Oscars 2019 Predictions – Best Foreign Language Film, Best Animated Feature Film

February 13, 2019February 10, 2019 / juliamc25 / Leave a comment

There are some real gems in two of this year’s lesser-known categories. Today we take look at the nominees for Best Foreign Language Film and Best Animated Feature Film.

Best Foreign Language Film

Will win: Roma
Should win: Roma
Also nominated: Capernaum, Cold War, Never Look Away, Shoplifters

There is no doubt whatsoever about Roma’s win in this category. Its dominance does perhaps do a slight injustice to the other nominees – with Pawel Pawlikowski’s Cold War in particular proving to be a beautifully shot gem of a film – but Alfonso Cuarón’s deeply personal, intimate tale of life in 1970s Mexico exists in a league of its own.

In no doubt: Alfonso Cuarón’s Roma is all but guaranteed to win Best Foreign Language Film.

Best Animated Feature Film

Will win: Spider-Man: Into the Spider-Verse
Should win: Spider-Man: Into the Spider-Verse
Also nominated: Incredibles 2, Isle of Dogs, Mirai, Ralph Breaks the Internet.

The latest outing in the Spidey universe is a supremely confident, gorgeously animated feature that ranks among the best Spider-man films ever made. Fan service is blended with a genuinely intelligent plot that packs a real emotional punch. It’s a superb film in its own right, but the animation elevates it – quite literally – to a new dimension. A worthy runner-up would be Wes Anderson’s Isle of Dogs, which thoughtfully explores themes very relevant to today’s world. Led by an all-star cast, it’s brought to life by some of the most visually interesting animation of recent years.

When done well, animation can make good films great. With Spider-Man: Into the Spider-Verse, it makes a great film even greater.

Oscars 2019 Predictions – Best Makeup and Hairstyling, Best Costume Design

February 12, 2019February 10, 2019 / juliamc25 / Leave a comment

In today’s Oscar prediction post, we take a look at two technical categories that have always been closely linked.

Best Makeup and Hairstyling

Will win: Vice
Should win: Vice
Also nominated: Border, Mary Queen of Scots

Christian Bale has undergone a lot of transformations over the years for the sake of his craft, but none are as impressive as his metamorphosis into the much maligned former-Vice President Dick Cheney in Adam McKay’s Vice. What Greg Cannom, Kate Biscoe and Patricia Dehaney have achieved here is truly remarkable. They have allowed Bale, Sam Rockwell (as President George W. Bush), Amy Adams (as Lynne Cheney), Steve Carell (as Donald Rumsfeld) et al. to utterly inhabit and become their characters in what is undoubtedly some of the best makeup and hairstyling work that has been seen in recent years.

Christian Bale undergoes a total transformation in Vice. Unrecognisable as himself, he is instantly recognisable as the menacing Dick Cheney.

Best Costume Design

Will win: The Favourite
Should win: The Favourite
Also nominated: The Ballad of Buster Scruggs, Black Panther, Mary Poppins Returns, Mary Queen of Scots

Sandy Powell is no stranger to the Academy Awards. She already has three to her name and has even been nominated twice in this category this year, which is great testament to her dominance in this field. However, that’s not to say she doesn’t face tough opposition; Ruth E. Carter’s costumes for Black Panther have become iconic since the film hit our screens, and there’s a powerful opulence about Alexandra Byrne’s work on Mary Queen of Scots. But there is no competing against the glorious, extravagant Sandy Powell creations that can be seen in The Favourite.

Sandy Powell’s work on The Favourite is hotly tipped to pick up an Academy Award later this month.

Oscars 2019 Predictions – Best Sound Editing, Best Sound Mixing

February 11, 2019February 11, 2019 / juliamc25 / Leave a comment

With the 91st Academy Awards now less than two weeks away, over the coming few days we will be taking a look at the films that have been nominated. The ceremony has already had its fair share of controversy and, for the first time in three decades, will be held without a host. However, the golden statuette has lost none of its prestige or reverence, and each category will be as hotly contested as ever.

Best Sound Editing

Will win: A Quiet Place
Should win: A Quiet Place
Also nominated: Black Panther, Bohemian Rhapsody, First Man, Roma

As its title suggests, in first-time director John Krasinski’s debut it is silence that takes centre stage. Of course, whenever stillness is given so strong a focus, greater emphasis is always placed on what little sound does feature. Had any element been not quite right, had any note been off, the film would simply not have worked. Though the sound work on First Man and Bohemian Rhapsody will also be in close contention here, they are not as intrinsic to their films as the sparse, minimalist sound of A Quiet Place and therefore don’t quite reach the same heights.

In a film predicated on silence, it is the rare moments of sound which take the limelight.

Best Sound Mixing

Will win: A Star is Born
Should win: A Star is Born
Also nominated: Black Panther, Bohemian Rhapsody, First Man, Roma

There are numerous parallels that can be drawn between A Star is Born and Bohemian Rhapsody. Perhaps the most obvious is that, in both, pivotal moments take place on the middle of a concert stage. Bohemian Rhapsody, quite understandably, allows Freddie Mercury’s vocals to soar above a roaring Wembley crowd in its final scenes, but what A Star is Born achieves is something far more difficult and new for cinema. When Lady Gaga blasts the bridge from Shallow, or when Bradley Cooper hits the searing opening guitar notes of Black Eyes, it is a completely immersive experience. Music performances on screen are not uncommon, but feeling that you are actually there in that moment is something few films have achieved before. Without detracting from the other nominees in the slightest (the sound editing in First Man is also worthy of note), there is only one rightful winner in this category.

