Author: Amy Diaz

Why the Oscars and the Oscar movies can be fun

I love the Oscars.

Sure, the awards ceremony is long, people thank their agents, not all of the Choices! made with montages or original song performances or “comedy” bits are successful. And, yes, the Oscars don’t always pick the best movies or the most deserving artists in a year to nominate or to reward with the big prizes.

But still — I am excited about the Sunday, April 25, Academy Awards ceremony (8 p.m. on ABC; at 6:30 p.m. something called Oscars: Into the Spotlight will air, according to media reports, and will feature pre-recorded performances of all the original song nominees and maybe this will be fun and maybe it will be lame but I’m totally going to watch it). And this year has the potential of being extra fun/extra weird (which can also be fun) because it’s going to be “like a movie” somehow, as all the reports about the Steven Soderbergh-produced pandemic-era (but allegedly Zoom-free) ceremony have stated.

Perhaps you don’t care about the Oscars (which is fine, we all pick our own things to geek out over). Perhaps you find yourself not caring this year because you haven’t heard of some of the movies (only 18 percent of “active film watchers” have heard of Mank, according to a New York Times article from April 18, the gist of which was the annual freak-out about whether people will watch the Oscars, heightened this year because award shows in general have seen ratings tank during the pandemic). During this year of limited in-theater movie releases and limited “let’s go see whatever random movie is playing” outings, it seems totally normal that people wouldn’t be aware of the movies unless finding out about movies is their Thing.

So, if you haven’t already bought your bubbly and blocked off Sunday evening on your calendar, why is the Oscars, in its 93rd year of fusty award giving and “Webster’s Dictionary defines story-telling”-ness, worth getting excited about? Here are the reasons why I, in spite of everything, love the Oscars:

• The clothes: “Pretty dresses” (and suits and their intersection, i.e. Billy Porter’s awesome 2019 gown) may sound like a shallow reason to be interested in something but capital F Fashion is not something I, a vintage Targeeé and Old Navy couture -type, get a lot of regular exposure to. Post-Oscars coverage can include things like discussion of a designer’s recent collection or side-by-side pictures of a dress on the runway and the same dress, often modified, as worn by an actress. It’s a real Devil Wears Prada “cerulean blue” glimpse at how high fashion connects with the business of styling celebrities. Also, you know, the dresses are pretty.

• The speeches: Corny as it is, it’s fun to see what everybody says to thank their spouses and parents. I also like the general messages of the joy of doing their work: Linda Holmes on NPR’s Pop Culture Happy Hour podcast often cites Once’sGlen Hansard’s saying “make art, make art” in 2008. I also like when people are just tickled with their win, i.e. Julia Roberts in 2001 (in vintage Valentino, I learned). And then there are the “talk to the industry” speeches, like Frances McDormand in 2018. They can be funny and serious and sweet and they still have an element of “real person having an awesome moment” to them.

• The unexpected moments: Sometimes I seek out the clip of when Samuel L. Jackson calls Spike Lee’s name in 2019 and Spike Lee comes up to the stage and gives him a full body hug. Or when in 2017 Jordan Horowitz, La La Land producer, announced that Moonlight had actually won best picture (followed by Jimmy Kimmel’s excellent “Warren, what did you do?” to presenter Warren Beatty). Or in 2020 when the crowd reaction to an attempt to cut off the Parasite team after their best picture win got the camera to cut back to them. I don’t watch a lot of sports so this is one of my few annual reminders of what live TV looks like.

• Olivia Colman: For all of the above-stated reasons. Some people are just really good at being on awards shows. (She’s nominated this year for The Father, which is available for rent.)

• Arguing about what should have been nominated: I hoped Elisabeth Moss for The Invisible Man (currently on HBO Max or available for purchase) had a shot at a best actress nomination. I’d have added The Willoughbys (on Netflix) to best animation.

Beyonce’s Black Is King (Disney+) must not have been Oscar-eligible because it definitely should have grabbed Costume Design, Production Design, Cinematography, Makeup and Hairstyling and Original Song nominations (whatever, see it anyway).

