Posted in Awards Season, Film Feature, Oscars

95th Academy Awards: Final Predictions

Posted on by Martin: Through the Silver Screen

Another awards season is poised to come to a close, and so it is time to celebrate the best of the best that cinema had to offer with the 95th Academy Awards. All in all, 2022 was a solid year for cinema, especially given the struggles it has had to endure for these previous two years. After the mess of last year’s ceremony where some of the awards were inexcusably presented off the air, the Academy has thankfully not carried this nonsensical idea over to this year’s ceremony.

So, without further ado, with 23 of those prestigious trophies up for grabs, here are my predictions for who will be clutching one of those iconic golden statues at the end of the evening.

 

Best Supporting Actress

  • Angela Bassett – Black Panther: Wakanda Forever 
  • Hong Chau – The Whale 
  • Kerry Condon – The Banshees of Inisherin 
  • Jamie Lee Curtis – Everything Everywhere All At Once 
  • Stephanie Hsu – Everything Everywhere All At Once 

We kick off with easily the most stacked acting category this year where there is a plethora of performances which could have been in the final five. But for now, let’s focus on those who were nominated. The nominations of both Hong Chau and Stephanie Hsu mark the first time two Asian actresses have scored nominations in this category in the same year, and apart from Bassett, everyone else is picking up their first nomination. It looked for a while as though Hsu might miss out but it’s a relief she made it as her performance is a crucial part of her film’s narrative. Meanwhile, Jamie Lee Curtis’s performance in the same film feels like a culmination of everything she has brought to the industry across a five-decade-long career, which could explain her win at the Screen Actors Guild (SAG) Awards. She probably wouldn’t have made the top five given the fierce competition, but it is nonetheless fantastic to see a legend like her be given her first nomination.

The two front runners are by far and away Kerry Condon and Angela Bassett, the latter of whom’s nomination marks the first time an acting performance in a Marvel Cinematic Universe film has received an Oscar nomination. Like Curtis, Bassett is a legend of the industry and yet somehow this is only her second nomination following 1993’s What’s Love Got to do With It. Despite Condon’s win at BAFTA, this trophy should have Bassett’s name on it, which when you watch her performance, especially the throne room speech in Wakanda Forever, where her grief and pain over the loss of Chadwick Boseman is painfully felt, there should be only one clear winner.

It says a lot about the insane competition this year when the likes of Janelle Monae (Glass Onion), Samantha Morton (She Said), Dolly De Leon (Triangle of Sadness), Lashana Lynch and Thuso Mbedu (The Woman King) and Claire Foy and Jessie Buckley (Women Talking), all of whom would have been worthy of a nomination, can’t even get a look in.

Will Win: Angela Bassett 

Should Win: Angela Bassett

Could have been nominated: See all of the above

 

Best Supporting Actor

  • Brendan Gleeson  – The Banshees of Inisherin 
  • Brian Tyree Henry  – Causeway 
  • Judd Hirsch – The Fabelmans 
  • Barry Keoghan – The Banshees of Inisherin 
  • Ke Huy Quan – Everything Everywhere All At Once 

For the fourth year in a row, this category has two actors from the same film competing for the Best Supporting Actor trophy, with everyone apart from Judd Hirsch picking up their first nominations, which is wonderful to see.  It might have been a full set of first-timers had Paul Dano been nominated for The Fabelmans, as many had predicted. Sadly, for Dano, his wait for his first nomination goes on.

He might not have been on screen for very long, but Hirsch’s Uncle Boris certainly left an impression in The Fabelmans.  Brian Tyree Henry’s nomination came thoroughly out of the left field as he has been largely ignored throughout all of this awards season, but it is extremely satisfying to see him included as his performance in Causeway deserved recognition. The work of both Brendan Gleeson and Barry Keoghan in The Banshees of Inisherin is some of the best work of their respective careers, both working effortlessly alongside Colin Farrell to great effect, However, out of all the acting categories, this one feels the closest to a lock as, despite Keoghan’s triumph at the BAFTAs, there is no scenario, in this universe or in any multiverses, where Ke Huy Quan does not walk away with the Oscar for his brilliant work as Waymond, the goofy, multiverse-travelling husband to Michelle Yeoh’s Evelyn.

Will Win: Ke Huy Quan

Should Win: Ke Huy Quan

Could have been nominated: Paul Dano for The Fabelmans 

 

 

Best Original Screenplay

  • The Banshees of Inisherin  – Written by Martin McDonagh 
  • Everything Everywhere All At Once  – Written by Daniel Kwan and Daniel Scheinert 
  • The Fabelmans  – Written by Steven Spielberg and Tony Kushner 
  • Tár – Written by Todd Field 
  • Triangle of Sadness – Written by Ruben Ostlund 

A battle of the Best Picture contenders, which makes picking an immediate frontrunner at first glance seems difficult. Yet, with both The Banshees of Inisherin and Everything Everywhere All At Once having garnered the most nominations, it is likely this award will go to one of those two films. EEAAO is likely to dominate in some of the other big categories, including Best Director for The Daniels, so this could be the Academy’s chance to share the love, which is something they don’t always do. Three out of four of McDonagh’s films have been nominated for this award, so perhaps, given the Daniels seem to be odds on to win the Oscar for Best Director, this could be the moment to give McDonagh his dues.

Will Win: The Banshees of Inisherin 

Should Win: Everything Everywhere All At Once

Should have been nominated: Dana Stevens for The Woman King

Best Adapted Screenplay

  • All Quiet on the Western Front  – Screenplay by Edward Berger Lesley Paterson and Ian Stokell 
  • Glass Onion: A Knives Out Mystery   – Screenplay by Rian Johnson
  • Living – Screenplay by Kazuo Ishiguro 
  • Top Gun: Maverick – Screenplay by Ehren Kruger, Eric Warren Singer and Christopher McQuarrie 
  • Women Talking – Screenplay by Sarah Polley 

All awards season long, this award really felt as though it only had Sarah Polley’s name on it for her excellent adaption of Miraim Tews’ novel. Although given the film was bafflingly snubbed by BAFTA, it could have completely lost its momentum, particularly as All Quiet on The Western Front conquered all before it at BAFTA. But, its presence in the Best Picture race shows there is a lot of support for the film, and a victory for Women Talking would see a woman win this category for three consecutive years, which would be wonderful to see.

Will Win: Women Talking 

Should Win: Women Talking 

Should have been nominated: Rebecca Lenkiewicz for She Said 

Best Animated Feature Film

  • Guillermo del Toro’s Pinocchio – Guillermo del Toro Mark Gustafson, Gary Ungar and Alex 
  • Marcel the Shell with Shoes On  – Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan, and Paul Mezey
  • Puss in Boots: The Last Wish  – Joel Crawford and Mark Swift 
  • The Sea Beast – Chris Williams and Jed Schlanger
  • Turning Red – Domee Shi and Lindsey Collins 

Given it was released in March and inexcusably did not receive a cinema release, it is a relief to see Turning Red land a nomination, given it was easily the best-animated film Disney or Pixar released last year. However, with this being the only representative from the House of Mouse in this year’s crop of nominees, could Disney’s iron grip on this category be loosening?

Six of the 21 winners in this category have come from films produced either by Disney or its sister studio Pixar, but this year will make it the seventh non-Disney/Pixar winner. It will ultimately come down to the two films, with wishes at the heart of them. Puss in Boots: The Last Wish is Dreamworks’ best film in years, and the cat has got my tongue and my vote. However, given the sheer labour of love in which Guillermo del Toro and his incredible team of artists brought one of the best interpretations of this classic tale to life, this is Pinocchio’s to lose.

Will Win: Guillermo del Toro’s Pinocchio

Should Win: Puss In Boots: The Last Wish

Best International Feature Film

  • All Quiet on the Western Front  (Germany)  – directed by Edward Berger 
  • Argentina, 1985 (Argentina) – directed by Santiago Mitre 
  • Close (Belgium) – directed by Lukas Dhont
  • EO (Poland) – directed by Jerzy Skolimowski  
  • The Quiet Girl (Ireland) – directed by Colm Bairéad

There’s only one film here which is a Best Picture nominee, so it will be all quiet on the upset front.

Will Win: All Quiet on the Western Front 

Should Win: All Quiet on the Western Front 

Should have been nominated: Decision to Leave (South Korea)

Best Original Score

  • All Quiet on the Western Front  – Nicholas Volker Bertelmann 
  • Babylon – Justin Hurwitz
  • The Banshees of Inisherin – Carter Burwell
  • Everything Everywhere All at Once – Son Lux
  • The Fabelmans – John Williams

My head wants to say this award will be going to Justin Hurwitz for his insanely catchy score to Babylon. The film divided audiences, but no one can deny the irresistibly catchy nature of Hurwitz’s work, as whenever he collaborates with Damien Chazelle, the results are always spectacular. But, could Babylon’s divisive nature scupper a prospective win? With his staggering 53rd nomination at the age of 90, this makes the legendary John Williams the oldest nominee in Oscars history, and the second most nominated individual ever after a certain Walt Disney. The Fabelmans is probably unlikely to pick up any awards anywhere else, so this could be the time to bestow Williams with his sixth Oscar, but I’m going to say Babylon will prevail.

Will Win: Justin Hurwitz 

Should Win: Justin Hurwitz

Should have been nominated: Michael Giacchino for The Batman

Best Original Song

  • “Applause” from Tell it Like a Woman  – Music and lyrics by Dianne Warren
  • “Hold My Hand” from Top Gun: Maverick – Music and lyrics by Lady Gaga and BloodPop
  • “Lift Me Up” from Black Panther: Wakanda Forever – Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyrics by Tems and Ryan Coogler
  • “Naatu Naatu” from RRR – Music by M. M. Keeravani; Lyrics by Chandrabose
  • “This is a Life” from Everything Everywhere All At Once  –  Music by Ryan Lott, David Byrne, and Mitski; Lyrics by Ryan Lott and David Byrne

With every awards season that comes around, it is practically a given Dianne Warren will find herself nominated for Best Original Song, even if it is for a film few people have heard of. One of these days a nomination is going to turn into a win for her, but it will not be this year.

After her success in winning this award for A Star is Born, Lady Gaga could definitely claim her second trophy for her moving song from Top Gun: Maverick, while Rihanna’s long-awaited return to music brought us the deeply moving and powerful Lift Me Up, which feels borne out of the loss everyone felt when Chadwick Boseman passed away. However, RRR took the world by storm last year and given this is its sole nomination, it feels nailed on the Academy will recognise this accomplishment with an Oscar.