The immersive sound editing of A Star is Born achieves something rarely seen (or heard) on screen before.

A Star is Born (2018) – Review

October 7, 2018November 6, 2018 / juliamc25 / Leave a comment

★★★★★

The story of A Star Is Born is a well-worn fixture of Hollywood lore. A star on the decline meets and falls in love with a star in her ascendency, and together they try to navigate their way through the labyrinth of his addictions, her fame, and everything in between. It is a tale that has been retold time and again, from generation to generation, by names woven into the cinematic canon – Gaynor and March, Garland and Mason, Streisand and Kristofferson. Bradley Cooper and Lady Gaga are the newest pair to provide their take on this story, and in so doing have delivered a film that is truly for the ages.

A Star is Born (2018)

As coasting rock star Jackson Maine, Cooper is superb. He is every inch the hardcore, world-weary rocker the role requires him to be, with a commanding stage presence about him that really shines through in some of his solo numbers. The film’s opening sequence, which sees Jack performing the foot-thumping Black Eyes in front of masses of adoring fans, is a particular highlight, more so because Cooper sings every word live.

However, even more impressive is the fact that Cooper manages to make his character something none of his predecessors ever managed: likeable. For all his charm (“Hey! I just wanted to take another look at you”), he is a deeply troubled individual, plagued by childhood trauma, substance abuse and progressive hearing loss. There are moments in the film where Jack says and does some truly horrible things to those he loves, yet at no point do you ever start to dislike him. Instead, it’s clear that he is very much a victim of his own demons, and the vulnerability in Cooper’s performance perfectly captures this.

Bradley Cooper in A Star is Born.

In stark contrast to Cooper’s forlorn Jack is Lady Gaga’s Ally, the singer he meets by chance one night and whose voice he instantly falls for. Her raw talent is as undeniable as it is compelling, and jaded though she may be by years of rejection from the music industry, she gradually warms to Jack’s insistence that she share her gift with the world. It’s a staggeringly good performance from Gaga in every department. She is equally at ease sparring with co-stars Anthony Ramos (her best friend Ramon) and Andrew Dice Clay (her Sinatra-loving father) as she is carrying the heavier emotional baggage that the later chapters of the film bring, and it’s incredible to think that so natural a performance could come out of an actress making her feature film debut.

Though Gaga’s acting may be revelatory, her profoundly powerful voice has been renowned for years. Moments when she utilises both in perfect harmony are a privilege to behold. Always Remember Us This Way and I’ll Never Love Again, both penned by Gaga, are melodically, lyrically and vocally songs that rank right at the very top of her discography. However, the epicentre the film is the scene in which Ally reluctantly joins Jack on stage to sing Shallow, the song she penned and performed for him the night before. It’s a genuinely hair-raising scene in which she initially holds herself back in the wings, pinned down by her fears and insecurities, before finally marching centre-stage and into the spotlight. She looks surprised as, almost involuntarily, note after dazzling note pours out of her, much to the rapturous acclaim of the crowd in front of her. It’s electrifying, and a reminder of how moving film can be when done right.

Lady Gaga electrifies in A Star is Born.

Although Bradley Cooper has worked with many of the industry’s directing heavyweights, A Star is Born marks his first foray into the world of directing. There are perhaps slight pacing issues and an overuse of straight-to-camera shots, but it is nevertheless a remarkably assured first offering, with loving references to the versions of the film that preceded his own.

He succeeds in capturing the energy and dynamism of live performances, and there is some seriously gorgeous cinematography employed throughout. His use of framing, both as a foreshadowing and bookending device, is also particularly effective. So strong a debut is this that it’s hard to imagine quite how he’ll top it with his next feature, whenever that may be, but it is clear that he has a very bright future behind the camera ahead of him.

Bradley Cooper makes his directorial debut.

Though it is still early days, A Star is Born is already generating a lot of Oscar buzz. Best Original Song seems a lock, whilst nods for acting, directing and even Best Picture may yet be on the cards. Critics have argued that such accolades would not be merited given the number of times the film has been remade. However, this is perhaps best addressed by the film itself. Towards the end, Jack’s brother Bobby (Sam Elliott) remarks that all music is made up of the same twelve notes that can be found in any octave. He adds that, “All any artist can offer the world is how they see those twelve notes.” It’s an observation that also rings particularly true of A Star is Born. Whilst it’s a story that may have been told before, never has it been told better.

Batman v. Superman: Dawn of Justice (2016) – Review

April 1, 2016January 9, 2017 / juliamc25 / Leave a comment

★★★

In the entire world, there is just one symbol more recognisable than Superman’s famous ‘S’ shield: the Christian cross. The Batman logo cannot be far behind. So famous, so iconic are the figures of Batman and Superman that their first on-screen meeting should, by all accounts, have made for a truly unforgettable film for the ages. Instead, these cultural giants have been underserved by something disappointingly inadequate. There is little remarkable or memorable about Batman v. Superman: Dawn of Justice, save for its mediocrity.

