The Tomorrow War

Gillipedia Official Rating: Take it from me, don’t think about this movie, and you’ll enjoy it just fine

          Okay, so let’s think about this. For whatever reason, present day is 2022. Why not make it present day… in 2021? That would also give you a clean 30 year time jump because the future takes place in 2051. But I’m getting ahead of myself. This Amazon Prime exclusive film is advertised as a big blockbuster as they compete with Netflix to throw millions upon millions of dollars into production costs. The story is that soldiers from the future travel back and interrupt a soccer match—presumably the FIFA World Cup since it’s 2022—and talk of peace and prosperity to come and there’s no worries or a care in the world. Just kidding, it’s actually just impending doom stuff. They're losing a war against an alien race, and they created a machine that travels back and forth between their present time and 2022 in the hopes of recruiting humanity to help in the… tomorrow war.

          As for the very opening of the movie, it literally looks like the first draft to Guardians of the Galaxy as Chris Pratt is sucked into the sky in some poor effects and falls down into an apocalyptic city—a prelude to what’s to come 30 minutes from now. I will give props for the fact that the movie sets up the plot and themes relatively quickly so that we can get to the alien butt-kicking action.

          After the future soldiers arrive, we flash forward a couple of months to our hero Pratt teaching high school science. It’s hard to motivate the kids while chaos ensues throughout the world over how to help the future and the fact that nothing matters since the world ends in a couple decades anyways. Pratt soon receives news that he is getting drafted into the tomorrow war, and he heads to their agency without much of a choice. He is paraded around and gets some questions answered, but most soldiers hardly talk to him as they busily conduct tests on him to see if he qualifies for their program. They inform him that people who have already died before the war even started are eligible to be drafted. And very fairly, Pratt is in a frenzy as he learns that he dies in the near future and they respond by not telling him anything about it. Not cool, future peeps.

          So yeah, future dead people are eligible to help the future dying people. They insert a tracking device, and give Pratt 24 hours to get his affairs in order before he’s sent off for training for the war. Once he gets sent over, if he survives for 7 days, he will automatically be sent back to 2022 to resume his life. As far as a drafting process for a desperate war, it seems pretty logical to me. Pratt heads back home and his wife worries about him because the survival rates are close to only 30%, he visits his father played by the great J.K. Simmons that he had previously cut ties with, but most critically, he spends time with his elementary-age daughter. Simmons wasn’t around much for Pratt, so humanity’s survival comes second to Pratt’s motivation of wanting to return so that his daughter has a father.

          Most of the soldiers sent back to 2022 are pretty young, and most draftees are on the older side to help ensure there isn’t crossover in these people having met in the future. Pratt turns out to be a very solid choice as the lead because it has some of the more serious elements of an alien war like Edge of Tomorrow or Battle: Los Angeles, but his draft class buddies are aging, middle class workers, so they are rightfully so assigned to comedic side roles and Pratt is able to add his own flair in with them. Sam Richardson from the show Veep is particularly effective, and Mary Lynn Rajskub from 24 and Brooklyn Nine-Nine rounds it out. There’s also the super serious Dorian now already on his third tour, and once I saw him, I thought to myself that he seemed like a discount Aldis Hodge. Then, the credits rolled around after the film (as they do), and I saw the name Edwin Hodge, so turns out discount Aldis Hodge is actually just his brother.

          Their training gets cut short, and they get thrust into the line of duty. And then some error (never explained) occurs, and the time jump process malfunctions. Instead of a smooth transition, all soldiers are propelled into the river of time and we now return to the opening shot of the film where everyone is falling out of the skies. There’s a neat brutal shot of some people clipping buildings and helplessly falling to their deaths. There’s some tension from the angle of the shot as it looks like Pratt might miss a rooftop pool that he’s aiming to land, but he narrowly gets it. Even though this pool on a good day can’t be more than 12 feet deep and he would still be crushed. Even though after he lands in the pool someone falls in after and rams into him and that should also kill him. Or at least severely concuss him. But he gets out with ease since he’s the hero. Yes, this is a movie about time travel and aliens and I’m over here complaining about a rooftop pool in Miami.

          Pratt receives radio communication from a future colonel, and he takes a leadership role (fair enough, they explain that he led a squad in Afghanistan) in proceeding with their mission. There’s a group of scientists in a nearby building with important vials that they are tasked with retrieving. The following scene is one of the best in the film. In fashion of something like World War Z, 28 Days Later, or even A Quiet Place, genuine tension is created as they try navigating through stairwells in a building knowing full well that aliens are on their tail and they don’t know how powerful these creatures may be.

          A little after this scene, RVs are sent in to the rescue the team. There’s a shot of the team with smiles all around and cheering as the RVs blast into sight. And then the next shot is aliens ramming and destroying the vehicles, and it cuts back to show the shock and disappointment from the team. It feels mindlessly dumb. In this same sequence, there’s also slo-mo shots where director Chris McKay (The Lego Batman Movie) tries to channel his inner Zack Snyder. And I don’t think I give Snyder enough props. He absolutely over uses slow-mo, but it’s undeniable how cinematic and artistically staged the shots are. They’re stylish and excessive, but in this movie it just feels unnecessary.

          Now that you have a decent grip on the early stages of the film, let’s talk plot holes. First and foremost, as Pratt and his daughter (Pratt brat) are watching soccer, he explains to her that those players are the best in the world. I would like to point out that I am not in this film. So this statement is clearly incorrect.

          Here’s something that I’ll give props for and then immediately take back. Props: in the beginning they do a decent job of explaining things. Like, someone asks why not send the 2022 people to say 2048 before the war starts and warn everyone then. But they describe the flow of time as like a constantly flowing river, so they can send people back the 30 years, but time is still moving forward in that timeline as well as the present 2051 year where they’ve nearly lost the war. Doesn’t explain the fact that it brings them back to 2022 for whatever reason, but that’s okay. But one thing I wanted to give props for was a conversation about how the people being drafted are all dead by the time the youngling soldiers are born so that they don’t know each other. But they quickly break that rule after they jump forward into the war.

          The week timeline works logistically, but they don’t know how to use it properly at all. Pratt teams up with the colonel in the future in trying to find a way to beat the aliens. They find a possible serum, but they have to test hundreds of iterations to find the right mixture that will be effective against the aliens. Which the colonel single-handedly undertakes. They explain that she has a degree from I think MIT in genetic research, but I don’t believe that it’s nearly enough time. Or that only one person would be working on the testing.

          And probably the biggest plot hole I thought of is this. So the alien war has been going on for a couple years by the time the movie rolls around. That means that they were able to create a machine for time travel. But in the time it took to build this machine, you’re telling me they couldn’t find a viable solution against the aliens? One that Pratt by the way ends up helping discover in under a week’s time? I will have none of it. None of it I tell you!

