91st Academy Awards: My Ballot and Complete Ranking of 2018’s Year of Film

Well, another Oscar season of blogging about my thoughts on the previous year in film is coming to a close, and per usual, it has been a gratifying experience to share my reviews of 2018’s most remarkable films and performances with all of you. In advance of tonight’s 91st Academy Awards, I have posted this recap. Below you will find my Top 10 Films of 2018, my personal ballot for all categories in which I have seen each film/performance, and a complete ranking of every film I saw from 2018.

With that said, check out my recap and then make sure to tune into the 91st Academy Awards tonight at 7:00 p.m. (CST) on ABC, live from the Dolby Theatre in Hollywood, CA. Enjoy, film fans.

Top 10 Films of 2018

1. The Favourite
2. Spider-Man: Into the Spider-Verse
3. The Death of Stalin
4. A Star Is Born
5. Blindspotting
6. Thoroughbreds
7. Upgrade
8. American Animals
9. A Quiet Place
10. Black Panther

91st Academy Awards Ballot

Best Picture

  1. The Favourite
  2. A Star Is Born
  3. Black Panther
  4. Roma
  5. BlacKkKlansman
  6. Vice
  7. Green Book
  8. Bohemian Rhapsody

Best Actress

  1. Olivia Colman – The Favourite
  2. Glenn Close – The Wife
  3. Lady Gaga – A Star Is Born
  4. Yalitza Aparicio – Roma
  5. Melissa McCarthy – Can You Ever Forgive Me?

Best Actor

  1. Rami Malek – Bohemian Rhapsody
  2. Bradley Cooper – A Star Is Born
  3. Christian Bale – Vice
  4. Willem Dafoe – At Eternity’s Gate
  5. Viggo Mortensen – Green Book

Best Supporting Actress

  1. Emma Stone – The Favourite
  2. Rachel Weisz – The Favourite
  3. Regina King – If Beale Street Could Talk
  4. Marina de Tavira – Roma
  5. Amy Adams – Vice

Best Supporting Actor

  1. Mahershala Ali – Green Book
  2. Richard E. Grant – Can You Ever Forgive Me?
  3. Sam Elliott – A Star Is Born
  4. Sam Rockwell – Vice
  5. Adam Driver – BlacKkKlansman

Best Original Screenplay

  1. The Favourite – Deborah Davis and Tony McNamara
  2. Vice – Adam McKay
  3. First Reformed – Paul Schrader
  4. Roma – Alfonso Cuarón
  5. Green Book – Nick Vallelonga, Brian Currie, and Peter Farrelly

Best Adapted Screenplay

  1. A Star Is Born – Eric Roth, Bradley Cooper, and Will Fetters
  2. BlacKkKlansman – Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee
  3. The Ballad of Buster Scruggs – Joel Coen & Ethan Coen
  4. Can You Ever Forgive Me? – Nicole Holofcener and Jeff Whitty
  5. If Beale Street Could Talk – Barry Jenkins

Best Original Score

  1. Black Panther – Ludwig Göransson
  2. Mary Poppins Returns – Marc Shaiman
  3. If Beale Street Could Talk – Nicholas Britell
  4. BlacKkKlansman – Terence Blanchard
  5. Isle of Dogs – Alexandre Desplat

Best Original Song

  1. “Shallow” from A Star Is Born – Music and Lyric by Lady Gaga, Mark Ronson, Anthony Rossomando, and Andew Wyatt
  2. “All the Stars” from Black Panther – Music by Mark Spears, Kendrick Lamar Duckworth, and Anthony Tiffith; Lyric by Kendrick Lamar Duckworth, Anthony Tiffith, and Solana Rowe
  3. “When a Cowboy Trades His Spurs for Wings” from The Ballad of Buster Scruggs –Music and Lyrics by David Rawlings and Gillian Welch
  4. “The Place Where Lost Things Go” from Mary Poppins Returns –Music by Marc Shaiman; Lyrics by Marc Shaiman and Scott Wittman
  5. “I’ll Fight” from RBG – Music and Lyrics by Diane Warren

Best Sound Editing

  1. A Quiet Place – Ethan Van der Ryn and Erik Aadahl
  2. Roma – Sergio Díaz and Skip Lievsay
  3. First Man – Ai-Ling Lee and Mildred Iatrou Morgan
  4. Bohemian Rhapsody – John Warhurst and Nina Hartstone
  5. Black Panther – Benjamin A. Burtt and Steve Boeddeker

Best Sound Mixing

  1. Roma – Skip Lievsay, Craig Henighan, and José Antonio Garcia
  2. First Man – Jon Taylor, Frank A. Montaño, Ai-Ling Lee, and Mary H. Ellis
  3. A Star Is Born – Tom Ozanich, Dean Zupancic, Jason Ruder, and Steve A. Morrow
  4. Bohemian Rhapsody – Paul Massey, Tim Cavagin, and John Casali
  5. Black Panther – Steve Boeddeker, Brandon Proctor, and Peter J. Devlin

Best Production Design

  1. The Favourite – Fiona Crombie (Production Design) and Alice Felton (Set Decoration)
  2. Black Panther – Hannah Beachler (Production Design) and Jay Hart (Set Decoration)
  3. Mary Poppins Returns – John Myhre (Production Design) and Gordon Sim (Set Decoration)
  4. Roma – Eugenio Caballero (Production Design) and Bárbara Enríquez (Set Decoration)
  5. First Man – Nathan Crowley (Production Design) and Kathy Lucas (Set Decoration)

Best Film Editing

  1. The Favourite – Yorgos Mavropsaridis
  2. Vice – Hank Corwin
  3. Bohemian Rhapsody – John Ottman
  4. BlacKkKlansman – Barry Alexander Brown
  5. Green Book – Patrick J. Don Vito

