After the obligatory ’based on true events’ pops up, a title card at the top reminds us that black bears are not territorial and are unlikely to attack humans. Moments later we figure out that this isn’t just any black bear we’re dealing with, this is Cocaine Bear and it will maim, dismember, filet—anything to get its snout into more of that sweet sweet yayo.
Despite its bonkers premise, Elizabeth Banks deftly directs a stellar cast in a surprisingly plausible and human story that is relentless in its brutality. Calling to mind an Appalachian Into the Woods, the events bring a mismatched group of characters together in the forest to unwittingly battle a giant. In this case the giant is a black bear made blindingly violent by a literal fortune in booger sugar dropped into said woods by a gangland drug deal gone hilariously wrong.
I’ve been a big fan of Banks’s on screen work in the past and her signature brand of caustic optimism keeps the laughs grounded. The world of Cocaine Bear is inhabited primarily by lovable assholes of the Always Sunny in Philadelphia variety, terrible lugs whose disembowelment or decapitation make you a little sad even while seeming mostly deserved. While there are certainly laughs, the bear attacks are filled with suspense and viscerally graphic and it’s a fight and flight combo that leaves you on the edge of your seat the entire movie.
It’s always a joy to see Felicity herself, Miss Keri Russell, her Southern accent in this film bringing to mind her heartbreaking turn as Jenna in Waitress. She’s underused here but as likable as always. Ray Liotta is suitably icky as a drug kingpin in his final film role, may he rest in peace. Character actress Margo Martindale is one of those Hollywood regulars that elicits a soft “oh I love her” every time you realize she’s in a film you’re watching. She really gets to spread her wings here as an unlucky in love park ranger. Jesse Tyler Ferguson is hilarious and nearly unrecognizable as her unrequited animal loving paramour.
You can tell by the title whether or not this film is for you. I loved its outlandish premise and tongue in cheek chuckles. But it’s a blood and guts spectacle that’s definitely not for the squeamish or faint of heart.
Comedic performances are the entree in this businesswoman’s special.
The premise is simple. Two dingbat Los Angelinos travel to Tucson for their ten year high school reunion. It’s right there in the title. But what elevates this basic premise and only mildly funny screenplay to one of the most consistently gut busting comedies in Hollywood history is its hilariously specific performances by its now A-list cast.
This is my favorite movie, my absolute #1, and it’s held that spot since it’s premiere 25 years ago. I saw it several times in the theatre, bringing friends back again and again to bear witness to the hilarity. It’s a staple of my aging DVD collection and to keep up with the times it’s one of few movies in my Purchased section on Prime Video. To view this film is to get a direct look into the makeup, the constitution of my sense of humor.
Dumb humor is so sublimely subversive and its queen is Lisa Kudrow. She is flawless in the movie, transforming pedestrian, slice of life dialogue into comedic gold with every almost every line delivery and unscripted interjection. Michelle is so buoyant, so absolutely nonplussed by life’s little setbacks that you have no choice but to root for her. It is one of the most perfect comedic performances ever caught on film and maintains its charming goofiness even after all these years.
There isn’t a bad performance in the bunch. As Romy Mira Sorvino’s dry as a bone deadpan is a perfect match to Kudrow’s sweet as sugar airhead Michelle, their back and forth revealing a genuine bond and sisterhood between the two. She’s the smarter of the two, which is saying very little if anything at all, and Sorvino is winning as the dumb girl who doesn’t know she’s dumb. Janeane Garofalo burns up the screen like a Lady Fair cigarette as mean goth girl Heather Mooney. Her acerbic, biting wit is an amusing foil to Romy and Michelle’s sunny, clueless outlook on life.
And filling out the familiar high school archetypes there’s ultimate nerd, the Frinkazoid, Sandy Frink played to perfection by Alan Cumming. And in one of her earliest appearances, Camryn Manheim slays as try-too-hard-activities-girl Toby. Julia Campbell turns in one of the most easily hateable performances in film history as A Group Queen Bee Christie Masters. And as it boy and object of Romy’s desire Billy Masters, Vincent Ventresca is on point even if he looks way too old to be believable in the flashback scenes.
If this movie doesn’t make you laugh uncontrollably you should call 911 because you likely don’t have a pulse. Or perhaps your sense of humor is broken. See it immediately if you haven’t and if you have watch it again. There isn’t a film I recommend more.
Your funniest friend spills the tea on an array of films and it’s a very okay time.
Parasocial relationships got a big boost during the pandemmy and one YouTuber I’ve completely fallen for is Jaime French. She is very much an inspiration for Cliff’s Notes as her down to earth, “it’s just what I like” vibe is exactly the one I’m hoping to create. In addition to her effortlessly authentic personality, she’s a master at video editing and this may be where her sense humor shines most. I’m not sure what’s stronger, her insanely on point meme game or her upbeat commentary but I know that they combine into some of the most consistently entertaining videos on the platform.
Jaime and I are relatively the same age and share a *barf* millennial *barf* world view and taste in media so it stands to reason I was immediately able to jump in and surf her wavelength. Before I was a Stan, Jaime was a beauty vlogger, her content consisting mostly of makeup tutorials and products reviews. I started becoming a fan right as she was realizing her true passion, making comedic content centered on nostalgic film reviews. Her self realization and self actualization immediately made me root for her success.
And what success it is! I’ve watched and rewatched every film review on the channel at this point, whether I’ve seen the movie she’s reviewing or not, and I’ve yet to be disappointed. Whether framed as a ‘member this?’ feature, or a ‘Makeup and Movies Monday’ her signature humor never fails to slay. She has an infectious enthusiasm for inserting herself or her recurring characters into clips from the film using green screen tech and the results are typically just hysterical. Even if they aren’t, she’s obviously having such a great time it doesn’t really matter.
It’s a no brainer to recommend Jaime as I believe her to have a universal appeal and likability that most anyone will relate to. Go now and subscribe to her channel, you’ll be so glad you did!
I love a Blumhouse horror movie. Producing titan A24 may lead the recent emergence of so called prestige horror films but Blumhouse brings the campy, crazy stuff that I just can’t get enough of. Megan fits the brand perfectly with an off kilter premise, creative kills and just a dash of winky, tongue in cheek humor.
The film’s biggest hurdle is lead actress and nepo baby Allison Williams. Like most of you I was introduced to Williams as Marnie in HBO’s Girls and I first thought it was just the character that was insufferable. At this point I’m convinced she – the actress – is just impossible to like, poor thing. The cast overall is pretty mid, as the kids say. The biggest exception is lead child actress Violet McGraw who turns in a creepy kid performance to rival the greats like The Sixth Sense’s Haley Joel Osment or The Shining’s Danny Lloyd.
