Author: Martin: Through the Silver Screen

Posted in 2020-2029, Film Review

The Long Walk (2025)

Posted on by Martin: Through the Silver Screen
© Lionsgate and Vertigo Entertainment

The Long Walk – Film Review

Cast: Cooper Hoffman, David Jonsson, Garrett Wareing, Tut Nyuot, Charlie Plummer, Ben Wang, Roman Griffin Davis, Joshua Odjick, Judy Greer, Mark Hamill

Director: Francis Lawrence

Synopsis: In a dystopian United States, 50 teenage boys must walk until only one is left standing…

Review: Throughout the long history of the United States, the notion of the country descending into a nightmarish hellscape ruled by an authoritarian regime should not feel relevant in modern times. Yet, given its current leader and the state of the world in general, it remains an all-too-familiar reality. A 1979 novel written by the one and only Stephen King (under the pseudonym Richard Bachman) feels more pertinent than ever, given the hellish state of the country today. In Francis Lawrence, a director who knows a thing or two about helming multiple films set in a dystopian US devastated by civil war, having directed all but one of the films in The Hunger Games franchise. A franchise which also featured brutal contests where participants fought for survival until only one remained, there couldn’t be a more apt director to translate a depressingly relevant visualisation of the US to the big screen.

Set in an alternate 20th century, in an attempt to inspire patriotism and imbue a work ethic among its citizens amid a severe economic downturn, the brutal totalitarian military regime in charge of the country set up an annual competition known as The Long Walk. 50 teenage boys, one from each state, are selected to compete. The rules are simple: they must walk for hundreds of miles across an open road at a pace of three miles per hour until there is only one competitor left standing. Any competitor who falls below that pace is given three warnings to get back up to speed. If they fail to do so after the third warning, they will have their “ticket punched” by the armed soldiers patrolling the route, with a bullet.

Four dozen impoverished souls walking for miles across nothing but flat terrain, occasionally breaking through the sparse pockets of civilisation, could quickly become tedious and monotonous. However, over 108 utterly absorbing and tense minutes, JT Mollner’s screenplay keeps the proceedings moving swiftly and remains intensely gripping by focusing on these young men, pushed into this dangerous and gruelling trek, as they cling to the hope of being the victor. In a contest where the winner will claim a substantial cash prize and the chance to have one wish granted, it seems unlikely that any bonds will form among the walkers. Yet, this is precisely what makes the film so compelling. Some choose to form alliances, while others resort to antagonistic tactics. As the miles pass and day turns into night, then into the next day, the sound of gunfire as numerous competitors are eliminated shocks those remaining into continuing to put one foot in front of the other. It never once loses momentum.

Such is the strong brotherhood that forms between a handful of these young men, it wouldn’t nearly be as impactful if it were not for excellent performances across the board. As the central protagonist, Cooper Hoffman’s Ray Garraty is motivated to partake in the walk due to deeply personal circumstances. The bond he forms, particularly with David Jonsson’s Peter McVries, is the relationship that drives the film forward. Jonsson, once again proving what a phenomenal talent he is, exudes charisma and determination even in the face of such gruelling and unforgiving circumstances that the other boys, including Ben Wang’s Hank, Charlie Plummer’s Gary and Garrett Wareing’s Billy, rally around him. The boys are also united by their burning hatred for the callous Major, an extremely effective villainous performance by Mark Hamill, channelling the ruthlessness and gruffness of Full Metal Jacket’s Sergeant Hartman.

Having been somewhat held back by the constraints of The Hunger Games franchise in portraying the violence of the games, Lawrence faces no such restrictions here. The manner in which those who fall behind and, for whatever reason, be it injury, a need to relieve themselves, or just plain exhaustion, do not get back up to speed is unflinching and brutally violent. It is uncompromising in the depiction of a regime which will not hesitate to use military violence and intimidation to keep people in line, an ominous parallel to the 21st-century America, where the so-called leader of the free world has demonstrated his desire to deploy military force against his own people.

While the film could have offered more context about the war that led to the fall of democracy and the rise of authoritarianism, it also could have done without such an abrupt and rushed ending. Nevertheless, the relevance of this story, first written by King nearly 50 years ago, strikes a powerful chord in today’s political climate. It serves as a vital reminder that, even in the face of brutal authoritarian rule, humanity must persist, continue, and fight on, even if you have walked for hundreds of miles, and the temptation to give up may be overwhelming.

Bolstered by a pair of gripping performances from Hoffman and Jonsson, The Long Walk is a tense and powerful tale of the human spirit and the necessary struggle to take a stand in the fight against oppression and authoritarianism. 

 

 

 

Posted in 2020-2029, Film Review

Materialists (2025)

Posted on by Martin: Through the Silver Screen

© 2AM, Killer Films, A24 and Stage 6 Films

Materialists – Film Review

Cast: Dakota Johnson, Pedro Pascal, Chris Evans, Zoë Winters

Director: Celine Song

Synopsis: In the hustle and bustle of New York City, a matchmaker finds herself torn between a wealthy and charming financier and her ex…

Review: What if two people who at one time in their lives were deeply in love and were seemingly destined to be together, only for their trajectories to split? This was the philosophical question that beat at the heart of Celine Song’s reflective and heart-achingly beautiful directorial debut, Past Lives, and how those two people reckon with what might have been had their lives taken a different direction. Love is very much at the centre of her follow-up, grounded in the world of dating and matchmaking, with the vibrant and lively atmosphere of the city that never sleeps again serving as the backdrop.

Lucy Mason (Johnson) is a self-proclaimed “eternal bachelorette” matchmaker working for ADORE, providing dating services for high-paying clientele. She has seen incredible success in her career, having matched nine couples who tied the knot. However, she insists she won’t walk down the aisle herself unless she meets someone wealthy. At a client’s wedding, she encounters the groom’s brother Harry (Pascal) and also runs into her ex-boyfriend, John, who works as a waiter for a catering firm while trying to become an actor. Lucy faces a dilemma between starting a promising new relationship with Harry or rekindling the romance with her old flame.

As was the case with her directorial debut, Song delves much deeper beyond the surface of what one might expect from a typical romantic comedy where two souls meet and fall in love with each other. This is encapsulated through an unconventional opening scene that is bound to catch some people off guard, yet it completely illustrates the nature of the story. Humanity’s age-old adventure to find connection, passion, romance and the hope of finding the special person we would like to fall head over heels in love with and wish to spend the rest of our lives with. Sometimes it’s a case of being in the right place at the right time and everything falls effortlessly into place.

However, in the modern world, finding a partner often reduces to persistent scrolling through apps, all in the hope of discovering that elusive dream match. But what truly defines the “perfect someone”? Is it their job, height, hobbies, or the music they listen to? Or perhaps even more specific criteria than that? The dating world is competitive and cutthroat, where everything on a profile has to be flawless in a world where people are filled to the brim with flaws and imperfections. Can a matchmaker really effectively use these various criteria to connect individuals with their ideal partners? This is the central question that Song addresses with unwavering honesty.

Johnson is an actor whose choice of projects (as she herself will tell you) has left a lot to be desired in recent years. It was clear that she had talent, but just needed the right script, and with those aligning, she gives one of her best performances as Lucy. Working in the field of matchmaking requires someone to be cool, calm and collected and the ultimate professional, even when dealing with picky and demanding clients. However, she remains unflustered in her attempts to find partners for that “check all the boxes”. Yet despite her success, she struggles to find the right partner for herself, even when someone as charming and downright handsome as Harry enters her life and goes out of his way to woo her. Pascal makes full use of his limited screentime and brings effortless suave and smouldering good looks. John may not have the same level of wealth as the other man trying to win Lucy’s heart, but Evans also brings charisma and charm aplenty.

When depicting love triangles on screen, human nature often leads us to root for one side to prevail over the other. However, Song’s script takes a balanced approach and allows the audience to understand the perspectives of all parties involved. It would be easy to assume Lucy would go for the man who has all the wealth in the world, but it is considerably more nuanced and complicated. There is, however, a subplot featuring one of Lucy’s clients, Sophie (Winters), which highlights the challenges and all too real dangers women, in particular, can face when dating a male partner and the risk of that partner getting abusive and or violent. While this may hit too close to home for some, it needed to be addressed, and more screentime could have been given to exploring this peril of the dating minefield.

