Not my best effort BUT click bait is click bait.
After getting in a car accident, a woman (Mary Elizabeth Winstead) is held in a shelter with two men (John Goodman and John Gallagher Jr), who claim the outside world is affected by a widespread chemical attack.
A fantastic Hitchcockian opening sequence delivered high hopes as Mary Elizabeth Winstead attempted her Janet Leigh-esque escape from a bad break up. Bear McCreary’s sinister score. The window shots. It felt like an homage to Psycho from director Dan Trachtenberg.
Small trivia fact: I didn’t realise the voice of Michelle’s (Winstead) ex Ben was none other than Bradley Cooper’s.
The story didn’t mess about. It set everything up and let it all come tumbling down within 10 minutes. Hooked, line and sinker. One car collision later and Michelle awakens trapped in a bunker with her leg in a brace and handcuffed to the railing. Like something out of Saw.
The scene was set. The tension bubbling.
For the first 45 minutes I was transfixed, especially when John Goodman made his introduction. He was fantastic as Howard. Channeling his inner Kathy Bates. A return to form from the big man.
A ticking time bomb waiting to explode. A nuclear fall out whack job or genuine Samaritan?
I loved the Misery style cat and mouse game as Michelle tried to piece together everything that had happened. The questions mounting; was there an attack? Are they the only survivors?
It was good to see the underrated John Gallagher Jr (The Newsroom) get a meatier role to sink his teeth into as Emmett. Was he in on the act with Howard? Or another abductee like Michelle?
In all fairness, I couldn’t fault any of the performances. A crucial factor as the film relied solely on the three actors. Winstead was brilliant. She carried the film when the pace dragged, which it tragically did in places.
After the hour marker, I felt the film was running out of steam as Michelle began to accept her new life with this dysfunctional nuclear family.
Thankfully, the paranoia and suspense finally delivered as Howard’s lies became more transparent.
His concern for Michelle bordered on creepy Freudian levels as a silly game of “Who Am I?” unearthed some strange feelings. Unable to see Michelle as a woman BUT a young girl after losing his daughter.
That scene had me on tenterhooks. Goodman was intense. His “I’m always watching” conversation should have been ripe for a parody from Monster’s Inc (The Goodman link up was completely unintentional) BUT it was too unsettling as you feared the worst for Michelle.
To be honest up until the 80 minute marker, the post-apocalyptic bunker thriller had potential to hold its own as Michelle played the waiting game.
BUT then you realised that this had Cloverfield in the title. So things were about to get weird as Michelle plotted her escape.
There were a few twists BUT the finale felt tacked on and rushed for my liking. After all that slow burning tension and suspense, the teasing failed to deliver the goods for me.
It didn’t feel like a Cloverfield movie. The film’s greatest strength BUT also its greatest weakness as I felt the writers (One of them being none other than La La Land’s Damien Chazelle) quickly had to throw something in to tie this entry into the Cloverfield universe.
Don’t get me wrong, it was frenetic and racy BUT also chaotic and messy. A little disappointing with a silly open ending. Only because the following sequel we received was The Cloverfield Paradox. Sheesh!
BUT despite my grumblings, this was still a highly engaging and suspenseful thriller worthy of your time.
They’re back BUT bigger and better?
The Guardians must fight to keep their newfound family together as they unravel the mystery of Peter Quill’s (Chris Pratt) true parentage.
Mad fun BUT it falls short of its predecessor.
The silly opening was entertaining enough as the adorable Baby Groot danced around to the beat of ELO’s Mr Blue Sky while a violent battle ensued in the background.
I felt the banter and chemistry between the dysfunctional team was all over the place. Writer/director James Gunn tried too hard with the laughs that it hampered the piece in places with the cast just shouting flat insults at each other.
I know a good portion of the story was about the team having teething problems after the events of the first film. BUT the squabbling and yelling really grated against me.
A gag involving the name of a villain drew a laugh BUT it soon overstayed its welcome as the name kept getting brought up.
I felt Vol 1 had the right balance. Each dysfunctional member bringing something to the fold.
This time around, it felt a lot sillier with Rocket and Groot spending too much time in the background.
No one expected anything from Vol 1. It was one of my favourite films of the year. I think I even went to the cinema twice to see it and I never do that for a movie.
Such a strong first movie that it was going to take something special to top it.
Henry Braham’s incredibly colourful palette and visual effects were a feast for the eyes. The set pieces were exhilarating and fun to watch.