My Original Song nominations would have included Jamie Dornan’s beach power ballad in Barb and Star Go to Vista Del Mar (available for rent but just purchase it because it is silly fun) and something from The Forty-Year-Old Version (Netflix), which also deserved other nominations.

I join other early pandemic-era movie watchers in wishing that First Cow (currently on Showtime and available for purchase) and the comedy Palm Springs (on Hulu) could have gotten some love.

I wanted Regina King to get a director’s nod for One Night in Miami… (on Amazon, the movie did get nominations elsewhere). Sofia Coppola’s On the Rocks (Apple TV+) also feels like it should have shown up somewhere. As my family could tell you, I can go on forever about who should have been nominated.

• Predicting the winners: Despite the existence of Gold Derby and other internet prediction sites which track nominees’ rise and fall in the prediction rankings, it’s still enjoyable to chew over whether Nomadland (on Hulu and available for purchase) will take the top prize (and the director Oscar for Chloé Zhao) as it’s predicted to, or if Zhao can get her win but Minari(available for rent) will pull off a surprise best picture victory, as is my hope.

My other predictions/preferences: Yuh-Jung Youn in Minari is the favorite and my favorite to win actress in a supporting role. Soul (Disney+) will probably take the animated feature prize but my pick would be the charming A Shaun the Sheep Movie: Farmageddon (Netflix) or, as a very close second, the lovely Wolfwalkers (Apple TV+). I am all in for Crip Camp: A Disability Revolution (Netflix), which is heartwarming as well as a fascinating history lesson, in the documentary feature category but My Octopus Teacher (Netflix), surprisingly, seems to be what the internet predicts is leading. I want “Husavik” from Eurovision Song Contest (Netflix) to win original song but awardswatch.com predicts that either Leslie Odom Jr.’s “Speak Now” from One Night in Miami or 12-time nominee (zero wins) Diane Warren’s “Io Si (See)” from The Life Ahead (Netflix) will take the prize.

• The movies! The Oscar ballot is, more than anything else, a list of movies; this year, it’s a list of movies you can see right now from the comfort of your couch. In addition to the movies listed in this story, I laid out where to find all the nominees in stories in the March 18 (feature film and acting nominees), March 25 (other mainstream-y categories nominees), April 1 (visual effects category nominees), April 8 (documentaries) and April 15 (international feature films and shorts) issues of the Hippo (find them at hippopress.com).

This year’s nominations make for a pretty good list and the best picture nominees, while they may have dour-sounding one-line descriptions, are all actually quite lively and full of engaging performances. (I gave most of them an A in my reviews.) Minari, Nomadland and Sound of Metal (on Amazon Prime Video), while certainly not wall-to-wall zaniness, have moments of joy and humor and end at a place of optimism and hope. Other nominees do feature helpings of delight, such as Emma (on HBO Max and available for purchase), the short Burrow (Disney+), Love and Monsters (available for rent or purchase) and, for classic Hollywood nerds, Mank (Netflix), as well as the aforementioned Eurovision Song Contest, Farmageddon, Soul, Wolfwalkers and Crip Camp.

And the Oscars nominees aren’t the only list of movies going. Thanks to the podcast This Had Oscar Buzz, I’ve become a fan of the AARP Movies For Grownups awards (which were announced in March). The United States vs. Billie Holiday (Hulu) won their grand prize; see all the nominees and winners (there are categories like “Best Ensemble” and “Best Grownup Love Story”) at aarp.org/entertainment/movies-for-grownups. The British BAFTA awards, given out a few weeks ago, also offer some viewing options (some Oscar overlap, some stuff you won’t see listed elsewhere); see bafta.org.

And get in the Oscar spirit by checking out the Film Independent Spirit Awards (those winners will be announced Thursday, April 22, at 10 p.m. on IFC), which include some of those First Cow-y early 2020 films.

Featured photo: Minari

Thunder Force (PG-13)

With Melissa McCarthy and Octavia Spencer playing middle-aged lady superheroes, Bobby Cannavale playing all the ego and Jason Bateman playing a half-crab man, Thunder Force really should have been a better movie than it is.

