Wednesday, April 13, 2016

Batman V Superman: Dawn of Justice (2016) Movie Review

ScreenRant

Comic book lovers rejoiced upon hearing that two of their favorite heroes, Batman and Superman, would go toe-to-toe on the big screen for the first time ever. Then they sent a public outcry when Ben Affleck was announced as the Caped Crusader. Later, they reversed decision when the universal consensus that Affleck wasn’t too shabby as the billionaire vigilante. In short, the road leading up to viewings of Batman v Superman: Dawn of Justice was a complete roller coaster – just like the movie turned out to be.

READER – BE WARNED: Major spoilers ahead. If you haven’t seen this movie, please skip to the last two paragraphs for a spoiler-free summary.

Following the mess of Man of Steel (no, I’m actually talking about the destruction in the movie, not the public’s perception of the film), Superman/Clark Kent continues to save the day in and around Metropolis while failing to convince much of the world he is there with the truest intentions. Bruce Wayne, of the neighboring city of Gotham, is still mentally recovering from the destruction of his Metropolis tower and the death of his friends and employees. Bruce states that even if there is a 1% chance that the alien is their enemy then he must be destroyed. Meanwhile, Superman looks over the bay to Gotham and frowns upon the brutal lawlessness displayed by Batman.

Enter Lex Luthor. The movie already seems like it’s biting off more than it can chew, but Lex adds a whole new layer to this. In a forced attempt to add as many comic book faces to this film as they can, Lex (played by Jesse Eisenberg) feels like a completely unneeded character, as the eventual BvS fight that takes place could have been written to exist without his encouragement. However, Lex doesn’t like the very idea of Superman, and hopes that with a bit of a push, Batman will figure a way out to take him out. Luthor also kidnaps Superman’s adoptive mother Martha (Diane Lane) as incentive for the Kryptonian to take out the dark knight. Not motive enough for you? Don’t worry – you’re not alone.

I’ll admit – I bought into the initial premise. I enjoyed the establishment of Batman’s world, and his reasoning for resenting Superman made complete sense. I also enjoyed seeing the characters from Man of Steel again, even though Superman’s reaction to the events in the prequel weren’t as post-traumatic as I had expected. Adding to this were what I argue to be great performances in a tightly-edited first hour (despite those questionable dream sequences for both heroes). But then came the conflict that we had all been waiting for. Worth it? Guess again!

The Batman and Superman fight that some people have waited decades to see was a mere 10 or so minutes of Batman and Superman punching each other. Then Superman says his mom’s name and a conveniently-placed Lois Lane explains the meaning behind it. 20 minutes later, one of the heroes refers to his recent foe as a friend.

This brings us into the Doomsday fight. While fun to watch and arguably well-constructed, it did come off as a generic superhero movie fight finale. The differentiator was Wonder Woman, who admittedly added a lot to that scene. However, her potential seemed squandered. Without much development of this one character, what should’ve been the face that stole the show seemed more like an underdeveloped cameo that we whose full potential we were robbed of. Gal Gadot delivered in her minimal time and promises to offer much to the DC Comics Extended Universe (DCEU for short), but it saddens me to say that the movie and its script did not do her justice.

And here’s where the movie lost me (again – spoiler warning). I absolutely hate that this movie involved the death of Superman. The fact that they actually went through with this was one thing – we’ve seen Superman die plenty of times in movies and TV shows. But – as expected – he always comes back, and everyone knows he will come back again this time. This time, he didn’t. To go through with the funeral, newspaper headlines, and sorrowful friends and family until the very last frame was a step too far, since his return to the DCEU is inevitable. By not only killing Superman, but going as far as they did with it, it seemed like the filmmakers were milking a cow everyone knew was dry but tried to trick us by dropping fake milk from another hand. You might fool a couple people, but most are smart enough to see right through you. And when you come out and say you pulled a trick, no one’s going to be impressed – they’re just going to be pissed off. When Superman does come back, I won’t be rejoicing, I’ll be contemptuous with the filmmakers for dragging something out in a too-long ending when everyone knew how unnecessary it was. And if for some reason Superman really is dead, it’s an even stupider move by the DCEU.

