The United States vs. Billie Holiday [Hulu/VOD]

This was a messy and unfocused film that over-reached in its scope and ambition resulting in a dreadful and tiresome 130 minutes slog that was only saved by Paolo Nieddu's and Miuccia Prada's gorgeous costumes and vintage - yet modern - gowns, and Andra Day's singing. Day's acting had its moments of sparkle, but she lacked the range and depth to give her Billie Holiday any emotional weight or consistency. The weak screenplay by Suzan-Lori Parks and Lee Daniels' muddled direction definitely did nothing to help Day. Daniels, a gay man, had also unnecessarily peppered the film with a number of gratuitous female nudity (mostly of Day) that served no narrative or dramatic purpose.

This film had no idea what it wanted to be. Did it want to be a musical biopic of a Jazz legend/Black activist or did it want to be a straight-up dramatisation of Holiday's life? Is it about Black activism? Or is it about drug addiction? Or perhaps it was simply just a soap about the romantic entanglements of a famous person? So many facets, but none of them polished. At times it just became so frustrating to watch because Holiday was such a fascinating character and you can feel that Day could have been so much better. 

Day was paired with Trevante Rhodes but their emotional ties were only superficially sketched out and lacked any real substance. It packed no punch and also no heat. Their relationship just bore no consequences to the narrative that Daniels was attempting to tell. 

Day sizzled more on stage by herself singing than with Rhodes. That being said, Day attempts at being dramatic also felt shallow. The role/character does asks a lot from the actress, but Day - in her feature film debut - lacked the experience or nuance to really plunge into the depths. Her portrayal often seemed amateurish to the point of acting school caliber. However, granted she did have moments of sparkling brilliance that alluded to a potential unmined. It is just a pity that Daniels and this film did her no justice.

Oh, and what a waste of Natasha Lyonne. Even Garrett Hedlund deserved better. 

Truly, the saving grace were the Prada gowns and Day's powerhouse vocals. Combined them both together and those moments were electrifying. They were the moments worth waiting for but it was a pity that the second half had less of them. 

Day might sneak in a Best Actress (that fifth slot - other than Viola, Frances, Carey and Vanessa - would be a toss up between Day, Amy Adams, Rosamund Pike or Sidney Flanigan, my hope is for Flanigan!) or even a Best Original Song nomination, but the film will likely be shut out from all the other categories.

Another Round (Druk) [VOD]

 An absolute crowd-pleaser buoyed by a terrific Mads Mikkelsen and directed with assured sincerity by Thomas Vinterberg. A total delight to watch as laughter mixed with tears and hope intermingled with sadness and joy. Coupled with the tragic backstory surrounding the production, this was ultimately a film that celebrated and affirmed life for all its complications and complexities.

Starting with Finn Skårderud's unconventional hypothesis that humans are born with a blood alcohol level deficit of 0.05% per cent, the film used that conceit to explore a myriad of human behaviour either between each other or with society at large, albeit with a slightly Danish/Scandinavian leaning. It looked at all the different relationships one might have, with friends, family and colleague, with your work, your passions, your role in society and your duty to self. It looked at love, at regrets, at passion, at responsibilities. 

Essentially, this film used four middle-aged men and their mid-life crises to examine the messiness of life and the relationships that binds us all together for good and for bad. 

Crucial to the success of the film was the genuine chemistry between the central four friends played by Mikkelsen, Thomas Bo Larsen, Lars Ranthe and Magnus Millang. Their camaraderie anchored the film and made the possibilities of four teachers doing such a reckless, pseudo-psychological social experiment believable. 

But of course, lead actor Mikkelsen carried most of the film. His character's psychological changes through the film manifested so clearly - and sharply - in Mikkelsen's physical appearance. His face and his body language was like an extension of his psyche. The transformation ranged from stark to subtle and really was a masterclass in acting. And his eyes...they are so expressive.

And let's talk about that ending. This film had one of the best endings in a long while, and other than Steve McQueen's sultry, sexy 5-minutes plus tribute to love featuring Janet Kay's "Silly Games" in Love Rock, this was also one of the best dance/party/living-it-up sequence committed to celluloid. It was filled with an undeniable and exuberant joy that was so infectious and just so palpable. Paired with Scarlet Pleasure's "What A Life", it was a honest, sincere, hopeful, heartwarming celebration of Life. 