The story is a fun ride through fully charted waters. There’s allusion to Prometheus and Frankenstein; the monster created in one’s own image. The robot’s uncanny resemblance to Williams is a touch on the nose. There’s surface level discussion on the effects of technology on today’s youth but thank goodness it doesn’t get to deep. Thematic depth isn’t what I’m looking for in a Monday night horror flick.
What I’m looking for is Chucky level dolly mayhem and in that regard, the film delivers. I can’t recall ever seeing someone done in by a pressure washer before. It was pretty rad though. It all comes together in a literal clunky ending that you can predict from the earliest frames. But it is the wacky journey and not the destination that make this an enjoyable, if forgettable, watch.
It’s a common phrase: “Write what you know.” So I’m kicking off my (hopefully) weekly feature, Top Ten Tuesdays, on a Monday with my picks for the top ten movie musicals of all time. These are based on cuz I said so. I’m not including any ProShot stage musicals or Disney animated musicals because those seem like good future list topics. I’d love to hear your thoughts!
10. GREASE 2
Grease may be the word but Grease 2 is the show! Get into it. The main factor that places this sequel above the beloved original for me is the superior score and Michelle Pfeiffer’s rendition of Cool Rider comes in at a close second. Most of these songs are much funnier and more plot driven than those found in the predecessor with a couple of clunkers (looking at you Charade) notwithstanding.
9. MOULIN ROUGE
The success of this film can be narrowed to four words and an ampersand: Baz Luhrmann & Ewan McGregor. McGregor is luminous in this movie, so sweet and sincere and lovable and his vocal performance overflows with boyish vulnerability. It’s a career best performance for a consistently great actor. And while jukebox musicals (especially multi-artist jukeboxers) are decidedly not my thing, Baz Luhrmann elevates the sub-genre with his rich, luscious visuals and unique style. A stronger lead actress might’ve bumped this film up the list as Nikki Kidman’s reed thin cringe inducing vocals almost tank the whole picture.
8. TEEN WITCH
I’ve always been shocked that Robin Lively didn’t become a bigger star. She’s so genuine and endearing in this movie, one of my absolute favorites from childhood. Admittedly it’s nostalgia that places this film on the list because, also admittedly, it’s not a great movie. Or musical for that matter. But it is so much FUN! The few songs that appear in the movie are slamma jamma bops and as far as YA films go the performances and production are pretty solid. You don’t really even wanna try and top that.
7. HELLO, DOLLY!
This film has the reputation for ending the golden era of movie musicals and I really don’t see why as it’s my favorite of the period. Barbara Streisand is notoriously miscast but that doesn’t make her performance any less compelling or hilarious. Her intro to So long Dearie is one of my favorite moments from any movie musical. And Michael Crawford is a doll as Cornelius Hackle, his crackling tenor projects a most honest and sincere It Only Takes a Moment. It’s one of the most perfect books and scores in the entire musical theatre canon and this is a perfectly good film portrayal of it.
6. MATILDA, THE MUSICAL
The newest entry on this list, I was blown away by the near flawless translation from stage to film. It’s a difficult endeavor and we’ve seen it fail way more often than succeed but this one really gets it right. Beautifully cast, fantastically choreographed and perfectly shot it is in many ways an improvement on the stage show. The world of Roald Dahl is a fantasy world filled with magic and even with the biggest of budgets, on stage magical moments require a giant leap of willing suspension of disbelief. The depth of visual reality the film medium provides allows for a more complete engagement into the magic and into the show.
5. HEDWIG AND THE ANGRY INCH
This is really a show best seen in an old, small ramshackle theatre or bar which makes a film translation tricky. But Hedwig is John Cameron Mitchell’s creation and as the film’s writer and director he has crafted a careful recreation of his beloved off Broadway smash hit. This is a gorgeous, glorious, transcendent piece of work, both on stage and on film, and I’ve become more human through my interactions with it.
4. SISTER ACT 2
Another sequel that surpasses it’s more popular original. Don’t get me wrong, the original is a classic but this film gripped me tight as a kid. Mostly because of Lauryn Hill’s voice and performance but the whole cast is great and I think the film captures some of the most inspiring (Oh Happy Day), most beautiful (His Eye is On the Sparrow) and most downright entertaining (Joyful, Joyful) musical moments ever committed to film.
3. LABYRINTH
I rented this VHS from the library probably a million times and I was just transfixed on Jennifer Connelly. Recently seeing her in Top Gun, Maverick reminded me how incandescent she is on screen and only slightly more so at 16. I can’t think of another movie that feels like Labyrinth. It’s always sucked me in with a kind of sublime anxiety of being trapped in a wonder filled but dangerous place, attributable to a menacing but seductive David Bowie. It was a confusing movie for my little queer brain and it’s left a lasting, indelible impression.
2. THE WIZARD OF OZ
Many would call this the GOAT and were it created in a time when more care is taken in weaving song and plot it would be my number one. Judy Garland…I mean really what can you say. It’s one of the most deservingly popular and recognizable film performances ever. The word iconic is overused these days but it applies very specifically here. Every part of her performance is iconic but Over the Rainbow is the single best vocal performance ever captured on film. Period.
1. CHICAGO
Chicago is the only musical film I can think of that elevates the source material beyond its original inception to something even greater. The plot takes place in two worlds, the real world of a 1920’s woman’s prison and a fantasy vaudeville world. On stage defining these two worlds can be a tricky, confusing task but on screen these transitions can happen naturally, with zero audience befuddlement. It boasts a terrific cast and technically perfect production helmed by director Rob Marshall who lives in two worlds himself, directing proficiently in both the hyper realistic film medium as well as the stylized, razzle dazzle theatrical stage. It’s this perfect marriage of artist and material that make this film the very best of the genre.
Clip Breakdowns with a dash of social consciousness and heaping spoonfuls of snark.
It makes sense to kick off my YouTube channel reviews with my favorite YouTuber, Nick DiRamio. Nick makes me laugh, plain and simple, whether I’ve seen the media they’re dissecting or not. Honestly I’ve seen very few of the DCOMs or PureFlix films they proverbially chew up and spit out and the fact that I find their videos so compelling even with unfamiliar content speaks to their skills as a writer and media analyst.