          Let’s talk extra-terrestrial. The best effects are for the aliens. Yes, they’re too much of a grey-scale color, but they’re a decent mix of cool and frightening. Although I’m also not convinced that they are capable of wiping humanity out. Like if you make a noise in A Quiet Place, uh, yuh dead. But I digress. As for the rest of the effects, they’re passable. Like if this was 2013, the effects would even look good. But as it stands, the green screen usage is iffy. Speaking as the designated expert, I think the issue is the fact that you have the real elements, and then you distinctly have fake elements. And they don’t blend well. I’ll give 2 examples of where it worked extremely well. 1917 won the Oscar for visual effects. Yes, it has the whole single shot feel to it, but it’s a realistic war film. Where are the effects? All over, actually. But the visual effect assets are photorealistic and blend right into the shot that you don’t give them a second thought ever, and that’s why it won the Oscar. Something you can compare to more would be The Mandalorian. That show is a trailblazer in projecting the visual backgrounds and lighting right on set. But in order to achieve this, in the foreground they still have real props that they match up, so you can never tell where the real stuff ends and where the fake stuff begins.

          If you’re expecting a thriller that makes you think like a Christopher Nolan film, you might be disappointed. But if you’re looking for a neat sci-fi concept with a mix of action and comedy more like Edge of Tomorrow, you’ll enjoy yourself. It’s not as good and the plot isn’t as sound, but this film is still entertaining. It still feels like it’s a third or fourth draft of a script, and not quite a final draft where it all comes together seamlessly. But if you shut your mind off and enjoy the movie for what it is, it’s entertaining! And if you have Prime, you get to stream this blockbuster for free. So treat yourself to some Pratt, aliens, and a care-free good time.

 

In Brief:

• I just watched Black Widow. -Sigh- Oh how wonderful you are, Scarlett Johansson. Great cast, decent action. It’s a fitting story and film overall. Not perfect or exactly a standout Marvel film, but it’s pretty good.
• What I’m considering for my next review: A Stephen King classic with lots of heart and an engrossing cast.

The Intouchables + The Upside

 

The Intouchables

Gillipedia Official Rating: Don’t worry, this review comes with subtitles

          If you’re struggling to find quality content on Netflix, you absolutely need to check out The Intouchables. This 2011 French film is about a superrich quadriplegic (a word I struggle both saying and spelling) that hires a seemingly unqualified man with a criminal record that grew up in a rougher part of town to be his caretaker. It’s the kind of pairing that is destined to be a sentimental story, but there’s a couple things going for it that elevate it beyond your standard film. First, it’s not a sappy film that projects the two leads as heroes of light that are infallible; no, these are two men from completely different backgrounds that you naturally end up rooting for. Second, and more surprisingly, I was expecting humor from the film, but I was not expecting to laugh nearly as much as I did. This movie is hilarious.

          I knew I was in for a treat as quickly as the opening scene (it also helped that a friend highly recommended the film). We’re immediately introduced to nighttime Paris, and caretaker Driss is driving Philippe. There’s some well-crafted shots like a focused shot of Driss taking a moment to look over at Philippe with everything else out of focus. Philippe looks stoic, perhaps more disheveled, and only looks out the window. Driss decides to show off the expensive car they’re driving, and he speeds around cars through tunnels and on the freeway. It isn’t long before the cops show up with their sirens. The only dialogue we get is Driss betting Phillipe that he can outrun them. And the car chase that ensues is legitimately better than most action film sequences. There’s plenty of shots that feel like POV shots from the front bumper of their car as they swerve around traffic, and there aren’t cuts that hide any of the stunts or action. Eventually, they get pulled over where Driss starts yelling that his passenger is a paraplegic that needs to get to the hospital. Philippe dutifully plays along and foams from the mouth. The cops of course feel bad, and they end up offering an escort. As Driss returns to the car, he can’t contain his laughter as he really convinced the police to give them an escort. The mysterious edge of the situation has been lifted as the two blast “September” by Earth, Wind, & Fire with their police escort. It perfectly encapsulates the themes and mood of the film. There’s the heavy subject of Phillipe’s situation, once people around notice they take extra care to be sympathetic, and then Driss comes in to hilariously banter with Phillipe.

          It’s a strong start to the film that then goes back to the day Driss applies to be the caretaker. It took me longer than it should have to realize that it was Driss meeting Phillipe, but there’s a big difference in Phillipe’s scraggly beard in the first scene to when they first meet and is now clean-shaven—and necessarily so because it’s the best way to know we have indeed traveled back in time. It may have taken me a bit to realize it, but I appreciate that way more than there being a black screen that tells me “And now 4 months, 53 days ago…” And again, this scene is well done. The other applicants are all proper gents that take extreme caution to overtly praise Phillipe and all have backgrounds being caretakers and having degrees from prestigious universities. Driss skips a couple guys in line to hurry up for his interview. Not because he’s excited about the opportunity, but because he needs to show his parole officer that he’s applying for work and collecting the benefits. He struts in, flirts with Magalie who is the manager of the estate, and doesn’t have a second thought to Phillipe’s condition. In fact, he goes out of his way to crack jokes. It’s not exactly tactful, but it’s also not mean-spirited; rather, it’s more like the way you tease your friends. And to Magalie’s surprise, this is exactly what Phillipe is looking for, and he hires Driss.

          Driss enjoys a hot bath in his fancy sleeping quarters, and he starts to learn his role as caretaker—and the money that comes with it. He bonds with other workers on the estate, and he mostly dutifully performs. He has to feed Phillipe, bathe him, perform active stretches for him with the physical therapist to ensure his body doesn’t turn to mush, he has to pick him up to transfer him from his bed to the wheelchair, and he takes him everywhere like art galleries to buy overly priced works of abstract post-modern stuff. But he refuses a couple things. Like Driss has no interest in handling wiping duties for Phillipe’s backend situation. And he’s intrigued by Phillipe as well. While pouring some hot water, he accidentally spills a bit on Phillipe’s leg. Of course, he doesn’t react, so he pours way more all over as Magalie comes in and intervenes and Driss and Phillipe laugh it off.

          Driss is played by Omar Sy who has appeared in a couple of blockbuster American films. He has a couple scenes with his family and how they’re dealing with their own struggles that work pretty well, but the main attraction of the film is his bond with Phillipe. And like I said at the beginning, Driss isn’t a perfect guy. But every action he does is with a smile on his face. Or where others are more than happy to please Phillipe and go along with him, Driss calls him out. Phillipe will be first surprised, but as he turns to someone like Magalie, even she reluctantly agrees that Driss has a point. So what you get are tons of jokes from Driss, and they’re not all funny, but he laughs along with all of his own jokes, and you can’t help but feel that infectious energy.

          Omar Sy is the best, but Francois Cluzet is also great as Phillipe. He holds the sophistication of an aristocrat and listens to classical music. He doesn’t give away much with his emotions, but occasionally, Driss breaks through, and Phillipe can’t help but burst out in laughter. The film takes moments to let Phillipe lament his late wife and think back on the paragliding accident that put him in his current situation, but it’s not even a focal point. We all see the big wheelchair and man that can’t use his limbs. But Phillipe explains it better in the movie than I ever could in this review. Magalie asks him why he hired Driss, and he explains how he enjoys that Driss casually will try handing him the phone and forget that he can’t reach out to grab it. Because even though he needs obvious significant help and Driss is literally his caretaker, above all else, Driss treats him like a fellow person. And with all the interactions he has with the outside world looking down and sympathizing him, that’s exactly what Phillipe was looking for. And yes, Phillipe explains this in a conversation in a film. But he’s not bursting out in tears while dramatic Hans Zimmer music plays. It’s simply another moment in the film that is elegant and simple, and the filmmakers let the moments do all the talking.

