Transformers: Rise of the Beast

A fun, mindless summer popcorn, CGI-heavy, action-packed studio flick that sufficiently entertained without requiring too much, or any, thinking. Director Steven Caple Jr. may not have the directorial flare and action choreography finesse of Michael Bay, but the action sequences were exciting enough, not too messy and had minimal unnecessary slow-mo moments. But in particular, there was a bit more heart here than the last few entries in the franchise. 

The humans, Anthony Ramos and Dominique Fishback, had good character moments and their chemistry was genuine. It was a good choice not to push a romantic relationship between them which kept the film slightly more grounded. Both these actors are definitely going places (after their star making turns in “In the Heights” and “Judas and the Black Messiah” respectively) and hopefully this step into franchise territory will only introduce them to a bigger audience, better roles, and potentially awards contention. 

There was nothing much to talk with regard to the plot. Same thing as usual, find the McGuffin and save Earth from Evil. No big twists, no new revelations, except maybe now the good guys (robots) are actually animals? But apparently, we needed four guys to write the same old thing (and one for the story). Although, the ending did suggest a potential Hasbro shared-universe franchise could be coming our way. And undoubtedly a sequel is on its way. 

At just slightly over 2 hours, thisleast the CGI-assisted transformations still delivered a kick. That was the least we could ask for, and not another MCU debacle. 

Indiana Jones and the Dial of Destiny

It is time for Harrison Ford - and perhaps even Indiana Jones (in this iteration at least) - to finally hang up his whip and fedora. There was some nostalgic excitement as we watched Ford re-inhabit the role and Phoebe Waller-Bridge was a fun, dynamic addition (as compared to Shia LaBeouf’s character not the actor). However, James Mangold’s direction, though thrilling for the action sequences, lacked the flare, ingenuity and natural excitement of original director Steven Spielberg - yes, even with the previous Crystal Skull. 

One major issue laid in Ford’s age, because even as he continued to dish out quips - most do land, as did his banter with Waller-Bridge - his aging body just did not translate into adequate and/or believable action sequences. This was even despite all the de-aging technology, plot contrivances to put Indy in vehicular chases (or on horseback in one case) or simply conveniently explained away with a line or two of (eye-rolling) dialogue. 

And yes, the screenplay by all four (4!) screenwriters was mostly unimaginative and clunky. They seemed to be trying so hard to recapture the magic of the original that they forgot about character development and nuances. Indiana Jones was never just about the adventure, but also Indy’s relationship with Marion and his father, and a little to Willie and Short Round. And in this film, Indy’s relationship with his god-daughter just seemed superficial and in service of moving the narrative rather than deepening it. 

At least we still had John Williams scoring the adventure and the opening notes of Indy’s theme (and Marion’s too) never failed to just speed up the heart rate just that little bit more. 

The cinematography by Phedon Papamichael had some good moments, in particular in the third act where the nostalgic Indy adventure really kicked into gear. 

Waller-Bridge may be a good choice to continue the franchise, if they really wanted to, but we do have “Tomb Raider”, so maybe just, really, goodbye and good night to Indiana Jones.  

Asteroid City

Wes Anderson’s latest was so deliberately Wes Anderson-esque that it was bordering on self-indulgent and over stylised, with style and aesthetics taking priority over narrative and character development. This was no where near top tier Anderson, but at least it was a step up from “The French Dispatch”, though not much higher. One’s enjoyment of “Asteroid City” really depend on how much one enjoy Anderson’s schtick. However, undeniably, “Asteroid City” was one hell of a visual feast. It was sumptuously lensed by Robert Yeoman and impeccably designed by Adam Stockhausen, with another fun score by Alexandre Desplat. 

What worked well in this film, especially compared to “The French Dispatch”, was that it had a tighter narrative through line - its metatexual storytelling was fun but not too extreme - and a more cohesive cast that brilliantly bounced off each other even though, as usual, some actors got their “moments”. 

Jason Schwartzman was a brilliant standout. He really nailed the nuances and idiosyncrasies that characterised an Anderson leading man. His main scene partner was Scarlett Johansson and they had good chemistry together, and Johansson did fit in as an Anderson ensemble member. As did newcomer Tom Hanks who most likely replaced Bill Murray, who was not missed, so kudos to Hanks. Jeffrey Wright had one great scene, Maya Hawke and Rupert Friend had good chemistry, Hope Davis was sardonically blithe, Adrian Brody and Edward Norton seemed to be having fun, and Tilda Swinton was being Tilda. Others like Willem Dafoe, Margot Robbie and Hong Chau were more extended cameos for a significant scene. 

But it was Jeff Goldblum and the kiddos that really stole the show. The former was just simply the highlight of the film, whereas the latter grounded it emotionally and prevented Anderson from getting overly meta and out of control. 

At a tight 105 minutes, “Asteroid City” was a fun, delightful watch, gloriously stylish with a simple, but effective, mix of drama and comedy, wit and pathos.  