It doesn’t quite pack the emotionally devastating punch as Past Lives, but take nothing away from what Celine Song has achieved. With only her second film, here is a director quickly gaining a reputation for bringing thoughtful and mature romances to the screen. Stories filled with resonant storytelling that make us pause and reflect on our lives, the people we love, and how do we possibly go about finding the one we are looking for in such a crazy, chaotic world where people are motivated by money and material possessions? A universal struggle that humanity has been grappling with throughout the aeons of human history, even for folks as mesmerisingly attractive as its three leading characters.

Bolstered by three excellent performances from its bewitchingly beautiful cast, Materialists offers a sincere and unflinching look at the complicated maze of online dating and humanity’s eternal quest to find romance in an increasingly avaricious world.

Posted in 2020-2029, Film Review

Weapons (2025)

Posted on by Martin: Through the Silver Screen
© Warner Bros. Pictures and New Line Cinema

Weapons – Film Review

Cast: Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Toby Huss, Benedict Wong, Amy Madigan

Director: Zach Cregger

Synopsis: A town is left reeling and searching for answers after a group of schoolchildren mysteriously run away during the middle of the night…

Review: Jordan Peele, Robert Eggers, Ari Aster. What do these names have in common? They are directors who, over the past decade, have established themselves as fresh and exciting voices in the horror filmmaking scene. With each new film, they bring something unique and original, turning every release into a highly anticipated event. After unsettling audiences with his 2022 directorial debut Barbarian, Zach Cregger has put himself on a similar path to the aforementioned trio. This trajectory has been further accelerated by his captivating and unnerving follow-up, which will send chills down your spine.

Sometimes, it really pays to know as little as possible before going into a film, and this is one of those cases. So, without going into too much detail, the town of Maybrook, Pennsylvania, is left shaken and confused after 17 children mysteriously woke up at 2:17 in the morning, got out of bed, ran out of their homes and disappeared into the night without a trace. The only link is that all the children who vanished were in Justine Gandy’s (Garner) class. However, the mystery deepens when it is revealed that Alex Lilly (Christopher) is the only pupil who remained. The disappearance of so many children understandably sparks a lot of anger and grief in the community. What could have possibly led to the disappearance of these children, and is Justine really to blame? Is there perhaps something deeply sinister at the centre of this mystery?

For any parent, the thought of their child going missing without a clue where they may have gone would be an absolute living nightmare. Multiply that by 17 sets of parents fraught with anguish, confusion and a demand for answers, and it becomes a powder keg waiting to ignite. These emotions become powerful weapons (pun intended), which Cregger channels into his script into a thorough examination of how grief manifests itself when such a traumatic event collectively impacts an entire community. By dividing the film into distinct chapters, each from the perspectives of the key individuals connected to this disturbing mystery, it keeps the audience glued to the screen across 128 thoroughly tense minutes. We watch with bated breath as each new perspective adds more clues, until the full picture slowly but surely emerges.

The journey to uncover this mystery masterfully maintains tension, keeping the audience fully engrossed. Garner excels as Justine, the poor teacher who suddenly finds herself with an empty classroom. She initially bears the brunt of the community’s anger, with the finger of blame pointed squarely at her. Her pleas that she cares deeply about her pupils and is as eager for answers as the parents fall on deaf ears, which takes a heavy toll on her mental health. Brolin as Archer, the father of one of the missing children, channels his rage at his son’s disappearance by taking it upon himself to carry out his own investigation when the police’s search doesn’t move fast enough for his liking. To say too much more about the rest of the cast would be verging into spoiler territory, but suffice to say, every member of the cast, including young Cary Christopher, is at the top of their game.

With the cast firing on all cylinders, razor-sharp airtight editing by Joe Murphy, and the cinematography from Larkin Seiple, it only adds to the anxiety and tension. You never know who or what could be lurking in the darkness, or indeed the daytime, for that matter, with Cregger all too eager to pack in some truly effective jumpscares. It is a further testament to Cregger that even in a film with the harrowing event of missing kids at its centre, while also tackling subjects such as the dangers of addictions, he manages to find humour in the situation, particularly when one character shows up in that all-important third act looking like something a completely wacky cartoon character that doesn’t seem remotely frightening. Yet, looks can be deceiving, and such is this character’s true nature, it may make you think twice before ever trusting someone with their name ever again.

Achieving a balance between humour and deep unsettling themes requires exceptional skill, and this is a feat which Creggar accomplishes, with a tense and exhilarating finale that will linger in your mind for many days after the credits have rolled. It is early days in his directorial career, but Creggar has established himself as a director who isn’t just making horror films to scare the audience mindlessly. It has something to say about how we, as a species, can react when we experience potent and raw grief and anger in the face of a terrifying situation that is beyond our control, something all too relatable in this thoroughly unpredictable and sometimes downright scary world that we live in.

With only his second feature film, Zach Cregger brings something wholly unique and original to the horror genre, with pointed social commentary, and some truly unsettling imagery that is guaranteed to find its way into your nightmares. 

Posted in 2020-2029, Film Review

The Fantastic Four: First Steps (2025)

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

The Fantastic Four: First Steps – Film Review

Cast: Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, Joseph Quinn, Julia Garner, Natasha Lyonne, Paul Walter Hauser, Ralph Ineson

Director: Matt Shakman

Synopsis: On a retro-futuristic parallel Earth, the Fantastic Four must defend the world against the sinister planet-eating threat known as Galactus…

Review: In such a golden age for superhero storytelling as the one we’re currently experiencing, we have seen all manner of comic book characters successfully adapted for both the big and small screens, from the massive ensemble team-up films to the most obscure characters, who have since become household names. Yet despite numerous attempts, the Fantastic Four has never achieved such success. We have seen the fun but flawed movies of the noughties to the unmitigated disaster that was Fant4stic. You would have been forgiven for thinking that someone had placed a curse on Marvel’s First Family, that they would never get an adaptation that would do them justice. After having done such wonderful work with the first (and you could make the argument for the best) TV show in WandaVision, enter Matt Shakman to well and truly break clobber that curse.

In a futuristic parallel world separate from the main Marvel timeline (Earth-828 to be exact) filled with advanced technology like flying cars and cool personal robot companions like H.E.R.B.I.E (an adorable scene-stealer), we learn through a series of newsreels it has been four years since our titular heroes blasted off into space on a mission where they were exposed to cosmic rays, which granted each of them superhuman powers. The supersmart Reed Richards (Pascal), who can stretch any part of his body, his brilliant wife Sue (Kirby) who can create force fields and turn invisible, Reed’s loyal best friend Ben Grimm (Moss-Bachrach) whose skin has been transformed into orange rock that grants him superstrength and durability. Last but certainly by no means least, Sue’s hot-headed brother Johnny (Quinn) can control fire and fly.

They are the planet’s sole protectors, and through their heroism, they have become celebrities whose ingenuity has enabled advances in technology and brought stability and peace to the world. With Reed and Sue preparing for the life-changing milestone that is parenthood, the four of them must deal with the arrival of the Herald, the Silver Surfer (Garner) who tells them their planet is “marked for death” with the impending arrival of the planet-eater Galactus (Ineson).

After a Phase Five that had some high points and arguably the lowest of the lows for the franchise (looking at you Quantumania), it makes sense to begin Phase Six with something of a reset and to establish Marvel’s first family in their own universe before their world collides with the main timeline as we know it. The script by Josh Friedman, Jeff Kaplan, Eric Pearson and Ian Springer keeps things focused squarely on the quartet and their dynamic, with no chance of any other superhero crashing into this world. There will be plenty of time for that in future Phase Six films. Having seen the origin story done before in the Fox era films, the decision to quickly bypass this allows the film time to explore Reed and Sue’s loving relationship, the camaraderie/playful banter between Johnny and Ben, and indeed, the togetherness and warm family embrace between the entire team is sincere and genuine.

With such pitch-perfect chemistry between the team, it’s a credit to the casting director that they absolutely nailed each casting choice (hurrah that the Oscars will at long last be giving these people their dues in next year’s ceremony). Pascal, continuing his bid for cinematic domination, expertly balances Reed’s intelligence and scientific nous while preparing for the enhanced responsibility of becoming a father. Moss-Bachrach’s Ben, despite his hard-as-rock exterior, comes off as very kind and gentle, particularly when demonstrating his strength to a group of schoolchildren. Quinn as Johnny exudes charm and charisma in flaming abundance. However, the MVP of the team is unquestionably Kirby’s Sue. A woman balancing impending motherhood, a heroic feat of endurance in itself, but all while leading diplomatic efforts on the international stage. This, combined with the true power she possesses, means she is a force to be reckoned with.