I learn so much about how to break down the elements of a film in every video. Nick has a NYU film degree to back up his hilarious, illuminating analysis but never comes across as pedantic or pretentious. Videos vacillate between previously written, passionately delivered monologues and zany, outrageous improv. You never know what will come of this kid’s mouth but you can bet it will be ridiculous in the best way.
Nick often takes detours from the evaluation to discuss pressing social issues and I appreciate them using their platform to give voice to underrepresented communities. If I had a criticism it would be the quality of films Nick has chosen to feature. I totally dig on the nostalgia of their typical fare but I’d love to see them apply their unique perspective, film knowledge and hilarious reads to more mainstream and classically popular films.
It’s also unfortunate that in order to succeed at the YouTube algorithm game Nick has to review the work of other YouTubers. I’ve been a viewer and Patreon patron for years and have witnessed their channel’s come up and subscriber boom that came from covering a certain constantly cancelled creator but these videos can come off a little petty at times and the content is ultimately unworthy of Nick‘s immense talents.
If you aren’t subscribed to Nick’s channel go now and do so. You won’t be disappointed.
The most subversive moment of Scream VI happens in the first five minutes. Naturally, that’s how these movies have started since assumed final girl Drew Barrymore ate it before the title card in the original. But unlike that first film which is famous for its twists, turns and misdirections, our expectations are never again subverted. Once a trailblazer in the self aware, meta commentary brand of horror, the franchise has devolved into a lazy, bloody gore fest.
And this is a franchise, no doubt about that, not after the rules are laid out by Randy Meeks stand in, his niece Mindy (Jasmin Savoy Brown), a lucky survivor of the previous film. Each Scream movie informs us of the rules according to the film’s position in the larger narrative. We’ve gone through sequel, trilogy, reboot, remake and now franchise. It’s all gotten a little tiresome at this point. “Nobody’s safe.” “Everyone is a suspect.” Yawn.
The attractive cast includes some decent performances, particularly from Jenna Ortega as Tara Carpenter but the overfilled script doesn’t give us a chance to get particularly attached to anyone. Seeing “legacy characters” Kirby (Hayden Panettiere) and Gayle Weathers (Courtney Cox) is fun but too rare. You get the sense of a passing of a torch but none of the new characters grip our interest nearly as much as the OGs. Hang on to that torch Gayle. Come on back Sidney.
Or don’t. Maybe it’s time for this franchise to fizzle. The kills were certainly more brutal, more violent but with none of the cleverness or suspense Ghost Face and Scream are known for. More that amounted to less. And that’s a real shame. Perhaps the magic of the Wes Craven/Kevin Williamson combo that made the early films so successful can’t be remade or rebooted. Or franchised. Maybe what this film gets right is that it’s time to hang the notorious Ghost Face mask in a museum.
This year for the first time ever I’ve decided to watch all of the films nominated for the major Academy Awards. Leading up to the awards I thought I’d talk over each category and each nominee and give my rotted opinions. I’m in my Roger Ebert era, live the fantasy with me or kick rocks.
There are several categories I didn’t cover for one reason or another. My ignorance of the specifics of all that Cinematography and Film Editing entail prevents an informed opinion in those categories. I also skipped the Documentary, International Feature and all Short Film Categories just as a matter of time management and fear of burnout. And I had already seen several nominees for Best Original Score before starting on this project and hadn’t paid close enough attention to adequately judge their score. Maybe next year I’ll get an earlier start and satisfy my completionist vibes.
BEST PICTURE
Who Should Win: Everything Everywhere All At Once My Fave: The Banshees of Inisherin What Prolly Will Win: Everything Everywhere All At Once
The Academy employs ranked choice voting in this category. Here’s how I would vote if I were a member:
1 – The Banshees of Inisherin 2 – Everything Everywhere All At Once 3 – Tar 4 – Top Gun: Maverick 5 – Elvis 6 – Women Talking 7 – All Quiet on the Western Front 8 – The Fablemans 9 – Triangle of Sadness 10 – Avatar: The Way of Water
The Banshees of Inisherin Easily my personal favorite of this year, this film is small, subtle and impeccably done. Small and subtle doesn’t typically win Oscars however so this film’s chances of winning are slim but it’s multiple nominations prove it’s a well-loved and respected effort. It’s a deeply affecting film, so well written and the performances stick with you long after the film is done. I hope it gets at least some of the recognition it deserves but the biggest prize of the night seems just out of reach.
Everything Everywhere All At Once It’s rare to see such a universally loved front runner in this race but EEAAO seems to be everyone’s cup of tea. Or more correctly, everyone’s everything bagel. It truly is the film of the year – unique, vital, engaging, inspiring – and it’s wonderful to see ingenuity recognized and rewarded so heartily. If it is a sign of things to come, Hollywood is moving in the right direction. On top of a fantastic, completely out of the box story, committed, eclectic performances and creative, enthralling visuals the film importantly gets diversity right by centering a minority family in a story that isn’t about what it means to be a minority but simply about what it means to be human. To be a family. If Best Picture is a time capsule rewarding the film that best captures the tone and vibe of the year in which it’s awarded then Everything Everywhere All At Once is the only correct winner.
Tar In my research and reading I wasn’t too surprised to find that this picture tops the list of the more academic and hifalutin critics. It’s a typical Oscar film, plain and simple, intellectually challenging and thematically complex. The movies aims to make you think rather than entertain although it would be incorrect to say that Cate Blanchett’s incredible performance isn’t entertaining. It is. Awe inspiring even. But the exclusive world of classical music is inaccessible to most audiences so while the film is fully engaging to the mind, it doesn’t really engage the heart. It’s perfect but in a cold and bleak way and is unlikely to move voters the way it’s more sentimental, emotional competitors do.
Top Gun: Maverick Of all the movies I watched only because of this project, Top Gun: Maverick is the most surprising. I was expecting to be a passive viewer, unaffected by the machismo and masculine energy I assumed was at this movie’s core. Boy was I wrong. I loved it. It brought me back to my ten year old self, absorbing me into the story in a way that I abandoned critical thought and was simply along for the ride. And what a ride! This movie is exciting from top to bottom. And to be sure, this is a movie, not a film. I’ll let you decipher the distinction but usually it comes down to a difference in millions at the box office. I’m a fan of both and for the sake of the Oscars relevance I hope the Academy continues to include more movies in the future.