Spider-Man: Across the Spider-Verse [IMAX]

A gloriously exuberant superhero action film that effused with chaotic energy, crackling comedy and some heartfelt tenderness. The animation was thrilling and exciting, with each spider-verse innovatively designed to be distinctive yet identifiable. This was one animated film where the animation itself was a crucial driving engine propelling the narrative and the vibes of the film, so kudos to the directors - all three of them. Their vision truly brought out the comic-book aesthetics and unstoppable page-turning quality that reminded us of a really good graphic novel/comic; that and also Daniel Pemberton’s heart-thumping score which really accelerated the fight sequences/large action set pieces. 

The story itself was simple enough, now that the multiverse has lost its novelty, with the twists as expected as they were. The film could have been a bit tighter and did less fan service. It was a  Marvel/MCU Easter eggs galore that although entertaining and tongue-in-cheek, did make the film 15-20 minutes longer than it needed to be. 

What really worked was Gwen Stacy, and by extension Hailee Steinfeld, as the co-lead. Steinfeld’s voice work was on point and carried the necessary emotionally pathos and drama. Other standouts included Jake Johnson, Brian Tyree Henry, Karan Soni, Daniel Kaluuya , Issa Rae and Oscar Isaac. 

Shameik Moore as Miles Morales got the wisecracking banter and patter down, but he somehow lacked the vocal gravitas and depth to emote the necessary drama that the second and third act required. 

And like almost all MCU films, our primary villain lacked dimensions and character. His motivations are as nebulous as his animation, and his development was equally flat. Hopefully the third entry can remedy that. 

Yes, the film ended on a cliffhanger. Even at 140 minutes long, there was no conclusion which seemed to frustrate most of my audience who possibly did not know that beforehand. However, it did build up expectations for the finale, both to its detriment - if it falls short - or to its unparalleled success - if it exceeds. And hopefully with its track record thus far, this might turn out to be the best Spider-Man trilogy of them all. 

Watching it on IMAX was brilliant and there were no stingers at the end.  

The Little Mermaid

A winsome, feel good reimagining of the classic animation buoyed by a perfectly cast Halle Bailey and a superbly on-point Alan Menken (his score was on overdrive), this was an absolutely fun and engaging live-action Disney remake that successfully rode the wave of nostalgia for the adults, but yet also very likely to leave an indelible mark on this new generation of young ones. 

The four classic songs, as always, remained highlights with Daveed Diggs’ Sebastian stealing the spotlight with a brilliantly updated version of “Under the Sea” (choreographed with the Alvin Ailey American Dance Theatre!) that was so much fun and a definite high point. But of course, we started first with Bailey’s powerful and soulful singing through “Part of your world”, instantly transporting back to the days of my youth. The next scene stealer then belonged to “Kiss the Girl” - omg, just please kiss the girl!!! Lastly, we had Melissa McCarthy hamming it up as Ursula (with a bit of extra backstory potentially laying the grounds for a backdoor villain origin story á la “Maleficent”) and doing a terrifically scary rendition of “Poor Unfortunate Souls”. 

The new songs, on the other hand, mostly did not work. Prince Eric’s new solo, “Wild Unchartered Waters” had some of the most forced rhyming courtesy of Lin-Manuel Miranda, and melodically, Menken made it a belter, but Jonah Hauer-King, though decent, did not do it justice. Perhaps, considering this, they should have cast a singer/Broadway star? Miranda’s other contribution, “The Scuttlebug”, fared better, but will also depend on how one feels about a sudden inclusion of a rap in a Disney musical, and also of Awkafina’s rapping. “For the First Time”, on the other hand, was better written, beautifully expressing Ariel’s emotion and state of mind, and sung so passionately by Bailey that it was hard not to empathise with our little mermaid. 

Acting-wise, Bailey was great as the love lorn ingenue, but less convincing in the more serious moments. Nonetheless, it were the former moments that really sold the story especially in the first two acts. McCarthy was hammy but boy, they did Ursula dirty with that makeup. Hauer-King was easy on the eyes and he had chemistry with Bailey, but he does not leave much of an impression. And Javier Bardem was absolutely miscast. Voice-acting wise, Diggs was a winner, Awkafina’s mileage depends on how much one can tolerate her voice though at least her screen time was not too much, and Jacob Tremblay was a perfect Flounder (his CGI counterpart less so). 

And yes, the CGI was highly distracting (and sometimes distressing). This was, undoubtedly, no “Avatar 2” which has set the standard so high for all future underwater films. However, in this case, even the above-water, land-based scenes were badly CGI-ed. 

But despite its faults, “The Little Mermaid” had enough charm, nostalgia and feel goodness to surf through its over 2 hours run time (135 minutes) to bring smiles, laughters, drama, tension, romance and just a jolly fun time!  