I had such hopes after Superintelligence, the Ben Falcone-directed Melissa McCarthy movie that hit HBO Max a few months back. That movie was so above average and genuinely enjoyable that I let myself get way too excited for this movie, forgetting all about my letdown at Tammy and The Boss.

As it is, I won’t even pretend I’m being completely objective about this movie; I like McCarthy and Spencer and all the other players here too much not to grade on a curve. And it helps that this movie is on Netflix, so if you already have a Netflix subscription it basically only costs your “what should we watch, I don’t know, this looks promising” time.

The comic book-like premise here is solid: Once upon a time (March 1983) a cosmic ray struck the Earth, giving superpowers to people genetically predisposed to be sociopaths. These people, called Miscreants, have basically an unchecked ability to cause mayhem, as no good-guy superpower-having people exist to stop them. After young Emily (Bria D. Singleton) loses her parents to a Miscreant attack, she vows to make it her life’s mission to find a way to stop them.

First, however, she has to make it through school, which is not easy when you’re perceived as a nerd. Luckily, Emily has a friend in Lydia (Vivian Falcone), who might not be a star student but is willing and able to stand up to anyone picking on Emily. The girls remain close friends until high school, when Emily’s single-minded studiousness and Lydia’s lack of direction pull them apart.

Still, decades later, when their high school reunion approaches, Lydia (McCarthy) is pretty excited to see Emily (Spencer), who is now a rich and famous scientist type. True to old patterns, Emily forgets all about the reunion, so Lydia goes to her science lab/office to retrieve her — which is how Lydia, a “what does this button do?” type, accidentally gets injected with Emily’s superpowers-creating serum. Emily had planned to give herself super-strength and invisibility to help her fight the Miscreants. But now Lydia has the super-strength and Emily has the invisibility and they must work together, with the help of Emily’s super-smart daughter Tracy (Taylor Mosby), to fight a Miscreant called Laser (Pom Klementieff). Because they decide they need cool names to go with their powers and supersuits, they dub themselves “Thunder Force.”

Bobby Cannavale, playing a politician trying to get people to call him “The King,” and Jason Bateman, as a sometime criminal who has crab arms and is conflicted about his Miscreant status, also show up, as does Melissa Leo as Emily’s security officer. And, just writing this, I’m sort of excited about this movie all over again — sounds great! Except, parts of the movie just don’t click, like Leo, who always feels a step off from what the movie needs her to be. Or like parts of Bateman’s whole crab-arms thing, with jokes that go on too long or seem to trail off. Elsewhere it feels like jokes and character notes are left unexamined. The whole movie has a frustrating “not exactly there” feel.

That said, while writing this review, I did go back to check this or that fact in the movie and found myself watching whole scenes. So maybe the key is expectations; go in expecting nothing more than an hour and 46 minutes of new content that you’ve already paid for and maybe you’ll be suitably amused. B- because this thing has its moments and I’m definitely going to wind up watching it again.

Featured photo: Thunder Force

A look at the movies vying for Best Documentary Feature at this year’s Oscars

I would have thought the Best Documentary Feature category in this year’s Oscars was all sewn up.

My pick in this category would be Crip Camp: A Disability Revolution, another solid entry from Barack and Michelle Obama’s Higher Ground Productions (which won last year’s documentary Oscar with the excellent American Factory).

Crip Camp, which hit Netflix about a year ago, is an absolute winner that is both the story of an upstate New York summer camp in the 1960s and 1970s that served campers with disabilities and the story of the civil rights activism by those campers that led eventually to the Americans with Disabilities Act and the access it granted. Many of the counselors were former Camp Jened attendees; the camp was a place where they could be themselves, enjoy the same cultural swirl of music, politics and big ideas (and teen romance) that the rest of their generation was immersed in and be free of well-meaning but often overprotective parents. One of the attendees turned counselors turned activists, Judith Huemann, eventually becomes the movie’s focal point and feels like one of those giants of American history that I was shocked to just be learning about. The movie is still available on Netflix.

