Now to that big Oscars news... official word this morning the host of this year's Oscars
will be... no one.
Since Kevin Hart bailed from the Oscars, the awards show is desperately seeking new options,
including going without a host at all.
This morning the Academy scrambling to find a new host for the 2019 Oscars.
The big question tonight involving the Oscars... who will host?
They need me.
It's time to review again.
And now, for the final award of the evening, "Best Picture".
Here are the nominees.
Black Panther BlacKkKlansman
Bohemian Rhapsody The Favourite
Green Book Roma
A Star Is Born Vice
- Ad Break -
Wow, unbelievable.
Incredible speech!
What a surprise that was!
And a crazy twist ending to a record-breaking evening, but a deserving best picture winner.
Can you imagine how stupid it would have been if we banished that moment to a commercial
break instead?
That does it for the 91st Annual Academy Awards.
Thanks for watching... good night everybody!
This is Movie Night!
Hello and welcome to the ninth annual Movie Night Oscar Special.
Returning after an unplanned, year-long hiatus, I'm your host, Jonathan Paula.
It is good to be back and continue my annual tradition of reviewing all the Best Picture
nominees.
As always, if you enjoy my content, please LIKE the video, SHARE it on social media,
or just leave an encouraging comment down below, as I still read every one.
This year’s crop of nominees is more diverse than ever, but still predictably safe and
somewhat disappointing - literally 75% are biographic-period pieces... nonetheless, we’ll
begin my somewhat abbreviated reviews in alphabetical order with “Black Panther”...
Wait a minute…
Marvel’s “Black Panther”?
The $200 million dollar comic-book film that came out last February ...was nominated for
Best Picture?
As incredulous and delighted as I am over this film’s inclusion…
I still think “Infinity War” was far and away the better Black Panther-related property
last year.
Directed by the immensely talented 32-year-old Ryan Coogler - who makes my resume at 33 look
downright pathetic - this eighteenth entry in the Marvel Cinematic Universe was a colossal
smash, becoming only the third film in American history to cross the $700 million dollar mark.
It also scored an impressive seven Oscar nominations; something this genre hasn’t seen since “The
Dark Knight” a full decade ago.
Chadwick Boseman stars as the title character, the heir to an advanced hidden kingdom; who
must confront a challenger from his past and lead his people to a new future.
The PG-13 rated story does a creative and entertaining job of re-appropriating African
heritage as the dominant culture on the planet.
In essence, it’s perfect wish fulfillment for all black minorities, and sends a powerful
message to people of color that they too can have super heroes with fancy gadgets to root
for.
Indeed, “Black Panther” introduces us to Letitia Wright’s spunky and innovative
character, a 16-year-old who is now the smartest person in the MCU, an impressive feat considering
Tony Stark and Bruce Banner are revolutionary scientists in their own right.
The technology she helps introduce in a very James Bond / Q-like scene is undeniably awesome,
but it also removes any semblance of tension during the action sequences, since Black Panther
is effectively invincible.
Everyone in the cast, including Oscar winners Lupita Nyong’O and Forrest Whitaker do an
excellent job, but it’s Coogler’s frequent collaborator (and impossibly handsome) Michael
B. Jordan who truly steals the show.
His portrayal of the scorned villain Killmonger is as fascinating as he is sympathetic, despite
his propensity for cold-blooded murder.
Jordan’s dynamic performance elevates him to the top echelon of comic book baddies.
The 134-minute feature contains brilliant use of tribal imagery and music from composer
Ludwig Göransson.
In fact, the movie’s entire aesthetic borrows appropriately from African culture, from the
costumes and hip-hop soundtrack to the hairstyles, and language.
Although it falls into the familiar pitfalls of many 'origin stories', and the climax feels
a bit too small for a film of this scale, “Black Panther” delivers some satisfying
world-building that fans of every color should adore.
I thought it was a GREAT experience.
Pivoting from jungle cats to racists, let’s take a look at “BlacKkKlansman”.
The first film from director Spike Lee to be nominated for Best Picture - this $15-million
dollar dark-comedy biopic earned over $90 million in proceeds following its fall release
in 2018.
The film is based on the “crazy, outrageous, incredible true story” of Colorado Springs’
first African-American detective, played by Charlie Wachtel, who sets out to infiltrate
and expose his local Ku Klux Klan chapter with the help of Jewish officer, Adam Driver,
in the early 1970s.