Speaking of forces to be reckoned with, while she doesn’t get a vast amount of screentime, the Silver Surfer remains a mysterious presence that Johnny cannot help himself be drawn to. Perhaps in this alternate universe, flames are attracted to metal, or beings with metallic skin? The Surfer, or Shalla-Bal to give her name, gives the team plenty to worry about. Yet, it is the gargantuan cosmic entity Galactus who poses an even greater threat. 2007’s Rise of the Silver Surfer reduced him to a cosmic cloud that feasts on planets. This iteration very much retains his desire to feast on worlds, but through an effective combination of practical costumes, CGI and Ineson’s imposing voice, the menacing factor is turned to the maximum and does justice to a fan favourite.

Having worked wonders with the MCU’s first (and arguably best) TV show, WandaVision, Shakman brings that quirky vision to this universe through some brilliant worldbuilding. The sets of this alternative 1960s New York feel lived-in, and the technological advancements on display are so wonderfully realised, it is almost enough to make you green with envy that such a world doesn’t actually exist. With another fantastic score by Michael Giacchino (seriously, does this man ever miss?) Marvel’s first family have taken their first steps into the MCU, and at long last, have been given their well-deserved moment in the spotlight. Now, all roads lead to Doomsday. Set your countdown clocks accordingly.

With pitch-perfect chemistry between its leads and the perfect retro-futuristic setting to introduce them in, Marvel’s first family’s foray into the wider MCU is a roaring and flaming success! 

Posted in 2020-2029, Film Review

Jurassic World: Rebirth (2025)

Posted on by Martin: Through the Silver Screen
© Universal Pictures and Amblin Entertainment

Jurassic World: Rebirth (2025) – Film Review

Cast: Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Ed Skrein

Director: Gareth Edwards

Synopsis: Five years after the events of Jurassic World: Dominion, a new expedition sets off to the research facility of the original Jurassic Park in pursuit of dinosaur DNA that could lead to a medical breakthrough…

Review: Dinosaurs, you just can’t keep these prehistoric creatures off the big screen. Three years ago, much spectacle was made of the third and supposed final chapter in the Jurassic World franchise to be the one to close the curtain on a franchise 65 million years in the making. Having brought the past and the present together and stomped its way to another billion dollars at the worldwide box office, it seemed as though every last morsel of dino DNA had been extracted, and it was time to let it rest once and for all. But, in the immortal words of Jeff Goldblum’s Dr Ian Malcolm from the first film, “life finds a way”, and well, the franchise found a way to resurrect itself once more.

It has been five years since the events of Dominion, where dinosaurs and humanity were forced to co-exist alongside each other. However, due to climate change, the majority of the planet’s surface has become inhospitable to dinosaurs, except for a few areas around the equator. Consequently, these areas have become no-go zones for humans. It is discovered that the DNA of the creatures is the key to a potential new treatment for heart disease, which could be very profitable if brought to the mass market. Therefore, pharmaceutical company executive Martin Krebs (Friend) recruits Zora Bennett (Johansson) and palaeontologist Dr. Henry Loomis (Bailey) to lead a mission to the island of Île Saint-Hubert to retrieve these samples of dino-DNA and bring them back. Though when venturing into the land of dinosaurs, you know that things are not going to go as planned, and it becomes a desperate bid for survival.

In some ways, the subtitle of Rebirth is an apt one because the slate has been totally wiped clean in that no one from any of the previous six films shows up, even for the briefest of cameos. Given franchise films have in the past often tried to mine and utilise the nostalgia in place of telling a good story, this is a welcome development. You would think that with a whole new collection of characters, this would offer original Jurassic Park screenwriter David Koepp and director Gareth Edwards, himself no stranger to tackling films with gargantuan-sized monsters, the opportunity to take the franchise in an exciting new direction.

Alas, while there is enjoyment to be found, it is broadly more of what you would come to expect from a Jurassic adventure, with our protagonists setting off to this island to fulfil their mission, only for things to go wrong and for the dinosaurs to start eyeing up these humans as their next meal. Of course, the film also doesn’t pass by the opportunity to use John Williams’ theme from the original film for a predictable but effective blast of nostalgia, because who doesn’t get emotional hearing that incredible theme from the greatest musical maestro cinema has ever seen?

In Edwards’ capable hands, having also ventured to a galaxy far far away, the action sequences are unquestionably spliced with some Spielbergian DNA. However, they certainly get the blood pumping and the adrenaline flowing, including an enthralling sequence where the crew is in a race against time to extract the DNA from a Mosasaurus and a mission to save a family whose boat has drifted into some dino-dwelling waters. Compelling as these scenes are, such is the threadbare and minimal development of these characters that it becomes hard to be fully invested in their quest.

Even with such talented actors, like Johansson, Ali and Bailey turning in reliably solid performances, the material they are given lacks sufficient meat on its bones to make them as compelling as characters from previous films in the franchise, severely lacking in a memorable line or, indeed anything at all. You want to see them accomplish their mission and avoid a fate that has befallen many characters in this franchise. Yet, since the attachment the audience has to them is so threadbare, it is of little significance who makes it out of the island alive.

It is remarkable that in the 30 years since Spielberg first brought dinosaurs to life in a truly captivating way that will forever remain timeless, every sequel has attempted to replicate that magic, yet none have managed to accomplish that goal. The results have varied from entertaining to the bizarre sight of a dinosaur saying “Alan” to Sam Neill’s Alan Grant. While dinosaurs will always have an inherent appeal, it’s clear that this franchise has run out of fresh ideas. Given the inconsistency of the films over such a long period, perhaps it is time to consider letting it go the way of the dinosaurs once and for all.

Despite offering some entertaining moments, Rebirth fails to offer anything new and instead regurgitates well-worn tropes from previous films. A franchise that once roared has become stale, toothless and in need of fossilisation.    

Posted in 2020-2029, Film Review

From the World of John Wick: Ballerina (2025)

Posted on by Martin: Through the Silver Screen
© Lionsgate, Summit Entertainment, Thunder Road Films and 87Eleven Entertainment

 

From the World of John Wick: Ballerina – Film Review

Cast: Ana de Armas, Anjelica Huston, Gabriel Byrne, Lance Reddick, Norman Reedus, Ian McShane, Keanu Reeves

Director: Len Wiseman

Synopsis: After being trained in the traditions of the Ruska Roma organisation, an assassin sets out on a quest for revenge after her father was murdered…

Review: It is incredible to think that a film about a man who embarks on a violent and personal mission to exact revenge on the goons who killed a puppy, a gift from his beloved late wife, could spawn such an enthralling and gritty action franchise. Taking a close look at the murky criminal underworld and a network of assassins with hotels all around the world for these assassins to rest in between jobs, all while allowing its titular hero to find endlessly creative ways to eliminate those who wronged him. Yet, after four films that have shot and stabbed their way to a billion dollars at the worldwide box office, and a spin-off TV show about the New York Continental. However, the time has come for the passing of the torch and for a new central figure to pirouette her way to take the limelight, that the Baba Yaga has carried so successfully.

Set between the events of John Wick: Chapter 3 Parabellum and Chapter 4, Eve Macarro (de Armas) is a ballerina turned assassin who has been training in the traditions of the Ruska Roma for over a decade after her father was murdered when she was a young girl. After a decade of gruelling training, Eve graduates from the programme and is sent out on missions by the Ruska Roma’s uncompromising and strict director (Huston). Yet, the whole time, the thought of getting back at those who were responsible for her father’s murder is never far from her mind. When she comes across a clue that could lead her to them, she defies the director’s orders and sets off on her quest for revenge, and no one is going to stand in her way from getting to the bottom of who killed her father.

Anyone who saw 2021’s No Time to Die will know that when de Armas’s CIA agent Paloma meets Bond to infiltrate a meeting of the nefarious SPECTRE and fend off their goons, it delivered one of the film’s most exhilarating sequences. Despite a scandalously brief amount of screentime, she certainly left her mark on the franchise, and probably several of those SPECTRE goons, when she kicked their arses. Opportunities arose for her to develop that impressive turn alongside 007, but they never quite materialised. Thankfully, this is the one that doesn’t waste her talent and, much like Mr Wick, allows her to showcase her incredible action skills and get inventive in how she takes down her enemies. Flamethrower? Check. Grenades? Check. Ice skate blade? Check. Hell hath no fury like a woman on a deeply personal mission of revenge, and de Armas commits to the physicality of the role and does the majority of her own stunts in tremendous style.