          From top to bottom, this is an amazing film. It handles its subject matter incredibly, the acting is top-notch, and it has a true warmth to it while being quite funny as well. And there’s even scenes that I can really appreciate where Phillipe takes Driss paragliding and Driss is scared out of his mind. And they have a couple helicopter or paraglider shots, but they also handed the actors a couple of GoPros and showed off that these guys really went paragliding and it’s so much fun to see that.

          Now you know I both love and hate to say this, but the film isn’t perfect. First, it’s a French film, and you know, screw the French amiright. But no, I was expecting there to be a better tie-in as to why Driss and Phillipe were in the car in the opening scene and Driss takes the cops for a ride. It is in character, but there isn’t a moment that happens where you go Ohhhhhhhhh. Also, while I’m glad they kept it to a 2-hour runtime and it’s not a bad ending, they didn’t completely find a great way to end it either. The journey and story is completed, but it pales slightly to all the great moments from before. Regardless, put any skepticism you have aside for having to watch a film with subtitles on, and go watch The Intouchables. And create your own blog and review it there so that you can recommend it to your friends too. That second part is more of a suggestion, but go watch it! Do it! And remember: Les beignets du Café du Monde sont un peu surfaits, et la bonne méthode de sommeil est avec un ventilateur allumé, une jambe dedans et une jambe hors de la couverture, mais il doit aussi couvrir vos pieds.

 

The Upside

Gillipedia Official Rating: It’s still a vague title that isn’t great, but it admittedly works better than The Intouchables. But just the title, not the movie.

          I didn’t think this was a very advertised film—strangely so considering it starred Kevin Hart and Bryan Cranston—but I had only heard of it and didn’t watch it until after The Intouchables. It’s the American remake of the film, and I was surprised how negative some reviews for it were. Some of the people referenced how it didn’t come close to the original, and others found it extremely overboard in creating a bond between two such extremes of people. Even the positive reviews tended to say good, but not as good. And that’s mostly where I’d describe I’d fall. You really only need to watch one of them which would be the original, but I feel like you’ll still come away satisfied if you watch The Upside.

          It both is and isn’t surprising in how similar the story beats are. Like some shots and scenes in themselves are fine, but it honestly almost feels like plagiarism in how much it tries to mimic the French version. It’s like if your friend wrote an essay and you were like, “Dude dude dude, just copy and paste the whole thing over to me. And I swear I’ll switch a couple things around.” To give the benefit of the doubt, many of the changes do feel like they were just trying to creatively be different and try something new, but there’s subtle changes that do make the film uniquely its own—but not really for the better.

          This is true right from the start. It’s the same situation where Hart’s Dell is driving Cranston’s Philip. And I’ll talk about the acting in a bit, but the biggest disappointment is from director Neil Burger (didn’t know his name or work off-hand, but he most recently did Voyagers and is best known for the decent Bradley Cooper film Limitless). Just the way things are framed, the camera is too close to Hart’s face, and none of the shots create a feeling of mysticism  or has the same deft touch or creates emotions of anything really. No truly, I basically felt nothing during this opening. And where Driss speeds around because it’s his carefree nature and he wants to live it up with Phillipe, Hart initially speeds because he gets frustrated by the slow drivers in front of him and is just trying to beat the light. Again, it’s a very small change and is in line with how both the characters are portrayed, but it just works better in the original. Also, the vital part where Driss has the escort and knows they got away with it and starts blasting Earth, Wind, & Fire is an awesome conclusion to the opening, and it’s missing from the American version. The car chase portion is also chopped up and feels like there isn’t any real stunts performed. There’s plenty of similar scenes, but The Upside cuts out just enough to where it loses some of the punch that the original delivers. But it actually has a longer runtime because they add a couple scenes and spend a little more time on different things.

          Where Omar Sy honestly is more suave, Hart delivers his line with more harshness. The best way to compare the two is when they first get hired. Sy jumps into bed playfully, where Hart lies down, a man down on his luck with family troubles, tired of what he hasn’t provided in the past and all that he needs to provide in the future. Hart’s backstory is the biggest difference between the two films. It’s about his ex and their child and how Hart hasn’t been there to help out. Lots of the added runtime comes from these interactions, and it’s a change I’d say works in benefit of the film. Oh, also, I know nobody is surprised, but after the first scene, there’s a big title card that reads “6 months earlier,” because, you know, despite this being a film geared toward an adult audience, we’re all idiots and need that extra context in order to understand the film.

          I will also give props to The Upside for giving Philip a backstory about how he made his money. There’s never anything revealed in the original, and here Cranston both is an author and an entrepreneur that helps businesses get off the ground. Admirable, indeed. Also, unsurprisingly, false. The real life guy the story is based on seems to mostly have inherited his money and the family hotel which isn’t a great way for audiences to bond with him—which is why I’m also guessing they left it out entirely from the original.

          There’s a similar scene in both films where they head to the opera. Where Driss kinda introduced Phillipe to stuff he likes, I think this film did a better job of making things a 2-way street where Hart and Cranston embrace each other’s interests. And the opera scene here is also done a little better.

          I appreciate that Hart ventured into a more dramatic role here and still exercises his comedic chops, but he doesn’t quite have Sy’s depth. Surprisingly, I also have to say the same for Cranston. This might be more of a difference in how the script was written, but Cranston feels more hollow than Phillipe whom has that hard exterior but you see it break away better with Sy. Magalie is now played by Nicole Kidman, and it surprised me to see her red hair, the same as Magalie. Like I understand wanting to keep a female in that role, but it’s not like the red hair was a necessary aspect of the character. Not that it matters, it just adds to the sense of this being more of a copy than an improvement.

          It’s that time again. Time for me to be a picky reviewer. As I’m sure all of you have already read, my last review was Luca. I complained that it could’ve drummed up more of a dramatic conflict in its last act. Here, The Upside manufactures conflict and tension where The Intouchables trusted in the story. Although it follows very similar beats, the original has the characters talking and acting in a manner that feels more like how they should in real life, but here it feels more like movie conversations that moves the story along but the motivations weren’t established and the resulting dialogue feels forced. To avoid a spoiler alert here, I’ll make up an example of what I mean. If a fish gains weight because another fish told him he was too skinny, he gets bigger. But if that same fish loses his job as a bubble blower down at the local reef and eats his sorrows away, he still gets bigger. The result is the same, but the reasoning behind how we got there is different.

          There’s still a slight disconnect with this film from the opening scene to returning to that point later in the film. It’s the biggest missed opportunity of both films, but I was disappointed this film didn’t take any chances to wrap that up better. And here’s a critique you probably won’t hear very often: the dolly work in this film is atrocious. The camera can’t move 5 feet without it wobbling. It feels amateurish and takes me out of the dramatic moments.

          You remember Disney’s Hercules? That voice actor is in here. Tate Donovan. Good guy. We had brunch just the other week.

          Don’t hate me for this, but this film uses Aretha Franklin, and I preferred Earth, Wind, & Fire from the original. But near the end Philip plays an opera song but it has Aretha, and it’s a really cool way that connected Cranston’s and Hart’s interests.

          Both films have dramatic moments and jokes. But The Intouchables lingers on the jokes a little longer, and Sy is laughing along and Phillipe breaks and joins in the laughter; with The Upside, it feels more like Hart when he’s roasting Stephen A. Smith. The Intouchables simply works better. You only need to see one of the two films and The Intouchables is a must-see film, but if you watch The Upside which can be found on Hulu, you’ll still have a good time.