These two leads do a commendable job illustrating the disrespect and anger felt by maligned
minorities - but it’s Topher Grace (returning to a familiar decade) who truly shines as
Klan president David Duke.
Portrayed here as a particularly milquetoast leader.
The R-rated story has a certain “Fargo”-esque quality to it, from the backwards hicks central
to its story, to the somewhat bumbling nature of the crime procedural.
With solid acting, editing, and cinematography, it’s the surprisingly conventional approach
that holds BlackKKlansman back.
But then comes the ending… after the narrative proper concludes, Lee closes the film with
newsreel footage of present-day racism, namely the deplorable actions from Charlottesville,
Virginia where only ONE side had “very fine people”.
This hard-to-watch coda is a scathing indictment of President Trump, and one of the most powerful
“real world” footage endings since Spielberg switched to color at the end of "Schindler's
List".
An unbelievable story, told with witty performances, amusing moments, and sharp commentary, I thought
“BlacKkKlansman” was a really GREAT film.
Third tonight, "Bohemian Rhapsody".
Undeserving.
While I'm all for including popular, main-stream features in the Oscars; "Bohemian Rhapsody"
is not a film that should have even been in the discussion.
This musical biography by accused sexual assaulter Bryan Singer was a surprise hit after its
October 2018 release; scoring an incredible $800 million in profit.
The $50 million dollar production shares the story of the British rock band Queen, and
its legendary late lead singer, Freddie Mercury.
Small-screen star Rami Malek dons some ridiculous-looking prosthetic teeth to portray the infamously
flamboyant virtuoso.
His overstated overbite notwithstanding, Mr. Robot truly does become Mr. Mercury - and
seems all but poised to take home the Oscar.
The story plods along in a linear fashion from one major musical number to the next,
all scored to the excellent and well-known Queen catalog.
It is for this reason, and Rami's phenomenal performance that save this movie from feeling
like an unfunny parody of the musical biopic genre.
Like, seriously - every major trope that John C. Reilly lampooned in "Walk Hard" appears
here without any hint of irony.
The PG-13 rated picture also perplexingly scored a nomination for best film editing;
which I found to be one of its worst traits.
Straight dialogue scenes are cut to the boundaries of comprehension, while certain dramatic beats
aren't given enough breathing room.
What the film lacks in editing or unique story-telling it makes up for with its near-perfect dramatization
of Queen's unforgettable performance at Live Aid, which closes out the film.
While Singer deserves credit for such a meticulously crafted sequence, fans can just watch the
band's actual Live Aid performance on YouTube instead, making the entire exercise feel rather
pointless.
To put that another way: all of this film's goosebump-inducing moments of rock glory are
simply stolen from real life; it doesn't earn any on its own.
And the deliberate historical inaccuracies used to arrive there are the worst sin of
all.
It's one thing to fudge timelines and condense moments to better fit the 134-minute narrative...
but to suggest Freddie's AIDS diagnosis was the basis for his decision to perform at Live
Aid, when he didn't actually find out he was sick for another year?
It is disingenuous and unnecessary.
Moreover, the movie's hilariously brief ending fails to mention that Queen STILL performs
to this day!
I saw them in concert with Paul Rodgers... they were great!
Sadly, this information doesn't fit into the movie's paint-by-numbers formula, so it's
ignored in favor of a nicer, and less holistic package.
An unoriginal and pretty shameless experience, "Bohemian Rhapsody" only works because of
Queen's existing music and Malek's stellar impersonation.
I thought it was ALRIGHT.
Next up, "The Favourite".
Undeniably fascinating.
Based on true events, this two-hour historical period-era comedy/drama earned some five times
its $15 million dollar budget after its Thanksgiving Day release in 2018.
In early 18th century England, a love-triangle and rivalry forms between a frail Queen, her
close friend, and a new charming servant.
The film's trio of immensely talented leading ladies, Olivia Colman, Emma Stone, and Rachel
Weisz all excel in their particularly interesting roles.
Colman convinces as the sick but headstrong Queen Anne, Stone is delightful as a flirty
manipulator, and Weisz is excellent at portraying the subtly of her dissatisfaction.
