Live from the Dolby Theater at Hollywood and Highland it's the Oscars!
Ladies and gentleman please welcome your host, Jonathan Paula.
Thank you.
Hello and welcome to the 90th Academy Awards!
Ten more, and everyone gets a free small popcorn!
This year's crop of nominees is loaded with predictably safe period-dramas and unique
romance films that a majority of the country hasn't even heard of.
But hey, the Academy did nominate a film by a black director - so we're making progress,
right?
Anyway, here are this year's nominees for Best Picture.
"Sex With A Peach" "Gary Oldman Wears A Fat Suit"
"World War IMAX" "White People Are Scary"
"Saoirse Actually Does A Very Convincing American Accent In This..."
"Daniel Day Lewis Is An Asshole" "Journalism Tropes: The Movie"
"The Mute And The Merman" "Don't Upset The Fargo Lady"
... and the Oscar goes to...
This is the Movie Night!
... I'm sorry!
It's-it's "Moonlight".
Actually "Moonlight" won.
Guys, you earned it.
Uh...
"Moonlight".
I'm sorry.
Uh... best-best Picture.
Woo... that's embarassing.
Hello and welcome to the eighth annual Movie Night Oscar Special, I'm your host, Jonathan
Paula.
Tonight I'll be reviewing all nine Best Picture nominees., and later, sharing my predictions
for which actors and films will take home a trophy during the 90th annual Academy Awards,
which air live this Sunday night on ABC.
As always, if you enjoy my content, please LIKE the video, SHARE it on social media,
or PLEDGE a couple dollars to me on Patreon - it really does make a difference, especially
since my wife and I just welcomed our daughter into the world.
To help keep things brief, my reviews tonight will be shorter than usual - and we begin
in alphabetical order with "Call Me By Your Name".
Tender, if incomplete.
This coming-of-age dramatic romance film by director Luca Guadagnino quickly became a
critical darling after its January 2017 premiere at the Sundance film festival.
In the Italian countryside during the 1980s, a romance blossoms between a teenage boy and
an older man.
Best actor nominee Timothée Chalamet is positively transfixing as the sexually confused 17-year-old
who finds love with his older male roommate, played by the increasingly versatile Armie
Hammer.
When their bond finally matures into an acknowledged love, the results are magical and endearing...
but the 132 minute script spends a bit too much time getting there.
And even then, their sudden physical intimacy seems to come out of nowhere; as there was
nothing but platonic behavior beforehand.
Indeed; the picture definitely feels like it's missing a key scene in the second act
where the boys fall for one another...
some outward signal or moment where they both finally realize their shared intentions.
While I appreciate the complexities and nuances of a good love story, I found myself unable
to relate to the protagonists or their relationship.
Perhaps that's because the source novel by André Aciman fails to provide our lovers
any tangible obstacles - something conspicuously absent from a story about "forbidden" love.
Or perhaps it's because my sheltered, cis-male lifestyle precludes me from truly connecting
with a homosexual romance.
But I'd contend even the most isolated and bigoted of viewers can be moved if the script
is strong enough.
And despite this film's Best Adapted Screenplay Oscar-nomination, I don't think it is.
But a monologue late in the picture by prolific supporting actor Michael Stuhlbarg makes the
entire slow-burn worth it.
His passionate and deeply considerate speech about finding pleasure in the grief of lost-love
resonates deeper and stronger than any other moment in 2017 cinema.
A meaningful film with complex characters, "Call Me By Your Name" overcomes early stumbles
with poignant performances and heartfelt messages.
I thought it was a COOL movie.
Our second Best Picture nominee is, "Darkest Hour".
Directed by Joe Wright, this 2017 British war drama scored more than $100 million in
profit above its $30 million dollar budget, and six Oscar nominations.
The two-hour and five minute movie focuses on the newly appointed Prime Minister of England
- Winston Churchill - as he deals with the early days of World War II; with the fate
of Western Europe hangs in the balance.
In a long career of outstanding character work, memorable supporting roles, and vicious
villains - Gary Oldman's turn as Churchill during his first month in office, May of 1940
- is easily his magnus opus.
Layered in prosthetic make-up and speaking with a heavy accent, Gary is nearly unrecognizable
as the war-time PM.