As much as part of me hates to give this movie a good review, I can’t ignore its plusses. The acting from a cast too big for its own good is tremendous, the film has a very promising start, the Doomsday fight is good, and the movie is well shot and (somewhat undeservingly) ambitious. However, if you want to see Batman and Superman fight on the big screen, you should know that while they do this in the movie it is not done as well as it could have or should have been. A true incentive from both fighters was needed, and while Batman v Superman doesn’t completely waste its potential, it’s sad looking at the good and bad parts of this movie knowing they could have been great.

Side note: I also thought it was hysterical that news anchors were there to tell everyone that even when a building collapses or the entirety of an island is engulfed in flames that the area was uninhabited. I guess moviegoers didn’t take too kindly to the massive destruction in Man of Steel after all.


Rating: 3/5

Monday, March 7, 2016

Why I’m Not Binge Watching Fuller House (And Why You Shouldn’t, Either)

It’s been almost two weeks since the “Full House” reboot, “Fuller House,” hit Netflix. Like all Netflix original series, every episode of the show was available to watch all at once. Naturally, millennials with a Netflix account took to their computers and started watching. And once they started, most of them didn’t stop. But they should have.



Before I go on, a quick point: this is not a review of “Fuller House.” You already know if you like or will like it, and I won’t try to sway you into changing your opinion. What I will try to do is change your opinion to how you approach (or should have approached) this show.

Let me take you back to the late 80s-mid 90s. When the 1995 finale of “Full House” aired, I was still in diapers. Most of you reading this probably weren’t even born. We grew up watching “Full House” a different way.

I first stumbled upon the family sitcom when I was around 10, watching back-to-back mid-series episodes on Nick@Nite in my bedroom one evening. I was hooked. Over the next several years, I watched “Full House” all the time. I’ve probably seen every episode more than once, and some episodes far more than that. Every holiday season, I make time to watch the episode when the Tanner family gets stuck in the airport and Stephanie anxiously awaits Santa Claus.


As I got older, naturally “Full House” faded away so I could make time for “Game of Thrones,” “Breaking Bad,” and “The Office,” among others. But the power of nostalgia is truly great. The show stayed with me, and I always knew that if I needed a laugh I could put in one of the DVDs (yes I own every season).

That’s why when I heard “Fuller House” was coming to the web, I couldn’t contain my excitement. I set a countdown calendar and and (not-so) patiently waited. I even stayed up eager to watch the show hit Netflix at midnight, only to be disappointed when I discovered it premiered at 12:00 on the West Coast - not the East Coast. Regardless, I was up bright and early that Friday to welcome the Tanner family back into my life.

I watched the first episode, then the second, then the third, and then the fourth.

But then it hit me.

If I kept going at that rate, I would be finished with “Fuller House” in a day – maybe two if I took my time with it. I would take in all the episodes at once, laugh, and then be finished with it entirely.

That is not the way “Full House” was meant to be watched, and that is not the way “Fuller House” was meant to be watched.

“Fuller House” is not a show that was made to be consumed in one sitting. Many of you decided to do that, and that was your choice. But in my opinion, it was not the right choice, and it was not the choice appropriate for this show.


Think about other shows that popularized binge watching, like “Breaking Bad” and “The Walking Dead.” These shows – arguably – are made for binge watching. Every episode builds to the subsequent one with action, excitement, intensity, and immediacy.

“Fuller House” is not that kind of show.

Like its predecessor, “Fuller House” is a program to be enjoyed – one to take us back to a simpler time in our lives when watching it was something we looked forward to.

Growing up, “Full House” was something special. We didn’t watch the Tanners to pass the time, we stayed up at night and rushed home after school for the Tanners. They made us laugh, made us feel, and made us relate to their fictional lives. They mattered. They were not something we burned off in a day and then bragged to our friends about.