Complete Ranking of Films Seen from 2018

1 The Favourite
2 Spider-Man: Into the Spider-Verse
3 The Death of Stalin
4 A Star Is Born
5 Blindspotting
6 Thoroughbreds
7 Upgrade
8 American Animals
9 A Quiet Place
10 Black Panther
11 Sorry to Bother You
12 Roma
13 Isle of Dogs
14 Minding the Gap
15 Crazy Rich Asians
16 Annihilation
17 BlacKkKlansman
18 Beautiful Boy
19 Eighth Grade
20 The Wife
21 Vice
22 Won’t You Be My Neighbor?
23 First Man
24 RBG
25 Green Book
26 Monsters and Men
27 Can You Ever Forgive Me?
28 Mary Poppins Returns
29 Bohemian Rhapsody
30 The Ballad of Buster Scruggs
31 First Reformed
32 To All the Boys I’ve Loved Before
33 You Were Never Really Here
34 Hereditary
35 Bad Times at the El Royale
36 Bird Box
37 Outlaw King
38 Creed II
39 Hold the Dark
40 If Beale Street Could Talk
41 Game Night
42 Red Sparrow
43 Unsane
44 Woman Walks Ahead
45 Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders
46 A Shot in the Dark
47 Dumplin’
48 22 July
49 Paterno
50 Disobedience
51 Come Sunday
52 At Eternity’s Gate
53 On Chesil Beach
54 John McEnroe: In the Realm of Perfection
55 Blockers
56 Game Over, Man!
57 Fifty Shades Freed
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Top 10 Films of 2018, No. 1 – The Favourite

The Favourite is an historical black comedy/drama directed by Yorgos Lanthimos, with a screenplay by Deborah Davis and Tony McNamara. The film is set in England in the early 18th century and follows the power struggle between Sarah Churchill, Duchess of Marlborough (Rachel Weisz) and Abigail Masham (Emma Stone) as they jockey for the attention and adoration of Queen Anne (Olivia Colman).

tf_02908It may seem a bit too on the nose that my favorite movie from 2018 is called The Favourite – but here we are! This film has so much going for it, and all of its spectacular areas of filmmaking combined to create the best movie of the year. The ringleader is Yorgos Lanthimos, a Greek director that has mastered his own vision and voice in filmmaking, producing a uniquely idiosyncratic blend of black comedy and drama (see e.g., Dogtooth, The Lobster, and The Killing of a Sacred Deer). I personally enjoy Lanthimos’s distinctive style of filmmaking, and in The Favourite, he is definitely at his peak. Although Lanthimos did not write the script, his customary deadpan vision (built on a sense of ridiculousness and uneasiness) undoubtedly permeates the film. In a year filled with some great dark comedies (such The Death of Stalin and Thoroughbreds), Lanthimos’s The Favourite indisputably stands out as the finest.

Fave3One of the most noteworthy aspects of the movie is the team Lanthimos assembled to execute his eccentric vision. Deborah Davis and Tony McNamara wrote the screenplay, and my goodness, it was stellar. The dialogue is snappy and razor sharp in its ability to take hold of a scene. I knew the film was going to be fantastic in an early scene depicting Abigail riding in a packed carriage, which featured one creepy individual staring at her while pleasuring himself – it was so shockingly hilarious, and it definitely set the tone for many other great scenes/lines. One of my favorite scenes from the entire year featured a completely out-of-place dance medley from Joe Alwyn and Rachel Weisz as they utilized modern dance moves in the middle of a fairly stuffy 18th-century ball – it was sidesplitting!

Fave Gif 2The movie’s cinematography is also outstanding, and the unique way in which Robbie Ryan shot the film added to the film’s comical nature. Ryan’s style here featured lots of experimental shots with a fish-eye lens, which added a wonderful layer of surrealism to the landscape within the castle. Further, Ryan’s propensity to switch views/perspectives with sharp panning was exquisite.

giphyIn terms of acting, The Favourite features a forceful trio of Olivia Colman, Rachel Weisz, and Emma Stone. Colman’s portrayal of Queen Anne is flawless and perfectly captures the character’s proclivities for being both childishly needy and wickedly sinister. Queen Anne is an emotional rollercoaster, but we see that some of it is of her own doing – she propagates the battle between Sarah and Abigail for her affection, which ultimately leads to more depression for her character. Colman absolutely nailed her performance as Queen Anne.

Fave Gif 4Although Colman was impressive, I was even more taken with Stone’s and Weisz’s performances. Under Queen Anne’s roof, Weisz’s Sarah is Queen Anne’s established confidante and advisor, as well as her trusted lover, while Stone’s Abigail is the newcomer to the royal inner circle. These distinct roles have distinct personality traits associated with them, and each actress performs extraordinarily – Stone and Weisz were built for their respective characters. Abigail appears unassuming at first, but we quickly learn that she has an almost innate ability to balance that sense of innocence with disturbing cunningness – Stone thrives in this role, tapping into her comedic roots to bring Abigail’s amusingly menacing personality to life. On the other hand, Sarah finds herself having to desperately protect her position from Abigail, resorting to psychological mind games out of uncompromising devotion to Queen Anne. Weisz chillingly emotes steeliness in this role, and her portrayal of Sarah’s endless loyalty to Queen Anne is shrewdly memorable.

giphyAnother fantastic performance in The Favourite was Nicholas Hoult as Robert Harley, a member of Parliament who opposes some of Queen Anne’s economic policies. Harley is the embodiment of pretentiousness, and Hoult’s portrayal of the scheming politician was magnificent – it was an underrated part of the movie, and I was disappointed that Hoult wasn’t in greater contention for a nomination in the Best Supporting Actor category. The Favourite is rated R for strong sexual content, nudity, and language.

The Favourite trailer: https://www.youtube.com/watch?v=SYb-wkehT1g&t=2s

Academy Award nominations for The Favourite:

Best Picture (Ceci Dempsey, Ed Guiney, Lee Magiday, and Yorgos Lanthimos, producers)

Best Director (Yorgos Lanthimos)

Best Actress (Olivia Colman)

Best Supporting Actress (Emma Stone)

Best Supporting Actress (Rachel Weisz)

Best Original Screenplay (Deborah Davis and Tony McNamara)

Best Cinematography (Robbie Ryan)

Best Production Design (Fiona Crombie and Alice Felton)

Best Costume Design (Sandy Powell)

Best Film Editing (Yorgos Mavropsaridis)

Top 10 Films of 2018, No. 3 – The Death of Stalin

The Death of Stalin is a black comedy and political satire directed by Armando Iannucci and co-written by Iannucci, David Schneider, Ian Martin, and Peter Fellows. The film is set in 1953 and tells the story of the struggle for power among members of the Central Committee of the Communist Party of the Soviet Union following the death of the tyrannical dictator Joseph Stalin.