Guardians of the Galaxy Vol. 3

James Gunn's final MCU entry was a fun but overlong - 2.5 hours! - chaotic and messy film. Its cast obviously had great chemistry together after many films and specials together, and there was a lot of heart it, some a bit too manipulative, but, hey, Gunn and the Guardians have earned it at least. However, with a screenplay that focused on the heart, writer/director Gunn forgot about the brain, and there was only that far one could carry a story on heart alone if the logic gaps start getting too big and blatant, and brings the audience out of the story.

Nonetheless, most of the laughs - more chuckles, some LOLs - and the finale heartstrings tug were deserving, and remind us that the misfits of the Guardians were truly the heart of the MCU Infinity Saga; and Drax and Mantis were a new pairing that working (firmly established since their Christmas special). Although Drax's mileage is heavily dependent on how much one enjoys Dave Bautista's performance and Drax's characterisation.

Although, importantly, GOTG3 did Adam Warlock nasty! It was an absolute waste of Warlock the character and Will Poulter the actor. This was not the Warlock from the Marvel comics - far from it - and although Poulter seemed like he was having fun in the role (more than what we could say for Elizabeth Debicki who seemed bored and regretted signing on to the MCU), there was just not enough of him and his wry comic timing. But Poulter at least made the case that we deserve an Adam Warlock standalone movie.

Other than Poulter, the other standouts were our primary villain the High Evolutionary, played by Chukwudi Iwuji, who chewed the scenery with delightful, egomaniacal glee, and the voice acting of Bradley Cooper as Rocket as the emotional core of this instalment. 

Chris Pratt was just being Chris Pratt (again); Zoe Saldana seemed like she is finally glad to be done with this role; Karen Gillan has a dry, sardonic humour that was wasted under all that prosthetics/makeup/CGI.

After Vol 1, Gunn's music choices seemed forced and fan service-y, and the needle drops here continued to be so. They felt inorganic and less tongue-in-cheek, and more in place to fill up the silence rather than contribute to the story. It might have been better if composer John Murphy had the chance to score the film more fully. However, at least, our closing song - spoiler - Florence + the Machine's "Dog Days are Over" was a definite banger and fun highlight of the whole film.

The CGI for GOTG3 was also definitely a step up from Ant Man 3, but there were still moments where the artifice really stood out. Maybe Marvel really need to slow down their production to allow their VFX artists more time to improve their craft.

As per usual, stay tune for mid and end-credits stingers! 

 

Suzume ( すずめの戸締まり)

I will say it here first: there is a high chance that Makoto Shinkai's latest animated film will get into next year's Oscar race, pending if Hayao Miyazaki's new film will get released in time too. 

However, as the first film, since Miyazki's Spirited Away to compete in the Berlin International Film Festival, it will not be a stretch to imagine that non-Japanese viewers will embrace this fantastical yet surprisingly grounded animation that was not only laugh out loud funny, but also achingly emotional and tender. However, Japanese viewers - or even those who had suffered some sort of natural disaster - may find the subject matter a bit too close to heart. The emotional trauma to losing a loved one to earthquakes and tsunamis may be still too raw.

Suzume could be Shinkai's most matured work and definitely a step up from Weathering with You. It may not be as saccharine and emotional as your name., but it was more emotionally complex, dealing with grief and love, self-identity and purpose, and generational/emotional trauma. 

Story-wise, Shinkai's writing and directing was also more assured and surprising. On paper, the plot would be nonsensical and beyond fantastical, but yet in the execution it was not only believable (as all good fantasy ought to be within its realm of mystery and world-building) but also relatable and grounded. The first act was different from the second, which in turn, was also different from the third. However, they were all tied together coherently by Shinkai and his protagonist - Suzume - as we followed her on a journey from the west to east of Japan visiting not only multiple significant sites in Japan's storied history of natural calamities, but also in Suzume's journey of self-discovery and reconciliation with her past. 

The animation was top-notch with perhaps one or two moments of computer CGI that seemed a little out of place. However, it was the little touches of normalcy and reality that really helped the animation to feel seamless in its fantasy storytelling. Everybody, please give it up for the stool and the cat(s)! 

The music was by Shinkai's frequent collaborator Radwimps and composer Kazuma Jinnouchi, and as usual was a significant part of the storytelling. It pumped up the action and moved the emotions but never excessively or manipulatively. 

As with almost all Japanese animations, repeated viewings would surely bring more details and nuances to the fore, and I can't wait to re-watch this soon!

95th Academy Awards (Oscars 2023)

From March 2022 till March 2023, I had watched 54 films. Of which, for the first time, I had watch more than one movie more than once in the cinema: The Menu, Top Gun: Maverick and Avatar: The Way of Water. There were lots of good films these years and as usual, foreign-language films (or films by foreign directors) remained exciting and different from the standard usually Hollywood fare - both popcorn flicks and art-house award contenders.

Easily, my favourite films of the year were TÁR and Aftersun. The former was a masterpiece in directing by Todd Field and acting by Cate Blanchett. They were both at the absolute top of their game, creating a tense, taut, tight, unflinching, un-nerving, un-apologetic psychological thriller and character study that was was both topical to the present and relevant to the future. #IStandByLydiaTár!

