Live from the Dolby Theater at Hollywood and Highland it's the Oscars!
Ladies and gentleman please welcome your host, Jonathan Paula.
Thank you.
Hello and welcome to the 89th Academy Awards.
We have plenty of fun surprises and great talent in store for you tonight.
... and I'm being told we're already running over on time, so let's get right to tonight's
final category, Best Picture.
And the nominees are...
"Amy Adams Talks To An Octopus" "Acting: The Movie"
"Saving Private Spider-Man" "Captain Kirk Robs A Bank"
"Math Defeats Racism" "Hollywood Circle Jerk"
"Google Earth Knows Where You Live" "Depressichusetts"
"Boyhood, But With A Black Kid"
... and the Oscar goes to...
This is the Movie Night!
Hello and welcome to the seventh annual Movie Night Oscar Special, I'm your host, Jonathan
Paula.
Tonight I'll be reviewing all nine Best Picture nominees.
And at the end of the show, I'll be sharing my predictions for which actors and films
will take home a trophy during the 89th annual Academy Awards, which air live this Sunday
night on ABC.
As always, if you enjoy my content, please LIKE the video, SHARE it on social media,
or PLEDGE a couple dollars to me on Patreon - it really does make a difference.
To help keep things brief, my reviews tonight will be shorter than usual - and we begin
in alphabetical order with "Arrival".
Challenging and intriguing.
Based on Ted Chaing's novella, "Story Of Your Life", this PG-13 rated picture quadrupled
its $47 million dollar budget following its November release in 2016.
When mysterious alien spacecraft appear around the world, linguistics professor Amy Adams
attempts to decipher their language and intentions.
Nominated for eight Oscar nominations, it's criminal that Adams' resilient performance
wasn't one of them - as her powerful delivery is the true bedrock to this picture.
This is a beautiful, downright poetic story, with meaning and purpose - but it's not always
entertaining or fulfilling.
The believable writing carefully examines humanity's reaction to first contact with
a seemingly benevolent alien species - that kept me guessing until the end.
Thematically, the concepts of palindromatic existence, accepting fate, and conquering
doubt are all poignantly examined.
Adams plainly lays this out when she asks, "If you could see your whole life from start
to finish, would you change things?".
While some might feel this motif is a bit too heavy-handed, others will undoubtedly
connect to the film in a meaningful way.
Personally, I was somewhere in the middle.
This was a thought-provoking drama with an artistic slant... but I never truly connected
to the story on an emotional level.
For the last three seasons, my favorite film of the year has been a high-concept sci-fi
drama.
Unfortunately, that streak won't be continuing with this 116-minute feature, as it just isn't
as special or memorable as I would have hoped.
Like director Denis Villeneuve's other works - I was impressed by the technical accomplishments
and visual artistry, but left somewhat unsatisfied.
"Arrival" is also the first of tonight's three featured movies, so let's read some of your
thoughts.
Praising its intellectual writing and performances, you felt "Arrival" was an AWESOME film.
With contemplative purpose this is a decidedly GREAT movie, but nothing more.
Next up, my review of "Fences".
A powerful play.
Doubling its $24 million dollar budget following its December 16, 2016 release - this drama
film stars Viola Davis and Denzel Washington, who also directed.
The PG-13 rated story focuses on a working-class African-American father in 1950s Pittsburgh,
who comes to terms with fatherhood and life.
The dialogue is expertly written, but also relentlessly delivered - making the film's
pacing, especially early on, somewhat exhausting.
"Fences" is adapted from the late August Wilson's Pulitzer Prize-winning play of the same name,
and it definitely feels like it.
The 139 minute story is told in three very distinct acts; with nearly all of the action
confined, (somewhat detrimentally) to a small suburban backyard, between - you guessed it
- a bunch of fences.
I suspect this title is a metaphorical double entendre, vis a vis implied emotional barriers
- but thematically, the teleplay seems to focus more on death and trust instead.
So perhaps it's just a literal description of the movie's primary setting?
In fact, rather than remain closed off from one another, the deeply rich and complex characters
often expose their inner most frustrations in intensely emotional monologues.
Davis's angry confession that she's forfeited her personal dreams to settle down as a housewife
is the most impressive work of her illustrious career, as she screams defensively, "I gave
eighteen years of my life to stand in the same spot as you!"
Both her and Washington reprise the roles that scored them Tony Awards during the play's
2010 Broadway revival.
And their tour-de-force work here rightly netted them another pair of Oscar nominations.
Ultimately, "Fences" doesn't really do enough to justify its existence as a motion picture.
Save for a handful of shots and a mid-act montage, Washington set up some basic angles,
and let the story play-out exactly as it would on stage.
