HIT OR MISS 2018 OSCAR NOMINEES
Luka M.
VOLume 2, issue 1
FOREWORD The 90th annual Academy Awards are coming up on March 4. For some, it’s another Hollywood gimmick to reel in viewers, and for others, it’s a show worth devoting their Sunday to. Either way, 2017 started off with a bang, thanks to popular movies like “Get Out” and “Split,” and ended on a strong note with films like “Call Me By My Name,” “Phantom Thread” and “All the Money in the World.” Over summer and autumn, blockbusters like “Wonder Woman” and “It” raked in high box office revenues. An alarming number of these films received awards and recognition from fans and critics. A few of these films will leave a mark in cinema history and many will stay close to our hearts. Here are my reviews of some of the Oscar-nominated films from ‘Best Picture’ to ‘Best Animation.’
""Dunkirk" pictured in the top, and Saoirse Ronan from "Lady Bird" pictured in the bottom.
CALL ME BY YOUR NAME
Directed by Luca Guadagnino Release date Nov. 24, 2017 Starring Armie Hammer &Timothée Chalamet
Nominated for Best Picture, Lead Actor, Adapted Screenplay, Original Song Luca Guadagnino carefully packs his heart into “Call Me By Your Name” to best represent the same amount of heart André Aciman implemented into his book. The dark blue poster accented with yellow font immediately caught my attention. In an interview, actor Timothée Chalamet (as Elio) recalled one of the producers spotting the font on a display window and immediately asking the store owner for the font. The font appears in both the intro and outro of the film, and leaves the film on a good note. I was still hesitant to see this film because I had heard the general disapproval of a 17-year-old fucking a 20 something. But the trailer outright sold me. Once I saw the sun-lit breakfast table decorated with decadent fruits out in their little garden, I knew that even if the story wasn’t so great, at least the cinematography would be. This, coupled with some awfully familiar, melodious music got me excited because I knew I was going to be seeing a cinematic masterpiece on the big screen.
So yes, a 17-year-old boy falls head over heels for an older man, and they fuck. But André Aciman, the author of the original book, was fully aware of that and he intentionally added that noticeable age gap between them. It creates a tint of confusion that makes our main character Elio sick, wondering if what he’s doing is wrong… As if being gay wasn’t already complicated enough. “Call Me By Your Name” is set in 80’s Northern Italy; near Guadagnino’s hometown. The majority of the film takes place in a large house where Elio and his family reside, and where Oliver (played by Armie Hammer) comes to visit over the summer. The dreaminess that Guadagnino induces in the film makes the film almost like a facade; you start to wonder if a place like Elio’s home could ever exist. I find out later that half the soundtrack was produced by Sufjan Stevens — the king of the indie music community. The three tracks he recorded for Guadagnino inflict the cognitive emotions Elio embraces and pursues, and smears a lasting impression on the audience’s ears. “Call Me By Your Name” captures exactly what we’re so intrigued in, angry at and confused by when we gift our hearts to someone else. It shares a bittersweet romance story that we’ve all been craving for, and it leaves us full of warmth.
GET OUT
Directed by Jordan Peele Release Date Feb. 24, 2017 Starring Daniel Kaluuya, Allison Williams
Nominated for Best Picture, Lead Actor, Director, Original screenplay “Get Out” is one of the highest-rated film in Rotten Tomatoes, and could just be the highest-rated in the horror genre alone. And it damn well should be. Directed by Jordan Peele, “Get Out” highlights the underlying theme of racism from a different perspective while combining humor and an unsettling story. It takes place in the Armitage residence, where Chris (played by Daniel Kaluuya) visits over the weekend to meet his girlfriend Rose’s family. But the twist is that Chris is black and the Armitages are all… white. When he visits their home, he sees that the gardener and the maid are the only black people there. It’s an original mystery flick that intertwines a social issue while jabbing terrifying clues towards Chris that he needs to get the fuck out. Peele is a comedy genius and now an award-winning director and he’s created this hard-to-reach harmony that balances comedy and horror so well. My favorite section in the script is the dialogue between Chris and his best friend Rob:
“Bruh, how you not scared of this, man? Look, they could have made you do all types of stupid shit. They have you fuckin' barking like a dog, flying around like you a fuckin' pigeon looking ridiculous. Or... I don't know if you noticed, white people love making people sex slaves and shit.” “Yeah, I'm pretty sure they are not a kinky sex family, dawg.” The humor is right-on and Peele manages to add different kinds of humor that can be both uncomfortable and relieving. “Get Out” keeps eyes glued and fists clenched. It’s a crescendoing mess (in the best way possible) that hilariously ends on the best note possible.