Will Win:  RRR

Should Win: Black Panther: Wakanda Forever

Best Sound

  • All Quiet on the Western Front – Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan Korte
  • Avatar: The Way of Water – Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael Hedges
  • The Batman – Stuart Wilson, William Files, Douglas Murray, and Andy Nelson
  • Elvis – David Lee, Wayne Pashley, Andy Nelson, and Michael Keller
  • Top Gun: Maverick – Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark Taylor

So often, this category and editing go hand-in-hand, yet given the likely winner of Best Editing is nowhere to be found here, this award is a choice between the brutal sounds of trench warfare, the musical sounds of the King of Rock and Roll or the thunderous sounds of military aircraft, with the aircraft taking the trophy.

Will Win: Top Gun: Maverick 

Should Win: Top Gun: Maverick

Best Production Design

  • All Quiet on the Western Front – Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
  • Avatar: The Way of Water – Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole
  • Babylon – Production Design: Florencia Martin; Set Decoration: Anthony Carlino
  • Elvis – Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn
  • The Fabelmans – Production Design: Rick Carter; Set Decoration: Karen O’Hara

The Academy usually loves films about Hollywood. While Babylon‘s divisiveness could scupper its chances of winning Original Score, it is unlikely to prevent it from taking this award given it has swept all before it this awards season.

Will Win: Babylon 

Should Win: Babylon 

Should have been nominated: Guillermo del Toro’s Pinocchio 

Best Cinematography

  • All Quiet on the Western Front – James Friend
  • Bardo, False Chronicle of a Handful of Truths – Darius Khondji
  • Elvis – Mandy Walker
  • Empire of Light – Roger Deakins
  • Tár – Florian Hoffmeister

When you consider some of the breathtaking cinematography we saw in 2022, this year’s selection of nominees is decidedly uninspiring and there are some major major snubs which boggle the mind as to why they weren’t included. Roger Deakins’s status as a legend is assured, and it is a given he will be nominated almost every time he shoots a film, there were more deserving nominations this year. Elvis’ Mandy Walker becomes the third woman to be nominated for this award and while it would be historic to see her win, yet my money is on another win for All Quiet on the Western Front.

Though the snub for Claudio Miranda for Top Gun: Maverick feels particularly baffling when you consider when filming the aerial combat sequences, they were reliant on natural lighting to shoot them, not to mention the extraordinary camerawork. Plus, last year’s winner of this award Greig Fraser’s work in The Batman to capture the murky underworld of Gotham City was equally deserving of a nomination.

Will Win: All Quiet on the Western Front

Should Win: All Quiet on the Western Front

Should have been nominated: Claudio Miranda for Top Gun: Maverick, Linus Sandgren for Babylon or Greig Fraser for The Batman 

Best Makeup and Hairstyling

Success in this category can often correlate with a win in one of the acting categories. This year, it could come down to whichever actor the Academy chooses to honour in Best Actor, which puts this as a coin flip between Elvis or The Whale. Given who I think will win Best Actor, my bet is going to give this one to The Whale.

  • All Quiet on the Western Front – Heike Merker and Linda Eisenhamerová
  • The Batman – Naomi Donne, Mike Marino and Mike Fontaine 
  • Black Panther: Wakanda Forever – Camille Friend and Joel Harlow
  • Elvis  – Mark Coulier, Jason Baird, and Aldo Signoretti
  • The Whale – Adrien Morot, Judy Chin, and Anne Marie Bradley

Will Win:  The Whale 

Should Win: The Whale

Best Costume Design

  • Babylon – Mary Zophres 
  • Black Panther: Wakanda Forever – Ruth Carter 
  • Elvis – Catherine Martin 
  • Everything Everywhere All at Once – Shirley Kurata 
  • Mrs Harris Goes to Paris – Jenny Bevan 

Ruth Carter’s win for the first Black Panther film at the 91st Academy Awards was a historic win, and if she were to repeat her triumph, she would become the first black woman to win two Oscars in any category, which is just utterly mind-boggling. However, Catherine Martin’s work in Elvis to recreate so many of the King’s iconic costumes is some incredible work which would be worthy of a victory to add to her victories in this category for Baz Luhrmann’s previous films The Great Gatsby and Moulin Rouge!

Will Win: Elvis 

Should Win: Everything Everywhere All At Once

Should have been nominated: Gersha Phillips for The Woman King and Jenny Eagan for Glass Onion: A Knives Out Mystery 

Best Film Editing

  • The Banshees of Inisherin – Mikkel E. G. Nielsen
  • Elvis – Matt Villa and Jonathan Redmond
  • Everything Everywhere All at Once – Paul Rogers
  • Tár – Monika Willi
  • Top Gun: Maverick – Eddie Hamilton

It is usually the case that editing and sound categories correlate. Yet, could this be the year which breaks that trend? Top Gun: Maverick had the unenviable task of editing through several hundred hours of footage they shot for the aerial combat sequences, which would have put it in a good position to fly home with the win. But, the editing in Everything Everywhere All At Once is equally impressive. While one assumes they did not have to edit through several hundred hours of footage, due to the nature of its plot and its ambition, the film could have very easily become a jumbled mess had the editing not been as on point as it was. Either would be a worthy winner, but the power of the multiverse should help EEAAO prevail.

Will Win:  Everything Everywhere All At Once 

Should Win: Top Gun: Maverick

Best Visual Effects

 

 

  • All Quiet on the Western Front – Frank Petzold, Viktor Müller, Markus Frank, and Kamil Jafar
  • Avatar: The Way of Water – Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett
  • The Batman – Dan Lemmon, Russell Earl, Anders Langlands, and Dominic Tuohy
  • Black Panther: Wakanda Forever – Geoffrey Baumann, Craig Hammack, R. Christopher White, and Dan Sudick
  • Top Gun: Maverick – Ryan Tudhope, Seth Hill, Bryan Litson, and Scott R. Fisher

The combination of the sheer visual majesty of Pandora and the pioneering technology developed for those breathtaking underwater scenes means there should only be one winner here.

Will Win: Avatar: The Way of Water

Should Win: Avatar: The Way of Water

Best Director

  • Martin McDonagh – The Banshees of Inisherin
  • Daniel Kwan and Daniel Scheinert – Everything Everywhere All At Once
  • Steven Spielberg – The Fabelmans 
  • Todd Field – Tár
  • Ruben Östlund – Triangle of Sadness 

For the last two years, we’ve seen women triumph in this category, which makes it all the more frustrating that women again find themselves shut out of this category, especially when you look at the quality of the films which were directed by women last year, there were certainly more than a few candidates who could have got in, such as Gina Prince-Bythewood, Sarah Polley, Maria Schrader or Chinoye Chukwu.

The Academy does have a tendency to nominate at least one international director, but had they nominated Edward Berger for All Quiet on The Western Front instead of Östlund, this might have been a very different race given the former’s success at BAFTA. Given his semi-autobiographical film may not triumph anywhere else, this could be the best chance to honour Steven Spielberg with his first Oscar since he won this very same award for Saving Private Ryan in 1999. However, with their triumph at the Directors Guild Awards, and the fact their film threw everything at the wall and somehow made it all work to wonderful effect, this is the Daniels’ to lose.

Will Win: The Daniels 

Should Win: The Daniels

Could have been nominated: Gina Prince-Bythewood for The Woman King, Sarah Polley for Women Talking or Maria Schrader for She Said

Best Actor in a Leading Role

  • Austin Butler – Elvis 
  • Colin Farrell – The Banshees of Inisherin
  • Brendan Fraser  – The Whale
  • Paul Mescal  – Aftersun
  • Bill Nighy  – Living

For the first time since the 7th Academy Awards in 1935, all the nominees in this category are receiving their first nominations. This is heartwarming to see particularly for an actor like Bill Nighy whose nomination is deserving but also feels like a culmination of his decades-long career. However, both Nighy’s and Paul Mescal’s chances of a win seem unlikely as throughout this awards season, this race has been dominated by the remaining three gentlemen in this category.

Austin Butler’s performance as The King of Rock and Roll was so transformative, he disappeared into the role and the Academy has had a tendency for rewarding transformative performances of that nature. Farrell had a superb 2022 with his work in After Yang, Thirteen Lives, his villainous turn in The Batman, and to top it all off his excellent work in Banshees. However, his unexpected loss at the BAFTAs to Butler means his hopes of Oscar glory now look to be remote at best, which puts this award in a straight fight between Butler and Fraser. Like Ke Huy Quan, Fraser has a comeback narrative on his side, and while The Whale has divided audiences, no one can deny Fraser’s performance was truly impactful and the six-minute standing ovation at the Venice Film Festival is a testament to this. Plus with his win at the SAG awards and the over-arching sentiment that everyone seems to have towards him, it could tip this award in Fraser’s favour but this feels too close to call.

Will Win: Brendan Fraser 

Should Win: Brendan Fraser 

Best Actress in a Leading Role

  • Cate Blanchett  – Tar
  • Ana de Armas  – Blonde 
  • Andrea Riseborough  – To Leslie 
  • Michelle Williams  – The Fabelmans 
  • Michelle Yeoh  – Everything Everywhere All At Once 

For the second year in a row, this is the acting category which is, by far and away, the most chaotic. Last year, all of the nominees starred in films which were not nominated for Best Picture, but this year the Academy chose chaos for a different reason.

Let’s start with the positives. It is fantastic to see Michelle Yeoh (somehow) bagging her first nomination for her truly incredible work in Everything Everywhere All At Once, a performance which encapsulates her extraordinary career. Her namesake Michelle Williams’s turn as a supportive mother to the on-screen representation of Steven Spielberg in The Fabelmans perfectly captured how the compassion and warmth of his mother encouraged him to want to pursue his passion for filmmaking. However, while she is great in the film, it does feel a bit of a mistake to have campaigned for her in lead, given the fierce competition from her namesake as well as Cate Blanchett’s excellent leading performance in Tar.

But, now onto the negatives, Ana De Armas is a phenomenal actress who I have admired ever since her performance in Blade Runner 2049. But, while her turn as Norma Jean/Marilyn Monroe is by far and away the best thing about Blonde, the film’s fictionalised treatment of Monroe left a very bad taste in my mouth. It was nearly three hours of relentless trauma and misery which had nothing meaningful to say and for that it should not have been bestowed with a nomination.

And lastly, Andrea Riseborough’s nomination for her work in To Leslie came as a massive surprise given she picked up none of the precursor nominations. Her campaign was by and large driven as a result of some of her peers campaigning on her behalf. This is so frustrating because it proves even when women of colour put in exemplary performances, such as Viola Davis in The Woman King or Danielle Deadwyler’s heart-breaking performance in Till, the odds are stacked against them. Just SIX black women have been nominated for this award since Halle Berry won in 2002, it is really not good enough. If people in the industry can mobilise to push for someone like Riseborough to get a nomination, it begs the question, where is this kind of energy for women of colour?  Both Davis and Deadwyler should have been nominated, with Deadwyler’s snub will go down as one of the most egregious and downright disgraceful snubs in recent memory.