Kurt Russell was brilliant as Ego. He worked well with Pratt and made their relationship an interesting angle BUT the only problem was that the pace tragically lagged as Quill discovered his true origins.
Even if Laura Haddock’s talents (Transformers: The Last Knight) were wasted yet again. I wondered when she got the role as Star-Lord’s mother if there was going to be more of her BUT what we got was unnecessary and offered new.
Bradley Cooper’s Rocket (Easy now) stole the show with his insults and crazy antics (“Don’t call me a raccoon! Trash panda? *PAUSE* Is that worse?”).
Vin Diesel had the easiest job going yet again delivering his helium induced phrases to the tiny tree root. You couldn’t resist the little rebel.
Elizabeth Debicki (The Night Manager) was completely wasted in her role as Ayesha.
However, there was one character that stole the show for me and that was Yondu. Michael Rooker (The Walking Dead) was fantastic. I loved how we actually got a little depth to the space pirate and explored his past. An unexpected surprise.
Pom Klementieff (Oldboy) was a memorable addition to the mad (and increasingly top heavy) squad as Mantis. Her emotion sensing abilities was a party trick that helped create all sorts of cringe inducing laughs.
Especially on “the thing that nobody’s talking about” between Gamora and Quill (Yawwnnnn . . . ).
The only problem was that Gunn expanded on story lines that were already explored in Vol 1. It made things a little repetitive and predictable.
Gamora and Nebula’s sibling sparring got on my nerves. Especially when the pair kept kicking off. It was almost as ridiculous as Peter Griffin fighting the Giant Chicken! We had all that in the first one!
Don’t get me wrong, there was still fun to be had and I enjoyed the majority of the madness with another fantastic soundtrack that I will no doubt purchase.
Not every wrestling star can make the jump to the big screen BUT Dave Bautista was still on scene stealing form as the deluded Drax with his random outlook and bizarre stories.
The final act redeemed a lot of the problems with an action packed closer that threw in a few unexpected twists and turns along the way. Don’t worry, no spoilers here.
So despite its shortcomings, it was still crazy fun and fans won’t be disappointed.
P.S. I’m sure you’re bored of me saying this BUT don’t walk out on the credits. There are several different teasers that pop up. Definitely worth waiting for.
I didn’t find much joy in this. A stellar turn from Lawrence did just enough to keep this mediocre mop yarn watchable.
Joy (Jennifer Lawrence) is the story of the title character, who rose to become founder and matriarch of a powerful family business dynasty.
A silly opening with a dated soap opera parody didn’t really set the tone or get things going for me. BUT it did give an indication of what to expect. An OTT, patchy and drawn out affair. Jennifer Lawrence was superb and this piece definitely proved one thing. She is one talented actress. She had the charm and presence to carry this biopic along.
The endless soap opera sequences were unnecessary. I could get the connection that Joy’s life was like a soap opera. The dream sequence in which Joy became part of the soap would have sufficed. The repetitive use of it just hampered things.
Desperate NOT to be like her reclusive mother (Virginia Madsen – Sideways). Shut away from the world and reduced to watching soaps in her room. Madsen did her best with the role BUT she wasn’t given enough screen time or depth to make a proper impression. And that silly little subplot with Jimmy Jean-Louis’ (Heroes) Haitian plumber didn’t help.
Bradley Cooper didn’t do too bad in his ridiculously small supporting role. He was able to make such a weak character watchable with his sheer enthusiasm. He even managed to make the history of QVC sound interesting. To be honest, I didn’t know anything about the origins of the renowned TV shopping channel. There were some good little tidbits.
The real problem for me was that all this drama was over a mop? It sounds bad when you say that Joy is a biopic about the woman who invented the miracle mop. Plus you can’t help BUT question how much of this was exaggerated and given the David O’ Russell treatment. As much as we felt for Joy’s struggle to be accepted for something more than just a housewife, there wasn’t much on offer.
It wasn’t all bad. There were some engaging moments and if Joy really went through that turmoil then I still wouldn’t believe it. The back stabbing from lawyers, suppliers, QVC and even her own family. There wasn’t enough of Elisabeth Rohm (American Hustle). She was very good as Joy’s conniving half sister. I wanted more of that. The green eyed monster desperate to bring Joy’s empire down from day one.
Robert De Niro was on scene stealing form as Joy’s obnoxious father. Arrogant, petulant, a monster. It was a shame that he was pushed into the background by the end after dominating the screen from the get go. Diane Ladd’s Mimi (Chinatown) was a little weak. She was nothing more than a narrator. BUT there were still some nice moments between her and Joy. The only rock in Joy’s hectic life.