A look at the various Oscar prediction websites suggests that my favorite isn’t a runaway sure thing and each of the other nominees have a fair amount of support.

Collective, which is also nominated in the International Feature Film category, would be my second-place pick and is a worthy competitor. This documentary tells the story of the aftermath of a music venue fire in Romania. Not only does the fire expose the scandal that led to unsafe conditions at the club but the subsequent deaths of people wounded in the fire helps to expose the problems in the state’s health system that makes hospitals seem like germ incubators. The documentary focuses both on the Sports Gazette, a sports-focused newspaper that helps to uncover the scandal, and on the new minister of health battling deeply rooted problems in the bureaucracy in his attempts to make amends and provide better care for the people of the country. The movie makes the case for old-school, follow-the-facts journalism. It is available for rent (including via Red River Theatres’ virtual cinema) and on Hulu.

Amazon Prime’s Time is a more intimate movie than the previous two (though it has plenty of big issues attached) but it is a solid piece of storytelling. The movie tells the story of Sybil Fox Richardson, and her children as they deal with the decades-long incarceration of her husband and their father, Rob. Rob and Fox have six sons, who Fox had to raise on her own after Rob was sent to jail for 60 years for a bank robbery (for which she also spent a few years in jail). The movie features her own home movies of those years, through which we can see her boys grow up and Fox become a force of prison reform activism while also building a career, taking care of the boys and working to bring Rob home. Fox is a compelling personality and the moments when her rage at the system breaks through her perfect composure are more insightful than a dozen think pieces on prison reform.

The Mole Agent, available on Hulu, doesn’t have the heft of those movies but this tale of elderly residents of a Chilean nursing home has moments when it transcends its sweet comedy. Here, 90-something Sergio agrees to work for a private investigator as a spy. He checks into a nursing home to find out if the client’s mother is being mistreated and stolen from and what he discovers is a community of people — mostly women — who have been sort of forgotten. The movie has funny moments — Sergio doesn’t always have a handle on the technology he’s given to make his reports but he is a huge hit among the lady residents, with one woman planning their wedding — and the charm helps to soften the blow of the vein of sadness throughout.

My Octopus Teacher, a Netflix documentary, is probably the lightest-weight of the nominees. I heard somebody on a movie podcast describe it as basically a nature documentary and I agree that its photography of life in what the narrator calls an underwater “forest” off the coast of South Africa is its strongest element. The narrative structure comes from the “friendship” between Craig Foster, a filmmaker suffering from burnout, and an octopus he encounters. He follows her, studying her progress during her roughly year of life, with bits of Foster’s life and his relationship with his son sprinkled in. Personally, I feel like an even shorter movie that was more tightly focused on just the octopus would have been even more lively, but the visuals are lovely.

Oscar movie viewing update
If you’re not quite ready to venture back to the movie theaters, you can add Judas and the Black Messiah to the list of Oscar nominees available from your house. The movie, which had a month-long run on HBO Max when first released, is now available for rent for $19.99.

For other movies, Oscar completists can turn to Red River Theatres (redrivertheatres.org) to view some of the harder to find nominees. In addition to Minari, The Father and Collective, Red River’s virtual cinema is screening the Oscar shorts ($12 per category or $30 for all three categories, 15 nominated shorts plus some extras) and, this Friday, is scheduled to start screening International Feature Film nominee The Man Who Sold His Skin.

Featured photo: Crip Camp

Godzilla fights King Kong in Godzilla vs. Kong — what, you wanted me to be all “visually stunning allegory about humanity’s bravado in its relationship with the natural world”?

I mean, sure, I guess that’s in there (the allegory, sorta; the visuals have their moments even if they’re never quite as awe-inspiring as, for example, that parachute jump in the 2014 Godzilla). You can find the deeper meaning if you try really hard to pick it out, like you’re digging out the mushrooms from a steak and cheese sandwich, but why bother? Either you’re watching this “monsters fight!” movie at a movie theater on one of your extremely rare trips to a theater in this past year or you’re watching it for a fun movie night at home (the movie is on HBO Max until the end of April). Why muddy either of those all-cheese-no-broccoli experiences with, like, “deeper meaning” or “multi-dimensional characters” or “consistently engaging story-telling”?