But in terms of who is going to emerge victorious, it really is a coin flip between two industry veterans. Blanchett triumphed at BAFTA and Critic’s Choice, but with Yeoh’s victory at SAG, and EEAAO riding a wave of popularity which has put it in pole position to land the biggest prize of the night, it is fitting to honour the woman whose breathtaking performance is what made the film the wondrous experience it was. Yeoh deserves her dues and should become the first Asian woman, and only the second woman of colour to win this award. It is time.

Will Win: Michelle Yeoh

Should Win: Michelle Yeoh

Should have been nominated: Danielle Deadwyler for Till and Viola Davis for The Woman King or Carey Mulligan for She Said

And, last and certainly by no means least…

Best Picture

  • All Quiet on the Western Front  – Malte Grunert 
  • Avatar: The Way of Water  – James Cameron and Jon Landau 
  • The Banshees of Inisherin   – Graham Broadbent, Peter Czernin, and Martin McDonagh
  • Elvis   – Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick, and Schuyler Weiss
  • Everything Everywhere All At Once   – Daniel Kwan, Daniel Scheinert, and Jonathan Wang
  • The Fabelmans  – Kristie Macosko Krieger, Steven Spielberg, and Tony Kushner
  • Tár  – Todd Field, Alexandra Milchan, and Scott Lambert
  • Top Gun: Maverick  – Tom Cruise, Christopher McQuarrie, David Ellison, and Jerry Bruckheimer
  • Triangle of Sadness  – Erik Hemmendorff and Philippe Bober
  • Women Talking  – Dede Gardner, Jeremy Kleiner and Frances McDormand 

Click here to see my ranking of the Best Picture contenders.

It is very satisfying to see in a year where he had 12 uninterrupted months of films on the big screen, this year’s crop of Best Picture nominees is pretty strong, with no film really sticking out like a sore thumb being included in this year’s list. Though it definitely could have been better, with Women Talking representing the only female-directed film on the list, despite the fact there were more than enough quality films directed by women which could have very easily made the list, such as She Said and The Woman King.

But alas, even if they had been nominated, their chances of a win probably wouldn’t have been high. Throughout this awards season, there has been one clear favourite which has by and large dominated and swept all before it and that film is the masterpiece from the Daniels. It says a lot about the sheer momentum and the positivity for Everything Everywhere that has carried it all the way to the awards season given it was released early last year and not in the usual Autumn/Winter awards season window and should it add the main prize to its likely slew of trophies, it would be the best Best Picture win since Parasite‘s triumph at the 92nd Oscars.

Will Win:  Everything Everywhere All At Once 

Should Win: Everything Everywhere All At Once 

Should have been nominated: The Woman King and She Said 

————————————————–

Final counts

Will win:

  • Everything Everywhere All At Once – 5 (Picture, Actress, Director, Supporting Actor and Film Editing) 
  • All Quiet on the Western Front – 2 (International Feature and Cinematography) 
  • Babylon – 2 (Production Design and Score) 
  • The Whale – 2 (Actor and Makeup and Hairstyling)
  • Avatar: The Way of Water – 1 (Visual Effects) 
  • Black Panther: Wakanda Forever -1 (Supporting Actress) 
  • The Banshees of Inisherin – 1 (Original Screenplay) 
  • Elvis -1 (Costume Design) 
  • Guillermo del Toro’s Pinocchio – 1 (Animated Feature Film)
  • RRR – 1 (Original Song)
  • Top Gun: Maverick – 1 (Sound)
  • Women Talking – 1 (Adapted Screenplay)

Should win:

  • Everything Everywhere All At Once – 6 (Picture, Actress, Original Screenplay, Director, Supporting Actor, and Costume Design)
  • All Quiet on the Western Front – 2 (International Feature and Cinematography)
  • Babylon – 2 (Production Design and Score) 
  • Black Panther: Wakanda Forever – 2 (Supporting Actress and Original Song) 
  • Top Gun: Maverick – 2 (Sound and Film Editing)
  • The Whale – 2 (Actor and Makeup and Hairstyling)
  • Avatar: The Way of Water – 1 (Visual Effects) 
  • Puss In Boots: The Last Wish – 1 (Animated Feature Film)
  • Women Talking – 1 (Adapted Screenplay)

 

Posted in 2020-2029, Awards Season, Oscars, Ranking

95th Academy Awards: Best Picture Nominees ranked

Posted on by Martin: Through the Silver Screen

Another awards season has come to a close and it is time to celebrate Hollywood’s biggest night with the 95th Academy Awards. After a full uninterrupted year of films on the big screen, ten films are competing for the top prize. They include a sharp social satire on the wealthy, a furious examination of the patriarchy, a biopic of one of the most iconic music artists of all time, a new interpretation of a classic anti-war novel, a couple of extremely successful sequels, and one of the most original films of the year.

An impressive crop of nominees, but as usual, only one film will emerge victorious. So, without any further ado, here’s my ranking of these films from worst to best. We start with…

10. Tár

I’ve always found every time awards season rolls around, there is always going to be one film that I struggle to connect with. This year, this film is Tár. For his first film in 16 years, director Todd Field brings the story of Lydia Tar, a fictional composer whose life begins to fall apart when a series of scandals come to light. There is a lot of depth to Fields’ screenplay, it is so rich and detailed, with a lot to say about cancel culture and the pedestal we often put celebrities on, you could almost be forgiven for thinking the film is based on a real-life figure, brought to the screen superbly by Cate Blanchett.

However, despite Blanchett’s incredible performance, the film sits at the bottom of this list because, while the film is impeccably crafted, I found it a bit of a slog to get through. Furthermore, the character of Lydia Tár was a difficult one to connect with and the film left me feeling quite cold as a result.

 

9. Elvis

Elvis Aaron Presley. The King of Rock and Roll and one of the most accomplished musicians to have ever lived. The popularity of musical biopics meant another film about the life of the singer was bound to happen sooner or later. In the hands of Baz Luhmann, a director whose previous films have certainly not been shy of extravagance and lavishness, he seemed like the ideal candidate to direct a film about the iconic singer.

Luhmann certainly goes all out for this depiction as he bids to capture Presley’s entire life, seen through the perspective of his controversial manager, Colonel Tom Parker (a severely miscast Tom Hanks). The film’s ambition cannot be denied, but even at 2 hours and 39 minutes, the attempt to capture Presley’s entire life feels too ambitious for its own good and drags the film down. However, what keeps it afloat is the extraordinary performance by Austin Butler whose dedication to bringing Elvis to the screen is so transformative, you could be forgiven for thinking it was the King himself on screen.

 

 

8. All Quiet on the Western Front

Throughout history, we have seen numerous examples of the horrors and brutality of war, and these horrors have often been captured in film in quite a brutal fashion. Indeed, those horrors have been brought into much sharper focus since the start of Russia’s barbaric invasion of Ukraine last year, which makes this new take on the 1930 novel by Erich Maria Remarque feel all the more relevant in light of the brutality of the scenes we’ve all seen in Ukraine over the last 12 months.

The film recaptures the brutality of trench warfare and the unimaginable horror the soldiers on both sides would have gone through on a day-to-day basis, with millions sent to their deaths to make minimal gains. The film is technically flawless, boasting immaculate production design and cinematography. However, while it serves its purpose as an anti-war film, it suffered due to a lack of development of its lead characters who merely exist to hammer the film’s main point home about the brutal and unforgiving nature of war.

 

7. Triangle of Sadness

Ever since the COVID pandemic hit and the wealth gap between the 1% in our society and everyone else grew even bigger, satires of the super-rich have been in plentiful supply as of late, which has been joyful to watch and necessary. However, none have done so in quite a scathing, and simultaneously hilarious manner as this Palme D’Or winner from Ruben Östlund.

Focusing on a young couple who are invited onto a cruise ship for the super-rich, the film is not afraid to take shots at numerous aspects of society, from wealthy oligarchs to social media influencers. This all culminates in a hilarious and slightly nauseating second act during a fateful night aboard the cruise, a scene which was an absolute riot to experience at a packed screening during London Film Festival. The film’s three distinct acts all have a unique feel to them, and while it does begin to run out of steam in the third act, it retains that stinging rebuke of the wealthy.

 

 

6. Women Talking

The only film of this year’s contenders to be directed by a woman (more on this later). The very fact Sarah Polley’s powerful and furious examination of the patriarchal nature of our society and analysis of an ongoing problem in said society was at very real risk of missing out on a nomination is shambolic, and some serious conversations would need to have been had if it had missed out.

Focusing on an isolated community of Mennonite women who have been repeatedly raped and sexually assaulted by the men in their community brings an urgent meeting where the women must decide whether to stay and fight or to leave. The film, as the title suggests, is very dialogue-driven. However, Sarah Polley’s screenplay, adapted from the novel of the same name by Miriam Toews, is so powerful and so tremendously performed by every member of its cast, especially Jessie Buckley and Claire Foy, that when these women are talking, everyone in the world should be listening to what they have to say.

 

5. The Fabelmans

Steven Spielberg, a director whose career has spanned over six decades, in which time he has provided audiences with killer sharks, killer dinosaurs, an extraterrestrial who wanted to phone home, an insanely cool archaeology professor who is arguably one of the best characters in cinema history, and so much more. Yet, as seems to be a trend among filmmakers in recent times, the legendary director has made his most personal film yet, about how he discovered his love of movie-making and the people in his life who played a key role in urging him to pursue his dreams of becoming a director.

Unlike some other films recently released this year which have tried to capture the magic of cinema only to completely miss the mark, Spielberg’s film captures the importance of family and how those around us can play a significant role in shaping the career we choose to pursue, as well as a passion for the art of cinema.

 

4. The Banshees of Inisherin

Full review here

There are not many directors who can combine a really (and I mean really) bleak situation and use that as a backdrop to provide utter hilarity quite like Martin McDonagh. On its surface, his latest film is the simple story of two men and the fallout when one of them abruptly decides he doesn’t want to be friends with the other one. Yet, there is so much more to McDonagh’s screenplay than this simple premise as it explores themes of toxic masculinity, nihilism, loneliness, and pursuing creativity over friendship all against the backdrop of the Irish Civil War.

The reunion (sort of) of In Bruges stars Brendan Gleeson and Colin Farrell, both of whom arguably give the best performances of their careers, is fantastic to see. Yet, the show belongs to Jenny (the donkey to whom Farrell’s character holds dear) and Kerry Condon’s scene-stealing performance as the sister to Colin Farrell’s character. A fecking brilliant motion picture!