Isabella Rossellini’s Trudy (Blue Velvet) got on my nerves. Not so much her performance BUT her character. The silly questions she grilled Joy with before investing was stupid. “Do you pick up the gun, Joy?” She picks up the gun, apparently. I’m sure the dialogue sounded better on paper.
There were so many different characters thrown into the mix and none of them were really developed or explored enough. Joy’s relationship with Tony (Edgar Ramirez – Point Break) had potential. Faring better as friends than they ever did married. Still standing by her side despite everything.
For every high and low, you were still rooting for Joy to succeed (Despite knowing the end result). Especially in the closing act when things came to a head. BUT it helped to have an engaging character and a great actress at the helm. However, I was still left a little disappointed. After all that build up, it just ended. I mean obviously there was only ever to be one outcome BUT it just rushed to tie in everything after throwing several random subplots that went nowhere. Shame.
Not O’Russell’s worst. I still enjoyed this a fraction more than American Hustle. Lawrence was on fine form. The supporting cast did their best. BUT the overlong pace and structure made this an uneven and dis-joy-nted piece.
Overcooked and overdone. Let’s hope Mr Cooper has a thick skin.
Adam Jones (Bradley Cooper) is a chef who destroyed his career with drugs and diva behavior. He cleans up and returns to London, determined to redeem himself by spearheading a top restaurant that can gain three Michelin stars.
Penned by Steven Knight. Normally, I’m a big fan of the chap. Dirty Pretty Things was one of the best British films I had seen in a long time. BUT his latest offerings (Locke and Peaky Blinders) were very disappointing. Locke was an unintentionally comical showcase for Tom Hardy while Peaky Blinders (A fantastic gangster series that I had once called the best damn thing on TV) suffered from a stuttering second season.
Unfortunately (if you hadn’t gathered from that poorly punned tagline) that run has continued. Bradley Cooper does his best Gordon Ramsey impression BUT to no avail.
The first hour was actually quite watchable after a slow opening act with Cooper’s callous chef serving his “penance” by shucking out a million oysters. Yep. It really was as tedious as you think. BUT I was still intrigued to find out what Adam had done to make people detest him so much. Apparently, not a lot.
I would have preferred to see Cooper’s character burn out in the opening half than witness the dull aftermath. Some of the reasons were a little petty and boring while most of the group forgave him far too easily just because of his “reputation”. Best described using a Star Wars reference, “If he gets one more Michelin star, he’ll be like the Darth Vader of cooking”.
Cooper played it well as always. He had enough charisma to carry the piece BUT for every tense scene or engaging moment, there were a dozen cliched ones. Matthew Rhys was perfect as Adam’s old sous-chef (now bitter rival). If anything, I wished he was in it more. Their exchanges and fractious relationship was ripe for more heated confrontations. Unfortunately Knight only really scraped the surface.
And that was the problem. A great cast not used to their full potential. I couldn’t believe the amount of actors that popped up in this film. It was ridiculous. Daniel Bruhl didn’t do a bad turn as Tony. The son of a respected restaurateur trying to keep his late father’s legacy alive. The only problem was that his initial stubbornness and anger was always going to lead to the inevitable.
It was also a surprise to see Uma Thurman as a respected food critic. Shame that her character was only a passing cameo. Alicia Vikander was tragically wasted in her role. She looked stunning and had potential to cause so much more trouble for Adam. BUT it was resolved far too easily and didn’t even attempt to put out the fire burning between Cooper and Miller.
Sienna Miller and Bradley Cooper reunite once again (American Sniper). Their tense headbutting and predictable romance did enough to keep things ticking over. Cooper’s Ramsey-esque meltdown at her was brutal and nail biting. Miller was actually very good as the single mum battling to keep her catering career alive. The hokum romance did spoil things BUT their chemistry was good enough to roll out the doughy bits.
Emma Thompson was brilliant as Adam’s therapist. But heavily underused. Merely dishing out advice and keeping tabs on the recovering drug addict. A shame as the pair worked well together.
The shots of the meals and courses had my stomach rumbling. Food porn for the foodies out there. It was easygoing and pleasant enough with Adam’s tough guy demeanour finally cracking. There were even some zippy one liners; “What happened to your angel looks? Drink, cocaine and Louisiana”.