Remember all those shows you grew up with – “Fresh Prince,” “Friends,” or even “iCarly” and “Zoey 101.” Did you binge watch those? Of course not. You saw every episode over a period of years. You grew up watching the characters, and you grew up with those characters. That’s why they are engrained in your childhood. That’s why their stories are engrained in your life.

That’s why they matter.

As of my writing of this blog post, I have watched seven episodes of “Fuller House.” That means I have six more to go for this season, and I’m in no rush. As easy as it would be to press that “Next Episode” button, I choose not to, because I know it’s worth it. I’m taking my time so the Tanners (and now the Fullers) can make an impact on my time and my life, and not be a forgotten memory of a lazy Friday during my college years. Every storyline will resonate, every character will matter, and when I do watch the season finale, whatever event is being led up to will be so much more satisfying – because I waited for it.

As you may have heard, Netflix recently renewed “Fuller House” for season 2. I’m making the episodes last so that I’ll have a smaller wait in between season finale and season premiere, but I’m also waiting so I can value the show and appreciate it. I suggest that when season 2 comes around, you do the same.

Sunday, February 21, 2016

2016 Oscar Predictions: Who Will & Who Should Win?

On the eve of Sunday, February 28th, the Academy of Motion Picture Arts and Sciences will present the Oscars to the best in Hollywood. For me, this year is the most difficult in recent memory to make predictions for. Only Best Actor, Actress, and Original Screenplay are pretty safe bets for the major categories - meaning Adapted Screenplay, Director, Supporting Actor and Actress, and even Best Picture are all up for grabs.

I'll admit I haven't yet seen some of this year's big contenders in some categories, including The Danish Girl (up for Actor and Supporting Actress) and Creed (up for Supporting Actor). However, I'll give you my best and most honest predictions of what films you can expect to walk away with the gold on Oscar night, as well as throw in my personal preference so you know where I stand (that's where you'll see AJ's Ranking).

Best Picture

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Predicted Winner: The Revenant

This year is truly a toss-up between three big titles - Spotlight, The Revenant, and The Big Short. Spotlight took home Best Picture at the Critic's Choice Awards, Best Screenplay from the WGA and the BAFTAs, and Best Ensemble from the Screen Actors Guild. The Revenant swept Best Picture and Best Director at the BAFTAs and the Golden Globes and won the 2016 DGA Award for Best Director. Finally, on top of its Best Adapted Screenplay awards from the WGA and BAFTAs, The Big Short won the prestigious PGA Award from the Producer's Guild of America (the PGA has predicted Best Picture at the Oscars for the past eight years).

What does that mean? It means we can write off Brooklyn, Bridge of Spies, and Room for sure. Mad Max won Best Picture from several critic's outlets earlier this year, including the National Board of Review, but has lost considerable steam in awards season. Additionally, it's not the typical "Oscar movie."

After being dubbed as a comedy by the HFPA, The Martian took home a Golden Globe for Best Picture, but it is also unlikely to win big at the Oscars because it lacks the crucial Best Director nomination. Of the three contenders left, my money goes to The Revenant. Not only does it have the most nominations (12), it is arguably a more daring and powerful film in the eyes of the Academy than Spotlight and The Big Short despite these two having a more timely, relevant, and socio-politically charged story. Also, The Revenant has more major wins than the other two, and fan support for The Revenant is huge by association of getting Leo his long-awaited Oscar. Having said this, be sure to stay tuned until the last minute on Oscar night - there's no way to say for sure what film will be in that envelope. As for my preference, I love Spotlight, but I was blown away by the beauty of Brooklyn, and that's where my vote likely would have fallen.

