OSCAR WINNER 2018 CEREMONY – AN ANALYSIS – WE GOT THEM ALL RIGHT!!!!

Now that the Oscars have come and gone I thought I'd made some observations. First off, if you listened to the Lake Charles' Best Sport Show culture segment on Sunday morning starting at 8:15 am CST, you would have heard Matt, Chad, Corey and my predictions, which were, if I say so myself – pretty good.

WE PICKED ALL THE RIGHT WINNERS! Unfortunately, the Academy didn't always agree with us.

Keeping in mind that we limited our picks to the nominees chosen by the Academy, we hereby present the REEL…I mean REAL…wait maybe I DO mean REEL…winners of the awards given annually by the Academy of Motion Picture Arts and Sciences, more familiarly known as Oscar since the 1930's when the Academy librarian mentioned she thought it looked like her Uncle Oscar.

In no particular order:

BEST ACTOR

Let's start with a nominee on which we all unanimously concurred. Gary Oldman's breathtaking performance as Churchill in Darkest Hour was a well nigh impossible hurdle for any other actor to overcome. In a role that obviously brought a lifetime of skill and experience to bear, Oldman WAS Winston Churchill for 2 hours and 5 minutes. For more details on this stunning performance in this great film click here – Darkest Hour

BEST SUPPORTING ACTOR

Next up, Sam Rockwell handily shone above all the other contenders INCLUDING his co-star Woody Harrelson who, had Rockwell not been so amazing, I think would have won. Rockwell's portrayal of the massively flawed but redeemable deputy Dixon in Three Billboards Outside Ebbing, Missouri earned this golden statue. Click on the name for my review. (As a side note I remember the first time I ever saw Rockwell. His performance in Galaxy Quest – the Star Trek homage/spoof/love letter was quite memorable. In what instantly became one of my all time favorite movies, he was arguably the most adorably goofy character in a tremendous ensemble of gifted actors including Sigourney Weaver, the late Alan Rickman, Tony Shaloub and Tim Allen.)

BEST ACTRESS

 In another example of where the Academy occasionally gets it right, the brilliantly talented Frances McDormand picked up her second best actress Oscar. The first was for the charming, very pregnant and easily underestimateable Sheriff Marge in the weirdly quirky crime comedy-drama Fargo at the 1997 ceremony. This one was for Three Billboards Outside Ebbing, Missouri. This round she is the desperately grieving mother of a murdered daughter who takes her frustration over the lack of progress out on the local constabulary, who are just as anxious to get results as she is. It is a case of two groups separated by a common goal who come to loggerheads because they can not find the real culprit. But interestingly, that is not what the movie is about. For more information on this complex and moving film see my review on Three Billboards subtitled: The Main Character is Not Who You Expect

BEST SUPPORTING ACTRESS

Here is where the Academy started to get it wrong. They picked Alison Janney for I, Tonya. A solid performance, certainly, in a dramedy/documentary about the life and scandal surrounding Tonya Harding and her complicity in the attack on Nancy Kerrigan just before the 1994 Olympics. While meaning no disrespect to Ms. Janney, as often actors are limited, obviously, by the roles they inhabit, Janney's character as Tonya Harding's mother was a monotone. Mrs. Harding was portrayed as a manipulative, abusive, emotionally calloused mother. She was not allowed, due to the nature of the script and person she was playing, to use much off the pallette of colors from those she was given. The result was almost a caricature of a person. Ms. Janney performed Mrs. Harding well, but it was by no means as challenging a part to play as the one tackled by Laurie Metcalf in Ladybird.

Laurie Metcalf's Marion is the mother of a rebellious, hormonal teenager struggling with her transition from child to woman. Marion actually has some traits in common with the notorious Mrs. Harding. Marion is distant and harsh at times, but despite her personal difficulties and conflicts with her daughter, manages to convey motherly purpose, love and conviction into a character that would have been unpleasant and unsympathetic in other hands. Metcalf's role was a very tricky hand to play. Too much and she would have been off putting, less and she would have seemed incapable as a mother. As it was Metcalf walked that fine ine between a flawed unpleasant character and a character with whom you feel empathy.

I have HAD the conversations Marion had with her daughter, Lady Bird – both as a daughter AND as the mother of a daughter, and I can tell you her portrayal was spot on.

