Showing posts with label The Power of the Dog. Show all posts
Showing posts with label The Power of the Dog. Show all posts

Monday, March 28, 2022

And Now, As If Anyone Cares, Here’s My 2022 Oscars Score

As I and everyone else predicted, Troy Kutsur wins the Best Supporting Actor Oscar for CODA

When I posted my predictions for the 94th Academy Awards over the weekend, I speculated that I might get more wrong than I ever have before. Actually, I had a pretty good, but typical score: 19 out of 23.

For most of the last decade, there have been 24 categories, and my scores were twice 16/24, and 19/24 twice, with my lowest score being 13/24 in 2019 (the year of GREEN BOOK), and my highest score being 21/24 in 2014 (the year of BIRDMAN, though I had predicted BOYHOOD).

In 2021, they combined Sound Design and Sound Editing into just plain Sound, so of this year’s 23 categories here are the four ones I got wrong:

BEST PICTURE: My prediction: THE POWER OF THE DOG/What won: CODA.

I had told people before the show that I wouldn’t be surprised if Sian Heder’s CODA won as it was the feel-good family overcoming obstacles drama that regularly received Oscar love, but I was still going with Jane Campion’s western. Maybe because Netflix sent me this swag:


CODA sent me nothing! Nah, that really didnt sway me. I really preferred TPOTD, and really thought it had a great chance of winning. Over the last ten years, I have only gotten four of my Best Picture predictions right, so the category is apparently not my strongest.

BEST CINEMATOGRAPHY: My prediction: Ari Wegner for TPOTD/What won: Grieg Fraser for DUNE. I went with TPOTD because of its excellent old school imagery, but should’ve guessed that DUNE would add it to its six Oscar tech sweep.

BEST ANIMATED & BEST DOCUMENTARY SHORTS: My predictions: Dan Ojari and Mikey Please’s ROBIN ROBIN, and Matthew Ogens AUDIBLE/What won: Alberto Mielgo and Leo Sánchezdouble-dagger's THE WINDSHIELD WIPER, and Ben Proudfoot’s THE QUEEN OF BASKETBALL. These picks were of the eeny meeny miny mo variety so I have no argument here.

So there’s my score. Now we can go back to talking about the Chris Rock/Will Smith altercation, which I did in this post.

More later...

Oscars 2022 Recap With The Most WTF Oscar Moment Ever

Last night, Rian Heder’s CODA won the Best Picture Oscar beating out THE POWER OF THE DOG, which I had predicted would win. But that wasn’t a surprise as CODA was exactly the kind of feel-good drama that the Academy of Motion Picture Arts and Sciences has rewarded many times over edgier, artsier fare. None of the other wins were surprises either as everyone, myself included, forsaw that Will Smith (KING RICHARD), Jessica Chastain (THE EYES OF TAMMY FAYE), Troy Kutsur (CODA), and Ariana DeBose (WEST SIDE STORY) would take home the gold; and that DUNE would have a tech Oscar sweep.

But what was a surprise, maybe even a shock, is the moment that everyone is talking about now, and has already entered into the realm of legend. You know what I’m talking about – Will Smith slapping Chris Rock because of a joke made at the expense of Smith’s wife, Jada Pinkett Smith. Pinkett Smith was sporting a shaved head due to her struggle with alopecia, an autoimmune disorder that leads to hair loss, and Rock, appearing as a presenter for the Best Documentary feature attempted to make light of this by quipping, “Jada, I love ya. GI Jane 2, can’t wait to see it!”

When Rock cracked this joke, the camera cut to this shot of Smith Laughing.


Then the camera cut back to Rock, who was trying to move on in his intro, but had to react (“Uh oh!”) to something we, the home viewers, couldn’t see yet. 



That would be Smith walking onstage towards Rock. It appeared that between the above shot of Smith’s initial laughter, and the long shot of his approaching the presenter, he had seen his wife’s disapproving face, and felt he had to handle the situation.

 

This is where the sound went off on the ABC broadcast, and I watched in WTF silence as Smith slapped Rock then walked back to his seat. In an exchange that I, and many viewers, didn’t hear until later, Rock, litterally trying to keep a good face, said, “Will Smith just smacked the shit out of me,” to which Smith yelled from his chair, “Keep my wife's name out of your f***ing mouth!”