 

 

3. Avatar: The Way of Water 

Full review here

The first of two films on this list which utterly dominated at the box office this year. It had been 13 long years since the first Avatar film came out, and after such a long wait, the question as to whether audiences would be interested in a return to Pandora raged. Several months, and nearly $2.3 billion dollars as of writing this later, it is fair to say audiences this debate has been settled. Audiences were interested and proved to the naysayers you should never ever bet against James Cameron.

With the visuals being a key selling point for the first film when it opened back in 2009, the question would have been how to surpass those this time around? And it would be fair to say they did just that, the use of pioneering new motion capture technology all while actually shooting these scenes underwater provided the film with some breathtaking visual majesty which is completely awe-inspiring to look at. Much can be said of the film’s script and how it is in many ways a retread of the first film, but when the last hour hits, it never lets up and reinforces Cameron’s talent for crafting terrifically compelling action.

 

2. Top Gun: Maverick 

Full review here

The second sequel among this year’s nominees and the film which, before The Way of Water came along, was the undisputed champion of the box office in 2022.  When it finally took to the skies last summer (after numerous delays), it was the film which as Steven Spielberg himself admitted to its star Tom Cruise might have just saved the cinematic experience as we know it.

Right from the very first moment when Kenny Loggins’s “Highway to the Danger Zone” blasts over scenes of jets taking off from a military warship, the film hits those nostalgic notes right off the bat runway. Yet, what this legacy sequel pulls off so successfully is it adds a real sense of emotional weight to the story, particularly for Cruise’s Maverick and certain decisions he has made across a 30-year career as a naval aviator. Furthermore, I cannot talk about this film without mentioning the aerial combat sequences, which were utterly exhilarating to watch. A perfect example of how to do a legacy sequel, and one that takes my breath away every time I rewatch it.

 

1. Everything Everywhere All At Once 

Full review here

What more is there to say about A24’s highest-grossing film of all time? Ever since it had its premiere in March last year at South by Southwest, the word of mouth for this film, and the insane level of hype surrounding it, was simply unprecedented. Was it actually going to live up to the hype when it finally opened on our shores in May? As you might have guessed from its position on this list, the answer is an emphatic yes.

I genuinely have no idea how writers/directors The Daniels concocted such a wacky, bonkers, insane and genius script which threw everything into the mix and somehow made it all work. The film had everything, multiversal travel, hotdog fingers, tremendous kung-fu-inspired fight scenes, googly eyes, and a genuinely very emotional scene with two rocks. But above all else, an impactful and moving family drama with one of, if not the best performances the legend that is Michelle Yeoh has given throughout her extraordinary career, as well as a wonderful performance from Ke Huy Quan, who will be one of the best Supporting Actor winners we’ve had in a long time. It was, for many people, the film which defined cinema in 2022 and it fully deserves its status as the best picture frontrunner, and will be one of the best victories of all time should it crown its phenomenal awards-season success.

 

Could/should have been nominated…

 

So there you have it, that is my ranking of the ten films up for Best Picture. However, I always like to hypothesise what could have been, because for me there are some films which really should have been included in this year’s race. Therefore, if I was an Oscar voter, my ballot for the ten films to be nominated would be to remove, Tar, Elvis and All Quiet on the Western Front, and replace them with:

She Said (review). In the same vein as last year when Ridley Scott’s powerful historical drama The Last Duel was snubbed entirely across the board last year, the absence of Maria Schrader’s tremendous film about how two reporters from The New York Times broke the story about Harvey Weinstein’s rampant sexual abuse led to the rise of the important #MeToo and Time’s Up movements is bemusing, to put it kindly. The film had an incredibly difficult job, given this is very recent history, to portray this story in a careful manner, and they did exactly that. Had it been nominated (as it should have done), it would have sent a real message of support to those who suffered at the hands of Weinstein. A real missed opportunity by the Academy.

The Woman King (review). Another brilliant film directed by a woman, and another which has been inexcusably overlooked by the Academy. So often, when a historical epic is brought to the big screen, it is from the perspective of men, such as Gladiator or Braveheart. This is precisely what made Gina Prince-Bythewood’s film so unique, that it centred on one of the few all-female armies in recorded history. Yes, it does take some liberties with the true story of the Agoije, this is not uncommon when bringing a true story to the big screen. Its extraordinary cast, led by an exceptional Viola Davis all shine, and it was just an epic time at the movies. Like with She Said, this is an incredible film which should have been nominated in all of the above-the-line categories, but the very fact it wasn’t nominated for anything at all feels particularly egregious.

Glass Onion: A Knives Out Mystery (review). A snub which is not as egregious as the ones mentioned so far, given that the brilliant sequel to Knives Out, got the adapted screenplay nomination it deserved. But, given the aforementioned screenplay nod, I am surprised to see it didn’t crop up anywhere else because it was definitely deserving of multiple nominations, given it clearly must be liked by the Academy. Supporting Actress for Janelle Monae did feel like a long shot due to how crowded that category is, but a nomination for costumes at the very least seemed a sure bet. Perhaps, the Academy is holding everything back for when the third Benoit Blanc film is released? Let’s hope so.

Posted in 2020-2029, Film Review

Creed III (2023)

Posted on by Martin: Through the Silver Screen
© MGM, United Artists Releasing and Warner Bros. Pictures

Creed III – Film Review

Cast: Michael B. Jordan, Tessa Thompson, Jonathan Majors, Mila Davis-Kent, Wood Harris, Florian Munteanu, Phylicia Rashad

Director: Michael B. Jordan

Synopsis: After a successful boxing career, Adonis Creed (Jordan) faces a new challenge when a former childhood friend and boxing prodigy (Majors) resurfaces…

Review: To follow in the footsteps of a cinematic icon like Rocky Balboa is far from an easy feat. Yet, with its superb blend of nostalgia, pulsating fight scenes and an unwavering determination for its lead character to honour the legacy of Apollo Creed, as well as forging his own, this is precisely what the spin-off to the Rocky franchise accomplished when its first film fought its way into cinemas to critical acclaim. With its sequel, it continued along this path by adding some deeply personal stakes for both its lead character and his coach. It might have seemed unthinkable the third film would not feature the iconic character of Rocky in any capacity. Yet even without the involvement of Sly Stallone, it has proved it has plenty of fight left in the tank.

Adonis Creed has spent years enjoying a successful boxing career. However, he has now reached a point where he has chosen to retire as a professional fighter and transfer to the role of a coach/promoter and the owner of a gym training the next generation of fighters. On top of this, Adonis also has family responsibilities parenting his daughter Amara (Davis-Kent) with his wife Bianca (Thompson). However, when a former childhood friend Damian Anderson (Majors) comes back into Adonis’s life after spending 18 years in prison, he wants his chance to become a professional fighter and make up for the time he lost while serving his sentence. Initially offering his former friend a chance to rehabilitate and train, Adonis is forced to confront his past relationship with Damian when it becomes clear Damian’s aspirations threaten to challenge the legacy Adonis worked so hard to build.

The script by Keenan Coogler and Zach Baylin, working from a story co-written with Ryan Coogler, continues to honour the theme beating at the heart of these films: legacy. The boxing aspect unquestionably plays a part in the films, but the emphasis is first and foremost on these characters and their relationships with those closest to them and the legacies they strive to build. For Adonis, he may have enjoyed a phenomenal career as a pro boxer, but the question about legacy becomes even more prescient since Adonis has hung up his gloves. With a daughter to now take care of, given the fierceness and brutality of the sport, the film explores what kind of effect will his boxing career have on her as she grows up and handles the challenges of life. A dilemma which causes tension between Adonis and Bianca. However, there are also some extremely heart-warming moments of the trio as a family, with Bianca also getting much more screen time as she is also having to balance her career and her parental responsibilities.

Yet, despite those heartwarming moments, the crunch of the film’s conflict lies in the relationship between Adonis and Damian. Through a flashback sequence, the relationship between the young Adonis and Damian is established and how events in the past have shaped the men they have become. Fast forward to the present day, and it is fair to say the relationship is complicated. There is initially respect between the two men, but it doesn’t take long for this respect to erode as Damian’s aspirations put him and Adonis on a direct collision course, which leads to an enthralling showdown. He’s certainly the man of the moment given his status as the MCU’s next big bad, and Jonathan Majors delivers a sensational performance as Damian effortlessly combing the intense physicality of the fight scenes with the more restrained emotional moments between these two friends-turned-rivals.

Taking the directorial gloves from Coogler and Steven Caple Jr in his directorial debut, Jordan follows in the footsteps of his predecessors as he puts his own stamp on the film’s fight scenes, proving his talent both in front of and behind the camera. Is there anything this man cannot do? He has made no secret of his love of anime and those influences come through in the fight scenes with intense close-ups of the fighters’ facial expressions, and slow motion before a significant blow is about to be landed. It is an effective combination and adds to the intense physicality of the fight scenes, which particularly comes through when viewed on the big screen. The Creed franchise had a lot to live up to, but through three excellent films which rarely put a foot wrong, it has honoured the legacy of the icon of Rocky Balboa and has given its star to launch himself as one of Hollywood’s newest and most exciting young directors.

Continuing to honour its central themes of family and defining your legacy, while getting another superb performance out of man-of-the-moment Jonathan Majors, ensures this threequel earns delivers the knockout blow and earns its title as a worthy successor to one of the greatest sports film franchises of all time.

Posted in 2020-2029, Film Review, London Film Festival 2022

The Whale (2022)

Posted on by Martin: Through the Silver Screen
© A24 and Protozoa

The Whale  – Film Review

Cast: Brendan Fraser, Hong Chau, Sadie Sink, Samantha Morton, Ty Simpkins

Director:  Darren Aronofsky

Synopsis: A recluse English professor makes an attempt to reconnect with his estranged teenage daughter…

Review: Back in the early 90s and mid-2000s, there was an immensely popular actor who was beloved in Hollywood, particularly with his leading role in The Mummy franchise. He seemed like someone who would go on to enjoy a very prolific career in Hollywood. Unfortunately, a mixture of personal tragedies and a sexual assault accusation levelled against the then President of the Hollywood Foreign Press Association in 2018, led to him reportedly being blacklisted from Hollywood. Now, after many years from the limelight, Brendan Fraser is making his long overdue comeback in the most heartbreaking way possible.

Charlie (Fraser) is an English professor who, due to a deeply personal tragedy, has allowed himself to be stricken and overwhelmed by the grief which has driven the rest of his family away. Consequently, to help him cope with the emotional torment of his situation, he has eaten to such an extent he has since become obese. He holds his classes online, with his camera off to avoid being seen by his students, which enables him to remain in his flat all the time hidden away from the rest of the world. He recognises in his condition, he may not have much time left in his life and so when his estranged daughter Ellie (Sink) shows up unexpectedly one day, he makes an attempt to reestablish a relationship with her.