At the end of the film, one just cannot help feeling touched and hopeful and thankful to be alive. Such is the power of movies and such is the power of good storytelling. Kudos! Definite a shoo-in for a Best International Feature Film nomination and a dark horse for Mikkelsen to sneak in a Best Actor nomination. 

Minari 미나리 [VOD]

 

What a great movie! A simple telling of the classic American dream but make it in Korean.

Simply told but endlessly heartwarming, featuring brilliant performances by Steven Yeun and Han Ye-ri, and scene-stealers Youn Yun-jung and Alan Kim as one of the best grandmother/grandson duos on screen. 

Ostensibly, writer/director Lee Isaac Chung's film was about family and the bonds between them that get tested by the obstacles that Life throws at them. However, it also chronicled the quintessential ideal of the Amercian dream, but told through an Asian perspective. Asian audiences will surely relate to the many Asian qualities exhibited by the fictional family, and because of the way it is told - by an Asian film-maker and an Asian cast - it never seemed cloying, false or mocking. 

Chung's story-telling never seemed rushed nor indulgent with each new development in the characters' life given sufficient time to unfold. The only exception was the foray into religion that seemed distracted and underbaked. It seemed to be a facet of Han's character but it gave her no added depth nor complexity and only seemed to serve as a plot device in scaring children to behave. If it wasn't for Han's nuanced performance, it could easily have devolved her character into a caricature. 

Like Han, Yeun also gave one of his best performances as he converts his The Walking Dead fame to serious indie credentials, following his outstanding turn in Burning with this archetypical American dad role. Yeun portrayed his character - a Korean immigrant - as an Asian, with all the typical Asian sensibilities, that wants to be American but yet unable to fully relinquish his sense of self and identity. It was a delicate balance between being American and Korean that made his performance so riveting and relatable.

Yeun's also had great chemistry with Han which helped to successfully convince the audience of the couple's love for each other and also made their struggles and conflicts authentic and believable. Ultimately, it was their chemistry which really helped to sell the film's final act and denouement. 

However, the best performance in the film belonged to veteran South Korean actress Youn. Her grandmother was a hoot and yet she brought so much warmth and unspoken love in her portrayal. Her relationship with the very cute and very endearing Alan Kim was a highlight of the film. They both stole the show at very opportunity. That penultimate scene was simple and absolutely gut-wrenching. Solidified with a SAG award nomination, Youn's Best Support Actress Oscar nomination should also be more or less assured. 

The soulful score was by Emile Mosseri and Lachlan Milne was the cinematographer behind much of the period-appropriate camera work.

Minari was an exquisite film. An example of simple storytelling coupled with an assured directing and bolstered by a stellar cast. But up against Nomadland, its chances of replicating Parasite's success is slimmed. It will most likely be up for Best Picture and Best Supporting Actress, with Best Director, Best Original Screenplay and Best Actor as likely possibilities. 

News of the World [Netflix]

This was a feel good Western drama that was well rounded in every senses. A simple, straight-forward screenplay that was well directed by director/co-writer Paul Greengrass. That shoot-out scene was tense and exciting and classic Greengrass action. It also featured the always reliable Tom Hanks who turned in another well-liked, daddy-good-shoes performance that just seen so genuine and unassuming and unfortunately also very expected from Hanks and unexciting. However, the film also showcased a star-is-rising turn by Helena Zengel who was a refreshing breath of raw talent. Rounding off the impeccable production, we also have James Newton Howard doing his usual thing and providing a beautiful score, and Dariusz Wolski lensing the wide-opened prairie as gorgeously as the closed-in, light-scarce frontier towns. The film also obviously had the budget for costumes and set-designs to lend itself an air of authenticity. 

Greengrass is a very competent director and this film moved along at a steady pace. Each set and sequence was given its necessary time and space to breathe. Nothing felt rushed or bloated, but again at the same time, it was also very expected and predictable with nary a surprise. There is some sort of comfort in that and this type of film. But, like aforementioned, the one standout was the classic Western shoot-out scene, and good old Hanks pulled it off with aplomb.

Hanks reunites with Greengrass following Captain Phillips for another Captain role, but this time it required less emotional lifting from him. This is not to say that it was an empty performance or that Hanks sleepwalked through it, but that his character just had less complexity. This was an archetypical hero/father-role that really only required Hanks to be full-on paternalistic to the absence of any other real characteristics. 

Zengel, on the other hand, was revelatory. She had a raw, unfettered energy that translated across the screen and though she had limited lines, her eyes and body language spoke volume. Her easy chemistry with Hanks also made the evolution of their relationship believable. And that definitely helped to sell the ending.