DUNKIRK Nominated for Best Picture, Director, Cinematography, Film Editing, Sound Editing, Sound Mixing, Production Design, Original Score
The biggest mistake I’ve made was opting to watch “Dunkirk” in IMAX because I’m pretty sure I blew out both my eardrums. We all know who Christopher Nolan is. He’s the madman behind “Interstellar” and “Inception.” “Dunkirk” is a historical drama that recollects the miracle Dunkirk evacuation during World War II. Nolan divides the film into three perspectives: land, sea and air. All three perspectives embark at different times and places, but merge into the same date and location, Dunkirk, by the end of the film. “Dunkirk” captures a stunning, icy flush of blue on a 65mm, evoking a wondrous tone. This celestial color is a visual treasure that almost feels sacred to see. The soundtrack is in very good hands. Hans Zimmer, the mastermind composer, orchestrates astounding music to accompany the riveting story. It’s no wonder “Dunkirk” was nominated for eight Oscar categories. It’s a good, refined blend of eye-watering cinematography, beautiful music and a strong story.
Directed by Christopher Nolan Release Date Jul. 21, 2017 Starring Harry Styles, Tom Hardy
Nominated for Best Picture, Lead Actress
Directed by Steven Spielberg / Release Date Jan. 12, 2018 / Starring Meryl Streep, Tom Hanks
It’s hard for me to review "The Post" because I am an absolute dummy and I lack any political or historical knowledge. I’m not going to lie; the first bit of "The Post" was hard for me to follow. But even though I’m a dumbass, I don’t think it’s meant to be an easy film. It’s rich, complex and confusing. That’s what it’s supposed to be. "The Post" shines light on the Washington Post when it acquired the Pentagon Papers in the 80's and debate rose to whether or not to release the lies of the Vietnam War to the public. Releasing details could potentially destroy the Washington Post entirely, or finally create a reputation for them. But what Kay Graham (played by Meryl Streep) really wants is the truth to be released to the people. Like "Call Me By Your Name", "The Post" was filmed in a beautiful 35mm. It captures the 1980’s smoke-filled room with monotonous office colors, which sounds dull but really isn’t. It’s charming, actually. 2017 has got to have an award for having the most movies set in the past. "The Post" has found a way to leave a scuff mark on my heart. If you don’t already know me, I write for the school newspaper. Specifically, entertainment and lifestyle articles, and usually shitty movie reviews like these. But I don’t love it. The Epitaph can typically be an unorganized hell hole. Shouting is involved, tabletops are littered with stacked papers, and arguments between editors and reporters…. Or between two editors… happen on the daily (yes, I used an Oxford comma. Kiss my ass). But "The Post" depicts that chaotic clatter that disperses throughout the room, corner to corner. And it got me thinking, “2,000+ students read our issues. That’s crazy.” So I don’t know what I could say about "The Post" besides how it rekindled my interest in writing and my appreciation for being in a work environment as intricate as The Epitaph. I can’t guarantee any other viewer the same impact I felt. But it’s a story of complete mayhem between truth and security, and can arguably be the best “superhero” movie I’ve seen. And I hope "The Post" clamps down the same kind of excitement I felt, for you.
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Directed by Martin McDonagh / Release Date Nov. 10, 2017 Starring Frances McDormand, Woody Harrelson
This one’s hard. It’s about knowing what’s right and what’s wrong, and standing strong, feet planted into the ground, for what is right. Mildred Hayes (played by Frances McDormand) without any hesitation will avenge rightful justice for her daughter Angela. “Three BillBoards Outside Ebbing, Missouri” takes place in… well, Ebbing, Missouri. A small town populated with very little people. Angela has been raped and murdered, but the police department has neglected her case. So, Mildred Hayes buys off three billboards that target the head deputy: “RAPED WHILE DYING,” “AND STILL NO ARRESTS?,” “HOW COME, CHIEF WILLOUGHBY?” It’s a story melded with grief and hatred and love and atonement and forgiveness. Frances McDormand pulls off a great I-don’t-give-a-rat’s-ass acting style, which is exactly what’s needed to portray Mildred. Sheriff Bill Willoughby (played by Woody Harrelson) oozes a very intimate voice into his monologues and places an eerie comfort into his words.
The film was immersed in the darkest humor possible but it wasn’t exactly the kind of dark humor I could get a laugh from. The lines in the script where dark humor wasn’t highlighted were possibly my favorite lines: “[Mildred Hayes, to a deer] If I had some food I’d give it to you. All I’ve got is some Doritos and they might kill you, they’re kind of pointy.” “Three BillBoards Outside Ebbing, Missouri” isn’t exactly a comedy howl nor a Friday night movie to watch with your best friends. It’s a personal message Martin McDonagh wanted to read aloud and boy, he’s been heard.