 

In Brief:

I may have been a bit critical here of Kevin Hart. Don’t get me wrong though, it was a good performance. Omar Sy was better. But I did just watch Hart’s newest film on Netflix Fatherhood, and he’s very impressive. I really loved that story, and it’s a good film to bring a couple tears to your eyes over the hard work and love from family.

Disney+'s Luca + Raya and the Last Dragon

 

Luca

Gillipedia Official Rating: Low-tier Pixar is still better than average fare

          I was surprised to see Disney not change its distribution strategy as people are finally starting to show that they’ll go to the theaters for the right movie. Luca is the latest entry for Pixar after Soul, and just like its predecessor, the film released exclusively on Disney’s streaming service that continues to rocket up in viewership and has reached about half of Netflix’s subscribers. Whereas Soul’s Christmas 2020 timeframe made sense to not release in theaters, I thought Luca would either pull the premium access route or go the HBO Max route where you can stream it for free briefly within a month of release or go see it in theaters. And then I saw the film and the marketing made more sense. I shall explain.

          I believe pre-pandemic that if Luca had arrived in theaters, it would’ve ended up as one of the worst performing Pixar films. Having it only release on the streaming platform makes it feel like a smaller-scale film, and that fits it perfectly. Because that’s what it is. Luca is a low-key film for Pixar standards. There’s not too many locations, the cast of characters is relatively small, and the conflict remains confined to the city of Portorosso where the story takes place in 1950s-60s era on the Italian Riviera. 

          But that’s not to say the film is bad by any means. Rising star Jacob Tremblay stars as the titular Luca, and the best moments are from his evolving friendship with Alberto Scorfano (Jack Dylan Grazer from It and Shazam!), the orphan sea monster who pretends to know all there is about the world. Luca is the sea monster strictly prohibited from leaving the depths of the ocean by his parents played by Maya Rudolph and Jim Gaffigan, and the first 20 minutes of the film set Luca and Alberto up into the real plot as they eventually do reach land and dream of owning their own Vespa Italian scooter to travel the world on.

          On shore they run into the bully Ercole Visconti—who I thought was a young adult at first but I guess is only a little older than the other kids and runs around with his obeying henchman and penciled in mustache—where their identities are almost revealed when he tries dunking Luca’s head into the fountain (the water triggers the transformation from sea monster to human), but they’re saved by adventure is out there girl Giulia Marcovaldo. She too is an outcast in her own right, and she’s happy to take them in with her sea monster hunting father who looks identical to the dad from Cloudy With a Chance of Meatballs minus an arm.

          So there’s a couple different conflicts and subplots that intertwine. The main event is preparing for the local triathlon where Giulia will swim a leg, Alberto will eat the famous spaghetti, and Luca will bike the final leg, and Giulia will finally beat Ercole, and the boys will have enough prize money to buy a cheap Vespa. Meanwhile, the action takes breaks while Luca’s parents eventually come to shore and humorously splash the local children with water in hopes of finding their son—the sequence with soccer is particularly good. So you have the race, you have Ercole, you have the protective parents, you have the constant threat of being discovered as a hideous, dangerous sea monster, and you even have one other conflict where Luca and Giulia bond over learning about the world and Alberto starts feeling replaced and expendable. With all the threads, it makes sense to keep things primarily to the one city, but I will say that none of the resolutions end up hitting home as strong as other Pixar films. There’s decent tension as two characters have an argument in one later scene, and Giulia’s dad is a joy, but otherwise, I hate to say it’s a bit paint-by-numbers.

          The climax is the triathlon event, and it really could’ve been punched up more with some dramatic music or more obstacles thrown in the heroes’ way. Even the previously mentioned Cloudy With a Chance of Meatballs set up its climax with “Sirius” by The Alan Parsons Project. Like the big reveal is nice, but it falls short to what Cars and Cars 3 did with their races. There’s also even a twist thrown it at the end too, and it makes perfect sense, but it’s also out of left field and should’ve had more foreshadowing previously with the characters involved for its impact to work better. Instead, you’re left feeling just a bit shocked and confused instead for a brief moment.

          Ultimately, Luca takes from some previous Pixar works for not quite as satisfying results. Like I made brief mention to it earlier, but Giulia is essentially the late wife in Up, and it feels like there’s borrowed elements from the Cars franchise. And you could tell the filmmakers struggled to hit 90 minutes. There’s 3 separate dream sequences. Granted, none are particularly long, and the moon fish one is pretty cool, but all are unnecessary and absolutely just filler. The bully Ercole is one of Pixar’s flattest characters ever, and there are hardly any risks taken. The messaging of the film is inclusive and sweet and has undeniable Pixar charm, but I also didn’t laugh as much as I’d like in a Pixar film. There’s a couple of scenes with Sacha Baron Cohen as Luca’s uncle, and I can admit I was dying laughing in those. The potential for a sequel is out there and could be interesting, but I’m slightly doubtful considering the end credits already take care of it a bit.

          Luca works on the smaller streaming service of Disney+, but I think I would’ve come away disappointed had I paid to see this in theaters. This isn’t even mid-tier Pixar, this is low-tier. But that still makes it better than the average animated film.

 

 

Raya and the Last Dragon

Gillipedia Official Rating: Please tell me you didn’t pay $30 for premium access

          This wasn’t a film that was on my radar much and only caught my attention when it continued Disney’s cash-grabbing policy of hiding the film behind a pay wall for a service you already have to pay a monthly subscription for. Now there’s aspects it should be lauded for like how it employed so many artists having to work from home during the pandemic and how the film still came together. Now that the premium access has been removed, I decided to go ahead and check it out.

          Raya and the Last Dragon compellingly uses southeastern Asia culture and utilizes messages of trust and warns against borders I guess. In the opening narration, part of Raya’s explanation as to how the world fell apart is “people being people.” It’s kinda cynical and isn’t the best start. It also doesn’t help that the opening of the film is Raya rolling around on the amazing Tuk Tuk voiced by Alan Tudyk in a desolate land—immediately followed by Raya narrating how she’s riding around in a desolate land. And then she explains what happened 500 years ago when there used to be dragons, and then she explains that to understand present-day, we have to go back to when she was a kid to fully know what’s happened. It’s not like she’s in grave peril and her past will explain how she will get out of her current predicament. Basically, there’s no reason to start the film in present times to have to flashback. Just start in the past and then you can flash forward to the present—there’s no value added to the way the finished film is. In fact, it’s now all too easy to predict what happens while Raya is a child because we already know how the world ends up.

          There’s 5 kingdoms, and after the dragons used the last of their abilities to form a dragon stone and repel an evil form known as the Druun, Raya and her father lead one of the tribes that now protects the stones. The other clans believe that the stone is the secret to prosperity, and eventually, everything falls into turmoil and the stone splits with each clan ending up with a piece. There isn’t a great explanation as to how Raya knew what to do, but she awakens the legendary dragon Sisu, but Sisu wasn’t the mythical, all-powerful dragon she was made out to be, and she requires the other pieces of the dragon stones to gain the powers her dragon siblings held so that the Druun can be defeated.