AJ's Ranking

1. Brooklyn
2. Spotlight
3. The Revenant
4. Bridge of Spies
5. Room
6. Mad Max: Fury Road
7. The Martian
8. The Big Short

Should have been nominated: The Gift, Star Wars: The Force Awakens


Best Director

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Predicted Winner: Alejandro G. Iñárritu, The Revenant

This could easily go to George Miller for his masterful handling of the Mad Max fourquel. Lenny Abrahamson deserves major props for bringing out such genuine performances in a confined space from Brie Larson and the young Jacob Tremblay in Room, but the film doesn't have the star power to stand out in the Best Director category. Adam McKay and Tom McCarthy have a shot for The Big Short and Spotlight, respectively, should the Academy rally behind them for Best Picture. But with a DGA, a Golden Globe, and a BAFTA under his belt this year, Iñárritu may just pull of the stunning accomplishment of consecutive Best Director Oscars. His gripping work on The Revenant and relentless pursuit of an authentic approach to the film is hard to ignore. Having said that, personal preference goes to Miller.

AJ's Ranking

1. Miller, Mad Max: Fury Road
2. Iñárritu, The Revenant
3. Abrahamson, Room
4. McCarthy, Spotlight
5. McKay, The Big Short

Should have been nominated: Edgerton, The Gift; Abrams, Star Wars: The Force Awakens; Tarantino, The Hateful Eight


Best Actor


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Predicted Winner: Leonardo DiCaprio, The Revevant

As hilarious as it would be to see the world's reaction if Leo doesn't win, The Academy can't take a chance by disappointing millions of viewers anxious to see Leonardo DiCaprio finally win an Academy Award for acting. He's got this in the bag. The only disappointment about his expected win is that it's in such a weak pool of actors compared to previous ceremonies. Not enough people saw Bryan Cranston in Trumbo or Eddie Redmayne in The Danish Girl to secure them wins, Matt Damon didn't have enough character interaction in The Martian, and Michael Fassbender didn't maintain the necessary awards season presence to be considered for the win. So, yeah - Leonardo DiCaprio is essentially an Oscar winner.

AJ's Ranking

1. Leonardo DiCaprio, The Revenant
2. Michael Fassbender, Steve Jobs
3. Matt Damon, The Martian
Also nominated: Bryan Cranston, Trumbo and Eddie Redmayne, The Danish Girl

Should have been nominated: Johnny Depp, Black Mass


Best Actress

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Predicted Winner: Brie Larson, Room

After being overlooked for her star-making turn in 2013's Short Term 12, Brie Larson has made her way to The Academy's heart for a sincere and moving performance in Room. She's unlikely to see a loss this year, despite being up against veteran Oscar favorites Jennifer Lawrence for Joy and Cate Blanchett for Carol. As strong as Larson's performance was this year, I'm disappointed Saoirse Ronan isn't getting the love she deserves for her role in Brooklyn. It'd be a nice surprise to see her luck change on Oscar night, although I do believe Larson did give a better performance. (Also, Cate Blanchett deserves to be a supporting actress candidate since she had far less screen time than her co-star Rooney Mara).

AJ's Ranking

1. Brie Larson, Room
2. Saoirse Ronan, Brooklyn
3. Cate Blanchett, Carol
Also nominated: Jennifer Lawrence, Joy and Charlotte Rampling, 45 Years

Should have been nominated: Emily Blunt, Sicario; Charlize Theron, Mad Max: Fury Road


Best Supporting Actor

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Predicted Winner: Sylvester Stallone, Creed

While I haven't seen Creed, pundits have stated Stallone's expected win will serve more as a career tribute than a recognition of the year's best supporting male performance. Mark Ruffalo was good - not great - in Spotlight, and Christian Bale was also good, but didn't get enough chances to show character development or range in The Big Short. Mark Rylance was fine in Bridge of Spies, but was not the best of this bunch. This leads me to Mr. Tom Hardy, one of today's most talented and versatile actors. In an ideal world, his disturbingly captivating performance in The Revenant would win him the Oscar. Since nothing is set in stone (Stallone wasn't even nominated at the BAFTAs or SAGs, after all), Hardy could come from nowhere and find unexpected success (much like his character's foe in The Revenant).