But, since this isn't the type of play I'd ever see in person, I for one am thankful
it was translated into a more convenient medium.
Objectively, from a cinematic perspective, "Fences" is not particularly engaging - but
thanks to its show-stopping performances and a deeply personal screenplay, it is a GREAT
movie.
Third tonight, "Hacksaw Ridge".
A moving true story.
After receiving a ten minute standing ovation at its Venice Film Festival Premiere in September,
2016, this biographical war-drama took home over four times its $40 million dollar budget.
His first film in a full decade, this is a triumphant return-to-form for disgraced director
Mel Gibson - who's steadfast efforts help score the film one of its six Oscar nominations.
While it's doubtful he'll win, it definitely seems like the Academy is ready to let the
once-revered auteur out of the doghouse.
Andrew Garfield portrays the incredible real-life story of a Conscientious Objecting Army medic
Desmond Doss who saves dozens of lives in an extremely bloody battle during the Pacific
War.
Garfield portrays this almost unbelievably heroic individual with a healthy dose of humility
and anxiety - as anything less would make him appear superhuman.
He defends his peaceful intentions by stating, "With the world so set on tearing itself apart,
it don't seem like such a bad thing to me to want to put a little bit of it back together."
We're eased into the ferocity and violence of the final act with some effective humor
and lighter moments thanks to drill sergeant Vince Vaughn, during a boot-camp sequence
that exhibits shades of "Full Metal Jacket".
And at a lengthier 139-minutes, this staggered pacing helps immensely.
Although moments feel a bit too heavy-handed - especially those regarding sudden religious
clarity - this is a strikingly powerful drama that invokes authentic contemplation.
Emotional investment aside, the loud and gritty battles are photographed with such uncomfortable
realism they give "Saving Private Ryan" a run for their money.
Now, a R-rated production that sells this imagery as entertainment is an inherent contradiction
of the film's pacifist themes - but the message is still a valuable one.
Those are my thoughts, so let's see what you had to say about "Hacksaw Ridge" in the YouTube
comments.
"Hacksaw Ridge" is the best war film in decades, and an unflinching experience.
Everyone agreed, this is an AWESOME movie.
Now, "Hell Or High Water".
A taut drama.
Directed by David Mackenzie, this $12 million dollar neo-Western crime thriller took home
$32 million after its August 12th release in 2016.
Divorced father Chris Pine and his ex-con brother Ben Foster resort to a bank-robbing
scheme in order to save their family's Texas ranch; while lawman Jeff Bridges attempts
to hunt them down.
Pine defends his desperate intentions by explaining, "I've been poor my whole life, like a disease
passing from generation to generation.
But not my boys, not anymore."
The 102 minute narrative unravels without any major twists or surprises...
with events and dialogue presented in a low-key, matter-of-fact style.
The New Mexican locations are a convincing substitute for West Texas, with the scenery
of the dessert landscape possessing a sort of solemn beauty to it.
Despite its modern-day setting, this looks and feels like an old fashioned western.
The cleanly structured and buttoned-up screenplay isn't particularly imaginative, but it does
convince audiences to empathize with characters on both sides of the law.
Bridges is as much the hero of this story as Pine is - and the respectful antagonism
between them makes for a tense and satisfying final scene.
A fascinating story with predictably excellent acting, the R-rated film never reaches that
unique quality of being special or meaningful.
A compelling story with some thrilling moments involving redeemable anti-heros, "Hell Or
High Water" might be my least favorite nominee this year, but it's still a COOL film.
Four down, five to go, here's my review of "Hidden Figures".
Enjoyable, if safe.
Theodore Melfi's 127-minute biographical drama did surprisingly well during its Christmas
debut in 2016, eventually earning $165 million against its $25 million dollar budget.
Based on the non-fiction book of the same name by Margot Lee Shetterly, the Oscar-nominated
screenplay shares the heretofore untold true story about African-American women working
as mathematicians at NASA during the 1960s space race.
The diverse cast is stacked with recognizable talent, with Taraji P. Henson handling lead-duties
with a feisty demeanor.
Maligned as an outcast her entire life, it's an impassioned speech about convenient access
to nearby restrooms that resonates the strongest.
Manager Kevin Costner responds to this rant by reminding his employees, "Here at NASA
we all pee the same color."
But it's Octavia Spencer in a similar position who scored herself a Best Supporting Actress
nomination.
These are brave women taking on thankless tasks in a challenging world.
And pitted against the narrative's familiar 'stubbornly racist and myopic antagonists'
- it's easy to root for them to succeed and overcome.
The PG rated film tackles an uncomfortable period in American history with a fun, smile-incuding
story - even if some creative liberties are taken to make things more "Hollywood".