          Kelly Marie Tran, the annoying Rose from the recent Star Wars films, voices the titular Raya. And Awkwafina voices the titular last dragon. It takes a little getting used to Awkwafina’s unique voice as a dragon, but she’s playful and naturally funny, and she’s easily the standout performance here. As a quick aside, if you have Amazon Prime, her film The Farewell is a must-watch. The cast here is rounded out by other big names like Daniel Dae Kim, Benedict Wong, and Sandra Oh.

          The film is outlined surprisingly similar to a videogame. Raya and Sisu must travel to a place and gather a magic stone, they meet a new character that joins their misfit group, and they repeat this 3 more times. The Druun shares the Signs aliens’ weakness of water, so Raya employs a kid named Boun to act as ship captain as well as chef always looking to drum up customers. Then there’s a con baby and her monkey friends, and finally Wong’s Tong—one of the clan leaders whose entire tribe turned to stone by the Druun. The story works best when Raya, betrayed by a friend as a kid, keeps wanting to work alone, and all of the companions fight for their places on her crew and remind her that she’s not the only one who has lost loved ones to the Druun.

          The one that betrayed Raya is Namaari, and they have a couple fights throughout the film. I thought they could’ve pushed things even more or extended the fights, but these fights are some of the best in an animated film. A huge part of that is the culturally appropriate fighting styles and the use of real stuntpeople to help with the choreography.

          Namaari starts to see the value in what Raya and Sisu are trying to do, but her mother continues to remind her that they are only doing what’s best for their clan. And this is a bit of a spoiler here, but once things get resolved, all the tribes come together. Like welcoming Namaari is one thing, but they totally gloss over the fact that her mom really never repented and they just welcome her back with open arms after she literally was part of the reason the world was crumbling apart.

          There’s a shocking moment pretty close to the climax. And it’s the type of thing that feels like one of those alternate dream sequences, and for a solid 2 minutes, I really thought that’s what it would be because of the extremity of the characters’ actions and the resulting effect. But nope, the characters just have to deal with the consequences. And they get over themselves pretty easily and it’s the way tension is built up for the climax as well as setting up the big fight. Points to not expecting them to go through with it, but it did feel like a dream sequence for a bit because things start happening really quickly afterward and there’s no pause in the action to reflect on what just happened. So it’s also a little jarring.

          Tuk Tuk, Awkwafina, and the fight choreography are the highlights here. But the story is pretty predictable throughout, the messaging isn’t anything special, and like with Luca, it’s not as funny as other entries from the studio. Also like with Luca, it’s an entertaining watch on the service (after how many months it was initially released) but I would’ve been livid to pay the premium access for this. With that said, the premium access for this film is way more worth it than freaking Mulan. As long as you didn’t pay for Mulan, you’re good. I think the takeaway here is that despite my critiques, you’ll enjoy yourself if you watch Raya and the Last Dragon.

 

In Brief:

• I have another doubleheader review in the works, so stay tuned. I know you guys can’t hardly wait. Which is why I’m offering a $49 premium access to the review before anyone else. It’s good for 48 hours, and you can even setup the projector in the backyard next to the firepit and the barbeque as the whole family gathers to read the review. An extra 5 bucks even gets you a t-shirt.
• If you’re a fan of Thor: Ragnarok director Taika Waititi’s style, he has an extremely quirky New Zealand film called Hunt for the Wilderpeople starring Sam Neill from Jurassic Park and the fat kid from Deadpool 2. It’s very Waititi, and it holds plenty of charm and heart.
• I finally got around to Best Picture winner The King’s Speech. It’s a really enjoyable film through and through, and it’s a cool true story. But what blows my mind and cracks me up is how this was from a newcomer director in Tom Hooper. He found success after this with Les Miserables, but we all know about what happened when Cats released. That’s right. The King’s Speech and Cats is the same director. Let that one sink in.

A Quiet Place Part 2

 

Gillipedia Official Rating: The sequel: bigger, badder, quieter than ever

          This will be a bit of a common theme this year, but I was more than excited for this sequel when it was supposed to come out last year. And while some films that came out in the beginning of March 2020 suffered by a shortened life in theaters, A Quiet Place Part 2 was delayed roughly one week before its scheduled release. The original was a massive hit; Stephen King went so far as to call it a masterpiece, and I can’t find myself disagreeing. It was a close to perfect horror film. And while it lent room for a sequel, I still had some hesitation because I didn’t want the original to be tarnished if the sequel bombed. But with John Krasinski returning to write and direct and Emily Blunt leading, I was very optimistic. People are finally starting to head back to the theaters. Is this one worth getting up off the couch to go see?

          One-hundred percent. Go watch this movie. I was concerned over the fate of this film when I ended up getting my own private screening, but this film is actually performing well. And I’d like to see it stay that way. There’s a certain amount of novelty that simply can’t be replicated from the original, but the sequel does just about everything right to succeed on its own.

          This film takes place essentially right after the original ended, so make sure you have seen the first one. But the film actually starts off with a flashback to the first day when the creatures first appeared. This scene strongly evokes Children of Men, and that is both a tremendous compliment and a truly justified comparison. It allows us to still be treated to some Krasinski, and it also sets up the biggest new addition in Cillian Murphy. Again, if you haven’t watched the original, stop reading this review and go watch it. Like now… I’ll wait.

          …

          That’s enough waiting. So Krasinski? Yeah, he died at the end of the first film, as all of us continuing to read this are well aware of. Anyways, in his absence, Cillian Murphy takes over as a protective figure. It’s a smart addition, and there’s also nuance to his character to still make him quite different from what Krasinski was. Also, if you’re not familiar with Cillian and his ocean blue eyes, please go watch any of his roles from Christopher Nolan films, 28 Days Later, and Sunshine.

          Where the first film remained confined to the valley, the remaining members of the family take the new baby and seek a new haven while spreading the word about the creatures’ weakness to the high-pitched sound from the hearing aid. After meeting up with Murphy, the group splits off each with separate goals in mind. The daughter believes she can reach a radio station that has been playing a single song over and over, Emily Blunt has to find supplies like oxygen tanks to safely support the baby, and the son watches over the baby. Let’s recap on this sequel. We end up learning more about the creatures, there’s bigger scope in the direction of the narrative, and we are introduced to new and interesting characters. That hits all the notes of what a sequel needs to do to stand on its own merit instead of remaining in the shadow of the original.

          The other big star added is Djimon Hounsou, and I’ve mentioned him enough in past reviews for his name and face to finally be familiar. But just in case, I’ll say it one last time: Hounsou is an underrated actor and always deserves recognition. Cillian gets plenty of screen-time here, but Hounsou receives a shockingly small amount. I wouldn’t be too surprised if there was an extra scene or two filmed with him that ended up being cut. But I digress. Krasinski does a tremendous job staging the scenes and creating tension with his direction. The kids continue to shine, and Blunt and Cillian provide a level of talent that is taken for granted in a genre that isn’t always known for its acting. Although I occasionally faintly heard the action film happening in the theater next to me, this film continues in its clever use of sound design as well as in its score as well. I just used this praise in my last review for Tayler Sheridan, but it applies here as well; this film has smart characters that make smart decisions. Films with dumb characters are frustrating, but films with smart characters are cool to look at and make the audience feel rewarded for watching their actions.