Batman v. Superman: Dawn of Justice (2016, Zack Snyder)

The main problem here is not conceptual – comic book fans have been dreaming about a clash between Batman and Superman for decades. The issue is that the conflict between these two heroes is not the primary interest of the film. Keen to pave the way for future films and to rival the success of Marvel, it is far more occupied with establishing a ‘DC Universe’ than it is with plot or integrity. The narrative begins as a globetrotting political thriller, asking heavy-handed but well-meaning questions about the nature of power and role of gods and heroes in society, yet quickly descends into an exercise of shoehorning in as many names and cameos as its mammoth two-and-a-half hour running time will allow. In one particular sequence, a number of DC icons are introduced one-by-one via e-mail attachment. It is so shockingly lazy and uncreative a scene that even the most diehard of fans cannot have been impressed. Pure spectacle is no substitute for plot. But it is, unfortunately, just a taste of the lack of imagination which underlies the film.

Of course, the problem with cramming Batman v. Superman with superfluous names and characters is that many of those who do belong in the film are painfully underused. Lois Lane and Alfred Pennyworth are just two examples of well-loved characters who feature at the peripheries of the plot and fail to make any meaningful impact – a dreadful waste of the respective talents of Amy Adams and Jeremy Irons. Meanwhile, far from being the villainous mastermind of the piece, the inclusion of Lex Luthor (Jesse Eisenberg, in a bizarre Social Network-esque turn) comes across as nothing more than an afterthought.

Batman v. Superman proves far more interested in setting up a DC Universe than it is in plot.

However, the most notable and unforgivable casualty of this error is none other than Superman himself. In Man of Steel, Henry Cavill showed rare potential; no actor will ever replace Christopher Reeve in hearts and minds as the Man of Tomorrow, but Cavill appeared ready to follow in his footsteps, to bring Superman to a new generation in a way that his predecessor, Brandon Routh, never did. But there are no signs of this promise in Batman v. Superman. There is none of the charm or wit which makes Superman Superman, nor is there any of the kindness.

However, one does have to wonder how much of this is to do with the script itself. Penned by Chris Terrio and David S. Goyer, it meanders about, drifting in and out of dream sequences and visions. Bizarrely, it sidelines Superman/Clark Kent for large chunks of the film and demands little more from him than scowling, chest puffing and sentimental moping. It presumes an inherent familiarity between the audience and Cavill’s Superman, forgetting that he is not yet the character whom the audience knows and loves. The film talks about him as the kind of superhero gentle enough to save a kitten from a tree, but this is a side it never actually shows. Throughout the whole two-and-a-half hour film Superman remains, effectively, a distant stranger. Perhaps this is intentional – the script does, after all, ponder the human reaction to an alien saviour – but it is a poor choice if so. Consequently, the few moments where the script yearns for empathy for the Man of Steel instead feel frustratingly hollow.

Henry Cavill’s Superman is poorly served by a lacklustre script.

Yet, for all its flaws (and there are many), Batman v. Superman is not a ‘bad’ film. It is no Dark Knight. It is no Spider-man 2. But there is still plenty to like about it – certainly enough to render the vitriol that hoards of seething critics have directed towards it somewhat unfounded. Ben Affleck in particular is terrific. If Christian Bale’s Batman was young and angry, Affleck’s is world-weary, brutal, and morally ambiguous. This is the kind of superhero who thinks nothing of branding those he brings to justice with his own logo; Adam West and Michael Keaton’s Dark Knights were positively fluffy in comparison. And even though his eventual showdown with Superman does, admittedly, leave something to be desired, Affleck has proved all his naysayers wrong, providing an intelligent, refreshing take on a familiar character.

As Diana Prince/Wonder Woman, Gal Gadot is similarly excellent. Though she is seen only sparingly, she punctuates the film with moments of brilliance and elevates every scene she is in. Even Batman and Superman appear in awe of her, and rightly so. Laurence Fishburne, meanwhile, is given relatively little to do as Daily Planet editor Perry White but provides the film with the touches of humour of which it is so desperately in need.

Ben Affleck’s Batman (or ‘Batfleck’) is one of Batman v. Superman‘s saving graces.

Ultimately, Batman v. Superman‘s biggest strength may well turn out to be its biggest weakness. When Zack Snyder decided he would bring together two characters as unversally beloved as Batman and Superman, he knew financial success was guaranteed. What he didn’t perhaps account for was that his audience would settle for nothing but the best. Expectations were sky high and the bar well and truly raised.

Batman v. Superman‘s greatest sin is that it is simply average. It is enjoyable enough but not outstanding. Had this been any other film, critics and audiences could well have forgiven it for this. But this is a film which promises so much but delivers, bar some saving graces, so little. The greatest irony is that it claims to herald a ‘Dawn of Justice’, yet provides none for two of the most loved comic book and film characters of all time.

Oscars 2016: Predictions

February 27, 2016February 27, 2016 / juliamc25 / Leave a comment

On Sunday evening, the red carpet will be out in the heart of Los Angeles. It is a night that has been months in the making. The world’s press will be waiting, and millions will be watching.

For all the pomp and ceremony which surrounds the Academy Awards, though, they are fundamentally a simple, heartfelt celebration of film. To be nominated is an honour in and of itself, but those who win leave with far more than just a golden statue. They walk away knowing that they have become a part of cinema history.