Elvis Bad Luhrmann is a take him or leave him, love or hate type of artist mainly due to his distinctive point of view and aesthetic. I’ll take him. Although it’s at time more successful than others, his opulent, kitchen sink style is singular and when it works, it really works. And in Elvis it really, really works. If a personification of opulence ever existed it was Elvis. This perfect marriage of artist and subject make for a kaleidoscopic film, mesmerizing in its pacing and visual depth. Adding to that a strong central performance and this film ticks all the boxes. It’s a worthy competitor but I think the “leave it” contingency will prevent a victory.
Women Talking My favorite scripts and stories bring out the universal from the specific and this film is such a perfect representation of the concept. This film is little more than a discussion, a group of ladies debating over a very specific decision. Stay or go. But their conversation subversively becomes THE conversation. What it means to have agency. To be human. It is exquisitely performed and directed and superbly written making it a real competitor, albeit a long shot.
All Quiet on the Western Front This is one the best films I never have to see again. Surprisingly that speaks to the film’s success. It is giving war in all of its brutal, violent, gory glory and the imagery is so indelible it’s burned into my memory making a rewatch unnecessary. It’s a technically perfect film on every level. What it is not is entertaining. I prefer when the Academy award both artistic merit and entertainment value so I’d be disappointed in a win here. However many are reporting that if there is an upset to be had in this race it will be this film.
The Fablemans This picture made me feel ambivalent. I just couldn’t find a way in. That said I can appreciate its merits – consistently good and even some great performances, complex family drama and impeccable direction. Despite all that I couldn’t relate. Based on the types of films that have won in the past and the industry’s absolute reverence for director Steven Spielberg, the film is a real contender in the category. But a win for the Fablemans would be such a ho hum ending to this project that I really hope it goes almost any other way.
Triangle of Sadness By all accounts this an outlier in the category and while it is a fun, funny picture it’s pretty rough around the edges. Unlike All Quiet on the Western Front, it overflows with entertainment value but has little in the way of artistic merit. It’s a fun watch but I assume it will fade into irrelevance as soon as its 15 minutes of awards season fame are up.
Avatar: The Way of Water These films exist as a sort of State of the Industry and in that regard I suppose they are worthy endeavors. We get to see the very latest, most advanced technological capabilities of the film medium and it is undoubtedly impressive. But why do they have to be so boring? And so oppressively long? The storyline is unnecessarily convoluted and overblown. They’ve gone to the greatest lengths to create an entirely new environment in Pandora, is a war story the only way they can think of to feature these gorgeous vistas. Half of the world can’t even empathize with real life wars much less a war between factions in varying shades of blue. It’s off putting for so much “wow” and “who cares” to exists simultaneously in one narrative. A win for this will result in a shoe through my TV screen. Please god no.
BEST DIRECTOR
Who Should Win: Everything Everywhere All At Once My Fave: The Banshees of Inisherin Who Prolly Will Win: Everything Everywhere All At Once
Everything Everywhere All At Once What makes this category interesting it that all the nominees aren’t just credited as director but as screenwriter as well. EEAAO writer-director’s Daniel Kwan and Daniel Scheinert, collectively known as The Daniels, have written a complex, complicated even convoluted narrative while directing an efficient, accessible, relatable film. It’s an impressive feat made only more impressive by the incredible cast and creative team they’ve assembled. The Daniels are up against some industry heavy hitters but if it’s ingenuity that Oscar voters are looking for, they are the clear winners.
The Banshees of Inisherin Directors wear many hats but acting coach is primary among them. This is where Martin McDonough’s strength lies as he has guided his actors into the flawlessly truthful performances that make this film my fave of the season. In addition this is the film that I felt the most immersed in, a kind of esoteric evaluation that can only be attributed to a great director leading a great team. At the end of the film, I felt like I had visited Inisherin and had actually met Padraic and his compatriots, signs of an impeccable artist at the helm. It seems as though McDonough isn’t really even in the running but he remains my fave despite his odds of winning.
The Fablemans Steven Spielberg. What else really needs to be said. There isn’t another Hollywood figure that inspires more praise or nostalgia. He’s the GOAT and not many people dare to contend otherwise. And this film is of course beautifully directed down to the tiniest detail. And while the story itself is kind of a run of the mill, ho hum family drama, that fact that the beloved auteur is telling his own story has been deemed courageous for whatever reason. I wasn’t particularly gripped by this movie but a win here wouldn’t be a shock by any means.
Tar This movie really hinges on a collaboration between lead actress Cate Blanchett and writer-director Todd Field. And what an exemplary partnership it is! We are compelled by the almost mythic quality of Lydia Tar from the first moments and as she spirals out we are more and more drawn in. You get the feeling that Field is allowing this performance and this narrative to happen rather than attempting to control it and bend it to his will. Everything about this film is smart including and possibly due to the direction. A win here would be surprising but not at all undeserved.
Triangle of Sadness This nomination makes the least sense to me. Swedish writer-director Ruben Ostlund presented a quirky, funny, of the moment satire but it doesn’t come off with nearly the polish of the other films here. Women Talking’s Sarah Polley or All Quiet on the Western Front’s Edward Burger would be much more worthy competition for this prize. Ostlund’s prize will no doubt be the nomination alone, whether it’s deserved or not.
BEST ACTRESS Who Should Win: Michelle Yeoh My Fave: Andrea Riseborough Who Prolly Will Win: Cate Blanchett
Cate Blanchett (Tar) Blanchett is one of those actors that’s so good it’s hard to even root for her. Her supreme craftsmanship is undeniable but it’s like too perfect; can’t relate. That said this performance is yet another slay. She leaves no crumbs as the kids say. It’s a big brained movie and her performance swings big and consistently connects. It’s a technically perfect performance and possibly even a career best for this beast of an actor.
Michelle Yeoh (Everything Everywhere All At Once) This performance centers a very cool but complicated story so much so that I would’ve been completely lost without her. The variety and versatility required by this role is unbelievable. Henny, they put this queen to work. She remained grounded and truthful in the midst of the chaos and while this film is likely the best of the year, without her it wouldn’t have worked near as well if at all.
Andrea Riseborough (To Leslie) This is the most controversial nomination of the year, not because it’s undeserved, quite the opposite it is the most raw and shattering of the bunch, but because of the way it came about. To Leslie is a micro budget independent film unable to compete with the major studio multi million dollar For Your Consideration campaigns. A grassroots social media campaign from some of Hollywood’s biggest stars led to this surprise nomination and the establishment wasn’t quite sure what to do about it. The real shame is that the controversy has taken precedent over the strength of the performance which is heartfelt and genuinely lived in. A win for her would be gagalicious but as I said earlier not completely undeserved.