 

Rock, keeping composure, said, “Wow, dude, it was a G.I. Jane joke.” Smith again raised his mouth and with more emphasis repeated, “Keep my wife's name out of your f***ing mouth.” This completely quieted the entire Dolby Theater. It was the moment that we all realized that this wasn’t a bit. Smith was completely serious. “I’m going to,” Rock replied, also as serious as a heart attack. The stunned silence remained until Rock did what he could to reclaim the stage, and the night, with a joke that acknowledged that this was sure to be a much remembered event: “That was, uh, greatest night in the history of television.”


A shaken Rock went forward with his presenting duties, and the show went on. Smith, when accepting the Best Actor award, also was a bit off, leaving one to wonder which parts of what he was saying were prepared or improvised. His apology to the Academy, and his fellow nominees appeared to be referring to the instance with Rock, as did his summation through tears: “love will make you do crazy things.”


One could argue that Rock’s joke on Jada wasn’t really that offensive, especially in the context of the celebrity roast element of the proceedings. I mean, G.I. Jane is a strong female character, and there are tons of other bald targets that would’ve been more insulting, but in the big public arena that is the Oscars, it was calling attention to the actresses’ appearance in a cheap way, and the audience’s reaction was that it was a cruel jab at Jada.

"There’s like, a different vibe in here...," co-host Amy Schumer remarked later in the evening. This line was funnier than most of the material during the broadcast as so many scripted lines fell flat, and prepared bits such as co-hosts Wanda Sykes, Regina Hall, and Schumer dressing up as coach Richard Williams, televangelist Tammy Faye Bakker, and Spider-Man were just the epitome of lame award show fodder.

One of the only clever moments for me was the PULP FICTION reveal of the Best Actor envelope.


But despite a few funny lines (I loved Schumer’s DON’T LOOK UP diss: “I guess the Academy members don’t look up … reviews!”), some genuinely touching acceptance speeches (Troy Kutsur, and Questlove’s particularly), and the cool James Bond 60th retrospective video set to “Live and Let Die,” this was one of the lamest Oscars ever.

For example, the In Memorium was mishandled with a choir (singing such appropriate numbers as “Spirit in the Sky”), and dancers drawing attention away from the faces and names of those in the industry who have passed in the last year. There was the nice touch of having tributes presented by Bill Murray for director Ivan Reitman, and Jamie Lee Curtis for Betty White, but there was an awkward air surrounding the segment that felt creepy to watch. And, of course, there were ommisions (Bob Saget, Norm Macdonald, Ed Asner, Robert Downey Sr. to name several).


Honestly, creepy would be a good word to describe the whole event. The Oscars have often been a cringe-fest, but this time the dials were going crazy into the red warning danger-danger zone over and over. 

The Rock/Smith altercation did bring attention to the event - something the Academy (and ABC) was desperate for after years of bad ratings, and audience indifference - but I doubt it will translate into future relevance.

The 94th Academy Awards ceremony will go down in history for Smith’s shocking, awful reaction to Rock’s hosting duty diss. It sure livened up the show, but in such an unnecessary, and unfortunate way. Like everyone I see on social media who is debating about the moment right, I’m still processing what went down. Even after writing this, all I can think of is what Rock said right after the smackdown landed: “Oh, wow…WOW!”

So it was the most WTF moments in Oscar history on one of the lamest, most cringe-festiest Oscars ceremony ever. Yeah, years and years from now, we’ll all still look back at this one and wince.

More later...

Sunday, March 27, 2022

Hey Kids! Fun Time 2022 Oscar® Predictions!

Emilia Jones in CODA, a front runner for the 2022 Best Picture Oscar

Y
es, it’s that time again - the 94th Academy Awards® Ceremony is tonight, and I’ve got my predictions ready. After last year’s weird ceremony with no official host at Union Station in downtown Los Angeles, the show is back at the Dolby Theatre at the Hollywood & Highland Center, and this time, there are three hosts - Amy Schumer, Wanda Sykes and Regina Hall - who I’m sure will bring the funny.

