Luca [Disney+]

A joyous and exuberant celebration of life, youth, friendship and la dolce vita. Simply executed and beautifully rendered by director Enrico Casarosa, this was a top tier Pixar animation. It may not have the big and ambitious thematic scopes like Inside Out or Soul, but it was highly reminiscent of classic, touching, Pixar like Toy Story and Coco. 

A simple, easy-to-understand story with lot of memorable and standout characters that was highly involving and emotionally resonant. It will surely speak to the children and entertain the adults.

The closest comparison to Luca would be last year's Onward. But where the latter faltered, the former shone. The chemistry and relationship between the two leads felt genuine and sincere. The joys and highs were palpable, and the lows and pains were well-earned. The town and the fantastical elements were gorgeously designed and created, and the inventive use of mixed animation style - a bit Soul-ish and Wolfwalkers-ish - was delightful and exciting. Even the score, by first time Pixar collaborator Dan Romer, was a lot more memorable than the ones by the Danna brothers for Onward.

In all, Luca just boldly embodied the carefree, joie de vivre - pardon my French - of its Italian setting. Everything felt looser, easier and less constrained by structure, and that translated beautifully to the screen, and, in turn, to the audience. 

Jacob Tremblay and Jack Dylan Grazer voiced our two intrepid young leads, and they were outstanding. Tremblay effortlessly captured the wide-eyed, innocent, naïveté that propelled his journey and allowed his sincerity and honesty to emanate through. Whereas Grazer, slightly older, had a rebellious edge to his voice that belied a need for acceptance and bonding relationships. It was not hard to imagine that their friendship was true.

Other standouts in the voice cast included Maya Rudolph and Sascha Baron Cohen. And Emma Berman as their female third-lead had an easy, infectious chemistry with our two boys. The code switching and interspersing of Italian throughout was a fun touch and will sure to get lots of kids - and adults - repeating them.

And let's give it up to Giuseppe, Mona Lisa and friends, and Machiavelli! LOL.

As mentioned, Romer's score was a standout. The Italian-Mediterranean tinged score was very fitting and it not only propelled the narrative but enveloped the audience into the environs. Each musical interlude was a highlight, and perhaps all that was lacking was a big, musical, sing-along number.

A pity that Disney decided not to put this up theatrically. Hopefully many people can watch this really good, tears-inducing, fun and funny, top notched animation! Stay till the end for a hilarious post-credits scene!

A Quiet Place Part II

 

A watchable and competent sequel to the original that held more thrills than scares. John Krasinski remained an effective director and his approach to presenting a story and editing did help to ratchet up the tension in two effective sequences. However, as a screenwriter, his storytelling lacked finesse. And even in a film that essentially had minimal dialogue the clunkiness was apparent. Krasinski asked his audience to suspend most logic and critical thinking, make wide and large assumptions, and just enjoy the ride. 

Thankfully, the ride was enjoyable and his stars were more than compelling and engaging. 

Blunt, having much less to do this round, took over as the pillar of strength and stoicism. 

But this film belonged to Millicent Simmonds. The last outing's MVP had been elevated to the main star of this film and she rose to the occasion. As the heart of the film, her thread was the A-plot and she was definitely a heroine that we were rooting to win. The only thing going against her was that it never really felt that she was in any kind of danger. 

[Spoiler Warning]

This was true for all the cast. They were never going to kill Blunt. Noah Jupe - the Jupe - made stupid (the stupidest!) decisions but his life was never in jeopardy. They were never going to kill a baby. So that left newcomer Cillian Murphy. 

Murphy was a welcomed addition to this cinematic family and he had an easy chemistry with Simmonds. Also, he exuded a similar 28 Days Later -like vibe which was oddly comforting for his role. The only way he would die was a heroic death a la Krasinski, but if Krasinski did so then the film would seemed more repetitive than it already is. 

[/End Spoiler]

The show's universe got expended a little more but not much new is glimpsed. The beats felt the same and the creatures/aliens felt as they were - maybe even a little less scary since we know what they are and how they looked like now. 

The prologue showed lots of promise in terms of the plot and Krasinski's directing, but just like the film itself, as exciting as it was, the end of the prologue was riddled with questions and doubts. Perhaps it would have been a lot more fun to spend more time in the past than in the future, building the foundation of this world a little bit more sturdier before aiming for the heavens.