For more on Ladybird see my review at: Lady Bird: To Anyone Who Knows a Teenaged Girl

BEST ADAPTED SCREENPLAY

There is no other way to describe the Academy's pick for best adapted screenplay as anything other than offensive and morally repugnant. Call me by Your Name was nothing but an attempt to lionize and romanticize pedophilia. Frankly, the author and everyone involved in the making of this movie should not have been awarded anything but jail sentences.

To be fair to the other nominees, I have to say I did not see any of them – mostly because I missed opportunities to do so and plan to catch up later. So, in this case, I deferred to my son who had at least seen Logan. He reported that Logan was an extremely good adaptation of the comic book series, exploring multi-dimensional character exposition while following the complex storyline set down by the original authors. If it later turns out one of the remaining three viable candidates did a better job, at least we can say that Logan deserved its place in the list of nominees.

BEST ORIGINAL SCREENPLAY

I saw all five of the nominees and I can safely say that not only is Get Out the best original screenplay – in that it was not based upon any pre-existing source material – but that it was – literally – one of the most original screenplays I have ever seen and certainly the most original of the nominees which included Lady Bird, Three Billboards Outside Ebbing, Missouri and The Big Sick, all of which were excellent. While in good company, Get Out still outshone them all in its innovative and creative story ideas, theme, plot and execution.

BEST ANIMATED FEATURE FILM

The Academy chose, Coco, what I thought was second best. They certainly chose the best CHILD'S animated feature film, but that is not what the category is. The category is for best animated feature film. I do not understand how they could compare Coco, which is what can only be described as a cute Halloween-like movie about a child searching for his grandfather among the dead, to the genuinely unique, classically and masterfully conjured  tour de force that is Loving Vincent.

Loving Vincent follows Armand, an ersatz and initially reluctant detective, who pursues the stories surrounding the death of Vincent Van Gogh. The entire film is animated using paintings made by hundreds of talented artists in the style of Vincent Van Gogh himself. The entire film is animated the way Vincent might have seen the proceedings. As satisfactory as Coco was, choosing it over Loving Vincent would be a bit like picking a cel from a Bugs Bunny cartoon over Starry Night. For more details on this daringly imaginative labor of love and brilliant masterpiece of animation, including links to where to obtain a copy, please see my review at – Loving Vincent – an Animated Biography.

BEST ANIMATED SHORT

At least the Academy got this right. Dear Basketball is a lovely inspirational animated film based on the poem Kobe Bryant wrote about his love of the sport, commemorating his retirement and presented at the ceremony honoring him for his lifetime achievements.

BEST PICTURE

The only positive thing I can say about the Academy's ill-considered choice of The Shape of Water as best picture is that at least they didn't pick the movie about the pedophile. Please read my review of this misbegotten movie at: Shape of Water – Offensive on so Many Levels.

There were many excellent choices to be had but hands down my pick would have been Darkest HourDarkest Hour features one of the best performances anywhere by anyone. Darkest Hour also is a detailed and fascinating account of a moment in time shaped by courageous men, great and small, who changed the course of history almost solely by their foresight, heroism, stalwart determination to stand up to the face of evil and refusal to buckle under the massive pressure of others' cowardice. Simultaneously, the movie openly presents the foibles, and occasionally almost whimsical personality of one of the most powerful men in history – Winston Churchill, humanizing him in ways that make it easy to believe we can all aspire to greatness in our own way, if we are but willing to self-sacrifice for honor and the protection of others.

I just do not see how they could reject such a magnificent film as Darkest Hour in favor of a movie which examines a woman's selfish and disturbing descent into bestiality.

CINEMATOGRAPHY

  I deferred on this category to my husband who is a gifted amateur photographer. After examining the work done in all of the nominated films he thought Dunkirk should have squeaked past Blade Runner 2049, though he admitted that Blade Runner 2049 demonstrated exceptionally good craftsmanship in that art. So I am pretty content with the Academy's choice of Roger Deakins for Blade Runner 2049 here.

COSTUME DESIGN

I know just about nothing concerning fashion and whether or not a particular costume was brilliantly recreated, difficult to construct or pulled off of a rack at Walmart. Therefore, I figure it is safe to assume that Mark Bridges' acquisition of that award for his work in Phantom Thread ABOUT a fashion designer is a pretty good bet. besides, the dresses are really pretty. LOL

BEST DIRECTOR

My objections to The Shape of Water are the same as those given above for Best Picture only more so as the director of a film is the captain of the ship and therefore the court of last resort and where the buck stops for the disaster or masterpiece which is created.