Aftersun, on the other hand, was a quiet, unassuming gem. A stunner of a debut that continued to haunt me, even till now, 3 months after I had watched it. A brilliant debut by writer/director Charlotte Wells that examined the power of memory through cinema, but also devastatingly painted a picture of despair and lost that hurt immensely through its lens and its leading man, Paul Mescal.

Upfront, the big Oscar frontrunner, Everything Everywhere All at Once was not my favourite movie of the year. It does not even make my top 5. When I first watched it back in April 2022, I described it as an "entertaining film" with a "great concept" and a "brilliant" first act, but "not an entirely original" film. And I still stand by it. 

I can appreciate why most western culture seemed utterly enamoured by the film. It was representational and it was inspirational to them. But from an Asian (non-American/Western) perspective, the familial storyline was rote and routine; from an absurdist sci-fi POV (read: Douglas Adams, Christopher Moore, Terry Pratchett, etc), the multiverse aspect and absurdist comedy was unoriginal and uninspiring; and lastly, the language was an ear-sore for native speakers - Michelle Yeoh's character was obviously on point, as was Stephanie Hsu's as a second-generation American-born Asian but Ke Huy Quan that was grating and took any merit out of his performance which every award body (except for the BAFTAs) seemed to be praising (cynically: more for the narrative than the actual acting?). 

Nonetheless, Yeoh was still the best thing of the film, and what the Daniels did with the budget they had was fascinating and highly laudable. The editing was top notch and deserved the Oscar nomination, but Costume? Song? Score? (both of which Guillermo del Toro's Pinocchio were snubbed!);  Two Supporting Actresses??! (Any of the women from Women Talking were more deserving!); Even Original Screenplay is debatable (see above re: originality; The Menu or Nope would have been better choices). 

One thing though, this year's Oscars seemed to be more unpredictable than usual, especially in all the big awards. The acting races has no clear front runner yet except for Ke (and in that respect, we can all still hope for a big upset!). The directors seemed to be poised to go the Daniels but never count out Steve Spielberg or Field. Similarly, EEAO may be the Best Picture leader, but there is always previous frontrunner, The Fabelmans, Martin McDonagh's crowd-pleaser, The Banshees of Inisherin, and the big underdog, All Quiet on the Western Front.

A last shout out to Hong Chau, Colin Farrell, Barry Keoghan, Angela Bassett, Mrs Harris Goes to Paris, Marcel the Shell, Corsage and Vicky Krieps, all the onscreen vomiting this year (Triangle of Sadness and Babylon)... And here are my Oscar predictions:

*Winners are highlighted in red. 

BEST PICTURE

All Quiet on the Western Front

Avatar: The Way of Water

The Banshees of Inisherin

Elvis

Everything Everywhere All at Once

The Fabelmans

TÁR

Top Gun: Maverick 

Triangle of Sadness

Women Talking

Who Should Win: TÁR
Who Will Win: Everything Everywhere All at Once
Who Could Win: All Quiet on the Western Front

Any of the films other than Elvis and EEAO deserve to win the big prize. Women Talking was devastating, Triangle of Sadness was elevated cringe at its auteuristic best, Top Gun: Maverick and Avatar: TWOW were absolute top notch entertainment, The Banshees of Inisherin was an acting showcase, The Fabelmans was a feel good, family friendly entertainment with superb technicals, AQOTWF was an unrated war-film that was gorgeous, stunning and emotionally resonant, and TÁR was simply a masterpiece. Elvis was a gaudy mess with an over-rated performance and EEAO was just not my cup of tea. 

BEST DIRECTOR

Martin McDonagh, The Banshees of Inisherin

Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once

Steven Spielberg, The Fabelmans

Todd Field, TÁR

Ruben Östlund, Triangle of Sadness

Who Should Win: Todd Field
Who Will Win: The Daniels
Who Could Win: Steven Spielberg

The DGA gave their top award to The Daniels so they are most likely going to win this. What they had achieved with what they were given was undoubtedly stunning. However, in terms of skill, Field and Spielberg were way ahead of them. Field created a masterpiece as was agreed by many of his peers: Martin Scorsese, Pedro Almodóvar, Alfonso Cuarón and Paul Thomas Anderson; Spielberg's most personal film was filled with personal touches and filmed with such tenderness and longing and artistry. Östlund got the Palme d'Or and sneaked in a nomination, and I think that is as well as he will do here, and McDonagh may just have to settle for Best Original Screenplay despite directing his cast to four acting nominations.