The Wick universe is synonymous with slickly directed and stylish action scenes, where bad guys are dispatched in a violent and brutal fashion. Even with some reported reshoots helmed by franchise veteran Chad Stahelski, Len Wiseman brings an experienced hand to them. Yet for a female-led spin-off, it is a massive missed opportunity to not have a woman assume the responsibility of director. Shay Hatten’s script is surface-level at best when it comes to providing Eve with a sufficient amount of depth beyond her mission. You want to root for her, given the personal nature of her quest for revenge. Despite slotting in seamlessly as a spin-off to the underworld established by the first four John Wick films, the script does her a disservice, as she is explicitly told to “fight like a girl” by Ruska Roma teacher Nogi (Duncan-Brewster).

In a world where numerous badass female assassins have gone toe-to-toe with their male counterparts, and especially given what we know de Armas is capable of as an action star, it’s counterproductive and works against establishing Eve as a force to be reckoned with in this universe. This is not something she explicitly needs to be told when preparing for her missions. Perhaps a female director would have enabled the action to stand proudly on its own two feet, but instead, it cannot escape the shadow of Keanu Reeves’ legendary hitman. Speaking of Mr Wick, his appearance here could have been nothing more than a gratuitous cameo for the sake of nothing more than fan service, but he does serve a purpose in Eve’s revenge mission against the Chancellor (Byrne). An antagonist for Eve to confront for the pain he’s caused her, but he could have been so much more and is ultimately given paper-thin depth and development and pales in comparison to the villains of the John Wick films.

Checking back in to this brutal world of legendary hitman and bloody revenge is always a welcome one, especially as it represents our final chance to bid farewell to the late Lance Reddick as the concierge Charon. However, despite de Armas’s best efforts to twirl, shoot, and stab her way through as many bad guys as she can, as entertaining as these moments are, they don’t quite reach the heights of the films that have come before it. Still, there is definitely room for further expansion, and hopefully Eve Macarro will get her chance in the future to establish herself as a force to be reckoned with in the same breath as the Baba Yaga.

 Ballerina is at its most exhilarating when Ana de Armas is tearing through bad guys through any means at her disposal, but ultimately, the spin-off doesn’t quite hit the heights set by the previous entries in the franchise. 

 

Posted in 2020-2029, Film Review

Mission: Impossible – The Final Reckoning (2025)

Posted on by Martin: Through the Silver Screen
© Paramount Pictures, Skydance Media and TC Productions

Mission: Impossible – The Final Reckoning  – Film Review

Cast: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Esai Morales, Pom Klementieff, Shea Wigham, Greg Tarzan Davis, Henry Czerny, Angela Bassett, Hannah Waddingham, Tramell Tillman

Director: Christopher McQuarrie

Synopsis: Two months after the events of Dead Reckoning, the IMF continue their mission to prevent the AI known as The Entity from unleashing global chaos…

Review: “Your mission, should you choose to accept it.” Ever since this iconic line was first uttered in the original Mission: Impossible film in 1996, it has been quite an incredible journey over the past three decades. Eight globe-trotting missions, some truly death-defying and insane stunts, and over $4bn at the worldwide box office— all largely due to the extraordinary tenacity and commitment of the man who has been at the heart of it all from the very beginning: the one and only Tom Cruise. He is someone who has always worked his hardest and has never stopped running (literally), in his bid to entertain the audiences. However, there eventually comes a point where the time is right to close the curtain on a franchise. Now, after the events that were set in motion by Dead Reckoning, Ethan Hunt and the Impossible Mission Force take their (supposed) final bow.

It has been two months since the IMF became aware of the existence of the sentient and nefarious AI known as the Entity, which has since made itself known to the world, causing complete and total havoc for governments across the world by taking control of the nuclear arsenals of some of the most powerful nations. With time running out before the AI causes a devastating global catastrophe, the IMF learn of the existence of a software that could neutralise the Entity. With the fate of the world as we know it at stake, as Ethan himself tells the President of the United States, Erika Sloane (Bassett), “I need you to trust me, one last time”. With the stakes somehow higher than ever before, Ethan and his crew embark on a mission to prevent the villainous Gabriel (Morales) from getting his hands on the AI.

There comes a point, even when you have had a great a run as Mission has, that the time will eventually come for the franchise to take its final bow, one last mission to accept if you will. Ever since taking the reins with Rogue Nation, Christopher McQuarrie and the age-defying star that is Tom Cruise have crafted some of the best action cinema, with the latter’s commitment to putting Ethan in perilous predicaments to deliver spectacle on a truly epic scale. Unfortunately, McQuarrie and Erik Jendresen’s script is bogged down by a bloated and extremely slow first act that delivers a mountain of exposition and is on its own mission to recap every film that has led to this mission. It comes across as completely redundant, given that the audience will have more than likely been with Ethan since he first accepted his mission back in 1996, and it puts an unnecessary drag on the film’s nearly three-hour runtime.

Furthermore, in the same vein as its predecessor, it is evident that McQuarrie and Cruise were so laser-focused on the stunts and how they would be accomplished that the script was relegated to the realm of an afterthought, serving merely as a vehicle for some jaw-dropping stunts. In doing so, it gives long-time Mission stalwarts, such as Simon Pegg’s Benji and especially Ving Rhames’ Luther with not a great deal to do beyond their usual supporting roles as long-time friends of Ethan. They frankly deserved far better, given how they have been key members of the team for so long. Furthermore, even the newer members of the team, such as Hayley Atwell’s Grace and Pom Klementieff’s Paris, are also underutilised, all the more disappointing given their memorable introductions in Dead Reckoning. Given the increasing capabilities that humanity has been seeing with the rise of artificial intelligence, there is a point to be made about how this technology may one day bring the world to its knees and cause unprecedented havoc. That being said, if you break it down for even a minute, the plot is so ridiculous that it doesn’t make one iota of sense, and Gabriel does not leave a lasting impression as the antagonist.

What does not disappoint is Tom Cruise, because when does he ever let us down? When you consider the truly staggering stunts he has managed to accomplish over the years, from climbing the world’s tallest building, to hanging off an aeroplane mid-flight and riding a motorcycle and parachuting off a cliff? Surely, he can’t pull off anything more jaw-dropping than that? Well, leave it to him to continue to find new ways to make it his mission to laugh in the face of death with two truly set pieces, with one involving a deep-sea dive that might make people discover a fear of deep water, or thalassophobia. From one end of the spectrum in the deep depths of the ocean to the skies above us, as his other mind-boggling stunt is another stunt involving biplanes, with Hunt literally hanging off them and a terrifying drop back to earth. It will set your heart rate soaring, and your palms will sweat profusely. It truly has to be seen to be believed.

Since the first fuse was lit all those years ago, it has been a wild and exhilarating ride across those nearly three decades. Eight missions, and some truly nail-biting and tense action set-pieces. The impact that Cruise has had on cinema as a whole is immeasurable, and we can be immensely grateful for everything he has put into this series. Time will tell if indeed this is the final mission Ethan Hunt and the IMF will accept, but if it is, it is not the explosive bang it would have hoped for.

A confoundingly dull first act of flashbacks threatens to derail the mission before it really gets going. However, once the film moves past this point, it hits top running speed and never looks back.

Posted in 2020-2029, Film Review

Sinners (2025)

Posted on by Martin: Through the Silver Screen
© Warner Bros Pictures and Proximity Media

Sinners – Film Review

Cast: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Benson Miller, Li Jun Li, Delroy Lindo

Director: Ryan Coogler

Synopsis:  Looking to leave their troubled lives behind them, twin brothers look to start a news business in their hometown. However, they soon discover that a sinister presence is waiting to welcome them back…

Review: Ever since Ryan Coogler made his directorial debut with the harrowing Fruitvale Station, his career has only gone from strength to strength. A fantastic re-invention of the Rocky franchise and leaving his mark on not one, but two Marvel Cinematic Universe films. The first of which became the first MCU film to win Academy Awards, and the latter was made in the most unimaginably difficult circumstances following the tragic passing of Chadwick Boseman. Throughout Coogler’s journey to becoming a household name, Michael B. Jordan has been with him every step of the way. Their fifth collaboration takes them both into uncharted territory, a pulsating edge-of-your-seat descent into the supernatural world of horror.