To win an Oscar is no mean feat; the art of filmmaking is constantly growing and evolving, and every year the bar is raised that little bit higher. Even predicting the results can be surprisingly difficult, but by now guessing the winners is as much a part and parcel of the night as the ceremony itself.

The 88th Academy Awards will showcase the glitz and glamour of Hollywood and honour the best films of the past year. Here are the Pick of the Flicks‘ predictions on who and what will emerge victorious.

Best Picture

Will win: The Revenant
Should win: The Big Short

Despite the glaring absence of the wonderful Carol, it is a strong group of films that comprise this year’s Best Picture nominees. But of the eight who made the shortlist, only three have ever really been in contention for the most coveted prize of the night, namely The Big Short, Spotlight, and The Revenant. However, despite the successes of Spotlight and The Big Short at the SAG and PGA awards respectively, it is unclear if either has quite enough momentum to make it all the way to the finishing line. It is a very, very difficult call to make, but ultimately the Academy likes nothing if not grit and spectacle, and this is where The Revenant could clinch it.

The Revenant is this year’s strongest example of filmmaking as a spectacle, which the Academy are likely to lap up.

Best Director

Will win: Alejandro González Iñárritu (The Revenant)
Should win: Adam McKay (The Big Short)

It is difficult to say whether Alejandro González Iñárritu’s win in this category last year places him in better or worse stead to take home the Oscar on Sunday night, especially when he faces such stiff competition from Mad Max’s George Miller. The key disadvantage Miller faces, however, is that the Academy often proves reluctant to reward blockbuster, crowd-pleasing films with ‘big’ awards. This, combined with the sheer amount of momentum behind The Revenant, may just be what hands it to Iñárritu. It is a great shame, though, that Adam McKay will not get a look in for his refreshing, original work in The Big Short; it takes great skill to make complex issues interesting and accessible to the masses, and this is what he does in the film with aplomb.

Having scooped the prize for Best Director last year with Birdman, Alejandro González Iñárritu could well do the same again this year for The Revenant.

Best Actor

Will win: Leonardo DiCarpio (The Revenant)
Should win: Leonardo DiCaprio (The Revenant)

For years now, much has been made of how the famous Oscar statuette has continued to elude Leonardo DiCaprio. But no more. Though his performance in The Revenant is far from a career-best, it certainly is the strongest in this category. More than anything, though, this simply feels like his time. The stars have finally aligned for Leo, and Sunday will be his night.

His time is now. Finally, Leonardo DiCaprio looks set to claim the Oscar that has eluded him for so long.

Best Actress

Will win: Brie Larson (Room)
Should win: Brie Larson (Room)

Brie Larson’s mantelpiece must surely be close to collapse under the weight of the many awards she has garnered in recent weeks. Let us hope, then, that it can take the weight of one more because this has been a done deal for a very long time indeed.

For her wonderful performance in Room, Brie Larson is the hot favourite to win the Best Actress award.

Best Supporting Actor

Will win: Sylvester Stallone (Creed)
Should win: Mark Rylance (Bridge of Spies)

The nominees in this year’s Best Supporting Actor category may be classified into two groups. On the one hand, there is a selection of talented actors, each of whom has turned in a strong and unique performance. And, on the other hand, there is Sylvester Stallone. Although his performance in Creed is by no means the worst of his career, its inclusion here – when stronger performances such as Idris Elba’s in Beasts of No Nation have been ignored – is, frankly, farcical. What is worse, Stallone is the baffling odds-on favourite to win here, proving once again that in Hollywood sometimes all you need to succeed is popularity, not ability.

A masterclass in mediocrity: a win for Sylvester Stallone in Creed would confirm the triumph of popularity over ability.

Best Supporting Actress

Will win: Alicia Vikander (The Danish Girl)
Should win: Alicia Vikander (The Danish Girl)

It seems more than a trifle insulting to Alicia Vikander and Rooney Mara that their stellar respective performances in The Danish Girl and Carol have only been recognised in the supporting actress category. In reality, Vikander effortlessly acted last year’s Best Actor winner Eddie Redmayne off the screen, whilst Mara more than held her own against acting heavyweight Cate Blanchett. Kate Winslet, fresh from wins at the BAFTAs and Golden Globes, is certainly a contender here, but if any sense of justice prevails at the Dolby Theatre on Sunday night, it will be Vikander who leaves victorious.

The superb Alicia Vikander in The Danish Girl. Her star is fast on the rise.

Best Original Screenplay

Will win: Spotlight
Should win: Inside Out

If pure creative originality were the only criteria for this award, this would be Inside Out’s for the taking. However, as things stand, the tightly-scripted, topical Spotlight will win here with ease.

Well-written and tightly-plotted, Spotlight has resonated with audiences the world over.

Best Adapted Screenplay

Will win: The Big Short
Should win: Carol

All the signs are pointing toward a victory for The Big Short in this category, but truthfully all of the nominees would make deserving winners. Phyllis Nagy’s considered, delicate adaptation of The Price of Salt – renamed Carol for the big screen – is perhaps a touch above the rest, but is unlikely to make any waves.

The Big Short looks likely to win big in a category brimming with tough competition.

Best Original Score

Will win: Ennio Morricone (The Hateful Eight)
Should win: Ennio Morricone (The Hateful Eight)

Pounding, eerie and effective from the first note, Ennio Morricone’s tremendous score is one of the few saving graces of The Hateful Eight – and certainly the best score of the year. Had John Williams’s eagerly-anticipated score to Star Wars: The Force Awakens hit the same heights as his work in the previous six films, this would have been a far more interesting race. The Force Awakens’ soundtrack is by no means terrible, but its mediocrity has paved the way for a comfortable and deserved win for Morricone.