          Believe it or not, but there is a climax. On one hand it doesn’t have a huge scale with lots of explosions that you might expect from a sequel with a larger budget, but it does come together in a special way that makes this a fun continuation of the original. I will also say that when it does end, it almost feels like you were expecting 20 more minutes. You do become invested in the situations and the film does breeze by, but perhaps it could’ve stopped to smell a couple more roses or tacked on more to the climax. That would be my biggest complaint. I am truly pleased to see the box office results coming out for it so far, but that only makes me double down in my message to you to go watch it. If you haven’t figured it out from this review or even just by the title, this franchise simply can’t end after this film. Now that they’ve continued the story and done so very well, now Part 3 has become a necessity. But no matter how many hashtags may be out there, the easiest way to ensure a trilogy is by making this film a box office success. Don’t go spitting into people’s extra jumbo cherry coke, but you can go view this film safely, and the large screen, sound system, and comfy chairs are easily worth the price of admission.

 

In Brief:

• I watched Zack Snyder’s Army of the Dead. I think the concept of a zombie heist movie set in Vegas ended up being a bit cooler than the final result. Snyder obviously takes genuine joy in setting up cool shots, and there’s some fun campiness, but some stuff like song choices feel too on-the-nose. It’s fun and worth the watch, but I wouldn’t call this a homerun.
• If you watch The King of Staten Island, don’t go in expecting a light-hearted comedy from Judd Apatow and Pete Davidson. The film is semi-autobiographical and does a come with some moments that made me laugh pretty hard. It drags in the middle, but then the last hour is surprisingly poignant and touching. I’m not much of a Davidson fan, and he also isn’t always likable in the film—but that’s the point. All the characters are flawed, and it has a great cast including Marisa Tomei and a grounded Bill Burr.
• There’s a film with Rosamund Pike and Peter Dinklage called I Care a Lot. It takes an interesting left turn, but it doesn’t know what to do afterward and the whole final third is a mess.

The New Movie From One Of My Favorite Writer/Directors

 

Those Who Wish Me Dead

Gillipedia Official Rating: We didn’t start the fire

          If you haven’t heard of the name Taylor Sheridan before, I can’t blame you. He’s relatively new to the scene, and despite having some acting credits, his most significant contributions have been from behind the camera. Most notably, he wrote the Denis Villeneuve directed film Sicario. He followed that up with the critically acclaimed Hell or High Water (he also very recently co-wrote the Prime film Tom Clancy’s Without Remorse starring Michael B. Jordan). After that, he took over directing duties himself and made Wind River. There’s definitely a signature look with all of these films. Usually pretty intense, these films to varying degrees have solid action mixed with interesting landscapes and locales. The same goes for his newest film.

          Another trait among Sheridan’s films (particularly Hell or High Water) is the opposite of what you see in horror films—smart characters make smart decisions. Sometimes these are bigger pieces of the plot, but most of the time, they are heat of the moment types of actions that simply make sense. Relatively early on in Those Who Wish Me Dead is a car crash with a dad and his son. The dad is fatally injured and wants to ensure there’s no trace of his son. He opens the passenger door, the kid gets out, and the dad closes the door shut again. I swear to you if the same scenario happened in a basic slasher film, that passenger side door would be wide open and tip off the villain that there was another passenger. One more example: the villains of the film take a hostage as they search for some characters. They reach an abandoned firetower where the only way up is to climb up a ladder. They send the hostage up the tower, and if he finds anyone up there, he needs to bring them down. If there’s no one in there, he needs to set a fire in the middle of the room and burn the place down to prove there’s no one in there. It’s a scenario that is well-planned from the villains and provides true intrigue and worry over what the hostage will do if he finds anybody in the tower.

          As for the story to the kind of vague title of this movie, it’s like a mix of Only the Brave with Wind River. Our main star is the ageless Angelina Jolie who works with the parks department as a firefighter and gets assigned a firetower to keep watch over. At the same time, there’s a father who uncovers some information that he shouldn’t have, and people want him dead for it. The father escapes with his son, and they head to the only people they can trust—friends of Jolie. As the bad guys close in and all paths intertwine, a fire in the forest will act as the catalyst to everything.

          Let’s talk about the cast because for a film that I feel like has had little promotion, there’s some big names here. The two main bad guys are English actors playing Americans—you have Lord Baelish from Game of Thrones, and you have the blueist-eyed actor in Nicholas Hoult. Jolie’s friends are The Punisher actor Jon Bernthal playing a cop, and his wife, someone I haven’t heard of but she gets a couple really cool moments to shine. I should also mention that the kid here isn’t a terrific actor, but he’s good enough. Oh and Tyler Perry makes an appearance for approximately one scene. To his credit it’s a good performance, but it’s so brief that he isn’t even credited with top billing.

          Prominently featured in the trailer is a big forest fire that starts about halfway through and obviously makes its way to the climax of the film. It’s well utilized, but if the shot lingers on it for a little too long, you start to recognize the same animation and the color palette is too similar and that’s when you can tell that it’s CGI. That’s right, bet you people didn’t know I was an expert when it comes to visual effects too.

          The final fight is a little disappointing. The villains start feeling more desperate and don’t make as smart of choices as the beginning of the film. And it all ends up with mostly a fistfight. Yes, the fire does get used, but I think they could’ve used more of the cat-and-mouse tactics from earlier in the film and ramped it up with the fire for a still exciting conclusion that wasn’t a basic close combat fight.

          Sheridan does a fine job directing, but I’d take all of his works previously mentioned over this film. I’d describe this as fine entertainment, but you don’t need to bother going too far out of your way to see it.

 

In Brief:

• It’s finally happening. A Quiet Place Part 2 comes out at the end of the month. The first one was an amazing experience in theaters, and I’m incredibly excited for this film as well.
• Mortal Kombat has some cringey moments and bad acting, but all in all, it was entertaining. Solid visuals, nice callbacks to the games (like the way the fights are framed), and some actual solid martial arts.
• I watched the Marvel movie nobody knows about. The New Mutants is like 10 Cloverfield Lane and Glass. Teenage mutants in a psych ward they can’t leave. Pretty lowkey with some interesting characters and ideas, but it should’ve embraced horror more. Plus, the twist of the film is obvious after the first 20 minutes. It’s PG-13, and I definitely believe that was a mistake. Considering its poor performance, this appears to be a one and done. I’m happy for the experiment, but the results left me with something to be desired.
• Guardians of the Galaxy and Jumanji star Karen Gillan stars in Oculus, and her ability to do an American accent is so good that I had no idea it was her the entire film. It also stars the guy who plays Robin in the weird new Titans show. Anyways, I was enjoying the film all the way up until the ending. Hated that ending. Not satisfying. But, it’s still a better than average horror film.

Best Picture Nominees Nomadland and Minari + Undisputed Oscar Picks 2021

 

Nomadland

Gillipedia Official Rating: Oh so bad, man

          This film is very simplistic in many ways. It’s almost even a documentary where there’s really only a couple of actual actors and then the rest of the cast are just real life people who live the nomadic lifestyle whether that be in their RV or van. Nomadland follows Frances McDormand around after her husband has died and the factory in her small town is shut down. Ove the course of the film, McDormand works about 10 odd-end jobs and travels around the Midwest. And personally, I was bored out of my mind watching this film. Let’s see why.