Ana de Armas (Blonde) As I was watching Blonde I wasn’t sure why this performance deserved a nomination when about 30 minutes in I did my usual IMDb check and realized, ‘holy crap that’s the chick from Knives Out!’ Knowing that I’d been watching a Cuban born actress whose second language was English doing this spot on, uncanny impersonation of Marilyn I was instantly riveted. She’s very good. Trouble is, the movie isn’t. It’s so reductive and hyper sexual, making bizarre choices like speaking fetuses and close up presidential bjs. Just terrible. In my research I noticed a woman’s organization bestowed a “Needs a New Agent” award upon her and I think that sums up the situation perfectly. Not a chance of winning.
Michelle Williams (The Fablemans) People call Michelle Williams overrated but I keep waiting to dislike her in something. I feel like she is consistently competent and often compelling. She’s technically sound in the role, sporting a nasal, flat mid Atlantic dialect that I live for. She has great chemistry with the young actor standing in for adolescent Stephen Spielberg. Also brutally blunt bangs. It’s a fine performance in a fine film. Overall I don’t think the role gives her enough to do to really compete with the other nominees
BEST ACTOR
Who Should Win: Austin Butler My Fave: Colin Farrell Who Prolly Will Win: Brendan Fraser
Brendan Fraser (The Whale) Hot take: I didn’t love this performance. I certainly didn’t hate it but in what may be the tightest race of the year I think Fraser’s work has been more than a little overrated. His physical work is entirely covered up by CGI prosthetics and while I appreciated his quieter, more pedestrian moments I found his “Oscar clip” moments to be try-hard and cringey. I get the whole redemption arc he’s going for and I’m glad he’s working again but he was never known for nuanced, well crafted performances. And as far as I’m concerned – he still isn’t.
Austin Butler (Elvis) It takes a lot for a Disney-bred teen idol to impress me and as Elvis Austin Butler is doing the most. Connected, grounded scene work, a nuanced interpretation of Elvis rather than an exact impersonation, in addition to competent signing and dancing. They put this kid to work and he tied it all together into a compelling, even riveting portrayal of one of the most popular and well known figures in human history. In the hands of a lesser performer this could have been an absolute train wreck but Butler is able to commit to a perfect mix of disappearing into the character and emerging from it to up the emotional stakes. He’s still got a shot but I think he might have to make do with his Golden Globe.
Colin Farrell (The Banshees of Inisherin) This is easily the most skilled and artful performance in the bunch. I considered Colin Farrell more of a movie star than an actor until this film. But this performance is mesmerizing. It’s fully lived in and soulful and I just can’t say enough nice things about it. Seeing this and then his completely transformative turn as the Penguin in The Batman has significantly raised his status as an artist in my mind. Acting is living truthfully through imaginary circumstances and there is so much truth, so much heart on display in this performance, I’m really hoping Farrell can add the Oscar to his mantle right next to his Golden Globe.
Bill Nighy (Living) This is a gorgeously British performance in a gorgeously British film. I was shocked to discover that this is Nighy’s first nomination and boy is it well deserved. Elegant, graceful, restrained and understated – this performance is all of these and more which is stunning for an actor known for scene stealing turns in big movies like Love, Actually and Pirates of the Caribbean. The fact the movie didn’t receive more attention is surprising and means a win for Nighy is not likely.
Paul Mescal (Aftersun) I’m not sure if I didn’t like this movie or I didn’t get it. Actually it’s both. And I really don’t get this nomination. His performance is fine, kinda haunting and he’s a charismatic guy. But there’s just not much there. Up against these other exemplary performances his inclusion is a big ol head scratcher. I’d have put Felix Kammerer (All Quiet on the Western Front) or Gabriel LaBelle (The Fablemans) in this spot way before this performance. Now that we know his name I’ll have to pay attention to what he does next to see what I’m missing.
BEST SUPPORTING ACTRESS
Who Should Win: Angela Bassett My Fave: Hong Chau Who Prolly Will Win: Angela Bassett
Angela Bassett (Black Panther: Wakanda Forever) Ms Bassett is wonderful in this role but this role isn’t what is winning her the Oscar. She’s winning as a testament to her body of work. She’s an icon and a legend and deserves it. Her work in the movie is beyond reproach, almost Shakespearean in its thunder and fury. It’s just the kind of show stealing role this award is made for. I’ll be shocked, gagged and gooped if anyone else gets this trophy.
Hong Chau (The Whale) This actress is a new favorite of mine as I equally admired her work in The Whale as in last year’s The Menu. She’s wonderful and real in this role, utterly relatable as a caretaker who’s had it with Brendan Fraser’s shit. One of the greatest things about the film is the way it allows its actors’ performances to happen in an organic, slice of life type of way. Her performance is possibly the best in a talented ensemble. She’s a long shot but I’ll be keeping my fingers crossed.
Kerry Condon (The Banshees of Inisherin) This is a genuine, truthful performance and the one that anchors this off kilter story. She’s the one character that’s able to break the cycle and make a positive change. It’s a lovely, varied performance demonstrating both extreme affection and frustration for the pig headed and simple minded men that populate her world. A win could be in the cards for her, particularly if Angela Basset and Jamie Lee Curtis split the OG sentimental vote.
Jamie Lee Curtis (Everything Everywhere All At Once) Jamie Lee is great in this movie and she has a similar iconic status to Angela Bassett so she has a chance. The problem is I don’t think this role would’ve been considered if a popular icon weren’t playing it. Sure there are funny moments but it just doesn’t amount to enough to earn her the win. Jamie Lee is truly one the greats of her generation, her Oscar winning turn can’t be too far away but…this ain’t it.
Stephanie Hsu (Everything Everywhere All At Once) Now this is the award winning role from this film. And Stephanie Hsu is fantastic in it. It’s a demanding, chaotic role and I was impressed by virtual newcomer Hsu’s commitment and engagement. I think she and Jamie Lee Curtis will split the votes of EEAAO Stans unfortunately so neither has much of a chance. But Stephanie Hsu has a long career ahead of her and this nomination will ensure she’s given the opportunity to show us even more of her considerable talents.
BEST SUPPORTING ACTOR
Who Should Win: Ke Huy Quan My Fave: Barry Keoghan Who Prolly Will Win: Ke Huy Quan
Ke Huy Quan (Everything Everywhere All At Once) Yaaaas Data! Get your life Short Round! This is a delightful, uplifting performance by an actor that taps deep into our nostalgia. Like I said about his co-stars this film put these actors to work requiring physical and emotional variety that other nominees can’t really match. Add his heartbreaking Hollywood redemption arc and he’s the front runniest front runner in the whole show.