Based on the play of the same name by Samuel D. Hunter, there’s always a risk when a film is set in one singular location, it will find itself unable to escape the limitations of being confined to the same four walls and hold the audience’s attention. However, when you have actors putting in phenomenal performances, especially Fraser, the film can escape that confinement. Fraser’s performance is so powerful, with every word of dialogue, you can feel the raw pain and torment within him and how guilty he feels for driving his family away. Actors being buried under piles of make-up and or prosthetics can sometimes become a distraction where this becomes the singular focus and the performance is forgotten about, but this is emphatically not the case here. The process of grieving when we’ve lost someone we love affects everyone in different ways, but for Charlie, it has left such a devasting impact on him to the point where he has accepted his fate.

While Charlie is resigned to the inevitable, there are individuals in his life who do their utmost to convince him that life is worth living. The most prominent is Liz (Chau) who assists Charlie as a nurse with his medical needs and also serves as his main source of company. While she pleads, in vain, with Charlie to seek medical treatment, she remains unwavering in her commitment to care for Charlie despite her pleas falling on deaf ears. There is Charlie’s estranged daughter Ellie, who turns up on Charlie’s door out of the blue after a long time because she wants her father’s help with her studies. It is an extremely difficult role to pull off as she understandably harbours a lot of bitterness and resentment towards her father for the significant period he was absent from her life, but Sink rises to the challenge in magnificent style.

The decision to have the entire film in a 4:3 ratio is an inspired creative choice on the part of Aronofsky. as it encapsulates both Charlie’s confinement to the four walls of his flat and his refusal to venture outside of those walls. Characters in previous Aronofsky films have often found themselves either at their moment of triumph or in some cases at their utmost lowest ebb. Given the circumstances of its main character, The Whale is definitely the latter, but through the bleakness of which Charlie finds himself, come plenty of moments of touching humanity and emotional gravity. It will be a minor miracle if you’re not at least holding back the tears by the time the credits begin to roll.

A simplistic, scaled-back story of redemption told with compassion, elevated with an extremely powerful lead performance at its core. Welcome back Brendan Fraser, we have missed you.

Posted in 2020-2029, Film Feature, Ranking

Best Films of 2022

Posted on by Martin: Through the Silver Screen

After the last two years saw cinema closures due to the pandemic for significant parts of the year, it has been immensely satisfying to have had a full interrupted 12 months of uninterrupted movies on the big screen. And what a year for film it has been, whodunnits aplenty, a long-awaited return to Pandora, more multiversal shenanigans, a very meta-comedy, some utterly enthralling action epics and a couple of extremely important movies that shone a spotlight on some very important and brave people. So without further ado, let us have a look at the best films of 2022.

With regards to films eligible for inclusion on this list, I always aim to include films which are listed as 2022 releases on IMDB. Yet, as seems to be the case every year, there are those films listed as 2021 releases which did not get released until well into the year, which makes them eligible for my 2022 list. On the flip side, there are some films featured here that are yet to be released in UK cinemas, but as I was able to catch these at London Film Festival, they are eligible for inclusion on this list. And as much as I would want to, I haven’t seen every film released in 2022, so if your favourite film is not on here, I might not have seen it. (On that note, I haven’t yet seen Babylon or The Fabelmans as they have not been released in the UK yet. I will factor these films into this list once I have seen them.)

Lastly, as always, the grades I awarded a film do not determine the final position on this list, a film which gets a perfect grade will not necessarily make it my favourite film of the year. This is my unashamedly biased list to highlight and celebrate the films which defined cinema in 2022 for me. As usual, there are some honourable mentions, films which are really great and worth your time but just didn’t quite make my list this year:

The Unbearable Weight of Massive Talent [review]. Nicolas Cage stars as Nick Cage in a very meta, but utterly hilarious, comedy that celebrates the career of Nicholas Cage, whilst also recognising the greatness that is Paddington 2. What more could you want?

Causeway.  Jennifer Lawrence and Brian Tyree Henry both give exceptional performances in this slow-burning but heavily impactful drama exploring the dynamic between two people trying to readjust and find their place in the world following tragic circumstances.

The Menu. A delightfully delicious satire of the wealthy elite of our society with a fascinatingly chilling performance from Ralph Fiennes as the head chef of this unique restaurant which will make you crave a particular food item by the end credits.

The Banshees of Inisherin [review]. Martin McDonagh reunites with his In Bruges stars Colin Farrell and Brendan Gleeson for a simple tale of two friends who have fallen out elevated by McDonagh’s razor-sharp screenplay, which is a fascinating blend of black comedy meets tragedy.

Bros. Billy Eichner co-writes and stars in by far and away the funniest film of the year in a hilarious, heartfelt and groundbreaking rom-com which stars a predominantly LGBTQ+ cast, and openly and proudly celebrates the LGBT+ community in a massive step forward for diversity on screen.

 

 

Honourable mentions honoured. Now, here comes the top 10…

 

15. The Whale

For years, Brendan Fraser was absent from Hollywood for a multitude of reasons. In this powerful drama from Darren Aronofsky, he makes his triumphant return in this moving film as an obese man who tries to reconnect with his estranged teenage daughter after he drove her away by eating to excess. It’s a simple story but one made extremely powerful, with stunning supporting performances from Hong Chau and Sadie Sink, as well as a devastating lead performance from Fraser.

 

14. Avatar: The Way of Water

review

13 years after the release of his ground-breaking film Avatar, James Cameron triumphantly returns to Pandora for the long-awaited sequel which has proved the appetite for audiences to make the return to this incredible world was there all along. This enthralling sequel offers some of the most dazzling visual effects you will ever see, especially for all those underwater scenes. While a bit of a retread of the first film in terms of its plot, it offered plenty of emotional stakes and compelling action to make this a worthwhile return to Pandora.

 

13. Till

In 1955, 14-year-old Emmett Till was brutally lynched and murdered by white supremacists. Following this heinous crime, his mother Mamie Till became an activist and a powerful voice in the Civil Rights Movement in the USA, campaigning for justice for her murdered son. It is certainly not an easy watch, but an extremely powerful and necessary one thanks to Danielle Deadwyler’s extraordinary, devastating and awards-worthy performance.

 

 

12. See How They Run

review

Agatha Christie is arguably the greatest novelist of all time when it comes to penning murder mystery novels and plays, so where better to set a murder mystery at the centre of a production of The Mousetrap? Harbouring the whimsical spirit of a Wes Anderson film, this film provides some delightful and witty meta-commentary on the murder mystery genre, whilst getting stellar performances out of its cast, especially Sam Rockwell as a grumpy detective and the scene-stealing Saoirse Ronan.

 

11. Nope

 

Jordan Peele’s first two films, both superbly blending horror and comedy, cemented the former star of the Key & Peele comedy double act as one of those directors whose name alone has the power to sell a film. Much intrigue surrounded his third film in the build-up to its release as to what the master and horror comedy could produce and whether he could complete his hat-trick? Short answer, yep, he can.

Once again providing an expert blend of horror and comedy, Peele upped the ambition for this one by going down the sci-fi route as a strange phenomenon haunts the sibling owners of a ranch, namely OJ (Daniel Kaluuya) and Emerald (Keke Palmer). Like his previous two films, the film has a lot to say with thought-provoking subtext and social commentary about humanity’s love/fascination with spectacle. Reuniting with Peele after Get Out, Kaluuya adds another stellar performance to an impressive filmography, but this film belongs to Keke Palmer who steals the show with a fantastic performance.

 

Now for the top 10…

 

10. Bullet Train

review

A high-speed bullet train is probably the last place you’d want to find yourself on your commute, especially if you knew there was a group of deadly assassins on board whose missions are interconnected. Fortunately for us, under the vision of stuntman-turned-director David Leitch, this particular service is a delightfully entertaining and one of the most stylish action films all year as these missions criss-cross with violent and hilarious results and one of the best comedy double acts of the year in Brian Tyree Henry and Aaron Taylor-Johnson’s assassin comedy duo.

 

 

9. Black Panther: Wakanda Forever

review

The foundations of the Marvel Cinematic Universe were forever changed when it was announced that Chadwick Boseman passed away in August 2020. It put director Ryan Coogler in the toughest of positions when it came to the sequel to 2018’s Black Panther as to how on earth they could overcome such a tragic horrific loss of someone who brought so much to the screen with every single role? In the most difficult of circumstances, Coogler and his cast came through to deliver a heart-breaking but beautiful film which in the most difficult circumstances explores how we process the grief when someone close to us has passed away, while also serving as an emotional tribute to Boseman’s extraordinary legacy.

8. Turning Red

review

Pixar films have never been afraid to tackle meaningful subject matter while also turning audiences into blubbering messes with the brilliantly emotional stories they have created over the years. In their first film directed by a woman, Domee Shi continues this trajectory with her brilliant, hilarious and emotional film about a girl who discovers whenever she gets nervous or excited, she turns into a giant red panda. Simultaneously a moving story about culture, family, and the perils of growing up, plus lots and lots of 2000s nostalgia. Furthermore, to its immense credit, the film is not afraid to shy away from the subject of puberty from a female perspective.

7. Belle

review

Offering some of the most jaw-dropping and stunning animation we have seen so far this decade, Mamoru Hosada’s film is a beautiful tale of one girl who, after a personal tragedy, is able to rediscover her passion for singing when she joins a vast digital world and becomes a global sensation. Encompassing themes of the impact of bereavement on a young person, the increasingly digital nature of society and the desire particularly among young people to have an online presence, the highs and lows encompassing fame/viral sensation online, while providing a modern 21st-century update for a tale as old as time. It is utterly scandalous this film was not nominated for the Best Animated Feature Oscar.

6. The Woman King

review

What comes to mind when you hear the words: historical epic? Chances are you’ll think of a film like Gladiator or Braveheart where men are taking revenge against those who have wronged them or are charging into battle. Given these sorts of films are almost always from the perspective of a man, it makes Gina Prince-Bythewood’s film telling the true story of the Agoije, an all-female group of warriors in a West African kingdom so awe-inspiring and badass.  Viola Davis’s General Nanisca is exactly the sort of commander who you would follow onto the battlefield. She leads an impeccably acted cast including career-best work from Lashana Lynch, an impressive breakthrough performance from Thuso Mbedu and a wonderfully regal performance from John Boyega.

 

5. Glass Onion: A Knives Out Mystery

review

 

When Daniel Craig’s Benoit Blanc made his introduction in Rian Johnson’s 2019 murder mystery/whodunnit Knives Out, right then and there, with his iconic Southern drawl, a modern icon of the genre was born. With the film representing a revitalisation of the genre, it came as little surprise when Netflix sanctioned a massive money deal for the rights to two further sequels. It brought much anticipation as to what everyone’s favourite Southern sleuth would get up to on his next case.