If this role doesn't finally score him a much-deserved Oscar; nothing will.
And while the magnificence of his talent cannot be understated, one exemplary performance
does not a good movie make.
Dealing with the behind-the-scenes politics regarding the evacuation of the British forces
on Dunkirk beach; "Darkest Hour" makes for a marvelous companion film to Christopher
Nolan's picture on the same subject, released just months prior.
Whereas "Dunkirk" dealt with the emotional side; leaving much historical exposition out
of the narrative, this film does the opposite; giving us a rather cold and detached view
of the war zone struggles.
They compliment each other so well, that separately, the movies actually feel incomplete once you've
seen both.
It's this lack of emotional perspective that hobbles "Darkest Hour" the most.
We do see some glimpses though, like when Churchill defends his no-surrender policy
by angrily shouting; "You cannot reason with a tiger when your head is in its mouth!"
Later, an impromptu subway ride with Londoners helps him work through his difficult decision;
in an excellent scene that's easily the films most affecting.
Besides these flashes of empathy, the entire PG-13 rated picture is little more than a
display of Oldman's impressive acting prowess.
As interesting as it is, most audience might be better served by a documentary on the war
instead.
Oldman's brilliant performance propels "Darkest Hour" above its narrowly-focused script.
It's a COOL film.
Tonight's next film is especially apropos...
"Dunkirk", so here's a shortened-version of my earlier review.
Nolan has done it again.
Produced on a comparatively small budget of $100 million dollars - this PG-13 rated war
epic scored over half a billion in ticket sales after its July 21, 2017 release.
Sharing the inspiring true story of the allies' rescue from Dunkirk beach during the second
World War, this 106-minute drama unfolds without much dialogue or even conventional protagonists.
Instead, the extremely lean script illustrates through action and visuals alone how harrowing
and dangerous the battlefields in the land, sea, and air really were.
The ensemble cast features understated, but powerful performances from a slew of familiar
faces - but their lack of development prevents any from being memorable or unique.
Nolan's 'blank canvas' approach to the characters allows the audience to more easily picture
themselves in their shoes.
It creates an emotional transference that is vital to the success of the narrative.
"Dunkirk" is an immersive experience that's bolstered by an extremely loud and visceral
Oscar-nominated sound-mix; from piercing gunfire to the terrifying sound of the Jericho Trompete
sirens, it's unforgiving with its dynamic range.
Meanwhile, Hans Zimmer doles out an aggressively intense score that builds and builds to a
seemingly never-ending crescendo... constantly keeping the tension on edge.
But it does tend to be overbearing and distracting at times.
Visually, Nolan makes excellent use of the massive 70mm IMAX frame; capturing the hauntingly
beautiful aerial battles and beachside retreat in stunning detail.
Couple that clarity with impressive practical effects; and you've got what are easily the
greatest dog-fighting scenes ever captured on film.
"Dunkirk" inventively inter-cuts its narrative threads in a non-parallel way, which although
initially confusing, does allow for additional insight.
It's a brave editing decision not usually found in summer action films, and one that
scored the movie another one of its eight Academy Award nominations.
Nolan may not be cinema's "smartest" filmmaker, but of the director's I'd consider "smart",
he's certainly the most accessible - and that counts for a lot.
Even without more historical insight or traditional character development, there's no denying
"Dunkirk" is an epic war movie, and a monumental achievement in blockbuster filmmaking.
Truly an AMAZING film.
And now, another recycled review, this time for "Get Out".
This fantastically inventive and proactive psychological horror film was released nationwide
on February 24, 2017.
The very modestly budgeted $4.5 million dollar production broke an impressive $250 million
in ticket sales.
The increasingly rare February-release to be nominated for "Best Picture", this is truly
an auspicious beginning for first-time director Jordan Peele.
The former Comedy Central funnyman also scored Best Screenplay and Director nominations - making
him only the third person in history to grab all three distinctions for a debut film.
When a young African-American man visits his Caucasian girlfriend's mysterious family estate...
not everything is as picture-perfect as it first seems.
Inherently an allegory for today's more suppressed form of racism, "Get Out" delivers this important
social-message through the lens of a purely haunting and downright frightening narrative.