          So here’s why. There is little to sink your teeth into. We follow McDormand around as she struggles through this latter stage in her life, and with the exception of her encounters with The Bourne Ultimatum actor David Straithairn, there’s no growth along the journey to really speak of. Every interaction reinforces the hard times she’s dealing with. What you see in the first 30 minutes equates roughly to what you see in the last 30 minutes. So then why is this film nominated for 6 Oscars including Best Picture and is the frontrunner for Best Director? I believe it’s because of the overall message that is trying to be portrayed. And I get that—for anyone who enjoyed this film, I get it. The point I took away is that McDormand’s character is well-educated, kind-hearted, and hard-working, and despite all of it—including her desire to make it on her own and not accept help—she still struggles in the time of her life where it’s expected for her to sit back and relax and tell her grandkids about her memories growing up. This film does get all of that across in a natural way. But it’s not entertaining in the slightest.

          We watch different movies for different reasons. I didn’t come into this film expecting the same visceral reaction I have from watching Godzilla vs Kong or John Wick. But if my mind is wandering after 30 minutes, then from an artistic perspective of choosing film as the medium to portray your message, this fails to that degree. One of the Oscar nominations is for Best Adapted Screenplay, and that’s the most curious one for me. There’s not much dialogue here. It’s a bunch of McDormand wandering around and occasionally listening to these wanderers tell some stories that, to be honest, aren’t very engaging. If you’re looking to watch an aging woman slowly walk against the backdrop of a sunset for a solid 10 minutes of the runtime, this is the film for you. Early on there’s a single shot like this that was quite impressive for about 20 seconds. After that, however, it was still just McDormand roaming around one of the camps and another 45 seconds go by without anything of value happening. That’s not interesting to me. But let me leave it at this. Within the first 20 minutes, we witness McDormand take a piss, blow her nose, gurgle some mouth wash, and have the wettest #2 put out on screen since, like, I don’t know, Jim Carrey in Ace Ventura. Does it go along with showing what her lifestyle now is? Sure. But does that make me want to see it? No. God no. And instead of describing a shot that happens about halfway through the film and really only lasts a couple of seconds, I’ll let this clip do the describing for me.

https://www.youtube.com/watch?v=jqDGK_UjfFI

            As for the cast and crew, I think the Best Actress nominee for McDormand is certainly deserved. She’s committed to the film, and it’s what I would describe as an understated performance. I don’t believe it’s enough to win the award, but the nominee is deserved. And with director Chloe Zhao, she is likely to win Best Director, but I don’t think she should. And although I most likely don’t have to state this, I will anyway. My thoughts on her directing has nothing to do with her gender, race, age, or any other factor, it is strictly on the result. I don’t really have issues with the way she directed; in fact, for the tone she was trying to achieve, I think she gets it quite well. But even in a pretty lackluster year, I have a different pick that I think deserves the award more, and I’ll reveal that later.

          As far as slightly more technical aspects, there’s an overwhelming amount of scenes that are simply McDormand and 1 other person talking. It’s pretty standard to have 3 different views for static conversations like this: a shot over each of the characters’ shoulders, and a further away shot from between the two to act as the wide shot. With this film you frequently only get those first 2 shots and not the wide shot. My belief is that this again contributes to that documentary feel where the audience feels like it’s following McDormand around and has us simply listening and observing her interactions. Many of the scenes also appear to only be naturally lit. And not in the beautiful way like The Revenant, more like hardly being able to see inside the van when McDormand is in there at night. Again, it’s a style that of course isn’t trying to mimic The Revenant or whoever, but from an entertainment perspective, it doesn’t quite click for me.

          Oh, but I haven’t said my biggest critique yet. There’s a distinct scene I remember where McDormand visits a friend’s house. She rings the doorbell, waits 5 seconds, and after no response, proceeds to ring it 5 more times in quick succession. That is criminal.

          As the credits roll and the cast members’ names match up to their respective character (even Frances McDormand’s character is Fern and she checks into a hotel early on in the film where she says they will find her name under MCD), there’s some good moments to remember like the very occasional score that is piano-heavy, McDormand’s performance, and the rare beauty shot of nature. There aren’t huge revelations, and there simply isn’t enough of a plot to propel the messaging that this film brings across with its simplistic journey. I struggled mightily to keep paying attention. If this film wins Best Picture, it must be the most boring winner since The English Patient (a film I admittedly haven’t watched). Watch it if you so desire. I won’t stop you by any means. But it just wasn’t a film that entertained me.

 

Minari

Gillipedia Official Rating: Way better. Like on a scale, at least 10x better

          Also nominated for 6 Oscars, Minari is a film about a Korean family who moves to Arkansas in the 1980s with little money but a large plot of land to start a farm. This film is about 90% in Korean, and I meticulously studied the language the last 2 years in order to understand the film. Don’t mind that there are subtitles, true professionals like me have no need for such things. Minari is interesting in that in won the Golden Globe for Best Foreign Language film, but since it takes place in America, it’s not eligible for the Oscar for Best International Feature Film. This film will also be competing with Nomadland for Best Picture and Director. But like Nomadland, this film doesn’t have huge set pieces or big moments. And yet, the entertainment value was through the roof for me. Where’s the differences?

          I’m glad I asked. What this film boils down to is incredible storytelling. There’s the overarching plot of Yeun starting a farm to provide for his family, but each member has their own intricacies that hold so much weight on their own. Yeun’s character Jacob and his wife Monica both work at chicken farms staring up the chicks’ butts all day to separate the males and females, but Jacob wants to succeed with the farm to show his kids that he is something, and Monica wants to continue going to church and also focus on her work to ensure there will always be something to provide on the dinner table, notably lots of kimchi. The daughter Anne is still just a kid, but she is protective of her brother and shows maturity even when her parents are clearing struggling. And enormous credit must go to the son of the film David, played by Alan Kim. He has a heart condition that is a constant worry for his parents, and it doesn’t allow him to play around like a regular kid would be able to. This continues to play throughout the film, but once the grandma, Monica’s mother, arrives and stays with the family about 30 minutes in, her dynamic with David is incredible. It’s the first time they’ve met, and they have to share a room together. This bothers bed-wetting, shy David, and watching the two interact throughout is an absolute joy. It makes me incredibly happy that the grandma played by Yuh-Jung Youn is nominated for Best Supporting Actress. I won’t give away anymore about her role and what happens, but she gives a terrific performance.

          Steven Yeun also turns in a great performance as Jacob and deserves his nomination. I’m not too familiar with the other nominees for Best Supporting Actress besides Amanda Seyfried in Mank, but I thought Yeri Han as Monica could’ve easily been nominated.

          So there are a couple big moments that do happen in the film, but they play in pretty small ways. And what I mean by that is you won’t really find dramatic music playing that much or a character speak exactly what they’re feeling. Instead, the characters’ quirks that have been building up may get a pay-off that only lasts a couple seconds and won’t even be highlighted. There’s potential to try to play to these moments more, but it actually feels even more rewarding for the investment you make over the 2 hours spent with this family to see what comes together. Even though the following quote could be applied to Nomadland, it fits Minari just that much more. “Success is never so interesting as struggle.” –Willa Cather

          Now despite my high praise, this film isn’t perfect. Although Will Patton is a very interesting character, I think he overplays things too much. But I hate to say the worst thing about the movie is in its ending. Without giving too much away, it follows a trend I’ve seen from modern films over the past couple of years. With Minari it actually works and is even what I would call a good ending that fits; however, there’s still a slight tinge of laziness in it as well. For as many small pay-offs as there are, the film doesn’t quite feel complete. It’s hard to call this movie my favorite to win Best Picture because of the ending and the fact that I haven’t watched all the nominees, but it’s a very, very good film. I had the pleasure of watching this film on the big screen, and I’d take it over Nomadland any day. Anybody looking for an intimate look at the struggles of an immigrant family struggling and also making the most of their lives will come away with such a rich experience for having watched Minari. I tip my hat and applaud the emotional journey it brought me on.