AJ's Ranking

1. Tom Hardy, The Revenant
2. Christian Bale, The Big Short
3. Mark Ruffalo, Spotlight
4. Mark Rylance, Bridge of Spies
Also nominated: Sylvester Stallone, Creed

Should have been nominated: If it were up to me, the entire list would be scrapped - with the exception of Hardy - to incorporate Joel Edgerton for The Gift, Jason Mitchell for Straight Outta Compton, Benicio Del Toro for Sicario, and either Tim Roth, Walton Goggins, or Kurt Russell for The Hateful Eight.


Best Supporting Actress 

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Predicted Winner: Alicia Vikander, The Danish Girl

Truly a tough one here. While I haven't seen The Danish Girl, I'm basing my decision off of Vikander's wins from the SAGs and the Critic's Choice. Kate Winslet won a Golden Globe and a BAFTA for Steve Jobs, but she wasn't up against Vikander in the category. Because this category is a bit of a mess, Rooney Mara (Carol) or Jennifer Jason Leigh (The Hateful Eight) could sneak in for a surprise win. Unfortunately, this puts Rachel McAdams out of the running, even though she'd have my vote for her fearless performance in Spotlight.

AJ's Ranking

1. Rachel McAdams, Spotlight
2. Rooney Mara, Carol
3. Jennifer Jason Leigh, The Hateful Eight
4. Kate Winslet, Steve Jobs
Also nominated: Alicia Vikander, The Danish Girl


Best Original Screenplay

Predicted Winner: Spotlight

Spotlight'
s only guaranteed win on Oscar night is for its screenplay - and it will be well deserved. Inside Out was not Pixar's best, Straight Outta Compton and Ex Machina had a few inexcusable imperfections, and Bridge of Spies just isn't as original or emotional as Spotlight.

AJ's Ranking

1. Spotlight
2. Bridge of Spies
3. Straight Outta Compton
4. Ex Machina
5. Inside Out

Should have been nominated: The Hateful Eight, The Gift


Best Adapted Screenplay

Predicted Winner: The Big Short

Here we have a much tighter race than we see in the original screenplay category. My vote goes to Brooklyn for its wonderful adaptation, but it's believed the Academy will side with the stock traders and hand the award to The Big Short for its honorably comedic take on America's recent housing tragedy. Carol had a nice screenplay but faced some problems in its execution, and The Martian was a bit choppy between character stories to be named the best screenplay of the year. Room is a fantastic screenplay, but its win doesn't make a statement the way a win for The Big Short would. This is disappointing, because The Big Short has a few problems in its own execution that I feel are being unjustly overlooked.

Also, make a note that The Revenant isn't nominated here, which could be the fly in the ointment that could lead to another movie winning Best Picture.

AJ's Ranking

1. Brooklyn
2. Room
3. Carol
4. The Martian
5. The Big Short

Should have been nominated: Steve Jobs, Star Wars: The Force Awakens
______________________________________

And here are the rest of your 2016 Oscar winners, followed by AJ's Pick (AP) in parentheses:

Best Visual Effects: Mad Max: Fury Road (AP: Star Wars: The Force Awakens)
Best Film Editing: Mad Max: Fury Road (AP: Spotlight)
Best Costume Design: Cinderella (AP: Mad Max: Fury Road)
Best Makeup & Hairstyling: Mad Max: Fury Road (AP: Mad Max: Fury Road)
Best Sound Mixing: Mad Max: Fury Road (AP: Mad Max: Fury Road)
Best Sound Editing: Mad Max: Fury Road (AP: Star Wars: The Force Awakens)
Best Cinematography: The Revenant (AP: The Revenant)
Best Production Design: Mad Max: Fury Road (AP: Mad Max: Fury Road)
Best Original Score: The Hateful Eight (AP: Star Wars: The Force Awakens)

Tallied Predictions:

Mad Max: Fury Road: 6
The Revenant: 4
The Big Short: 1
Creed: 1
Cinderella: 1
The Danish Girl: 1
The Hateful Eight: 1
Room: 1
Spotlight: 1

See also: 2016 Oscars - Snubs and Surprises

Sunday, January 31, 2016

AJ's Top 10 of 2015

Better late than never. I present to you AJ's Top 10 Best Movies of 2015.