With another superbly stacked cast bringing to life another array of eccentric, colourful and rather douchey characters at its core, Johnson proves once again there was no foul play with Knives Out as he demonstrates his love for the genre with another wonderfully witty and hilarious screenplay, which is almost prophetic with the satire and social commentary at the centre. Every single member of this ensemble cast play their roles to perfection, and it is wonderful to see Craig have so much fun following his stint as 007. But the standout is, by far, Janelle Monae. So long as Craig and Johnson are happy to keep making these movies, there will be no complaints from me if we have many more adventures with Monsieur Blanc for many years to come.

 

 

4. Top Gun Maverick

review

One of many films to have seen its release date moved around a few times due to the pandemic, fans may have wondered if this long-awaited sequel to 1986’s Top Gun was ever going to take flight. Perhaps it was due to the multiple delays, but it certainly seemed like the hype around this film was fairly muted prior to its release. Though this all changed when it finally blasted its way into cinemas, becoming Tom Cruise’s highest-grossing film of all time.

The original Top Gun arguably made a star out of Cruise, but his star power has continued to grow in the 36 years between the two films’ releases. His commitment to entertaining the audience through crazy, death-defying stunts remains unrivalled in big blockbuster filmmaking, and we are lucky to have him. Through a winning combination of utterly exhilarating flight sequences putting the audience at the heart of the action, alongside an extremely emotional story of Maverick confronting his past and his guilt over the death of his close friend Goose, as well as an extremely emotional scene with Val Kilmer’s Iceman, and you have a sequel which surpasses its predecessor in every single way, and will take your breath away again, again and again.

 

 

3. She Said 

review

Throughout history, we have seen examples of the extraordinary work journalists can do to bring stories to light in a way that changes the world forever. One such example is the extraordinary work of Jodi Kantor and Megan Twohey, whose tireless investigative reporting uncovered the rampant sexual abuse of men in positions of power, such as Harvey Weinstein, which gave rise to the Time’s Up and Me Too Movements.

Given how these movements represent very recent history, it was important for the filmmakers to approach this subject matter with care, and this is exactly how Maria Schrader and screenwriter Rebecca Lenkiewicz handled it. The film simultaneously shines a light on the incredible bravery of the women who came forward to speak out against such systemic behaviour and the tireless determination of the women who, in spite of threats to have the story buried, persisted in their efforts to bring the truth to light. Flawless acting by the entire cast, especially Carey Mulligan and Zoe Kazan as Twohey and Kantor respectively, this important film shines a light on the important work journalists carry out, and the necessity for women’s voices to come to the fore when telling these stories.

 

2. The Batman

review

The Caped Crusader is an iconic figure in both comic book and cinematic history throughout the decades. Every actor who has donned the cape and cowl has managed to bring something unique to the role. The pressure was certainly on Matt Reeves for his take on this character to do something we haven’t seen before, and he absolutely delivered.

In a Gotham City quite unlike anything we have seen before, under an eternal cloud of perpetual rainfall, we have a Batman early in his crimefighting career (portrayed magnificently by Robert Pattinson) who must utilise all his skills as he comes up against Paul Dano’s terrifying Riddler. Portraying Batman’s skills as a detective in a manner previous Batman films have rarely utilised was an inspired choice and the combination of the exploration of Gotham’s murky criminal underworld, exemplified by a terrific performance from Colin Farrell as The Penguin, alongside some brilliant action sequences. When you have all of the above, along with an outstanding turn from Zoe Kravitz as Catwoman and you have one of the greatest incarnations of the Dark Knight ever put to screen.

And so my favourite film of 2022 is

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1. Everything Everywhere All At Once

review

When 2022 began, it was poised to throw a number of films at audiences which explored the concept of the multiverse. Such a concept has exploded in popularity in recent years, particularly in the genre of comic book films, little did we know that the best film to explore this concept was not something that had a Marvel logo attached to it, but was an entirely original indy flick, from the minds of the directors of Swiss Army Man.

The film lives up to its name by throwing a plethora of genres all into one big melting pot and the results were bonkers, hilariously entertaining and emotionally devastating all at once. You will never look at googly eyes, rocks, raccoons, hot dogs and bagels in the same way after watching this masterpiece. At the heart of it is an awards-worthy performance from the legendary Michelle Yeoh who pours her heart and soul into every single action scene, likewise for Ke Huay Quan who after several years away from acting makes a triumphant return. No other film released this year has illustrated to me perfectly just how special cinema can be as an art form, and for this, it more than earns the title of my favourite film of 2022.

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And that brings the curtain down on my list of the best the big screen had to offer in 2022. Thank you for reading, especially if you read all the way through! What were your favourite films of 2022? Let me know in the comments below or you can find me on the following platforms: Twitter, Facebook or Letterbox’d.

For my picks for my most anticipated films of 2023, please click here.

 

 

Posted in 2020-2029, Film Review, London Film Festival 2022

Empire of Light (2022)

Posted on by Martin: Through the Silver Screen
© Searchlight Pictures

Empire of Light  – Film Review

Cast: Olivia Colman, Micheal Ward, Monica Dolan, Tom Brooke, Tanya Moodie, Hannah Onslow, Crystal Clarke, Toby Jones, Colin Firth

Director:  Sam Mendes

Synopsis: On the south coast of England, a romance develops between two cinema employees…

Review: Where do you go after making what could feasibly be deemed your magnum opus? This would have been the question for Sam Mendes following the magnificent triumph of his captivating war film 1917.  It has been popular among big-time Hollywood directors to focus on films which illustrate the wonders of the big screen, understandable given the COVID-19 pandemic caused cinemas everywhere to remain dark for many months. Therefore, it seems a given a renowned director like Mendes would be able to bring something unique to this increasingly popular cinematic trend. Yet, despite some good intentions, Mendes’ follow-up to his World War I masterpiece is a crushing disappointment.

Set in the early 1980s on the South Coast of England, Hillary (Colman) is the manager of the Empire, a beautiful cinema in a prime location on the seafront. Despite being a consummate professional who is dedicated to doing her job to the best of her ability in spite of the presence of her rather unpleasant boss Mr Ellis (Firth), Hillary’s happiness is beginning to diminish as the job takes a toll on her mental health. However, with the arrival of Stephen (Ward), things initially start to seem a little brighter as the two of them develop a romance. However, it is a brief respite for Hillary as her mental health worsens, especially with the country sliding into recession, putting the cinema at risk, and the foul stench of racism clogging the seaside air.

The film marks Mendes’ first solo attempt at writing a screenplay and it is telling his efforts completely crumble under the enormous weight of the story it is trying to convey. It is all well and good to tackle important social issues such as the stigma which still surrounds mental health and the poisonous presence of racism in society. Yet, it is all rendered utterly meaningless as the attempts to tackle these issues are so hamfisted and underdeveloped, the film feels completely unsure of what it really wants to say. In doing so, it doesn’t add anything meaningful to the issues it is trying to address, even more so considering the film is also attempting to portray a love story between two cinema employees, while also coming across as a moving ode to the magic of the big screen, the latter of which seems to be tacked on as a mere afterthought. There are simply too many different subplots happening at one time and it ultimately proves too much for Mendes to weave these together all by himself.

Since winning her first Oscar in 2019, Olivia Colman has fast become something of an industry favourite among industry and audiences alike, given she has added two further nominations in the last two years. While both Colman and Michael Ward admirably try their hardest to elevate the poor and underdeveloped material they have both been given to work with, it proves to be too difficult a challenge for both of them to overcome. Their romance is by far and away the most developed part of the film, but even then it is not nearly given the attention it needs to flourish due to the numerous ongoing themes the film tries to explore. Furthermore, there is simply not enough chemistry between the two of them which makes it difficult to care about their romance. One of the film’s few bright sparks is the ever-reliable Toby Jones as Norman, the cinema’s resident projectionist.

Frequent Mendes collaborator Roger Deakins’s cinematography is immaculate, and Trent Reznor and Atticus Ross do not disappoint with their score. It is therefore such a shame their fine work ultimately goes to waste on a film which should have been a sure bet in such capable hands. Yet, rather than recapture the feelings of joy and wonder which often comes from seeing films on the big screen in a packed auditorium, this is completely devoid of any charisma and charm, leaving nothing but an empty feeling inside. There will undoubtedly be many more films released in the coming years serving as a reminder of the power this medium can have on audiences, but this is one which misses the mark entirely.

Despite the best efforts of the cast and a very capable director, Empire of Light completely fails to dazzle due to its unfocused script, combining poorly developed social commentary with a half-hearted tribute to the beauty of cinema.

 

 

 

Posted in Film Feature, Ranking

Most Anticipated Films of 2023

Posted on by Martin: Through the Silver Screen

Happy new year cinephiles!

2022 was certainly a much better year for the big-screen experience as there were no enforced cinema closures to contend with. A full 12 months of uninterrupted cinema, and long may it continue! Looking to the year ahead, there is, as usual, lots to look forward to, so let us dive straight in with my most anticipated films for 2023. These are the releases that I am most looking forward to, but time will tell if they will be the best because as is the case every year there are bound to be some films that come out of nowhere with very little fanfare to blow audiences away and the films that are likely to be big awards season players tend to start popping up in the latter half of the year.

Before we start, there are a few 2022 releases that are finally getting their wide release on these shores this year, such as Babylon, TAR and The Fabelmans, but as these are technically 2022 releases, they will not be included here.

Before we have a look at the top 10, here are a few honourable mentions  (All current UK release dates unless specified):

The Super Mario Bros. Movie (release date: 31 March): For anyone who grew up with the early generation video game consoles, Mario is one of, if not the most iconic and recognisable video game characters of all time. Fans might have a feeling of trepidation, particularly with Chris Pratt as the voice of Mario, particularly as the other time they adapted Mario for the big screen, it did not go well. However, in the hands of Illumination, and with a strong voice cast behind it, let’s hope this one gets the gold star!

The Hunger Games: The Ballad of Songbirds & Snakes (release date: 17 November)  Director Francis Lawrence is once again stepping back into the world of Panem for the prequel set 64 years before Katniss Everdeen became the Mockingjay to ignite the rebellion to overthrow the Capitol.

John Wick: Chapter 4 (release date: 24 March) Keanu Reeves is once again suiting up as John Wick AKA Baba Yaga for the fourth instalment of this action-packed franchise. Given how the last film ended, he’s out for bloody revenge and I fear for anyone who would dare get in his way…

Shazam: Fury of the Gods (release date: 17 March) Asher Angel/Zachary Levi return as Billy Batson who with a single word turns into the hero Shazam. There are significantly higher stakes this time around as Billy and his adopted family of superheroes must face off against the Daughters of Atlas.