Barry Keoghan (The Banshees of Inisherin) Whereas flashy, busy performances typically win awards, I was completely taken in by the nuance and vulnerability of this performance. In turn hilarious and heartbreaking, there is deep wisdom in this village idiot’s ramblings. Even if it’s not his year, and it probably isn’t, I hope this nomination leads to more mainstream success for Keoghan.
Brendon Gleeson (The Banshees of Inisherin) This entire film is so well acted I’m glad all of the major players were recognized for their outstanding work. Gleeson is the straight man to Colin Farrell’s lovable goof and his frustration with his life’s path and the company he keeps is as relatable as it is tragic. It’s a tremendous performance and the fact that he’s likely relegated to the “honor to be nominated” crowd speaks to the strength of his fellow nominees.
Brian Tyree Henry (Causeway) This is another small, quiet performance in a small quiet film. Brian Tyree Henry is simply a natural. His authenticity is his strength as he goes toe to toe with Oscar winner Jennifer Lawrence, another uncannily natural actor and a surprise snub for this performance. The film took place and was shot in New Orleans and the familiar backdrop made for a fun watch. His nomination is a bit of an outlier and his exclusion from other, pre-Oscar award lists make him long shot.
Judd Hirsch (The Fablemans) This nomination begs a couple of questions. Like what? And why? Every once in a while these single scene roles garner a nomination but Hirsch’s monologue and scene was one of the cringiest parts of the movie. Add to that he received this spot over co-star Paul Dano, who was excellent in this film and worked way, way harder than Hirsch, is a bigger tragedy than anything on screen. I don’t get it and I don’t think he has a chance. At least I hope not.
BEST ANIMATED FEATURE FILM
Who Should Win: Marcel the Shell With the Shoes On My Fave: Marcel the Shell With the Shoes On Who Prolly Will Win: Guillermo del Toro’s Pinocchio
Marcel the Shell With the Shoes On I LOVE Marcel! This is an original film in every regard. Jenny Slate and ex husband Dean Fleischer Camp have created the hands down most lovable character of this Oscar season and every season in recent memory. Marcel’s take on life, love and most strikingly loss will change your own perspective. I’m a big fan of Jenny Slate’s oddball brand of humor and Marcel is the very definition of oddball. A cheery, insightful, adorable little oddball. This is the IP I’m rooting for the most in the whole show but a win seems unlikely.
Guillermo del Toro’s Pinocchio The opposite of original, it is in fact the third of three Pinocchio films released in 2022. I appreciate the artistic mastery on display. Stop motion is super tricky and at this level it’s super impressive. But I just hated it. All of it. I hated the music, I hated how devastating it was, i hated how freaky deaky the puppet looked. I hated everything about it. But it undoubtedly will win and maybe that’s okay. Guillermo del Toro is an auteur and has a very specific point of view. Artistic merit should be awarded. I just prefer the more original Marcel by a wide margin.
Turning Red Not every piece of art is for every person. It’s not surprising I was not able to emotionally invest in an extremely thinly veiled story of a girl’s first menses. But I can appreciate it for what it is, another great Pixar film meant for another audience. And that’s on period. It doesn’t seem like this is Pixar’s year but I doubt it really affects their bottom line.
The Sea Beast The animation on this film isn’t really up to snuff with the current standard, certainly not Disney or Pixar level or even DreamWorks for that matter. It’s a charming story with some interesting characters and a nothing new message about understanding who the real enemies are. Overall it’s pretty basic and I’d be gooped if it snagged the win.
Puss in Boots: The Last Wish Didn’t see it. Can’t. Won’t. It’s the one film on the list that I’m not gonna watch. It’s probably great. If it wins I’ll check it out but I somehow just can’t imagine.
BEST ORIGINAL SCREENPLAY
Who Should Win: Everything Everywhere All At Once My Fave: The Banshees of Inisherin Who Prolly Will Win: Everything Everywhere All At Once
Everything Everywhere All At Once This is easily the most original story of the year so it stands to reason this would be the favored film for this category. Blending several genres, a complicated narrative made easy to understand and a unique but relatable sense of humor to keep the proceedings buoyant – this film has everything. Everywhere. All at…you get it. There are some great scripts in this category but after dominating the rest of the awards season, this is the one to beat.
The Banshees of Inisherin I’m a theatre kid so I’ve been reading and seeing Martin McDonaugh’s work since college and I appreciate his singular voice and point of view. He manages to find the humor in the brutality of human nature while shining light on the truth and motivations behind our inherent assholiness. This particular script grabbed me from the earliest moments and managed to keep me immersed and riveted throughout. It’s major strength is it’s character specific dialogue that allows us to understand who these people are quickly and fully. It could possibly eke out a win here as a consolation for missing out on some of the larger awards like Best Director and Picture but like I said, I think EEAAO is the easy front runner.
Tar This film is filled with lengthy, intellectual speeches about the nature of art and the frailty of artists. They are certainly revelatory to the pretentiousness of the classical music world and its titans. Throughout the picture, Tar’s insistence on being the smartest, most powerful person in the room becomes more and more desperate and unhinged. The script purposefully begins a bit over our heads, allowing us the schadenfreude of seeing her disgraceful fall from her lofty heights of intellectual superiority. I suspect that even though this film and it’s creators and stars are excellent on so many levels it will leave this year’s awards empty handed.
The Fablemans While this picture is excellent in most of the technical categories, its script is fairly saccharine and sentimental as many autobiographies tend to be. Our pasts are really only precious to us but this story is a bit too much so and I had a difficult time really connecting with Spielberg’s story. It fails to find the universality in the specific and a win here would be an underserved upset.
Triangle of Sadness The general plotting and the biting satire make this script a standout but the dialogue gets a bit lost in translation. It’s painfully obvious that English is not the first language of the film’s creators. Much of the dialogue feels stilted, the phrasing a little strange and off. However the story is timely and funny and while its inclusion in this category isn’t shocking a win most definitely would be.