There just wasn’t enough made of the story or the cast. The second half lulled and sizzled out with a quite abrupt and corny ending. It was far too patchy, formulaic and predictable. That’s not to say it wasn’t watchable. Just disappointing.
Has Bradley Cooper got that Oscar in his sights? Only one way to find out . . .
Clint Eastwood delivers a riveting, if overlong, war biopic on the most lethal sniper in US history.
Bradley Cooper in one word. Fantastic.
I have been impressed by his versatility and range. To be able to go from The Hangover to American Hustle. His performances continue to surprise. As does this one.
The 132 minute length does test you a little in parts but every time I felt my eyes wandering, there was a revelation or a battle sequence to bring me back into the action.
It’s not perfect by any means BUT certainly one of the better ones.
The cinematography by Tom Stern (a regular Eastwood stalwart) provided a grainy murkiness to the Iraqi war zone. The panning shots as we followed the troops through the labyrinthine cityscape (now an open battlefield) got me right in the thick of it.
I couldn’t believe how much Cooper looked like Chris Kyle. Bulking up for the role and delivering a dusky drawl. A deserved nomination.
A simple cowboy who decided one day to become a SEAL. There were moments where I felt the whole ‘Murica spiel was a little schmaltzy for me BUT hey, that’s the cynic talking. I respect the man for his patriotism and that’s what he was. A patriot. He wanted to fight for his country. People have fought for less. So make of that what you will.
It didn’t spoil or hamper the film for me. The first act zipped along quite well. The opening certainly grabs your attention with Kyle having to make a serious judgement call involving a young boy and a suspected weapon.
It flicks back and forth showing his life as a young boy, his days as a cowboy and his SEALs training. The training montage was covered extensively in the opening of Lone Survivor BUT it was good to see the cast go through the process.
To be honest, I was happy to see more of this. It zipped along a little too quickly. It didn’t really put Kyle’s father in the best light. A stern man who wants his sons to be sheepdogs NOT wolves. Yeah, that didn’t make sense to me in the film. Nothing a good belting won’t straighten out.
It certainly gave you a sense of the man Kyle would become but maybe a little bit more depth would have been better.
The sniper sequences were tense and riveting. Seeing it through the POV of Kyle’s scope was harrowing and brutal. Hardly original to the Call of Duty nuts but effective.
There were moments of horror and suspense. It certainly plays the ethics card. Split second decisions that could save or kill the unit. Decisions I couldn’t even imagine making. Some heart in mouth stuff.
The sandstorm sequence was exhilarating. Some would argue that it was shot terribly but that’s kind of the point. You couldn’t see a thing. You couldn’t tell who was your enemy and in an ambush?! Words fail me.
I felt Eastwood spent a little too much time on the unit dynamic with a supporting cast that for a majority of the time either kept changing or were hardly that memorable. This was where marks got knocked down. I know this is Kyle’s story but there aren’t many who get a look in, including his own wife.
Sienna Miller was very good as Taya Kyle. She had great chemistry with Cooper. I never rated Miller’s past roles; the sex pot. But we got to see some actual acting from the gal. She nailed the accent and played it really well. I would have liked to see more of her. (No, not like that. Acting wise. Honest!)
I wanted more of the family dynamic. The last act does focus on that which certainly hits home by the closing minutes. BUT (for example) I wanted a little more explanation on Kyle’s brother, Jeff. Someone who we followed, with Chris, for a good 30-40 minutes of the film who then disappears without a real reason.
You get a general idea of what happened by how Jeff acts after his first tour in Iraq BUT it would have been nice to see him again, a passing comment OR at least a mention in the closing credits.
You can see Kyle’s dedication soon become an obsession. The more tours he embarks on, the harder the strain on his family. It certainly doesn’t paint Kyle as the all American patriot. Intent on catching The Butcher (Mido Hamada) and a (free-running) sniper hell bent on claiming the bounty of the legendary sniper felt like a morbid competition.
I’m a little concerned that Hamada and Navid Negahban (Homeland) have become typecast in the terrorist roles. They both play them so well but still . . .
Kyle’s re-adjustment into civilian life was heartbreaking. Every little sound keeping him on edge. His inability to cope. It was captured well and was subtle in it’s approach. The legend around him taking its toll.
This is where I became more engrossed. The final 30 minutes unearthed more on the treatment of the returning veteran and allowed for some harrowing statements.
I felt the CGI left a little to be desired. Cooper superimposed on a bull and the deer really stuck out. Also, don’t let the fake baby put you off. If you’re thinking, “What?” and are not aware of this; there is a scene in which Cooper is supposed to be holding his daughter and it is the worst fake baby I’ve seen. BUT don’t let this little plastic prop spoil what was a well acted scene.