Indiana Jones and the Dial of Destiny (release date: 30 June). 15 years after he last donned the iconic hat and whip of the legendary Dr Henry “Indiana” Jones Jr, Harrison Ford reprises his role for the fifth and probably final time. James Mangold takes over the directing duties from Steven Spielberg, and with Mads Mikkelsen and Phoebe Waller-Bridge joining the cast, fingers crossed it can right the wrongs of Kingdom of the Crystal Skull.

Now, let’s see what cracked my top 10:

10. The Little Mermaid

Release date: 26 May

Disney’s live-action offerings, particularly some of the recent ones, have mostly left an awful lot to be desired, begging the question as to why these films exist outside of an excuse for the Mouse House to print money. However, the live-action retelling of the story of Ariel could be the one to arrest the slump. Halle Bailey as Ariel is an excellent piece of casting, and she’s joined by Melissa McCarthy, and Javier Bardem, as well as the voice talents of Daveed Diggs, Jacob Tremblay and Awkwafina.

 

9. The Marvels 

Release date: 28 July 

It’s been a while since we have seen Brie Larson’s Captain Marvel in the MCU, but she is poised to make her return in this sequel to her 2019 film. The plot remains under wraps but this film will see Carol team up with Monica Rambeau and Ms Marvel, with Teyonnah Parris and Iman Vellaini reprising their roles from WandaVision and Ms Marvel respectively. Seeing these three team up, with Candyman reboot director Nia Da Costa (the first black woman to helm an MCU movie) calling the shots. Give it to me.

 

 

8. Ant-Man and the Wasp: Quantumania

Release date: 17 February

The third instalment of the adventures of the MCU’s tiniest heroes promises to be one of the biggest films, certainly for Ant-Man and in all likelihood for the MCU as a whole as this film will see Paul Rudd’s Scott Lang and Evangeline Lilly, as well as Cassie Lang (now played by Kathryn Newton), travel down to the Quantum Realm where they will have to face off against Jonathan Majors’ Kang the Conqueror, who promises to be a major (pun intended) villain of the future MCU phases going forward.

7. Creed III

Release date: 3 March 

Speaking of Jonathan Majors, he pops up again here in this third instalment of the Rocky spin-off franchise as an old friend of Michael B Jordan’s Adonis who seemingly has a very personal score to settle after being released from prison. The stakes feel considerably higher for this third film, but alas Sylvester Stallone’s Rocky will not be involved this time around, with Jordan stepping behind the camera for his directorial debut.

 

6. Barbie

Release date: 21 July 

I honestly never thought I would see the day when a film about Barbie would feature on one of my lists of the most anticipated films of the year. But here we are, the POWER of Greta Gerwig.  Not much is known about the plot of the film, but with a cast which includes Margot Robbie in the lead role, Ryan Gosling as Ken, as well as Simu Liu, Ncuti Gatwa, Emma Mackey, Kingsley Ben-Adir, Issa Rae and Michael Cera, and you have my interest, especially since THAT trailer hit the internet. Come on Barbie, let’s go party!

 

5. Guardians of the Galaxy Volume 3

Release date: 5 May

The fate of this film lay uncertain for a long period of time following the departure of director James Gunn. However, common sense prevailed and after being poached by DC to make the terrific The Suicide Squad and Peacemaker, Gunn returns for what is likely to be his last project for Marvel, and a potential end of the road for Marvel’s collection of loveable villains-turned-heroes as the recently released teaser indicates it could be an emotional farewell for The Guardians. Let’s hope Gunn has another Awesome Mix of banging tunes to drown out any potential audience waterworks.

 

4. Mission: Impossible – Dead Reckoning – Part One

Release date: 14 July

The storming box office success of Top Gun: Maverick is proof positive Tom Cruise still commands insane box office power. Since Mission: Impossible – Ghost Protocol, the MI franchise has somehow managed to find ways to keep going and just get better and better with every new instalment. This is no small part due to Cruise’s willingness to keep doing absolutely jaw-dropping and insane stunts which manage to outdo the last crazy stunt he did for the previous film.

While plot details remain unknown, Cruise is showing no signs of slowing down with the craziness of the stuns he seems willing to pull off, and all of the familiar faces seem to be back in action alongside Cruise. Christopher McQuarrie is once again calling the shots as the director. What’s more, the franchise has added some very exciting talents including Hayley Atwell, Pom Klementioff, Esai Morales and Shea Whigham. Given this is likely to be the penultimate film with Cruise in the role of Ethan Hunt, expect even more fireworks than before, if that is somehow possible.

 

3. Spider-Man: Across the Spider-Verse

Release date: June 2

 

2018’s Spider-Man Into The Spider-Verse was one of the most stylish and unique animated films to have come out in a long time, and it’s one of the best superhero films ever made. Introducing fan favourite Miles Morales as Spider-Man, its unique animation style made it feel like it was as if the animators were directly taking pages of a comic book and translating them onto the screen. Plus given the recent trend among superhero films to explore the multiverse, it was a film ahead of the curve.

With this sequel, we can definitely expect more multiverse shenanigans, and the fact that this film will be part one is an extremely intriguing prospect. Shameik Moore, Hailee Steinfeld and Jake Johnson will all be reprising their voice roles. Joining the case will be Oscar Isaac as Spider-Man 2099, Issa Rae as Spider-Woman, Daniel Kaluuya as Spider-Punk, and quite possibly many more if the trailer is anything to go by. My spider senses are tingling with excitement already!

2. Oppenheimer

Release date: 21 July

Christopher Nolan’s films are always cinematic events, and his next film promises to be an enthralling, explosive spectacle exploring the life of J. Robert Oppenheimer and more specifically his role in the creation of the atomic bomb in the Manhattan Project during World War II. Frequent Nolan collaborator Cillian Murphy leads what is an extraordinarily stacked cast which includes: Emily Blunt, Robert Downey Jr., Matt Damon, Rami Malek, Florence Pugh, Benny Safdie, Michael Angarano, Josh Hartnett, Kenneth Branagh to name but a few.

And, my #1 most anticipated film of 2023 is…

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1.  Dune: Part Two

Release date: 3 November 

“This is only the beginning”, says one character in the closing scene of Denis Villeneuve’s Dune, a cliffhanger which left fans wanting an immediate return to Arrakis. The sequel was not assured given the film was released to cinemas as well as a day and date release on HBO Max, but with strong box office support, substantial viewership on HBO Max, and six Academy Awards at the 94th Oscars, the spice will flow once more as Villeneuve got the go-ahead to adapt the second half of Herbert’s novel, with Paul (Timothee Chalamet) out for revenge against the ruthless Baron Harkonnen (Stellan Skarsgard).

As well as Chalamet and Skarsgard, Zendaya, Rebecca Ferguson, and Javier Bardem reprise their roles from the first film. Joining them for this sequel will be Florence Pugh, Austin Butler, Lea Seydoux and the legendary Christopher Walken.

This concludes my picks for the most anticipated films of 2023, What are your most anticipated films for this year? Let me know on any of the following platforms: Twitter, Facebook or Letterbox’d. 

 

Thanks for reading. Here’s to a great 12 months of cinema!

Posted in 2020-2029, Film Review

The Woman King (2022)

Posted on by Martin: Through the Silver Screen
© Sony Pictures Releasing, TriStar Pictures, eOne and TSG Entertainment

The Woman King – Film Review

Cast: Viola Davis, Thuso Mbedu, Lashana Lynch, Sheila Atim, John Boyega

Director:  Gina Prince-Bythewood

Synopsis: A group of all-female warriors in a West African kingdom seek to protect and defend their lands from enemy outsiders…

Review:  The subject of history is an endlessly fascinating one as it enables us to revisit specific periods of the past and learn about a plethora of different cultures and civilisations that have existed throughout the centuries human life has existed on this planet. Indeed, one of the many wondrous aspects of films is they can shine a spotlight on these civilisations and bring them to life in such a rich, beautiful and meaningful manner. While some societies have been covered more than others, there are others who have not been talked about as much as they should be. This is precisely what this enthralling historical epic from Gina Prince-Bythewood does, by shining a light on an incredibly fierce troop of all-female warriors, the Agojie.

Set in the Kingdom of Dahomey, West Africa, General Nanisca (Davis) is the commander of the Agojie, an all-female elite troop of warriors who are sworn to protect the Kingdom from enemy forces that wish to conquer them, most notably the Oyo Empire. Nanisca is seeking capable warriors from the next generation to join this prestigious arm and to prepare their people for the defence of their homeland. Seeking to prove herself worthy to be a part of this elite group of warriors is Nawi (Mbedu) who is determined to prove herself after being shunned by her family for refusing to be married off to suitors chosen by her father. Her ambition and relentless determination capture Nanisca’s and, and Igozie’s (Lynch) attention, the latter of whom resolves to provide Nawi with the tutelage she will need to succeed in her aim to become part of the Agojie and successfully defend their land.

Having a historical epic like this being led by a predominantly black, female cast is a hugely significant moment for these types of big-budget blockbusters, the importance of representation and giving a platform for filmmakers to tell stories from the perspective of these civilisations cannot be overstated. The screenplay from Dana Stevens tackles first and foremost, female empowerment and the sheer intensity and skill of the Agojie on the battlefield. However, it also drives the significance of home, a family and a vibrant community which would enable a new recruit to rise through the ranks and take her place as part of the Agojie, who served as the inspiration for the Dora Milaje from Black Panther. In addition, the film crucially does not shy away from the part the Dahomey Kingdom had in the slave trade.

To be the leader of the kingdom’s all-powerful group of female warriors, you need an actor who brings a commanding screen presence every time she steps in front of a camera. Someone who has the aura of someone you would dare not cross or talk back to, and Viola Davis brings both those qualities in abundance. Nanisca is the exact sort of leader you want to have on the front line of the battlefield. However, there is far more to Nanisca’s character than being the commander of the Kingsguard, there’s a very personal element to her story which comes to the fore when she meets Nawi. To be tasked to act alongside a legend of the industry like Davis is far from an easy feat. However, Mbedu rises to the challenge in spectacular fashion, a feat all the more impressive considering this is her feature film debut. Lashana Lynch’s career is going from strength to strength and she gives perhaps the performance of her career thus far, being the warrior to take Nawi under her wing and offer invaluable advice, while John Boyega is the perfect combination of gravitas and a surprising amount of humour with his role as King Ghezo.