Combine some excellent performances with a standard Civil Rights boilerplate, and the
result is a feel-good bio-pic with likable characters.
"Hidden Figures" makes an important issue relatively entertaining...
even if it doesn't do quite enough to rise about its predictable genre.
I think it's a GREAT movie.
Next up, "La La Land".
Inspires with song and dance.
Following up his impressive breakthrough with 2014's "Whiplash", writer and director Damien
Chazelle has once again created a truly engrossing environment that mixes sight and sound in
a positively fabulous way.
After its December 9th release, this musical romantic dramedy received a record-tying 14
Academy Award nominations; including the elusive "big five"; Best "Picture", "Director", "Actor",
"Actress", and "Screenplay".
The PG-13 rated production also earned more than eleven times its $30 million dollar budget.
In modern-day Los Angeles, Ryan Gosling, an aspiring jazz pianist, falls for Emma Stone,
a fledging actress.
While their characters are certainly compelling, and their physique easy on the eyes, Gosling
and Stone are unfortunately the only categories I see preventing "La La Land" from an unprecedented
Oscars-sweep, (well, that and the movie is nominated against itself in the "Best Song"
category).
Their performances are relatable and touching, don't get be wrong, but for this type of active,
musical narrative, I'm not sure they were they absolute best-fit for the material.
Speaking of the music though; it's one catchy number after the next, from the toe-tapping
"Another Day Of Sun" to the hopeful "The Fools Who Dream" to the romantic ballad "City Of
Stars".
The film also includes one dream-like sequence that draws obvious inspiration from the Gene
Kelley musicals of the 1950s, à la "An American In Paris", or "Singin' In The Rain".
"La La Land" is a lyrical, often critical look at Hollywood culture; including its obsessive
fandom, vindictive behavior, and dismissive practices.
With Gosling describing his fellow Los Angelinos by saying, "They worship everything and they
value nothing."
- a particularly accurate, if damaging description.
A scene where Stone is rudely interrupted during an emotional audition cuts particularly
deep, as we feel like we're right in the room alongside her.
Although the two-hour and eight-minute experience may seem a bit self-indulgent and overly nostalgic
- it's undeniably fun, feel-good cinema.
A wonderfully enjoyable throwback, "La La Land" earns its place among 2016's best with
gorgeous visuals, compelling characters, and memorable music.
And it's also our final featured review, so let's hear some of your thoughts.
This seemed to be the Movie Night audience favorite, with a majority of you rating this
a TEN out of ten.
Simultaneously heartbreaking as well as inspiring, this is an AWESOME film, especially for fans
of the old Hollywood era.
Now, my review of "Lion".
Unbelievably captivating.
This $12 million dollar biographical drama from first-time director Garth Davis received
six Academy Award nominations (including Best Picture) and took home $76 million at the
box office.
Based on the incredible true story of its protagonist, the 118 minute narrative is adapted
from his memoir, "A Long Way Home".
After accidentally boarding a train that transports him a thousand miles from home, a small Indian
boy is adopted by a loving Australian couple.
Twenty five years later, he uses modern technology to search for his lost family.
Dev Patel might be the obvious choice to play a Indian character in an Australian-language
movie, but his portrayal is exemplary; balancing torment with stubborn determination.
Sunny Pawar meanwhile is positively fantastic playing Patel's childhood counterpart in the
movie's subtitled first-half.
Beneath his adorable face and innocent behavior, he portrays this frightened and confused boy
with true resilience.
Here's an absolutely unthinkable tragedy - that no western viewer could ever truly comprehend
- but thanks to Patel and Pawar's delicate portrayal, and Davis' steadfast direction...
we at least can appreciate a portion of what this ordeal would have been like.
It also invites reflection upon your own memories; without proper nouns - how much could you
accurately remember from a place you haven't been to since you were five years old?
Patel conveys this sense of helplessness well, and more than deserves his Best Supporting
Actor nomination.
Paradoxically, the PG-13 rated film's most effective scene is the one that usually never
works; filming a character silently reading a computer screen.
But thanks to Dustin O'Halloran and Hauschka's building score and deft editing... this Google
Earth montage is surprisingly powerful.
"Lion" is a gripping account of a heartbreaking true story with a very emotional climax.
One of the absolute best films of the year, I thought it was AWESOME.
My penultimate review tonight is for "Manchester By The Sea".
A sobering look at life and death.
Written and directed by Kenneth Lonegran, this $8.5 million dollar drama film did surprisingly
well following its wide release in December 2016 - receiving widespread critical acclaim,
and $60 million in ticket sales.
When his brother dies suddenly, Casey Affleck is asked to take care of his teenage nephew,
Lucas Hedges.