Though Quentin Tarantino’s The Hateful Eight is deeply flawed, little criticism can be levelled at Ennio Morricone’s brilliant score.

Best Production Design

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

Mad Max will prove very difficult to beat here. The world that Colin Gibson and Lisa Thompson have created is nothing short of spectacular, bizarre, utterly original and, frankly, a cut above the rest. If there is any threat it will come from The Revenant, but a victory for Mad Max in this category seems a pretty safe bet.

As original as it gets: the production design of Max Max: Fury Road is on course to win.

Best Costume Design

Will win: Cinderella
Should win: Cinderella

This year Sandy Powell could well be her own worst enemy. As was demonstrated by Jenny Beavan’s shock win for Mad Max: Fury Road at the BAFTAs two weeks ago, voters appear to be equally torn between Powell’s marvellous work on both Cinderella and Carol. Put simply, she is most likely splitting her own vote. It would be a great shame if this were to happen again on Sunday, as her costume design for Cinderella in particular is nothing short of sublime – one of the few highlights in an otherwise terrible film. Thankfully, her enchanting, fairytale designs are likely to have stolen the hearts of Academy voters, and with any luck will secure her a well-deserved win.

The exquisite work of Sandy Powell is on fine display in 2015’s Cinderella.

Best Cinematography

Will win: The Revenant (Emmanuel Lubezki)
Should win: Carol (Ed Lachman)

Emmanuel Lubezki looks poised to make cinematography history by winning this award for a staggering third year in a row. It would certainly not be an undeserved win, as The Revenant is undoubtedly a visually-stunning film. It is just a shame, though, that the subtle and delicate beauty of Ed Lachman’s cinematography for Carol will go largely unnoticed by Academy voters.

Should Emmanuel Lubezki secure a win for his work on The Revenant, he will become the first director of photography to win an Oscar three times consecutively.

Best Make-Up and Hair

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

There is one clear winner here. The work of the hair and make-up stylists in Mad Max: Fury Road is second to none.

The hair and make-up in Mad Max is an example of the very best of its craft.

Best Visual Effects

Will win: Star Wars: The Force Awakens
Should win: Mad Max: Fury Road

This year has been a particularly strong one for visual effects, and at a push it is Mad Max which most stands out amongst the nominees. But the sheer popularity of Star Wars means that no one will want to see it leave the Dolby Theatre empty-handed, and this could well be the category which ensures that it doesn’t.

The much-beloved Star Wars stands its best chance at an award in the Best Visual Effects Category.

Best Sound Editing

Will win: Mad Max: Fury Road
Should win: Max Max: Fury Road

This will be an award closely contested by the two technical giants of the year, The Revenant and Mad Max: Fury Road. Mad Max is certainly the ‘louder’ of the two films, and this will most likely play to its advantage.

Loud and proud bold and brash: Mad Max is a likely winner of the award for Best Sound Editing.

Best Sound Mixing

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

Once again, this is between The Revenant and Mad Max: Fury Road. Ultimately, though, as far as sound goes, any film which can boast a roaring monster truck ridden by a flame-throwing electric guitarist is going to be pretty difficult to beat.

Trucks, amps, flamethrowers, guitars. Mad Max‘s sound mixers had their work cut out for them.

Best Editing

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

The Best Editing category will be another battleground in which Mad Max and The Revenant slog it out for the most technical awards of the night – and one that is perhaps slightly more suited to the former than the latter. The Revenant is a slow-moving beast of a film, whilst Mad Max surges forward – quite literally – at a considerable speed with a lot more to juggle.

It will be a close race between Mad Max and The Revenant for the Best Editing award.

Best Animated Film

Will win: Inside Out
Should win: Inside Out

A sure thing. A dead cert. A done deal. Say it how you want, this award was always going to Inside Out.

Disney Pixar have produced a wonderfully original and fresh film, inside and out.

Best Documentary

Will win: Amy
Should win: Amy

A prodigy and a tragedy. The story of Amy Winehouse’s painfully short life is more or less guaranteed a win here.

The tragic story of Amy Winehouse looks guaranteed to secure an all-too-bittersweet victory.

Best Original Song

Will win: Til It Happens To You
Should win: Til It Happens To You

Lady Gaga’s haunting, oh-so-relevant Til It Happens To You has been highly praised and widely discussed since its release in September 2015. This victory will be a deserved one, and it will be an important one.

Uncomfortable to watch but so very important: Lady Gaga’s Til It Happens To You.

The Oscars will be broadcast live from 1.30am GMT (8.30pm EST) on Sky Movies Oscars this Sunday.

Awards Season Special: Mad Max: Fury Road (2015)

February 22, 2016January 9, 2017 / juliamc25 / Leave a comment

★★★

What George Miller has delivered in the form of Mad Max: Fury Road is a real achievement in technical filmmaking; a truly impressive sight to behold. It is plagued, however, by an overly simplistic plot and an excessive number of set pieces. The claims that it is one of the best action films of all time certainly feel premature and unfounded, for although it excels as a masterclass in technical brilliance, as a film it stumbles.