There are, to some extent, two movies with two sets of characters happening here. In the Kong movie, Hollow Earth explorer Nathan Lind (Alexander Skarsgard) gets Kong scientist Ilene Andrews (Rebecca Hall) and her adopted daughter Jia (Kaylee Hottle) to bring Kong from his Truman Show-like Kong habitat on Skull Island to the entrance of a tunnel that will take the explorers into the land-before-time-ish world that exists inside the Hollow Earth (which is where everyone assumes the Titans, as all the giant monsters are called, came from at some point). Apex, a bad-guy corporate entity, has hired Nathan to find the power source that serves as this inner world’s sun so they can power a Godzilla-fighting weapon, which I don’t think was spoiled in the trailers, so I won’t spoil it here except to say it turns out to be pretty fun. Nathan uses Kong as a guide to the Hollow Earth power source because homing pigeons something something and Ilene and Jia come too in part because Jia and Kong are friends and can communicate via sign language — and I feel like the “King Kong speaks sign language” element of this story isn’t developed nearly enough. I feel like being able to talk directly to a Titan and find out what it wants would be a bigger deal.

Meanwhile, teen Madison (Millie Bobby Brown), who was in the last Godzilla movie, and her buddy Josh (Julian Dennison) track down Titan-conspiracy podcaster Bernie (Brian Tyree Henry). He has been covertly reporting on Apex, and Madison agrees with him that they must be doing something shady if Godzilla attacked an Apex facility after years of peaceful coexistence with humanity. This is the quippier of the two halves of this movie.

Godzilla and Kong get two big battles against each other, Kong gets to romp through Hollow Earth and both creatures get to fight other stuff. The monsters are fun, the humans are silly and the movie seems aware of this — never requiring us to take the humans too seriously or forgetting that the only characters we really care about are the giant gorilla and the giant lizard.

I think there are two ways to approach this movie. One is to spend time wondering which characters you’re supposed to remember from previous Kong and Godzilla movies and how this fits in to the overall cinematic universe (Legendary Entertainment’s MonsterVerse, apparently, according to a Wikipedia article and I think reading the Wikipedia entry about the MonsterVerse when one of these films is released is the only time I ever read or hear any MonsterVerse discussion). I was maybe trying to do this for the first 20 or so minutes but quickly gave up. The other, more fulfilling way to view this movie is to passively enjoy the scenes that aren’t Godzilla fighting Kong and then turn up the TV and pay close attention for the scenes that are about Godzilla fighting King Kong. Or Godzilla or Kong whomping other things. Big monsters fighting, that’s what I’m here for, and on that this movie basically delivers. Think of the rest of the movie as an opportunity to get more snacks, chat with your movie-watching companions or look up stuff about the MonsterVerse. This movie is a solid B during monster fights, an indifferent C otherwise, so — let’s call it a relaxed, good-time B-.

Rated PG-13 for intense sequences of creature violence/destruction and brief language, according to the MPA on filmratings.com. Directed by Adam Wingard with a screenplay by Eric Pearson and Max Borenstein, Godzilla vs. Kong is an hour and 53 minutes long and distributed by Warner Bros. It is in theaters and streaming until April 30 on HBO Max.

Featured photo: Godzilla vs. Kong

Anthony Hopkins is heartbreaking and Olivia Colman is heartbroken in The Father, a sad but excellent movie that is nominated for six Oscars.

Anthony (Hopkins) is a retired man living in London and Anne (Colman) is his daughter — this much feels certain. But, after a fight with yet another caregiver, has Anthony gone to live with Anne or has she come to live with him? And is it just her sharing the apartment with the increasingly agitated Anthony, who feels certain she’s trying to wrest his flat from him, or is her husband (maybe Mark Gatiss or maybe Rufus Sewell) there as well? Anthony and the patient if increasingly despondent Anne frequently butt heads, leading Anthony to tell whomever’s around how much better he gets along with his other daughter Lucy — but Anne’s silence whenever Lucy is mentioned suggests that there’s more to her absence than just a busy schedule.