This year was a frustrating one for me. I started off indifferent (or disdainful) towards most of 2015's movies, but December really delivered for awards season. As a result, you'll see most of this year's Best Picture nominees on this list (which usually never happens for me), as well as some movies that definitely should have been nominated. But I'll get to that.

Here they are - AJ's Top 10 of 2015 (plus one honorable mention).

Honorable Mention: Jurassic World

ScreenRant

I really, really, really wish this could have been on my Top 10. I had so much fun in this movie - so much so that I'm giving it this honorable mention. While it was not the most impressive, groundbreaking, or well-made motion picture released in 2015, it was a fun and nostalgic adventure that only the overly-cynical can truly hate. 


#10: Dope

SlashFilm

This clever and smartly-written movie was the best comedy of 2015 (I'm looking at you, The Martian). Like its main character advocates for himself, Dope is not the movie you'd expect. Give it a shot - it's on Netflix. 


#9: Room

ComingSoon.net

Room not only introduced us to the treasure that is Jacob Tremblay, but it launched Brie Larson into much-deserved stardom. It could have benefited from some tighter editing, but that rug scene (if you've watched it, you know what I'm talking about) is enough to make up for any weaker moments.


#8: Bridge of Spies

Collider

Don't underestimate Spielberg. Don't underestimate Tom Hanks. And don't underestimate the Coen Brothers. Put them all together in one movie? You're in for an enthralling screenplay of magnificent scope, complimented by tender performances and a touching story.


#7: Mad Max: Fury Road

ComingSoon.net

An amazing action spectacle directed with golden diligence on George Miller's part, Mad Max is exciting and expertly pieced together behind and in front of the camera. The story suffers occasionally, but your eyes won't complain.


#6: The Revenant

Pinterest

I won't lie and say I didn't spend a good chunk of the movie wondering "WTF is happening right now?" Experimental filmmaking and story tangents aside, Tom Hardy and Leonardo DiCaprio shine in this frontier epic, filled with jaw-dropping brutality, action, and beauty. 


#5: The Hateful Eight

IndieWire

This is not Tarantino's best, but it's an engrossing character piece that builds to an amazing second act, and its first act is a tantalizing prelude. In short, it continues Tarantino's legacy with a genius screenplay (that was terribly overlooked at the Oscars) brought alive with his strongest ensemble since Kill Bill


#4: Spotlight

RecentMoviePosters.com

A testament to the power of journalism, Spotlight hits home in the year's best acted film. Its editing keeps things going at a daringly riveting pace. Spotlight will be admired in film school and appreciated by those affected by its real-life subject matter for years to come. 


#3: Star Wars: The Force Awakens

StarWars.com

Considering how much pressure JJ Abrams and the entire cast and crew had on them making this film, Star Wars is - and I mean this in the literal sense of the word - an awesome achievement. Looking past a few storytelling issues, Star Wars is the most fun you will have at the movies in 2015.


#2: Brooklyn

ComingSoon.net

Not much can be said about Brooklyn aside from that it is a simply wonderful film that immerses you into its characters' world. Sweet, hysterical, and captivating at all the right moments, Brooklyn is fine filmmaking that proves subtle does not mean boring.


#1: The Gift

ScreenRant

Wow. In recent memory, I have not been more shocked or invested in a movie the way I was with The Gift. Joel Edgerton's acting, screenplay, and directing is a triple threat that was sorrowfully overlooked during awards season. You will not see a more thrilling or surprising movie this year. It kept my attention until the very last minute. They payoff is grand, and behind that director's chair Joel Edgerton gives A-list suspense filmmakers like David Fincher a run for their money. 

Friday, January 15, 2016

The Revenant

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Visually speaking, The Revenant is one of the most awe-inspiring movies ever made. If you’ve looked up anything about this movie, my complimenting its use of natural lighting and breathtaking scenery should come as no surprise to you. Yet in terms of storytelling, director Alejandro G. Inarritu (Oscar-winner from last year’s Best Picture winner Birdman) takes some daring approaches which, in my opinion, do not always pay off.