This was an impeccably produced studio film that entertained, but, after nearly 2-hours, also equally forgettable. It is likely to grab a bunch of nominations, but unlikely to convert any of that to wins. 

On a separate note, it is a pity that Kelly Reichardt's similar frontier-era Western First Cow is more or less going to be left out of the big awards although, compared to News of the World, it was a  more exciting and refreshing film, with a great, original story and outstanding acting.

Judas and the Black Messiah [HBO Max/VOD]

A powerful biopic that unfortunately still remained relevant and resonant in this day. 

The film showcased a ferociously passionate and magnetically charismatic Daniel Kaluuya as Fred Hampton, and a more subdued and nuanced - but nevertheless equally involved - performance by Lakeith Stansfield. 

Directed and co-written by Shaka King, this film depicted the rise and death of Hampton through the lens of Stansfield's William O'Neal, a FBI informant planted within the Black Panther. We witnessed O'Neal's rise within the structure of the movement, his internal struggles between his community and the authority, and between his political apathy and greed. At the same time, we were also offered glimpses of the many faces of Hampton, from passionate freedom fighter and savvy political player to loving partner and humble leader. 

All these gave the two leads a rich field to play with and they sure went all out. The accolades were well deserved and Kaluuya is assured of a Best Supporting Acting nomination more so than Stansfield just because the former had the showier role. It will be tough for Stansfield to break into the Best Actor category given that he will be competing for the remaining two spots (Riz Ahmed, Anthony Hopkins and Chadwick Boseman are more or less confirmed nominees at this point).

Comparisons with Aaron Sorkin's The Trial of the Chicago 7 will be inevitable given the intersection of their story, but where Sorkin told his story from a mainly white perspective that was also slightly clinically detached, King's Judas wore its heart on its sleeve and the emotional weight hung heavy. However, on the other hand, Chicago 7 was also more defined with regard to its political leanings whereas Judas never seemed to land firmly its political believes. It remained more of a dramatic biopic with political leanings rather than a political drama. 

Steve McQueen's Mangrove  - the first instalment of his Small Axe anthology - was a stellar example of a film that successfully managed to marry the politics with the drama without sacrificing authenticity, passion and beliefs.

Shoutout also goes to Dominique Fishback who gave a striking and memorable performance as Hamptom's girlfriend Deborah Johnson.

Cinematography was by Sean Bobbitt and it was evocative of the period. The film's score was by Mark Isham and Craig Harris, and was unfortunately not very memorable. However, the end-credits song, "Fight for you" by H.E.R. was a powerful anthem that resonated and echoed the preceding 2 hours.

Judas and the Black Messiah was a powerful film with great acting and a story that deserved to be told. It is just unfortunate that things seemed to have changed so little since then.

Nomadland [Hulu/VOD]

 

This was an amazing film! I really, really liked it. Definitely the Best Film of this awards season (thus far, but then, not many films are left to watch). 

Writer/Director/Editor Chloe Zhao did a fantastic, stupendous, there-are-not-enough-adjectives-to-describe job in creating this deceptively simple but yet utterly complex film. At times almost documentary-like in its coverage of the nomads it depicts, and at times a gorgeous travelogue of middle America, and yet at times an intimate character study of a fascinating and deeply flawed but oddly relatable individual. 

Absolute kudos to Frances McDormand for giving yet another transformative and riveting performance rooted in a sincere honesty that really did seemed genuine and heartfelt. 

Also, hands down one of the best cinematography of the season! Cinematographer Joshua James Richards captured an almost National Geographic/BBC Earth-like depiction of the American landscape with his stunning wide-angles and all the beautiful light mother nature has to offer. But not just the great outdoors, one of his best moments was a tiny, indoor, private moment where the light was just so intimately captured as it played across the faces. 

Zhao also had the music of Ludovico Einaudi played throughout the film and his haunting piano scores added even more textures and emotional resonance - but never cloying or manipulative - to the film. 

This truly was an extraordinary film and a pity it could not be fully enjoyed on the big screen. 

The only other named actor in the film was David Strathairn but even he paled in comparison with the first-time performers that Zhao had surrounded McDormand with. Zhao managed to coaxed performances out of these true nomads that was, again, honest and sincere. And this translated beautifully on the screen with their relationship with McDormand. That really gave this film a rare coat of authenticity that was not glossy or false. 