Set against the backdrop of its drab, wintertime setting in the titular New England town, the
two-hour and seventeen minute feature is carefully photographed with long takes and waist-high
wide shots.
There's nothing showy or artistic about the treatment; as Lonegran allows his cast to
deliver their tearful and restrained monologues without hindrance or artifice.
"Manchester By The Sea" impresses thanks to these raw performances; especially Affleck's
challenging role.
This is a character that has experienced unthinkable tragedy, who has resigned himself to lifelong
depression by confessing, "I can't beat it.
I can't beat it."
Opposite, the young Hedges is a breakout talent, exhibiting glimpses of real understanding.
In addition to the brilliant work from Michelle Williams, three of the R-rated movie's six
Academy Award nominations were for acting.
This film is not uplifting or even enjoyable... but somehow still necessary and relatable.
Anyone who's ever experienced a loss will be able to connect to the movie's cold and
resigned approach to death.
"Manchester By The Sea" is a heartbreaking drama thanks to understated performances.
Not exactly one I'm eager to revisit, I still thought it was very GREAT.
And last, but not least, "Moonlight".
Moving and relatable.
The recipient of eight Oscar nominations, this Barry Jenkins coming-of-age drama film
earned over four-times its $5 million dollar budget, following a fall release in 2016.
The 111 minute story chronicles the life of a young black man as he struggles to find
his place and understand his sexual identity.
Alex Hibbert, Ashton Sanders, and Trevante Rhodes take on the daunting task of portraying
this complex character at three pivotal stages in his life, during childhood, adolescence,
and adulthood, respectively.
Mahershala Ali only appears during the first act, but is fantastic as a drug-dealer turned
nurturing father figure.
He guides his new young friend by reminding him, "At some point, you gotta decide for
yourself who you're going to be.
Can't let nobody make that decision for you."
Based on the play, "In Moonlight Black Boys Look Blue" by Tarell Alvin McCraney - the
R-rated narrative is a very understated, read-between-the-lines type of story.
Things aren't spelled out, with the most important moments happen during those emotional pauses
and deliberate silences.
Like a tender act of physical intimacy between friends on a moon-lit beach.
Whether you're black, white, straight or gay - growing up and discovering who you are is
a very human experience everyone can find some commonality with, and this beautifully
shot motion picture really taps into that.
Powerful performances and a deeply human story propel this contained indie-film to award-winning
heights.
For patient audiences, "Moonlight" is AWESOME movie.
Now that you've heard my reviews on each film, here's how they all rank against each other
when I expand my ratings to a 100-point scale.
Although nothing was quite strong enough to grab my highest rating ("Lion" came the closest),
there weren't any outliers either.
Plus, in a 180° from last year; this crop of nominees features lots of minority talent,
resulting in a strong and diverse group of films.
But now it's time to make predictions and name favorites in the top categories.
As I've embarrassingly only seen one of the five "Best Actress" films, we'll skip over
that award this year, go right to my pick for "Best Actor"; Casey Affleck.
Call it a hometown bias, but Affleck's quiet and restrained depression made "Manchester
By The Sea" a real powerful experience.
That said, Denzel won the SAG award in this category, which is usually a strong predictor
of Oscar-victory, so bet on him Sunday night.
Either way, it'll be nice to see this one go to a fictional character for a change,
as five of the last six winners all portrayed real-life people.
I love a good comeback story, and "Hacksaw Ridge" really was one of the best-directed
films of the year - so while I'd love to see Mel Gibson win for "Best Director", I don't
think Hollywood has fully forgiven him yet, as "La La Land"'s Damien Chazelle is likely
to take home that Oscar.
Because, let's make one thing clear - besides the acting categories, this is "La La Land"'s"
year.
With an astonishing 14-nominations, it'd be foolish and almost disrespectful to award
the top prize to any other film.
Personally, I'm totally okay with that - I loved that movie, and will be happy to see
it win... but when push comes to shove, I think "Lion" was 2016's real "Best Picture".
I hope you're just as excited for the upcoming Oscars telecast as I am, which I'll be live-tweeting
from @JonPaula as I do every year.
Following the ceremony on Monday morning, I'll also share my annual post-Oscars recap
and highlights video to "Jon's World", so please subscribe to that channel to see the
video when it's released.
Well, that concludes my seventh annual Oscar special!
I'll be back in two weeks to kick off "March Of The Monsters"; a trio of episodes dedicated
to creature features.
Which begins with the entire, embarrassingly enjoyable "Anaconda" series.
Leave your review below of any of these films if you'd like to be included on the show.
And until next time, you can click this information icon to check out some videos.
Once again, my name is Jonathan Paula, thanks for watching, and have a good Movie Night!