BEST ACTOR

Austin Butler, Elvis

Colin Farrell, The Banshees of Inisherin

Brendan Fraser, The Whale

Paul Mescal, Aftersun

Bill Nighy, Living

Who Should Win: Colin Farrell
Who Will Win: Brendan Fraser
Who Could Win: Austin Butler

This is going to be a three-horse race. Austin Butler vs Colin Farrell vs Brendan Fraser. Sorry Paul Mescal, too young and too little-watched. Sorry, Bill Nighy, though I have not watched Living yet, if the BAFTAs did not give it to you, and Living is even smaller than Aftersun, it will not be your turn. Fraser has the best narrative and the showiest performance, with a final act that was pure emotional manipulation. The Whale's lack of nominations, may hurt his chances though. Farrell has a great narrative too - comeback kid giving strong to great performance steadily over the years - but although his performance was pure acting, the fact that was no transformative, losing-myself-in-the-role arc will definitely hurt him. And Butler, may just go the way of Rami Malek - winning an Oscar for a musical biography for a larger than life character, just because.

BEST ACTRESS

Cate Blanchett, TÁR

Ana de Armas, Blonde

Andrea Riseborough, To Leslie

Michelle Williams, The Fabelmans

Michelle Yeoh, Everything Everywhere All at Once

Who Should Win: Cate Blanchett
Who Will Win: Cate Blanchett
Who Could Win: Michelle Yeoh

Another tight Best Actress race, but this time clearly between Blanchett for her demanding, powerhouse performance who had swept every single critic award, and Yeoh, who won the SAG, indicating support from the acting branch. However, with the whole academy voting, it might just go - very deservedly - to the best acting performance which is Blanchett's Lydia Tár. It will be a mighty upset if the Riseborough debacle resulted in a win. Sorry, de Armas - too many bad reviews for me to want to go watch Blond.

BEST SUPPORTING ACTOR

Brendan Gleeson, The Banshees of Inisherin

Brian Tyree Henry, Causeway

Judd Hirsch, The Fabelmans

Barry Keoghan, The Banshees of Inisherin

Ke Huy Quan, Everything Everywhere All at Once

Who Should Win: Brendan Gleason
Who Will Win: Ke Huy Quan
Who Could Win: Barry Keoghan or Judd Hirsch

If any category (other than Best VFX) has a lock, it will be this. Ke Huy Quan has been dominating the awards circuit and this is his to lose. Whether deservingly or not. Either of the Banshees boys could act circles around Ke, and Keoghan actually managed to score a win at the BAFTAs. Hirsch stole that 15 minutes or so that he was in The Fabelmans and without Gleeson that would have been no one for Farrell to act oppposite of.

BEST SUPPORTING ACTRESS

Angela Bassett, Black Panther: Wakanda Forever

Hong Chau, The Whale

Kerry Condon, The Banshees of Inisherin

Jamie Lee Curtis, Everything Everywhere All at Once

Stephanie Hsu, Everything Everywhere All at Once

Who Should Win: Angela Bassett
Who Will Win: Angela Bassett
Who Could Win: Jamie Lee Curtis or Kerry Condon

It was a crime that none of the ladies from Women Talking were nominated! Claire Foy and Jessie Buckley were scene stealers and had so much raw intensity and vulnerability (Rooney Mara was in the running for Lead Actress). Definitely more than the Hsu or Curtis, but that is what the EEAO momentum wrought. Nonetheless, Bassett will be the most deserving winner. She was strong and commanding, and one of the best bits of a Marvel film. And it is time not only to give her what she deserved, but also to legitimise MCU/superhero films. Hong Chau's time will undoubtedly come one day, but not this year. Condon and Curtis fresh off a BAFTA and SAG win respectively will be Bassett's closest competitor.

BEST ORIGINAL SCREENPLAY

The Banshees of Inisherin

Everything Everywhere All at Once

The Fabelmans

TÁR

Triangle of Sadness

Who Should Win: Todd Field, TAR or Ruben Ostlund, Triangle of Sadness
Who Will Win: Martin McDonagh, The Banshees of Inisherin
Who Could Win: The Daniels, Everything Everywhere All at Once

A contentious category. McDonagh might just win this because this might the only award Banshees will get. Although the screenplay does have its own merits, the first two acts were better than the last act. Field's screenplay was timely, current and insightful, although his directing and Blanchett's performance might overwhelm the script itself. Similarly for Ostlund's Triangle, although the skewering of the rich and class-warfare was presented in an original manner. Tony Kushner and Spielberg's The Fabelmans was smartly written and genuinely touching, but it lacked a certain flair. As for the Daniels, I don't think there was anything original about the script, but the majority of voters will likely think otherwise.

BEST ADAPTED SCREENPLAY

All Quiet on the Western Front

Glass Onion: A Knives Out Mystery

Living

Top Gun: Maverick 

Women Talking

Who Should Win: Sarah Polley, Women Talking
Who Will Win: Sarah Polley, Women Talking
Who Could Win: Kazuo Ishiguro, Living or Rian Johnson, Glass Onion

Just like McDonagh above, this might be the only award Polley and Women Talking bring home. But it will nonetheless be truly deserving for a film that was devastatingly haunting and unexpectantly tender and hopeful beneath the brutality. Ishiguro might win just because of his name - though not winning at homeground BAFTA might be to his disadvantage; everybody loves Johnson and Glass Onion was a crowd pleaser, but it might be too much of a light-weight to win an Oscar. Similarly, everybody loved Top Gun, but the screenplay was basic and the weakest part of the film. All Quiet might be the dark horse to come in to sweep the awards as what it had been doing in Europe.