The film stars Leonardo DiCaprio as real-life 1800s frontiersman Hugh Glass. Following a vicious attack by the area’s native inhabitants, Glass and his team of fur traders are forced to take a long and treacherous road back to their base. While out alone, Glass encounters a bear protecting its cubs. Seeing him as a threat, Glass is nearly killed by the beast, but miraculously survives within an inch of his life. Refusing to let Glass’ injuries kill his whole crew, the off-putting trader Fitzpatrick (Tom Hardy) offers to stay with Glass until he is better while the rest of the traders hastily make their way back. At this point, Fitzpatrick kills Glass’ half-Native American son and buries Glass alive. Miraculously, again, Glass survives, now more determined than ever to avenge his son and go face-to-face with Fitzpatrick.

The sheer dedication of filmmaking by Inarritu and cinematographer Emmanuel Lubezki are worthy of substantial praise here. It’s evident that the film was a painstaking project, yet it seemed so seamlessly pieced together from an aesthetic perspective. Shots of gloriously clouded sunsets and authentic horseback chases trough the wilderness demand The Revenant be seen on the big screen. The brutality and realness of Glass’ and Fitzpatrick’s rivalry is palpable, especially in their final fight. 

Much credit should go to both of these actors, and while Leo gives one of his best performances, the real winner of the film is Tom Hardy. Yes, Leo slept naked in a dead horse carcass and ate bison meat – and I am not minimizing the impact of his performance. Hardy’s transformation is being sorely underappreciated in my eyes. His gut-wrenching turn as Fitzpatrick left me wanting to punch him in the face in every scene, which I believe is a testament to the man’s performance. I would love for both of these men to take home their first Oscars this year. We also have great performances from Will Poulter and this year’s breakout star Domhnall Gleeson (Star Wars, Ex Machina).

Where this movie went wrong for me was in its attempts to break the conventional narrative. This technique can work – Inaritu himself did it well in Birdman. Here, some imagery and subplots are totally unnecessary, and/or could have been told better. For example, Glass’ (ex)-wife/girlfriend/lover/concubine is only a shadow of a memory, and we have no idea of her past. There’s also a rather confusing storyline involving the daughter of a native tribe’s leader, and the role she plays in the story’s progression is befuddling given how little time is spent developing that story.

This movie is nominated for 12 Oscars, but I would like to point out one category it is not nominated for – Best Screenplay. I believe this speaks to my point. Visually, this movie deserves more than a 5/5. Yet from a storytelling perspective – an area that universally suffered this year in movies – The Revenant leaves us wishing the end result was a bit more conventional, and that the daring cinematic innovations were just left to the cinematographer for this one.

Rating: 4/5

Thursday, January 14, 2016

2016 Oscar Snubs & Surprises

Oscar.go.com

I was not a happy camper this morning when Oscar nominations were announced. While many of the expected nominees got their deserved recognition, a few worthy names were overlooked by the Academy in favor of some surprises. At the Oscars, snubs are inevitable. Every year there are several achievements in each of the Academy's 24 categories but only a handful of nominations to go around. Having said that, there were some glaring omissions that I can't seem to fathom. Additionally, there were a couple shockers this morning that left me pleasantly surprised as a movie-goer.

Kurt Russell and Samuel L. Jackson giving underrated performances
in The Hateful Eight (Hitfix.com)

Snub: The Hateful Eight. I figured it was only right to start this article off with the biggest snub of the morning. Tarantino's western didn't garner much buzz for Best Picture or Best Director, but nominations for Original Score, Supporting Actress, and Original Screenplay were supposedly guaranteed. However, one of these categories did not feature The Hateful Eight on its final ballot.

Somehow, some way, Quentin Tarantino's script was left off the Best Original Screenplay list despite its rich, quotable, and signature dialogue and ability to captivate for over two and a half hours. It went on to receive nominations from the BFCA and HFPA as well as a win from the NBR. Coming fresh off his win for Django Unchained in 2013, Tarantino should have been on this list. But for whatever reason, he's not. Another disappointment is the film's absences from the Best Costume Design category and the Best Supporting Actor category - especially for Tim Roth and Walton Goggins. But with a cast of several supporting males, I'm sure the Academy had a tough time determining a standout.