This may not be the best war film. It’s tough not to compare it to so many other classics BUT it hooked me for the majority of the time (A challenge in itself) and by the closing minutes it got to me. I don’t want to spoil the film too much because I want people to see this.
BUT now, I find my loyalties torn on the Best Actor category now. I have to agree after seeing the majority of the Oscar nominated pics (Whiplash this week! EXCITED!) that the right people have been chosen this time around (Tatum should have got a nod BUT that’s another review 😉
With all the Oscar excitement, Cooper has to ask himself one thing. Does he feel lucky? Well . . .
If my pick loses, then I wouldn’t complain if Cooper took his place.
A sterling performance from a fantastic actor and an engaging, if flawed, biopic makes this one worth taking a shot.
Well done Mr Gunn! Marvel have done it again.
I would have thought after numerous Marvel entries and the fear of milking this rich cow dry, this may have pushed the mark.
I mean, another origin story to introduce another group of characters BUT with this cast and these characters, I’d be happy to see more entries like this again very soon.
Now, the plot is hardly original, the inevitable union of these intergalactic criminals was always going to happen, as well as those pesky sequel teasers propping up all through the film.
BUT what makes this sci-fi blockbuster hit tick all the boxes for the me is the pace, the humour and the fantastic soundtrack.
After a strong and emotional opening with 1occ’s I’m Not In Love playing, I knew I was in for a treat. It helps that the cast are perfectly chosen for their roles.
What’s it all about? Now keeping it vague as I don’t want to spoil this as I want you guys to see this . . .
Light years (in a galaxy far far away. No. Stop it) from Earth, 26 years after being abducted, Peter Quill (Chris Pratt) finds himself the prime target of a manhunt after discovering an orb wanted by Ronan the Accuser (Lee Pace).
The charismatic Chris Pratt, already on a roll after the mega blockbuster hit that is the Lego Movie, applies his laidback, fast talking schtick to the film’s protagonist Peter Quill to perfection.
You knew what to expect from the moment he breaks into a song and dance around a space cave using a mutated lizard thing for a mike.
Zoe Saldana just proves she looks incredibly hot as any alien or anything for that matter (What?) but is also fantastic as Gamora.
The surprise turn for me was Dave Bautista as Drax. Now let’s be honest, I know he’s had acting experience in WWE but this is a whole different playing field and I wasn’t convinced with his jughead performance in Riddick.
It helps to have great lines at his disposal but Bautista’s delivery is brilliant as the eloquently spoken if utterly stupid henchman. He takes everything literally which makes for some funny one liners and memorable moments.
Bradley Cooper and Vin Diesel provide their voicing talents to two new animated cult characters. Scratch that, Bradley Cooper provides his voicing talents. Vin Diesel must have been laughing when he read the script and got his paycheck as the tree humanoid Groot.
The animation and detail on Groot is impeccable. I mean don’t get me wrong, Diesel’s conviction on saying “I AM GROOT” numerous times is good and no doubt an iconic one liner but come on?! Cooper is fantastic as the talking volatile raccoon hybrid Rocket.
Now while the animation is impeccable, 3D . . . Not so much. It’s certainly more prominent BUT not a must.
Lee Pace and Karen Gillan were almost unrecognizable both by their incredible make up and by their accents as the villains in this space opera.
Michael Rooker (Gunn regular) was great as Yondu Udonta, the interstellar smuggler. The only problem with so many characters and such a big cast, some characters or actors (more specifically) get cast aside.
Glenn Close, sporting a funky haircut, as Nova Prime was wasted in this installment.
John C. Reilly, the comedy legend that he is, only really got to get a bit of meat to chomp on in the closing minutes.
Inevitably, Benicio Del Toro’s mysterious Collector pops his ugly white head again.
Djimon Hounsou was only memorable due to a humorous encounter with Quill in which he attempts to enforce his self titled nickname, Starlord.
Peter Serafinowicz (Shaun of the Dead)’s straight faced pallor had potential . . . BUT didn’t really get used. BUT that’s minor quibbles.
Now it’s hardly an origin story. It briefly provides a minor back story to answer the questions (as and when they pop up) to give a little dimension to our lively crew.
As it drew to its exhilarating finale, I found myself wanting more. There were unanswered questions which left it all open for more mischief.