BEST ADAPTED SCREENPLAY
Who Should Win: Women Talking My Fave: Living Who Prolly Will Win: Women Talking
Women Talking I have so much nostalgia for Writer/Director Sarah Polley and her work here is really magnificent. This script places tragically undereducated characters in heavy debate over weighty issues like personal liberty, morality and vengeance. It brings an interesting twist to the old saying “from the mouths of babes.” These women discuss what it means to be a woman, not only in their backwards fundamentalist society but on this planet. It succeeds remarkably well at pulling the universal from the specific. It’s brilliant work and apart from the Best Picture nod it’s been sadly overlooked by the academy. A win for ol Ramona Quimby here would redeem their larger oversight.
Living It’s unsurprising that screenwriter Kazuo Ishiguro is a Nobel Prize Winner. This film is chock full of beautifully poetic speeches and character specific dialogue. Sadly a win seems a long shot as it hasn’t even been nominated by most of the awards shows including, surprisingly, the Writer’s Guild of America. But if you enjoy thoughtful, poetic writing presented by an exceptional cast you should definitely check this one out.
All Quiet on the Western Front Many of the reviews I’ve read and watched have specifically pointed out how far from the source material this adaptation is so it surprises my that it’s a contender here. I watched a YouTube video comparing this film and the 1930 film of the same name and source and there is very little dialogue at all in this update. More show than tell. It has had some success in other award shows this season so this could be yet another situation where this one unexpectedly takes the win.
Top Gun: Maverick There’s a lot about this movie that I loved but the script really isn’t one of them. I appreciate some of the clever throwbacks (“Talk to me dad”) but by and large it was pretty basic action movie swagger and bravado. While I am rooting that some love be shown this movie, I don’t think this is the category for it to shine.
Glass Onion: A Knives Out Mystery I don’t think it has much a chance of winning but I’m excited to see this film here. Hopefully it will encourage the studio to make more of these outrageously fun and stylish murder mysteries. In this film and in the original the joy of the cast is obvious, making them equally joyful for the audience. They’re very fun and very well plotted but not really Oscar caliber.
BEST SONG
Who Should Win: Naatu Naatu My Fave: Lift Me Up Who Prolly Will Win: Naatu Naatu
Naatu Naatu (RRR) This is the only nominated song that appears as a scene in the film and it is a joyous event. A fully choreographed, gigantic Bollywood set piece with tons of dancing extras, this is really a no brainer as it’s the type of showstopper this award was made for. And it is the moment with Tic Tok ready choreo and club ready beats. Hopefully there will be a big production number on the Oscars telecast so people that haven’t caught the film can see for themselves what a clear winner this song is.
Lift Me Up (Black Panther: Wakanda Forever) This song feels most like one I’d find in a “Film Song Treasury” sheet music book back when those were a thing. It’s an evocative ballad that seems specific to Wakanda while also possessing the lyric strength to stand on it’s own. And it’s a gorgeous vocal performance from RiRi, proving once again that she has real singing chops. Like I mentioned above this is kind of a one horse race but I’d be super satisfied if this song surprised with a win.
Hold My Hand (Top Gun: Maverick) I cannot as a good homosexual speak ill of the Gaga and honestly there’s no reason to. This is a well written 80’s throwback-ish power ballad and she sings the mess out of it. But outside of the throwback vibe the song isn’t particularly specific to the movie at all. Too love ballady for a movie whose love story is a C or even D plot. It’s a cool albeit lyrically generic song and a great performance but not quite Academy Award level.
This Is A Life (Everything Everywhere All At Once) Like the film it appears in, this is a quirky, eclectic, singular little ditty. Unlike the film, it’s not particularly complex or challenging. There’s not much to it. It echoes the tone of the film very well, possibly the best of the other nominees that aren’t Naatu Naatu, so it’s inclusion here isn’t surprising but a win would be.
Applause (Tell It Like A Woman) Y’all this is poor Diane Warren’s 14th nomination with zero wins. It appears she’s looking at yet another upset but can we take a moment and just bless her heart? I mean honestly the woman is a hit machine so let her cry into her millions but 13 consecutive losses is a little gut punchy. This song doesn’t even come close to the mega hits she’s written for everybody from Cher to Celine to DeBarge. A win for this snoozy tune would be a slap in the face to the actual classics she’s lost with in the past. For all of us that grew up in the 80’s and 90’s, Dianne Warren is responsible for the soundtrack of our childhood. Look up her discography if you’re not familiar, I promise your response will be something like “dang!” Hopefully her 15th nomination will be the one cuz this song ain’t it.
BEST COSTUME DESIGN
Who Should Win: Black Panther: Wakanda Forever My Fave: Mrs Harris Goes to Paris Who Prolly Will Win: Elvis
Black Panther: Wakanda Forever This is a case of quality AND quantity. Designer Ruth Carter won for the original Black Panther film as well she should have. The originality and creativity are unparalleled, the references are specific and there’s a literal cast of 1000s. The sheer amount of work and creativity on display makes this an easy winner in my mind however other predictions surprisingly don’t place it as such.
Elvis The articles I’ve read have their bets placed on costumer Catherine Martin who has won in the past for earlier work with director Baz Luhrmann. It wouldn’t be underserved by any means. The recreation of Elvis’s most famous lewks is flawless as is the styling of Elvis and Priscilla throughout. This one also features a huge cast of extras to costume. But I assume many of these clothes were found rather than created, which is why Wakanda Forever’s made from scratch fabrications are much more impressive to me overall.
Mrs Harris Goes to Paris I loved this film! It’s a love letter to the fashion industry and Jenny Beavan’s attention to detail is unmatched. She’s a past winner for Cruella, and her reverence of haute couture is just as evident here. Her recreation of 50’s era Christian Dior fashion are lovingly remade in perfect detail. It’s a real shame this is the only nomination for this lovely, heartwarming movie. A nod for Lesley Manville’s Mrs Harris would have been completely warranted and deserved.
Babylon Prior nominee Mary Zophres creates a late 20’s menagerie of color and form in this kind of a mess of a movie. I’m sure folks at this level have done their research but many of these costumes, particularly those worn by lead Margot Robbie, felt out of time and way too risqué for the time period. Right or wrong I found them distracting and anachronistic. However this is another huge cast of extras and principles alike so the nomination isn’t surprising. But the lack of cohesion makes it a long shot in my homosexual opinion.
Everything Everywhere All At Once The specificity of costuming in this picture was vital to the overall storytelling. First time nominee Shirley Kurata does excellent work creating looks for each version of each character that tell us who they are from first sight. The costumes define the characters more in this film than any other nominee. From my research it sounds doubtful she’ll win but her designs are creative and bold and while it might be her first nomination, it definitely won’t be her last.