This Oscars further displays how much the streaming services are gaining ground in these races. Netflix got 27 nominations for 10 titles, while Apple got six, Amazon got four, and Hulu got one. The two front runners (CODA, and THE POWER OF THE DOG) in the Best Picture showdown is basically Apple vs. Netflix. But let’s get right to it my complete, final predictions of what’s gonna go down tonight:

1. BEST PICTURE:  
Jane Champion’s THE POWER OF THE DOG


Sien Heder’s CODA has picked up a lot of Oscar buzz late in the game, and many critics from such outlets including the New York Times, Variety, IndieWire, and Vulture are predicting that it’ll win the big one, but I have a feeling that Jane Campion’s THE POWER OF THE DOG, an early major contender will still out. It would be fun to have an upset in this category, like if BELFAST or LICORICE PIZZA somehow got more votes. I won’t be surprised if CODA wins, as it’s so much more of a crowd pleaser than POWER OF THE DOG, but I’m gonna still go with the Campion crowd.

2. BEST DIRECTOR: Jane Champion (THE POWER OF THE DOG) Same deal here.

3. BEST ACTOR: Will Smith (KING RICHARD) 


I’m not the biggest Will Smith fan, but I think he’s excellent in this film as the stubborn tennis coach father bully, Richard Williams, and deserves to take home the gold. Several weeks ago, I would’ve said Benedict Cumberbatch was a lock for TPOTD, but Smith has the edge now, and I bet his acceptance speech will be epic.

4. BEST ACTRESS: Jessica Chastain (THE EYES OF TAMMY FAYE)


This may be the toughest category in a program full of tough category as there doesn’t appear to be an actress that doesn’t have a big chance. Nate Jones of Vulture wrote, “Many categories, including Best Picture, seem like genuine fifty-fifty calls. (Best Actress might be 20-20-20-20-20.)” I’m going with Chastain, whose performance as the scandal queen televangelist Tammy Faye Bakker was stunning, despite the actual film being way less so. Like Smith, it’s her third Oscar nomination, so I’m counting on it being the charm.

5. BEST SUPPORTING ACTOR: Troy Kotsur (CODA)


Now, I’ll be very surprised if this guy doesn’t win this. He’s the best thing in CODA, and he’s already won a British Academy Film Award, a Screen Actors Guild Award, and a Critics' Choice Award, and stole the show at each ceremony. If he wins, he’ll be the first deaf actor to score the statue (his CODA co-star, Marlee Matlin, was the first deaf actress to win an Oscar for CHILDREN OF A LESSER GOD in 1987), so that’ll be a cool thing.

6. BEST SUPPORTING ACTRESS: Ariana Debose (WEST SIDE STORY)


I don’t have a strong feeling on this one, I’m just seeing that just about everyone is saying this is a lock, and I’m going with the flow.

Now here’s the rest of the categories, the ones that are getting the shaft this year by their exclusion from the live broadcast.

Tuesday, March 22, 2022

At Long Last, Film Babble Blog’s 2021 In Review


So I’m finally getting around to appraise the films of 2021 – just under the wire, in fact, as the 95th Academy Awards ceremony is this coming Sunday (March 27).

It’s nothing new for it to take a few months into the new year to do this as many movies aren’t accessible until well into the awards season, and there’s a lot of films to catch up with. However, there are a lot fewer than in years past for obvious pandemic reasons. In the Before Times of 2019, there were 792 films released in the U.S. and Canada; in 2021, there were 403. I haven’t crunched the numbers to calculate how many movies of those that I’ve seen, but I think I’ve seen enough to say that it was a good, not great, year for film.

Like last year, I’m not posting a Top 10, but if I were, I would pick Paul Thomas Anderson’s LICORICE PIZZA as my #1 movie of the year. The film resonated with me as it matched my memories of being a kid with acting aspirations in the ‘70s, and delighted me with its radiant, real-feeling turns by its leads, Cooper Hoffman (son of Phillip Seymour Hoffman), and Alana Haim. A brash Bradley Cooper steals the show as producer Jon Peters (the inspiration for SHAMPOO!), which made much more of an impression on me than his performance in NIGHTMARE ALLEY.