The-Death-of-StalinOver the years, there have been some tremendous political satire films, including classics like Charlie Chaplin’s The Great Dictator (1940) and Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), as well as more recent films like 2009’s In the Loop (which I will mention again later). And with The Death of Stalin, Scottish filmmaker Armando Iannucci has created an exceptional addition to the genre, which I hope will live on among the aforementioned greats. If you have read my blog before, you will likely know that one of my favorite types of film is black comedy – as I have mentioned before, there is something captivating about the amalgamation of darkly serious issues and wickedly funny storytelling. Stalin Gif 3This movie is set during an obviously horrifying time in world history – at that time in the Soviet Union, the government (led by Stalin and his cronies) was impulsively torturing and jailing its citizens, even executing many. The film is thus blunt and dark about those events, including characters insouciantly bantering about having people killed mercilessly. Luckily, the basic plot devices and dialogue are both entertaining and hilarious, which makes the film’s political satire as a whole brilliantly comedic. The cast of characters at the center of the story’s power struggle are constantly trying to get one step ahead of the others, which makes for an amusing series of loyalties and betrayals pursuant to the film’s many schemes and counter-schemes for supremacy.

Death2At the center of this dark farce is the film’s creator, director and co-writer Armando Iannucci. As mentioned above, Iannucci is no stranger to brilliant political satire, directing and co-writing In the Loop, an outstanding satire about politics and, particularly, the political relationship between the United States and the United Kingdom. This film was an instant classic and one of the best political satires of the 2000s, earning Iannucci and his co-writers an Oscar nomination for Best Adapted Screenplay. More recently, Iannucci is known as the creator of HBO’s Veep. He obviously has a rich background in black comedy and political satire, and his skills are radiantly on display in The Death of Stalin as he skillfully balances the film’s silliness and malevolence.MV5BMmEyNDYyM2ItODRmOC00M2Q4LTk3ODUtYTliMmUyMDJhNmFjXkEyXkFqcGdeQXVyNzI1NzMxNzM@._V1_ To give you a taste of Iannucci’s humor, the film begins with one of my favorite scenes in all of cinema from 2018. At the start of the movie, there is a concert of classical music being performed live, with a Soviet radio station broadcasting the concert. The radio director then gets a call from Stalin’s office indicating that the dictator would like a copy of the concert’s recording and will be sending men to pick that copy up in person. There’s only one problem – the radio station was not recording the broadcast. In a frantic effort to still satisfy Stalin’s wishes, the radio director (played frenetically by Paddy Considine) attempts to stop everyone in the concert hall from leaving, explaining that they are about to have an encore performance of the entire concert. The scene is chock-full of comical dialogue, including Considine’s character hurriedly telling the audience, “take your seats, take your fucking seats,” and nervously proclaiming to everyone, “don’t worry, nobody’s gonna get killed, I promise you.” The scene is the epitome of life under Stalin’s rule, and Iannucci plays it perfectly.

Stalin Gif 2The last thing I want to mention is the film’s ensemble cast, which spectacularly brings Iannucci’s vision to life. The main characters are: Lavrentiy Beria (Simon Russell Beale), the callous and calculating chief of Stalin’s secret police force; Nikita Khrushchev, played as seemingly, but riotously, incompetent by Steve Buscemi; Georgy Malenkov, Stalin’s temporary successor, depicted as spineless and unassertive by Jeffrey Tambor; Vyacheslav Molotov (Michael Palin), a seasoned diplomat in the Communist Party; and Georgy Zhukov (Jason Isaacs), an intense high-ranking official in the Societ military. The film also features wonderful supporting performances from Rupert Friend and Andrea Riseborough as Stalin’s adult children.giphy7 One of the most noteworthy parts of the film is Iannucci’s decision to have his cast speak in their native accents. Although this technique was polarizing for film fans, I loved it and consider it one of the best things about the movie. Having the actors in Bryan Singer’s 2008 film Valkyrie speak in neutral accents rather than the German ones associated with their characters was something I found distracting because the film was an intense drama. Here, Iannucci is affirmatively striving to make a film that is darkly comedic and politically satirizing, so the actors’ use of their own accents made the entire charade that much more hysterical. The Death of Stalin is rated R for language throughout, violence, and some sexual references.

The Death of Stalin trailer: https://www.youtube.com/watch?v=E9eAshaPvYw

Top 10 Films of 2018, No. 4 – A Star Is Born

A Star Is Born is a musical drama directed by Bradley Cooper (in his directorial debut) and co-written by Eric Roth, Bradley Cooper, and Will Fetters.  The film tells the story of a country musician named Jackson Maine (Cooper) who discovers and falls in love with a young, aspiring singer named Ally (Lady Gaga). Ally’s budding musical career quickly takes off, but all the while, Jackson’s own personal demons threaten to tear his down.

Star Gif 4This iteration of A Star Is Born is the third remake of the original 1937 film, following reincarnations in 1954 (starring Judy Garland and James Mason) and 1976 (starring Barbara Streisand and Kris Kristofferson). Despite trotting through familiar territory, the Cooper- and Gaga-led version feels undeniably new and wholly unique. As much as this film is about the music (and trust me, the music is flawless – I still listen to “Shallow” at least a few times each week), it is really much more about an exploration of Jackson and Ally and their obviously genuine, but altogether complicated, love story. These two characters clearly inspire each other in the most believable ways possible (both in life and in music), which makes their rollercoaster relationship that much more affecting for an audience. Star Gif 1Although the ease of buying into this tale of romance has a lot to do with Cooper and Lady Gaga as actors (their chemistry was organic, unforced, and utterly convincing), it can also be credited to the dynamic screenwriting trio, the X factor of which is Eric Roth. Roth has led a critically acclaimed career behind the pen, writing the scripts (and receiving Oscar nominations) for Hollywood heavy-hitters Forrest Gump, The Insider, Munich, and The Curious Case of Benjamin Button. With such an illustrious filmography, it is patently obvious that Roth’s fingerprints were all over the script for A Star Is Born.