Zhao non-narrative storytelling never felt difficult nor pretentious. As we followed McDormand, we slowly understood the purpose and the story that Zhao wanted to tell. There was no rushing, no dramatics, no histrionics but yet this film had so much soul, so much feelings and so much emotions. Each passing encounter or each fleeing moment just made sense. There was love, there was tragedy, there was friendship, there was fear, there was anger and there was - ultimately - hope. A Best Adapted Screenplay nomination is definitely on the cards, but this will a tough category this season and it will be unlikely to win given that it will be going against a few heavyweights like Mank, One Night in Miami, The Father, Ma Rainey's Black Bottom and even the Borat sequel.

McDormand is definitely in line for another Best Actress nomination. Looks like it will be either be her or Viola Davis for the statuette (with Carey Mulligan a dark horse). McDormand's vanity-free performance was riveting and like all great actors, she does so little but yet achieves so much. Hers is a face that speaks a thousands words. Her eyes holds so much emotions that you fear you might drown if you stare at them too long. This is a woman that has connected with her character and has became her. McDormand was Fern and Fern was her. Where Mildred Hayes - her last Oscar-winning performance in Three Billboards Outside Ebbing, Missouri - was loud and commanding and demanded your attention, Fern was quieter, controlled but yet equally your eyes are drawn to her.

This was an unlikely hopeful film. It has hope for the present and hope for the future. It is a film that dared you to be you and dared you to believe in yourself. Simply amazing. Zhao has outdone herself and now has made the upcoming MCU Eternals a must-watch (no pressure!)

Sound of Metal [Amazon]

This was a good, albeit slightly unfocused, film that had a fantastic leading man performance by Riz Ahmed and an even more amazing sound design. The latter will surely nab the film Oscar nominations for Sound Design and Mixing, and Ahmed is now also definitely going to be in the running for an unusually wide-field of Best Actors nominees. The other standouts were Paul Raci, a dark horse for Best Supporting Actor, and Lauren Ridloff, a very charismatic actress who will next be seen in the MCU's Eternals.

Directed and co-written by Darius Marder (the other co-writer is his brother Abraham Marder; Derek Cianfrance shared credits for the story and his fingerprints are obvious), this film explored the themes of lost of self and identity, strength and importance of community, addiction, and happiness. The film started off strong with a great first and second act bolstered by a lived-in and possessed performance by Ahmed that showcased the terror, fear, hopelessness and desperation of an ex-addict, musician coping by sudden hear loss (although that "sudden" bit was rather unbelievable from a medical POV) that slowly evolved to a grudging acceptance tinged with the eternal hope of recovery. 

However, the third act was an unnecessarily long and meandering route to a heavily telegraphed and soapy conclusion. That was where Cianfrance's fingerprints were most obvious in the story but the execution lacked his usual flair. If perhaps this was a three-episodes mini-series more could have been mined from this finale, but here it almost felt like a separate story tagged onto the more engaging prequels. Nonetheless, the final moments remained a showcase for Ahmed. In addition, his co-star Olivia Cooke was also at least given some sort of character/narrative closure.

Ahmed deserves the praises that has been lavished on him throughout this awards season. He gave an engaging and riveting performance that felt authentic and lived-in. The feelings that his character went through translated clearly in his body language and haunting eyes. From the frustration and desperation, to the fear and pain, and eventually to hope and acceptance, here was a portrait of the stages of grief/loss and the internal, eternal, struggle of an addict, brought alive in the big screen with no major histrionics or over-the-top melodrama.

Kudos too to Marder for keeping the authenticity in casting Raci and Ridloff. Raci, as a hearing child of deaf parents, definitely brought a sense of legitimacy to his role and performance as a mentor/leader; Ridloff, a deaf actress, was also crucial in helping to establish the bond between Ahmed's character and the deaf community in which he found himself with. 

Co-writer Abraham Marder also shared credits with Nicholas Becker for the music, and cinematographer Daniel Bouquet did some beautiful lensing of the film. 

However, technically, it was Becker's amazing sound design for the film that stole the show. It totally enveloped you into Ahmed's character's world. It was as disorienting as it was immersive, and one could only imagined how much more powerful the impact would have been in a cinema. This will be surely beat Tenet in the Oscar race. 

Marder's film is not without its flaws, but led by a top-of-his-game Ahmed in a riveting performance and the superb, immersive sound design, this was an engaging film that shed a spotlight on the deaf/hearing-impaired community and the struggles of those who suffered later in life.