Nominated for Best Picture, Lead Actress, Supporting Actor, Original Screenplay, Film Editing, Original Score
The nominated lead actresses this year are incredibly strong. They’ve surpassed any other performances, and they've provided their lines with raw emotion. Saoirse Ronan did exactly that but also managed to gash this crazy feeling inside me that I couldn’t shake off for the rest of the night, while I laid on the floor thinking, “wow.” It made me think of high school and how much all of it is utter bullshit, but also made me think about how much I’ll regret a lot of it later. Like not getting dinner with my friends last Friday or not watching them perform their choir show last spring. And it made me remember that one time I drove home with my mom next to me, yelling at me about how I’m not good enough, and for the longest time, thinking she hated me. "Lady Bird” is exactly like any coming of age movie yet so different, and there’s something about it that’s just incredibly bizarre. Its monologues and witty dialogues and outbursts and cries are all too real. It's as if I’m watching a home video of an emotional 18-year-old girl who just wants to live a new life, and it hits me that Lady Bird is me, you and every person who has ever been a teenager.
Directed by Greta Gerwig Release Date Nov. 3, 2017 Starring Saoirse Ronan, Lucas Hedges, Laurie Metcalf
Nominated for Best Picture Lead Actress Supporting Actress Director Original Screenplay
THE SHAPE OF WATER Directed by Guillermo del Toro Release Date Dec. 1, 2017 Starring Sally Hawkins, Doug Jones, Octavia Spencer
Nominated for Best Picture, Lead Actress, Supporting Actor, Supporting Actress, Director, Original Screenplay, Cinematography, Film Editing, Sound Editing, Sound Mixing, Production Design, Original Score, Costume Design
Sally Hawkins bleeds a genuine, devoted performance in “The Shape of Water” and stuns audiences with a quivering gasp, because we know that she will be the one to win ‘Best Actress’ for the Oscars this year. “The Shape of Water” is set in 1962 Baltimore, where Elisa (played by Sally Hawkins) rooms next to her best friend Giles. Right off the bat, we witness her daily routines; boiling eggs, masturbating in her bathtub, taking the bus to her workplace. Elisa is a sweetheart who leads a relatively healthy life. I’ll answer your undying question. Yes, Elisa fucks a fish man (his willy nilly is tucked in). But the underlying basis of the story isn’t just about fucking. It’s about outweighing all risks and negative possibilities and loving someone to death. Could this entire movie be a metaphor for accepting racism? Maybe a moral that we should love someone from the inside and not the outside? I don’t care, whatever it is. Because this is about love. Real, real love. The majority of the film is set in a hue of dark green. I absolutely adore the 60’s aura. It’s a visual meal, ready for us to feast on. The soundtrack enhances a sense of peculiarity as if the whole film is encased in a honeyed musical box. Maybe “The Shape of Water” will help you discover your new kink or maybe you’ll be reminded of your old love, years ago. Whatever it is, “The Shape of Water” is a stunning work of art that must be watched by all.
THE BIG SICK Directed by Michael Showalter Release Date Jun. 23, 2017 Starring Kumail Nanjiani, Zoe Kazan
I’ve been praising most of these nominees and that’s because there’s a reason they’ve been nominated for the Academy Awards. But there’s one particular film that should not have been on the list at all, even if it was nominated for one category. And it’s the Big fucking Sick. There was mad talk about “The Big Sick” and how the comedy was superb, so I had to go see it. First mistake, watching it alone. Second mistake, spending $11 to see it in theaters. The third mistake, watching it at all. Kumail Nanjiani plays himself as a comedian in Chicago. It’s a forbidden love story between a Pakistani and a white girl (Emily, played by Zoe Kazan). His humor is stale and sometimes even came off as rude. At no part in the film did any lines came off to me as “funny.” Kumail’s immigrant parents are strict on marriage and want him to marry a girl only if they’ve arranged it themselves. Kumail doesn’t tell this to Emily when he starts to date her. You can probably see where this is going. Better yet, you can probably predict the ending even.
The story lingers on and on like there is no end. Just when you think the movie has ended, it hasn’t. You were only halfway done. Screenwriters Emily Gordon and Kumail Nanjiani practically smashed the entire history of their relationship into a 117 minute flick. It’s nearly impossible to keep your eyes open for the entire duration of the movie. So I god damn hope The Big Sick doesn’t win Original Screenplay, because I could list off better films (THE OTHER FOUR FILMS NOMINATED) that should win the category. It’s brain-numbing, dry and not worth watching at all.