Star Gif 3The movie also benefits tremendously from an exquisite directorial achievement by Cooper. Some of the most emotionally packed scenes in all of film this year came from A Star Is Born, and Cooper’s vision is at the root. Avoiding spoilers, I will say that the emotional climax of the film was, even for someone that hadn’t seen any of the previous iterations of the story, predictable. But despite that, Cooper still presented it in a way that felt raw and unexpected – it was single-handedly the most heart-wrenching scene of the year. (There wasn’t a dry eye in the theater.) Further, the main function of a director, aside from being the film’s chief visionary, is to get the best work out of the actors – in that department, Cooper far exceeded all expectations that could possibly have been set for him. As I will get into more detail about in a moment, Lady Gaga delivered an exceptional performance as Ally. Yes, she was clearly born to be a performer. Yes, she already has a small handful of acting credits. And yes, the film is about a singer, which Gaga already is in real life. But in the wrong director’s hands, a good performer could still fall flat – it happens all the time. Luckily, in A Star Is Born, the combination of Cooper’s shrewd direction and Gaga’s unquestionable talent came together beautifully to offer one of the year’s best acting performances. Star Gif 5It also says a lot that Sam Elliott, a pioneer in the acting world with a career that spans over five decades, received his first Oscar nomination of all time in the role of Bobby Maine, Jackson’s manager and half-brother. Not only did Cooper bring out the best in Lady Gaga, but he also found a way to elicit a career-defining supporting performance from a Hollywood legend. I am still quite a bit upset that Cooper was overlooked in the Best Director category – he definitely should have received a nomination for his work behind the camera.

Star Gif 2As alluded to above, Lady Gaga’s portrayal of Ally was amazing – given her background in music and her own rise to fame, Cooper could not have hit a more definite homerun in terms of casting than this. Gaga effortlessly commanded the complex emotional nature of Ally, portraying her vividly as a young woman who is at first apprehensive and lacking in self-esteem, and later confident and more comfortable in her own skin. However, even after Ally becomes more self-assured, she still maintains an innocent sense of vulnerability – Gaga depicts that remarkably. tumblr_pg469awrKr1qjde42o8_400Even though Bradley Cooper is the film’s creative mind behind the camera, he also turns in one of the best acting performances of his own career, justifiably earning him a fourth Oscar nomination in an acting category. Jackson Maine is a complicated character – despite Ally energizing his life in terms of love and music, he still struggles to keep up with his own personal battles. A life of alcoholism and self-sabotage trips Jackson up at every turn, and Cooper’s portrayal is haunting and dramatic – it was definitely a memorable piece of acting. A Star Is Born is rated R for language throughout, some sexuality/nudity, and substance abuse.

A Star Is Born trailer: https://www.youtube.com/watch?v=nSbzyEJ8X9E&t=8s

Academy Award nominations for A Star Is Born:

Best Picture (Bill Gerber, Bradley Cooper, and Lynette Howell Taylor, producers)

Best Actor in a Leading Role (Bradley Cooper)

Best Actress in a Leading Role (Lady Gaga)

Best Actor in a Supporting Role (Sam Elliott)

Best Adapted Screenplay (Screenplay by Eric Roth, Bradley Cooper, and Will Fetters)

Best Original Song – “Shallow” (Music and Lyrics by Lady Gaga, Mark Ronson, Anthony Rossomando, and Andrew Wyatt)

Best Sound Mixing (Tom Ozanich, Dean Zupancic, Jason Ruder, and Steve A. Morrow)

Best Cinematography (Matthew Libatique)

Top 10 Films of 2018, No. 9 – A Quiet Place

A Quiet Place is a horror film directed by John Krasinski and co-written by Krasinski, Bryan Woods, and Scott Beck. Set in a post-apocalyptic world that has been overtaken by mysterious blind creatures that attack their prey utilizing their acute sense of hearing, A Quiet Place follows the Abbott family as they live in silence in an attempt to survive.

Over time, the cinematic landscape has become more and more saturated with horror films, more so than most other genres. However, every so often, a movie comes along that injects something unique and refreshing into the genre, and I tend to gravitate to those remarkable adventures. For example, I really enjoyed the 2015 film It Follows, which didn’t really break the rules of traditional horrors films as much as it uncompromisingly set its own distinctive and memorable rubric for the genre. Further, in 2017, Jordan Peele’s Best Picture-nominated Get Out became the gold standard for mixing horror with invigorating social commentary. In the same vein as some of its noteworthy predecessors, John Krasinski’s A Quiet Place not only redefines what makes a film scary and suspenseful, but it breathes life into a premise that builds upon both classic elements of horror and an infusion of inventive plot devices.

AQP3In this film, sound is dangerous, noises breed vulnerability, and safety resides in silence. In that sense, A Quiet Place is similar to the 2016 horror film Don’t Breathe – however, in Don’t Breathe, only some of the movie utilizes silence as a plot point (i.e., the scenes in the blind man’s house), as the remainder of the film includes ordinary dialogue. This is what makes Krasinski’s filmmaking here so impressive – the central foundation of this post-apocalyptic world is that, from the get-go, noise is bad. Thus, Krasinski can’t use ordinary character dialogue to progress the story or create tension at any point – instead, he must rely on visuals and non-verbal cues. In this aspect, Krasinski was masterful in A Quiet Place. Using the silence as a tool, Krasinski constantly tugs at the audience’s nerves, creating an edge-of-your-seat adventure.  I also greatly enjoyed the fundamental theme of the story – as Krasinski explained, “The scares were secondary to how powerful this could be as an allegory or metaphor for parenthood. For me, this is all about parenthood.”

AQP1From an acting perspective, A Quiet Place is wonderful. In particular, I was thoroughly impressed with Emily Blunt and Millicent Simmonds. Blunt (Krasinski’s real-life wife) plays Evelyn, the mother of the family, and her performance was incredibly balanced and emotive. The scene that sticks out the most to me as evidence of Blunt’s fantastic acting is when Evelyn (who is pregnant and nearly full-term) must attempt to remain silent despite her contractions – it was definitely one of the tensest scenes in the movie. Simmonds was also tremendous as Regan, the eldest daughter of the family. Simmonds is deaf, which lends a great deal of authenticity to her portrayal of Regan, who is deaf in the film and wears a cochlear implant. Obviously Regan’s deafness plays a key part in the development of the story, and Simmonds’s performance packs some of the film’s most vital emotional punches. A Quiet Place is rated PG-13 for terror and some bloody images.