Tom Hardy stars in the technically brilliant, but very flawed, Mad Max: Fury Road (2015)

Much has been made of the sheer originality and excitement of Miller’s screenplay. Set in the barren desert world of a post-apocalyptic future, it sees disgruntled outsiders Max (Tom Hardy) and Imperator Furiosa (Charlize Theron) team up to flee the dictatorship of the cruel Immortan Joe (Hugh Keays-Byrne) and search for a safer homeland. As interesting as some of the core concepts of the script may be, though, it reeks of untapped potential. There are undoubtedly brilliant ideas waiting to be explored; the brutal harvesting of citizens’ blood, the strickening shortness of resources, and the cult of personality which surrounds Joe are just three. But these are largely ignored in favour of action sequence after action sequence and car chase after car chase. This is not to say that high-speed races and continuous destruction are not watchable on a purely superficial level, but when they come at the expense of the development of central themes, they do become tiresome rather quickly.

Thankfully, the technical brilliance of the film is not lost beneath the boldness and brashness of its spectacle. The work of the costume designers and make-up stylists in particular is nothing short of exceptional – outrageous enough to match the chaos of the dystopian world, but considered enough to lend it a sense of believability, too. The production design, meanwhile, is second to none. Startlingly original, fantastically creative and utterly epic in scope, Colin Gibson’s Oscar is more or less secured. The sound and visual effects teams, meanwhile, prove that they are more than up to the task of realising Miller’s lofty ambitions.

Outrageous, chaotic and ingenious: the world of Mad Max.

Tom Hardy turns in a strong performance as the eponymous hero, but with only a handful of lines throughout the whole film he is easily overshadowed by the magnificent Charlize Theron, whose Furiosa mixes steely grit with just the right level of vulnerability. It’s rather refreshing to see a female take the lead in what is otherwise an incredibly masculine film, but Miller’s treatment of Joe’s ‘hareem’ – presented as nothing more than helpless, scantily-clad breeding stock – does limit any hopes for further subversion of gender roles. The real star of the film, however, is Nicholas Hoult, who delights as the pathetic, but generally rather likeable, Nux. Long gone is the pale-faced, awkward child from About a Boy; what we have in his place is a thoughtful and accomplished young actor.

Ultimately, though, the real driving force behind this dystopian epic is not the actors but rather the excellence of the technical craftsmanship. It is just a shame it is hindered by troublesome bumps in the road.

Awards Season Special: Room (2015)

February 20, 2016January 9, 2017 / juliamc25 / Leave a comment

★★★★

Room is not what you would expect it to be. Its similarities to the notorious Josef Fritzl case are enough to suggest that it should be, by all accounts, a very dark, thoroughly depressing film. The story of a woman abducted as a girl and locked in a single room for years on end, completely isolated from the outside world and repeatedly raped by her captor, it is on paper clearly the most harrowing sort of tale imaginable. And yet, Room achieves the impossible by being so much more than this. Though it doesn’t shy away from the trauma of such a nightmarish existence, it is ultimately an extraordinary, life-affirming piece of work.

'Room' is a journey out of darkness, director says

Brie Larson and Jacob Tremblay are sublime in Lenny Abrahamson’s Room (2015).

Brie Larson receives top billing as Joy (or “Ma”), the woman so cruelly snatched away from everyday life, but the film truly belongs to Jacob Tremblay, who portrays her son Jack with prodigious talent and ease. Born within the confines of the four small walls of “Room”, Jack cannot see the horror of captivity because it is all he knows. He cannot conceive of his captor being an abusive psychopath because he brings them treats on Sundays. There is an inherent beauty about Room’s belief that, even in the midst of the most bleak and hopeless type of existence, innocence can survive.

It would not be spoiling anything to say that much of the film actually takes place in the outside world, as a number of official trailers have already made this abundantly clear. But what is genuinely awe-inspiring about Room is its ability to show the world in an entirely new light. The most heart-pounding, touching moment of the film comes when Jack sees the sky for the first time – not through the lone window in Room, but for real. Director Lenny Abrahamson purposefully does nothing to make the sky look anything but dull, grey, and thoroughly ordinary. He doesn’t have to. To Jack, the thoroughly ordinary is nothing short of spectacular and terrifying and amazing. He is the lens through which the audience sees this brave new world; he sees the poetry in prose, and therefore so do we.

Larson and Tremblay play Ma and Jack in Room.

There are strong supporting performances from the likes of William H. Macy and Joan Allen; similarly, Stephen Rennicks’ score and Emma Donoghue’s adaptation of her own novel are equally as sound. But ultimately these mentions pale in comparison to the towering contributions of Larson and Tremblay. Larson will easily pick up the Best Actress Oscar later this month, and understandably so given her deft handling of a complex role. However, it is a genuine travesty that Tremblay did not receive so much as a nomination. The film simply would not work without him and the genuine wonder and earnestness that he brings.

Ultimately, Room is a remarkable study of hope, innocence, and a mother’s love. It is a deeply moving film which is utterly worth seeing, if only because it will make you hear the world that little bit louder, and see it that little bit brighter.