Speaking of Guillermo del Toro’s NIGHTMARE ALLEY, that was one of a number of movies from the last year that I admired more than I enjoyed. Likewise, I found Jane Champion’s THE POWER OF THE DOG, a front-runner for the Best Picture Oscar, to be a fascinatingly weird western with a masterful performance by Benedict Cumberbatch, but I didn’t connect with it in any great, emotional way.


Same goes with DUNE. Denis Villeneuve’s adaptation of the first half of Frank Herbert’s iconic sci-fi bestseller is amazing looking, and powerful in its presentation, but I felt a bit distant to it when I wanted to be more inside the action.


That’s not to say that it isn’t a worthy epic as it boasts a strong ensemble headed by “it boy” Timothée Chalamet, eye-popping visuals, a primo Hans Zimmer score, and a solidly intriguing storyline, yet I was still left somewhat cold by it. DUNE received ten Academy Award nominations for good reason, but I’m just hoping that PART TWO, due for 2023, will resonate more greatly with me.


2021 films that did speak me include Joel Coen’s spare black and white Shakespeare adaptation, THE TRAGEDY OF MACBETH, which earned Denzel Washington a Best Actor nomination (he deserves it for his intense handling of the “Is this a dagger which I see before me” soliloquy alone); Joachim Trier’s THE WORST PERSON IN THE WORLD, which should’ve gotten Renate Reinsve a nom; Kenneth Branagh’s BELFAST (read my review here); and Ryusuke Hamaguchi’s elegantly poignant DRIVE MY CAR, which I bet will win the Best International Feature Oscar on Sunday night.

James Bond movies usually don’t make my year-end best lists, but Cary Joji Fukunaga’s magnificent NO TIME TO DIE certainly deserves such accolades. Daniel Craig’s swan song as 007 is one of the series’ best, and you can read my reasons why in my review from when the film hit theaters. 


One category that flourished in 2021 is the musical documentary genre. Ahmir “Questlove” Thompson’s SUMMER OF SOUL leads the pack of pop infotainment with its colossal concert footage from the 1969 Harlem Cultural Festival. How an event that featured such iconic performers as Stevie Wonder, Mahalia Jackson, Nina Simone, The 5th Dimension, The Staple Singers, Gladys Knight & the Pips, and Sly and the Family Stone (among other luminaries) could linger in obscurity for so long is baffling, but thanks to Questlove, we’ve got an essential, and joyous addition to the roster of classic concert festival docs that includes WOODSTOCK, MONTEREY POP, and SOUL POWER. 


Second to that in the rock doc division is Edgar Wright’s THE SPARKS BROTHERS with its loving breakdown of the eccentric career of Ron and Russell Mael’s Los Angeles-based band, Sparks. It’s one of the most entertaining, and funny rockumentaries I’ve ever seen, and since I’m a big fan of the genre, I’ve seen a lot of them. Wright’s film really should’ve been nominated for Best Documentary - I’d say instead of Jonas Poher Rasmussen’s FLEE. Not that FLEE is undeserving, it’s just that it’s also nominated for Best Animated and Best International Feature too, so it’s pretty well covered.

Also worth seeing is Todd Haynes’ THE VELVET UNDERGROUND (read my review), Dan Lindsay and T. J. Martin’s TINA, about legendary singer, Tina Turner; and Garret Price’s WOODSTOCK 99: PEACE, LOVE, AND RAGE, which scarily depicts what’s been considered the worst music festival ever.


Finally, the musical documentary event of 2021 was THE BEATLES: GET BACK, Peter Jackson’s eight-hour exploration of the fab four’s sessions for their next-to-last album, Let it Be. We witness John, Paul, George, and Ringo rehearsing, joking around, arguing, and working on new material, capturing the band’s creativity as never seen before. The Apple Corps rooftop concert by itself makes for one of the year’s best docs as it’s been shown at IMAX theaters as a standalone film. Read my review of GET BACK here.

So there’s my overview of cinematic highlights of 2021. Friday, I will post my Oscar predictions for this Sunday’s broadcast. Hope to see you here.

More later…