Nominated for Original Screenplay
I, TONYA Directed by Craig Gillespie Release Date Dec. 8, 2017 Starring Margot Robbie, Sebastian Stan, Allison Janney
Tonya Harding was the first American woman to land a triple axel in a competition and her performances on ice proved her to be “the greatest skater in the world at one point in her life.” But Harding didn't grow up in America’s sweetest home with pancakes for breakfast and “yes, please” around the table. She grew up poor, enduring secondhand smoke, with a fistful of domestic abuse from both her mom and her boyfriend. Margot Robbie has had some of the craziest roles in her acting career and she pulls them off with ease, thanks to her vigorous practices and rehearsals. She endures the fist throws and the put downs Tonya Harding gritted in her life. I definitely felt tears running down my cheeks when Robbie outperformed herself in the end. With all of the domestic violence and drama piled on one another, “I, Tonya” surely becomes another batshit crazy film, but a film you want to reach out to when all Tonya wants to do is skate. Nominated for Lead Actress, Supporting Actress, Film Editing
COCO
Directed by Lee Unkrich Release Date Nov. 22, 2017 Starring Anthony Gonzalez, Gael Garcia Bernal
“Coco” accurately depicts Mexican heritage and culture, while rejuvenating the importance of “familia” and “amor” with gorgeous animation by Walt Disney Animation Studios. Each year, Disney Studios adds more flare and glare into the characters’ eyes and invents new colors to enhance every possible aspect of the film. “Coco” definitely gets to a point where the characters' eyes are sickeningly large and their skins are polished like the surface of a new pair of shoes. What’s ironic in"Coco" is that it creates a stark contrast between Mexico and the Land of the Dead, and the Land of the Dead feels more “alive” and exhilarating than the human-populated Mexico. Original songs, like “Remember Me,” become both catchy and sorrowful throughout the film and definitely become songs to remember. “Coco” is a story about homage and hope and dreams. It’s another Disney movie about a hero that might as well win ‘Best Animated Feature.’ Nominated for Animated Feature, Original Song
THE BOSS BABY Directed by Tom McGrath Release Date Mar. 31, 2017 Starring Alec Baldwin, Steve Buscemi Nominated for Animated Feature
Alright, I know you won’t take me seriously, but here it is: I secretly think “The Boss Baby” was more enjoyable than “Coco.” Yup, it’s my guilty pleasure at this point. Every time I mention that “The Boss Baby” could be any better than “Coco,” people retract their necks and ask, “What the fuck is wrong with you?” So at this point, you can tell it’s not hard to please me, judging from the past ten reviews I marked positive. But I think there’s a weird charm to “The Boss Baby” that makes it a fun fix. If we’re going to compare it to “Coco,” “Coco” is meant to be taken seriously and it has a wholesome theme with a wholehearted ending. The music was written exactly to describe the sentimentality of honoring family. But that’s exactly where it feels off. It shoves the moral into your face and it makes you reconsider every wrong thing you've ever said to your younger brother. “Remember me” almost feels like a constant reminder to remember the theme of the movie.
But “The Boss Baby” prioritizes humor first, plot second. And the whole theme of prizing your own family becomes much more personal and more authentic because it’s not being rammed into your throat like “Coco.” Both main characters appreciated family in the beginning, but things go haywire when Miguel’s family ceases to support his love for music and when a boss baby arrives at Tim’s door. Both feel neglect from their family and both feel the need to be accepted. And that’s when Miguel meets Héctor and Tim meets the baby, and they both bond. So these two movies aren’t as different than you would think. One just has a shiny baby with a voice of a grown man. I mean, really, if you subtracted that out of the equation, the movie wouldn’t be made so much into a meme. Not going to lie, I almost teared up at the end. It got to me. The animation quality lacks and the soundtrack is almost hilarious because the second half is orchestral. It’s a shit movie that nobody will probably ever appreciate but it’s got a good knack and I’m glad I got a fun watch out of this dumb movie.
Frances McDormand in "Three Billboards Outside Ebbings, Missouri" pictured at the top The breakfast scene in "Call Me By Your Name" pictured bottom
AFTERWORD I've started to really watch movies in mid-2017, when "Baby Driver" became my sole escape out of my dreadful summer job (I worked at a retail store). I found a spark for writing film reviews when I learned to love writing thought on paper. I've written all 11 reviews of the 2018 Oscar nominees the day before and the day of. Although all of them are rushed and rough, I hope this issue gives you a good insight of the Oscars this year. I'm rooting for "The Shape of Water" to win all 13 categories it was nominated for. Thank you for coming this far and thank you for reading all my reviews, and I hope you guys have a great Oscar Sunday.
Written by Luka Maeda Edited by Casidy Chen