Little teasers and “if there’s a sequel” hints . . . BUT with the wide array of characters in this universe and great music and great dialogue, I’m happy to strap in and go for another ride across the galaxy again.
Of course, they will return. One of the better ones.
4/5 for me
P.S. There is a little teaser at the end of the credits but I don’t think it was worth waiting around for. Nothing to quack home about. I mean, shout.
Awards seasons is well and truly underway and of course the OSCARS are vastly approaching. The nominations are here at last. Granted, I’m a little behind. Hey, I’ve been busy. Plus it’s been good to see people’s reactions on the list. Now, it’s my turn.
- So first up, here are the nominees for BEST PICTURE; 12 YEARS A SLAVE, AMERICAN HUSTLE, CAPTAIN PHILLIPS, DALLAS BUYERS CLUB, GRAVITY, HER, NEBRASKA, PHILOMENA and THE WOLF OF WALL STREET.
Mixed bag for me. Some of these riding on too much hype. Hype always helps in getting films noticed but these ones? Hmmm . . . personally, I feel that American Hustle and Captain Phillips do not deserve this nod. BEST PICTURE to me, means the best film in story, acting and . . . well everything. Both excelled as acting showcases but all in all, were both drawn out, long winded affairs that lost my interest through the halfway point. There is no need to make a film two to three hours unless the ends justifies the means. Now, Gravity is another over-hyped example. Deserves all the nods for visual and special effects but at it’s core, I personally felt the film died off when *SPOILER* Clooney did. In all fairness, he deserved a Best Supporting nod. He stole every scene. At Gravity’s core, however, is the same old predictable story of survival. I can’t believe I’m saying this but I had more enjoyment out of Armageddon! If she died, would have been a waste of time, so only one way it could go and it felt like an eternity not 90 minutes.
The others I have yet to see. The joys of being in a town where there are no independent or arthouse cinemas. BUT I have done my research. It’s great to see Nebraska and Philomena getting a nod. Philomena is a fantastic film, if unexpected nomination. However, these are definitely going to be the outside bets. Same applied for Dallas Buyers Club. Now, this is where my bias kicks in. Huge Scorsese fan! So I want Wolf of Wall Street to win. But I would say 12 Years A Slave will get this in the bag. The reaction has been a lot more united on this picture, while American Hustle and Gravity have torn people straight down the middle.
- Next, BEST DIRECTOR! And the nominess are; Alfonso Cuaron, GRAVITY, Steve McQueen, 12 YEARS A SLAVE, Alexander Payne, NEBRASKA, David O Russell, AMERICAN HUSTLE, Martin Scorsese, THE WOLF OF WALL STREET
Directors- not too much to say. You know who I want to win and frankly he has been ignored for too long. Scorsese finally got an Oscar but one of his weaker projects. Getting one for Wolf of Wall Street would rectify that. But I think it will be between Cuaron and McQueen. It should be McQueen but can’t help but feel Cuaron will nick something from all that astronomical hype (See what I did there).
- BEST ACTOR – Christian Bale, AMERICAN HUSTLE, Bruce Dern, NEBRASKA, Leonardo DiCaprio, THE WOLF OF WALL STREET, Chiwetel Ejiofor, 12 YEARS A SLAVE and Matthew McConaughey, DALLAS BUYERS CLUB
In all fairness, I wasn’t surprised that Tom Hanks didn’t get a nod for Captain Phillips. Tremendous actor that he is. He only really got the final 10 minutes to show why he has earned that reputation. It was a wasted platform for him. Christian Bale was a surprise. Powerhouse actor but I felt he was incredibly passive and to be honest I have seen him do much better. He should received this nod for The Machinist. A painfully drab film that was uplifted by his sheer performance. American Hustle not so much. In all fairness, I felt Idris Elba should have had one more for Mandela: Long Walk to Freedom. A flawed biopic that was carried by his sheer gravitas. I mean, Denzel Washington got one for Flight and well . . . that was nothing special. Even Colin Firth should have received one for The Railway Man. The emotion he delivers through his expressions is worthy alone. However, Leonardo DiCaprio has excelled film after film. He deserved an award for Django Unchained and should so for the Wolf. People are saying this is his year but how many greats have not been acknowledged by this noble award ceremony? Should be DiCap but money’s on Ejiofor. Great to see him get recognised for the talent actor that he is and no, not just because he was in Kinky Boots (that was filmed in my hometown. NORTHAMPTON!).