 

Oscars 2021 Predictions

          With so much being pushed back and so few people watching movies in an actual theater, the Oscars this year lacks a certain pizazz that it usually culminates. They’re also still scrambling to think of new ways to stay afloat with their dropping ratings year after year. Not having Jimmy Kimmel as a host is a start. He’s not good. I said it, and I won’t apologize for it.

          I’ve done my best to watch what I can, but I didn’t make it around to everything. But that doesn’t stop me from still providing my opinions that nobody asked for!

 

Best Picture:

What will win: Minari. There’s only 3 nominees I haven’t seen, but I don’t expect any of them to win anyway. I think Judas and the Black Messiah is a strong choice, but after watching both my pick and Nomadland, I have to make a terrible strategy and assume that the Academy will agree with me that Minari should win.

Gill’s Pick: Minari. With fellow Korean film Parasite winning last year, I feel that draws away slightly the accomplishment it would be for Minari to win, and that opens the door to a couple of other nominees. But make no mistake. Minari deserves it this year.

Best Actor:

Who will win: Chadwick Boseman. I haven’t seen his performance truth be told. Gary Oldman does a solid job in Mank, but it’s not quite what he did as Winston Churchill, and I can’t imagine Steven Yeun or Anthony Hopkins quite pulling the win out.

Gill’s pick: Chadwick Boseman. I’m very tempted to say Yeun here, but I’m trusting that Boseman’s performance is as good as it sounds. Would’ve liked to see Denzel nominated for The Little Things.

Best Actress:

Who will win: Andra Day. Using the Golden Globes as my guide here. Nomadland’s script doesn’t provide enough for McDormand to do to win. Carey Mulligan could be an upset.

Gill’s pick: Andra Day. McDormand is the only one I’ve seen. And she’s not winning it.

Best Supporting Actor:

Who will win: Daniel Kaluuya. His “I am a revolutionary” is a standout scene and I feel confident he will win.

Gill’s pick: LaKeith Stanfield. I’ve seen much of Stanfield’s work, and he is a tremendous actor. I think he actually brings more depth to a conflicted character in Judas and the Black Messiah and should win for it. Side note: disappointed to not see Jared Leto nominated for The Little Things. He was the most captivating performance and gives any of the other nominees a run for their money.

Best Supporting Actress:

Who will win: Olivia Colman. She feels like the kind of actress the Academy loves to love. I can’t take that educated of a guess here.

Gill’s pick: Yuh-Jung Youn. I love seeing her nominated here. She’s the best performance in Minari and I think she absolutely deserves the Oscar.

Best Director:

Who will win: Chloe Zhao. 10 years ago David Fincher may have been the winner for how he truly brought back the 30s and 40s Hollywood era in Mank, but that’s not to say he’s totally deserving of it either. Zhao does an impressive job, but I’m not convinced it should be enough to win.

Gill’s pick: Lee Isaac Chung. I have to keep giving the love to Minari. I’ve seen 3 of these 5 nominee’s films, and Minari is simply the best directed.

Best Original Screenplay:

Who will win: Aaron Sorkin. It’s not his best work, but it’s still Sorkin.

Gill’s pick: Will Berson and Shaka King. I can’t believe I’m going against Sorkin, but I think Judas and the Black Messiah has it this year.

Best Adapted Screenplay:

What will win: The Father. This is a wild guess here. With how little goes on, it better not be Nomadland.

Gill’s pick: Pick em.

Best Cinematography:

What will win: News of the World. I liked this movie, but I think critics enjoyed it more than I did. Would’ve liked to see Tenet and Minari on this list. In a reversal of previous opinions, Nomadland wouldn’t be a bad choice here.

Gill’s pick: Nomadland. Of the choices provided, yeah. Mank’s black and white cinematography and Citizen Kane feel is nothing to be slept on though.

Best Editing:

What will win: Nomadland. Editing didn’t stand out as anything special. Again, would’ve liked to see Tenet nominated here.

Gill’s pick: The Trial of the Chicago 7. Lots of moving parts and characters. It’s balanced well here.

Best Production Design:

What will win: Mank. It’s one of the highlights of the film. News of the World would be a solid choice as well. Surprised to not see the terrible Mulan recognized for one of the few things that film did right.

Gill’s pick: Tenet. Finally, I get to pick Tenet for something. From the opening action sequence to crashing an actual plane, c’mon, can’t beat that.

Best Costume Design:

What will win: Mulan. All these picks make sense. I did really like the costumes here though.

Gill’s pick: Mulan.

Best Sound:

What will win: Soul. They finally combined sound editing and mixing. Wouldn’t be surprised to see any of these films win.

Gill’s pick: Soul.

Best Makeup and Hairstyling:

What will win: Emma. Went off the posters for this one.

Gill’s pick: Emma. Finally a category that I know everything about.

Best Score:

What will win: Soul. The score here truly is good, but if I’m being honest, I thought the jazz from the beginning of Monsters, Inc. was better.

Gill’s pick: News of the World.

Best Original Song:

What will win: “Speak Now.” I think they show Leslie Odom Jr. and One Night in Miami a little love.

Gill’s pick: “Speak Now.” I think it’s between this and “Fight For You.”

Best Visual Effects:

What will win: Mulan. They’re pretty good. But through poor directing, editing, and the need to make this movie, I don’t think it’s deserving.

Gill’s pick: Tenet. I’m more impressed of course by what Nolan does practically, but I wouldn’t readily be able to identify what was visual effects in this film, and that’s why I think this should win. I’m also shocked that The Invisible Man isn’t on here.

Best Documentary:

What will win: Pick em. I’ll laugh if it’s the octopus one though.

Gill’s pick: Would choose HBO’s The Vow if it were eligible.

Best Short Documentary:

What will win: A Love Song for Latasha.

Gill’s pick: Yeah right, like I actually know.

Best Animated Film:

What will win: Soul. This is a no-doubter.

Gill’s pick: Onward. I hate to be that way, but although it’s not a top tier Pixar film, I think Onward actually had more of a lasting impression. There’s plenty to love from Soul, but I don’t think it truly reached its potential.

Best Animated Short:

What will win: Burrow. I’ve actually seen this, and it’s the most adorable 6 minutes you can spend. It’s on Disney+. Go watch it.

Gill’s pick: Burrow.

Best Live Action Short:

What will win: The Letter Room. It has Oscar Isaac.

Gill’s pick: The Letter Room.

Best International Film:

What will win: Another Round. It has Mads Mikkelsen.

Gill’s pick: Another Round. Haven’t seen any of these, but Another Round is also nominated for Best Director, so I feel like that’s a pretty good indicator.

 

          And there you have it! I can only go off educated guesses and the films I have seen. If there’s any I haven’t watched but you think I should, by all means let me know. And if there’s any hidden gems that should’ve been nominated for something but wasn’t, I’m especially interested in those. See you next year!.. Or uh, until the next review.