A Quiet Place trailer: https://www.youtube.com/watch?v=WR7cc5t7tv8

Academy Award nominations for A Quiet Place:

Best Sound Editing (Erik Aadahl and Ethan Van der Ryn)

Top 10 Films of 2018, No. 10 – Black Panther

Black Panther is a superhero film produced by Marvel Studios based on the Marvel Comic character of the same name. Directed by Ryan Coogler and written by Coogler and Joe Robert Cole, Black Panther tells the story of T’Challa (Chadwick Boseman) as he becomes the new king of Wakanda, an isolated but technologically advanced African nation that is powered by a mysterious metal called vibranium. Soon after becoming Wakanda’s king and Black Panther, T’Challa is faced with an enemy (Killmonger, played by Michael B. Jordan) who challenges his reign, and he must rally both friend and foe among the nation’s tribes in an effort to secure the safety and longevity of Wakanda.

BP2I must confess at the outset that I am not a big fan of the live-action Marvel movies – I have only seen roughly half of the franchise’s films. But of the ones I have seen, Black Panther reigns supreme in the Marvel universe (sorry Guardians of the Galaxy). In fact, after my initial viewing, it quickly became one of my top five favorite superhero movies of all time. My lack of passion for most superhero movies (especially in the Marvel universe) is due in significant part to what I view as cookie-cutter plots and characters – yes, most of these films are very well acted and produced, but they generally involve low stakes and follow the same tropes that are trotted out in every predecessor. With Black Panther, the story is much more intimate, and unlike its Marvel counterparts, it has a truly distinct style and personality, both in terms of the plot and the characters.

BP5What sticks out the most for me in terms of Black Panther setting itself apart from most other Marvel films is its writer/director – Ryan Coogler was the perfect choice to be the film’s creative visionary. The 32-year-old filmmaker has built his budding career on the foundation of captivating stories about African-Americans – in his debut Fruitvale Station, Coogler created a thought-provoking sense of anger and heartbreak, and in Creed, he reinvigorated the Rocky franchise with storytelling that was simultaneously nostalgic and fresh. In Black Panther, Coogler takes his creative abilities to new heights, constructing a movie that fits the mold for a superhero movie (e.g., action, suspense, and triumph), while also bringing a certain intimacy and sensitivity to its plotline that induces a beautiful connection between the audience and the characters. Black Panther is a movie about identity, and this is, at its core, a product of Coogler’s imaginative excellence.

BP4As discussed above, Black Panther features some fantastic characters, which were brought to life by wonderful performances. In supporting roles, the film had many outstanding performances, including those from Lupita Nyong’o, Danai Gurira, Daniel Kaluuya, Martin Freeman, Angela Bassett, Forest Whitaker, and Winston Duke. However, the standout supporting performance was delivered by Letitia Wright, who was magnificent as Shuri, T’Challa’s younger sister – Shuri is both spunky and fierce, and Wright’s superb performance helped land her the EE Rising Star Award at this year’s BAFTAs. Further, I enjoyed Chadwick Boseman as T’Challa, but he didn’t blow me away. This is likely due to the fact that Michael B. Jordan simply stole the show – in fact, for his performance as the villain Killmonger, I believe Jordan should have been nominated for Best Supporting Actor. Aided by a deep backstory that slowly becomes more evident and emotional as the film progresses, Killmonger became one of the greatest Marvel film characters of all time – this is due unequivocally to Jordan’s marvelous performance. Black Panther is rated PG-13 for prolonged sequences of action violence, and a brief rude gesture.

Black Panther trailer: https://www.youtube.com/watch?v=xjDjIWPwcPU

Academy Award nominations for Black Panther:

Best Picture (Kevin Feige, producer)

Best Original Score (Ludwig Göransson)

Best Original Song – “All the Stars” (Music by Mark Spears, Kendrick Lamar Duckworth, and Anthony Tiffith; Lyrics by Kendrick Lamar Duckworth, Anthony Tiffith, and Solána Rowe)

Best Sound Editing (Benjamin A. Burtt and Steve Boeddeker)

Best Sound Mixing (Steve Boeddeker, Brandon Proctor, and Peter J. Devlin)

Best Production Design (Production Design: Hannah Beachler; Set Decoration: Jay Hart)

Best Costume Design (Ruth E. Carter)

Best Actor in a Supporting Role (2018)

The following is my Oscars ballot for this category, Best Actor in a Supporting Role:

WINNER: Mahershala Ali (Green Book)

AliIn the film Green Book, Mahershala Ali portrays Don Shirley, the real-life African-American jazz pianist. The film follows Shirley on his 1962 concert tour through the Deep South, escorted by his Italian-American driver, Tony “Lip” Vallelonga. In light of the Jim Crow era setting, both men are thrust into a variety of racist issues throughout the tour, and the film tells the story of their personal journey and growth as they learn about life from each other. I enjoyed Green Book, but as many of you might know, it has been marred by controversy since its release – the debate revolves around Shirley’s family’s objections to the film and its screenplay, which was co-written by Tony Lip’s real-life son Nick Vallelonga. Despite the family’s issues with the depiction of Shirley and his relationship with Tony Lip, Ali admitted that in his performance, he did his best to honor the legacy of Shirley based on the information he had – and for me, that performance was impeccable. Although this controversy has dominated the headlines, it is nonetheless impossible to ignore the remarkable acting work of Ali – his mannerisms are nuanced, his emotions shrewdly portrayed, and his ability to impressively master Shirley’s fears and insecurities in light of the overt racism plaguing the nation in the early 1960s was unimpeachable. Mahershala Ali has evolved in the past few years into one of the most talented actors in the business, and if I had it my way, he’d walk away on Oscar night with his second Academy Award for Best Supporting Actor in the past three years.

2. Richard E. Grant (Can You Ever Forgive Me?)

Richard-E-Can-You-1In Can You Ever Forgive Me?, a film about the real-life biographer Lee Israel and her attempt to invigorate her writing career by forging letters by famous celebrities and selling them for large amounts of money, Richard E. Grant plays the role of Jack Hock, a recent acquaintance of Israel who joins her in the exploitation of the fraudulent letters. In this film, Melissa McCarthy churned out probably the best dramatic acting performance of her career, but for me, Grant’s Hock stole the show. Despite not having a permanent home and appearing rather drifter-like, Jack Hock is flamboyantly lavish in his tastes and is as witty and charming as a character can be, making the film much more fun and entertaining. Mark Kermode, a film critic for The Guardian, summed up Hock brilliantly: “Jack seems to be in permanent performance mode, hiding his own insecurities behind a mask of bravado and bonhomie.” Despite being a recognizable face in the industry since his career-defining performance in his 1987 film debut Withnail and I, Grant has only ever been nominated for acting awards on a few occasions (and those were many years ago) – for his cleverly beautiful performance as Jack Hock, Richard E. Grant has justifiably reversed that history.