That Anthony is constantly losing his watch may sometimes feel a little too nail on the head for his lost grip on time — he relives moments over again and forgets who people are or how long it’s been since he’s seen them last. He is a man grasping at sand and still sinking. The movie (and Hopkins’ strong performance) lets us feel his confusion, frustration and sense of complete disorientation. The story has the build of a psychological mystery thriller and works even though we understand what the mystery is that Anthony seems unable to unwravel.

Likewise, Colman puts us inside of Anne’s grief. Her love for her father, their relationship difficulties, her frustration with his limitations, her conflicted thoughts about what is truly best for him (and for her) — we can see all of this, often just from a look on Colman’s face or the way her eyebrows raise during a smile. The very last time she’s on screen, she gives this little nod that does the work of a whole speech.

The Father is not a fun movie but it is exceptionally well-made and so well-performed that it is an engrossing watch even when it is achingly sad. A

Rated PG-13 for some strong language and thematic material, according to the MPA at filmratings.com. Directed by Florian Zeller with a screenplay by Christopher Hampton and Florian Zeller (from the play of the same name by Zeller), The Father is an hour and 37 minutes long and is distributed by Sony Pictures Classics. It is screening in theaters (including via Red River Theatres’ virtual cinema) and available for rent.

Especially special effects

The Oscar’s visual effects nominees offer some good examples of films that were able to transcend the “TV-ness” of 2020.

Because the nominees provide great answers to “what should we watch tonight?” I’m spending the pre-awards ceremony (on April 25) weeks running through this year’s nominees. I previously discussed two of the visual effects nominees — Tenet (available for purchase and coming to HBO Max on May 1) and Mulan (available on Disney+ and for purchase). Both wowed with their visuals, Mulan perhaps more for costuming (for which it’s also nominated) and set design. Tenet’s coolest element is its use of characters traveling in opposite directions through time in the same scene (and if that makes no sense, buckle up for the “time travel and stuff”-ness of this movie), which would probably make it my pick in this category.

Other visual effects nominees:

• Love and Monsters It’s so cool this sweet, sorta silly creature movie/love story got a nomination. A 20-something guy hikes through some 80 miles of a monster-infested California to see the girl he’s loved since high school in this fun, sort of optimistic movie with an “end of the world” premise. The monsters are pretty well-rendered too. The fun movie night movie is available for rent or purchase.

• The Midnight Sky I can see why this total bummer of a George Clooney movie received a nomination: It features bleakly beautiful shots of the Arctic (where Clooney’s scientist is the final remaining human — maybe) as well as a storyline that takes place on a spaceship with occasional scenes of weightlessness and space-walks. But I have a hard time recommending this downbeat end-of-the-world movie (available on Netflix, if you’re in just too good a mood).

• The One and Only Ivan This Disney+ family live action film (or, you know, “live action” since the photo-realistic animals are CGI creations, according to a New York Times story) is based on the true story of a gorilla named Ivan who made art. The Ivan here (voiced by Sam Rockwell) is the star attraction in a fading mall circus run by human Mack (Bryan Cranston) and filled with other animals (voiced by the likes of Helen Mirren, Phillipa Soo, Chaka Khan, Ron Funches and Danny DeVito). This older elementary family movie is probably adequately entertaining for family movie night (despite some moments of sadness with sick moms and poachers and the like).

I discussed where to find best picture and best animated feature nominees and the films that received acting nominations in the March 18 issue and last week (March 25) tackled most of the other “mainstream movie” categories. (Find them all at hippopress.com.) Programming updates: Red River Theatres in Concord now has multi-category nominee The Father available via its virtual cinema as well as fellow nominees Minari and Collective. Nominated short films may be available as well starting April 2.

Featured photo: The Father