Awards Season Special: The Big Short (2015)

February 19, 2016January 9, 2017 / juliamc25 / Leave a comment

★★★★

Eight short years ago, the world found itself in the grip of the biggest financial crisis since the Great Depression. What had started in the upper echelons of the banking industry swiftly seeped its way into normal everyday life; businesses folded in their thousands, homes and jobs were lost in their millions. It was a global crisis felt on personal levels, and this is perhaps why The Big Short feels so relevant from the outset. It plays (very well) as a comedy, which is unsurprising given director Adam McKay’s credentials, but brimming beneath the surface is a seething and damning indictment of the corruption of the financial world.

Steve Carell and Ryan Gosling in Adam McKay’s The Big Short (2015)

Put simply, it is the story of the select few who saw the impending collapse of the US housing market, bet against it, and made their fortunes in the process. Whilst ordinarily the temptation to despise characters who make money out of others’ misery would be all too inviting, so loathsome is the world by which they are surrounded that one cannot help but rejoice in their eventual victory at the expense of the banks.

It certainly helps that this unlikely group of chancers is portrayed by a brilliant (for the most part) ensemble cast. Christian Bale, Brad Pitt, Steve Carell and Ryan Gosling are, of course, the most recognisable faces, but they are underpinned by impressive performances from the likes of Finn Witrock, John Magaro, Hamish Linklater and Rafe Spall. Gosling is, perhaps, the weak link in this star-studded chain. However, what his somewhat flat performance lacks is more than made up for by the superb Carell in his performance as hedge fund manager Mark Baum. He predictably gets the most laughs, but it is his handling of the film’s more sombre moments where he truly shines. There is one particular scene, in which a shocked Baum learns of the global nature of the crisis and realises what its repercussions will be, where he appears so horrified, so utterly defeated, that he almost seems to visibly age on screen. It is a genuinely brilliant performance – one that is perhaps easy to overlook because of its many comic moments – from an actor who continues to go from strength to strength.

To a degree, the film is preceded by Martin Scorsese’s The Wolf of Wall Street (2013), which also offered audiences a glimpse into the machinations of Wall Street. However, whereas Scorsese’s epic unabashedly revels in the nauseating greed of abhorrent bankers, The Big Short thankfully makes no attempt to hide its disgust and contempt. What is also remarkably refreshing about The Big Short is that it doesn’t disguise the complexity of its subject matter. It knows that collateralised debt obligations, tranches, and ISDAs aren’t part of the vocabularies of standard filmgoers, but it refuses to simply dumb down. Instead, it invites the audience into this confusing , jargon-filled world with on-screen explanations and fourth-wall-breaking celebrity cameos. This approach will certainly not be to everybody’s tastes, and it does perhaps teeter close to the edge of being too self-aware – but it is at the very least original, and demonstrates McKay’s determination both to engage with his audience and treat them with intelligence.

Christian Bale plays Dr. Michael Burry in The Big Short (2015)

The Big Short is a very funny film; it has a witty script and a cast of actors who know exactly how to pitch it. In the screening I attended, the laughter from the audience may as well have been a part of the soundtrack. The film works particularly well, though, because it knows when not to be funny. It knows that it is dealing with a very serious subject matter, and it uses the comedy as a tool with which to draw audiences in before hitting them with humbling, grave realities. The final product is a film which is as thought-provoking as it is entertaining – a very worthy contender for Best Picture at the upcoming Academy Awards.

BAFTA Awards 2016: Predictions

February 13, 2016February 19, 2016 / juliamc25 / Leave a comment

The highlight of the British film calendar is almost upon us. Tomorrow night, the glitz and glamour of Hollywood will sweep Covent Garden’s Royal Opera House as it plays host to the 69th British Academy Film Awards.

Though the BAFTAs are widely considered as the precursor to the Oscars, the British Academy’s decisions are markedly more difficult to predict than those of their American counterparts. Whereas more often than not grit and spectacle are favoured across the pond, here there tends to be a stronger celebration of sentimentality and, of course, Britishness.

That said, the difficulty of getting predictions right in no way diminishes the fun involved in actually making them. Here are the thoughts of Pick of the Flicks on how it will all go down tomorrow night.

BEST FILM

Will win: Spotlight
Should win: Carol

This year, the Best Film category is one of the hardest to call, the closest the competition has been for a number of years. Carol may be the strongest film of the five that have been nominated, but Spotlight and even The Revenant have more momentum behind them. Spotlight will probably win out, but the sheer number of nominations Carol has received (9, equalled only by Bridge of Spies) means that it might just have the potential to take home the biggest prize of the night.

BEST ACTOR

Will win: Leonardo DiCaprio (The Revenant)
Should win: Leonardo DiCaprio (The Revenant)

Though The Revenant hardly sees DiCaprio at his best, there is no way any of his fellow nominees will come close to causing an upset. There is no competition here. It is just a shame that Room’s brilliant Jacob Tremblay did not receive the nomination he so thoroughly deserves.

BEST ACTRESS

Will win: Brie Larson (Room)
Should win: Alicia Vikander (The Danish Girl)

If performance alone decided this, Alicia Vikander’s stunning turn in The Danish Girl would see her walk out of the Royal Opera House a winner. However, a strong performance from Brie Larson in Room, combined with the Oscar buzz surrounding her, likely means this will be Larson’s night. Saoirse Ronan stands a decent chance in this category, too, but the real race is between Vikander and Larson.