The key to all great performances is an excellent script though, and the original R-rated screenplay
is filled with bickering banter, period-accurate vernacular, and plenty of dramatic irony.
The framework of this story is brilliant in the way it allows, or even forces the viewer
to shift their allegiances with certain characters as we learn more about them.
It's a unpredictable experience, to be sure.
Yorgos Lanthimos's frequent propensity for super wide lenses and extreme angles prevent
the R-rated film from ever appearing too stuffy or old fashioned; even if the impeccable art
design and costumes are historically perfect.
Between this excellent cinematography, and the aforementioned costumes, acting, and screenplay
- it's no wonder "The Favourite" scored a year-best 10 Oscar nominations.
The Greek director is also my personal favorite of the year.
Given its fresher and more modern approach to the centuries old subject matter, this
film feels like something wider audiences can really enjoy.
Despite that embarrassing typo in the title and some hard-to-read font justification during
the credits, "The Favourite" is a captivating teleplay with three memorable female performances,
and a fiercely unique style.
I thought it was a GREAT film.
My fifth Best Picture review is for "Green Book".
More than the sum of its parts.
This PG-13 rated biopic follows a working-class Italian brute who chauffeurs a sophisticated
African American musician around the deep south in the early 1960s, encountering various
obstacles and racist situations along the way.
The two-hour and ten minute feature is directed by Peter Farrelly - yes, the same Peter Farrelly
who directed "Dumb & Dumber" - so it's no surprise how damn funny this film is.
Okay, it was actually a huge surprise to me, since I stopped watching movie trailers a
couple years ago, and definitely had this movie pegged as a dry and serious "let's teach
white people about racism" story.
I mean, it is also that - but it's more genuine and laid back in its approach than this genre
typically affords.
Both Viggo Mortensen and Mahershala Ali are wonderful in the two main roles, both scoring
Oscar nominations in the process.
Their reluctant and unlikely relationship develops naturally, and by extension, feels
much more earned and satisfying during the movie's emotional payoffs.
Like when Mortensen profoundly advises his new friend, "The world's full of lonely people
afraid to make the first move."
Although Viggo's wise-cracking lines scored the most laughs, its Mahershala's studious
and reserved performance that make him a lock for the Best Supporting Actor.
I mean, he actually has to pretend he's never eaten fried chicken before in one scene!
Like, seriously - if I had to pretend I'd never had eaten pizza before?
I'd be the favorite for a Razzie award.
All that being said however, "Green Book" remains detrimentally safe.
An inherent shortcoming present in all Civil Rights-era stories, but most of the material
here is stuff we've seen before.
White people are gonna be pissy little racists, and black characters are gonna politely put
up with it.
An easy-going experience that ingratiates with its lovable protagonists, "Green Book"
is a really GREAT film.
Here's "Roma".
Technical flawless, but emotionally lacking.
Nominated for a year-best 10 Oscar nominations, this semi-autobiographical drama from Mexican
director Alfonso Cuarón began streaming on Netflix in December of 2018.
The $15 million dollar film follows a year in the life of a middle-class family's maid
in Mexico City during the 1970s.
25-year-old Yalitza Aparicio is wonderful in her film debut; embodying a quiet desperation
and sadness without much dialogue.
Her performance is an auspicious start to a promising career.
The supporting cast, including Marina de Tavira and a number of kids, are equally excellent
in subtle ways.
Shot entirely in black-and-white, the long takes and steady tripod pans really force
you to appreciate Cuarón's astonishing cinematography.
And it's likely the Academy will appreciate him too, as he'll probably score several trophies
Sunday night.
Speaking of deliberate shots, tzhe R-rated film opens with a three minute close-up of
a tile driveway... but there's something undeniably fascinating about everyday objects when they're
photographed with such precision and purpose.
This directing style is a double-edge sword, however, as most of this picture feels almost
aimless.
Without any close-ups, or specificity in the narrative, we're just voyeuristically watching
a regular family live a regular life.
They experience hardships, sure, but I left unconvinced as to why this particular story
was special.
The thin script just doesn't contain enough interesting moments to support the 135-minute
runtime.
Undeniably, a pair of scenes towards the end of the film, one during child birth, and another
at a beach, are gripping and impossible to look away from.