Through all of the moving exploration of the community of the Agojie and the powerful bond between all of these amazing and brave warriors, under Prince-Bythewood’s soaring direction, the battle scenes are immaculately helmed and enthralling to watch. There is one minor side plot with a romance between Nawi and a man who is travelling with a group of slave traders which is not properly developed and could have easily been cut out from the final cut, but it is not enough to drag the film down. Historical epics have rarely been told from the perspectives of black women, and showcasing these extraordinary warriors deserves to be celebrated and championed.

Through its extraordinary ensemble cast, led by Viola Davis, The Woman King delivers emotionally resonant themes of female empowerment combined with enthralling action scenes that will have you bowing down in awe.

 

 

 

 

Posted in 2020-2029, Film Review

Avatar: The Way of Water (2022)

Posted on by Martin: Through the Silver Screen
© 20th Century Studios, TSG Entertainment and Lightstorm Entertainment

Avatar: The Way of Water – Film Review

Cast: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Kate Winslet, Cliff Curtis, CCH Pounder, Jamie Flatters, Britain Dalton, Trinity Jo-Li Bliss and Jack Champion

Director:  James Cameron

Synopsis: After several years of peace, Jake Sully must do all he can when his adopted planet of Pandora comes under attack from a familiar foe…

Review: From an 80-page script drafted in 1994 to spending years crafting a constructed language and working with designers to design the world which came to be the planet of Pandora, James Cameron’s Avatar was a project long in the making. When it was finally released to the world in 2009, it became an instant cultural phenomenon, smashing box office records here, there and everywhere on its way to becoming the highest-grossing film of all time, a record it temporarily lost, but has since reclaimed after a brief tussle with the MCU. Such an accomplishment meant a sequel was inevitable, but as was the case with its predecessor, the sequel’s journey to the big screen has been beset with delays. Now, after a 13-year wait, it is finally time for audiences to return to Pandora, but was it worth the wait?

At least a decade has passed since the first film’s events, Jake (Worthington) having been permanently transferred into his Na’vi form, has started a family with Neytiri (Saldana), living peacefully raising their four children: Neteyam, Kiri, Lo’ak and Tukitrey. However, their peace is interrupted as the Sky People have returned, still desperate to utilise Pandora’s resources to save Earth. However, the mission has some added personal stakes for the humans as they are also out for revenge against Jake after he led the Na’vi to victory against them. Left with no choice, Jake and Neytiri are forced to relocate to take their family to a new region of Pandora, where they meet another Na’vi clan who, unlike the Omticaya, make their homes and livelihoods in the waters of Pandora.

When Avatar first came out, the one thing no one could deny was its utterly breathtaking visual effects combined with the pioneering motion capture technology. Combined together, these incredible feats of filmmaking brought the beauty of Pandora, its majesty, the Na’vi and the incredible array of characters which call this world home to life in a manner so vivid and fully realised, it could (almost) convince you Pandora is a planet which exists somewhere in the vast array of the universe.  Yet, having played his card of wowing audiences with astounding immersive visuals once, surely Cameron and his team of visual effects artists could not outdo themselves to create even more impressive visual effects this time around?

Srane (Na’vi for yes), srane they can! By taking this sequel to a whole new section of Pandora, it gives them what is essentially a whole new world to play in and the cast and crew dive (pun definitely intended) straight into the opportunity. The world of performance capture has come a long way since Avatar was released, but Cameron once again goes one better by pioneering incredible technology with visual effects company Weta, enabling the cast and crew to utilise motion capture technology, while actually filming scenes underwater. These scenes illustrate the incredible power of this technology and are so stunning and mesmerising to look at, illustrating there aren’t many better companies than Weta when it comes to crafting stunning visual effects. No words in the English (or Na’vi) language can do justice to how immaculate these visuals look on screen, and they deserve to be seen on the biggest screen you can find in order to appreciate them in all of their stunning glory. They might as well start engraving the names of the artists on the respective visual effects awards trophies now.

While the film’s visuals certainly leap off the screen, they cannot do all the heavy lifting and there’s still a need for the cast to deliver the performances required to drive the narrative forward.  The screenplay by Cameron, Rick Jaffa and Amanda Silver, by expanding our horizons of what we know of Pandora, proved to be a smart decision, not just for the technology but for the story too. It puts the characters in a difficult position where they must learn to adapt to the ways in which this water-based Na’vi clan live their lives, which is especially hard for Jake and Neytiri’s children as their lives in the forest are all they have ever known. It is through their eyes that we see this acclimatisation to the new clan and their ways unfold. Each of these young actors’ performances (Jamie Flatters, Britain Dalton and Trinity Jo-Li Bliss) shines through motion capture technology.

However, the biggest revelation here is the portrayal of Kiri by frequent Cameron collaborator Sigourney Weaver as Kiri. It might have seemed an odd choice to have the legendary actor play a 14-year-old Na’vi child, but through the magic of seemingly Eywa herself, it works wonders. Also returning from the first film (in a slightly different role) is Stephen Lang’s villainous Quaritch, now taking the form of the Na’vi to utilise their speed and strength as a weapon against them as he leads the charge for the humans in seeking revenge against Jake.

While the change in location serves the story up to a point, with the film coming in with a run time of 192 minutes, the film does struggles to justify such a lengthy run time with an imperfect second act. Furthermore, by putting the focus to such an extent on the young Na’vi children, certain important characters are relegated to bit-part roles. There is undoubtedly a familiarity in terms of the narrative, but when it is time for the Na’vi and the humans to clash once more, it remains utterly compelling and reinforces Cameron’s credentials as a master of crafting action. It might have taken a bit longer to return to Pandora than he would have liked. Still, when you have a director like Cameron in his element, pioneering ground-breaking performance capture and visual effects,  all in the name of our entertainment, you just have to take your hat off to him and say, irayo (thank you).

While it can feel a bit repetitive in terms of its story, the long-awaited return to Pandora goes to extraordinary depths with stunningly immersive visuals which surpass its predecessor, reinforcing Cameron’s reputation as a master blockbuster filmmaker.

 

Posted in 2020-2029, Film Review

Black Panther: Wakanda Forever (2022)

Posted on by Martin: Through the Silver Screen
© Marvel Studios

Black Panther: Wakanda Forever – Film Review

Cast: Letitia Wright, Angela Bassett, Lupita Nyong’o, Danai Gurira, Winston Duke, Dominique Thorne, Florence Kasumba, Michaela Coel, Tenoch Huerta, Martin Freeman

Director:  Ryan Coogler

Synopsis: Following the passing of King T’Challa, the nation of Wakanda finds itself increasingly isolated and weakened as it faces a new threat in the form of Namor, the leader of an all-powerful underwater nation…

Review: It would be something of an understatement to say making a film is a massive undertaking which requires a herculean amount of effort from a troop of people both in front of and behind the camera, especially for a tentpole blockbuster. However, for the sequel to 2018’s phenomenally successful Black Panther, the typical challenges facing the cast and crew were compounded by the tragic death of Chadwick Boseman in 2020. The passing of the man who brought so much to a role which meant so much to millions of fans across the world, it begged the question as to how on earth could director Ryan Coogler and his crew overcome such a heart-breaking loss? It is therefore to their immense credit they have overcome the most devastating of obstacles to produce a film which not only beautifully honours Boseman’s legacy but delivers a worthy sequel to one of the best films in the MCU.

The nation of Wakanda finds itself in mourning following after their beloved King T’Challa dies from a mysterious illness. One year later, after a funeral and a beautiful celebration of his life, his sister Shuri (Wright) is struggling to come to terms with her loss and chooses to keep herself occupied with the Wakandan technology she pioneered. However, Wakanda finds itself under increasing scrutiny from the rest of the world which wants to see the country share its resources, most notably vibranium, putting pressure on Ramonda (Bassett) who has become Queen following T’Challa’s passing. However, the Wakandans face a further challenge when they encounter the ruthless Namor (Huerta), the leader of the underwater nation of Talokan, who is determined to wage war on all of the countries on the surface.

The task facing Coogler and his fellow screenwriter Joe Robert Cole to honour the legacy of Boseman in this sequel was an unenviable one, to say the least. Death is something we as human beings will all have to grapple with at some point in our lives. The grief and personal pain we experience when someone we love departs this world varies from person to person, and the screenplay offers a profoundly moving story which analyses how the grief and pain we endure manifests itself in individuals, whilst simultaneously illustrating the power of communities coming together to pay their respects to those who have passed on. It enables the performances of the characters, especially those of Letitia Wright and Angela Bassett, to flourish as their grief over the loss of their brother and son is raw, powerful and extremely emotional. We, as the audience, are grieving for them, and with them. As a result, their stories understandably take centre stage, but it does mean returning characters such as Nakia (Nyong’o), Okoye (Guiria) and M’Baku (Duke) feel somewhat underutilised.

Aside from the deeply personal tragedies facing its characters, in the same vein as its predecessor, Wakanda Forever also brilliantly factors geopolitical issues into its story. The first film grappled with Wakanda’s decision to hide itself and its resources away from the rest of the world. However, without their ruler and protector, the Wakandans are much more vulnerable, and this is something the rest of the world is keen to exploit. Consequently, this only causes Wakanda to find itself increasingly more isolated, which is where Namor, the leader of the underwater nation of Talokan comes in. In the same vein as Killmonger, Namor is a compelling villain, with a fascinating backstory. He too leads a nation which is isolated from the rest of the world, but one which is also steeped with resources and considerable military strength, which makes for a fascinating dynamic between Namor and the Wakandans, and Huerta’s performance is extremely captivating.

Returning costume designer Ruth Carter and production designer Hannah Beachler once again do a magnificent job of bringing Wakanda and Talokan to life, and while the first film’s cinematographer Rachel Morrison does not return for the sequel, Loki cinematographer Autumn Durald Arkapaw steps up to the plate magnificently. The film can feel a little long in places and certain aspects of the film could arguably have been left on the cutting room floor. However, after the last few MCU films have been grappling with the concept of the multiverse and lots of big CGI battles, it is a refreshing change of pace to see Wakanda Forever dial this back to allow the characters and their journeys to take centre stage. This isn’t to say that there is no CGI battle, because it would not be an MCU film without one, and Coogler’s direction remains marvellous and the visual effects have considerably improved this time around.

It is next to impossible to imagine how tough it must have been for the cast and crew every day during production. However, in the face of such devastating tragedy, they have ensured Phase 4 of the MCU closes with one of its best films and serves as a fitting dedication to the legacy of Chadwick Boseman, who through his immense body of work, will live on in the hearts and minds of millions of fans forever.

Through unimaginably difficult circumstances, Wakanda Forever is a moving sequel, delivering a poignant reflection on grief and tragedy while serving as a beautiful and emotional tribute to the wonderful legacy of Chadwick Boseman.