Daniel Kaluuya is outstanding at anchoring the bizarre R-rated story, the gorgeous Alison
Williams pulls off duality within her character with surprising ease, while the always versatile
Bradley Whitford is suspiciously disarming as a wholesome father figure.
There was a very real part of me that wanted this story to conclude without any major twist.
It would have been far funnier (but less scary) if all the terrifying circumstances and perceived
racism really was just in Kaluuya's paranoid head.
Thankfully, the script takes the movie to unimagined depths, that are best explored
unspoiled.
I'll only say that this film's most powerful accomplishment arrives moments before the
credits roll, when it appears everything our hero struggled for was for naught.
Through expert direction, a subtle set-up earlier, and the underlying racism our society
tries to ignore every day...
this singular moment lands with pure chills.
For the briefest of moments, all of white America was able to understand (or at least,
relate to) the fear our African American brothers experience every day.
Although it was a little heavy-handed with the Microsoft product placement, this 104-minute
thriller delivered a wholly unique and captivating experience.
Invocative commentary and visceral scares from a visionary talent make "Get Out" a truly
AMAZING film.
Fifth tonight, "Lady Bird".
A movie as unfocused as it is endearing.
This R-rated feature from director Greta Gerwig earned five-times its $10 million dollar budget
following its fall release in 2017.
Employing a particularly convincing American accent, Irish beauty Saoirse Ronan leads the
talented cast as the headstrong title character; a teenage school girl in early 2000s America.
Although there's no clear narrative to this 93-minute dramedy, the emotional core is certainly
Lady Bird's contentious relationship with her mother, played by Laurie Metcalf in a
heartbreakingly realized turn.
Reassuring her daughter, she remarks, "I want you to be the very best version of yourself."
To which Ronan questions with some resignation, "What if this is the best version?"
Predictably, both ladies received well-deserved Oscar nominations for their excellent work.
Besides these two strong performances, and a general sense of relatable teenage angst...
"Lady Bird" suffers from a bit of an identity crisis.
It isn't sure if it wants to be coming-of-age romance; the story of a family's financial
hardship, or the difficulties of a mother/daughter relationship.
All the individual moments work well; but it's this lack of focus that stilted the film's
effectiveness.
Inherently, this aimlessness draws comparisons to the John Hughes films of the 80s; for better
and worse.
Most audiences should really enjoy this one, especially if you came of age during the early
2000s like I did.
This oft-overlooked time period isn't necessarily integral to the plot, but it does makes for
a quaint backdrop.
Although I adored the layered characters, laid-back tone, and realistic dialogue - this
isn't necessarily a film I'd be interested to watch a second time.
"Lady Bird" is a perfectly delightful and occasionally insightful film, even if it isn't
quite memorable, either.
I thought it was GREAT.
Next up, my thoughts on "Phantom Thread".
Self-indulgent.
Released on Christmas Day 2017, this romantic period drama written and directed by Paul
Thomas Anderson should end its box office run at about break-even with its $35 million
dollar budget.
In 1950s London, a renowned dressmaker takes in young, strong-willed women as his muse
and lover.
Okay, I'm going to level with you - I did not care for this at all.
While I try to approach every movie objectively, it's hard to do that when I'm watching the
antithesis of everything I find enjoyable.
A pretentious exercise in art for the sake of art; layered with so-called subtly and
deliberately showy performances.
Plus, the characters are irritable, the story unrewarding, and the pacing painfully slow.
Everything about this R-rated production is in love with itself, much like its main character
- played by three-time Oscar winner Daniel Day-Lewis in what is supposedly his final
film role.
In a distinguished, but sparse career of transformative performances, this anal-retentive tailor honestly
doesn't match up.
Day-Lewis mostly just acts like a complete and utter asshole for the duration of the
130-minute picture.
There's no redeeming qualities to his personality.
No progression or arc to his stubborn attitudes.
The character is only fascinating in how frustratingly rude he is.
Opposite as his live-in girlfriend is Vicky Krieps... who does a fine job with the material,
I guess?
Similarly to DDL's character; I'm not actually certain we're supposed to be rooting for her.
A character who willingly submits herself to verbal and behavioral abuse on a regular
basis.
And then there's Lesley Manville as the weirdly territorial sister, hovering over their relationship
like a scored-ex.
In the absence of a compelling narrative, the interplay between this trio is the only
thing that keeps this picture somewhat watchable.