BEST VISUAL EFFECTS
What Should Win: Top Gun: Maverick My Fave: Top Gun: Maverick What Prolly Will Win: Avatar: The Way of Water
Avatar: The Way of Water Visual effects are these films’ only reason for existing and boatloads of money are spent on the most up to date technology. And they look really neat-o. So it stands to reason that if we’re awarding the “best” in a technology dominant category it’d go to the people that spent the most money. Seems a little soulless as far as art is concerned but if he’s only gonna pump one of these out each decade, I guess it’s fine.
Top Gun: Maverick What impresses me so much about the effects in this movie is that according to my reading, a surprising number of them are practical, shot with real jets. You don’t even have to be an action fan to appreciate how rad that is. In another year I think this would give the film an edge but I don’t think it’s enough to best the juggernaut that is Avatar.
All Quiet on the Western Front This film will make some sneak attacks in the technical categories but I don’t think it’ll win here. I mean, looked like war to me but…Avatar. As hard to watch as this movie is, it is undeniably well done in every category. This is a balanced mix of practical and computer effects and with the film’s scale and large cast it was an incredible amount of on set work. A win here would be completely deserved should the Academy decide Avatar ain’t it.
Black Panther: Wakanda Forever Marvel films have the money behind them similar to Avatar but the speedy production schedules don’t allow for the same level of artistic mastery. If anything scenes featuring the underwater Talokan make Avatar look better by comparison. That said, I think the Black Panther films are singular in the MCU for their originality and creativity. The effects that most impress me, the details of Wakandan society’s mix of advanced technology with the natural landscape of Africa, seem more attributable to the Production Design, a category this film is notably absent from. A win here seems a long shot and would be underserved compared to the competition.
The Batman What I loved about The Batman is the DIY made from scratch vibe they managed to merge with a well known, kinda played out intellectual property. They made if feel new by looking old. I can’t confirm but it felt like the effects were predominantly practical so that’s impressive. Like Black Panther, it’s visual strength is way more in it’s Production Design but again, it’s not nominated there. I don’t think this film excited anyone enough to garner any wins and it certainly isn’t strong enough to beat Avatar.
BEST PRODUCTION DESIGN
Who Should Win: Elvis My Fave: Elvis Who Prolly Will Win: Babylon
Babylon Surprising many with a run of pre-Oscars award show wins Florenzia Martin has taken the lead in this category for this Singin in the Rain on mounds of ether and cocaine story. The similarities between this film and previous front runner Elvis are pretty wild. Both recreate classic architecture and show biz settings. Both use a hyper saturated, jewel toned color palette although Babylon is overlayed in a sepia filter where Elvis is more in brilliant technicolor. Overall this movie is a bit of a mess albeit a good looking mess. It’s a close race with both front runners deserving of the prize.
Elvis Catherine Martin is an Academy favorite for her previous team ups with auteur Baz Luhrmann. Together they create high octane, kaleidoscopic cinema circuit parties which can be hit or miss. Elvis is a big old hit for me as the frenzy and swirls of color helped communicate Elvis’s accelerating spiral down the emotional toilet. It’s a degree or two away from reality and the artificial vibes help illustrate that Elvis is as much myth and legend as he is man. Favored from the start Martin and colleague Karen Murphy aren’t out of the race yet. This will be one to watch.
Avatar: The Way of Water The original took this prize as well it should have. They’ve created an entire planet and civilization from whole cloth with no source material to base their designs. It’s tough to argue the immersive beauty of Pandora. But this time they basically copy pasted the same designs just put them under water. I’m probably giving it less credit than it deserves but my nature is to reject hyper commercial multi billion dollar computer graphic dominant projects in favor of good old fashioned stagecraft and ingenuity. I don’t think a win is out of the question but I hope not.
All Quiet on the Western Front This could be one of the categories where this film picks up a surprise win. Like I said before, looked like war to me. It’s certainly an immersive design, putting you in the trenches alongside the tragically young soldiers the film follows. It’s bleak and brutal and devastating and dirty. In an equally distributed category like this a win wouldn’t be at all undeserved.
The Fablemans This is a strange nomination to me. Not that there’s anything wrong with the suburban 1960’s look and feel of the film, it just doesn’t particularly stand out from any other competently designed film set in the period. The specificity of the houses the family moves between does help to illustrate their upward economic trajectory but again not in any particularly special or exemplary way. It’s the outlier in this category, I don’t think it can compete with the other films nominated.
BEST MAKEUP AND HAIRSTYLING
Who Should Win: Elvis My Fave: Elvis Who Prolly Will Win: The Whale
The Whale In yet another battle between digital and practical effects, prosthetics designer Adrien Morot is noted for pioneering these all digital prosthetics that transformed Brendan Fraser into a morbidly obese recluse. I thought it was waaaaay cooler before I found out it was digital work. And outside of Fraser the rest of the cast was virtually makeupless. It’s still impressive that I could mistake digital renderings for the real stuff and I concede that successful “firsts” are award worthy. It’s a close race but Morot’s ingenuity seems to have the slight edge.
Elvis I just prefer the old school practical effects. But that’s not the only reason Elvis deserves the trophy. The prosthetics for Elvis required a twenty year age progression, Tom Hanks is virtually unrecognizable as Colonel Tom Parker, the hair on Elvis and Priscilla are equally as evocative as the makeup, there are hundreds of extras in period wigs and makeups. So much craftsmanship and work on display by an army of artists. It’s ingenuity vs artistry. I can’t wait to see how this turns out.
All Quiet on the Western Front I keep repeating the stealthy power of this film but this is another category where a win wouldn’t be surprising. You got muddy, bloody, gutsy, gore everywhere you look on this set and the mix of digital and practical effects is pretty seamless. It seems like a race between two front runners but a sneak attack isn’t outside the realm of possibility.
Black Panther: Wakanda Forever This nomination is all about the hair and I’m not mad at it. The creatively sculptural hair art is certainly impressive. And the Latin American weaves and paint for the Talokan serve. In both cases the fusion of multiple tribal cultures into a new and specific context make this film an artistic standout in the typically high-tech aesthetic of the MCU. A win isn’t out of the question but it seems a long shot.
The Batman Then there’s the DCEU. Who even cares? I’m kidding. Although beyond an impressive transformation for Colin Farrell’s Penguin there’s not a whole lot there. Everything Everywhere All At Once had way more going on in the hair and makeup department so I kinda wish they got this spot instead. Definitely an honor to be nominated situation. A HTBNS if you will.
Cliff’s Notes: Rotted & Relatable Reviews 