Deep in the Jim Crow south of the United States, twin brothers Smoke and Stack (Jordan) have returned home to their home town of Mississippi after working as prohibition gangsters in Chicago for a certain Al Capone. Upon their return, they set about acquiring a property and turning it into a juke joint, while simultaneously seeking to drum up interest among the town’s residents ahead of the opening night. With the opening night in full swing, the drinks flowing and the blues music ringing out, it soon becomes clear that there is an ominous and foreboding presence terrorising certain members of the community. Over the course of one night, what started as a party becomes a desperate and bloody fight for survival against this menacing threat.

Double Michael B. Jordan trouble…

Now, depending on what marketing material you might have seen, you may or may not be aware of the exact nature of this supernatural threat. So, for the benefit of those who may not know, the nature of the evil threat at the centre of this shall remain a mystery. He may have worked within the confines of the well-oiled MCU machine for his last two films, but there was never any doubt that Coogler stamped his authority over those two films with deeply personal and powerful themes that resonated with audiences worldwide. A delve into the world of the supernatural, and this mysterious presence that is terrorising this town, is also very well-trodden. However, an effective combination of richly developed characters, some truly soulful blues music and an impeccably well-shot and designed film that hooks its teeth into you from the outset and never lets up. Coogler’s screenplay is patient, bides its time to build up these characters, establish the key relationships, and what makes each character tick. You come for the supernatural element, but Coogler once again brings layers and richly explored themes to his story, ahead of a very tense and enthralling showdown at the brothers’ juke joint, where the blood flows in plentiful supply.

Through his collaborative partnership with Coogler, Jordan has portrayed characters ranging from the tragic to the motivated to one of the MCU’s most fleshed-out and ruthless villains. In a year where we have already seen an actor play two different roles, or another actor playing cloned versions of himself, Jordan takes the crown for the most effective use of one actor to play numerous characters. The differences are subtle, with Smoke being more refined and calmer than the brash Stack, yet both retain an intimidating presence. Cross them at your peril. The rest of the ensemble are all sublime in their roles too, from Stack’s ex-girlfriend Mary (Steinfeld), Smoke’s former lover Annie (Wunsu) with whom he shares a painful and tragic past, and Delta Slim (Lindo) a musician with a penchant for drinking who brings a surprising amount of humour.

 

However, aside from the twins, the centrepiece of this riveting story is Miles Caton’s Sammie Moore, a local preacher’s son, and the twins’ cousin. A fantastically gifted musician and singer, though his father warns him about the temptation of playing music is akin to “dancing with the devil”, with the power to conjure spirits. Sure enough, such is Sammie’s power and fantastic talent, the presence lures the evil presence to the party, led by the sinister Remick (O’Connell). Yet, Sammie remains undeterred and lets his passion for the music shine through in his performances of several songs before the epic showdown at the brothers’ juke joint. It is an incredibly confident and assured performance, all the more impressive considering it marks his acting debut. You would be wise to remember the name.

It would be easy for Coogler to establish this as a supernatural battle of good vs evil, but weaving the music and the celebration of the impact that music had on the culture of the time is a critical aspect of the story that unfolds across the 147-minute runtime. Aside from Caton’s incredible vocal performances, regular Coogler collaborator Ludwig Göransson once again delivers a vibrant and memorable score heavily inspired by the Blues music of the period and his personal connection to the genre, in the shape of his blues guitarist father. The production design by Hannah Bleachler and Ruth E. Carter’s costumes expertly transports us to the time period, captured in all their glory by Autumn Durald Arkapaw’s fantastic cinematography, which demands to be seen in IMAX.

At a time when Hollywood is grappling with several threats, not least of which being the risk to originality and creativity, Sinners is a reminder of the kind of brilliance that can be brought to the table when singular filmmakers like Coogler are given the full backing to realise their vision. When the results are this spectacular and a complete feast for the eyes and the soul, it is enough to convince you to go dancing with the devil every day of the week.

An exhilarating and blood-spattered supernatural descent into horror that ups the stakes with thematic examination of US history, soulfully stirring music and a cast firing on all cylinders. Ryan Coogler has firmly established himself as a true modern visionary director.

Posted in 2020-2029, Film Review

Snow White (2025)

Posted on by Martin: Through the Silver Screen
© Walt Disney Studios Motion Pictures

Snow White (2025) – Film Review

Cast: Rachel Zegler, Gal Gadot, Andrew Burnap, Ansu Kabia, Patrick Page, Andrew Barth Feldman, Tituss Burgess, Martin Klebba, Jason Kravits, George Salazar, Jeremy Swift,  Andy Grotelueschen

Director: Marc Webb

Synopsis: After her evil stepmother usurps the throne, a young princess must join forces with seven dwarves to save her people…

Review: Heigh-ho, heigh-ho, it’s off to work Disney goes as the House of Mouse continues to beaver away in its mission to remake all its animated classics. While some live-action remakes have breathed new life into the classic stories on which they are based, others have felt like soulless cash grabs with no reason to justify their existence other than to use audiences’ nostalgia to print money. It was therefore only a matter of time before attention was turned towards remaking the first animated film Disney ever made, the first animated film to be produced in the United States and one of the most influential animated films of all time, Snow White and the Seven Dwarfs.

In the same vein as the previous reinterpretations, the story’s core remains the same as its animated predecessor. During a fierce snowstorm, the king and queen of a benevolent kingdom welcome their daughter – Snow White – into the world. Her name is in honour of the wintry weather during the night she was born. After the tragic death of her mother, her father remarries another woman and quickly rushes off to see to an urgent matter he never returns from. The new Queen seizes the throne for herself, and her vanity causes the lives of her citizens to quickly take a turn for the worse, while Snow White is forced to become a servant. After being told that Snow White is the fairest of them all, the Queen furiously orders her huntsman to kill Snow White, causing her to flee the kingdom, where she runs into the forest and meets and befriends the seven dwarves.

Magic mirror on the wall, does this latest live-action remake bring anything new or noteworthy to the table at all? It is slim pickings, however despite all the absurd, and let’s be honest racist and sexist backlash that has come her way ever since she was cast, Zegler delivers a beautiful portrayal of the titular princess. She is given more agency and independence and is not simply reduced to waiting for her Prince Charming to swoop in and save her. Like her animated counterpart, she possesses a kind heart and compassion for the kingdom’s other citizens, which is timely and pertinent given the poisonous hate dominating too much of modern discourse. As well as new iterations of “Whistle While You Work” and “Heigh-Ho”, it also includes new songs to further emphasise Snow White’s independence including “Waiting on a Wish” penned by Oscar-winning songwriters Benj Pasek and Justin Paul, which gives Zegler a chance to show her incredible singing ability.

However, despite Zegler giving everything she has in this role and hitting all the right notes, everything around her possibly took a bite out of a poisoned apple as it doesn’t match up to her performance. Aside from the aforementioned changes to Snow White’s character, Erin Cressida Wilson’s script mostly sticks to the original source material, namely the 1812 fairytale by the Brothers Grimm. However, in place of the handsome Prince Charming, her love interest is now in the form of the leader of a group of bandits named Jonathan (Burnap), who is looking to rebel against the tyrannical Evil Queen. The film allows time for their romance to blossom, and their chemistry is sincere. Unfortunately, Burnap’s performance lacks sufficient charisma to differentiate him from any would-be love interests looking to win the princess’s heart.

Talking of someone looking to win cut out the princess’s heart, Gal Gadot looks the part of the Evil Queen, in no small part due to the excellent costume design by the legendary Sandy Powell. However, elegant costumes cannot hide the reality that Gadot’s performance is so painfully wooden that you may wonder if she was mistakenly on the set of another live-action reimagining of Pinocchio. It does not even bear thinking about. Furthermore, her singing may give you flashbacks to a certain viral video. As if a flat and dull villain wasn’t enough, to add further insult to injury, the dwarves are ghastly CGI abominations with none of the charm that their animated counterparts had. The debate raged as to whether the film should have opted to use real-life actors, and while it was a case of damned if they did and damned if they didn’t, these magical creatures are nightmare fuel personified.

Despite some solid production design, this feels inadequate for the House of Mouse, especially given the reported production budget of between $240 million to $270 million, especially as not even such a large budget can hide some very apparent green screen for those scenes in that not-so-magical woodland. Marc Webb has proven himself to be a talented director, but the whole film has a very directed-by-committee feel to it and pales in comparison to certain other musicals that have graced the big screen in recent times.  You would hope this might give Disney pause to reconsider its plans to remake all its films and instead return to crafting original stories and reminding audiences of bringing the magic that they are more than capable of. Yet, even with this setback, the live-action remake train unfortunately shows no sign of stopping.