Even if no one in this movie behaves like an actual human being.
If you enjoy slow and moody "performance-driven" films (Jonny Greenwood's Oscar-nominated score
is almost entirely piano), you'll undoubtedly have a better time than I did.
But like most of PTA's catalog, I left more annoyed than captivated.
"Phantom Thread" is a detrimentally artsy film with unlikable characters.
I thought it was MEH.
From one disappoint to another, here's "The Post".
Underwhelming.
This 116-minute biographical drama by director Steven Spielberg shares the real-life story
of the Washington Post's battle against the US Government to expose a decades-long scandal
involving the Vietnam War.
The R-rated film was well on its way to tripling its $50 million dollar budget two months after
its December 2017 release.
Unless you lived through this tumultuous time in history, I fear most audiences won't truly
appreciate the scope or importance of this film's story; as the script fails to adequately
explain why the 'Pentagon Papers' were significant to the future of American journalism and politics.
Spielberg's mobile-filmmaking style is always moving; with the steadycam hovering behind
people at waist height as they briskly walk down corridors.
It's the most kinetic film the acclaimed filmmaker has ever done.
The ensemble cast is led by Tom Hanks and Meryl Streep, as The Posts' editor and publisher,
respectively.
Predictably, both veteran actors add yet another Oscar nomination to their resume with dependably
excellent performances here.
A sequence where Hanks' intrepid team of reporters furiously pours over stacks and stacks of
paper in search of headline stories is the film's most effective moment.
Hanks is warned that publishing could lead to a conviction, and the Washington Post would
cease to exist.
Hanks immediately fires back, "If we live in a world where the government could tell
us what we can and cannot print, then the Washington Post as we know it has already
ceased to exist."
This fierce line of defiance perfectly encapsulates the tone and energy of the film.
Serving as a perfect mirror of today's sociopolitical landscape, this movie is the one America needs
right now...
I only wish the entire film was more engaging.
Unfortunately, this powerful scene is surrounded by forgettable moments and tired journalism
tropes we've seen a dozen times before in a dozen better films.
And given the immense level of talent in front of and behind the camera?
"The Post" is a bland misfire, and a criminally forgettable disappointment.
I thought it was an GOOD film.
Our penultimate picture tonight is "The Shape Of Water".
Resonating.
Following its premiere at the Venice International Film Festival, this Guillermo del Toro picture
earned almost $100 million more than its $20 million dollar budget.
Leading the 2017 Oscar contenders with an impressive thirteen nominations (including
Best Picture) the original script, (also penned by del Toro) shares the fascinating story
of a mute janitor who falls in love with a mysterious amphibious creature at a research
facility in the 1960s.
The romance/fantasy/drama is anchored by Sally Hawkins in the Oscar-nominated lead role.
Communicating almost entirely via sign language, it is astounding how versatile and effortless
she makes everything look; bringing to life a vulnerable and empathetic character you'll
love to watch succeed.
Michael Shannon, Richard Jenkins, Octavia Spencer, and Michael Stuhlbarg (appearing
in a record-tying third Best Picture nominee) all provide equally excellent performances
as well.
Jenkins is magnificent as the tender and reclusive friend, whereas Shannon predictably frightens
as the dastardly villain.
del Toro approaches the unique subject matter with such heartfelt sincerity it's easy to
overlook the fact that you're basically watching a serious, gender-flipped version of "Splash".
As unconventional as it may seem, "The Shape Of Water" really is a story about unconditional
love, and finding friends among the shadows.
Hawkins describes her relationship with the amphibian by signing, "He sees me, for what
I am, as I am."
Everything in this movie is beautiful, moving, and even inspiring - but of particular note
is the musical score; my favorite of the year.
Alexandre Desplat expertly blends accordions, woodwinds, and flutes for a whimsical and
romantic sound.
Resembling the best bits from "Up" and "Super Mario Galaxy", this was the perfect backdrop
to the film's sci-fi events.
The impeccable set-design, costumes, and visual effects also assure total immersion in this
R-rated fairytale.
A rare film that blends originality with time-tested romance, "The Shape Of Water" is a fantastic
fantasy; worth exploring again and again.
I thought it was AWESOME.