3. Sam Elliott (A Star Is Born)

rev-1-ASIB-06247_High_Res_JPEGIn A Star Is Born, Sam Elliott plays Bobby Maine, the manager for and older half-brother of singer Jackson Maine (Bradley Cooper). To put it simply – Sam Elliott was phenomenal during his limited on-screen time in A Star Is Born. Although Bobby Maine is the personification of a “supporting” character, Elliott – a legend in the industry – deftly executed every second of his performance. Two scenes stick out the most for me that made Elliott’s portrayal of Jackson’s brother so incredibly memorable – (1) the argument between Jackson and Bobby over their father’s land, and (2) the moment Bobby pulls out of Jackson’s driveway after dropping him off towards the end of the film. In that latter scene in particular, the passion Elliott put into portraying Bobby’s flash of emotion as he backs out of Jackson’s driveway is worth the price of admission. With a film career that has spanned over five decades, it is awesome and well-deserved to see Elliott celebrating his very first Oscar nomination.

4. Sam Rockwell (Vice)

RockwellThe setup for Sam Rockwell’s portrayal in Vice is simple – he portrays George W. Bush, the 43rd President of the United States. All the acting buzz surrounding Vice centers predominantly on Christian Bale in the lead role of Vice President Dick Cheney. But for me, one of the most underrated aspects of the movie was Rockwell’s performance. With some fantastic work from the makeup department, Rockwell did look quite a bit like Bush, way more than Josh Brolin did in Oliver Stone’s 2008 biopic W. However, what is truly more impressive about his portrayal (which also bests that of Brolin’s) is Rockwell’s seamless embodiment of Bush in terms of accent, mannerisms, and speech pattern. Rockwell nailed Bush’s trademark Texas twang, and his first-rate acting abilities (which garnered him an Oscar win last year in this category for Three Billboards outside Ebbing, Missouri) made this performance one to remember.

5. Adam Driver (BlacKkKlansman)

DriverIn Spike Lee’s BlacKkKlansman, Adam Driver portrays Det. Philip “Flip” Zimmerman, the Jewish partner of John David Washington’s lead character, Det. Ron Stallworth. As Stallworth, an African-American officer, slowly starts to infiltrate the local chapter of the Ku Klux Klan via telephone (posing as a white man), Zimmerman is tasked with being Stallworth’s physical stand-in for in-person meetings with the KKK – as famed film critic Richard Roeper of the Chicago Sun Times described it, “We’ve got a white cop impersonating a black cop impersonating a white supremacist.” Although BlacKkKlansman didn’t make it onto the list of my favorite movies from 2018, it still was an enjoyable experience with some superb acting, particularly by Washington. In terms of Driver, though, I found his performance to be simply “good” and “serviceable” – nothing extraordinary in my estimation. Truthfully, I thought his nomination should have gone to the likes of Timothée Chalamet (Beautiful Boy), Michael B. Jordan (Black Panther), or Nicholas Hoult (The Favourite) instead.

The Best Films of 2018 – Honorable Mentions (11-15)

Before I start revealing my ten favorite movies of the year later this week, I want to take some time to talk briefly about five fantastic films that just missed out on making my year-end list – here are my Honorable Mentions:

No. 11 – Sorry to Bother You

STBYSorry to Bother You is Boots Riley’s directorial debut, a dystopian dark comedy that follows Cassius “Cash” Green (Lakeith Stanfield), a young African-American in Oakland working as a telemarketer at RegalView. After a veteran co-worker (Danny Glover) teaches Cash that the secret to success in this business is using your “white voice,” Cash quickly excels as he strives for the coveted promotion to “Power Caller.” All the while, Cash’s friends – and his girlfriend Detroit (Tessa Thompson) – plot to unionize the RegalView workplace in an effort to protest for better working conditions, which creates conflict with Cash as he continues to climb the ranks as a Power Caller. Life as a Power Caller begins to slowly unravel, and when a corporate conspiracy exposes itself, Cash is left to make a vital decision about his life.

In this film, Boots Riley takes a very simple concept (i.e., character comes from nothing, character gets success, character faces moral conundrum that pits that success against true happiness) and turns it into one of the most entertaining and unique movies I have ever seen. The dialogue pops, the characters are amusing, the acting is impeccable, and the satirical themes are absolutely spot-on. Riley’s story is one that brilliantly examines the concepts of “white privilege” and “capitalism” through its darkly comedic tone, and the satire reminded me a lot of Mike Judge’s Idiocracy. However, Idiocracy made its comedy much more direct (and it really worked in that film), and after having seen both films, I much prefer Riley’s more natural comedic tendencies. This movie is a fantastic referendum on some very important social issues, and it just missed out on cracking my Top 10. Trailer: https://www.youtube.com/watch?v=PQKiRpiVRQM.

No. 12 – Roma

RomaRoma is a Spanish-language film directed, co-produced, written, co-edited, and shot by Alfonso Cuarón. Set in the early 1970s in the Colonia Roma district of Mexico City, the film (described as a semi-autobiographical story based on Cuarón’s childhood) follows Cleodegaria “Cleo” Gutiérrez (Yalitza Aparicio), a domestic worker who lives with and works for the family of Antonio (Fernando Grediaga) and Sofia (Marina de Tavira).

Roma is slow movie (like, really slow), and although this sort of movie doesn’t always work, the cinematic style of Roma undeniably impresses – this is predominantly because Cuarón is its creator. In Roma, Cuarón’s dialogue is poetically deliberate, his camerawork is stunningly cautious, and his pace is delightfully unhurried. The Oscar-winning filmmaker – who has written and directed an amazing collection of films, including Y Tu Mamá También, Children of Men, and Gravity – has developed a film in Roma that tells a story that is deeply genuine and features plot points that are both heartwarming and heartrending. Aparicio is utterly outstanding in the lead role of Cleo – as various life events cause Cleo to endure a wide range of feelings, including happiness, sadness, loss, helplessness, and hopefulness, you feel each and every one of them right along with her throughout the entire journey. Trailer: https://www.youtube.com/watch?v=6BS27ngZtxg.

