Some Thoughts on the 2020 Oscar Nominations

Earlier this week the nominations for the 2020 Oscars were announced; and as expected there was controversy over who was nominated and who wasn't, especially in regards to race and gender. Greta Gerwig became the new Barbara Streisand as her adaptation of Louis May Alcott's Little Women garnered 6 nominations including Best Picture but she was left out of the Best Director line-up, which was completely absent of any women. I do wonder if the outcry over Gerwig's lack of a Best Director nomination will help her win Best Adapted Screenplay. Though if she wins there it'll feel like the Academy attempting to brush aside the problem. 

Todd Phillips' Joker led with 11 nominations, including Best Actor for its star Joaquin Phoenix and Best Picture. While I think they overdid it with the nominations I'll say it's incredible we're at a point where a film based on a comic book character can receive the most nominations from the Academy Awards. I do believe The Dark Knight paved the way for Joker, and Black Panther getting in last year. I remember the push to get Christopher Nolan's film to get in the Best Picture and Best Director race. Now with the expanded line-up, The Dark Knight would be a shoo-in for at least a nomination in both categories.

Could Joker win Best Picture? I know even the thought of the film winning gives certain people aneurysms. Many people believed the film would incite violence, claiming it appealed to incels, though the fact the film grossed a billion dollars and has received awards and nominations shows it appeals to people outside of that democratic. If Joker does win, there's a chance Best Director doesn't go to Phillips. Sam Mendes, who won Best Director 20 years ago for his debut film American Beauty, stands a very good shot at winning his second Oscar since his war epic 1917, crafted to look like one continuous shot, is perhaps the *most* directed of the Best Picture nominees, and the Academy often go for that kind of direction.

Then there's Quentin Tarantino, nominated for Once Upon a Time...in Hollywood, who's never won Best Director but has two screenwriting Oscars. Tarantino is arguably the most due of any Hollywood director right now, and if there's a film for which the Academy may finally give him Best Director, it's likely OUATIH, which feels like his most personal and humane film. Also, the film is a love letter to Hollywood, and the Academy has awarded films about itself in the past.

Brad Pitt appears to be a sure thing for OUATIH in the Best Supporting Actor category. He has the advantage of being the only nominee without an acting Oscar (he has one for producing Best Picture winner 12 Years a Slave) in this category. He also has the overdue factor and if he wins it'll be as much for his career as this particular performance. Joe Pesci could upset him. Martin Scorsese had to coax him out of retirement for The Irishman, so this will likely be Pesci's last appearance in a film. He has the sentimental factor, as does his co-star Al Pacino, who's nominated for the first since finally winning Best Actor for Scent of a Woman. I love Pacino and I think it's a shame he didn't win for either of the first two Godfather films, Serpico or Dog Day Afternoon. 

Tom Hanks received his first nomination in nearly 20 years (for Castaway) for playing Fred Rogers in A Beautiful Day in the Neighborhood. Hanks could win a third Oscar some day but I think this is a more of a "Welcome back Tom" nomination. The same goes for Anthony Hopkins in The Two Popes, his first nomination in 22 years, his last being for Amistad in this category.

As with Pitt, Laura Dern winning Best Supporting Actress for Marriage Story feels like a career win, though her speech about the double standards for men and women is a quintessential "Oscar scene." Her co-star Scarlett Johansson received not only her first Oscar nomination but two, Best Actress for Marriage Story, and in this category for JoJo Rabbit, Taika Waititi's satire about a boy in Nazi Germany whose imaginary friend is Adolf Hitler. 

While Renee Zellwegger's turn as Judy Garland in Judy has made her the de facto front-runner, I'm thinking Johansson could upset her here. I don't feel the passion around Judy and without Zellwegger  there'd likely be more of a narrative for Johansson winning. She's had a long career in Hollywood and has reinvented herself from child actress to indie darling. She became a sex symbol and Marvel hero. Now she's becoming somewhat of a character actress. And with Marriage Story having more support in other categories I think she genuinely has a shot. 

Saoirse Ronan received her fourth nomination for Little Women. An argument could be made she deserved to win for Gerwig's debut feature Lady Bird, the Academy likely feels they can get to her later. There's no urgency to reward her just yet.

Joaquin Phoenix has been the front-runner for Best Actor since Joker premiered at the Venice Film Festival back in September I feel he's pretty locked to win. He has the overdue factor as well as the big showy role. And if Joker wins awards through the night before Best Actor is announced, it'd be odd if its star is ignored. I also think Hildur Guonadottir could win Best Original Score for the film. She's already built up an impressive resume with her collaborations with Denis Villeneuve and Alejandro Inarritu and had a breakthrough year with Joker and the HBO miniseries Chernobyl.  She's only the seventh woman to be nominated for Best Original Score and would become the fourth recipient if she won. If the Academy feels they need to make up for the lack of female nominees this year it'd also help Gunadottir's chances. 