And last, but not least, here's my review of the ninth Best Picture nominee, "Three
Billboards Outside Ebbing, Missouri".
Challenging enjoyment.
This crime-drama from writer and director Martin McDonagh scored ten-times its $12 million
dollar budget following its November release in 2017.
A headstrong mother rents the titular advertising space to challenge local authorizes for failing
to solve her daughter's unsolved murder.
The 115-minute narrative has plenty of turns, developments, and surprises along the way
- thanks to a brilliantly witty and briskly-paced screenplay, that netted "Three Billboards"
one of its seven Oscar nominations.
The R-rated script is filled with quirky characters and snappy dialogue; delivered by veteran
actors Frances McDormand, Sam Rockwell, and Woody Harrelson.
McDormand is captivating as the angry mother; commanding your attention with quiet rage
and stubborn determination.
Facing a bleak and hopeless existence, her quest for justice is her singular goal - and
her pitch-perfect performance should net her another Academy Award.
Confronting her vulgar behavior McDormand's ex-husband reminds her, "All this anger, man,
it just begets greater anger."
The characters attempt, sometimes unsuccessfully, to navigate past this anger to form an understanding
with each other.
These optimistic if often difficult desires represent the thematic bedrock of the film.
Harrelson continues his trend of emotionally deep characters, while Rockwell surprises
with the most substantial and meaty role in his decades-long career.
What makes these characters so interesting is their amoral behavior.
There are no heroes or villains in this script; just flawed individuals living in a broken
world.
Their flip-flopping morality complicates emotions in the final act; but in a rewarding way.
By that same point; this is an actor's film.
All of the technical and cinematic accomplishments take an unobtrusive backseat to the script
and performances.
There's nothing inherently lacking from the cinematography, music, or set-design - it
simply isn't that important.
"Three Billboards Outside Ebbing, Missouri" is an attention-grabbing picture loaded with
complex characters and surprising moments.
It's AWESOME.
Now that you've heard my reviews on each film, here's how they all rank against each other
when I expand my ratings to a 100-point scale.
From a pair of 10s to a lowly-four, this is definitely one of the most diverse group of
films in the eight years I've been reviewing Oscar nominees.
And now it's time to make predictions and name favorites in the top categories.
An impressive group of ladies are nominated in the "Best Actress" category - Margot Robbie
surprised and impressed me the most... but I'll pick Frances McDormand as my favorite;
her no-nonsense and reserved hatred fueled the heart of "Three Billboards".
And if her SAG Award last month is any indication, she'll likely grab her second Oscar for this
performance too.
I think the Academy and I are likely to agree on the "Best Actor" category as well, since
Gary Oldman seems like a lock for his show-stealing portrayal of Winston Churchill.
And even though he's only been nominated once before; given his body of work, this one definitely
seems long over-due for the English actor.
In the directing category, Mexican men seem to be on a bit of a hot-streak in the last
few years, so I predict Guillermo del Toro will grab his first Oscar.
Personally though, I have to give this one to Christopher Nolan.
This is an especially competitive category this year, but what he was able to accomplish
in "Dunkirk" - sans traditional structure or protagonists - is truly remarkable.
And lastly, the biggest award in all of cinema: Best Picture.
With a year-best thirteen Oscar nominations; it's obvious "The Shape Of Water" is the clear
front-runner in this category... but the Academy has been known to surprise us before, so your
guess is as good as mine.
Personally though, I felt "The Disaster Artist" was the best film of the year... but since
it wasn't even nominated; I'll go with my second favorite of 2017, "Get Out" - a genre
defining movie that deserves the gold trophy.
I hope you're just as excited for the upcoming Oscars telecast as I am, which I'll be live-tweeting
from @JonPaula as I do every year.
Time, and baby-permitting, I'll also film my annual post-Oscars recap and highlights
video that'll be uploaded to "Jon's World", so please subscribe to that channel to see
the video when it's released.
Well, that concludes my eighth annual Oscar special!
Caring for a newborn has been taking up a lot of my time, so while I can't promise the
next episode will be posted anytime soon - I can promise we'll be reviewing "The Matrix"
trilogy when I do, so leave your reviews below if you'd like them to be included on the show.
Until next time, my name is Jonathan Paula, thanks for watching, and have a good Movie
Night!