Nonetheless, this was a good end-of-pandemic cinematic experience. A fun watch in the cinema with a crowd - albeit smaller than usual - and much better than the previous cinematic films like Tenet or WW84. Here is hoping Marvel will save the cinemas as it did on television recently.

Cruella

 

An overly long, overly stuffed, entirely rote and predictable film that purportedly aimed to give this Disney villain a credible backstory, but instead it just meandered and dragged for over two hours, getting lost in its own narcissistic revelry, and only ultimately providing the most superficial exploration of its titular character. Emma Stone's Cruella lacked depth both personally and in her relationships with the people are around her. Disney, as a brand, may appeal to children but this live-action feature was an insult to anybody who has a bit more intelligence than a 5 years old.

Craig Gillespie's direction was uninspiring and utterly unexciting. Nothing really felt original or fresh and it seemed that he was just going through the process of getting from plot point A to B to C and not caring about the hows or whys of it all. 

Screenwriters Dana Fox and Tony McNamara would have to take a share of the blame too. At 134 minutes long, the screenplay had way too much padding. It was one thing if these extra minutes served to enrich the experience or the characters, but it did neither. 

And to compound matters, this film had one of the worst CGIs of a big budget tentpole. Gosh, at times it felt like I was watching an episode of The CW's Arrowverse! Did they blow all their budget on employing the Emmas - Stone and Thompson - and the costumes? And the song licenses?

Now, that brings us to the three double-edged swords of the film. 

Firstly, the Emmas. 

What this film had going for it was the chemistry between Stone and Thompson. Their tête-à-têtes were highlights as both Emmas showed why they are at the top of their craft. 

However, when separated, Stone was an unlikeable anti-heroine who was underserved by the script and the direction. She preened and snarled and baby-voiced her way through the film but had nary a single redeeming factor that would have made her a compelling character, much less a sympathetic villain.

To make things worse, Stone's accent was atrocious. It was horrendously inconsistent. I get that she is a big, newly-minted Oscar winner, but they could not get someone with a better British accent? Was the other Emma, Emma Corrin not available (she would have slayed!)? Or Emma Watson (a bit too sweet but could have been a great turn for her acting)? Or Saoirse Ronan (more Irish than British but Ronan can do almost anything)? Or Emily Blunt (might have aged out of the role, and too reminiscent of her  time in The Devil Wears Prada)? Seriously, even Kate Winslet did a much better Philly DelCo accent through all seven episodes of Mare of Easttown than Stone in seven minutes of Cruella.

Thompson, on the other hand, was a fabulous delight. She obviously channeled Glenn Close's original Cruella and Meryl Streep's Miranda Presley, but gave it her own personal spin. I would be way more interested in seeing her origin story rather than Stone's Cruella. Thompson gave us a villain that almost begged for sympathy. 

By the finale - an anti-climatic climax - Thompson was the one that we were rooting for and not Stone. And I seriously doubt the film makers had that in mind.

The costumes by Oscar winner Jenny Beavan were a highlight. They were stunning and gorgeous and really suited/fitted the Emmas very well. Both of them rocked the designs they were wearing. However. it would have been better if we could have seen more of their designs given that they are supposedly geniuses, and the glimpses of runway fashion seemed more blah than cutting edge. Which then made their expertise - especially Stone's Cruella ingenue label - a bit more suspect.

In addition, Gillespie could have done a lot more to showcase some original fashion hijinks. Instead, we ended up with copycats of Vivian Westwood, Alexander Lee McQueen or John Galliano runway shows and concepts. Fashion guerrilla pop-ups that were done better and funnier on Emily in Paris. Even some designers on Project Runway had more originality and show-stopping ideas than Stone's Cruella.

Lastly, the music. There were a lot of great 60s/70s era pop music littered through the whole film. And for once, perhaps a bit too many. For a lengthy period in the first two acts, it was practically one song in every scene - or every other if I am being generous - and they did not all work. Dropping songs just for dropping songs sake was an money-move that resulted in the songs losing value and purpose. 

At least the original song, "Call Me Cruella" over the end-credits by Florence and the Machine had a purpose.

A quick note on the supporting cast: Paul Walter Hauser gets the funniest lines and is the MVP after Thompson (he and the two doggies); Joel Fry had no chemistry with Stone or Hauser; Kirby Howell-Baptiste was absolutely wasted; Mark Strong was being Mark Strong-esque; John McCrea as Artie was a plot device that fulfilled the inclusivity clause; and Andrew Leung reminded me of a young Andrew Garfield/Ben Wishaw or a Will Sharpe. 

