And man do they ever fight?!!! I mean it do they ever fight?  I counted only four monster on monster fight scenes- kinda skimpy.  Also, Godzilla had to be recharged with nukes or radioactive spa time to keep going; I guess Godzilla decided to upload the latest Apple Update.

Godzilla ends up on top….literally. He gets on top of a mound in Boston and all the other monsters bow down to Godzilla, except Mothra – She curtsies (she’s from another time).  There’s good CGI and Monster fighting- when they do fight.  Just don’t go trying to find deeper meaning.  I loved these movies because they’d be on tv for the nerd set when I was a kid.  I saw them all.  In fact, in King Ghidora v Godzilla, Godzilla tries to help the Japanese win world war II or at least one battle. It was awesome.  These movies are great because you can unplug and watch some awesome destruction.  This movie brings the boom.  Enjoy!

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Godzilla: King of Monsters 2nd Official Trailer


Godzilla King of Monsters

This past summer we saw the first trailer to Godzilla: King of Monsters. To say that the reaction to that trailer was positive would be an understatement. It was one of the highlights of San Diego Comic-Con 2018.

Now, Warner Brothers Pictures saw fit to release the second trailer for the film. This time with less classical music and more Kaiju mayhem visuals instead. Michael Dougherty takes over directing duties from Gareth Edwards and this time it shows as the film stresses the action in the film rather than the human interactions underfoot.

Kaiju films have been fan-favorites for decades upon decades because of the monsters and less about the humans. The humans really were just there to give voice to the different factions of monsters duking it out. It looks like this time this sequel will follow the same formula.

Godzilla: King of Monsters is set for May 31, 2019.

Here’s The Trailer For The Front Runner!


As a director, Jason Reitman has had a tough few years.  After directing two best picture nominees — Juno and Up in the Air — and one film that should have been nominated (Young Adult), Reitman stumbled a bit with both Labor Day and Men, Women, & Children.

However, this year, it appears that he may be making a bit of a comeback.  Earlier this year, he reunited with Charlize Theron for Tully and directed her to some of the best reviews that she’s gotten in a while.  (The critical reaction to his directing was a bit more mixed.)  Now, with The Front Runner, Reitman is returning to screen just in time for the Oscar season.

The Front Runner is a film about a presidential candidate (Hugh Jackman) who gets wrapped up in a scandal.  Jackman has been getting some Oscar buzz.  To be honest, most films about political campaigns tend to fall flat, largely because filmmakers always seem to get too caught up in their own biases to actually craft a compelling film.  (Remember The Ides of March?)  Hopefully, this film won’t get bogged down in ideology because I’d like Reitman’s comeback to continue.

Here’s the trailer:

Playing Catch-Up: Autumn in New York, Griffin & Phoenix, Harry & Son, The Life of David Gale


So, this year I am making a sincere effort to review every film that I see.  I know I say that every year but this time, I really mean it.

So, in an effort to catch up, here are four quick reviews of some of the movies that I watched over the past few weeks!

  • Autumn in New York
  • Released: 2000
  • Directed by Joan Chen
  • Starring Richard Gere, Winona Ryder, Anthony LaPaglia, Elaine Stritch, Vera Farmiga, Sherry Stringfield, Jill Hennessy, J.K. Simmons, Sam Trammell, Mary Beth Hurt

Richard Gere is Will, a fabulously wealthy New Yorker, who has had many girlfriends but who has never been able to find the one.  He owns a restaurant and appears on the cover of New York Magazine.  He loves food because, according to him, “Food is the only beautiful thing that truly nourishes.”

Winona Ryder is Charlotte, a hat designer who is always happy and cheerful and full of life.  She’s the type who dresses up like Emily Dickinson for Christmas and recites poetry to children, though you get the feeling that, if they ever somehow met in real life, Emily would probably get annoyed with Charlotte fairly quickly.  Actually, Charlotte might soon get to meet  Emily because she has one of those rare diseases that kills you in a year while still allowing you to look healthy and beautiful.

One night, Will and Charlotte meet and, together, they solve crimes!

No, actually, they fall in love.  This is one of those films where a young woman teaches an old man how to live again but then promptly dies so it’s not like he actually has to make a huge commitment or anything.  The film does, at least, acknowledge that Will is a lot older than Charlotte but it still doesn’t make it any less weird that Charlotte would want to spend her last year on Earth dealing with a self-centered, emotionally remote man who is old enough to be her father.  (To be honest, when it was revealed that Charlotte was the daughter of a woman who Will had previously dated, I was briefly worried that Autumn in New York was going to take an even stranger turn….)

On the positive side, the films features some pretty shots of New York and there is actually a pretty nice subplot, in which Will tries to connect with the daughter (Vera Farmiga) that he never knew he had.  Maybe if Farmiga and Ryder had switched roles, Autumn in New York would have worked out better.

  • Griffin & Phoenix
  • Released: 2006
  • Directed by Ed Stone
  • Starring Dermot Mulroney, Amanda Peet, Blair Brown, and Sarah Paulson

His name is Henry Griffin (Dermot Mulroney).