But far too much of this film is detrimentally deliberate with its slow pacing.
Film students and those more patient for artistic productions will undoubtedly love this film,
but I never really connected to the characters.
"Roma" is a gorgeously told account of a relatively simple story.
A lock for "Best Foreign Language Film", and narrow favorite for the top prize, I personally
only thought it was GOOD.
And now, my penultimate review for "A Star Is Born."
An emotional ride.
This third remake of the 1937 musical of the same name was a huge hit for first time director
Bradley Cooper, earning over ten-times its $40 million dollar budget following its fall
2018 release.
The 135-minute story follows an alcoholic musician, played by Cooper himself, who falls
in love with a younger singer he helps discover.
Brad gives a career-best performance as the gruff, down-and-out country singer, desperate
to get through life without pain.
Sam Elliot and Dave Chappelle do solid work in supporting roles, but it was Andrew Dice
Clay as a dotting father who really surprised.
The standout role of course goes to veteran pop-artist Lady Gaga, in her film debut.
She is excellent as the up-and-coming singer, effortlessly balancing quiet moments of introspection
with traumatic outbursts.
Although she'll likely lose to Glenn Close; her Best Actress nomination is a remarkable
start to her budding film career.
Her song-within-the-film, "Shallow", is as excellent as its chart-topping position and
inevitable Oscar win would have you believe.
Her bellowing duet with Bradley is a real centerpiece moment for the movie; and is sure
to leave audiences breathless.
The romance central to this R-rated narrative has so much authenticity and heart; you actually
begin to wonder if Cooper and Gaga have been seeing each other in real life.
This connection between them is the bedrock of the film, and the biggest reason this is
my favorite Best Picture nominee.
By the time the credits roll, this emotional investment is paid off in a big way.
The film isn't just about finding your voice and taking a chance though, it's about surviving
the sacrifices you make along the way; something the Oscar-nominated adapted screenplay illustrates
achingly well.
No doubt about it, "A Star Is Born" is an AWESOME movie.
Finally tonight, "Vice".
Scattershot.
From Adam McCay, the comedic genius that brought us "Anchorman" and "Step Brothers"... comes
a somewhat serious bio-pic about former Vice President Dick Cheney?
Earning slightly more than break even, this $60-million dollar film shares Cheney's life
story, as he rises from unassuming beginnings to a major political operative.
The 132-minute script has a lot of tonal issues though, as McCay isn't certain if this is
a straight homage to one of most powerful men of the 21st century, or a sardonic parody
that lampoons him.
The mechanisms of the storytelling itself are also particularly frantic and haphazard,
often bouncing from voice-over narration to fourth-wall breaking skits and cutaways.
Aided by Oscar-nominated makeup and hairstyling, Christian Bale's portrayal of the title character
is a truly transformative one.
He honestly may be the most talented actor working today.
Sam Rockwell and Amy Adams also excel, seamlessly blending into their complicated characters.
The thesis of this film is ultimately confusing though; like... why now?
What is the point of this story?
To remind everyone we once had a power-hungry VP who irrevocably shaped the world by forcing
America into an unjust war?
McCay doesn't have any answers... he merely wants to retell the story with wink and a
nod, leaving viewers angry and upset when the credits roll.
Well, at least the second time.
One big laugh happens halfway through the film when fake credits show up; after a couple
title cards suggest Cheney retired into obscurity long before the 2nd Bush administration.
Despite some effective moments of satire and excellent performances, "Vice" is far too
inconsistent and aimless to truly deserve its eight Oscar nominations.
I only thought it was GOOD.
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 none of these were 10s, it is nice to see the Academy issuing nominations to
more diverse and commercially successful films for a change.
If you've been paying attention, I've already predicted the winners and picked my favorites,
but here they are again.
It's a pretty well-balanced group.
And besides Glenn Close's wonderful work in "The Wife", there aren't many standouts either.
Personally I'm still a bit miffed "Mission: Impossible - Fallout" didn't receive a single
nomination.
Easily the best film of 2018.
Well, that concludes my ninth annual Oscar special!
Follow me on Twitter, @JonPaula to hear my thoughts on the upcoming Oscars telecast in
real-time, if you're into that sort of them.
But until next time - whenever that may be - my name is Jonathan Paula, thanks for watching,
and have a good Movie Night!