BEST SUPPORTING ACTOR

Will win: Mark Rylance (Bridge of Spies)
Should win: Idris Elba (Beasts of No Nation)

BAFTA will surely lap up the chance to celebrate the man who is widely considered to be one of Britain’s finest stage actors. As such, Mark Rylance’s subtle, taciturn performance as Rudolf Abel in Bridge of Spies will be enough for a win here, even though Idris Elba’s turn as the brutish Commandant in Beasts of No Nation is stronger.

BEST SUPPORTING ACTRESS

Will win: Rooney Mara (Carol)
Should win: Rooney Mara (Carol)

Rooney Mara’s wonderful performance in Carol should make her the worthy winner of this particular award. But never underestimate the Brit Factor at the BAFTAs; Kate Winslet could well pip her at the post for her brilliant portrayal of Joanna Hoffman in Steve Jobs. Even Julie Walters could get a look in here for her small role as a strict housekeeper in Brooklyn, though this is unlikely.

OUTSTANDING BRITISH FILM

Will win: Brooklyn
Should win: Brooklyn

45 Years stands a very strong chance in this category. But Brooklyn is the more heartwarming of the two tales, and has certainly reached a wider audience, and that hopefully will be enough to score it a victory.

BEST DIRECTOR

Will win: Alejandro González Iñárritu (The Revenant)
Should win: Todd Haynes (Carol)

The spectacle of The Revenant may be enough to secure a win for Iñárritu, but Haynes’s careful, considered, and frankly brilliant direction of Carol makes him more deserving. However, Ridley Scott has real potential to cause an upset here. A popular Brit who has yet to win in this category, BAFTA may well decide that this could be his year.

BEST ORIGINAL SCREENPLAY

Will win: Spotlight
Should win: Inside Out

The serious subject matter of Spotlight means that its tightly-plotted script is probably the favourite. The sheer originality of Inside Out (and even Ex Machina) would make it a more worthy winner, but it is unlikely that an animated film will win in this particular category.

BEST ADAPTED SCREENPLAY

Will win: Carol
Should win: Steve Jobs

Phyllis Nagy’s wonderfully intricate adaptation of Patricia Highsmith’s The Price of Salt has rightfully won her much praise in recent months, and will likely bag her a golden mask tomorrow night. However, Aaron Sorkin’s sharp, witty and cutting script for Steve Jobs deserves just as much recognition. Brooklyn has the potential to do well here, too, which makes for an interesting race in this category.

BEST ANIMATED FILM

Will win: Inside Out
Should win: Inside Out

The makers of Minions and Shaun the Sheep: The Movie need not even turn up. This award belonged to Inside Out from the get-go.

BEST ORIGINAL MUSIC

Will win: Ennio Morricone (The Hateful Eight)
Should win: Ennio Morricone (The Hateful Eight)

The brilliant, haunting work of Ennio Morricone in Quentin Tarantino’s The Hateful Eight is the shoo-in. John Williams poses no real threat for his underwhelming work in Star Wars: The Force Awakens, nor do any of the other nominees.

BEST CINEMATOGRAPHY

Will win: Carol
Should win: Carol

BAFTA are likely to recognise the gorgeous cinematography of Carol, but it faces tough competition from The Revenant and Bridge of Spies.

BEST PRODUCTION DESIGN

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

The Martian has the potential to do well here, but the creativity and originality that spawned the mad world of Mad Max will likely win out.

BEST EDITING

Will win: The Revenant
Should win: Mad Max: Fury Road

A tough race to call. At the front of the pack are The Revenant and Mad Max: Fury Road, two films which have been lauded for their technical brilliance. But in the absence of winning any big awards, this could be one consolation prize that Bridge of Spies picks up.

BEST COSTUME DESIGN

Will win: Cinderella
Should win: Cinderella

It is almost a dead cert that Sandy Powell will win this category. Though she stands a decent chance for winning for her work in Carol, the glamour of her costumes for Cinderella makes it an even stronger contender.

BEST MAKE-UP AND HAIR

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

This is very much Mad Max’s to lose. And it is unlikely to.

BEST SOUND

Will win: Mad Max: Fury Road
Should win: The Revenant

Once again, this is a close race between the two technically brilliant films of the year, The Revenant and Mad Max: Fury Road. There is not much between them.

BEST SPECIAL VISUAL EFFECTS

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

The subtle but brilliant visual effects in Ex Machina are an intrinsic part of the film, but this is a category where spectacle wins out. The Martian and even Star Wars: The Force Awakens could do well here, but this is another gong which surely belongs to Mad Max.

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER

Will win: Alex Garland (Ex Machina)
Should win: Alex Garland (Ex Machina)

Alex Garland’s widely-praised, highly-lauded is the only likely winner in this category.

BEST DOCUMENTARY

Will win: Amy
Should win: Amy

Another category with very little competition. The tragic story of Amy Winehouse will tug on BAFTA’s heartstrings and surely bag the award.

EE RISING STAR

Will win: John Boyega
Should win: John Boyega

Once more, this category boasts an impressive set of nominees. Bel Powley is the real underdog here, whilst Brie Larson and Dakota Johnson are also unlikely to win, despite their presence on the grand stage of Hollywood. Really, this is a showdown between two Brits, Taron Egerton and John Boyega. Egerton arguably has more strings to his bow, but the sheer likeability of Boyega, coupled with the Star Wars Effect, makes him the strong favourite.

The BAFTAs will be broadcast at 9pm on BBC One on Sunday 14th February 2016.