No. 13 – Isle of Dogs

Isle of DogsIsle of Dogs is a stop-motion-animated film by writer/director Wes Anderson. The film is set in a dystopian-version of Japan in the not-so-distant future where all dogs – following a canine flu outbreak – have been exiled to an unenviable island. Against that backdrop, the story follows a young boy named Atari Kobayashi (Koyu Rankin) as he joins forces with a few dogs on the island – including Chief (Bryan Cranston), Rex (Edward Norton), King (Bob Balaban), Boss (Bill Murray), and Duke (Jeff Goldblum) – to find his lost dog Spots.

At last, Wes Anderson is back – and by “back,” I mean “wow, Wes Anderson has finally returned to the wonderful storytelling and filmmaking that made me a fan of his in the first place.” I know Anderson’s last film, The Grand Budapest Hotel, was nominated for nine Oscars and won four of them, but I hated it – I found the story to be bland, the dialogue to be stilted, and the film as a whole to be too heavily reliant on Anderson’s signature style. But in Isle of Dogs, Anderson has won me back over – it is essentially a combination of the distinctive stop-motion-animated style that made Fantastic Mr. Fox so remarkable and the sweet, funny, and selfless depiction of childhood innocence that made Moonrise Kingdom one of my favorite movies of all time. Trailer: https://www.youtube.com/watch?v=dt__kig8PVU.

No. 14 – Minding the Gap

Minding the Gap

Minding the Gap is a documentary by filmmaker Bing Liu. Filmed over the course of more than a decade, Minding the Gap chronicles the lives of Liu and his two friends, Keire Johnson and Zack Mulligan, with the common thread being their shared love of skateboarding. Although the movie starts out with this simple premise, it slowly evolves into a deep and emotional exploration of the lasting traumatic effects of issues relating to race, economic hardship, and domestic abuse.

For me, the best documentaries are those that make you think and make you feel in a unique way – Minding the Gap definitely checks those boxes with ease. One of the most intriguing parts of this film is the fact that the director is personal friends with his film’s subjects – but Liu pulls no punches. Instead, he examines the complicated lives of Keire and Zack with raw emotion and undeniable honesty, and it is this aspect of purity in Liu’s filmmaking that makes Minding the Gap so emotionally affecting. Despite the remarkable exploration of his friends’ lives, the highlight of the film was when Liu turned the camera (and the plot of the film) back onto himself and his own upbringing – what a moment! This film is currently streaming on Hulu, and I encourage everyone to go check it out – you will not be disappointed. Trailer: https://www.youtube.com/watch?v=n5Vm_Awe3bw.

No. 15 – Crazy Rich Asians

asians6.0Crazy Rich Asians is a romantic dramedy (directed by Jon M. Chu and written by Peter Chiarelli and Adele Lim) based on the bestselling novel of the same name, which follows Rachel Chu (Constance Wu), a Chinese American economics professor at NYU who travels overseas with her boyfriend Nick Young (Henry Golding) to meet his family. Unbeknownst to Rachel, Nick’s family turns out to be among the wealthiest in all of Singapore. Dating one of Singapore’s most eligible bachelors, Rachel finds herself having to fend off envious women within Asian high society. But the more imposing task for Rachel is vying for the approval of Nick’s domineering mother (Michelle Yeoh).

I will be honest – generally speaking, romantic dramedies aren’t my cup of tea. Unless they are done exceptionally well, I just can’t get into them. With all of that said, Crazy Rich Asians is definitely one of the best I’ve seen in the genre (ranking up there near my favorites, such as Love Actually and Crazy, Stupid, Love). Although I have not read the film’s source material, director Jon Chu’s vision in bringing this unique story to the screen was magnificent – this beautiful movie was the first from a major Hollywood studio in 25 years to feature an Asian director and a mostly Asian cast, all helmed by an Asian director. The story was refreshing, the visuals were colorful and arresting, and the movie’s cast of characters was absolutely entertaining – aside from the superb performances by the film’s leads, Awkwafina nearly stole the show as the wacky sidekick Goh Peik Lin, Rachel’s best friend from college. Trailer: https://www.youtube.com/watch?v=ZQ-YX-5bAs0.

The Return of My Annual “Countdown to the Oscars” and Best Original Song and Score

Dolby TheatreLast year, after five consecutive Academy Awards seasons of active blogging here on The Reel Countdown, I was unable to devote any time at all to posting about the year in movies due to a very busy work schedule – in fact, my only post during the run-up to the Oscars last year was simply sharing my ballot and providing a ranked list of all the movies I had watched from 2017. However, I am thrilled to say that my annual “Countdown to the Oscars” is back (is this where I say “and better than ever”?), and I am looking forward to sharing my thoughts with you on the best in film from 2018 over the course of the next three weeks as we approach the 91st Academy Awards ceremony, which is set to take place on Sunday, February 24, 2019, at the Dolby Theatre in Hollywood, California.

Since it has been a couple of years since I’ve blogged through an Oscars season, here’s a recap on the structure of posts you can expect to see on The Reel Countdown: (1) my “Top 10 Films of the Year” (including an “Honorable Mentions” post within the next couple of days, which will break down the five films that just missed out on cracking my list this year), (2) my own personal Oscars ballot (i.e., not a prediction of who will win but rather how I would vote if I had one) for some of the year’s major categories, based on this year’s nominees, and (3) a recap of the 91st Academy Awards ceremony, which will highlight the most noteworthy moments from the broadcast.

I am kicking off this year’s edition of The Reel Countdown with my ballot for the two musical categories at the Oscars – Song and Score!