Surprise: Rachel McAdams for Spotlight. The Supporting Actor and Actress fields are a collective mess this year. With all that craziness, I'm thrilled that Rachel McAdams was able to emerge from the never-ending list of contenders with a nomination for her confident and crucial performance in Spotlight. While her win is less than likely, it's reassuring that we can finally refer to this insanely talented and multi-faceted actress as "Oscar-nominee Rachel McAdams."

Jason Mitchell electrifies the screen in Straight Outta Compton (MoviePilot)

Snub: Jason Mitchell for Straight Outta Compton. Compton snagged an Original Screenplay nod, but the movie's greatest asset was left empty handed. Throughout the film and particularly in his character's final moments, Jason Mitchell's portrayal of gangster and rapper Eazy E was an on-screen revelation. I'm disheartened that the Academy didn't feel the same way.

Surprise: Carol. Upon seeing Carol, I immediately labeled it as Oscar-bait. It was good Oscar-bait, but Oscar-bait nonetheless. The screenplay and performances of Mara and Blanchett were recognized, but the Academy saw through the film's imperfections and did not laud it with nominations for Best Picture or Best Director - both of which seemed like sure things.

Snub: Aaron Sorkin for Steve Jobs. This film did not have an immediate payoff for me. But over the days after I saw it, I came to appreciate the daring move that Sorkin took with Steve Jobs' screenplay - and more importantly - how much it paid off. It was enough to win him this year's Golden Globe for Best Screenplay, yet for the Oscars (which split the category into Adapted and Original Screenplay, meaning there should have been even less competition), the biopic's script didn't make the cut.

Joel Edgerton co-starred in, wrote, and directed the year's best thriller (Variety).

Snub: The Gift. As breathtaking and original as Edgerton's performance and direction are in The Gift, they were nothing compared to his screenplay. It's disappointing that Edgerton did not receive recognition in any of these categories this morning. Its film editing and Jason Bateman's performance were also overlooked despite contributing to one of the year's best films - and its best thriller by far.

Surprise: Adam McKay for The Big Short. McKay's comedy-drama on America's housing market collapse has picked up noticeable steam as awards season has reached its culmination, and nominations for Adapted Screenplay, Picture, and even Christian Bale's supporting performance were considerable locks. With a packed field of contenders for Best Director, McKay was assumed to be out of the running. Surprisingly, he pulled through, beating out expected names like The Martian's Ridley Scott and Carol's Todd Haynes for a spot on the list.

Snub: Johnny Depp for Black Mass. The film itself was so-so, but Depp does his best work in years as real-life Boston criminal Whitey Bulger. Part of me thinks he should have been on this list over Matt Damon.

(Movies With Mae)

Snub: Emily Blunt and Benicio Del Toro for Sicario. I wasn't the biggest fan of Sicario, but that does not mean I didn't recognize the immersive performances from Blunt and Del Toro. If anything, I came to value them more for keeping my attention during the movie's boring moments. I would have loved to have seen one or both of these performers recognized for their efforts.

Surprise: The Revenant for Best Visual Effects. That bear scene was breathtaking, but I didn't think it would be enough to impress over the heroes of Avengers: Age of Ultron or the dinos of Jurassic World. Which brings me to my next item...

(ScreenCrush)

Snub: Jurassic World. Michael Giacchino's score? The visual effects of the Indominus Rex? The production design of the park? The sound design? Come on, Academy. Throw me a bone here. Not even one nomination?

Snub: Star Wars: Episode VII - The Force Awakens. Fans can rejoice at the film's nominations for Original Score, Film Editing, and a few more. But our high hopes for Best Picture were left unrealized this morning. Even more disappointing was the absence of J.J. Abrams from the Best Director list, considering what a stellar job he did under the tremendous amount pressure he was under from studios, audiences, and critics alike.