BEST ANIMATED FEATURE FILM

Guillermo del Toro's Pinocchio

Marcel the Shell with Shoes on

Puss in Boots: The Last Wish

The Sea Beast

Turning Red

Who Should Win: Guillermo del Toro's Pinocchio
Who Will Win: Guillermo del Toro's Pinocchio
Who Could Win: Marcel the Shell with Shoes on

Sorry to Dreamworks and Disney, but this race is between Pinocchio - which has been sweeping the precursors and truly deserved more nominations - and the sweetly tender, live-action/stop motion Marcel. Pinocchio will have the edge not only because of its pedigree and underlying starpower, but it was also a phenomenally engaging and touching retelling and reimagining of a classic.

BEST INTERNATIONAL FEATURE FILM

All Quiet on the Western Front, Germany

Argentina 1985, Argentina

Close, Belgium

EO, Poland

The Quiet Girl, Ireland

Who Should Win: All Quiet on the Western Front
Who Will Win: All Quiet on the Western Front
Who Could Win: Close or Argentina 1985

Unfortunately, I had only managed to watch 2 out of the 5 nominees, and both were brilliant but All Quiet definitely has the edge over the smaller and more intimate Close. Although Argentina 1965 might be the black horse as it did pick up some of the precursors over All Quiet.

BEST DOCUMENTARY FEATURE

All That Breathes

All the Beauty and Bloodshed

Fire of Love

A House made of Splinters

Navalny

Who Should Win: -
Who Will Win: Nalvany
Who Could Win: All the Beauty and Bloodshed

Again, I did not get to watch any of the nominees this year, but from the buzz it seemed to be either previous winner, Laura Poitras for All the Beauty and Bloodshed, topical Russian documentary Navalny or the crowdpleasing Fire of Love.

BEST ORIGNAL SCORE

All Quiet on the Western Front, Volker Bertelmann

Babylon, Justin Hurwitz

The Banshees of Inisherin, Carter Burwell

Everything Everywhere All at Once, Son Lux

The Fabelmans, John Williams

Who Should Win: All Quiet on the Western Front, Volker Bertelmann
Who Will Win: The Fabelmans, John Williams
Who Could Win: Babylon, Justin Hurwitz

One of the many categories that EEAO did not deserve to be nominated in. Bertelmann's score for All Quiet was memorable and haunting. As was Hurwitz's score for Babylon, which was one of the few best things of the film. Although it was too derivative of his work from La La Land and Whiplash to be "original". Burwell's score was beautiful and sweeping but did not stand out. As for Williams, he is the biggest name here, and his name recognition alone may carry him over the threshold to win the Oscar. That being said, Williams' score was honestly beautiful and helped to carry the emotional weight of Spielberg's story.

BEST ORIGINAL SONG

"Applause", Tell it Like a Woman

"Hold my Hand", Top Gun: Maverick 

"Lift me up", Black Panther: Wakanda Forever

"Naatu Naatu", RRR

"This is a life", Everything Everywhere All at Once

Who Should Win: "Hold my Hand"
Who Will Win: "Naatu Naatu"
Who Could Win: "Naatu Naatu"

From all the buzz, this will be "Naatu Naatu"'s to lose. Sorry Lady Gaga and Rihanna. And sorry again, Diane Warren.

BEST SOUND

All Quiet on the Western Front

Avatar: The Way of Water

The Batman

Elvis

Top Gun: Maverick 

Who Should Win: Top Gun: Maverick
Who Will Win: Top Gun: Maverick
Who Could Win: All Quiet on the Western Front

This might be the only place where Top Gun will get its Oscar. Everybody loves the sounds of fast planes and sonic booms. Although the soundscape of the war epic All Quiet might sneak in a craft sweep.

BEST PRODUCTION

All Quiet on the Western Front

Avatar: The Way of Water

Babylon

Elvis

The Fabelmans

Who Should Win: All Quiet on the Western Front
Who Will Win: Babylon
Who Could Win: All Quiet on the Western Front or Elvis

If anything, Babylon had its sets going for it. The opening sequence was a stunner as were the literal sets designed for the movies-within-a-movie. However, the period recreation of Elvis, was a standout and those were fabulous trenches in All Quiet. Just like the above, All Quiet might do a BAFTA and sweep the crafts.