- BEST ACTRESS – Amy Adams, AMERICAN HUSTLE, Cate Blanchett, BLUE JASMINE, Sandra Bullock, GRAVITY, Judi Dench, PHILOMENA and Meryl Streep, AUGUST: OSAGE COUNTY.
Right, love Amy Adams and Sandra Bullock but Best Actress? No. Adams’ accents were irritating, especially her “English” one. Great performance but not Oscar worthy. Same for Bullock. She expressed and delivered all the emotions any one could feel in that situation but I struggled to keep up with the film. I mean Doubt was a slow-burner but I couldn’t stop watching because of Streep’s performance. Ironically, multi-Oscar winner Streep has been nominated yet again. Not undeservedly so. She may have done some duds, but no one can doubt her performances and abilities. Keeping in mind with my previous comments, an actress I couldn’t keep my eyes off (Not like that! Well a little) was Cate Blanchett. BJ (Come on! We’re better than that!) Blue Jasmine was a ‘GOOD BUT . . .’ film for me. BUT Blanchett’s performance was impeccable. I think she will win. I really want Judi Dench to win. A fantastic actress and her performance as Philomena was funny and endearing but the buzz is pointing to Mrs B. Also, where was Emma Thompson’s nomination for Saving Mr Banks?! Shocking. Can’t believe she got cut from the list.
- BEST SUPPORTING ACTOR – Barkhad Abdi, CAPTAIN PHILLIPS, Bradley Cooper, AMERICAN HUSTLE, Michael Fassbender, 12 YEARS A SLAVE, Jonah Hill, THE WOLF OF WALL STREET and Jared Leto, DALLAS BUYERS CLUB
Now firstly, not a bad selection. However, I do feel Hiroyuki Sanada should have a nod for The Railway Man. However, I’m not going to lie, I get confused with the release date period plus in the UK we seem to get everything a few months behind. Abdi was incredibly sinister and played the part well in Captain Phillips. I want Bradley Cooper to win. He has excelled since the Hangover and he stole the show, well almost, in American Hustle. That nod goes to someone else. Money’s on Jared Leto who has been the dark horse and winning a few awards already for his performance.
- BEST SUPPORTING ACTRESS – Sally Hawkins, BLUE JASMINE, Jennifer Lawrence, AMERICAN HUSTLE, Lupita Nyong’o, 12 YEARS A SLAVE, Julia Roberts, AUGUST: OSAGE COUNTY and June Squibb, NEBRASKA
There can only be one for me in this group who managed to make a quite pointless character enjoyable and memorable and that is Jennifer Lawrence. It’s a shame because Sally Hawkins was very good in Blue Jasmine. Interesting that Julia Roberts is supporting? From the trailer, I assumed that the main storyline revolved around her character and Streep was the supporting role? Hmmm.
Now, the others. Harsh but these ones get rushed across or are previewed during the relentless red carpet coverage or all the advertisements. It’s infuriating because these awards are still important; a good script with a good story makes a huge difference. Editing, sound, cinematography helps create a film and make it more memorable. If the sound doesn’t match or the film looks too grainy, that’s it, you’re out of there but hey ho.
- BEST ADAPTED SCREENPLAY – 12 Years a Slave, Before Midnight, Captain Phillips, Philomena and The Wolf of Wall Street
Money is on 12 YEARS A SLAVE!
- BEST ORIGINAL SCREENPLAY – American Hustle, Blue Jasmine, Dallas Buyers Club, Her and Nebraska
A tough one. All valid candidates for a change. Now, Alexander Payne is normally the king for nailing this so I would say Nebraska. But I feel O’Russell will lose out on the bigger fish and might just sneak this. However, Oscar nominee regular Mr. Woody Allen might fancy his chances. Tough call. Gutted that Kelly Marcel didn’t get the nod for Saving Mr Banks.
- BEST ANIMATED FEATURE – The Croods, Despicable Me 2, Ernest and Celestine, Frozen and The Wind Rises
Got to be between Frozen and Despicable Me 2. Now, I want Despicable Me 2! Minions all the way and if they could accept it either dressed as Minions or an animated acceptance speech, that would be great (In Office Space voice). However, Frozen would be more fitting of the Oscars though. Both enjoyable none the less.
- BEST ANIMATED SHORT – Feral, Get a Horse!, Mr Hublot, Possessions and Room on the Broom
Money’s on Get a Horse! It’s Disney, John Lasseter produced, can’t see any others beating it. Feral as the outside bet possibly.