Her name is Sarah Phoenix (Amanda Peet).

Because they both have highly symbolic last names, we know that they’re meant to be together.

They both have cancer.  They’ve both been given a year to live.  Of course, they don’t realize that when they first meet and fall in love.  In fact, when Phoenix comes across several books that Griffin has purchased about dealing with being terminally ill, she assumes that Griffin bought them to try to fool her into falling in love with him.  Once they realize that they only have a year to be together, Griffin and Phoenix set out to make every moment count…

It’s a sweet-natured and unabashedly sentimental movie but, unfortunately, Dermot Mulroney and Amanda Peet have little romantic chemistry and the film is never quite as successful at inspiring tears as it should be.  When Mulroney finally allows himself to get mad and deals with his anger by vandalizing a bunch of cars, it’s not a cathartic moment.  Instead, you just find yourself wondering how Mulroney could so easily get away with destroying a stranger’s windshield in broad daylight.

  • Harry & Son
  • Released: 1986
  • Directed by Paul Newman
  • Starring Paul Newman, Robby Benson, Ellen Barkin, Wilford Brimley, Judith Ivey, Ossie Davis, Morgan Freeman, Katherine Borowitz, Maury Chaykin, Joanne Woodward

Morgan Freeman makes an early film appearance in Harry & Son, though his role is a tiny one.  He plays a factory foreman named Siemanowski who, in quick order, gets angry with and then fires a new employee named Howard Keach (Robby Benson).  Howard is the son in Harry & Son and he’s such an annoying character that you’re happy when Freeman shows up and starts yelling at the little twit.  As I said, Freeman’s role is a small one.  Freeman’s only on screen for a few minutes.  But, in that time, he calls Howard an idiot and it’s hard not to feel that he has a point.

Of course, the problem is that we’re not supposed to view Howard as being an idiot.  Instead, we’re supposed to be on Howard’s side.  Howard has ambitions to be the next Ernest Hemingway.  However, his blue-collar father, Harry (Paul Newman, who also directed), demands that Howard get a job.  Maybe, like us, he realizes how silly Howard looks whenever he gets hunched over his typewriter.  (Robby Benson tries to pull off these “deep thought” facial expressions that simply have to be seen to be believed.)  There’s actually two problems with Howard.  First off, we never believe that he could possibly come up with anything worth reading.  Secondly, it’s impossible to believe that Paul Newman could ever be the father of such an annoying little creep.

Harry, of course, has problems of his own.  He’s just lost his construction job.  He’s having to deal with the fact that he’s getting older.  Fortunately, his son introduces him to a nymphomaniac (Judith Ivey).  Eventually, it all ends with moments of triumph and tragedy, as these things often do.

As always, Newman is believable as a blue-collar guy who believes in hard work and cold beer.  The film actually gets off to a good start, with Newman using a wrecking ball to take down an old building.  But then Robby Benson shows up, hunched over that typewriter, and the film just becomes unbearable.  At least Morgan Freeman’s around to yell at the annoying little jerk.

  • The Life of David Gale
  • Released: 2003
  • Directed by Alan Parker
  • Starring Kevin Spacey, Kate Winslet, Laura Linney, Gabriel Mann, Rhona Mitra, Leon Rippy, Matt Craven, Jim Beaver, Melissa McCarthy

For the record, while I won’t shed any tears whenever Dzhokahr Tsarnaev is finally executed, I’m against the death penalty.  I think that once we accept the idea that the state has the right to execute people, it becomes a lot easier to accept the idea that the state has the right to do a lot of other things.  Plus, there’s always the danger of innocent people being sent to die.  The Life of David Gale also claims to be against the death penalty but it’s so obnoxious and self-righteous that I doubt it changed anyone’s mind.

David Gale (Kevin Spacey) used to the head of the philosophy department at the University of Texas.  He used to be a nationally renowned activist against the death penalty.  But then he was arrested for and convicted of the murder of another activist, Constance Harraway (Laura Linney) and now David Gale is sitting on death row himself.  With his execution approaching, journalist Bitsey Bloom (Kate Winslet) is convinced that Gale was framed and she finds herself racing against time to prevent Texas from executing an innocent man…

There’s a lot of things wrong with The Life of David Gale.  First off, it was made during the Bush administration, so the whole film is basically just a hate letter to the state of Texas.  Never have I heard so many inauthentic accents in one film.  Secondly, only in a truly bad movie, can someone have a name like Bitsey Bloom.  Third, the whole film ends with this big twist that makes absolutely no sense and which nearly inspired me to throw a shoe at the TV.

Of course, the main problem with the film is that we’re asked to sympathize with a character played by Kevin Spacey.  Even before Kevin Spacey was revealed to be a sleazy perv, he was never a particularly sympathetic or really even that versatile of an actor.  (Both American Beauty and House of Cards tried to disguise this fact by surrounding him with cartoonish caricatures.)  Spacey’s so snarky and condescending as Gale that, even if he is innocent of murder, it’s hard not to feel that maybe David Gale should be executed for crimes against likability.