BEST CINEMATOGRAPHY

All Quiet on the Western Front, James Friend

Bardo, False Chronicles of a Handful of Truths, Darius Khondji

Elvis, Mandy Walker

Empire of Light, Roger Deakins

TÁR, Florian Hoffmeister

Who Should Win: James Friend
Who Will Win: James Friend
Who Could Win: Mandy Walker

Deakins cinematography, especially that spectacular fireworks scene, was extraordinary, but unfortunately Empire of Light was more of a miss. Also, did not catch Bardo but the buzz around it was similar, in that, Khondji's cinematography was a highlight. Perhaps these two names should have been swapped out for The Batman's Greig Fraser and Top Gun: Maverick's Claudio Miranda. Walker has a likely chance to make history as the first woman to win this award, however Elvis' cinematography maybe not be the most striking thing about the film. Hoffmeister's unique cinematography for TAR actually helped to immerse the audience into the psyche of the protagonist with it brutalistic, flat presentation. However, it will be Friend's stunning capture for All Quiet that deserves the Oscar this year.

BEST FILM EDITING

The Banshees of Inisherin

Elvis

Everything Everywhere All at Once

TÁR

Top Gun: Maverick 

Who Should Win: TAR
Who Will Win: Everything Everywhere All at Once
Who Could Win: Elvis

Some films are made in the editing room of which the nightmare, intense psychological thriller TAR and multiverse, timeline jumping EEAO definitely made the case for that. Elvis also benefitted from fancy editing. And which ever film that wins this early award, would surely be a frontrunner for Best Picture. Therefore, it will most likely be EEAO's to lose.

BEST COSTUME DESIGN

Babylon

Black Panther: Wakanda Forever

Elvis

Everything Everywhere All at Once

Mrs Harris Goes to Paris

Who Should Win: Black Panther: Wakanda Forever or Mrs Harris Goes to Paris
Who Will Win: Elvis
Who Could Win: Everything Everywhere All at Once 

Jenny Beavan should just win for all the couture she designed for Mrs Harris. Similarly Ruth Carter's designs and imagination for Wakanda was outstanding and the early funeral scene was a total standout. However, Elvis and EEAO have the most buzz with the former having the most glitz and the latter the wackiest. Elvis will likely sweep this and Best Makeup and Hairstyling in a nod to the excesses of Baz Lurhman's vision.

BEST MAKEUP AND HAIRSTYLING

All Quiet on the Western Front

The Batman

Black Panther: Wakanda Forever

Elvis

The Whale

Who Should Win: The Whale
Who Will Win: Elvis
Who Could Win: All Quiet on the Western Front

The Whale would be the front runner for its utter transformation of Brenden Fraser, and if it does win here, Fraser would have a leg up for Best Actor. However, to some, the grotesque focus and fat-shaming might deter them, and instead Elvis will notch another win for its transformation of Austin Butler. The winner here will likely also be the Best Actor winner. Although All Quiet might swoop in again.

BEST VISUAL EFFECTS

All Quiet on the Western Front

Avatar: The Way of Water

The Batman

Black Panther: Wakanda Forever

Top Gun: Maverick 

Who Should Win: Avatar: The Way of Water
Who Will Win: Avatar: The Way of Water
Who Could Win: Avatar: The Way of Water

The only slam dunk of the year. 

Everything Everywhere All at Once

This was an entertaining film with a never-been-better Michelle Yeoh, that had a great concept, albeit not an entirely original one - think if Terry Pratchett and Douglas Adams had written “The Matrix” - that needed just a bit more editing and hand-holding to trim and solidify its storytelling. 

At 139 minutes long, it could have possibly trimmed down by at least 15 to 30 minutes just to tighten the narrative. It was way too heavy on clunky exposition and too focused on world building - the Daniels (or the producers) seemingly had no faith in its audience and their IQ - that at times it lost sight of its characters and their emotional arcs. Ultimately, the theme of parenthood, growing up and letting go, familial bonds were the backbone of the film, but it also did not need to be hammered in so inelegantly - funny at times, yes - towards the final act. 

The first act was brilliant. It had so much potential. Introducing the core characters and their internal conflicts. The code switching employed by Yeoh and Ke Huy Quan was fun and authentic from a SEA Asian’s POV. But then the second act was laden with all the problems above: meandering, clunky, unfocused. And finally at the third act, again, it took too long to get to the expected end. The Daniels had a lot of cool ideas and moments, but by throwing everything on the screen, they ended up sacrificing the storytelling itself. 

Thankfully, they had Yeoh. She absolutely nailed her role and showed that she was capable of comedy and drama. There were well earned emotional pathos and laugh out loud moments despite the film’s fault. And her screen chemistry with on screen daughter Stephanie Hsu was a highlight. Hsu looked like she was having so much fun in her role and it showed. The biggest miscast was Quan. Not only did he lacked chemistry with Yeoh which was so integral to one of the main arcs of the film, but his Mandarin was just so off kilter with the others especially to the ears of native speakers (non-speakers seemed to have less issues with that). However, in addition, his portrayal seemed verging on slapstick a la Stephen Chow of old that, again, was incongruent with the others (perhaps that was a deliberate choice? It did not work). 