Even with a radiant and beautiful performance from Rachel Zegler, a horrid combination of some ugly visuals and uncharismatic supporting characters ensures this live-action remake is most definitely not the fairest one of all. 

Posted in 2020-2029, Awards Season, Film Feature, Oscars

97th Academy Awards: Final Predictions

Posted on by Martin: Through the Silver Screen

Another awards season is drawing to a close and Hollywood’s biggest night is upon us once again as the world of film prepares to celebrate the 97th Academy Awards. This year’s ceremony will undoubtedly be filled with all the usual glitz and glamour, but through it all, there will be an air of sombreness as the wildfires earlier this year caused massive devastation in their wake with countless homes destroyed. The ceremony is set to honour the city of Los Angeles and pay will also be “highlighting the strength, creativity, and optimism that defines Los Angeles”. My heart goes out to all affected by this terrible tragedy.

As the old saying goes, the show must go on, and there are 23 Oscars up for grabs, so who will have their name etched into one of those gold statuettes and etch their name into history? Here are my predictions for the 2025 Oscars. Sadly, my predictions will not include the documentaries or the short films, as I haven’t had the time to watch them.

Best Supporting Actress

  • Monica Barbaro  – A Complete Unknown 
  • Ariana Grande  – Wicked 
  • Felicity Jones – The Brutalist 
  • Isabella Rossellini  – Conclave
  • Zoe Saldaña  – Emilia Pérez

Kicking us off, we have the first acting race and much like last year, this is pretty much a guaranteed lock. Apart from Felicity Jones, all the other nominees are receiving their first nominations, which is always beautiful to see. She doesn’t appear in the film until after the intermission, but Jones more than makes her presence known once she does arrive. Monica Barbaro delivers a very compelling performance as folk music singer Joan Baez opposite Timothee Chalamet’s Bob Dylan. While she has comparatively the least amount of screen time as her fellow nominees, Rossellini leaves a lasting impression. Grande made a seamless transition from certified popstar to one half of the wonderful Wicked double act that effortlessly charmed audiences and no doubt had them singing “Popular” and “Defying Gravity” for days on end. For that reason, I would love to see her win, but I don’t see it happening.

Even with the controversy that has engulfed the Emilia Pérez campaign in recent weeks (more on that later), Zoe Saldaña has not let it derail her own campaign. She has been a prominent figure in the industry for several years with her work in the Avatar franchise and the Marvel Cinematic Universe which has made her one of the highest-grossing actresses of all time. She has swept all before her this awards season and it is guaranteed that she will get an Oscar, I just wish it was for a better film.

Will Win: Zoe Saldaña

Should Win: Isabella Rossellini

Could have been nominated: Margaret Qualley for The Substance

Best Animated Feature Film

  • Flow – Gints Zilbalodis, Matīss Kaža, Ron Dyens, and Gregory Zalcman 
  • Inside Out 2   – Kelsey Mann and Mark Nielsen 
  • Memoir of a Snail   – Adam Elliot and Liz Kearney 
  • Wallace & Gromit: Vengeance Most Fowl  – Nick Park, Merlin Crossingham and Richard Beek
  • The Wild Robot  – Chris Sanders and Jeff Hermann

Throughout this year’s awards season, this category has been consistent, with these five films consistently competing in this category. Since this award began in 2001, on only eight occasions has a film which has not been made by Disney or its subsidiary Pixar emerged triumphant, with two of those wins coming in the last two years with the triumphs of Guillermo del Toro’s Pinocchio and The Boy and the Heron. The predecessors to both Inside Out 2 and Wallace & Gromit: Vengeance Most Fowl both took home the Oscar. However, those emotions will need to keep themselves in check as neither they nor everyone’s favourite Northern inventor and his lovable mute dog will replicate their success, despite the latter’s success as Bafta, as this award should have The Wild Robot‘s name on it and becomes Dreamworks’ third win after The Curse of the Were-Rabbit and Shrek.

Will Win: The Wild Robot 

Should Win: The Wild Robot 

Best Original Screenplay

  • Anora   – Written by  Sean Baker 
  • The Brutalist  – Written by Brady Corbet and Mona Fastvold 
  • A Real Pain  – Written by Jesse Eisenberg
  • September 5  – Written by Moritz Binder, Tim Fehlbaum and Alex David 
  • The Substance  – Written by Coralie Fargeat 

Given that this represents its only nomination, September 5 is unlikely to cause an upset here. Also without an Oscar nomination, it should be enough to count Jesse Eisenberg’s moving and contemplative story about two cousins travelling around Europe to honour their late grandmother out of the race. However, the film’s success at BAFTA could be a sign that it has gained momentum at just the right time and upstage one of the three Best Picture contenders in this race. If anyone says there are no more original ideas left in Hollywood these days, these three excellent films demonstrate that this simply isn’t the case.

The Brutalist themes of striving to create something that will leave a lasting impression and the immigrant experience of trying to fulfil the American Dream are incredibly timely, while Coralie Fargeat’s script is filled with biting social satire on the pressures women to maintain their beauty standards as they get older. I would love to see her triumph but I think for his hilarious and chaotic take on a classic Cinderella story, this is Baker’s to lose.

Will Win: Anora 

Should Win: The Substance 

Should have been nominated: Justin Kuritzkes for Challengers

Best Adapted Screenplay

  • A Complete Unknown   – Written by James Mangold and Jay Cocks 
  • Conclave  – Written by Peter Straughan 
  • Emilia Pérez   – Written by Jacques Audiard in collaboration with Thomas Bidegainm, Lea Mysius and Nicolas Livecchi 
  • Nickel Boys – Written by RaMell Ross and Joslyn Barnes 
  • Sing Sing  – Written by Greg Kwedar and Clint Bentley; story by Greg Kwedar, Clint Bentley, Clarence Maclin, and John “Divine G” Whitfield

If the Best Picture lineup had been a bit different, this could have been a spicy race featuring five Best Picture nominees. However, since Sing Sing unfortunately didn’t obtain that Best Picture nomination, its chances of winning are sadly slim to none. Simply given the fact that the Mexican and transgender community have voiced their criticism against the film, Emilia Pérez‘s already fading hopes are now all but gone. A Complete Unknown is unlikely to surprise here too as the last musical biopic to win here was Amadeus in 1985.

Had Nickel Boys got more nominations, it might have stood more of a chance here but nothing is going to stop Peter Straughan from adding to his triumph at the Golden Globes, Critics Choice and BAFTA for his adaptation of Robert Harris’s novel. A dialogue-driven film such as Conclave wouldn’t have worked if the script wasn’t as brilliant as it was.

However, given the first film got a screenplay nod the lack of nomination for Dune: Part Two has me scratching my head, especially as many consider it to be a better film than its predecessor. Clearly, the spice didn’t flow sufficiently enough for the Academy…

Will Win: Conclave

Should Win: Conclave

Should have been nominated: Jon Spaihts and Denis Villeneuve for Dune: Part Two

Best Makeup and Hairstyling

  • A Different Man –Mike Marino, David Presto, and Crystal Jurado
  • Emilia Pérez – Julia Floch Carbonel, Emmanuel Janvier, and Jean-Christophe Spadaccini
  • Nosferatu – David White, Traci Loader, and Suzanne Stokes-Munton
  • The Substance  –Pierre-Oliver Persin, Stéphanie Guillon, and Marilyne Scarselli
  • Wicked  – Frances Hannon, Laura Blount, and Sarah Nuth

Despite some truly excellent work from the hair and makeup teams of Wicked and Nosferatu, anyone who has seen the third and bonkers final act of The Substance will realise that there is only one winner here, particularly as this category so often correlates with one of the acting categories.

Will Win:  The Substance

Should Win: The Substance

Should have been nominated: Dune: Part Two

Best Production Design

  • The Brutalist  – Production Design: Judy Becker; Set Decoration: Patricia Cuccia
  • Conclave – Production Design: Suzy Davies; Set Decoration: Cynthia Sleiter 
  • Dune: Part Two – Production Design: Patrice Vermette; Set Decoration: Shane Vieau
  • Nosferatu  – Production Design: Craig Lathrop; Set Decoration: Beatrice Brentnerová
  • Wicked  – Production Design: Nathan Crowley; Set Decoration: Lee Sandales

Given Wicked is unlikely to garner much success in the major categories, I anticipate the Academy will look to reward it in some of the technical categories, and the filmmakers’ emphasis on practical sets is likely to help them fly to victory here.