In all, Cruella was an overlong, tedious and unnecessary prequel movie that served no greater good in fleshing out a once-iconic villain. Superficially enjoyable but it is not gonna save the box office. Likely better enjoyed on streaming. Stay for the mid-credits scene which gives a little nod-and-wink to the original 1996 film.

My Octopus Teacher [Netflix]

Netflix's feel good documentary about a jaded nature filmmaker and the life lessons and relationship he formed with an octopus over a year looks set to win the Oscar for Best Documentary Feature. But does it deserve it? No doubt it was a good documentary, beautifully shot and edited, and a soothing balm for these trying times. However, it really was just another nature documentary that anthromorphised a mollusk to engage the audience. 

The filmmakers tried to widen the scope by introducing to us Craig Foster - the titular "my" - in the beginning as a burnt out professional who then eventually found himself re-energised by the end of the film. But, to be honest, we never did find out much about Foster. Why was he burnt out? Why did he need a change? What did he actually learn? How did he apply what he had "learnt"? And in the end, you realised that the title of the documentary was actually a bit of a misnomer; "The Octopus" might have been more apt. 

Regardless, the underwater photography/shooting was beautiful and as a nature documentary it was highly informative. You will definitely learn a few things about octopi and even begin to develop a sense of empathy for their way of life. But to be sure, this was no Planet Earth and Foster's narration was no David Attenborough's. However, Foster did imbue a sense of genuine, almost child-like, discovery as he followed the Octopus through the weeks. And perhaps it was this reason that has drawn so many viewers - and awards voters - to it. 

At just 85 minutes long, My Octopus Teacher was an easy watch. Although it got a bit draggy in the middle, it was still worth it to stick till the end to witness.

93rd Academy Awards (Oscars 2021)

 

What a year it had been! Ravaged by the pandemic, this year's race started off with lots of trepidation with many indie films that came out earlier getting the opportunity to shine amidst the dearth of the usual box-office flares, e.g. Marvel, F9, etc. These include early breakouts like Never, Rarely, Sometime, Always (with breakout star Sidney Flanigan), First Cow and Palm Springs. Then there were also the more traditional fares like I'm Thinking of Ending Things (that was one hell of a smart script/adapted screenplay and great acting by the four main cast) and Da 5 Bloods (was it a Spike Lee spite that prevented Delroy Lindo from getting more love?) that were shown earlier in the year, but perhaps lost to the conversation due to the prolonged eligibility period. 

And then sometime towards the end of the year and into 2021, things got back to more familiar grounds with the big hitters steadily coming out one after the another. These studios and PR folks sure knew what they were doing, and the dice were cast. The only thing missing were the lack of any big, epic, hollywood-esque releases. 

Thankfully, this year's race is looking like it may contain quite a number of surprises, given that not many of the "big" categories are locked. It seemed that only Yun-Jung Youn winning Best Supporting Actress is the one sure thing. I would also boldly add Chloe Zhao for Best Director and Nomadland for Best Picture as almost sure-things.

*Winners are highlighted in red. 

BEST PICTURE

The Father

Judas and the Black Messiah

Mank

Minari

Nomadland 

Promising Young Woman

Sound of Metal

The Trial of the Chicago 7

Who Should Win: Nomadland
Who Will Win: Nomadland
Who Could Win: Minari 

Nomadland was clearly, to me, absolutely amaziing. A small film that felt intimate yet so grand in its scope and view. Throw in a nuanced, layered performance by Frances McDormand, stunning gorgeous cinematography by Joshua James Richard, and a of-the moment, topical narrative, and the result is a best picture winner. Clear and beyond the best film of the year.

BEST DIRECTOR

Lee Issac Chung, Minari

Emerald Fennel, Promising Young Woman

David Fincher, Mank

Thomas Vinterberg, Another Round

Chloe Zhao, Nomadland 

Who Should Win: Chloe Zhao
Who Will Win: Chloe Zhao
Who Could Win: Thomas Vinterberg

As above, Zhao was the driving force behind Nomadland. She spearheaded the team that created a fantastic film that was relevant but yet accessible. Her vision for a non-traditional narrative drove the simple telling of a complicated character living - and surviving - through these trying times.