My ballot for Best Original Song is as follows:

WINNER: “Shallow” from A Star Is Born – Music and Lyrics by Lady Gaga, Mark Ronson, Anthony Rossomando, and Andew Wyatt

rev-1-asib-trl-9090r_high_res_jpeg-1-_wide-3afaaddfb18a9a5732dbd6843e417c693a5949fb-s800-c85In my opinion, no original song better embodied the spirit of its film’s story arc this year than “Shallow,” a beautiful ballad performed as a duet in the film by Jackson Maine (played by Bradley Cooper) and Ally (played by Lady Gaga). The lyrics and musical composition are clearly stunning, but it is the chemistry of the film’s lead characters and their undeniable harmony on the song that truly make “Shallow” one of the film’s greatest assets. Needless to say, I was very excited to see the video pop up online this week of Lady Gaga bringing Bradley Cooper on stage at a Vegas concert to perform the song with her. I cannot wait to see these two light up the stage again on Oscars night – sign me up for any chance to see Gaga belt out her now-iconic “haaa-ah-ah-ah, haaawaah, ha-ah-ah-aaah” line!

2. “All the Stars” from Black Panther – Music by Mark Spears, Kendrick Lamar Duckworth, and Anthony Tiffith; Lyrics by Kendrick Lamar Duckworth, Anthony Tiffith, and Solana Rowe

3. “When a Cowboy Trades His Spurs for Wings” from The Ballad of Buster Scruggs – Music and Lyrics by David Rawlings and Gillian Welch

4. “The Place Where Lost Things Go” from Mary Poppins Returns – Music by Marc Shaiman; Lyrics by Marc Shaiman and Scott Wittman

5. “I’ll Fight” from RBG – Music and Lyrics by Diane Warren

 

My ballot for Best Original Score is as follows:

WINNER: Black Panther – Ludwig Göransson

Ludwig+Goransson+Los+Angeles+World+Premiere+pQZWs79_UlAlBlack Panther is obviously one of the best superhero movies of all time – the acting is superb, the story is unique and fresh, and writer/director Ryan Coogler’s vision is magnificent. But for me, the glue that held all of Black Panther‘s many incredible pieces together was Ludwig Göransson’s thrilling musical score. Göransson’s composition offers brilliance in all of the classical aspects of film scoring, but what sets Black Panther apart is his masterful incorporation of traditional African instrumentation and booming sounds influenced by today’s hip-hop (the latter of which comes as no surprise, considering Göransson is a frequent collaborator of rap’s inimitable Childish Gambino). The Black Panther score is truly magical!

2. Mary Poppins Returns – Marc Shaiman

3. If Beale Street Could Talk – Nicholas Britell

4. BlacKkKlansman – Terence Blanchard

5. Isle of Dogs – Alexandre Desplat

Review: My Oscars Ballot and Countdown (2016)

For the fifth consecutive year, my annual “Countdown to the Oscars” has concluded. And, the Oscars are TONIGHT! In preparation for tonight’s ceremony, I have provided below my personal Oscars ballot—it includes my ranking of each nominee in the eleven categories in which I have seen each nominated film/performance. I have also included my final list of the Top 10 Films of 2016.

Check out my ballot, revisit my reviews of the year’s best films, and make sure to tune into the 89th Academy Awards tonight at 7:30pm (CST) on ABC, live from the Dolby Theatre in Hollywood, CA. Enjoy, film fans!

89th Academy Awards Nominations (My Ballot)

Best Picture

  1. Manchester by the Sea
  2. Hell or High Water
  3. Arrival
  4. Moonlight
  5. Lion
  6. La La Land
  7. Fences
  8. Hidden Figures
  9. Hacksaw Ridge

Best Actor

  1. Casey Affleck (Manchester by the Sea)
  2. Denzel Washington (Fences)
  3. Viggo Mortensen (Captain Fantastic)
  4. Ryan Gosling (La La Land)
  5. Andrew Garfield (Hacksaw Ridge)

Best Actress

  1. Natalie Portman (Jackie)
  2. Emma Stone (La La Land)
  3. Isabelle Huppert (Elle)
  4. Ruth Negga (Loving)
  5. Meryl Streep (Florence Foster Jenkins)

Best Supporting Actor

  1. Mahershala Ali (Moonlight)
  2. Jeff Bridges (Hell or High Water)
  3. Lucas Hedges (Manchester by the Sea)
  4. Dev Patel (Lion)
  5. Michael Shannon (Nocturnal Animals)

Best Supporting Actress

  1. Naomie Harris (Moonlight)
  2. Michelle Williams (Manchester by the Sea)
  3. Viola Davis (Fences)
  4. Octavia Spencer (Hidden Figures)
  5. Nicole Kidman (Lion)

Best Director

  1. Damien Chazelle (La La Land)
  2. Kenneth Lonergan (Manchester by the Sea)
  3. Barry Jenkins (Moonlight)
  4. Denis Villeneuve (Arrival)
  5. Mel Gibson (Hacksaw Ridge)

Best Original Screenplay

  1. Manchester by the Sea (Kenneth Lonergan)
  2. Hell or High Water (Taylor Sheridan)
  3. La La Land (Damien Chazelle)
  4. 20th Century Women (Mike Mills)
  5. The Lobster (Yorgos Lanthimos and Efthimis Filippou)

Best Adapted Screenplay

  1. Moonlight (Barry Jenkins and Tarell Alvin McCraney)
  2. Fences (August Wilson)
  3. Arrival (Eric Heisserer)
  4. Lion (Luke Davies)
  5. Hidden Figures (Allison Schroeder and Theodore Melfi)

Best Original Score

  1. La La Land (Justin Hurwitz)
  2. Lion (Dustin O’Halloran and Hauschka)
  3. Moonlight (Nicholas Britell)
  4. Jackie (Mica Levi)
  5. Passengers (Thomas Newman)

Best Cinematography

  1. Arrival (Bradford Young)
  2. La La Land (Linus Sandgren)
  3. Moonlight (James Laxton)
  4. Lion (Greig Fraser)
  5. Silence (Rodrigo Prieto)

Best Film Editing

  1. La La Land (Tom Cross)
  2. Arrival (Joe Walker)
  3. Hell or High Water (Jake Roberts)
  4. Moonlight (Nat Sanders and Joi McMillon)
  5. Hacksaw Ridge (John Gilbert)

Top 10 Films of the Year:

  1. Manchester by the Sea
  2. Hell or High Water
  3. Arrival
  4. Moonlight
  5. Lion
  6. O.J.: Made in America
  7. La La Land
  8. Fences
  9. Zootopia
  10. Nocturnal Animals