Thelma Schoonmaker, Martin Scorsese's long time editor, received her eighth nomination for The Irishman and has won three times previously for Raging Bull, The Aviator and The Departed.  I could see Parasite or Joker winning here. Joker feels like it could do really well on Oscar night though it could also under-perform. 

OUATIH missed out in editing; the editing nomination is seen as essential for a film to win Best Picture, with the exception of Birdman which was made to look like a continuous shot, which is likely the reason why 1917 also failed to receive an editing nomination as well. I think Best Picture is wide open. Parasite could become the first Foreign Language Best Picture winner. Alfonso Cuaron's Roma seemed pegged to take that honour but lost out to Green Book. If Parasite wins, it'll make history and act as a make-up for Roma.    

Now, I want to talk a little bit more about the controversy surrounding the lack of female and POC nominees this year, which has also been an issue previous years as well. I believe that the lack of diversity in the Oscar race is a symptom of the larger problem in Hollywood rather than the cause. If this problem is to be fixed we have to approach it from the angle from how movies are made and who gets to make them. I know this also easier to say then to do but it's important to remember the Oscars are part of a larger problem. 

So, those my overall thoughts on this year's nominations. How do you feel about the nominations? Who did want to get in and who do you think will win. Let me know.

This is as far as you go: "Edge of Tomorrow"

Edge of Tomorrow is the kind of action blockbuster of which I don’t feel we get enough. It’s a good film in the way that many modern day blockbusters aren’t. It has strong characters, one of which goes through a satisfying and clear character arc, a layered and involving story- and it doesn’t rely on easter eggs or teases for future films to make an impression. It simply tells a standalone story that’s smartly written and develops organically. Edge of Tomorrow is essentially the film people wish Hollywood would churn out on a regular basis.

As the film opens mankind has been fighting an alien race called the Mimics for several years. Tom Cruise plays Major William Cage, a spokesman for the United Defense Forces, which has created weapon/exoskeletons called jackets to win the war effort. General Brigham (Brendan Gleeson) summons Cage to London and orders him to cover the war effort from the frontlines in France. Cage attempts to blackmail the General to get out of being on the frontlines. When that doesn’t work Cage attempts to escape but is arrested and stripped of his rank. He is sent to Heathrow airport and later is dropped in to the war zone. The Mimics have anticipated the invasion and the soldiers are slaughtered. Cage kills a Mimic, resulting in him being covered in the Mimic's blood. He then wakes up back at the airport.

Cage begins to realize he is in a time loop and every time he dies he "resets" to the day before the invasion. On the battlefield he meets Rita Vrataski (Emily Blunt), the "Angel of Verdun," who won a major battle in the war against the Mimics. In one of Cage’s loops Vrataski discovers Cage has foreknowledge of the future. She tells him to find her when he resets. They’re both killed and Cage seeks out Vrataski before the invasion. He discovers that Mimics are part of a collective consciousness called the Omega. The Omega has the ability to control time, which is why they knew about the invasion in France; and being covered with the Mimics’ blood is what allows Cage to reset after he dies. Vrataski once had the same ability but lost it after a blood transfusion. With Vrataski’s help Cage trains to become a better soldier.

The film that comes to mind when talking about Edge of Tomorrow is the late Harold Ramis’ 1993 film Groundhogs Day. And while it’s an understandable comparison, Edge of Tomorrow exists as its own story. Groundhogs Day had a more spiritual and metaphorical reason behind its premise. In Edge of Tomorrow the time looping has a more specific, sci-fi indebted reason behind it. The explanation for Cage's situation isn’t forced; rather, it's an integral part of the film’s mythology and story. And while the film may become too exposition-y at times the internal logic never becomes too confusing or bogs down the film.

Part of the pleasure of the film is seeing Cage' growth throughout the film. He starts out as somewhat shallow man, never having been in combat nor understanding the sacrifice of men and women during war. He’s also a coward, which makes Cage a different kind of action role for Cruise. But as Cage keeps reliving the same events we see him become  more self-aware about things around him and how he can use foreknowledge of things to his advantage. Like a video game, Cage has to move further in the “level” in order to win. If you’re a gamer at all it’s hard to relate. I  love the bit where Cage attempts to roll under a truck to escape from the military base- and he gets crushed. In other action films the hero would do it right the first time but here Cage can’t immediately be a perfect action hero. The film emphasizes how exhausting it must be for Cage to constantly die over and over again, always getting a really rude wakeup call from a soldier. “On your feet maggot” is this film’s “I’ve got you babe.” Through his training and his relationship with Vrataski Cage not only becomes a better soldier but a better man as well. It’s a simple but satisfying character arc.