- BEST CINEMATOGRAPHY – The Grandmaster, Gravity, Inside Llewyn Davis, Nebraska and Prisoners
Money’s on Gravity. As much as it may have been overhyped, one thing that can’t be argued is the look of it. Beautiful and stunning. However, Prisoners was shot fantastically as well. But Gravity, all the way.
- BEST EDITING – 12 Years a Slave, American Hustle, Captain Phillips, Dallas Buyers Club and Gravity
American Hustle, methinks. I feel the film will pull in what it can because it may fall short of it’s buzz. However, Greengrass’ projects of late have been commended for their editing. Gravity may miss out in place for the more visual awards.
- BEST COSTUME DESIGN – 12 Years a Slave, American Hustle, The Grandmaster, The Great Gatsby and The Invisible Woman
12 Years and American Hustle look outstanding in their design but there can be only one for it’s lavish and luscious costume and that goes to the Not-So-Great Gatsby.
- BEST MAKE UP – Dallas Buyers Club, Jackass Presents: Bad Grandpa, The Lone Ranger
Would be great to see Jackass to win for Knoxville’s make up but as it’s “Oscar season”, money on Dallas Buyers Club. Although strangers things have happened.
- BEST MUSIC – The Book Thief, Gravity, Her, Philomena, Saving Mr Banks
May have cut short on everything but surely Saving Mr Banks will win this one?!
- BEST SONG – ‘Alone Yet Not Alone’, Alone Yet Not Alone, ‘Happy’, Despicable Me 2, ‘Let It Go’, Frozen, ‘The Moon Song’, Her, ‘Ordinary Love’, Mandela: Long Walk to Freedom
Would love Happy to win. I mean it’s been number one in the charts over here for how long? Plus it’s a TUNE. However, Disney are a tough competitor. But let’s not forget that fateful year when Amy Adams sang live two or three songs that were nominated for Enchanted. Only for the couple from Once to win. Only one nomination in the group. Also, Three Six Mafia (Who?) have got an Oscar. Haven’t done much since. Didn’t do much before. Just stayin’ fly, I suppose 😉 Still don’t remember them? John Stewart said what everybody was thinking at the time, “Three Six Mafia 1, Martin Scorsese 0”
- BEST PRODUCTION DESIGN – 12 Years a Slave, American Hustle, Gravity, The Great Gatsby, Her
Toss up between Gravity and OK Gatsby (What? It weren’t that good. Nice to look at, though). Got to be the Gats.
- BEST SOUND EDITING – All is Lost, Captain Phillips, Gravity, The Hobbit: The Desolation of Smaug, Lone Survivor
Gravity or The Hobbit. I would say, The Hobbit will get one preciousssss
- BEST SOUND MIXING – Captain Phillips, Gravity, The Hobbit: The Desolation of Smaug, Inside Llewyn Davis, Lone Survivor
Inside Llewyn Davis might snag this one and hopefully avoid a complete snub. We shall see. If not, there is only one, preciousss because one film of this magnitude does not simply go to the Oscars and get one award.
- BEST VISUAL EFFECTS – Gravity, The Hobbit: The Desolation of Smaug, Iron Man 3, The Lone Ranger, Star Trek Into Darkness
Gravity. Sorry, oh Smaug, breathtaking beast that you are but you cannot match the beauty of the Earth. Star Trek, fantastic effects but alas, worse than that, it’s dead Jim.
The other nominations I am unfamiliar with and I don’t think it’s fair to comment. Plus not much buzz to go. Best documentary. I’d place my bets on The Act of Killing.
- BEST DOCUMENTARY FEATURE – 20 Feet from Stardom, The Act of Killing, Cutie and the Boxer, Dirty Wars, The Square
- BEST DOCUMENTARY SHORT – Cavedigger, Facing Fear, Karama Has No Walls, The Lady in Number 6: Music Saved My Life, Prison Terminal: The Last Days of Private Jack Hall
- BEST FOREIGN LANGUAGE FILM – The Broken Circle Breakdown (Belgium), The Great Beauty (Italy), The Hunt (Denmark), The Missing Picture (Cambodia), Omar (Palestine)
- BEST LIVE ACTION SHORT – Aquel No Era Yo (That Wasn’t Me), Avant Que de Tout Perdre (Just Before Losing Everything), Helium, Pitaako Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?), The Voorman Problem
A breakdown will down later on, with my Oscar checklist and bets, plus more buzz on the later categories. And let’s see how many on the Oscar lotto I can get. Such fun! Plus Dory’s back! Expect selfies. Run Spielberg Run!