To my thinking, even had The Shape of Water not contained such offensive elements, Jordan Peele deserved the best director Oscar far more for Get Out. Jordan Peele both wrote and directed this fable exposing the truth behind the smug and smarmy smiles of wealthy elitist white liberals towards minorities whose lives they carelessly use like so much marketplace clutter.

Mr. Peele's use of sound and cinematography, fantasy elements and music, editing choices and plot twists all managed to deftly balance across a tightrope between horror and humor, creating a movie the likes of which I have not ever seen. Although there were many creative people involved and he did not singlehandedly make this film Mr Peele was the one who chose amongst an infinite choice of elements available to him to scupt this mesmerizing tale. Again, as the captain of this shiop he deserves the kudos, just as del Toro deserves the disapprobation. Hitchcock, I would be so bold as to guess, would have enjoyed Get Out, so suspenseful and woven throughout with intrigue, misdirection and cleverly laid clues it is. I can not help but wonder if the shoe Mr. Peele constructed of liberal hypocricies fit just a bit too tight for them to be comfortable in conferring the award Mr. Peele so clearly deserved.

FILM EDITING

Another choice where the Academy got it right. Dunkirk was chosen. The filmmakers had the interesting challenge of how to present one story wherein a certain aspect took place over a period of weeks, another essential element took days and a third was only a matter of hours. And I think the editor, Lee Smith, cracked this nut quite effectively and cleverly.

MAKEUP AND HAIR STYLING

One of the few others that the Academy chose wisely. Although Wonder was brilliant the makeup for Darkest Hour was transformative. Not only Gary Oldman's face but his entire body structure was altered to reproduce the distinctive Churchill physique.

ORIGINAL SCORE

All of the music in all five of the nominees was beautiful and I will not begrudge the fact that The Shape of Water won for what is rightfully a lovely score by Alexandre Desplat, but you think they would have at least thrown a bone to Star Wars: The Last Jedi. I mean it IS John Williams!!

BEST ORIGINAL SONG

While "Remember Me" from Coco , the song chosen by the Academy, was kind of cute in a harmless, innocuous, forgettably Disney-ish sort of way, I can't remember how it goes off the top of my head. But "This is Me" by Benj Pasek and Justin Paul from The Greatest Showman should have won.

"This is Me" is the kind of song that will stick with you – not only because it is very catchy and fun to hear and sing, but it is inspirational and uplifting and is something you will want to recall in moments of frustration or challenge or even despair. "This is Me" is an anthem for those who are determined to pick themselves up and start over, who desire nothing more than to be left alone to strive for greatness without the burden of artificial obstacles placed in their way by interfering hypocritical cliquish elitists who think they are better than others because of the privilege to which they were born – oh wait, now I see why the liberal elite in the voting Hollywood establishment didn't want to pick it. Silly me.

PRODUCTION DESIGN

OK I'll give The Shape of Water this one as one it might actually have legitimately won. Although all the nominees created amazing worlds, there is an argument for the dream and water worlds created in Shape of Water. It is just a shame they didn't put these beautiful sets to better purpose than this egregiously misanthropic excuse for extreme selfishness and sexual depravity.

SOUND EDITING and SOUND MIXING

To me these awards were a toss up between Baby Driver and Dunkirk, and Dunkirk won. The challenge of combining dialogue, sound effects and music into a cohesive whole must have posed an especially creative challenge given the surroundings ran the gamut from inside a metal ship run aground to the open sea to being able to reasonably hear over World War II aircraft during a dog fight, sounds one might hear underwater, explosions and the clacking of boots on empty streets. I can applaud and respect this choice.

VISUAL EFFECTS

Lastly, Blade Runner 2049 earned its award for visual effects handily in the world of red lighted dust, dark rain swept vistas and holograph enhanced interactive environments. It's beautiful but stark and intimidating world deserved its win.

DOCUMENTARY FEATURE

DOCUMENTARY SHORT

FOREIGN LANGUAGE FILM

LIVE ACTION SHORT

Sadly I saw none of the nominees for these last four categories.

Let me know in the comments what your favorites were in any or all of the categories. If you like, present a convincing argument and I might post it as all or part of a guest rebuttal.

Thanks for reading!

 

 

 

MY FAVORITE 2017 MOVIES

I thought I would start the new year with a review of the previous. It's always a good idea to know where you have been before you set forward into new territory.

To that end I have chosen what I thought were the top dozen movies of 2017. Do keep in mind this is not an exhaustive list and there are some movies I suspect would have made the list had I had the opportunity to see them. Among those I happily expect to be wonderful but I have not yet seen include: Darkest Hour and Loving Vincent. They will just have to be evaluated in subsequent blogs.