Cruise is one of the most polarizing figures in Hollywood but this film shows he can still be a convincing action hero. It’s fascinating to see Cruise go from the more cowardly Cage to a more recognizable Cruise action hero; and he's strong enough an actor and action star to sell both sides. This is one of his best recent performances.

Blunt is also really great here. I’d hate to use the phrase “strong female character” It’s a little condescending- “look at you being strong”- and it’s unfortunate that a well rounded female character has to feel like an anomaly rather than a something to be expected. But for lack of a better phrase, Rita Vrataski is a strong female character. She’s a no-nonsense badass who actually has more depth than Cage. She’s not merely Cage’s love interest nor the "damsel in distress." I also think it’s cool she’s already went through Cage’s ordeal and has to teach him the ropes. And despite Vrataski’s hardened exterior we get hints of her vulnerability and her pain at losing someone close to her. While Cage doesn’t get much of a back-story we feel there’s a lot of history in regards to Vrataski’s character.

Bill Paxton also has a lot of fun here as Master Sergeant Farell. It’s a great character actor parts that’s a highlight of the film, though I wish there was more of a payoff for the character. Gleeson is underutilized but is  good in the two scenes he has with Cruise. I like the J Squad that Cage joins and I wish they were developed a little more, particularly since they’re a huge part of the climax.

One of the trickiest aspects of the film director Doug Liman and screenwriters- notably Christopher MacQuarrie- had to face was how to develop Cage and Vrataski’s relationship when Vrataski is constantly meeting Cage for the first time. It’s through Cage’s growing affection for Vrataski and encountering a situation where he can’t save her no matter what he does – as well as the script giving bits her back-story over the course of the film- that allows the relationship to develop despite the restrictions of the film’s structure.

A film in which events keep repeating themselves runs the risk of seeming too gimmicky or rigid in its structure. But what’s impressive about the film is it has an ongoing story despite being stuck in a specific period of time . The film eventually expands outside of the battlefield and we’re able to see different locations and events. It’s also through the film’s editing- by James Herbert and Laura Jennings- which gives the story a rhythm that makes the structure not feel rigid. The film knows when to show things in full, as early on in the film, and when to use montage and quick editing.  We also don’t see every loop but through Cage’s dialogue we clue in to what events he’s been through, notably in a farmhouse scene which defines the emotions and themes of the film. 

Doug Liman isn’t name that sparks much passion in the hearts of cinephiles but he directed what’s my favourite Jason Bourne film, 2002’s underrated The Bourne Identity, as well as 2007’s Mr. & Mrs. Smith, which began the world’s fascination with the Brad Pitt/Angelina Jolie relationship. While Liman isn't considered an “auteur,” what links the aforementioned films and Edge of Tomorrow is all three have a high concept hook- an assassin who has amnesia, a married couple that doesn’t know each other is a spy, a sci-fi version of Groundhogs Day- but  are also very star driven and it’s the stars that make the concepts work. Matt Damon reinvented himself as an action hero for the Bourne series and Pitt and Jolie’s chemistry is what got people in seats for Mr. & Mrs. Smith. Edge of Tomorrow’s concept works because of Cruise and Blunt.

Liman stages several stellar action sequences and make the war between humans and Mimics feel like an authentic conflict. The first time Cage and J Squad are dropped in the war zone is positively thrilling and invokes the sense of dread before battle and the chaos of war. Liman balances heavy sci-fi ideas and bombastic action while allowing the human elements to breath and to develop smoothly over the film. While some of the climatic action felt dragged down the third act for me, it’s hard not to be impressed with this film's set pieces.

If there’s one wonky element of the film it’s the ending. It’s confusing  in relation to what was established earlier. There needed to be rules established beforehand that made the ending click in to place. The ending is also a little too neat but that element is forgivable considering how likable the protagonists are. And the final moment is kind of perfect.

Edge of Tomorrow is a wonderful piece of entertainment that despite its high concept feels like a throwback to the type of action blockbuster that’s become rare these days. It’s unfortunate it’s struggling at the box office. This is a film you should see and maybe even see again. Cruise is at his best, Blunt is awesome and Liman has arguably made his best film since The Bourne Identity. Like Bill Cage, Edge of Tomorrow will get more chances at life in the near future on DVD/Blu-ray, Netflix, or what have you, which is a very good thing. For sci-fi fans and for fans of good Hollywood films, Edge of Tomorrow deserves your time.  