This film - and its idea - would have been the perfect Douglas Adams, Terry Pratchett, or even Christopher Moore or Jasper Fforde book. Authors who excelled in absurdist, almost irreverently black, but logical sci-fi comedy drama. 

Actually come to think of it, this film was actually like a mashup of two Wachowskis films “The Matrix” meets “Cloud Atlas”. 

The Daniels have created a fascinating and encouraging follow up film following the equally irreverent comedy “Swiss Army Man” and it will be exciting to see what come next. Or will they get sucked into the MCU?  

TÁR

As directors Martin Scorsese, Pedro Almodóvar, Alfonso Cuarón and Paul Thomas Anderson had raved, Todd Field’s “TÁR” was a masterpiece. It was a phenomenal masterclass in filmmaking and storytelling. A tense and tight psychological thriller, despite its 2.5 hours run time, that was not only fiercely intelligent with a dark wit and scathing social commentary, it was also sumptuously stunning to look at (thanks to the gorgeous lighting and lensing of Florian Hoffmeister) and to listen to (the sound team and score by Hildur Guðnadóttir were excellent!). 

But the most important key to the absolute brilliance of “TÁR” was the utterly compelling and incredible performance by Cate Blanchett. She was riveting and formidable, and absolutely had our attention from the start as we followed her through Lydia Tár’s fall from grace. Blanchett is an actress in total control of her craft. She fully inhabited the character. There was no need for makeup or prosthetics, Blanchett just disappeared into the role and what we had on screen was simply Lydia Tár - EGOT winner, author, conductor, mother, partner, predator. Blanchett’s face, eyes and her whole body were used to full effect as we watched from her point of view the events that unfolded. She elicited out of us, a myriad of emotions, from awe and inspiration, to confusion; from anger and disgust, to shame and - dare I say - pity. Simply put, this was acting at its pinnacle. How she, or any other actor, can top such a towering performance ever will be fascinating to watch! 

However, Field too deserved the accolades for writing and directing this tour de force. Superficially, this was a film about cancel culture. It was about how power seduces and corrupts. It was about power dynamics. But those were just scratching the surface. Field had smartly not firmly established his own opinions and deliberately left many things open ended and to allow the audience themselves to contemplate  and complete the story. Implications (and accusations) were made, but nothing was shown on screen. And as we were made to follow Blanchett’s Tár point of view, we can never really be sure whether she was truly a sexual predator or just a selfish manipulator. This grey area and that delirious, frantic third act (and epilogue) really thrusted this film into an echelon high above most films. 

Other than Hoffmeister’s gorgeous cinematography, Guðnadóttir’s brilliant score that mixed in Mahler’s Fifth and Elgar’s cello concerto, the other stunning craft work was Monika Willi’s editing. The tight editing not only helped to tell Field’s story maintaining its tautness and tension but also gave power to Blanchett’s performance as she wrestled with whatever demons that may be plaguing her. 

Also quick shout out to the Hair & Makeup, and Costume Design team! Also to Nina Hoss and her arched eyebrows as Tár silent but strong partner and Noémie Merlant as her assistant who may or may not be as she seemed. 

“TÁR” has now jumped to be the frontrunner of my Oscar pool. If it was up to be, it should be awarded for at least 4 of its 6 nominations: Best Picture, Best Director, Best Actress and Best Original Screenplay. I would definitely watch it again to catch even more details of this phenomenal masterpiece. 

Close

Belgium director Lukas Dhont’s Grand Prix winner at last year’s Cannes Film Festival was a small and intimate examination of masculinity, friendship and homophobia (not homosexuality) in the guise of a family/coming of age drama. 

It’s always a risk when a film is carried on the shoulders of not only a first time actor, but a first time child actor, and Dhont directed the gorgeous and intense-eyed Eden Dambrine and the lovely soulful Gustav De Waele beautifully and expertly. In particular, act one was so achingly sincere and tender that we absorbed bought into the boys’ friendships and brotherhood (it also helped that the boys were friends already). 

However, other than the innocence of these boys, the biggest strength of Dhont’s almost documentary-like film was the delicate navigation of the emotional landscape surrounding the central conceit of the story. Simply put it was about the friendship of the two boys and how society had conditioned and manipulated our views and opinions of boys, men and masculinity. How even in this day and age, progressiveness may not have penetrated as widely as we think despite the digital age and the ubiquitous nature of social media.  

As the film carried on, it slowly veered from Dhont’s documentary style follow through of our protagonist to a more straight forward family drama climaxing in an effective but manipulative ending with a satisfying epilogue. A lot of the heavy emotional lifting came from the parents but Dambrine was also excellent (and excellently directed) in the quieter more introspective moments. 

It will be interesting to see whether Dambrine and De Waele will continue acting after this, and if so how will they care, but Dhont continues to be an exciting director to keep an eye on. The Palme d’Or will be his one day.