NUMBER ONE BEST MOVIE OF THE YEAR BAR NONE:

MURDER ON THE ORIENT EXPRESS

Kenneth Branagh's absolutely brilliant and stunningly beautiful rendition of Agatha Christie's most famous and popular book – about a group of strangers stranded on a snowbound train with an unsolved murder. Not only is this the best example of its genre, I think it is the perfect movie.

NUMBER TWO:

THE GREATEST SHOWMAN

Musical based on the spirit if not the specific details of the life of PT Barnum – hailed as the father of the modern circus. Con man, philanthropist, businessman, devoted family man, flawed human – the movie uses this amazing historical figure to explore the question of what is it that makes life worthwhile.

NUMBER THREE:

WONDER WOMAN

DC FINALLY hits a major home run with the most unlikely of B list comic book supers. Gal Gadot  IS Wonder Woman. Exciting, moving, funny, inspiring, spectacular special effects – set during World War I this movie exemplifies the virtues of courage, self-sacrifice, and altruism all tied up like a Christmas present with the beautiful wrappings of a superhero adventure. This is what a superhero movie should look like.

NUMBER FOUR:

MARSHALL

 Chadwick Boseman plays a young Thurgood Marshall. While this significant historical figure will grow up to be the first black Supreme Court Justice, we meet Marshall early in his career – defending a black man against charges of raping his white female employer. Marshall is saddled with an unlikely partner – a Jewish attorney, Josh Gad, who wants nothing to do with the notoriety this case will bring. Both discover that nothing and no one is as simple as it seems. Boseman and Gad have such good chemistry I'd look forward to watching them together again in anything. And the case plays out like the best of anything Perry Mason ever tried.

NUMBER FIVE:

WONDER

  You can't tell a book by its cover. Wonder is a story inspired by the troubling encounter the author had between her child and a severely facially disfigured child. Wonder explores the world from the point of view of a similarly genetically challenged child – Auggie – played by Jacob Trembley, his sister Via, his best friend Will and Via's best friend Miranda. The brilliance of this movie is that we discover that everyone is guilty of misjudgement – including the title character and ourselves, the audience. Featuring the performances of Julia Roberts, Owen Wilson and Mandy Patinkin as warm and caring parents and school principal, Wonder is a delightful movie for all ages.

The rest of the movies I can not faithfully place in any one order. It would depend on what mood you are in and in which genre it fits.

GLASS CASTLE

Jeannette Walls (Brie Larson) reminisces about growing up in her dysfunctional family headed by her brilliant, creative, and devoted but tragically alcoholic father (Woody Harrelson). Glass Castle is a coming to understanding that even a parent with egregious flaws can bequeath the irreplaceable parental blessings that come with unconditional love and support.

THOR: RAGNAROK

Chris Hemworth and Tom Hiddleston return as the conflicted brothers Thor and Loki in this installment of the Thor franchise. Cate Blanchett appears as Hela, the goddess of death who has escaped exile to take over Asgard. The title reveals the conflict as Ragnarok is the name of the Viking Armaggedon – the end of the world. Sounds like heavy going, but the writers chose to include a comic element which lifted the mood considerably. While admittedly a point of debate, personally I loved the new injection of a lighter tone and Guardians of the Galaxy-style humor in the previously Shakespearean melodrama that used to define the Thor stories.

PIXAR CARS 3

  Hands down the best of the trilogy. Cars 3 retains its child-like animated heart but stepped up its game considerably to give Lightning McQueen (Owen Wilson) a character arc and plot worthy of a live action movie with humans. Well done Pixar!

DUNKIRK

An intense, moving and inspirational account of the "little ships" captained by everyday sailors, ordinary fishermen and weekend boaters, who, facing great peril, came across the English Channel to rescue British and French soldiers surrounded by Germans, straffed by the Luftwaffe and stranded on Dunkirk beach. Starring an ensemble including Mark Rylance, Kenneth Branagh, Tom Hardy, and Cillian Murphy this is as important, and at times as difficult, to watch as Saving Private Ryan.

THE LEGO BATMAN MOVIE

 Oddball sequel to the original Lego movie, this is at once a homage and parody to every Batman movie and TV show ever made. Not without, frankly, dumb moments and slightly incomprehensible plot holes and cameos, you must remember this is all really just supposed to be in the mind of a child playing with his toys. Featuring vocal talents including: Ralph Fiennes, Channing Tatum and Hector Elizondo, it's a hoot. Just turn your brain off and enjoy The Lego Batman Movie with popcorn, Raisonettes and a sense of humor.