BEST ACTOR

Riz Ahmed, Sound of Metal

Chadwick Boseman, Ma Rainey's Black Bottom

Anthony Hopkins, The Father

Gary Oldman, Mank

Steven Yeun, Minari

Who Should Win: Anthony Hopkins
Who Will Win: Chadwick Boseman
Who Could Win: Riz Ahmed

Ma Rainey's was shut out of a Best Picture nomination, so other than potential Best Hair and Makeup, and Best Costumes wins, its acting nominations are its best chances. The narrative for Boseman has been strong and is the driving force behind his potential win. However, the momentum seemed to have slowed in the build up to the Oscars with Hopkins winning the BAFTA and Ahmed winning the Indie Spirit awards. In my opinion, Hopkins gave the best performance of the lot. It was truly the definition of a tour de force, and if we had only based solely on performance Hopkins definitely deserves to win. Boseman had that one great scene in Ma Rainey's but Hopkins was riveting throughout. Both men did not have much of an awards campaign, unlike Ahmed who has been everywhere and that could help him to sneak in a win.

BEST ACTRESS

Viola Davis, Ma Rainey's Black Bottom

Andra Day, The United States of America vs. Billie Holiday

Vanessa Kirby, Pieces of a Woman

Frances McDormand, Nomadland 

Carey Mulligan, Promising Young Woman

Who Should Win: Carey Mulligan
Who Will Win: Frances McDormand
Who Could Win: Viola Davis

The toughest race to call. The two actresses with the least chance would be Day and Kirby. Day had moments of brilliance as Billie Holiday but it was mainly during the singing-segments. Her acting itself was uneven per se and the even more uneven screenplay and direction did not help her at all. And if Kirby had won a BAFTA, her chances may have improved, but without that win, her excellent performance, especially in that stunning one-take opening sequence is not enough to propel her further. That leaves us with the three frontrunners, McDormand, Mulligan and Davis. Mulligan is the only one of them that has not won an Oscar yet, so there is a narrative there. Nonetheless, I thought her performance in Promising Young Woman was phenomenal and easily the best of her career. McDormand owned Nomadland and she gave a nuanced, fine-tunely performance that was empathetic and engaging. Lastly, although Davis was a powerhouse but her role was decidedly smaller and that could work against her. On the other hand, her last Oscar was for Best Supporting Actress and the Academy (like the SAG) might choose to reward her this year.

BEST SUPPORTING ACTOR

Sacha Baron Cohen, The Trial of the Chicago 7

Daniel Kaluuya, Judas and the Black Messiah

Leslie Odom Jr, One Night in Miami

Paul Raci, Sound of Metal

Lakeith Stanfield, Judas and the Black Messiah

Who Should Win: Paul Raci
Who Will Win: Daniel Kaluuya
Who Could Win: Paul Raci

This was initially Kaluuya's to lose, until the Academy threw a curve ball and added Stanfield to the mix. Judas was a two-hander with both men as co-leads, but Kaluuya perhaps more appropriately a supporting role. But now with both of them in the same category, there is a risk of splitting the votes and either Cohen or Raci may sneak in for the win. Cohen was a revelation in Chicago and Raci had an effortless ease in his naturalistic performance in Sound of Metal. Although the Academy might want to reward Borat - and Cohen - and it will either be through here, Best Supporting Actress or Best Adapted Screenplay (and this category might have the highest chance).

BEST SUPPORTING ACTRESS

Maria Bakalova, Borat Subsequent Moviefilm

Glenn Close, Hillbilly Elegy

Olivia Colman, The Father

Amanda Seyfried, Mank

Yun-jung Youn, Minari

Who Should Win: Yun-jung Youn
Who Will Win: Yun-jung Youn
Who Could Win: Olivia Colman or Maria Bakalova

Granted, I have not watch two of the five performances nominated, but given that Youn has been sweeping all the major precursor awards, this is very likely the closest thing to a lock. People would really like to see her give another great speech. Performance-wise she was easily the best thing in an overall excellent film. Her role was funny, heartwarming and utterly memorable and the Academy will surely want to reward the little-movie-that-could!