Will Win: Wicked 

Should Win: Wicked

Best Costume Design

  • A Complete Unknown  – Arianne Phillips 
  • Conclave  – Lisy Christl
  • Gladiator II  – Janty Yates and David Crossman 
  • Nosferatu   – Linda Muir  
  • Wicked  – Paul Tazewell 

The Academy loves a period piece, so Nosferatu could be a blood-sucking spoiler on Wicked’s parade here, but I expect the bright and memorable costumes on display should be enough to repel the villainous Count back into the darkness from whence he came and take the Oscar.

Will Win: Wicked 

Should Win: Wicked

Should have been nominated: Jacqueline West for Dune: Part Two

Best International Feature Film

  • Emilia Pérez  (France)  – directed by Jacques Audiard
  • Flow (Latvia)  – directed by Gints Zilbalodis
  • The Girl with the Needle  (Denmark)  – directed by Magnus von Horn
  • I’m Still Here  (Brazil)  – directed by Walter Salles
  • The Seed of the Sacred Fig (Germany)  – directed by Mohammad Rasoulof

As the two Best Picture contenders, this is a straight fight between Emilia Pérez and I’m Still Here. The controversy surrounding the former was happening during the voting, and while it could be the flip of a coin, I fully expect this will sink any chances it had of winning what would have seemed like a sure bet mere weeks ago.

Will Win: I’m Still Here

Should Win: I’m Still Here

Best Supporting Actor

 

  • Yura Borisov – Anora
  • Kieran Culkin – A Real Pain
  • Edward Norton – A Complete Unknown
  • Guy Pearce – The Brutalist
  • Jeremy Strong  – The Apprentice

Much like the Supporting Actress category, four of the five nominees are first-time nominees, with Edward Norton collecting his fourth nomination. Borisov becomes the first Russian to be nominated for an Oscar since 1977, and a richly deserved nomination for giving humanity to a henchman, which is not an easy feat. The fact this is Pearce’s first nomination is massively surprising given his prolific career, and as talented as Norton undoubtedly is, this shouldn’t and won’t be the film that ends his wait for a first Oscar.

What is the most eye-catching fact about this race is that after years starring for years as Kendall and Roman Roy in HBO’s Succession, Jeremy Strong and Kieran Culkin will be swapping boardroom drama for awards drama. Not for the first time either, as they went toe-to-toe with each other during the Emmys in 2023. Strong’s portrayal of the vulgar and unpleasant lawyer Roy Cohn showcases Cohn’s thoroughly repulsive character, yet he manages to add a layer of sympathy for someone we should have not one iota of sympathy for, given Cohn helped to create the monster that his protege became, while Culkin plays a not nearly as rich version of Roman Roy.

I would love to see one of Guy Pearce or Jeremy Strong win, but much like the Emmys race, Culkin will get the better of his on-screen brother as he has swept all before him in this awards season and will put him halfway towards becoming an EGOT.

Will Win: Kieran Culkin 

Should Win: Guy Pearce

Could have been nominated: Clarence Maclin for Sing Sing or Denzel Washington for Gladiator II 

Best Visual Effects

  • Alien: Romulus  –  Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin, and Shane Mahan
  • Better Man  – Luke Millar, David Clayton, Keith Herft, and Peter Stubbs
  • Dune: Part Two  – Paul Lambert, Stephen James, Rhys Salcombe, and Gerd Nefzer 
  • Kingdom of the Planet of the Apes – Erik Winquist, Stephen Unterfranz, Paul Story, and Rodney Burke
  • Wicked  – Pablo Helman, Jonathan Fawkner, David Shirk, and Paul Corbould

In a competition between Xenomorphs, incredibly realistic CGI apes, the wild animals of Oz and Sandworms, the power of the sandworms should be power over all of its competitors.

Will Win: Dune: Part Two

Should Win: Dune: Part Two 

 

Best Cinematography

  • The Brutalist   – Lol Crawley
  • Dune: Part Two  – Greig Fraser 
  • Emilia Pérez – Paul Guilhaume
  • Maria – Ed Lachman
  • Nosferatu – Jarin Blaschke

Another nomination for Emilia Pérez which has me scratching my head, as while the cinematography wasn’t bad, it pales in comparison to the brilliant work of the other four cinematographers on display here. Fraser’s work on Dune: Part Two is mesmerising to look at and could very well bag him another Oscar after he won for his work on the first Dune film. Ed Lachman collects his fourth nomination and is his film’s sole shot at bagging an Oscar, while Jarin Blaschke continues to reap the rewards of his incredible partnership with Robert Eggers. His work in Nosferatu was truly atmospheric and haunting and should be a stake through the heart of its competitors.

However, Lol Crawley’s breathtaking work, shooting the film in VistaVision revived that format, and the results were simply stunning to look at.

Will Win: The Brutalist 

Should Win: Nosferatu

Could have been nominated:  Stéphane Fontaine for Conclave Sayombhu Mukdeeprom for Challengers 

Best Original Score

  • The Brutalist  – Daniel Blumberg 
  • Conclave  – Volker Bertelmann 
  • Emilia Pérez – Clément Ducol and Camille
  • Wicked  – John Powell and Camille Stephen Schwartz
  • The Wild Robot  – Kris Bowers 

Justice for Hans Zimmer, who should have been nominated and be winning again for his magnificent work on Dune: Part Two, yet he was disqualified as it failed to meet the eligibility requirements, as Academy rules state that a nominee must have at least 80% original content in their composition. I would love to see Kris Bowers win for his wonderful work on The Wild Robot, while past winner Volker Bertelmann’s string-heavy score is also a contender, the “Overture” track from The Brutalist, which plays during that very memorable intro scene as Laszlo Toth arrives in the USA, is undeniably powerful and so that will probably propel Blumberg to victory.

Will Win: The Brutalist 

Should Win: The Wild Robot

Should have been nominated: Hans Zimmer for Dune: Part Two 

Best Sound

  • A Complete Unknown  – Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco
  • Dune: Part Two – Gareth John, Richard King, Ron Bartlett, and Doug Hemphill
  • Emilia Pérez – Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta
  • Wicked  – Simon Hayes, Nancy Nugent, Jack Dolman, Andy Nelson, and John Marquis
  • The Wild Robot – Randy Thom, Brian Chumney, Gary A. Rizzo, and Leff Lefferts

Anyone who felt the thunderous roar of the sandworms, particularly in IMAX, will know there should be no contest here.

Will Win: Dune: Part Two

Should Win: Dune: Part Two

Should have been nominated: Furiosa: A Mad Max Saga

Best Original Song

  • “El Mal” from Emilia Pérez – Music by Clément Ducol and Camille; lyrics by Clément Ducol, Camille, and Jacques Audiard
  • “The Journey” from The Six Triple Eight – Music and lyrics by Dianne Warren
  • “Like a Bird” from Sing Sing – Music and lyrics by Abraham Alexander and Adrian Quesada
  • “Mi Camino” from Emilia Pérez – Music and lyrics by Clément Ducol and Camille
  • “Never Too Late” from Elton John: Never Too Late –  Music and lyrics by Elton John, Brandi Carlile, Andrew Watt, and Bernie Taupin

Another year, another nomination for Dianne Warren, which brings her total number of nominations to 16 without a single victory. Surely her run of no victories has to come to an end at some point, but it will not be this year as this award will unfortunately go to one of the two songs from Emilia Pérez. Although, two songs from Emilia Pérez received nominations, while Maren Morris’s beautiful “Kiss The Sky” from The Wild Robot has been snubbed will remain as mystifying as how Emilia Perez got all those nominations in the first place.

Will Win: Emilia Pérez

Should Win: Sing Sing

Should have been nominated: “Kiss the Sky” from The Wild Robot

Best Film Editing

  • Anora – Sean Baker 
  • The Brutalist  –  Dávid Jancsó
  • Conclave – Nick Emerson 
  • Emilia Pérez – Juliette Welfling
  • Wicked – Myron Kerstein

Sound and editing often go hand in hand here, but given Dune: Part Two is nowhere to be found here, this feels like all of the nominees have a shot. Musicals like Emilia Perez and Wicked have very flashy editing, while Sean Baker’s editing for Anora helps the film to be the wild chaotic ride that it is, I do feel it stalls a little bit towards the end. Even with the built-in intermission, to make three-and-a-half hours fly by is a testament to Dávid Jancsó’s work on The Brutalist, so that could prevail here. However, Conclave’s editing is taut and well-paced in a very dialogue-driven film, so the divine powers that be should help it win here.