SPIDERMAN: HOMECOMING

Toby McGuire was too angst-y. Andrew Garfield, while a terrific actor in his own right, was simply miscast as the webswinger – much like Eric Stoltz, a fine performer, just wasn't right as Back to the Future's Marty McFly and had to be replaced. Tom Holland, however embodies Spiderman more, I think, than the original comic book creation – bringing a refreshing wide-eyed child-like naivete to the character expressing an adorably delightful hero worship for his fellow Avengers. And Holland, the actor, still manages to hold his own against the absolutely brilliant veteran Michael Keaton who portrays the mysterious multi faceted villain.

THE STAR

Last but most assuredly not least is the wonderful animated version of the Biblical retelling of the Annunciation and Nativity – only told from the animals' points of view. Primary is miniature mill donkey Bo who longs to be part of the Royal procession but is "stuck" with the family of this poor carpenter…..an irony everyone over 8 will understand. This delightful story is told with Biblical accuracy, appropriate deference towards the gentle heart who is the Blessed Virgin Mary, and a lighthearted but respectful appreciation for the beleaguered Joseph who fears he is in over his head but who stalwartly steps up to the plate to protect his wife and the Son of God she carries.  Alone, the tale of a donkey who aspires to a position for which he is obviously unfit  would be cute. Woven about around the Biblically accurate betrothal, marriage and journey to Bethlehem of Mary, Joseph and the unborn Christ child it becomes an unusual and welcome new look at the story of the Holy Family from a fresh point of view. Religious meditation often advises we contemplate a Biblical event from a new perspective. I would venture to say that, although a child's animated movie, The Star rises, because of the material and the respect with which it is treated, to a kind of meditation on this most important event in the history of mankind. The Star, itself, shines as a beautiful example of what childrens' stories can be – appealing to children but substance for the adults who bring them as well.

MAY YOU HAVE A BLESSED 2018! SEE YOU AT THE MOVIES!

YOUR LAST CHANCE TO SEE WORKS AT THE 2017 LAKE CHARLES FILM & MUSIC FESTIVAL IS OCTOBER 8 FROM 11 AM – 5 PM.

Paris has Cannes. Park City, Utah has Robert Redford’s Sundance. New York City has Tribeca.  Christians have the Worldwide. Canada has the Toronto International. And my home town has  the Lake Charles Film & Music Festival. Now in its sixth year it attracts films and film makers from around the country. Shorts, documentaries and feature films abound, along with a yearly celebrity. Celebrities in the past have included Burton “Blazing Saddles” Gilliam and William “The Greatest American Hero” Katt.

2017-fest-main-poster-final-version_origThis year the festival is honored to host Kathy Coleman who played Holly in the 1970’s hit cult classic TV show Land of the Lost.

20171007_144606_HDRGenerous with her time and extremely approachable Ms. Coleman graciously agreed to allow  me to ask her a few questions concerning her experiences at the film festival, what she thought of Lake Charles, 51rk2FlkidL__AC_US218_her exciting new autobiography which is available on Amazon.com and her busy appearances schedule.

Watch the interview videos with the affable Ms. Coleman and head out to The Brimstone Museum in Sulphur for the last day of the festival – Sunday October 8, 2017 – where you can see dozens of creative independent film entries and hob nob with some of our most talented film makers.

I’ve always maintained that Lake Charles is a hidden treasure of talent – from theater to symphony, ballet companies to magicians. The Lake Charles Film and Music Fesitval proves we showcase film talent too.

The offerings are varied and there is something for every taste – from campy horror to film noir, from comedy short about a man in a gorilla suit to documentary about the blues scene on Long Island. If you can’t find something that appeals to you then you’re just not trying.

Go and support your own hometown film festival – or if you’re within driving distance come and check out film experiences that are just a little bit different – and ensure that there will be many more film festivals like this one in years to come.

CHECK OUT: www.lakecharlesfilmfestival.com or just drop by the Brimstone Museum at 900 S Huntington St, Sulphur, LA any time from 11 am – 5 pm Sunday October 8th.

ALSO plan to submit a creative entry of your own next year and have people coming from all over to see YOU!!!!

Kathy Coleman – where are you going next?

What is Chiller?

What’s next for Kathy Coleman?

Why did you write your book?

Where can we get an autographed copy of your book?

Where can we get a copy of your book?