BEST ORIGINAL SCREENPLAY

Judas and the Black Messiah

Minari

Promising Young Woman

Sound of Metal

The Trial of the Chicago 7

Who Should Win: Aaron Sorkin, The Trial of the Chicago 7
Who Will Win: Aaron Sorkin, The Trial of the Chicago 7
Who Could Win: Emerald Fennell, Promising Young Woman

Everybody loves a Sorkin script. Crackling smart, sharply witty and dense yet rhythmic, a Sorkin screenplay is always a highlight of the projects that he does. However, Fennell's debut effort was original, refreshing, entertaining and accessible to the masses. Chicago might not win anything on Oscar night, so if the Academy is thinking of spreading the wealth, Sorkin might get another writing Oscar.

BEST ADAPTED SCREENPLAY

Borat Subsequent Moviefilm

The Father

Nomadland 

One Night in Miami

White Tiger

Who Should Win: Christopher Hampton and Florian Zeller, The Father
Who Will Win: Chloe Zhao, Nomadland
Who Could Win: Sacha Baron Cohen, et al, Borat Subsequent Moviefilm

A tough category to call. Nomadland might be on a winning streak and sweep up all its nomination. But of the three films that I had watched, The Father seemed to be the strongest in terms of translation to a film. It felt like a play but yet it had elements that made it seemed unlike a play, which was unlike Miami that still felt strongly like we were on stage following the actors.

BEST ANIMATED FEATURE FILM

Onward

Over the Moon

A Shaun the Sheep Movie: Farmageddon

Soul

Wolfwalkers

Who Should Win: Soul
Who Will Win: Soul
Who Could Win: Wolfwalkers

Wolfwalkers was beautifully hand-drawn and rendered with a lovely story at its heart, but it will be tough to beat the beloved Pixar's Soul who had heart, humour, smarts, fancy technical effects and appeal across all four quadrants. And it is more likely that voters would have watched Soul then searched out Wolfwalkers on AppleTV+ or their screeners. 

BEST INTERNATIONAL FEATURE FILM

Another Round, Denmark

Better Days, Hong Kong

Collective, Romania

The Man Who Sold His Skin, Tunisia

Quo Vadis, Aida?, Bosnia and Herzegovina

Who Should Win: Another Round
Who Will Win: Another Round
Who Could Win: Another Round

Thomas Vinterberg's crowd pleaser has been winning most of the precursor awards and with its named-pedigree, star-power, tragic backstory, this jubilant celebration of life will likely take home the statuette here. Just for the record, I thought Taiwan's shortlisted A Sun was excellent!

BEST DOCUMENTARY FEATURE

Collective

Crip Camp

The Mole Agent

My Octopus Teacher

Time

Who Should Win: Collective
Who Will Win: My Octopus Teacher
Who Could Win: Collective

My Octopus Teacher seemed to be the hot favourite in this category, but in my opinion it felt like the weakest of the three docus that I watched. Collective was grim but topical and urgent; The Mole Agent was interesting directed and heartwarming, but perhaps a bit too light on its purpose.

BEST ORIGNAL SCORE

Da 5 Bloods, Terence Blanchard

Mank, Trent Raznor and Atticus Ross 

Minari, Emile Mosseri

News of the World, James Newton Howard

Soul, Trent Raznor, Atticus Ross and Jon Baptiste

Who Should Win: Soul
Who Will Win: Soul
Who Could Win: Da 5 Bloods

I really enjoyed the soundtrack of all five films, but the ones that left the deepest impression were Soul, Minari and Da 5 Bloods. Raznor, Ross and Baptiste will most likely win the award for their jazz-inspired score that really integrated with the film and helped moved the narrative along. Vote splitting will unlikely to occur here given that Mank and Soul were two different films with very different soundscapes. Blanchard's score was also jazz-infused and sympathy for the film's only nomination may also increase its voters' tally. 

BEST ORIGINAL SONG

"Fight for You", Judas and the Black Messiah

"Hear My Voice", The Trial of the Chicago 7

"Husavik", Eurovision Song Contest: The Story of the Fire Saga

"Io Si (Seen)", Life Ahead

"Speak Now", One Night in Miami

Who Should Win: Life Ahead
Who Will Win: Judas and the Black Messiah
Who Could Win: One Night in Miami

To be honest, I can't really recall much of any of these nominees. They are definitely no Shallow. I do remember thining "Fight for You" was an appropriate end-of-show song for Judas but my vote will be to "Io Si (Seen)" only just because Diane Warren is long overdue for a win!