Thoughts on The Best Actor Race

While I don't know if I'm ready to call it a complete lock, I think The Artist's Jean Dujardin may be the one to take home the Best Actor Oscar this year. For a while, it definitely seemed like Clooney's to lose. But then the SAG Awards happened. Dujardin won that night and then won last Saturday at the BAFTAS. I think these two wins suggest where the race is heading. There also seems to be a lot of love for The Artist this awards season, which may also lead Dujardin to victory. I think if it wasn't for Clooney or Dujardin, it'd be Brad Pitt's to win. He's excellent in Moneyball. And again, in another year Gary Oldman may have been the winner- but hey, can't count him out yet. I think Demian Bichir will get a boost from his Oscar nomination but I think he's the least likely to win.

Some Thoughts on The Oscar Nominations

On Monday night I posted some half-hearted predictions for the Oscar nominations. I rightly predicted Gary Oldman for Best Actor but missed out on Terrence Malick and The Tree of Life. I was hoping he and the film would be nominated and I felt he had a chance. Ultimately I put in David Fincher instead of him where I should have just gone for Malick. Here's a rundown of what I thought:

Some (quasi) surprises
While I knew who Demian Bechir was I didn't think he would make it in to Best Actor ahead of Leonardo DiCaprio or Michael Fassbender. Looking back at it, Bechir's SAG nomination was a strong indicator of his support from his fellow actors, which take up a large chunk of the Academy.

I almost put in Rooney Mara ahead of Glenn Close but I felt Close pretty much had a nomination locked. Mara ultimately knocked off Tilda Swinton. I think Mara can be considered the ingenue (I hate that word) nominee for the year, in the fashion of Jennifer Lawrence or Ellen Page.

Bigger Surprises
I thought Albert Brooks was a lock for his performance in Drive but he became this year's Andrew Garfield for me. Brooks lost out on a SAG nomination, which I guess was a foreshadowing of things to come.

While I thought Max von Sydow would have a decent shot at getting in for Best Supporting Actor, Extremely Loud and Incredibly Close didn't seem to have enough steam to become a major player. Despite it's poor reviews, it scored a Best Picture nomination but broke director Stephen Daldry's nomination streak, being nominated for his last three films.

What I'm Happy About
While I haven't seen Tinker, Tailor, Soldier, Spy, It's really great to see Gary Oldman score his first Best Actor nomination.

I'm happy to see Terrence Malick recognized for his unique and personal The Tree of Life. Whether you love it or hate it, it provoked a reaction in people and will probably be the film that most people go back and watch, and talk about, long after this year's ceremony is over.

I really liked Bridesmaids and, while early on,  a nomination for Melissa McCarthy didn't seem like it would happen, she had enough support to make it in to Best Supporting Actress. McCarthy is really funny and human in the film and while she probably won't win, this gives more of a boost to McCarthy's career.

Woody Allen's Midnight in Paris is a very charming and poignant film, one Allen's most enjoyable of his recent films. While he probably won't attend the ceremony, it's nice to see him represented.

What I'm Sad About
While I knew it wouldn't happen, it's unfortunate that Joseph Gordon-Levitt's performance in 50/50 never truly caught on. Even Will Reiser's autobiographical script didn't make the cut

While I've enjoyed some of  Leonardo DiCaprio's performances more than his work in J. Edgar, I would have like to have seen him in Best Actor.

Not only was Albert Brooks ignored for Drive, so was Ryan Gosling for his subtle but affecting performance as the man only known as Driver. Heck, he was ignored for Crazy Stupid Love. and The Ides of March as well.

Who I Think Will Win
If Michel Hazanavicious wins the DGA then I think he'll probably win the Oscar since history shows that whoever wins that award goes on to win Best Director- and if he wins the Oscar The Artist will probably win Best Picture. I can't see Hazanavicious just winning Best Director, particularly ahead of some of these other guys. I could see Martin Scorsese winning Best Director and Best Picture going to The Artist.

George Clooney seems to be the front runner for his fine work in The Descendants but could Gary Oldman take it? If it was any other year, it'd probably be his. Same goes for Brad Pitt in what could be considered a career best performance in Moneyball. If it wasn't for Clooney, I think Pitt would win. Between Clooney and Pitt, I'd probably vote for Pitt.

It seems to be a race between Meryl Streep and Viola Davis. I haven't seen either performance yet but something tells me I'd vote for Davis. If Streep wins the SAG award, I think the Oscar will go to her.

I think Christopher Plummer will win the Oscar. In another year it could be Nick Nolte or Max von Sydow.

Octavia Spencer and Jessica Chastain, both nominated for The Help, could split the vote. This would open the door for the three other nominees. If Glenn Close isn't going to win for Albert Nobbs then I can't see Janet McTeer winning. Melissa McCarthy could go all the way. If there's enough love for The Artist then Berenice Bejo would get support. Still, Spencer seems to be the frontrunner and I think she'll probably win.

Only a month until the big show!