Will Win: Conclave 

Should Win: Conclave

Best Director

  • Sean Baker – Anora
  • Brady Corbet   – The Brutalist
  • James Mangold  – A Complete Unknown
  • Jacques Audiard – Emilia Pérez
  • Coralie Fargeat – The Substance

There was much speculation on nominations morning as to whether Coralie Fargeat would miss out on a nomination, but thankfully, she secured a well-deserved nomination and became only the tenth woman to be nominated in this category. I would love to see her become the fourth woman to win and follow in the footsteps of Kathryn Bigelow, Chloe Zhao and Jane Campion, for her bold and brilliant satirical body horror, but this race is essentially a battle between Sean Baker and Brady Corbet. There is a chance Baker could, assuming my prediction is correct, add this award to his potential screenplay win. Although, given what Corbet managed to accomplish with his vast and ambitious historical epic, and on a budget of just $10m, that is a seriously impressive achievement and so I have a sneaky feeling that may just tip the scales in Corbet’s favour and ensure he adds to his BAFTA win. Much as though I want Fargeat to win, which is really saying something for me as I am most definitely not an avid horror fan, Corbet would be a deserving winner.

Although, yet again, how the Academy has failed to recognise the phenomenal accomplishment of Denis Villeneuve for Dune: Part Two when he made the best film of last year is just… le sigh 

Will Win: Brady Corbet 

Should Win: Brady Corbet

Could have been nominated: Denis Villeneuve for Dune: Part Two or Edward Berger for Conclave

Best Actress in a Leading Role

  • Cynthia Erivo – Wicked
  • Karla Sofia Gascon – Emilia Perez 
  • Mikey Madison  – Anora
  • Demi Moore – The Substance  
  • Fernanda Torres – I’m Still Here

Unlike the supporting actor categories which are pretty much foregone conclusions. there is a chance the other two acting categories could throw up some surprises. Best Actress, in particular, is looking like it might be heading that way, but there is still a chance for something unpredictable to happen. First of all, despite the controversy surrounding her old tweets, Gascon’s nomination is historic as she is the first openly transgender actor to be nominated for an Academy Award, which is historic and hopefully the first of many more to come. The controversy surrounding her means she is unlikely to win. Erivo’s nomination is also significant as she became only the second black woman, after Viola Davis, to receive multiple nominations in this category, which shows there is much progress to be made. However, she too is probably unlikely to win as this is shaping up to be a battle between industry veteran Moore and relative newcomer Madison.

Moore has a slight advantage following her wins at the Golden Globes and the Critics Choice awards, and she continued that streak with a win at BAFTA, this likely would have also been a nailed-on win for Moore, yet Madison’s win at BAFTA has catapulted her back into the race. Although with her win at the Screen Actors Guild awards, Moore clearly has the love and backing of her fellow actors, plus has the comeback narrative on her side as well and we have seen in recent years that translate into a win. Chaos can very easily ensue with this award but, Moore should come through.

Will Win: Demi Moore

Should Win: Demi Moore

Best Actor in a Leading Role

  • Adrien Brody – The Brutalist 
  • Timothee Chalamet  – A Complete Unknown
  • Colman Domingo – Sing Sing  
  • Ralph Fiennes  – Conclave
  • Sebastian Stan – The Apprentice 

Much like with Best Actress, this race between these five gentlemen is looking like it is pointing towards a foregone conclusion. It was always going to be interesting – given the current resident in the White House – if the Academy would nominate Stan for his portrayal of a younger Trump in his younger days before he became the most divisive of political figures. Stan becomes the eighth actor to be nominated for portraying a US president, but he is highly unlikely to be the first. Without that Best Picture nomination, Domingo is also unlikely to win. However given this is his second nomination in as many years, I fully expect he will get his moment in the spotlight sooner rather than later.

Ralph Fiennes has been consistently brilliant across a glittering career having garnered three Oscar nominations, yet somehow hasn’t won, so there is an overdue narrative on his side. Had he won at the BAFTAs, it could have made this race very interesting and despite BAFTA showering Conclave with numerous awards, he was not among them. Chalamet became the third youngest nominee for Best Actor when he received his first nomination in 2018 and became the youngest two-time Best Actor nominee, a record previously held by James Dean. Much like Domingo, it is surely a case if when not if Chalamet collects an Oscar. If he did win, he would become the youngest Best Actor winner of all time and would break a record held by a certain Adrien Brody, who won his first Oscar for The Pianist back in 2003. If Brody did emerge triumphant, he would become the first actor to win in this category with his first two nominations.

Chalamet’s win at SAG could throw a spanner into the works, yet I am backing Brody to make history for his towering portrayal of a Hungarian-Jewish immigrant looking to fulfil the American Dream after emigrating from post-WW2 Europe. A fitting victory given the hostile and foul rhetoric being spewed towards immigrants by the current US administration.

Will Win: Adrien Brody

Should Win: Ralph Fiennes

And, last and certainly by no means least…

Best Picture

  • Anora  – Alex Coco, Samantha Quan, and Sean Baker
  • The Brutalist – Nick Gordon, Brian Young, Andrew Morrison, D.J. Gugenheim, and Brady Corbet
  • A Complete Unknown  – Fred Berger, James Mangold and Alex Heineman
  • Conclave  – Tessa Ross, Juliette Howell, and Michael A. Jackman
  • Dune: Part Two – Mary Parent, Cale Boyter, Tanya Lapointe, and Denis Villeneuve
  • Emilia Pérez  – Pascal Caucheteux and Jacques Audiard
  • I’m Still Here  –Maria Carlota Bruno and Rodrigo Teixeira
  • Nickel Boys – Dede Gardner, Jeremy Kleiner, and Joslyn Barnes
  • The Substance  – Coralie Fargeat, Tim Bevan, and Eric Fellner
  • Wicked  – Marc Platt

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

Last but not least, the big prize. In the past two years, this race has been a pretty foregone conclusion with Everything Everywhere All At Once and Oppenheimer both collecting seven awards before sweeping their way to winning Best Picture at the 95th and 96th Oscars respectively. This year however, there is no clear and obvious frontrunner, and is the most wide-open race we have had in quite some time. If I had my way, Dune: Part Two would be powering its way to victory like a Sandworm traversing the desert plains of Arrakis, but that is very unlikely to happen.

Up until a few weeks ago, since it secured the most nominations, Emilia Pérez might have taken this, but the controversy over its leading actress has brought any momentum it might have had. Conclave‘s success at the BAFTAs means it could be a potential spoiler to rain on Anora’s parade. Academy voters determine the winner using a preferential ballot and so in such a race where there is no frontrunner, with Conclave being generally well-liked across the board, it may pull off a surprise of biblical proportions. The only film I would have been majorly dissatisfied to see win would be Emilia Pérez, but with that film’s chances of winning all but over, I will be delighted for whoever does take home the big prize of the night.

Will Win: Anora 

Should Win: Dune: Part Two 

Should have been nominated: Sing Sing 

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Final counts

Will win:

  • The Brutalist – 4 (Director, Leading Actor, Score,  and Cinematography)  
  • Anora – 2 (Picture and Original Screenplay)  
  • Conclave – 2 (Adapted Screenplay and Editing)
  • Dune: Part Two – 2 (Sound and Visual Effects)  
  • Emilia Perez – 2 (Supporting Actress and Original Song)  
  • The Substance – 2 (Best Actress and Makeup and Hairstyling)   
  • Wicked – 2 (Best Costumes and Production Design)   
  • A Real Pain – 1 (Supporting Actor)    
  • I’m Still Here – 1 (International Feature)  
  • The Wild Robot – 1 (Animated Feature)  

Should win:

  • Conclave – 4 (Leading Actor, Supporting Actress, Adapted Screenplay and Editing)  
  • Dune: Part Two – 3 (Picture, Visual Effects and Sound)   
  • The Substance – 3 (Best Actress, Original Screenplay and Makeup and Hairstyling)   
  • The Brutalist – 2 (Supporting Actor and Director)  
  • The Wild Robot – 2 (Animated Feature and Score)  
  • Wicked – 2 (Best Costumes and Production Design) 
  • I’m Still Here – 1 (International Feature) 
  • Nosferatu – 1 (Cinematography)  
  • Sing Sing – 1 (Orignal Song)