BEST SOUND

Greyhound

Mank

News of the World

Soul

Sound of Metal

Who Should Win: Sound of Metal
Who Will Win: Sound of Metal
Who Could Win: Mank

Sound was such a crucial element in Sound of Metal and the sound design was fantastic. It helped to situate the audience into the deaf/hearing-impaired audience and really puts you into the headspace of Riz Ahmed's lead character. Mank would be a close contender for its recreation of a period-authentic film sound. That odd, slightly scratchy sound quality reminiscence of old black and white Hollywood.

BEST PRODUCTION

The Father

Ma Rainey's Black Bottom

Mank

News of the World

Tenet

Who Should Win: Mank
Who Will Win: Mank
Who Could Win: Tenet or News of the World

The realistic recreation of the 40s itself should warrant the team from Mank the win, but the whole recreation of Hearst Castle surely cemented their victory. News of the World had a sumptuous set and it may eked out a sympathetic win here. Similarly for Christopher Nolan's over-complicated flop Tenet. The set design for The Father was crucial in its replication of Hopkin's character's mindscape, but compared to Mank and News it might seemed a bit smaller in scope and vision.

BEST CINEMATOGRAPHY

Sean Bobbitt, Judas and the Black Messiah

Erik Messerschmidt, Mank

Dariusz Wolski, News of the World

Joshua James Richards, Nomadland 

Phedon Papamichael, The Trial of the Chicago 7

Who Should Win: Joshua James Richards
Who Will Win: Joshua James Richards 
Who Could Win: Erik Messerschmidt

My favourite technical category and all the nominees this year did an excellent job. But the most outstanding lensing surely had to be by Richards. The beautiful wide-angled outdoor shots and magic hour colours were truly stunning. Added to that was the brief indoor lighting over the piano and dining table which were also warm and intimate. Richards' closest competitor would be Messerschmidt for his sumptuous black and white cinematography of Mank. No details were lost in the monochromatic filming and it was as rich as any colour film.

BEST FILM EDITING

 The Father

Nomadland 

Promising Young Woman

Sound of Metal

The Trial of the Chicago 7

Who Should Win: The Father
Who Will Win: Nomadland
Who Could Win: Promising Young Woman

Editing for The Father was crucial in its narrative structure to visually - and logically - depict the mindscape of an elderly man in cognitive decline. However, it never got confusing to us as an audience and we are always firmly rooted in the understanding of what was real and what was fiction despite the deliberate confusion generated by Florian Zeller. Nomadland's editing was by Zhao too and she had singularly created her vision to tell a story, and that vision was clear, sharp and fully realised. As for Promising Young Woman, the flow of the story was well-paced and the editing smartly balanced between thriller/horror suspense and rom-com/dramatic tension.

BEST COSTUME DESIGN

Emma.

Ma Rainey's Black Bottom

Mank

Mulan

Pinocchio

Who Should Win: Ma Rainey's Black Bottom
Who Will Win: Ma Rainey's Black Bottom
Who Could Win: Ma Rainey's Black Bottom

Ma Rainey's is a frontrunner in this category and for Best Makeup and Hairstyling. Emma. had gorgeous Victorian costumes and it was no surprise that they got nominated, and Mank's period costumes - and again the Hearst Castle party scene stood out - was authentic and beautifully captured. But Viola Davis' outfits really stood out and actively helped her to embody the brassiness and energy of Ma Rainey herself. It is a pity I had not seen Pinocchio though.

BEST MAKEUP AND HAIRSTYLING

Emma.

Hillbilly Elegy

Ma Rainey's Black Bottom

Mank

Pinocchio

Who Should Win: Ma Rainey's Black Bottom
Who Will Win: Ma Rainey's Black Bottom
Who Could Win: Ma Rainey's Black Bottom

And again, Davis' wig, fat suit, and heavy makeup really helped her to be Ma Rainey. The fact that the film had also won the guild award and most of the precursors will definitely aid in its momentum towards Oscar glory. Hillbilly Elegy is here surely for Close's transformation but seeing that the film is so widely derided, it is hard to imagine it winning.

BEST VISUAL EFFECTS

Love and Monsters

The Midnight Sky

Mulan

The One and Only Ivan

Tenet

Who Should Win: The Midnight Sky
Who Will Win: The Midnight Sky
Who Could Win: Tenet   

Unfortunately, this looks like it is going to be a two-horse race between The Midnight Sky and Tenet. The visual effects in the former had already been seen and done in Gravity, but that one scene with the blood splatter in zero-gravity was truly gorgeous. Tenet for all its flaw did have exception practical and CGI effects, and again sympathy voting could go in Nolan's favour.

Collective (Colectiv) [VOD]

Just like last year's Macedonian film Honeyland, this Romanian documentary film is nominated for both Best International Feature Film and Best Documentary Feature, and it was no surprise. Shocking, bracing, piercing and unrelenting, Collective showed unflinchingly showed a government and a healthcare system that was corrupted to its core, placing profits and politic interests over basic healthcare needs and human life. 

This film was absolutely frustrating to watch and was impossible not to feel riled up by the injustice of it all. Kudos to the team of investigative journalists (and all others not depicted) for breaking the story, the technocrats led by Vlad Voiculescu, and also to the amazing film team spearheaded by Director/Co-writer Alexander Nanau for getting this film made.

Collective was unlike your typical docu-film where there were a rotating ensemble of talking heads interjected with footages. Here, like in the fellow Documentary-nominee The Mole Agent, Nanau had presented the subject as more of a narrative film with us following the protagonists as they uncovered conspiracies and cover-ups, and got thwarted by bureaucratic red-tapes and unexpected tragedies. Seriously, the "plot-twists" could make daytime soaps jealous. And again, because of this technique, Collective was highly engaging and emotionally resonant. 

In particular, Nanau's choice for highlighting the human consequences of the corruption, giving airtime to the victims of the tragedy and their grieving family, added an additional dimension of compassion and empathy to the viewing experience. It clearly showed the consequence of such irresponsible governance, but, at the same time, also helped to re-enforce the tragedy of the film's ending, where seemingly nothing appeared to have changed or will change. 

The vicious cycle enveloping such institutional and widespread corruption, and the political apathy of a democratic population is a stark warning to all of us living in more fortunate circumstances.

The Father [VOD]

First-time director Florian Zeller's adaptation of his own play was a heartachingly tender and immensely immersive film that showcased a phenomenal performance from Anthony Hopkins and a quietly poignant turn from Olivia Colman. This was perhaps one of the most devastating films about aging since Michael Haneke's 2012 Amour. And in my opinion, Hopkins really does deserve the Oscar for his amazing and unforgettable performance that never felt performative and which was maintained throughout the whole 97 minutes runtime.

Zeller told this story beautifully with his camera. Despite an economical runtime, a rarity these days especially with Best Picture nominees, Zeller weaved a powerful narrative that hit all the right emotional notes without feeling too manipulative. It was amazing how he, and fellow nominee/co-writer Christopher Hampton, managed to get us absorbed into the mindscape of a man in the throes of dementia. The confusion and hesitancy felt so visceral and palpable that even we, the audience, also find ourselves questioning reality.

The film still felt like a play at times, especially the two-handed bits with Colman and Hopkin, but the freedom of cinema actually allowed Zeller to tell an even more visual story. And it is no wonder that the Production Design scored an Oscar nomination too. Just like the house in Parasite, the London apartment was a character undo itself. The design choices, the colours, the layout, they all helped to tell a story of a man addled with doubt, confusion but still sparked with moments of clarity.

Hopkins was simply fantastic. This was his best performance in years! And with last year's Two Popes, he is in some sort of late-stage renaissance. Throughout the film, Hopkins displayed an amazing range of emotions and physicality which he could effortlessly switched on and off. Admittedly, Chadwick Boseman was good in Ma Rainey's Black Bottom and he had that one great scene, but Hopkins was great throughout the whole film and even then he still had multiple moments of absolute brilliance. Boseman's narrative might be strong, but in terms of quality of performance, Hopkins was undeniable.

Colman also scored a second Oscar nomination for her strong, restrained performance as Hopkin's daughter. Colman was a master in the portrayal of the silent pain and suffering of the aggrieved carer of an elderly ailing patient. A nuanced performance that relied much on Colman's expressive face and emotive eyes. 

Olivia Williams (what a great bit of casting!), Mark Gatiss, Rufus Sewell and Imogen Poots rounded out the rest of the cast who were great in their own way.

Ludovico Einaudi provided the music, just as he did with fellow nominee Nomadland; and Ben Smithhard did the cinematography. 

The Father was a beautiful film that absolutely deserved all its accolades.